I don’t know why but I’m watching Martian Successor Nadesico and Outlaw Star. I guess maybe it’s because both series came out back when you could have more than 13 episodes in a season and could actually spend time with the characters, but not like in the 80s when you’d have 300 episodes where nothing at all happened in each one. I like Outlaw Star more because it’s better at the cliffhanger ending which makes me want to keep watching, but both series are pleasantly unchallenging to watch.
Thanks to, you know, the thing, there have been a few ongoing discussions online and in other places about copaganda shows that invariably always show the police as heroes and minimize or erase real world issues of systemic racism, domestic abuse, etc among the police community.
The conversations reminded me of the show 19-2, which is set among the beat cops of a fictional Montreal police station. It does show moments of heroism – one of its best episodes is a harrowing depiction of cops responding to an active school shooting – along with regular work bullshit like the cops paying for a shoplifter’s frozen turkey because they didn’t want to deal with arrest paperwork. But it also shows cops being unequivocally shit.
The cops’ union rep, for example, is a wife beater. It’s not addressed in a single very special episode divorced from the larger story, either, but is an ongoing subplot over the series, and after an abusive incident so terrible that the violence can’t keep getting swept under the rug, the union negotiates a tearful public apology from the abuser to convince his wife to return to him, which is portrayed as exactly terrible an idea as you would think.
Another cop is an alcoholic and shows up to work drunk or hungover, directly endangering others, but when the protagonist brings it up with his partner, he’s told that reporting the problem is useless since the union knows how to address complaints which can make them seem without substance or taken out of proportion (of course implying that alcoholic cops are so widely found that there’s already a playbook for dealing with complaints about them). Yet another cop gets jumped by some youths and takes out her PTSD by being extra-violent to protesters later on while facing almost no consequences for it.
The biggest omission from the show, though, especially in light of the current protests, is its refusal to show police racism, at least in the episodes I’d seen. This reflects mainstream Canadian reluctance to discuss race beyond rah-rah self-praise for multiculturalism and the equally strong tendency to point to the US as being terrible and therefore that means things aren’t actually that bad (similar to the way white Europeans use the example of the US to avoid dealing with their own problems on racism).
Anyway, I had originally thought the show was just being anti-union, but in retrospect maybe it was being anti-cop union specifically. It’s rare enough to see the realistic bad stuff about police officers being shown in fiction that isolated examples stand out. It’s something to mull over regarding fictional depictions of the thin blue line separating us from the savage hordes of ourselves.
So Tales From the Loop is actually good. It’s set in a small town where everything is centered around a mysterious research facility. The whole thing appears to take place in the 1970’s, except there are decaying robots in the woods and inexplicable sci-fi encounters are a part of life. I’ve only seen the first two episodes, but it looks like there’s a core cast of characters loosely intertwined in each other’s lives, but with the protagonists shifting in each installment.
Even if I hadn’t known already, I probably would have guessed that this was originally a Scandinavian property as its general tone is off-kilter and contemplative. I understand the concept books focused more on the kids, but the show probably didn’t want to come across as copying Stranger Things since they’re both science fiction period pieces.
However, it’s way different anyway, since Stranger Things is awash in nostalgia for a specific period’s consumerism and pop culture, whereas this show feels more like it takes place in a timeless 20th century of no particular decade.
Also, Stranger Things foregrounds its plot elements – stop the Demogorgon, the commies, the thingamabob – whereas this show is all about the emotional consequences of the sci-fi twists. There’s no technobabble solution for letting your best friend down or having your mother break your heart.
Anyway, this is a hearty recommendation from me.
I watched all of Messiah on Netflix, and man, I really liked it.
As you might gather from the trailer, the show is premised on the question, “What if the messiah returned today?” However, the trailer makes it seem like the character depicted is definitely Jesus Christ returned, whereas the show plays coy on whether its central figure is actually divine or whether he’s just a brilliant and charismatic leader using religious fervour and magic tricks to push a revolutionary agenda. As one of the characters on the show even points out, this same question of saviour or con artist would have been applied to the historical Jesus (if he existed) by his contemporaries as well – the character herself comes down on the side of Jesus being “a populist politician with an axe to grind against the Roman empire”.
Messiah begins as follows: as the Islamic State lays siege to Damascus (which is in rebellion to Bashar al-Assad), a street preacher appears claiming that despite all evidence, Daesh shall soon be destroyed. Immediately afterward, a great sandstorm covers the city for an entire month, breaking the siege and demolishing ISIL’s supply lines. Throughout the storm, the street preacher continues to proclaim the supremacy of God’s will, gaining himself followers, and after the storm clears he leads 2,000 people into the desert (and, it’s implied, away from the Syrian government’s retaliation). The people are all Syrian Palestinians and the nameless preacher, now called “al-Masih” (messiah), has led his starving and unarmed followers to the Israeli border to claim the right of return for Palestinians ejected from their homeland.
And this is all in the first episode. The show quickly gets very global in its setting and shows the tentacles of empire, moving between the centre and the periphery, from the site of imperial actions in the Middle East to the source of those actions in the US.
I realize that it’s possible to imagine a horrifically tone deaf Law & Order-style ripped from the headlines hour of TV from the description I’ve given, especially considering that the show’s producers are Mark Burnett of the Survivor reality series and Roma Downey, the lead actor of Touched by an Angel, and considering that this producer couple have apparently made mawkish and pandering Christian-focused sentimental shows.
With that in mind, it’s surprising that the show is actually politically engaging. I mean, just to run through a few plot points – Jesus Christ (potentially) returns to earth and gets interrogated by Shin Bet. The CIA sends out its agents to dig up anything to discredit the messiah. Upon meeting the president of the US, our Lord and Saviour tells him that the path to world peace means withdrawing US troops from all overseas deployments.
The interesting thing is that the question of al-Masih’s divinity is actually immaterial to much of what he says and does. Is he a Russian asset sent to destabilize America? Maybe just some radical with an axe to grind against the American empire? It doesn’t matter, because empires are immoral and you don’t need possess divine wisdom to see this.
I realize, though, that I may be projecting more of own politics onto the show than what it wants to say by itself. For one thing, the show is mostly told through the point of view of a CIA agent, and she is basically what the CIA sees itself as: a passionate defender willing to make the hard choices in defense of the ideals of the Republic. Instead of, you know, Keystone Kops bunglers using unsurpassed money and brutality to enforce hegemony.
Thinking on this further, the show expresses discontent with America but is unable to fully grasp or articulate the causes of America’s sickness. It steps in that direction by using the language of millenarian religion but is unable to move further beyond individual moral failing to larger structural causes. However, it’s possible that the show will go further with that thread in a potential second season.
I admit that a large part of my enjoyment stems from having studied a bit of Biblical theology once upon a time. My religious studies class and I would discuss what it would have meant for a Palestinian Jew to be decrying Roman occupation and criticizing collaborationist elites, while keeping in mind that the Romans wouldn’t have given much of a crap about factional distinctions and probably thought Jesus was just one of countless desert nutjobs who needed killing for the Pax Romana. The show basically took those discussions and set my class’s imaginings in the 21st century. And of course the other part of the show I like is the whole poli sci/international relations nerd crap.
Bottom line? If there’s a second season, I’m definitely watching.
I finished watching The Witcher. The story was too muddled and could have used some tightening up. It could have especially used less frontloading of fantasy gobbledegook – Nilfgaard, Kaer Morhen, Cintra, whateverthehell. I assume part of the problem was the show feeling obligated to stuff the things people liked from the books and games into eight episodes. And a map would have definitely helped. I admit I also get irritated at destiny and chosen one plotlines and usually need an interesting twist on them not to feel annoyed.
I guess the show overall was okay, and apparently getting a season 2. Can’t wait for Netflix to cancel it after that, though, like they always do.
I will say that this is the most Dungeons and Dragons-y live action fantasy show we’ve gotten yet. There are elves, dragons, wizards, and CGI monsters. I guess Game of Thrones paved the way by easing viewers with ice zombies and whatnot.
But let me say, Geralt of Rivia? Not a compelling character.
I’m watching The Rook, which is about a British spy agency staffed by people with superpowers. In the opening scene the protagonist wakes up surrounded by dead bodies and her memories wiped and has to rely on letters she wrote to herself ahead of time to get to the bottom of the conspiracy while pretending that nothing about her has changed.
It adapts a book series I liked and I’m rather glad of the changes made in the translation to screen. One of the things I found enjoyable from the book was the weird asides from the history of the spy agency, like the time they crucified one of their agents for betraying them to the French or when they were almost hunted to extinction by an angry vampire.
However, that style of storytelling obviously wouldn’t work on TV, and of course the more flamboyant superpowers would get expensive for the special effects budget, so things get more toned down and the plot revolves more around spy versus spy in the 21st century. The show really gets into Britain as a panopticon state, but it shows this from the point of view of the watchers. The spies are literally a class apart from the people they spy on, living in expensive condos in the heart of London or old Victorian townhouses. I can’t imagine any of the characters ever watching Coronation Street or going down to the pub for a curry.
I’m reminded of certain criticisms of real world British spies, who tend to be recruited straight out of university and have giant blind spots regarding the people their work revolves around. I’m not sure if this class reading is something the show is deliberately encouraging or whether this is something that just inadvertently creeps into shows about the modern United Kingdom. I mean, I found class issues glaring in The Worst Witch and that show is supposed to be a lighthearted kids’ series about hijinks at magic school.
I do appreciate how much more accessible the show is to people not already fans of the spy genre. Being about a fictional spy agency, it doesn’t get deep into the specific details of the British state and governmentality. Here, for example are some real world British government things that have never been mentioned on The Rook, but do keep coming up in novels about British spydom and are essentially gibberish words for foreign audiences: GCHQ, Whitehall, the Official Secrets Act, COBRA briefings.
Anyway, that was just an aside. In the end, I find The Rook intriguing and am already up to the 4th episode.
I recently finished reading Trekonomics by Manu Saadia. It analyzes the Star Trek shows and movies to discover what kind of economics exists in the Trek universe. I hadn’t realized how dorky the corner of the Internet I regularly traverse is but I was actually already familiar with many of the arguments the book puts forth, though there was less nerdy jargon being thrown around than online. The book takes for granted what the characters claim about the Federation’s society having no money and no want and teases out what that would mean as far as labour, innovation, psychology, and so on.
The end conclusion is that the Federation’s innovation is not technological, but political. It does present an interesting hypothesis for the Drake equation – that thing scientists and sci-fi enthusiasts use when they need to pull a number out of their asses for how many alien civilizations exist in the universe. The book points out that exploring space is inherently unprofitable and that space exploration means creating a society where massive resources are not wasted on convincing people to gamble on mobile games and suing each other over intellectual property violations. Perhaps the main thing preventing aliens from zooming around in space ships is that they never figured out a way to organize their societies around anything besides profitability, which is to say that capitalism is the problem.
It’s an interesting thesis and obviously impossible to test, but seeing as how space exploration stalled once it stopped being a dick measuring contest (i.e., stopped being possible to profit in terms of national prestige) it does make some sense.
Anyway, I found it an interesting read. And I suppose I should really get on with watching Discovery already.
Warrior is the shit. It’s a violent kung fu spaghetti western that’s so very over the top. It’s set in 19th century San Francisco and I think is basically what Bruce Lee had wanted the original Kung Fu TV show to originally look like. The protagonist is literally fresh off the boat from China, but unlike other FOBs he knows kung fu and starts kicking racist ass as soon as he arrives.
The show has a lot about the politics around Chinese immigration at the time – the way politicians stoked working class racism at lost jobs, the way the Irish workers shat on those lower down the ladder than them, the way the rich businessmen gladly exploited the Chinese, the resentment the Chinese had against their oppression, and the gangsters and criminals who didn’t give much of a shit as long as they profited. But all this is expressed in modern-ish language (in fact, very hip hop language), and thanks to the magic of TV we hear English when the Chinese characters are talking all funny among themselves.
Did I mention the show is violent? Because it is. It’s what I wanted out of Into the Badlands and damn if it doesn’t deliver. If nothing else, just watch the opening, it’s stylish as hell. I like the whole 70’s kung fu movie poster thing.
Well well, seems like Netflix is making an anime about Dragon’s Dogma. As might be gathered from my previous writings on the subject (and on the copious number of painstakingly composed screenshots that I’ve uploaded – seriously, you know how hard it was to reach some of those ledges?), I really liked the game.
Having said that, I liked the game as a game, not as a story. The plot itself was quite thin and not really that compelling (though the backstory was kind of interesting). To accurately reflect my own experience of the game, the show had better have extended sequences of the main character climbing up a cyclops to stab it in the crotch. Also it would need to have 20 minutes of catching rabbits and throwing them off a cliff, plus like 50 hours of trying on different outfits.
Still, the Castlevania show on Netflix turned out pretty good and it’s not like that franchise had an especially good story behind it. Of course, Warren Ellis was the one who wrote that adaptation and we still don’t know who Dragon’s Dogma will get. Fingers crossed the anime will be as fun as the game, though.
Two kids’ cartoons I’ve seen and recommend on Netflix: The Dragon Prince and The Hollow:
The first feels very Avatar: The Last Airbender because it was created by two veterans of that show (writers or producers or some shit, I don’t really care about behind the scenes stuff for animated shows). The relationships between the three protagonists, the way the characters talk, and how they relate to their circumstances is just like Avatar – i.e., the characters banter zippily in teen American slang in counterpoint to the seriousness of their quest and in contravention of the accepted cod medieval language of fantasy epics.
Unlike Avatar, the story takes place in a more traditional Western fantasy setting of elves and knights and dragons. Humans and elves are at war, three kids go on a journey to bring peace, they overcome various dangers in each episode, there are exciting an action scenes, etc.
I found it a rather pleasant show to binge, especially since each episode is less than half an hour.
The Hollow is also structured around a journey, but “Lost for kids” would be the better reference point. Three teenagers with amnesia wake up imprisoned in an underground bunker, they make their way through a strange land of monsters and mysteries, weird shit flies at the viewer so fast you forget that a lot of it doesn’t make sense, and there’s a plot twist in the end that may or may not land well for you. There are bunches of jokes but most of them are dumb so I think this is being aimed at a younger audience than the first show.
For some reason it’s made to look like it was made in Flash, but the action scenes are too complex for Flash so I guess the creators just like that style. Maybe they were working within certain budget limits, or maybe they think modern kids have been trained to expect simplistic animation. The episodes are also less than half an hour so I got through the whole thing fast.
The second season for The Dragon Prince has just been announced, but hopefully there will also be one for The Hollow since I could do with more uncomplicated series with short episodes to binge on.
Anyway, this has been a review of Netflix kids’ cartoons shows as evaluated by a thirtysomething Canadian man.