Episode 4: Batman Trapped!
"You're clever, Batman. But not as clever as the Wizard!"
Sigh. Spoiled with all this Stranger Things lately but tonight I return to this functional, "that'll do" nonsense, made for kids in the assumption that means not particularly trying. Still, t may be rubbish, but the constant action means it passes the time quite well, and sometimes its very rubbishness can be interesting or entertaining.
Is it me, or does Batman not at any time become trapped during these instalment? These titles have very little reference to anything that happens. And, again, there is absolutely zero focus on character with all that happens being strictly action and plot. The episode is a blur of chases, captures and escapes much as we’ve seen before. Batman, again, reacts to events and is a pretty crap detective. Morton is ultimately freed after some visually cool but ultimately failed hypnotism by the Wizard. But Barman and Robin arrive and seem to defeat them all and capture the Wizard.... alas, our charisma-free villain is just a screen, for there are eleven more episodes of chases and fistfights to go.
Once again we are reminded that newscaster Barry Brown seems to know an awful lot, and yet again Batman does sod all about it, and falls for a pretty simple trick of the Wizard’s to find out where the hospitalised Morton is hiring his formula. You begin to wonder why Commissioner Gordon gives the time of day to such a thick, incompetent Batman.
Oh, and I realise the crapness of ‘40s fashion was a sort of precursor to the ‘70’s, but Dick Grayson looks very ‘70s here.
Chapter 5: Robin Rescues Batman
“Jimmy!”
As far as I can see, at no point during this episode does Robin do anything of the sort.
Anyway, we begin with lots of chases and escapes as usual, including Barman flagging down a passing police car and jumping in the back. But then we turn into a subplot, with hood Jimmy, played by perhaps the worst actor I have ever seen, having been photographed in an incriminating way by Vicki Bale, Who happens to be his sister. He sets a rotten and transparent trap for her so the picture and negatives can be taken in a series of scenes which could have included a lot of character and pathos, but don’t, because action and plot are the only two things this script is allowed to do.
Fortunately Batman revives the charred film and is able to use something called “Ehrlich’s Red” to restore it. Is this a thing?
This episode also gives us more footage of the sinister Professor just to remind us of his existence, and pretty much gives away that he’s the Wizard, to no one’s surprise. And we end with a cliffhanger that actually isn’t rubbish- Batman and Vicki in water covered in oil which is set aflame..
Saturday 31 August 2019
Stranger Things: Season 2, Chapter Three- The Pollywag
"He's like a living booger!"
So Dustin has found a little slimy creature, unknown to science, that dislikes light and which he has rather taken to in spite of the fact it's obviously going to turn into something dangerous- after all, it's 1984, so it must be Gremlins. It initially looks as though this episode is set to be as crammed with pop culture episodes as the last one, which was unusually pop culture-heavy even for Stranger Things.
After a short early flashback, though, filling in the gaps concerning how she came to be with Hopper, Eleven is not happy. Hopper keeps stringing her along about when it will be safe to see Mike again, and "friends don't lie". She's well mardy. And well might she be. Hopper means well, but subconsciously this is about filling the hole left by his daughter. Eleven has just exchanged one prison for another; no wonder she dismisses Hopper's cautious rules.
Meanwhile Billy sets about asserting his alpha male status over Steve by being a twat and, interestingly, denies that Max is his sister. Meanwhile Steve confronts Nancy about what she said the previous night; are they over? She certainly runs straight to Jonathan and the two of them start plotting. Nancy rings Barb's mum and says she has something to tell her but, interestingly, doesn't tell her immediately but arranges to meet- and is heard by baddies listening in. Is she deliberately setting herself up as bait?
Otherwise, Will connects with the rather decent seeming Bob- and Joyce realises through the medium of VHS that the best Will has been drawing exists in reality, and drives off to find her son, panicking. But the lads are obsessed with Dart, Dustin's new creature, which is growing at an alarming rate and which, Will suspects, and he's obviously right, is from the Upside Down. Mike has that much-delayed clash with Max, and Dustin lies about finding Dart, hidden under his hat. Three episodes in and the plot seems less linear, with different plot threads everywhere, although the thread of the poisoned pumpkins continues to develop.It's good, it's fun, it's exciting, but it feels less like it has a particular story to tell.
Awesome cliffhanger, though, with Will in the Upside Down; has that monster got him? Is he dead?
So Dustin has found a little slimy creature, unknown to science, that dislikes light and which he has rather taken to in spite of the fact it's obviously going to turn into something dangerous- after all, it's 1984, so it must be Gremlins. It initially looks as though this episode is set to be as crammed with pop culture episodes as the last one, which was unusually pop culture-heavy even for Stranger Things.
After a short early flashback, though, filling in the gaps concerning how she came to be with Hopper, Eleven is not happy. Hopper keeps stringing her along about when it will be safe to see Mike again, and "friends don't lie". She's well mardy. And well might she be. Hopper means well, but subconsciously this is about filling the hole left by his daughter. Eleven has just exchanged one prison for another; no wonder she dismisses Hopper's cautious rules.
Meanwhile Billy sets about asserting his alpha male status over Steve by being a twat and, interestingly, denies that Max is his sister. Meanwhile Steve confronts Nancy about what she said the previous night; are they over? She certainly runs straight to Jonathan and the two of them start plotting. Nancy rings Barb's mum and says she has something to tell her but, interestingly, doesn't tell her immediately but arranges to meet- and is heard by baddies listening in. Is she deliberately setting herself up as bait?
Otherwise, Will connects with the rather decent seeming Bob- and Joyce realises through the medium of VHS that the best Will has been drawing exists in reality, and drives off to find her son, panicking. But the lads are obsessed with Dart, Dustin's new creature, which is growing at an alarming rate and which, Will suspects, and he's obviously right, is from the Upside Down. Mike has that much-delayed clash with Max, and Dustin lies about finding Dart, hidden under his hat. Three episodes in and the plot seems less linear, with different plot threads everywhere, although the thread of the poisoned pumpkins continues to develop.It's good, it's fun, it's exciting, but it feels less like it has a particular story to tell.
Awesome cliffhanger, though, with Will in the Upside Down; has that monster got him? Is he dead?
Friday 30 August 2019
Stranger Things: Season Two, Chapter Two- Trick or Treat, Freak
”I specifically didn’t agree to be Winston.”
A lot of stuff happens in this episode and there’s more than the usual quotient of pop culture references to boot. That ought to give us a lot to talk about.
We begin with a short flashback explaining where Eleven went at the end of last season, how she came to be hiding with Hopper- heartbreakingly, she sees Mike being told by his mother that she’s dangerous- and, as if we hadn’t guessed, why Hopper was leaving food in the Mirkwood at the end of the season. That ties up a loose end. Hopper, of course, is mourning a daughter; you can see what’s in it for him. They’re both damaged together in an awkward but rather sweet dynamic.
It’s Halloween, a traditional day to dress up at school, and the gang are all very topically going as Ghostbusters, although I like how Lucas insists he doesn’t want to be Winston just because he’s black, as Winston “isn’t even a scientist.” Smart lad. Unfortunately no one else has bothered dressing up, which is embarrassing, but in a rather funny little scene Lucas and Dustin rather presumptuously invite Max trick or treating later. We get to know Max a bit; she has a dodgy, Ted Nugent-liking brother Billy (a Will and a Billy?) who hints that they’re both stuck here in Indiana because of her. And where are their parents? Although we finally do get to see Lucas’s family, making it four out of four.
It’s interesting that Joyce and Hopper have become close friends- although, of course, they’ve known each other since childhood- but she’s still having a passionate affair with likeable dork Bob, who does an interesting impression of Bela Lugosi’s Dracula and, in a scene which is bound to lead somewhere, gently suggests that they might all want to leave Hawkins.
Meanwhile Nancy is being driven madder and madder by guilt about Barb and the way she’s unable to give her parents closure, and lashes out at Steve while a bit rat-arsed at a very ‘80s party where Motley Crue meets Duran Duran in the soundtrack, flat out stating that she doesn’t love him. Ouch. Paving the way for an unlikely pairing of her and Jonathan, perhaps? I notice Jonathan also meets a girl called Samantha, mind, and the scene wouldn’t have happened if it wasn’t leading somewhere. Watch this space, shippers.
Meanwhile there are two possible avenues for the actual threat- the destroyed pumpkins in the field, covered by something gooey, stretch to all the local farms, while Will keeps being pulled back to the Upside Down, Where something big, multi-limbed and shambling is trying to get him, and it’s evil. The former threat leads to Hopper letting down Eleven while being late, leading her to lock herself away, upset, and look at Mike telepathically. It’s heartbreaking to see the two of them separated like this. Plus Eleven is a fugitive and Mike, well, his parents’ House has a sign saying “Reagan/Bush ‘84”, which is pure evil even if 49 states would vote for the forces of darkness that November.
It’s all very entertaining. But it’s hard to get a handle on what the main focus of the season is to be. It’s
A lot of stuff happens in this episode and there’s more than the usual quotient of pop culture references to boot. That ought to give us a lot to talk about.
We begin with a short flashback explaining where Eleven went at the end of last season, how she came to be hiding with Hopper- heartbreakingly, she sees Mike being told by his mother that she’s dangerous- and, as if we hadn’t guessed, why Hopper was leaving food in the Mirkwood at the end of the season. That ties up a loose end. Hopper, of course, is mourning a daughter; you can see what’s in it for him. They’re both damaged together in an awkward but rather sweet dynamic.
It’s Halloween, a traditional day to dress up at school, and the gang are all very topically going as Ghostbusters, although I like how Lucas insists he doesn’t want to be Winston just because he’s black, as Winston “isn’t even a scientist.” Smart lad. Unfortunately no one else has bothered dressing up, which is embarrassing, but in a rather funny little scene Lucas and Dustin rather presumptuously invite Max trick or treating later. We get to know Max a bit; she has a dodgy, Ted Nugent-liking brother Billy (a Will and a Billy?) who hints that they’re both stuck here in Indiana because of her. And where are their parents? Although we finally do get to see Lucas’s family, making it four out of four.
It’s interesting that Joyce and Hopper have become close friends- although, of course, they’ve known each other since childhood- but she’s still having a passionate affair with likeable dork Bob, who does an interesting impression of Bela Lugosi’s Dracula and, in a scene which is bound to lead somewhere, gently suggests that they might all want to leave Hawkins.
Meanwhile Nancy is being driven madder and madder by guilt about Barb and the way she’s unable to give her parents closure, and lashes out at Steve while a bit rat-arsed at a very ‘80s party where Motley Crue meets Duran Duran in the soundtrack, flat out stating that she doesn’t love him. Ouch. Paving the way for an unlikely pairing of her and Jonathan, perhaps? I notice Jonathan also meets a girl called Samantha, mind, and the scene wouldn’t have happened if it wasn’t leading somewhere. Watch this space, shippers.
Meanwhile there are two possible avenues for the actual threat- the destroyed pumpkins in the field, covered by something gooey, stretch to all the local farms, while Will keeps being pulled back to the Upside Down, Where something big, multi-limbed and shambling is trying to get him, and it’s evil. The former threat leads to Hopper letting down Eleven while being late, leading her to lock herself away, upset, and look at Mike telepathically. It’s heartbreaking to see the two of them separated like this. Plus Eleven is a fugitive and Mike, well, his parents’ House has a sign saying “Reagan/Bush ‘84”, which is pure evil even if 49 states would vote for the forces of darkness that November.
It’s all very entertaining. But it’s hard to get a handle on what the main focus of the season is to be. It’s
Thursday 29 August 2019
Tinker, Tailor, Soldier, Spy: Tinker Tailor
“You don’t break, exactly. You just run out of stories to tell.”
Yes, I know; it’s been nothing but Stranger Things for a week. I’m afraid Mrs Llamastrangler and I have become addicted, and what we watch together isn’t dictated by the needs of the blog in the way that my solo viewing often tends to be. Fear not, though; I haven’t forgotten this, or Batman and Robin, or indeed Agents of SHIELD or other things I need to return to.
This is a dark episode about Jim Prideaux, having been caught in Brno and extensively tortured and then hung out to dry by the Circus, telling us his side of the story while striving as a prep schedule teacher while living a life of genteel poverty in a caravan. It’s a sad, bleak episode and the lack of care for someone so traumatised in the service of his country is staggering. Then again, so are many other things in that most foreign of countries, the past. It’s heavily implied that Jim and Bill Haydon were lovers at uni, but also that gay relationships are implicitly acceptable pretty much only in this context (“We were children!”) and, amazingly, that recruitment into the security services was linked into this kind of circle, back in the days when both prejudice and the law meant that any deviation from heterosexuality was seen simply as a security risk. It all just seems so long ago.
Also tragic is the other tale we here of the operation going wrong, Control being secretive, Bill Haydon taking charge and, worst of all, Control starting to forget things. But none of that can compare to Jim’s stoic description of torture, how the days went by until his inevitable cracking, and the interrogation of Karla, immediately recognisable by the mention of Smiley’s old cigarette lighter. There’s a real sense of the Circus being old, hopelessly inefficient and riddled with compromising agents, mirroring a country in decline, a snapshot of how the country felt when it elected Thatcher’s Tories in ‘79. Yet there’s also a harsh lack of care, an acceptance of casualties, in a world where all that matters is jockeying for the position of captain of the Titanic.
This episode, more than the others, is as much about mood as it is about plot, and is quite a step up. But more than anything else it’s showing us just how very long ago it was in 1969, when I was two. I feel old.
Yes, I know; it’s been nothing but Stranger Things for a week. I’m afraid Mrs Llamastrangler and I have become addicted, and what we watch together isn’t dictated by the needs of the blog in the way that my solo viewing often tends to be. Fear not, though; I haven’t forgotten this, or Batman and Robin, or indeed Agents of SHIELD or other things I need to return to.
This is a dark episode about Jim Prideaux, having been caught in Brno and extensively tortured and then hung out to dry by the Circus, telling us his side of the story while striving as a prep schedule teacher while living a life of genteel poverty in a caravan. It’s a sad, bleak episode and the lack of care for someone so traumatised in the service of his country is staggering. Then again, so are many other things in that most foreign of countries, the past. It’s heavily implied that Jim and Bill Haydon were lovers at uni, but also that gay relationships are implicitly acceptable pretty much only in this context (“We were children!”) and, amazingly, that recruitment into the security services was linked into this kind of circle, back in the days when both prejudice and the law meant that any deviation from heterosexuality was seen simply as a security risk. It all just seems so long ago.
Also tragic is the other tale we here of the operation going wrong, Control being secretive, Bill Haydon taking charge and, worst of all, Control starting to forget things. But none of that can compare to Jim’s stoic description of torture, how the days went by until his inevitable cracking, and the interrogation of Karla, immediately recognisable by the mention of Smiley’s old cigarette lighter. There’s a real sense of the Circus being old, hopelessly inefficient and riddled with compromising agents, mirroring a country in decline, a snapshot of how the country felt when it elected Thatcher’s Tories in ‘79. Yet there’s also a harsh lack of care, an acceptance of casualties, in a world where all that matters is jockeying for the position of captain of the Titanic.
This episode, more than the others, is as much about mood as it is about plot, and is quite a step up. But more than anything else it’s showing us just how very long ago it was in 1969, when I was two. I feel old.
Stranger Things: Season Two, Chapter One: MADMAX
"Don't walk or bike home. I know!"
A brand new season, and it’s October 1984, nearly Halloween, with The Terminator showing in cinemas and Ghostbusters merchandise abounding. It’s also a time of musical ferment reflected in the soundtrack; yes, we get Devo’s “Whip It”, as one might expect, but we also get, er, the Scorpions.
A year has passed and, as children do, the boys have adapted- except Will, who is being treated for PTSD by a shrink who, mercifully, knows the truth, but whose symptoms are much more physical as he still has a clear link to the Upside Down- and at one point glimpses in the distance a huge, spider-Like creature. Things have changed- Joyce has a new goofy boyfriend, Bob, played rather interestingly, given the obvious influence of The Goonies, by Sean Astin. It’s interesting, though, that Hopper takes a close interest in Will’s treTment nevertheless. He also investigates a field of poisoned pumpkins which, by the rule of Chekhov’s Gun, will certainly turn out to have been important.
Mike’s teachers have made a clear decision to be strict with him, to the point of forcing him to donate away lots of toys, “just a loaf of plastic” that we as viewers know will increase in value and so we tend to take his side, even those of us who are parents ourselves- he had to throw away Man at Arms and even the Millennium Falcon!
The boys are obsessed with arcade games now, and there’s a new girl in town from California- Max- Who is the new high scorer on all the important games. She will obviously be significant. Mike, though, is missing Eleven, and tries to reach her on the walkie talkie every day. He would hardly be pleased to learn she’s secretly living with Hopper, although he’s the only adult who knows the truth who is in a position to do so, but what happened to her? And why hadn’t Mike been told?
Just as shocking as the end is the beginning; there’s a young woman in Pittsburgh, aiding a getaway from a robbery, who had similar powers and “008” on her arm...
We also get to see Dustin’s home, we see that Nancy is still with Steve although a subtle love triangle with Jonathan is still humming along and, heartbreakingly, Barb’s distraught parents have hired a private eye- selling their house for the cruelty of hope.
Lots of irons in the fire, and a promising start.
A brand new season, and it’s October 1984, nearly Halloween, with The Terminator showing in cinemas and Ghostbusters merchandise abounding. It’s also a time of musical ferment reflected in the soundtrack; yes, we get Devo’s “Whip It”, as one might expect, but we also get, er, the Scorpions.
A year has passed and, as children do, the boys have adapted- except Will, who is being treated for PTSD by a shrink who, mercifully, knows the truth, but whose symptoms are much more physical as he still has a clear link to the Upside Down- and at one point glimpses in the distance a huge, spider-Like creature. Things have changed- Joyce has a new goofy boyfriend, Bob, played rather interestingly, given the obvious influence of The Goonies, by Sean Astin. It’s interesting, though, that Hopper takes a close interest in Will’s treTment nevertheless. He also investigates a field of poisoned pumpkins which, by the rule of Chekhov’s Gun, will certainly turn out to have been important.
Mike’s teachers have made a clear decision to be strict with him, to the point of forcing him to donate away lots of toys, “just a loaf of plastic” that we as viewers know will increase in value and so we tend to take his side, even those of us who are parents ourselves- he had to throw away Man at Arms and even the Millennium Falcon!
The boys are obsessed with arcade games now, and there’s a new girl in town from California- Max- Who is the new high scorer on all the important games. She will obviously be significant. Mike, though, is missing Eleven, and tries to reach her on the walkie talkie every day. He would hardly be pleased to learn she’s secretly living with Hopper, although he’s the only adult who knows the truth who is in a position to do so, but what happened to her? And why hadn’t Mike been told?
Just as shocking as the end is the beginning; there’s a young woman in Pittsburgh, aiding a getaway from a robbery, who had similar powers and “008” on her arm...
We also get to see Dustin’s home, we see that Nancy is still with Steve although a subtle love triangle with Jonathan is still humming along and, heartbreakingly, Barb’s distraught parents have hired a private eye- selling their house for the cruelty of hope.
Lots of irons in the fire, and a promising start.
Wednesday 28 August 2019
Stranger Things: Chapter Eight- The Upside Down
“Mike, I found the chocolate pudding.”
Here we are then; the finale. Just four short days after Mrs Llamastrangler saw the first episode and with our time somewhat limited by necessary adulting. This is one addictive telly programme.
We begin with the gentle interrogation of Joyce and, well, the not-so-gentle interrogation of Hopper... But Hopper is clever, using the suggestion he may have told others what he knows as a basis for an agreement to let the two of them go and allow them through the portal through to the Upside Down. I’m not quite sure I fully buy the plausibility if this but it's in character and done with admirable sleight of hand. We also get some heartbreaking flashbacks of Hopper’s daughter slowly dying of cancer, and having a young daughter myself I find this harrowing. This certainly gives us a damn good reason why Hopper finds such meaning in making bloody sure that another parent doesn’t have to suffer as he did.
Meanwhile Jonathan and Nancy go hunting again, this time in Joyce’s home, setting a trap for the Demogorgon, while the kids hide in the school. We then get two parallel narratives as Joyce and Hopper explore the other dimension and find a captured and inert Will, while Nancy and Jonathan hunt the beast while being rudely interrupted by a contrite but highly annoying Steve. The scene where they try to revive Will and finally succeed is absolutely gripping, as is every damn scene in this finale.
But the climax simply has to involve Eleven and the boys, so the wounded Demogorgon turns up just as the authorities have the boys trapped, leading them all to hide from the ensuing massacre. The climax has Eleven seeming to destroy the monster... and vanishing in the process. Poor Mike, who almost kissed her earlier, is heartbroken.
It’s a rare example of a genuinely satisfying and exciting ending, and we also get a little Christmas coda, seeing Mike and Will with their happy families but also showing that Will is not unaffected by what happened- that snake thing on his mouth is delightfully disgusting.
This episode, and this season, are as good as telly gets. Sublime.
Here we are then; the finale. Just four short days after Mrs Llamastrangler saw the first episode and with our time somewhat limited by necessary adulting. This is one addictive telly programme.
We begin with the gentle interrogation of Joyce and, well, the not-so-gentle interrogation of Hopper... But Hopper is clever, using the suggestion he may have told others what he knows as a basis for an agreement to let the two of them go and allow them through the portal through to the Upside Down. I’m not quite sure I fully buy the plausibility if this but it's in character and done with admirable sleight of hand. We also get some heartbreaking flashbacks of Hopper’s daughter slowly dying of cancer, and having a young daughter myself I find this harrowing. This certainly gives us a damn good reason why Hopper finds such meaning in making bloody sure that another parent doesn’t have to suffer as he did.
Meanwhile Jonathan and Nancy go hunting again, this time in Joyce’s home, setting a trap for the Demogorgon, while the kids hide in the school. We then get two parallel narratives as Joyce and Hopper explore the other dimension and find a captured and inert Will, while Nancy and Jonathan hunt the beast while being rudely interrupted by a contrite but highly annoying Steve. The scene where they try to revive Will and finally succeed is absolutely gripping, as is every damn scene in this finale.
But the climax simply has to involve Eleven and the boys, so the wounded Demogorgon turns up just as the authorities have the boys trapped, leading them all to hide from the ensuing massacre. The climax has Eleven seeming to destroy the monster... and vanishing in the process. Poor Mike, who almost kissed her earlier, is heartbroken.
It’s a rare example of a genuinely satisfying and exciting ending, and we also get a little Christmas coda, seeing Mike and Will with their happy families but also showing that Will is not unaffected by what happened- that snake thing on his mouth is delightfully disgusting.
This episode, and this season, are as good as telly gets. Sublime.
Stranger Things: Chapter Seven- The Bathtub
“Why are you keeping this curiosity door locked?”
You can tell it’s the penultimate episode as all the goodies are getting together; yes, the eRly scenes are full of the men from the lab chasing Eleven and the boys but it isn’t long until Joyce and Hopper find them, and by that point both Nancy and Jonathan are on board. The battle lines are drawn. This obviously needs to happen for plot reasons. Before this, though, and importantly, Eleven sends a van or baddies flying through the air which causes the gang to all become friends again- Lucas apologised to Eleven and shakes hands with Mike. All is well, at least within the gang.
But they’re fugitives; the baddies have successfully enlisted Mike’s wary parents and, presumably, those of both Lucas and Dustin, whose families have been conspicuously absent all season. But this just draws all the protagonists together, able at last to join forces and compare notes. If this episode, unlike the others, feel as though it’s shaped by plot necessity then, well, it is; you can imagine this all being planned on a board in a writing room. But it’s all unavoidable in a penultimate episode and shows just how good the writing has been that you don’t notice the plot structure holding everything up.
The expanded gang conjures up a makeshift sensory deprivation tank for Eleven, and we learn both that poor Barb is dead and that Will is alive, hiding, in the version of his den that exists in the Upside Down. So Joyce and Hopper head off to the lab to sneak in to the portal, but this time are well and truly caught. Meanwhile Jonathan and Nancy are off hunting again; you can tell it’s the penultimate episode. Especially as we end with a proper cliffhanger as the Demogorgon gets Will...
One more episode. Go on, let’s.
You can tell it’s the penultimate episode as all the goodies are getting together; yes, the eRly scenes are full of the men from the lab chasing Eleven and the boys but it isn’t long until Joyce and Hopper find them, and by that point both Nancy and Jonathan are on board. The battle lines are drawn. This obviously needs to happen for plot reasons. Before this, though, and importantly, Eleven sends a van or baddies flying through the air which causes the gang to all become friends again- Lucas apologised to Eleven and shakes hands with Mike. All is well, at least within the gang.
But they’re fugitives; the baddies have successfully enlisted Mike’s wary parents and, presumably, those of both Lucas and Dustin, whose families have been conspicuously absent all season. But this just draws all the protagonists together, able at last to join forces and compare notes. If this episode, unlike the others, feel as though it’s shaped by plot necessity then, well, it is; you can imagine this all being planned on a board in a writing room. But it’s all unavoidable in a penultimate episode and shows just how good the writing has been that you don’t notice the plot structure holding everything up.
The expanded gang conjures up a makeshift sensory deprivation tank for Eleven, and we learn both that poor Barb is dead and that Will is alive, hiding, in the version of his den that exists in the Upside Down. So Joyce and Hopper head off to the lab to sneak in to the portal, but this time are well and truly caught. Meanwhile Jonathan and Nancy are off hunting again; you can tell it’s the penultimate episode. Especially as we end with a proper cliffhanger as the Demogorgon gets Will...
One more episode. Go on, let’s.
Stranger Things: Chapter Six- The Monster
”You read any Stephen King?”
The pre-titles is tense, with Jonathan frantically looking for Nancy in the upside Down as the beast attacks her- and the way he pulls her slime-covered body out of the tree is a visually memorable moment. Shockingly, the gap in the tree immediately closes; they were just him time. Does this mean portals can spontaneously open and close, at least in the general vicinity of a main one?
Meanwhile Joyce and Hopper finish comparing notes and are now, it seems, a united force. But a shocked Nancy, after a symbolic shower, Nancy stays with Jonathan for reassurance and, understandably, has him sleep in her room overnight. It’s obvious this is going to cause trouble. Just as shocking are Hopper and Joyce’s investigations- Eleven’s Mum (her real name is Jane) was subjected to experiments with LSD and isolation tanks while pregnant and believes her daughter to have been born with psychic abilities, taken away, and the whole thing covered up as a “miscarriage”. Brr. No wonder poor Terry has withdrawn from the world.
Meanwhile, the boys and Eleven are still all divided between themselves, and the episode’s attempts at truces all fail, in spite of Dustin’s best efforts and wise role playing-based warnings about the dangers of splitting the party. But it gives us a touching scene between Dustin and Mike where Dustin calmly accepts that Mike’s best friend was always Lucas, and that’s ok.
The scene with the homicidal bullies pressuring Mike to jump into the water far below is chilling, and reminiscent of It; this is a Stephen King reference I’m getting but it’s clear there are many that I’m not. Fortunately Eleven comes to the rescue in a kick as way with her telekinesis, levitating Mike out of danger and breaking the bullies’ bones. Unfortunately she collapses, worn out, and disappears into the absolute darkness that we’ve always seen in her flashbacks. Even worse, she confesses that she opened the gate to the Upside Down and blames herself, even though she plainly did it under duress. That’s heartbreaking.
Things are about to get worse, though; the baddies are on to the gang. Time to intravenously inject another episode of this Class A drug...
The pre-titles is tense, with Jonathan frantically looking for Nancy in the upside Down as the beast attacks her- and the way he pulls her slime-covered body out of the tree is a visually memorable moment. Shockingly, the gap in the tree immediately closes; they were just him time. Does this mean portals can spontaneously open and close, at least in the general vicinity of a main one?
Meanwhile Joyce and Hopper finish comparing notes and are now, it seems, a united force. But a shocked Nancy, after a symbolic shower, Nancy stays with Jonathan for reassurance and, understandably, has him sleep in her room overnight. It’s obvious this is going to cause trouble. Just as shocking are Hopper and Joyce’s investigations- Eleven’s Mum (her real name is Jane) was subjected to experiments with LSD and isolation tanks while pregnant and believes her daughter to have been born with psychic abilities, taken away, and the whole thing covered up as a “miscarriage”. Brr. No wonder poor Terry has withdrawn from the world.
Meanwhile, the boys and Eleven are still all divided between themselves, and the episode’s attempts at truces all fail, in spite of Dustin’s best efforts and wise role playing-based warnings about the dangers of splitting the party. But it gives us a touching scene between Dustin and Mike where Dustin calmly accepts that Mike’s best friend was always Lucas, and that’s ok.
The scene with the homicidal bullies pressuring Mike to jump into the water far below is chilling, and reminiscent of It; this is a Stephen King reference I’m getting but it’s clear there are many that I’m not. Fortunately Eleven comes to the rescue in a kick as way with her telekinesis, levitating Mike out of danger and breaking the bullies’ bones. Unfortunately she collapses, worn out, and disappears into the absolute darkness that we’ve always seen in her flashbacks. Even worse, she confesses that she opened the gate to the Upside Down and blames herself, even though she plainly did it under duress. That’s heartbreaking.
Things are about to get worse, though; the baddies are on to the gang. Time to intravenously inject another episode of this Class A drug...
Tuesday 27 August 2019
Stranger Things: Chapter Five- The Flea and the Acrobat
”Science is neat, but I’m afraid it’s not very forgiving.”
On the one hand Hopper is being the conspiracy theorist hero, sneaking into the lab, pulling guns on people and being awesome. On the other, just as Joyce reaches her lowest ebb, her mansplaining wanker of an ex turns up, telling her he’s crazy, telling Jonathan his Evil Dead poster is “inappropriate”, and generally acting as though he’s in charge although he’s spent an indeterminate amount of time not being there. I can’t stand men like that and I hope he dies. So there.
Hopper is caught and creepily deposited on his sofa, surrounded by carefully placed empty cans of undrinkable lager. But he’s not fooled for one moment, and goes through everything electronic in his house until he finds it- The Big. Clever. I like how this initially unlikeable sheriff has become such a hero. Go Hopper.
Jonathan and Nancy are on the case too, sticking up to hunt the creature; this episode seems to be a turning point. Plus the boys ask their favourite teacher about how other dimensions work, which gives us a cool scene. We begin to realise that a portal into said other dimension must exist. And Lucassoon realised that compass directions are distorted- they can follow north to find the portal. Surely things can’t be that easy?
Well, no. Eleven sabotages the boys’ hunt through telekinesis as she knows the danger they would be in- and there’s a massive row. And this leads to Lucas getting hurt and a lot of drama, leading to weird and unsettling flashbacks for Eleven. But there’s progress on other fronts as Hopper confers with Joyce, finds her bug and reveals that Will’s body is just a big fake. The people doing the digging are finally comparing notes with each other.
But the monster hunt with Nancy and Jonathan gives us the most dramatic moment as Jonathan shoots a dying deer.. and it vanishes in an unexpected and bloody effective jump scare. Then Nancy finds a portal in a hole in a tree, just like a fairy tale, and goes inside to find a very weird place... and the monster. It’s a superb ending to a superb episode and, just when you think it can’t get any better, the closing titles are to the wonderful “Killing Moon” by Echo and the Bunnymen...
On the one hand Hopper is being the conspiracy theorist hero, sneaking into the lab, pulling guns on people and being awesome. On the other, just as Joyce reaches her lowest ebb, her mansplaining wanker of an ex turns up, telling her he’s crazy, telling Jonathan his Evil Dead poster is “inappropriate”, and generally acting as though he’s in charge although he’s spent an indeterminate amount of time not being there. I can’t stand men like that and I hope he dies. So there.
Hopper is caught and creepily deposited on his sofa, surrounded by carefully placed empty cans of undrinkable lager. But he’s not fooled for one moment, and goes through everything electronic in his house until he finds it- The Big. Clever. I like how this initially unlikeable sheriff has become such a hero. Go Hopper.
Jonathan and Nancy are on the case too, sticking up to hunt the creature; this episode seems to be a turning point. Plus the boys ask their favourite teacher about how other dimensions work, which gives us a cool scene. We begin to realise that a portal into said other dimension must exist. And Lucassoon realised that compass directions are distorted- they can follow north to find the portal. Surely things can’t be that easy?
Well, no. Eleven sabotages the boys’ hunt through telekinesis as she knows the danger they would be in- and there’s a massive row. And this leads to Lucas getting hurt and a lot of drama, leading to weird and unsettling flashbacks for Eleven. But there’s progress on other fronts as Hopper confers with Joyce, finds her bug and reveals that Will’s body is just a big fake. The people doing the digging are finally comparing notes with each other.
But the monster hunt with Nancy and Jonathan gives us the most dramatic moment as Jonathan shoots a dying deer.. and it vanishes in an unexpected and bloody effective jump scare. Then Nancy finds a portal in a hole in a tree, just like a fairy tale, and goes inside to find a very weird place... and the monster. It’s a superb ending to a superb episode and, just when you think it can’t get any better, the closing titles are to the wonderful “Killing Moon” by Echo and the Bunnymen...
Stranger Things: Chapter Four- The Body
”I think somehow she’s channelling him.”
“Like Professor X!”
So the police have found Will’s body- that’s it, right? Joyce is just crazy and the gang are just deluded? This episode we begin by sharing their doubts- and Joyce (to the sounds of Joy Division’s splendid “Atmosphere”- loving the contemporary soundtrack) reaches seemingly her lowest ebb, in denial and chopping a hole in the wall of her house. And Mike lashes out at Eleven for supposedly lying- and then there’s Will, on the radio. It’s a beginning that has us on multiple tenterhooks.
Things then deepen as an already suspicious Hopper realised that Will’s autopsy was carried out by the cat ate, which is odd. It’s at this point that we, the viewers, know damn well that all is not what it seems and Joyce is right to refuse to identify the body, whatever Jonathan may say.
Nancy cracks during a lesson on Conrad’s Heart of Darkness, realising that one of Jonathan’s ostensibly pervy photos shows something next to Barb, while the people as the lab speak of a “rift”. There is clearly some kind of Lovecraftian monster lurking in a reality at some kind of right angle to ours, and the way it’s being slowly built up is absolutely bloody terrifying as Mandy and Jonathan discuss the “man with no face”.
We end with a few revelations; Nancy and Jonathan develop a pivotal photo, the gang hear Will using the big school radio, and Hopper uses his fists to dig deeper into the conspiracy. Will is alive, and we just can’t stop watching.
“Like Professor X!”
So the police have found Will’s body- that’s it, right? Joyce is just crazy and the gang are just deluded? This episode we begin by sharing their doubts- and Joyce (to the sounds of Joy Division’s splendid “Atmosphere”- loving the contemporary soundtrack) reaches seemingly her lowest ebb, in denial and chopping a hole in the wall of her house. And Mike lashes out at Eleven for supposedly lying- and then there’s Will, on the radio. It’s a beginning that has us on multiple tenterhooks.
Things then deepen as an already suspicious Hopper realised that Will’s autopsy was carried out by the cat ate, which is odd. It’s at this point that we, the viewers, know damn well that all is not what it seems and Joyce is right to refuse to identify the body, whatever Jonathan may say.
Nancy cracks during a lesson on Conrad’s Heart of Darkness, realising that one of Jonathan’s ostensibly pervy photos shows something next to Barb, while the people as the lab speak of a “rift”. There is clearly some kind of Lovecraftian monster lurking in a reality at some kind of right angle to ours, and the way it’s being slowly built up is absolutely bloody terrifying as Mandy and Jonathan discuss the “man with no face”.
We end with a few revelations; Nancy and Jonathan develop a pivotal photo, the gang hear Will using the big school radio, and Hopper uses his fists to dig deeper into the conspiracy. Will is alive, and we just can’t stop watching.
Monday 26 August 2019
Stranger Things: Chapter Three- Holly, Jolly
“So, do you think Eleven was born with her superpowers like the X-Men or she acquired them, like Green Lantern?”
We begin with Barb finding herself in a weird, and very well-realised, other-worldly place, with a nasty looking monster- and then we cut away for maximum scares, again showing but a glimpse of the beast. Suspense, not spectacle; that's what makes good horror, and good horror this is. It's also a plus that the cinematography is deliberately quite retro and in line with the early '80s setting. Barb, however, is probably doomed. It's particularly nice how her peril is juxtaposed with Nancy having sex with Steve... although Barb's only climax is to fall into a pit. Let's hope Nancy had a better climax, although I doubt it. I bet Steve's the kind of utter wanker who thinks sex is over as soon as he's spurted.
Like the first episode with Will, this episode sees the terrible realisation slowly settling over Barb's friends and family that she is indeed missing. Understandably Nancy panics, and we see what an utter douche Steve is as his first thought is to hide from his parents what he was doing, Barb be damned. There's also a good scene between Nancy and Karen, her mother, as Nancy lies about what she did the previous night and Karen tears up, hopeless, not knowing what to do as her daughter slips away from her.
We also have Joyce going deeper and deeper into using lights to communicate with Will, with Jonathan understandably quite disturbed. And the kids plan "Operation Mirkwood" while trying to get Eleven to levitate one of those cool Kenner Millennium Falcons- I'm fairly sure mine is still in my parents' loft.
Interestingly, the cops visit the lab- and Hopper realises they're being lied to, turning him into a determined conspiracy theorist which, unlike in real life where conspiracies are generally a load of old right-wing bollocks, makes him a lot more likeable, along with the fact that he lost a child of his own. And further research on microfiche uncovers more details. The chase is on, Watson.
Things end on a bloody scary note, though, with Joyce’s clever Christmas lights ouija board telling her that Will is “right here” and he should “run”. And then the cops seem to find his body...
I know I should be interspersing this with blogging my other regular series. But this is a Class A substance here...
We begin with Barb finding herself in a weird, and very well-realised, other-worldly place, with a nasty looking monster- and then we cut away for maximum scares, again showing but a glimpse of the beast. Suspense, not spectacle; that's what makes good horror, and good horror this is. It's also a plus that the cinematography is deliberately quite retro and in line with the early '80s setting. Barb, however, is probably doomed. It's particularly nice how her peril is juxtaposed with Nancy having sex with Steve... although Barb's only climax is to fall into a pit. Let's hope Nancy had a better climax, although I doubt it. I bet Steve's the kind of utter wanker who thinks sex is over as soon as he's spurted.
Like the first episode with Will, this episode sees the terrible realisation slowly settling over Barb's friends and family that she is indeed missing. Understandably Nancy panics, and we see what an utter douche Steve is as his first thought is to hide from his parents what he was doing, Barb be damned. There's also a good scene between Nancy and Karen, her mother, as Nancy lies about what she did the previous night and Karen tears up, hopeless, not knowing what to do as her daughter slips away from her.
We also have Joyce going deeper and deeper into using lights to communicate with Will, with Jonathan understandably quite disturbed. And the kids plan "Operation Mirkwood" while trying to get Eleven to levitate one of those cool Kenner Millennium Falcons- I'm fairly sure mine is still in my parents' loft.
Interestingly, the cops visit the lab- and Hopper realises they're being lied to, turning him into a determined conspiracy theorist which, unlike in real life where conspiracies are generally a load of old right-wing bollocks, makes him a lot more likeable, along with the fact that he lost a child of his own. And further research on microfiche uncovers more details. The chase is on, Watson.
Things end on a bloody scary note, though, with Joyce’s clever Christmas lights ouija board telling her that Will is “right here” and he should “run”. And then the cops seem to find his body...
I know I should be interspersing this with blogging my other regular series. But this is a Class A substance here...
Stranger Things: Chapter Two- The Weirdo on Maple Street
“We never would have upset you if we knew you had superpowers.”
The focus for this second episode is the mysterious psychic girl, now ensconced in Mike’s basement and very insistent that no adult must know where she is or bad things will happen- as, of course, we have seen. It’s touching to see the growing connection between Eleven, as she tragically seems to be named, and Mike.
Meanwhile Joyce seems to be going off the rails after hearing Will’s voice in a phone call- but we see and hear what she does, which makes us emphasise with her. Plus Winona Ryder is VERY good. Will seems to be calling from wherever he is- and, in a nice nostalgic touch, this often tends to involve the then current “Should I Stay or Should I Go” from Combat Rock, a popular album from the Clash even if I personally think Sandinista was their last good album. We get a nice flashback with Jonathan teaching young Will about Joy Division, Bowie and Television as a good older brother should. We also get to see their douche of a dad, Lonnie, with a lot remaining unsaid- was he abusive?
Meanwhile, Nancy and her friend Barb (it’s weird seeing a teenager with glasses like that) are off to a party at the home off rich creep Steve, who wants to get inside Nancy’s pants. Creepily, Jonathan follows them and takes pictures of them while hiding- what’s he up to, seemingly perving around like this while his poor mother is receiving another weird phone call from Will and blowing up another phone and having weird experiences with light bulbs? This is eerie stuff in all sorts of ways. Especially when something starts pushing on the wall and impossibly distorting it. This is getting better and better.
And then poor Barb drips some blood in the pool and a monster gets her- yet another superb jump cut, and yet again not quite showing us a glimpse of the beast. This is exactly what horror should be. At this point I’m officially hooked.
The focus for this second episode is the mysterious psychic girl, now ensconced in Mike’s basement and very insistent that no adult must know where she is or bad things will happen- as, of course, we have seen. It’s touching to see the growing connection between Eleven, as she tragically seems to be named, and Mike.
Meanwhile Joyce seems to be going off the rails after hearing Will’s voice in a phone call- but we see and hear what she does, which makes us emphasise with her. Plus Winona Ryder is VERY good. Will seems to be calling from wherever he is- and, in a nice nostalgic touch, this often tends to involve the then current “Should I Stay or Should I Go” from Combat Rock, a popular album from the Clash even if I personally think Sandinista was their last good album. We get a nice flashback with Jonathan teaching young Will about Joy Division, Bowie and Television as a good older brother should. We also get to see their douche of a dad, Lonnie, with a lot remaining unsaid- was he abusive?
Meanwhile, Nancy and her friend Barb (it’s weird seeing a teenager with glasses like that) are off to a party at the home off rich creep Steve, who wants to get inside Nancy’s pants. Creepily, Jonathan follows them and takes pictures of them while hiding- what’s he up to, seemingly perving around like this while his poor mother is receiving another weird phone call from Will and blowing up another phone and having weird experiences with light bulbs? This is eerie stuff in all sorts of ways. Especially when something starts pushing on the wall and impossibly distorting it. This is getting better and better.
And then poor Barb drips some blood in the pool and a monster gets her- yet another superb jump cut, and yet again not quite showing us a glimpse of the beast. This is exactly what horror should be. At this point I’m officially hooked.
Stranger Things: Chapter One- The Vanishing of Will Byers
”Mornings are for coffee and contemplation!”
So Mrs Llamastrangler have decided to watch Stranger Things now that Atypical is up to date. Mrs Llamastrangler took some convincing as she tends to resist things which are overly popular but, well, we’re now five episodes in and it’s only the unfortunate need for adulting that’s prevented us from bingeing further. We’re hooked.
This is the first episode, and by definition has a lot of work to do. There are the gang to introduce- Will, Lucas, Mike and Dustin, first seen playing D&D. This is (I think) 1982, so I’m wondering whether this is D&D or AD&D; I hope we find out. This is America, so they’re playing in Mike’s parents’ enormous basement, and this is the early ‘80s, so they all leave on bikes and mention X-Men #134 which, if I remember correctly, is one of the Phoenix Saga issues. Ah, the rush of nostalgia. I was five in 1982; these kids would be a few years older than me.
And then we have the horror stuff. The episode started with what looked like a scientist running through a corridor into a lift, and being grabbed by the unseen monster from the lift roof. And now Will goes into the science lab next to town... and vanishes, while a lightbulb does something weird. It’s all very well shot indeed.
We also meet Will’s mum Joyce (Winona Ryder, the only famous cast member) and Mike’s family including his older sister Nancy, as the ripples of Will’s disappearance spread across town. It’s already clear that, of the three remaining kids, we will be focusing on Mike. So far, with the horror and the POV of pre-pubescent boys, it feels very much like Stephen King’s It and its adaptations. The early ‘80s setting makes storytelling easier- no mobile phones (although the plot requires Sallie talkies!), no internet- and allows us to wallow in constant nostalgia. The fashions, the card, the hairstyles are all very well done, and it all looks like an American version of my early childhood.
We also get to meet Hopper, the local sheriff, gruff and not particularly likeable, at least at this stage until we learn he’s mourning a daughter (ouch), and a fugitive child stealing food from a cafe and who seems to have some kind of psychic powers. What’s shocking is that, when the cafe owner calls social services, he is shot and killed by the “social workers”; there is clearly a cover-up to return the girl to the nearby lab. Fortunately, she escapes, and is found by the boys.
As first episodes tend to be, this is a whirlwind. But I’m getting to know the characters and intrigued by the premise. The horror is also very well shot- unlike most current horror films- and the nostalgia is fun. More please.
So Mrs Llamastrangler have decided to watch Stranger Things now that Atypical is up to date. Mrs Llamastrangler took some convincing as she tends to resist things which are overly popular but, well, we’re now five episodes in and it’s only the unfortunate need for adulting that’s prevented us from bingeing further. We’re hooked.
This is the first episode, and by definition has a lot of work to do. There are the gang to introduce- Will, Lucas, Mike and Dustin, first seen playing D&D. This is (I think) 1982, so I’m wondering whether this is D&D or AD&D; I hope we find out. This is America, so they’re playing in Mike’s parents’ enormous basement, and this is the early ‘80s, so they all leave on bikes and mention X-Men #134 which, if I remember correctly, is one of the Phoenix Saga issues. Ah, the rush of nostalgia. I was five in 1982; these kids would be a few years older than me.
And then we have the horror stuff. The episode started with what looked like a scientist running through a corridor into a lift, and being grabbed by the unseen monster from the lift roof. And now Will goes into the science lab next to town... and vanishes, while a lightbulb does something weird. It’s all very well shot indeed.
We also meet Will’s mum Joyce (Winona Ryder, the only famous cast member) and Mike’s family including his older sister Nancy, as the ripples of Will’s disappearance spread across town. It’s already clear that, of the three remaining kids, we will be focusing on Mike. So far, with the horror and the POV of pre-pubescent boys, it feels very much like Stephen King’s It and its adaptations. The early ‘80s setting makes storytelling easier- no mobile phones (although the plot requires Sallie talkies!), no internet- and allows us to wallow in constant nostalgia. The fashions, the card, the hairstyles are all very well done, and it all looks like an American version of my early childhood.
We also get to meet Hopper, the local sheriff, gruff and not particularly likeable, at least at this stage until we learn he’s mourning a daughter (ouch), and a fugitive child stealing food from a cafe and who seems to have some kind of psychic powers. What’s shocking is that, when the cafe owner calls social services, he is shot and killed by the “social workers”; there is clearly a cover-up to return the girl to the nearby lab. Fortunately, she escapes, and is found by the boys.
As first episodes tend to be, this is a whirlwind. But I’m getting to know the characters and intrigued by the premise. The horror is also very well shot- unlike most current horror films- and the nostalgia is fun. More please.
Sunday 25 August 2019
Atypical: Season 2, Episode 10- Ernest Shackleton’s Rules for Survival
”Die slowly, you shitbirds!”
It’s graduation day, a more than usually meaningful moment to Sam; it’s an achievement he’s never been able to take for granted, as well as a symbolic moment leading towards uni and the challenges of greater independence. So it’s lovely to see Sam inviting a very pregnant Julia, and the two of them getting to chat normally again after all that earlier awkwardness. Less lovely, but at the same time cathartic, is Doug driving to the bar to punch barman Nick but, well, at least Nick has the decency to admit he deserves the punch.
There’s some amusement value in that Sam asks everyone in his life to stop helping him, with comical results, but the core of the episode is deadly serious. On Sam’s last day it takes him considerable courage to ask his classmates to sign his yearbook- yet he gets called a freak, and worse, on what’s supposed to be a special document. Paige is damn right in her furious denunciations.
And yet Sam does something amazing, in front of all his friends and loved ones. When Paige freezes up and is unable to deliver her valedictorian speech, Sam actually delivers it for her, and does it so well. This moment has really been earned, and we are left in no doubt what a wonderful thing has just happened. It’s a brilliant scene. Ernest Shackleton famously spurned the chance at glory so he could get all of his crew out alive, unlike that stupid wanker Scott, and Sam is a real Shackleton here.
With Casey there’s a sudden triangle with Evan (she gets her second first time) and Izzy, but that’s for next season. So is Elsa’s firm insistence, after finding out about the punch, that she and Doug talk about whether or not there’s any chance of him forgiving her... and then he blows her off to confide in Megan. I fear, next season, that the roles are to be reversed. And next season is probably a long way away. Ouch. Watching in real time sucks.
Another awesome season, then. How long do we have to wait now...?
It’s graduation day, a more than usually meaningful moment to Sam; it’s an achievement he’s never been able to take for granted, as well as a symbolic moment leading towards uni and the challenges of greater independence. So it’s lovely to see Sam inviting a very pregnant Julia, and the two of them getting to chat normally again after all that earlier awkwardness. Less lovely, but at the same time cathartic, is Doug driving to the bar to punch barman Nick but, well, at least Nick has the decency to admit he deserves the punch.
There’s some amusement value in that Sam asks everyone in his life to stop helping him, with comical results, but the core of the episode is deadly serious. On Sam’s last day it takes him considerable courage to ask his classmates to sign his yearbook- yet he gets called a freak, and worse, on what’s supposed to be a special document. Paige is damn right in her furious denunciations.
And yet Sam does something amazing, in front of all his friends and loved ones. When Paige freezes up and is unable to deliver her valedictorian speech, Sam actually delivers it for her, and does it so well. This moment has really been earned, and we are left in no doubt what a wonderful thing has just happened. It’s a brilliant scene. Ernest Shackleton famously spurned the chance at glory so he could get all of his crew out alive, unlike that stupid wanker Scott, and Sam is a real Shackleton here.
With Casey there’s a sudden triangle with Evan (she gets her second first time) and Izzy, but that’s for next season. So is Elsa’s firm insistence, after finding out about the punch, that she and Doug talk about whether or not there’s any chance of him forgiving her... and then he blows her off to confide in Megan. I fear, next season, that the roles are to be reversed. And next season is probably a long way away. Ouch. Watching in real time sucks.
Another awesome season, then. How long do we have to wait now...?
Atypical: Season 2, Episode 9- Ritual-licious
“You’ve been smooching! Under my tutelage! I love it!”
The penultimate episode, and this one is again framed by a theme introduced by a Sam monologue, in this case that rituals are important, being an ongoing reassurance that everything is ok. And Casey’s birthday (she’s 16) is a day full of rituals for Sam- but are those rituals about her, or about himself? That’s a lesson Sam has to learn, gradually, with a lot of time-consuming and amusing rituals punctuating an episode dealing with a fair bit of serious stuff.
There’s a parallel with Elsa too; Casey wants to keep her birthday low key with just a few people, not least so that she can have her “second first time” with the rather lovely Evan. But Elsa arranges a large party, ostensibly for Casey but in reality because of her own need to be seen to be doing something to reconnect with her. These parallels are rather clever.
On top of this Zahid inadvertently blurts out to Paige that Sam has been smooching with someone else, and the party comes to an unhappy end when Casey’s “friends” from her new school, including Izzy, turn out to have been invited by Elsa in a clumsy attempt to get them to make up.
Still, all’s well that ends well, sort of. Izzy makes up with Casey, having never cared about her douchebag boyfriend anyway and being terrified of losing Casey- and they kiss. Most touchingly, though, Sam learned that day that he got into his chosen uni- but keeps quiet about it as the day is all about Casey. It’s a touching, funny, brilliantly structured episode. Aren’t they all, though?
Roll on season finale...
The penultimate episode, and this one is again framed by a theme introduced by a Sam monologue, in this case that rituals are important, being an ongoing reassurance that everything is ok. And Casey’s birthday (she’s 16) is a day full of rituals for Sam- but are those rituals about her, or about himself? That’s a lesson Sam has to learn, gradually, with a lot of time-consuming and amusing rituals punctuating an episode dealing with a fair bit of serious stuff.
There’s a parallel with Elsa too; Casey wants to keep her birthday low key with just a few people, not least so that she can have her “second first time” with the rather lovely Evan. But Elsa arranges a large party, ostensibly for Casey but in reality because of her own need to be seen to be doing something to reconnect with her. These parallels are rather clever.
On top of this Zahid inadvertently blurts out to Paige that Sam has been smooching with someone else, and the party comes to an unhappy end when Casey’s “friends” from her new school, including Izzy, turn out to have been invited by Elsa in a clumsy attempt to get them to make up.
Still, all’s well that ends well, sort of. Izzy makes up with Casey, having never cared about her douchebag boyfriend anyway and being terrified of losing Casey- and they kiss. Most touchingly, though, Sam learned that day that he got into his chosen uni- but keeps quiet about it as the day is all about Casey. It’s a touching, funny, brilliantly structured episode. Aren’t they all, though?
Roll on season finale...
Saturday 24 August 2019
Aquaman (2018)
”Show off... I could have just peed on it."
Unusually for a superhero movie, I'm going in blind. For once I know pretty much naff all about the superhero in question and his supporting cast. What I do know, though, is that DC Universe movies, to the extent that's still a thing, have been decidedly mixed. Fortunately, the gods be praised, this is a Wonder Woman and not a Justice League.
Some of the typical DC sins are found here as well, mind; CGI abounds and, certainly, it makes for a visually impressive and rather awesome set of scenes in Atlantis with Atlanteans riding sharks and giant turtles as beasts of burden, but we also get CGI countryside, de-wrinkled faces and all sorts of unnecessary nonsense.
I know nothing of DC’s Atlantis (I’m a Sub-Mariner kind of guy) but we get a real exploration of its history, fantastic though it seems- an ancient technological civilisation (are they Minoans? Is Atlantis in the Med? They seem a bit Greek to me, culturally) which sank because of hubris and where there are now various different kingdoms which are disunited and where, in spite of only a few thousand years presumably passing, people have evolved very differently- one kingdom is of met-people.
In spite of visually following the unfortunate DC house style, though, this film is warm and human, and solidly entertaining. It helps that Jason Momoa’s Aquaman is likeable- humble, bloke USA and fun-loving, a hero you could have a pint with. And the plot is a solid little quest narrative as Aquaman follows a series of tasks to retain a weapon which can be lifted only by the one true king and which shows his right to rule- no surprise he happens to be called Arthur. He also knows his early Roman history, which is a plus.
The cast is superb, too, although the appearance of Amber Heard leads to the same awkwardness as appearances by Johnny Depp- one of them is a domestic abuser, and we know not which. But it’s great to see the great Dolph Lundgren, Willem Dafoe, and even Nicole Kidman is actually pretty good. This is a good old-fashioned blockbuster, and fun with it.
Some of the typical DC sins are found here as well, mind; CGI abounds and, certainly, it makes for a visually impressive and rather awesome set of scenes in Atlantis with Atlanteans riding sharks and giant turtles as beasts of burden, but we also get CGI countryside, de-wrinkled faces and all sorts of unnecessary nonsense.
I know nothing of DC’s Atlantis (I’m a Sub-Mariner kind of guy) but we get a real exploration of its history, fantastic though it seems- an ancient technological civilisation (are they Minoans? Is Atlantis in the Med? They seem a bit Greek to me, culturally) which sank because of hubris and where there are now various different kingdoms which are disunited and where, in spite of only a few thousand years presumably passing, people have evolved very differently- one kingdom is of met-people.
In spite of visually following the unfortunate DC house style, though, this film is warm and human, and solidly entertaining. It helps that Jason Momoa’s Aquaman is likeable- humble, bloke USA and fun-loving, a hero you could have a pint with. And the plot is a solid little quest narrative as Aquaman follows a series of tasks to retain a weapon which can be lifted only by the one true king and which shows his right to rule- no surprise he happens to be called Arthur. He also knows his early Roman history, which is a plus.
The cast is superb, too, although the appearance of Amber Heard leads to the same awkwardness as appearances by Johnny Depp- one of them is a domestic abuser, and we know not which. But it’s great to see the great Dolph Lundgren, Willem Dafoe, and even Nicole Kidman is actually pretty good. This is a good old-fashioned blockbuster, and fun with it.
Thursday 22 August 2019
Batman and Robin: Episodes 2 and 3
Episodes are seventeen minutes long from this point, so I’m doing two at a time.
Episode 2: Tunnel of Terror
"Ms Vale evidently walked into your man trap!"
Here we go again into seventeen minutes of non-stop action set pieces, with even the opening music being utterly Perils of Pauline. It’s 1949, movie serials are only barely still a thing, but old tropes die hard.
We begin with Batman and Robin escaping an exploding plane- why on Earth was this not properly used as a proper cliffhanger? I get the impression that, cheap and cheerful though movie serials were, perfunctory entertainment intended strictly for kids, this is not exactly the best of the genre.
The villains get away via a delightful route- behind a bush into a secret cave, then through a trapdoor to an underground stream which contains a submarine which, when we see it in the water, is a hilariously obvious model. This is deliciously over-elaborate. So is the plot, but Batman is a bit thick- he notices the Professor’s home is suspiciously close to the baddies’ getaway but fails to follow this up. And the scene with Vicki Vale falling into one of the Prof’s man traps is just to remind us that the character is there.
We then get a bit of plot- newsreader Barry Brown gets his scoops from a dodgy private eye- but then it’s time for the new set piece, a train robbery for a new type of explosive. We end with another cliffhanger which doesn’t quite work, with Batman on top of a lovely old steam train about to get hit by a tunnel, except he clearly ducks...
Episode 3: Robin's Wild Ride
"Oh, you would think of tea at a time like this."
No, I have no idea what the title has to do with anything. Anyway, the explosives are stolen and there follows an obligatory car chase, except Batman is seemingly surprised (duh) when the Wizard uses the remote control machine he very much knew about. Thicko. Fortunately the baddies are berated by the Wizard for failing to steal a detonator that he’s only now deciding to mention.
Weirdly, Barry Brown’s new scoop is that Morton, inventor of the explosives, is staying in a local hotel- in what way is this news? Regardless, the Wizard has him (and Vicki Vale) kidnapped while Batman is caught, er, napping. I love the Wizard’s weird hypnotising eyes though.
Meanwhile, Robin at least has the presence of mind to give Batman’s car “new wiring” and the Professor lurks around just to remind us to be suspicious of him. And we finish, forconce, with a cliffhanger that actually works; Batman is shocked unconscious, Robin outnumbered...
Episode 2: Tunnel of Terror
"Ms Vale evidently walked into your man trap!"
Here we go again into seventeen minutes of non-stop action set pieces, with even the opening music being utterly Perils of Pauline. It’s 1949, movie serials are only barely still a thing, but old tropes die hard.
We begin with Batman and Robin escaping an exploding plane- why on Earth was this not properly used as a proper cliffhanger? I get the impression that, cheap and cheerful though movie serials were, perfunctory entertainment intended strictly for kids, this is not exactly the best of the genre.
The villains get away via a delightful route- behind a bush into a secret cave, then through a trapdoor to an underground stream which contains a submarine which, when we see it in the water, is a hilariously obvious model. This is deliciously over-elaborate. So is the plot, but Batman is a bit thick- he notices the Professor’s home is suspiciously close to the baddies’ getaway but fails to follow this up. And the scene with Vicki Vale falling into one of the Prof’s man traps is just to remind us that the character is there.
We then get a bit of plot- newsreader Barry Brown gets his scoops from a dodgy private eye- but then it’s time for the new set piece, a train robbery for a new type of explosive. We end with another cliffhanger which doesn’t quite work, with Batman on top of a lovely old steam train about to get hit by a tunnel, except he clearly ducks...
Episode 3: Robin's Wild Ride
"Oh, you would think of tea at a time like this."
No, I have no idea what the title has to do with anything. Anyway, the explosives are stolen and there follows an obligatory car chase, except Batman is seemingly surprised (duh) when the Wizard uses the remote control machine he very much knew about. Thicko. Fortunately the baddies are berated by the Wizard for failing to steal a detonator that he’s only now deciding to mention.
Weirdly, Barry Brown’s new scoop is that Morton, inventor of the explosives, is staying in a local hotel- in what way is this news? Regardless, the Wizard has him (and Vicki Vale) kidnapped while Batman is caught, er, napping. I love the Wizard’s weird hypnotising eyes though.
Meanwhile, Robin at least has the presence of mind to give Batman’s car “new wiring” and the Professor lurks around just to remind us to be suspicious of him. And we finish, forconce, with a cliffhanger that actually works; Batman is shocked unconscious, Robin outnumbered...
Wednesday 21 August 2019
Fantastic Beasts: The Crimes of Grindelwald (2018)
“You never met a monster you couldn’t love.”
Well, this is a very different beast to its nice little understated predecessor. No more do we get a nice little New York adventure with a small, likeable cast; no, this is a big, world-building epic more the style if the Harry Potter movies. Indeed, not only do we have a couple of scenes in Hogwarts (Jude Law’s youthful Dumbledore is already headmaster), we even get a younger Maggie Smith, presumably cut and pasted from The Prime of Miss Jean Brodie. Mostly, though, we get the awesome spectacle of 1920s Paris, and lots of cool CGI monsters.
The big bad is Grindelwald, played by Johnny Depp... and I wish I could make head or tail of the claims and counter-claims between him and Amber Heard. Which one of them is the abuser? Which one of them is it ok to like? It’s weird seeing either of in films at the moment although J.K. Rowling is clearly very much on his side for insisting on casting him despite a great deal of criticism. Anyway, he’s rather good as a persuasive demagogue between the wars, a type of character which has certain associations. Interestingly, his rally near the end doesn’t make it clear that he’s a baddie. But we shall see.
Tina, Jacob and Queenie are back although, in a powerful scene, Queenie’s allegiance is changed, while Zoe Kravitz impresses with a powerful, tragic performance as Leta Lestrange. But the focus, and the mystery, is on Credence, clearly a powerful pure-blood ripped from his true family, and only at the end do we discover who he truly is. It’s a mystery used to splendid dramatic effect.
This is a fast-moving, eventful epic, and feels more like a chapter than a film in itself. All the same, I much prefer it to the Harry Potter films in similar style and am enjoying the world building in spite of not being any kind of Harry Potter fanboy. I’m greatly looking forward to the next one.
The big bad is Grindelwald, played by Johnny Depp... and I wish I could make head or tail of the claims and counter-claims between him and Amber Heard. Which one of them is the abuser? Which one of them is it ok to like? It’s weird seeing either of in films at the moment although J.K. Rowling is clearly very much on his side for insisting on casting him despite a great deal of criticism. Anyway, he’s rather good as a persuasive demagogue between the wars, a type of character which has certain associations. Interestingly, his rally near the end doesn’t make it clear that he’s a baddie. But we shall see.
Tina, Jacob and Queenie are back although, in a powerful scene, Queenie’s allegiance is changed, while Zoe Kravitz impresses with a powerful, tragic performance as Leta Lestrange. But the focus, and the mystery, is on Credence, clearly a powerful pure-blood ripped from his true family, and only at the end do we discover who he truly is. It’s a mystery used to splendid dramatic effect.
This is a fast-moving, eventful epic, and feels more like a chapter than a film in itself. All the same, I much prefer it to the Harry Potter films in similar style and am enjoying the world building in spite of not being any kind of Harry Potter fanboy. I’m greatly looking forward to the next one.
Tuesday 20 August 2019
Tinker, Tailor, Soldier, Spy: How It All Fits Together
”One day that lack of moderation will be Karla’s downfall.”
Things are developing now, plot-wise, but plot is not, of course, everything. The slow pace allows for depth, character and, I think, commentary both on how youthful ideology fades into cynicism, as well as reflection once more on how Britain's place in the world has diminished into- to use a '70s phrase- managed decline. All so much more grown-up than the delusions of today's political class that we, a medium power since at least 1956, can somehow survive against the great powers of today without the solidarity of the European Union. But I digress.
Perhaps the central scene is the flashback to Smiley’s interrogation of Karla in New Delhi in the ‘50s, where Smiley talks and talks and expresses a cynicism about the Cold War and ideology that he assumes his counterpart shares- but Karla, a fanatical Communist, says nothing. And there is another interrogation- of Peter by Percy Alleline, who now knows of Ricky Tarr and believes him to be a defector. But this in turn proves to Smiley that the Witchcraft source is linked to the mile in that both are run by Karla. Soviet penetration of British intelligence is complete, and now we have to tell the Americans, who don’t trust us anyway. Such is our place in the world.
Not everything here is worthy of praise- there are once again no female speaking parts(!) and I note that Fawn, the only character not from the world of public schools and Oxbridge, has his accent mocked and is judged only in terms of his physical prowess. But things are heating up, and it’s all very compelling.
Things are developing now, plot-wise, but plot is not, of course, everything. The slow pace allows for depth, character and, I think, commentary both on how youthful ideology fades into cynicism, as well as reflection once more on how Britain's place in the world has diminished into- to use a '70s phrase- managed decline. All so much more grown-up than the delusions of today's political class that we, a medium power since at least 1956, can somehow survive against the great powers of today without the solidarity of the European Union. But I digress.
Perhaps the central scene is the flashback to Smiley’s interrogation of Karla in New Delhi in the ‘50s, where Smiley talks and talks and expresses a cynicism about the Cold War and ideology that he assumes his counterpart shares- but Karla, a fanatical Communist, says nothing. And there is another interrogation- of Peter by Percy Alleline, who now knows of Ricky Tarr and believes him to be a defector. But this in turn proves to Smiley that the Witchcraft source is linked to the mile in that both are run by Karla. Soviet penetration of British intelligence is complete, and now we have to tell the Americans, who don’t trust us anyway. Such is our place in the world.
Not everything here is worthy of praise- there are once again no female speaking parts(!) and I note that Fawn, the only character not from the world of public schools and Oxbridge, has his accent mocked and is judged only in terms of his physical prowess. But things are heating up, and it’s all very compelling.
Monday 19 August 2019
Layer Cake (2004)
"England. Typical. Even drug dealers don't work weekends."
I'd wager this film was not entirely without influence in Daniel Craig winning a certain high profile role a couple of years later, but it deserves recognition for far more than that. The directorial debut of Matthew Vaught after producing Lock, Stock and Snatch, it superficially resembles them with its gangster subject matter and its fast, witty directorial style.
Except it’s more than this. Layer Cake is certainly a fast-paced gangster film with a complex plot full of layers upon layers of motives and double crosses in the dangerous, impossible to escape world of criminality. But it’s unnamed protagonist is deliberately different from the stereotype- middle class, educated, professional and unflashy, he’s only in crime because of the money to be made from the drugs trade, and intends to make his fortune and then retire. Naturally, he isn’t going to be allowed to do this for all sorts of reasons involving various British character actors.
It’s amusing to see the character of the Duke as a contrast; clearly intended as a piss-take of the typical British cinematic gangster, he’s a joke, out of his league and inevitably doomed. Our protagonist is different, right?
Over a riveting couple of hours we slowly discover that no, he isn’t really, in spite of his smarts and his apparent sense. This is not a world from which one can ever escape, or expect a long life to expectancy. However clever he is, however he may run rings round his many sudden enemies after an ecstasy deal gone wrong, this world will kill him- and it’s fitting that he should be killed over a girl, randomly, after he thinks he’s got out.
What adds even more depth, though, is that the film is about something. Once there was cops and robbers, then along cane the drugs trade. As the opening narration says, one day all this will be legal. But, for the past several decades, prohibition has spawned a shocking amount of unnecessary crimes and innocent victims. And that’s the moral of this film; prohibition has blood on its hands.
Except it’s more than this. Layer Cake is certainly a fast-paced gangster film with a complex plot full of layers upon layers of motives and double crosses in the dangerous, impossible to escape world of criminality. But it’s unnamed protagonist is deliberately different from the stereotype- middle class, educated, professional and unflashy, he’s only in crime because of the money to be made from the drugs trade, and intends to make his fortune and then retire. Naturally, he isn’t going to be allowed to do this for all sorts of reasons involving various British character actors.
It’s amusing to see the character of the Duke as a contrast; clearly intended as a piss-take of the typical British cinematic gangster, he’s a joke, out of his league and inevitably doomed. Our protagonist is different, right?
Over a riveting couple of hours we slowly discover that no, he isn’t really, in spite of his smarts and his apparent sense. This is not a world from which one can ever escape, or expect a long life to expectancy. However clever he is, however he may run rings round his many sudden enemies after an ecstasy deal gone wrong, this world will kill him- and it’s fitting that he should be killed over a girl, randomly, after he thinks he’s got out.
What adds even more depth, though, is that the film is about something. Once there was cops and robbers, then along cane the drugs trade. As the opening narration says, one day all this will be legal. But, for the past several decades, prohibition has spawned a shocking amount of unnecessary crimes and innocent victims. And that’s the moral of this film; prohibition has blood on its hands.
Sunday 18 August 2019
Batman and Robin: Episode 1- Batman Takes Over
"I always have a plan!"
This is the first time I'm blogging a movie serial, and let us be clear about what they are; pure pulp melodrama. Trust me, there's no depth or subtext which we shall be discussing here. This is cheaply written, cheaply made, disposable entertainment. And that's precisely why it can be so much fun.
This is, of course, the second movie serial featuring Batman. The first, made a few years earlier during the Second World War, featured a startlingly racist Japanese villain and, I recall from seeing it on telly back in 1990 when terrestrial telly would show this sort of thing, crocodiles. But I'm blogging this one first for the very important reason that it's on Amazon Prime in the UK and, while Amazon are generally appalling in such matters, actually has subtitles.
This is 1949. The character of Batman is only ten years old but the darkness of the very early months is long forgotten; by 1949 the Batman of the comics is all square jawed and stentorian, for this is the Dick Sprang era. Nonetheless, the crude exposition at the start shows us that all the trappings are in place. We have the costumes for Batman and Robin, cheap and awful though they are. We have the Batsignal, the Batcave, Bruce and Dick, Vicki Vale, Alfred (perhaps the worst here of a number of bad actors) and Commissioner Gordon. And yes, if you ignore the total lack of personality displayed by all concerned in this very functional script, it's a fairly faithful depiction of said trappings.
But the plot... well, some bloke called the Wizard has nicked a "remote control machine" which can control any vehicle within a 50 metre radius. Said machine was invented by a grumpy professor who is distinctly dodgy because a) he's in a wheelchair, this is 1949, and physical imperfection means "baddie" and b) we blatantly see him sit in a chair with funny lights and suddenly be able to walk again. Er, he's the Wizard, isn't he? It's quite obvious, ad they've pretty much given it away already. Anyway, the Wizard has zero charisma, and a submarine for some reason.
Anyway, this machine, for reasons of plot convenience, runs on diamonds, meaning the Wizard has to keep sending his behatted goons to rob all sorts of places where diamonds will be found. I suspect we shall be seeing a lot of this. Weirdly, though, the episode ends with out heroes’ plane controlled by the Wizard and... landing safely, with no real cliffhanger. That was unexpected.
Fourteen short episodes to go...
This is the first time I'm blogging a movie serial, and let us be clear about what they are; pure pulp melodrama. Trust me, there's no depth or subtext which we shall be discussing here. This is cheaply written, cheaply made, disposable entertainment. And that's precisely why it can be so much fun.
This is, of course, the second movie serial featuring Batman. The first, made a few years earlier during the Second World War, featured a startlingly racist Japanese villain and, I recall from seeing it on telly back in 1990 when terrestrial telly would show this sort of thing, crocodiles. But I'm blogging this one first for the very important reason that it's on Amazon Prime in the UK and, while Amazon are generally appalling in such matters, actually has subtitles.
This is 1949. The character of Batman is only ten years old but the darkness of the very early months is long forgotten; by 1949 the Batman of the comics is all square jawed and stentorian, for this is the Dick Sprang era. Nonetheless, the crude exposition at the start shows us that all the trappings are in place. We have the costumes for Batman and Robin, cheap and awful though they are. We have the Batsignal, the Batcave, Bruce and Dick, Vicki Vale, Alfred (perhaps the worst here of a number of bad actors) and Commissioner Gordon. And yes, if you ignore the total lack of personality displayed by all concerned in this very functional script, it's a fairly faithful depiction of said trappings.
But the plot... well, some bloke called the Wizard has nicked a "remote control machine" which can control any vehicle within a 50 metre radius. Said machine was invented by a grumpy professor who is distinctly dodgy because a) he's in a wheelchair, this is 1949, and physical imperfection means "baddie" and b) we blatantly see him sit in a chair with funny lights and suddenly be able to walk again. Er, he's the Wizard, isn't he? It's quite obvious, ad they've pretty much given it away already. Anyway, the Wizard has zero charisma, and a submarine for some reason.
Anyway, this machine, for reasons of plot convenience, runs on diamonds, meaning the Wizard has to keep sending his behatted goons to rob all sorts of places where diamonds will be found. I suspect we shall be seeing a lot of this. Weirdly, though, the episode ends with out heroes’ plane controlled by the Wizard and... landing safely, with no real cliffhanger. That was unexpected.
Fourteen short episodes to go...
Saturday 17 August 2019
Atypical: Season 2, Episode 8- Living at an Angle
"I wouldn't want them to mistake me for a wizard."
This is another splendidly crafted episode, as I keep having to say, but a much lighter one than usual, and certainly than last episode, no doubt as a last bit of lightness before we head towards the finale. Yes, I know; Sam's anxiety about going to uni is a serious thing. So is Casey's unhappiness at Clayton and her apparent subconscious desire to fail. But the serious themes are allowed to unfold in a light and humorous way, at least for now. That's a sure sign that the last two episodes, while unlikely to be humourless, are set to be pretty damn intense.
Sam's stress about art school leads to, as well as the palaver about losing his art portfolio, the epiphany that what seems to be the perfect uni is close to home- and the fact that he has a wonderful sister who would do anything for him even when she has a big scary biology test coming up is the icing on the cake. And Casey, while under said intense pressure, at least has a really supportive boyfriend.
Meanwhile there's Elsa and Doug slowly moving together, their meeting with Julia about autism training for emergency services being sidetracked somewhat while they have a moment of bonding over bad puns. Doug's date with the rather lovely Megan is awkward precisely because there's the question of Elsa, but the episode ends on a hopeful note as he holds out the olive branch of couples counselling and the end up in the shower together. Mmm. Surely something is going to go very wrong very soon to drive them apart again?
All in all that was a very calm episode. There's definitely a storm coming.
This is another splendidly crafted episode, as I keep having to say, but a much lighter one than usual, and certainly than last episode, no doubt as a last bit of lightness before we head towards the finale. Yes, I know; Sam's anxiety about going to uni is a serious thing. So is Casey's unhappiness at Clayton and her apparent subconscious desire to fail. But the serious themes are allowed to unfold in a light and humorous way, at least for now. That's a sure sign that the last two episodes, while unlikely to be humourless, are set to be pretty damn intense.
Sam's stress about art school leads to, as well as the palaver about losing his art portfolio, the epiphany that what seems to be the perfect uni is close to home- and the fact that he has a wonderful sister who would do anything for him even when she has a big scary biology test coming up is the icing on the cake. And Casey, while under said intense pressure, at least has a really supportive boyfriend.
Meanwhile there's Elsa and Doug slowly moving together, their meeting with Julia about autism training for emergency services being sidetracked somewhat while they have a moment of bonding over bad puns. Doug's date with the rather lovely Megan is awkward precisely because there's the question of Elsa, but the episode ends on a hopeful note as he holds out the olive branch of couples counselling and the end up in the shower together. Mmm. Surely something is going to go very wrong very soon to drive them apart again?
All in all that was a very calm episode. There's definitely a storm coming.
Friday 16 August 2019
Snatch (2000)
"You know... fish and chips, cup of tea, bad food, worse weather, Mary fucking Poppins... London!"
I once saw this film, back in uni, and I watched it properly- i.e, after I'd seen Lock, Stock and Two Smoking Barrels. Sadly I've yet to blog Mr Madonna's acclaimed debut, and am probably blogging things in the wrong order. Well, soz, but I haven't got either on DVD and it's Snatch that happens to be on Netflix. So here we are.
Anyway, I loved it. It's very of its time, very much trying to be a Cockney version of Tarantino, and not much different in style or theme to its predecessor. And no, it doesn't come close to Tarantino- it doesn't have the depth, wit or cinematic literacy, but not many films have. But it nevertheless manages to be funny, cool, and make a complex and non-linear plot easy to follow, which is not exactly an easy feat of writing or directing. And both the cast and direction are top notch. No, it may not be Pulp Fiction, much as its trying to be that kind of film, but it oozes charm and gets away with being derivative through its sheer Cockneyness. Bloody southerners.
I'd single out Jason Statham and a menacing Alan Ford for their performances, while Brad Pitt's performance is certainly unique. Is it racist in how it portrays Irish Travellers (not Roma)? Well, arguably they're eventually shown to be, if anyone is, the goodies, and we still live in a world where racism towards travelling peoples still seems to be seen as ok in a way other kinds of racism aren't- the film is probably no more racist in this area than the society that spawned it.
Aside from that, and a dodgy America-friendly reference to non-existent "social security numbers", the film is a splendidly enjoyable way to spend 100 odd minutes. Mr Madonna done good.
Anyway, I loved it. It's very of its time, very much trying to be a Cockney version of Tarantino, and not much different in style or theme to its predecessor. And no, it doesn't come close to Tarantino- it doesn't have the depth, wit or cinematic literacy, but not many films have. But it nevertheless manages to be funny, cool, and make a complex and non-linear plot easy to follow, which is not exactly an easy feat of writing or directing. And both the cast and direction are top notch. No, it may not be Pulp Fiction, much as its trying to be that kind of film, but it oozes charm and gets away with being derivative through its sheer Cockneyness. Bloody southerners.
I'd single out Jason Statham and a menacing Alan Ford for their performances, while Brad Pitt's performance is certainly unique. Is it racist in how it portrays Irish Travellers (not Roma)? Well, arguably they're eventually shown to be, if anyone is, the goodies, and we still live in a world where racism towards travelling peoples still seems to be seen as ok in a way other kinds of racism aren't- the film is probably no more racist in this area than the society that spawned it.
Aside from that, and a dodgy America-friendly reference to non-existent "social security numbers", the film is a splendidly enjoyable way to spend 100 odd minutes. Mr Madonna done good.
Thursday 15 August 2019
Atypical: Season 2, Episode 7- The Smudging
"Your wall is ringing..."
It seems that my blog of every episode consists of effusive praise about how perfectly crafted it is, which is getting quite repetitive. That’s awkward, because I’m going to do so again. This is awesome, and masterfully dine.
The slow outrage of Sam’s treatment at the hands of the police is simmering here. We learn that Sam has been sending Julia messages in place of his old appointments, something she has seen as harmless, but she is appalled at what happened to Sam. So, naturally are his parents, but this is also bringing them together. They agree that Doug, with his having a police mate, is the person to confront the police- but, while he makes it clear he’s not happy, all he achieves is an assurance that they will keep a photo of Sam to check in case it should happen again, which is clearly not good enough. But by the end Elsa suggests they both produce autism training for emergency services, not a bad idea. I like this; it’s a clever combination of building on their ongoing reconciliation while highlighting a real issue.
On a happier note, Sam has agreed to be with Paige in her lock-in, although she uses the worrying word “platonic”. On a distressing note, though, Casey does the right thing and tells Izzy about Nate’s move on her- only to be blamed and victimised when Izzy believes her skanky, creepy boyfriend. He’s a twat, of course, and I understand Izzy isn’t thinking straight, but isn’t she being incredibly stupid here? After all, why on Earth would Casey have said anything if she had anything to hide? Still, at least the whole incident with the trainers helps her to bond a bit with her mother.
We also get Sam stressing about choosing which uni to attend, and Paige sees him (single now, let’s remember!) getting a kiss from the cute and gothy girl. So many balls in the air yet it all makes total sense. This is good telly.
It seems that my blog of every episode consists of effusive praise about how perfectly crafted it is, which is getting quite repetitive. That’s awkward, because I’m going to do so again. This is awesome, and masterfully dine.
The slow outrage of Sam’s treatment at the hands of the police is simmering here. We learn that Sam has been sending Julia messages in place of his old appointments, something she has seen as harmless, but she is appalled at what happened to Sam. So, naturally are his parents, but this is also bringing them together. They agree that Doug, with his having a police mate, is the person to confront the police- but, while he makes it clear he’s not happy, all he achieves is an assurance that they will keep a photo of Sam to check in case it should happen again, which is clearly not good enough. But by the end Elsa suggests they both produce autism training for emergency services, not a bad idea. I like this; it’s a clever combination of building on their ongoing reconciliation while highlighting a real issue.
On a happier note, Sam has agreed to be with Paige in her lock-in, although she uses the worrying word “platonic”. On a distressing note, though, Casey does the right thing and tells Izzy about Nate’s move on her- only to be blamed and victimised when Izzy believes her skanky, creepy boyfriend. He’s a twat, of course, and I understand Izzy isn’t thinking straight, but isn’t she being incredibly stupid here? After all, why on Earth would Casey have said anything if she had anything to hide? Still, at least the whole incident with the trainers helps her to bond a bit with her mother.
We also get Sam stressing about choosing which uni to attend, and Paige sees him (single now, let’s remember!) getting a kiss from the cute and gothy girl. So many balls in the air yet it all makes total sense. This is good telly.
Wednesday 14 August 2019
Tinker, Tailor, Soldier, Spy: Smiley Tracks the Mole
"Poor loves. Trained to empire. Trained to rule the waves."
The pace is certainly as slow as ever and, in fact, the structure of this series is completely unlike what we’d normally expect even back in ‘79. (Incidentally the offices of the Circus, with all the brown, the grey and the paper files, are a splendid artefact of Seventiesness). After last episode being pretty much an extended flashback, here we get Peter trying to burgle the Circus and ascertaining that the file on Irina has been deliberately ripped out, while George visits Connie and we get an extended flashback showing us all the suspects. That’s it.
Connie, though... she’s a fascinating and multilayered character, and not only by virtue of being a rare female presence in the Circus and, indeed, the episode’s only female speaking part. Sacked as Head of Research for, it seems, getting too close to fingering Polyakov as Karla’s local underling, she’s very bitter behind the sunny surface, and now struggling to find meaning in her life. Beryl Reid is superb but so is Alec Guinness; he says little, but somehow avoids coming across as cold.
We learn, mainly through flashbacks, that Control, and by extension George, always found the “Witchcraft” material a little too convenient, and Alleline’s arrogant pride a little annoying- and Alleline, indeed, comes across like a proper twonk. Then we have the cynical Roy, the enigmatic Bill, the ambitious Toby, suspects all. And it’s all a splendid opportunity to see a bunch of character actors at work.
It’s gripping. And, still, pretty much nothing has happened.
The pace is certainly as slow as ever and, in fact, the structure of this series is completely unlike what we’d normally expect even back in ‘79. (Incidentally the offices of the Circus, with all the brown, the grey and the paper files, are a splendid artefact of Seventiesness). After last episode being pretty much an extended flashback, here we get Peter trying to burgle the Circus and ascertaining that the file on Irina has been deliberately ripped out, while George visits Connie and we get an extended flashback showing us all the suspects. That’s it.
Connie, though... she’s a fascinating and multilayered character, and not only by virtue of being a rare female presence in the Circus and, indeed, the episode’s only female speaking part. Sacked as Head of Research for, it seems, getting too close to fingering Polyakov as Karla’s local underling, she’s very bitter behind the sunny surface, and now struggling to find meaning in her life. Beryl Reid is superb but so is Alec Guinness; he says little, but somehow avoids coming across as cold.
We learn, mainly through flashbacks, that Control, and by extension George, always found the “Witchcraft” material a little too convenient, and Alleline’s arrogant pride a little annoying- and Alleline, indeed, comes across like a proper twonk. Then we have the cynical Roy, the enigmatic Bill, the ambitious Toby, suspects all. And it’s all a splendid opportunity to see a bunch of character actors at work.
It’s gripping. And, still, pretty much nothing has happened.
Monday 12 August 2019
Atypical: Season 2, Episode 6- In the Dragon’s Lair
“Stop sitting on me like an egg. I’m not an egg.”
More masterful plotting and character this episode as Elsa and Doug confront the parents of Arlington, Sam’s bully. It’s a nuanced scene, with both sets of parents being old friends until the friends couldn’t be bothered with Sam’s autism as a child. Things go well until it becomes clear that they still have no appreciation at all that Sam’s autism was not a childhood phase. Most significantly, I think, this enables Elsa and Doug to bond once again.
Casey, too, while ignoring Graham’s texts, bonds even more with new best friend Izzy but her boyfriend Nate makes a pass at her, which she firmly rejects- but what to do now? Should she tell Izzy? And why on Earth should this be her responsibility?
The sweetest scene, though, is Paige being unable to be angry at an apologetic Sam- and her request for him to be with her at the graduation lock-in thingy, which sounds terrifying, leads him to try and stay at Zahid’s as practice. This doesn’t go well, as spending a night at a police station isn’t usually seen as a proper sleepover, but it’s nice to see Zahid get some proper development as someone who has all ambition knocked out of him by a teacher calling him a “loser”- and he finally applies to nursing school. He’d be very good as a nurse.
This is all superb. I think now I can confidently predict that Elsa and Doug will get back together, and so will Sam and Paige, but I think Casey may have trouble ahead.
More masterful plotting and character this episode as Elsa and Doug confront the parents of Arlington, Sam’s bully. It’s a nuanced scene, with both sets of parents being old friends until the friends couldn’t be bothered with Sam’s autism as a child. Things go well until it becomes clear that they still have no appreciation at all that Sam’s autism was not a childhood phase. Most significantly, I think, this enables Elsa and Doug to bond once again.
Casey, too, while ignoring Graham’s texts, bonds even more with new best friend Izzy but her boyfriend Nate makes a pass at her, which she firmly rejects- but what to do now? Should she tell Izzy? And why on Earth should this be her responsibility?
The sweetest scene, though, is Paige being unable to be angry at an apologetic Sam- and her request for him to be with her at the graduation lock-in thingy, which sounds terrifying, leads him to try and stay at Zahid’s as practice. This doesn’t go well, as spending a night at a police station isn’t usually seen as a proper sleepover, but it’s nice to see Zahid get some proper development as someone who has all ambition knocked out of him by a teacher calling him a “loser”- and he finally applies to nursing school. He’d be very good as a nurse.
This is all superb. I think now I can confidently predict that Elsa and Doug will get back together, and so will Sam and Paige, but I think Casey may have trouble ahead.
Sunday 11 August 2019
The Misfits (1961)
“Because we're all dying, aren't we?"
This is a film well known for ominous reasons. It had a troubled production, with John Huston frequently drunk and Marilyn Monroe frequently late or absent through the heavy drinking and prescription drug use that would eventually kill her. And Arthur Miller may be one of the twentieth century’s finest playwrights (A View from the Bridge is sublime), but this script is essentially a love letter to his wife- but during filming his marriage to Monroe was falling apart. Add to this that Clark Gable was past his prime and, while a superb leading man, not necessarily the greatest actor.
And yet the film, while tragic, is extraordinarily good. Miller’s script is literary, subtle and multi-faceted but Huston manages to raise this tale of how feminine compassion takes the tough men of the west into something even more poetic, and the performances of Clark and the troubled Monroe, along with the extraordinary method man Eli Wallach, are elevated into something special. This is a film where the Old West is gone and everybody knows it, but the few surviving cowboys band together to eke a living that way because “anything’s better than wages”- but they know they’re a dwindling band, they have no future and they know it. And Gay (yes, I know, and his son is called Gaylord...), Perce and Guido all have their demons, whether parental estrangement, abandoned ambition or being away from children- Gay’s drunken longing for his kids is a shockingly vulnerable moment.
The three men are all doomed, in a sense, while Roslyn is lonely after her divorce and deeply compassionate but fundamentally melancholy- did Miller write this part for his wife because he saw her like that? The film ends on a note of hope for Roslyn and Gay, as they seem to have a future together- but the future beyond that is full of foreboding for everybody.
And yet the film, while tragic, is extraordinarily good. Miller’s script is literary, subtle and multi-faceted but Huston manages to raise this tale of how feminine compassion takes the tough men of the west into something even more poetic, and the performances of Clark and the troubled Monroe, along with the extraordinary method man Eli Wallach, are elevated into something special. This is a film where the Old West is gone and everybody knows it, but the few surviving cowboys band together to eke a living that way because “anything’s better than wages”- but they know they’re a dwindling band, they have no future and they know it. And Gay (yes, I know, and his son is called Gaylord...), Perce and Guido all have their demons, whether parental estrangement, abandoned ambition or being away from children- Gay’s drunken longing for his kids is a shockingly vulnerable moment.
The three men are all doomed, in a sense, while Roslyn is lonely after her divorce and deeply compassionate but fundamentally melancholy- did Miller write this part for his wife because he saw her like that? The film ends on a note of hope for Roslyn and Gay, as they seem to have a future together- but the future beyond that is full of foreboding for everybody.
Saturday 10 August 2019
Robot Jox (1990)
“But there’s nothing special about your body.”
“Thanks!”
I hadn’t heard of this delightfully bonkers Stuart Gordon film 24 short hours ago- I was ignorant of this magnificently silly, splendidly stop motion (I miss that) and enormously fun little film with a script by, er, Robert Haldeman.
The whole thing feels like a fight between a serious tone and a deliberate silliness, which for some reason works brilliantly. The very concept has a four in both camps- a post-nuclear holocaust world, of the type that was all over the zeitgeist around 1990, where war has been outlawed and replaced by single combat with people controlling giant robots. Already we have a sort of cross between serious science fiction concepts and a potential toy advert, where the designers of the robots are Japanese, like Transformers. It’s a future full of casual racism and sexism and with “tubies”- genetically engineered warriors who are made, not born. Then again it’s also a future with rampant pollution and, er, 1990 standard computer graphics coexisting with flying cars. Also, the interior decor is a bit pants. There are also hints of scarcity and an authoritarian society that pushes people to breed.
There are no stars and the acting style throughout is hardly naturalistic, but it works. Even the sort-of romantic subplot between the two leads is incredibly macho and eventually abandoned so we can end the film in a massive fight between stop motion giant robots. It has no stars, no budget, the script is mad... I think it’s bloody brilliant.
“Thanks!”
The whole thing feels like a fight between a serious tone and a deliberate silliness, which for some reason works brilliantly. The very concept has a four in both camps- a post-nuclear holocaust world, of the type that was all over the zeitgeist around 1990, where war has been outlawed and replaced by single combat with people controlling giant robots. Already we have a sort of cross between serious science fiction concepts and a potential toy advert, where the designers of the robots are Japanese, like Transformers. It’s a future full of casual racism and sexism and with “tubies”- genetically engineered warriors who are made, not born. Then again it’s also a future with rampant pollution and, er, 1990 standard computer graphics coexisting with flying cars. Also, the interior decor is a bit pants. There are also hints of scarcity and an authoritarian society that pushes people to breed.
There are no stars and the acting style throughout is hardly naturalistic, but it works. Even the sort-of romantic subplot between the two leads is incredibly macho and eventually abandoned so we can end the film in a massive fight between stop motion giant robots. It has no stars, no budget, the script is mad... I think it’s bloody brilliant.
Friday 9 August 2019
Tinker, Tailor, Soldier, Spy: Tarr Tells His Story
"It's the oldest question of all, George. Who can spy on the spies?"
Again the pace is positively glacial- plot-wise, Ricky Tarr reveals the presence of a mile high up in the circus, something Control knew about a good while ago, and Smiley is appointed to smoke out “Gerald”. That’s it.
But it isn’t plot that’s the purpose: this episode, an extended flashback with Hywel Bennett foregrounded as Tarr relates what happened, isn’t about that but about the pathos of Tarr, in Lisbon on assignment, coming across Irina, a Russian wanting to defect, and falling in love with her while trying to get out of her the big secret- there’s someone in Russia, known as Karla, who is running an agent called “Gerald” right at the top of the circus. And there’s more to it even than this; Irina is a complex character, with a deeply religious soul that thirst for meaning and the freedom to explore it.
And it is Tarr who almost certainly dooms her by reporting back to London in too much detail, and she is returned to Russia in circumstances which evoke the possible horrors and, indeed, martyrdom that await her.
Tarr’s broken reaction is real too, but not overplayed. And we find that only Smiley is brought back from retirement to which the mole, without involving the resources of the Circus itself.
It’s slow. It’s gripping. It stars Alec Guineas. This is extraordinary telly.
Again the pace is positively glacial- plot-wise, Ricky Tarr reveals the presence of a mile high up in the circus, something Control knew about a good while ago, and Smiley is appointed to smoke out “Gerald”. That’s it.
But it isn’t plot that’s the purpose: this episode, an extended flashback with Hywel Bennett foregrounded as Tarr relates what happened, isn’t about that but about the pathos of Tarr, in Lisbon on assignment, coming across Irina, a Russian wanting to defect, and falling in love with her while trying to get out of her the big secret- there’s someone in Russia, known as Karla, who is running an agent called “Gerald” right at the top of the circus. And there’s more to it even than this; Irina is a complex character, with a deeply religious soul that thirst for meaning and the freedom to explore it.
And it is Tarr who almost certainly dooms her by reporting back to London in too much detail, and she is returned to Russia in circumstances which evoke the possible horrors and, indeed, martyrdom that await her.
Tarr’s broken reaction is real too, but not overplayed. And we find that only Smiley is brought back from retirement to which the mole, without involving the resources of the Circus itself.
It’s slow. It’s gripping. It stars Alec Guineas. This is extraordinary telly.
Wednesday 7 August 2019
Atypical: Season 2, Episode 5- The Egg Is Pipping
"The egg is pipping!"
A pivotal episode this time, I think, in the wake of Doug's panic attack as it becomes clear he's struggling to cope. Elsa is finally back, and here to stay, it seems- the family needs her. But Doug is getting close to Megan and the two of them are getting on rather well. Does Elsa, still wanting her husband back, have a rival? I think that's the main question here although of course we also have the big row between Casey and Evan, which is interesting for all sorts of reasons. She and Izzy are genuinely friends now, and she's connected with the gang, but there's still a lot of snobbery directed towards her, which Evan spots immediately. Is he being over sensitive, defensive about his class background? Is Casey going too far to fit in? There's a lot going on here.
Sam is bullied by Arlo, too, although at least he makes a new friend. But he makes a big step towards financial independence with his own bank account- and immediately shows himself vulnerable to exploitation. Is this foreshadowing bad stuff due to happen now the season is halfway through? Are Casey and Evan about to split angrily and later reconcile? Is Elsa going to spend the rest of the season wooing Doug again, with Megan as a threat? Let's see. I suspect things are about to get serious.
A pivotal episode this time, I think, in the wake of Doug's panic attack as it becomes clear he's struggling to cope. Elsa is finally back, and here to stay, it seems- the family needs her. But Doug is getting close to Megan and the two of them are getting on rather well. Does Elsa, still wanting her husband back, have a rival? I think that's the main question here although of course we also have the big row between Casey and Evan, which is interesting for all sorts of reasons. She and Izzy are genuinely friends now, and she's connected with the gang, but there's still a lot of snobbery directed towards her, which Evan spots immediately. Is he being over sensitive, defensive about his class background? Is Casey going too far to fit in? There's a lot going on here.
Sam is bullied by Arlo, too, although at least he makes a new friend. But he makes a big step towards financial independence with his own bank account- and immediately shows himself vulnerable to exploitation. Is this foreshadowing bad stuff due to happen now the season is halfway through? Are Casey and Evan about to split angrily and later reconcile? Is Elsa going to spend the rest of the season wooing Doug again, with Megan as a threat? Let's see. I suspect things are about to get serious.
Atypical: Season 2, Episode 4- Pants on Fire
"I'm like your hair cutting pimp."
Another splendidly constructed episode, developing both plot and character with masterful aplomb and centring it all around the theme of lying. It's brilliantly bookended by Sam's two essays, the first criticised for being too literally truthful and the concluding essay showing a less literal, and thus more truthful, kind of truth about his friendship with Zahid.
This conceit leads to some magnificent drama- Sam telling Elsa that she's the biggest liar he knows, and practising the lying techniques he's learned from the magnificent Zahid on poor Paige, making her believe he's with someone else, with, er, bloody consequences. Yet, as ever, the humour has pathos lying behind it.
We also get Casey being endearingly shy with Evan about her drunken exploits, though- it leads to lots of adorable banter but, I think, shows a real vulnerability to Casey. We also see her concern for Doug, who insists he's coping but ends up collapsing. And Sam's most triumphantly successful lie also saves Zahid from losing his job. Most endearingly of all, Julia slowly comes to terms with the fact that she's pregnant.
This is at once a particularly funny episode and, underneath, a particularly dark one, showing how fragile our lives are and how close we are to disaster.
Another splendidly constructed episode, developing both plot and character with masterful aplomb and centring it all around the theme of lying. It's brilliantly bookended by Sam's two essays, the first criticised for being too literally truthful and the concluding essay showing a less literal, and thus more truthful, kind of truth about his friendship with Zahid.
This conceit leads to some magnificent drama- Sam telling Elsa that she's the biggest liar he knows, and practising the lying techniques he's learned from the magnificent Zahid on poor Paige, making her believe he's with someone else, with, er, bloody consequences. Yet, as ever, the humour has pathos lying behind it.
We also get Casey being endearingly shy with Evan about her drunken exploits, though- it leads to lots of adorable banter but, I think, shows a real vulnerability to Casey. We also see her concern for Doug, who insists he's coping but ends up collapsing. And Sam's most triumphantly successful lie also saves Zahid from losing his job. Most endearingly of all, Julia slowly comes to terms with the fact that she's pregnant.
This is at once a particularly funny episode and, underneath, a particularly dark one, showing how fragile our lives are and how close we are to disaster.
Tuesday 6 August 2019
iZombie: All's Well That Ends Well
"This is why the time of patty cake is over..."
Last night Mrs Llamastrangler and I bit the bullet. We’d been delaying seeing the last ever iZombie, because then it would be over. And we weren’t disappointed, although there was a lot to cram in. It’s not the creators’ fault, but would it really be too much to extend the running time beyond a paltry forty-two minutes...?
Anyway, we begin with half an hour of narrative in which all the plot threads are concluded and, although there’s a lot of dramatic tension (I love the moment where Liv, Clive and Ravi are caught on the plane- only to find the police officer to be on their side) and drama but things end as happily as the title implies. I love the way both Blaine and Don E end up down the well with Blaine’s sad for all eternity, rushed though the sequence inevitably is, and how we think for w while that Peyton may be dead after her fatal shooting although, of course, that pervert Blaine scratches her. We also have time to see Clive become a dad (aaah!) and Major’s heroic sacrifice to prove in live telly that the cure works; it’s not his fault that Ravi made damn sure he survived. And as for Enzo, his fate is poetic; the ultimate zombie racist dies human. It’s a pity that Durkins seems to survive.
But we then end with the coda, ten years later- a brave choice but one that pretty much works and gives happy endings for our heroes, perhaps a little trite but not unearned. Zombieism can be cured now so zombies are not a threat- is it that simple? At least Liv and Major are together. That kiss...!
Yes, it’s rushed. But within its forty-two minute constraints the episode works well. And I salute the firm decision, heralded by the title, not to go grimdark and have a defiantly happy ending. Wonderful, and a fitting end to a series I will very much miss.
Last night Mrs Llamastrangler and I bit the bullet. We’d been delaying seeing the last ever iZombie, because then it would be over. And we weren’t disappointed, although there was a lot to cram in. It’s not the creators’ fault, but would it really be too much to extend the running time beyond a paltry forty-two minutes...?
Anyway, we begin with half an hour of narrative in which all the plot threads are concluded and, although there’s a lot of dramatic tension (I love the moment where Liv, Clive and Ravi are caught on the plane- only to find the police officer to be on their side) and drama but things end as happily as the title implies. I love the way both Blaine and Don E end up down the well with Blaine’s sad for all eternity, rushed though the sequence inevitably is, and how we think for w while that Peyton may be dead after her fatal shooting although, of course, that pervert Blaine scratches her. We also have time to see Clive become a dad (aaah!) and Major’s heroic sacrifice to prove in live telly that the cure works; it’s not his fault that Ravi made damn sure he survived. And as for Enzo, his fate is poetic; the ultimate zombie racist dies human. It’s a pity that Durkins seems to survive.
But we then end with the coda, ten years later- a brave choice but one that pretty much works and gives happy endings for our heroes, perhaps a little trite but not unearned. Zombieism can be cured now so zombies are not a threat- is it that simple? At least Liv and Major are together. That kiss...!
Yes, it’s rushed. But within its forty-two minute constraints the episode works well. And I salute the firm decision, heralded by the title, not to go grimdark and have a defiantly happy ending. Wonderful, and a fitting end to a series I will very much miss.
Sunday 4 August 2019
Back to the Future, Part III (1990)
“My horse broke down...”
There’s a difference between our favourite films ever and the ones we objectively think are best, and it’s the second list that is likely to feature all those intellectual films that we may regard highly but tend not to use as comfort food. Back to the Future, Part III is my favourite film of all time. And no, it isn’t as “good” as cleverer films with more to say; it’s a blockbuster. It just happens to be the most perfect blockbuster that has ever been made or ever will be.
This is the third and final film in a series that starts as excellent and just gets better with every film, and which is so uber-familiar that we forget how good it is. But we have the timey-wimey plot, with an opening scene that manages to recap both of the previous film, along with a superbly constructed Western pastiche that gives us yet more versions of the McFlys and a villainous Tannen, along with lots of adventure, thrills and even romance. And comedy. Lots of that. And yet again the great Christopher Lloyd is superlatively good. In fact, Doc is the real hero of the trilogy, isn’t he? Marty is just this kid who isn’t that bright and is a bit bland. Well, until you call him a chicken, that is. It’s Doc who invents the time machine, acts the hero and even, this time, gets the girl. Marty is just the Boswell to his Johnson, the Hans Castorp to his Settembrini, the person through whose eyes we see it all and with a heroic arc of his own, but very much a sidekick.
So why is this third film my favourite? I think it’s because we know the drill by now, we can have more fun with this 1885 Hill Valley as we know the later ones so very well by now- we get by far the best version of Strickland, too. It doesn’t have to be extremely timey-wimey- it’s done that- so can explore the fun of the Western setting more. And it has a kickass conclusion, with Marty learning a lesson that helps him to avert his bleak future, and us getting to see Doc’s new family (let’s just not think about his age here) and a time travelling train.
And there are great touches- Doc in 1955 hasn’t heard of Clint Eastwood and is amazed to hear that Japanese parts in 1985 are considered the best. Doc gets utterly bladdered after one shot of whiskey. But this film works because it has heart, it has plot, it has humour and it has characters, all combined perfectly. Sod it, this is one of the greatest films of all time.
This is the third and final film in a series that starts as excellent and just gets better with every film, and which is so uber-familiar that we forget how good it is. But we have the timey-wimey plot, with an opening scene that manages to recap both of the previous film, along with a superbly constructed Western pastiche that gives us yet more versions of the McFlys and a villainous Tannen, along with lots of adventure, thrills and even romance. And comedy. Lots of that. And yet again the great Christopher Lloyd is superlatively good. In fact, Doc is the real hero of the trilogy, isn’t he? Marty is just this kid who isn’t that bright and is a bit bland. Well, until you call him a chicken, that is. It’s Doc who invents the time machine, acts the hero and even, this time, gets the girl. Marty is just the Boswell to his Johnson, the Hans Castorp to his Settembrini, the person through whose eyes we see it all and with a heroic arc of his own, but very much a sidekick.
So why is this third film my favourite? I think it’s because we know the drill by now, we can have more fun with this 1885 Hill Valley as we know the later ones so very well by now- we get by far the best version of Strickland, too. It doesn’t have to be extremely timey-wimey- it’s done that- so can explore the fun of the Western setting more. And it has a kickass conclusion, with Marty learning a lesson that helps him to avert his bleak future, and us getting to see Doc’s new family (let’s just not think about his age here) and a time travelling train.
And there are great touches- Doc in 1955 hasn’t heard of Clint Eastwood and is amazed to hear that Japanese parts in 1985 are considered the best. Doc gets utterly bladdered after one shot of whiskey. But this film works because it has heart, it has plot, it has humour and it has characters, all combined perfectly. Sod it, this is one of the greatest films of all time.
Friday 2 August 2019
Tinker, Tailor, Soldier, Spy: Return to the Circus
"I shall become an oak of my own generation..."
This is, of course, a justly renowned piece of telly and, as I saw it before many years ago, I’ll not be departing from the general view. I must confess that, to my mother’s disapproval, I’ve yet to read any John Le Carre, so I’m unfamiliar with any greater levels of depth and detail which no longer exist deep within the novel and, indeed, series of novels on which this is based. I comment only on what I see. But I see much.
The slow pace is truly extraordinary from the perspective of 2019, forty years later the pre-credits scene consists simply of the four mole suspects- Bill Haydon, Toby Esterhase, Roy Bland and Percy Alleline- slowly entering a room. but this allows for much subtle physical acting by the character actors portraying them. Similarly, very little really happens- we learn of the existence of the mile, Jim’s Czech mission goes south, the retired George Smiley is accosted by the gossipy and somewhat camp Roddy Martindale and endures am interrogatory lunch which gives us much exposition about the Circus, Smiley’s forced retirement, the uneasy atmosphere, and his hinted at marital problems. He is then summoned by Peter Guilin to meet Oliver Lacon and hear an apparently shocking tale from one Ricki Tarr. That’s it. That’s all that happens in fifty minutes.
And it happens slowly. There’s loads of tension in the scenes with Jim in Brno. We get to see Alec Guinness’ extraordinary acting mannerisms and use of cleaning his glasses to evoke a deep interiority. It’s fascinating to see the master at work here; no method actor he. It’s all about the exterior mannerisms, as he says in his autobiography, and that’s what makes him so bloody good.
We also get time to get an impression of the Circus as a downbeat, very male (there are no speaking female parts in the whole 50 minutes!), very public school and Oxbridge little club not trusted by the Americans. We get to breathe. And it’s wonderful.
I’m looking forward to the rest. I can’t help noticing, though, that Ian Richardson looks scarily Old at 45, and that’s me in three years...
This is, of course, a justly renowned piece of telly and, as I saw it before many years ago, I’ll not be departing from the general view. I must confess that, to my mother’s disapproval, I’ve yet to read any John Le Carre, so I’m unfamiliar with any greater levels of depth and detail which no longer exist deep within the novel and, indeed, series of novels on which this is based. I comment only on what I see. But I see much.
The slow pace is truly extraordinary from the perspective of 2019, forty years later the pre-credits scene consists simply of the four mole suspects- Bill Haydon, Toby Esterhase, Roy Bland and Percy Alleline- slowly entering a room. but this allows for much subtle physical acting by the character actors portraying them. Similarly, very little really happens- we learn of the existence of the mile, Jim’s Czech mission goes south, the retired George Smiley is accosted by the gossipy and somewhat camp Roddy Martindale and endures am interrogatory lunch which gives us much exposition about the Circus, Smiley’s forced retirement, the uneasy atmosphere, and his hinted at marital problems. He is then summoned by Peter Guilin to meet Oliver Lacon and hear an apparently shocking tale from one Ricki Tarr. That’s it. That’s all that happens in fifty minutes.
And it happens slowly. There’s loads of tension in the scenes with Jim in Brno. We get to see Alec Guinness’ extraordinary acting mannerisms and use of cleaning his glasses to evoke a deep interiority. It’s fascinating to see the master at work here; no method actor he. It’s all about the exterior mannerisms, as he says in his autobiography, and that’s what makes him so bloody good.
We also get time to get an impression of the Circus as a downbeat, very male (there are no speaking female parts in the whole 50 minutes!), very public school and Oxbridge little club not trusted by the Americans. We get to breathe. And it’s wonderful.
I’m looking forward to the rest. I can’t help noticing, though, that Ian Richardson looks scarily Old at 45, and that’s me in three years...
Thursday 1 August 2019
The Prisoner: Fall Out
“You are the only individual.”
That was... a lot to digest, utterly glorious and at the same time quite, quite mad. On the surface this may not be quite as surreal as the first episode but there’s so much going on and we certainly aren’t spoon fed the subtext. Those who insist on a diet of strict realism probably hate this. Personally, I found it a fitting and magnificent ending. What straight- up realist finale could possibly have satisfied? Who actually cares why Number Six resigned, what his name is or the backstory of the Village? Revealing any of that would ruin everything. Patrick McGoohan knows this, which is why he reveals Number One to be a mask beneath a mask under which is Number Six himself. Is this a literal metaphor about Number Six being a repressed man who has really trapped himself, with the Village being within his own head? Perhaps. Perhaps not. Why reduce it all to one meaning when you can have the possibility of many? Keep the box closed, or the death of Schrodinger’s Cat may become real.
Has Number Six won and convinced the Village that individualism is best? Perhaps; suddenly the Judge who seems to be running things is fawning before him and he’s constantly praised and promised an “inauguration”. Yet his much-encouraged speech is drowned out by choreographed enthusiasm, and his own victory is juxtaposed by the trials of Numbers Two and Forty-Eight for, essentially, being individuals (Forry-Eight, of course, would be better charged with sexual assault...), the very quality for which Number Six is now suddenly being praised. Are the promises of power or freedom real? We will never know, as the narrative collapses and the escape of all three is a decidedly fourth wall breaking event.
So what does it all mean? Let us not spoil the fun by nailing that down. The author is dead, and Patrick McGoohan is jumping on his grave here. We, the viewers, are left to construct our own meaning from this wonderfully barmy text, and I for one am glad of it.
As for the series as a whole- yes, there are half a dozen episodes that we could have done without, but it wasn’t McGoohan’s wish to pad the whole thing out to seventeen episodes. The Prisoner is indeed a justly renowned and legendary piece of telly, and in 1967 was pointing forward to what television drama could be and do.
That was... a lot to digest, utterly glorious and at the same time quite, quite mad. On the surface this may not be quite as surreal as the first episode but there’s so much going on and we certainly aren’t spoon fed the subtext. Those who insist on a diet of strict realism probably hate this. Personally, I found it a fitting and magnificent ending. What straight- up realist finale could possibly have satisfied? Who actually cares why Number Six resigned, what his name is or the backstory of the Village? Revealing any of that would ruin everything. Patrick McGoohan knows this, which is why he reveals Number One to be a mask beneath a mask under which is Number Six himself. Is this a literal metaphor about Number Six being a repressed man who has really trapped himself, with the Village being within his own head? Perhaps. Perhaps not. Why reduce it all to one meaning when you can have the possibility of many? Keep the box closed, or the death of Schrodinger’s Cat may become real.
Has Number Six won and convinced the Village that individualism is best? Perhaps; suddenly the Judge who seems to be running things is fawning before him and he’s constantly praised and promised an “inauguration”. Yet his much-encouraged speech is drowned out by choreographed enthusiasm, and his own victory is juxtaposed by the trials of Numbers Two and Forty-Eight for, essentially, being individuals (Forry-Eight, of course, would be better charged with sexual assault...), the very quality for which Number Six is now suddenly being praised. Are the promises of power or freedom real? We will never know, as the narrative collapses and the escape of all three is a decidedly fourth wall breaking event.
So what does it all mean? Let us not spoil the fun by nailing that down. The author is dead, and Patrick McGoohan is jumping on his grave here. We, the viewers, are left to construct our own meaning from this wonderfully barmy text, and I for one am glad of it.
As for the series as a whole- yes, there are half a dozen episodes that we could have done without, but it wasn’t McGoohan’s wish to pad the whole thing out to seventeen episodes. The Prisoner is indeed a justly renowned and legendary piece of telly, and in 1967 was pointing forward to what television drama could be and do.
Atypical: Season 2, Episode 3- Little Dude and the Lion
“Was that a brag or an apology?”
More superb character development this week as Sam recognises his “pack” is falling apart, leaving him vulnerable to predators. His mother has left the family home after an affair; his girlfriend has left him but with the door confusingly ajar; his sister is at another school; his former therapist has other clients. And yet he’s coping well- even after running out of class after too much stimulation he copes rather well- and he finishes the episode determined to go away to college and determined to get there.
Coping much less well are his parents, who struggle to communicate the parenting stuff, leading Doug to finally admit that, while it may have been Elsa having the affair, he needs to cooperate more with her on Sam’s appointments. Julia is in denial about the baby and unsure whether to marry her boyfriend; it was, I think, unfair of him to spring it on her like that but the whole thing is a mess of gender expectations. The door to being with Paige is opened a little, though, as she agrees to walk with Sam at busy periods. And Casey, in detention, gets to bond a little over vodka(!) with her tormentor Izzy, who turns out to be ether less upper class than thought. But she’s still confused and, perhaps, guilty about how she lost her virginity, wanting to dial things down a bit until the “second first time”.
But she’s in trouble with her mum about the vodka. Oops. I suspect Elsa will be rather less understanding than mine was at that age.
Oh, and it seems this is all set in Connecticut, not Texas?
More superb character development this week as Sam recognises his “pack” is falling apart, leaving him vulnerable to predators. His mother has left the family home after an affair; his girlfriend has left him but with the door confusingly ajar; his sister is at another school; his former therapist has other clients. And yet he’s coping well- even after running out of class after too much stimulation he copes rather well- and he finishes the episode determined to go away to college and determined to get there.
Coping much less well are his parents, who struggle to communicate the parenting stuff, leading Doug to finally admit that, while it may have been Elsa having the affair, he needs to cooperate more with her on Sam’s appointments. Julia is in denial about the baby and unsure whether to marry her boyfriend; it was, I think, unfair of him to spring it on her like that but the whole thing is a mess of gender expectations. The door to being with Paige is opened a little, though, as she agrees to walk with Sam at busy periods. And Casey, in detention, gets to bond a little over vodka(!) with her tormentor Izzy, who turns out to be ether less upper class than thought. But she’s still confused and, perhaps, guilty about how she lost her virginity, wanting to dial things down a bit until the “second first time”.
But she’s in trouble with her mum about the vodka. Oops. I suspect Elsa will be rather less understanding than mine was at that age.
Oh, and it seems this is all set in Connecticut, not Texas?
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