Agatha All Along: If I Can't Reach You / Let My Song Teach You

 "You don't have to know a person's name to know who they are..."

I've enjoyed Agatha All Along up until now, but this episode is another level. It's superb. Suddenly this is feeling like first class television drama. We've got to know the characters, now we get the deeper drama... alongside the wit we've come to expect. And it all looks amazing, too.

Agatha's callousness about Sharon is hilarious. As it the fact that a new green witch has to be summoned, and it's Rio. Oops. Yet she and Agatha have a truly fascinating and nuances dynamic- lovers, arch enemies, something very deep indeed.

The A story here is Alice and her generational curse, all very cleverly plotted and unveiled. Perfectly, the curse is expunged through rock 'n' roll. A song, as a protection spell... a superb twist.

And then there's the hints as to the teen's identity: is he Agatha's son? Her upset at him being hurt suggests she feels he might be, but Rio says not. The sigil confuses things, but apparently a sigil isvdestroyed once it's no longer needed. I love the ideas in this show.

We also get hints as to Rio's backstory... Agatha is her "scar" and made her hurt someone? Oh, and why does Lilia seem perfectly lucid most of the time but occasionally forget things? So much is going on. I'm loving this.

The Lord of the Rings- The Rings of Power: Shadow and Flame

 "You are their prisoner, Sauron. Lord of the rings..."

I know, this is two blog posts in succession and both on the same show. But I wanted to get this season of The Rings of Power finished. And wow, what a dramativ finale. So much happens, and so much is set up. It's a wild ride.

We begin with the confrontation between the Durins, both father and son, as the King continues to mine, despite the risk of awakening what the subtitles reveal to be indeed the Balrog. His heroic death is nicely done- unexpected, shocking yet appropriate. Durin, I assume, is now king... but it seems his succession is not uncontested? The dwarvesare at last able to assist in the siege, but does civil war await them?

Equally dramatic is the confrontation between the Stranger and the Dark Wizard, who seemingly seeks not to join Sauron but to supplant him. Yet he responds to the Stranger's refusal to join him by destroying the Stoors' village, meaning that they, like the Harfoots, must wander. Yet there's a twist; Bombadil intended him to choose friendship, so he gets his staff after all... and his namre. This, again, is very nicely done. No wonder Gandalf is so fond of Hobbits.

At Numenor things get even worse. Pharazon declares all followers of the Valarto be traitors, and we end the episode with poor, blind Mirielin chains. Yet she orders Elendil to leave, and "reclaim your lordship". Isildur, meanwhile, and the displaced southlanders, also learn of the new regime and its harshness. Yet I sense Numenor, at this point, is irreversibly bound to sink between the waves. Isildur's future lies in Gondor... ad, I'm sure, with Estrid, taken though she is.

Celebrimbor's death, tortured tro death by Sauron, is indeed grimly horrible. He may have been at fault, an eager dupe, but he didn't deserve this. Charles Edwards, though, is again extraordinary.

Adar's death, a horrible twist, also shocks- betrayed by his own Uruks who turn instead to Sauron. He is, perhaps, as tragic an eff as Celebrimbor, noble in his way,and on the cusp of allying with Galadiel.

His flaw was love. He loved ad cared for his orc... and yet they spurned their loving father for an evil master, because evil is what they are. That, to put it mildly, is dark.

Galadriel's combt with Sauron is epic, although perhaps it goes on too long. We end with her barely alive... and, I trust, confined to Lothlorien if she wishes to live?

An extraordiunary episode. And, after a mixed first season... this season has been extraordinary.

The Lord of the Rings- The Rings of Power: Doomed to Die

"Forgive me..."

"Win!"

More than seventy minutes for this penultimate episode, and there's not a Man, Wizard or Harfoot to be seen. It's all an epic chronicle of the siege of Eregion, with all its twists, turns and impressive CGI hill troll(!)... and we end on a very bleak note, with Adar triumphant, and Arondir seemingly dead.

And the dwarves, despite Durin's promise, cannot come to the elves' aid, lest Durin's ring-addled father continue to mine and awaken the beast beneath- the Balrog? The show likes doing these kinds of impossible dilemmas, but they're effective. Can Elrond's friendship with Durin survive? Surely this will cause the enmity between elvesand dwarves; I'd assume so.

The parlet between Elrond and Adar is nicely done too, with Elrond refusing Adar's terms even at the apparent cost of Galadriel's life... and that parting kiss. For this show, usually all about the epic scale and not the humanfor once we have a lot of effective character drama here.

Most horrifying of all, though, is the full force gaslighting of Celebrimbor by Sauron. Yes, he wins, sort of, by entrusting the nine rings to an escaping Galadriel, but what he suffers is truly horrid. Charles Edwards is simply extraordinary here.

The Rings of Power has at times been inconsistent, but this extra-long episode is a trimph of both visuals- it looks amazing, cinematic- and storytelling. I have high hopes for the finale.

Better Call Saul: Dedicado a Max

 "You never told me that he was a side sitter!"

Another gripping episode this time, one that may well spell doom for Kim. Of course, Jimmy's antics trying to impede the seizure of Old Man Acker's house provide the main amusement this time round, but rather av lot happens.

Interestingly, once more we havean A plot and a B plot, with many characters- chrefly Nocho and Lalo- not appearing for the time being. The B plot is Mike, who is in rock bottom receiving medical care across the border... provided by Gus, thus indebting Mike to him.Gradually, throughoutbthe episode, Mike realises, with increasing injury to his pride, that Gus does indeed own him... and the moment where Gus puts the phone down with a terse "not now" is a brutal reminder of that.

Even so, Gus's interactions with Mike at the end make sense- Mike was indeed washed up, without purpose, drinking heavily and starting to alienate himself frpm a family whom he hasn't even told where he is. Much though he hates to admit it, he may well need Gus. It's just that, well, we know where this leads.

But Kim, oh Kim. It may feel like fun with here and Jimmy on opposite sides, but this is no game, whatever Jimmy may think, casually dismissing another call from Howard about a job offer we know he won't take. And... the gambit fails: Kevin simply doubles down. Worse, Rick seems to be on to Kim. She absolutely needs to back down, she's done what she can for the old man... but she doesn't.

I've been certain for a long time that Jimmy's baleful influence is going to end up ruining Kim's professional reputation. I'm increasingly worries that this may be the start of her fall.

As if it needed saying... superb bit of telly.

Relative Values by Noel Coward at the Little Theatre in Leicester

 Alas, it was the final performance when I saw the play last night, so this blog post won't be of any use in plugging any future performance, but I thoroughly enjoyed myself.

It's fair to say, I think, that Noel Coward hasn't been fashionable in recent decades, but there comes a point where suffiiuent time has passed such that "dated" becomes "period". Such is the case with thisfairly late Noel Coward comedy on the little nuances of social class from 1951. It an enormously entertaining and very funny play, with wit reminiscent of Oscar Wilde, but also a fascinating glimpse into attitudes from the middle of the laast century, a time that suddenly feel a lot more distant than it did a couple of decades ago.,

The cast, of course, were superb, utterly inhabiting their parts while letting the wit shine through. The set desigh was also excellent, the entire play taking part within the confines of a single room.

Alas, I cannot plug this play. But, for those who live locally, I can certainly plug the venue. This is the third play I've seen there now, all of which were brilliant.

Carry On Screaming (1966)

 "May I blow it?"

It's October. The month of Halloween. The month of ghouls and ghost and things that go bump in the night... and the next film in my slow, chronological meanderings through the Carry On series turns out to be rather appropriate. Who'd have thunk it?

Just as recent films have been genre pastiches, this time we get a glorious taste on the British horror films from the likes of Hammer and Amicus, very much in their heyday at this point. The look of the film is perfect, as are the opening titles and song. Yet, as ever, the success of this film lies in the superb performances and the gloriously crap jokes... and yes, the innuendo about the whistle is absolutely the best thing in it.

No Sid James this time, but Harry H. Corbett is a more than adequate replacement in what is more or less a starring role. Fenella Fielding, too, is a wonderful new addition with perfect timing. But best of all, as so very often, is Kenneth Williams, hamming it up in the best possible way as the dastardly Doctor Watt (Doctor Who is his uncle, apparently...!).

Everything about this film is wonderful and utterly unafraid to be silly. Charles Hawtrey gets a surprisingly small role (was his personal life more than usually chaotic at this point?), but it says a lot that the absence of the great Sid James is hardly noticeable here.

The Lord of the Rings- The Rings of Power: Where Is He?

 "Your friend or your destiny? The choice is yours."

Perhaps the finest scene in this excellent episode is the two hander between Adar and Galadriel about how Sauron manipulates. Yes so much else happens... not least Celebrimbor whinging in iambic pentameter. 

What else? We see Sauron'sincreasing manipulation of a Celebrimbor coming apart at the seams... yet not only him. Yes, Adar and Galadriel ally against him, using the elven ring and Mordoth's crown, or hoping to. Yet, as Galadriel realises, even this is exactly what Sauron wants- the thought in the viewer's mind as the siege of Eregion begins in Earnest.

Our two Harfoots begin to learn the meaning of home as peril awaits, while Tom Bombadil would have the Stranger choose a staff, a test he MUST pass . And yet, the situation parallels that of Luke now in The Empire Strikes Back, with Nori and Poppy in danger. If he leaves now, help them he could but... well. The scene is a cliche, it must be said, but it works dramatically.

Then we have Elendil, accused of treason for his loyalty to his old faith and queen, and having to face an ancient form of trial by CGI sea serpent. And... with Miriel risking her life for him so beautifully, this scene is damn good. Miriel 1, Pharazon 0, as the crowd cheers her. And it seems she and Elendil are falling in love, does it not? Even as Elendil and his daughter grow further apart.

Then there's King Durn, his greed, and the ring. Brrr. This is good stuff. Yet what lingers in the mind is the true manipulative power of Sauron, which is so very well done indeed.

Agatha All Along: Through Many Miles / Of Tricks and Trials

" He's not in the coven. And he's underage..."

Once again, this episode is filled with wit, fun, and four witch characters we're a;ready getting to know and enjoy... although, as ever, Kathryn Hahn's performance is utterly wonderful. And we get a possible hint of the format: four types of witch- divination, green, potion and whatever Agatha is- and four trials from the Road.

But, simple though the format is- a posh house, a timer, poisoned wine ("Ugh! Cheap!"), and a race against the clock for Jennifer to make a suitable potion- it's so much more than that. Each character has a weird flashback, possibly telling us something. Jen is seemingly drowned by a man in early 20th century clothing. Alice seems to be facing a curse passed through generations from mother to daughter. And... did Agatha give her son to Mephisto (first MCU mention?) for a magical book?

Oh, and who is the Teen?

Yet it all looks brilliant, and the conceit works perfectly not only in entertaining us but in making us feel that wealready know all of these characters. But... Sharon is dead? There has to be more to her, surely? Regardless, I'm loving this.

The Lord of the Rings- The Rings of Power: Halls of Stone

 "It will open with a password known only to friends..."

This episode is, perhaps, the most exciting yet to those of us who have read only The Hobbit and the Lord of the Rings, pointing strongly towards the future we know. We have Durin's gate of course, but we see Sauron to continue manipulating Celebrimbor to makerings not only for Dwarves but also for Men... nine rings for the kind of the nive noble realms. We know well where this is leading.

We also have hints of the doom that awaits Khadad-Dum. Oh, King Durin III may have saved his realm in the short term, but he shows signs of the greed and the ring addiction that we shall soon come to know so well,charging a "ring tax" and forcing the other sixdwarven kings to make a tribute in return for their own rings. Worst of all, he wants to dig, despite the fact that ancient evil lies beneath.

Then there's Gil-Galad's dilemma between Sauron and Adar. Adar seeking an alliance with Galadriel. And the darkness beginning to envelop Numenor. Pharazon already threatens to be a tyrant, and his son seems worse. Elendil is not having a good time, and nor are his many friends. Even his daughter has betrayed him.

And yet... despite this series being more about epic events than character, what shines here is the detail of Sauron's manipulation of the proud but gullible Celebrimbor. The Rings of Power is on fire as never before.

Agatha All Along: Circle Sewn with Fate / Unlock Thy Hidden Gate

 "Witches like you are the reason people think we poison apples, and steal children, and eat babies."

"Babies are delicious..."

This is, of course, a wnderful piece of television. Agatha is a glorious protagonist- a baddie, and unashamedly so. Witty, humorous, amoral and delightfully free wit all the meta humour.

I've no idea where this is going, of course, but it's fun. The only characters I know from the comics are Agatha herself and a version of Jennifer Kale, not that I have in fact read Steve Gerber's Man-Thing issues. I suspect the fact we (and Agatha) are censored so very diegetically as to who the teen is means he's someone we may have heard of. But otherwise this is continuity-lite. Oh, and it's an almost entirely female cast with one gay boy. This is going to annoy all the right people. Good.

This episode is a fun riff on a kind of dark fairytale structure, which is of course enormous fun... and they all get into the road just before Agatha's hooded assassins arrive. Our motley crew is now on the road, and I have no idreawhere this is going, or who or what all those animals are. But I'm proper hooked.

Elizabeth (1998)

 "It is no easy thing to be loved by the Queen. It would corrupt the heart of any man".

Before I praise this wonderful film, I'll get a few criticisms out of the way. 

So... the opening text- in a terrible font, incidentally- misspells the word "fervent"and has "halfsister" with no hyphen. And the closing text has England as "the richest and most powerful country in Europe"... er, no. Pre-industrial England, indeed pre-agricultural revolution England, was a middling country whose population was never going to be as big as a France or a Spain- England, I suppose, was more of a Netherlands or a Portugal.

Also, a lot of history is telescoped into a short time and the chronology is inevitably off. William Cecil is shown asan old man in the 1550s and dismissed early in Elizabeth's reign. Francis Walsingham is spymaster and Machiavel from day one. And did the future King Henri III of France really wear dresses and have sex with his aunt, the Queen Regent of Scotland?

And yet, I think, we have to accept this as a creative necessity. History is not easily crammed into two hours of screen time without being adjusted to fit. And this film, text aside, is magnificent.

Too often, history in cinema is shot in a dull, staid, Merchant Ivory way. Not here. Shekhar Kapur uses light, colour, claustrophobia and perspective wonderfully. We open with a truly shocking scene of three martyrs being burned at the stake, the sheer horror of it all being emphasised. Mary's court is dark and without joy, Kathy Burke giving us a Mary who has always been the underdog, and even as queen is humiliated by her neglectful husband and the nature of the cancer that kills her. She is bitter, resentful... yet cannot sign her sister's death warrant.

Elizabeth's accession is symbolised by two flashes of white light. We see the aftermath of the bloody battle in Scotland via the camera panning across the River Tweed running with blood. The look of the film is exquisite. Yet so are the performances. Cate Blanchett is, of course, a revelation, but the performances of Joseph Fiennes, Christopher Eccleston and Geoffrey Rush are equally superb.

This film is a triumph. Just try and ignore the text.

The Lord of the Rings- The Rings of Power: Eldest

 "Harfoots, living in holes! It doesn't feel natural."

This seasoin has already kicked up a gear... but now this. We have Tom Bombadil, and he;s Rory Kinnear! Barrow Wights, which look amazing! ENTS!!!

But mostly we focus on a party of elves which foreshadow the Fellowship: we also have a Caradhras moment. And we end with Galadriel, foreshadowing Boromir, using herself as bait so Elrond and the others can escape from the orcs and warn Gil-Galad that Adar's orcs are coming.

Except... that means their mission to Celebrimbor is delayed, leaving plenty of time for the forging of rings...

And then we have the Stranger finding Bombadid, about whom we learn a few things- he is the "eldest", older that the stars, yet he can only offer wisdom, not act. The Stranger is rapt with respect for him, realising his own purpose: to defeat both Sauron and this Dark Wizard, who could simply never be allowed to join forces.

And then we have Nori and Poppy who discover more halflings, the Stoor. And they discover tragedy: the Harfoots once split from the Stoors looking for some non-existent Eden... and are wandering still. Ouch! One day, I hope they find their Shire. All this is beautiful, fairy tale stuff.

But then we have Isildur, Estrid and Arondir. Isildur and Estrid draw closer... until Arondir discovers the truth: despite their real attraction, she is one of the Wild Men. We have a brilliant moment with a CGI swamp monster... but the drama is palpable. We share Isildur's disappointment when she finds her betrothed.

And yet... ENTS!!!

This season gets better and better

Batman: The Animated Series- Pretty Poison

 "She's not right for you..."

This is, perhaps, a simple episode: Harvey Dent is poisoned by his girlfriend, one Pamela Isley, the poison administered by a kiss, and all done in revenge for the flowers made extinct by the building of Gotham's new prison, Harvey's dream. And so we have some detective work and a showdown involving a splendid Venus flyutrap.

That's it.

Except... there are so many little things, so many nuances. I'm loving how we're starting with Dent back in the days when he used be more, er, singular, and Harvey's rapport with his friend Bruce Wayne is fun. I also like the script's wry commentary- what kind of man has a prison as his dream? The caption "A better, safer, Gotham" as we fast forward to the finished prison is delicious.

Then we have the juxtapostion of Batman recapturing an escaped prisoner to Harvey's description of rich businessman Bruce, who has, er, no secrets from Harvey. Incidentally, are they going for businessman Bruce, 70s style, with Lucius Fox, back in the days when Steve Engelhart did his run, as opposed to Bruce the playboy? We'll see.

Bullocks and the donuts is a delicious touch, though. As is the plot, the revelation, Poison Isley's personality and the conclusion. Even if, like me, you know who Pamela Isley is from the start, this episode is particularly good.

Agatha All Along: Seekest Thou the Road

 "Did you know that it's a universally acknowledged truth that a lasy cop cannot be good at her job and have a happy home life at the same time"

Just one episode... and, yeah, on present evidence this is going to be as good as WandaVision. Jac Schaeffer, at this point, can seemingly do no wrong.

We 're in Westview, and Agatha is apparently a maverick detective in a cop show, which allows for all sorts of fun with the genre and winys to the fourth wall, from assaulting a suspect to a boss who boss who appears to be the very person for whom the word "lugubrious" was coined. Best of all, of course, is the spoof opening titles proclaiming the show to be based on a Danish original, a nice genre touch.

Of course, we don't see the face of the mudrdered woman... but, of course, it's Wanda. And hints of both Wanda and the Darkhold slowly penetrate through the layers of Agatha's reality in time for a showdown with the rather awesome Rio Vidal.I have no idea where this is going, but it's awesome. The closing titles themselves, with Donovan and every witch in popular culture to which Disney has access, are a thing of wonder. More please.

Inspector Morse: The Secret of Bay 5B

 "We were just saying you look very, um, off duty tonight..."

Inspector Morse, somehow more than any television programme of the era, beautifully evokes the many little nuances of the UK in the late 1980s. The cars. The telephones. The fact that middle aged people, the age I am now, would never be seen in jeans and t-shirt. The casual sexism. The existence of the stay-at-home housewife. Middle aged people speaking a kind of received pronunciation that these days is the preserve only of the very old. And, indeed, the lack of CCTV in multi-storey car parks.

The story, perhaps more than most in this third series, is nicely and subtly done. We build a picture of the murdered man- successful, arrogant, a womniser with no poetry in his soul- the polar opposite of Morse who, curmudgeon that he is, continues to pursue a rather sweet romance with Dr Russell, very much not the sort of thing one may expect of the cruder Morse of the novels.

The twists at the end, just at the point where it seems we may have run out of road, are very clever indeed- and it's nice that certain points are made subtly, with no need to force feed the viewer. Sex, greed, blackmail, fury, passion... it's all here. Life is messy, complicated, often dark... yet there is also art, music and good real ale. Morse's is a melancholy world, but not one without its comforts. Much like our own, perhaps.

The Lord of the Rings- The Rings of Power: The Eagle and the Sceptre

 "You're not my father..."

More good stuff here as Sauron's dark persuasive powers continue to bear rotting fruit. He convinces Celebrimbor to lie to Gil-Galad about the rings, but convincingly, playing on Celebrimbor's artistic pride like a lute, or whatever stringed instrument elves prefer to use. And the rings are the reason Durin finally makes himself apologise to his father. We end with the five Dwarven rings about to be forged- no doubt to save Khazad-Dum from the volcano. Yet at what cost?

We also return to Isildur. His adventures are many, not least with a convincingly horrible Shelob-like arachnid. Yet he meets a girl and connects with her- future wife, from whom Aragorn will, surely, be descended?

He also meets Arondir, who struggles to connect with the orphaned young Theo... unlike Isildure, who also lost hs mother at a young age. And the circumstances of how this happened tell us much about his drive to greatness. All of this is very good writing.

Yet the true drama is in Numenor, where we return for the first time this season. All episode we hear rumours about the unpopular, blind, Queen Regent, only for uproar and revelations to derail the coronation... and for the traditional eagle (why does it not speak?) to choose Pharazon instead. 

As with every episode this season so far, this is exciting, dramatic writing, and it's about a series of character who are all flawed in their own way. Compared to the first season, a lot seems to be happening, amd fast...

Carry On Cowboy (1965)

 "I know a horse backfiring when I hear one!"

When I first saw this film many years ago I was, perhaps, more impressed than I was this time around, but it's still one of the better Carry Ons. The sets, locations and costumes genuinely look great: everything truly looks like the Old West. Although...well, the accents? Let's not go there.

We've settled into the cast we know from the peak of Carry On. Kenneth Williams really shines in a role that allows him to give a different but superb comic performance as the strait-laced yet hypocritical judge. Jim Dale is perfect as the hapless hero, and Sid James is strangely perfect as the baddie. Angela Douglas, though,is superb as the daughter seeking revenge for her father's murder. Bernard Bresslaw and Peter Butterworth now seem to be core cast members, with Kenneth Connors no longer a mainstay.

Charles Hawtrey as the chief of the "Indians"... yeah, that's weird, but they he was a somewhat weird man so that's not surprising. The stereotypes are, naturally, all wheeled out- smoke signals, "how", scalping, "firewater".

The jokes land well, as ever, the best being when the Rumpo Kid goes to "get" some money from the bank: we know what to expect from a Talbot Rothwell script. But both the production values and the performances serve to make this, if not right up with the best, one of the better Carry Ons.

Batman: The Animated Series- The Last Laugh

 "The only things gaining now are the laughing stocks..."

A second Joker episode in quick succession, and... it's a rather straightforward tale in which Batman foils the Clown Prince of Crime's very basic plan to use laughing gas as a cober for a spree of robberies. Indeed, this is all action in a way that, plot-wise, it would have worked well as an episode of the '60s series.

There's a nice bit of rapport between Bruce and the wonderfully sardonic Alfred here, though, as well as the dramatic moment where we're told that the laughing gas can eventually lead to permanent insanity, immediately before Alfred is revealed to have been affected,

There's a nice bit of peril, too, in which Batman is chucked into a barrel which is thrown down to the bottom of the river. It's fun seeing his Houdini act, although a utility belt and boat-cum-submarine are perhaps not the methods Harry would have used.

Overall, then, a basic episode, but an entertaining one. The early 90s are a long time ago, though. The newscaster speaks of people "turning into lunactics" and a "wave of foolish hysteria". Attitudes to mental health are... not quite the same now, which is very much for the best.

The Lord of the Rings- The Rings of Power: Where the Stars Are Strange

 "I'm going to open a First Age bottle!"

Another fascinating episode here, which makes it very clear, seemingly, where the main narrative thread is going. Galadriel is, of course, right that Sauron will seek out Celebrimbor and make more rings- we even get THAT rhyme about seven rings for the dwarves- next on the list- and the nine, those nine, for men.

Yet Gil-Galad is right that Galadriel is vulnerable to Sauron's deceptions. Perhaps Elrond is right about the elves taking the rings,perhaps Cirdan is. We shall see. But poor Celebrimbor comes across asso very naive and gullible here.

Elsewhere, things look bleak for the dwarves of Khazad-Dun, struggling to maintain their home amongsta changing environment- perhaps their seven rings will save them for a while, as did the three rings of the elves. And I'm sure Durin and his royal father, both right stubborn gits, will reconcile... eventually. Durin's being bullied in the mine issad to see.

... And then there's the wandering wizard, who knows not his own name. Yet he explains to his very patient Harfoot friends that he cannot just be given a name: it is his already, and he'll know it when he hears it. This, it seems to me, would not have been said if his name were not known to us.

These scenes in the desert, with bounty hunters searching for them on behalf of some evil widard, feel very Mandalorian, but they're fun.

As, indeed, is the episode. Compared to the first season, a lot is now happening, and the characters are likeable. I hope this streak continues.

Better Call Saul: Namaste

 "It is... acceptable."

Three episodes in, and Jimmy's slow paced morphing into "Saul Goodman isbeing handled well indeed. The scene where he has dinner with Howard is instructive- Howard asks full on why he's changed his professional name, and suggests it's to avoid associations with the name "McGill", Chuck and Howard's very firm.

He's right.

And yet... Howard, ever-gracious and actually pretty decent underneath, offers Jimmy a job. And what does Jimmy do? He uses those bowling balls he bought in the pre-titles to damage Howard's car. Jimmy is now committed to the Saul Goodman path- defending petty, druggy criminals while having links with dodgy people and using dodgy methods, as we (and Kim) see in court. He's far from a decent man, unprincipled, but has found a niche where he can use his actual, salesman type skills as a "lawyer".

Meanwhile, Kim is having actual moral scruples (something Jimmy would never understand) with that man whose home Mesa Verde is going to take. The solution? Jimmy. Ouch.

Elsewhere, it's ten dimensional chess between Hank, who knows games are being played but, well, we've seen over five seasons of Breaking Bad how skilled he is at working stuff out... and a very scary Gus. Giancarlo Esposito once again gives an acting masterclass.

And then there's mike, still not quite trusted after his outburst to Kaylee and clearly upset. And then there's that ending, with him seeming to wake up in an old Spanish mission...

It's exciting seeing the pieces gradually move into Breaking Bad territory, but in the short term I've no clue what's going to happen. And the key to it all is the characters. We know them so well, and they're all so real.

Martin (1977)

 "I shouldn't have friends, even for the sexy stuff."

This is a relatively obscure little curiosity from Geotrge A Romero, with no stars and little budget. No zombies either: this is a vampire film, sort of. And yet, as ever with Romero, it's really about the subtext.

Because there's nothing supernatural about Martin, whatever his elderly cousin, mind addled by religious conservatism and obsession with the supposed family history of vampirism. And yet... this is a self fulfilling prophecy. The disturbed Martin thinks he's a vampire, so he is.

His attacks are horrifying to watch. He doesn't wish to kill his victims, only to drink some blood, but his frenzies have the visual grammar of sexual assault. And the whole look and texture of the film adds to the sense of the disturbed. Low budget, hand held camerawork, naturalistic acting- for what is ostensibly a horror film this is full of realism.... except those monochrome dream sequences from the point of view of Martin's mind,which play with vampite iconography in clever ways.

Of course, the film ends in tragedy. Martin finds human connection in the form of sex, but the lady in question is depressed. She slits her wrists in the bath, and Martin's own elderly cousin blames and kills him. Martin may be disturbed, but is he not a victim too? A victim of backward superstition? And is his elderly cousin, and the old stupidities he represents, the true monster?

A cheap film, yes, but an engrossing and important one. Note to self: watch more Romero...

The Boys: Season Four Finale

 "I used to freak out whenever I saw blood. Now I barely blink at it."

Wow. That's how you do a season finale. Deeply satisfying, emotionally deep, devilishly clever and with the mother of all twists at the end. And, of course, it's about something. Far right skulduggery while certifyuing a US presidential election on January 6th, plus all the horrible Vought propaganda... yeah, this is not too far removed from realty. Indeed, that scene where Homelander is disgusted at Firecracker's coughing and humilates her for it, despite the fact it's a side effect of harmful drugs she's taking so that he can, er, you know... that total, cold ingratitude: he's Trump, isn't he?

The way this plays out is brilliantly done. Before the devastating endfing we have moments of hope. Yes, Annie is disgusted at Hughie for sleeping with her doppelganger, but she doesn't dump him. And Hughie's speech about forgiving a repentant Victoria Neuman persuades Frenchie and Kimiko to forgive themselves- and, at last, kiss!

But this is bleak, and seems to be leading inexorably to a dystopia, with Homelander's puppet as president. Billy Butcher is dying. The anti-supe virus isn't ready. And yet... the assassin is defeated. And Butcher reveals the power he's unknowingly had... and uses it to kill Neuman, a horrible, yet perhaps necessary act from a man who may be opposed to the baddies, but could never be called a hero. And the failure to persuade Ryan- and his casual slaying of Mallory- is horrible. As is Homelander's casual order to kill everyone on staff who knows too much.

So the ending, with Homelander thinking he's lost until Sage turns up and reveals it's all gone according to her plan, is inspired. Dystopia achieved, and Homelander has a newfound awe of Sage.And... most of the Boys are caught, no doubt destined for internment camps. Annie escapes though. And A-Train is out there somewhere. And then there's Ashley, last seen having taken V and undergoing ba horrifying transformation...

This is utter, utter genius telly.

The Lord of the Rings- The Rings of Power: Elven Kings Under the Sky

 "If, as you say, these rings have so quickly turned elf against elf, it would seem he has succeeded".

The first season of The Rings of Power was not always perfect- episodes were overlong, which is a worry here (77 minutes???!), and the season dragged at poinrs. Yet I enjoyed it overall and feel the critics were somewhat harsh. While Amazon Prime dropping three episodes at once(!), just as with The Boys, again plays havoc with my schedule, I'm glad it's back.

And this is an intriguing start. One subplot involves Nuri and the Stranger on their travels, as it becomes clear that the Stranger is indeed a wizard ("But perhaps wizards are not always fair") of some kind, memories or at least impressions beginning to return. I'm sure we shall learn more as the season goes on. Gandalf? Perhaps too obvious. A young, uncorrupted Saruman? We shall see.

We also have the beginning of what promises to be a protracted power struggle between Adar and the being he knows not to be Sauron... yet Sauron, despite his apparent humbling, is ever weaving his webs, from Mordor to the halls of the elves. For we see conflict between Gil-Galad, Galadriel and Elrond, none of whom are quite in harmony. And we see, of course, the three elven rings being finally worn- including, as we would later see in the films, by Galadriel. And, if we did not already know that rings mean temptation, we see a scene in which it literally proves impossible for even the wisest of elves to destroy them....

This episode is superb, visually gorgeous... and deeply ominous. Things are beginning to move towards a Second Age of which we have heard glimpses...

Better Call Saul: The Guy for This

 "It's not about what you want. When you're in... you're in...!"

I often note the artiness of the openings to these episodes, but the one here, with the fire ants climbing last time's ice cream cone as though it were Everest and, eventually, incrementally, disposing of it... wow. That's superb.No sure what it's supposed to conver- the transience of human existence in the wider context of nature?- but wow.

The "a" plot here, with Jimmy, is superbly exciting. Firstly, we get to meet, er, a "younger"(!) Hank and Steve Gomez, but they're just patsies in a plot by Lalo and Nacho (it's short for Ignatio, the penny drops!) to screw over Gus... and, of coutrse, this involves using Jimmy (Saul?) as a lawyer. It look as though this is just the first of many times too. Yet, despite the ethics, Jimmy's lack of real choice and, worst of all, Nacho's truly terrible car interior decor, this is a lucratiuve day for him, pointing towards the future. It's nicely done.

Kim's "b" plot is very different. She seems displeased at having to work for Mesa Verde these days: her heart is in her criminal work, morals above money. And yet, given a morally dodgy job to do- helping evist a man from his house- her attempts to do good are rejected. Is she becoming more Jimmy-like? Is her arc one of eventual corruption and darkness?

Meanwhile, we see very little of Mike... but he's not in a good way. What happened to Werner is REALLY getting to him.

This is a very impressive episode, more so even than usual. Yet I can sort of see where Jimmy's arc is going. Kim's, and Mike's, less so...

Die Another Day (2002)

 "What are you? CIA?

"NSA..."

I was spoilt for choice for quotes. This may not be the best Bond film ever, but it's one of the very best for double entendres.

Yes, I know, it's reputation isn't great. And yes, it's flawed. I sisliked it back in 2002. And yet, on today's second viewing... is it really that bad?

Yes, we have the invisible car and really quite out there sci-fi elements. But I wasn't as bothered about that this time for some reason. And yes, the plot doesn't quite make sense. And it's a bit harsh for Bond to be in the doghouse for supposedly cracking under torture!!!

But I was entertained. Even the universally panned theme song... well, the production is truly horrible, and it's a waste of Madonna to use her in a song like this, but if you look past the horrible autotune and production issues, the song itself is fundamentally good.

Yet we have a good villain, however preposterous his backstory. Halle Berry is... well, adequate as a Bond girl, and gets a nice little scene involving a laser beam that's a nice little homage to Goldfinger. There are some nice locations in Cuba, although by the time we get to Iceland there's far too much CGI. That becomes a problem during the car chase action sequences, too.

And it's all very, very early 2000s, all waterboarding torture and conflict diamonds and smoking at work.

But fundamentally, this film is far from terrible. Perhaps the bad reception was because of everyone now having seen Austin Powers, meaning the format needed to become more serious to survive, and this film is gloriously silly?

The Boys: The Insider

 "Necessity is the MILF of invention!"

Brr. That fascist puppet show is the creepiest thing ever. But it's a sign, yet again, of just how on-the-nose The Boys is on the truly terrifying fascism of Trump and all the other MAGA terrorists.

So much happens in this penultimate episode. There's a shapeshifting baddie. A-Train comes good... and reveals himself as the leak: no going back now. Is this a redemption arc? It's chilling, though, when Starlight says he was "born uppity", just before a distraught Homelander fires Sage, who is . But a depressed Homelander is a dangerous Homelander, especially once he sees what Ryan's done on national TV. All this is at once clever plotting and good characterisation.

Then there's Butcher's collapse, Kimiko's connection with Frenchie over their scared guilt for past murders... and her near death. There's MM coming close to leaving for Belize with his family... but deciding to fight the good fight anyway. This seems ominous. Is he going to die in the finale? Alongside, surely, Butcher?

Then there's Webweaver's humiliating death, harsh even for someone as deeply masochistic as him.... and oh, the Deep. It's almost tragic how his octopus lover gently confronts him about Sage, only for him to instictively end up killing her, her last words being that she loves him... and later on he finds out that Sage has also been doing it with Black Noir. Ouch. The Deep has to be quite the most impressive charcterisation of a truly pathetic, contemptible man I've seen pretty much anywhere.

Gulp. Here comes the finale. It promises to be good...

Update

 I’d hoped to be posting as normal tonight but, alas, I’m utterly knackered after a more than usually long drive.

But the usual schedule will resume from Wednesday- The Boys; Batman:The Animated Series; The Sweeney; Better Call Saul… and the new season of The Rings of Power. 

The Tuxedo (2002)

 "The name's Tong, James Tong."

So I know I'm not blogging much this past fortnight while I'm in full on dad mode and focussing fully on Little Miss Llamastrangler- back to normal sort of schedule from Monday or thereabouts. But last night I happened to see this Jackie Chan film, pleasingly undemanding to my mind which this week is perhaps less prone to being a pretentious git than usual.

This is basically a comedy-cum-action thing where Jackie Chan does his comedy thing of playing an ostensibly hapless protagonist but having a pretext- in this case, basically a magic tuxedo that confers awrsome martial arts abilities on its subject by means of fancy CGI nanobots- and there's basically an action story riffing loosely off James Bond tropes, with a bit of sparks with Jennifer Love Hewitt's Del Blaine which inevitably ends in them getting together.

In short, this is a by-the-book action film of its time, entertaining enough with its CGI insects and James Brown cameo. I enjoyed it... but, well, as action films of the period go, it's fairly anonymous. Interestring, though, to see Chan for the first time in his later, Hollywood iteration.

But what's more interesting, perhaps, is that this film was made just two decades ago... and these sorts of generic, original action films marketed via a star rather than being a sequel or using existing IP are sort of, well, dead.

An Inspector Calls (1954)

 "I don't know anything, not any more..."

I saw the original J.B. Priestley play in the West End, many moons ago, and it made a big impression on me. So much so that, having seen the play once, I was able to recall a surprising amount after a couple of decades, and predict what would happen next.

That is not, of course, to criticise the play, a trenchant commentary on the entitled and sometimes murderous arrogance of those who take their privilege for granted. The world, even in 2024, is full of Eva Smiths, and of Birlings who need taking down a peg or two.

The play suits adaptation to film well, with a number of flashbacks, and the largely character actor cast is solid, with Jane Wenham being particularly impressive. Yet Alastair Sim owns this film. He is menacing, magnetic, charisma itself: the quiet, otherwordly centre upon whom all things revolve. This is a career defining performance.

Guy Hamilton helms the film in a straightforward, unshowy manner, perhaps. Yet that is exactly what is needed here: directorial restraint. Simply using the words and the performances to carry the devastating story is exactly what is needed here. 

After this performance from Sim... it would surely take extreme bravery for anyone else to portray this part on film.It's a rare film which is elevated to greatness by one performance... but this is certainly one of them.

Scanners (1981)

 "You murdered the future!"

Before I get into it... yes, I haven't blogged for about a week and there won't be much for the next week either. Nothing bad, just life stuff.

It's been a while since I blogged a Cronenberg, hasn't it? Don't get me wrong: all his stuff is bloody good. But the early body horror films are particularly delightful... if that's the word.

This film is a masterpiece. The use of the camera and of music, as ever, creates a uniquely Cronenberg atmosphere. Interior spaces always seem so very liminal. And then we have the subject matter... psychic nutters who can read your mind while making you feel ill, move objects with their mind... and make your head explode. There are some deeply effective body horror moments, not least with the duel at the end. Those pulsing veins... brr!

The performances... well, they're generally bland, Michael Ironside and the ever-superb Patrick McGoohan being very much the exception, but it doesn't matter. This isn't a film about characters, about people. It's about themes, the horror, the ongoing mystery and the visuals.

The big reveal at the end, about what's really been going on, is clever, satisfying and topical. Big Pharma can indeed be a bad thing. Just, y'know, don't let that lead you down the rabbit holes of anti-vaxxer nonsense or "alternative" medicine.

Do you feel a nosebleed coming on...?

Batman: The Animated Series- Nothing to Fear

 "I am vengeance. I am the night.I am Batman".

Three episodes in. No Robin this time. We've had Man-Bat. We've had the Joker. Now it's the Scarecrow... and his introduction is excellent, certainly the finest episode so far.

It helps that the animation style used to depict the Scarecrow- less realistic, genuinely using the grammer of horrow, slightly cartoonish- is perfect. Yet the script gives us a perfect introduction to the character. Batman's greatest fear is fitting- the disappointment of his father in the playboy/vigilante he's become- and is perfectly set up.

The rapport between Gordon and Bullock is fun, and I love the early-'90s, mildly sardonic Alfred.

It's also fun to explore the series' visual style, not quite realistic, very much influenced by the Tim Burton aesthetic of the movies. And I was amused at both the airship and the Scarecrow's underlings looking like hoods from the '40s, complete with homburg hats and tommy guns, in a deliberate ambiguity as to the time period.

This episode is a real step up. I'm hoping and expecting now to see just what the hype is about...

The Sweeney: The Placer

 "Jack Regan, this is your life..."

I'm still so behind with The Boys, plus there are only two episodes left... it can take it's natural place in the order in which I'm blogging my varioius shows. So tonight it's back to The Sweeney. 

Anyway, this is a well done episode with Regan undercover trying to sniff out the big boss of a loads of villains, full of twists and turns as Regan takes increasing risks to try and incriminate Harry. It's a fascinating type of episode, at once... well, no so much a woodunit as a "provedunit", and filled with peril as Harry risks exposure at every turn. The scenes where he's caught, yet distracts Harry with his girl's unfaithfulness, are gripping.The conclusion is horrifying and satisfying in equal measure.

Oddly enough, despite fleshing out Regan a fair bit, this is quite narrowly plot,plot, plot compared to many episodes. And Haskins is... well, almost supportive here!

A good episode, then, but not one with much subtext or depth beyond the obvious. John Thaw certainly rocks that moustache, though....

Better Call Saul: 50% Off

 "Dude, that's almosthalf!"

I love these kinds of episodes- slow, building up to something, lots of character stuff, lots of room to breathe.

We're fainly fcusing on Jimmy- busy busy busy with his new, Saul Goodman, type of criminal law stuff, and having to juggle things- proper con man stuff. And, of course, his massive discount sparks off a minor drime wave... but hey, it's all about Jimmy, as ever. Never mind the little people who get hurt.

The relationshiop between him and Kim... well, she's busy and blows off a movie night. Are they drifting apart, with their obvious ethical differences, and that nonsense with the big house being obvious pie in the sky? Well, yes... but we still see him charming her as ever.

It's an interwsting scene with Mike, too. At first we see his wholesome grandad side... but then he lashes out angrily at Kaylee when she asks too many questions about her dad being a police officer. This is a fascinating scene... but I'm sure, too, that it's leading somewhere.

But most fascinatingly, perhaps, we have Nacho. His father threatened by Gus, he has to gain Lalo's trust in order to relay thingsback to Gus... and does so in pretty much the most badass and hugely entertaining fashion possible, in a sequence that has to be the highlight of the episode... but what does he want with Jimmy....

Superb stuff, as ever.

Robin Hood: Prince of Thieves (1991)

 "That's it, then. Cancel the kitchen scraps for lepers and orphans.No more merciful beheadings. And cancel Christmas."

I've seen this film many times, but not since the turn of the millennium. It is, of course, a highly entertaining Hollywood blockbuster, perhaps the most popular celluloid version of the Robin Hood myth. Yes, Kevin Costner is... well, adequate, but we all know the real star is the late Alan Rickman. Was ever scenery chewed with such aplomb? This is one of the finest bits of moustache twirling villainy in cinematic history, and perhaps the performance for which Rickman will be best remembered. 

And it's a fun film, lots of set pieces. It's good. And yet... it drags a bit in places, doesn't it? And... we need to talk about Robin of Sherwood.

Yes, Azeem, the character played superbly by the always excellent Morgan Freeman, is clearly based on Nasir, and no previous version of the legend had included such a character: the film was lucky not to get sued. Yet the overall plot, the feel, and especially the climax feels suspiciously similar to the TV series, right down to the mild fantasy elements in the person of the witch character.

The geography is, of course, hilarious, and not only the start of the film where the White Cliffs of Dover are apparently within easy walking distance of Hadrian's Wall. The implication throughout is that Nottingham is in some way close to London, and that the Sheriff is in some way a figure of national imporance.

The revelation about Will Scarlet is hilarious too. And doesn't quite feel plausible how Little John's merry band so easily accept Robin as their leader.

Despite all that, though... ah, it's fun watch, and what more do we want?

Carry On Cleo (1964)

" Infamy! Infamy! They've all got it in for me!"

Yeah, like any other quote had the remotest chance of being chosen...

We know the format by now- the Carry Ons are six years in at this point, hugely popular... and this is the third instalment in 1964 alone. We know what territory the films can explore- this is the second to be set in the past. The cast is set- although this time Jim Dale is promoted to a more major role and we get a delightful cameo from Jon Pertwee.

We get a load of delightfully awful jokes (a soothsayer who says "sooth, sooth"!) and more fascinating little time capsule nuggets revealing the way things were in 1964- Caesar has difficulties in the senate when talking about the "winds of change" and is heard to protest that "You've never had it so good!" And, well, the less said about Cleopatra's blacked up bodyguard the better. It was another time...

On paper, this should have everything. But, for me, something doesn't quite click here, and I can't really say why. It's not the gleefully deliberate historical inaccuracies. The script may not, perhaps, be as good as other Carry Ons but it's perfectly good. The performances are excellent as ever.

Could it be, perhaps, that while Kenneth Williams is excellent as ever he may be a little miscast as Julius Caesar? Whether so or not, for me this one does,'t quite come off on the whole.

Who on Earth Is Tom Baker?

 "My mother beat me up many times, of course. Things were different in those days, before penicillin."

I last saw this in the '90s at some point, as a teenager. I enjoyed it, certainly, but was looking at it very much through the prism of Doctor Who fandom... which is, of course, a wonderful thing and a big part of my life. And yet... one should see Doctor Who, like everything, in its social and cultural context, and see Tom Baker for who he is: an actor... and a human being. All of which is to say that I thoroughly enyoyed this the second time round.

This is, of course, a thing of joy. Far more than the Dickens and the graveyards and that anecdote about the taxi driver, this is a fascinating look into the mind of a thoughtful, philosophical, cultured and highly intelligent man whose upbringing in such poverty and ignorance gives him a certain understated wisdom and eloquent, hinting at deeper things while deliberately refraining from forthright statements. This is a man who loves ambiguity, to be playful with ideas, who is wary of those wity too much certainty.

His musings on his upbringing, the interlude asa monk, the omnipresence of God, the quality of the bottle of red with which the video ends, the inferiority of sunsets to Turner...one can understand why this man was considered, in his heyday, to be the sort of with who would regularly spar verbally with the likes of Jeffrey Barnard and Francis Bacon after a pint or twelve.

If you can track this down- and there is, ahem, a very obvious place- and you're a fan of Tom, see if you can watch this. It's a thing of wonder.

Alas, it also shows the passage of time. Tom is ninety now. In this he's a fit man in his fifties, and surely 1991 can't be all that long ago...

Douglas Is Cancelled: Episode 4

 "I'm an avenging angel of dearth, from Newsnight. And you're Prince Andrew."

Wow. This episode is a tour de force of television scriptwriting and performance, and surely the extraordinary highlight of Karen Gillan's career so far. She truly is superb as Madeline here, as she finally and cleverly takes down Douglas, an unstoppable righteous force in an episode that brilliantly examines all of the issues arising from #MeToo. Wow.

So many elements here compliment the core message personally. We have the hapless, thick, casually misogynisic "comedian", tasked with coming up with "family friendly misogyny from a happier time". We have Douglas's increasing panic, followed by misplaced confidence. We have the slow destruction of Claudia's faith in her father. We have that gloeious confrontation between Madeline and Sheila in the ladies'.

And yes, we have Douglas cancelled, hot unfairly, because of a joke that truly was awful. There's nothing really unjust about that, despite the twist that his career ends because of an entirely separate joke for which he bears no real blame: the joke he did tell was inexcusable. And yet... Toby gets away with far worse, because Madeline, in a world of double standards, woukd bring herself down with him. And perhaps the point, the real point, as Madeline says, is that we men who are not like Toby really do need to step up.

The Boys: Dirty Business

 "Are Jewish space lasers brainwashing you into joining ther shuls?"

The above isn't the only appropriated quote from America's far right- we also have that old "legitimate rape" line and talk of a total ban on abortion, heavily dog whistled white supremacism and pushing of an oligarchy where the super rich can do what they like without regulation. It's all perfectly judged satire, highly appropriate in a week where the boy Drumpf said the quiet part out loud.

I've no intention of recounting all the myriad plot threads that you get in late season episodes of The Boys: there's a lot going on here. But the satire is the point. So is the hypocrisy. Hence the fact that these social conservatives have a BDSM dungeon, and we get a scene at once hilarious and horrifying, where Hughie, undercover as a very interesting riff on Spider-Man, is put in the situation of not knowing the safe word for the person he's supposed to be. Literally, ouch. Yet this all turns truly nightmaring.

I love the Batman parallels, too- Tek Knight is blatantly a Batman analogue, with an old money background, a masion and a "Tek Cave". Yet he's plotting to build internment camps... and his Alfred hates his guts.

Then there's the revelation about Butcher... Kessler is as much a hallucination as Becca, the devil and angel on his shoulder, respectively. Is he really going to engineer a virus for supe genocide...?

But even that pales beside the revelation of exactly what Firecracker is willing to do for Homelander. Wow. I mean, this is a blog, but words fail me. Exquisite, outrageous television that perhaps does more than any other art to show the true existential threat of the American Republican party to everything we hold dear.

Inside Out 2 (2024)

 "Maybe this is what happens when you grow up..."

So today, having watched the original Inside Out, today it was off to the cinema with Little Miss Llamastrangler to see a seqiuel that's come out a massive nine years latert. I suppose one may be inclined to see that as a worrying sign, as well as the fact that the main point of the film- puberty- was telegraphed all those years ago.

So is this the equal of the first film? Well, no, not really. But it's still good, and Little Miss Llamastrangler loved it, which counts for an awful lot as far as I'm concerned. The way the concept was handled was superb. New emotions such as Embarrassment, Envy, Ennui (my absolute favourite)... and the superb Maya Hawke absolutely stealing the show as Envy.

Wisely, the film takes place over a limited period of time in Riley's life, as she goes to an ice hockey camp where she absolutely must impress, and is torn between old and new friends. The horrors of sexual awakening, I trust, can wait until the next film, presumably in 2033.

The plot works out well, with lots of nice little humorous moments. The ultimate resolution is a little trite, though, and the film overall doesn't have quite the pizzazz of its more original predecessor. Nevertheless, these things are hardly crimes, and the new emotions are great. This is well worthy seeing.

Inside Out (2015)

 "Forget it, Jake. It's Cloudtown."

This is a film chosen not by myself but by Little Miss Llamastrangler. It's been a while since I've seen a Pixar film, and this one I's never seen before.

Yet I've never seen a Pixar film I didn't like, this one included. It's not necessarily a genre I'd usually seek out, but good films of any genre can be hugely enjoyable. I mean, I've even watched and blogged Grease...

I must admit... I'm a Brit of a certain age. So, with apologies to those who don't get the reference, I was very much reminded of the Numbskulls from The Beezer. But the concept was superb. On, on the surface it's about a littlre girl's anthropomorphised emotions, yes. But it's about the uncertainties of change, especially rocky ones, when one is growing up.

And it's also about the necessity of sadness, too. We know what Joy is for. Anger, Fear and Disgust protect us. But Sadness? It takes the whole film, more or less, to effectively drive home the lesson: we could all do with a bit of melancholy, sometimes.

We also have lots of little in-jokes from the grown-ups, a random supporting role from Kyle MacLachlan, no less, and some bloody brilliant imaginitive concepts. Not, then, the sort of film I'd often seek out, but very good stuff nonetheless.

Update

 This is just to say that, for life reasons, updates may be thin on the ground this week. All will return to normal after next weekend, though, fear not.

The Boys: Beware the Jabberwock, My Son

 "It's an absolute wonder to me that you've all managed to live this long..."

Oh my. Only The Boys could possibly do flying killer sheep infected with Compound Vi quite like this episode. As ever, this is exquisite.

So many little touches. I love, once again, the little bits of Vought advertising excess, with its tone deaf attempts at diversity and the blatant not to Kevin Feige's public unveling of the next raft of Marvel films.

There's so much more, though. The ending, when Billy Butcher reveals what his real, devilishly clever plan was. The links to Gen V. Homelander's slowly successful corruption of Ryan. Ashley's cold betrayal of the ex-sub whoi dumped her, framimg him and ensuring his horrible death. Seeing Stan Edgar again, and his commentary on everyone. Firecracker really going all out to destroy Annie.

And yet there's real heart here. Frenchie's terrible guilt, and Catholic guilt at that, over all the muders he's committed... and what it spurs him to do. 

But the real, incredible, heart-wrenching tragedy here is, of course, Hughie and his dad, with a tour de force performance from Simon Pegg. The dynamics between Hughie and both his parents here is utterly incredible. 

And yet, even here, there's glorious amounts of gore. Ah, The Boys. Like nothing else on telly, and I love it so much.

Douglas Is Cancelled: Episode 3

 "You do want the job, don't you...?"

Wow. This is a sudden, effective and blatantly deliberate shift of tone from the previous two epidsodes. And it's incredible.

The whole episode is a flashback to Madeleine's past, her first meeting with Douglas... and how she got the job. By the end, we pretty much know what Douglas said at the wedding, and how utterly unforgiveable it was.. And that isn't even the point.

The vast majority of the episode is a two hander between Madeline and Toby. Ben Miles is excellent but Karen Gillan is utterly sublime, playing the discomfort, fear and resignation of a woman who, despite her poise, despite being wise to the gaslighting, The script is outstanding here, showing us the horrible reality of #MeToo as experienced in reality by so many women. So many nuances are there in the script. The gaslighting, the power imbalance, the sheer horror.

And, in the end, Douglas opens the door, sees what Madeline is going through... and advises her, in those words we've heard before, that whatever she has to wade through, it's worth it.

Wow. This isn't the type of first class television I was expecting after the first two episodes. But it's certainly first class television.

The Batman (2022)

 "It's all connected."

While the later films didn't quite manage to maintain the excellence, one would perhaps naturally assume that Christopher Nolan had perfected the Batman film back in 2005 with Batman Begins. Yet it would seem not. We have a new contender.

So why is this film so good? Wisely, it skips the origin story and, notably, focuses on a very realistic portrayal of Gotham, with zero supernatural or sci-fi elements. The film is superbly and stylistically shot. Robert Pattinson is perfect as Bruce Wayne, while Zoe Kravitz and Jeffrey Wright also excel.

The use of villains is also excellent. This is a brilliant way of using the Riddler, while Penguin is toned down to become a mere mob boss, no doubt to appear again. The character of Selina Kyle is very well written indeed.

Yet this is at root a crime film very much reminiscent of the Saw franchise and not only in its visual style. Not necessarily in terms of the tiresomely excessive gore but the elements of those films that were actually good- the dark, almost hopeless feeling that violent, corruption and despair are ever-present, and the complex, multi-layered mystery, something which works supremely well here and makes everything feel very fresh indeed.

Yet what works even better is the way the Riddler is reinvented in the vein of Jigsaw, as a crusader for truth. Even better, there's a thread of Gotham having dark secrets in its past, which is used to comment wryly on the extremely harmful conspiracy theory online culture that exists today. It makes the point, rightly, that conspiracy theories are not mere harmless fun.

I hope this film is the first of several. It certainly seems to be setting things up for the future. Overall, though, this film is a triumph..

Downtime

 "I thought I was in Cromer..."

I know: still suffering Doctor Who withdrawal.

This is another one of those curious oddities from, ahem, "the Wilderness Years", as we Doctor Who fans call the '90s. I saw Shakedown not long ago, I enjoyed it despite its endearing flaws, so I thought I'd watch this. Any good?

Well... no. I mean, on paper, it seems good. Filmed on location, a sequel to The Abominable Snowmen and The Web of Fear, loads of old actors and characters. And yet...

The direction is flat. Marc Platt's script has it's character moments and lots of nice metatextual lines, but it's a mess. There's a heavy focus on Victoria, with Deborah Watling being very good, and a welcome appearance from her real life father Jack Watling as Professor Travers. Nick Courtney is superb, as ever, as the Brig, and has a nice little family subplot. And, yeah, this is totally why UNIT today is led by Kate Lethbridge-Stewart.

Yet Elisabeth Sladen, despite being very good, is woefully underused as Sarah Jane Smith, and there's a little too much going on. And, despite some good character stuff, the plot is very muddled and oddly paced. And yes... inevitably, the whole thing looks very cheap.

This is an interesting curiosity, perhaps, and far from terrible, with very real good points. But it's not exactly great, sadly.

Douglas Is Cancelled: Episode 2

 "They execute gay people and it won't stop raining!"

Two episodrs in... and this is wonderful. Rain in Dubai, the crap comedy writer, the awkwardness between Toby and the taxi driver. But mostly, it's the wit, and the characters. Oh, the characters.

Madeline is much more centtre stage this time. We get to see first hand how she manipulates Douglas. On this occasion he's gone in there all cross and about to demand she remove the tweet... and she gets him to retweet it. But the whole thing is a kind of fight over Douglas between Madeline and Sheila, both of whom want to prep him for the interview he's going to have to endure soon... and then we end with Madeline dropping that bombshell. She's an utterly fascinating character, with far more depth to her than initially meets the eye, and so much cleverer than everyone else.

This is masterful storytelling, and halfway through the series we still don't know what Douglas' joke actually was. But the whole thing is engrossing. The entire cast shines, but Karen Gillan, Alex Kingston and Ben Miles are utterly superb. The real star, though, is the script. Steven Moffat can sooo do comedy thst makes you think.#

Is it me, or is Douglas inexorably headed towards absolute doom?

The Boys: Wisdom of the Ages

 "Your life is literally in your hands..."

Wow, This is a dark, dark episode. For a start, much of it consists of Homelander slowly torturing, humiliating and killing those who made his childhood so damaging. It's all good character stuff... but damn, it's dark.

But so is everything else. Sage has her own demons, unable to be free from the burden of her genius. So much so... that she gets her toyboy the Deep to give her a te,porary fontal lobotomy so she can dumb down for a while.Wow. And that's only the second grossest moment in this episode. The worst is... you know.

Then there's the dying Butcher, the little worm that's roaming in his skin, and that... explosion or something that saves his life. Frenchie finally confesses to Colin. Hughie does his ultimaterly fruitless little deal with A-Train... and what's happening with his Dad?

And yet... the most distressing part of the episode is how cruelly Firecracker (who at one point say to Sage "You know, when I first met you, I thought you were kind of uppity. But you're one of the good ones"... just wow) ruins Annie's life on television via a six hour hatchet job. Liberals are always held to higher moral standards than fascists, because we have morals and they don't. The asymmetry explains why they succeed, and why we must sometimes compromise on our ethics in order to crush them.

This is darker, more of a downer, than most episodes. But, as ever, besides the grossness and the cynicism is a real moral outrage.

A Game of Thrones by George R.R. Martin

I watched an episode or two of the television series many years ago... but hesitated. Should I not read the novels first? And so, during the Coronavirus plague, I started on the first novel, began to enjoy it... and alas, could not continue, as life was simply too overwhelming and would not stop.

Now, finally, I've read the first novel and oooooh... I see exactly why these novels are so revered. George R.R. Martin has produced a fictionalised mediaeval world that feels real, characters whom one feels one knows, and prose in which to get drunk. Reading this novel is a rich and fulfilling experience, and I have many more to go... possibly with a final novel to go unritten, but for now, I care not. 

Martin is, I suppose, an epic fantasy equivalent of Patrick O'Brian, of yetbeyond his genre. His setting, the continent of Westeros, has the sense of deep history that Middle Earth does, as the book takes us from a loose kingdom united under a week king to a state of utter chaos and civil war, and does so via chapers that each focus on the viewpoint of a single character, all with their own view, desires and quirks.

The situation is, I suppose, similar to the Wars of the Roses, yet there is no exact parallel: one cannot say that the very unpleasant "King" Joffrey is wholly based on Edward IV, for example. The fantasy elements are kept light, yet- at the ending especially- they are there. One cannot help but feel that, as Caetlyn fears, the men of Westeros will cause so much death and destruction fighting each other.... and we know, as she does not, that Danaerys is waiting.

Exquisite.

I plan to alternate A Song of Ice and Fire with another novel until I've finished. So, a shorter novel next. Then A Clash of Kings...

Douglas Is Cancelled: Episode 1

 "That's not ambiguity.That's plausible deniability."

Yes, I know, I've sort of had to temporarily pause my ongoing series that I'm blogging in order to frantically catch up with The Boys after three episodes bloody landed at once. Now ITV have gone and released a new comedy drama by Steven Moffat, so my schedule lies even more in tatters. Grr.

I must say, though, this first episode is bloody brilliant. The premise seems very ho-hum and meh: a news presenter is overheard telling a sexist joke at a wedding and suddenly his career is in the balance. At first glance it looks as though we're in for a tiresome, heavy-handed rant about "cancel culture"... but of course, not.This is Steven Moffat, and he's much cleverer than that.

What's particularly clever is the actual joke itself is held back. It's "Schrodinger's joke". We end the episode on tenterhooks not kmnowing how bad it is or how bad things are.

Hugh Bonneville is excellent as the eponymous Douglas, and so is Karen Gillan as his subtly clever co-host Madeline. But utterly standout performances from Ben Miles as the most cynical producer, and Alex Kingston as the gloriously weary Sheila, utterly steal the show. This is clever, witty, topical (we get lines like "I work with people who hack your phone") and very thoughtful comedy drama. I'm hooked.

This Above All (1942)

 "A man ,must have integrity..."

This is another British war film, reasonably obscure despite starring Joan Fontaine, and a fascinating snapshot of the age.

It is, I suppose, a wartime romance on the surface. And the performances and characterisation are excellent. Yet at its core it's far more philosophical- about the ethics of war, of duty, of what's being fought for- in a way which could only have emerged in the middle of the Second World War.

Prue is a young, aristocratic lady who scandalises her rich family by joining the WAAF... as a private, despite her upbringing, wanting to do her part, frustrated by the stuffy life of privilege she sees around her by those who see the War as an inconvenient intrusion on their comforts. Clive, meanwhile, is a brave soldier, Dunkirk hero, mentioned in dispatches... yet AWOL and on the brink of desertion not from cowardice but disillusion with the privileged nonentoities whom he percieves to be in charge.

The narrative plays out as the well-done melodrama that it is, with a happy ending after many twists and turns. Yet what lingers most about this film, aside from the very contemporary attitude towards pre-marital sex, is that yes, the message is one of patriotism, of duty, of honour. But it is also a film, pointing forwards to the 1945 election, that Britain has come together for the war and so must never again go back to the old ways of privilege, poverty and a nation divided.

This film is no more than quite good, I suppose. But it's a fascinating snapshot of the age.

Shakedown: Return of the Sontarans

 "Called himself the Physician, or the Dentist, or something..."

The new season of Doctor Who is over. I need something for the withdrawal symptoms, really rather urgently.

This is another of those fan-made, straight to video dramas made during Doctor Who's "wilderness years". Made on a shoestring by fans, they were nevertheless fascinating. Often featuring actors from the show, as well as other British telefantasy series such as Blake's 7, they varied in quality, in truth. Many of those fans making them would go on to greater things, though, and for what they were- and their minuscule budgets- they were very impressive.

This, which I've now seen for the first time, is undoubtedly one of the best.

The script, from ever-reliable Terrance Dicks, is genuinely witty and full of twists and turns. The Sontarans here are supremely designed, wtritten and acted, coming across as a very three-dimesnsional species. The Rutans are used well, with surprisingly good effects.

And while the performances are variable, Brian Croucher truly stands out. So does Carole Ann Ford, playing a much deeper and interesting character than Susan ever was. 

Location shooting on HMS Belfast, and creative use of camerawork, makes this look far less cheap than it doubtless was. It's not quite a prodessional production and that shows in places- it looks as though the performances are not always well directed. Yet, with a very strong script at its core, this is a highly impressive piece of work.

The Boys: We'll Keep the Red Flag Flying Here

 "Elon Musk has more charm than he does. And she's half-android."

This episode proves that, good as the last two were, it's possible to get even better. Such a brilliant, perfect, nuanced piece of television.

There's all kinds of very contemporary subtext here, with Vought and its cronies pushing superheroes as a far right wedge issue. There's a man with a gun who nearly murders some of Starlight's followers because of a crazy, Pizzagate-style conspiracy theory. There's a nod to the concerning transphobia epidemic that's rife today, Sister Sage's sinister Project 25-style plans include plans to remove all books covering "critical Supe theory" and allowing Supes to outrank the police and military. Brr.

Yet the character stuff is deep. Hughie finally gets to see his errant mother as a real human being, who left her child not becaudse of innate evil but because it was the only way to save herself folloeing a suicide attempt caused by post-partum depression. Wow. Sister Sage and Firecracker join the Seven... and, very cleverly, after we've come to realise what a nasty, MAGA piece of work Firecracker is, the rug gets pulled out from under us: she genuinely comes from nothing, and had her life chances ruined by thirteen year old little rick girl Annie... and "People don't change". Wow.

Meanwhile, Kimiko realises she has to face her past and overcome her deomons, while Frenchie refuses to share about him, retreating into getting high, having to face not only that he's killed Colin's family but has murdered so many. It's interesting to see where they're going with this. M.M. struggles with leadership, the new Black Noir struggles with his acting, and the Deep has a love triangle going on with Sage and, er, an octopus.

But the real meat of the episode is the tug of war between an increasingly scary Homelander and the dying Butcher for Ryan. Butcher and Ryan have a truly affecting scene, Ryan clearly seeing Butcher asa flawed, damaged but ultimately good man. Homelander, meanwhile, is casually leaving a trail of human bodies behind him... but what't that multiple personality moment at the end? He has to go "back to the start?"

As ever with The Boys, I've no idea where this is going. But I bleeding well love it.

The Boys: Life Among the Septics

" I swear to God... stupod people who think they're smart make me want to eat my own ***."

Yet again, there's a lot going on here, early in the season though we are. Sister Sage continues to be fascinating- the smartest person on the planet and utterly amoral. She has ber own agenda too, and we start to see parts of it. Despite her obvuous disdain for the subtle racism directed at her, she is ultimately a supe supremacist, telling the Deep to stand up to Ashley because "You're an evolutionarily superior being."

Ironically, she's an interesting comparison to Stormfront and, in the end, similarly fascistic. It's just that her racism is less... old-fashioned. And Homelander quite agrees. Much of the episode consists of Ryan prepping for his first "Solo save" in public, which goes horribly wrong as the "villain" is horribly killed by Homelander. Chillingly, Homelander just doesn't get why Ryan is upset about this- "humans are fragile".

Horrifying though this is, it shows a horrible truth: superheroes never truly save anyone, it's all staged... as A-Train is forced to admit to his nephews. Meanwhile, he's filming his own origin movie which is changing his past to include all sorts of subtly racist tropes... and Will Ferrell. No wonder he's annoyed enough to sneak footage exonerating last episode's two murder scapegoats to Annie and Hughie.

Meanwhile, Kimiko gets drunk, continues to be lovely to Frenchie and maybe, just maybe, confronts her own past. Hughie, meanwhile, confronts his errant mother. And the ongoing psychodrama between M.M. and the dying Butcher continues.

Best of all, as ever, is the social commentary- the subtle and not so subtle racism of MAGA America, and the dangers of conspiracy theories, which are far from harmless and all have dangeroud far right ideology not far beneath the surface. Ah, I love The Boys. I just need to get bleeding well caught up.

Doctor Who: Empire of Death

 “Is this thing safe?”

“Absolute deathtrap, Melanie B.”

I was going to do a separate blog post for the Tales of the TARDIS thing for Pyramids of Mars but, well, there’s not much to it. We have some extra Egypt stock footage, some mildly redone effects, and a very short prologue and epilogue with the Doctor and Ruby wonder what the Dickens they’re going to do about Sutlekh. He’s unstoppable, he’s evolved into a “titan”… and that’s it. Presumably it takes place at some point during the episode in that remembered TARDIS while Mel is off doing something?

So on to the episode itself. I watched it at 7am this morning. Since then I’ve had a 200 mile drive and a day spent in full-on dad mode. I’m aware, as hours have passed, that opinion seems to be divided, much as I’ve tried to avoid others’ thought until I’ve blogged mine. Yet I can see how this episode could be fairly criticised: Sutekh destroys all life in the universe, is defeated by a clever trick, everyone is brought back to life with the press of a reset button, and Ruby’s mum was a massive red herring.

And yet… for me, the emotional and storytelling beats were fantastic. I bloody loved this finale. So let’s get into why. This may take a while.

We begin with what at first seems to be the destruction of UNIT with Sutekh’s Dust of Death- Kate Lethbridge-Stewart’s death is played like a big, stoic, dramatic moments and packs a punch. Yet it’s soon clear that the dust is spreading across London. The Doctor, Ruby and Mel escape in the TARDIS… and they can see, through the TARDIS doors, as the dust covers the whole planet. Earth is utterly sterilised. Other than them, there will soon be no one.

We get an interesting scene with Cherry and Mrs Flood, who seemed so creepy last episode but, if you recall, I suspected she may turn out to be an example of the creepy red herring trope- the apparently sinister character who turns out to be benevolent. I see nothing here to change my mind. Mrs Flood sees what’s coming, sighs, says she had “such plans” and hugs Cherry as both become dust. It’s a fascinating scene. And one which suggests to me that, whoever Mrs Flood is, and we may or may not like her agenda… but she’s no Big Bad.

We get some exposition from Sutekh, Gabriel Woolf still sounding spellbounding at ninety-one years of age. It seemed Sutekh hitched a ride on the TARDIS back in 1911 and has been there ever since, slowly setting a trap, the TARDIS now his forever. Yet somehow, very much light shaded by the Doctor, Sutekh seems to be sparing Ruby, Mel and himself.. why? It may all feel a little neat, but all of this is utterly compelling.

So they escape in the TARDIS from the reconstruction of that night on Ruby Road… a “remembered TARDIS”. Is this the explanation for what we see in Tales of the TARDIS? Because I still don’t understand how it all fits together, but no matter.

What does matter is that it isn’t just Earth, it’s everywhere: dead, sterile, lifeless. The Doctor speaks of Venus; Telos; Karen: the Ood Sphere; Skaro. Everywhere and every when the Doctor has visited, dead because he visited. An unbearable weight on anyone’s conscience: “I thought it was fun.” Ncuti Gatwa plays the Doctor’s anguish with such exquisite force. 

Millie Gibson is quite wonderful in this sequence, but do is Bonnie Langford, who really gets material to make Mel shine as she never could way back when, and rises with aplomb to the opportunity.

It all comes back to Ruby’s mother, the all-powerful secret that Sutekh wants. It seems he’s won, but this is his downfall. This… and a spoon. The scene of the Doctor and the poor forgetful lady in the tent who has somehow survived longer … yes, there’s subtext here that I’m not getting, isn’t there?

Yet the Doctor has a spoon… and we get some more exposition and unexpected references to 73 Yards. I’m not sure any of that episode’s ambiguities are explained, beyond the significance of that distance, but nor did they need to be. The secret of Ruby’s birth mother is found, while Mel becomes a horrifying looking servant of Sutekh. All looks bleak.. until the Doctor’s plan unfolds. It’s deeply satisfying, earned, and hits all the emotional beats, including the Doctor’s regret at having no choice but to kill Sutekh. And yes, everyone is resurrected… but the emotional beats are exquisite. And it all happened. 

That Ruby’s mum is just normal is… perfect. Ordinary, good but flawed people are as important as powerful godlike beings. And the scenes where Ruby finds and gets to know her birth mother are… utterly wonderful.

And so, with this all going on, the Doctor leaves for a while. He promises Ruby he’ll be back. He tends not to do this… but this time we believe him.

Oh, and Ruby’s parting words to the Doctor are “I love you”. Oh RTD, you give us the feels in ways Chibnall never could.

And we end… with a narration from a rather different Mrs Flood- her true self, whoever she is? To be continued, clearly. All else for this season is wrapped up: Mrs Flood is for next year. And all is foreboding…

This is television with heart, scares, thrills, all the things we’ve missed for so long. I loved every second of this.

The Boys: The Department of Dirty Tricks

 "You know, there were no relations with an octopus..."

Ouch. Three new episodes of The Boys dropped last Friday, showing zero respect for my schedule. Bear with me; I'mll get them watched and up to date as soon as I can, even if it means watching episodes on some consecutive days.

It's been a while, hasn't it? I've missed The Boys. This season opener may not have an... explosive moment like the last one, but damn, it's good. So good, in fact, that it even deserves to be bookended by a certain suddenly outdated stone cold classic by the Sex Pistols. But who are the flowers in the dustbin, and who the poison in the human machine, if I may further torture some already tortured metaphors?

So... Homelander, a scarily powerful and unhinged figure idolised by fanatical far right supporters, is undergoing a criminal trial. Meanwhile, a new president has been elected... and is trying to get the CIA, employing the Boys, to kill his vice-preseident, one Victoria Neumann, before January 6th and the inauguration, thereby altering the result of the election. Isn't it great to have such pure superhero escapism, which in no way reflects current events?

Most of the gang see Vicky (and her very, very scary daughter with some truly icky powers) as the main threat... but the slowly dying Billy Butcher is highly focused on Homelander. And they're sort of both right, althgough thankfully not yet in conflict; it seems that Butcher is about to betray Hughie and ally with Neumann against Homelander... but he doesn't.

Hughie's dad has a stroke. Homelander is having a mid-life crisis and is tired of being surrounded by sycophants (ha!)... yet he bonds with Sister Sage, whose superpower is genius... and follows her deliciously evil, utterly amoral plan.Right down to having his biggest fans beaten to death by three of said sycophants for a false flag op. Ouch.

And it seems Black Noir is not quite dead after all?)

The arc with Ryan isfascinating... will he choose Billy or Homelander? Frenchie has an old flame, Colin. Already, there's so much going on. As ever, this is soooo good.