"Picard"

I'll start by being honest.  Unlike, well, everyone, Picard was not my favorite Star Trek Captain.  Much like Sisko in DS9 I found Picard to be aloof and superior, almost cold and quite distant.  Episodes to humanize him (often with the character Vash) felt unrealistic and forced.  By the end of the series he became a tortured soul but I still wasn't able to connect.  I enjoyed Next Gen for the full cast, not really for his specific character.

Now we have the latest CBS All Access Star Trek series, "Picard".  It is good, to a point.  CBS has shown real skill at reviving the franchise.  "Discovery" is quickly becoming my favorite Trek.  That being said I'm still on the fence about this one.  It has the quality and complex story-telling of "Discovery" but it is slow.  Soap-opera slow.  And, while it is delightful to see all those friendly old faces (from various Treks) the guest stars tend to distract from the new cast, whose stories are intriguing but don't have a lot of time alloted to spin them out.  We get little bites rather than a narrative.  (Okay, yes, I also wouldn't mind seeing more of Santiago Cabrera who seems to be shirtless a lot.  Like, a lot. ... thank you ...)  There is also the disturbing issue of a Romulan spy who looks nearly identical to young Spock in "Discovery".  What, they couldn't be bothered to come up with a unique look???

It's also 21st Century dark.  I mean, yes, "Discovery" is dark, too.  Treks of the modern age show a more nuanced Federation, one where bad things happen and bad people subvert the good intentions.  This series, in particular, is pure Trump era.  The Federation has become speciest, won't allow refugees to come into the fold, turned away millions when crisis loomed.  Sound familiar?  I guess it should be comforting.  What is Trek without a heavy moral lesson about the modern world?  That's really how the series started.  And it is wonderful to see Jean Luc, who is still tortured, a little softer, a little mellower, a little quieter, and without his holier-than-thou speech-making.  Mostly he is an old man trying to fix a wrong or two in the time he has left.  If anything gets me to like the character, this may be it.  So, I'm in.  For now.

So Many Films, SO MUCH TIME

Working to find the Covid silver lining I have watched a ton of the TCM Women Make Film movies in addition to the aforementioned documentary.  As mentioned in the previous post they hit nearly every genre, every style of filmmaking, every continent, every decade from the last 100+ years.  There were experienced women directors with tons of film credits and others who were "one and done".  There were women who worked their way up through the business and artists with no film background who simply created.  And there were superstars -- women who directed, produced, wrote and acted.  People ask which films I liked the most ... well, a bunch.  

It's truly impossible to name just a few favorites among this huge variety of creative works.  The ones I didn't like were not necessarily bad, just not my thing.  Some were more memorable than others.  I would argue that memorable is not always equated with brilliant.  In the case of "The Virgin Suicides" and "We Need to Talk About Kevin" they were each haunting because of subject matter yet I found one much better from a filmmaking standpoint than the other.  

The documentaries left the strongest impressions and interestingly enough most were about the same core subject, losing one's industry and/or culture in a changing world, even though they were set in wildly different times and places.  "Angry Inuk" completely changed this vegetarian liberal's view of seal hunting (going from "against" to "for" in the course of an hour and a half.)  My dislike of Westerns wasn't changed nor was my concern about films from the 1970s.  It won't go down as a great decade of filmmaking.  After the strictness of the first half of the 20th century and the liberation of the 1960s film styles the 1970s seemed to hit a roadblock.  The vision was still present but the voice was lost.  Scripts were often hackneyed, as if there was no "there there".  In the 1970s grounded voices were mostly found in documentaries or films which evoked another era.  

A good number of the films took place during wars and many of those provided the biggest emotional hits.  Many were very well made but extremely hard to take.  The problem with war films (or mobster films for that matter) is that there is a certain predictability, however well-made it is.  In both war and mob films people die, often in the midst of extreme violence, and often without any purpose.  One knows, going in, that there will be incalculable losses and maybe, just maybe, a victory but that victory is transient.  The violence permeates everything and continues on long past the temporary win.

There were tons of historical films and a notable lack of Science Fiction/Fantasy, which wasn't a surprise.  Rom Coms were entirely absent, which was interesting given that these were, well, women's films.  If the point was to break the stereotype they succeeded.  The romances here were few and far between with a good deal of complications.  I wonder what that says about women and love.  Very very few couples made it to the finish line and a good number of movies didn't shy away from exploitation, which flies in the face of the "women don't do that" idea.  One interesting element was that a great number of the female protagonists were essentially unlikeable.  That's something you rarely see in male-created films.  I will say that there were very few instances of me snickering and saying to myself "That would never happen" (i.e. gorgeous young woman falls in love with dumpy older guy).  Thank you, women directors, writers, cinematographers, producers for bringing some "real" to the work.  It was nothing if not a fascinating few months of viewing.

The list of everything I saw is below (missed about 30 of the 100).  In the end, over three months of viewing all these films, some have made an indelible mark while others have already drifted away into the mist.

Documentary:  "Harlan County, USA" (USA, 1976), "Cave of the Yellow Dog" (Mongolia, 2005), "Angry Inuk" (Canada, 2016), "Cameraperson" (USA, 2016), "The House is Black" (Iran, 1963), "Araya" (Venezuela/France, 1959), "The Day I Will Never Forget" (Kenya/England, 2002), "Heart of a Dog" (USA, 2015) and "The Decline of Western Civilization" (USA, 1981).

Fictional/Narrative:  "Wanda" (USA, 1970), "Olivia" (French, 1951), "Lovely and Amazing" (USA, 2001), "Merrily We Go to Hell" (USA, 1932), "The Virgin Suicides" (USA, 1999), "El Camino" (Spain, 1963), "Loving Couples" (Sweden, 1964), "Zero Motivation" (Israel, 2014), "Salaam Bombay!" (India, 1988), "We Need to Talk About Kevin" (USA/England, 2011), "Daughters of the Dust" (USA, 1991), "Orokbefogadas (Adoption)" (USSR/Hungary, 1975), "Middle of Nowhere" (USA, 2012), "Beau Travail" (France, 1999), "The Ascent" (USSR/Belarus, 1977), "The Erl King" (France, 1931), "Daisies" (USSR/Czechia, 1966), "Meshes of the Afternoon" (USA, 1943), "The Birth, Life and Death of Jesus Christ" (France, 1906), "Children of a Lesser God" (USA, 1986), "Meek's Cutoff" (USA, 2010), "Dogfight" (USA, 1991), "Rafiki" (Kenya, 2018), "First Love" (USA, 1977), "The Night Porter" (Italy, 1974), "Danzon" (Mexico, 1991), "Le Bonheur" (France, 1965), "Tomka and His Friends" (USSR/Albania, 1977), "Stop-Loss" (USA, 2008), "Madeinusa" (Peru, 2006), "Corpo Celeste" (Italy, 2011), "Fools in the Mountains" (Norway, 1957), "Shen Si Jie" (China, 2005), "Rachida" (Algeria/France), "Girlfriends" (USA, 1978), "Shoes" (USA, 1916), "Boat People" (China/Vietnam, 1982), "Outrage" (USA, 1950), "Foreign Letters" (USA, 2012), "Mable's Strange Predicament" (USA, 1914), "The Photograph" (Indonesia, 2007), "Silent Waters" (Pakistan, 2003), "Party Girl" (USA, 1995), "La Nuit de la Verite" (Burkina Faso/France, 2004), "Hurt Locker" (USA, 2008), "Gas Food Lodging" (USA, 1992), "Born in Flames" (USA, 1983), "Le Voleur de Crimes" (France, 1969), "The Teckman Mystery" (England, 1954), "Hannah Arendt" (Germany, 2012), "Very Annie Mary" (UK, 2001), "The Connection" (USA, 1961), "Lost in Yonkers" (USA, 1993), "An Angel at My Table" (New Zealand, 1990), "Sweet Bean" (Japan, 2015), "27 Missing Kisses" (Georgia, 2000), "The Kite" (Lebanon, 2003), "My Brilliant Career" (Australia, 1979), "This is the Sea" (Ireland, 1997), "Crossing Delancey" (USA, 1988), "La Cigarette" (France, 1919), "O Ebrio" (Brazil, 1946), "Smithereens" (USA, 1982) and "The Lure" (Poland, 2015).

Christmas Fluff

Given that I am a bit down-in-the-dumps I haven't really been in the mood to binge the annual flood of holiday films.  That being said there were a good number this year with gay themes, multicultural casts and one with with a differently-abled couple.  So I watched a few.  I won't bother going over the plots in detail.  They are all the same.  City person arrives in a small snow-covered town complete with hugely friendly people (insert adorable child or dog here) and discovers true love in the holiday festivities, often during some sort of financial downfall or destruction of a beloved local historical landmark which our lead character miraculously fixes.  I'm not sure why holiday cheer can't be found in the big city, but whatever.  Usually there is some crafting involved -- woodworking is frequently featured (a subtle nod to Jesus???)  Amazing hot chocolate is often talked about.  A mini-issue crops up but by Christmas it all works out.

Interestingly enough my two favorite picks were both from the Lifetime network.  First was "The Christmas Setup" which featured two actors who are actually married so the steam and crackle was nicely palpable.  Plus, Fran Drescher.  I'm sorry, but who doesn't love her?  Next up was "A Sugar & Spice Holiday" which had the most diverse cast I've ever seen.  Focusing on an Asian American family there was a really nice balance between traditional Chinese culture and simply being a first generation American.  A fun feature was the lead character describing personalities as desserts, kind of as allegory.  The cherry on top (yes, I'm continuing the metaphor ...) was a very decent sizzle between the two leads.  As a bonus there is a subtle feminist twist at the end which I greatly enjoyed.

On the "decent but not thrilling" part of the list is "The Chrismas House", Hallmark's apology for last year's Zola debacle.  The gay couple is secondary but the family vibe was nice and felt real.  The "issues" surrounding Mom and Dad seemed forced and resolved, well, without anything much but it was still pretty watchable.  Followed by this was Lifetime's "Christmas Ever After".  It sticks the landing but wobbles a lot along the way.  Also, while it is laudable to cast a woman in a wheelchair it seemed kind of glaring to ignore the challenges wheelchair-bound people face in everyday life.  Claps, however, for casting TONY AWARD WINNER Ali Stroker in the lead.  Things took a turn for the worse with Paramount's "Dashing in December".  This moody Andie McDowell project featured a lead character who was thoroughly unlikeable.  It was as if they took the Scrooge to heart in creating him.  Gratuitous walking around without shirts happened, as well as horse-back rides in the snow, but this was seriously not "Brokeback Mountain".  At least one supporting character couldn't act his way out of paper bag which created a distracting secondary storyline.  

In these films there was a passing reference to societal racism and occasional references to struggles with gay acceptance in the past but in these idyllic settings family and townsfolk were all super-friendly and the whole thing very normalized.  Not sure if I buy this (not that a holiday film is anywhere near the world of reality) but I know Hulu got grief for going to the other end of the spectrum and focusing an entire storyline on a closeted gay woman trying to hide her girlfriend from her family, so I'm thinking there is a happy medium?  In any case it's a good trend to see actual diversity gathered around the perfect Christmas trees and I hope, in the coming years, there are so many films like this that they don't stand out.  

To Covid or Not to Covid

With the lethargic return of television (not all shows have returned, those that have came late and will have shortened seasons, there are a minimal number of new shows) comes an essential question.  The comedies, specifically the Chuck Lorre ones, are avoiding Covid, well, like the plague.  In these escapist shows the pandemic isn't even a bad dream.  It simply doesn't exist.  People don't wear masks, they eat out at crowded restaurants, life is ... good.  On the other side you have "Station 19" and "Grey's Anatomy".  Not only do their formats make ignoring the pandemic difficult but Shondaland never met a crisis it didn't embrace.  Doctors are wiped out, emotionally drained, sick of watching people die and just sick.  People are lonely and struggling with the isolation and those who ignore Covid do so at their risk.  To be honest I'm not sure which end of the spectrum I want to watch.  A world without the disease is nice to imagine but often feels very fake right now.  The inauthenticity grates.  On the other hand the daily headlines depress me so much that I don't really want to watch it on my dramas.  That being said both sides of the spectrum are doing their work well and I'm just going back and forth trying to balance my moods.  There is a nice middle ground.  "A Million Little Things" is placing itself just before the pandemic, presumably so they can jump forward when it is all over.  "Chicago Fire" and "All Rise" acknowledge the disease but it is more of the periphery rather than at the core of their stories.  These shows seem to be the most satisfying to me right now.  I get my entertainment but it is grounded in the world I'm living in.  All of this just points out how weird everything is, but just look at where we are living.

I wish I could say there are bright spots in new offerings.  There aren't many.  Chuck Lorre's "B Positive" is okay rather than brilliant.  "Nurses" and "Devils" looked lame and "Big Sky" is so offensive I didn't even bother watching it.  ("Big Sky" chooses to focus on the soap opera pain of pretty little blonde girls instead of the real pain faced by Native American women in the place where it is set).

More will come in January but a larger question looms.  Covid has fundamentally changed TV watching habits.  The streaming revolution was accelerated and the ratings for network shows, across the board, are sluggish at best.  When you hear about great new series now, absolutely none of them are on the big four (ABC, NBC, CBS, Fox).  Having just ditched my free one year subscription to Disney+ and being basically unwilling to pay for half a dozen streaming services I will be sticking to my cable picks for now.  And books.  I guess this is where I say "pick your poison".

"Fargo"

So, yes, it took me until season four to discover "Fargo".  What can I say?  Covid changes everything and my viewership is much wider now that I have lots of time on my hands.  (Lots. Of. Time.)  Can't say this one is in my wheelhouse but it is interesting.  An anthology series (each season utilizes a different cast to tell a different story) this particular season is set in Kansas City, 1950.  The story is one of competing gangland activities.  Through the voice of young Ethelrida Pearl Smutney we see the intersection storylines of this old yet new tale.  Paradox and satire abound.  Ethelrida is the child in this fable and is not privy to most of the goings-on, yet her voice provides perspective to it all.  There is inevitability -- The Irish mob does in the Jewish mob, only to be replaced by the Italian mob.  This season begins as the Black mob arrives in town ready to play.  Weirdness adds to the quirky feel of the place.  David Lynch would be proud, as both traffic lights and pie figure into various episodes.  Split screens give a fractured sense of time and a truly bizarre nurse touches everyone she meets ... not always in a good way.  It's strange, it's fun if you are in the right mood, it's just a little artsy and it is worth the weekly watch even if it actually doesn't take place in Fargo.  A good option for a late night or a glass of wine.  Don't try to understand it all, just sit back and take it in. 

Fun

Leave it to FOX to come up with mindless escapism in this critical time.  Enter "L.A.'s Finest" and "Filthy Rich".  Both are not too deep but not too shallow.  They make for a good hour or two of not thinking about anything.  "L.A.'s Finest" is your basic buddy cop thing with the wild child and the by-the-book partner discovering that their chemistry helps them to solve crimes.  The twist here is the buddies are female, with Gabrielle Union as the loose cannon and Jessica Alba as the (semi) grounded one.  Alba's fans will be happy to see that she can still kick ass, 20 years after "Dark Angel".  Gabrielle's character has indiscriminate sex which lead me to wonder, for a moment, if it would seem as salacious had her character been male, but that thought came and went.  Enter the shoot-em-ups and car chases.  If the first show doesn't satisfy your junk-TV cravings next up is "Filthy Rich", yet another incarnation of a tale about corrupt televangelists facing their dirty little secrets as they come home to roost (literally).  Headed by Kim Cattrall, who is maturing beautifully, the show may have the tension of your average soap but provides plenty of laughs as well.  A couple of terrific diversions.  Grab a bowl of popcorn and settle in.

NEXT

A show guaranteed to make you want to pull the plug on your electronic home assistant, NEXT's Eliza (aka Alexa) makes HAL look like a toddler.  In non-stop action John Slattery (a Bill Gates/Steve Jobs mashup) works with an FBI agent to stop the unstoppable.  An AI which can teach itself, essentially becoming a genius twenty times over, haunts them at every step, reminding the viewer of how incredibly intertwined we now are with technology which spies on us everywhere.  Our intrepid leads are also hindered by an Elon Musk lookalike (who is clearly a borderline bad guy).  The tension is palpable.  Every episode so far has ended on a cliffhanger.  Is it good?  Yes.  First, there is John Slattery, and come on, who doesn't love John Slattery?  There is the frenetic yet drawn out pacing (courtesy of the folks who brought you 24) and a very solid ensemble.  In an odd way I find this massive, earth-ending impending disaster to be a lot of fun.  Maybe I'm twisted.  Or maybe it's just a reflection of our very odd times.  

Women Make Film

TCM saves me again with "Women Make Film" a fourteen hour documentary which is a Master Class in filmmaking.  The one twist is that every film used as an example of film technique is directed by a woman.  The documentary is, ironically, created by a man, Mark Cousins.  It is narrated by Tilda Swinton, among others.  Her voice is evocative but can be hypnotic.  In general I watch one episode a week so I can absorb it all.  TCM is backing up "Women Make Film" by broadcasting 100 of the films mentioned in the documentary.  It's all ... breathtaking.  I actually take notes during the documentary, learning new things about the structure, style and rhythm of film.  And then, I watch the films.  As many as I can, anyway.  They are all over the map.  Good to Great.  Silents to contemporary.  Realism, Romance, Horror, Documentary, Action -- just everything.  They come from every corner of the globe and are shot with great precision and almost planned sloppiness.  High budget to low.  The thing is, they are just films.  Not films by women, but films.  I don't know that anyone watching them would say "this is a movie made by a woman" or even "this is a feminist film" although there are feminist threads in the most male-oriented productions.  The essential question is whether or not these films would change if they were made by men.  That is unanswerable.  But watching this documentary, and these films, is fascinating.  Only 11 more hours, and some 94 films, to go!

"Downton Abbey"

Just finished binge-watching the entire "Downton Abbey" series (but not the film, yet).  Loved it.  So easy to understand why this was such a huge, popular hit.  Some called it an historical soap opera, others a romance.  It was both, and a lot more.  The British do everything well and, from a production standpoint, it is top-notch.  Writing, setting, direction, acting.  The one and only thing that could be improved on is editing which jumps awkwardly through as the timeline skips a beat now and then.  It's a minor complaint.  What is "Downton Abbey" about?  Everything.  There is a huge cast and every character, each and every last character, has a story.  None of them are simple and even the bad guys have complexity, if not mitigation, in their actions.  Like "Upstairs, Downstairs" it reflects the seismic change which occurred in a small window of time.  The series opens with the sinking of the Titanic, which is metaphor for the death of an era.  In no time, electricity in homes transforms domestic life.  Kitchens have refrigerators and electric mixers, which makes dramatic changes in food choices.  Hair dryers and curlers make a significant impact on hair care and style, telephones allow for instant communication and speed up life as a whole.  With radios, news begins to fly rather than crawl.  The changes are embraced by some, fought by others, which sets up a kind of upheaval on every level of society.  The first Labor government is elected.  Amidst all of this we see the second major theme of the tale.  Aspiration.  The upstairs folk, the rich, they drift and try to find meaning.  The downstairs workers dream, and they dream big.  Some of those dreams allow them to rise above, in other cases the dreams take hold with the hunger of a python and they are strangled in the process of trying to reach up.  Then there is Love.  All kinds of love.  Tragic love, new love, mature love, imperfect love, unrequited love, passionate love, comfortable love.  There is, of course, a lot of drama.  Happy people make for a boring show.  But in the end love triumphs, dreams are fulfilled and balance is found ... if only for a moment in time.  A kind of perfect escape in our own history-making time.  Worth a week or so if you want to get away.  The interaction of two characters, in particular, is worth the price of admission.  I howled at the exchanges between Maggie Smith's Dowager and Phyllis Logan's Mrs. Hughes characters.  Best laughs I've had since this whole thing started.  Enjoy.

Bleak

In search of things to watch I've stumbled upon rebroadcasts of Canadian shows "Coroner" and "Transplant" on the CW, as well as "Tell Me a Story" (rebroadcast from CBS All Access).  Upcoming is the so-called international thriller "Devils" and yet another version of "Swamp Thing".  I think I'll pass.  They are all dark.  Very dark.  Not a giggle, a chuckle, or a teeny spark of light.  Love scenes are conducted in shadowed alleys or parking lots with the sound of traffic in the distance.  They are completely opposite from the hazy, sunshine-through-curtains, beautifully-scored scenes in your average rom-com.  The best of the bunch is "Transplant" which has relevant themes and yummy Hamza Haq but each and every character has a back story which makes them sad.  "Coroner" is even worse with a recent widow struggling with the loss of her unhappy marriage and the depression of her son -- while working as a coroner and fighting off panic attacks which hide a terrible secret from her past.  The casts are strong, the filming great, the writing superior, and yet ... I just can't take any more sad in this time, in this very weird time.  A long time ago I read a book on acting which said that actors must find the love, find the humor, in everything.  Shakespeare knew this.  He put the gravedigger scene in "Hamlet" specifically to lighten the load before the bitter end.  Writers of much of our recent entertainments seem to have forgetten this.  It isn't a new trend but perhaps more noticeable now than "before".  I don't want stupid, there is plenty of brain-numbing stupid about, but a plea for something smart and funny?  It might help with the gloom.  

"Being Reuben"

I don't watch much reality TV but I'm pretty starved for new content at this point.  Enter the CW, rebroadcasting a British TV series "Being Reuben".  In very easy-to-take 30 minute episodes we follow 14 year-old Reuben de Maid, a Welsh boy who is working hard to become a Social Media influencer.  He is a surprising figure.  A boy who does an amazing job applying makeup, a young man who holds his own when meeting with adults from major marketing firms.  But he is also just a kid, one who fights his mom on doing homework, doesn't clean up after himself and who refuses to eat healthy.  It's an interesting mix.  The show follows his professional career as well as his typical 14 year old rebellions (along with two younger siblings).  Reuben's extended family is engaging as well.  There is his imperfect mom trying to balance her own job with motherhood and his adorable Bampa (grandfather) who is not a modernist but is warm and loving even when Reuben's world seems mystifying to him.  The father makes a brief appearance, and, like Bampa, is a tad overwhelmed by it all.  The agent enters in now and then to keep things on track and the older brother is only seen in a photo and rarely mentioned.  And there lies the challenge of so-called "reality" TV.  There is no such thing, of course.  Situations are manipulated, heavy editing allows us, the viewers, to see what the producers want us to see, giving a skewed outlook to a life, or lives, which are most likely pretty complicated.  It's entertaining and revealing, but only to a point.  And no, I won't go so far to say that it is "reality", but it was worth the time.

The Boys

"Deadpool" meets "Dexter" in this profane, violent series which is oddly addictive.  I haven't heard so many bad words since "Homicide:  Life on the Street" with entire conversations basically trading the F word back and forth.  In this Through-the-Looking-Glass take on superheroes the gore never stops with some internal body part on the outside of someone's body at least once every episode.  Part of the attraction is that it is so over the top you just can't take it too seriously.  On the rare occasion when it does get real (a plane flight comes to mind) the pain is visceral.  But that doesn't last too long.  Soon, another body is ripped apart or imploads and you just step back and take it all in stride.  The portrayal of women is interesting.  There is exploitive nudity and nearly every woman here seems to be a victim but the tale clearly makes a few points that women are fighters who are often exploited.  Using the medium as a kind of mobias strip, producers make a point by actually doing the thing you are trying to say is bad.  The show has a lot of that.  As "out there" as it is, there is frequent comment on modern society with embedded political swipes.  From a timing perspective it couldn't be more relevant -- showing law enforcement types abusing their power.  In the end, it exemplifies the old adage "absolute power corrupts absolutely".  As long as you can get past the language and the yuck.  There is also Karl Urban, who is always watchable, IMHO.  Definitely distracts.  And I need distraction.  Enjoy?

More Random Television

What can I say?  Not much new content.

Watched a bunch of Perry Mason films (OG) and Lifetime "He done me wrong" movies.  Got "Spider-Man Far From Home" from the public library and greatly enjoyed it.  More documentaries in the form of two Hamilton interviews (and watched Hamilton again, because, well, why not?) and "Lost City of Machu Picchu" which only made me cry a little.  I was there in March, right before the world stopped.  The documentary taught me a few things I didn't realize when I was there, giving me yet another perspective on this amazing place.  There was "Psych 2:  Lassie Come Home" (YES YES YES, SO FUN).  Thanks, Peacock.  (And Timothy Omundson, you rock.  Keep on keeping on bro).

And there was ComicCon@Home (thank you, thank you, thank you!)  I watched dozens of panels, from the new CBS All Access Star Treks to Batgirls to Inside the Voice Actors Studio to series updates on Upload, The Boys, His Dark Materials, What We Do in the Shadows, Motherland:  Fort Salem, Stumptown and Utopia.  They ranged greatly in style and quality.  It was fascinating to see actors outside of their roles.  Some really engaged while others seemed challenged to find any energy at all.  A mixed blessing was the "Conversation with Nathan Fillion" which was neat in the low-key conversational style rather than the stiff, predictable questions on a typical panel.  It was delightful in guest stars but jarring in terms of edits.  Less interesting was the Star Trek Women panel (more about Star Trek literature than the actual series) and the tour of the new ComicCon Museum, which seemed to be put together for ~very~ young children.  My favorite, and most intriguing to me, was the LGBTQ Characters on Television forum, which had some great actors and more substantive conversation than most of the sessions.  It was simply the "most real" panel.

Random Television

Things are drying up, as expected.  Still getting giggles during my favorite old Geico commercial ("Marco!  Polo!")  As much as I don't mind watching "Thor:  Ragnarok" over and over (and over and over) I have managed to see a little new content and some older content I never saw in the first place.  I have a free trial to Disney+ and am able to jump on the Amazon Prime account of a relative.  Favorite new series?  "Upload" on Amazon Prime.  It's funny and thought provoking with a little mystery and a little romance.  All-in-all a very bingeable five plus hours.  "Elephant", on Disney+, makes for a fairly intriguing and interesting hour or so, as does "Diving with Dolphins".  Also on Disney+ is "Artemis Fowl" which doesn't honor the book much but is entertaining and well-done.  Since I had read the books so very long ago I didn't remember all the details (although I remember liking them a great deal).  In any case the film works on its own and is a great way to get out of reality for a bit.  In a similar vein, "Race to Witch Mountain" departs from the source material so much that it becomes unrecognizable.  Mostly it is just a light mish-mash of Fast-and-Furious meets X-Men meets Terminator with Dwayne Johnson hitting every note perfectly.  "Out", an animated short, takes on the issue of a gay man coming out to his family in a clear, simple way which doesn't politicize but just makes the whole story human.  "Knives Out" was fun and had great performances but felt more like popcorn than substance.  Maybe if I hadn't figured out the mystery in the first half hour ...

On the "ehh" side is Amazon Prime's "Troop Zero" which proves that not every Alyson Janney film is gold, and "Ready Player One" which was fun but forgettable.  Would probably appeal more to gamers than me.  Love "The Prince and the Pauper" but have to say the 2000 version with Aidan Quinn felt lethargic, at best.  "The Aeronauts" was similarly low-energy although somewhat interesting in terms of history and science.  Ironically started to watch "Late Night" only to realize I've seen it before.  Which says something about how not memorable it was.

On CW Seed I have been able to relive "Forever", a great show that didn't get its due on network TV.  On cable, I'm greatly enjoying "Stargirl" which has nicely darker sides to balance the sugary sweet leading lady.  I'm curious to see how the characters develop.  The mean girl/villain is already intriguing me.  I was thrilled for the return of "What We Do in the Shadows" which provided my biggest laughs of the summer, and "The Bold Type" which is just soapy enough without being too soapy.  "Penn and Teller's Fool Us" creates a light diversion for my brain, challenging me to see if I can spot the trickery, and I'm thrilled to see "Life in Pieces" now streaming.  A great, smart sitcom, cancelled before its time.

Weekends give me the chance to compare good second movies to bad ones.  "Star Trek:  Into Darkness" continues the tradition of even numbered ST sequels being outstanding, while "Ant-Man and the Wasp" is just as good as "Ant-Man", if not better.  "Justice League" improved a great deal on "Batman v Superman" but how could it be worse?  (How could anything be worse?)  Less impressive are films like "Legally Blonde II", "Miss Cordiality II", and "Sex in the City II" and let's not even talk about the even numbered Indiana Jones films.  Let's just say anything with "II" in the title (or "Doom") is not going to be good.

The public library is sorta/kinda back up and running so I was able to see "The Big Lebowski" which was great for quirky weird laughs.  The highlight, OF COURSE, has been "Hamilton".  So good.  So very, very good.  So totally worth the wait.  I plan to rewatch it soon.

With Hollywood all but shut down for now and summer blockbuster films held until the fall, it will be, at best, a long time until we see truly new stuff.  Guess it is time to cough up money for Hulu or Netflix to catch up on the shows I've missed, or, you know, read a book.

"River Town: Two Years on the Yangtze" by Peter Hessler

Finally.  It took me forever to read this book.  Not because it was bad -- quite the contrary.  But it was dense, and life intervened in the form of months of travel cancelled while the virus and protests upended the world.  I just couldn't concentrate enough to finish it.  But I finally did.  I went to China a little over a year ago and was transformed.  Such an amazingly different world, a true Communist state, a place where I was obviously different from everyone we saw (I was
"waiguoren" and never forgot it).  It was a powerful experience, one I have never successfully been able to find the words for.  Peter Hessler, who spent two years there as a Peace Corps teacher, did.  He captures beautifully the unique "feel" of China -- the land and her people.  It is a culture like no other and he takes the time in this memoir to explore the details of his interactions, describing each of the little realizations and surprises.  I loved reading this book because it brought me back there, to my own experience, seeing a place which was so unlike anything I have seen before.  Mr. Hessler deals with it all very gently, seeing the flaws, the promise, and his own struggles to comprehend, well, everything.  The book is more than twenty years old yet it has not aged much, I feel.  The differences in Fuling today are stark, but the people, the atmosphere ... I would venture to say they have not changed much.  What has changed?  Fuling is not there.  The city I saw replaced the one which now lies under the Yangtze.  I doubt that Peace Corps volunteers still go there.  I'm all but certain there is no Catholic Church, or any church, as the past ten years have been marked by a government cracking down, tightening its grip, rather than the hope in this time as Deng Xiaoping was trying to modernize and open his country, even if only by small cracks.  The Chinese people remain strong, stubborn, bound by tradition and tremendously loyal, regardless of what outsiders may say.  It is worth a read to anyone who thinks, as I did, that this massive country has moved past its Communist roots.

TCM Classic Film Festival

A silver lining to this Covid thing resulted in the cancelled Turner Classic Movie Festival placing many of their materials onto the network over a long weekend.  It allowed common folk like me to see a huge number of interviews, commentary and classic films (many of which I had inextricably missed).  Weeks of thoughtful, impactful viewing followed.  Though I knew her story, I was struck by the luminous fragility of Marilyn Monroe in two different films.  I shook my head at the towering vocal gifts of Judy Garland.  I added a third “A Star is Born” to the versions I’ve seen – a timeless tale reflecting three massively different periods of time.  I smiled at the brilliance of Peter Lorre, who could be horrific yet sympathetic in the same instant.  I was transfixed by the massive scope of “Metropolis”, brilliant long before anyone knew the power of this complex film.  I was surprised by “Lawrence of Arabia”, which was massive in scope but ultimately a very personal story.  I also found “Casablanca” to be unexpected – not as “great” of a film as I thought but oh, the cast, the cast, the cast.  I loved how Cary Grant brought humor and charm to a Hitchcock film.  I was awed by the physicality of the silent film era and Gene Kelly, a guy who looked like a boxer but moved like a supple ocean wave.  I giggled at the salacious content of films before a restrictive Hollywood Code took over and laughed again at how subversive sexual themes wiggled into post-code films.  I cringed at the racism, sexism and stereotypes which were considered “normal” in the first half of the 20^th Century.  I was intrigued by the complex, messy realities of “Floyd Norman:  An Animated Life”.  I watched the fall from pinnacles over and over, from “Grey Gardens” to “The Magnificent Ambersons”.  I marveled at how Orson Welles used light, and dark, as characters in his films.  I found myself riveted in front of a screen instead of zoning out, breathless at the scope of film history in the first 50 years or so of the medium.  I gained insights from those who hit it big but found stability in an unstable business (or left it entirely), including Luise Ranier, Eva Marie Saint, Norman Lloyd, Kim Novak and more.  Yes, I watched “Grey Gardens”, “Safety Last!”, “Double Harness”, “Mad Love”, “Some Like it Hot”, “A Star is Born” (1954), “Metropolis”, “Baby Face”, “The Magnificent Ambersons”, “Singin’ in the Rain”, “The Passion of Joan of Arc”, “Red-Headed Woman”,  “Lawrence of Arabia”, “North by Northwest”, “Floyd Norman:  An Animated Life”,  “Night in the City”, “Jezebel”, “Casablanca”, “Gentlemen Prefer Blondes”, “The Lady Vanishes” and finally, with the weirdest opening credits ever, “The Women”.  It was all-encompassing.  And now, onto the very end of “Star Wars” …

"Jezebel"

I’m binging a bunch of classic films, thanks to the now-cancelled TCM Classic Film Festival.  While most are going into a single review this film deserves more comment. 

Imagine:  Politics ripping a country apart while a fast-moving infection destroys a city and closes borders.  No, I’m not talking about now.

Imagine:  Antibellum south.  A fiery, spoiled belle will let nothing stop her from pursuing a decent man who has married someone else.  She destroys a simple minded guy in the process as she uses him for her own gain.  Disaster strikes and she finally sees the light – maybe – and the film ends on an ambiguous note.  No, I’m not talking about “Gone With the Wind”. 

1938, a year before GWTW, a rival studio (Warner) tried to one-up MGM by releasing this remarkably similar film.  It starred Bette Davis, who was miffed that she got passed over for the lead in the “other movie”, a role which went to nobody Vivien Leigh.  This story was a virtual carbon copy but filmed in black and white with a much smaller scope.  The racism and sexism is as prevalent as it is in GWTW but is more heavy-handed with Ms. Davis’ character, who is compared to a child, a harlot and beating is repeatedly recommended (with a smile) as a way of straightening her out.  The title is biblical and makes it clear that she isn’t just being unladylike, she is literally breaking commandments. 

It’s called the greatest role of Bette Davis and had a star-studded cast which included, among others, a very young Henry Fonda.  Ms. Davis and her co-star, Fay Bainter, won Oscars for their work.

However.  I can’t not compare it to GWTW, which is better.  This film is rushed and it shows.  Edits are jerky, the script is thin.  Only the great actors manage to give meaning to a lot which feels meaningless.  And you just can’t compare the 104 minutes of this film to the 238 minutes of GWTW.  The carts of sick people being wheeled through New Orleans is powerful but pales in comparison to the bodies in the street after the fall of Atlanta.  Scarlett O’Hara faces the Civil War.  Julie Marsden (aka Jezebel) faces the ire of rich people when she wears a daring, inappropriate dress to a party.  The most interesting part of GWTW, Scarlett’s ability to fight, is negated in “Jezebel” as the end credits start rolling just as Julie faces a real challenge.  I couldn’t root for her.  Scarlett, for all her many (many, many) flaws, had something admirable.  Julie was just a girl who broke convention and was seeking absolution.  Scarlett never got, nor asked for, forgiveness.

As to Ms. Davis, yes, she is great.  She was always great.  Personally, though, I liked her later roles.  I liked it when she had enough power to stand up to the studios and play women who didn’t simper.  I like the real Bette Davis, not the pretty girl with the cultured tones which starred here.

Mid-Season Television

Just as networks are dumping the Autumn clunkers (say bye-bye to "Almost Family") my DVR is getting full again with new series.  It is the usual mix of "The Good, the Bad and the Ugly".

The Good:

"Miracle Workers:  Dark Ages" is even funnier than the very unusual first season.  Changing up the premise entirely (the first season was based on a book where a bored God decides to do in Earth unless a bunch of heavenly office nerds can get two humans to find true love) this historical setting allows for scathing satire of modern-day issues.  Playing a self-involved Prince and a Shit Shoveller, respectively, Daniel Radcliffe and Geraldine Viswanathan make the humor work by treating the ridiculous lines with utmost seriousness.  Their "all in" dedication makes the show hugely engaging.  Steve Buscemi goes from God to hapless but well-meaning Dad, and does so with aplomb.

"911 Lone Star" takes the over-the-top style of the original show and totally makes it work with a different focus, themes and cast.  Big stars here for some real diversity and some of the best work I've seen Rob Lowe do since "West Wing".  The only negative is Liv Tyler, whose whispery line delivery seems odd at best.  She seems out of her depth and dumping the character would be a plus.

"Dispatches from Elsewhere" is a kooky, weird and sometimes inexplicable mini-series which will be enjoyed by fans of "Mr. Robot", "Falling Water" and "Legion".  Is it a test, a game, a government conspiracy?  Who knows?  With a healthy dose of anti-capitalism there is an overarching message of hippy-style love, called the "divine oneness" in this offbeat cinematic adventure.  The essence is that we aren't them and us, we are "we", humans who innately and intimately understand the trials and tribulations of each individual.  With a stellar cast and highly creative filmmaking, it's a definite keeper.

"Motherland:  Fort Salem" has a film-like quality to it.  In "Divergent" meets "Charmed" this dark show envisions a militarized America, run by the female descendants of the Salem witches.  Even better than it sounds the characters are layered, the story complex, the world well envisioned.  My only qualm is that we are, as a nation, struggling with the idea of female leadership.  Depicting women leaders as vicious and possibly corrupt pretty much plays into that stereotype.  That being said the performances transcend any messaging.

"Council of Dads".  "A Million Little Things" meets "This is Us" in a tear-jerker slice of life show.  A blended family provides a good amount of diversity and a strong cast helps viewers connect.  The gut-punching first episode will have you reaching for the tissues but it is likely to lighten up a bit in coming weeks, along with strumming a few more heartstrings.  A nice option as the regular shows begin to wind down for the season.

"Almost Paradise".  Those mourning the death of "Hawaii 5-0" will love this frothy replacement which stars yummy Christian Kane in a typical role of scary spy guy who can kill you with a finger but has a mushy soft heart.  Arthur Arcuna and shapely Samantha Richelle are solid and round out a cast of actual Filipinos (the series is filmed in the Philippines).  100% enjoyable with very tolerable drama.

"The Baker and the Beauty".  SO much better than expected.  What could be a forgettable girly popcorn show is actually something with depth.  There are beautiful people, sure, but they are age appropriate.  Nothing is black and white -- fame has real advantages as well as a darker side.  The aforementioned baker isn't just some poor shlump, he is part of a strong Cuban American family who have built a successful business.  We see the sparkly part of Miami but the working side, too.  The premiere successfully had me engaged and intrigued by the multifaceted supporting characters as well as the palpable spark between the leads.  Worth a watch, and not just summer escapism.

The ???:  

"Party of Five".  This one took a while to get into as the first handful of episodes were so emotionally dark.  By episode four or five they found the beginning of a balance, adding in the trials and tribulations of everyday life.  One character also disappeared suddenly (Amanda Acuri as a possible love interest for older brother Emilio), but was quickly replaced.  The immigration theme is powerful and makes for a great contemporary twist.  If they can continue growing the bonds between the siblings and mixing it up with ups and downs, I'm in.

"Everything's Gonna Be Okay" is a quirky, weird comedy from Australians Josh Thomas and Vivienne Walshe, who also star.  It's funny in the same way as "Better Things" is funny.  Not so much with the ha-ha but more wry irony about the challenges of life.  Lauded for casting an actual person with Autism as a person with Autism I tried to get over the fact that the actor is much older than the character she plays.  What hooked me, however, was a first sexual experience scene which was more realistic than anything I've ever seen on film.  It was followed by a frank discussion of what consent means for those who are labeled as "special needs".  The show is, quite frankly, very, very odd.  But it can grow on you.

"Broke" is a pretty standard sitcom but is a good bit stronger than "Carol's Second Act".  Starring two of my favorite actors (Pauley Perrette and Jamie Camil) I'm willing to hang in there a bit to see if the stupid/pat jokes make way to something more real.  I don't necessarily need guffaws with sitcoms but I do need them to step out of the cookie-cutter flat jokes and create connections.  The Chuck Lorre shows are good examples of sitcoms which hit on feelings rather than rely on tired gags.  Ms. Perrette, the actor playing her son, Mr. Camil and a "butler" played by Izzy Diaz are all showing the ability to transcend the simplistic and familiar plots.  Jamie Camil, in particular, always plays an over-the-top character but still manages to exude caring and warmth.  It's like you could meet him in real life -- and like him.  The biggest problem at the moment is Natasha Leggero's character, the sister of Ms. Perrette.  She's strident and fake and irritating, speaking in a faux accent most of the time.  The saving grace is that in each episode thus far there is a fight between the sisters.  Out of that comes honest conversation, and from that there is hope that this show can improve.

"68 Whiskey".  In the first five minutes I was ready to dump this show, billed as a "modern day MASH".  Opening scene was a too-skinny blonde having sex in a trailer with a soldier (who is not her boyfriend) followed by a boxing match.  Not my thing.  But producers Brian Grazer and Ron Howard have some real creds, so I hung in there.  There are things I like and things I don't.  As the characters are rounding out I'm connecting to the story developments more but still feel they could cool it with the sexualization of the female characters.  It's also hard watching lead character Roback fail, week after week, in his money-making schemes.  It's like "Two Broke Girls" meets "This is Us" or a much sadder version of Klinger or Johnny Gage.  The whole thing is a bit dark, so I don't know if I will hang in there, but for now I'm keeping it.

Less intriguing is "Awkwafina is Nora From Queens".  Although I like Awkwafina I'm struggling with the rude/crude nature of the comedy here, which often focuses on cringe-worthy things like vaginal farts.  Maybe I'm just too old.  Seems like every other comedy these days is about Millennials who smoke too much pot and can't get it together to move out of their parent's house.  All I can think is "grow up already".  Outside of seeing BD Wong in a very untypical role, I might have to call this show "one and done."

The Ugly:  

I'm not loving "Zoey's Extraordinary Playlist".  While the ensemble cast does a good job dancing and singing to a wide variety of tunes and the overall concept is cool, the lead actress is just unlikeable.  I'm not sure if she is written that way but I'm having a hard time dealing with what seems to be a near-constant whine.  Similar to "I Ship It" in structure the casting is generally odd, as most of the lead actors (Peter Gallagher, Lauren Graham, Mary Steenburgen) are not known as singers.  Their acting is great but the singing sometimes seems strained.  Alex Newell is a standout as the best friend but it's hard to count on a supporting player to bring heart to the project.  This one is in my "We'll see" column.

I tolerated "Katy Keene" for three episodes before saying no.  Too much saccharine and as shallow as the comic it is based on.  Stick to "The Bold Type" -- a very similar plot with much deeper storylines.

"Moana"

This was a great film to watch after having visited Hawaii last fall.  There was more detailed Polynesian mythological history than I found on the islands and a lot of views of the terrific natural features which are so breathtaking.  The water depicted in this animated film is particularly beautiful -- alive and reflective, the bright clear colors you can find in many of the Hawaiian beaches.  The story is compelling and lead character Moana is a tremendously strong young woman whose determination is admirable.  The music is fairly secondary.  Unoffensive but forgettable I was surprised to see Lin Manuel-Miranda wrote some of the tunes.  Honestly the story was powerful enough to survive without the soundtrack.  Auli'i Cravahlo's voicing of the main character is outstanding.  It is as if her infectious positivity inhabits the illustrated character.  Like all Disney movies there are life-affirming themes woven in.  The one about the dangers of isolationism struck me as particularly pertinent at this point in time.  It's a lovely, well-paced film with interesting characters and somewhat predictable plot twists.  Definitely worth a watch although my experience of swimming with Manta Rays in Maui definitely enhanced my appreciation for the whole thing.  Mahalo!

"Onward"

Yeah, I'm watching a lot of films.  As I attempt to see everything of interest on Disney+ I viewed "Onward" last night.  Between "Up" and "Frozen" Disney has perfected a kind of formula which includes complicated sibling relationships and pathos mixed with laugh-out-loud humor.  It works, beautifully, and creates stories which aren't pat and clean but messy and real.  This film, about an awkward boy turning 16 who misses the father he never knew, will make you cry as well as put a smile on your face.  The messages are clear -- believe in yourself and love those around you.  They give you more than you might ever realize.  There is subtle humor here, too, about how we have a tendency to settle, to deny the greater parts of ourselves.  Cloaked in a world of magical creatures who have become ordinary this film is a bit of a clarion call to push past our comfort levels and become the best version of ourselves.  An absolutely fun, inspiring movie.