Loki: 1893

 "And why'd they include Balder? No one's heard of him."

Oh Boy. This isa bloody brilliant, hugely exciting bit of television, with tension and excitements all the way, and so many twists and turns.

Yes, there's far too much CGI in the Chicago of 1868 and then 1893, but the historical setting is perfectly realised- the sets, the costumes, the social attitudes (sadly having to include some degree of racism directed at Victor Timely without which, unfortunately, the setting would not have been plausible) all perfect, and it being wisely decided that there's no need to include H.H. Holmes, unless one of Timeley's bidders was subtly meant to be him.

So many ideas here, though. Victor Timely is a Kang variant born in the mid-Nineteenth Century, not the Thirty-First. He has the genius of Kang but exists in an age where the necessary technology does not exist, so he is forced to be a con man, set up by Renslayer and Miss Minutes, acting at the behest of the late He Who Remains, who obviously planned all this, and much else, before his surely expected demise at the hands of Sylvie.

Speaking of whom... I love the debate/fight between her and Loki in the Ferris Wheel, but all the more I love her unexpected decision to spare Timely and allow him to be returned to the TVA. After all, who is Sylvie, of all people, to punish a variant for the crimes of another version of themselves?

Also cool is the love triangle, with both Renslayer and Miss Minutes(!) vying for Timely's affections. Miss Minutes is a delight here. But so does the whole damn thing. I've no idea where this is going, but it's clearly pivotal for the MCU. I'm so very here for the ride.

The Defenders: Worst Behaviour

 "The Black Sky! We have it!"

The opening is thrilling. After Alexandra once again hints she may be older than she looks- did she know Istanbul when it was Constantinople and if so under a sultan or a basilius?- we get an incredible sequence in which a vaguely amnesiac Elektra is resurrected, trained, and used by the Hand. Wow.

What follows is equally awesome, as our four heroes follow their different leads to follow Midland Circle and all meet up fighting the rather combat-proficient board of said company... but not without some great character moments along the way. The early meeting between Luke and Danny is priceless. Luke's scepticism about the dragoins and mystic monks is a nice little meta touch, reminding us they're not quite from the same genre. But Luke's reminding Danny of his privilege packs a puch. As does the poor old lady's reaction to the news that Cole, her last surviving son, is dead.

Then their's Stick, escaping from Alexandra like the cool customer he is, casually mentioning a "lifetime of serving "K'un Lun": he's a proper dark horse, he is. And Jessica's private eyeing, finding out about Midland Circle by pretending to be some eccentric tech sis(?), and of course wondering what that suspiciously fleet of foot blind lawyer is up to.

But now, at last, they've all met! I'm loving this, and I can't wait to see what will happen next. But I'll have to, because I'm struggling to keep up with Loki and Gen V...

Gen V: #ThinkBrink

 "Shall we talk about our intercourse situation?"

The quote isn't even the funniest thing about sex in this episode: that would be Jordan discussing Marie during sex, pausing briefly to climax, and then continuing. It just goes to show how very The Boys this is... like the last scene with Emma shrinking and, you know. Euurgh. Which reminds me of a certain parallel scene from The Boys. Yes, that one.

I'm so impressed by this. The balance between plot, character and world building is perfection. I love how Marie and Emma reconcile, hopefully the start of va beautiful friendship. They are alike in more than having powers that areb metaphors for self harm: both have low self-esteem. Both are made to be useful, Marie forced to parade at the Brink party for the university, having the kind of background that makes rebellion a luxury. Emma, meanwhile, eagerly siezes a chance to be a hero, to be really useful... and is out of her depth. It's sweet that Sam likes her though. Shame about her mum.

It's nice to see Marie open up, and reconcile a bit, with Cate and Jordan: she's not alone in having killed her parents in manifesting her powers: Cate did the same with her little brother. And she has a point. It's not their fault, but the parents who drugged them with Compound V. Jordan's parents, in a nice little metaphor (sometimes an obvious metaphor can work well) for transphobic parenting.

All this is unfolding at a perfect pace. The arcs advance yet the characters breathe. And Andre's dad knows about Sam and the dungeon beneath. Ouch. This is brilliant telly.

Robin of Sherwood: Seven Poor Knights from Acre

 "You'll get too big foryour boots, you will."

"Then I'll get bigger boots."

This episode impressed me. In theory, I'm annoyed by stories in which someone is famsely suspected of something they didn't do: it's frustrating , and the frustration tends to overwhelm any sense of drama or peril unless handled with great care. And here we seem to have a tale in which seven crusading knights- looking very, very High Middle Ages- falsely suspect Robin and his outlaws of stealing some fancy MacGuffin.

But that's not the point at all, really. The episode deconstructs the idea of the crusading knight. Friar Tuck pretty much tells us that, yes, they're fighting monks, with a vow of poverty and everything, Yet they are violent,pitiless, overbearing, known for massacring both "Saracens" and Jews. Even the Sheriff is wary of these vioilent warriors who are accountable to no one but the Pope himself.

The pace is slow in places, Marian and most of the Merry Men are sidelined a bit, and that same old incidental music is getting a bit samey. Yet it's all so well shot in its action sequences and the look is so wonderfully gritty. There are moments that really hit home- the Sheriff deciding to put out Siward's remaining eye for thieving in particular. Yet the episode works, and it's truly rewarding to see the knights getting their comeuppance.

The Naked Sun by Isaac Asimov

Having reread this novel for the first time in decades- this time having actually having read Caves of Steel first- I've concluded that it's good, very very good. In fact, I'm pondering on the possibility that the two novels taken together may be Asimov's masterpiece. Then again you could argue that about Foundation. In both cases, it's all about the ideas, and the ideas are profound.

Like its prequel, this is a whodunit set in a future with an overcrowded Earth and robot-obsessed colonists, "Spacers" who lord it over the old homeworld, with complex and intriguing sociological undercurrents.These's a bit of an emphasis on the Laws of Robotics, but the ideas in play here far bigger than merely those.

Oh, the novel dates in places. In the future, everyone smokes, at least on Earth. Gendeer roles are very '50s. It's taken as axiomatic and universal that children are to be disciplined by physical force. Most amusingly, sex is rationed on Solaria in order to control the population, in a serialised novel written just three years before the advent of the contraception pill.

Yet there's so much to explore here. Ideas of decadence through technology slowly giving us lives of ease, something which, I think, in 2023, is very far off. Yet Solaria, though an extreme example, is a cautionary tale of what happens if we put too much of our social life into virtual channels rather than face to face, which since Covid we've all done to such extent, with a certain amount of our social skills beginning to atrophy.

This is a work of genius, both as a whodunit and with its conclusions on the future of the society it depicts.

Loki: Breaking Brad

 "We're all gonna die! Oh, hey, pleased to meet you."

This new season continues to be very good indeed. In fact, thus far it's the best Disney Plus Marvel show for some considerable time.

Ostensibly there's a lot of plot. Loki and Mobius need to find Sylvie, so they inyterrogate Brad, an agent working for Dox who may have found her, and said interrogation takes up much of the focus.

Except the interrogation is not the point: it's really aboiut the amazingly deep friendship and rapport that has built up between Loki, a god and a bureaucrat, who have really bonded to the point that Loki can relate... well, the plot of an episode of What If? (nice touch) while Mobius can express his fears aboiut finding out what his life would have been on the original timeline. I'm fairly sure jetskis would be involved.

Eventually we end with truly horrific scenes of Dox and her crew carrying outb their mission- not, as we'd thought, to find Sylvie, but to prune all the new timelinesband therreby slaughter untold quadrillions. We can sympathise with Sylvie- a goodess, albeit never having lived like one, who has found happiness in 1982 Oklahoma working a dead end job. A normal, humble life is heaven for her.

Last erpisode was about awesome concepts. This episode, while advancing the plot, reminds us that this show has such deep characters and such bloody good actors. Top telly.

Gen V: First Day

 "That is really Freudian..."

Two episodes in and... this is just as good as The Boys. No wonder it seems to be doing very well indeed. It's the same mix of plot, character, satire and outrageous humour. I for one am loving it.

We begin with university leaders, and Ashley from Vought, cynically doing PR after last episode's explosive events. Marie and Andre are to get all the credit; Jordan just won't do in the red states, what with the "pronoun ***ery", as Ashley puts it. So Marie, who was to be expelled, is suddenly catapulted into the top ten, status, stuff, popularity. Will it spoil her?

She's a fascinating character. As Dean Shetty correctly says, she's determined to do good in order to atone for her past, and to win back her sister. She has genuine moral integrity, unlike may characters... yet this is in conflict with the ambition that is every bit as much a product of her past. As she tells Andre- who seems to understand- she's taking the luck that comes her way because, without it, people like her would have very bleak prospects indeed. Not all of us have superhero dads.

And so it's no surprise when, being interviewed on telly, in the end she does as she's told rather than give Jordan credit as she'd meant to. Her background is precisely why Vought can control her, good person though she is.

There's a parallel with Emma who, for the second episode in a row, is exploited and abused. Both of them are being used, and both have powers that are not pleasant to use. The parallel scenes of self-harm are revealing.

There's also some very dark humour with Cate's mind control powers, and she and Andre do some interesting detective work into the Woods. The two of them are fascinating characters too. This is bloody good stuff.

Better Call Saul: Slip

 "This is the land of the free and the home of the lawsuit."

Once again, and I know I'm always saying this, an episode that's clearly setting stuff for later proves to be a superb character piece. The dramatic episodes aren't necessarily the only good episodes.

Jimmy is still struggling to earn a living and pay his half of the office money. There's a brilliant early scene where his TV commercial racket is brutally exposed. Yet Jimmy is a con man par excellence. The pre-credits scene is highly revealing: not only is he in denial about how his selfish actions ruined his opnen and generous father, but he sees his father's honesty and integrity as a weakness. Manipulate, or be manipulated. And this is how he gets out of the hole he's in.

So he gets out of a day's community service by conning the supervisor, rather impressively, and earning himself $700 into the bargain. Why should Jimmy have to suffer consequences for his behaviour? Shame is for suckers. And worse, he seems to manipulate Kim, who adores him, into letting him off paying his half... and taking extra work, spreading herself thin. Ouch. Does Jimmy care at all about the woman who clearly loves him? Obvioisly not. Behind the surface charm is a cold, calculating, self-centred git.

As an aside, I wonder about Chuck, too. Was his "condition" always a lie? Does this episode show him finding a way to escape from having to pretend not that the condition no longer serves its purpose? I don't know, and I may be wrong that he's ben faking. We shall see.

As a contrast, other characters prominent in this episode are all, to a degree, on the criminal side. But they have morals and integrity, at least of sorts, things that Jimmy will never have. A tense and extraordinary scene shows Nacho delivering poison pills into Hector's pocket, but he's doing it for his dad. Mike is also trying to do Hector over, but he has his reasons. And then we have his arrangement with Gus at the end... Gus, too, has his principles.

A nuanced and fasdcinating episode. As ever. These characters are extraordinary.

Jason X (2001)

 "Be glad you weren't alive during the Microsoft conflict..."

It's the tail end of a tired slasher franchise, known for its very straightforward take on the genre. The last instalment was eight long years ago. Things have fizzled out. So what to do? Put Jason Voorhees.... in space. yes, it's utterly bonkers. But it really works. However mad an idea mayu be, if the execution is good, the end result is good. And this film, laregely devoid of big names (despite a rare acting cameo from David Cronenberg, no less) is one of the finest instalments in the Friday the 13th series, rivalled only by the sixth film.

I have, perhaps, been overly kind to this franchise in the past. A slasher film lives and dies by its characters more than any other genre of horror. We need to get to know them for the deaths to have meaning. And too many of the earlier instalments failed in this regard. I gave them too much credot for the fact they are from a pre-Scream era when the slasher genre was less associated with the fourth wall.

This film, of course, has a good few metatextual moments (love the reference to weed, alcohol and pre-marital sex), but these are not the real focus. What really impresses is the lived-in, well-designed future world with robots, nanotech medicine, interstellar travel and a new Earth to replace the environmentally devastated old one. There are nice little ironic comments on what we expect from the future- the mention of "beaming up" gets a puzzled look.

Yet people in 2455 are the same as ever. There is greed. There is denial. There is fear. There is cowardice. These feel like real people. Human nature doesn't change. Yet there is also courage, integrity, nobility. Regardless of the future, space setting, the core of this film is its characters. That gives meaning to the threat Jason poses.And it's why this film is such an unexpected gem.

Star Wars: The Clone Wars (2008)

 "The desert is merciless. It takes everything from you."

It's up in the air, at this point, whether I'm going to blog the Clone Wars series, as there are over a hundred bloody episodes. Eek. But it seemed worthwhile to have a look at the initial TV film and experience Ahsoka's first appearance, having only known her from the recent live action stuff on Disney Plus.

All the same, I rather enjoyed this. I'm not sure I liked the rather odd animation style, but this was a nice little bit of fanwank to pass the time. You could tell the voice actors were different- although kudos for getting both Samuel L Jackson and Christopher Lee- but for the most part they were quite convincing.

The story, a sinister attempt at diplomatic skulduggery on the part of Count Dooku to use Jabba the Hutt's bizarrely cute son as a pawn against the Republic, is rather good, though. So is the nuanced characterisation of Anakin Skywalker which, if anything, is better than anything we see onscreen during the prequels. But, of course, the main reason for watching this is to meet a very young, enthusiastic, rather awesome Ahsoka as she becomes Anakin's apprentice against his will and, rather ttouchingly, a genuine bond starts to fall. This rather pivotal bit of characterisation is handled very well indeed.

I also enjoyed the campest Hutt in history, and the comedic incompetence of the separatist droids that is, quite rightly, played for laughs. This probably shouldn't be seen as any more than what it is, but I rather enjoyed it.

Loki: Ouroboros

 "I need a Loki who remains!"

Yep, this is bloody brilliant, all right.

We ended last season on a big reveal and a big dilemma: to kill He Who Remains... let's justcall him Kang, ok? To kill Kang or not to kill Kang? Kill him, and his TVA will no longer prune the other timelines, meaning countless quadrillians will not be murdered. But does this mean inevitable multiversal way with multiple Kangs, and extinction? Yeak. Tough choice for Loki. So Sylvie makes it for him.

A lot happens here, not least with Loki slipping between what we learn is not different realities but the TVA in the past and present. It seems Kang has been changing things over the millennia and wiping everyone's minds, again and again. And the TVA, led by a general and a judge we haven't previously met, are having to face this new reality. It's going to tke a while to see how this all shakes down.

We end with an exciting action sequence which really shows us the genuine friendship and bond between a much-changed Loki and Mobius. Well, esxcept for the post-credits sequence with Sylvie in a 1982 Oklahoma McDonalds, which is a whole other thing, but the characterisation here is superb, as is the humour. This is a supremely well written, acted, directed and designed piece of television. I'm excited.

Ahsoka: Part Eight- The Jedi, the Witch and the Warlord

 "Perhaps this is where a ronin such as you belongs."

This is, perhaps, the perfect finale. A satisfying ending... and a very StarWars fairytale vibe. I'm not just taking about the zombie stormtroopers, awesome though they were.

Consider the fate of Morgan Elsbeth, who has worked so hard and sactificed so much. She is honoured by being accepted by the Great Mother asa witch- although at the further cost of absolute loyalty- yet, that same day, she is expected to sacrifice her life so that Thrawn may escape.

We have avreconciliation between Sabine, whose gambit has paid off, and Ahsoka who has learned that, like Anakin, she ought to show faith in her apprentice. And it is only after realising she is trusted that Sabine, at last, uses the force properly, in the time honoured way of making her lightsabre fly towards her hand.

Yes, Thrawn escapes. But so does Ezra. Ahsoka and Sabine are stranded on the other galaxy with Huyang but, it seems, there is a mystery that they need to unravel. For Baylan and Shin are both there too. We know not what they are planning, but there have been hints. I sense a second season.

This was superb. The reactioin will be interesting. There is, of late, a certain negativity towards Disney's Star Wars content that seems to bear little relation to the material itself. This caps an excellent season.

Nights at the Circus by Angela Carter

This is,in one sense, an odd beast: a magic realist novel, that most South American of genres, yet utterly, utterly English, indeed utterly, utterly London despite being set mainly in czarist Russia, a novel born within the sound of Bow Bells that tastes like jellied eels, guvnor. Dumf dumf dumf, he said, wondering who will get the pop culture reference.

It is also, of course, utterly exquisite, whether in concept, in character, in prose, in everything. This is an utter believable, realistic 1899, whether in London, in a St Ptersburg circus, in a Siberian winter made very real. There is philosophy, there is a humane feminism which, as feminism usually tends to be, is extraordinary kind and unforgiving to those of us, the weaker sex, with y chromosomes.

The magic does not overshadow the realism, but it is there. There is metaphor, of course: Fevvers, the aerialist whose story we follow (although generally through the eyes of Walse; her interiority remains a mystery) was born, with wings, yet she was also born into a society where women are unable to spread their wings- metaporically or, in Fevvers' case, also metaphorically. A bird in a gilded cagre, indeed. Yet the circus is a magical place too, on more levels than the literal.

This is a novel of tragedy, hope, unexpected redemption, tigers, and more, but ultimately of love and unexpected happiness. It's bonkers, it's brilliant,it's gleefully erudite, it's full of heart.

Update

 So... Ahsoka finishes tomorrow. I shall attempt to blog it on the day. There are also two further ewpisodes of Gen V to catch up on. Then there's Season Two of Loki starting on Friday- yes, I'll do my best to blog it on the day.

And it's not too long until new Doctor Who. Eek.

Rest assured, I'll continue blogging the older shows- Robin of Sherwood, Better Call Saul and The Defenders. But bear with me over the next couple of weeks if I blog them rather less frequently as I try to keep up with all the new telly.

Gen V: God U.

 "It's like a big, fiery cucumber..."

I had no idea what to expect from this university-themed spin-off from The Boys, full of very uoung actors who make me feel old, sort of, as their young people music sounds awfully... conservative? It seems as though this exists to tide us over during the long delay until the next season of the parent show.I have to admit, though, this first episode is bloody good. And absolutely as hilarious and dark in equal measure as is said parent show.

It's a good idea to have Marie as audience identification character, and Jaz Sinclair is superb. Not only is her backstory as tragically dark as hell, but her blood superpowers are the grossest thing ever. Then we have nice seeming Andre, whose powers are unclear; Cate, with her "these aren't the droids you're looking for" powers"; and Emma, who can shrink and is burdened, beneath the surface cheer, with low self esteem that leads her to be used, bless her. Then there's Jordan who, well, it's laudable to have a trans character, and I like the concept that being trans is heroic, nicely done... but is switching gender really a power that can be used to fight crime?

The question is perhaps not all that pivotal; it's made very clear that 90% of alumni are destined for showbiz rather than crimefighting, and even crimefighting classes are half about branding... and all bery much controlled by Vought. But the ending is shocking... Luke, Golden Boy, our pampered little Johnny Storm, ends up killing the superstar prof and then exploding himself. Wow. At least this means poor Marie isn't expelled in order to save the reputations of others further up the pecking order.

Why does Luke do this? What is "The Woods", where kids are seemingly sent? I'm sure we'll find out. I'm very much hooked.

Ahsoka: Part Seven- Dreams and Madness

 "He was a good master."

On one level, this is a penultimate episode that serves to get all the pieces on to the chessboard. Thrawn and the witches seem to have Sabine and Ezra at their mercy until Ahsoka rescues them, meaning all three are reunited. Meanwhile, Thrawn seems to be using all this fighting as a bit of misdirection so that Ahsoka neither suspects nor stops his cunning plan toescape back to their home galaxy. I heavily suspect that bothe he and they will end up in the main galaxy after the finale.

Yet there's so much more. Baylan's agenda continues to be mysterious as he goes off on his own, leaving Shin with the imperials. Sabine yet again uses every excuse to avoid telling Ezra of her recent shameful deeds, putting her friendship for him above the safety of the New Republic. And there's a great opening scene with General Syndulla facing the music... until she is saved by none other than C-3P0, relaying that Senator Leia Organa sanctioned the mission. The late, lamented Carrie Fisher may be gone, but Leia is ever with us.

And yet... the ghost of Anaking still hangs over it all, from Ahsoka's recorded messages as she regains her old fondness for the old master who cared for her, and Thrawn's reaction to the fact that she is Anakin's apprentice.

I have certain expectatiins as to where the finale will end, but no idea how we will get there. Good stuff.

The Importance of Being Earnest (1952)

 "To lose one parent, Mr Worthing, may be regarded as a misfortune. To lose both looks like carelessness."

Somehow, in twelve years of blogging, I've somehow contrived never to blog and adaptation of an Oscar Wilde play, something which must be remedied forthwith. Comedy, often though not always, tends to date as the decades pass. Not only to tastes in humour change but so so the social more on which the humour depends. Yes Oscar Wilde remains as funny in 2023 as in 1895, as shown by this, the last of the style of plays for which he is most known, before his sad, complex, undeserved and much misunderstood downfall. Wilde should have lived and written for many more decades.

We no longer live in a world defined by the Season and the obliquely shifting snobbish oddities of the aristocracy: indeed, most of us never did. Yet we do not feel alienated. There is no anger aimed at the upper classes here, mainly observation, yet the humour skewers this world with perfection. Interesting that this, the result of aestheticism, should come from an author who, wearing another hat, happened to be a socialist.

This film is, perhas, unambitious in its direction, being little more than a stage play with a camera pointed at it, which it cheerfully confesses by presenting itself in this way. Yet it is perfection. Oh, Michaels Redgrave and Denison are merely quite good as Jack and Algy. Joan Greenwood is better, the poshest woman who ever lived and born to play Gwendoline. Yet Dorothy Tutin excels as Cecily. Any version of this play, though, stands or falls by its Lady Bracknell. And Edith Evans is simply THE Lady Bracknell. All other performances of the part are but a shadow of hers. It is she who makes this production simply unsurpassable.

Chasing Amy (1997)

 "Since you like chicks, right, do you just look at yourself naked in the mirror all the time?"

Time for another View Askewniverse film in my meandering marathon... and this one is not only bloody good, but beneathe the humour it explores some rather serious themes. Don't get me wrong, I like good films of any genre, but I tend not to seek out many romantic comedies because, well, I'm a bloke. Sometimes, I feel, even the good ones can have a very superficial, greetings card view of love and relatiobships. Yes, Richard Curtis, I'm looking at you.

This film is not like that. This is real.

I've seen this film before, at uni, but that was, ahem, a couple of years ago. I've lived a lot and loved a lot since then. And, well, 1997 was a long time ago. At least, I hope fewer men today are as much of a dick as Holden.

It's interesting looking back into an age when acceptance of LGBT issues (although the T wasn't thought about much back then) was evolving. The twentysomething characters here don't approve of bigotry, the word "homophobia" exists, although quite new, and, as illustrated by Banky, we have that by now dated trope that men who are bigoted about gay men are in denial about their own sexuality.

But the crux of it all is the sexual politics between women and men. Because Alyssa is completely wonderful- witty, funny, kind, fun and basically an amazing person. Holden is very lucky that she loves him.And she does. She gives up her friendships to be with him. She gives him everything.

He doesn't deserve her. He goes all wobbly because... she dares to have a sexual past while being female. Yep, double standards again. And very immature attitudes to threesomes, ployamory and sex in general, skewered brilliantly by Kevin Smith. He destroys both his relationship with the love of his life and his relationship with his best friend. His heart is broken. Good. Serves him right. But breaking Alyssa's heart is unforgiveable. We get an ambiguous ending... Holden doesn't deserve a happy one.

This film is mature, devastating, superbly acted and written, and has some very nice directorial touches. There's also some bloody good humour, as we'd expect, and a great character in Hooper. Silent Bob, of course, steals the show.

This is, overall, a far more serious film than its two predecessors. It will break your heart. But it's very, very good indeed.

Inspector Morse: The Last Enemy

 "Dr. Kerridge! We are trying to master the Veleta!"

Nearly a year and a half seem to have gone by since the last time I blogged Inspector Morse. I won't be blogging them that often, but I ought to be getting through the series at a faster pace than that. Ahsoka tomorrow, probably. 

Anyway, good episode as ever, again not from a novel but from an idea by Colin Dexter. This is almost the Platonic ideal of an Inspector Morse episode, I suppose. It's all about arrogant, ambitious Oxford academics sceming against each other while being well-read, rather snobbish and drinking spirits at all times of the day.

Ah, the 1980s. 1989 doesn't feel that long ago- I was twelve- but, as I've remarked before, we have desks without computers, people in the streets wearing suits in away that doesn't happen today, and Morse whingeing about the word processor beginning to challenge the almighty typewriter... while pining for a proper fountain pen with a bottle of ink. Everyone is "Mr", "Mrs" or "Miss", where first names would be used today. It was a long time ago, yet in many respects it wasn't.

There are some splendid turns from the guest cast, and both Kevin Whateley and Amanda Hillwood impress. Yet John Thaw once again excels as the complex man that is Morse, a man who is only slightly older than I am now...

The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)

 "Evil! Pure and simple from the Eighth Dimension! Grab them!"

Um, what did I just watch?

This is one of those films I've heard things about over the years but never seen. I knew it was sci-fi, I knew it ewas comedy, but... this is literally the sort of B movie I love to watch, except with a proper Hollywood budget and stars. How on Earth did that happen?

I love how straight the whole thing is played, as this sort of comedy should be. Peter Weller, years before RoboCop, is superb here, almost Leslie Nielsen-esque in playing a square-jawed character who may be a top neurosurgeon, quantum physicist, martial artist and rock musician but has no idea he's in a comedy.

None of this applies to John Lithgow, of course, who quite rightly hams it up with aplomb. This is, it's fair to say, not the sort of part he usually plays.

I love how this leans into the absurdity. The Johns! An otherdimensional Planet 10 where the good Letroids are all somehow Rastas and the bad Lectroids are racist white people! The medically challenged President of the USA! Buckaroo randomly findng love with the long-lost twin sister of his late wife! Yep, this is bonkers. I wish they'd actually made the sequel. I also wish I'd started drinking this wine before I started watching, but never mind.

There is, incidentally, lots of actor-spotting to be had. An unrecognisable Christopher Lloyd. A very young Jonathan Banks, decades before Breaking Bad.

Ahsoka: Part Six- Far, Far Away

 "Something stirs here..."

This episode is, it's fair to say, an exhilarating ride.

I almost admire that, not for the first occasion in a Disney Star Wars show, the titular character is hardly in the episode. Indeed, Ahsoka and Huyang appear only in the opening scene, inside the whale(!) as, yes, Ahsoka reveals to Huyang that Sabine went with the baddies willingly, but all they really do is discuss philosophy and break the fourth wall while foreshadowing the upcoming themes. I love how Huyang's stories are named History of the Galaxy 1, 2 and 3, with 1 being the best, of course.The subtext here is... yeah, not very sub.

However, in a galaxy further, further away, bloody loads happens. The planet is Peridea, where space whales go to die, and it's home to some rather cool space witches, known of the old to the Jedi, who ride space whales... and Morgan is descended from them. Thrawn's grand entrance is teased, of course, until we finally see the battered Star Destroyer, some battered old Stormtroopers, an intriguind figure (a droid?) called Enoch... and Thrawn. Lars Mikkelsen certainly imbues him with presence and charisma.

As promised, Sabine is allowed to seek Ezra, riding a rather cute wolf thing, but she's on a long leash, intended to lead the baddies to Ezra so they can kill them both. The scene of her riding out of the camp feels to me, if I may mix my pop culture references, as though Sabine is leaving Mega City One to take the walk into the Cursed Earth.

But the baddies, being baddies, have multiple agendas of their own. Morgan is quite happy to abandon Baylan and Shin on this extra-galactic world forever. Yet Baylan, in a fasxcinating philosophical conversation with Shin which seems to echo that between Ahsoka and Huyang, has other ideas. He seeks something deeper than power, to restore the Empire which will in turn be defeated by the Jedi only for the Empire to emerge again, and on it goes. The wheel turns. Baylan seems to want to stop the wheel spinning; intriguing.

Sabine, via some adorable creatures camouflaged as rocks, finally finds Ezra... but it is bittersweet. For she knows, and so do we, how disappointed he will soon be when he finds out the circumstances of how Sabine came to find him.

Awesome stuff. Wow.

The Defenders: Mean Right Hook

 "We just go and find another team to join? An army?"

Oh boy. This is quite the episode. Our heroes are all investigating what seems to be a big, multifaceted conspiracy involving the hands from different directions, in what seems to be a well-constructed plot. There's so much going on, but the story is easy to follow, not an easy combination. I'm enjoying this very much.

Sigourney Weaver's dying Alexandra continues to fascinate, and not only because she can order around Madame Gao like an underling. Is she hinting, after her private performance by the New York Philharmonic Orchestra, that she may be considerably older than she looks? Is this why Jessica traces the shell companies back to 1820 and finds it doesn't stop there?

I like the handling of the characters. Jessica is her irrepressible, irreverent self. Luke may be all loved up with Claire, but nothing will stop him doing the right thing. Matt, complete with an intervention by Foggy to give him work to be "another type of hero", is struggling with not being Darevevil: heroism as addiction. Danny is a right mardyarse: I fail to see what Colleen sees in him. Oh, and Misty is awesome.

At the end, excitingly, our protagonists meet. There's a hero vs. hero fight between Luke and Danny, in which we get to see what happens when the unstoppable force that is the Iron Fist meets the immovable object which is Luke. And Jessica's attorney is... Matt.

I can't wait to see what happens next.

Ahsoka: Part Five- Shadow Warrior

 "I'm here to finish your training."

Yeah. It's fair to say a few things happened in this episode. I suspect it's one of those "event" episodes that may not much reward repeat viewings, but it packs quite a punch.

So, Anakin. I'm not sure where that otherworldly plane is supposed to be: clearly, in the "real world", Ahsoka is in the water, and needs to choose to live to be rescued. But the "training" scenes with Anakin, most of them flashbacks to the Clone Wars, are utterly absorbing. I won't pretend to have the answers, but I think we're being shown that Ahsoka is being held back by her worriesabout in some ways becoming what Anakin became. 

Then there's the extraordinary ending, as Ahsoka uses the awesome (and I mean that in the old-fashioned sense) Purrgil to jump across galaxies... hopefully to the right place.

Justas good as any of this is a nice little character moment, though: Huyang tells Hera that she takes these big risks because she cares, which is why people like her. Indeed. She is now going to face the music with the Senate while Ahsoka goes gallivanting about in other galaxies. Ahsoka has big moments, but doesn't forget the small character stuff. This is getting very good indeed.

Robin of Sherwood: The Witch of Elsdon

 "If she wanted to bewitch me, I'd be inclined to let her."

Given the intensity of the first two-parter, it's fascinating to see an "episode of the week". The plot is simple enough, and quite appalling... poor Jennet is accused of witchcraft for not submitting to rape by a Norman piece of ****, has to make impossible compromises because of her husband being in the Sheriff's power and being under threat of death by torture... but she's a good woman.

One small problem: it wasn't until much later in mediaeval England that beliefvin witchcraft was a thing amongst the educated, which in those days meant the Church. Witchcraft was superstition. St Augustine said so. But anyway...

I like the very '80s opening, the dream, very New Age, with Gisburne featuring prominently. It feels at once of its time and very 11th century, that semi-pagan age of Norman apartheid and English distress of a kind we would one day inflict on others. 

It's instructive to see how tax collectors were viewed in the age of feaudalism. No welfare state here, monasteries aside. Just Norman racist greed. The English, subject to such racism, resolved never again to be so, um...

I like the character stuff between Robin and Marian, echoed by Ennet's experiences: Marian is nit a precious jewel. She has agency. She is a person. The Sheriff, meanwhile, expels all Jews from Nottingham as he twirls his moustache.

This is, I suppose, our first "normal" episode. But it succeeds, being both fun and disturbing.

Robin of Sherwood: Robin Hood and the Sorcerer, Part 2

 "If I should fail, one of you shall take my place, and Herne shall choose him."

A confession, dear readers: I watched the wrong bloody episode. I saw the first episode a couple of months ago, ahem, somewhere, but stopped there as the second episode didn't have subtitles. Now Robin of Sherwood is on Britbox, though. I can carry on. Hooray. But I forgot I hadn't seen this second part so yesterday I watched the episode after this. Today I've finally seen this second part and I can blog them both in order. Bloody annoying, though. Grr.

Anyway, there's so much to fascinate here. I'm loving the direction, the lived-in mediaeval look, yet contrasting with a very '80s mystical paganism that goes beyong the Clannad soundtrack. Herne the Hunter is fascinating. The legend isn't as old as you think, with no evidence beyond Shakespeare's Merry Wives of Windsor. But here he champions the English against the Normans, their ancient protector, his muythical arrow kept by Robin's father. Ironically, the Normans mention Gildas. Gildas, of course, was no friend of Angles or Saxons.

The vaguely pagan/devil-worshipping baron is fascinating; it doesn't feel as though this series is going to be heavily fantasy-based, but this is a world where dark magic exists. Yet so does hope, humanity and a genuinely Robin Hood feel, this time including that famous and almost cliched archery contest.

Nazir is interesting, too- a friend? He is, I believe, the accidental beginning of a new tradition of including a Muslim man from the Levant among the Merry Men. The romance between Robin and Marian is already going at full pelt, and the chemistry is great. Interestingly, Michael Praed is far from a conventional hero, but it works.

This is a strong start and, it seems so far, a strong foundation.

Sonic Youth- Sister (1987)

 I was in the mood for some Sonic Youth, so Sister it is. This, oddly enough, is arguably one of their more well-known and liked long players, yet it doesn't boast many, possibly any, well-known singles. It is, of course, excellent.

Perhaps it's the fact that I listened to this album not long after hearing Marquee Moon again, but Sonic Youth are very New York, aren't they? We think of them as '80s-90s American indie rock or alternative and badge them alongside the Butthole Surfers, R.E.M, the Replacements. Yet their sound owes an awful lot to Television, doesn't it? You could even look forward and say that the sound, if not so strongly the songwriting, of the Strokes has that same ineffably New York sound too.

Yet Sonic Youth are more than just that. They are a seminal part of that New York tradition while also feeding into so many other traditions. There's so much going on with Sonic Youth. They have perfect pop sensibilities, yet every album is a soundscape. Hence the fact that I never pay much attention to the lyrics. I'm aware this album is largely about both Philip K. Dick and Thiurston Moore's dead twin sister, but these things don't really register while listening.

Regardless, this is Sonic Youth at their peak and a superb album.

Carry On Cabby (1963)

 "She's taking a man's job."

Some Carry On films I've seen in my slow marathon through the lot of them, in order, have been better than others. But none of them have been actively bad. Until now.

The film is notable, I suppose, for the Carry On debut of Jim Dale in a fairly small but very noticeable role. Kenneth Williams is missed, but this isn't the first time he's been absent. No: what's fundamentally wrong is the script or, more fundamentally, the concept.

Sid James' character Charlie is a workaholic who works such long hours he badly neglects his wife Peg, played with aplomb by Hattie Jacques. So she sets up her own all-female cab firm in competition to teach him a lesson. There's comedy here... but there's also a lot of very real emotion. The tone is all over the place and the very real marital tension at the heart of the film both stops this feeling like a Carry On film. The mood just isn't right, however amusing the set pieces may be.

Also, Charles Hawtrey is shown lusting after women and even says "phwoooar" at one point. Er, this just doesn't work.

Some of the social attitudes shown are... interesting. The sexual politics, obviously. An odd undercurrent of almost prudery from the characters at times. The trade union stuff. The attitudes to sexual harassment. And the concluding scenes where Charlie is shown drunk but then gets into his taxi to save the day. Yeah. It was a different time. 

The film, however, just isn't any good. Unless you're making a point of watching the whole series, as I am, this one is eminently skippable.

Ahsoka: Part Four- Fallen Jedi

 "You know how it is. Once a rebel, aslways a rebel."

SPOILERS. Unless you've seen the episode, read on at your peril. You have been warned.+

Nice title. Has there ever been a pun that works on so many levels? Let us count them. Sod it, let's give this blog post an unorthodox structure, shall we?

1. We begin with Ahsoka and Sabine having literally fallen from the sky, their starshift lost in the woods.

2. Sabine, who has only just become Ahsoka's padawan again, gets a test of her mettle in combat, seems to decide not to try and use the force... but betrays her master to Baylan for the promise of meeting Ezra Bridger again, putting her feelings before the greater good. This is not the Jedi way. She falls at the first hurdle.

3. Ahsoka literally falls off a cliff, to what may or may not be an afterlife- I'm a little confused of the chronology, and I've not seen either Clone Wars or Rebels. Looks like I need to. Anyway, what's he doing there? Hayden Christiansen playing him again, no less.

I've no idea where this is going, but I suspect Sabine is not destined to be a Jedi. I loved Here's rebellion, general or not, with all her mates. And I love that the baddies have actually made the jump into this other galaxy. Big revelations can probably be expected not the series has taken such a massive change of direction.

I'm also loving Rosario Dawson's assured performance, and the superb comic turn from David Tennant as Huyang. What was already a dam good series is now, er, even damn gooder.

The Defenders: The H Word

 "People call me Foggy."

"And you let them?"

It's so good to see so many of these characters for the first time in ages. Danny and Collen I've only just seen, of course, and Darevevil was in She-Hulk, but I've missed the others.

As a first episode, of course, this just establishes where the characters are and develops them a bit. So Luke is freed from prison due to the sterling work of Foggy... and finally gets a room with Claire. About bloody time. Jessica is... drinking lots of bourbon, until she's drawn into a case by sheer stubbornness. Matt lis laying off the old vigilianteeism and realising he's in love with Karen, and the love triangle stuff with Elektra was unwise, despite his real feelings for her. Danny and Collen are back in New York in search of the Hand... the only possible Big Bad.

We meet an intriguing new character played by Sigourney Weaver who is told, in her very first scene, that she hasn't long to live; a fascinating writing choice. And we then find out that Madame Gao, no less, takes orders from her. That's quite a surprise.

For now it's slow, with the heroes not yet meeting. But that's fine; lots of characters to share screen time and be developed. So far I'm very much enjoying this.

Ahsoka: Part Three- Time to Fly

 "We almost died."

"Multiple times."

"Ah yes. Standard operating procedure."

This is a somewhat short episode but, yet again, it's a bloody good one, in terms of both plot and character. It is, though, centred on an utterly superb dogfight set piece that rivals anything in the films for drama. This series has the potential to be every bit as good as The Mandalorian.

There's a lot of fascinating plot development here. Despite what I assume are Mon Mothma's best efforts (she's Chancellor; is she head of state of the New Republic?), Hera meets with politocal scepticism that Thrawn is indeed out there, and is refused resources. Ahsoka and Sabine are on their own. Yet, atthe end, they discover that the baddies have nearly finished constructing a big artifact hanging in space: how very Star Wars. In this case it's a hyperspace ring which, it seems, is capable of travelling to another galaxy, using the intergalactic migration paths of Purrgil, intergalactic space whales. And, if the concept isn't cool enough, they actually bloody appear.

Even better, though, is the focus on training between Ahsoka and Sabine, with an extended scene with one of thosesightless hemets as worn by Luke in Star Wars. I loved everything about this training scene, which reminded me very much of a Shaw Brothers style '70s style kung fu movie from Hong Kong. The dynamic between them is great, as is Huyang's traditionalist pessimism.

I'm loving this. I'll do my best to blog the next episode a bit sooner.

Better Call Saul: Expenses

 "Come on. Ritchie Blackmore, Deep Purple."

"Oh, Another Brick in the Wall."

"I weep for the future."

Oh my. There's so much to break down here. This is, as I'm fond of occasionally stating, an episode of developmemnt and set-up of plotlines and characters. In a sense, not much happens. In another sense, a lot does.

For Jimmy, he's hit with a new, brutal reality. This con man, who sees rules as being for other peoople, has no choice but to follow the rules on community service. There's no refund for his insurance despite his disbarment as a lawyer. His TV commercial business is failing. He's maxing out his credit cards. He stares in the face of ruin. He's cornered, desperate, dangerous... and so deliberately sets out to ruin Chuck. Behind the nice guy act, Jimmy is not nice at all.

Yet poor Kim can't see this, despite everything. She's besotted. Yet her conscience about Chuck, which is really troubling her, contrasts with Jimmy's latest casual betrayal. And it's revealing that their night out is spent looking at potential marls to con. She's horrified when Jimmy seems to be suggesting it for real, but soon falls back under his spell. Oh, Kim...

Then there's Mike, using drug money to work on a church playground, and... am I reading too much into things, but does he meet a potential love interest?

Nacho, too, is a desperate man. To save his father, he must destroy Hector. So he turns to baseball card man, who will never escape from him. Yet Mike, being Mike, takes control of the situation. So many spinning plates, but Mike spins them with aplomb.

No action, then, but first class writing and action. And an awful lot is being set up. Superlative, as ever.

Predators (2010)

 "This planet is a game preserve. And we're the game."

So continues my ploddingly slow viewing of all the Predator and Alien films in release order, and this time... well, obviously this isn't going to be an all-time cinematic classic, but for a sequel of a sequel of a sequel of a sequel, sort of... it's actually not bad. 

It's not very well shot, admittedly. As one might expect from a music video director, it looks like a music video. Soulless CGI, boringly flat cinematography, texture and lighting. But despite this the script is pretty good, with very decent characterisation for this sort of film. The cast is good, too. Not exactly full of A listers but solid character actors. The likes of Walton Goggins and Mahershala Ali always add quality. And Laurence Fishburne's extended cameo is mesmerising.

The plot is simple enough: predators select and transport hand-picked humans to a planet they use as a game reserve to hunt and kill. Yet the characters are a gemuinely interesting bunch with real quirks, from the extremely disturbing Stans, taken from Death Row, to the stoic and dignified Mombasa. There are nice little twists and turns along the way in a film that manages to do more than simply carry out its high concept premise. And, I must not neglect to add, there's plenty of Predator action, although these are the moments where the CGI soullessness is at its most dismal.

What raises this film above its premise, though, is that it is about something bigger than action and IP. Our two main characters, Isabelle and Royce, are themselves hunters, who enjoy the thrill of the kill... and it is this, in the end, that counts. Yet can they use their hunting natures to survive while retaining their humanity? This question is examined quite excessively, a big part of why I was far more impressed with this film than I expected to be. Pretty good, in the end.

The Killing (1956)

 "It isn't fair!"

This early film by Stanley Kubrick has no stars- hardly the last of his films to fit this description- and I took the quote from a parrot. The narrative structure is cleverly non-linear but the use of narration to explain this feels a little awkward in 2023. Yet this is a stone cold classic, a truly great heist film.

Heist movies are more intrinsically philosophical than you might think. A heist consists of an intricate, precise plan where all the many moving parts must work perfectly.  Yet even the best laid plans must take place in our chaotic little universe. Even in successful heists, little things go wrong that create ripples. As hrere, it's after the apparently successful heist that things go horribly pear-shaped for most. I suppose one moral is that crime doesn't pay, but more fundamentally that we do not live in a clockwork universe and there are no happy-ever-after. This film articulates all of that beautifully, the heist as tragedy.

It does this all the more so because of the very real characters, already tragic before anything happens. We know from the beginning that Johnny Clay's promises to his sweetheart are doomed to fail. Only just out ofv a five year stretch, instead of marrying her he will be going back inside. Then there's the horribly real unhappy couple that is Sherry and George- she's far more intelligent, greedy and immoral than the wet drip she married. The two relationships are quite the contrast, but both equally doomed.

Even the little characters are well crafted. I like Nikki's comeuppance for his racism, and that Maurice, the thug whose role is to start a fight, is a chess-playing intellectual.

This film has depth. It has characterisation. It is a masterpiece.

Ahsoka: Part Two- Toil and Trouble

 "An ancient people from a different galaxy..."

I saw this episode while wondering whether I ought to have started watching Ahsoka at all. After all, it's the sequel to Rebels, an animation I haven't seen. But, I thought, I've started so I'll finish. I won't be the only viewer in this situation, to put it mildly.

And I'm glad I did. This episode has me hooked.

We begin with Sabine waking up receiving medical treatment. She lost the map to the attacking droid. Worse, she unlocked it, and it is now in the hands of their enemies... who use a sort of stone circle on the planet Seatos to reveal its pretty damn cool secrets: it details a path to another galaxy, where General Thrawn is said to reside. Yes, Thrawn, he who I know only from those Timothy Zahn novels from the '90s which I haven't read since John Major was prime minister. I suspect, while it may be the same character, that we're probably not looking at the same continuity. Nevertheless, this is conceptually awesome stuff.

So is the intrigue, as it becxomes clear there are imperial sympathisers on Coruscant, motivated by greed. There are ex-imperials involved in administrarion at every level... as there have to be. They were the only experienced officials when the revolution came. The same happened in the transition from Nazi Germany to the Federal Republic: it doesn't have to be a threat. One doesn't want something analogous to the de-Baathification debacle in Iraq. And yet... this threat seems serious, and clearly linked with the plot to bring back Thrawn.

If all this wasn't cool enough, I'm enjoying the tension between the worldly and wise Ahsoka and the rebellious Sabine as they are, at the encouragement of General Hera Syndulla, once again Jedi and Padawan... with the Padawan a Mandalorian, complete with helmet.

This is incredibly cool. I'm very much enjoying it.

Inception (2010)

 "The smallest seed of an idea can grow. It can grow to define or destroy you."

I can't believe it's taken me until 2023 to watch this uniquely brilliant film. Better late than never, right?

As you can imagine, this Christopher Nolan masterpiece (he has more than one of those, of course) has quite blown me away. It's not the conceit of entering people's dreams, or of dreams within me: that was spoiled for me by the episode of Rick and Morty that was riffing on Inception. Nor, really, is it the intricacies of the plot, brilliant though that is. 

No: it's the very human tragic romance between Cobb and Mal. My mind was blown by the revelation that, after exploring dreams within dreams and spending a subjective fifty years in a self-constructed dream paradise, Mal became convinced that it was the dream world that was the real one... so she demapped herself, as David Foster Wallace would put it, ensuring that Cobb would be framed for her death so he would be motivated to follow her into what she sincerely believed would be blissful, loving happiness. She died pointlessly, and made her husband's life a living hell with his children forever denied to him... out of love.

And then, later, we have bombshell number two. Yes, the main plot concerns a kind of reverse heist trying to plant an idea, an "inception" in the mind of a corporate heir in order to enrich Cobb's client so his life can be unruined, etc, blah blah. And that's all fascinating. But far more mind-blowing is the realisation that it was Cobb who planted the idea of the world not being real in his wife's mind so they could leave their dream world in the first place, by being run over by a train together. And the dialogue exactly parallels that in bombshell number one. It's all quite existentially jaw-dropping.

The ending, with the top still spinning, is nicely ambiguous: can Cobb finally have happiness with his children or is he still dreamimg? I would suggest that the answer to this question lies not in the spinning top, which may or may not fall, but in the fact that the two children have not seemingly aged since Cobb last saw them.

The impressions left in my mind, though, are certainly of admiration at the ideas and the plot, but of deep engagement with the very human emotions at the heart of this film. Cobb and Mal are both decent people, and a genuinely loving couple- indeed, no one in the film can be said to be "bad", just fundamentally decent people trying to do the right thing and sometimes making very human errors. That's quite profound. And both hopeful and horrifying in equal measure.

The Roaring Years (1962)

 "I'm teetotal, but I'll take a sip..."

This is, perhaps, a timely film to watch now that the current government of Italy, led by Giorgia Meloni, are literal fascists. It is sadly necessary to remind ourselves that such things, and such politicians, must not be tolerated. And satirical humour is a perfect way to do this. The fascist, after all, has no sense of humour. How else could they march around in such ridiculous ways?

We begin with footage of Mussolini, followed by a Nuremberg rally. It is 1937; Italian fascism is at its height. there then follows a farce, based on Gogol's "The Government Inspector", in which the notables of the town all mistakenly assume that a young, enthusiastically Fascist insurance salesman is an incognito inspector. The farce works perfectly, both as light comedy and a deeper, more excoriating examination of the kind of man who ends up in positions of authority in societies like this- corrupt, pathetic, with not one ounce of integrity or public spirit.

Nino Manfredi's... protagonist (a Fascist cannot be a hero, however honest) learns some hard truths about human nature, and perhaps there's hope for him: in the final scenes, he gives up the vice of teetotalism. Perhaps there's hope for him yet. And what drives him to this is the reality of the horrors of poverty while corrupt officials live it up. Alas, his honesty loses him the girl. She's not worth it. One must demand moral integrity in a life partner.

Made just seventeen years since the errant Duce was strung up on that lamp post, this film would have hit close to the bone. It depicts many of the absurdities of the era, not least the bachelor tax, or the October 28th tradition of commemorating the march on Rome by locking up dissidents for a day or two... while being really apologetic, civilised, and ensuring said dissidents were well supplied with good food and good wine. 

Knights of God: Episode 13

" The king had to be found within yourself.”

Sigh. This has been a pretty good series, but this final episode is profoundly disappointing.

I mean, it all falls into place so conveniently. The civil war, with Mordrin finally killing Hugo, is so convenient for the royalist rebels to take over. All the messy stuff of reestablishing power and democracy is just handwaved. And Mordrin is literally shot while crowning himself. Still, thd cliffhanger resolution, with Gervase and Julia both saved by their mutual love, is cute.

Not cute enough to save the episode, though. And there’s definitely a whiff of un-British flag shagging here. The national anthem is sung. The closing titles are changed to the Union Flag. None of these things are inherently bad, of course- national symbols do not and should not belong to the far right- but, within the world this series has so carefully built, this is just not realistic. Better to end with the Knights still in charge but with a sense of hope.

The episode is also rushed, leaving it all to the end, so it’s all plot with no focus on character. It’s sad that a series I was enjoying should end like this.

Ahsoka: Part One- Master and Apprentice

 "Sometimes even the right reasons have the wrong consequences."

I'm familiar with the Star Wars movies, all of them, plus all of the live action Disney Plus stuff. I've even seen thse two '80s Ewok TV movies. But I've never seen the Clone Wars animation, or at least not yet. This had a minor effect on The Mandalorian as I had no prior knowledge of Bo-Katan. For this series, I fear, my ignorance is likely to look larger. Fortunately, we have what appears to me to be exposition for those such as my poor self. I've no way of knowing how much I say below will be familiar to those of you who have seen Clone Wars.

So Ahsoka trained as a Jedi, has a lightsabre and everything, and was once Anakin's apprentice until she walked away. She isn't quite a Jedi as such, although she has to work with her own former apprentice, the well-meaning but rebellious Sabine Wren. There was a Jedi called Ezra Bridger who went missing when the Empire fell, along with the mysterious General Thrawn, the big bad for whom all, goodies and baddies, are looking. Hopefully I have that right.

This is, however, a very promising beginning. This is very "trad" Star Wars, beginning with something very close to the scrolling texts from the films, the camera then panning to a large spaceship. We also have a lot of the movie serial homage stuff from the original Star Wars film- there's a secret map, we meet Ahsoka in a very Indiana Jones set piece- plus a nicely promising couple of Jedi baddies, Baylan Skoll and his young apprentice, whose name I didn't catch. The cliffhanger is superb, as the apprentice attacks Sabine and seems to stab her in the heart... surely they wouldn't kill her now? Also, David Tennant as a very Jedi-adjacent droid. Cool.

This is good stuff, purposefully avoiding characters from the films but absolutely evoking a very trad feel. More please. Oh, look. A second episode.

Good Omens: Every Day

 "You know as well as I do how badly understaffed Hell is right now."

Crikey, that was a busy final episode. And, in the end, it was very good indeed. I still maintain that this season started well, ended well but had a fair bit of filler in the middle, and perhaps one could criticise the pacing in that this last episode had an awful lot of work to do. But there’s no denying that it’s very good indeed.

It’s an episode about Armageddon and the desirability or not thereof, yes. But it’s also an episode about love and choice. We finally get to see what happened with Gabriel and… he stopped being such an arse and started to parallel Aziraphale. He lost his enthusiasm for Armageddon, started to plot with the other side to avoid it… and fell in love with Beelzebub. With whom he concocted a plan. 

All this, though, is riffing on the relationship between Crowley and Aziraphale, and their unspoken love, with heartbreaking results. The intervention of Maggie and Nina towards Crowley is mature and beautiful. They’re not rushing into their inevitable relationship, because this is reality, but it’s strongly hinted that happiness awaits them. Their own intervention, urging Crowley to tell Aziraphale how he feels, is far more grown-up than a Jane Austen ball full of shopkeepers.

But, despite Crowley pouring his heart out, and that kiss, happiness is not to be for Crowley and Aziraphale. Crowley is a realist, not cynical for the sake of it, and he is right to be equally wary of Heaven and Hell. After all, in the flashback, Metatron strongly hinted at “institutional problems”. But, alas, Aziraphale succumbs to temptation, not from a demon but from Metatron. A fancy title, a fancy office, a swanky job running a project known as “the Second Coming”… he’s learned nothing, in the end. Poor Crowley has no choice. In a sense, Aziraphale has become Gabriel, while Gabriel has become Aziraphale.

An extraordinary, courageous finale. Despite the high concepts, in the end, the point is that love needs principles. We can’t just give our hearts to those who turn out to be lacking in integrity. Crowley, in the end, is more moral.

Knights of God: Episode 12

 "Noooo!"

Well, that’s certainly a twist. SPOILER alert.

It’s now clear why we have the contrast between Gervase and  Mordrin, with his crown and delusions of kingship, which he’s now finally shared with his close friend Brother Simon, seemingly the only knight who doesn’t think he’s a nutter… yet.

We have a lot of tension around Gervase and Julia travelling to a little island to be told by a monk whom the king is. There’s a mystery: Arthur knows. So why did Arthur not just tell them? And, of course, Gervase is still conditioned to kill Mordrin’s enemy.

I saw the twist coming halfway through: Gervase is the king, smuggled out as an infant. It makes sense, given the early hints about his destiny. This twist is quite ingenious, and very Arthurian. One episode to wrap up, though…

Tetsuo: The Iron Man (1989)

 "We can mutate the whole world to metal. We can rust the world to the dust of the universe.”

This is a very weird film indeed. You knew that. It makes no real narrative sense and has only the barest plot- a “metal fetishist”, fond of grafting random bits of metal into his flesh, is run over by a typical salaryman, who then finds himself being haunted and mutated as revenge. But the plot isn’t really the point. Well, except when it is.

We have so many utterly bizarre and disturbing set pieces. Thd maggots. The weirdest and most unnerving sex scene I may ever have witnessed. The most erotic use of a fork in all cinema.  All to a highly fitting industrial soundtrack which is brilliant in its own right. This is pure body horror, yet the use of metal suggests industry. There can be all sorts of potential metaphors here for what technological civilisation has done and is doing to humanity.

This is really just a series of loosely linked set pieces, and I suppose it has something in common with Un Chien Andalou and its ilk, despite the very different mood which owes as much to alternative culture as it does to the traditional models of ary. As that, it is superb, largely because of the excellence of the cinematography and soundtrack… and the fact that grainy black and white makes it so much less challenging to be convincingly surreal. Yet, beneath all that, there seems to be a subtext. The Industrial revolution, agriculture, all that... is it leading us only to twisted horrors?

Caves of Steel by Isaac Asimov

 Yes, I know. It took me months to read Infinite Jest, rewarding experience though that was, and a couple of days to read this Isaac Asimov comfort food. I loved The Caves of Steel.

This novel may not be impenetrable in the slightest, but it’s full of ideas to stimulate the mind. On the surface it’s a murder mystery set in a future society, and a good one, but it’s the thrilling succession of concepts that linger in the mind. Especially for me, as this is the only one of Asimov’s earlier novels that I hadn’t read until now.

It is, of course, of its time. We are thousands of years in the future. Earth once had the drive to colonise other planets, but overpopulation now crams the citizenry into colossal domed cities which people never leave, all rural work being done by robots and, although the subtext . Meanwhile, the Spacers, on their fifty worlds live on other worlds, disease-free, controlling their population by infanticide. We have two fascinating types of decadence… yet the pill hasn’t yet been invented.

The Spacers live for centuries, yet life expectancy on Earth is… well, slightly less than it is in the 2020s. Also, of course, everybody smokes. All the police are men, as is everyone with a job. 

However, the ideas are superb, and this novel is a triumph. And that’s before we even get into its Asimovverse legacy.

Good Omens: The Ball

 "Well, it wouldn't be a Shopkeeper's Association without dancing, would it?"

This is another very good episode, with a delightful conceit, a witty script and typically superlative acting. It's still dragging out a rather thin amount of plot though. Only now do we discover that Gabriel, apparently, emptied his memories into a matchbox for some reason. What's going on? Next episode is the finale and there really doesn't appear to be all that much to finalise.

The central conceit really is brilliant, though: a Shopkeepers' Association made to be a ball from right out of Jane Austen, all for the purpose of bringing Nina and Maggie together. It's milked for all its worth, with a splendid collection of shopkeepers, especially the, er, seamstress. And the Doctor Who fan. Who dies, naturally. There are a number of characters here, though, whom I hope we shall be seeing again.

Muriel's clueless credulous is amusing too, as are the spelling deficiences of the hordes of Hell. Yet we also have several hints that Aziraphale and Crowley may well have... those sorts of feelings for each other. I suppose it says a lot that this can somehow manage to entertain so much with such a thin plot. Good stuff, but the further throiugh the season we get, the thinner the gruel.

Infinite Jest by David Foster Wallace

Every now and again I set myself a bit of a literary challenge, and force myself to read a long, difficult bit of literary fiction. This is one of them. I've never read David Foster Wallace before or, indeed, anything that might be considered eidetic literature, which Infinite Jest may or may not be.

It is, indeed, a challenging novel: the first couple of hundred pages are difficult as one wends one's thinbking round the many characters and their foibles; the occasiionally non-linear narratives and the many absurdities- the Wheelchair Assassins and everything about them; the cross-dressing CIA agent; tennis; Alcoholics Anonymous; the PGOAT (prettiest girl of all time) who is improbably disfigured; suicide by microwave. Ostensibly, this novel is about a short film so perfect it kills you through pleasure, and this idea certainly features, but it's less central to the novel than one might imagine from plot summaries.

No: the novel is a meditation on addiction. Addiction to what it would call Substances, for which the film is an obvious metaphor. Addiction to absurd political causes. Addiction to competitive sport. Addiction to all that wtwelve step nonsense of the Alcoholics/Narcotics Anonymous cult, itself no less damaging than chemical addiction and responsible for spreading so many dangerous myths on the subject.

As for the novel's structure... yeah. Plot threads develop. Characters enter and leave. Literary style changes like a chameleon. One cannot glibly and neatly summarise the plot or shape of this novel. I won't claim to have understood it: does anyone? But perhaps that's not the point. This novel is, shall we say, an extremely rewarding ideal.

Expect my next novel to be rather more in my comfort zone- I've earned it- and not to take so damned long.

Knights of God: Episode 11

 "Not toys now. Real."

There's a distinct feeling, and an odd one, as this often briliant and very '80s dark dystopian thriller draws to a close. In many ways it feels radical- yet the tools of revolution are the monarchy and the established church. We even have the Archbishop's seat of Canterbury as a Vatican-style independent state. It's decidedly odd, and small-c conservative, but the overall feel is not reactionary.

There are contrasts. Mordrin is losing his grip on reality, a Cromwell or Caesar who decides to take the crown, an act which coincides with the Knights, spurred by Hugo, turning against him. Meanwhile, Owen Edwards' rebels are proving both successful and hubristic... to the fury of Edwards himself, who stops the killing of prisoners and is full of self-doubt... a clearly intentional contrast to Mordrin.

Suddenly there are lots of things happening and nothing feels stable. Julia's unsuspecting father is to be sentenced to death. Hogo sends assassins after Julia and Gervase, who are about to be told by the archbishop where the king is until the assassins throw all into chaos. All the ryal stuff is a little neat, perhaps, but the plotting here is admirable.

I have no idea where this is going. But I'm impressed.

Good Omens: The Hitchhiker

 "We'd like to apologise for the wait and the conditions, but we won't. Cheer up. Things could be worse, and they will be."

There's plenty this episode to amuse, but... isn't this season sort of treading water at this point? The first two episodes were superb, but it's looking increasingly as though there just isn't tgat much going on, just the Gabriel plot thread really, and it's all being padded out with minisides.

This time the minisode, while not the best, is decent enough, by the League of Gentlemen gang and featuring wartime London, prestidigitation, Nazi zombies and a fantastic take on the bureaucracy of Hell. But... it's pretty much the main point of the episode.

Otherwise... well, Aziraphale picks up a hitchhiker who turns out to be Shax, she tells him she's worked out whrre Gabriel is, and she then proceeds to persuade Beelzebub to order her to lead a full-on demonic assault on the bookshop. That's literally it.

There's entertainment to be had, but arc-wise, this episode advances things not one iota. There's literally no reason for it to exist.

Knights of God: Episode 10

"To Canterbury!"

A lot happens this episode. At the outset, Gervase and Julia are outlawed and outcast; Hugo is disgraced and imprisoned; and Mordrin may wish to be crowned king, confirmed at the cliffhanger.

The whole direction of travel changes here. Arthur, it seems, has not forsaken the couple, and suddenly mentions a rumout that the king is alive... and the Archbishop of Canterbury, obviously no friend of the new Fascist religion, would possibly know. To Canterbury, then. It's a little deflating, however, that the only hope against Fascism is the monarchy and the established Church.

Things don't look good for Hugo, despite his refusal to sign the confession waved in front of him; he is to be tried and then hanged the following morning. But Gervase and Julia are in peril too, betrayed once more by the treasonous leader of the "Wastelands". Yet, with the help of Julia's father, they are able to reach Canterbury...

Exciting and intriguing. Not long now...

Good Omens: I Know Where I'm Going

 "So Elspeth here has all the opportunities because she's so poor."

"That's lunacy."

"No, that's ineffable."

The above quote says it all. Like last week's "minisode" (I've finally worked out what's going on with those: they're the historical flashbacks inserted into the episodes), Aziraphale learns a damn good lesson on moral ambiguity, and on the fact that seeing morality s something literally dictated from on high may not be the best idea. Here, he learns that lesson in 1820s Edinbugh, complete with bodysnatchers, laudanum, David Tennant getting to use his real accent and the anachronistic use of "Flower of Scotland".

It must be sais, fun though the episode is. Yes, Muriel's attempts and pretending to be a human police officer are hilartious, but the effect of her being there is to prevent the Maggie/Nina romance plot from having to move forward too quickly so other stuff can happen. Aziraphale discovers a few clues in Edinburgh, but it isn't much.

Whatever has been going on with Gabriel gets curiouser and curiouser, though. Plus Shax, and Beelxebub, have worked out where Gabriel is, and this means war. Still, fun though this episode genuinely is, with another sparkling script, I'll be glad if some more actual stuff can happen next time.

Better Call Saul: Off Brand

 "It's a name..."

This episode is a crossroads in several ways. It moves away from the Jimmy/Chuck sparriung of the first half of the season into other plot threads, and also makes a conscious choice to look ahead to Breaking Bad. Hence Gus deciding on the meth lab. The surprising cameo from Lydia. The first inkling we see of Don Hector's health problems.

There's also a nice wholesome scene between Mike and Stacey highlighting how sweet and wholesome their relationship is, utterly unlike all the other things in Mike's life. But there's nothing else at all wholesome in this packed episode.

We begin with Kim being magnificent in defending Jimmy, succeeding in limiting him to being barred for twelve months only. She does so much for the man with whom, sadly for her poor, doomed self, she is besotted. Besotted in spite of glimpses of his bullshitting self which she is nowhere near sufficiently stupid not to notice. There's one momernt in particular here, where Jimmy seems to disown Chuck in front of Rebecca, that his coldness really shows. And Kim doesn't fail to see it.

There is also much fascinating political skulduggery between Don Hector and Gus, with Nacho in the middle. It is he, as lieutenant, who exerts violent authority on behalf of Hector. And yet, when Hector threatens to use Nacho's father's business as a front for smuggling, suddenly Nacho has a motive to turn right against his boss. I've no doubt this will be a step in Hector's downfall.

Jimmy, of course, is not a lawyer for a year, and needs to do something else to keep Kim and himself afloat. He's desperate, creative... and then it happens: a TV commercial for TV commefcials. But he can't do it as Jimmy the lawyer. after some "Karloff" stuff... the character of Saul Goodman is born. Viewers had, literally, better call Saul.

This is, needless to say, exquisite.

Dunkirk (2017)

 "He's shell-shocked, George. He's not himself. He might never be himself again."

Obviously, this is no typical war film: it's Christopher Nolan, after all. We don't even see any Germans, just the effects of their bullets, bombs and especially planes. There isn't even a central character as such, just an ensemble cast whom we follow throughout. Then there's the famously non-linear narrative structure- the events at the beach taking one week; the events at sea taking one day; and the events in the air taking one day. Yet this is over-hyped, I think: the film is perfectly easy to follow, and the film is about much bigger things than its own structure.

This film  is an extraordinary achievement. There's plenty of heroism on display, but also shell-shock, fear and paranoia- the scene in which the British soldiers in a sinking boat threaten to throw overboard first a Frenchman and then a man from another regiment is deeply disturbing. But this is reality. It is not a gung-ho adventure story. That would not be Dunkirk. Yet we see the heroism of Collins and Farrier in the air, and the heroism of Mr Dawson, Peter  and George, civilians who risk everything- with seventeen year old George losing his life... at the hands of a panicking, shell-shocked British officer.

The cast- Tom Hardy perhaps excepted- is composed of character actors rather than stars, reinforcing that this is not a stirring action film but an honest attempt to depict what the evacuatrion would have felt like. Both the direction and the soundtrack are utterly peerless throughout, evoking the feel of besiegement and desperation. And the performance of Mark Rylance, in particular, is utterly sublime.

There is hope at the end, yes. The evacuation is a success against the odds. It's a nice choice to have Churchill's famed words be read from a newspaper by a young soldier. Yet we're left in no doubt that the road ahead is long and hard. Wars are not won by evacuations. Yet nor are they won without an army. Mere survival is not victory. But it does, of course, keep the hope of victory alive.

Guardians of the Galaxy: Vol. 3 (2023)

 "I was stabbed, you extraordinary phallus!"

James Gunn is back at Marvel, presumably just this one and... yeah, this was never going to not be awesome, was it? Gunn doing Guardians of the Galaxy is pretty much guaranteed to awesome. It just is. And, ironically, the success of this Marvel film, at a time when Marvel needed it, may bode well for DC.

And yet it's not based on the most promising material from the comics. Sad though Rocket's origin was, I had a reaction of pure geeky joy to see some of the other animals from that Rocket Raccoon limited series from the '80s that my eight year old self read as a back-up story in Transformers. Yet this is hardly classic Marvel material. Neither is the High Evolutionary stuff, and certainly not the Counter-Earth stories from the early '70s issues of Adam Warlock in those dark days before Jim Starlin, shown here in very 1970s fashions as a tribute..

This, then, is not promising material for a film. Yet the end result is a triumpjh. The characters, the actors, the cast, all are exquisite. The directing, too, is extraordinary, with some particularly impressive set pieces.

It's a good choice to have the High Evolutionary- Chukwudi Iwuji is superb- as an unambiguous villain, and I enjoyed the way Adam Warlock was played for laughs, and seems to join the team. And that's what it's all about, the team. Every character is likeable. Every character has depth. They are a true family. Heart, humour, awesome direction... how could this film possibly not be amazing?

Good Omens: The Clue

 "Shoemaking and obstetrics. Those have always been the twin passions of Bildad the Shuhite."

This is, of course, wonderful stuff. The stuff about Job (took me a while to recognise Peter Davison under all that make-up) is a delight, the perfect way to show us how Crowley first got Aziraphale to doubt that God was truly all-wise and all-benevolent, while Crowley subtly shows himself not actually to be as bad as he pretends to be. All of the flashback stuff is a delight- and shows Gabriel to be an amoral git, the sort of bad manager we've all had, a proper contrast with the innocent Jim of today.

The plot is fun, too. Aziraphale simply has to get Maggie and Nina to fall in love to stop last episode's miracle looking suspiciois to the senior management of Heaven. There's the mystery of a jukebox in an Edinburgh pub which eventually turns all records into the one Buddy Holly b-side. And the fact that of course the children of God's favourite goody-goody are going to be insufferably entitled. This is the best comedy in yonks, yet it has real subtext too. We must never take our morals from authority, but from our hearts.

Oh, and Jane Austen, that well-known bank robber, smuggler and spy, also wrote novels on the side. Who'd have thunk it?

Secret Invasion: Home

 "That's real one-term president stuff!"

So I gather this finale is widely disliked. Well, I loved it. And I think the issue here is that I see Secret Invasion, and I know I keen banging on about this, as Marvel doing John Le Carre style spy stuff- which is very different from James Bond spy stuff. John Le Carre's spies are not glamorousalpha males; they are tired, aging men who have lived too much of their long lives in a world of grubby deceit.

That's what we have here, and why this is such a briulliant little character study of old spy Nick Fury, whose deceptive career has bled into, and interrupted his home life. The moment where he kisses Priscilla wearing her Skrull face is a deep and very much foreshadowed moment between the two of them, yes: but it's also symbolic of Fury's yearning towards truth and reality.

This is a superb finale. Throughout we are given constant misdirection as to where Fury is and where Sonya is. Sonya gets to be the cool one- as I've said before, she's from the Ian Fleming school of spying, gurest starring in a John Le Carre novel.

We get an awesome set piece fight between two Skrulls. We get a bigoted US president outlawing all aliens, a contemptible act, and very Trumpian. Yet we get Sonya establishing an understanding with Gi-ah and the Skrulls. A lot may be being set up here. And Fury, of course, will return in The Marvels.

Don't be put off by the naysayers, I implore you, Think John Le Carre, and watch this.