Godzilla vs Biollante (1989)

 “Biollante is just a cross between a plant and Godzilla...!"

It’s been more weeks than I realised since the last Godzilla film so here's the next one- and it's one of the most impressive with a cool antagonist and high production values.

There's a lot of fun here, from the concept (we get to see a Godzilla cell merge with a plant cell to create Biollante, because that's how genetics works...) to the appearance of Biollante, with the rubber tentacles and Venus flytrap maws. Its all very '80s, with the industrial espionage (we get to see the contemporary industrian rivalry between the Americans and Japanese in this decade from a Japanese perspective, ESP nonsense, car chases and action, 80s fashions, 80s action film music and all those things which are fun to look back on from a vantage point of thirty years later.

And yet, despite the B movie silliness of the concepts, the plot is bloody good and the whole film is superbly shot. It's also positive to see a new monster antagonist for Godzilla after all these years, and a different type of monster at that. We carry directly on from the previous film, with the same impressively realised Godzila (the set piece where he destroys Osaka is extremely well done) with excellent use of his familiar fanfare. Brilliantly, it's Godzilla who remains the antagonist throughout, with Biollante being the eventual means of his destructtion in a well-plotted series of events.

I'm not ranking these films in order of best to worst, as this isn't that sort of blog, but if I were, this would rank quite highly as a genuinely good monster film that nevertheless offers plenty of low camp fun.

The Crown: Season 4, Episode 4- Favourites

 "Our children are lost..."

Hmm. There’s a lot to admire about this episode and much that is interesting- not least our first glimpses of how they’re going with the characterisation Princes Andrew and Edward. But I think, structurally and thematically, it’s a bit of a misfire and doesn’t really work overall, despite some impressive character scenes.

This series is, of course, drama and not documentary, and therefore entitled to balance factual accuracy with dramatic licence, as we’ve often discussed. It’s not unusual, in The Crown, for the chronology of events to be altered a bit so that events coincide where this was not the case in reality, generally as a way of making a character point. This is generally fine. But, in this episode, it’s so obviously done that you can see the joins.

There are three separate threads to this episode- the Queen realising she doesn’t know her four children as well as she probably should; the useless Mark Thatcher getting lost in the Sahara; and the early stages of the Falklands crisis.

Still, the relationship between Elizabeth and Philip is dealt with well, as is the weirdness of Charles, his self-centredness and Diana’s very worrying depression. There’s also Anne’s unhappy marriage and jealousy of Diana’s popularity, and we learn that Edward is an arrogant, entitled git and Andrew a charming pervert, at least the versions we see here.

Most interestingly, though, we see how blatantly Thatcher favouritises her son over her daughter out of probable preference fir the opposite sex, essentially because she worshipped her father and had issues with her mother. This is fascinating.

And yet, good though the character development is here, the structure is just too artificial to hang together. It’s a good execution of a flawed concept.

Life on Mars: Season 2, Episode 1

 "Now hands that do dishes can be soft as your face with mild green Fairy Liquid..."

Aargh. There's a lot I should in theory be liking about this episode, but I can't help feeling there's just a little too much clunkiness, a little too much artifice in the dialogue, a little too much... well, Matthew Graham.

The concept is sound- a killer in 2006 trying to torture Sam turns out to be the main suspect in 1973, with the narrative making it quite clear he's the killer; no whodunit here. Rather cleverly, we spend the first half of the episode seeing another police culture clash, with Sam insisting on by the book methods as opposed to Gene, with the new Superintendent (who must be significant as he's played by Kevin McNally) siding with Sam. But halfway through, as Sam gets desperate- for Tony Crane's future wife as well as himself- the roles are swiftly reversed as it's Sam who tries to fit up Crane while Gene is operating by the book.

This feels a little out of character, and the resolution is unsatisfying- just when Sam seems about to be rumbled for corruption the script cops out and suddenly has Crane trying to kill both Sam and Gene. It feels forced. So does the scene where Crane "outs" sam as being mad for thinking he's from the future, only for the tables to be turned and crane to be put into a mental institution, just like that. It's utterly ridiculous, and a shame, as the concept behind the episode is good.

We end with Annie joining the CID, while Sam received a mysterious phone call, from "Hyde 2612", about a secret mission in 1973. Intriguing, and pointing to future episodes which, I hope, are much betterthan this one.

The Crown: Season 4, Episode 3- Fairytale

 "Whatever love means..."

I need to be careful with this episode. One of the side effects of watching and blogging a Netflix series that is actually current is that one cannot avoid comment on The Crown in the media. Because, I suspect, the fourth season is moving closer to the present, there's a lot more uproar over the fact that the series can be quite damning in its portrayal of (mostly) living royals, and we should remember that this is not documentary but fiction, based on fact but with much artistic licence. We should remember this.

However, Peter Morgan has been quoted as saying words to the effect that, while individual scenes may be fictionalised, the overall effect is "true".

Well... if what this episode shows us about the treatment of Diana is "true" on either level- if- we should set up an, er, new New Model Army, wage war against the Royalists and raise the standard of Parliament. Perhaps Marcus Rashford would make a good Lord Protector of a Second British Commonwealth? 

 This is all, quite rightly, shown from Diana's perspective, as she's forced to live in Buck House while Charles buggers off on a long jaunt. A teenager, a child, an innocent virgin (the royals seemed to insist on that) for sacrifice, whose youth and innocence is nicely shown through snippets of early '80s hits and that nicely conceived cene where she roller skates through those long, wide Buck House corridors with her Walkman, just to remind us that this is 1981 and apparently not some awful feudal past. The bulimia is hardly surprising.

Worse, the pressure of a nation, and beyond, reaches fever pitch. The only person she's able to meet is the worst person possible, Camilla Parker Bowles, in a scene that makes clear that "Gladys" knows "Fred" intimately well and she knows her future husband hardly at all. A sacrificial virgin, indeed.

Her attempts to back out are futile. She has been captured, and the helpless virgin will be sacrificed. Even after she sees that Charles is still seeing Camilla there is no way out.

And she's bored. Alone. Incommunicado with royals out of reach and Bagpuss her only comfort, given lessons in royal flummery by her bitch of a grandmother. Bullied and humiliated as she enters the presence of the royals, embarrassed and degraded as she deperately tried to curtsey to the right arrogant, entitled bastards in the right order. It's enough to awaken anyone's inner Robespierre.

Charles himself does not look at all good here. Yet he himself is unhappy, and himself has no real agency, trapped by what he is into an unwanted marriage to an unworldly child. The Queen's words to him near the end are horrible, about how her grandmother Queen Mary was unable to marry the charming Prince Albert Victor (he of the Ripper rumours, incidentally) after his sudden death, and was then forced to marry his younger brother, the notoriously charmless George V, and endure forty-two years of unhappiness. Christ.

This is gripping, superb telly, and Emma Corrin is extraordinary. It's also utterly horrifying. I've said before that, although I'm a republican in principle, I balk at the practicalities of actually doing it. In 1981, I would have said sod the practicalities. If this is anything like how the monarchy actually was in 1981, its continued existence would not have been acceptable.

Hustling for Health (1919)

It's most odd to see Stan without Ollie, but here we have an early solo outing from Lancashire's very own Stan Laurel.

The film is only fifteen minutes long but, like a cartoon short, packs a lot of splendid visual and slapstick humour within that run time, along with some delightfully terrible one-liners as part of the intertitles. But, most notably, it clearly hows just how brilliant the twentysomething Stan Laurel was at physical comedy.

It's clearly of another era, of course: a world of hen-pecked husbands and tyrannical wives who were sometimes (gasp) suffragettes, a time when horses and carts were still a common sight on the road, and a time when one could casually remark that one was going out to "kill a giblet for diner". And there's a baby in this short, who would certainly be a centenarian if alive today.

Some things are timeless, though, and the comic potential of a hose is certainly one of them. The film is genuinely funny, with some top quality physical comedy acting from all involved, and the hopefully romantic ending is cute. The film is freely available on YouTube and is certainly worth a look.

The Amazing Spider-Man (1977 TV Pilot)

 "Maybe I wanna ask him where he buys his webs?"

I was expecting something corny and silly when I decided to watch the 1977 TV pilot with Nicholas Hammond; something not necessarily very good but fun to point and laugh at. I mean, look at the '70s hair and bell bottoms, right?

Except... this is actually a pretty solid, wll-written TV pilot with a strong script, impressively directed and with particularly impressive use of incidental music. Nicholas Hammond is a pretty good Peter Parker and, while the performances are a little kids' TV, I'm rather impressed with this.

Not that this is The Sopranos, of course, or that it necessarily aspires to be anything more than a bit of action and adventure. But the script is pacy and well- structured, with exposition nicely integrated into the action throughout and that familiar origin nicely, and quickly, done, with a glowing radioactive spider allowed to wander off and bite whomever else it so wishes.

We have Jonah, Robbie Robertson and Aunt May, although May and Peter's house is perhaps a little too large for a supposedly poor family. Spidey's wisecracking may be absent here, but the costume is good and Spidey's powers made to look cool. Hammond's Peter is endearingly dorky. He seems to get a love interest, Judy, so presumably no Mary Jane or Gwen Stacy. There's a comedy police detective, too, who works surprisingly well.

There are no supervillains, as such, as usul with 70s superhero adaptations, although one can see the argument that supervillains tend not to look good on screen. Yet the baddie we have here- a kind of evil mindfulness counsellor with the most 70s suit of all time- is pretty cool, using his 70s computer and hypnotised 70s martial arts people to hypnotise upstanding members of society into robbing banks. It's a solid, fascinatig plot, well-structured and exciting to watch.

This is far from the silly bit of low camp I was expecting, and certainly far better than that silly 60s cartoon. I'm impressed, and may blog the series at some point. This is good stuff.

The Santa Clause (1994)

 “You don't want to be responsible for killing the spirit of Christmas, do you... Santa?"

I know, it's November, and Santa shoots an elf for every blog post about a Christmas film before the end of the month. The firing squad is assembling as I write.

Nevertheless... 2020, I think it's fair to say, has been a bit pants. Many people are decorating their houses for Christmas earlier this year in a herculean effort to hold back the existential fear and despair. There are things we can do to cheer ourselves up and forget that there's a plague going on around us. The Americans did their bit earlier this month by voting out the Stupid Orange One, which I very much enjoyed, and Mrs Llamastrangler and I did our bit earlier this evening by watching this, one of Mrs L's favourite Christmas films, with Little Miss Llamastrangler.

Now, I've never seen The Santa Clause before today, as I was seventeen in 1994, too old for such films, and have never really been a great fan of overly sentimental '90s Hollywood comedies. Plus, nothing will ever eclipse Santa Claus: The Movie in my estimation.

And yet... I enjoyed this. The principle behind it- if you damage Santa, you become him, a variation of "you broke it, you own it"- is played very well. The central custody battle between Scott and his estranged wife isn't overdone into extreme weepy territory and knows when to stop. This isn't a laugh-out-loud funny comedy- it's a '90s sentimental Hollywood comedy- but Tim Allen is superb and there are enough amusing moments. And I like the literal North Pole, the elf agents with jetpacks, and the slow morphing of Scott into Santa.

And there's no denying the film has heart, is executed well, and is brimming with Christmas spirit, dammit. It is of its time and of its genre, but manages to transcend both enough to be enjoyable. This is almost as good as Santa Claus: The Movie. Almost.

The Crown: Season 4, Episode 2- The Balmoral Test

 "Well, I think we failed that test..."

That was a fascinating episode, and my fears about potential cosiness from the last instalment are starting to seem unfounded. The metaphor here with the stag- it innocently wanders across a stream into the land of the Royals, is stalked and ultimately shot- is not exactly subtle, but it's clever how the metaphor can be taken in different ways for Diana- enticed into their clutches and captured, and Thatcher- humiliated, and hurries off to symbolically shoot her Cabinet.

Thatcher and Denis are roundly humiliated at Balmoral, with the royals in genetal- Margaret especially- being inconsiderate and rude. Yet there's nuance to their snobbery. Thatcher is unable to relax, have fun, or do anything but work. She's stuffy, resentful, over-serious. One suspects that, tests or not, someone like Harold Wilson, who was most certainly non-U, would have charmed the lot of them. Yes, the snobbery is real, and the way this episode depicts the Thatchers' treatment (the accuracy of this is much-disputed, I believe, but this is television drama, not documentary) is both uncomfortable and hilarious to watch. But it's more complicated than that. 

More broadly, we see clearly how the very non-U Thatcher resents the aristocratic "wets" in her Cabinet, but she isn't necessarily in the right here. The "wets" stand for a time when Conservatives were actually conservative, and more concerned with running things than breaking them. I'm on the Queen's side during their spiky meeting towards the end. But one has to admire the way the script avoids didacticism.

Diana is young, innocent, only eighteen to Charles' thirty-three. Christ. And she's being manipulated throughout, very uncomfortably, into an arranged marriage in which she imagines she could ever be happy. She may pass the "test" with flying colours, being both U and fun-loving, but she's prey. Even Camilla is in on the whole thing. Philip, and pretty much the whole firm, are keen to rush Charles into a marriage he isn't sure he wants with a girl he hardly knows. The scene towards the end, as Diana gets papped for the first time, makes us shudder at where the next seventeen years are leading.

Neil Young- Harvest (1972)

Neil Young has changed a lot as an artist in the last fifty odd years, from folk to punk to whatever Crazy Horse are. Not all of his albums over that span of time have been great, but you can never write him off. There’s always a sense that, however rubbish his last couple of albums may have been, the next one could be awesome.

Harvest is from his earlier period, though, where he was more consistent. It’s not necessarily his best album but it’s probably his best known. And yes, there are a couple of rubbish filler songs (“Are You Ready for the Country” is pants, and the less said about the lyrics to “A Man Needs a Maid” the better. But the album as a whole is magnificent and “Harvest”, “The Needle and the Damage Done” and “Old Man” are songs that will always stay with me. 

I can generally do without the strings we get in places, but this is a triumphant example of his folk period.

Once Upon a Time: Season 1, Episode 4- The Price of Gold

 "All magic comes at a price!"

Once again we get a very nice little deconstruction, this time of Cinderella. Once more we start in the fairytale world and events play out as we expect... except that Cindy's Fairy Godmother is killed and replaced by Rumpeltilskin, who extracts a price. And that price is Cindy's firstborn. Oh dear.

In Storybrooke, meanwhile, our Cinderella is a single pregnant teenager who, as we’re told with not a lot of subtlety, very much echoes Emma at her age- but decides to keep the baby. Interestingly, the baby’s father steps up at the end but is heavily encouraged to dodge his fatherly duties by his own dishonourable prick of an arrogant father.

Modern day, teenage pregnancy, boyfriend father a dishonourable dick. Henry connecting with Emma.  Seeming negotiated victory- but Emma owes Gold a favour. We know this will haunt her.

The structure of this episode is awfully clever, in both realities and how they echo one another. Cinderella’s attempt to magically trick Rumpel out of her firstborn by imprisoning him leads to the disappearance of her himbo husband and the end of her happiness. This makes us fear for Emma. There will, I know, be more to this.

All this, and Emma continues to bond with Henry. And the plot thickens- Emma is offered a police job by the sheriff, and eventually takes it... only for the final revelation that Regina is having Saturday sexy shenanigans with said lawman. Well then.

Again- nice plot, nice metatextual subtext, nice acting, nice realisation although inevitably with a bit of dodgy CGI... but the dialogue continues to be a bit lacking.

Once Upon a Time: Season 1, Episode 3- Snow Falls

 "There's no such thing as love at first sight..."

This episode gives us, in the fairytale flashback scenes, a fascinating deconstruction of the Snow White story. After offending the Evil Queen, Snow White has been framed and outlawed, which is ho he ends up meting ad connectng with Prince Charming (James!) in an exciting adventure involving a bridge ad some trolls. They ens up parting but clearly like each other; there's more of this story to tell. And I like how Snow White is revealed to be a kick-as hero with loads of agency, not a simpering, passive princess who just stands around looking pretty and incubating babies. That matters.

The present day scenes riff nicely on this, as the Prince Charming figure (David?) is in a coma, thus parted from Mary Margaret. And, despite Henry's plan to bring the lover together, Regina rather cleverly improvises and finds an apparent wife, who may well be the girl he was about to marry in the fairytale scenes. All this is done with the collusion of the local doctor, played by Blaine off of iZombie.

This is clever, both at the level of Storybrooke presumable being intended by the Evil Queen as a hell, and as a nicely meta litte deconstruction both of the Snow White myth and of love and first sight. If only the dialogue was as clever as the plotting. But I'm still very much enjoying this.

The Crown: Season 4, Episode 1- Gold Stick

 "Two women running the show...?"

This is a real first- I'm blogging the first episode of a season on Netflix on the very day of it's release. That won't last, of course; I'll soon be back behind the curve, as usual.

This is a sumptouosly shot, perfectly well-executed season opener that introduces a new status quo (and new primer minister, a new love interest for Charles, a shocking (unless you're spoled by general knowledge) murder, and that does all the nuts and bolts of storytelling very well. It's very clever narratively, as The Crown always is.This is a splendid piece of telly. It's just that, the odd scene aside, this episode hasn't quite caught fire. It's very good, not great. But these are early days.

The opening scenes are our first bit of cleverness, with visuals of royal pomp and ceremony being overlaid with the voice of an IRA spokesman threatening destrucion to the British Crown- and, of course, foreshadowing Dickie's murder, alongside two young lads. For maximum drama, he does so shortly after an unusually harsh conversation with Charles, who is still having an adulterous affair with Camilla, and for good meaaure leaves Charles a parting letter expressing his disappointment with the now thirtysomething prince, whose amorous pleasure-seeking evokes Edward VIII- a comparison which we keep seeing in The Crown; are we perhaps to see a long arc where he begins to change his ways? And Dickie's death leads to an extraordinary scene, the finest in the episode as well as a superb performance from Tobias Menzies, where Philip expresses resentment at Dickie- his own father figure- transferring his fatherly affections to Charles, who already has a father. This is good stuff.

There's also Thatcher, and Gillian Anderson impresses as the tone deaf and arrogant premier, whose personal awkwardness with the Queen is awkwardly done. I love the concept of Elizabeth's Cabinet guessing game, but Thatcher famously had no real sense of fun. And her comment that "I have found women in general tend not to be suited to high office" in as extraordinary as Philip's snobbery not only about her grocer's daughter origins but about her being a chemistry graduate.

And, of course, there's Diana. Interesting, both we and Charles are first introduced to her as a playfully innocent faerie-type figure. That's an interesting choice. But she seems very innocent, and she's still a teenager, which is a bit icky.

I suppose the episode has a lot to do, and there are certainly excellent parts within it. But there's a certain complacent cosiness of style here too. Let's hope that isn't here to stay.

Once Upon a Time: Season 1, Episode 2- The Thing You Love Most

 "Since when were apples a threat?"

This second episode makes it increasingly fascinating where all this is going, as our protagonist Emma digs her investigative claws further into Storybrooke, not so much discouraged but encouraged by Regina's constant harassment, while the fairytale scenes add a little depth and detail to the backstory. Is this going to be the format?

Regina seems perturbed to see the Storybrooke clock move, and time start to move forward. Does this make her suspect who Emma may be? Certainly the constant framings and harassment, which begin to stretch even the patience of sheriff Christian Grey (using Jamie Dornan's native Norn Iron tones) indicate she's beginning to be somewhat concerned, and that's before we get to the fascinating final scene with the enigmatic and charismatic Mr Gold- who seems to enjoy exactly the power and prestige that Rumpelstiltskin was promised in the fascinating fairytale scenes.

There's a constant dance between Emma, Regina and Henry, but is Emma starting to believe? It's ambiguous at this point, but I suspect her investigative nature can't help but add to her suspicions. Not only this, but does she have some sort of power to detect lies?

The flashback scenes are more the focus for this episode, though, as we see the steps the Evil Queen had to take in order to acquire the curse in the first place. So we meet Maleficent, and Rumpelstiltskin tells the Queen the true cost of the curse, which will in any case leave her forever "empty"- she must kill the person she loves most. And that's her doddery old man, who gets a scene to establish he's an awfully nice old chap before the Evil Queen stabs him brutally with her knife. Lovely. Now we know just how ruthless she can be- presumably in both realities.

This is clever, and the characters are likeable. There's perhaps a lack of sparkle in the dialogue, but I'm enjoying this.

Once Upon a Time: Season 1, Episode 1- Pilot

 "What do you think stories are for?"

Yes, I know, I have all sorts of stuff on the go, but this is something Mrs Llamastrangler has been obsessed with over the last few months, and marathoning it again with me is something we can do together while she's ill and bedridden. I see there's rather a large number of episodes. Gulp.

Obviously I've seen a fair few Disney films (Little Miss Llamastrangler is five) but I'm very far from being a hardcore fan and no doubt will fail to get all the references that no doubt lurk within each episode. First impressions, with the introductory bit of text, are nicely metatextual as we join Snow White and Prince Charming (was he some kind of bigamist or something, with Cinderella too?) at the end of their tale as they are married... and then cursed by the delightfully evil, and sexy, Evil Queen. I love the way sh's simply referred to as that. Lana Parilla is superb here, managing to convey the right level of cartoonishly evil without overdoing things.

And then we switch to the real world, in contemporary (well, 2011, before all that unpleasantness with Brexit and Trump) Boston, as we meet private investigator Emma in a particularly cool introduction, as the bloke she's on a date with turns out to be a fugitive, and her quarry. And then up pops Henry, the son she gave up for adoption ten years ago.

Henry is an interesting and resourceful kid, played by a good child actor... and his adoptive mother Regina- the major of Storybrooke, Maine- is somehow the same person as the Evil Queen, which gives some credence to Henry's insistence that the whole town is stuck in time, and populated by fairytale characters who know not who they are.

Back to the fairytale world- it's clever how the cinematography and lighting subtly distinguishes the two realities- Snow White and the Prince are off to get a prophecy from the imprisoned Rumpelstiltskin, played with show-stealing aplomb by the ever-magnificent Robert Carlyle in a part very different from his usual fare. Begbie this is not, but a cunning, eccentric faerie creature that dominates the screen and is compulsively watchable, whether as Rumpelstiltskin or Mr Gold.

The royal couple learn that their future is bleak but that there is hope in the form of their soon-to-be-born daughter... Emma. And we instantly know, by the iron law that TV dramas never feature multiple characters with the same name, whom that is.

The moment of the birth sets off the terrible CGI curse, but baby Emma gets away, following a swordfight by the Prince where he holds his newborn daughter with his other hands, sends her away- and is promptly killed. Snow White now has nothing- and is about to be sent "somewhere horrible" by the Evil Queen. And in Emma and Henry we have two generations given up by their parents.

This may not be top tier telly, perhaps, but so far it's certainly grabbed me.

The Crown: Season 3, Episode 10- Cri de Coeur

 "War is our love..."

It's an interesting choice to end the season on such a downbeat note. This is a Margaret episode and a desperately unhappy one, yes, in which she makes a thankfully unsuccessful suicide attempt, yes, but everything seems to be falling apart. The country seems to be at rock bottom, leading the Queen to question exactly what it is she's supposed to have achieved as she faces her Silver Jubilee. It appears, perhaps, as though there's no future, and England's dreaming.

With a bit of sleight of hand this episode covers three and a bit years, from Harold Wilson becoming PM again in the wake of the February 1974 election to the Jubilee itself. There's a lovely little valedictory scene as Wilson resigns, calmly teling the Queen of his Alzheimers diagnosis which, after sixty years of public duty, it now poised to rob him of his retirement like the bastard it is. It's lovely to see how close they've become over the years, in that very British way, with him confessing he's always seen her as a "leftie at heart" and her accepting an invitation to dine at Downing Street, an honour only previously given to Churchill.

But, for Margaret, there is true despair. Her marriage is failing, but worse than that. Tony is humiliating her, again and again, with affair after affair while simultaneously managing to charm everyone- the Queen Mum, Philip, even the Queen who shows him obvious affection- into forgiving his little dalliances. Yet when Margaret has her own little fling with an obliging toy boy she faces tabloid humiliation and appalling double standards as her own affair- just the one, after years of being cuckqueaned- faces consequences very different from those faced by her husband. At least Tony is now faced with having to potentially marry his latest fling.

It’s a fascinating way to end a superb season. Roll on Season Four in a couple of days...

The Crown: Season 3, Episode 9- Imbroglio

 "I wasn't supposed to fall in love with you..."

If one is, in time, to become a king, one must first become a pawn. This quietly devastating episode shows one again that to be royal is to spend life in prison- a luxurious prison, yes, but one with little hope of parole.

We begin with David's funeral, which clearly points to where things are going, as Wallis warns Charles never to abanon true love... and that his family cannot be trusted. We have already been made to see parallels between Charles and David, and this is where they play out.

Charles is in love with Camilla. And yet it was all supposed to be a bit of fun, arranged by the Queen Mum and Lord Mountbatten, so he can have a bit of fun and "sow hs oats" while undergoing naval training. Both of them are pawns and even Camilla, who is doing this because she was told to, and supposedly still "obsessed" with Andrew Parker-Bowles, is confused about her feelings. The Queen is not exactly pleased at the actions of her mother and Dickie, but there's only one thing for it- Camilla and Parker-Bowles are to marry. By royal fiat. Just like that. This is life in the British upper echelons, in the 1970s.

What's particularly clever here is how the events of the time are allowed to function as contrast and metaphor. Much of the B plot consists of the mutually stubborn battle over the coal strikes between Ted Heath and Arthur Scargill, both of whom are from very working class backgrounds which have shaped them very differently- we even get a flashback to Heath's childhood. But it's hard not to see the power cuts, the candles and the three day week, explicitlt referred to as heralding a potential collapse of law and order, as a parallel to and metaphor of how things are panning out for Charles. I'm not sure I'm entirely comfortable with a national crisis being used to illustrate the finer feelings of our betters, but it's all very impressively done. And it's niceto see how seamlessly we've moved to focus on the new generation.

Plus we get to see Princess Anne, ny new favourte character, singing along to David Bowie's "Starman". This is awesome.

Roadkill: Episode 4

 "I will set my country free..."

Argh. You know how things are, essentially, good, bad or indifferent, and in reviewing something (not that I’d necessarily describe this blog as a “review” but me just pontificating however I want), one is essentially placing what one is reviewing along that scale, and why? Well, this episode- and by extension the series- is rather difficult to put on that scale. To show why, I’m going to discuss the episode twice- as a taut political thriller and as a state of the nation political drama from David Hare.

As a thriller, with Peter Laurence as an antihero who schemes his way to the top while still being recognisably human, this is bloody good. It’s admirable how nearly the places click into place in this final episode. The whole thing is extremely well structured, with no loose ends and some nice character stuff- the meeting between Peter and Rose is nicely heartwarming, and I like how they subvert expectations by connecting- although the comparison between the politician and the fraudster is clear. It's House of Cards for the '20s.

Unfortunately, as this is a play by David Hare, I think we're supposed to see some kind of depth of commentary on the state of the nation, wth Peter Lawrence being a thinly veiled Boris Johnson. But there's no attempt here to understand the Tory mind. While I'm sure many Tories are indeed cynical bastards, that's a fairly shallow point to make. Yes, Peter is allowed to have genuine libertarian principles, but this is essentialy taking House of Cards and expecting us to take it, not just as a bit of Machiavellian fun, but as a serious examination of modern Toryism. There's no sense whatsoever that Hare has made any attempt to look at how Tories see themselves. One doesn't have to be a Tory, or right wing (I'm neither: I'm a Whig) to understand that some people, whether I agree or not, may see value in a Burkean clinging to tried and tested institutions and caution about change lest we risk the chaos of change, or indeed in a more fundamentalist view of the free market, incompatible though these ideas surely seem. It would hard to extend this approach to the shallow and destructive Leninism of a Dominic Cummings, which would be fascinating, but most Tories would agree with me there.

I'll be generous, and treat Roadkill as a modern House of Cards. In those terms, it's rather good although not as good as the original. But it's no more than that.

The Hands of Orlac (1924)

This is, surprisingly given my somewhat limited experience of silent cinema, the third time I've blogged a film by Robert Wiene. Although, strictly speaking, an Austrian film, with  Wiene and a starring performance from Conrad Veidt this is a somewhat well-known example of German Expressionist cinema, and would go on to inspire a dizzying number of remakes.

The Expressionist sets are less overt than in The Cabinet of Dr Caligari, but the film is drenched throughout in deep emotional passion- much of which is erotic- which is subtly inferred by sets, lighting and cinematograpy and not-so-subtly conveyed through the far from naturalistic style of acting.

The film is over-long and drags in places, but it is difficult to pass judgement on this; the version we see today, in the reverse of the usual situation with silent cinema, is an extended version. Certainly, though, the central decision to replace concert pianist's hands, following his train accident, with those of a supposed murderer feels rushed to the point of elision. Why those hands in particular? Furthermore, even in an age before a basic heath service, surely Paul Orlac could claim some sort of insurance or similar to avoid penury? Either way, this part of the plot feels unconvincing. But on the other, er, hand we have a very clever ending and a touching (and sexualised) relationship between the protagonist couple. It's also refreshing, and effective, that the obvious option of having the hands make Orlac become a murderer is avoided, despite some misdirection, and the film is essentially psychological- and all the better for it.

There's a lot to like about this film and it's main fault, that it is over-long, is a result of modern re-editing. Alas, Wiene died in 1938, so a Director's Cut will not be forthcoming, but the film is nevertheless in the public domain and easy to find online.

Sunn O)))- Black One (2005)

I suspect that not quite every single one of my readers may be into Drone Doom. It is, undoubtedly, an acquired taste. But I've come to listen to rather a lot of it over the last decade or so and the new music I listen to these days.

Essentially, for those of you not versed in it, Drone Doom uses the heavy riffs and instruments of heavy metal to create slow, mellow soundscapes. Think of a cross between Brian Eno, ambient trance and Slayer and you'll get the idea. You'll be surprised how well it works.

I've blogged Earth before, one of the two most prominent bands, but the other behemoth of the Drone Doom scene is Sunn O)) and this album showcases exactly what they sound like- slow, heavy yet mellow riffs and songs that don't so much hook you as hypnotise you into acquiescence. It's not so much a collection of songs as one long soundscape, apparently ending with an epic about Elizabeth Bathory (for whom see my blog post on Countess Dracula), but frankly who knows. All I know is I can't get enough of this sort of thing.

The Mandalorian: Chapter 10- The Passenger

 "What can I say? I'm a great judge of character."

Ok, this episode isn't as awesome as last week's, mainly because it's ultimately a filler episode about getting from Point A to Point B, as far as the arc is concerned, with a bit of picaresque fun and adventure on the way in something of a story of the week. There's a lot less to analyse as it's all rather straightforward in comparison. You can't deny, though, that it's all very well done.

Mando, in travelling to meet this mysterious other Mandalorian, has to transport a cute and amusing frog lady with her jar of eggs which Baby Yoda, the little sod, tries to eat. He gets intercepted by a couple of cops for a broken taillight and runs away, crashing and incurring the wrath of a family of particularly fearsome spiders. That's it. That's the plot. But the way it's done is rather entertaining, despite the fact this is all filler- although I like the way the cops (New Republic types with X-Wings) basically let Mando off at the end.

I don't even mind Dr Mandible(!) looking a bit crap, or all the cutesyness. This is a superbly entertaining episode which continues the strong start to a second season which so far is better than the first. And we even get a cameo from Richard Ayoade.

The Mandalorian: Chapter 9- The Marshal

 “There's no such thing as an abandoned Sarlacc pit."

"There is if you eat the Sarlacc..."

I simply cannot emphasise simply how good this opening episode is to this second season of the greatest science fiction Western since Firefly. I's a masterful piece of telly, however much the role of the Krayt Dragon may owe to Dune.

And a Western this episode most assuredly is, as the framing of the opening shot, with Mando and Baby Yoda walking towards the camera shows us. As the season opener this episode is quite arc-heavy, and so we're teased, after a superbly effective opening sequence which entertains us wth lots of action while subtly dropping a lot of exposition, with rumours of of another Mandalorian on Tattooine, in the forgotten town of Mos Pelgo. The apparent Mandalorian we see- the Marshal- is of course a red herring, but how did that armour get into the possession of those Jawas from whom he bought it, and who is that mysterious watching figure at the end, played- very interestingly- by Temuera Morrison?

The Marshal is, of course, blatantly a sheriff straight from the tropes of the Western, and to drive the point home he's even played, rather well, by Timothy Olyphant, Seth from Deadwood- and the fact the Weequay barman is played by W. Earl Brown makes this almost a Deadwood mini-reunion.

The plot- the villagers and Tusken Raiders must make common cause and use cunning to slay a massive burrowing dragon (yeah, that bit owes slightly less to Westerns), gives us loads of entertainment while eminding us how much we like our protagonist, whose face is hidden but who shows himself yet again to have surprising depths as a character. And it's a rollicking tale that feels much shorter than it is. 

I love the genre playfulness, too; Mando and the Marshal are set to have a typical Western duel, holsters ready, in the saloon, when the ground begins to shake and the Western is interrupted by a trope from another genre. And there's some nice world building- as soon as the Empire is destroyed at the end of Return of the Jedi, the mining corporation moves in and enslaves everyone. It's Star Wars, but definitely a Western and not fairytale.

Welcome back, The Mandalorian.

Quick Update

 Just bear with me- absolutely zero free time this week so no blog posts. Hoping to be back tomorrow and for normal blogging to resume.