The Sandman: Collectors

 "I thought there'd be cereal..."

My Netflix issues are fixed. Normal blogging is resumed. Phew.

Things are moving fast. Rose as the vortex seems to be the unwitting cause of Lyta's being with her dead husband in her dreams... and her pregnancy. Yet this seems to be leading to instability. Cracks are appearing.

So what does Dream do? He continues to be an utter dick. After offending Lucienne last episode- and Matthew speaks for all of us when he criticises their mutual sulk, he tramples into Lyta's dream like a bull in a china shop, heartlessly crumbling her husband to dust and, if that isn't bad enough, threatening that one day he will come and take Lyta's baby. Yes, he's a mythically powerful and capricious god, but he's also a dick.

We see more of the serial killer convention this episode, and it's utterly, blackly hilarious. We also get to see more of the wonderful Gilbert, played with aplomb by the one and only Stephen Fry... and get to learn who he is. But we end with the Corinthian triumphant in a staggeringly excellent episode full of twists, turns and much coolness.

The Sandman: Playing House

 "I'm sure he's fine..."

This is, once again, rich and textured drama with much to say about dreams, both literal and in terms of ambition- Hal, whose ambitions were thwarted, quite rightly has words on that subject to say to Rose.

Yet drems, even nightmares, have dreams. Dream is too quick to believe all is solved when he "saves" Jed's night-time existence from Gault, who wishes only to give Jed some comfort as he is horribly abused in real life. She is punished by a hasty Dream, yet she has harsh and pointed worfds for him. All of us can change anf grow, even, I'm sure, if we are manifestations of abstract concepts.

Abstract concepts abound here. The nature of home. The temptations of dreams- for Jed, as the Golden Age Sandman, a nice touch, but also for Lyra, tempted into idyllic family life by the dreaming ghost of her dead husband. Drwams and ambitions versus the unambitious yet easy life.

Yet this is really about character- Rose, Jed, Hal, the whole wonderful Florida family. Dream, so kind to Rose and so unthinkingly cruel to Gault. Hal, who I hope comes to realise their dreams.

Loving this. Sadly,there';s not long to go.

The Sandman: The Doll's House

 "It's trerrible. We know."

Watching this episode brought back long- repressed and surprisingly vivid memories of the comic book. It was, again, much more faithful than one might expect. Yet it didn't quite manage, despite being very good indeed and extremely well made, to quite match the source material. Of course, I wouldn't have noticed this had I not read the story in its original medium, but it was my impression nonetheless.

Still, this is very good telly. We start with Desire and Despair, very odd twins, inferring that they are behind much has gone wrong, but then we turn to the tale of Rose, bereaved and charismatic, as she searches for her long-lost little brother with her equally bereaved surrogate mother (loved the sudden revelation she'd been talking to her dead husband), and travels to London to find a great grandmother... who is still alive despite falling asleep in 1916 when Dream was captured, aged 12. Yeah. This made sense in 1989, but these days it's best not looked at so closely.

Loved the serial killer convention committee, attracting the attention of the Corinthian. Loved Stephen Fry as Gilbert. Loved the whole Florida family. In fact, I loved the characters, the narrative and the whole damn thing. It's just that, somehow, the comic was more poetic.

The Sandman: A Hope in Hell

 "I am hope..."

Why does Lucifer not just counter with despair, or nihilism, or some such dreary bollocks? Never mind; I usually tune out suring any but the quirkiest of fight scenes, but this one is so beautifully poetic- and, though I remember the comic book only dimly, I believe it's faithful, more or less. So is the evocative and myth-like scene with Nada, a woman he loves but has sentenced to Hell because he does not forgive her after ten thousand years. This is powerful stuff, like the ancient myths.

Meanewhile, John Dee, cynical, insane and troublingly powerful, meets Rosemary, a damaged yet kind and good woman. Yet this does not comfort us. Those masterful scenes of tension in the car and the petrol station, and his cruel killing of the shoipkeeper, show us he is capable of casual cruelty. So his casual kindness to Rosemary, even if it gives her immunity from harm, is merely a sign of terrible capriciousness. This man is dangerous.

I love the poetic depictiuon of Hell, even if it doesnt quite import the idea from the comic that the punishments of the damned arise from their own subconscious. I love the stoicism of Dream. I love the humanity of Matthew, although he's a crow. This is beautiful telly.

The Sandman: Dream a Little Dream of Me

 "What's the point of you...?"

This is a pivotal episode and, as far as I recall, faithful to the comic. Much of it is set-up. Hence we're introduced to the splendid Patton Oswalt as Matthew the Raven, and we have those incredible scenes between Ethel and John, which are textbook examples of how to do exposition well, culminating in her sacrificing her life (aged 116!) so her son may have the Amulet of Protection, presumably an extended lifespan, and all sorts of powers... so naturally he kills a guard and escapes. He won't do anything bad, right?

We also have Mad Hettie (yay!), a princess marrying a demon footballer, and Meera Syal as a delightfully human vicar.

But, yeah, this is all about Jenna Coleman as a gender-swapped John/Johanna Constantine who, nevertheless, is the character. And yes; Coleman is significantly better than Keanu Reeves in the part. But this is a nice little chacter piece, with a nice and surprising little bond between Constantine and Morpheus. This is good telly.

So, off to Hell. Should be fun...

The Circle (2017)

"Secrets are lies!"

It's a surprise to see that Netflix are making films (and this is a film, with a cinematic release) with such stellar casts; here we get Tom Hanks, Karen Gillan, the late Bill Paxton and John Boyega, although Emma Watson, playing American, underwhelms a little as Mae. Still, the film, an adaptation by Dave Evers of his own novel, is superb and thought-provoking.

Mae takes a job at "The Circle", an organisation that seems to be inspired by Apple, Google and Facebook in its culture, employment practices and messianic leader Eamon (Hanks), clearly based on Steve Jobs. At first things are great, with a high salary, a friendly culture on "campus" and plenty of fun and ties. Then we get our first sign of the company being something of a cult, with compulsory "optional" recreational activities and an expectation that employees will maintain a heavy presence on "TrueYou", a thinly veiled Facebook analogue. Mae realised things have gone too far with chips being planned to go into children's bones so they can be monitored and connects with reclusive and disillusioned TrueYou inventor Ty Laffitte (Boyega). Yet her ill-advised cry for help has horrific circumstances.

Mae's persuasion by Eamon to go "transparent", to have her entire life broadcast to the online public on the grounds that "secrets are lies", privacy is bad and we need to be watched to stop us doing bad things is deeply, deeply sinister. Things go predictably wrong very quickly but Mae has her revenge on Eamon- yet it isn't a happy ending as the onward march of social media to trample over our right to privacy is unimpeded, with the Circle able to track down any person for any reason and, now compulsory, delivering electoral information and public services in the ultimate corrupt privatisation. Even the Circle's claim to oppose tyrannical regimes is somewhat undercut by the fact that sending "frowns" to a dictatorship is a pretty impotent thing to do, just like all forms of clicktivism.

The film is marred, perhaps, by a strange blandness on the part of Emma Watson, but the ideas played with in this film are superb. It's worth seeing this script being performed in spite of the film's faults.

Marvel's Agents of S.H.I.E.L.D: Scars

"I was expecting a raised eyebrow, but ok..."

I trust you've all seen Avengers: Age of Ultron in between blog posts?

We begin with a recap, retcon even, concerning what Coulson has really been up to over the past year. It begins well (Patton Oswalt! Yay!) and proceeds to drop the bombshell that the Theta Protocol was in fact Nick Fury's secret helicarrier as seen in said film, now the property of a more-or-less united, and now rather well-resources SHIELD.

The fallout from last episode proceeds, as Agent 33/Kara is un-brainwashed and Skye keeps watch at Lincoln's bedside. Lincoln, however, is a little dubious about his "rescuers", pointing out (correctly) that their wish to categorise him is more than a little dodgy on civil liberties grounds; this will run and run way past the episode's explosive ending and, I suspect, on to our cinema screens with Captain America: Civil War.

Cal and, indeed, the narrative, implored us not to trust Raina's claims about what she foresees, a clever bit of misdirection as Jiaying apparently learns of the mysterious Kree artifact hidden deep within the helicarrier- a stone that can liquefy itself in true modern CGI fashion. The narrative puts our sympathies with Jiayibg, particularly if the viewer happens to be a civil libertarian like myself, and we are full of foreboding when Hunter announces that he has located Afterlife; SHIELD are coming. 

Coulson and Gonzalez debate what to do. Ever the dove, Coulson gives some ground to the hawkish Gonzalez by accepting that he, not Coulson, should handle the diplomatic niceties with Jiaying. Revelations tumble after one another, with Skye admitting to Coulson that Jiaying is her mother while May tells him what really happened in Bahrain. But there is much foreboding: Raina foresees the coming of SHIELD, and Afterlife in flames.

This eventful episode also sees Mack's resignation, his differences with Coulson teaching breaking point, while Coulson realises that he, Fitz and Hunter have become a little too much of a clique. 

Things get dramatic as May, travelling with Bobbi, turns out to be Kara, still in league with Ward. Ward shoots Bobbi, and it really seems that she's dead, especially as Ward apparently shoots her again, several times, at the end of the episode. 

The negotiations between Jiaying and Gonzalez seem to start well, albeit with a certain veiled prickliness, with Cal being released to SHIELD as a sign of good faith. But it soon becomes apparent that Gonzalez wants all Inhumans to be catalogued- tyranny in Jiaying's boom. And mine. Despite what happens next, I'm with her on the principles.

But what she does next- murdering Gonzales and manufacturing a fake casus belli for a war with SHIELD- is both shocking and framed to make us side with SHIELD. But what is and is not justified in the pursuit of liberty...?

Marvel's Agents of S.H.I.E.L.D: What They Become

"I'm her father, not you!"

And they end it there?

Wow. What a half season. Trip is dead. Mack may not be. Whitehall is dead. Ward has been shot, by Skye. And that's just the start. It isn't just crammed full of incident because it's the end of the half-season, though; all episodes are like this at the moment.

Let's just say it: Cal (Skye's Dad) is Mr Hyde, and Skye ("Daisy") is Quake as well as an Inhuman. Exactly who Raina is, besides an Inhuman, is unclear, and the same is true of that mysterious bloke at the end, with another Obelisk and no eyeholes. A lot gets explained to Skye by her father, much of which we have already have worked out; it's hard to hide spoilers when there's a pre-existing Marvel mythos.

Regarding the regulars, it's clear that Slye has come on leaps and bounds as an agent, and Fitz continues to recover slowly from the brain damage. May is a genius pilot, while it seems Ward's whole agenda was to take Skye to her father and her destiny, for which she shoots him. The scenes where Skye receives much exposition from her father are the fulcrum of the episode and, indeed, the season so far. We've been waiting for this.

I'm still stunned from watching that. What will happen next? How long will we have to wait? Will any UK channel be showing Agent Carter? So many questions. Agents of SHIELD is on fire. I keep saying it because it's true.

Marvel`s Agents of S.H.I.E.L.D: The Only Light in the Darkness

"I`m not a good man, Skye."

This is a tense moment in the season, partly because we`re in spitting distance of the finale and partly because we now know that the team has a killer within. But first let`s do something we haven`t done for a while; geek out at all the Marvel (mainly) references. We have an appearance (uncostumed, of course) by the supervillain Blackout. We have a mention of the fact that Trip is a descendent of one of the Howling Commandos. The big supervillain breakout from the Fridge reminds me, an old Marvel reader of a certain age, of Acts of Vengeance. And Jemma Simmons mentions the TARDIS.

 More pertinently, though, stuff happens. Most pertinent, probably, is Blackout`s intended victim, Audrey; we know that anyone played by Amy Acker, an actress much favoured, justly, by Joss Whedon, must be important. She ends the episode alive and well and still thinking that her hil is dead, but the whole team (well, minus Skye and Evil Ward) now know that she`s Coulson`s, er, widow. She`ll be back.

Relations between the team are in flux; Coulson is stil far from his old laid-back swlf and the team, while loyal, are questioning his decisions. And relations betwen him and May have completely broken down. This is significant; they are the two senior members of the team. Coulson eventualy leans, perhaps a little too neatly, that if ever Audrey can forgive him for making her think him dead (even though he was), he can at least forgive May. ut it may be too late: May has buggered off with her mysterious mother to make cryptic comments about Maria Hill.

The lie detector scenes are nice; we learn that Skye`s "real" name is Mary Poot, and it`s a ncely subtle way to deepen everyone`s characterisations ad backstory a little. Ward is obviously bricking himself, but just abut manages to sneak through. This later turns out to be a very poor decision by the unfortunate Eric Koenig.

No one has a clue about Ward, in spite of the obvious differences in the excellent Brett Dalton`s performance. Fitz even confides in him over the intense jealousy he feels for Trip over Jemma. But at the end, with Koenig seemingly dead, Skye is forced to petend she still has feelings for him to make sure he doesn`t clock that she now knows he`s HYDRA. The scene where the penny drops comes either side of two romantic scenes between the two of them involving kisses, the second of which is much more awkward...

Not long to go know. I`m sure there are some big reveals to come. Or not.