Johnny Mnemonic (1995)

 "Ghost in the machine..."

Let's admit it: this isn't exactly the greatest film ever made. But it's a fascinating one. 

This is the most cyberpunk film I've ever seen, from a time when cyberpunk was, at a stretch, still pretty much a thing in its original form, and it's helmed by a director best known for making the music videos for R.E.M, which in itself is pleasingly '90s. Even better, it's an adaptation of a William Gibson short story (I've read it, but we're talking thirty odd years...) with a screenplay by Gibson himself.

It's not exactly great, despite all that- it lacks a certain sparkle in dialogue, direction and performance (although Henry Rollins is great) and, given the cast, I suspect that last flaw is down to the director. Yet this isn't by any means a bad film either, simply promising but flawed. And it shows, perhaps, that the script is by a novelist who isn't used to writing for the screen.

Yet it's fascinating to see this imagined cyberpunk future of 2021 (there's a pandemic!), with corporate rule enforced by Yakuza, intelligent savant dolphins (shades of Halo Jones there), and, er, VCRs! The internet is shown with trippy visuals and imagined in such a quaint, 90s, virtual reality way. It's all so... cyberpunk.

Yet the ideas are often great. Uploading extra memory capacity to one's brain. An electronic virus. A cyborg preacher. This is a flawed film, but I'm glad it exists: a film that is the cinematic epitome of cyberpunk itself.

Squid Game: O X

 "Your money, your girl, your life, they're all mine..."

And with this, the most brutal episode yet, the stakes are even higher.

Next episode is the finale, so naturally Jun-ho and his undeerlings, with the help of a drone, seem to find the island, albeit explosively. But, among the players, there's so much drama and so much anguish.The game of Mingle, which lasts for several rounds, is the most evil yet and, for the first time, we see the death of a non-redshirt. We also see, with this being a game that rewards such things, unexpected moments of weakness and... yes, ruthlessness. We won't see In-ho in the same way again, likeable as he claims to be.

This game evokes cliques and tribes, as in school, and the dynamic is very much that- popularity, ruthlessness and, in the horrifying final round where there's intense competition for a limited number of rooms, ruthlessness. But perhaps the intended metaphor, as ever, is the free market.

Things are no less intense during the vote on whether to continue. After much drama and tension, it's revealed that there will be another vote in the morning... and, as soon as Ji-hun sees they've all been provided with metal forks, he sees the horrifying implication: they need to survive the night. And so arguments turn to violence, leading to atruly shocking final shot...

Inspector Morse: Driven to Distraction

 "I think our friend Chief Inspector Morse could prove to be something of a major pain in the rectum area."

This one is.. well, different. it's the first episode that doesn't feel as though it fits the format. Morse essentially bodges the whole thing, single-mindedly pursuing a suspect on a hunch. There were moments here when I genuinely wondered whether I was watching a Columbo-style "howdunit" where the killer is known but our protagonist just has to prove it... but mostly it was clear that Jeremy Boynton was just the very obvious red herring.

And yes, the reveal of the actual murderer ewas well done, but as a whodunit this episode is much less well- constructed than we'd usually expect from Inspector Morse. And yet... this is still a good piece of television precisely because Morse gets it so wrong, leading to real clashes with both Lewis and Superintendent Strange. At last his unorthodox methods lead him to come a cropper.

Yet he bonds with the rather clever Sergeant Maitland, a true kindred spirit played superbly by Mary Jo Randle- I suspect, sadly, we won't be seeing her again. Indeed, this episode breaks the usual format in nodding towards actual police procedure. Morse doesn't just have Lewis here, but others. There's even an incident room.

So the format has been broken, and it's worked. Could it happern again...?

Squid Game: One More Game

"Only 110 people died? Is that all?"

We begin with the tense resolution of the second game, in which the characters we're following get toshow their character, and loads of redshirts get gunned down, all with so much tension. And we end with the beginning of the third game. But so much happens in=-between in what is yet another extraordinary episode of Squid Game.

Plot threads advance- the search for the island continues, while No-eul is assaulted and threatened by other guards. We get to know some of the characters better- Young-mi, the desperate pregnant girl, and Hyun-ju, the poor trans woman whose life has been destroyed by scum and their vile bigotry. Everyone playing the game has a backstory, a reason to be desperate, and a reason to keep playing. Some have only themselves to blame, but others have been through real tragedy.

Which is what makes the central scene of the episode sopowerful as the players vote again, and more decisevely, to continue, with much tension and must impassionned debate. One more game. For many, the prize money accumulated this far is simply not enough to save them from destruction. And so the brutal, deathly competition needs to continue, despite the horrible risks.

The subtext is powerful: the games stand, I suppose, for the free market. And yes, people vote, so they have a choice, on the surface. But is a choice made from desperation truly a free choice...?

Inspector Morse: The Sins of the Fathers

 "He didn't think Mr Trevor could organise a proverbial. Even in his own brewery."

Last episode was, especially on reflection, utterly superb. And so is this one, full of cleverly interwoven plot threads and nuanced characters played by first rate guest stars... until it isn't. The ending, with its sudden reveal of events back in history which motivated the murderer, doesn't feel earned and, although it doesn't exactly breal Father Knox's traditional rules of detective fiction, it isn't really in the spirit. None of this historical Knox stuff was forewarned to the viewer.

And yet the drama is excellent. Betty Marsden's racist mother, and Lionel Jeffries and Isabel Dean as the horribly snobbish family of the victim, all particularly excel, although we do find ourselves with that age old problem of detective telly, that the most famous guest actors are likely to be the ones whodunit.

The young Alex Jennings, though... wow. I realise he's been ubiquitous on television these last few years, but as a young actor he could exude such nuance and, yes, menace.

A flawed but impressive instalment, though. And, yet again, a remindwr that the world of my early youth is long gone. No more posh old people of that generation, and no more typewriters. But we have real ale still, and long may it persist.

Batman: The Animated Series- I've Got Batman in My Basement

 "Befouled by a couple of fledglings!"

Well, they can't all be good, can they? 

Positives first, though: I like what they've done with the Penguin. The character was, perhaps, looking uncomfortably old fashioned and silly by the early '90s, particularly after Batman Returns where the character was radically re-evaluated. The comics would soon subtly revamp the character as a mob boss, de-emphasising tbe unbrellas and so forth. The Penguin we have here is a fascinating snapshot along that period of transition. Visually, he looks traditional, with only a slight visual nod to Danny Devito's look in trhe darker colours. The unbrellas and the Burgess Meredith mannerisms are subtly different but more or less there. And yet... this is a cultured, snobbish, patronising Penguin, whiuch is interesting. I look forwardto seeing the character in a better episode.

But... well, Batman can encompass all sorts of story styles and there's nothing wrong with telling a story from the point of view of a kid. But an unconscious Batman, a vulture, the kids trying to solve the crime and a Home Alone situation in Sherman's massive basement? Oh dear. The tone here is all wrong.

And... the Batcave is apparently common knowledge. Oh dear. Hopefully this will be a one off dud.

Squid Game: Six Legs

 "I pressed the O button because of you..."

It's a fascinating dynamc as we await the second game, and the paradoxical implications are discussed. Everyone wants Ji-hun to help them through the games and he wants to do so... but if he does, no one is eliminated, and so things just continue. No wonder they end up changing the second game to one where this can't happen. But I get ahead of myself.

There are other sub-plots, of course. In shooting wounded players dead, Noi-eul is deliberately sabotaging the trade in body parts as happened last season. Jun-ho is still wanting to fing the island and the clock is ticking now the games have begun, but he still has his team. And we begin to know more and more about the various plsyers, from the rather nice trans character to several more crypto victims and, indeed, marines. There's a pregnant woman. And... there are a lot of redshirts.

The second game is complex, brutal and unforgiving, as indeed is the process of choosing the teams of five, a nice little character scene. But we see the first two teams panic, fail and get gunned down before the episode ends with it being the turn of some characters we actually care about...

Once again, though, this is a story of inequality, greed, prejudice and morality with a lot going on. Jun-ho has his ethics, but his ethics are meaningfully questioned throughout, not least by himself. Superb telly, as ever.

Mind you, this is episode four of seven, with Jun-ho and his team waiting in the wings, and we're only at the start of the second games. I suspect things will go rather differently this season...

Inspector Morse: The Infernal Serpent

 "It's too warm for lentil soup.

SPOILERS. Be warned....

It's the '90ds now, or it has been for a few days, although, of course, this would have been filmed in 1989, and decades are an artificial thing, amnyway. Not much instantly changes when the year suddenly ends with a zero instead of a nine. This still feels very much the late '80s- a time of payphones, typewriters, nobody under 40 in a t-shirt, and environmentalist only having truly broken through a few years earlier.

And it feels a subtly different time. The open accent snobbery. The fact that environmentalism is not yet particularly about the climate emergency. And yet... the ending packs an enormous punch. Becauseyes, there's a bit of an environmental scandal. And a cover-up, all of which suddenly feels much modern. But throughout, amongst the Copley-Barnes family, there's the constant sense of some hidden secret, something very, very wrong.

The big reveal, at the end, is both effective and devastating. The attitudes to historic child sexual abuse are surprisingly modern, the message right. The Master is able to get away with his crimes because of his social status and Phil, a mere gardener, would never have been believed about his daughter.

Because of snobbery, of class prejudice. I suppose class snobbery always, in its power structures, colludes with paedophilia, which is certainly something to think on.

A superb, well-written bit of telly, this, with a brilliant pay-off. John Thaw, again, is superb in showing both Morse's moral indignation and how bloody difficult he can be. One of the finest episodes yet.

Snow Crash by Neal Stephenson

 I know: it's been a while since I blogged my last novel. And there's a reason for that, albeit slightly embarrassing... I neft the part finished novel in a guest house two hundred miles away, but the landlady kept it for me and even saved my page. Phew.

Anyway, I love a good novel of ideas, and this one throews ideas at you like few other novels. It's my first experience of Neil Stephenson, who I found to be devilishly clever in how he constructs his mindblowing conceits which include, among your usual post-William Gibson riffing on a Cyberpunk future, the concept of language itsewlf as a vrus, the same thing as both biological and computer viruses, with ideas themselves working as a kind of computer program.

You have to pay attention: the concepts are deliciously complex and ingenious, and we aren't spoon fed. The narrative is economical to the point that the novel seems to end rather abruptly, with part of me wishing for an epilogue but the greater of me appreciating the curt narrative structure.

While there's a certain line of absurdity that isn't crossed, the novel is dryly humorous and has a delightfully heretical view of religion as existing in relatiion to its viruses. It's a novel of ideas, not characters, but the book is chock full of entertaining grotesques and our heroes, YT and Hiro Protagonist(!) are nicely drawn.

It's worth awarning: there one icky scene where YT, aged fifteen, has sex with an older man. But, this aside, I enjoyed this very weird and very clever novel very much.

Zodiac (2007)

 "I think he's watching us."

"Well, we're very good looking."

This is an interesting film, to say the least. I suppose I was expecting something more sensational, more focused on the gory details, but instead far more of the run time is dedicated to the puzzle of who the Zodiac was, with all the many little clues, details and complicating factors, not least of which is which crimes, other than the main ones, were genuinely committed by the Zodiac himself.

The whole thing looks beautiful and the directorial style from David Fincher is exquisite. The California of the late '60s up to the early '80s is recreated in convincing and fascinating detail. Indeed, the actual social mores of this time- in which hippes and the like did not loom anything like as large as popular culture may make us imagine- are as fascinating as anything else, not least the detail that Arthur Leigh Allen seems to be let off appallingly lightly for his disgusting child molestation. And the cast is pretty much perfect, although Robert Downey Jr and Mark Ruffalo stand out in particular.

I'm not convinced that Allen was the Zodiac- indeed, I'm not sure any of the usually touted suspects were. But I don't think we can say, despite appearances, that the film does either. It leans into the ambiguity at times, especially with the extraordinary tense scenes where Robert begins to suspect that Bob Vaughn may be the Zodiac, and the two of them are alone in Vaughn's basement.

But the film, I think, is not about solving the mystery: it's about the dangers of obsession with endless if fascinatingrabbit holes such as this, which ruins Robert Graysmith's marriage, Paul Avery's health and career and David Toschi's reputation. Mysteries are fascinating, but they are not more important than our relationships, our children, our lives. And that's a very compelling point from a seriously impressive film.

Follow That Camel (1967)

 "The pill? What do you think they used that for?"

"I can't conceive."

Another Carry On film today, albeit the second of two instalments without the title... and, well, we're in the middle of the peak period here, and this one may possibly be the best yet. 

We have to wince a little at the portrayal of the Algerian characters and the use of brownface in particular, good though Bernard Bresslaw is as antagonist Abdul Abulbul, and all the dodgy Arab stereotypes are out in force. One of the funniest jokes is about suicide. As for the jokes about what happens to Jane when alone with various men, well...

It was 1967, a very different time. But crikey.

Yet this Carry On treatment of Beau Geste and the French Foreign Legion works well. Sid James is absent, but the one-off appearance of the very American and very funny Phil Silvers in this very British comedy franchise works triumphantly. Silvers is magnificent here, as are Jim Dale and especially Angela Douglas. Kenneth Williams is also worthy of particular praise; he's very good and very funny without necessarily being camp here. He has far more range as a comic actor than even his admirers tend to acknowledge.

Yet what elevates this film to top tier status is the script. Yes, Talbot Rothwell gives us a very Carry On text, as he should, but this one is unusually witty as well as being ribald.

Here's hoping for a couple more of this quality before things apparently start to go downhill...

American Greed: James McGill

 "Right from the start he was the kind of lawyer guilty people hire."

Tonight, something a little unusual. I've been assured that, from my perspective, there are no spoilers.

This is, I understand, an episode of a documentary series that usually deals with real life criminals and fraudsters- I had a look and recognised a few names from other episodes, Allen Stanford for one. But this episode deals with our very own Jimmy McGill aka Saul Goodman. And it's a rather good laugh.

The style of the visuals and narration is somewhat overblown, reminding me of The Day Today. But, as one watches this, it becomes clear just how clever it is. Actors from Breaking Bad and Better Call Saul appear, most hilariously the Kettlemans, deluded and annoying as ever. It's all played so very straight, which is exactly why it's such fun.

See for yourself... https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://www.youtube.com/watch%3Fv%3DC4yenXwx7ao&ved=2ahUKEwjU_t28r_2KAxUAQ0EAHRlJGh8QtwJ6BAgPEAI&usg=AOvVaw01PuO0QN1Lqhn1UxyeKHWl

What If... What If?

 "But... what is the point of just watching?"

This is, in terms of how it's constructed, a masterfjul finale. I'm just not sure it's about anything other than itself, philosophical though it may seem on the surface.

It's vert good though. Lots of pleasing moments. We begin with a flashback to Uatu's accession as a Watcher by the Eminence, but the master ultimately becomes the pupil. Peggy gets a meaningful death, very characteristic of her. Ultron's sacrifice, of course, had to happen. The powers of the Watchers are shown to be truly incredible, able even to erase a given person from ever having existed... in all realities.

And the end being a slightly altered version of the opening monologue, this time by Uatu again, is a particularly nice touch.

Yet the core of it all is the ongoing debate between Uatu and the Eminence... to watch, or also to intervene? To remain neutral, or to nurture the garden that is reality? To watch, or to see? And yes, it's all very philosophical on the surface... but is it really meaningful? This is a purely abstract debate with doubtful relevance to the real world. I suppose one could take it asa plea not to try to be "apolitical", as this just means a passive kind of conservatism. But even that's a stretch.

That said, though, this is very good.

Squid Game: 001

 "Can I just have what you're wearing instead? I like pink."

Wow. And with this the season lights on fire. This is devilishly clever telly in a number of ways.

To begin with, we have twoi narratives- Gi-hun adjust to the fact that he's on the islans again, while in the B plot Jun-ho and the others follow the tracker in his teeth in order to find him. But, in a smart bit of misdirection, it's suddenly revealred that the two sets of scenes don't take place at the same time... and that Gi-hun removed the tracker, that he'd gone to such lengths to get, in advance of the first game. Why?! I'm sure this will be revisited.

We see all the sights and dynamics once again. The Escher staircase; the striking costumes of the guards; another set of interesting characters. We have a mother and son both playing to clear the son's debts- I strongly suspect they'll ultimately be pitted against each other. Then we have a trans character, an old friens of Gi-hun's, an unscrupulous rapper called Thanos(!), and a crypto scammer (all crypto is a scam, people; don't do it) whose justifications for his behaviour suspiciously echo those of Front Man. People have a "choice"...

But the truly delicious bit is the effect of Gi-hun, with his experience, as a catalyst. He wants to help people, but people will be people. He and another lady risk their lives to save number 444... but No-eul shoots him nonetheless. And his warning people, duiring this year'sgame of Red Light, Green Light, that those whio do not remain still will be shot, is met only with mockery. And afterwards he is met with suspicion by many. We liuve in a greedy and conspiracy-addled world today, alas.

It's by one vote, of course: this is television drama. But, although the players will always be free to vote after every game whether to keepplaying or not, the result of the vote is inevitable.

Again, wow.

What If... the Watcher Disappeared?

 "It's definitely a risk."

"But it's to save a friend, and that's worth taking."

So it's nearly all over.

I know I'm always saying this for the episode of any serial (for this season is just that, albeit loosely for most of its run) that comes before the finale, but this episode functions as baasically set-up. What impresses here is how entertainingly the episode does its job of basically exposition and setting up of a cast of heroes to take us through the finale.

The Watcher has been arrrsted and tried by his own people for the crime of, you know, getting of his arse and doing something on occasion. And so, in a brilliant touch, the usual opening monologue is from not the Watcher but his erstwhile boss... and not just the delivery but the wording is more suercilious than we're used to.From the off, we don't like this bloke.

And then we're introduced to our team of desperate heroes who will hopefully save the day... and they all happen to be female, which will annoy all the far right culture warriors. We have the continuing story across realities of Captain Carter; the returning Kahhori; the now grown-up daughter of Darcy and Howard the Duck; and Storm, brilliantly shown as goddess of thunder (isn't this homaging an old limited series from the late '80s with the X-Men visiting Asgard?), yet again gradually pushing the mutants into the MCU.

There characters are introduced with skill, getting us to know and like them. And then there's the concept of Ultron, centuries after destroying all life in his universe, realidsing the enormity of what he did... and there can be "no redemption" for him. Wow.

Sometimes a set-up episode, which has to do so much, can be even more impressive than the actual finale. We'll soon see thether or not that's the case here.

Better Call Saul: Carrot and Stick

 "Lalo Salamanca lives!"

We don't see Lalo in this episode at all. But his influence is seen everywhere. 

We begin with... domino rally! Mike, again, has his moral code, and is trying to protect Nacho's dependents. But for Nacho things look much bleaker. His hiding place is discovered and, in sloooow scenes, we feel the tension deeply on his behalf as he realises his likely fate. In the end, he only just survives in an incredibly tense and dramatic sequence as the Salamancas (including those terrifying twins) arrive looking for him.

It's all devilishly complex: Gus talks to Don Hector who, of course, knows that Lalo is alive... and Gus sees, from Hector's expression, that this is the case. Giancarlo Esposito is exquisite here: he communicates this through facial expression alone.

And sothe way lies open for Mike to point out, according to his principles but also correctly, to Gus that he must lookafter Nacho. Because if thre Salamancas get to him, and get him to talk as they undoubtedly would... Gus is surely finished. Mike is bravely defiant on this: if Nacho hadn't rung, and asked to speak to Gus, I'm not sure what would have happened... but I suspect, in the longer term, Mike is earning even more of Gus' respect.

The other thread of the episode, with Jimmy and Kim putting their plot against Howard into operation, is similarly complex. It not clear what's going on yet, or meant to be, but it's fun to see this unfold, much as it was with the scams of old... much as it's also fun to see the entitled and arrogant Kettlemans get their comeuppance.

But this seems to be a turning point: Kim is turning very dark here, thoroughly corrupted by Jimmy. It's subtly and brilliantly done, and very much feels earned.

Better Call Saul was already exquisite. But we seem, crazy though it sounds, to be moving to another level altogether.

The Delta Force (1986)

 "You don't need beds. You're gonna die tomorrow..."

I seem to be very much in the mood for cheesy '80s action films and this very much seemed to fit the fill- by Cannon, themasters of the genre, and starring Chuck Norris yet featuring a rather impressive-looking cast.

And it is, indeed, a fun watch, slowly going through the events of a hijack based loosely on one from real life the previous year. While there's plenty of action towards the end, there's plenty of tension throughout and the decision to take us through the mechanics of the hijack is in itself highly engrossing.

It helps, too, that we spend time getting to know and like the passengers and crew, many of whom are played by rather high profile character actors. It's very odd indeed to see a young Robert Forster, who I know from Jackie Brown and Mulholland Drive, as the chief hijacker... but he's very good indeed.

The film is, however, of its time. Very gung-ho, and the main flashpoint of the world is of course Beirut. The presentation of Arab characters- not just the hijackers but air traffic control and so forth- is, let us not mince words, quite shockingly racist. And there's a very prominent pro-Israeli subtext throughout the film. It's not crudely overdone, but it's ever-present.

However, there's no denying that, if you're in the mood to switch your brain off and enjoy a proper '80s action film, this very much does the trick.

Trancers (1984)

 "Hey Mom, they shot Santa Claus!"

This is now my favourite Christmas film, and I will die on this hill. Eat your heart out, Die Hard.

This is one of the finest of that splendid genre that is cheekily obvious rip-offs of much bigger action flicks that were so prevalent back in the '80s. In this case we're ripping off... er, homaging Terminator. Oh, the Trancers are sort of zombies, not robots, and the time travel is via a "time drug" that implants your consciousness into the body of an ancestor... but it's very, very blatant. And I for one have zero problem with it, because this film is quite simply awesome.

The ideas are silly but great- the "long second", "Lost Angeles". Jack Deth (I love how every character points out what a ridiculous name this is) is the perfect protagonist played to Adam West-like perfection by Tim Thomerson. Gruff, cynical, but heroic and with a heart of gold- with every line delivered absolutely straight, as camp humour requires.

This film knows damn well how silly it is and there are nice clever touches- Deth may be middle aged, but he's from the far future, so he dances happily to a punk band which, to him, would sound quite old fashioned.

It would be churlish to point out the plot holes- if Jack stays in 1985, what happens to Phil? Why can't the Council just send him another syringe?- because the film is just so damn enjoyable. I may even watch the sequels. Here's hoping they're the right kind of bad.

What If... 1872?

 "In this universe, Ultron was actually programmed for show tunes..." 

Here we reach the wilder shores of What If?, where we move veyond a simple point of divergence from an event we know to the truly wild and wonderful... which, rather nicely, includes a nice little cameo from Frog Thor from the Walt Simonson days. So we go back in time to the OldWest, to the 1872 of the Marvel Universe. I'm not really au fait with much that happened in the comics after about 1993, but perhaps I was expecting at least some reference to the Two Gun Kid or Rawhide Kid or, indeed, the original Ghost Rider.

Instead we get a decent little tale of Shang-Chi and Kate Bishop looking int the mass kidnapping of Chinese immigrant rail workers by the mysterious "Hood". I appreciate the political subtext here, especially as we await the swearing in of Trump, that doddering old fool, and his many moronic policies including mass deportations.

But... well, the climax with the twist and emotional twists and turns with Xialing doesn't quite do it for me, although once again it's fascinating to see such a Shang-Chi heavy episode. But I was entertained, there were some nice ideas, Easter eggs despite a relatively small cast, some fun with Western tropes, and a nice little cameo from John Walker.

It's all about the ending though, as the Watcher is finally in trouble for interfering. About bloody time...

Squid Game: Halloween Party

 "Put me back in the game..."

After an exciting first episiode, this one is quite blatantly about putting the pieces into place and getting Gi-hun back in the game as we knew would happen. It does the job, and is still good television, but it's somewhat functional and hardly up there with the last episode. And the way Choi and Jun-ho are recruitred, alongside a massive paramilitary force, feels a bit too awkwardly easy.

Still, there's good stuff here. It's heartbreaking how Jun-ho's mum feels her other son has deliberately cut her out, but Jun-ho can't tell her the truth. There's a little girl with cancer and a reminder, as per last season, and indeed Breaking Bad, that for a country not to have a public healthcare system is as evil as anything Front Man does, if not more so.

Intriguinly, too, we have another North Korean defector, No-eul, homeless and desperate, who is looking for her daughter and agrees to accept the usual card and meet in the usualplace... but the twist is that she's a guard, not a contestant. Nice twist. I assume we'll be following her throughout the season. The guards are as manipulated as the players.

But the heart of the episode, as Gi-hun (and I don't care about the phone call; he's still a terrible father) and Front Man verbally spar, Gi-hun calling out Front Man's right-wing crap about how the players have a free choice. Of course they don't; inequality exists, and people don't beome desperate and out of options because they enjoy it. And that's Squid Game to a tee: at its root, it's deeply political.

Still, I'm hoping for a return to the usual form next time.

What If... the Emergence Destroyed the Earth?

 "He has broken his oath. Again..."

Interesting episode, this. For a start, the baddie (derspite the lack of Jake Gyllenhaal) is Mysterio, our first Spider-Man villain to appear in any non-Sony related MCU thing. Also interesting is that, although the main character is Riri "Ironheart" Williams, a character from well after my time in the comics whom I don't know well, we're leaning heavily into concepts from Shang-Chi and The Eternals. This season does that a lot, which is interesting.It woukd be rather nice if those films woukld turn out to actually lead to something.

The main conceit is that the Dreaming Celestial has destroyed the Earth early, it's split into little inhanbited fragments that somehow survive, and Mysterio has taken over the Earth using illusions, his control of Stark Industries, and the while version of the Vision. Much as I love Valkyrie, Wong and Ying Nan (yes, that obscure)... yeah, the villains here are B listers. The plot is ok, based around Riri's stubborn determination, but despite a sound if bonkers central premise this is pretty average.

That predictable ending, though... yes, I know it's a cliche from the comics that the Watcher does nothing but interfere. But they're really leaning into it here.The final season, then, surely?

Squid Game: Bread and Lottery

 "Let's play a game..."

At last Squid Game is back... and wow. That was quite the first episode, brilliantly shot and fullof perffectly paced tdension and intrigue. This time both Gi-hun and Jun-ho are searching for the island, the game and the invitation, at first fruitlessly and then with deep drama.

Jun-ho, now being a humble trafficcop and not particularly rich, struggles stoically in his quest to painstakingly locate the island. Gi-hun... well, let us pause firstly to observe what a rubbish dad he is: let ius not forget that. Yet, while his search for the mysterious man at the subway stations seems similarly fruitless, Gi-hun now has resources. And blimey, he's changed: determined, basass and, as we later see, with nerves of steel.

The episode is devilishly clever as it intertwines the two linked quests, although admittedly it's an awfully convenient coincidence that the speeding Ji-hun should be stopped by Jun-ho's colleauge.

When we find the man wigth the suit, though.... wow. First, we see his little trick, offering the desperate a choine of bread (sensible: a certain hope of food) and lottery scratchcard, mocking the irrational yet perhaps inspiring hope of the desperate. But when he catches Gi-hun's two underlings, later Ji-hun himself, and plays those riveting games of Russian roulette... this is gripping television, although of the two musical accompaniments I rather preferred Puccini.

The end confrontation is utterly perfect, with the man losing, yes, but in playing by the rules of the game regardless of the consequences he wins a victory of sorts.

The perfect start. More please.

Better Call Saul: Wine and Roses

"Sounds like the day from Hell."

"It was one of the best days of my life."

And so begins the final season. It seems, at the start of episode one of thirteen, that we're a long way from the events of Breaking Bad. But there can't be far to go. And the pre-toitles is a slow, lingering scene with Saul Goodman's opulent and disgustingly tateless office being examined by the Feds. In the present day, with Saul in Nebraska, the net is closing in. And the episode really lingers on that fact.

And we move directly to the contrast with Nacho, also hunted, desperate, and possibly doomed, with a price from Don Eladio on his head. All the scenes with him are impossibly tense, with us feeling fear on his behalf. Yet he's a pawn. Lalo, wanting everyone to think him dead (although Gus suspects) is out to get him, and plotting with Hector. Mike tries to speak up to Gus about him, but Gus is playing his own inscrutable game. And Lalo has seldom been scarier.

Meanwhile, Kim and Jimmy are the usual contrast- Kim doing good work for the vulnerable and loving it while Jimmy remains a "friend of the cartel". Yet they're both tainted, and Kim is the driving force in their fascinating plot to do over Howard. We're not privy to the details, so it's fun to see the early stages of the scheme play out, reminding us of the scams from earlier seasons... but the stakes are higher. The golf club scene is fascinatingly layered. The golf club stands for the snobbery againstwhich Jimmy has alwayds genuinely struggled... yet Kevin is right to blackball him for being the bounder and the cad that he is. And to play the antisemitism card ("only following orders", ouch!) when he's about as Jewish as my cat... wow.

And plot threads abound. Is Jimmy going to get rumbled in court for the stints he played to get Lalo bail? Is Mike suddenly now not the person on the phone to Nacho? What is Lalo planning? What are Jimmy and Kim planning? And what of that sphinx, Gus? This is a superb start.

Death on the Nile (1978)

 "Mon dieu, how she makes enemies of them all!"

I've read the novel, but it would have been around 1990-ish, so I wasn't expecting to remember much of the plot, and surely enough I didn't. So I was genuinely unspoiled for the big reveal. Nevertheless, I'll try and review this as a film rather than as Agatha Christie's original plot.

It's a very cinematic adaptation, shot on location at all the sights in Egypt as well as in rural England. The whole thing is exquisitely shot- particularly impressive is the first tracking shot of the dramatis personae all at dinner for the first time.

This isn't quite an all-star cast, but the star wattage is nevertheless relatively high, with no less a personage as Bette Davis in a middling sized role. David Niven is solid as the Watson figure, with Colonel Race giving some hilariously off colour views on those characters who deign to speak in a language other than English. Maggie Smith excels as a bitter woman in reduced circumstances, while Angela Lansbury is every bit as good as an amusingly sozzled romance novelist.

However... I'm not sure about Peter Ustinov as Poirot. It's not that there's anything wrong with his performance, he just feels miscast. He doesn't visually convince as Poirot, however well he may play the part. However, the overall performances are strong, and the film works superbly, helped by its awesome locations, in letting events play out dramatically, even if we do spend far too long on Poirot's explanation of how pretty much every character could have seen Jacqui shoot Simon through the window.

There are some fascinating moments here- a brief mention is made to a previous case involving a "decapitated clergyman". There's an unfortunate Indian stereotype. But overall this is a fine adaptation which plays the source material with a straight bat.