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The Day of the Jackal (2024)
A Complex Portrayal of Violence, Family and the Cost of Individual Choice
Day of Jackal is much more than a shallow action movie, or a mere suspenseful thriller. It is a well put together - directed and written, dramatised series. Plus, the storyline reflects a multi-layered and complex character set. The clique of protagonists and support players are generally well worthwhile viewing and believable.
Surprisingly for me, reading a number of the viewer reviews, while Eddie Redmayne understandably attracts praise for his role in this drama; sadly, his co-star Lashana Lynch, has (in my view) been unjustifiably panned. It's tempting to conclude this reflects upon the reviewers' own perspectives concerning ethnicity, and the fact Lynch is not boast a Caucasian complexion.
From my perspective she delivers admirably, not just fulfilling her character's depiction, but offering a counterpoint to Redmayne's complex characterisation. Their portrayals (Redmayne's and Lynch's) emphasise a narrative which questions the personal cost of our own career choices, and the demands we place upon ourselves to fulfil critical ambitions.
It (the series narrative) also asks whether the way we live our lives is related to how our governments act to protect us, because this portrayal suggests they are wholly disconnected. Does that mean the government should do whatever it sees fit without consultation or transparency?
I say multi-layered because Redmayne's character is a complex individual whose emotional and psychological make-up as an assassin, and master manipulator, may not be wholly representative of the man as a whole. At times he (the assassin) seems to present as a sociopathic machine - disconnected from his own humanity. At other times, he appears to be an internally conflicted individual, one who labours to control his professional engagements (as an assassin), and his private life (as a husband and nascent father); essentially, hiding behind the anonymity of disguise.
There is a suggestion, the assassin identity may be a superficial, or a post traumatic response to past horrors. Interestingly, it seems it is his private life, his marriage, which he seems to be losing control of. His family identity (husband and father) seems to be rapidly unwinding, threatening to spin out of control under the corrosion of suspicion. This is mainly because his wife is an intelligent and perceptive individual.
Correspondingly, Lashana Lynch's character is also somewhat obsessive in her professional commitments. While her primary identity is arguably that of an MI6 agent, she is also a wife and mother. Again, this theme of a multi-layered life of conflicting identities also impacts Lynch's character - Bianca.
So much so, her work literally comes home and confronts her and her family. This results in her husband and daughter finding Bianca's MI6 agent identity intensely difficult to reconcile with who they know and love - it's alienating. Bianca, as an intelligence agent in the field, is a fearsome and powerful individual in a way entirely foreign to normal domestically lived suburban life. You can't really see MI6 Bianca at a parents evening at her daughter's school, for example.
Dune: Prophecy (2024)
Episode One: You May to Need Watch This Twice - At least
Dune Prophecy is a content rich, subtlety enunciated drama which, on initial viewing, whose galactic scope is distracting in unhelpful ways, should you wish to understand the plotline key to the story. That is, I found there was plenty happening on screen, and within the character dialogue which I had missed.
Likely, this occurs because visually the production sets are stunning. This distracting content, unless you are a lot more attentive than me, really does inform the viewer's core understanding of who to pay attention to on screen. I make this point because the production does tend to flood the senses, possibly easily distracting from what is really key, and what you must pay close attention to. I had to go back and watch the first episode again.
This drama attempts to explain the historical developmental legacy which became the infamous Bene Gesserit sisterhood. These women, as filial advisors - truth sayers, become core to galactic politics; and thereby, the power expressed by the various houses of the Frank Herbert's Dune imperium - the original author. As an organisation, they have their own agenda and priorities. And this agenda is all about power and control, including influencing the very Emperor who presides over the empire. Also, there is an eugenics element to the story. Meaning, the Bene Gesserit secretly seek to breed a superior being - their own creature, one who will govern in their name.
Thus, this five part series looks to tell the tale of strong independent women acting to fulfil a decades long legacy of interbred political influence, to achieve a utopian outcome they intend to shape and control. In that sense, alone, this is a great premise for a story. It predates Paul Atreides, familiar to us from Dune, by more than 10,000 years. Also, the Bene Gesserit sisterhood and the current imperium, itself, is pre-dated by a prior war against artificial intelligence - a machine war some one hundred plus years earlier. This aspect to the story, AI technology, may prove to be significant later in the series.
So who should we pay attention to? I guess this depends upon your own perspective. However, I would strongly suggest, early on, keeping an attentive eye and ear on Duncan Hart. He is much more than he initially appears. Finally, if this first episode is anything to go by; the power of influence exerted by the sisterhood is not the only player. In fact, it would seem, they have an agency which is actively seeking to undermine and disrupt their plans and sustainability.
The Lord of the Rings: The Rings of Power (2022)
A Fabulous Rich Production with a Unfortunately Unentertaining Storyline
I am a fervent fan of all the Tolkien stories, but this Amazon production seems far too focussed upon the subtlety of Sauron's machinations and manipulations, and not in telling a good character-based story. Often the story is quite bland and boring. For me, many scenes are desperately underwhelming in their impact upon the audience. It's a real pity because cinematically, overall production values, in terms of recreating Tolkein's early Middle Earth, are simply spectacular. Sauron's portrayal is subtle and powerfully indicative of the character brought to life, but not very entertaining to watch. The breadth and depth of the character portrayals in the second series results in several depictions of numerous strong characters, but without a strong storyline to justify their place or engagement on the screen, in terms of audience interest. This is not always true, specifically, but never the less is a frequently repeated pattern.
Unfortunately, the two characters I found most engaging and exciting, the as yet unnamed, Gandalf, and highly endearing, Tom Bombidil, were unfortunately not well represented in the second series. The former, is not actually in this timeline according to Tolkein's origin tales. Dramatically, this is not very engaging as a sequence of events for the audience. The later episodes, seventh and eighth, seem to finally break from this pattern because the rings are basically finished. The battle scene in episode seven is remarkably striking and exciting.
The two strongest characters, Elrond and Galadriel, while consistently portrayed on screen, were not particularly compelling agents in this tale. They both seem to be lacking any real strength or vigour compared to their representations in the earlier original Tolkein storylines. Somehow, while these two characters are core to this production, as series two unfolds they both seem to deflate, like a slowly leaking punctured tire. Undoubtedly, this is intentional, as the writers wish to show the desperation of the Elven people at this point in their history. The intent, I imagine, is to portray, through their own weakness, their willingness to unknowingly adopt a corrupted source of power to resolve their problems. Galadriel, for instance just seems more an angry and vengeful character than an inspirational leader of her people. Elrond, while considered and thoughtful, also seems washed out and rather powerless compared to earlier Tolkein portrayals.
So, although I understand the importance of the rings of power in the storyline, it seems this production's masters, and in turn, the writers, have sought to emphasise the wrong aspects of this period of Middle Earth mythology. Sure, the rings of power are critical to what happens in both the Hobbit and Lord of the Rings plotlines, but it's the characters which are the most endearing, not the corrupted process of the production of the rings, themselves. That perspective of the story just doesn't translate well into dramatisation.
Fallout (2024)
A Fresh Start to the End of the World
Fallout is depressingly dystopian. Of course, that is as it should be: it's the end of the so-called civilised world. Strangely, while it's tempting to make comparisons of the world before and after the atomic apocalypse, in the case of the Fallout universe, it's more tricky.
Malevolence just seems more overt post apocalypse; otherwise, perhaps it's not so different. Perhaps pre-apocalypse, the darkness in people just hid more effectively in the shadows; later, there was no need for it to be hidden.
Again, because Fallout gamers and neophyte non-gamer viewers will bring entirely different expectations to their viewer experiences, the storyline has to try to accommodate both. The latter viewer will probably bring an initially confused, and understandably naive perspective in their viewing of Vault Tec curated realities.
They're (newbie viewers) are likely to accept the suggestion of a utopian-like pseudo way of life (within a vault fallout shelter), away from apocalyptic horror and radiation hazard. We learn, eventually, what the vaults are, in truth. It turns out, vaults are not so benevolent in their design intent. Rather, the idea behind their development, the reason for which they were built, may be something quite horrific. Outside and inside mayn't be so different.
So, depending on whether you're new to the Fallout universe or not, viewer expectations, accordingly, are likely to be quite different. Graphic violence, tribal power struggles, mutated horrors, and the near complete devolution of humanity, all offer an unsavoury tableau of human woe and depravity. This is the textured palette with which the creators have to work.
As a result, I found myself a little disappointed the first series didn't progress further than it did, story wise. However, the reality is, many viewers are new to the concepts and ideas of the Fallout universe. So that's just the way it is.
Dune: Part Two (2024)
Breathless, Brealth Taking and Brazen
Dune II is very loud, and not just the sound track or effects. The characters, the actors, their masterful delivery, the settings, the dialogue, the writing, the storyline, the production, effects and photography, the direction; all these things vibrate with a heavy, redolent air of urgency, crisis and gravitas. There is an immense emotive weight behind this movie's production. The primary actors in this tale are powerful and astonishingly well portrayed. The heavy religious backstory which empowers this movie is unvoiced but dominant never the less. Violence, and there is no shortage of that, prevails, but seemingly it is more a response to genocidal repression than a specific ethnic pogrom, or politic strategy.
Even so, the response of the Freman to their attackers, is grounded, inherent and succinctly Neolithic in the timbre of its violence. Hand to hand interchanges with sacred blades, the teeth of the massive sand worms, leaves most foes with some serious linkage. Eventually, though, politics does win out. Where the third installment of this series will go, a la the original books' storyline, is difficult to conceive. This is not because it is not written, rather it's because it becomes harder to understand and relate to. At the end of the movie, the humble, self-effacing Paul Atreides seems left behind in the in escapably blind willingness to surrender to his own predestined fate as Emperor. Seemingly, the new Duke has become much more than human.
Interview with the Vampire (2022)
Maton Dressed As Sexy Cool Lamb
Having seen the 1994 iteration of this story, portrayed by Brad Pitt and Tom Cruise, this later version is entirely more accessible.
However, in some ways, this time, the brash, incisive manner of Daniel Malloy's character, (the ailing, elderly journalist), informs an uncurated mirror for Louis de Pointe du Luc, inhibiting attempts to sanitise and self-curate his own story. He (Molloy), tries to cut through the spin. In this sense, both Daniel and Louis' characters present as both compelling and believable in their roles.
Unfortunately though, we must set fanciful romantic notions aside concerning inhuman longevity and super human physicality. Louis is really just another serial killer. That is, he is a murderer, a master manipulator who victimised and killed people without terrestrial accountability. He has indiscriminately ended lives and caused wave upon wave of grief, pain and harm with little or no consequence.
What then does Louis hope for from Molloy? It seems, in some regards, he wants to curate his own history, to rewrite and reinterpret the human wreckage that is his life as a demon-like criminal. Likely, he, (Louis) wishes to use Molloy to achieve this.
While wealth and privilege may allow Louis to position his identity and persona as self abhorrent, recalcitrant, repentant and contrite; honestly, it's difficult to swallow. This is especially true, given he appears to have entirely and actively avoided culpability, responsibility for his actions.
It is in this sense, the plotline backstory struggles for significance and meaning. Molloy labours to hold Louis accountable. Though, in the end Molloy seems more interested in the book sales his interviews will yield than anything else.
The actors are well cast. The lead characters faultlessly deliver inherently believable performances. Yet, like other prisoners imprisoned for serial murder, they plead their own victimhood. The intrinsic self denial and inhumane disconnect between victim and perpetrator is a seemingly an unbridgeable gulf their self image cannot seem to reconcile.
I can not help thinking this story's portrayal is nothing more than a depiction of two appalling criminals. Two mass murders, whose story is made up to look sexy and cool. Surely this is like poisoning the very well you drink from; is it not?
Accordingly, we see many dramas these days which market crime, violence, and indiscriminate selfish disregard for the welfare of others, as fine; as long as you can make it appear cool and sexy. Ocean's Eleven makes you feel crime is good, cool, sexy and clever. Is that really what we want our children to believe?
Oppenheimer (2023)
The Atomic Politicisation of Inhumane Destructive Power
Oppenheimer is very long movie. Certainly, while he (Oppenheimer) may have been cast in the media as central to the success of the Manhattan Project; clearly, it was a collective effort of scientists, not just one.
Sadly, what is missing, unexplored in this dramatization, is the Japanese victims' perspective. We see, post WW2 uphoria, with Japan's surrender, in the American public eyes.
I am not convinced this movie really comes to grips with the ignominy of the American political decision to use nuclear weapons on the Japanese general public. Rather, the story seems imbalanced. Surely, the key issue with nuclear weapons is not their power but their indiscriminate mass destructive capability. I'm not sure this victim orientated view is really given voice in this drama.
A Spy Among Friends (2022)
Excellent British Spy Drama
'A Spy Amongst Friends' is a demanding dramatic production. It insists its audience vest close attention in both the key actors, and the rather complex plotline.
Set in the sixties era of the early cold war, it is a classic British spy drama.
For me, supported by an exceptional supporting cast, it is Anna Maxwell Martin who stands out as a performer. Her character, Lily Thomas, is delightfully situated. In her role, she delivers. Her character is positioned as an antithetical antagonist to the misogynist MI5 organisational culture. In a male dominated social space, entrenched by upper class British intellectuals, and peers of the realm, stupidity falls at the feet of the old boys club.
Lily Thomas is literally the cat amongst the pigeons, tasked to evaluate and assess a senior MI6 (SIS) spymaster. Noncompliant with the male network of trust and innately insular existential social hierarchy, she (Lily), cuts through the masculine dogma and gender obfuscation.
This is a fictional drama which uses mostly real world player's involved in a time of near collapse of the British secret services. It is very well written. Actors et al deliver a collective continuum of stella performances. This is not an action movie, but for the attentive, vested viewer it is exciting, compelling and highly rewarding.
House of the Dragon (2022)
Dry Politics and Insipid Plotting
Having viewed five episodes of this 11 episode series, I am a rather disappointed audience member, if not a little bored. However, it would be mistaken to imply this new outing of Game of Throne is boring, overall, but sadly there is something across the storyline and premise which are nowhere near as compelling as the original. I feel this is true of numerous characters, plotlines and premise. They just do not deliver. Essentially, this storyline revolves around the politics of succession to the throne. Unsurprisingly, then, the story remains rooted in politics and political subtleties, intrigues, which do not transalte that well on screen. The cinematogrphy, casting and acting are strong, overall, but the premise and writing, possibly the directors and producers, also, seem to look to realise a vision which remains orphaned from the original's gripping excitement and interpersonal drama.
Further, I am surprised at the constantly highly regarded ratings assigned to numerous episodes which, to me are necessarily worthy of such recognition. I will not say more here, but the phrase ratings manipulation does come to mind. I can only hope the remaining episodes do produce content worthy of high ratings.
Star Trek: Strange New Worlds: A Quality of Mercy (2022)
A Disappointing Finale'
This Startrek series, up to the final episode, has been remarkably relatable, in terms of actor and script delivery when considering the humanity of the key characters involved. Stories have been well scripted and well anchored in solid character development. This is not true, I felt, of the finale. Rather, this last episode presented as, at times wooden and heavily choreographed, and not in a flattering way.
While the underlying premise, the ultimate outcome of Captain Pyke' S life, and what his respective strategy is in response future knowledge of his fate (remained the core of the story), it become a rather troubling muddle. To explain, we are introduced to new variations on previously presented events concerning Jim Kirk and Pyke. Such that, it seems history is rewritten. For me, the narrative (storyline) felt an awkward and clumbsy hash. Disappointed viewer.
Doctor Strange in the Multiverse of Madness (2022)
More Candyfloss Entertainment - Another Fantastical Disappointment
'Doctor Strange in the Multiverse of Madness' is another candy floss entertainment assembled in sympathy with it's many, many other, sister stories, situated inside the Marvel Universe of heroes. Again, sadly, this MU genre is typified by violence; allegedly endorsed by heroic figures who primarily save and solve critical problems with violence. Essentially, MU movies lurch from one dire situation to another; whereby, superheroes solve and save the non-heroic general population from various critical problems - usually alien threats, seeking to extinguish mankind's existence. Thus, the viewer is entirely primed to assume, more or less, the ends justify the means, in terms of the heroes' conduct. Failure is a zero sum game, and the human race and Earth, are accordingly, situated as significant and important; such that, aliens or similar architypes feel compelled to invade or menace humanity accordingly. It is never considered that westernised, secular, individualist living, itself, remains at the heart of the majority of humanity's ills and degrading well being.
However, while, on the face of it, the multitude of MU heroic characters leads to an, apparently, endless flow of stories; productively similar themes result in similar responses and the resolutions. Violence is justified, because it is the means and mechanism for resolving dire threats. At the core of this universal space of heroism resides some rather inflated views of humanity, American culture, the human race, and where America fits within the scope of the rest of the world. Handily, one is meant to subscribe to the notion America stands for what is right and true; at least, the MU characters version of America, anyhow.
Thereby, we come to this movie, and its impact and texture, as a light entertainment event. Thematically, it is hard not to conclude the creators and writers of this form of drama see the symbolism of superheroes as significant and relevant to the our present times. In short, we (the westernized human race), have so many and so vast a spectrum of unresolvable problems we have to fantasize of fantastic solutions, as a sort of one stop shop, to solve the ills of humanity.
As to the question of whether this approach to contextualizing our lives actually has any value, or meaningful instruction; such consideration quickly become lost in a near continuous flow of action sequences - usually involving violence or visually complex activities. Arguably, then, this content should be promoted as content unsuitable for children; and yet, it's likely children are its primary consumers. Although, disconcertingly, also likely, many adults find such productions worthy of their attention. Unfortunately, however, I struggle to see how the MU industry offers any real value to the discussion concerning the human race, humanity's problems, or our innate weaknesses and self-generated ills.
Perhaps, I am just missing the point. MU, potentially, is all about displacing our daily concerns, letting go our worries and engrossing ourselves in someone else's crisis, one where we have no real vested interest. As to whether, in the face of the quickly multiplying list of global crises facing human beings, one should situate one's head in the sand, as astrategy, remains doubtful. Is denial a sensible response to a pressing need to face up to the consequences of how we live our lives? So, in summary, if you are still reading this opinion piece, this movie is yet another mindless American movie produced under industrially creative conditions to appeal to the least of our concerns or considerations. If this is your priority, likely you'll enjoy this movie.
The Tower (2021)
Where Are the Powerful Women - More Stereotypical Portrayals of Women as Unequal to Men?
For me, good drama is frequently noteworthy because it makes a strong statement concerning the character's humanity. That is, the storyline attempts to tell the tale of the lives of people one can relate to, but also who are not purposefully portrayed as seemingly mindless victims or deviants terrorising ancillary characters. Again, from my own perspective, most good drama starts with an interesting and compelling premise, allowing characters to express self-acceptance, honest self-appraisal.
Hopefully, then, such character situation informs a platform whereby characters choose to overcome their own vulnerabilities, limitations, and admit their own mistakes. In short, characters engagement reflect some sincere attempt reform aberrant or deviant behaviour, or weakness. Sadly, all to often, writers and creative directors situate their dramatic portrays; such that, inhumanity, addiction and anti-social expression are normalised, if not legitimised. Such portrays, again from my own perspective, I find quite depressing and of unhealthy appeal. Such dramas seem merely to enable and indulge our own human weaknesses. Such content seems to make a statement which endorses the worse we have to offer of ourselves as human beings.
'The Tower', based on the first book of Kate London's Metropolitan trilogy book series, Post Mortem, suggestively situates female characters as stereotypically emotional, questionably weak or incapable, and prone to unhealthy, or recovering from, broken relationships. Moreover, male supervisory (police) staff are portrayed as either coercive, or manipulative towards their female underlings. I have not read any of Kate London's books. Thereby, I cannot comment on whether the TV series is only reflecting the character ethos portrayed in London's writing. However, for me, this dramatic series presents as entirely uninspiring and creatively stale. Sadly, the actors, their perforamnces standout as clear quality unmatched by the storyline of the production treatment and creative ethos.
Importantly, however, women, in this series, are not portrayed in a strong or empowered light. Rather, males are shown as in-charge, sexually powerful, and manipulating and coercing women to their own ends. Essentially, in this drama men have the power and women are not equal in their standing to men, as the writer sees it.
While this positioning of women is likely representative of all to common contemporary reality of male-female relationships - professional and domestic; unfortunately, I question what value this writer and series producer really brings to the screen. If anything the problem of the prominence of the patriarchal dominance of men in society hardly makes for new, or inspiring drama. If anything, it is old news, and depressing. Why cannot we be treated with more positive representational treatment of women and men, interacting in a healthier and more equitably honest, positive manner? Instead of male superiors, why cannot we see more women in positions of power and inspiration?
This series, to my eyes, fails to lift itself out of the stereotypes emblematic of what is so very wrong with society; and, is so frequently normalised through mass media such as this drama.
Sweet Tooth (2021)
A Reshingly Clean Dramatic Pallette
Often drama, of rather those who author scripts for screen productions, forget the inherent need for human beings to self reflect. Most particularly, this means to self reflect upon our weaknesses and socio-culural inhumanities. Of course, alternatively, many of us would rather live in denial.
The weave of this production's story constructs a fabric of social and cultural space fraught with a celebration of human weakness, cruelty and cultural ignorance. There are, thank goodness, also positive highlights as well. Sadly, the former human engagement is often and all too frequently wholly symbolic of life experienced on a daily basis by minorities, globally.
Situated upon the exegency of a failed public health crisis, this drama paints a portrait of a human collective. Notably, this population represents the remants of a deeply shattered American society, and inherent it's charcacterist precursor racial unreconcilations.
Overall, these survivors, who arguably have sacomed to fear, desperation and a deeply felt inhuman prejudice masquerading as survival instinct, struggle to fing meaning in their lives. Perhaps like many on regular daily life today.
Disclosure: I have only viewed this first few of the earlier episodes.
Be warned. This story does not paint a marvel universe scene of humanity succeeding. On the contrary, this drama unfolds a depiction of depressingly disturbing proportions. More so, this is true because it involves the victimisation and violation of children. Such that, like most ethnic discrimination, it is enacted in the name of ethnocentric bio-social and cultural purity.
The Wheel of Time (2021)
A Divergent Storyline Increasingly Unrelated to the Book it is Based Upon
'The Wheel of Time' (2021) has a storyline which diverges from the book quite notably. That is, the two, the book and the TV series (the first), are associated but not really that similar. For me, this is somewhat of a disappointment. Specifically, things happened in the series entirely absent from the book's narrative and plotline.
Such that, I am not really sure where the series is going, and I an not certain the former will arrive at a worthwhile destination. Already, some characters from the book have been situated as if to aggrandise their importance in the storyline, or have been killed off. However, it is also possible the storyline writing for the series found the book's narrative and plotline unsuited to a television drama, and have thus rewritten it.
For me, having had the self-re-enforced good idea of reading the book while watching the series, this has been a mixed experience, both good and bad. Some characters are killed off unexpectedly, others are attributed with much more significance in the storyline that they are in the book. Overall, this has left me rather deflated, and feeling the series story is leaning dangerously towards becoming lost in it's own attempt at poetic license and creative writing.
However, given the book is the basis for the series, I do wonder how this is supposed to be a sensible choice of production design and directorial vision. I sight the example of the Dune trilogy; which, until the production, the most recent one, reproduced the vision and storyline of the original author, entirely failed to capture the magic and richness of the story and its various characters, despite numerous attempts - well two, I think.
Voyagers (2021)
A Wholly Sterile & Pretensious Storyline
Voyagers (2021) struggles as a compelling movie; at least, that was my perception of it as a production. It seems sterile, devoid of any relatable humanity, characterised by individuals who appeared to have little or no human-like anchoring, beyond their own individual want. Disclosure: I could not watch this production end to end. Rather, I skipped through it. So, arguably, my analysis, thoughts and assessment, in this sense, may lack any real weight.
Even so, I did not find the characters compelling, nor the story realistic in addressing the most obvious short coming of it's premise - to find a new planet for human life. Specifically, no real note was taken of the inherent problem humanity itself has with a pattern of behaviour which frequently leaves and uses the environment such that it is considered disposable. Furthermore, the sterile situating of the children's upbringing, devoid of natural surrounds and experiences with indigenous environments, seems to leave the teenage players, framing them as synthetic and cartoon-like. This is not a well written and produced piece of drama. If anything, this production rates as a practice peice of up and coming actors.
Debris (2021)
A Question of Identity - Who are we really?
'Debris' (2021) is a North American production, a production of NBC drama development. Accompanying this production are numerous assumptions, often applied as scientifically empirical evidence, to strongly infer alien technology is the answer to the common enigmas of human life.
Although, why aliens would not be encumbered by the same problems as us remains entirely unclear. Specifically, science, for example, cannot explain life and death, it can only detect symptoms of its presence or absence. Intangibly, spiritual language and vocabulary references this deficiency attributing our sentience to the presence or absence of our soul.
One argument, according to Vedic philosophy, accounts for this unreconciled reality by attributing our identity, not to our body, but to our soul. Further, it reconciles our confusion and unrealised true happiness with the revelation that the soul or jivashakti is not a substance of our material universe, but of the Divine, and thereby God - like a drop of water to the ocean. In short, we are soul, and eternally linked to God, but bound within this material realm, until we realise God through his grace. God is all powerful and complete, souls are powerless and incomplete absent of God realisation. Our only aim is to realise God with truly be happy and thereby freed an endless cycle of birth and death.
If this Vedic premise is accepted, then, aliens certainly would not have the answers to the conundrum of human life and ultimate happiness. Simply put, aliens would be stuck in the same situation as we are, no better or no worse, only different. However, such a premise would unmake the exigency and suggested import of this production's premise.
Substantively, we are situated with the assumption aliens, their advanced technology, and thereby their knowledge, could instruct and inform an improvement of the human condition. Why aliens would be concerned, as such, with the human race, is left to the imagination. Likely, this form of thinking is an extension of westernised human ideals which position the human race as something much more than the outcomes of its prevalence and impact upon our own planet. Collectively, the human race as a population, are not truly represented in the achievements and abstractions of the few, who stand alone as unique, and laudable. For most of us, we are the consumers of the outcomes of our own misguided patterns of behaviour, unsustainable wastefulness and callous indifference to other's suffering, produced in pursuit of our own selfish indulgence.
However, if one allows themselves to be caught in the idea that aliens are somehow the likely saviour of mankind, then this storyline may make some sense. Whether this production's persistently misguided militarist approach to such investigation of these phenomena therefore makes any sense, or holds any real likely value, probably depends on your view of westernised existentialism. It seems to me the American and British motivations embedded in this storyline are both focused upon exploitation rather than cultural or social understanding, instruction or learning.
In the end, as per usual, it is a race to own the biggest and most powerful weapons. Surely, this contemporises the more salient truth that the human race is lead, by in large, by a collective of power hungry males who cannot see past their own inability to control everyone else as they see fit - life as they see it is a zero sum game. Thereby, we have the plot of the X-Files. Plot elements reflect similarities to Fringe.
Shadow and Bone (2021)
A Richly Visual Portayal of Uncompelling & Sterlile Characters
'Shadow and Bone' offers the pretence of a complex story, but it's underlying premise is not really so unique or compelling. Set within an late 19th century technological context where magical capability and extra-capable beings and fauna abound, visually and situationally, an interesting stage is framed for our lead characters.
However, as often happens with stories narrated and choreographed these day, in keeping with the Marvel universe school of creativity, characters are not that accessible or emotively relatable as human beings. This society is heavily militarist, and the worst of humanity are promoted as inherently grounded in the righteousness of their own authority and privilege. Little beauty of the human spirit is celebrated or revealed. There is little in this society which is likely will appeal to those individuals seeking something other than material or physical emancipation or engrossment.
Again, with this production, as with numerous Marvel Universe-like productions, the human story, the humanity of the characters, all these elements take a back seat to visual grandeur and special effects to inform the director's vision. It is a struggle to really feel connected with any of the characters. While physical objectification and sexualisation of characters may sell this production's attraction to a segment of the general audience, for the audience member looking to connect with characters, and an in-depth storyline, this series will likely disappoint.
Sicario (2015)
A Mised Opportinity to Revisit the Question of Criminal Drug Cartels
America will never win the unwinnable war on drugs because the economy of illicit commerce is just too powerful, too profitable. The criminal organisations - networks, have more money, organisational power and social penetration; and in numerous cases, they have become acceptably, normalised social institutions: alternative to government structures - police, legal system or social support systems. The American government, like many other sovereign powers, has heavily politicised the illicit drug trade.
Such that, the alleged 'war on drugs' is an entirely unsuccessful strategy for resolving the social and societal problems of recreational drug use and illicit corporatized drug manufacture and supply empowered by criminal networks. Furthermore, the supply chains which fuel this trade have also become potent conduits for people trafficking and terrorist financing and infiltration. Logistically and psychologically these criminal networks feed off, exploit and recruit from the vulnerable and unprivileged of society. The weak and criminally inclined of society can become intergenerationally entwined with such networks. Societal and institutionally reinforced inequality promote and reproduce the disparities which rarefy the social legitimacy of criminal pathways for economic survival and material success.
Suffice to say there is now no easy solution to eradicating the profusion of international criminal networks because they have become so complex, well resourced and multi-threaded. Now, criminal networks are realising the potential profits in neo-criminal enterprises such as cybercrime. Finally, digital currencies are facilitating the movement of economic value without government oversight or control. Many international banking institutions, perhaps in response to the impacts of 2008 financial crisis, are now recognised as end points for criminal profits through blatant, systematised money laundering schemes. This, again represents another mechanism which informs legitimising and normalizing the economics of criminal networks.
Allegedly, the creative narrative of the dramatic production - movie, 'Sicario' (2015) reflects a fictional depiction of American foreign policy. Such that, criminal network drug supply chains out of Mexico are now targeted by the CIA. This approach is both justified and empowered in reflection of the US government's inability to control illicit drug distribution and the inherent culture of violence which underpins it.
The lead character, a senior FBI specialist in criminal abduction cases, is conscripted to legitimise domestic CIA engagement, something normally outside their officially sanctioned mandate. Why Emily Blunt's character allows herself to be drawn into this government level conspiracy of desperation is entirely unclear, if not unbelievable.
We are encouraged to believe choices to continue such engagement, by her character, reflect a personal inability to reconcile the outrageous lawlessness of criminal networks and their seemingly uncontested persistence in US society. While the sentiment is understandable, the scenario is, likely, entirely implausible. For example, consider the level of political will required to direct and authorise such an undertaking. Surely, such a strategy is more likely to end in both legal failure and political disaster.
Essentially, this movie's narrative is a reproduction of a version of the commonly informed US foreign policy tenet - 'the ends justify the means'. It remains the same thinking which established, maintained and justified the special interrogation methods of Guantanamo Bay. Arguably, this production is little more than American-nationalist, popularist narrative targeted at a specific segment of the marginally discerning US population of movie goers. No one is asking the hard questions. For instance, why is US society so dependent upon chemical control of their human responses to life's anxieties?
The Burnt Orange Heresy (2019)
A Subtle Thriller - Well Crafted and Delivered
'The Burnt Orange Hersey' is an enigmatic psychological thriller situated in the subtle end of the genre. Operatively, the social, cultural and psychological terrain which constructs the creative fabric of this production is informed by the ultra-privileged few, reflected in the esoteric collection and adoration of high art - paintings in particular. Behaviourally, this pattern of engagement, high art appreciation and collection, reflects personal and public statements of elitism which may or may not have a rational basis in fact.
Possibly, much of the valuation and specificity of art appreciation may be only the production of social construction - someone's opinion. Even so, art does have, on occasion, very real and eye watering, economic symbology. Those who authenticate and value art certainty function to enforce a self-fulfilling prophecy which informs much of the economic value of works of art, and thus, their collectability.
Dramatically, this production features a small cast of well selected players, who manage, as characters, to encourage the belief, they themselves seek or reside within the proximity of privilege and elitist lifestyles as a matter of their own speciality, beauty or erudition. The premise is founded on base human greed, desire and a powerful sense of entitlement. Arguably, and ultimately, this may motivate one character to a complete disregard for human life, humanity and good sense in attempt to fulfil this belief in their entitlement - to riches, fame, elitist recognition, success. Psychologically, this is one commonly framed explanation for criminal white- or blue-collar offending.
Contradictorily, some of this production's characters are benign, not overly soiled by the inherent disparities and inequities which bracket gross displays of privilege and its entitlements - likely out of wilful ignorance. As such, they merely transition through the landscape of privilege as birds through a natural feature. However, powerfully situated in tension with the inherent beauty and ambiance of European villa life is the emergence of intense desire unfulfilled, where envy and jealousy give way to criminal entitlement and brutal, criminal self-justification. Thus, we observe the transition of one key protagonist from critical social mediocrity, as a art critic; one who sabotaged his own career, to something entirely self absorbed, menacing and monstrous.
This is a smoothly crafted and played production. It boasts a strong cast, if salubrious, all of whom deliver believable performances. Visually, this scenario plays out across a social landscape which endorses the normality and speciality of privilege as a natural feature of human existentialism, belaying the inequities and disparities so inherent to their way of life for the majority of the world's population.
The Nevers (2021)
An Astoshingly Honest & Human Portayal of an Alternative Reality
Stories can be powerful, especially when they offer possibility or potential for change, or an alternative perspective. As such, it is imagination, its boundless and unfettered scope, which can breach the confines and frames of normality and conformity. Surprisingly, then, stories can be quite transformative, but only if those who attend them are engaged, vested and compelled to consider, or dare, to imagine the other. The alternative. What if things were different? To ask questions of the way things are, and to envision something else.
'The Nevers' attempts to situate the viewer is such a position, where society, of the early twentieth century England, an emerging centre of socio-cultural and imperial power, is structured with the impacts of burgeoning, uncompromised and unknown human potential. Practically, such potential takes the form of extra-human capabilities, suggestively induced through the foreign influences of an unexplainably, transformative alien power.
Thus, the storyline, societal scene and cultural milieu, are set for massive change and even huge socio-political upheaval. Why? Power and who controls it would remain in the hands of the rank and file, not the government, or the masters of the British Empire - the English gentry. As such, those who are of privilege - wealth, power and authority, fear their hold over society may be disrupted or even displaced. The structure of their society could be inverted.
Yet again, powerful drama is delivered, not because of action sequences or special effects, but because of the raw courage of writers and actors willing to engage with their audience: to share their humanity. For the alert and aware observer, this is a refreshing experience which quickly vests the character, and most particularly, the protagonist's humanity, as something key to the storyline's development and creative projection. My own sense of connection and empathy for the characters, like and dislike, was, and is, very much invoked. As such, this production is a powerfully successful dramatization of the writer's' and director's creative vision. The cast, and their astonishing honesty in their character portrayals, is a work of considerable beauty and theatrical sophistication.
A Quiet Place Part II (2020)
A Courageous Display of Feminist and Collectivist Empowerment
'A Quiet Place Part II', as a North American dramatic production, steps out of the all too frequent Hollywood template of storytelling. How is this achieved, and why is this significant and meaningful? Well, first, culturally and socially, this production attempts to address the inherent reproduction of sexist and minority stereotypes around women and disabled persons. Second, the narrative makes a bold and courageous statement in terms of a realistic portrayal of the equally self-efficacious nature of gender and sex assignment roles. Women are, and continue to be, just as capable as men, assuming they are willing to invest, and vest, themselves in their own capability and efficacy. The same principle applies, frequently, I imagine, to disabled persons, as well.
So, in terms or storyline development and creative projection, how does this impact this dramatic production? Fist, the lead male protagonist, the husband and father figure, is no longer present, having fallen prey to the ever-present threat of alien predation. Now, children, a mother, and a hearing deficient daughter must function as a singular, effective survival system. Failure is death, effectively. There is no second chance; although, we discover that is not entirely true. Regardless, this remains a worthwhile rule to attempt to adhere to if one is to survive this post-apocalyptic state of ongoing crisis.
Again, as with all good character driven drama, the humanity of the characters is allowed to shine. Such that, the family's own stereotypical attitudes towards what is possible and achievable, by children, adolescents and disabled persons, is often far in excess of what our comfort zone would normally allow. Inevitably, crisis sets its own standards of comfort zone - an uncomfortable one. Creatively, the storyline manages to inform and situate almost every character with their own opportunity to shine, as an individual.
Operatively, we observe this when agents display a willingness to sacrifice for the benefit of the collective - the family or kinship group. This is a not an inherently westernised approach, culturally. Although, frequently, under recognised, and often maligned, it is common to indigenous cultures, and it does represent a stronger societal option for wellbeing.
In fact, collectivism, arguably, offers far richer rewards than individualist culture, so frequently promoted in our daily, mostly westernised existential state socio-political focus. How? Simply put, it reflects the value of the whole, not just the parts in a societal context of wellbeing. In short, within a collectivist approach, one has to consider not just outcomes for ourselves, but for those we love, and those who surround us, and our environment, equally and continually.
Mare of Easttown (2021)
A Well Written Portrayal of Human Frailty and Failing Within Smalltown Pennsylvania, USA
"Mare of Easttown' presents, in some regards, a strong creative contribution on the part of Kate Winslet. On screen she is cast as a lead story protagonist: a senior, Pennsylvania police detective. Specifically, to what degree an executive producer impacts the production, when one amongst 12, is likely questionable, however. This production is heavily character driven, which says a lot about of the sophistication and quality of the writing, cast, and directorial framing of this series.
Kate Winslet, the familiar face and person, takes a backseat to the very human portrayal of a struggling law enforcement officer, coping with the rigors and anxieties of on-going and escalating incidents of missing, believed murdered or abducted, teenage girls. Domestically, Kate's character faces a legacy of family social upheaval and instability.
Operatively, Mare's father took his own life during mid-childhood years. She has also lost a son, who also took his own life, both likely unable to cope with, what is suggested as, inherited mental conditions of ill-health. Kate's character, Mare, is integral to a number of core community social structures which interconnect her extended family. Her brother is the local Catholic priest.
This dramatization is very much about the legacies of family and community. Characters reflect people attempting to cope with unfulfilled and unrelenting existential challenges. Some characters succeed, others fail, subjected to the daily pressures of their lives, their family social, psychological and biological legacies. Overall, influentially, is the encroaching North American culturally disconnected ethos of gender bias, intimate partner violence and social stigmatisation, discrimination and prejudice reflecting a deep social disparity. Looking closely at people's lives, the observer is cast as witness to a continuum of social and psychological dysfunction, reflecting the often deeply compromised wellbeing of many of this community's citizenry. Human beings are cast as entirely imperfect actors adrift in their own lives. Something, a premsie, which, perhaps many people can relate to.
This dramatization is not likely to appeal to viewers looking to engage is shallow entertainment and peripheral interaction with the story's characters. Peoples' faults are revealed; good people do bad things, and bad things happen to good people. Seemingly, some individuals seek to cope with daily life by turning to predating upon the weak and the vulnerable - young adolescent women.
The marvel of this production is its smooth and easy realism. Especially, this is true in how honest and banal much of character interaction is in telling a much deeper and human story of those involved. Courageously, this production weaves the frail humanity of it's characters across the screen, eliciting a powerfully compelling storyline and portrayal in an elegantly depicted, multi-dimensional tale of a community victimised by criminal predation and human weakness.
The Brave (2017)
America Knows Best - Unable to Learn From Decades of Foreign Policy Disasters
'The Brave' represents a North American production. Culturally, this dramatization reflects a heavily, patriotically militarist endorsement of American foreign policy, portrayed in a characteristically romanticised version of reality. As such, this production's creative projection, like many others of similar theme originating from likeminded production houses, situates American special forces most flatteringly. Special forces operators are imagined as well informed, in control, technically well-resourced and clearly positioned as legitimate and justified actors against foreign terrorists engaged on foreign soil. Symbolically, America is positioned as legitimate in operating unsanctioned, inside foreign state borders, as it sees fit.
Overall, the specific motivation for the first episode's storyline, in terms of mission objective, is to demonstrate all worthy Americans overseas are robustly and actively protected by the threat of American governmental retribution, if victimised by terrorists. Clearly, this narrative assertion reflects popularist American military propaganda and total un-realism. Evidence of this fact is recognisable in the numerous American citizens killed and injured in terrorist related incidents internationally, who, more often than not, many terrorist organisations rationalise as legitimate targets.
While this production may attempt to reflect a new story or perspective, in terms of how American Special Forces are represented; contextually, the story is neither new, nor the active players significantly different. The victim(s) are situated as American citizens, pious, innocent and altruistic actors, seeking to improve the quality of life for the indigenous population - which may be true, although likely, culturally ethnocentric. In this case, this relates to a female surgeon who works helping patients suffering from operable blindness to once again see.
Creatively, time is dealt with at the pace of a digital game environment, where events and responses are sequentially linked; such that, America forces are situated as comparatively omnipotent, informed and respectively omni-capable. Again, great pains are taken to avoid maligning the American military; rather, is it the faceless, back-office central command who are cast as the impersonal and unsympathetic background power brokers, remote from the human cost, human beings, death and disfigurement on the ground.
Certainty and clarity of thought, understanding and action are emphasised as core to American agency; again, inferring a strong element of militarist propaganda. Likely, the reality on the ground is something entirely other; especially given the cultural disconnection between American individualist ethos and value systems, middle eastern collectivism and Islamic politico-religious social structures.
In short, this production follows the standard endorsement of US military acting in a foreign state with self-considered and self-authorised justification. American sovereign determined priorities are followed by the legitimate prosecution of American foreign policy in foreign states as if foreign nations were American colonies, themselves.
America knows best, and the American military acts to ensure the clarion altruism of American foreign policy is executed with a salient exigency of the self-righteous and the militarist dominance of a world power. Little weight or consideration is given to the context of the situation, other than what is pertinent to the American perspective and American priorities; even though, formally, America has no legitimate stake in indigenous command and control.
American success, in this storylline, is ratified and recognised through the freeing of the American victim, and the summary execution of terrorist leadership figures involved. Ultimately, the storyline narrative reflects the ideal that all anti-American terrorists should die. Operatively, this ideal is prosecuted by a righteous death stroke, handily executed by the US special forces.
Little or no attempt is made to rationalise or empathise with the indigenous perspective or local cultural differences aligned with the meaning and significance of the situation from the native point of view. This series represents popularist-political, pro-military entertainment targeting the US domestic audience. Likely, the majority of US viewers will spend little time considering the unpopularity of American foreign policy from an international perspective.
This series represents a generic form of pro-American entertainment which has been generated decade upon decade while ignoring the true nature of America's relationship with the rest of the world. Certainly, such productions do strongly serve as distraction from the inherent social, socio-economic and ethno-cultural divisions which actively fragment contemporary American society today.
Sylvie's Love (2020)
A Wonderfully Fulfilling Narrative and Beautifully Crafted Storyline
'Sylvie's Love' is a movie which opens to a simple scene in Harlem, New York, USA, during the early 1960s. Sylvie is occupied in her father's (vinyl) record store, watching black and white evening television, passing time. Robert, as we come to learn his name, is a passing pedestrian, sees Sylvie and siezes his moment to act, attracted by her striking visage.
Pleasantly, this dramatization is heavily populated by a talented African American cast of well-chosen actors. Furthermore, while racism sits on the distant periphery of the creative projection of this movie's narrative fabric, it does not frame or limit the characters' existential ambitions or career outcomes or portrayals.
Sylvie, the character, comes from a semi-privileged family, whose parental ambitions for their daughter are heavily situated by her mother's belief in the significance of marrying in to wealth and privilege. Feminine social conformity is the fabric of Sylvie's mother's maternal reality. Sylvie is engaged by the specific intent of her parental social positioning of her life. Sylvie is an intelligent, independent, and critical thinker whose sense of herself, and those around her, does not necessarily conform or align with orthodox feminine stereotypes. However, she is socialised to conform with her mother's ambitions, and also her father's strong-minded approach to truthful self-fulfilment and existential honesty. Symbolically, Sylvie is perhaps representative of a modern, strong feminist role model, more likely to emerge as an empowered professional than a stereotypical homemaker. Likely, this aspect of Sylvie reflects a commonality with Robert.
Robert comes from an under privileged background. His demeanour and focus reflect a quiet and creatively intelligent ambition to see his musical aspirations fulfilled. He is a gifted saxophonist who plays with an emerging African American band of musicians. His life and professional situation appear likely to court rampant success - mostly thanks to his natural musical talents. Robert's parental influence faded with the death of his parents earlier in his life. Music is Robert's prominent, spiritual-emotional outlet which is quickly attracting the attentions of some promoters of that period and place: European opportunities are whispered. Thereby, Sylvie's and Robert's social and socio-economic trajectories are markedly different; although, clearly, Robert's soulful honesty and insightful intelligence appeals to her, intensely.
Overall, the narrative and creative discourse of this production situates two African Americans as successful, or capable of success; interestingly, situating them in conflicting trajectories of social and class-based patterns of existential pathways of difference. Fast food has not yet emerged in American society, so people are slim and fit. Musical trends are rapidly changing according to the dynamism of the 1960 international music scene. Thereby, a jazz musician has a limited potential for professional career fulfilment.
This production is beautifully woven together as both a storyline, in terms of the writing, cinematography, casting, wardrobe provisioning, and as a creative projection with its background scene structure and production tone, complexion and dramatic ambiance. For the audience; at least for me, this movie delivers a most intimate experience of a story of romance, sadness and struggle to accept or reject the importance of a deeply hear felt connection with another human being. Actors readily share their humanity and vulnerability with the screen audience in a manner which is wholly embracing and welcomingly inviting. Very rewarding viewing. A beautifully crafted and delivered production.
Apparitions (2008)
The Acting, the Cast, Helmed By Martin Shaw, Anchor this Prouction
'Apparitions', absent of the dramatically grounded gravitas informed by Martin Shaw, would likely be a whole other dramatic production. Although, in fairness to many other deeply talented and salient actors also involved in this series, likely that is not entirely accurate. Unfortunately, the elephant in the room looms large in this storyline: the inelegant monstrosity which we recognise as the Catholic church.
While the exigency of the story's creative projection demands the audience vest their faith in the Catholic church as a positive actor, striving to see God's will done on earth; unfortunately, the hypocrisy of this premise cannot be understated. Specifically, this is true given that organisation's checked history of complicit engagement in the decades old cover-up of on-going sexual abuse of children under the paroral care of the church.
Even so, Martin Shaw's acting, eminently supported by a multi-talented supporting cast, does deliver performances which are deeply grounded in the humanity of its characters. Luckily, this screen portrayal is rendered mostly absent of the church's own pseudo-religious and political motives or self-serving pontification. Thereby, the story advances through the humanity and pseudo-religious existentialism of the characters without over-emphasising the altruism of the Catholic church, or its inherent self-important bureaucracy.
However, again, the writing struggles with the fervent demand to vest belief in an anti-God, the devil, apparently in legitimisation of the relevance of Christendom, and the Catholic church in particular. Sadly, this is not new, and essentially rehashes the historic storylines of a trove of crass and repetitive tales anchored in horror specific to this genre.
Refreshingly, it is the people, the characters, and the character actors who construct the fabric of this tale, not the writers or the over-arching politics of the Catholic church and its religious self-importance. Believability is thereby informed by the compelling performances of this production's cast, not its premise. In this sense, this production is powerfully successful. However, as an opportunity to retell an old tale, we are stuck with politics, language, vocabulary and religous-social structures which allow little latitude for reinterpretation of an old storyline premise - good versus evil mediated by Catholic rituals of exorcism.