If kids today think they can’t cope with potential armageddon, then cast your mind back to the time when armageddon could have been any minute of any day anytime from the late 50s through to the early 90s thanks to the very real threat of nuclear war. There was even a time when people not just thought they’d win such a was but also that people would survive it by stocking up on Fray Bentos pies, cat litter and remembering to wrap your nan in black bags and throw her out on the street for the council to pick up. How we got through the 80’s especially is a mystery still, but we did only to face another type of armageddon further down the line.
So people thought we’d survive and this resulted in utterly bizarre bits of fiction being peddled by governments like this bizarre, surreal bullshit in the video below. Check it Out was a kids programme, and taking a break from it’s usual stuff it decided to show us how to survive the end of life as we know it in the most children’s TV way possible.
I’m watching What If.. which is enormous fun as it takes the non-canon joy of the original 1970s run of comics and translates it to a new, younger audience. It’s the most fun Marvel have had since they went Emo in the few years around Endgame, and it is nice to see Marvel fully embrace the comics instead of keeping up with the idea they can ‘ground them in reality’ which is bollocks.
What If… is the latest example of the MCU’s exceptionally odd internal politics. For example, at the start of Falcon and Winter Soldier, Sam is working for the American armed forces rescuing soldiers who were doing something dubious in the Middle East but the rest of the series never comes back to that, so we never really deal with the fact that Sam has serious power in this world but yet his family is broke. Unless capitalism collapsed we’re to take this at face value?
Then there’s the Avengers who are essentially a fascist organisation, though they do good we see unchecked power. Now this is a subject Marvel did try to deal with but quickly dropped like a hot potato once it started getting complicated, as is making the likes of Loki a hero even though in the continuity of the TV series he’s got the blood of thousands of New Yorkers on his hands. This is the problem when you take kids power fantasies and throw them into the ‘real world’. You have to then deal with the massive contradictions of having these characters in our world mixed in with the politics of Disney which means everyone also has weird sexless relationships in worlds where even no matter what happens, there’s careful product placement.
What I’m basically saying the Marvel Cinematic Universe may be entertaining, but there’s some strange, sometimes dangerous takes on politics of all kinds and that’s mainly down to not embracing the silliness of the source material or having a studio owner willing to investigate the logical outcomes of this world.
The world of internet horror in at best, sketchy. There’s the stuff which is basically a variation of this..
Over and over and over again, or it’ll be needlessly gory, or horribly acted/written/directed or go on and on and on and on beyond the point of giving a fuck (yes, I am looking mainly at Marble Hornets) but every now and then a new horror series or ARG (Alternate Reality Game as it relies on viewer input to make the game work fullly) comes along and it blows bigger bidget works out the water. For me, the peak was Daisy Brown, the tale of an abused teenage girl and her monster, Alan who is clearl made out of papier-mâché. If it sounds awful it isn’t. It’s one of the best acted, most creative dramas I’ve seen online in all my years of checking this stuff out and I’d recommend you to start from the begining.
Things have been quiet on the ARG front recently thanks mainly to the pandemic meaning things were just hard to do, or do well at least. Along now comes Paranormal Paranoids and it is just wonderful in regards script, acting and execution in a way not seen since the sadly discontinued thanks to the pandemic Echo Rose.
Paranormal Paranoids is all about a Twitter account called Jess the Paranoid, who is searching for the cast of a mid 00’s YouTube show called Paranormal Paranoids which is so wonderfully created that the verisimilitude is dripping from these clips, including a title sequence which is so perfectly 2000s. The cast went mysteriously missing, and Jess has found some old shows on old CD’s shoe has, which has caused her to go online to ask for more and the story begins…
Right now it feels we’re still in the early days so it won’t take more than a couple of hours to catch up, so check out the YouTube channel. after the Twitter account which is the main driver for the story though it has now grown to other social media and has its own Reddit forum; a sign of accepting a good ARG.
Let the Twitter account guide you and then join in the online speculation but remember part of an ARG is pretending its real but knowing it’s a work of fiction so you get the full immersion in the story which is the point. I hope it doesn’t overstay its welcome or suffer a dip in quality but Paranormal Paranoids is so good that it could easily be one of the best ARG’s done so far.
So go and dive in now. You won’t regret it, and oh, the thing is actually scary not just through easy jump scares either. Starting at the beginning means joining in on this low build up of a creeping dread that something awful is going to happen to these people and we’ll be all part of it as we’re voyeuristically joining in so get stuck in now!
The Marvel Cinematic Universe must be like living in an ongoing hellscape rather than a world of wonders. Mad gods can wipe half the universe out of existence, while enhanced people and super-powered individuals stomp round the planet caring nothing of borders and international treaties, and you don’t know if giant alien craft are going to come crashing upon you. You would literally be living in terror, yet here people live in a mix of normality or an unsettled refugee.
Then there’s the entire character of Sam Wilson who we first see acting on behalf of the US armed forces, and I assume the US government, in doing slightly dodgy things in the Middle East, but by the end of the series he’s rewriting what it means to be Captain America while being a tool of that nation’s colonialism. He’s no more a hero than John Walker who for much of the series is painted as a villain but in reality, this is a normal human being asked to fight people with superhuman abilities, and his unpreparedness costs the life of his partner who is Fridged as soon as the show can.
On top of this there’s the shonky pacing and plotting of the series. This series feels like a film expanded to nearly six hours so there’s so much padding with characters literally just standing there spouting exposition in flatly shot scenes which reminded me of how soap operas look To be fair some of this horrible disjointed feel can be put down to the break in production because of Covid 19. That said, it could have lost a couple of episodes and been better for it.
It is enjoyable junk fun if you don’t think about the horrible contradictions it throws up, or how the writers struggle to see the world without an American lens on, but like WandaVision before it this was a way to get Sam into being Captain America while pushing the MCU plot along a bit. Unlike WandaVision it was not as good and less cohesive as a work in its own right. Next up is the Loki series which does at least promise a break from the norm of the MCU.
One last thing, vast chunks of this series, including dialogue, was lifted from the works of people like Mark Guenwald and Ed Brubaker, but beyond a small credit hidden away these people, or their surviving families, get nothing even though Disney/Marvel make millions from these things. I’d assumed Disney were paying creators but it appears not to be the case. I wish MCU fans were as passionate about creator rights as they are about how cool Sam’s new costume is…
The whole reason this film exists isn’t just down to a fan campaign like no other since they cancelled Star Trek in the 60’s, but the launch of HBO Max and the cinema closedown thanks to Covid meant that Warner Brothers were looking for a quick hit, and this with a readymade fanbase would be just that hopefully. The 2017 version completed by Joss Whedon is an odd beast that doesn’t work but does have some good scenes, but as a whole it was a mess. Snyder’s departure from the film is part tragedy because of the death of his daughter, and partly business as WB realised a 4 hour epic would not work in most cinemas with a film that came off the poor Batman V Superman.
Which brings us to the 4 hour epic streaming on HBO Max in the US, and Sky/Now TV over here in the UK. It’s a film I’ll probably never watch again, at least in the full version but this is probably the best of Snyder’s three DC films but it is a mess. There is literally no way this would work in cinemas to bring in the numbers Warners want as few casual cinema goers would sit through a film of this length unless it was coming off a massive success which it wasn’t.
Snyder’s JL starts at the end of Batman V Superman with Superman’s death cry ringing out around the world which is a bold opening sequence, however the 4:3 ratio takes some getting used to (after all, this is 2021 and we’re not used to films in this ratio) but it sets a grim, grey funeral tone for the film which I can understand with Snyder’s tragedy being exorcised onscreen. For much of the running time this tone doesn’t relent and with the film having very little intential humour (more on this in a minute) much of the first two hours is set-up and exposition which makes it often a chore to get through. It does give all the League a good backstory or introduction but scenes go on far too long or the construction is so poor that the scene becomes bloated and pompous. In the case of The Flash, it goes over old ground the TV show has done, and done better than this.
There’s two scenes in particular which highlight the problem. One is Aquaman’s walk along the pier during a storm, which just goes on and on and on. It also brought to mind this bit of classic comedy from The Comic Strip Presents.
Then there’s the Wonder Woman scene in London where she saves a class of schoolkids from terrorists which was a short, to the point scene in 2017 and is now a bloated mess with bad CGI terrorists being smeared across walls before Wonder Woman spouts the most inane form of feminism (‘you can be anything’) to one of the survivors. It’s a scene supposedly weighty but it’s a nonsense. It’s the sort of scene a teenaged boy who spends too much time online would find ‘badass’ but it just makes one of the few female characters just another violent killer. And here’s the issue with superheroes. You can make them ‘real’ but you can’t ever make them authentic because the nature of what a superhero is reduces characters to 2D models of what a real person should be.
As for the second half this is when all the set-up pays off, and with Snyder being a fan of Chekov’s gun, there’s a lot of things paying off from Cyborg’s relationship with his father and acceptance of who he is, through to The Flash accepting who he is, or Aquaman accepting who he is and so on. The villian Steppenwolf is a badly designed generic baddie who is fighting for the main baddie Darkseid, who is also poorly designed with poor CG. Both had good and great Jack Kirby designs respectively but this film was born out of DC’s disastrous New 52 reboot, and suffers because it takes so much from that mess. Ben Affleck’s Batman is probably the highlight of the film, though Henry Cavill’s Superman is essentially an extended cameo which is a pity as the best thing which came out of the 2017 version was giving Cavill a chance to actualy play Superman instead of some Emo version of the character via Kid Marvelman.
Anyhow, eventually the Justice League come together after a pointless McGuffin chase, fight the baddie, defeat him in a way which sets up a sequel which won’t happen and then we get a load of epilogues that would make Peter Jackson call time. These scenes set up films which have happened, will happen but not as intended here or just won’t happen like Affleck’s Batman solo film.
Is it the ‘masterpiece’ fans are saying it is? Fuck, no. There is no need for this film to be four hours long. A good producer would trim at least an hour, then there’s the 4:3 ratio which is the Imax ratio which is fine, but why not save that for when cinemas reopen and it can be seen in that ratio? Also the script is awful at times as Snyder is trying to create this great mythic thing (which at times he nearly does) but wooden, empty cliched dialogue does not an epic make then Snyder has never been anything but a visual filmaker. Visually at times Justice League looks extraordinary which makes me wish I could see it on a big screen with great sound as the action scenes are great. I especially like the scenes of Darkseid’s first attempted invasion of Earth which is so over the top that the film, finally becomes fun before it crawls back into brooding exposition. Snyder’s overall vision is to be applauded though, even if much of it is ponderous nonsense. There’s nothing like this directorial vision out there in regards to superheroes, and he takes the fascistic nature of superheroes head on, even if it comes over as ripped from Ayn Rand’s notebook. Marvel try to deal with some of the themes Synder engages but either runs away from the consequences of it or just tries to ignore the logical inconsistancies of superheroes. Snyder doesn’t care so we get the full vision.
As a film Justice League is a real director’s cut. Sometimes it works, sometimes it’s appalling sometimes it has an overinflated view of itself but as an experiment it’s an oddity while being one those things that may well end up changing how films are made in a post-Covid world and its vocal, and sometimes aggresively so group of fans did the near impossible in getting a film studio to cough up the millions to make this film happen in a perfect storm. Whether it could happen again is debatable though the film’s early success may not last the week, I’m glad such a thing exists only to push others to do better.
Basically watch this if you’re a superhero fan, or maybe a student of cinema but otherwise this sometimes entertaining, often infuriating, sometimes dreadful film will be four hours you’ll never get back. Be aware of that going into this and commiting to the full experience.
Marvel’s first Disney+ series had a lot of heavy lifting to do with there not being anything released from Marvel in over a year thanks to Covid, plus it had to prove Marvel’s TV output could match the film output. WandaVison succeeds when it tries to venture off from the Marvel formula and fails when it slides back into the Marvel formula.
The story is essentially about Wanda’s grief after having to kill her lover, The Vision, in Infinity War in order to save the universe from Thanos. In the small ton of Westfield she’s formed her own reality based round old American sitcoms in which she’s recreated The Vision, as well as forming her two children. The hundreds of people living there are being controlled by Wanda as characters in her sitcom. At the same time the US government are trying to find out what’s going on so we get a mix of old and new characters with a gron up Monica Rambeau from Captain Marvel being the most notable.
As a set up it’s interesting, and the first half of the series is superb. Using the sitcom format renders an odd surrealism into the series as the viewer tries to work out what’s going on with what are entertaining pastiches of each era of sitcom featured from the 1960s to the 2010s. In terms of storytelling it is brave as the Marvel formula is by now a well oiled machine, and the films don’t verge too far into anything too different to that which they’ve set out so far. WandaVision deliberately challenges the viewer and in doing so allows Elizabeth Olsen and Paul Bettany to flex their acting chops. The first half of this series is wonderful and bold. Then they play their cards too early and the series falls into traditional storytelling techniques which is a shame. Part of the problem is that WandaVision is there to push along the unstoppable plot which is the Marvel Cinematic Universe so this has to set up half a dozen things which follow it which makes for a less than satisfying end where we kick a Big Fight Scene or two masked in some good lines to give the idea this is something more than what it is which is well done superheroics.
I do hope though that Marvel decide to become more adventurous off the back of this rather than just sitting in their formula and endlessly repeating itself.Also sacrificing chunks of storytelling to cram in the relentless MCU plot is tiresome when it leaves so many dangling ends which may well take years to complete.
WandaVision though is overall a triumph of the superhero genre. It tries to break free of Marvel’s sometimes static direction by using less green screen unless needed, which makes it feel more organic.Having characters developed for longer was good to see, even if it still is firminly lodged in two dimensions. True it does swerve some of the bigger questions, like for example Wanda basically mind-raped the people of Westfield, while Monica’s glib dismissal of the population’s fear and hatred of Wanda continues my belief that the MCU isn’t a universe full of wonders but a cold, dark dystopia where literal gods walk the Earth without challenge. Civil War touched on this, but they pulled back on how awful it’d be to be there.
Marvel are in a good place as people have been so starved for their films that any possible exhaustion has been postponed thanks to Covid, but if it tries more like WandaVision while working hard to avoid the obvious, then it’ll have a strong future creatively. Though in future I wish they’d credit comics creators higher up the credits as this series quite literally took chunks of dialogue from various comics creators with the most minimal amount of credit they couold give.
There was a point back in the 1980’s when Bruce Willis was a struggling actor before getting his break with Moonlighting. Though for a number of people the first thing people like myself who are massive SF fans noticed him for the first time on the Twilight Zone adaptation of Harlan Ellison’s short story, Shatterday.
It’s an episode where Willis is basically performing by himself in a dual role, and it has dated quite well because it’s such a simple story, plus Willis flexes some acting talents he doesn’t often display. It also happens to be one of the best TV/film adaptation of one of Ellison’ work out there.
And oh, it’s also directed by Wes Craven. So enjoy this lost gem of SF television…
Martin Scorsese is along with Steven Spielberg, the greatest living American film director of his, not to mention, subsequent generations. He’s made some of the best films ever made. Taxi Driver, Raging Bull, Mean Streets, Goodfellas, The King of Comedy, Wolf of Wall Street; all films which are the very best of cinema so when he talks its because he knows what he’s talking about and he loves cinema. His recent comments about reducing all film to ‘content’ is so spot on it hurts.
Scorsese wrote, in his opinion, that content is now a “business term for all moving images: a David Lean movie, a cat video, a Super Bowl commercial, a superhero sequel, a series episode.”
To Netflix or any other streaming service, Avengers: Endgame and Raging Bull are equals. They’re content to be consumed depending on how the algorithm works for you so potentially, depending on what you ‘consume’, your entire view of what makes up film can include only say, superhero and SF films, sorry, ‘content’. Now I enjoy much of Marvel’s films, while DC have made the odd decent one, but Marvel’s odd, sexless world of simplified human emotions or Zack Snyder’s weird neo-facism via Ayn Rand are not telling great stories about humanity, though to be fair Snyder is a talented visual director as opposed to Marvel’s functional by the numbers direction.
But they ain’t art or great cinema.
And here’s Scorsese’s point. Flattening everything out to be the same reduces all filmakers into content producers, so the idea of art and artistic craft is eradicated for this mush which tastes fine but eat to much of it ends up killing the taste buds. Mixing in a bit of smoked salmon, or a fine wine in with your mush leads to a balanced diet but if you don’t have the choice you won’t know that you’re being cheated of expanding your love and enjoyment of what is a wonderful medium, so you end up taking it personally because you’ve made this ‘content’ part of your identity instead of calmly listening to the point that we can’t just throw everything in a pot and expect it to be consumed the same way.
Instead fans become sensitive and overreact, close ranks and in doing so prove the point. It’s a depressing circle which eats itself but this is 2021…
I’ve got the weekend off which in a world of Covid means I don’t have to log onto a remote server but still have to face the ongoing Lovecraftian horror of an unseen menace and terror. As usual though when I do have time off I forgot to turn off my alarm so I was still awake at the usual time, so as usual I checked Twitter to see what’s going on with the news, and in 10 seconds had episode 5 spoiled rotten for me. This pissed me off a tad because otherwise this would have been a wonderful surprise.
Spoilers after the trailer.
WandaVision is by a massive country mile the most adventurous thing Marvel has done and if far removed from the standard fare of the Marvel movies which are always essentially action films. This has very, very little in the way of action, but it does do an awful lot in terms of developing Wanda Maximoff as a character. Yes, it draws upon other works such as Pleasantville, and bizarrely The Prisoner, not to mention a whole load of comics mainly written by Steve Englehart, John Byrne, and Tom King (none of whom get a major credit which takes the piss somewhat) but it does manage to be its own thing. And that’s a mix of satire, superheroics, SF and horror as the set-up is horrific when the series starts to explore what’s actually happening.
It’s also clearly a bridge between Phase 3 and 4 so it will have to do some heavy lifting to push this juggernaut which is the MCU on, and episode 5 is the episode where this comes to a head when the Evan Peter Quicksilver from the X-Men films pops up at the end to announce the arrival of the previously owned by 20th Century Fox characters into the MCU. Seen without knowing this would be brilliant instead of spoiled, but this is the state of the 21st century. Spoilers now don’t even last days or hours, they litteral happen as something is being watched, and the people spoiling the fun don’t give a single fuck of the enjoyment of others. They just want the likes.
I’ll do a review of WandaVision when the series ends, but this annoyed me a tad. It won’t change now so I guess in future it’ll be about muting certain things til I’ve managed to see it for myself.
Peter Sutcliffe is dead which is a good thing, but during all the talk of his and the women he murdered abanned sketch from Brass Eye came to mind. Brass Eye was a TV series produced by Chris Morris and a team of exceptionally talented team of writers and actors for Channel 4 in 1997. It is by far one of the great bits of TV satire/comedy ever produced in the UK, but during the first broadcast it suffered heavily from censorship, especially in Episode 6 which saw whole sketches lost including one about Peter Sutcliffe starring in his own West End musical.
At the time a Jack the Ripper musical was proposed, plus ‘Ripper tours’ of the murder sites were pulling in the money in the East End of London, which back then hadn’t gentrified to the state it has now so it wasn’t ironic hispters being mocked, but working class women. There was also a glamourisation of old gangsters, some of which commited crimes as bad as Sutcliffe. The idea this sketch was supporting Sutcliffe was a joke, but it was one pushed by the usual suspects.