‘Astrophysics for people in a hurry’ #astrophysics #sciencefiction @neiltyson

This short book (can’t be more than 40K words) by the American astrophysicist Neil deGrasse Tyson will tell you all you need to know to impress anyone anywhere anytime. Anywhen. Honestly.

Don’t know your ‘dark matter’ from your ‘dark energy’? (Really? Sheesh. You need to get out more.) Then Astrophysics for People in a Hurry is for you. Always vaguely understood neutrinos and pulsars but not well enough to explain it convincingly to anyone? Then spend just a few minutes reading one of the short chapters and you’re away.

Scared of maths and equations? Don’t be. This book is written in a very accessible style with very down-to-earth examples (literally) that make the larger concepts easy to understand and also easy to remember. And there are delightful flashes of humour too and references to science fiction movies to stop things from being either too dull or too geeky.

And there’s even more. The book also somehow manages to weave in the history of all astrophysics to boot! And philosophical implications. And the final chapter is as thought-provoking as it is enlightening and inspiring. Neil deGrasse Tyson, I doff my cap to you. (And I have quite a fine cap, truth be told.)

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Ghost Wars offers a few thrills and chills

If you haven’t heard of the Ghost Wars series, you may wanna give it a look on Netflix. The opening episodes are tightly plotted and scripted and there are some nice ideas that verge on the original. Plus, Meatloaf has a decent role in the show!

The scenario. A young misfit (whose mum was a medium and spoke to ghosts when she was alive) decides to leave town to escape the bullies he’s suffered all his life. Yet a number of ‘accidents’ mean he can’t get away. He begins to suspect he’s supernaturally trapped in the town… and so is everyone else. The hauntings in the town progressively become worse and then the ghosts start killing everyone!

It seems Death’s Door has been opened – but how and by whom? More importantly, how the hell do the townsfolk get it closed again? Are they being punished for their earthly sins? Do they need to confess and make amends somehow to put an end to their problems? The local priest is clueless, which doesn’t help.

The main scenario is strong and carries us through the first half of the series effortlessly. The show loses its way a little in the second half, continuity suffers and they should have probably cut a few episodes. But all in all, there are enough reveals and twists to keep things entertaining enough. Certainly one to consider on a rainy afternoon. It scores 7.5 out 10 from me, although some episodes are better than that.

Deadpool misunderstood by critics? #deadpool2

Most of the reviews I read in the British press for the Deadpool 2 movie gave it three stars. And yet, on Rotten Tomatoes, the film is currently scoring 86% with audiences. There’s a bit of a mismatch there. I saw the film last night and, pondering some of the accusations levelled at the film by the critics, have to say I think the critics are just plain wrong, misinformed or critically unsophisticated enough to ‘get’ what the film is doing. Deadpool 2 is a brave film that is deceptively simple. In fact, a lazy, unthinking viewer (one who doesn’t engage brain or critical faculty) will probably consider the movie to be by-the-numbers or even straightout bad. This is a perfect example of ‘you get out what you put in’.

I saw several reviewers complain that the movie, for all its representation of minority groups, was still centred around two white guys (Deadpool and Cable) proving who was the toughest. These reviewers claimed that the female characters and minority groups were reduced to canon fodder or background filler (with very few lines of dialogue). Such complaints and claims are a fundamental misrepresentation of the movie. At the end of the day, the movie is about the Deadpool character (who, admittedly, is white and male), but throughout he challenges what a white male hero is all about in today’s society – that’s the point of his character! And Cable (who uses the c-word) is only there as the inverse – to show us what a macho asshole Deadpool would be if he was reduced to the traditional white hero – the Deadpool/Cable dynamic is actually a bipolar debate about the nature of male identity. To then say the female characters and minority groups are done a disservice (in ‘service’ to the patriarchy) is hogwash. The Domino character (a woman of colour) proves Deadpool wrong, has plenty of central moments and survives where loads of white males (X-force) get chewed up. Then, when the Deadpool/Cable narrative falls away, it is the narrative concerning the young, large-bodied, Maori Firefist that completely takes over. Yes, the female character of Negasonic Teenage Warhead remains largely surly and monosyllablic throughout, but that’s the whole point – since, if you remember the first movie, she hates adult authority, is too cool for school and absolutely doesn’t want to succumb to Deadpool so-annoying dad-jokes (and her manga-cutesy Japanese girlfriend, who gets on so well with Deadpool, only adds to the tightly-wound interplay). No, the Japanese girlfriend isn’t a tacitly racist stereotype – because she is given telling lines at the end to make it clear that her ‘geekdom’ character was just that – all an act, and one that she used to her own benefit (even if it does play upon our own lazy thinking or cultural bias). There might be a stronger argument that the weedy Asian taxi-driving male character gets shorter shrift (when Deadpool quips that he’s ‘Brown Panther’), but I would argue just as strongly that he’s an aspect of the male identity debate (an aspect which is even more complex when competing cultural expectations are involved).

Another accusation of Deadpool 2 from the critics is that this movie is far less ‘meta’ than the first. It simply doesn’t break the fourth wall as interestingly as the first. There’s only one line from Deadpool like ‘big CGI fight coming up’ to keep things self-aware. Once again, the critics are talking nonsense. The whole point of the ham-fisted X-force team that Deadpool assembles (and promptly gets killed) is that they spoof the X-Men motif. There are geek references to the John Wick movie, lines like ‘that’s some lazy writing right there’, ‘he’s young enough to keep the franchise going for another ten years’, apologies from Ryan Renolds about how poor the Green Lantern movie was, intertextual mention of Thanos (Josh Brolin plays both Cable and Thanos) and a whole host of ‘Easter eggs’ that I just know I didn’t even spot. I am definitely inclined to watch again, as I know I’ll see so much more.

So where does that leave us? The easy assessment is that Deadpool 2 is a far better movie than you may have heard or read. And then there’s a tougher question about what the hell the critics are up to with their relatively poor reviews. I’m not sure I have all the answers to that. Clearly, you can’t trust the media critics to guide you properly. Media critics still don’t properly understand geek culture or current social debates concerning identity (debates that are significantly informed by the (often angry) voices of young people), it would seem. For me, Deadpool 2 is an 8.5 out of 10. Up your bum, critics!

 

The Alienist – a new gothic classic #alienist #netflix

The Alienist is set in the New York of 1896 – a Victorian, very Jack-the-Ripper sort of place. There has been a spate of child murders. The police are unable to make any progress in tracking down the killer… and some may actually be protecting him, as the suspicion is that he is the son of a powerful family. In desperation, the police commissioner (who is the historical character of Theodore Roosevelt) tasks his psychiatrist/alienist friend (Laszlo Kreizler) with assembling a team to find the killer.

Psychiatry is still in its early stages, as are the sciences of police forensics and profiling. Kreizler has to fight misconceptions, his own preconceptions and a corrupt society. All the while, the clock is ticking… and children are dying. He is frustrated and panicked by his inability to make immediate progress and lashes out at his companions, who are fighting their own demons. Indeed, it is the telling character interactions and growing self-awareness of his team (the feminist, the indolent dandy and the Jewish anatomists) which really make this compelling viewing (along with brilliant acting by the likes of Luke Evans, Daniel Bruhl, Dakota Fanning, and others). The series refuses to indulge in excessive exposition – instead, we pick up clues about the protagonists’ past lives and associations by how they react to their various situations. Each of them has a hang-up, each of them has their own moral code, each of them has skeletons in the closet. The audience is effectively one of the team in having to read the clues and make sense of the narrative. It’s utterly immersive.

And we are immersed in some very psychologically-dark deeds that would only make sense to a dreaming or otherwise altered mind – a mindscape, if you will. It’s the definition of the gothic. The show is gory, in a surrealist way. It is full of disjuncture, false starts, misgivings, bizarre clues and circularity. But it’s thrilling, exciting and daring.

If you can imagine a mix of Mindhunter and Penny Dreadful, then you know what’s in store. If you can imagine a mix of historical fact and fiction, of romance and horror, of depravity and tenderness, of revulsion and compulsion, and if that intrigues and inspires you, then you will enjoy this show immensely.

It’s right up my murky, dangerous alley, this series. I score it 9 out of 10.

Jessica Jones, The Return!

As a massive fan of the first season of Marvel’s Jessica Jones, I’d really been looking forward to the second season. JJ2 was always going to struggle to be as refreshingly adult and ground-breaking as JJ1, I knew that. What I hadn’t been prepared for, however, was just how far short JJ2 would fall of the high standards set by JJ1. The second season is disappointingly brattish and so, so tired.

There are a whole host of problems with JJ2. Where to begin? At the beginning, I guess. Okay, we are immediately hit with a lack of continuity, with plot inconsistencies and with massive plot holes. A nerdy and nervous superhero (called The Whizzer) comes to Jessica saying someone is trying to kill him. It’s not clear why anyone would want to kill him. He ends up dead anyway. Jessica tracks down someone who might be the killer (I won’t spoil it for you), but it’s never actually explained and the show promptly gives up on that entire plotline. Then a rival private detective turns up, accuses Jessica of stealing his clients (although we’ve just been told in the previous scene that Jessica has no proper clients to speak of) and tries to buy her out. She tells him to get lost and – apart from a later break-in – he pretty much does. Then Jessica’s side-kick Malcolm is emotionally blackmailed by Trish to ‘fall off the wagon’ and start taking drugs again – he does, freaks out, runs into the night saying he never wants to see her again – and then appears with her in the next episode as if nothing’s happened. It’s all really random, frustrating and, basically put, rubbish.

Unlike in JJ1, there’s no major baddie in JJ2. This means JJ2 lacks a consistent focus, is often aimless and is frequently pointless. There is a lack of true moral dilemma, a lack of mystery, a lack of consequences to actions and a complete lack of moral compass. Many episodes are simple soap operas, full of angst and whining. Where is the sass and humour of the first season? We eventually get some wit in a couple of later episodes because David Tennant turns up as the ghost of Kilgrave from season one. It was as if the writers of season two suddenly realised/accepted things just weren’t working and decided to reboot… except Jessica then declares to Kilgrave that she is stronger than him… and he promptly disappears (as if Tennant suddenly decided he was really needed on far better productions than this one). And that’s that. We return to the self-indulgent flip-flopping of Jessica’s dull origin story. Argggh!

Look, it could be that the writers of JJ2 were trying to do something brave with the traditional superhero format. In refusing to have a big threatening male as baddie, and in populating the show with strong female characters, perhaps they were trying to pull off something very advanced and experimental. Unfortunately, in devoting so much of their energy to this new style of things, they neglected to put enough into getting the basics right.  Like a basic plot. Like basic character development (rather than the repetition and restating of things we already know). There is a lot of posing and pouting attempted by Jessica, but without any decent dialogue or depth to things, she just looks like a sulky child. In one episode, she says, ‘When you have dreams, but they don’t come true, they become nightmares.’ Eh? Does that make sense? Not really, cos she’s simply having a car ride with her mum. And Trish’s constant tantrums make her seem like nothing more than a spoilt child. Sheesh. The whole thing is a mess from start to finish.

It’s such a shame. Such a wasted opportunity. And to think I’ll never get those thirteen hours back. A score out of 10? Probably a 5 is fair.

Black Lightning rejects the American Dream #BlackLightning

A high school principal asks his students to reject violence in favour of reason and obeying social and moral codes. But waiting beyond the school gates are gangs with weapons, forcing youngsters into whore houses and using drugs. The police seem powerless to protect the students, because they are underfunded and probably corrupt anyway. The students have little choice but to pick up weapons to defend themselves, some getting themselves killed in the process, and some becoming as bad as the actual gangs. All hell starts to break loose. The principal feels forced to resurrect his secret superhero identity (Black Lightning) in order to keep the streets ‘safe’. He has deep misgivings because he is thereby becoming a hypocritical vigilante. He feels (and very much looks) uncomfortable in his skin – in his lumbering, cheesy superhero disguise. It is an augmented suit too, one that takes a personal toll on him physically and mentally – he starts to become a monster at home, driving away all those he loves and wants to keep close. It is a physical symbol and enactment of his moral and spiritual conflict. It represents the damage done to the psyche and a person’s sense of identity (particularly a black person in an underprivileged area) in today’s (Trumpian) America.

This Netflix tv show (an adaptation of the DC character) will at first seem cliched and naff to viewers. But stick with it and you’ll find that your (genre) expectations are defeated time and again. A mother grieving for her son seeks to confront and shame the gang members who killed her boy. Our innate sense of justice expects her to win out where the cops have failed, or expects Black Lightning to turn up and save her when the gang members turn on her. But the gang members kill her. Outraged, we expect the community to rise up against the gangs, or expect Black Lightning to finally deliver justice. But most people shrug and look to carrying on with their lives. Black Lightning tracks down the killers, only to have a suit malfunction, get a proper kicking and become a laughing stock.

Wow. This is a dark series. It’s not bleak, as it keeps looking for a new way out or solution. Hope and humanity drive it on. One episode, we turn to the Church for answers, and the Church organises a peace march, only to have it shot up by the gangs. In another episode, we hark back to better times, when the local newspaper could name and shame, and hold people to account. But the old editor is now too terrified for his life to print anything too critical of anyone. A different solution is tried in every episode, with Black Lightning muddling through as best as he can, trying to keep faith in himself and justice. Is he a deluded fool? We root for him, but we find it harder and harder (with each set-back) to believe he can ultimately win out. We admire him, sympathise with him, but ultimately fear for him.

This is real life, then. It’s not some escapist superhero caper. The goodies don’t win. The baddies always seem to win. Welcome to the world, boys and girls. And Black Panther… you have no idea.

Altered Carbon… murder-porn anyone? #AlteredCarbon

There’s a lot about this show that is very good. There are provocative and thought-provoking scifi ideas. There’s some quite credible world-building. The detective mystery with which we are initially presented is engaging and not easily solved. There are interesting themes about rich-and-poor, religious-and-non-religious belief, shared-blood-and-abandonement, identity, and so on. These things are probably down to the decent trilogy of novels (by Richard Morgan) that inspired this Netflix show. There’s some decent enough acting, and the special FX are impressive too. So why Netflix did you then add the following…

We see the actor James Purfoy entirely in the flacid buff, and that then seems to allow/justify all manner of female nudity, objectification, abuse and murder-porn throughout the rest of the series. The unhesitating ‘male gaze’ involved in the direction throughout is lascivious in the extreme. Maybe this tv show is trying to do something clever? Maybe it’s trying to make us complicit with the commodification going on (in order to make a bigger point about today’s society), maybe it’s trying to desensitise us in this emotionally sterile future where the physical body is temporary and expendable? Sigh. If only it were. There is nothing truly subtle about the Freudian relationships in this series, sadly. There is no genuine nuance of feeling. There is no subtle subversion at work within the plotting or characterisation. In short, things are as objectionable as they look. Why do we actually need to see some poor prostitute being murdered even as she’s being sexually used? Why, Netflix?

To conclude, I’d recommend you reading the novels.