Westworld Season 2 Trailer Thoughts

Note: Obvious spoilers for season one. I don’t underestimate people’s stupidity.

Jonathan Nolan might be another sibling who lives in the shadow of their older brother. However, that doesn’t mean he doesn’t have his own impressive wealth of talent and achievements. Prior to adapting Westworld (based on the 1973 film). Jonathan created the short story that led to Memento. He also co-wrote most of Christopher Nolan’s films, including The Prestige, The Dark Knight trilogy and Interstellar. Alongside his wife, Lisa Joy, Jonathan also brought us one of the best series of 2016. The second season is set to premiere in less than a month and this trailer will make that month pass by slowly.

Side note, I always found it interesting that the author of Jurassic World, Michael Chrichton previously created another work about a theme park where the guests end up threatened by the attractions. Both Westworld and Jurassic Park analyze the hubris of humans and the consequences of meddling with technology beyond our understanding.

The music from Westworld’s first season was actually one of my highlights. The opening credits are one of the few ones I always watch. While the visuals are arresting, the music is what I remember better. Ramin Djawadi helps to bring the show to life, just like he did with his score for Game of Thrones. The music in this trailer ended up being the highlight for me as well, with Djawadi’s orchestral version of Nirvana’s “Heart-Shaped Box”.

Last season ended on what many people might call a cliffhanger, with the hosts apparently primed for war. This second trailer shows us that wasn’t a bait and switch. Most of the footage we see are the hosts fighting against military forces trying to threaten their sanctuary. Dolores (Evan Rachel Wood) appears to have a key role in the revolution, along with Teddy (James Marsden). Meanwhile, Maeve (Thandie Newton) is still deadset on finding her daughter. Am I the only one that thought she should have just stayed on the train last season? Anyway, last season ended with her getting a map to other worlds hidden within the park, including Shogun world. It will be interesting to get some deviation from the Western-themed park that dominated the first season. Maeve’s story also brings back Hector, who was one of my favourite characters from the first season.

In this trailer, and some promotional pictures, we actually see a host-in-progress attacking someone. By host-in-progress I mean the hosts who have not yet had skin dye grafted on. They are just the white shells that all the extra features are molded over.

I am interested most in seeing where William a.k.a The Man in Black goes from this point on. He says he wants to burn the whole place down and I am curious to see exactly what he does to reach that point. There are promotional stills and shots in the trailer where we see the older version of William (Ed Harris) speaking with Dorothy. It looks like they may be allies for some point in the story, at least until they draw closer to their respective goals.

It looks like there is more world-building to be done, but the second season still looks like it will offer a more explosive season than the last. However, I am sure there will also be plenty to digest in terms of character development and the philosophical questions that always accompany shows that revolve around the idea of consciousness.

Metalhead: Black Mirror

Note: Just some quick thoughts motivated by a podcast I was listening to. The @decipherscif podcast was going through the second half of season 4 of Black Mirror, breaking down the science in episodes like Black Museum. Interestingly, when the conversation moved to “Metalhead” the podcasters pretty much skipped the episode, criticizing its plot.

For anyone who’s been reading the blog, you’ll know Black Mirror is one of my favourite tv shows. I recommend it to people anytime the topic of tv pops up. When I heard about a fourth season on Netflix I completely forgot about wrapping up season 5 of Samurai Jack and moved on to Black Mirror. The season has birthed some new favourites for myself and other fans, such as “Black Museum” and “USS Callister”. It has birthed some episodes that might land in the middle, such as “Crocodile” or “Arkangel”. Season 4 has also birthed an episode that I personally believes gets an unfair helping of hate, “Metalhead”.

Now, it is easy for me to see why the hate exists, but I don’t think the hate exists simply because the episode is poorly done television. For many, “Metalhead” was likely just an unwelcome deviation from what they expected in a Black Mirror episode. The philosophical underpinnings weren’t as salient, and the episode doesn’t offer any of the twists or turns fans came to expect. Instead, “Metalhead” offered a simple chase sequence that has drawn comparisons to Mad Max and Terminator. Compared to the episodes that came before, “Metalhead” was a drastic shift.

Personally, I still put “The Waldo Moment” at the bottom of my list, and people may consider my reasoning shallow, but I could not stand the voice the actor used for the cartoon character. The messages were good and turned out to be quite relevant (cough, Trump) but it is an episode I refuse to revisit.

I have always loved post-apocalyptic stories, and although the Skynet-esque trope of technology hunting down humankind has been done, I still found the episode very engaging. It is not the type of scenario that can ask the same type of questions about topics like consciousness or reality, but “Metalhead” did leave me speculating what led to the world we see in the episode. We can guess the dogs were a military weapon that either went rogue, or may be hunting a certain segment of the population. I liked the fact that we were left to speculate about the details surrounding the character’s predicament. I also thought it was amusing to see a more literal representation of technology leading to death. While some may criticize the subtlety of this episode, I also think there is a segment of fans who like to feel smart because they watch the show, just like the denizens of Rick and Morty fans who claim you have to be pretty smart to “get it”.  An episode like “Metalhead” breaks the illusion of philosophical theater.

Maybe “Metalhead” was a bad Black Mirror episode but it certainly wasn’t bad tv.

Dark and Stranger Things

I recently finished watching Netflix’s “Dark”, knowing that it was drawing lots of comparisons to “Stranger Things”. After watching the show, I am reminded of the comparisons people made between IT (2017) and “Stranger Things”. Both involve kids, and both took place in the 1980s. That was pretty much it for the comparisons and that was enough for people to throw out words like “rip-off”.

With “Dark” and “Stranger Things”, both shows involve a missing kid and sci-fi elements. That is it for comparisons. The cast is mostly comprised of adults and teenagers, with a teenaged main character (as opposed to kids). There aren’t any sci-fi monsters in “Dark”, and the time travel theme is a far cry from what we got in “Stranger Things”.

If we always reduce a show or movie to its most basic elements, it is easy to compare just about any film to another one e.g. you can reduce The Dark Knight to a story about a man who lost his parents. Then you can compare it to a lot of other films that are actually nowhere near close. Although we have so much information available online people either don’t come across facts, or aren’t bothered to look up facts that clear up their ignorance. For example, all of the IT trailers (if I’m not mistaken) advertised the film as a Stephen King adaptation. Yet you still get idiots that said IT was inspired by “Stranger Things”, when in fact it is the other way around. Pacific Rim got compared to Transformers simply because they both have robots, even though the plots are actually very different, and the inspiration for Pacific Rim came from a 1958 anime called Tetsujin 28.

“Dark” is a strong show, with a somewhat unsatisfactory ending, that is a victim of the online sound chamber: People who parrot the criticisms that they hear online, refusing to think for themselves and viewing their entertainment through a lens that someone else placed on them. Any issues I have with “Dark”, have nothing to do with comparisons to “Stranger Things” or any other show.

Black Mirror: USS Callister-Bullied Becomes The Bully

Note: Happy New Year everyone.

The past week has been a dead zone with the holidays, but I am happy to return to this blog in 2018. As always, there are New Year’s Resolutions, but I intend to stick to these ones. I refuse to be like the horde of people who swarm the gym in January and February, before disappearing in March. Two of my biggest writing goals are to have something published in 2018, whether it’s an article or a poetry piece. The second is to complete my fourth book, Alive: Part II. I have already tried to get all of my previous works published but I realize now that it will likely be easier to get smaller pieces published, and use those to gain some traction for attempting to publish my novels.

Without further ado, I present some thoughts on Episode 4.1 of Black Mirror.

*******

I would be lying if I said that Black Mirror won me over instantly. While I was still enthralled by most of the first episode, the ending could have been a breaking point. I understood the purpose of the ending and the rationale but I could not help but be repulsed by it. Then again, that was the show’s intention. Black Mirror is this generation’s Twilight Zone and it would be a disservice to stop watching because it makes you squirm. At the most basic level, the show analyzes how technology affects the way we interact with each other. From my least favourite, The Waldo Moment (that stupid voice really got on my nerves) to Shut Up and Dance or White Christmas, technology is central to the stories.

Season 4 continues the trend with an episode that is dark but also lighter than many of the others. “USS Callister” is a story about wish fulfilment and escapism gone wrong, and those are the elements that I wanted to focus on in this piece. I wasn’t interested in doing a review, although I will say that the performances were great and that I loved the homage to Star Trek. The ending is meant to be happy but I can’t help but wonder if an infinity surrounded by online trolls is truly happiness.

I think anyone who has ever been bullied or ostracized could initially empathize with Daly. Of course, forcing the female members of Space Fleet to kiss him at the end of every game was undeniably creepy and I’m not going to defend that. What I could relate to more was a fantasy where you are a hero to your bullies. That is why I found it interesting that Daly is unquestionably a villain by the end.

In a sense, Daly’s escapism prevents him from asserting himself in real life. He hides behind technology to avoid confrontation. Many people do this, with the mentality that it is easier or more polite. Ghosting is just one of the many anti-social and spineless methods people now use in an attempt to avoid uncomfortable situations. However, uncomfortable situations are a part of life and it is impossible to mature without them. Instead of being more assertive in real-life, Daly goes to the other extreme in his modified version of Infinity. He goes from a pushover to a tyrant, when what he needed to become in the real-world was something in between.

His rejection by his peers guides him further away from them, and further into Infinity. As part of the vicious cycle, this only makes him more off-putting. The staring that causes Shania Lowry to avoid Daly, is implied to be part of his vetting process. He analyzes his potential subjects to see what objects he can steal in order to add them to his game. Of course, his staring is also a part of his fantasizing and the literal possessiveness that we see play out in Infinity. 

What I have always liked about Black Mirror and science-fiction as a whole is that it can use outlandish concepts to mask or examine relevant truths. “Hated in the Nation” attacks online mobs, “Men Against Fire” attacks prejudice and propaganda, “San Junipero” and “USS Callister” examine virtual realities.  Daly is no different than the online trolls who abuse others in order to feel a sense of power they likely don’t have in the real world, the supposed “Kings of Space”. As technology evolves, these trolls will evolve too. People will retreat further from the real, avoiding confrontation and the truth to hide deeper in their fantasies.

Bates Motel Finale

Spoilers for Bates Motel

I started the fifth and final season of Bates Motel soon after its premiere in February but just finished the last episode this weekend. The delay was not due to a lack of interest in the series itself, but more of a lack of interest in Kodi. I used the streaming service for any show that either wasn’t available on Netflix or didn’t have its latest season there. After dealing with the crash of one Kodi add-on after another, I grew sick of Kodi and then retreated exclusively to Netflix offerings for a long time.

Since I finished watching the first season of Hemlock Grove and Big Mouth, I finally made time to wrap up one of my favourite shows. This piece isn’t necessarily a review, it’s just an offering of some of the things on my mind after finally finishing.

Bates Motel was marketed as a “contemporary prequel” to 1960’s Psycho, and like some intended prequels I didn’t expect the events to line up exactly. The original film doesn’t give us too much about Norman Bates’s background, except the fact that he killed his mom and her lover out of jealousy. Seasons 1-3 were untouched territory in terms of Norman Bates’s development, and his relationship with his mother and other women.

While I detested some of the subplots in these seasons, mainly due to the terrible acting on display from the high school girls, especially Nicola Peltz as Bradley Martin. This woman has the ability to ruin anything she touches, whether it’s bringing down Bates Motel or adding to the misery of The Last Airbender.

Pictured above: One great actor, along with a black hole of charisma and screen presence.

I digress.

While Peltz’s acting was awful, Norman’s relationship with her actually explained why he would grow even closer to his mother. After pursuing a girl he liked, he was rejected and used. Then Norma was quick to take advantage of that and reinforce all of the negative ideas swirling in Norman’s head about other women. While Norman had a good relationship with Emma Decody, she became his “good girl” in a sense: The sweeter girl who he ignored. By the time Norman moved on from Bradley, Emma was moving on from him.

Seasons 3, 4 and 5 got us closer to the formation of the Norman Bates we see in Psycho. While it was always implied that Norman’s blackouts were another personality taking over, season 4 gave us our first real glimpse of Mother taking over Norman. When Bradley dies, Norma isn’t represented as a figure alongside him. She literally embodies him. This is similar to a moment where Norman confronts his uncle, Caleb, in season 2, but Bradley’s death actually shows us Vera on camera in Freddie’s place.

Followed by Bradley’s death:

With Bradley’s death at the end of season 3, one of the worst actors in the show is removed and more importantly, we get closer to Psycho. Norma and Romero get married in season 4, starting off for financial purposes and then developing into real love. At this point, I wondered if Romero would be the lover that drives Norman to commit a double homicide.

Later in the season we find out that Norman doesn’t kill Romero and Norma at the same time, but mother dearest does meet death at her son’s hands. This was a change from the movie mythos but one change I did not expect was Norman’s death at the hands of his brother.

From the beginning I assumed that any character not referenced in Pyscho would be dead by the time the show ended. I imagined that Norman would remain the only main cast member alive, managing the motel by himself as the show ended. This theory got thrown out when a character from the original film, Marion Crane was introduced. Crane, the infamous 1960 shower victim, was the series’s biggest callback to the film. While Crane didn’t serve as the victim in the show, she still played a part in events that sent Norman into full on Psycho territory.

Crane is replaced by Sam Loomis, another person that I was very happy to be rid of.

As I mentioned in a previous post about Bates Motel,  I was happy the show didn’t use the iconic score from the film (good quality uploads are hard to find online). Episode 5.6 became one of my favourites simply for how it handled this scene and for all the possibilities it gave us in future episodes.

Like the movie, Norman has unearthed his mother’s body and brought it back home. He is starting to wear his mother’s clothes and wig when her personality takes over, and for a part of the season it looks like he might avoid punishment for any of his crimes. Norma’s downfall is all tied to a moment of self-awareness and empathy that allows him to confess to his crimes, forcing the police to look into the whereabouts of his victims. By the time Norma takes the reins again it is too late.

Romero dies, mainly because his grief causes him to turn his back on Norman. One of the toughest characters on the show ends up bludgeoned and shot by a kid who’s neck he should have snapped when he had the chance. It is actually my favourite character, Dylan, who ends up being the hero and delivers the biggest shock of the show.

Bates Motel branches off, carving its own path and killing off Norman Bates. Norman gets to be reunited with his mother, while Dylan is reunited with his family. While it was still sad to see Norman die, it was the only way to end his pain and to stop him from harming anyone else. If he was constrained to a mental institution away from his mother for the rest of his life, he would have been miserable. If he remained free, with periodic killings of any woman that “Mother” viewed as a threat, then other people would end up suffering.

The relationship between Dylan and Emma was strained following the confirmation that Norman killed Emma’s mom, but I was happy to see that they remained a couple. Perhaps it would be more realistic that Norman’s actions drove a wedge between them. Then again, it is not like Emma met Norman due to Dylan. It was the other way around. Dylan can’t be blamed for bringing Norman into their lives and he can’t be blamed for what Norman did. Norma is more to blame for refusing to get help for her son, but Emma’s visit to Norma’s grave shows that she still loves and respects Mother.

It’s been a long time coming but I am happy to wrap up one of the few shows that actually continued to get better with each season.

Jason Isaacs and Free Speech

I have previously discussed the phenomenon of people who don’t believe that celebrities are allowed to have opinions. Any political comment, whether it is in an interview or on social media, is derided as inappropriate and a breach of some supposed social contract.

I don’t despite this mindset simply because it has resulted in some actors I like being vehemently criticized. I despise this mindset because of the inherent hypocrisy in it.

The most recent example I will use is a tweet I came across from Jason Isaacs, who expertly called out a Star Trek fan who said his political views are alienating the Star Trek Fan base.

 

So here we see a fan who feels like Jason Isaac’s political views are affecting “the fan base”, which we can translate to “me”. This fan is not speaking out on behalf of others, he is speaking out on behalf of himself. Isaacs previously criticized Trump via tweets and retweets of anti-Trump videos, so this *whitegenocide believer felt the need to call Isaacs out. It is obvious that someone who repeatedly uses the hashtag #whitegenocide doesn’t believe in the value of diversity and is likely to support the President who said Mexico “doesn’t send its best” to America and who also wants to keep Muslims out. So, instead of saying that he disagrees with Isaac’s political views, this twitter user simply tries to say that entertainers as a whole are not allowed to express political opinions.

It looks like @Eye_of_Empire has deleted some of the tweets in the thread since, but his original response to Isaacs appealed to the principle of free speech. So after criticizing someone for exercising their free speech, this user says his comment is appropriate because it was his legal right. Isaacs has that legal right too. Fine, maybe you want to argue that Isaacs is an actor so it is different. It shouldn’t be. Actors are real people too, with their own fears, values and political beliefs.

The real question here is if @Eye_of_Empire would be as upset with Jason Isaacs if Isaacs repeatedly proclaimed his love for Trump and his belief in White Genocide. I doubt that would bother @Eye_of_Empire as much. The idea that actors shouldn’t have opinions is a smokescreen for “actors shouldn’t express views different from mine”. If I disagree with an actor’s political views I say that I disagree, I don’t pretend like my anger is about the principle of actors discussing politics.

I was tempted to pursue another topic for this post but I decided to continue with this one because the irony is a godsend. Diversity and acceptance have always been themes of Star Trek, where people of different races (human and alien) look past their differences and work together. Star Trek even has the distinction of having tv’s first interracial kiss between Uhura and Captain Kirk in 1968. So we have this apparent longtime fan of the show who is disgusted by an actor who speaks out against the bigot in Chief. Welcome to America.

The Punisher Review

After introducing the character in season 2 of Daredevil, Netflix was kind enough to give us a series dedicated to war veteran Frank Castle. The Punisher was my favourite part of Daredevil‘s second season, with the script and Jon Bernthal’s performance helping to humanize the character while also showing how deadly he is.

Before I can review the series itself I have to mention one aspect of this Punisher’s origin that I had a problem with when it was first explained in season 2 of Daredevil. Depending on the line of comics, Frank Castle’s family is either murdered by the mob because they happened to witness a mob hit (e.g. Year One) or because they were collateral damage from a shootout between rival gangs in Central Park (e.g 2004 Punisher Max).

Daredevil reimagined their deaths as collateral damage that was due to a shootout, but a shootout that was the result of a failed sting by District Attorney Samantha Reyes. Frank’s story then became tied to a government cover-up that dominated the plot.

This season continues with more government cover ups, making the plot line seem somewhat stale in comparison to all the material that myself and other comic readers were hoping to see on screen. There are references or nods to characters and arcs from the Max and Year One comics, and we even get a version of Agent William Rawlins from the comics as well. However, anyone hoping for more than that may be disappointed. This is another rendition of The Punisher where the villains are tied intimately to his past, instead of offering a new threat. Now, on with the show.

After killing all of the gang members tied to the Central Park Massacre, Castle fashions a simple new life as construction worker, Pete Castiglione. Frank burns his Punisher vest early in the first episode, symbolizing the end of his war, but it is obvious something will drag him back in. The Punisher’s re-emergence is a short, but bloody and glorious fight that is enhanced with the accompanying music. Speaking of music, Tyler Bates did a masterful job for the show’s soundtrack and the show’s opening is narrowly beaten out by Daredevil’s in my opinion.

Like the first season, this season further explores Frank’s mental state and his view on the world. Like the comics, I am happy to see the show didn’t shy away from being political at times. Some people on YouTube, the bastion of online intellectual discourse, are complaining that the show should “stick to entertainment”. Firstly, these people don’t realize that all shows aren’t obligated to be mindless entertainment. Secondly, the “stay away from politics” talk is usually code for “don’t express views I disagree with”. Final point, people who complain about The Punisher being too political have clearly not read any of the comics.

Frank was a former soldier and the military does play a part in many of the 2004 Max comics. While Frank respects veterans as a whole for their service and sacrifice, he does not respect the institution of the military.

“Fighting for the people who run the world gets you stabbed in the back. You fight the wars they start and feed. You kill the monsters they create…. I’m not going back to war so colt can sell another million M-16s.”

Frank Castle- Punisher Max, Issue #4.

If you think this is a “liberal talking point” as someone else put it, then the character isn’t for you.

The season deals with issues ranging from Post-Traumatic Stress Disorder to the US involvement in Afghanistan, just like some of the comics do. While Frank re-emerges as the Punisher, Homeland Agent Dinah Madani also begins digging into Frank Castle’s past as a way to investigate the death of a policeman she worked with while stationed in Afghanistan. “Agent Orange” also develops an interest in Castle since Castle was involved in an illegal military operation that a mysterious hacker named “Micro” has video evidence of.

Jon Bernthal joins the Marvel stable of actors who excel in their character’s skin. He is joined by a capable cast, with Micro (Ebon-Moss-Bachrach) being the standout since the relationship between the two forms the backbone of the story. In this continuity, Micro’s family is still alive but Micro was forced to fake his own death after being framed by Homeland Security. When Micro attempts to reach out to Frank, Frank finds Micro’s family as a way to gain leverage on him. The interactions between Frank and Micro’s wife, Sarah (Jaime Ray Newman) were interesting at first, since they both lost loved ones and bonded over that. Then the interactions continued, and included more screen-time from Sarah’s bratty son who is also one of the weakest actors in the show. A love triangle quickly developed and this entire subplot was one of my biggest gripes about the show. The chemistry on display between Frank and Karen Page was far better and didn’t leave me wanting to skip certain scenes.

Fortunately, this season also gives us some more memorable villians such as Billy Russo (Ben Barnes) and Lewis Wilson (Daniel Webber). Barnes’s role in Westworld showed that he can play a smug douche pretty well but he gets to do more with the script here, playing a friend turned foe who has profited off his evils.

The action itself integrates good hand-to-hand choreography (looking at you Iron Fist), gunfights and stealth kills that would make Batman proud. The fights weren’t actually that plentiful but the show does a great job of building the tension between the bursts of action (minus the Lieberman house visits).

Overall, I will rank the punisher third among all the Marvel Netfix seasons, behind Jessica Jones and Daredevil Season 1.

Current Ranking.

  1. Daredevil
  2. Jessica Jones
  3. The Punisher
  4. Daredevil Season 2
  5. The Defenders
  6. Luke Cage
  7. Iron Fist

Stranger Things Season 2 Review

Warning: Spoilers Ahead

Following up on my YouTube review, it’s time to share a more in depth review of Stranger Things‘s second season.

Season 2 picks up almost a year after the first. The lab and the upside down are still active. The gang (almost called them the Losers Club) are moving on in the absence of Eleven, although Mike is still struggling with the concept. Will is still haunted by visions of the Upside Down and it soon becomes clear that his visions aren’t all in his head. Meanwhile, Eleven has returned but is confined to one of Hopper’s cabins, for her own safety.

As with season one, the performances are one of the show’s most consistent and powerful redeeming qualities. Winona Ryder and our new Hellboy, David Harbour, return stronger than ever but the kids (or teenagers) continue to shine here. Millie Bobby Brown deservedly gets a lot of attention for her role as Eleven in season 1. Although her lines were limited she was still able to convey great emotion.

In season 2, Hopper has been teaching Eleven more english so the character gets to be more verbally expressive. We still have the facial expressions and other cues from season 1 combined with a character arc that sees Eleven acting on her desire to be free. She has gone from a system with no freedom (the lab), to more freedom with friends, and now she must try to adjust to Hopper as a parental figure who is trying to protect her from men who still want to find her. The relationship between Hopper and Eleven is actually one of my favourite parts of this season and their fight in episode four is one of my favourite moments. It is a conflict where you can empathize with both characters. Eleven understands why she must be kept hidden but after almost a year she is wondering when she will finally be free, and vague declarations of “soon” start to wear thin. Meanwhile, Hopper realizes the danger she places them in by leaving the cabin. His attempts to discipline her are met with pushback that makes you realize how dangerous Eleven could be without a conscience.

 

Despite my love for Eleven, Noah Schapp steals the show here as Will. Although the first season revolved around Will’s disappearance, Will had few lines and relatively little screen time. Here, Will is truly part of the group. For lack of a better term, Will is possessed and his conflict with the monster inside him is a lynchpin of the plot but also allows him to shine. I don’t think people are exaggerating when they say he deserves an Emmy nomination.

Let’s move on to some of the show’s weaker points.

Episode seven, which focuses on Eight and her gang, gets a lot of hate and I can understand why. The episode comes after a cliffhanger in the previous episode, serving as a full 40 minute cutaway that takes us away from Hawkins and the approaching demo-dogs. Due to its timing, the episode can almost come across as filler. Filler is exactly what made me stop watching The Walking Dead. 

I don’t consider episode seven filler, but I must say that it would likely have been better received if Eight was mentioned or referenced a few more times before episodes six and seven. We see Eight in episode one and then she is pretty much MIA until episode seven. I liked the episode itself since it offered a great view of what Eleven could have become. Eight never found the same type of friends and family Eleven did. Eight found other outcasts who stay on the fringes of society, sticking to a limited circle either out of choice or necessity. Eight is guided purely by vengeance, while Eleven’s search was about finding family and getting closure.

Aside from the lesson of the episode I found the episode itself entertaining. I will say that Eight’s gang wasn’t as interesting as Eleven’s. Of course I could be biased since we don’t get as much time with them, but even for an episode the characterization seemed paper thin e.g. the big one, the crazy one etc.

I remember watching season 1’s sensory deprivation scene and thinking that Barb’s death was somewhat glossed over, “gone”. It was great to see the impact her death continues to have on Nancy and Barb’s parents. Barb’s death also provides the plot lynchpin for the group to attack the lab publicly, without having to mention the upside down or anything else that might make them look insane.

For the people who hated that Nancy and Steve stayed together at the end of season one, your prayers were answered this season. I was actually happy that Nancy and Steve were still together at the start of this season. It would have been far too cliched for Nancy to switch that quickly from the jock to the quiet, nerdy guy the jock picked on. Steve was a tool at times in season 1 but he proved himself to be a good person by the end of it. Season 2 gives Steve more heartbreak but also lets his character develop more. Like Will, he is one of the biggest benefactors of this season.

An even weaker point of this season?

Now, the Duffer Bros. said they wanted to introduce a new human villain who wasn’t connected to the lab. Okay, but I think this kind of conflict works best if it also drives the plot forward. For example, perhaps Eleven could have come across someone who begins to threaten her anonymity. Max and Billy’s actors are competent enough, but their impact on the plot is miniscule. The love triangle that started early on in the season between Max, Dustin and Lucas fizzled out pretty early. Billy’s conflict with Steve culminates in the fight at the house, and the ultimate outcome of that fight is that Steve is forced to escort the kids into the tunnels. Steve could have been forced into this some other way. Originally I thought that Max and Billy may be Soviet spies, since Cold War conflict was hinted at throughout the season. If season 3 offers no further revelations about their characters then it seems like their characters were truly random editions.

Their screen time also detracts from more screen time for other characters. Lucas was defined by his relationship with Max this season and it would have been nice to see more of the group together helping Will.

The climax wasn’t boring but I would actually argue that it wasn’t the season’s most exciting point. No main characters died throughout the show’s run so it was clear that Sean Astin’s Bob would likely be a red shirt. Sorry superhero.

Thankfully, Barb’s death was enough to get the lab shut down.

Although Joyce Byers has her boys back, looks like she still needs some luck with men.

Watching Hopper mow down demo-dogs was pretty awesome and Eleven’s brief moment of “flying” made me wonder if she’ll go full Neo in season 3.

We’ll see I guess.

While Max and Billy are proof that more is not always better, season 2 delivers for the most part. It builds on threads from the previous season, develops characters more, answers more questions, raises more questions, and offers more thrills.

Binge Missions

As I start my weekend I was sitting in front of my tv, with Netflix up, wondering what show to watch. In a way, I felt like Don Jon: so many choices making it hard or near impossible to pick something.

Pictured above: Me, but with clothes, I guess.

I have been meaning to finish season seven of Suits for months now, along with season five of Bates Motel. Then I got sidetracked by season (or series) 3 of Luther, which I finished watching this week. Now the question is do I move onto four or try to find more time for all the other shows I have already started, such as season 2 of Attack on Titan.

Not to mention the ones I have been meaning to start for a while now, such as Rick and Morty, because all my friends talk about it. Or Hemlock Grove because of Bill Skarsgard, who nailed his role as Pennywise the Clown in It. 

Let’s not forget all the movies I want to watch as well. My appetite for horror has increased after It and I now want to see Sinister and The Strangers.

All of these shows and movies only scratch the surface. I accept that this is a first world problem at it’s finest. I also accept that I simply can’t, or shouldn’t, make enough time to see all of them.

Who’s Triggered Here? The Jellies and Tyler, The Creator

A few days ago a friend tagged me in the below video.

The Jellies! SDCC Panel

She asked. Tyler the Creator answered. The Jellies! coming soon to Adult Swim.

Posted by Adult Swim on Tuesday, July 25, 2017

 

This video is from a Comic-Con panel for “The Jellies”, an upcoming adult swim show that Tyler, The Creator is producing and starring in as Cornell, a human adopted by jellyfish. “The Jellies” was previously featured on Tyler’s “Golf Media” app, but will now see its debut on television later this year. The original app version of the show featured a white Cornell, and a fan asks (on behalf of her boyfriend) why Cornell is black in the adult swim show.

 

I do have some of Tyler’s songs on my phone, but can’t say that I am a huge fan by any means. These words aren’t the words of a fanboy. These are the words of someone surprised by how calm and articulate Tyler The Creator was in his response. He first challenges the fan to provide him with the names of five main black cartoon characters from shows that are currently airing. No sidekicks, no comic relief. Just black main characters on mainstream television. The fan can’t do it, and I am pretty sure her boyfriend wouldn’t be able to either. From what I understand, Cornell being white was not an important part of his identity in the show. As long as he is human, Cornell’s story, personality and struggles will be the same. The character is not ruined by changing his race. In Cornell, Tyler saw a chance to create a black main character who was not an athlete, a sidekick or comic relief.

Tyler’s response is perfect and also helps to illustrate the double standard concerning race-change that I have talked about repeatedly in my Youtube videos and on this blog. If a character is white-washed, regardless of how important their ethnicity was in the source material, then people argue that we should focus on talent or story, and not race. Anyone who disagrees is labelled a “libtard,” “race-baiter” or the more popular term, “social justice warrior”. If a character is “blackwashed”, then people are no longer “colour-blind”.  The real issue is that people just have a problem seeing more colour on screen. In America, white is considered universal. It often becomes the default.

When you read a novel, what race do you assume the character is? Obviously the author’s race might give you a preconception, especially if the author is known for writing characters of a certain race, or if the publishing house focuses on characters of a certain demographic etc.

Let’s pretend the author is unknown. You don’t know their name or race, and have no indication of what these things could be. The book uses generic descriptions for the character. It does not tell you the character’s name, doesn’t describe their hairstyle, skin tone, nationality, etc. You know the protagonist lives in a multicultural city, that is mostly white, but that is the closest indicator you get to race. You know the protagonist is tall and thin, that is it. What race do you assume?

For many people in America (or Canada in my case), the default is white. In China, the default would likely be to assume the character is Chinese. Even though I am black, I have found myself assuming the character is white unless there is some hint provided they are likely not, such as a description of dark skin or the reveal that they are of Chinese descent. My most recent example was “American Gods”, where I assumed the main character, Shadow, was white until a prison guard asked him if he “had nigger blood in him”. Shadow’s skin is also described as “brown” later in the book.  This made it clear the character might not be black, but likely wasn’t white either.

Like me, many other people do this as well. My point? When white becomes a default, it is easier to view anything else as subversive, “forced” or “politically correct”.

If the Facebook comments are any indication, people will be quick to rattle off a list of black characters and actors in an attempt to shut down Tyler’s argument. Many of these examples will list characters that are not main characters, or list shows that are cancelled or currently not on the air. This makes it clear that people’s comprehension skills are poor or that they likely rushed to the comments before finishing the video.

Even if people manage to list five characters they don’t realize the larger point Tyler is making. They don’t realize what a small percentage all these figures account for. Blacks are over 10% of the population in America, and their representation (especially positive representation) in American film and tv comes nowhere close to reflecting this. As I’ve discussed before, this is also not due to a shortage of talented or aspiring black actors.  More obscure actors aren’t coming out of nowhere for productions like Luke Cage, Black Panther, Straight Outta Compton and The Get Down. They have been waiting for their chance to get a good role. They have been waiting for their chance for the representation that triggers the people who preach about being colour-blind.