Monthly Archives: March 2021

We Need Election Reform to Save the GOP

 

Between H.R. 1, the fact that the current president had about 7 million votes more than his opponent and still only barely won the contest, and the deeply imbedded partisan in the system there has been a lot of talk about reforms needed to the USA’s election systems but there is another reason to enact reforms fast, to save the Republican Party.

Out system is a two-party system and the sort of ground up redesign to change that is simply not in the cards. Given that we locked into a two-party system it is essential that both parties be sane, viable, organizations fairly representing broad cross-sections of the American electorate. This is not the path we are on.

Our congressional districts having been gerrymandered into local one-party dominance enforces a drive for either party to the extremes. An incompetent, insane person like Marjorie Taylor Greene only has to win their primary to win a seat in government. As more gerrymandering draws more districts into this pattern the real election become the primary where fewer voters and more extreme voters decide the outcome. This was bad enough before 2016 but after Trump’s takeover of the Republican party and its commitment to a dwindling base of support and its adherence to lies and conspiracy theories, this is a design for disaster. As long as the primary process controls the outcome the situation will only get worse.

This is not an argument to kill off ‘conservatism’ however you might define that. This is the way to keep both parties, though the rot is far deeper on the right than on the left, responsive to the general electorate and not their fanatical bases. If we do not reform our election right now, we are headed for one of two futures, either the GOP, more insane and less connected to reality becomes the dominate political force by way of its current anti-democratic attacks on voting and the franchise or the Democratic Party becomes immune to challenge because the GOP has shrunk itself to a base unable to contest national elections completing its transformation into a regional rump party.

Both outcomes are bad for the Union. Our system requires two healthy sane parties and only by election reform can we return to that ideal.

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A Harebrained Film: Night of the Lepus

 

A dozen years after the release of her cinematically legendary showers sequence and eight years before she would appear with her daughter Jamie Lee Curtis in John Carpenter’s

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atmospheric horror film The Fog, Janet Leigh, along with DeForest Kelley three years after Star Trek grounded, starred in a most unusual SF horror movie 1972’s Night of the Lepus.

Adapted from the satirical SF novel The Year of the Angry Rabbit by Russell Braddon, NOTL’s central conceit is the Arizona countryside suffering nocturnal assaults from mutated giant rabbits.

The film attempts and fails to build credibility for its premise by opening with a faux newscaster intoning seriously about rabbits upsetting the delicate ecological balance in Australia after their introduction to that continent. From there the story moves to Arizona where rancher Hillman is dealing with a rabbit infestation of his own. Rather than deploy harsh poisons to deal with the pests his friend Clark (DeForest Kelley) at the university puts him in contact with a husband/wife team of scientists Roy and Gerry Bennett (Gerry Bennett played by Janet Leigh.) The pair decide that using hormones to make ‘boy rabbits act more like girl rabbits’ is the solution to Hillman’s troubles and begin experimentation on rabbits captured from the ranch. The filmmakers use the Bennett’s young daughter both as clumsy exposition, ‘Mommy what is a control group?’ and the method by which a rabbit already mutated by the artificial is released into the wild to infect the ranch’s rouge population. And yes, the film tries to force the idea that hormonally changing one rabbit somehow infects other without the use of a bacteria or virus. Despite the EPA having been established two years earlier the scientific pair also have no hesitation in developing and deploying an unknown effect into the ecology without significant testing as their timeline from concept to eradication was mere weeks.

The greatest hurdle the filmmakers failed to clear isn’t the lack of character arcs or scientific illiteracy but rather no amount of slow-motion photography on miniature sets and even with fake blood smeared on their snouts, rabbits cannot look credibly frightening. Rabbits as a violent lethal threat belongs solely to the domain of British farce and not in the dying giant animal genre.

I found Night of the Lepus streaming for free on a Roku channel, but they interrupted the movie every ten minutes for a block of five commercials. even minus those interruptions except for comedic entertainment I could not recommend this strange unique movie.

 

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I Dislike Cliffhangers

I Dislike Cliffhangers

 

Recently, that is over the last few weeks, a friend and I started watching the Netflix Original Series, The Umbrella Academy,a series about a set of people all born on the same day, collected/adopted by a wealthy mysterious eccentric mand and turned into a crime fighting superpowered group before internal dissention ripped them apart. Now, as adults the enhanced individuals must reunite, overcome their personal and interpersonal issues, solve the enigmatic death of the adopted father and oh save the world from an apocalypse coming in just seven days.

*Some spoilers ahead*

Overall, I have really enjoyed the show. The production values at top shelf, the performances perfectly walk that line between realistic believable characters and comic book excess, and the plotting moves along at a snappy pace while still taking time to explore who each of these characters really is. All in all, well worth the time to watch.

But.

Season one ends on a cliffhanger and I truly despise that.

Modern television seems to have become infected with the season cliffhanger from the cultural event that was ‘Who Shot JR?’ on Dallas back in the 80s and the disease has spread wide and far particularly into genre shows and with the advent of long-form storytelling it metastasized.

I have no issues with dangling out plot threads to be picked up and following seasons. That’s pure addictive junk food and should be encouraged but promising a resolution to a central story and at the last moment yanking it back like Lucy with the football is simply cruel, capricious, and crappy. If I have invested ten hours of my time, or my life, watching your art then at the end I want you freakin’ art to be complete.

Again, this is not a rant against the concept of series or a plea to return to the artificiality of solely episodic story telling. Pratchett’s Discworld novels are one of my beloved reads and each book builds upon the previous in its storyline, but each book is also whole and complete. When I finish one, I have been told a tale that has a beginning middle and an end.

An End.

Aye, there’s the rub. I have a strong opinion that the ending of a story is where the purpose and reason for the story exists. It is why we experienced the story to have that moment of catharsis or epiphany or loss that gives the tale its meaning and its power a cliffhanger robs the audience/reader of that promise and that release.

 

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Nordic Noir: The Bridge After Season One

 

My sweetie and I have completed watching Season One of The Bridge a Swedish/Danish co-production television series about a mastermind criminal operating in both countries.

I first posted about this series a month ago before we completed watching the season and I can now give a more complete opinion on the show.

The bottom line is I liked it.

What started out as a lot of unconnected threads all wove together into a single plot that was an impressive example of large-scale writing. The nuanced nature of the plotting would have been impossible in a feature film making this story only suitable for a novel or television.

The acting is all very good. Most of the actors were unknown to me except for Kim Bodina as the Danish detective Martin Rohde who played a major character in the fantastic series Killing Eve but for the most part Sofia Helin as Swedish sleuth Saga Noren carries the series.

While the words Autism or ‘On the Spectrum’ are never mentioned in season one it is quite clear that the writers, producers, directors, and actor Sofia Helin deliberately portrayed Saga as a person on the autism spectrum. Importantly that never made the characters divergent neurological nature a center of focus or some sort of superpower that allowed her to see things that others did not, which is so often the case for characters of the type in mystery fiction, but rather allowed her difference to simply exist as part of the constellation of character traits that defined her. Her co-workers and her partner Martin are very aware that Saga is different, but it is never used as an overly dramatic point of conflict or praise it is simply who she is. She is neither childlike nor a savant but allowed to be a complete adult female character.

Anytime you are dealing with a mastermind criminal character you are departing from a reality that matches our world. Moriarty doesn’t exist and if you go into The Bridge suspending disbelief for that sort of fiction it is an entertaining, dramatic, and emotional ride with a very satisfying conclusion.

Sadly The Bridge still is not available to stream in the US we are able to watch it because I have a region free Blu-ray player and my sweetie-wife bought the UK Blu-rays.

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Migraines Suck

 

For whatever reasons the last few days, since Sunday, I have been enduring a spat of smallish migraines. This forced me to bail on my twice monthly writers’ groups meeting and has hampered but not stopped the revisions and edits to my next novel.

I have been making it out the door each day to my day-job but in the evening it’s difficult to get more than the bare minimum work done on my writing.

My meds work and will usually dispatch the headache but sadly they leave me feeling ‘off,’ and with my scalp tight as though it is two sizes too small for my head.

All that said I am still pleased with the new novel and have high hopes of getting it out the door soon to editors and agents.

The pandemic smashed my debut last year, turns out have your novel published the week the world shuts down is not so good for sales, but in the scheme of things I have done so much better than so many that it would be quite petty to complain.

Here’s hoping everyone’s days get better.

 

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WandaVision’s Warts

 

The Disney +’s initial excursion into Marvel Cinematic Universe based television has completed its first foray with the series finale of WandaVision the complicated and comedic continuation of the storylines for Wanda Maximoff and Vision beyond Infinity War and Endgame.

The series has garnered praise, fandom, and even a hit song and you can count me amongst its fans but the piece is also not without its flaws and missteps. So, with no restraint on spoilers let me illuminate some of the show not quite on target aspects.

Spoiler Region Ahead

To begin, the entire first episode is superfluous. A person could tune into episode two and not have missed anything at all critical to understand the arc of the series. While some have praised the comedic writing of that first episode it did not work for me so it has three strikes against it, 1) it is unnecessary 2) it is not funny, and 3) it has no stakes. Taking place in effectively a dream the problems presented in that initial episode have no weight. Before someone pops up and says that at that point, we didn’t know thew nature of the Hex or even its existence we didknow that Vision was dead and that Wanda is not a character from a 50s sit-com so the audience is already aware of the unreality of the events they are only unaware of the cause. It is dream storyline and those are very difficult to create with any sense of stakes, danger, or loss.

The progression of the sit-coms through the decades is unmotivated.

With each episode of WandaVision the sit-com dreamworld advances to mirror the stylistic nature of the next decade of television. While many of the homages to classic periods of tv were spot on in tone and look that changes themselves were unmotivated. The character’s watching from outside the Hex commented and questioned this aspect establishing it as a plot mystery that is never explained or resolved. While Wanda as a child adored American sit-coms of many decades it is never detailed why her own never fixed into a particular mode.

Wanda’s abuse of the people of Westview is dismissed far too lightly.

In the resolution of plot, it is revealed that unlike her assumptions that the residents of Westview have happy contented lives in her fantasy world they are actually in perpetual pain and their dreams are infused with Wanda’s nightmares. Wanda’s idyllic world had been a literal hell for everyone around her. It is true that Wanda never intended for that, Wanda never intended for any of it the creation of the Hex and its television inspired reality was a product of her unchained chaotic magic and overwhelming grief but when Wanda does release the spell, restoring the town while once again killing her love Vision the story’s emphasis is on Wanda’s loss and ‘sacrifice’ without and hint that Wanda feels any actual guilt over the agony she has forced others to endure for weeks. This was dismissed too glibly, and it undercuts the grief that series so well explored.

Much of these issues that I had could have been resolved at the script stage. I think an interesting possible approach would to have had each decade of sit-com fail Wanda’s escapism in some manner, double points if it fails in a manner that inherent to the nature of the programing and values of the time it was reflecting so that the decades changes as Wanda keeps, without being aware of it, running from her pain. Doing this in episode one would have set up the underpinnings of the entire series and kept that pilot from being essentially pointless.

Now, with all that said, I am still a fan of the series and have enjoyed watching it multiple times.

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Horror Review: Thirst (1979)

 

As part of the Ozploitation cycle of cinema 1979’s Thirst is low on budget but big on concept.

The film centers on Kate Davis (Chantal Contouri) a successful businesswoman about of take a several week vacation but instead is kidnapped by a mysterious cult-like organization, The Brotherhood, taking advantage of her expected absence to indoctrinate her into their lifestyle of modern vampirism.

The Brotherhood is riven by factions, all who wants Kate to fully embrace their lifestyles, but who differ in what methods that consider acceptable with Dr. Fraser (David Hemmings) more reverential of Kate’s ancestry while Dr Gauss (Henry Silva) and others are willing to using dangerous conditioning methods even if Kate’s sanity shatters.

Directed by Rod Hardy and photographed by Vince Morton Thirstis competently made and achieves quite a bit on tis limited budgets. It never answers the question of The Brotherhood are gaining actual benefits from their dietary choices or if they are simply mad as such considerations are actual incidental to the thrust of the story and Kate’s struggle to retain her agency and identity. It is a pleasure that unlike several other films of the cycle there was no attempt to disguise the characters or the setting as American but instead the film is presented as natively Australian.

With an extended dream/nightmare sequence dominating the film’s second act Thirst is not a horror movie that relies upon ‘kills’ or ‘jump scare’ to provoke a reaction from its audience. Its sedate pace and its emphasis psychological threats over physical ones means it is not a film for everyone but its thematic treatment of industrialization and the wealthy literally cannibalizing the lower classes make this a very interesting movie that will have strong appeal to some.

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Television Thoughts: Resident Alien

 

Confession: We do not have cable television in our home and have not had it for close to eight years. Everything my sweetie-wife and I watch is either streamed or on disc so when a new show premiers on a cable channel we either have to wait for its arrival on a streaming service or if it’s something we have high expectation of enjoying buying an entire season to stream. Which is what we did for SyFy Channel’s original series Resident Alien.

Resident Alien adapted from a comic book series by Peter Hogan and Steve Parkhouse stars Alan Tudyk as an alien who has come to Earth on a deadly mission but due to a mishap and crash has assumed the identity of Doctor Harry Vanderspeigle in the small, isolated community Patience Colorado and finds himself embroiled in murder investigations, family dramas, romantic entanglements, and the mission of a young boy to expose the truth of alien presence. The show is a mixture of comedy and drama with the balance clearly tilted towards the comedic as Patience is populated with an assortment of quirky, broadly sketched, farcical characters that live with one foot in realistic human emotions and the other firmly planted in broad comedy.

Tudyk is one of our best working comedic actors with a career that stretched from A Knights Tales, thru firefly/Serenity up to and past Rouge One: A Star Wars Story. He brings a real charm and sense of timing that carries the comedy off quite well and his choices in his performance particularly when we can compare it against his performance as the human version of the character are unique.

Mixing drama and comedy doesn’t work for everyone but in my opinion, it’s flying high here in Resident Alien.

Resident Alien airs on Syfy on Wednesday nights and is available to purchase from a number of platforms.

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Quick Thoughts

 

Running a little late this morning after getting engrossed in what looks to be a fairly balanced article on both the 1619 Project and 1776 report so here are a few fast thoughts for the morning.

1) I have finished the first draft of my new novel. This one will require more revisions that previous first drafts as to character and plot I made changes and discovered new paths not represented in the outline.

2) Cuomo’s troubles are a perfect example of why you should not people anyone on a pedestal. His news briefings during the height of last year’s pandemic cases in New York presented him as sort of an ‘Anti-Trump’ and yet like Trump he hid information that would hurt him and apparently is a sexual creep as well. It should be noted however that the Mainstream new is reporting on his misdeeds and the accusation and not playing hide the salami as Fox does with Republican scandals the presenting the different between bias and propaganda.

3) It’s great seeing the speed of vaccination increase and with J&J’s vaccine not approved for emergency use that’s another weapon in our fight against COVID.

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Mulholland Dr and Narrative Logic

 

I have now added to my ever-growing Blu-ray and DVD collection David Lynch’s 2001 protean production Mulholland Dr and it has been considering the nature of logical order in film and fiction.

Fiction generally behaves in accordance with its own internal and decipherable narrative logic that allows the reader or audience to suspend disbelief and accept the characters and events are credible representations of some reality. This spans the gauntlet from grounded ‘realistic’ dramas such as The Remains of the Day to fantastic and physics defying spectacles like Avengers: Endgame. The cause-and-effect logic of the story dictates the progression of the characters actions, emotions, and growth with a clear and understanding relationship between event and outcome.

Mulholland Dr abandons all sense of narrative logic in favor of dream logic. The audience is denied a firm, clear, foundation of logical rules by which the film operates leaving them swept by the currents of imagery, raw emotion, and sound into a whirlpool that each individual is solely responsible for interpreting. The film is most often compared directly to a dream where major events and sequences have only the barest of connecting narratives flowing freely from one to another with a logic that feels present but is forever just beyond discovery.

I cannot tell you what Mulholland Dr is about. I cannot give to you a definitive interpretation on what maybe reality and what may be dream if such a distinction even exists within its narrative. It is like Kubrick’s 2001: A Space Odyssey but with is cold clinical style replaced by one that is unsettling, disturbing, and even horrifying.

I have seen this film called the best horror movie of the early 2000s and it is hard to argue with that assessment. Horror works best when not only the characters but the audience is forced to face threatening events that defy understanding. The dead do not rise and feed upon the living, magical beasts do not prowl the night, and science has not produced monstrosities savaging the countryside. But eventually in horror films and fiction the new rules are discovered, the vampire must rest on earth from its grave, the uncompleted tasked finished so the spirits my rest, the nature of the beast is understood and through that defeated returning the world to an order that again rational. Mulholland Drnever resolves its internal logical, the world unbalanced is never again rational, and the unsettled horror of a cold uncaring universe that beyond understanding remains, haunting the audience far beyond the film’s 146-minute running time.

I do not pretend to understand Lynch’s vision but I do feel it and that I think that was his intent all along.

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