The latest outrage against South Park

It is 2020. People are still blaming South Park for all the ills of the Western World. This time instead of the rabidly illiberal censorious right screaming about the show, it’s the rabidly illiberal censorious left in the shape of writer Dana Schwartz.

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There’s a series of Tweets, with above being her first, and the next being her last, but she’s ploughing a furrow dug often since the programme started in the late 90’s.

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The problem is her final message is wrong. Yes it is a very political show, but the message is that often there is nothing that can be done in terms of a simple, easy solution. The character of Kyle especially (often to be said to be the closest in terms of actual beliefs for the creators) pours out hard solutions but is mocked by others because people from the left and right don’t want complex answers but easy ones that fits their own worldview. Which is where Schwartz is as the show doesn’t fit her worldview so she threw out this attempt to basically ‘cancel’ it.

The problem is by blaming South Park from everything from the alt-right, to Trump to the current culture wars is that simple solution. An airy wave of the hand and all your problems are gone. Who needs to understand the socio-economic problems caused by the collapse of industry which has led to an alienated working class who feel isolated and ignored by all the traditional politics out there, hence why many are looking to outsiders for answers. Sadly that gives us Brexit and Trump partly because the left as a whole has advocated the discussion to the right in favour of purity spirals and identity politics rather than creating a narrative where the alienated working class see a way out.

So instead we’re stuck with people being offended by a show nearly 25 years old that’s attacked people from all political backgrounds and while it often misses a point, or gets it wrong, it serves a purpose as a satire of the times where anything is open for debate. Because you don’t like hearing what it has to say is not a reason to ‘cancel’ it, which makes me glad that Schwartz’s attempt to do just that fell flat but these attempts at censorship attack liberty itself, and sometimes liberty means people hearing or seeing things they don’t want to hear or see.

RIP Terry Jones

Back in the 1970’s I was but a wee boy, and like many folk back then, a Monty Python fan. When hearing that Michael Palin and Terry Jones had made their own series, Ripping Yarns, like many youthful fanboys I was aside myself and to this day I adore every single one of them but Golden Gordon is by far my favourite.

Palin and Jones were their own team within Python, and out of all the groupings that came out of Python these two were the best and the funniest because Palin was just a brilliant performer, while Jones timed the comedy in those episodes to perfection. They were very British, very English bits of humour that now, sadly, will be lost to people because the reference for these stories (pulp magazines and British boys comics) are not part of your average Millenial’s cultural wardrobe.

Jones was never the standout in Python for me when I was younger. It was John Cleese but as I got older and older I’d notice what Jones was doing as well as his sheer comic bravery in getting a laugh with this being one of my favourite Python sketches ever.

Something then dawned on me watching this for the 1000th time, in that if I imagine Python to have a voice, then it sounds like Terry Jones. Not Eric Idle, Cleese or anyone else. Even now if you’re riffing off Python then it’s his voice you’ll be using.

And then I started growing up, latching onto the alternatic comedy boom of the 80s which washed all before it, except for Terry Jones who stamped his approval upon things wonderfully.

And that was it. Jones was my favoutite Python which made his descent into dementia so horrible to see his mind go but his friends stood by him all the way. There’s a point if the DVD of the O2 shows from 2014 where Jones is clearly distressed and confused backstage, but all of them form a shield to protect and to encourage him. It’s a small, tiny moment but it shows you what he meant to his friends, and now, it’s a sad moment because we know this is him slipping away but still able to cling on thanks to his mates.

I’ll miss Jones. He was always fun, always entertaining and always it seems, right. Like everyone it seems I’ll miss knowing he’s not around to make the world that wee bit of a better place a lot.

What I thought of Crisis on Infinite Earths

Imagine trying to do Avengers: Endgame on a budget akin to Scarlet Johansen’s hairdresser? That’ll be the CW’s version of Marv Wolfman and George Perez’s comic Crisis on Infinite Earths.

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A five-part series designed to partly clean up issues with the CW’s Arrowverse and to act as this year’s big crossover event to end all events. Overall it manages to just hold together, and just work though the problem as usual with the Arrowverse programmes is the budget holds back the ambition so what should be a cosmic level event (something Marvel have shied off adapting fully as yet) comes over as sometimes small, and in the case of episode two, slow and stretched.

The other problem is that when it needs action we get exposition, or worse, exposition from people standing round the set looking a bit stiff. However the producers clearly love the source material, and they clearly love what they’re doing so for all the multiple flaws they manage just about to live up to this fan made poster from a few years back.

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Crisis works because they realise the entire thing is daft, and they know that superhero comics are essentially melodramas so they embrace that, so we have all the usual aspects of a CW show mixed with these overaught moments of superhero comics, mixed with possibly the biggest, and first, comic book mega-crossover.

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They manage to tie every DC TV series to the Arrowverse bar Lynda Carter’s Wonder Woman series and the Shazam! series from the 70’s due mainly to the reason that Warners have successful film versions but remarkably, everything else did make an appearance from the Titans, to Tom Welling from Smallville, Brandon Routh reprising his role as Superman which means the Christopher Reeve films are canon, through to the surprise cameo of Ezra Miller as the DC film version of The Flash.

I enjoyed the entire crossover a lot, with that Miller cameo especially making me like Miller’s depiction of my favourite superhero more than I did. Yeah, some of it is awful, cheap and badly acted/written at times but this is soap opera and it’s also great entertainment which has the good guys beating the baddies which in 2020 is a great message to send out.

My last fanboy wish would be they repay the cameo and bring in the TV Flash for the film due sometime in the next few years, but that can’t happen can it?

About the Crisis on Infinite Earths trailer

If there’s a single title in comics that encapsulates the massive cross-company event it is DC’s Crisis on Infinite Earths published back in 1985. Sure there’d been crossovers before but nothing of this scale which rewrote what DC Comics was about. Now we have The CW attempting to do something similar with their DC television series, so a five-part crossover starts this weekend with Supergirl, then Batwoman and across all their series. They’ve been building this up for a year, and in tribute to the crossovers for the comic, there’s been something similar with the TV series.

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In short, they’re doing something that makes Marvel’s Infinity Saga seem like a church panto on the catering budget of the last Avengers film. Yet it looks fun as it ties in all the other DC adaptations over the decades while telling a story which is enough like Marv Wolfman and George Perez’s comic saga.

And this bring me to the trailer.  Soak it the various different Flash’s, Supermen and Batman, and wonder how this is going to be done in five hours of television.

 

We’ll find out in just a few days…

You all need to start watching Echo Rose

In this day and age free entertainment/media is becoming a scarcity. YouTube tends to be the last frontier for that, and even then actual quality entertainment is even rarer because the majority of original content on YouTube is shite. So for something new and original to come along and for it to be a rabbit hole of multimedia is a joy, as it is to catch it relatively early on in the process is a delight.

An ARG stands for ‘alternate reality game‘. It’s been around online for ages. The earliest example many people will know is the multimedia tie-ins to The Blair Witch Project, but recently Stranger Things 3 did one but chances are you’ve come across one but didn’t realise what it is. Which is the point. YouTube has a load of awful ARG’s but some great ones have been there in mainly the horror genre, and in fact, there’s a load of great horror out there like Marble Hornets, Petscop and Daisy Brown and its that latter one which stood out as a pretty stunning original work, which although cheap, had aspirations beyond the limited budget.

Echo Rose (or Nettlebrook) contains the same actress who played Daisy Brown, and she’s very, very good. Here she plays the 20 something drop out from New York who has moved to a small town to make a new life for reasons we’ve not been given yet. She starts a vlog, and it is pretty much what you’d expect in its inanity of day-to-day 20 something life. All of it is beautifully observed, and all of it is fake.

This was the first video, and from here it is truely a rabbit hole of YouTube channels, and social media as an increasing creeeping horror grows as it slowly becomes clear something else is going on in Nettlebrook.

I was alerted to Echo Rose thanks to this video below which also gives you a recap of where we are now, which is still early days in ARG terms, as most ARG’s run a year or more.

I won’t say much more apart from there’s a hard to find video which was deleted that’s pretty essential to the plot, which is below.

Everything else can be found via that first Echo Rose video so get on board now as this is a group of talented people turning out slow building horror and as said, this is early days so you should only be down the rabbit hole for a few hours. Good luck!

Rutger Hauer RIP

utger Hauer has died at the age of 75 and it’s a damned pity. Hauer in another reality would be laden with Oscars, BAFTA’s and be lauded as one of the greatest actors, and leading men of his generation. Instead he forged a solid career but never got the acclaim, or often the roles, he deserved.

Like most people outwith of The Netherlands, I first saw Hauer in Blade Runner and was blown away by him and one scene in particular.

It was when I was older that I discovered his earlier work with Paul Verhoeven, with Turkish Delight

And the still extraordinary Soldier of Orange. Apart from Blade Runner this is the best film he ever made and contains this amazing scene of Nazi homoeroticism.

Then there’s the glorious joy of Ladyhawke

And the barking mad insanity of Flesh and Blood.

The ceeeping dread of The Hitcher. His opening scene is just fucking scary as anything.

The Legend of the Holy Drinker should have cemented his reputation as a true great of acting.

But instead genre fare came his way with the 1990’s being somewhat of a barren wasteland creatively, unless you count his mysterious Guinness ads from the time as a high, which compared to some of the crap he was in, they certainly were.

And yes, I’ll admit these ads shaped my dress sense for the late 80’s with lots of collarless shirts and long black coats.

In 2005 a couple of cameos in big Hollywood films came coming with Sin City and Batman Begins. These should have kick started a revival but sadly no, and Hauer stayed working constantly with his last role of real note being the title character of Hobo With A Shotgun.

Hauer leaves behind a huge CV. Most of it isn’t worth paying attention to but dear god, some of the highlights shine and there’s so many highlights. He’ll be missed for what he did and what he could have done as well.

The endless futile entitlement of fandom

This week saw pitiful cries of entitlement about Game of Thrones, and the casting of the new Batman. In the case of Game of Thrones, fans started a petition asking for ‘competent writers’ for a proposed remake of the last season. As of the moment I write this there’s over a million people who’ve signed it which is not a shock but these people basically want the programme to pan out as they want it to, so when they say ‘competent’ what they really mean is ‘someone I like writing something I like’.

The next bit of fan entitlement is the casting of Robert Pattinson as the new Batman. Shrill cries of outrage followed as fans cried a torrent of tears and anger that one of the star of the Twilight film should be cast. Some calmer voices pointed out that was a decade ago and he’s been carving a career as a pretty good actor since but no, outrage!

Back in 1988 when Michael Keaton was cast as Batman in the then forthcoming Tim Burton film fans were outraged and yes, a petition circulated round pre-digital fan circles.

There’s nothing new about fan entitlement. It is an old thing but it doesn’t stop people from complaining, or indeed, desperately doubling back once they’ve realised that Thing X isn’t actually as bad as it was or that complaining about Thing X makes them a bit of a cock.

So in around 18 months many of these people signing petitions will be praising Robert Pattison and wishing there was another series as good as Game of Thrones.All of this will be forgotten as these people move onto their next target and the cycle carries on throughout the generations…