Category Archives: Fantasy

It’s Not ‘Mary Sue’ It’s J.J. Abrams

I was recently wandering through some YouTube comments on a reaction video to someone wh0 had just watched for the first time the original trilogy. Naturally there were comments from those who dislike the sequel trilogy complete with ‘woke’ as a pejorative and declarations of ‘Mary Sue.’

Now, I am not going to wade into the Rey debates, people can make up their own minds on the character and frankly heated debates over imaginary characters are dull and boring.

What I think is worthy of observation is the idea that it’s not a ‘Mary Sue’ problem but rather a J.J. Abrams has no concept how the world works problem. Abrams seems to think that skill acquisition and mastery is something that ‘heroes’ do quickly, easily, and magically. It is what happens with Rey in The Force Awakes progressing from utterly obliviousness of the Force to influencing weak minds with ease but it’s not Abrams first display of this sort of ‘easy to be the best’ mentality.

in the 2009 reboot Star Trek James Kirk enters Starfleet Academy as a cadet proclaiming he will be a captain in four years. And then doing so by the end of the movie. Ensign, Lieutenant Junior Grade, Lieutenant, Lieutenant Commander, Commander, these are just words to Abrams and not the ladder of ranks once must climb to reach Captain. All that doesn’t matter because Kirk is the hero and an Abram’s story that cloak of heroism confers all abilities required of the plot regardless of training, work, and history.

Abrams is a competent filmmaker and director, albeit with a habit of copying others’ styles, but he is a terrible crafter of story and character.

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The Essential Difference Between Ragnarök and Love and Thunder

I adore Thor: Ragnarök and found Thor: Love and Thunder a slog and I have identified one of the key structural difference that I think drives my varied reactions.

Ragnarok structurally has twin parallel plotlines that converge in the film’s final act. After some
set-up in act one the twine storylines are first Thor and Loki on Sakaar and the second is Hela conquering Asgard.

Hela’s conquest of Asgard is presented in a straight-forward tone and manner. It is fairly devoid of jokes, that is not to say it is without humor but rather the humor in it is not in a set-up and punchline format nor does it engage in large scale exaggeration of characters for effect. Asgard is presented as genuine peril with stakes that related to characters we have known.

Sakaar, from its production designs, its saturated color palate, and it very broad characters is over the top in its quips, jokes, and japes. Characters are painted in very broad strokes and exaggerated traits giving the audience a funny ‘fish out of water’ story as Thor fights to escape and confront Hela.

When the two plots converge it is on Asgard and plays fairly consistently by the rules setup for dramatic effect during Hela’s conquest. The stakes are real and humor becomes less broad for a quite satisfying conclusion.

Love and Thunder has several locations and except for a few brief scenes all of the characters in

Disney Studios

all settings are painted broadly and are exaggerated. This film is seeming composed of only Sakaar-like sequences with a Hela plot to counterbalance. It is a diner that has only desserts, which sounds like a good idea but ultimately it is not satisfying.

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Series Review: Ms. Marvel

Disney plus this week completed its latest MCU limited series Ms. Marvel. The shows centers on Kamala Khan, a 1st generation Pakistani-American high school student, her friends, family, and obsession with the MCU’s real-life superheroes, particularly Carol Danvers AKA Captain Marvel. When a mysterious artifact from her grandmother unlocks hidden powers within Kamala, she is thrust into a conflict that will set her against agents of the government, extra-dimensional beings, and that will propel her back the traumatic partition of India.

Iman Vellani does a good job portraying Kamala Khan which just the right balance of immaturity appropriate for a teenager but with potential that should bloom as she matures. The multi-ethic cast overall is well portrayed with the diversity within the Islamic faith is displayed without being shoved into a spotlight like a lecture.

Ms. Marvel’s tone is light with an emphasis on comedy but not fully goofy, but rather a character-based humor with just enough stakes to give the series some dramatic heft.

What appears to be the central threat and conflict is actually dealt with in the penultimate episode leaving the finale for a different and not entirely satisfactory complication. That said over all I enjoyed the series, while it was not a bold as Loki nor as experimental as WandaVision the show was entertaining, well written and acted and presented a likeable main character that was easy to empathize with.

Mild Spoiler Follows

IN the final episode Marvel Studios used the series as an opportunity to introduce a long-awaited fan addition to the MCU — mutants, complete with a musical cue from the 90s animated X-Men series.

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Movie Review: Thor: Love and Thunder

I wish I could say I loved Thor: Love and Thunder but the film was a disappointment. I will cover

Disney Studios

the general reason why it failed to work for me, but I will avoid spoilers and anything that really hasn’t appeared in trailers. However, if you are concerned the short review is that the film failed and is likely for me the bottom of the MCU.

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Still here? Okay Let me present my arguments why this film did not work for me. There are three major failures in execution in the movie.

1) The humor was forced.

2) The stakes carried little weight for the audience.

3) There was little to no thematic statement or argument in the film.

The 9:30 am showing I and my sweetie-wife attended was not packed but there was an audience, and I cannot recall very much audible laughter during the screening. All of the best jokes and punchlines seem to appear in the trailers and what was surprising seemed to be trying too hard. If felt like someone attempting to replicate Thor: Ragnarök but failing. Where the broad characterizations utilized in that film were set against an equally broad and exaggerated setting here the same over the top characters were principally in more ‘grounded.’ as much as any MCU setting can be grounded, and the clash of styles failed to be funny.

The villain of the piece if Gorr, The God Butcher, a being defined by tragedy and wielding a weapon that allows him to slay gods. Which he does. The problem is that all of these gods are new characters to us, disconnected from the on-going storylines of the MVU and divorced from its characters so why should any audience member have an emotional attachment to their demise? All the gods whose death’s would have a serious impact have already died in other films. Also, Gorr’s course towards his goal is ill-defined and inconsistent within the film itself. Gorr needs X to achieve his ultimate goal, but he doesn’t act like he is trying to obtain X until after the audience if informed of the need. It really felt as though the film was being written and re-written as it was being produced.

The film, as best as I can determine, has nothing to say. Thor: Ragnarök under its flashy, colorful, Kirby-Inspired production design and it broad comedic tone had a lot to say about the legacy of sin, crimes of the past shaping the present, and colonialism. Love and Thunder apparently has nothing more to say than live life fearlessly and with love but even that rather cliched message is at best muddled and buried in the confusing chaos of the movie.

I have respected and been vastly entertained by Taika Waititi’s previous creative outings, his work often infused silliness with deep emotional heart, but sadly I cannot in good faith say I enjoyed this movie.

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Nordic Noir/Horror: Postmortem No One Dies in Skarnes

In the isolated rural town of Skarnes Norway the body of the funeral home director’s daughter is discovered in a field. Perhaps not to her good fortune, Live (pronounced Liva) is discovered to be alive before the police budget busting autopsy is performed. Grappling with fragmentary memories of the attack that left her for dead in the field Live discovers that not only has she developed a compulsion for blood but that dark familial secrets present new dangers from unexpected quarters.

Postmortem: No One Dies in Skarnes is billed as Nordic noir/horror/comedy though from the first two episodes I would say the show’s emphasis is horror/noir with only occasional touches of humor serving as counter point to the bleak tone and setting. Produced in Norway and currently streaming as a Netflix Original the show has a distinctly Nordic noir aesthetic, presenting the fantastic premise with grounded realistic performances and cinematography. While the story has one foot solidly in its own unique vampire lore the other remains planted in a world of overdue bills and heartless banks so familiar to the audience giving the fantastical a realism necessary for the audience suspension of disbelief.

This commitment to a realistic approach continues to its casting, hair, and make-up with the production eschewing the ‘cover model’ look for its female performers but a more grounded sense of attractiveness that avoids glam for a relatable appearance. The performances themselves are balanced to small emotes with a restrained quietness in keeping with the Nordic noir tradition and that serves the story better than loud overly expressive gesticulations.

Having watched just two of the six episodes of the first season it is difficult to say if the show succeeds. I am of the personal belief that ending are essential to artistic success of any film or series and that a bad one, looking at you Game of Thrones, can critically damage the good that came before. That said I am hopeful that Postmortem: No One Dies in Skarnes will stick its landing.

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I’m Back

So, I have been busy these last two weeks looking after my sweetie-wife following her surgery. Everything went very well and today I am returning to my day job. I am also returning to, hopefully, regular updates to this blog and back to my writing.

Here are a few thoughts on recent shows but not full deep dives.

Star Trek: Strange New Worlds

Following the adventures of Captain Christopher Pike, commanding officer of the Enterprisebefore Kirk, this series seems to have found the right balance between honoring the past and original series while striking out for new territory with new characters and fresh takes on old ones. I am particularly enamored with Jess Bush and her take on the underutilized character Nurse Christine Chapel. There are breaks with canon but so far these have created new and compelling storylines that justify the rupture.

Ms. Marvel

The latest MCU series to debut on Disney+ Ms., Marvel follows the life of Kamala Khan a Pakistani-American highschooler and devoted Captain Marvel fan as she navigates life in the MCU, her Muslim family and neighborhood, with varying levels of devoutness, and her sudden and inexplicable acquisition of superpowers. The show’s style is vibrant, energetic, and exploding with energy, much like the life of a teenage while neatly balancing the fantastic with the reality of modern life for a character caught between tradition and the wider American culture.

I have very little actual knowledge of Muslim-American culture, and less that would apply to the specifics of being Pakistani-American teenage girl, but the show feels honest and respectful giving me an insight I have not before possessed. Well worth the watch.

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Movie Review: Everything Everywhere All at Once

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Sunday evening, after seeing the latest MCU film that morning, I went and watched Everything Everywhere All at Once (EEAO) from A24 Studios and ‘The Daniels,’ (Dan Kwan & Daniel Scheinert) another multiverse hopping storyline with a villain threatening all of existence.

Michelle Yeoh plays Evelyn a woman estranged from her very western daughter Joy (Stephanie Hsu), her very Chinese Father Gong Gong (James Hong), and who ignores her geeky and meek husband Waymond (Ke Huy Quan.) With both their laundromat business and marriage failing

A24 Studios

Evelyn and her husband, accompanied by Gong Gong who due to infirmity cannot be left home, are summoned to the local IRS office to confront a cold and unsympathetic auditor Deirdre (Jamie Lee Curtis) but everything is derailed when Waymond from an alternate timeline confronts Evelyn and insists she is the key to saving the universe from Jobu Tupaki, a pan-universal creature bent on chaos and destruction.

EEAO gives its actors a real meal of characters to portray, meek, bold, strong, weak, heroic and depressed most of the cast gets a shot at playing wide and diverse versions of their characters. Despite the on-screen insanity, fun, and sheer inventiveness at its heart the film grapples with extensional dread and the nihilistic fear that nothing at all truly matters. Love, Joy, Happiness, and even life itself is fleeting eventually becoming nothing but dust. The script doesn’t shy away from this truth but also finds ways to recognize that those fleet moments are the value and that because there is no permanence doesn’t mean that there is no meaning.

The film’s characters speak in combination of English and Chinese with liberal use of subtitling for those like me who are stuck as a monolingual talent. While dealing with heavy themes such as the meaning of life and the push and pull of generations and culture EEAO also dips into crude humor and exhilarating action presenting a mixture of tones and styles as diverse as life itself.

I thoroughly enjoyed Everything Everywhere All at Once and I am already looking forward to some future repeat viewing.

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My Upcoming Geeky Artistic Weekend

Which artistically is starting tonight, Thursday.

Tonight, I plan to go out and see the foreign language Finnish horror film Hatching before it vanishes from theaters in my area. (I must admit I adore my AMC A-List subscription that makes rolling the dice on movie so much easier.)

Also tonight is Star Trek: Strange New Worlds. My sweetie-wife and I will be giving the series a try. Now, I’ll confess that lately the trek shows have not been working for me but hope springs eternal.

Saturday evening I plan to venture to San Diego’s Balboa Park for more experiments in night photography. Last weekend when I left the secret morgue I spied the California Tower lit by colored lights and thought it would be a good subject for my meager photographic skills.

Sunday morning my sweetie-wife and I will go out and catch the new Doctor Stranger movie.

All in all I am looking forward to this weekend.

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The Three Lorraines of Back to the Future

 

In this essay I am going to look at the three representations of the character Lorraine Baines-McFly presented in 1985’s Back to the Future and what might be suggested about the character and her history. This piece will not deal with subsequent variants presented in the two sequels.

Lorrain — Prime

Lorraine McFly as she first appears in the film is a woman struggling with alcoholism, a prudish defensive approach to sexuality, and who is deeply unhappy. She doesn’t give voice to the unhappiness, having long ago surrendered to her despair with all traces of self-confidence and agency vanished from her personality. She is in short, a broken person. Adding to the tragedy is that her pain, her shattered nature is invisible to the men in her life. Her husband, George McFly, blindly laughs at the dinner table while watching re-runs wholly unaware of his wife’s grief. Neither of her son appear to notice. the painful evening, the large amount of alcohol is so routine as to be invisible. This suggests that Lorraine’s fractured psyche is decades old.

The only other male present in the prime timeline that has any notice of Lorraine is the bully Biff Tannen. While the two characters have no direct interaction in the establishing scenes of the film Biff does tell Marty, Lorraine’s youngest son and the story protagonist, ‘tell your mom I said hi.’ An innocuous statement but actor Thomas F Wilson’s line reading fills it with menace and meaning. There is a clear implication of a deep and unsettling history.

Lorrain — Base

Lorraine Baine, Marty’s mother before marriage and a lifetime of crushing pain, in 1955 is a vibrant, outgoing, and bold teenager. She is unafraid in her risk taking, groping crushes under the dinner table with her parents present, venturing to a stranger’s house in pursuit of that crush, and adventurous in her dating, willing to make confident first moves rather than wait on her partner. It would seem to be inconvincible that this self-confident teenage loses all her fire and vitality simply from the confines of matrimony.

Lorraine — variant

After Marty’s excursion to 1955 and his interference with his parent’s courtship and lives, including alteration that prompted to his father to interrupt Biff sexually assaulting Lorrain, Marty returns to discover that his entire world has changed.

Lorraine now is fit, healthy, and confidence. Vanished has all traces of her sexual prudishness and defensiveness as she exhibits both an open sexuality with her husband, a George variant that is successful and confident, and accepting of her son’s sexual life. The Lorraine variant is logical progression of the teenage Lorraine the audience was introduced to. Marty’s meddling has dramatically changed both his parents.

What broke Lorraine prime?

It would seem to be down to two possible explanations. Life with a George that never found his self-confidence or success drained Lorraine of his own agency and vitality. This explanation reduces Lorraine to simply an extension of George and would seem to be tension with the Lorrain that existed before George entered her life. It also ignores the relationship between Biff and Lorraine. 30 years after their high school days Biff still feels the need to make vague and unsettling comments about Lorraine.

Everything seems to suggest that Lorraine suffered a deep and shattering trauma that psychologically damaged her and coming to adulthood in an era that disparaged psychological health and treatments she was left to suffer, dealing with her trauma by self-medication with alcohol.

The alteration of history with George interrupting Biff’s sexual assault in a manner that forever reduced Biff to simpering subservient character is the also the event that prevented Lorraine’s trauma, providing her with the space to blossom into the woman she always had the potential to be.

Perhaps not the night of the ‘Enchantment under the Sea’ dance as it happened in the Marty altered timeline, but it would seem likely that at some point in the original timeline Biff completed his sexual assault on Lorraine, and bereft of resources and mental health treatments, she shattered.

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Movie Review: The Batman

There have been quite a few feature films of DC’s ‘The World’s Greatest Detective’ Batman, 1 quickly rushed production derived from the campy television series, 4 in the franchise launch in 1989, Nolan’s Dark Knight Trilogy, 1 where he shared titular billing with Superman, and another 1 or 2, depending on how you count Justice League, where is a driving force and a major character and now Director and Co-writer Matt Reeves brings us The Batman, another relaunch of the character and continuity, and perhaps my favorite Batman film yet.

The Batman brings us into the story two years into Bruce Wayne’s ‘Batman experiment,’ as Bruce is suffering doubts about the effectiveness of his vigilantism. Despite his nightly patrols crimes seems not only unabated but growing. When the mayor is brutally murdered days before the election by a mysterious madman obsessed with riddles Batman’s investigates pull

Credit: WB Studios

him in a dark web of conspiracy, corruption, and crime entangling Gotham’s political and economic elites. The trail of clues in his hunt for The Riddler leads Batman through the city’s organized crime, its police force, and crossing paths with a dangerous cat burglar on her own path of vengeance. The answers to the Riddler’s horrific murders and his motivation erodes Batman’s sense of self and history leading him to finally understand himself and what his experiment’s actual results.

The Batman delivers on the promise Matt Reeves made when he took over the project to redirect the character back to its detective roots. Tim Burton’s films luxuriated in a brooding Gothic aesthetic, Schumacher’s run were neon and gaudy, Nolan’s trilogy attempted a realism never before seen with Batman, and Snyder’s tone can be best described as brutalism with The Batman Reeves has reached back into Hollywood’s classic era for a film noir interpretation of a superhero movie. Very little of the film takes place in daylight and nearly none of that involves the Batman. As the character narrates himself into the experiment’s logbook, he is not in the shadows, he is the shadows. And unseen by himself, there is a shadow over his heart that is the story’s psychological center. The three characters close the Batman provide the emotional and psychic tension to pulls at him, Alfred with the debt of family and history, Gordon with the drive for justice, and Selina Kyle with a thrust for vengeance. resolving these competing tensions is the real story of The Batman.

Beautifully photographed by cinematographer Greig Fraser and with deliciously detailed production design by James Chinlund The Batman creates a Gotham that feels real, feels lived in, while preserving the epic scope required for our modern mythology that is the superhero movie.

The Batman is still currently playing in a few theaters and is now streaming on HBO Max.

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