Netflix struggling – terrible fantasy and science fiction #Netflix #AnotherLife #DarkCrystalAgeOfResistance #fantasy #sciencefiction #Bright

Having just finished the brain-bending Mindhunter 2, I’ve been struggling to find something decent on Netflix. I’ve tried watching Another Life twice, but the naffness of the script means that not even Katee Sackhoff can save it. No wonder it only got a 6% on Rotten Tomatoes. Yes. 6%. And then I’ve tried to watch the first episode of the Dark Crystal Age of Resistance series… twice. I just can’t get past the massive exposition dump at the start (full of meaningless, made-up names), the hopelessly out-of-date use of a 1970s ‘Crystal-of-Truth-as-source-of-all-life’ macguffin (the fantasy genre has evolved a fair bit since then, guys and gals!) and the actual changing of the ‘lore’ of the original 1982 movie. And then it struck me – it’s not that I’m becoming too old and grumpy for such fare (I just looked at the original movie again and still love it) – it’s that Netflix keeps commissioning absolute tosh in the genres of fantasy and science fiction. I pondered further and recalled the utterly atrocious fantasy called Bright (starring Will Smith) that Netflix put out in 2017. That got 29% on Rotten Tomatoes… BUT they’re still going to make a follow-up apparently! Then I reflected upon Star Trek Discovery season 2… I know hardcore fans who enjoyed it but would never claim much of the writing was any good.

So what’s going on? Well, turns out you can’t just sit down and write decent science fiction or fantasy if you don’t really know the basics of the genres in question. Current Netflix writers (and I’m not letting Amazon Prime, with their horribly derivative Carnival Row, off the hook either) seem to think they can simply make it all up and everything’ll be fine. Chuck in a few pretty actors and no one will spot how dire proceedings are, right? Wrong.

Look, you numpty screen-writers and TV producers, think about it. What’s the best fantasy that’s been on screen since Lord of the Rings. Correct. It’s HBO’s Game of Thrones. Who wrote that? Precisely. A proven master of fantasy literature (George RR Martin) who’d been writing within the genre for 50 years. When did it go wrong? When later series were written by other people – namely, people who weren’t proven writers of fantasy. Which episodes of Doctor Who are the best? Precisely. The ones written by proven writers of the genre(s) i.e. Terry Nation and Neil Gaiman. And I could go on.

Now, you may wanna leap to the defence of some of the above named series. If so, you’re in the 6%. Identify yourself if you wish, but you might get trolled by the 94%, so think hard about it. Hmm. Trolls. We need more trolls in fantasy. Oh, yeah. Lord of the Rings did that already. And The Book of Orm (rather splendid, if I recall).

But where does that leave us? How do we make Netflix and AmazonPrime produce superior fantasy and science fiction? Ah, yes. Stop watching their nonsense until they start connecting the names of genuine fantasy and science fiction writers to their shows. Could work. Might not. Ah well.

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French spies! The Bureau reviewed #AmazonVideoPrime #TheBureau

Imagine an up-to-date Tinker Taylor Soldier Spy crossed with a French romance… and you’ll get something approaching the superior French spy drama that is The Bureau. Seeing the modern tricks of spies is fascinating in its own right, and then you get international politics and a love story thrown in for good measure. It’s engaging and compelling on a number of counts – there’s something for everyone really.

Our protagonist (let’s call him Paul, although he has loads of different names, and we’re never quite sure which is the real one) has just returned to Paris from a successful 5-year mission in the Middle East (Syria, Jordan and Algiers). He has to break up with his Syrian girlfriend (Nadia) while still in character as a French teacher before coming home. He feels bad about it, particularly cos Nadia is smart and has a cat-walk model’s body (is she a spy for the other side, a ‘honey trap’?). A week after dumping her, feeling guilty and alone, he phones her… only to find out (with delight and horror) that she’s in Paris!!! Apparently, she’s on a course related to her work. Against all protocol, Paul meets up with Nadia in secret, still maintaining his cover as a French teacher. He has to lie to his colleagues, and the lies have to get bigger and bigger. And, of course, he has to lie to Nadia, cos she doesn’t know he’s a spy for the DGSE (the French CIA, sort of thing). Paul can’t trust anyone. He can hardly trust himself. He’s bound to make a slip, it’s so tricky juggling his different identities every day. Then Nadia’s Syrian entourage start to get suspicious of Paul, and enlist Russian operatives to investigate.

The pressure and close-calls become unbearable. But what can Paul do?

It’s an exciting and entirely tense affair throughout. Gripping. And it’s not just done for the thrills. Being French, of course, the series indulges in philosophical ruminations about identity, trust, reality and sanity. Don’t let it worry you (English ninnies inevitably get put off by all things philosophical), cos you can ignore the philosophical bits and go get a cup of tea.

The series has a dud episode or two (episode 8 is just a rehash of 7 really), but it is entirely worth persevering with. The culmination of it all is unexpected but credible. And means you’ll be keen for the next series. 8.5 out of 10. So there. (By the way, I’m half-French, but you don’t need to be to enjoy said proceedings.)

As evil as it gets… #fantasy #sciencefiction #evil #Satan

Here’s the jaunty new collection of essays from Luna Press, about the changing nature of evil in fantasy and science fiction. You can read about how the Dark Lord (Satan, Darth Vader, Dracula, Sauron, Lord Foul, etc) emerged and ultimately became the (anti-)hero of the piece. Or how the Chosen One rose up, only to be considered too wimpy by more recent generations of reader. In a nutshell, each sub-genre of fantasy (dark fantasy, urban fantasy, epic fantasy, high fantasy, grimdark fantasy, etc) tends to have its own distinct version of evil, based upon the socio-historical values that specifically inform that sub-genre. Plus, there’s a superior essay by yours truly in the anthology. Get your copy here: https://www.amazon.co.uk/Shadow-Within-Fantasy-Science-Fiction-ebook/dp/B07QNCXK6Y/ref=sr_1_3?keywords=francesca+barbini&qid=1565771312&s=books&sr=1-3

Bruce Lee would be proud! Superior political kung fu drama: Warrior #BruceLee #WarriorHBO

 

In the 1970s, Bruce Lee pitched a TV series called Warrior to Hollywood. It was to be the story of a kung fu master wandering the Wild West during the Tong Wars of the late 18th century. Hollywood turned Bruce down, telling him that a show with an Asian lead actor simply wouldn’t work. A year or two later, Hollywood put out the cult TV series Kung Fu, starring David Carradine – a white actor who ‘passed’ for Asian. Meanwhile, Bruce was back in Hong Kong making the genre-defining movies of Way of the Dragon, Enter the Dragon, and Fist of Fury. Sadly, his TV series was never made…

Until now! With Shannon Lee (Bruce’s daughter) as consultant to the series, Warrior has now been made and released by HBO! Not only does the series have as Asian lead (okay, he’s Japanese British), but also a wide cast of fully rounded Asian characters played by Sino-American, Korean and Chinese actors. It’s set in the San Francisco of 1878, just after the American Civil War. Boatloads of Chinese labourers are arriving, liberated African-Americans are moving from the south to the north, Irish navvies and policemen are unionising, and various mafia groups run different parts of the city.

This series has a lot of lovely period detail, wicked martial arts scenes (many a direct homage to Bruce Lee), a lot of flesh on display (it’s HBO, remember, who made the eye-popping Game of Thrones) and fiendishly compromising politics. It’s great. I love it, and fully recommend it! 8.5 out of 10 from me. And I think Bruce would like it too!

Enough food for thought to make you obese! #TheGreatHack #TheGreatHackNetflix

Your personality and behaviours can be mapped and predicted with just 5000 data points. More than that, the way in which to influence you and change your behaviour (such as who you vote for) can be calculated and implemented (via platforms such as Facebook). None of this is particularly farfetched – human beings are far less sophisticated than our egos like to think. Yet, to watch it being carried out is hugely disturbing and unsettling. It makes you doubt if democracy actually operates anywhere in the world anymore. We like to think it does, but maybe we’ve simply been programmed to think that.

The Great Hack is a documentary-movie on Netflix that tells the story of how Cambridge Analytica (CA) nicked personal data from Facebook, identified the most vulnerable amongst us (‘the persuadables’) and then targeted them during both the US presidential election of 2016 and during the Brexit vote. It very much appears that CA swung the votes in favour of Trump and Leave.EU.

The Great Hack follows the story of one IT professor who simply demanded to know what data CA were keeping on him. And the story of two ex-CA-employees who’d retrospectively had an attack of conscience and wanted to make some sort of amends by exposing the ‘truth’.

This documentary-movie is almost a dystopian horror… except it’s just real life. Yikes. You will certainly feel sickened when watching it. You will wonder why some of the facts revealed in the movie didn’t appear in the UK press. You will wonder if you were influenced/manipulated by CA. You will wonder how we can switch off the machine. Or can we never put that genie back in the bottle.

It’s not a perfect piece of film-making, by any means, and you may not trust a word that of what many of the talking heads say. But it’s certainly a hugely thought-provoking watch, and one to discuss with everyone you know. Very much recommended (if it’s not going to give you an insurmountable degree of anxiety). 8/10

Marmite peanut butter is real! #marmitepeanutbutter

This is not a test. This is not a swizz. I just bought some actual Marmite peanut butter… and it’s the absolute shizzle. Get down your supermarket before the stampede begins. (Also, I am not an influencer who gets paid for telling you how to live your life, you muppet. Get some now. If you don’t, and you miss out, then I will laugh at your tears and point at you in the street.)

If it’s not motivated, it’s not Jessica Jones! Season 3 reviewed! #JessicaJonesSeason3 #Marvel @jessicajones #Netflix

[Guest review from Matt White, screenwriter, twitter.com/tree_and_troll]

It’s a cliche that being a screenwriter ruins the watching experience. And it’s also untrue… mostly.

But it has changed the way that I watch TV and films, in three very specific ways:

1) I check the running time – and I can call, usually to within a couple of minutes, when something important will happen

2) I usually know why I don’t like something now…

3) I’ll forgive anything if it’s motivated. By which I mean: no matter how outrageous an action or decision is, I can happily accept it if it makes sense within the context of the character doing that thing or making that decision.

And that last change is why I thought the second series of Jessica Jones was a disappointment – but the third series was ace.

The last of the Marvel/Netflix superhero stories, Jessica Jones series three continues the tale of our reluctant super/private eye, still reeling from the events of series two: she’s mourning her Mum, she hates her “sister” Trish for killing her. And she’s still drinking and cracking wise. But, thanks to a chance encounter at a bar – leading to a scene which left me both hungry and disappointed – Jessica is facing off against a psychopath with a serious dose of resentment and a penchant for portrait photography.

Cue the usual mix of quirky establishing shots, lots of leather boots and buzzing mobile phones. Oh, and intrigue, dilemmas and dark, dark moments – plus the usual supporting crew with some very entertaining new kids. And it’s great. Not as good as the first series – which is surely an all-time classic. But far better than series two.

So what’s changed? It’s not the bad guys: the antagonists in each show have been powerful, scary and pitched just right.

No, it’s Trish. Or Patsy. Or the Masked Vigilante or whatever. Jessica’s foster-sister, former child-star turned news reporter. In series one I felt she was pitched just right: eager to do well and change the world, and way out of her depth. But as series two developed, Trish lurched into a fairly cliched spiral of drug addiction and murderous do-gooding. And some flashbacks and an amazing Rebecca De Mornay performance wasn’t enough to justify it for me: for Trish to take such a screwed-up turn felt like it needed more investment.

But in series three that investment was there, and Trish’s motivation was much stronger. I’m not going into too much detail about what she does – and why – but she plays a huge role in the series, and has a super-satisfying arc. And it’s all because the writers put the time and space into giving her the motivation.

Keep the motivation coming and you’ll keep me happy at least.