This contains spoilers for the latest episodes of The Good Place.
Everybody on The Good Place is dead. This is not the spoiler promised above – rather it’s the very premise of the show. Four people wake up in a waiting room where they are informed they’re dead and they’ve made it to The Good Place. But very quickly it becomes clear that none of them actually belong there, and over the course of the first season they try to avoid being found out and sent to The Bad Place. Then came the first season twist: they were already in The Bad Place. This had all been a part of their eternal punishment, a new spin on damnation.
The next season was an endless series of reboots, with The Bad Place trying to make them forget they were in The Bad Place, and after that they tried to escape. In the process they discovered that the afterlife works on a point system, but that the system is impossibly flawed. The complexity of moral life in the modern world – when you buy a turnip you’re possibly enriching a truly evil corporation that is ruining the lives of millions – has rendered the system moot. Nobody goes to the real Good Place anymore. Nobody at all.
Continue reading “THE GOOD PLACE Invents Buddhism”
Never forget that George Lucas was ripping off a lot of stuff when he made Star Wars. This is vital, and it’s a part of Star Wars’ DNA. It is also, I believe, why the first episode of The Mandalorian works so damn well.
See, modern Star Wars seems to be interested in aping old Star Wars as opposed to taking a page from the Lucas playbook and ripping off other movies. Star Wars, to borrow a phrase, is a place, and that means you can take other films and genres and easily drop them into a Star Wars milieu, which is exactly what The Mandalorian does. In this case it’s a Spaghetti/revisionist era Western plopped right into a world of blasters and Gonk droids, and it’s the chemical reaction between Star Wars and the genre that creates the beautiful fizz that makes the episode so damned enjoyable.
Continue reading “THE MANDALORIAN Review”
Every week subscribers at the $5 and above level on my Patreon get a new recommendation. Sometimes it’s a movie, sometimes a book, sometimes a song, sometimes a self-help technique. Each week I not only recommend something, I write about it with some depth. This week I’m recommending the show Years and Years, now playing on HBO. This is a peek at the piece; to read the entire thing, which is much longer, become a $5 or above subscriber at Patreon!
Have you ever, in these past three years of the Trump administration, said to yourself “I wouldn’t believe this if it were in a movie/book/TV show!”? Russell T Davies has taken that up as a challenge with his limited series Years and Years, the scifi TV show so absolutely relevant and believable that it has given me a number of anxiety-related stomach aches in just three episodes.
The premise: we follow a British family over the course of 15 years, starting in 2019, as the world continues on its current path. Each episode fast-forwards through a year, replicating the breakneck sense of our current society hurtling out of control. And holy shit, does Davies think we’re going to dark places.
Continue reading “On Patreon: Recommendation: YEARS AND YEARS (TV Show)”
I need to learn the most valuable lesson about writing TV criticism: don’t do it until the season is over. Maybe wait until the whole darn show is over. Again and again I’ve gotten really excited about a show and recommended it, only to see the show sink into a morass as soon as I’ve pledged allegiance. My timing is bad.
The latest show to fit into this pattern? Hulu’s Castle Rock, which had an extraordinary first act. I was really smitten with the show, and at the beginning it seemed to be setting up an exciting world and great characters, tying lightly into the Stephen King megaverse but mostly getting the King flavor absolutely right. So what the hell happened?
Continue reading “CASTLE ROCK Blew The Ending”
The only way Castle Rock could be more Stephen King-y would be if the lead character were a novelist. In fact, there are no novelists yet introduced on the show, a huge oversight if you ask me. Maine, as I understand from King’s work, is thick with novelists. You can’t run into an ancient curse or a terrifying entity without finding a novelist somehow tied up in the whole thing.
I don’t love writing about TV shows while they’re still airing – they could shit the bed at any moment! – but it feels important for me to tell you that Castle Rock is, three episodes in, quite good. And it’s quite good in a way that feels unique to the King ouvre; this is a show that gets what the experience of reading King is, and unlike almost ALL the adaptations ever attempted of the Master, it captures that experience. Again, Castle Rock could absolutely fall apart this week, but the first three episodes lay such a solid foundation that I could believe the show might be able to recover from a serious episode four stumble.
Continue reading “CASTLE ROCK Truly Shines”
M*A*S*H has to be the greatest TV show based on a movie. I know there’s likely a big contingent who will go to bat for Buffy the Vampire Slayer – which I love love love – but the difference there is that Buffy the movie didn’t quite work, and Buffy the TV show got to improve on the original. But M*A*S*H? The movie is a classic, yet the show somehow manages to be better and more iconic than the movie (I fully expect some pushback on that from Altman diehards. Fair enough!).
Dear White People on Netflix is closer to M*A*S*H than Buffy; it’s based on a 2014 movie that’s quite great, but the TV version manages to take everything worked in the movie and make it even better. Season one was sort of the Evil Dead 2 of Dear White People – a retelling of the events of the movie with included aftermath – and it was a phenomenal achievement. Creator Justin Simien, who wrote and directed the movie, inherently understood the Netflix binge model, and the show’s format follows one character per episode, with all the stories colliding in the finale. He did this better than Arrested Development season 4’s much-heralded experiment, which I think fundamentally failed. Dear White People focuses on one character at a time, but it doesn’t eliminate the others; it’s sort of the Marvel Cinematic Universe model of TV storytelling, where characters can and will cross over in their individual stories but the focus is always on the episode’s lead.
Continue reading “DEAR WHITE PEOPLE VOL 2: The Best Since M*A*S*H”
Spoilers for the latest episodes of Star Trek: Discovery ahead.
The back half of Star Trek: Discovery’s first season has been a mixed bag for me. The Mirror Universe stuff has been okay, but has also often been a bust. Making Lorca an MU doppelganger is too cheap and easy, in my opinion – the show was traveling down an interesting path in examining a man coping with trauma and possibly processing it poorly. Saying “he’s just from the goatee-verse!” cheapens what the show had been previously doing with the character, and makes him sort of lame in the process. I hold out hope that the season finale will find Prime Universe Lorca showing up.
Continue reading “Deep Space Recovery”