#I don’t think Deadpool and Wolverine would have even made that big an impact in terms of what I usually like… same with pacific rim

[awesomesauce-n-sassypants]

The global nature of things can be overwhelming because we have the privilege (yes, it’s a good thing even tho it’s not fun) of seeing all the bad every time everywhere, but on the flip side, I genuinely love that when I fixate on some media (tv, movie, book etc etc) and it’s just mediocre… or horrible…or even absolutely perfect… that there’s someone else out there who’s just as obsessed with it for whatever reason and seeing them express that interest leads me to actually weirdly feel immediate gratification with intense mouse-like glee.

All this to say, I think I’m addicted to tumblr y’all.

[banjodanger]

X-Men Origins: Wolverine(2009)

I’ve got a lot to talk about, so I’m going to jump right in with a very unpopular opinion. This may SHOCK and OFFEND certain readers, but I’m not one to shy away from speaking my mind. More sensitive readers should beware, however, because I’m not going to shy away from rattling cages and saying what NEEDS to be said!

So, ready yourselves, because...

Origins is not the worst X-Men movie.

There. I said it. PBBBBBBTTTT!

I’m not arguing that this was a good movie, hell, there’s a good argument that this isn’t even a competently made movie. But this movie is also responsible for some of the absolute best movies to come from Fox’s X-Men. First Class and Days of Future Past are two of the absolute best movies of this series, and it’s doubtful the other two Wolverine solo movies would have aimed as high as they did if this movie hadn’t been so widely mocked. If you go back to watch this movie, try to keep in mind eight years later this series would get nominated for a screenwriting Oscar. Whatever your opinion of awards, that’s a hell of a turnaround, considering the story this movie tells is like three separate stories stapled together. Finally, however much this movie misunderstands Deadpool, it was right on in casting Ryan Reynolds and eventually gave us better Deadpool movies than we could have hoped for. It shouldn’t go unnoticed that both of those movies use Origins as a solid foundation for jokes. I’m not going to talk too much about Deadpool in this movie, because I plan to cover it in more detail when I get to the first movie.

But I’m not discussing those movies, I’m discussing Origins, and Origins is not very good. The CGI looks cheap and outdated, not just by the standards of the time it was released but by the standards of five years previous. And the movie makes said terrible CGI hard to ignore because, to quote the philosopher Michelle Branch, it is EVERYWHERE. Most people are quick to bring up Wolverine’s claws effects, and they should because they somehow look worse than any of the three previous movies and it’s the most easily noticeable. I’m not expecting them to have Hugh Jackman actually fighting and jumping around on top of a nuclear vent but it looks like they’re doing it in front of computer wallpaper. That hill outside the Hudson’s farmhouse literally looks like the default Windows XP desktop. I’m surprised Agent Zero isn’t hiding behind the recycle bin. This isn’t to say I don’t expect lots of CGI in my comic book movies,but I expect better when someone is dropping over one hundred million for a guy with metal claws to fight a mute with impossibly long sword fists.

I could ignore all the bargain basement effects if there was a good story, but there isn’t one. There’s about two or three stories and they’re all bad. Gavin Hood wanted to make a throwback sevnties-style revenge movie, completely self-contained and R-rated(Hey, does that sound familiar?), but the producers wanted extra characters they could spin off into their own films. And as much as I want to excoriate them for that, I can only get but so mad. This was a big franchise that was approaching ten years since its first film. They were looking towards the future and that’s what their job was. The problem is that failure to find a common ground comes through on the screen. Some of the strongest scenes are between Logan and Victor, to the detriment that most of the other characters who come off as unnecessary cameos. That boxing scene between Logan and Fred Dukes could be a thirty second phone call without really losing anything.

It’s disappointing, too, because a lot of the performances in this movie aren’t bad. Believe me, I wanted to hate Will.I.Am. I was going to drag him and talk about all the terrible music he made but...he’s not bad in this movie. I’m not going to say he missed his calling by not becoming an actor full-time, but I enjoyed his performance and wish the movie had used him a little bit more.

My humps is still one of the worst goddamned songs ever.

Gambit was great in this movie too. Taylor Kitsch had this bizarre run of putting in good performances in hated movies. After this, he did John Carter then the second season of True Detective. That’s a shocking run of bad luck, and too bad to, because he’s good in all three. We missed out not getting at least one more movie with his take on Gambit, because he gets maybe fifteen minutes of screentime but he manages to be memorable, charismatic and charming.

Helicoptering with a bo staff still isn’t part of his goddamn power set though.

And I’m not going to forget Liev Schrieber, who makes an absolutely compelling villain. The only problem with his character at all is that he puts such a great performance that it stretches belief to imagine this is the guy that becomes a silent henchman in the first movie. There’s simply nothing in his performance to suggest they’re the same person. It would be like if the twist of Phantom Menace was that Darth Vader was originally Jar Jar Binks, or if they hired Nora Ephron to write a Hellraiser prequel. 

Even the Scott Summers we get in this movie is pretty good despite looking like a guy that steals copper wiring out of abandoned gas stations. Although I really question why Gambit watches them run off and I guess just assumes they’re being abducted by a good guy.

That leads me into the whole problem with prequels. Things happen in this movie and characters seem to live simply because earlier movies dictate that we have to see them again. It simply does not make sense for Kayla to leave Stryker alive. She has every reason to kill him, but she doesn’t, because he needs to be the villain in X2. Gambit doesn’t chase after the kids because they didn’t want to have him interact with Professor X. Sabretooth survives because he has to fight Wolverine on top of the Staute of Liberty while making no reference to their apparent relationship as siblings, or any words of any kind. This movie is awkwardly shoehorning itself into the lore established by the previous movies and it results in characters saying and doing things that go against what this movie seems to lead up to. The ending of most of those seventies revenge flicks was a bloody murder. Here, Stryker hurts his feet a little. It’s just not the same thing.

Ok, are you ready for the problematic parts?

Let’s start with Native American representation, because it ends up being a pretty big part of this movie. Lynn Collins’ Wikipedia says she claims Cherokee ancestry, so I’ll give the movie credit on that, but as near as I’ve been able to suss out, the myth she tells does not exist outside of this movie. First off, Wolverines do not howl. At all. They’re not wolves, they’re related to weasels. They’re small, vicious bastards. That information was readily available in 2009, by the way. Furthermore, the information I can find says that the moon in Native American mythology is predominantly gendered as male. Now, that’s not a blanket statement. This was the research I was able to conduct, and mythology, as with a lot of oral traditions, are a pretty mutable thing. Given that I was unable to find any mention of this myth that didn’t quote it from the movie, I feel pretty comfortable calling this myth nonsense.

Hey, what’s your tolerance for fatphobia? Because that’s going to impact how you feel about Blob’s character. Look, from his very first appearance he’s been a fat joke. That’s it. He’s a rude fat guy whose mutant power is being fat, hell, part of his power set is described as a “personal gravity field.” So while I can’t blame the movie entirely for this character being problematic, you’ve got to ask why they chose this character as the one that had to stay true to the comic book. He was in poor taste when he was created, when this movie was made, and now. And I absolutely can blame the movie for making him a fat joke.

At least they didn’t go the Ultimate comics route and straight up show him eating another character. Small blessings.

On a more final note, there’s that very strange character choice in the beginning credits. I know that they want to illustrate early that Wolverine doesn’t view violence the same way Sabretooth does, but why would they choose nazis as the villain in that moment? Even if they weren’t the most enjoyably killable villains in history, the last three movies have made the atrocities of the Holocaust a huge emotional linchpin of a major character. So it comes off as a genuine shock that this movie would use, in its introduction, a moment of sympathy for these very same villains. So you needed to show Wolverine with sympathy? Have a bar fight in France after liberating the country. Have them fight in the Korean war. Maybe Wolverine mourns a kid shot on the front lines. There’s a hundred choices that don’t involve Wolverine getting sad over a bunch of nazis.

So, why don’t I think this is the worst X-Men movie? I’m clearly not calling it a forgotten classic, and I’m not recommending you watch it unless you’re a weird completionist blogging about your arrested development on Tumblr. Sure, there’s some forgotten performances in here that deserve some consideration, but the movie is mostly a mess, a result of too many cooks with diverging visions. There’s a good revenge flick here, but it gets buried and muddled by a desire and knowledge that this movie has to simultaneously explain the past that led to the first movie and set up future installments. It tries to do too much and ends up not doing much of anything. I followed up on some of the people involved in this movie. Obviously Ryan Reynolds had the last laugh, but it still took seven years and a leaked teaser. Hugh Jackman learned from the mistakes in this movie and the rest of the Wolverine movies are pretty great. Gavin Hood, who got this job after being nominated for a foreign language Oscar, directed another big-budget flop with Ender’s Game. However, earlier in 2020 he apparently bought a four million dollar house so I don’t feel bad for him. Also, the flop of Ender’s Game could possibly involve Orson Scott Card being a vocal and unapologetic homophobe. Seriously, what is it with beloved fantasy authors and hate towards LGBT groups? You can conceive of wild, uncharted space and magical realms but the idea that two guys love each other is too far out?

Next in the series, from failure comes success, as we meet Xavier and Erik as frenemies and launch a million slash fictions.

[cosmicpopcorn]

Deadpool 2 (2018)

So, your favorite crazy ass pansexual assassin/mercenary...antihero...whatever the fuck he is (let’s just go with fucking awesome)...has returned in Deadpool 2 ready to kick ass, take names, and make us laugh with the crudest of jokes. Colossus and Negasonic Teenage Warhead return with him, while the X-Force, Cable, and Firefist are introduced.

Before he made it to the big screen, Deadpool had a humble beginning when he first appeared in the comic book series, The New Mutants #98, cover-dated February 1991. Your girl Domino also makes her first appearance in this issue as well. The New Mutants series is a spin-off series from the X-Men franchise - it centers around a group of teenaged mutant superheroes-in-training. In issue #98, Deadpool has been hired to kill The New Mutants and Cable...such a wonderful way to meet your favorite neighborhood assassin/mercenary, right? He then began appearing as a regular character in the X-Force series and went on to make guest appearances in several Marvel comics such as The Avengers, Daredevil, and Heroes for Hire. After getting a couple of his own miniseries (The Circle Chase and Deadpool), he eventually got his own ongoing title/full series in 1997. Now this fool got two movies...he’s finally got a piece of the pie!

In the 2004 comic book series Cable & Deadpool, Deadpool describes his appearance as “Ryan Reynolds crossed with a Shar-Pei.” And since 2016 (if you don’t count Ryan Reynold’s appearance as Wade Wilson in X-Men Origins: Wolverine), Ryan Reynolds has taken on the task of being our beloved Deadpool and he’s pretty damn good at it. It was clearly meant to be. In Deadpool 2, starring alongside Ryan Reynolds, we have Josh Brolin as Cable (yes, that’s the same dude who did a fucking fantastic job as Thanos in Avengers: Infinity War), Morena Baccarin as Vanessa, Julian Dennison as Firefist, Zazie Beetz as Domino (guess who I’mma be for Halloween?), T.J. Miller as Weasel, Leslie Uggams as Blind Al, Brianna Hildebrand as Negasonic Teenage Warhead, and Stefan Kapicic as the voice of Colossus, Deadpool’s wonderful friend who puts up with all his bullshit and possible love interest/sex buddy? (I’m just saying - even Vanessa told him not to fuck Colossus when she spoke to him in the afterlife, so clearly something may be happening there).

Before we get into the pros and cons for Deadpool 2, let me just say this: I’ve seen a lot of Marvel movies lately and I gotta be honest, they have set the bar high for not only superhero movies but movies in general. At this point, even the most “average” Marvel movie is gonna have great acting, writing, and special effects. This makes it hard for a nigga like me who is trying to find something to critique when writing these reviews because who the fuck just wants to read about me fangirling over a movie (e.g. my Avengers: Infinity War post). I don’t even enjoy writing fangirl posts, which is why the one for Avengers was as short as it was. So unless Marvel starts randomly fucking up their movies for no damn reason - which I doubt is ever gonna happen - I’m not gonna have half as much to critique as usually do. 

Anyway, let’s get into the pros and cons:

Pros:

From what I know about comic book Deadpool (antihero characteristics, humorous - especially crude humor, breaks the 4th wall, pansexual), the movie Deadpool appears to be a pretty accurate representation of him. They didn’t try to make him kid/family-friendly, I definitely see them playing on and/or hinting towards his pansexuality (if anything I swear he flirts with men more than women - the only woman I really see him flirt with is Vanessa), and movie Deadpool is crude as fuck. They even have movie Deadpool continue to break the 4th wall (in case you didn’t know, breaking the 4th wall is when a character is aware that they are a fictional character and may actually interact with the audience) and you can check out this Deadpool 2 trailer for an example of him breaking the 4th wall - he actually interrupts the trailer to discuss the special effects. You’re never too sure if a sequel is going to actually be just as good as the original...or good at all. Another concern is whether or not the sequel continues to build on the character while remaining true to the character’s essence/core personality and this is especially concerning when a movie is an adaptation of a comic/book. Deadpool 2, if anything, continues to emphasize Deadpool’s core personality while building upon it at the same time. 

Going off of the first pro, Deadpool 2 emphasizes his core personality traits (humorous, individualistic, sexual) while attempting to give him more emotional depth. The first half of the movie has us watch Deadpool experience grief after the death of Vanessa. Even before her death, watching him interact with her and plan a family allows us to see the side of him that desires stability, commitment, and family. This first half is important because it shows us that while Deadpool is securely individualistic and doesn’t necessarily need a team like the X-Men or The Avengers, he does still desire family and companionship. It lets us know that even the Merc with a Mouth isn’t beyond the basic human desire to connect with others. In the second half, while more fast-paced and action-packed, we still get to see more of Deadpool’s sense of morality and belief in the goodness, or potential goodness of others when he fights to save young Firefist from Cable. In fact, I would say that Deadpool has an even stronger sense of morality than Colossus - Colossus was willing to leave Firefist in the hands of the headmaster even though it was pretty obvious he was being abused because he refused to play “judge, jury and executioner,” while Deadpool was so sure of how wrong it was that he started killing the orderlies immediately. We also get to see him try to form his own family with the creation of the short-lived first version of the X-Force. 

Ryan Reynolds was made to play Deadpool. Makes me forgive him for Green Lantern and almost makes me forget it even happened! By the way, that post-credits scene of Deadpool shooting Ryan Reynolds in the head while he holds a copy of the Green Lantern script is PURE GOLD.

Zazie Beetz does an awesome job as Domino - she makes a big impact on the audience even though she may not have as many lines or scenes as some of the other characters. The directors and writers also did a really good job of showing the audience Domino’s power of luck - a power that seems so abstract and would be believed to be difficult to display well in movie format.

Cable is a character that I feel you can empathize with and who I actually kind of liked by the end. I really enjoyed how at first he was portrayed as the villain, only for things to be switched up and for us to find out the real villain was the chubby kid from New Zealand (aka Firefist). 

While being hilarious and action-packed, Deadpool 2 does take the opportunity to give you something to think about if you pay attention. First, they have Firefist point out how there are no chubby superheroes. It’s no secret that our society often discriminates, shames, and is prejudice against those who are larger. In media, they are often portrayed as the butt of jokes, being romantically and sexually undesirable, lazy, unhealthy, not athletic, etc. So, is it really a surprise that there are no chubby or plus-size superheroes? I love that Firefist is not skinny or unrealistically built and that he points out how there aren’t any superheroes who look like him (Fun Fact: In the comics, Firefist is a white, skinny, blonde kid from Tulsa, OK, so I’m digging the changes they made - both to Firefist and Domino, whose comic book version was a woman with chalk-white skin).

Second, Deadpool himself points out how the name X-Men forgets that there are female mutants in the group...this is why he chooses X-Force, a gender-neutral name for his group of superhero misfits. The language we use in a patriarchal society is often masculine - for example, we tend to say mankind instead of humankind or things like, “come on guys” to refer to an entire group of people who may not all identify as male and it’s because men are seen as the default. Deadpool’s jokes and commentary in this movie sometimes calls out societal biases that have also made their way into our comics and superhero movies and I’m here for it. Not only that, but Deadpool does not look like your typical hero - his skin is scarred and disfigured, despite him being fit and we still see him being a sexual and romantic being and I think that’s powerful when you have nothing but a bunch of super fit and conventionally attractive superheroes running around.

The soundtrack for the movie is perfect and they perfectly match the songs and scenes. 

All the references are so fun to pick up on - if you’re really into comic books, superhero movies, and honestly just a TV and movie junkie in general, you will love picking up on all the references they throw at you. 

Cons:

So, while those references are great for TV, movie, comic book, and superhero junkies, they’re not-so-great for those who just watch movies here and there and aren’t necessarily fanatics. I’ll go as far as to say if a person isn’t really into comics, superheroes, and doesn’t really know a lot of television and movie shit...a lot of stuff is going to be lost on them. Some movies are made for everyone and some movies are made for fans or at least those with a strong interest - Deadpool 2 is one of those movies and unfortunately that may alienate other viewers/audiences.  

Deadpool’s humor can be hit or miss - at times, the jokes didn’t really hit and weren’t really funny. The first half of the movie’s humor wasn’t as good as the second half of the movie. At times, I found myself laughing just because I knew I was supposed to and the humor and crudeness felt forced. 

Overall, Deadpool 2 is a fun, fun movie that poses some important questions about morality and makes commentary on aspects of society. Ryan Reynolds not only starred in but was also one of the writers and producers of this movie, and his talent shines throughout the entire 1hr and 59min of it. I’m proud of him, and I’m sure Deadpool is too.

Rating: 4.5 Caramel Popcorn Pieces 

[niamsuggitt]

The Ides Of August 2017

Yo! What’s up? I’ll tell you what’s up, and it’s the goddamn Ides of August! Yeah, that’s right, I’ve written some words about all of the various media I’ve been checking out for the past 30 days. It’s been a bit of a rough month personally (hence this being late), but that does mean I’ve had a lot of time to watch a lot of films, including, for the 2nd month in a row, a trip to the actual in-the-RL cinema.

There’s also the small matter of the return of Game Of Thrones, more Nintendo fun and an intriguing fantasy novel from one of my new favourite writers.

Let’s do this thing.

—

Movies

Lots of movies to talk about this time around! I’ll start with more of my Universal Monsters Box-Set, as I watched 2 of ‘em. First up was The Invisible Man (James Whale 1933). I thoroughly enjoyed this film. The special effect of making Jack Griffin ‘invisible’ were very impressive for the 1930s, and it was refreshing that the main character was basically just an unrepentant dick with his power. He really is a darkly human monster and Claude Rains is a lot of fun and gives a great performance, especially as you never see his face until he’s dead. It was in line with my only previous experience with the character, Moore and O’Neill’s League Of Extraordinary Gentlemen, which takes it even further (that rape sequence is horrific). I was also very pleasantly surprised to see Henry Travers, Clarence from It’s A Wonderful Life appear as Dr Cranley.

I then watched Bride Of Frankenstein (James Whale 1935) which was also very good. I really liked the opening sequence, which shows us the real world origins of Frankenstein, as Mary Shelley tells her story in the Villa Diodati. It’s a great moment when it’s revealed that the same actress, Elsa Lanchester plays Shelley and ‘The Bride’. I was less keen on the scenes that basically undo all of the ending of the previous film, as both Frankenstein and the Monster survive, but once Doctor Pretorius appears and the story really kicks in, I was back on board. The main thing people talk about when it comes to this film is the queer subtext, and it really is strong. Pretorious is a very gay-coded character, and you really can read a lot into his and Frankenstein’s relationship. Boris Karloff’s performance as the Monster is just as iconic as ever, and it was great to see him do a bit more in his scenes with the blind hermit. They were like an extended version of the little girl in the first film. I was actually surprised by how little we see of the title character, she appears, screams and dies. But still, it’s another iconic horror moment and an all-time great look. I would say overall that the first film is better, but I can see why some people prefer this film, if you like the auteur theory, there’s a lot more of Whale in this one.

I stuck with the monsters, but got a lot more contemporary next, with Kong: Skull Island (Jordan Vogt-Roberts 2017), which was a lot of fun, if flawed in some ways. I am a big fan of King Kong, going back to some GCSE coursework I did comparing the original film to Peter Jackson’s remake. One thing I appreciated about this film was that it wasn’t a remake, but instead used everyone’s favourite giant Ape to tell a new story, and in particular, an anti-War story. The decision to set this during Vietnam is a great one, and it gave us some fantastic imagery of Kong fighting helicopters. The action scenes here really are great, very stylish and fun. The Vietnam setting also provides a truly great soundtrack that thankfully doesn’t go full-on Suicide Squad in terms of needle-dropping. The main flaw with this film is that some of the characters, in particular Tom Hiddleston and Brie Larson, who are ostensibly the leads are boring and don’t actually do that much. You probably could have removed Hiddleston entirely and it wouldn't change much. Thankfully, the rest of the cast helps to elevate things, with Samuel L Jackson, John Goodman and particularly John C Reilly, who plays a WW2 soldier who’s been trapped on Skull Island for decades delivering great performances. But the real star here is of course Kong, who not only looks real, but is fucking huge, way bigger than other versions. Any time he’s on screen is brilliant, and the fights are, as I said, incredibly cool. I was initially a little wary of this being a shared universe with Godzilla, especially as the tone of this and Gareth Edwards’ film are very different, but I can’t deny that the end credit sequence was cool and the prospect of this Kong and that Godzilla fighting each other is tantalising. I suppose it’s the same as the Marvel and DC cinematic universes, just the idea of Batman Vs Superman or King Kong Vs Godzilla is enough to at least pique my interest. So far the so-called ‘Monsterverse’ is better than the DCEU, but far off the MCU. But it’s only 2 movies!

Speaking of Marvel, I then watched Logan (James Mangold 2017) and was absolutely blown away. It’s not only the best X-Men movie by far, but also one of the best superhero films I’ve seen, and I have seen pretty much all of them at this point. I think what makes Logan so good is that it really has that weight of history that the best superhero stories have behind it. We’ve seen Hugh Jackman as Wolverine and Patrick Stewart as Professor X on our screens for 17 years, nearly 2 decades now. Some people who were able to go to see Logan in the cinema were not even born when X-Men came out. So seeing these characters and actors age and (eventually) die really has an impact on us as a viewer. It also allows Jackman and Stewart to deliver far more nuanced and powerful performances. I can’t see it happening, but Stewart deserves awards recognition in my eyes. His senile Professor X is just heart-breaking. The other great performance in the film comes from Dafne Keen as Laura/X-23, who is fantastic, despite not saying much at all. Her action scenes in particular are excellent and surprising. That applies to much of the film, which really does have some impactful scenes, I really don’t think Logan’s claws caused so much blood to spray in previous films! The story here is refreshingly simple and light on mythology, but it works, and helps tie the story and character into the classic Westerns Mangold is drawing on. There’s a reason why they watch ‘Shane’ in the motel. Wolverine is comics’ original ‘Man with no name’ and this film really is true to those roots, delivering some truly iconic images of the character for me. I really can’t wait to watch it again, but Logan really is a great reminder of how great a character Wolverine is. I love that in 2017 the X-Men franchise, which has given us a fair amount of pablum is, with this and Legion and even Deadpool are stretching the kinds of superhero stories we get on screen.

One director who also stretched the superhero genre is Christopher Nolan, and up next I took a trip to the cinema to see his latest film, Dunkirk (Christopher Nolan 2017) which really gave me a lot to think about. I’m still mulling it over weeks later, which to me is the sign of a good film, and whilst I am conflicted about some of the messages, I really think it’s an incredibly profound and effective experience that really got across the horror of war and the Dunkirk evacuation in particular. Everything, from the soundtrack to the cinematography really put you in the shoes of the soldiers and I felt incredibly tense throughout. I particularly liked that this was a WW2 movie where you don’t see a single Nazi soldier. You see some planes, but that’s it. The threat they pose is all-encompassing, and you don’t know where they are coming from. All you get is the bombs, or the bullets coming through the hull of the ship. It really helps the paranoia and isolation the men must have felt, and means you can buy the scene where Harry Styles thinks Aneurin Barnard might be a spy (he turns out to be French). The way Nolan shot the aerial battle sequences and the sea also contributed to that feeling, where they are actually rather empty. At times, the English Channel looked like that endless ocean planet from his previous film, Interstellar! I thought the performances from everyone were very strong, whether from acting heavyweights like Branagh, Rylance and Hardy, or the younger actors. I mentioned Harry Styles earlier, and he’s actually very good here, and I think his casting works on a meta-level as well, because if Styles were to have been alive back in 1940, he wouldn’t have been able to become a popstar, he would have gone off to war. It really made me think about, despite the many problems of 2017, how lucky we are to be around today as opposed to then, something I was already thinking about given that the 100th Anniversary of Passchendaele happened the same week. My great-grandfather fought there when he was younger than I am now! That’s why I think the message of Dunkirk is a powerful one, it shows that even in retreat, we hailed these soldiers as heroes and eventually regrouped and won the War. It’s not jingoistic like many war films, contrary to what Nigel Farage may tweet! My only real issue is that it took me a while to work out how all of the storylines were taking place at different timescales and not at the same time, so when Cillian Murphy interacted with Fionn Whitehead’s character I was very confused, but I think that’s more on me that the film! Overall, Dunkirk worked for me, and is probably my favourite Nolan film since Inception.

Things are getting a bit heavy, so let’s lighten up with Moana (Ron Clements and John Musker 2016), another thoroughly delightful Disney musical from the same team that gave us Frozen and Tangled. This was a funny and fun romp with some great animation and a very strong vocal performance from The Rock as Maui. One thing I appreciated about this film is that it bucked the trend of Disney Princess stories and didn’t feature any romance at all really. Moana’s journey is to help her family and her people, not to fall in love, which is a modern touch I appreciated. The music was good, nothing here is quite as immediately iconic as ‘Let It Go’, but I found ‘How Far I’ll Go’ and ‘I Am Moana’ to be powerful songs. I’m obviously not the target audience for these films anymore, but this is certainly one of the better kids cartoons I’ve seen lately. There are enough jokes to get you through, and like I mentioned, the animation and look of this is brilliant. At times it reminded me of The Legend Of Zelda: The Wind Waker, and there can’t be much higher praise than that!

Nearly done! I then watched The Incredible Jessica James (James C. Strouse 2017) on Netflix, and found it to be a very strong, modern romantic comedy with a truly great central performance from Jessica Williams. I had liked Williams as a correspondent on The Daily Show, but she really shows she can act here, as she really shines in every scene of this. She’s not only very funny, but able to handle the more dramatic parts of the story too. Not that this story is incredibly dramatic, it’s actually very straight-forward, and I imagine that many people are sick to death of hip sexy young people falling in love in Brooklyn. For me though, the performance of Williams elevates this above those familiar elements. The supporting cast is also strong, Noel Wells from Master Of None is great, and whilst I still find it weird that Chris O’Dowd is getting so many Hollywood Rom-Com roles, he’s great too. And of course Lakeith Stanfield is good as Jessica’s ex, he’s showing up in more and more lately, and he’s always good. It’s going to be a long wait for more Atlanta. I also liked how this film used social media. So much of modern romance is done online, and making Tinder, or unfollowing your ex on Instagram a plot point was intriguing, and something I want to see more of. It felt much more true to life than many films, and hopefully won’t date things too much. This isn’t ‘You’ve Got Mail’.

And finally, I re-watched Get Out (Jordan Peele 2017) again on DVD and enjoyed it just as much the second time around. Particularly how knowing the twist allows you to see earlier scenes in a new light. Like when you first see Allison Williams convince the Cop not to check Chris’ ID, you think she’s being cool and not-racist. But then you realise… she doesn’t want the Cop to know Chris was with her so they can trap him! Genius.

Television

There’s really only one place to start with TV, and that’s the return of Game Of Thrones (HBO) for it’s penultimate season. I am sort of conflicted about the season so far. On the one hand, GoT remains the best-looking, most lavish TV show on the air right now, and it’s gotten even bigger this year. The Dragon attack on the Lannister Army in Episode 4 was one of the most epic things I’ve seen on the small screen, and can probably rival most movies in terms of the CGI on the Dragons. It’s also been fantastic to see so many long-awaited moments and reunions, it’s been literally years since the likes of Arya, Bran and Sansa have been in the same place. The same goes for Tyrion and Jaime. And it’s been a lot of fun to see Daenerys actually interact with characters she’s never ever met before like Jon Snow and to see the series really cut to the meat of the story there. But therein lies my big issue with the season, and I think it’s because we really are ahead of the books now and we lack that wider context for these bigger moments. Because the show moves at a much quicker pace and has changed a lot of elements, previously, when they did that, we as fans knew the wider context and meaning because we had seen it in the books. But now, we haven’t, so things are just… happening. Awesome things for sure, but I can’t help but think that George RR Martin’s original versions will be better. The books have always been more humane and had more heart than the show, which takes the cynicism and darkness a bit too far. It’s odd, initially I thought that the show getting ahead of the source material would lessen my excitement for Books 6 and 7, but it’s having the opposite effect, I now want to read The Winds Of Winter more than ever. It’s certainly going to be different, especially because the show has cut so much meat off the bone. But I’m supposed to reviewing the show, not hypothetical novels. What else? I think the show has taken another step up in terms of editing and directing, I think that freedom from the novels has allowed them to do different things, like the toilet cleaning montage with Sam in the Citadel. That was a great sequence, and one I think they should do more of. Not the shit, but the montage, especially since so many people are complaining about how quickly people seem to move across Westeros now when compared to previous years. I don’t mind that too much, but it does add to that feeling off things just happening. But nevertheless, Game Of Thrones remains one of the best things out there in any media. I can’t quite believe there’s only 2 episodes to go this year. Hopefully by the time Season 8 rolls around my issues will have been resolved because I’ll have ben able to read that book!

Also in terms of new stuff, I watched the premiere of the revived DuckTales (Disney XD) and very much enjoyed it. Like most people of my age, I watched the original when I was a kid (even though it ended in 1990, UK Kid’s TV still repeated it a lot), particularly the movie where they get a Genie Duck, and as an adult I’ve gained a new appreciation of the Duck Family thanks to learning about the importance of the Carl Barks and later Don Rosa comics. I try to fight against my own nostalgia a lot of the time, but when that classic theme tune hit, I was hit with a proustian rush of it, it was great. But even as an adult, this new show has a lot going for it. It’s funny, the animation is strong and the voice acting is great across the board. David Tennant as Scrooge McDuck is one of those choices that is almost too good and having Danny Pudi, Ben Schwartz and Bobby Moynihan play Huey, Dewey and Louie is also great fun. It is a bit weird that Donald Duck is the only one to speak in the classic way, but I think it works because Donald really is a unique weirdo. The show isn’t back properly until September, but I’ll certainly watch it, if only to hear Paul F. Tompkins appear as Gladstone Gander.

Now for another cartoon about kids going on adventures with an older relative that has an entirely different tone… Rick And Morty (Adult Swim) is properly back for Season 3 now after the premiere on April Fool’s Day. So far I’m really enjoying this year, because it’s just as insane as previous years, but also delving far more into the darkness at the heart of the characters. This week’s superhero episode was just fantastic, not just because the superhero parody element was so good, but also because of how Rick was just straight up the villain. Pickle Rick was also a standout episode. The violence was insane (I think the rat slaughter shocked me more than the Dragon War in the same night’s Game Of Thrones) and the discussion of therapy at the end was just incredibly bleak. I can understand why some people are thinking the show has been fumbling a bit this year, but I’m still digging it, and it’s certainly not going down the same path Season 3 of Community did. At least not yet. I hope Dan Harmon can break his cycle of going up his own ass, and so far, for me, he has. Perhaps it’s going up Justin Roiland’s ass instead? And that’s just a better ass?

In terms of continuing shows, Preacher (AMC) is still thoroughly enjoyable in Season 2. I am a bit disappointed that we aren’t actually getting to the road trip aspect of the show, and instead have spent most of it inside a dingy New Orleans apartment, but I suppose that’s budgetary. The actual story has been very good, with the threats of the Saint Of Killers and Herr Starr and The Grail being handled very well, and faithfully to the comics. The character work has also been very strong, Jesse, Tulip and Cassidy have all had to deal with some heavy shit, and it’s been very interesting. I’m particularly worried about what is going to happen with Cassidy and his son Dennis, who has become a Vampire too. It’s going to be tragic. This character focus is really the best thing about the show, because like I’ve said before, whilst, story-wise, it’s very different from the comics, in terms of characterisation and tone, it’s incredibly faithful to Ennis and Dillon. I think that’s why I don’t mind the divergences here as much as I do in Game Of Thrones.

Now for my catch-up viewing! I finally got around to the last 3 episodes of the first series of Inside No. 9 (BBC Two) on DVD, and thoroughly enjoyed all of them. It’s just great to have each episode be entirely different. ‘Last Gasp’ was perhaps the worst of the series, but it was still enjoyable and had a great performance from Tamsin Greig. ‘The Understudy’ was a great Shakespearean send-up and man, the final episode, ‘The Harrowing’ was a real shock. It was barely a comedy, just straight-up horror. I kept waiting for the comedic twist to come, and it never did! Brilliant stuff. I have Series 2 to watch and then I’ll have to buy the 3rd. I really can’t believe I didn’t watch this when it originally aired, what was I thinking?

I’ve also finally tackled Vikings (History Channel) Season 3. I watched the first 2 seasons in fairly quick succession last year, but somehow never found the time to continue. Now I have that bit of time, and also an iPad so I’ve been streaming the shit out of Ragnar and his friends. I really enjoyed this season, Vikings has always been very consistent, but it took a step-up here I think. Travis Fimmel’s Ragnar remains a very underrated performance, you never know what he’s planning, and I also continue to thoroughly enjoy King Ecbert’s scheming. It’s going to be very satisfying if and when he finally gets his. I also like how the series continues to surprise by having events that you’d think would be save for a climactic finale happen at unusual junctures. Big characters that have been around since the first episodes die in the 3rd and 6th episodes of the season, and it really does keep you on your toes. So much so that I almost bought Ragnar’s ‘death’ in the finale, before realising it was just a ploy to get into Paris. The whole Paris storyline was great, in particular the battle scenes. The one that took up pretty much an entire episode, ‘To The Gates’ was just brilliant, and really bears comparison to some of the best battles in Game Of Thrones or Spartacus. The new French Villains are less exciting (Count Odo’s sadomasochism came a bit out of nowhere, and it was weird how only that scene in the entire series had nudity right?) but I imagine they will be fleshed out in Season 4. The same thing happened with The Saxons. The only real negative in this season was the weird appearance of Kevin Durand as a character who might be the actual Odin. In a series where the conflict between the Norse Gods and Christianity plays such a big role, having one side appear as ‘real’ just didn’t work for me.

Music

Only one CD to talk about this month, but it’s kind of a big deal, in that it’s the new one from Arcade Fire, one of the world’s biggest bands. So far I haven’t been able to listen to Everything Now (Sonovox/Columbia 2017) as many times as I’d like (though I am listening to it now as I type this. Right now. Right… now) but I think I like it rather more than what the general consensus seems to be, and certainly think it’s a return to form after ‘Reflektor’ which I never fell in love with. It’s not up there with ‘The Suburbs’ or ‘Funeral’, but frankly, few albums are. For me, this is a very enjoyable record with some interesting new developments for the band. Yeah, the title track does sound rather a lot like Abba, but I don’t mind that, and I would put ‘Signs Of Life’ up there with Arcade Fire’s best songs. You can really tell that Thomas Bangalter from Daft Punk produced those tracks, they feel much more dancey. I do think some of the meaning behind the songs and the cultural commentary is a bit wanky, but on the record itself, it doesn’t get in front of the music itself. I think Arcade Fire are kind of suffering from Jonathan Franzen-syndrome, where people focus way more on the interviews and news around the work, than the work itself. Who cares about fidget spinners and whether or not they enforced a dress code or if it was a joke or not. Just listen to the music and forget about ‘the discourse’. I know it’s hard, and I’ve certainly failed to do that here, but still, I’m going to make an effort.

Books

I’m going to keep this short because I wrote more general thoughts last week, but I really did blast through the back half of 33 Revolutions Per Minute: A History Of Protest Songs (2010) by Dorian Lynskey. It’s a fantastically readable book and even though it’s over 500 pages long, it never felt like a chore. I was up the the 1970s last time, and this month I read from then, through the 80s and 90s and up to Green Day’s ‘American Idiot’. The focus of the book spreads a bit wider, as the focus of the protest movements becomes harder to define and the culture as a whole became more diffuse. So the chapter that is nominally about U2’s ‘Pride (In The Name Of Love)’ is actually more about Bruce Springsteen and Live Aid than those loveable lads from Liverpool, and the Steve Earle track becomes about the musical response to 9/11 and the Iraq War as a whole. It’s still interesting, but does lack the immediacy of the anti-Vietnam and Civil Rights songs from earlier. If anything, that’s my only criticism of the book, in that Lynskey’s history only goes up to 2003, and is a bit too much a part of the ‘end of history’ neoliberal consensus era. With recent events showing that to have been completely wrong-headed, this is one history that will certainly benefit from an update in a few years, once we’re able to see the true impact of Trump and Brexit and all of the other huge events. That’s if there any good protest songs to come of the current climate? Last month I said there aren’t any and that’s still the case. Maybe Lynskey could sub in a podcast and write about Chapo Trap House?

I then took a turn back into fiction, in particular fantasy with Saladin Ahmed’s Throne Of The Crescent Moon (2012). I picked this up after being very impressed by the first few issues of Ahmed’s Black Bolt, which he does, along with the amazing artist Christian Ward for Marvel. He’s giving new life to the Inhuman King, and it’s probably the best comic to come along as part of the big Inhuman push we’ve had over the last few years (I sort of don’t count Ms. Marvel or Moon Girl as Inhuman books, even though I probably should). This novel is a fantasy, but what sets it apart from the standard is that it isn’t set in a quasi-medieval European setting, but in a Middle Easternish universe. A lot of fantasy novels have these oriental settings, but most of them are set apart from the ‘real’ action, like Game Of Thrones’ ‘Essos’, but here, the main focus is the magical Arabian Nights, and I found the setting to be very interesting, and something cool and different. But setting is only a part of it, the characters Ahmed uses to populate his world are well-developed, and I found Adoulla to be a very strong central character that went against cliche. He’s not a young chosen one, he’s a middle-aged magician who can’t really be bothered. I think the closest comparison I can think of for Ahmed’s book is Scott Lynch’s ‘The Lies Of Locke Lamora’, as both are not sprawling epics where people go on quests, but tighter stories where the action mainly takes place in a bustling metropolis. The scope of this story is a lot smaller than I expected, but that just means the focus is sharp. You can certainly tell there is a wider world going on, and I am excited to see how that is developed in future novels. If you like modern fantasy and what something with a little different spin on it, this is definitely worth a read, and it won’t take 3 months to read like a lot of others. And seriously, pick up Black Bolt, it is great.

Games

I feel like I’m finally getting into the real meat of The Legend Of Zelda: Breath Of The Wild (Nintendo Switch 2017) as I’ve actually started to do the main quest instead of randomly dicking around Hyrule. I’m now doing one of the ‘Great Beast’ stories having accidentally ran into a Zora during some of that aforementioned dicking around. It’s a bit of an adjustment going to a bit more of a traditional Zelda structure here, but I do welcome it. At times, the sheer scale of the game can be a bit overwhelming and I can't decide what to do. I wen through the same thing with GTA V if I recall correctly, before eventually knuckling down and completing the thing. I don’t have anything else to really say about how good this game is though, it’s superb and at this stage I’m just going to be updating you on my progress. I hope it doesn’t take too long, it took me over a year to beat Ocarina Of Time, and that’s a much smaller game! But then again, I was 12 then.

I’ve also played a bit more of Mario Kart 8 Deluxe (Nintendo Switch 2017) as my Cousin is back from China and wanted to play. It’s so much fun, particularly on multi-player and I’m enjoying slowly but surely unlocking more cool vehicles and extra stuff to play as. I also really like the fact that some classic tracks from older games are on here. I didn’t realise how well I remembered Mario Kart Super Circuit from the GBA, but it’s been buried there in my sub-conscious all this time.

And finally, I bought an Apple iPad this month! I’ve been meaning to get one for ages and I had a bit of a cash surplus so decided to be spontaneous. So far I’ve mainly used it for streaming video and surfing the web, but I do have one game, Football Manager Touch 2017 (iOS 2016). So far I’m very impressed, it’s exactly the same as the classic Football Manager… only on the iPad! For me, FM has gotten a bit too fiddly on the computer in the last few years, so this slightly more streamlined version is welcome. I just hope I don’t get too addicted like I have to past incarnations. I’m thinking the portable nature of the iPad will help with that, I can’t play for hours on end because the battery will run out! I’m only in pre-season with Sheffield Wednesday so far, but I did win one friendly 5-0, I’m definitely going to smash promotion, I can tell.

—

So there you have it. I’ll be back in September. Dunno what I’ll have to talk about, I’m in a bit of a funk so probably just… ‘I played Football Manager for a month straight and now it’s the year 2040 and everyone’s a regen’. I saw an article on Vice the other day where 2 guys played a Management sim for a thousand in-game years. This is my goal.

See you then!

[trainsinanime]

Logan

About a day has passed, I’m mostly awake again now, and I know more people on my timeline have seen the movie, so I think it’s time to dive in and talk about it in detail. Which requires spoilers for absolutely everything, so don’t read this yet if you’re planning on watching the movie soon.

I’ve already said that this movie is great in every way; the best X-Men movie yet (even including Deadpool), and quite possibly my favorite Marvel movie. I mean, Avengers 1 was nice and all, but now that the novelty value has worn off, it’s really just very nice; and Guardians of the Galaxy’s soundtrack was making promises that the movie sometimes struggled to keep.

Hugh Jackman is amazing in this. Patrick Stewart is even better, doing perhaps his best acting since „there are four lights!“. Both portray characters that are broken, full of history, portraying most of the things that need to be said without words. All their emotions are genuine, beautiful and heartbreaking. But we already knew these guys were great. What’s really amazing is that Dafne Keen as Laura cannot only keep up, she often ends up stealing the scene. Careful and guarded, then suddenly full of wonder, weary beyond her young age and incredibly badass, she does it all and it’s perfect. And most of that without ever speaking.

The movie is beautifully shot and directed, which you already knew if you saw the trailers. Most people talk about how it’s a western, and it is. But the really important thing is how human this movie is; how close it gets to its characters and their emotions. It all works.

Now for some things I wanted to discuss in more detail:

Why no post-credit scene tho?

After so many years of patiently sitting through the credits and wondering why movies always need someone to grip keys, it’s certainly unexpected to have it missing here. It’s nice that Marjorie Liu and Kyle Host got special thanks.

While I did sympathise with the disappointment that could be heard throughout my theatre, I think it was the right choice. The movie didn’t need a post-credit scene, and any post-credit scene would have made it weaker. Post-credit scenes are hints for what comes next, but this movie is all about providing closure, and it does so beautifully.

Whatever happens next, if something happens next, is a new story. Not a new part of this one.

What is the locomotive on the mexican freight train?

No idea; I think it’s entirely fictional. The lack of windows implies automatic operation. The closest thing visually would be the GE U50 (which has been out of service since 1977) and maybe the E60C, but both of these are a big stretch honestly. So my guess is entirely fictional, just like the automated trucks.

Gabriela: A reference to All-New Wolverine?

Maybe, but I’m guessing it’s just a coincidence and that both projects were developed more or less in parallel, without either one influencing the other to any meaningful degree. If they had wanted to reference Tom Taylor’s work, they could have put him on the „Special thanks“ list after all.

Could automated trucks really be built without a cab, just the pure container ending there?

Yes! The idea of a truck without a cab in front of the trailer is not actually new; the Steinwinter 2040 was a prototype built int he 1980s. That one still had a cab, of course, and the concept ultimately never went anywhere - while there was a lot of interest, nobody wanted to fund a series production. This approach would make a lot of sense for a fully autonomous vehicle, as well, where the issues of visiblity and crash safety are less pronounced.

I don’t know whether it makes enough sense to actually happen; even for automated road trains, some sort of shield before the trailer would make sense aerodynamically (if the aerodynamics of container haulage interest you, then don’t forget to google „UP Arrowedge“). I’m also not sure that we’ll be in a place for fully automated trucks by 2029. I guess it works if we have a head canon where these trucks are limited to motorways and a few well-defined roads between loading areas and motorways. We can almost already do that today. „Platooning“, i.e. automated control of multiple trucks together as if they were one very long truck, is already being trialled as well.

Generally speaking, one of the big problems of trucks is that they have to carry a person around. The cab is dead weight and takes up lots of space. Getting rid of it makes trucks much more attractive compared to trains. They still have the disadvantage that they have lots of small (by railway standards) diesel engines instead of one big one, and that rubber wheels on roads have much higher friction than steel wheels on steel rails, but every little bit helps. If such technology is available, you can be sure that there will be much more freight hauled on overloaded road networks, increasing traffic jams, and much less on energy-efficient, economically and ecologically superior railroads. Progress!

Is there anything wrong with the movie?

Nothing major, I guess. X-24 is ultimately a waste. He could have worked as a contrast to Logan, but the movie never goes there, so he’s just a CGI-heavy obstacle. In general, the movie suffers heavily from forgettable Marvel movie villain syndrome; nobody will remember who Pierce was two months from now. Finally, compared to Laura, the other kids that show up in the third act are just not that interesting.

Mind you, what this boils down to is „at times, the movie almost drops down to the level of Iron Man“.

Will Laura become the new Wolverine now?

God, I hope not. That would be incredibly stupid. Laura is her own character, always has been, and putting her into someone else’s shoes does disservice both to the original character and to her own history.

Yes, it works well in All-New Wolverine by Tom Taylor. But the reason why it works there is because Laura didn’t. actually become Wolverine. She’s just using the name and costume. It’s still clearly a Laura book just as much as the ones with X-23 in the title. There’s no overlap with Logan’s history, with Logan’s usual modes of operation and so on. It works, but giving her the name is entirely unnecessary for that.

In general, what does this movie set up?

No idea. There are certainly some hints dropped that can be picked up elsewhere, but it seems just as likely that future X-Men movies will ignore it and leave it in some sort of canonical timey-wimey limbo, presumably the same one that Deadpool is in.

I’d be okay with that. Ultimately, no amount of setup can ever change whether this was a good movie, and it was.

Isn’t this movie taking a woman’s story and turning it into an accessory to a man’s?

This is a point I heard on Twitter shortly after the first trailer dropped. Having seen the movie, I can confidently say: Yes, kind of.

Obviously, the movie is called Logan, and it’s ultimately him that is the star. But it’s also notable how little women there are besides Laura. Sarah Kinney, her mother in the comics (it’s complicated because comics) is absent. Her closest equivalent, Gabriela (reference to the current comic or just coincidence? I’m leaning coincidence), gets killed fairly soon, but she also has far less impact on the story. Sarah was in many ways one of the masterminds of Laura’s torture; she had agency, culpability, guilt and internal conflict. Gabriela doesn’t get any of that depth.

There’s also the part where the three surviving mutants are all men, despite X-Men being pretty balanced ever since Claremont. The movie’s plot is carefully constructed so that it seems inevitable that these are the folks involved, but it’s not like that was the only choice.

(If you’ll allow an aside: They could, for example, have chosen Kitty Pryde instead of Caliban. Just make her a former mutant hunter. After all, there’s precedence for randomly giving Kitty powers that actually belong to Rachel.)

I think the movie can get away with this simply because it is so damn great, and because Laura in particular is so great here. I know some people will weigh things differently and come to a different conclusion here (though I don’t expect there to be very many).

If the stretch limousine is a 2024 Chrysler, and FCA plans to use the Giorgio platform for basically all their RWD stuff going forward, then doesn’t that mean someone did a stretch limo of a car with a transaxle platform and a carbon-fibre drive shaft?

That’s where my mind is going to anyway. My head canon is that they swapped the carbon fibre driveshaft for a cheap one made of steel, though I have no idea whether that is more or less realistic than any alternative. Either way I would assume this car isn’t that great for high-performance driving.

By the way, this is once more a movie that is full of FCA cars but doesn’t have any Alfa Romeos. I hated that about Batman v Superman. Here, I think it fits. This movie works if the heroes are driving an American truck; it would never work with a Stelvio. In Batman v Superman, though, they even brought in an IVECO truck (from the truck division of CNH which is the industrial arm/sister of FCA) to an ostensibly American city, even though that company’s products where never sold in the US, so the odd Giulietta wouldn’t have hurt, would it? Basically, fuck Batman v Superman.

With people praising Logan, will they now give the DCEU the second look it deserves?

I actually found a person on Tumblr who said that, then forgot to save a link so I guess I’ll have to sub-tumble them. Sorry. Dear person, if you read this: No. While you are correct that there are high-level similarities between the two, if you look in detail you’ll find that everything that actually matters is done well in Logan and badly in the DCEU. For one example, see the paragraph about the cars and product placement right above.

If that’s not sufficient, then let me put it like this: In its efforts to be dark, gritty and mature, the DCEU has thrown out plot, relatable characters, and all forms of fun except pee jokes. That is a major misunderstanding of mature. Logan is mature, gritty, violent, not the slightest bit flashy and so on. But at its core, it’s about humans relating to each other. It’s about them coming together, not finding ways to divide them. It’s violent, but it’s also all about the cost of that violence and about finding a way out of that cycle.

Perhaps most importantly: This movie takes comics, the old brightly coloured ones that are silly and full of flashy costumes, the very thing that both the DCEU (and the original Old Man Logan comic…) tried to abolish to show us how mature they are… and tells us how important it is to believe in them. That by believing in the „childish immature crap“ from the comics, we find together, and we get the strength to get us to where we’re going. Because it’s not actually childish to dream of a better world at all, as our hero has to learn; it’s what makes us human.

So pack in all your pitchforks, dear DCEU fans, when you hear that Logan is getting much better reviews than any DC movie ever, and that it’s making much more money. It’s not because people like Marvel more. It’s because DC keeps making shitty movies whenever they’re not made out of Lego.

(I do hope Wonder Woman won’t be shitty, but based on the trailers, the most I’m hoping for is „a little less shitty“. Sorry.)

What about that MovieBob Video? Will attempts at copying Logan lead to a new comics crash?

I’m talking about this video here. And let me just say that while I respect Bob a lot, he’s also wrong a lot. That guy thought Cars 2 was a better movie than Cars 1, after all. This video, to me, feels like a guy with too much time on his hands thinking too much about stuff that happened decades ago.

The fundamental problem with his argument is that comic book movies are in the mainstream, and they’re being made because they get mainstream levels of money. There was a good (short-term) business case for going fans-only for the comics industry in the 1990s. That’s just not the case today.

It’s certainly possible that Logan will inspire studios to try dark and gritty deconstructions of superheroes… but DC’s been doing that for years with questionable success and no influence whatsoever on the company that makes the good ones, i.e. Marvel.

What I do find fascinating is that between this, Deadpool and Legion, we’re now in a place where Fox’s X-Men movies may just be the inventive, innovative and weird superhero franchise, and the bits and pieces and preview animations that have come out for the New Mutants movie hint that it may be going in that general direction as well. That would be an awesome way for things to develop, and the X-Men certainly have their share of characters that fit that description. Of course, it seems like Fox landed in this place almost by accident, so any attempts to prolong it or end it or pretty much do anything with it seem incredibly dangerous. We’ll see how it turns out.

[gokinjeespot]

off the rack #1203

Monday, March 5, 2018

 Jee-Riz Comics and Appraisals had another successful Capital Trade Show yesterday at the Jim Durrell Arena on Walkley Road. Many thanks to Spider-Man super fan Jeremy for dropping by our table.

 I'm not a movie buff so I didn't watch the Oscars last night. It's on our PVR so I'll get to it eventually. I read that someone mentioned Len Wein and John Romita Senior during the telecast so I look forward to seeing that in context. I still get excited whenever I see comic book references on TV.

 Moon Knight #192 - Max Bemis (writer) Jacen Burrows (pencils) Guillermo Ortego (inks) Mat Lopes (colours) VC's Cory Petit (letters). Crazy Runs in the Family part 5. This issue ends in an episode of Fantasy Island. The conflict between Ra and Khonshu is coming to a head, Marc's head. I'm not a big fan of psychological drama but I love Jacen Burrows's art so much that I can't stop reading.

 The Terrifics #1 - Jeff Lemire (writer) Ivan Reis (pencils) Joe Prado (inks) Marcelo Maiolo (colours) Tom Napolitano (letters). This is the fourth New Age of Heroes comic book to hit the racks and the one that I was most looking forward to because Plastic Man is on this team. The team is lead by smart guy Mr. Terrific and includes Metamorpho and Linnya Wazzo AKA Phantom Girl (thank-you Google). I loved Ivan Reis's art when he drew Green Lantern so I hope he does some spiffy things with the malleable Plastic Man. Jeff Lemire introduces this team quite nicely and the surprise guest on the last page made we want to continue reading.

 Cal Exit #2 - Matteo Pizzolo (writer) Amancay Nahuelpan (art) Tyler Boss (colours) Jim Campbell (letters). It's hard to remember why I wanted to read this second issue since #1 hit the racks over 7 months ago. Now that I have gotten through this very dense comic book I find that I don't care for these characters or their gun happy world. Another thing I didn't like was the stark colours. The recent gun violence in real life has also influenced my decision to stop reading this as well.

 Avengers #682 - Al Ewing, Jim Zub & Mark Waid (writers) Sean Izaakse (art) David Curiel (colours) VC's Cory Petit (letters). No Surrender part 8. It's no coincidence that Hawkeye and Red Wolf are in this critical issue. Clint put the threat of Bruce Banner down for good but as we all know in comic books, death never lasts. Cosmic beings make anything possible. The colours on the first page nearly turned me off but it was only because David Curiel was trying to make the flashback scenes look old timey.

 Mera: Queen of Atlantis #1 - Dan Abnett (writer) Lan Medina (pencils) Richard Friend (inks) Veronica Gandini (colours) Simon Bowland (letters). This 6-issue mini spins off of the current goings on in Aquaman. Mera is recuperating from her magic induced injuries on land and isn't as powerful as she used to be. One of her missions while healing is to try and assure the surface world that the war in Atlantis won't impact them. As much as I love green-eyed redheads, I just couldn't get too excited about this story. Mera's diplomatic mission can go on without me.

 Hungry Ghosts #2 - Anthony Bourdain & Joel Rose (story) Leonardo Manco & Mateus Santolouco (art) Jose Villarrubia (colours) Sal Cipriano (letters). These two creepy tales have a European flavour. One will be very foreign to North American readers and may turn their stomachs. The other is about supernatural creatures that would only scare children. Both would be good with a glass of Chianti.

 All-New Wolverine #31 - Tom Taylor (writer) Marco Failla (art) Nolan Woodard (colours) VC's Cory Petit (letters). This is a fun one issue team-up with Gabby and Deadpool. I like these little interludes between all the drama.

 The Demon: Hell is Earth #4 - Andrew Constant (writer) Brad Walker (pencils) Andrew Hennessy (inks) Chris Sotomayor (colours) Tom Napolitano (letters). The heroes continue their journey through Hell to try and keep Belial from creating a gateway to Earth. Many monsters will be mashed before the end.

 Saga #49 - Fiona Staples (art) Brian K. Vaughn (writer) Fonografiks (letters). This might be the only comic book on the racks where the artist's name is listed first in the credits. Congratulations to Fiona on her marriage to Ben.

 Spectacular Spider-Man #300 - Chip Zdarsky (writer) Adam Kubert & Juan Frigeri (art) Jason Keith (colours) VC's Travis Lanham (letters). There were some dumb things in this issue that turned me off this title again. The worst bit was at the end. It rhymes with crime gravel. Not even the back up story with the Black Cat by Chip Zdarsky, Goran Parlov and Giada Marchisio managed to cheer me up. Have fun whenever you end up Spidey.

 Detective Comics #975 - James Tynion IV (writer) Alvaro Martinez (pencils) Raul Fernandez (inks) Brad Anderson (colours) Unknown (letters). Batwoman is judged by a jury of her peers to see if she should be allowed to stay in the Bat-family. The path Kate chooses will be interesting to follow into the future.

 Star Wars: Darth Vader #12 - Charles Soule (writer) Giuseppe Camuncoli (pencils) Daniele Orlandini (inks) David Curiel (colours) VC's Joe Caramagna (letters). Vader deals with who is trying to kill him as only Vader can. I want to see how successful his terrorist tactics are.

 Silencer #2 - Dan Abnett (writer) John Romita Jr. (pencils) Sandra Hope (inks) Dean White & Arif Prianto (colours) Tom Napolitano (letters). Code of Honor part 2. Honor AKA the retired Underlife assassin Silencer survives the hit on her and Talia al Ghul. In her attempt to call off her old employers she finds out there is no honour among bad guys. If you like Hit-Girl or the Punisher, I think you'll like this new age hero.

 Action Comics #998 - Dan Jurgens (writer) Will Conrad (art) Ivan Nunes (colours) Rob Leigh (letters). Booster Shot conclusion. Superman and Booster Gold were on the verge of being executed by General Zod and his evil son, and wife with the Eradicator thrown in for good measure, last issue. This is where Dan Jurgens shows us how they snatch victory from the jaws of defeat. It is the definition of deus ex machina. To make matters worse, at least for me, the good guys return to the present to find a situation where a tragedy has just occurred. Guess how that's averted? Time travel sucks.

[equallyreal]

Logan and the R-Rated Movie

About a year ago, a movie named Deadpool��hit the theaters. It was, and kind of still is, a big deal. It wasn’t just that it was a redemption for the character after X-Men Origins: Wolverine, or that it was actually really funny and good, or that it survived several attempts by the studio to sink it. It was that it was an R-rated movie that made a lot of money. A lot.

I bring up Deadpool not just because the teaser for its second installment played before the most recent of the X-Men movies, Logan. I bring it up because Logan is dredging up similar headlines and rumors that Deadpool did last year: studios might be more interested in R-rated movies! DC is open to adding an R-rated movie to their lineup! And my thought this year is the same as it was last year:

You guys are missing the point here.

Let’s start this with a quick review of Logan. It was, in my opinion, the best of the Wolverine standalone films and arguably one of the best of the X-Men franchise. It was brutal without going too far, emotionally devastating in all the right ways, and superbly acted. Hugh Jackman and Patrick Stewart both shine in their old roles, but the breakout star is Dafne Keen as Laura (or, as comic book fans know her, X-23). She gives a powerhouse performance that I hope to see more of in the future. While the ending is a downer, it works for the character and the movie, and I still recommend the film. You might need tissues, but it’s a film that finally gave the character some respect in his own movie.

You know what didn’t, by default, make this movie worth watching? The R-rating.

I will grant you that the R-rating helped the film. Logan is a story that had to be told the way it was--brutal and violent, with a lot of swearing and everyone being put through the wringer, even the eleven-year-old child. If they’d tried to neuter it down to a PG-13, a lot of the impact would’ve been lost. But here’s the thing: it could’ve gone the other way just as easily.  The R-rating could’ve lent itself to a movie that was too gory, too mired down in darkness. It’s very easy to go too far when you’re given the freedom to do almost anything you want. I’ve seen it happen (not to name names, but a certain zombie show I’m watching begrudgingly has definitely gone down that path). The R-rating worked because the film makers were telling a story they wanted to tell, with the understanding that it would have to be an R-rated movie. They didn’t take a PG-13 and make it an R because that’s what the kids want, nor did they go too far with what they had. The rating served the story; the story wasn’t altered to fit the rating.

Whenever I see headlines talking about the possibility of any studio opening up the possibility of R-rated material in response to the popularity of your Deadpools and your Logans, I worry they’re just doing it for the sake of the R-rating, and not because they actually think their stories will be served by an R-rating. The alternate explanation is that studios might now be open to making stories that would require a higher rating than they wouldn’t be before, because now R-rated films are The Hip New Thing. Like being grimdark/taking a more “realistic” approach/making everything a crossover.

I get it; movies are businesses. I don’t begrudge the studios for wanting to make money. My problem is in misunderstanding trends and trying to cash in on things that don’t work, or won’t always work, just because they made that one guy money. Logan wasn’t loved because it had an R-rating; it was loved because it did right by its title character. Same with Deadpool. The R-rating served the story. The story wasn’t made to serve the rating. An R-rated cut of a Superman movie (and I honestly believe Zack Snyder would try that at this point) wouldn’t be a better Superman movie. It’d just be a needlessly dark, gory Superman movie.

Maybe one day I won’t have to read a headline and worry about studios trying to force stories into being something they’re not for the sake of a cash grab. But alas, the days following the release of Logan are not those days.

(Seriously, though, Logan was really good. You should check it out. Just bring tissues, and possibly a stuffed animal to hug if you’re sensitive. My mom isn’t even a big X-Men fan and she started crying at the end. They were not messing around.)

[niamsuggitt]

The Ides Of June 2017

Hello there! And welcome all to this month’s ‘The Ides Of’ column, where I write just a little bit about all of the various stuff and nonsense I’ve been enjoying over the past 30 days. Yes, this instalment is late, but it’s been lovely and warm, so I haven’t had the inclination to stay indoors and write this stuff. I’ve actually been outside and I’ve even been wearing shorts! What is the world coming to?

This month is a decent one I think, there’s a lot of movies (although some are rewatches), 2 intriguing books, more great TV and I bought another Switch game! Unfortunately there’s no new music this time out, but next month will change that, with new Royal Blood and Public Service Broadcasting albums on the horizon.

So let’s do it to it!

—

Movies

Lot’s of movies to talk about this time, so let’s not waste any time with preamble! First up is Prometheus (Ridley Scott 2012), which I finally actually got around to watching due to the release of it’s sequel, Alien: Covenant, which I haven’t actually seen. That’s kind of me in a nutshell really, the release of a new thing makes me realise I haven’t actually seen the old thing yet! See also Schmidt, Kimmy later on. Anyway, I mostly enjoyed Prometheus, although as the rest of the internet has already explained ad nauseum, it certainly has it’s problems and, at a bit of a remove, doesn’t really make that much sense. I like the previous Alien films, and have the Quadrilogy box-set, but wouldn’t say I was any kind of mega-fan, so I don’t have any real issues per se with Scott going back and removing some of the mystery. Especially because, every answer he gives only raises more and more questions! I came out of the film wanting to know more, so in that way, it was a success. I think the things that really stood out to me here were the visuals, because whatever you think of Ridley Scott, the man has one of the best eyes for science fiction out there, and also the fantastic performance of Michael Fassbender as the android, David. He is just superb, although his role in the plot is one that frustrates me, as it’s never really explained why David is fucking with things, he just… is. Maybe the answers are waiting for me in Covenant? I also found that frustration with Charlize Theron’s character. She’s just kind of a dick for no reason, you find out Weyland is her dad… and then she dies. There must be more to it than that, but there isn’t. A lot of the other performances are like that really, good actors doing something potentially good, but not as much as you like, Idris Elba, Race Spall and Sean Harris all deserve more I think. Especially as Noomi Rapace, who is nominally the lead, isn’t quite as interesting, at least to me. Her performance is good, particularly in the fantastic ‘abortion’ scene that’s probably the film’s highlight. Unfortunately for Rapace, in an Alien film, a female lead is always going to be compared to Sigourney Weaver, and she doesn’t quite match up! Prometheus is, I would say, not a particularly great film, but it is a very interesting one.

Next, I watched a documentary that actually uses footage from Prometheus in parts, Jodorowsky’s Dune (Frank Pavich 2013). This film tells the inside story of Alejandro Jodorowsky’s failed attempt to adapt Frank Herbert’s ‘Dune’ novel into a movie in the 1970s, and wow, this movie that never got made is far more interesting than most ones that do make it! Jodorowsky’s ambition here was huge, and I would go as far to say a bit insane. If you’ve seen any of his actual films (I really like El Topo), you’ll know that he’s a bit out there, but this would have been something else. He wanted Salvador Dali, Orson Welles and Mick Jagger in the film, he made his young son learn to swordfight, it is mental. The film features some fascinating interview snippets not just with Jodorowsky and others who worked on the film, but also with outsiders like Nicolas Winding Refn, who once sat with Jodorowsky all night whilst he acted out the film. In the end, this is not just an intriguing look at a film that never came to be, but also a great monument to the power of creativity, and a unique creative mind. Because even in failure, Dune had a massive impact. It brought Jodorowsky together with Moebius, and they would later collaborate on the Incal comic series. It had a huge influence in so much other science fiction, including Alien (Dan O’Bannon and HR Giger worked on Dune, and some of the structures in Promethus are straight from the Dune sketchbook), Flash Gordon, Star Wars and basically… everything we nerds love today. My only complaint would be that, a lot of the interviews were in French, and there were no subtitles, so I couldn’t grasp what Michel Seydoux was saying. But other than that, highly recommended.

I wrote earlier about a Michael Fassbender performance being the best part of a movie, and whilst that’s true for Prometheus, it’s definitely the case for X-Men: Apocalypse (Bryan Singer 2016), which I found to be really quite a mess, and definitely indicative of how far behind the X-Men film franchise is lagging behind others right now (please note, I haven’t seen Logan yet). As a comics fan, I of course love the X-Men, but I must admit that I haven’t really been behind the X-Men movies in a while. X3 was the last one I saw in the cinema, and Deadpool and First Class are probably the ones I would actually say were good movies these days. I haven’t watched 1 or 2 in ages, but I fear they won’t have aged well. Apocalypse is indicative of this malaise really. The plot is incredibly perfunctory, with Apocalypse just coming back, being evil, and the X-Men stopping him. There’s barely a hint of a plan from him, which is incredibly disappointing, especially as it means the normally brilliant Oscar Isaac is just wasted under layers of Ivan Ooze make-up. The rest of the cast is actually good, I mentioned him earlier, but Fassbender is just superb as Magneto. He and James McAvoy’s Professor X basically make this period piece series work singlehandedly. I initially rolled my eyes at the film manipulating our emotions by giving Magneto a family only to immediately kill them off, but damn, Fassbender sells it. Jennifer Lawrence is once again inexplicably front and centre as Mystique. I really find it weird how they’ve insisted on making her such a big hero, obviously it caught them off-guard after First Class how big a star she became, but it just doesn’t make sense to me, especially when compared the the comics. The film re-introduces a lot of familiar faces with new actors, so we now have a teen Cyclops, Jean Grey, Nightcrawler and Storm. These young actors are fine, but they aren’t given too much to do really. It pissed me off how the film has Storm side with Apocalypse for most of it and then switch sides and tries to plays it off as a big surprise. Storm one of the most famous X-Men of all of them, everyone knows she’s a good guy, you can’t get away with silly shit like that. This film just felt a bit flat and uninspired throughout, there’s an entirely unnecessary Wolverine cameo (that I actually managed to be surprised by), a decent enough Quicksilver sequence that just feels like a poor re-tread of the one in Days Of Future Past, and just a whole heap of bad CGI and lame moments. I liked parts of it, but it in no way stands up to the MCU, and isn’t even aggressively stupid bad like Suicide Squad. I really hope the X-Men movies can improve, I know that Logan is supposed to be good, and the Legion TV show was amazing, but there needs to be another good, main franchise X-Movie. Will Dark Phoenix manage that? I have my doubts. Maybe New Mutants will be good.

Speaking of New Mutants, the future Magik, Anya Taylor-Joy, is the star of the next film on the docket, The Witch (Robert Eggers 2015). This is a very atmospheric and creepy horror film set in 17th Century America, as an isolated Puritan Family comes face to face with, well, a witch. This is my kind of horror movie, not so much made up of jump scares and gore, but instead an overall unease about it, and slow ramping up of terror until everything boils over into weirdness and a talking demon goat. There are some truly unsettling sequences in this story, and it really did keep me guessing throughout as to what was going on. One thing I really appreciated was the script, as Eggers tried to make it as period accurate as possible. At first the language seems odd, but you soon get used to it. The performances are all strong, Taylor-Joy is excellent as Thomasin, and it was great to see Leeds’ own Ralph Ineson get a starring role after being excellent on so many TV shows throughout the years. And what can you even say about  Black Phillip? A tour-de-force from that Goat. The Witch is really strong film, but it is genuinely scary, it took me about 3 months to build up the courage to watch it, and it has stuck with me!

I continued the horror by watching The Babadook (Jennifer Kent 2014), and yes, I was inspired to watch it because of the ‘Babadook as a gay icon’ meme, which is just hilarious. I didn’t find that much queer subtext in the film (although he does come out of a closet…) but I did very much enjoy it. Like The Witch, this film delivers the kind of scares I like, psychological, and lingering in the background, and most importantly, rooted in real human emotions. The Babadook might not even be real, and is probably some kind of grief manifestation. But, again, like The Witch, I enjoy the ambiguity about it. Another thing I really liked is how willing the film was to make the kid into an unlikeable dick, whilst also still allowing us to care about him. The two main characters here a very complex, and there’s a lot to unpack still. The design of the Babadook is another really cool thing about this film, it’s just iconic (gay or otherwise) and I think this character could end up in the pantheon of great monsters, it really is that effectively creepy.

I also re-watched 2 big blockbusters on Blu-Ray that I wrote about more extensively when they were in the cinema; Doctor Strange (Scott Derrickson 2016) and Rogue One: A Star Wars Story (Gareth Edwards 2016), or as I like to call them ‘Mads Mikkelson does Disney’. Both held up on a second viewing, and I think I actually liked Doctor Strange more this time around. The visuals were amazing, and, along with Guardians Of The Galaxy 2, show that they really are willing to take the Marvel Cinematic Universe into different places. Rogue One’s tragic ending didn’t quite hit me as much this time out for obvious reasons, as I knew it was coming, but I still enjoyed it. I paid more attention to the performances, in particular Diego Luna and Ben Mendelsohn. I think Cassian Andor might be one of the most interesting characters in a Star Wars movie, I certainly would like to see more of his story, so get on it Marvel!

Television

There’s no new or returning shows this month, it’s all quick hits, and I will try and be quick!

Brooklyn Nine-Nine (FOX) wrapped up it’s season in fine form with a bunch of double-episodes. I really enjoyed Gina Gershon’s guest role, and the way the season ended, with Rosa and Jake being sent to prison was a great cliffhanger, even topping last years! As an Earwolf podcast nerd, it was of course also great to get cameos from Scott Aukerman, Kulap Vilaysack in the finale. I get a kick out of hearing those familiar voices come out of actual faces. This is now one of the most consistently funny US sitcoms out there… hell, it’s one of the few.

The ending of Better Call Saul (AMC) Season 3 was also very good, particularly the fate of Chuck, which was just shocking and tragic. When BCS is on, it’s the best drama on TV, and it certainly has the best characters. I will say though that this 3rd season has been a bit too disjointed, as those characters were too disparate. I can’t remember the last time Jimmy and Mike shared a scene (Episode 4?) and the same can really be said for Mike and Nacho. At times it felt like 2 different shows, maybe even 3, happening concurrently. Now, all of those shows were good, but it didn’t cohere as well as it might. Hopefully Season 4 will bring things closer together. Gus’ knowing look at the end seems to indicate he knows what Nacho was up to, so I can imagine the criminal element consolidating. Plus, with Chuck dead and Kim sidelined with injury, things are bound to change for Jimmy McGill, and I imagine we’re only going to get more and more of Saul Goodman. This was an odd year for the show, but it’s still excellent, and Michael McKean really should win all the awards, he was superb throughout this season, making us loathe and sympathise with Chuck all at the same time. Any awards that don't go to him should go to Odenkirk of course.

I’m basically just going to be talking about finales this month aren’t? Archer (FXX) ended it’s ‘Dreamland’ storyline with some seriously surprising violence, I couldn’t believe how far they actually took Barry’s rampage. In the end, I thought the concept of Archer being in this Noir fever dream petered out a bit, and they didn’t stick the landing. But it was still funny, with all of the voice actors on full cylinders. I do think that it might be time to end Archer though, they’ve stretched this tone and character as far as it can go. After a whole season that’s a dream, what next? Take a leaf out of the LOST podcast joke and do a zombie season?

Gotham (FOX) got even more silly and ridiculous at the end of Season 3, with the introduction of Ra’s Al Ghul and the revelation that long-time henchman extraordinaire is Butch Gilzean is actually called Cyrus Gold, and is therefore eventually going to become Solomon Grundy. As dumb as this is, I loved it. This show is best when it verges on the camp, and these last few episodes delivered, particularly as Morena Baccarin finally got to be a bit interesting when playing an ‘evil’ Leslie Tompkins. It was great fun seeing her chew the scenery. And man, that final scene, where Bruce Wayne goes out on the streets to fight crime… it’s mad that they are doing that so soon, but I don’t care at this point. Gotham needs to go full on Adam West (RIP by the way) and never look back.

I must admit to being rather disappointed by the finale of The Flash (The CW), because the fake out of it actually being HR to die instead of Iris felt way too easy, and also because HR was just the best. I’ll miss him, but I’m sure whatever the hell version of Wells Tom Cavanaugh plays in Season 4 will also be great. The real highlight of this last set of episodes was the return of Captain Cold in ‘Infantino Street’. I can’t say it enough, but Wentworth Miller is just the best in that role. The ending of the Season redeemed things for me somewhat though, with Barry disappearing into the Speed Force, in what I think is meant to be the show’s version of his ‘death’ in Crisis On Infinite Earths (a story I have actually never read). How cool would it be if Wally was the Flash for like, half of Season 4? I would dig that. But it won’t happen.

Rounding out Superhero Corner until The Defenders comes out in the summer, Marvel’s Agents Of S.H.I.E.L.D. (ABC) had a great finale to a really strong season. It’s brilliant to see how far this show has come. They managed to tie all of the separate ‘pods’ of the season together, as Ghost Rider returned to help take out Aida in a very satisfying way. I really hope they keep this up in Season 5.

Like with Better Call Saul, it really has been an odd year for The Americans (FX), as the series shifted gears and became much more of an introspective character piece, particularly when it comes to the character of Philip. It took a while to get used to, and by the finale I was still a bit let down by how little ‘happened’, but in the end, I like where we are now. The characters, who were already well rounded, are even deeper now, and things are set up for a fascinating final season. And when you think about it, these smaller stories actually show the impact of Philip and Elizabeth’s job better than big missions. That slow grind, that loss of humanity, as driving a teenage boy to attempted suicide becomes the aim of a mission. It’s the more human side, rather than just chess pieces. And that’s really what I think The Americans is about, seeing what the Cold War was like on the ground. Let’s hope that Season 6 can marry what was good about Season 5 with the previous 4, and we really do go out with a bang. You can rest assured the acting will be fantastic, because Rhys and Russell always are.

Now for some shows that I haven’t watched the end of yet! American Gods (Starz) is still rolling along very nicely indeed, and even though as I said, I don’t really remember the book all too well, it’s adapting the story well, and even in some places improving on it. What I’ve found interesting is that, in a season of only 8 episodes, they’ve had the confidence to do 2 whole episodes that didn’t feature the 2 main characters of Shadow and Wednesday at all. One of those was all about Laura Moon coming back to life, and the other told the back-story of Mad Sweeney and Essie. Both were fantastic, and that willingness to switch things up really impressed me. The visuals of this show continue to be superb, and I am excited for the finale. It’s sitting there waiting for me right now…

iZombie (The CW) is rocketing towards it’s finale by piling on storyline after storyline and mashing them all together. At times it’s felt a bit over-stuffed, what with Blaine, Harley Johns, Stacey Boss, the conspiracy about the guy committing suicide in his cell, investigating Wally’s murder and the Mayoral Election, but mostly I think it’s worked. The most recent episode in particular did a good job a streamlining things I think and the ending was great, the world now knows zombies exist? What the? The performance of Rose McIver continues to be superb, and I loved the conceit of having her, Blaine and Don E all on the same brain at the same time, it’s awesome how they can still switch things up. I’m also enjoying the arrival of Logan Echolls himself, Jason Dohring. Can we dare hope for a Kristen Bell appearance?

Silicon Valley (HBO) is still delivering consistently strong laughs and intriguing twists and turns. I think my favourite part of this run of episodes has been Haley Joel Osment as Keenan Feldspar, he’s just really funny. I am worried about the finale now that we know that T.J. Miller is leaving the show, I don’t know how they are going to write out Ehrlich, but I don’t want them to! Hopefully Bighead will return to fill the void. I swear, he hasn’t been in like, the last 5 episodes or something.

Veep (HBO) has kicked it up a notch towards the end of Season 6, as a lot of chickens came home to roost, and Selina Meyer’s secrets were leaked to the world. It was a great episode, and was a strong use of continuity. I do still think this show has gotten a bit too broad when compared to the Iannucci years, but it is still very funny and the level of profanity and meanness still at times truly shocking. I can’t wait to see how the finale up-ends things. Selina is in a good place right now with the world finally knowing that she freed Tibet, but that can’t last, we all know it.

And finally, inspired by the start of it’s third season, I finally got around to finishing off Season 2 of Unbreakable Kimmy Schmidt (Netflix). I did the same thing with Season 1, and will probably do the same thing with this new season. I don’t know what’s wrong with me. Anyway, this was another very funny, surprisingly dark season of what is a fantastic show. I loved Tina Fey’s role as Kimmy’s therapist, and the casting of Kimmy’s mother was brilliant. I also found the romance between Titus and Mikey to be surprisingly sweet, but mainly because Titus is one of the best characters on television. My only complaint would be not enough Jon Hamm, but given that cliffhanger, I’m sure that will change!

Music

As I said in the intro, no new music this month so I won’t be able to contribute to any ‘Song Of The Summer’ debate just yet. Although that’s not actually a thing and we all know it.

Books

2 books to talk about this month, and both of them are from writers linked to my one true passion, comics. First up is Norse Mythology (2017) by Neil Gaiman, which as the title would suggest, is a re-telling of the Norse myths from Gaiman. It’s pretty cool to read his take on the direct myths, as these characters have popped up throughout his work. Whether in Sandman or American Gods, Gaiman has put his stamp on the likes of Odin and Loki, and it’s interesting to see him interpret the original stories. Like Gaiman, I first encountered the Norse Gods in the pages of Marvel Comics, and whilst these versions are therefore familiar, there’s something different about them, something darker for sure. This felt like a faithful, albeit poetic adaptation of the stories, as most of them were ones I knew, whether from the comics (if you’ve never read Matt Fraction and Patrick Zircher’s series of Thor one-shots that re-tell the myths you need to rectify that) or from previous takes on the myths or even just cultural osmosis. All of the familiar Gods appear, and you get stories like when Thor dressed as a woman to kill a Frost Giant, or the old beggar who built Asgard in a year. One thing I liked is that Gaiman really gets across how these stories are part of an oral tradition, and not all of them survive, so you get intentional continuity errors and characters just disappearing. It’s clear that there were other myths back then, but not all of them have survived to today. The short chapter length means that this book would probably actually be perfect for reading aloud, and I may even listen to the audiobook if Gaiman is reading it himself. He has a fantastic voice for audiobooks, it’s how I read The Graveyard Book for the first time. One other advantage this re-telling has over the comics is that Gaiman is able to actually reach ‘Ragnarok’, the death of the Gods, and go through with it. In the Marvel Universe, even though Ragnarok has happened (a couple of times in fact) and Thor has died or been replaced even more, you still know that nothing will change, but not in this case. All of the Gods, particularly Balder and Loki, meet their eventual tragic ends. This is a very enjoyable read, especially for someone who, like me, has an interest in myths and legends. It’s clear that Gaiman has a lot of affection for these Gods (particularly Loki, who is wonderfully complex here) and stories, and he more than does them justice. I would certainly be interesting in seeing Gaiman tackle other Pantheons, I personally like Greek Myth the best, but would like to know more about Egyptian as well.

I’m currently just under half-way through Michael Chabon’s Moonglow (2016) and am very much enjoying it. This novel is styled as a memoir and sees Chabon detail the life of his grandparents, particularly his grandfather. Jumping back and forth throughout his life, Chabon allows us to see what his grandfather was like as a child, as a soldier in WW2, as a newlywed, and and as an old man. So far it’s a fascinating book, both in terms of how Chabon details the complex characters of both grandparents, and also in how he tackles the hazy nature of memory and truth. It’s never clear just how much of the book is actually true, the characters are never actually named (it’s just ‘my grandfather’ or ‘my mother’) so it could all be 100% fiction. I tend to lean into it mostly being true, but in the end, it doesn’t really matter does it? As is usual with Chabon, the writing here is very strong, with some very beautiful sentences and moments. The fact that we know that the central characters here die at the very outset makes everything, particularly the romance, bittersweet, and Chabon nails that. It’s interesting, but the book I keep comparing this to is Pynchon’s Gravity’s Rainbow. Both books are about V2 rockets in WW2, but one is a weird, sprawling epic, whereas the other is an intimate character piece. It just shows how different writers can approach the same topic in completely differing ways. I don’t think Moonglow is quite as good as Kavalier and Clay, but what is? It’s still a very good book and I am excited to read the rest of it.

Games

After going months, nay, years, with no games section, I now have 2 games to write about! You wait for a bus…

Anyway, along with Zelda, I’ve now also bought Mario Kart 8 Deluxe (Nintendo Switch 2017) and whilst I haven’t played it a whole lot, is a whole lot of fun, because, well, it’s Mario Kart! Those games are always fun, the more things change, the more things stay the same. They may have added a boat-load of new characters (including Link, which is weird) and added a bunch of bells and whistles and para-gliders onto the Karts, but it’s basically the same game I’ve been playing since the N64, a mad-cap race on some insane courses. I haven’t played every track yet, but I’m getting there. One thing I really appreciate about this particular version is that you can use a single Switch Joycon as a controller, so I didn’t need to shell (heh) out £60 for another controller in order to play multiplayer. I’ve always enjoyed playing against someone else who’s actually in the room over online, so that’s a huge plus, not just for Mario Kart but for the Switch in general if future games follow suit. Mario Kart is hard to really talk about critically because it’s so pure at what it is, but I do love it. And who do I play as you ask? Yoshi of course, always Yoshi. Although sometimes Toad.

As for The Legend Of Zelda: Breath Of The Wild (Nintendo Switch 2017) I’ve spent most of my recent time trying in vain to capture and train horses. I’ve really been embracing the freedom the game provides to do things in whatever order I want. I haven’t even gone to Kakariko Village yet! I’m probably a bad player, but I don’t mind, I’m having a lot of fun and the game is still as beautiful and clever as ever. There’s a real romance to this game, I find it an emotional and exhilarating experience to play.

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So that’s your lot, hope you enjoyed it. I’ll be back in about a month with some more. It’s summer, so expect there to be a lot less TV and maybe just a whole lot less of everything if this weather keeps up! Although you can take Switches outside…