This bloody take on four-color teen heroes is even better, and bloodier, on-screen.
Yeah, there are spoilers here. Sorry. TL;DR: Bloody, but good.
I was a big follower of Robert Kirkman’s Invincible from Day 1 to its conclusion, and I have a complete set of the graphic novels. So I was both looking forward to, and prepared for, the animated series airing on Amazon Prime.
Sort of.
On one level, Invincible is the tale of a high school kid who finally inherits the super-powers he expected from his dad, a Superman-type called Omni-Man. The tale is full of teen angst, learning capabilities, trying to mature, dealing with girlfriends and best friends and having to duck out (yet again) to save the world. It’s conventional in a lot of ways, but well done for all that.
It’s like Riverdale, only with super-powers
The other level is a darker story, of nothing being what it seems. The various other heroes we meet are full of egos, short tempers, and bad personalities. The Global Defense Agency, run by Cecil Stedman, is big picture enough that it engages in sketchy behavior to maintain world order. And, after a relatively idyllic first episode of Mark gaining and learning about his powers, training with his dad, and getting both a costume and a code name …
… his father, Omni-Man, ambushes and kills the Justice League-esque Guardians of the Globe.
And not in a “ha-ha, secret death gas that quietly and cleanly makes them softly collapse” kind of way. It’s a bloody, brutal, flesh-crunching, ichor-spattering, dismembering sort of battle. Superman taking out the Justice League, any way he can. Which Kirkman’s original comic did, but which has a greater impact in animation than on the still page.
Omni-Man has a bad day
That sets the tone for Invincible — a lot of “normal” comic book action, but, when violence occurs, a brutality that is hypothetically realistic (what would it look like if Superman punched someone in the face with all his strength?) but also shocking in its gore factor.
This is a comic book series not for kids. R-rated, at the very least.
That said, it all works, at least for me. The tension between that juxtaposition, the mystery of why Omni-Man killed those super-heroes, and if, and how, his guilt will be unveiled, and what that will mean for his marriage and to his son, Mark — that’s hanging over the season like a sword, and when it finally drops, it is utterly a game-changer, and about has violent as you can imagine a fight between a really pissed-off Superman and an equally angry Superboy could be.
The show all also a rare opportunity for a creator — Robert Kirkman (of Walking Dead fame) — to collaborate on redoing a major opus of his for a new medium and to clean up and improve his story. Which he actually does. As I got into the series, I went back and reread those early graphic novels. Kirkman maintains all the dramatic beats and characters and challenges, but he largely improves on them, tightens them up, makes them work as a coherent tale. Distractions get trimmed. Core development gets better focus. Time frames are accelerated/compressed. Some ethnic diversity gets introduced in some key roles (on screen and in the voice work). It’s overall a better tale in this retelling.
Mark’s sometimes-girlfriend Amber gets recast to add diversity. She’s also rewritten as a better, stronger character.
Invincible is not for everyone. My sainted wife dealt with the series gamely until the final installment. Graphic super-hero violence is on display — not gratuitously, nor incessantly, but, like real-world violence (and this is sort of the point) slamming onto the scene just when you least expect it. Kirkman wants to address what it means when someone throws a bus full of people, or demolishes a building, or what happens when an alien invasion lands downtown and those aren’t convenient “disintegrators” they’re wielding.
And not all stories have happy endings.
But he also wants to give us coming of age tales, teens with power figuring out what those abilities mean, how they should or shouldn’t use them, and why, and what sort of codes of morality they’re going to adopt as they get faced with life-and-death decisions. Mark, as Invincible, is the focus here, but there’s a large cast, and everyone has moral and ethical dilemmas they have to face.
Some of the (large) cast of Invincible. Kirkman does great names.
The animation, from Korea, is top-notch, and very much in line with the original artwork by Ryan Ottley and Cory Walker. The voice talent is good (even if some of the casting doesn’t altogether work for me), and the story fully engaged me, even knowing where things were leading.
Invincible and Atom Eve, comic artInvincible and Atom Eve, animated. They did a great job with the clean style from the comics (except that Eve’s chest logo usually looked like it was a Venus symbol with an X on it, not with an electron cloud).
Looking forward to Season 2. If you have Amazon Prime, and don’t mind some impactful (but meaningful) gore, it’s highly recommended. Rating:
For all the pain and angst, the joy Mark has while flying is always a great thing to see.
Back in the theater again, with a look at what’s coming up.
We went to Black Widow on Friday night (no spoilers review, a fine movie, glad to go see it, and in an actual movie theater no less!), and here are the trailers we saw before the show.
The Protégé– Which, as a Samuel Jackson film about assassins I thought, at first, was for the new The Hitman’s Wife’s Bodyguard film, which it kind of looks like, only with no humor. Meh.
Respect – I’m sure this biopic of Aretha Franklin will get huge plaudits and lead to greater fame for her work, all of which is fine and deserved. But I don’t expect to go see it. Not my cuppa.
Suicide Squad 2 – I’ve managed to avoid watching any trailers for this so far. What I saw looked interesting enough that I’ll certainly see it eventually, maybe even in a theater. It’s less zany than the first one pretended to be (in the trailers, at least), and I’m a long-time fan of the concept.
Old – I’m … not ready for an M Night Shyamalan film yet, sorry. This one does look creepy in a number of ways, but it’s literally warning all of us that there’s a cheap gimmick at the end that will ruin it all.
Snake Eyes – I assume someone has decided to reboot the GI Joe franchise, and they are going the Marvel route of establishing a bunch of solo movies first before getting the gang together, a la The Avengers. If I was at all invested in GI Joe, I might be interested in this film, which looks appropriately actionish. But … I’m not.
Free Guy – An interesting cross between The Truman Show and Ready Player One. Not sure I’m as interested as I am curious about it, but I am open to being swayed to go see it by the time it opens.
Shang-Chi – It’s unfortunate that two comic-booky martial arts movies are coming up a the same time (see Snake Eyes). That said, I’ll almost certainly go to see this because MCU, but, never having been deeply interested in the original character, I’m not sitting at the edge of my seat, waiting for the day. It looks like they’ve filed off the Fu Manchu serial numbers well, and the Ten Rings look like they are not the Mandarin’s Ten Rings (the connection to the group that cause Tony Stark grief remains to be revealed), so that particular bit of Orientalism seems resolved. Still, this martial arts / crime family / super-powers film looks less awesome than it should. We’ll see.
And that was pretty much it, aside from some pre-previews of Jungle Cruise,which looked to be a lot of fun. Not counting that, make it two movies I’m likely to see, one definite maybe.
Black Widow is a fine action flick and a decent (if overdue) wrap-up and send-off for Natasha Romanoff. It doesn’t pay off some of the stuff it sets up, but it’s definitely in the upper half of MCU films.
His take about the “crackdown” on conservatives is self-serving and inane.
Newt Gingrich, Dolt
I know I shouldn’t waste time discussing Newt Gingrich — the cut-throat GOP hack who bears a huge responsibility for the divisiveness of American politics today, almost a quarter century after he became Speaker of the House — but his commentary in Newsweek about the so-called war by the big tech giants on poor little conservatives distills down a bunch of current diatribes on the subject in a way that is, at least, illustrative.
When Twitter and Facebook decided to ban President Donald Trump, censor The New York Post and start erasing other people and institutions from their platforms, they started down a path which will have enormous consequences for them and for America.
When Google, Amazon and Apple joined in taking down Parler, a conservative social media platform, they reached critical mass in proving that an oligarchical cabal was potentially seeking to control public dialogue for all Americans.
Except it proves no such thing. It demonstrates, perhaps, that social media is largely concentrated in a few, most popular platforms — something encouraged, but not dictated, by those companies (something something free market something, isn’t that what you’re usually on about, Newt?) — but going from there to “seeking to control public dialog,” let alone “erasing people and institutions,” is a huge step.
Let’s start with a fundamental question, shall we? Or let’s make it two:
Are social media companies (and their providers) required to give me an account so that I can use their tools?
Are there any limits to what I can use that account to say?
We’ll get back to the first one shortly, because the second one is the key. And that brings us to Parler.
To be fair, it’s a nice logo.
On one level, I’m sorry to see Parler go, because I kept hoping it would drive the serious whackadoodles off of Twitter, rather than me having to block them or, when they go over the rails, report them. (Of course, what actually happened was those folk created Parler accounts, and then kept getting onto Twitter to talk about how horrible Twitter was, post their Parler account name in their profile, and continue to spew their normal nonsense.)
But nobody “took down” Parler because conservatives were “flocking” to it.
I could post, all day long, “Abortion is murder of a baby” or “Donald Trump is the greatest President ever,” and Twitter would never do a darned thing about it. I would expect to draw a lot of criticism, but those posts can be found all over Twitter (and, presumably, Facebook, a platform whose privacy policies I finally rid myself of months ago).
Here’s a page from the filing Amazon made in Parler’s lawsuit. It’s part of a list of comments Amazon presented to Parler over the course of months, complaining that Parler was in breach of the agreement with Amazon not to use its AWS servers to host violent content:
They seem nice.
Does Newt consider that “conservative speech” that needs protection?
Should Amazon be required to host it? Does Amazon’s own brand (let alone whatever corporate mission and vision it holds) take damage from such material being “powered by Amazon”?
Amazon repeatedly went back to Parler with these complaints. Parler showed an inability / unwillingness to do anything about it.
I would suggest Amazon (who was providing the virtual file servers) and Apple and Google (who were providing the optional but commonly used tools to install the Parler application) were fully within their right, under their terms of service, to no longer do business with Parler.
The same case can be made, with a bit more fuzz, in the case of Twitter and Facebook vs. Donald Trump and his enablers. In Twitter’s case, they have allowed Trump to say whatever the hell he wanted to — true, false, or outright crazy — up until after the election. When he started, post-election, started asserting as fact items that were untrue, up to and including the certification of the results of the election, they started flagging his comments as untrue.
And when he started making inflammatory comments that had already, demonstrably, led to violence — and, in fact, was defending the violence and the people who had caused it …
… they decided he had too egregiously violated their terms of service, and chose to cut off their (free) service to him. And they did the same for others who were actively plotting, or supporting plots, of violence against the nation’s political system and, in fact, politicians.
Newt considers this “seeking to control public dialogue for all Americans.”
People noticed that Facebook CEO Mark Zuckerberg and Twitter CEO Jack Dorsey had claimed the right to silence President Trump, who earned more than 74 million votes for reelection. The idea that a few oligarch billionaires could control the political discourse of America began to really worry people.
So there are two falsehoods in this statement.
First, nothing has been done to “silence President Trump.” Donald Trump remains one of the most powerful people in America. When he snaps his fingers, reporters gather, and the highest-rated cable “news” network in America hangs on and echoes his every word. His political operatives bury his potential supporters with blizzards of email sharing his opinions (and soliciting their money).
And as a private citizen, Donald Trump will remain (by his own claims) fabulously wealthy. He could buy or build whatever social media firm he put his mind to.
That two social media companies — two big ones, to be sure, but by no means the only way to communicate out there — have decided (accurately) that his actions violate the terms of using their service, they same as they would moderate any other individual, is by no means “silencing” him.
Heck, Donald — have someone rig up a server, connect it to the Internet, install WordPress on it, and build your own blog. Millions will flock to it. Zuckerberg and Dorsey aren’t obliged to do the work for you, any more than if Trump calls up Rachel Maddow during her show that she’s obliged to put him live on the air, or if Trump demands to have an opinion piece of his printed on the front page of the New York Times that they are obliged to do so.
Back when I was a kid, I can remember people saying that the Freedom of Speech didn’t mean that the government had to buy you a printing press.
(The Right has pressed forward for many years the idea that companies can have political and religious rights, and that companies with religious freedom should be able to not do business with whomever they want. Maybe if Twitter said it was about Jack Dorsey’s religious freedom, rather than about the company’s Terms of Service, Newt would back off.)
The second falsehood is that this “controls the political discourse of America.” The commentariat on the Right have long mocked the Left as being in an echo chamber on places like Twitter, and that the majority fo folk outside of Twitter think very differently. If so … then Trump not being on Twitter to give his opinion shouldn’t matter, should it?
Regardless, these take-downs were not about political opinion. Trump claiming he’s mastered China in foreign policy, or has been the best president possible about COVID-19, or that Joe Biden is a communist … none of that is what got him kicked off of Twitter.
This process of squeezing people out of the public square is inherently dangerous. As President Harry Truman warned, “Once a government is committed to the principle of silencing the voice of opposition, it has only one way to go, and that is down the path of increasingly repressive measures, until it becomes a source of terror to all its citizens and creates a country where everyone lives in fear.”
George Orwell’s 1984 (which was about a Western democracy devouring itself and its citizens in a totalitarian nightmare) captured this terrifying concept of the technological management of memory and opinion.
Except, of course, Twitter and Facebook and Google and Apple and Amazon aren’t the government. Their actions also have nothing to do with “silencing the voice of opposition,” just not being part of enabling that voice.
The cancel culture and social media erasure movements are strikingly like Orwell’s vision of a “memory hole,” in which ideas that those in power no longer deem valid are destroyed so people can no longer access them.
As an amateur historian, I certainly have concern over knowledge and history being lost. But that’s more a problem with our digital society as a whole. If the “failing” New York Times went out of business and took its archives with it, that would be a horrible loss of history and opinion — though I suspect Newt would not be as passionate about it.
But, then, invoking “cancel culture” as a bogey-man is problematic in itself. Did Newt flock to the defense of the Dixie Chicks when they were “canceled” by so many in the country music world for speaking out against George W Bush and the impending Iraq War? “Cancel culture” is, at its heart, a matter of consumer choice in a free marketplace of ideas, something one would assume Newt favors. If I find a media personality’s opinions on something (for example) particularly objectionable, I’m within my rights to avoid that personality. I’m within my rights to share my opinion about it with others. Heck, I might even feel like that the companies that continue to do business with that personality are enabling their message, and complain to them about it — and those companies may, in turn, reevaluate their relationship with that personality either on its own merit or with how it affects their bottom line, and are within their rights to act on that reevaluation.
The results may not be pleasant, or “fair,” or something that Newt (or I) would agree with, but society is messy, and there’s really nowhere in that process where you can demand that it be stopped without infringing on other, just as important rights.
And none of that involves the government, so the First Amendment has nothing to do with it.
The House Democrats’ new rules (adopted Jan. 3 with 217 Democrats voting in favor), which eliminate “mother,” “father,” “son,” “daughter” and more than a dozen other “inappropriate” gender-specific words from the Rules of the House of Representatives is another Orwellian example of retraining us to only think “appropriate” thoughts and use “appropriate” language. Truman’s fears are beginning to come true.
If the House Democrats suggested that official House business refrain from using a racial or religious epithet in reference to members of those groups, would that be Orwellian, Newt?
In this particular case, it’s even more limited than that: a single rules document has had a whole range of gendered language changed (e.g., “seafarer” for “seaman”). In the same set of changes, references to “he or she” were changed to more specific, but ungendered, language. (Was the original change from “he” to “he or she” Orwellian?). And, finally, in that one document, words like “mother” or “father” were replaced by “parent,” and “son” or “daughter” were replaced by “child.”
Eek.
It’s not that words don’t mean things — in fact, the very reason for doing it is because words mean things — but this is less prescriptive than descriptive, reflecting how language and understanding of sex and gender roles as a society is changing. That may make Newt uncomfortable, but it’s not exactly Winston Smith time.
Some have argued that the protections of Section 230 make them indirect agents of the government. The Supreme Court has ruled consistently that private corporations acting as government agents are bound by the U.S. Constitution. Cutting off free speech is a violation of the First Amendment guarantee of liberties, and therefore the companies might be subject to fines and penalties for violating the constitutional rights of their customers.
If Newt is suggesting that businesses that have specific protections under law are arguably agents of the government, that opens a can of worms far bigger than I think Newt wants to go.
That said, I’m pretty sure you could get fired from your government job by posting on a government website, “White people need to ignite their racial identity and rain down suffering and death like a hurricane upon zionists,” First Amendment or not.
The guarantee against lawsuits made sense when we passed it in 1996 (while I was speaker), because it was an effort to grow what were then tiny, fragile companies. Those guarantees no longer make sense when you are dealing with gigantic worldwide institutions of enormous power and wealth.
One can argue whether having deep pockets magically changes whether a company should be sued for doing something or not (tort reform supporters — like, I believe, Newt, have argued the contrary for years, claiming that we need to change such laws because the allow frivolous lawsuits against big companies). But Newt is, intentionally or inadvertently, suggesting making the situation worse.
Because, yeah, in theory Google and Facebook and Twitter might change some of their moderation policies if they had a flood of lawsuits coming in. But, as noted, they are not the extent of social media. Would Parler have been able to stand up to the massive wave of litigation? Would WordPress.org, which hosts an array of blogs?
Heck, if I flag as spam or trash a comment as inappropriate or unpleasant or violent on this very blog, would Newt suggest that I should be a target of a lawsuit? (I mean, yeah, he might suggest it, but would he have an intellectually coherent basis for doing so?)
Third—and the approach I most favor—conservatives should simply create alternative communications systems to provide access for everyone who disagrees with the Left.
Well, duh. I think that’s the best solution, too.
It still backs into the problems that Parler had (and which other “we’re never going to moderate our forums, so come over here, conservative type” sites have had as well): without moderation, any social media site (left, right, or center) becomes a cess pit (see the Amazon material about Parler, above), and, legally, some moderation must, by law, take place, because not all “speech” is legal. Death threats and incitement to violence is not legal. Child pornography is not legal. Conspiracy to commit crimes is not legal.
Ironically, the genius behind the rise of Fox into the dominant news channel, Roger Ailes, had been driven out of political consulting by the Left because it feared and hated him.
Now, we have the latest effort by the left to rig the game, smother dissent, and dictate what we can think, say, and believe.
Weirdly enough, attempts to “smother dissent, and dictate what we can think, say, and believe” are more associated with conservative politics and religion, due to their inherent interest in preserving the status quo. Just saying there might be a little projection going on here.
(Yes, Leftists can be authoritarian as much as Rightists.)
Competition will destroy this left-wing groupthink machine much more quickly, decisively and safely than any effort to regulate or supervise the big internet giants, which will take massive time and effort to defeat their lobbying machines.
Go for it. Though I’d suggest that Facebook and Amazon, trivial evidence to the contrary, epitomize the Right-wing, big business, profit-at-all-costs model than anything the Right is liable to put in its place. But if Newt thinks that a conservative-focused social media / hosting company can (a) compete against Facebook and Twitter and Google and Apple and Amazon, and (b) not become a “big internet giant” and “groupthink machine,” any more than Fox News did not take on the worst aspects of being a big media giant and groupthink machine … there’s nothing stopping him from plowing his money into such an investment.
It’s a free country.
More than 74 million Americans voted for President Trump. At least half of them would be a potential market for an alternative social media-web hosting system. That would be a market of 37 million Americans. If only a small share of non-conservatives came to the new system, that would give it a potential market of more than 40 million Americans.
And over 81 million Americans voted for Biden. Given that only a fraction of the US is on social media, Newt’s numbers here are kind of goofy. Twitter has 36 million active users in the US. Facebook has 190 million users (active or not) in the US — but most of them aren’t there for the politics (left, right, or center), but because their high school friends and family are there. The idea that a specifically conservative-driven social media / web hosting system would draw 40 million users seems … dubious.
But, hey, I’m not a media mogul. Again, go for it. Maybe Donald will invest, too.
I am convinced we Americans will reject domination by oligarchs and insist on our right to be free. We will not be thrown into the “memory hole” by a handful of rich liberals.
Newt never really does explain how banning violent accounts is somehow throwing Americans — even pro-Trump Americans — into the “memory hole,” but it sure sounds impressive.
But, then, Newt’s big into impressive, performative statements, like saying that 2020 is going to be a GOP blow-out like 2016, and like proclaiming he won’t accept Biden as President because, um, he’s angry about Biden. And that he and all the other people who are angry about Biden will mean a massive Republican win in 2022.
Of course, he also said that people angry about Clinton would mean a massive GOP win in 1998 — when the GOP ended up losing House seats, and Gingrich ended up losing his House Speaker job.
A great Doctor is hampered by a mediocre writer/showrunner.
Watched the Doctor Who Christmas New Years Special last night, and was once again reminded (after the long hiatus since the previous series) how much I like the characters/actors in the current iteration, but how little I’m engaged by the plots they are written into in the Chibnall era.
(I’ll try to minimize the spoilers here, beyond what’s been clearly visible in the episode title and very available press materials.)
So, up front, I continue to love Jodie Whittaker’s Doctor — she’s bright, caring, distracted, passionate, haunted. Whittaker is doing a brilliant job with her, and I’m quite sad at the rumors she’s leaving after the next series.
The supporting cast — the Doctor’s “fam” + Cap’n Jack Harkness — are also great here. They are sometimes pushed through some clunky dialog, but it’s been a great, unconventional team.
So that’s the good news.
The bad news is that showrunner Chris Chibnall, after (with some decent justification, but with mediocre substitutes) intentionally benching the Doctor’s class rogue’s gallery during Thirteen’s first series, then completely (and audaciously, but clumsily) rewriting Time Lord and Doctor history in the second series, here gives us The Number One Most Hackneyed Plot in Doctor Who History: a Dalek invasion.
He does so with a few twists, but, ultimately, it’s too derivative and just not well executed, hampered by cartoonishly stupid human villains and too-easily-manipulated alien villains. The most interesting element — the continuing Dalek debate about purity vs. survival — gets far too short shrift, in favor of pyrotechnics and mass slaughter of Brits.
(Also, given that the Daleks have invaded Earth multiple times in the past, and are well-known in government circles — why does nobody raise an eyebrow when they are “introduced” here? Or even give a lampshading, “Here we go again” comment? Answer: lazy writing.)
It’s overall a mediocre outing, which is nigh-unforgiveable given the many months we’ve been without our Doctor fix. There are some good moments — the Doctor’s life as a prisoner of the Judoon, discussions of what being in the Doctor’s circle of friends really means, lots of good character interaction — but the present action is little more than a Monster of the Week tale, and even the character work depended on too much backstory detail that the viewers needed to be forcibly reminded of.
Ah, well — the next series is theoretically showing up sometime in 2021. I look forward to more of Thirteen while we’ve got her.
Goodreads, where I do my book logging, has a nifty little widget to show what reading I logged over the year. It shows I read 138 books, for a total of 33,007 pages. Which sounds much more impressive than it actually is, since it (a) includes the page count for audiobooks, and (b) includes graphic novels which, while potentially literary, read much faster. Indeed, of those 138, a little over half (76) were graphic novels.
The audiobook count was down this year. I only listen to those in the car and, working for home and not vacationing at all, my driving time has been pretty limited.
But besides audiobooks, my overall reading this year was higher than last year. Yay, pandemic!
The most popular book I read in 2020 was The Fellowship of the Ring (3.1 million other people on Goodreads have logged that one). The least popular was Nice Guys Finish Seventh by Ralph Keyes, an interesting book on misquotations (only 45 other people have logged it).
I tend to rate things high — Goodreads says my average rating is 4. Some books I gave 5-star ratings I gave to this year:
Phil Foglio, Queens and Pirates (Girl Genius, Second Journey #5) – mad science hilarity
In older stuff, series I (re)read and offer top marks to include Ed Brubaker’s Gotham Central, Joe Straczynski’s run on Thor, Jason Aaron’s Thor run, Judd Winick’s Hilo, Brian Bendis’ Jessica Jones books, and Garth Ennis’ Preacher series.
None of the above counts some fine 4-star books (of all sorts) I enjoyed this year.
We watched a lot more movies this year than usual — though only one in a movie theater. That was due to the pandemic lockdown, indirectly — that we had the Boy home with us from college after mid-March, as well as my mom living with us for a number of months early in the pandemic, meant lots of opportunities and impetus to watch stuff, whether streaming or on disc.
Looking through my Letterboxd diary, I have 57 entries for the year (compared to 33 in 2019). Of those 57, 45 were rewatches of something I’d seen before, sometimes recently. 44 were flagged with a “♥”; 13 were not.
Let’s look at the best and worst (subjective). The links are to my Letterboxd review for each flick.
Having Christmas carols in the background is part of our holiday ambience
Because why the heck not? I have almost 15 hours of music on my playlist that’s rated over 3/5 stars. I realize the idea of buying a “CD” or other album format is almost as quaint as Currier & Ives prints, but … well, get off my lawn.
Anyway, we have a lot of favorites, but here are some that sort to the top of the 4-5 star list.
Annie Lennox, A Christmas Cornucopia (2010)
Lennox belts things out with such raw passion, that hearing the former Eurythmics star with songs like “Angels from the Realms of Glory,” “God Rest Ye, Merry Gentlemen,” and the Coventry Carol is almost a painful experience.
Bruce Cockburn, Christmas (1993)
These are mostly traditional tunes, sung in a country-pop style by Cockburn. “Mary Had a Baby,” “Down in Yon Forest,” and an original, “Shepherds” are some of my faves.
Loreena McKennitt, To Drive the Cold Winter Away (1994)
McKennitt’s dulcet tones do great with older, traditional English carols (with an occasional original). High marks to the Winter Garden (1995) as well, though it has only five songs on it.
Jo-el Sonnier, et al., Cajun Christmas (2002)
Some fine Cajun / Zydeco Christmas carol instrumentals. Great renditions of “The First Noel” and “Deck the Halls”. Fresh and zingy and fun — just as a carol should be.
Vince Guaraldi Trio, A Charlie Brown Christmas (2012)
A full album of jazzy, piano-forward carols from the guy who did the Charlie Brown Christmas Special of holy name. Very mellow, enjoyable set of background music for any holiday party.
Misc., A Classic Christmas
A great collection of 1950s-60s Christmas tunes from Perry Como, Ella Fitzgerald, Dean Martin, Eartha Kitt, Bing Crosby, et al. We love the mid-century classic carol albums, and this one is a great combo of those.
This one I can’t find on Amazon any more … but, then, I picked it up in a store on a visual impulse buy. And there are plenty of compilations of favorite crooners and classic singers doing Christmas that you can find what you are looking for. That’s how we ended up with a lot of our holiday selections.
Dragnet and Adam-12 were an LAPD-blessed ideals of what cops should be (even if the real cops weren’t).
Jack Webb was politically conservative. His police shows — Dragnet (1967-70), Adam-12 (1968-75) — were profoundly pro-police. They got production assistance from (and gave thanks/credits to) the Los Angeles Police Department, which, in the 60s-70s was billy-club conservative, too.
But, for all that, the shows were an expression of the ideal of “Protect and Serve.” They were, yes, propaganda for the LAPD as to what they wanted to be seen as, but, as such, they were aspirational. And I imprinted on them as what cops should be — not what they were, but what they thought they ought to be.
Dealing with the public for these 60s-70s cops was never easy. Sometimes it was just goofy civilians causing our heroes grief. Sometimes it was folk — good or bad — who were suspicious or disdainful of cops. Sometimes it was dangerous.
Through it all, our protagonists always maintained that public service, “To Protect and Serve” attitude. Even in the face of danger, known or possible, they were by the book, because that’s what made them policemen, not vigilantes.
The shows often touched on how the police regulated themselves, and it was fascinating. They dealt with rules. With procedures. Sometimes scary. Sometimes complex. Sometimes even unfair from a cop’s eye. But that was how it was — that’s what was needed to make cops, like Caesar’s wife, “beyond reproach.”
And the shows did deal with things like police brutality, or even police shootings, as when Friday himself was accused of an unjustified killing in Dragnet. “I thought maybe he had a gun” wasn’t treated as sufficient to get Friday off. “I was in fear of my life” wasn’t an excuse for using a firearm. Proving the other guy shot first was necessary for Friday to keep his job.
Spoilers, sweetie.
Or when Kent McCord, who went on to play Reed on Adam-12, played a cop accused of armed robbery. Friday gives a famous speech about how rough the life of a cop is, but how that’s what he signed up for and is glad he has.
The shows were unapologetically pro-police — but not because police were a special tribe, or uber-warriors, or beyond reproach, but because they were portrayed as dedicated, upright people of duty and honor, and because they policed their own.
There were no police union reps keeping accused cops from being questioned for days. No training films about kill-or-be-killed. No politicians nudge-and-winking abusive behavior against the out groups. No thin blue line of tribal silence when a cop did something illegal.
Civilians weren’t seen as potential threats until proven innocent. Racial prejudice was deemed profoundly unworthy of a protector of all the people. Choke holds and kneeling on someone’s neck would be unthinkable. Kitting up in paramilitary uniforms would have drawn a sneer and a snarky reference to military dictatorships.
When things got *really* serious, they pulled out the shotgun, not the multi-million dollar army surplus tank.
Police were made out to be heroes in these shows because their actions, their ideals, their adherence to duty even dealing with disrespect, stress, frustration, judicial coddling of crooks, was beyond reproach. They were heroes, not in a Hollywood action sort of mold, gunning down the bad guys, but because they had a moral and ethical code and they stuck to it, no matter how difficult. And if anyone stumbled, or questioned that code, the wise elders (Friday, Malloy) stomped on them. Hard. Because being a cop was a trust — and betraying that trust, in any way, hurt everyone.
And for all that Webb was politically conservative, he and his police officers held no truck with racism or authoritarianism. It was way too close to WW2 for that lesson to have been forgotten.
Sure, it wasn’t a realistic portrayal of how the LAPD actually was, let alone is. But it did portray the ideal of what cops should be, with the aid and abetting of an actual police department.
Which brings us to today. Friday and Malloy (and Gannon and Reed) would all have been sorely tempted to take Derek Chauvin and his three buddies into an alley and thrash them within an inch of their lives, all the while lecturing them in Webbian tones as to how they had profoundly betrayed everything that made police better than thugs.
But they wouldn’t have. They would instead have stepped up and slapped the cuffs on. If they had witnessed George Floyd’s killing, and been unable to intervene, they would have been the first to testify as to what they’d seen. Because they would know, in every bone of their bodies, that bad cops are worse than the worst criminals. Because they corrupt the body politic, they destroy trust in our institutions, they make us all less free, less secure, less protected. Because they are traitors to their badges, and profoundly wrong.
It is, I confess, arguably silly to use TV characters as exemplars of how the police should behave. Ditto for, when I see cops acting a certain way or doing certain things, judging them against Reed and Malloy, or Friday and Gannon. What would Joe do?
It would probably involve some speechifying
But these were characters crafted by a man who believed in what the police should be, with the input and guidance of a police department who were willing to put that vision forward as what they strove to at least appear as (even if they fell far below that level). So it’s no less silly than simply shrugging and saying “The cops are always right.”
The Jack Webb shows are myths, if highly detailed ones — and myths always carry truths worth looking at. So I’d rather have a Joe Friday running the Minneapolis PD than its current administration (let alone its loathsome police union leader, Bob Kroll). There would doubtless be policy directions he took I wouldn’t agree with. But he’d also approach the job as a public service, where his goal is to protect and serve the people of the city, not the cops that work there. Where the ideal of being the weary but noble protectors of the people, not their “dominators,” would flower.
For all that TV seems to be on, there are a lot of things we don’t watch.
This one is inspired by Les, who posted his version over here.
You never realize how much/little TV you watch until you fill this out. Put a ✔ by the shows you have watched more than 10 episodes of. How about you?
1. Grey’s Anatomy:
2. Stranger Things:
3. The Vampire Diaries:
4. The Walking Dead:
5. Fear The Walking Dead:
6. Dexter:
7. American Horror Story:
8. Orange is the New Black:
9. A Million Little Things:
10. This is Us:
11. The Simpsons: ✔ – I’ve never been a regular viewer, but have certainly watched more than 10 over the years.
12. New Amsterdam:
13. Manifest:
14. How To Get Away With Murder:
15. Breaking Bad:
16. Sons of Anarchy:
17. Scandal:
18. Riverdale:
19. The Good Doctor:
20. House of Cards:
21. Once Upon a Time:
22. House: ✔
23. True Detective:
24. Dr. Pimple Popper:
25. Power:
26. Empire:
27. One Tree Hill:
28. Supernatural:
29. Family Guy:
30. Santa Clarita Diet:
31. Shameless:
32. Pretty Little Liars:
33. Secret Life of an American Teenager:
34. Bones:
35. Criminal Minds:
36. The 100:
37. Chicago Fire:
38. Chicago Med:
39. The Resident:
40. Game of Thrones:
41. The Big Bang Theory: ✔ – we watched multiple seasons on DVD, but eventually stopped long before it ended.
42. It’s Always Sunny in Philadelphia:
43. Lost:
44. The Sopranos:
45. NCIS:
46. NCIS Los Angeles:
47. NCIS New Orleans:
48. Law & Order SVU:
49. Gossip Girl:
50. How I Met Your Mother:
51. Blue Bloods:
52. Two Broke Girls:
53. The Office:
54. Blacklist:
55. Full House:
56. Fuller House:
57. Downton Abbey:
58. Hawaii Five-O: ✔ – this was only ever me, not Margie. Dropped after 3 seasons or so.
59. Big Mouth:
60. Last Man Standing:
61. Six Feet Under:
62. Wentworth:
63. Friends:
64. That 70s Show:
65. Girlfriends Guide to Divorce:
66. Heartland:
67. All-American:
68. Greek:
69. Yellowstone:
70. Better Call Saul:
71. You:
72. Rescue Me:
73. Scrubs:
74. Community:
75. Letter Kenney :
76. Kitchen Nightmares : ✔
77. The Masked Singer:
78. Robot Chicken:
79. Vikings:
80. Mind Hunters:
81. New Girl:
82. The Good Place:
83. Black Mirror:
83. Lucifer: ✔
84. Peaky Blinders:
85. iZombie: ✔ – we dropped this after a couple of seasons.
86. Parks and Rec:
87. Brooklyn 99:
88. Handmaid’s Tale:
89. Modern Family:
90. Smallville: ✔ – probably at least 10 in aggregate over the course of the series.
91. Seinfeld:
92. Gilmore Girls:
93. Charmed:
94. Private Practice:
95. Lost Girl:
96. True Blood:
97. Roswell:
98. Haven:
99. Mad Men:
100. Arrow: ✔ – and most of the CW Berlantiverse shows at one point or another, though the only one we still actively watch is Legends of Tomorrow.
A few comments:
That is a very weird list. Some of the shows are new, some old, some I’ve never heard of before. There are a number of them I watched an ep or two of before deciding it wasn’t my (or Margie’s) cuppa.
I watch even fewer mainstream-pop (or however you would categorize the above list) shows Les does, evidently.
Things we do pretty regularly watch, beyond what’s listed above: Rachel Maddow Show, Late Show with Stephen Colbert, Full Frontal with Samantha Bee, Whose Line Is It Anyway?, Supermarket Stakeout, The Profit, Miracle Workers, Forged in Fire, The Rookie, LEGO Masters, Legends of Tomorrow, Worst Cooks in America, Doctor Who (when it returns), Columbo (reruns). Occasionally we’ll run American Ninja Warrior, Shark Tank, or Beat Bobby Flay. That’s the current, rather sad, list, and it contains a lot more “reality” TV than I’d expected.
I’m a big fan of the play; this production was one of the best I’ve seen.
I actually had a chance to perform in Midsummer in college, so I have a real fondness for the show. It has some intrinsic structural problems, but it’s always magical. This was a fine rendition, and a great way to spend the evening.
Annie Barbour as Puck – Photo by Amanda Tipton
Excellent cast, as always. The Arvada repertory company is incredibly strong, and Geoffrey Kent (as Bottom, &c.) and Annie Barbour (as Puck, &c.) did stand-out jobs amongst some very good performances.
As a company of eight, most of the actors were doubled (sometimes more). AMND is well set up for that — the lovers / court, the mechanicals, and the fairies have their stories run separately enough to allow some quick costume shifts to keep things together with the limited cast. This was aided by the conceit of the setting — a traveling troupe entertaining people in what appears to be a post-apocalyptic world.
The Arvada black box is set up fully in the round this season, but the cast and action did marvelously with it.
The show stayed pretty faithful to the Shakespeare, with the exception of some musical sets and shenanigans by the mechanicals, and (which worked delightfully) a gender-bend to have Titania and Puck being the conspirators that set Oberon on a romantic collision course with Bottom-as-ass.
This was the second night of the show, which runs through 16 May. I highly recommend it.
Given the odd intersections that BoP had, one would rightfully expect that the targeted ads would also be an odd combo.
Not many that I plan to go see, but here we go:
Promising Young Women – A woman who pretends to be blotto at bars to see what “nice guy” tries to pick her up and take her home and have clearly non-consensual sex with her — until she suddenly shows she’s not at all drunk and what the hell are you doing? Interesting, but not my cuppa.
No Time to Die – The same Bond trailer we’ve been seeing for a while, but it looks good on the big screen and still is enticing me to go see Daniel Craig’s final outing in the role.
Antlers – This Guillermo Del Toro horror film looks beautifully done and so much a movie that I do not want to go see, thankyouverymuch.
The Love Birds – A couple deeply in love get caught up in a murder and run in a panic, and now they have to comedically prove their innocence while having their love tested by their plight. Looked amusing — perhaps a trans-Atlantic flight film for me.
Spiral– Chris Rock makes … a Saw movie? Um, interesting. Also, very much not my kind of film.
F9 – One of these days I’ll actually watch a Fast & Furious film, because they look like good, mindless fun.
The Way Back – I don’t see anything about this Troubled Man Coaches Equally Troubled Kids And They All Heal Each Other Through Teamwork And Striving For Sportsball Victory film that sets it apart from any other film of its sort — and it’s not a genre I care for.
In the Heights – Lin-Manuel Miranda does a musical on the streets of New York. Okay. Again, probably not for me, but I know folk who will be excited about this.
So, net net, action and feminist and violent and colorful and inspiring and scary films all thought that Birds of Prey would have an audience they wanted to reach. Interesting.
An enjoyable, if violent and loud, comic book action flick. Quite watchable and fun.
This is not the greatest comic book movie ever. It will win no Academy Awards. It will not change your life.
But I had a fun time watching it in the theater, and I don’t at all regret paying to do so. It has its flaws, but overall I think it hits the mark. It’s certainly better than the opening weekend reflected.
Sheldon was a noteworthy trumpeter, as a number of his other IMDb credits show. He was part of Jack Webb’s stable of actors for Dragnet and Adam-12, and served nearly two decades as Merv Griffin’s music director and “sidekick”.
Thank you, Mr. Sheldon, for your talent and for the many memories you left us, especially those educational earworms.
According to Letterboxd, I watched (or at least recorded watching) 33 movies this year, 5 of them in a movie theater.
Of those, the ones I ranked at 5 stars (for what that’s worth) were Spider-Man: Into the Spiderverse and a rewatch of Fellowship of the Ring. There were a lot of 4.5 stars, though, and a lot at lower scores that I flagged as being a favorite vs being well-crafted (though the two are sometimes difficult to separate).
Looking forward, the movies I’m most anticipating seeing in the theater in 2020 are Black Widow, No Time to Die, and Wonder Woman 1984 — which probably says all about me you need to know. Other films I might see in theater when they release in 2020 (as currently scheduled): Birds of Prey, New Mutants, Onward, Dolittle, Eternals, and Dune.
Beyond that, I expect much streaming and disc-watching in the New Year.
I don’t know that I read more or less this year than last, but the overall tally looks pretty impressive. Here’s my tally, courtesy of GoodReads (and a lot of work of my own putting the information in).
That shows up (currently) as 100 books read; that includes 50 graphic novels, along with 42 text novels (22 of them re-reads) and 8 audiobooks (non-fiction). Notable series I dove into the first time this year: Novik’s Temeraire series (in progress) and a good chunk of Lee’s Liaden books. Also reread all of Peters’ Cadfael mysteries and Zelazy’s Amber works.
There were also 2-3 virtual longboxes worth of comic books.
We had half an hour of commercials (!) and movie trailers and commercials again before the movie started. Ugh.
Doctor Doolittle: I read the books back when I was a youngling, so I’m primed to like this. That said, it looks like a lot of grimdark being slathered onto the story to make it more exciting for modern audiences. That said, jumping jiminies it has a hella lot of talent, and it looks gorgeous. Not sure if I’ll see it in the theaters but, assuming it doesn’t bomb, I will see it eventually. Maybe even if.
Wonder Woman 1984: There are aspects of this trailer I like — the period feel, plus WW. There are aspects I don’t — Steve Trevor popping back up, and overuse of the lasso. But let’s not kid ourselves: I will definitely be going to the theater to watch this.
Barb & Star Go to Vista Del Mar: Gods, no.
Free Guy: This looks potentially cute and/or a lot of fun. We’ll see.
Top Gun: Maverick: I feel no need to support Tom Cruise or, more particularly, his religious charity of choice. Especially for a retread / sequel of a movie I didn’t think was all that to begin with.
Tenet: Or, Inception 2: Time Rewind Boogaloo. It looked kind of interesting, but I’ll probably wait to stream it.
Onward: Good to see a trailer for this that doesn’t get bogged down in backstory and setting. Still not sure it’s worth a trip to the movie theater.
Black Widow: Same trailer that’s been around some weeks, albeit at movie theater screen size. I’ll be seeing it.
Mulan: I’m very equivocal on this one. Waiting to get more feedback.
I am quite satisfied with this wrap-up to the Skywalker Saga
Preliminary, non-spoilery notes:
This is by no means a perfect movie. It is not a cinematic classic. It will win no Oscars for writing or acting or directing.
Neither did any other Star Wars movie, I’m pretty sure. And that’s what this is: a Star Wars movie, full of leaps of illogic and crazy adventure and pew-pew and Force magic and melodrama and the whole series is based on Saturday Afternoon Movie Serials, fergoshsakes. We’re not talking high art.
Which is to say that I was entertained, and I thought it was a fine movie for what it was, and I will buy the Blu-Ray, and will feel like I got my money’s worth, and I will debate the details, and I will try not to lose my patience with people who pooh-pooh it because it isn’t artistic cinama or because it doesn’t cause all of their fanboi pleasure centers to fire off they way they demand.
It was a fun movie. I enjoyed watching it. I will watch it again in the future. I think it wrapped up the “Skywalker Saga” just fine, thanks.
Seth Rogan’s adaptation of the irreverent comic had great moments, but never quite gelled.
We finally finished (a couple of months after the fact) AMC’s TV adaptation of Garth Ennis’ comic book series, Preacher.
The central trio, back in Season 1
Long story short, the 4-season adaptation is a bit of a hot mess, full of many great moments (quite a few of them, but by no means all, lifted or adapted from the original), but as a coherent story it suffers even more than the original.
Ennis wrote an odd but moving (and arguably insightful) paean to America, using hyperbolic sex and violence and iconoclastic religion to provide a old-style Western romance in modern clothing. Written in 3-6 issue arcs (to allow for trade paperback collection), the tale sometimes felt fragmented, but still progressed along narrative about Jesse Custer, his lethal girlfriend Tulip, and their vampiric and right bastard friend Cassidy.
Seth Rogan (Executive Producer) and company faced an insane challenge to mirror the scope and over-the-topness of the original, coupled with, well, the need to maintain a budget (which, for example, dictated keeping kinda-sorta to a single setting per season).
The central trio, as drawn by comic book artist Steve Dillon
The result a show that felt like a lot of great parts, cut-and-pasted together — plotlines that meandered, events and narratives that seemed locked into a given season without following through (or following through only weakly) in subsequent seasons, characters that came and went or faded in and out, just …
Eugene “Arseface” Root, acted heroically by Ian Colletti
Well, it didn’t keep me from enjoying what I was watching. The music/sound, the cinematography, and, in particular, the actors were all great. Dominic Cooper, Ruth Negga, and Joe Gilgun owned the roles of Jesse, Tulip, and Cassidy (and kudos to Negga who genuinely made me forget the comic book Tulip was a blond white woman). Graham McTavish as the Saint of Killers, Pip Torrens as Starr, and (massive makeup-sympathy shout-out to) Ian Colletti as Eugene … the casting was all just excellent.
The parts were solid, but the whole … well, in the end, it was never quite clear what the TV series Preacher was about. The perils of absolute power, the dangers of hubris, the negligence (if not malignity) of God, the perversity of the universe, the power of friendship … there’s a palpable effort to make it all seem coherent and meaningful in the last episode, drawing in bits from the original (and some great scenes), but by then it’s too late.
Which is a reason why, though I’ve read the graphic novel series a half-dozen times, I won’t be re-watching the TV series any time soon. It was a fine experience while it lasted, and on an episode-by-episode basis, full of talent and imagination, but it never quite made it as a coherent story.
A tip of the hat, though. I’d have considered the series unmakeable. That we got something as good as this should be considered a triumph for the company. I wish it had been better, but I can imagine so many ways it could have been worse.
A fun movie, very Spidey, with some interesting themes layered in
This was a fun movie, with plenty of humor, plenty of heart, plenty of action, plenty of Spider-Man being Spider-Man (i.e., getting whomped on physically, emotionally, and situationally, but somehow finding enough moments of happiness to make his dedication to Great Responsibility worth it).
All those questions we had about how the world dealt with half of humanity returning after being snapped out of existence five years ago? A whole lot of them get answered (a bit glibly in places, but the MCU probably doesn’t need to deal with the cataclysmic economic disruption and likely mass starvation that would actually ensue).
Nothing is as it seems. Appearances can be deceiving. That’s true for a lot of the movie — people, relationships, what’s obviously happening vs what’s really happening — and extends all the way through the (two) mid-credits scenes. It actually adds some layers of depth to an (also) enjoyable comic book action flick.
J K Simmons!
I really liked Mysterio. I can’t say anything more, but — I really did.
As someone in the middle of curating a bunch of vacation photos from Venice, seeing the kids (et al.) in Venice was a hoot.
I think this was a great installment in the MCU, Tom Holland continues to be worth his weight in Spidey-Gold; I definitely look forward to what is coming up next for both the hero and the setting.