The Adventures of Robin Hood (1938)

 "You speak treason?"

"Fluently!"

I've been meaning to watch this rather fascinatinhg film for some time, anfd it doesn't disappoint. The very Hollywood Middle Ages; the decidedly swashbuckling slant; the very peculiar Technicolor... none of these surprise me. But the wit of the script was a pleasant surprise, and both Errol Flynn and Olivia De Havilland, the prettiest young lady ever to utter the words "I'm a hundred and four, you know" are absolutely triumphant. Basil Rathbone is also a revelation as Not Sherlock Holmes.

This is very much a faithful telling of the myth, to the extent that the myth is consistent, with Little John and Friar Tuck getting their traditional entrances and the famous archery contest for Maid Marian's heart, although the Sheriff of Nottingham is notably sidelined. Yet it's also a swashbuckling film, with Robin as much a swordsman as an archer- the early set piece with Robin cheekily inviting himself to feast with Prince John and his daring set piece escape is utterly magnificent, but it's nevertheless clear that the swashbuckling angle is crowbarred in somewhat. This is, of course, no bad thing, but it's very notable.

The attitudes of the time raise an eyebrow on occasion- Richard the Lionheart is off crusading against "infidels"- and the film portrays the England of 1191 as very much an apartheid state with "Normans" against "Saxons". But why are the English so loyal to Richard, that absentee landlord of a king? But this is, of course, Hollywood, and such things are of a piece with the very fairytale mediaeval visuals on display here, and it all fits the mood of the film.

This is enormous fun, in no way trying to be big and clever but just to entertain and wow us, which it does superbly.

The Mandalorian: Chapter 17- The Apostate

 "Now that's using your head..."

Oh, I've missed The Mandalorian. It may not be particularly deep or philosophical, intelligent though it is: it's a western, and deals with the inherent themes that arise from the mythology of the Old West which are, yes, by no means shallow. The Old West is every bit as evocative and worthy of art as any mythology, and admired as such everywhere in the world except for its native United States. And this episode reinforces that, balancing character, plot, wit and action.

The arc is set up. After last season, the Mandalorian has a hopeless task to redeem himself for removing is helmet, alongside Grogu, now his apprentice. He must bathe in the Living Waters below the Mines of Mandalore that probably don't exist, presumably as a season-long quest. There seems to be little hope. Even Bo-Katan has given up, yet Mando has achieved the impossible.

We meet Grief Kargo again, who has made a decent, honest success of his town. He's pleased to see Mando, and is keen to enlist this potentially useful citizen as landed gentry or at least sheriff; pirates look increasingly menacing, and seem set to loom rather large this season.

It's all such fun, with a giant crocodile and trees full of Salacious Crumbs; tiny little droidsmiths; a proper gunfight. I loved Andor with a passion, but there's room for this too.

Foundation: The First Crisis

 "And Sometimes emotions shout larger than logic..."

We're slimmed down to two plot threads in this penultimate episode- perhaps Gaal will appearat the climax, or more likely next season- but both the Cleon subplot and the Salvor Hardin one are full of revelations.

Things all come to a head with Brother FDawn, with plot and counter-plot. The implied suspicions of BrotherDusk force him to flee, but it turns out Azura was only manipulating him all along, for the benefit of her boyfriend, a random Cleon clone plotting to replace Brother Dawn as the cuckoo in the nest to destroy the Dynastry. And yet... even they are being manipulated by Dusk, who's been manipulating everyone.Wow.

It's an extraordinary sequence of events, and we end with Dawn waiting for the return of the absent Day, who will rule on his fate. And yet... Day's recent religious experiences, however empty and tinged with realpolitik, may perhaps have opened his mind to the concept of even clones needing to evolve and grow? We shall see.

More straightforward, and more faithful to the books, sort of, is the thread of Salvor on Terminus, where the Vault is the centre of everyone- Anacreon, Thespis, Terminus- converging, with the Huntress being suddenly out of the sapirit of the times.

Those of us who know the novels will not be surprised by the ending, but Hari Seldon makes quite the entrance. I'm still suspicious: psychohistory is about broad historical forces, yet there is a lot of "great man" history here, with individuals changing fate. But I can't deny that this is good telly.

Better Call Saul: Gloves Off

 "Just saying... you went a long way to not pull that trigger. Why?"

This is a fascinating episode. Yes, lots of plot happens. Yes, there are lots of characters from Breaking Bad doing rather cool cameos.But this is, at its core, a character study of both Jimmy and Mike, both of whose essences get a pretty thorough and pretty fascinating examination here.

Jimmy is lucky not to get fired. He may work for a snooty law firm. His bosses are right. We didn't keep them informed. Yes, hisb type of advert is successful. But Sandpiper isn't the firm's only case, and they have to be snooty because their upmarket clients are. Image matters, and that overrides day-to-day case needs. Jimmy, at heart a con man and salesman, an extrovert in a world of cautious introverts, is a fish out of water. We know he has no future here.

Does Kim? That's the question. She's the one who suffers here, unfairly. This is, quite simply, a dumping offence, yet Kim doesn't seem to dump Jimmy. She really, really likes him despite everything. And it's because of that, I suspect, that she's going to fall very far indeed.

The argument between Jimmy and Chuck, roles now reversed, is fascinating, deeply revealing in multiple ways, and superbly acted. Each has the measure of the other. Chuck is right that Jimmy is no lawyer, just a quick tongued shyster. Yet Jimmy sees Chuck's rigid hypocrisy too. I suspect neither of them will have a happy season.

But the excitement comes from Mike's strand of the plot. There's a tendency for episodes of Bettef Call Saul to revolve around clever plans, usually from Jimmy, with the fun being in seeing the plan play out. This time it's Mike's turn. Even better, it involves our old friend Tuco, with Raymond Cruz exqwuisitely menacing as ever.

And we end with the question posed by the quote. Yes, Mike is fiendishly clever, albeit fortunate that the police arrive exactly when the plot requires. But when Tuco gets out, Mike will be a target. Is he so determined not to kill? It's fascinating seeing the character get such depth, a deeply moral man who ends up as the Mike from Breaking Bad. The parallelk between his trajectory and that of Walter White can only be deliberate.

Shock Waves (1977)

 "Why, some say they're more afraid of the water than little old ladies are of the dark..."

This is, let us be clear, a B movie. It glories in being so. It is also, I think, the progenitor of the Nazi zombie genre. It is what it is, but in both categories this movie is actually bloody good. And Peter Cushing is simply superb, despite his limited screen time for a top billed star villain.

And I'm disappointed. I wanted a so-bad-it's-good bit of silliness thart would be fun to blog. Instead I get an excellent, tautly directed thriller that plays it straight and, wisely, relires on suspense, so much cheaper than spectacle.

it's a tautly plotted, quietly good film here. And... may I say something? We Birits, with our population of 60 million, have a fairly limited number of character actors, whom we love to spot in production after production. The USA, all things being equal with its much larger population of 300 million, will have six times as many character actors, but, alas, these actors will never achieve the relative fame that they would in relatively smaller countries.

Let us just say here that the entire cast is unusually magnificent, as is the direction, treating a B movie with respect. They deserve to be knoewn, if not as stars, as resprected character actors.

Incidentally, Nazi zombies emerging from the sea in the wake of a rotting ship... non-Doctor Who fans, please indulge me. But could Ian Briggs have seen this prior to writing The Curse of Fenric?

Carry On Teacher (1959)

 "They've taken the pea!"

My very, very slow marathon of the Carry On films continues with this fascinating third film. It's still the '50s, of course, and the format hasn't settled down to that we will soon come to expect. The film is good, but not great. Funny, but not quite hitting the potential that will soon be realised.

The plot is simple; the popular headmaster plans to lreave, so the kids set up a series of practical jokes during a school inspection to ensure he stays. Meanwhile, two comical romances between inspectors and teachers are pursued. That's it. The jokes are quite funny. The cast is superb, but constrained by a certain early tameness in the material.

More fascinating are the social mores on display here. 1959 was only eighteen yesrs before my birth, but it's a world away. The opening sketches evoke St Trinian's and the Bash Street Kids, a hintat the gulf in time that is to come.

The school is a Secondary Modern. Discipline is far stricter than would be thinkable today. Child psychiatry is caricatured and mocked. and yeah, the beating of children is an unbridgeable gulf. In 1959, it was routine correction of children. In 2023, it's kinky sex and decidedly adult. It's interesting to note that all but one of the teachers dislikes caning children, but they all reluctantly accept it as necessary. We can only shudder.

This is quite good. But, more than that, it's fascinating both as an early Carry On and as social history.

She-Hulk: Attorney at Law- Whose Show Is This?

 "Bruce smashes buildings. I smash fourth walls and bad endings. And sometimes Matt Murdock."

Those who dislike postmodernism, self-referentialism, Jacques Derrida, Police Squad, The Life and Opinions of Tristram Shandy, and other jolly japes with the fourth wall, will not like this finale. Many, but by no means all, of said critics, will not be aware that violence to the fourth wall have been a fixture of the character of She-Hulk ever since those dim and distant days when John Byrne was on speaking terms with Marvel.

This finale, a splendid, sparkling, first class conclusion to a series which has generally been good but not necessarily great, is a masterpiece. It takes that absolutely traditional She-Hulk style and applies it to a different medium. Yes, it makes no sense that Jen would be in so much trouble for property damage. Yes, the online toxic baddies make no sense- although, to be fair, nor do real life right wing virgin keyboard warrior bros, many of whom have genitals almost as tiny as Andrew Tate's.

And then the contrived attempt at a climax- Abomination, Titania, Hulk, Todd Hulk... yeah, I love how Jen takes control and gives the creative team a piece of here mind. I love K.E.V.I.N. (a tribute to H.E.R.B.I.E. is probably in the mix) and the metatextual riffing on MCU storylines. This is unique television gold.

Also, the opening tribute to the '70s TV show is enough in itself to elevate this episode to greatness.

Foundation: The Missing Piece

 "I would not wish that emptiness on anyone..."

Again, we are moving away from the novels here-although there's some interesting use of the mythology here- what is the history of the Spacers here? Were they the first to leave Earth, with their robots? Did we have the fifty Spacer worlds? Time will tell. Certainly, Demerzel is the last sentient robot.

As we see in the A plot, with the middle Cleon taking the extreme pilgrimage- a true sacrifice for one who has never known physical discomfort- for clear politcal gain, there's a contrast between the Emperor and his positronic assistant. She, a robot, has a soul. He, ironically in more ways than one, does not. The whole theme is dealt with superbly, from Demerzel's tears at the murder she must perform, to the fact that she, a robot, saw a vision... and he did not.

Gaal eventually gets to escape Hari and will get home... in 138 years. But we get some exposition. The Second Foundation, still "Star's End", is on Seldon's native Helicon and is to remain secret even to Terminus... but we are told no more than this, just tantalised.

Salvor's victory over the Anacreonians is clever, if desperate. But the ancient ship Invictus is fascinationg. Before Spacers... or, perhaps, before the Spacer worlds had been rediscovered?- navigators were surgically wired to the ship. Wow.

It is, I suppose, too soon to judge how far we are moving from the novels. But I'm enjoying this.

Update

 Just to say that, for life reasons, I probably won’t post as much this week as usual, although I hope I’ll still do some blogging. All is fine, though, nothing bad, and things will be back to normal next week.

She-Hulk: Attorney at Law- Ribbit and Rip It

 "Why do you pretend to be blind, man? Cos that is really problematic."

Before we get to you-know-who, because it's Jen's show... this is a superb screwball comedy and equally superb as a pre-finale. I love how the episode ends with, er, a bang, and Jen blatantly lampshades to us that there are a few minutes left to go, which will be followed by a twist. And oh, what a twist. Is Jen ruined? Do the haterswant not to kill her, but to doxx and troll her? Such is the age we live in.

But yeah, Daredevil, with that retro, pre-issue #7 costume. Charlie Cox being awesome. The simultaneous rivalry and flirting, with the inevitable conclusion. Jen finally finding the right man. And, er, Leapfrog being an utterly hilarious character, although I love the prickliness of Luke Jacobson.

It's all aboit the screwball comedy, though, and both leads nail it in both acting and charisma. Also, I know we've seen Matt on the big screen in the definitely proper MCU, but this is your actual Daredevil. Let'ds not let the guest star take over, though. It its own right this is a bloody good episode in a series which has impressed but not always dazzled.,

Foundation: Mysteries and Martyrs

 "The Empire must be protected from mistakes. Like me."

This is an extraprdinary episode, full of revelation and, as good dramas do, wrapping up all the copious exposition in character development and drama.

Hari, it seems, uploaded himself to an AI afterlife at the point of death. Raych knew everything and was in on it; his execution is truly tragic. And Gaal was supposed to lead the Foundation on Terminus... the "First" Foundation. Those of us who have read the novels realise the implications of this.

It's a great scene, with a furious clash between the two geniuses and a realisation that Gaal is... different. With precognitive instincts. This is huge. 

Meanwhile, we learn more of Brother Dawn's horrible gilded cage. It's not the colour blindness; there are other differences. And he must expend effort to hide them every waking second, or he will be killed and replaced with one of many spare Cleons, grown in a vat. It's the perfect metaphor for monarchy- a monarch cannot be an individual and is not free. They all live in gilded cages. They live lives of luxury, but all of them are slaves.

And then we have Salvor and her ever-decreasing number of friends- she mourned her father lastvepisode, now she loses Hugo too, who had such faith in her- as the Anacreonians force them to repair the legendary ghost ship Invictus, with its randomised jump drive. The concept is blilliant.

And then there's Brother Day, concerned by Demerzel's conflicted loyalties with her religion, and with a problem of religious politics to solve, of a type Seldon predicted. So he, the Emperor, resolves to undertake the most arduous pilgrimage possible...

This is superb, the best episode yet, however much it may diverge.

Foundation: Death and the Maiden

 "Hari said an entire galaxy can pivot around the actions of an individual."

Hmm. Not sure he did, love. Psychohistory sees only multitudes, not individuals. That's sort of the point. But never mind. The episode, and the series, are awesome regardless.

I mean, we actuallly meet some Spacers; this is indeed the wider Asimov universe. They are clearly enhanced, spacefaring humans. We get a flashback to Hari persuading Raych to kill him, as part of a pre-ordained plan. He being happy with Gaal would destroy the future- individuals again- so the plan is to split them up. The escape pod is meant for Him. Gaal was never meant to be involved. This makes sense.

We're also meant to see Salvor as destinred by the Great Plan. She gets a lot of development and a lot of heroism here. She kicks arse. She bonds with, and loses, her father. Yet Hugo not only loves her but has total faith in her.

And yet the tale of the three Cleons takes precedence. Brother Day fails to stop a very fascinating religious heresy which verges on treason in nhinting that cloning is decadent stasis that cannot evolve. Yet more fascinatring is that Eto Demerzel- an ageless robot- is an adherent of this religion, a fascinating character point.

And then there's Brother Dawn, who continues and makes explicit his romance with ther gardener. And.. he's the first colour blind Cleon. In contrast to the religious adherents, it seems that even clones eventually mutate. What does this mean?

This is utterly fascinating and deep. Faithful to Asimov not in a banal, literal sense but with real conceptual though. It's superb.

Better Call Saul: Amarillo

 "Beautiful penmanship, a lost art."

Here, I think, we see the beginnings of why Jimmy, despite his genuine talent, will never thrive at this big, swanky law firm.Not because iof snobbery, or Chuck trying to trip him up- his boss seems to side with him there- but it's the fact he's Slippin' Jimmy. He just is. He's riding for a fall. And the tragedy is that he's certainly going to bring Kim down with him. And she's given everything for him. It's a slow motion car crash. The trajectory is certain.

We begin with Slippin' Jimmy in the most hilariously Texan con ever... but it's solicitation, something for which he can be disbarred. It's a worrying omen, much though he gets away with it this time.

Inevitably, he doesn't. The TV commercial may be clever, it may be right, but- as the previous commercial shoews- it's a clash of cultures. Jimmy just doesn't fit in with the way things are done. And, as soon as we realise he's airing the commercial, events have only to play out.

The B plot is fascinating too, with some superb facial acting from Jonathan Banks. Mike has his morals. He's a good grandad, and an honourable man, but he's a criminal by necessity. And, as we see at the end, his ethics don't necessarily mean he won't kill. So is he a good man? The answer is, as it will be for any real, nuanced, human being, ambiguous.

This continues to be first class television drama.

Hamlet (1948)

 "This is thevtragedy of a man who could not make up his mind.

Said quote is the popular opinion of the play. It has truth to it. Yet, as always with Shakespeare, there is nuance.

This play is a deconstructioin of the late 16th century revenge tragedy. Hamlet is, yes, hesitant. He is inytrospective, introverted. Naturally he hesaitates. Right?

Yet the ghost of his father gives him clear information. we can't excuse his procrastination. And he is not the student, intoverted, poetic hero. His reaction to his father's ghost is not revenge but a crying-for-help version of suicidal thoughts- see that soliloquy- and misogyny. His treatment of ophelia, and his mother, is unforgivable.He is not a likeable charactor. Here, that is a brave and right decision by Sir Laurence Olivier, whise charisma ois beyond all.

Contrasted to Hamlet is Laertes, an extrovert, who just gets on with his revenge. Good on him. Hamlet loses our sympathy when he kills Polonius, perhaps. After failing to kill the unshriven Polonius in the church. One could construct an argument that he does, in fact, kill Claudius as soon as reason and circumstance permit. I mean, I did this play at both A Level and University. The question persists- does Hamlet procrastinate? There's an argument to say not. His father's ghost interrupts only to rebuke him for being nasty to his mother.

Olivier is superb here.The soliloquys are exquisite. The play, long and bloated though it is, remains a piece of art up there with the best. That Warwickshire boy could certainluy pack a sentence with meaning.

Julius Caesar (1970)

 "This was the noblest Romam of them all."

Obviously, I know this play. I also know the 1953 film with Marlon Brando, and with John Gielgud in a less exalted, but more electrifying part. I mean, is the superlative Sir John Gielgud... phoning it in? I do believe he is.

Not that this film is crap. It's just not the 1953 film, probably. I mean, I saw it probably twenty-five years ago, long before this blog. Memory is an imperfect intrument. But it- and Brando, especially- made a deep impression on me. Any subsequent Mark Antony has big boots to fill. And those big soliloquys must be approached with trepidation. An actor lives or dies by them.

So how does this compare? Well, the standard British characters actors are very RSC. Robert Vaughn impresses with Casca, giving a daring yet pleaasingly arch performance. Diana Rigg shines during her one big scene.

But what of Charlton Heston? Well, this was brave of him. He's no Brando, not even close, but he's good enough. His "Pardon me, thou bleeding piece of Earth" is so so, but his funerary speech for Caesar is fascinating. Not as passionate as many, but great facial acting and restraint, which really, really works.

The entire production is fascinating. We begin with a bird of prey, circling. The battle is visceral, as is the bloody murder. There is no honour in war here, only bloodshed. Shades of Vietnam, and Oh, What a Lovely War?, the 1970 zeitgeist. This is not the best version, being quite flat. But hey, it's Shakespeare.

R.E.M.- Automatic for the People

I first discovered R.E.M. via this album, and I know that immediately marks me out, potentially, as a fashion conscious wanker. Let me, then, assure you that i was genuinely seventeen, exploring music, and pointed towards this by no less than Kurt Cobain.

With any band that makes it big, there's a critical consensus on the best album. For R.E.M., it's this. It's uncool to say this is their best album, but... it is. I challenge you to name any filler within this album, single or no.

No? Well then. This is an album where the deep cuts are Ignoreland and Try Not to Breathe, not singles only by mere chance. Like every damned song on the album.

The album, while awrsome throughout, steps up a gear, incredibly, with the ending duopoly of Nightswimming and Find the River. Two sublime examples of songwriting.

This album, more so even than its excellent predecessor, exalted R.E.M. from the unfderground to the mainstream. I'm not so sure that was a good thing. Yet the band deserves success. Such was the tension of ethics back then. Yet R.E.M. will never belong to them. Always to us. They are real.

She-Hulk: Attorney at Law- The Retreat

 "Spanish is a language, not a nationality, so..."

"You've never heard of Spain?"

In fact, Spanish is a nationality but not a language, which I think you'll find is called Castilian. God, even I know that was bloody pedantic,

Anyway, this episode is enormou fun, with the plot contriving to get Jen to Emil Blponsky's ranch of New Age nonsense, where he and a bunch of hilariously realised crap baddies from the comics (yes, Man-Bull, Porcupine and El Aguila are now in theb MCU...) somehow help Jen get over being dumped.

Yet there's more to it, I think. The script doesn't side with Blonsky and his twaddle, but mocks it. Jen has every right to be angry at the Wrecker, and the others are wrong to de-legitimise the anger of a woman assaulted by a man. 

The early scenes are heartbreaking. Jen and Josh start their relationship with a dating montage, only for Jen to wake up alone and be on tenterhooks for the next text, as we all have been with a new partner. The reveal at the end is shocking- all Josh ever wanted was to steal Jen's secrets, all on behalf of those online haters whom Jen casually dismisses as "losers".

Things are clearly about to go very, very wrong. And this continues to be highly entertaining telly.

Foundation: Upon Awakening

 "I was not afraid of the dark..."

We are, it must be said, diverting a little from Asimov here, not that we haven't already. Yet this is a path not at all trodden by the books, although of course the nature of television drama makes this necessary from time to time.

So we have Terminus in very serious trouble and seemingly in the procerss of being destroyed by Anacreonians, coded very much as terrorists, who blame Seldon for what happened to them. We have the imperial military being rigidly incompetent behind the bluster. Yet we have Salvor Hardin, creative and clever, thinking. We know she's going to save them all.

But, most of all, the story focuses on Gaal, freshly awoken from stasis after thirty-four years. The flashback to her upbringing on a world where catacysmic climate change gave rise to extreme religioius reaction against all learning, and how she was inspired to reject such idiocy at the cost of parental rejection. The metaphor of a black hole, and the event horizon from which there is no escape, works well here.

Gaal is brought up to speed. She sees she is suspected of taking part in Hari's murder. She sees Raych's execution, and how Hari's murderer's dying words are to trust in the plan. What is going on? For Gaal, who shows how bloody clever she is herself by working out where she is, there's the fear of going to Helicon, Hari's home, as his suspected murderer. And yet... is Hari seemingly right there? What? This is clever, intriguing telly, much though I hope it know's what it's doing with this.

Better Call Saul: Cobbler

 "It looks like a school bus for six year old pimps."

This episode, fascinatingly, takes place in two different worlds, one of high flying lawyerly professionalism and one of criminality. Yet, as we see in the person of Jimmy, the two worlds are of course linked.

We know, of course, that Jimmy isn't going to make it as a high flying lawyer; this is a prequel, after all. But it's fun, for now, to see him doing well. Even Chuck turning up for a couple of hours. He even has the love of a good woman in Kim, who right now is very keen on him indeed. He's living the dream. But that's the thing with dreams: you wake up.

His career is doomed. His relationship with Kim is doomed. The only question is how.There's no suspense here and the brilliance partly lies in the fact that the script is well aware of this, with subtle little metatextual moments. Kim's present for Jimmy, a cup entitlred "world's second best lawyer"? And the cup, ahem, not fitting as he tries to slot it into the cupholder? Yeah. Not exactly the world's most subtle metaphor. But the script is winking at us.

The other plot this week concerns the rather inept and comical Mr Wormald, in way over his head, and Mike, who exhibits the patience of a saint but ends up solving Wormald's considerable self-inflicted problems rather neatly, prefiguring his future work for Gus, in a way that is hugely entertaining to watch.

And then Mike calls Jimmy to help, which he does, cleverly, humiliating Wormald into the bargain, which is quite fair. And... yeah. I have no doubt that is a real fetish. Rule 34. No, I'm not Googling. But why does Jimmy get involved? He now has no reason to. This indicates, perhaps, a compulsion for the legally murky that may destroy him. 

The last scene with Kim is brilliant. Kim is appalled at the risks Jimmy is taking. They are self destructive. And this is a superb character moment. Jimmy is surprised that Kim, so impressed with the cons last week, is appalled now. But she's right. They're doomed. He's doom. And no amount of cake, however much untouched by human buttock, can alter that.

Black Panther: Wakanda Forever (2022)

 "Youtr brother is with the ancestors"

This is an interesting film, centred on Letitia Wright as Shura, yet full of thoughful subtext, full of lots of glorious Agfrican cultural imagery. Yet... it's average.

Sadly, Chadwick Boseman- a man my age-is dead. That usual Marvel spiel at the start makes a fitting tribute here, being entirely dedicated to him, is wonderful to see. And is more than just avtribute. Because this is a film defined by his absence.

Black Panther was one of the MCU's finest films at the time, and even more in hindsight. It's brilliantly Afrofuturist message and visuals have percolated into society and had a hugely positive effect within this world we live in, in which American police officers, supposed to protect the public, seem to routinely torture and murder young black peope, and where far too many black people in the west live in disproportionate levels of poverty and, indeed, imprisonment. The social legacy of slavery is real. And that's before we get into the legacy of colonialism in Africa as well as elsewhere. Black Panther is at once escapism from this depressing reality and a message of hope.

Yet Chadwick Boseman, an actor of huge charisma, is no longer with us, and cannot just be replaced. Recasting would, of course, have been repugnant. So this film, wisely, reflects this reality, being entirely about grieving and loss amongst an overwhelmingly black and female cast. Shuri takes on the mantle of Black Panther- and of queen- only with reluctance and after much grieving for T'Challa.

Wakanda faces a more hostile world without the respected T'Challa, with other powers openly jealous of Vibranium and quick to scapegoat the African nation for hostile acts with a highly suspicious eagerness. There's also a new power in the world, also with Vibranium, as the MCU finally introduces us to Marvel's oldest protagonist- Namor the Sub-Mariner, a bit less of a dick here than he is in the comics. Wisely, Namor's underwater kingdom is not called Atlantis but rather "Talokan", and is given a rather less silly origin with its roots in Meso-American culture and colonialism- thematic unity- rather than the Hyborean Age and the Great Cataclysm. It's great to see Namor at last, and Attuma too. 

The film perhaps lacks the sheer excellence of its predecessor, perhaps understandably. But for a film so bloody long I found this thoroughly enjoyable.

She-Hulk: Attorney at Law- Just Jen

 "Yes, itr's a self-contained wedding episode."

Another short little sitcom episode ensues with more fourth wall-breaking, this time by playing with the tropes of mid-seasdon wedding episodes. So Jen-powerful and successful- is a bridesmaid at a wedding where none of that matters, she's not one of the queen bees and is expected to act as a servant, and her achievements mean mothing besides the mere fact of her singledom. Ouch

Ginger and Mallory get a nice little sub-plot with Mr Immortal, who is no Great Lakes Avenger here but someone who just temporarily dies to avoid conflict, leading to some rather amusing relationship problems, and all because he can't avoid conflict.

Jen, of course, is stuck in a trap from Titania but, once green, is easily able to defeat her. She seems to have found a nice man too. All seems to be going well. But Bruce is missing. And on the Internet there are rumours that there are those who wish her ill.

This is not, perhaps, the greatest episode but nevertheless it makes for entertaining viewing. We now seem to be moving into the endgame with a season arc becoming prominent...

Killing Joke- Killing Joke (1980)

 

This is uncannily of its time and quite brilliant. The soundscape, the production: both are so different from the much later singles from which I knew the band. Instead, we have a sound that echoes Magazine, Public Image Limited, the zeitgeist of 1980, a year when punk was fractured and all was in play for a decade of defiance.

The sound is exquisite. The vocals are surprisingly either absent or low in the mix. This is fine. In fact, within context, a plus. This is not what I expected.

I shall be seeing this band in March, with my awesome cousin... and a certain very lovely lady. The next Mrs Llamasttrangler. It will be a delicious occasion.

This is not, perhaps, too remisiscent of the later albums by which the band would come to be known. It's very post-punk, if very good. Yet this is a quietly seminal post-punk album, and one that prefigures greater things from the band.

Foundation: Barbarians at the Gate

 "Violence is the last refuge..."

"Of the incompetent. I know. That's an old man's doctrine."

As the above line shoews, this is a different Salvor Hardin in more than gender, while also similar in many ways. But Gaal's narration tells us that this is the tale of a legendary figure as a seriuous and huge Anacreonian assault threatens all Terminus stands for. Yet Hardin is an "outlier"- or is she? As Gaal tells us, Hari's plan accounts not for individuals. Is Salvor an exception to threaten the plan? Or is she its fulfilment?

Certainly things are breaking down in the galactic periphery, as well as unrest on Trantor and religious strife, with an heretical doctrine being promulgated that may indicate that clones do not have souls. Whatever the spin of imperial mathematicians, all is not well in the empire. Nor are things well between the imperial brothers. (Day, it seems, sits on the "middle throne" and is in charge). But were they ever? It appears that the empire is, unsurprisingly, too complex for a single monarch, or even three, echoing Rome after Diocletian- no doubt with intent.

All seems grim.Yet there is plenty to hint that Salvor will bring salvation. Also, those of us who have read the novels suspect what is likely within the Vault...

Better Call Saul: Switch

 "That's right. Not a lawyer. Bye."

This is a fascinating, tantalising, nuanced opening episode, scrutinising the two roads Jimmy can take. Yes, at the end, he relents and takes the swanky law job. But Slippy Jimmy, I have no doubt, is not going back into his box.

We start with a flash forward to Saul's new life in Nebraska, as he spends a night accidentally in a bank vault. Yet he leaves a bit of graffiti: "S.G. was here". Despite the moustache, Saul is still in there. And yes, the name is jarring after a season thinking of him as Jimmy. And Saul, I think, is a development of Slippy Jimmy, a persona whom Jimmy spends the episode exploring.

Not only that, either. He really likes Kim, and tries to seduce her into the Slippy Jimmy lifestyle, with some success. She has fun, and there's an enjoyable little Breaking Bad cameo.Yes, Jimmy relents at the end, but he's still tempted by the con man lifestyle... Kim too?

Meanwhile, Wormald is not a clever man. For a start, that car just screams "My penis is only slightly larger than Andrew Tate's. Ladies, bring a magnifying glass". Then, the moment he arrogantly dismisses Mike and decides he can deal with the crime stuff on his own tells you he's doomed. It's not in question. The only question is how. And it's actually fun seeing his pathetic, clueless performance in front of the visiting police officers.

The episode gives off so much nuance, so many uncertainties. Kim isn't in Breaking Bad. What happens to her? Which way will Jimmy jump? We know, of course, but when? I'm betting the end of the season.

Orphée (1950)

 "Men always come back. They're so absurd."

To describe this film as a mere updating of the Orpheus myth to mid-twentieth century France would be to do it a grave injustice. It is a thing of wit, profundity and poetic beauty on a level far deeper than I pretend to understand. It is not only a great work of cinema, but a great work of art. Nothing I say in this blog post has any delusions of adequacy in explaining why.

The myth, with no regard whatsoever for the fourth wall, is summarised in full by the narrator in the first few seconds. No shrinking from that modern concept of spoilers here. The narrator then makes the same plea that is made for modern dress productions of Shakespeare- that myths transcend this or that period of history. We then segue into contemporary France, the intellectual France of 1950, where poets have sway still. And Orphée, a poet, is a celebrity, a hero, surrounded by adoring fangirls. Nothing, perhaps, dates this film so much, sadly, as this cultural power of poetry, which here in the UK faded with modernism. But I digress. What else can one do with a film like this, upon which one feels unable to talk coherently?

The 1940s- the esteemed M. Cocteau very much not included ( I've blogged La Belle et la Bete) disdained fantasy. Where fantasy was employed, there was deep allegory. This film deals with Death as an object of desire- a deep and frightening concept. I think of Keats. "For I am half in love with easeful death"... let us not go there. I know I'm mortal. I don't want to be. I'm not an arrogant person, but it outrages me that one day my ego will just end. A cruel fact. Films like this help us come to terms with that harsh fact, perhaps in the wake of A Matter of Life and Death. There are echoes. 

There's much I have not the wit to discuss, such as the film's use of mirrors. Just see it.

She-Hulk: Attorney at Law- Mean, Green and Straight Poured into These Jeans

 "I own who I am!"

Yet again this is short, bvery short, a thirty minute sitcom episode. And it's based on a very sitcom premise, of Titania frivolously patenting the name She-Hulk to sell a load of old tat. Personally I love it, and how the solution is for Jen to humiliate herse;f via parading her recent dating history.

Some won't, of course, and I see the iMDb ratings are low, which I assume reflects polarisation. Those who like loads of ultra-testosterone-fuelled action will find little to enloy here. But the rest of us are having a great time, and not only becaudse of the Daredevil tease (retro custume?) at the end. The idea of a superhero tailor is well-handled, so much so that we'll forget the idea having appeared in The Incredibles, another Disney property.

I love the Jen and Ginger double act. I love the courtroom stuff. This is pure sitcom. But it's bloody brilliant sitcom.

Foundation: The Mathematician's Ghost

 "It's just that you always leave me..."

Time passes. We see nothing of Gaal (though she narrates; we shall see her again)  or Raych, as decades have passed and a tenuous settement is set up on Terminus. Hari Seldon, statues aside, is not in this episode, yet his legend permeates everything.

We begin, though, with a fascinating examination of Cleons I through to XIV, all with Eto Demerzel and all very much knowing what she is. We see the life cycle of an emperor, from an embryo grown in a vat to the final "ascension", a kind of dignified execution. For each birth, there must be a ritualised death. Only three brothers may exist at once.

It's just as fasciniating to see Terminus, its frontier existence with its Encyclopaedia as contrast.There is a mysterious artifact, the Vault, which only Salvor Hardin can approach. Wde get to know Salvor, her active, thinking mind in a society of ossified fatalists who see no need to act as the Seldon Plan will save them. So when Anacreon seems to be invading they know not what to do.

There are so many nice little touches, too... Salvor's lover is pushing seventy but seems half that age from spending decades on "cryo-ships". No one on Terminus now understands the mathematics of Psychohistory; they're acting blind. And it's fascinating to see the dynamic between Salvor and her parents. This is absolutely brilliant.

The Incredible Hulk (1977 TV Movie)

 "Don't make me angry. You wouldn't like me when I'm angry."

There is, of course, no guarantee that I'll blog this whole series, and not only because only the extended length pilot is free on Netflix. Despite my childhood memories, I'm conscxious that thius is an American network TV show with a reset button as part of the format.

I admit, too, that after seeing interviews with Kenneth Johnson I'd assumed he was one of those people who despise comics and seeks to arrogantly change anything. Yet, despite the gratuitous changing of Bruce to David Banner (not even "Bob")... this origin story is probably as faithful as ot needs to be. Gamma radiation is involved, and a silly communist spy would not have fit the zeitgeist in 1977, a splendid year, certainly for those of us born in it.

The premise, the direction, the acting of Bill Bixby and Susan Sullivan are all superb. This is better telly than I'd expected. The origin has had so much thought given to ot, Banner's bereavement, his close conection with the brilliant Eleana, thegenuinely intriguing scientific mystery. Jack Colvin is a superb villain- a tabloid journalist, truly a soulless creature.

The connection between David and Eleana is central, and the chemistry is absolutely there. The script is thoughtful, full of concept and character, yet simple. There is an overarching theme of superhuman strength found in adversity. There's a lovely tribute to the first Universal Frankenstein film, for obvious reasons.

Shall I watch more? We shall see.

Persona (1966)

 "The hopeless dream of being. Not seeming, but being...."

This is a glorious mind**** of a film, shockingly only the second example of the oevre of the esteemed Mr Bergman that I've blogged. We begin- and punctuate the film- with random, surreal imagery, freminisscent in spirit of Un Chien Andalou, something which must surely be intentional. At one point a nail is hammered into the fleshy part of a palm. Lovely. Not only is this as icky as it gets, but it's a blatant allusion to Christ, which is brave territory: comparing characters to Christ is the definkition of uber-pretentious.

This is, lof course, nothing of the sort: the surreal imagery is surreal imagery. The beautifuly arty direction is beautifully artbdirection- and this film really is superbly shot.

Yet the film is, sort of, a straight drama.Elisabet Vogler is an actress, successful enough to play Electra. Yet she suddenly deases to speak or act, ending up in a mental insyitution. Alma looks after her. That really is it.

 SPOILERS

Yet the script, the character, the acting, the everything is sublime, terrifyingly so. The two women are intimate, at once close and antagonistic. Complex gamesof friendship, power, love and betrayal play out. Yet, beneath it all lies a socially unacceptable hatred of motherhood, a fear of childbearing and childred upon which a person with a y chromosome should probably not comment. All I can say is that this film is awesome.

Foundation: Preparing to Live

 "The more human I act, the more human I am."

Here we begin to branch out from the original novel. There are divergences, the four or five year trip to Terminus beuing the most obvious, a good way of establishing characters and the dynamics amongst the proto-Foundation. Yet there are also elements from later retcons in the novels- I now remember who Raych is, for a start. And it's startling to hear Hari mention the "Robot Wars" and, all the more so, to have it revealed- not only to us but Brother Dawn- that Eto Demerzel is a robot, apparently the only one. Why, then, does the share this knowledge with Dawn?

There is utter horror in this episode. The Cleons, or certainly Dusk, know the two ambassadors and their worlds are innocent... but their entire retinues are judicially killed anyway, by slow, tortuous hanging. And their worlds are bombed to bits. All for the sake of a scapegoat for the satisfaction of the masses. Such is the Empire.

We see the Foundation develop and grow, with Hari Seldon revered. We also see Gaal and Raych grow closer and plan life together, yet Raych and Hari seem to grow apart. And the end is seemingly shocking. With the maths of psychohistory seemingly unfinished, Raych stabs Seldon and forces Gaal into an escape pod, ejecting her into space after, er, telling her he loves her. Why? What happens next?

The dynamics between the three clone emperors are fascinating too. This is superb, deep telly.

She-Hulk: Attorney at Law: Is This Not Real Magic?

 "You can't own magic!"

This is, essentially, a sitcom. And, despite Jen's frequent fourth wall breaking ways, we're not talking WandaVision. This is a straight sitcom.

So both story strands here lampshade the suer-hero genre. We begin with a rather good magic show falling flat, because this is the MCU, and people hear magic all the time. We then learn that the magician is a failed student of the Mystic Arts, using just a little crap real magic. The joke is, of course, that Wong wants to sue him. And it's fun. Wong- played with nuanced excellence by Benedict Wong- is a funny character while also being dignified and heroic, not an easy thing to pull off.

The other strand is, of course, the tragedy of Jen's love life. All the men she meets are self-obsessed losers. At last, as She-Hulk, she meets a seemingly perfect man... and he takes right off as soon as he sees her as Jen. Ouch.

I'm loving this, despoite the Sopranos spoiler. But I suspect those less humour-inclined may not be.

Foundation: The Emperor's Peace

 "Oh, it's not a theory. It's the destiny of the human race, expressed in numbers."

You may have noticed I've blogged the original three Foundation novels from the wonderful mind of Isaac Asimov. I've also read the others, plus all linked novels, although admittedly it was some decades ago. But let's say I broadly know how the story pans out in the novels. I shall endeavour to keep these blog posts free of any potential spoilers from the novels.

I've wanted to see this for some time, but wasn't sure whether Apple TV was worth subscribing to as it doesn't look as though there's much else on there I particularly want to see, especially with the lack of archive content. But now I randomly seem to have three free months, so I might as well watch this while I can. It's intriguing; an adaptation of a series of novels that absolutely needs the expansiveness and seriality of TV rather than two hours at the pictures. David S. Goyer is showrunning, so hopes are high.

And rightly so, This is a fairly faithful adaptation of the opening of the first novel. The framing sequence on Terminus features Salvor Hardin. The main flashback to Trantor, perfectly realised, gives us Hari Seldon, Gaal Dornick and Eto Demerzel. There are changes, of course. The novels are a sausage fest, so certain characters need to made female. And the world is fleshed out a little. Gaal's background from an anti-science, religious culture gives her a hinterland. We have the character of Raych. And, intriguing, the empire is ruled by Cleon I... and has been for centuries, with three differently aged  clones at one time, a perfect example of the cultural stasis of a Galactic Empire that no longer grows nor changes. These added bits of depth work well.

This is a superbly made and written piece of television. More please.

Better Call Saul: Marco

 "It's like watching Miles Davis give up the trumpet."

This is both an extraordinary episode and an extraordinary finale. Interestingly, it's not exactly a Breaking Bad style finale with lots of action; it's a superb character piece that pushes Jimmy in a new direction.

After the revelation about Chuck, Jimmy is at a crossroads. There's a nice scene with Howard which is nicely done, the first time they meet since Jimmys realisation that Howard was never actually the problem. It's nice to see the mutual respect between the two of them. 

The next scdene, at the bingo, is superbly done, though. We see Jimmy gradually fall apart as the mask slips, as well as finally learning why he went to prison in the first place, ruining his life. It's dar, human, superbly written and performed.

And so it's back to Michigan, reconnecting with his old mate Marco, and for a week he's Slippin' Jimmy again. He gets to escape from reality for a while, and hilariously we get a grifting montage. And then... Marco suddenly dies, a symbolic death of Jimmy's past. It's back to Albuquerque and reality.

And things are looking up. Jimmy is offered a new lawyering job, with real prospects. All looks good. Yewt Jimmy is at a crossroads... and he decides not to take that path. He resolves that he's sick and tired of scruples and honesty. Ouch.

This is an extraordinary episode, extended character piece as season finale.

Petticoat Pirates (1961)

" You long haired idiot.

Meh. I mean, this film isn't exactly terrible, but there's a reason why it- and Charlie Drake- are pretty much forgotten.

Yes, the social attitudes on display here are different from today, and one must make allowances. But that's not really an excuse. The same could be said of the Carry On films, and they are far superior to this mildly amusing but underwhelming comedy about the hilarity that ensues when a Royal Navy frigate is taken over by women. The sexism on display is not particularly extreme by the standards of the time, and the whole "battle of the sexes" angle is good humoured, and the ladies pretty much come out on top. Regardless of social attitudes, a film is either good or not, and this film is not.

No, it's not that. And nor is it the script, which may not be brilliant but is perfectly serviceable. Nor, mostly, is it the cast. Anne Heywood, in particular, is superb.

No: it's Charlie Drake. He's just not very good. He's a very generic Norman Wisdom type comedy actor, with no charisma and no discernible talent. For him to have apparently become a star simply beggars belief.

Perhaps I'm being a little harsh. The film is harmless enough, and passes the time. But any humour is mild, and much of the interest comes from the fact that this film is an artifact from another time. I'd suggest, sadly, that this isn't exactly a film greatly worth bothering with.

The Bed Sitting Room (1969)

 "Radiation's rising. Still, one mustn't grumble too much.

I'm full of sesations from this extraordinary film. It contains multitudes. It is, I admit, my only experience of a Spike Milligan (co-)script, full of irreverent absurdity, the sort which wqould later begat a less overtly successor in Monty Python.

Thetre is much more, though. Despite the very British humour that anchors everything, this is a cinematic adaptation of an absurdist play that feels like Joan Littlewood's Theatre Workshop, which is high praise indeed. It's a post-apocalyptic world, set in the near future to 1969, with absurdity upon absurdity. Yet it's grim, in the traditions of Ionesco and Beckett. Indeed, the constant cynicism in the face of nuclear annihilation and the equally cynical, yet glorious, skewering of the British "stiff upper lip" denies us even the consolations of existentialism.

Despite this, the humour is exquisite. Realism being abandoned, we may use the setting to skewer British behaviour. Hence Arthur Lowe (genius casting) as the father, leaning heroically and deeply into another sort of comedy. I suspect, in person, over a pint, he would have been no Captain Mainwaring. Despite Peter Cook, Michael Hordern and others, his performance stands out. Beyond, even, that of Nurse Marty Feldman.

I can only urge you to saee this triumph of British comedy cinema which, deaspite its clear absurdist bent, is full of genus humour of the type one may expcct. You MUST see this film.

Update

 Bear with me as real life means I won’t be able to blog much if at all for the next couple of days. I should be back to normal by Sunday or Monday.

She-Hulk: Attorney at Law- The People vs Emil Blonsky

 "I don't know about you, but I'd smash."

This is where She-Hulk really hits it's stride. I love everything about this episode, from Jen's little fourth wall breaking asides to the last minute, unexpected appearance of what is surely the Wrecking Crew. But the best bit is, of course, when Wong gets told he's confessed to unlawfully helping a prisoner escape... and promptly teleports away.

The A plot with Emil Blonsky's parole hearing is fun, with the inevitable comedy with Tim Roth being superb, and Wong's dramatic late entrance. There's also a nice little linked thread of She-Hulk's reputation being generated by the stupidity of the media and online world, with its incels and pathetic little boys. So she submits to an interview, which, er, goes well.

The B plot, with a shape changing Asgardian elf and Jen humiliating Dennis to win his case, is hilarious. But I'm sure Dennis will do somewthing nefarious before the season is over.

The Day of the Triffids (1981): Part 6

 "We were walking on a tightrope for a Hell of a long time..."

The sixth and final episode and, appropriately, six years have passed. The extended family, including Susan and Bill and Jo's son, exist in a state of continuous siege which functions as a metaphor for the precarious state of civilisation. It seems the Triffids are fated to win. London is slowly rewilding. Fuel is becoming scarce.

There's a moving and very human conversation between Jo and Bill. Despite the peril, Jo is happy with their little family. And Bill echoes our current concerns with civilsation being precarious- the climate crisis, nuclear war, the Singularity- by pointing out that we begat the Triffids- and even the humanity-blinding comet may not have been a natural phenomenon. "Sooner or later a foot had to slip." Indeed. Are we so different?

We get a welcome visit from Coker, who has established a community on the Isle of Wight; small islands seem ideal for keeping Triffid free. The Channel Islands too. But Jo wants to spend one last summer at the farm... until peace is interrupted by militaristic morons, played for laughs, who want to set up some kind of feudal society.

The last scenes are funny as the family escapes to the Hampshire coast and beyond, and we end with a nice little monologue. This was an excellent and thought-provoking adaptation of a novel that I simply must revisit.

Gremins 2: The New Batch (1990)

 "I've got rabies, and I'm supposed to get the flu this week."

Oh, I love this film. It is- and I know this is a weird thing to say for a Hollywood sequel-a different level of wit, enjoyment and fun from ther original. fourth wall? you're dead?

Yes, this is a sequel. We have Billy and Kate, moved to New York. We have some very real, surreal and, I suspect, very dated satire of Wall Street and the absurdities of thre reagan era. Reagan was no Trump, but, well, he was stupid. It's all excellent stuff. Poor Mowlgli.

But that barely scratches the surface. The first breath in the fourth wall comes from the mime artists being escorted out of the police van. Then we have, yeah, the Hulk Hogan interview. The fourth wall dies at this point, even after the review of the first movie which has hilarious consequences. It's sad to see the great Christopher Lee in a character part, but he's superb.

The knowing wit is hilarious throghout. This cannot, sutely, have been written by committee. Halleluljah. And I can't even begin to touch on the satire. This is the Reagan era. Corporate culture was insane.

There's so much to talk about. The old man- Kato in the old Green Hornet movie serials- dues. Poor Gizmo is bullied. So is Billy, unappreciated at work. The whole satire on 80s corporate excess is exquisite. At one point the lift asks for a car to be removed beause it's cheap and old.

I adore this film. If you don.'t ,then I shall challenge you to a duel. Sith Re Leicrster cheese. Be warned.

She-Hulk: Attorney at Law- Superhuman Law

 "That name better not stick."

After last week's superhero origin story, we now have the introduction of the format. After getting reluctantly fired by the firm and unemployed, Jen is hired by the opposition and given a swanky new office heading up a new Superhuman Law Division. But there's a catch. She has to practise, in the office and in court, as She-Hulk... and, yeah, she, er, loves the name.

And there's another catch: she has to represent Emil Blonsky, the Abomination, at his parole hearing, and Blonsky tried to kill her cousin. Fortunately, Bruce is fine with it, so all is seemingly well.

It's also nice to see Jen's family, including her parents, her cousin Ched and, I think, Bruce's parents. The scene is a joy, especially her close bond with her dad.

So many nice touches, too. I'm an old school fan, I know of Titania. Here, she is... an influencer?! Also, I love her dad asking the very pertinent question of whether Hawkeye retrieves his arrows. I noticed Blonsky's prison was run by Damage Control.

The format looks fun. I'm excited. Also, I presume the fact that Bruce is in that flying saucer from last episode will be followed up out of the confines of this particular serial. And I loved the Shang-Chi bombshell at the end.

The Day of the Triffids (1981): Part Five

 "Hey! Can't you kiss her indoors?"

This, like its predecessors, is a gripping and thought-provoking episode. Plot-wise, it's simple. Bill finds a disillusioned Coker, they bond, they philosophise, they find a rather naive community of unworldly Christians, they philosophise some more. Coker then returns to bash the community into shape while bill goes on a quest for Jo, picking up a little girl called Susan along the way.

Yet the plot is not the point. The core is Coker's monologue- one day the loot and the petrol will run out. By then, they will need to have learned how to farm, to plough, to make things. And for that they will need a large community so there's enough surplus labour to read up on these things. He's right.

For we see, everywhere, Triffids triumphant over the stung or diseased corpses of human beings. Humanity is not winning. I expect the ending to be downbeat and open, but I also expect it to be bloody good.

She-Hulk: Attorney at Law- A Normal Amount of Rage

 "The triggers are anger and fear."

"Those are like the baseline for any woman just existing."

The above quote sums up this hilarious, clever, delightfully meta first episode. Jennifer Walters is Bruce Banner's cousin and, this being an origin story, gets her powers. But the conceit is that, wonderfully, because she's a woman and has to control her anger every day, she stays totally in control when green and can just change at will, sometrhing which Bruce still cant do after fifteen years.

Jen is witty, likeable, very well written and portrayed, and her desire to just continue practising as a lawyer rather than be a superhero is fun and intriguing. Just as awesome, the breaking of the fourth wall, with Jen constantly addressing the camera, is present and correct, including the fourth wall breaking, which is going to be such fun.

I love the banter between Jen and Bruce, and the subtle, fun, feminist commentary. This is such a fun firsat episode. I'm excited.

The Day of the Triffids (1981): Part Four

 "I'm like a drug they give to patients to keep them going a bit longer."

The fourth episode further develops the existing themes and takes a darker turn; Bill, separated from Jo, is kidnapped by Coker's people and forced to help blind friends to find food. He's kind, helpful even when no longer forced, and a gentleman in that he refuses to sleep with a girl whose motive is to persuade him to stay. Yet it's all futile. The blind are doomed. As Bill knows and no one else will get past their cognitive dissonance, no cavalry is coming.

Yet things are worse. A plague is developing, and only plot armour really prevents Bill from catching it. There are nasty people with guns. Worst of all, there are Triffids. Their menace is finally coming to the foreground, as presaged by much of Bill's dialogue in earlier episodes.

The desperation has increased. I quite like the fact that I've long since forgotten how the novel ended so I don't know what to expect. This is a superb adaptation.

The Mezzotint

"By virtue of all that is reasonable, Nisbet, this is a rank impossibility." 

I somehow missed this last year, so I'm watching and blogging it when it's still the season, sort of. This is, of course, magnificent. Horror via existential dread. The pacing is magnificent and Rory Kinnear, as ever, gives a superb performance.

I've yet to read any M.R.James, I've just seen the adaptations. But there's so much going on here, beyond the idea of a picture changing whenever it's observed which may have influenced one Steven Moffat. But it's far more existential and far more gothic than that: this is M.R. James. Williams is a man of his time, yes, but he's nice enough- friendly, amiable to his housekeeper, harmless. Alas, as he discovers, he is the last of his line and thus inexorably doomed. There's nothing he can do. The moving figure in the mezzotint exists to doom him and him alone.

This is creepy, gothic, existentially dreadful. In short, full of Christmas cheer.What's not to love? Happy New Year, all. Now we are back to normal it's back to The Day of the Triffids and Better Call Saul, plus films, and I'll be starting She-Hulk: Attorney at Law.

Roald Dahl's Matilda the Musical (2022)

 "This isn't school. It's a prison."

This is the first time I've seen a film at a cinema for a shocking three years, at the splendid and, I'm pleased to see, expanding Phoenix Arts Cinema in Leicester, and once again the reason was Little Miss Llamastrangler. Many thanks to my brother and sister-in-law for treating us.

The film is,of course, splendid fun for all the family, with delightfully witty lyrics courtesy of Tim Minchin. It is, as it necessarily had to be, a very different beast from the 1996 film, set in a very British 1980s of Irn-Bru and bikes from my childhood. Alisha Weir is a revelation and a triumph as our titular heroine, while Emma Thompson is magnificently evil as Trunchbull, whose cruelty is far more apparent here than in the previous film, although there are also hints of a possible actual hinterland..

It's all about the visuals, though, and of course the brilliant songs. There's far more of a whimsical, mischievous sense of humour here that owes far more to Roald Dahl's writing itself than the previous adaptation. There is, of course, a possible subtext- I love Matilda's comment, upon seeing Miss Honey's home, that teachers must be "really badly paid", plus it's easy to see Miss Trunchbull's Gradgrindian regime as a metaphor for the National Curriculum, which was very much an issue ij the late 80s when the novel was written and the film is set. If so, though, any such subtext is worn lightly. More than anything, the film is great fun. Both Little Miss Llamastrangler and I enjoyed it enormously.

Count Magnus

 "What did I do?"

This, the latest Christmas adaptation of a short story by M.R. James, whose work I have not read, is as chillingly well-constructed as we have come to expect. As ever with these things, the plot is simple. It is the essence of the Gothic: an Englishman investigates the tomb, and the unholy antics, of the eponymous count, his curiosity leading to a truly horrific and inevitable downfall.

The Swedish setting is atmospheric and the grisly history superb, with hints of alchemy, devilish beings and the Antichrist. The tale of the two villagers who met their own grisly fates echo that of poor Mr Wraxham, almost the stereotype of the cheerfully ignorant travelling Victorian Englishman. A scholar, a cheerful man, taking nothing seriously until it is too late, he is- with Jason Watkins trning in a perfect performance- quite magnificently doomed by his very complacency.

The plot is nothing unusual; just the same tropes arranged a little diffrerently. No; it is the atmosphere that makes this tale, like all of them, so chillingly effective. May Mark Gatiss haunt our Christmases for many years to come.

Persuasion by Jane Austen

I'm going to start with a controversial comment: this novel and, I rather suspect the novels of Jane Austen in general, is and are unfilmable. For the plot is not the point. Not even the characters, superbly drawn as they are, are the point. No; the joy of Austen lies in her prose, and her subtle soicial commentary, criticising the social mores of her day with a lightness of touch that just about has plausible deniability.

That was the joy of rediscovering this novel at forty-five, having not appreciated it in my youth. This is not some cosy, Downton Abbey period romantic drama but something far, far deeper, and I strongly suspecxt that anyfilm or television adaptation, or most at any rate, would indeed end up as a mere cosy genre piece, entirely missing the (very) suppressed rage in the authorial voice of the rigid social conventions of Regency England, which are subtly condemned. In a similar vein, it would be anachronistic to call Austen a feminist. Yet gender roles and conventions do not go uncommented on.

Yes, there is a rather pat happy ending. But not one that undoes the pain of six years of unnecessary separation of two people forced to deny their love through the petty respectability and snobbishness of those around them. Lady Russell is an idiot, yes. Mr Elliott is a bounder and a cad. Yet the subtle excoriation of Sir Walter exposes him as the worst of them all, and I love how the ending not-so-subtly implies that such things as baronetcies are worthless. Love is what matters. And that we must all be free to choose whom we love.

Sometimes, a classic novel is every bit as sublime as it's said to be.

Hellbound: Hellraiser II (1988)

 "It's not hands that summon us. It's desire."

I write this on 23rd December, 2022. What film could so well instil the Christmas spirit?

This is one of those sequels which challenges the original for top billing. It's that good. It's also fascinating, if at btimres rather gory in a pleasingly latex, stop motion, pre-CGI manner.

The themes, more blatant to me than in the first film are... yeah, kinky is far too soft a word. The underlying, horrific theme here is a sexual fetish for the eteernal torments of Hell, which, well, more tea, vicar? It's a deeply disturbing premise. This is, of course, no bad thing.

This is, really, the perfect horror sequel, building upon and deepening the horrors of the first film. Kenneth Cranham is superb as the occult-obsessed doctor who, desapite his earlier uplifting monlolougue as a brain surgeon, has a massive thing for Cenobite lore.

And the Cenobites are existentially terrifying, distilling the very concept of flesh-ripping torture as they are wont to do. The effects are evilly sublime. And, of course. Ashley Laurence as the star is faultless. Clare Higgins, desapite the odd accent slip, deserves similar praise.

I hope the forthcoming sequels are as good as thois. I have my doubts. But this was superb.

Ms Marvel: No Normal

 "Do you even like British Bake Off?"

At long last I've got Disney Plus working again. I can blog the finale now. Phew. It's been frustrating.

This is, after the intensity of the last few episodes, very much a feel good finale with Damage Control as comedy moustache twirling bad guys, the whole community supporting the new superhero wholeheartedly, and a lighthearted tone combined with awesome set pieces. Yes, I know that kids using Home Alone type tricks against agents with guns isn't realistic. I don't care. 

The whole thing is both fun ad heartwarming. I love Kamala's outing to the whole family, and the bond they all have. I love the positivity of the likes of Sheikh Abdullah, how Zoe doesn't rat Kamala out, how even Aamir joins in.

The one bit of sadness is Kamran, who is understandably hurting, but even he gets a happy ending. as does Kamala, who gets her superhero name at last from her dad.#

And then, two final bombshells. Yeah, yeah, she seems to swap places with Carol Danvers in the post-credits, but... is Kamala the MCU's first mutant?

The Day of the Triffids (1981): Part Three

 "Full bodied. Mature. Just a little pretentious, I would say."

This is more first tier television, right from the cliffhangerrresolution as Bill and Jo find their Ford Cortina attacked by a load of terrifying blind people, one of whom is Morris Barry.

They soon escape from that, and begin to bond as a very real and very well-written couple who both need each other. It's 1981 so, of course, it's Jo who does the cooking and there's a bit of social class awkwardness which is nicely brushed away.

But there's realism. They must leave London. Now civilisation has ended the risk of typhoid and tetanus is too great: they need somewhere less populous, and dream of a place in the country with a well and a generator while philosophising aboit what will happen to human civilisation and the hard choices that lie ahead. They can't save everyone. For humanity to survive, most of the blind must be abandoned. It's horrible, but unavoidable.

Such dilemmas are writ even larger when they meet Michael Beadley and his scarily efficient and certain gang, naive about Triffids, mostly sensible and harsh, but disturbingly insistent on polyamory with a little light misogyny. Surely polygamy, with a small population, just means inbreeding?

This is fascinating, philosophical disaster telly. And the cliffhanger is both exciting and an indicator that our favourite couple may well not be partaking in this dubious utopia.

Better Call Saul: Pimento

 "You're not a real lawyer."

Thgois is a gloriously crafted piece of television, whether we see it as forty-seven minutes of drama in its own right or as a pivotal chapter (this is the penultimate episode of this first season) in a larger narrative. Either way, it's already on course to be a superb bit of telly and then the last twist gets you in the gut.

The Mike subplot is sublime. It's just Mike going on a job, casually being the world weary alpha male and having the measure of arrogant arseholes. But at the same time, in a sense, he's a good man. He's a good and loving grandad. And he gives sound advice to the naive beginner criminal employing him. He's a wise old soul, aware of the contradiction of good and evil, law and crime. He's being developed into a nuanced and interesting character in far greater depth even than in Breaking Bad, where he was less central. This is deeply exciting.

But Jimmy and Chuck... we start with Chuck making promising progress against his ambiguous condition, which is ominous; things are, by the rules of television drama, about to go downhill. And so they do. It's dreadfully cleber, with lots of misdirection. The old folks' case is too big to handle, they take it to Howard, Jimmy gets knocked back... and here comes the misdirection. We think Howard's being a dick.We think he's going to fire Kim for challenging him. But... the hostility towards Jimmy isn't from Howard. It's never been Howard. He may have his foibles, but he's not the enemy. Chuck was. Wow.

So we see a disgusted Jimmy, having worked out the truth, betrayed by his own brother's snobbery, the lawyer as sincere vocation vs Slippy Jimmy, abandining Chuck. I can't find the words for how exquisite this is.

Ms Marvel: Time and Again

 "It was me!"

This episode is wonderful, timey-wimey and cathartic in equal measure. About half of the episode is told in flashback, from the perspective of the young Aisha, as she meets and falls in love with the kind and decent Hasan, becomes a mother and has a happy life... but is visited and threatened by Najma on the eve of Partition. This all makes sense, and is told well, explaining the history of Indian independence to a potentially unfamiliar audience without dumbing down.

And then Kamala and the timey-wimeyness happens. It's all extremely clever. Yes, the Djinn are defeated perhaps implausible easy. But it's lovely that Kamala's mum, whom I'm starting to really like, sees and accepts the whole truth and grows closer to both her mother and her daughter in the process. No more frustrating misunderstandings, yay!

The Djinn are gone. But Kamran is with Bruno, and Damage Control have arrived for the finale. This is excellent stuff.

The Day of the Triffids (1981): Part Two

 "There's nothing we can do!"

This second episode is even more brilliantly horrific than the first. We begin in the hospital, with Bill realising firstly that a patient is blind and then realising the blind doctor, such a comforting authority figure the night before, has jumped to his death.

Outside, things are no better. Looting, pretty much explicitly implied rape, the slow collapse of society. It's all made plain as Bill finds a blind couple with a sighted daughter.And the father is no fool, realising, like Hobbes, that civilisation has gone, and that life is set to become nasty, brutish and short. And his suggesxtion- that Bill stays to protect the block- has merit, I think. Bill can't save everyone. Why not save whom he can?

But Bill travels on, and finally meets posh drunkard Jo, who was saved from blindness by a hangover. There's a rule here, kids: teetotalism is bad, m'kay?

Unfortunately, we then find with full force, so are Triffids, and they've got into the house and killed Jo's father. In the kingdom of the blind, the Triffid is king. It's all out war for survival.

Except humanity, unlike Triffids, is hardly united. And is just as scary, as the cliffhanger shows...

Ms Marvel: Seeing Red

 "Kamala, please don't be weird!"

To Pakistan, then, and it's not just Kamala who gets a wonerful tour of the beautiful-looking Karachi. The city looks glorious, and it's a nice little introduction to Pakistan and broader desi cultural mores, especially for the large American audience.

Kamala gets more than that, though, as she's introduced to the rather cool Red Daggersa, who give her friendship and exposition in equal measure, explaing exactly how dangerous the Djinn are. The Djinn who are at this moment escaping from Damage Control's supermax prison; I'm getting a very Guantanamo Bay feel from all this, as well as outrage as poor Kamran being vindictively left behind.

Meanwhile we also get to know Kamala's wise Nani, and get to see bits of all three generations of mothers are daughters. We see how Muneeba is perhaps angry about her mother's "stories" because she felt neglected. This is a nice human touch.

The confrontation between the Djinn and Red Daggers, plus Kamala, is expected, and the car chase is cool. Less expected is Kamala seeming to travel back in time to 1947. This episode builds and develops on so much, yet the world keeps expanding. Hugely enjoyable telly.

Martyrs (2008)

 "It's so easy to create a victim, young lady. So easy."

I'd be amazed if there was a more disturbing film than this in all of existence. Immediately after watching it I, being quite hardcore, had an experience I'd never before undergone in all of my forty-five years. I felt... not sick, there was no prospect of vomiting, buty something analogous to it. I went into a cold sweat. All this from the profound sense of existential dread by which I, an atheist with stoic and existentialist philosophical sympathies (although, of course Marcus Aurelius would obviously beat Jean-Paul Sartre in a fight), was overwhelmed with. It was a profoundly cathartic and satisfing experience. No other film has ever done that to me.

I shall say as little as possible about the plot: existential dread is a dish best served cold. I shall say that, yes, there's a lot of gore in this film, but the gore is not there to give us a distasteful voyeuristic pleasure. It is necessary. It is instrumental. It exists in order to hammer home (literally, at one point) the hard philosophical subtext that is fare more horrific, for all its abstractness, than any of the hard-to-watch gore.

The film pulls no punches. It brutally exposes the cruelties of life, the absurdity of mortality, the inevitability of suffering and the certainty of death. And yet the final, devastating revelation may, perhaps, contain a kernel of hope. As Existentialists know, in a meaningless universe, we are free to create our own meaning. And there can be no greater freedom.

The acting, the direction, the visual storytelling and especially the storytelling are exquisite, whatever else one may think. This film, despite being truly great in my view, is not one I can honestly recommend to any but the most hardy soul.

The Guardians of the Galaxy: Holiday Special

 "I'm sorry! GoBots killed his cousin!"

This is one of the finest Christmas sitcom episodes- for that is what this is- that I've ever seen. It's superb. And not only for the fact that the eponymous Kevin Bacon is seen watching Santa Claus Conquers the Martians. I like the bloke already, even if he is one of those disgusting actor folk.

The plot may be cheesy- Mantis and Drax feel sorry for Peter Quill at Christmas so they, er, kidnap Kevin Bacon, much hilarity ensues, and Mantis finally tells Peter that she's his sisater. Aww. Heartwarming. Yet the whole thing is gleefully silly, does a lot of violence to the fourth wall, and gets its humour from its well-crafted funny characters. Drax we know well, but Mantis is really fleshed out here, and she's bloody likeable.Kevin Bacon is, of course, awesome, but not as awesome as Mantis and Drax getting rat-arsed from their cosplay money in Hollywood.

Yes, the dodgy ethics of just kidnapping a Hollywood star and, you know, assaulting a few police officers is handwaved away, but why not? That's the tone.

That song about Christmas at the start is a highlight- that Santa Claus chap sounds terrifying. So is "this is human trafficking". But the whole thing is awesome. This is the greatest science fiction holiday special since 1978, despite the lack of Wookies. Plus, Groot as a Christmas tree is a perfect ending.

The Day of the Triffids (1981): Part One

 "If it were a choice of survival between a blind man and a Triffid, I knoew which I'd put my money on."

Obviously, being the sort of chap, I've read the John Wyndham novel several times, although probably not since John Major was prime minister, so it's been a while. Suffice to say I loved it, but was a wee slip of a lad at the time. And still am, of course, at a mere forty-five years.

This is the first adaptation I've seen, and I'm impressed. It's incredibly cheap so far, of course, very close to being a one-hander with John Duttine as Bill, other characters appearing only in flashback, and relativrly few sets in this all but studio bound production. Only on brief occasions do we have the building entirely surrounded by film.

The tape recorder is a bit obvious as an excuse for exposition, but I'll admit the premise is well-introduced and the storytelling is clear, as we feel throughout the tension building for both the world, as we slowly realise what has gone wrong, and Bill, whose worries for his eyesight are shared by us.

And those Triffids avtually look bloody terrifying.

I'm very impressed indeed so far.

Venom: Let There Be Carnage (2021)

 "You said I could eat bad guys!"

I only watched this film as an easy watch after a knackering day, expecting a non-demanding bit of third rate superhero fluff- much like this film's predecessor, enjoy it though I did.

Instead, directed by Andy Serkis- he of the recent extraordinary performance in Andor- we have a taut, entertaioning action film that doesn't outstay its welcome and develops its characters superbly. I know not of Carnage and Shriek- they are after my time as far as the comics are concerned- but I really loved them as characters, well written and acted. Woody Harrelson in particular is superb as a serial killer who, we learn only at the last minute, was made that was by child abuse. It just goes to show that those who participate in judicial killing, whether signing death warrants or administering a lethal injection, are as evil as their victims and deserve no less.

Not only the villains are well-characterised, of course. Ediie and Venom's bromance gets a nice little arc, and both of them come to accept that Anne is lost to them, and to wish her well.

The plot is simple yet effective, with the King Kong conclusion an oldie but goodie. This is a film about love, however twisted; about the lingering effects of child abuse; about the evils of judicial killing- those who take part in this vice all die- but, most of all, it's a rollicking ride.

And that mid-credits, echoing Spider-Man: No Way Home: the fugitive Eddie/Venom are in the MCU...?

La Belle et la Bete (1946)

 "May the Devil himself splatter you with dung!"

I'm not kneejerk anti-Disney- I have a seven year old daughter; I'm not allowed to be- but there are Disney fairytales and there are real fairytales, invariably much darker, from an ahe when it was understood that tales for children needed a certain amount of darkness.

This is, basically, not the Disney version. Barring a few sensible adjudstments (Belle hasn't got eleven siblings, just a mere three), this is pretty much the original tale by (deep breath) Gabrielle-SuzanneBarbot de Villeneuve, no relation, I assume, to the Canadian racing drivers. She wrote the tale in 1740, but the costumes here reflect the reign of Henri IV, with the men all having very long hair, like mine, and stovepipe hats.

Story-wise, this is the proper fairy tale, with a couple of artistic twists towards the end. The acting is superb. But this is not the point: it's the 1940s. Realism rules.Yet Jean Cocteau, no slave to convention and apparently having a very proper appreciation of the Greek myths,is a bloodyt genius diredtor. The various disembodied hands within the Beast's home are magnificently weird, as are the moving statues. This is the type of fantasy cinema that would go on to influence much, including Pan's Labyrinth.The imagery, as well as the storytelling, are iconic, yes, but that ois insufficient praise. This is a mouls to be used by so much fantasy cinema, yet it's more than that. This is fairytale cinema done seriously and beautifully.