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New Podcast! Set the Tape Rewind – Episode 10

Thrilled to be invited to to guest on the latest episode of the new podcast from Set the Tape, discussing the week in popular culture with Owen Hughes and Steve Norman.

Set the Tape Rewind half-hour jump into the world of film, television and… well, everything else. This week, we’re discussing whether Avengers: Infinity War broke the Marvel Cinematic Universe, the mass cancellation of shows at Fox and NBC followed by the resurrection of Brooklyn 99, and our competing attitudes towards tie-in fiction. It was a huge pleasure to be invited on for a fun discussion.

You can listen to the episode here, or click the link below.

Non-Review Review: Solo – A Star Wars Story

Solo: A Star Wars Story is perhaps remarkable in how it is unremarkable.

That is not exactly fair. Most obviously, despite being the tenth theatrical release with a Star Wars brand, Solo: A Star Wars Story is still something relatively novel for a franchise; it is a big-screen outing that consciously and overtly marginalises a lot of what audiences have come to expect from the franchise. There are a host of familiar elements here, but often in minuscule amounts; either token gestures or sly continuity nods. Without confirming any of these elements are present, Solo certainly has fewer Jedi, Death Stars, representatives of the Empire, officially designated rebels, or lightsabers than most Star Wars films.

The Wookie and the Rookie.

More than that, the film’s production was notably troubled, which is striking for a production company as efficient as Disney and Lucasfilm. Original directors Phil Lord and Chris Miller finished shooting their version of the film, and were fired during the editing process. Reportedly, seventy percent of Solowas reshot by Ron Howard. Given the schedule demands of the actors involved, the complicated mechanics of the set pieces, and the budget of the film, this was no small undertaking. On paper, Solo would appear to have more in common with a film like Justice League or Suicide Squad than even the troubled Rogue One.

With all of that in mind, it is a credit to Howard that Solo turns out as well as it did. Howard is an efficient and often underrated director, one with a clean eye and with a clear storytelling style. Howard’s films tend to be unfussy and uncomplicated, a director who never gets in the way of the story being told. This is something of an underappreciated virtue, with Howard’s films often maintaining a firm grasp on the fundamentals of storytelling. Howard’s characters tend to have clear arcs and tangible motivations, with very little getting lost in the shuffle. Howard’s direction is unobtrusive, which likely made him such a good fit for this particular film in these particular circumstances.

On the cards…

Watching the film, there is little sense of competing tones or contrasting visions. There are moments over the course of the film when the cast are noticeably more playful, their banter a little more conversational and the comic rhythms a little more pronounced. However, Solo never misses a beat, never turns to sharply, never transitions too jarringly. There is a strange sense, watching Solo, that absolutely everything has ended up right where it was supposed to be with a minimum amount of fuss. There is absolutely nothing about the finished product screams “troubled production.”

At the same time, nothing about Solo screams anything at all.

Going Solo.

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Non-Review Review: Deadpool 2

Like the original, Deadpool 2 is being talked about as a deconstruction or comedy. It’s not really. At least, not primarily.

Deadpool 2 is most effective as a very simple and straightforward superhero narrative with a shade more violence and a dash more awareness. There are laughs in Deadpool 2. And a few truly great jokes. There are even occasionally moments where Deadpool 2 will take a montage or a couple of scenes specifically to set up a later pay-off. However, these are the exception rather than the rule. And it’s no coincidence that this set-up leads to the biggest laugh in the film.

Not basic Cable.

More to the point, Deadpool 2 never opts for a joke over an efficient plot beat. Deadpool 2 never even distorts its plot in order to cram a few more laughs into the runtime. The gags are largely there to decorate the plot, not to direct it. They’re fun, but they aren’t especially brutal or pointed. There’s never a sense that Deadpool 2 exists as a deconstruction or critique of superhero movies, that it has anything especially insightful to say about the genre beyond accepting that modern audiences are genre-literate.

To be clear, this is not an issue with Deadpool 2. In fact, what’s most remarkable about Deadpool 2, particularly in the age of superhero bloat and franchising, is the relative efficiency with which it tells a simple story. For all the jokes about genitalia and all the pop culture references that crowd the narrative, there is more genuine emotion in Deadpool 2 than there is in Avengers: Infinity War. The characters are better defined, their arcs and motivations clearer, their agency repeatedly affirmed. There is an endearing and infectious earnestness beneath the dick jokes.

Just Joshing.

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New Podcast! Scannain Podcast (2018) #17!

A busy Scannain podcast, covering the week in film and other news.

This week, I’m joined by Grace Duffy, Jason Coyle, Ronan Doyle, and Alex Towers to discuss the week in film – both Irish and international. The news includes coverage of Cannes, of Irish success at other international film festivals, and the upcoming release dates of notable Irish films. As usual, we also talk about what we watched, what is being released next week and what is currently in the top ten.

Check it out here, or give it a listen below.

Star Trek: Voyager – Memorial (Review)

Memorial is a great example of Star Trek: Voyager doing a generic Star Trek story.

The episode has a very basic premise that allows for the construction of a science-fiction allegory, the kind of storytelling associated with the franchise dating back to early adventures like The Devil in the Dark or Errand of Mercy. Despite its unique premise and set-up, Voyager had largely embraced the archetypal mode of Star Trek storytelling in its third season. A lot of Voyager episodes feel very broad and very generic, and could easily be adapted for another series – whether inside or outside the franchise.

The real devil in the dark.
Spoiler: It’s us.

There any number of episodes that are not rooted in the specific premise of Voyager, that could easily have been reworked or reinvented for another crew at another point. The Chute was a harrowing story about the horrors of mass incarceration and its capacity to turn people into animals. Nemesis was a meditation on killology, in the way that militaries turn soldiers into killing machines. Scientific Method was a treatise on the horrors of animal testing. Random Thoughts was paranoia about “political correctness gone mad” translated into forty minutes of television.

Memorial belongs to a very specific subset of these episodes, something of a bridge between the more generic Star Trek storytelling to which Voyager aspires and a slightly more specific area of thematic interest. Voyager is a series very much engaged with the idea of memory and history, perhaps befitting the Star Trek series that straddles the twentieth and twenty-first century. Episodes like Remember, Distant Origin and Living Witness are all archetypal Star Trek stories, but they are built around ideas of particular interest to Voyager.

The past never remains buried.

As the title implies, Memorial belongs to that very specific subset of episodes. It is easy to imagine a version of Memorial starring James Tiberius Kirk, Jean-Luc Picard, Benjamin Lafayette Sisko or Jonathan Beckett Archer. It is a generic Star Trek episode that could work with any crew, perhaps meaning something slightly different in each context. (On Star Trek: Deep Space Nine, it would be an “O’Brien must suffer!” episode. In fact, Hard Time is quite close.) However, it is an episode that engages overtly with ideas that are of great interest to Voyager.

Memorial is about the importance of memory and history, even in a world where time seems to have lost all meaning.

Standing watch over history.

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78. The Grand Budapest Hotel (#192)

Hosted by Andrew Quinn and Darren Mooney and this week with special guests Stacy Grouden and Charlene Lydon, and featuring Phil Bagnall, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT, with the occasional bonus episode thrown in.

This time, Wes Anderson’s The Grand Budapest Hotel.

The Grand Budapest Hotel is a glorious ruin on the continent of Europe. A visiting author happens to strike up a conversation with the establishment’s owner, who crafts an epic and heartwarming tale of love, murder and scandal against the backdrop of the chaotic mid-twentieth century.

At time of recording, it was ranked the 192nd best movie of all time on the Internet Movie Database.

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New Podcast! Scannain Podcast (2018) #16!

A somewhat smaller and more intimate Scannain podcast than previous weeks.

This week’s episode features the return of Niall Murphy on hosting duties, while I am joined by Alex Towers on the panel. The news includes coverage of the Fastnet Film Festival, The Image You Missed screening in New York and the latest appointments to the Irish Film Board. As usual, we also talk about what we watched, what is being released next week and what is currently in the top ten.

Check it out here, or give it a listen below.

Star Trek: Voyager – Virtuoso (Review)

Virtuoso is an interesting companion piece to Blink of an Eye.

Blink of an Eye was in many ways an exploration and reflection of Star Trek as a multimedia franchise, looking at the way in which the franchise has touched and shaped contemporary culture in the thirty-odd years since its inception. As part of this, the episode touched on fandom in a variety of ways, whether the abstract fandom of those individuals inspired by the series to accomplish great things or the more specific fandom including merchandise. Blink of an Eye was very much an episode about loving Star Trek.

Music to our ears.

As a result, Virtuoso feels like a very strange choice to directly follow Blink of an Eye. The two episodes are not connected by plot, outside of the basic idea that the EMH might spend an extended period of time on an alien planet without access to Voyager. After all, Star Trek: Voyager had committed itself to producing standalone episodic storytelling. However, Virtuoso is also something of a metaphor for Star Trek fandom, a look at what it is to love a piece of popular entertainment and to eagerly embrace it.

Unfortunately, the proximity to Blink of an Eye does no favours for Virtuoso, emphasising the script’s weaknesses and tone-deafness. Virtuoso is an episode that feels very pointed and cynical in its portrayal of fandom, very broad and very unpleasant. It is a clumsy and muddled piece of television, on that struggles to hit the right notes.

Small pleasures.

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Non-Review Review: On Chesil Beach

On Chesil Beach is a messy and awkward adaptation of Ian McEwan’s story, adapted by the writer from his own work.

McEwan’s source material might be better described as a “novella” than as a “novel”, with the writer describing it as such and the book generating some small controversy when shortlisted for the Booker Prize. Indeed, the film strains when it tries to extend the novella’s core idea out into a feature-length film, often struggling to find focus and to hold its attention. The result is a very uneven piece of work.

Love on the rocks.

However, On Chesil Beach provides an intriguing mess of interesting ideas and solid performances. Saoirse Ronan and Billy Howle cannot hold the film together, but provide a set of interesting characters that provide the closest thing that the film has to a throughline. The film works best when it is willing to focus on these two characters together, when it moves away from its free-association aesthetic towards something more concrete.

On Chesil Beach never quite coheres into a fully-formed film, often feeling more like a televison movie or a stage play than a theatrical release. Still, there is something interesting playing beneath the surface, often lost in heavy-handed writing or awkward segues.

It ain’t no picnic.

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77. Avengers: Infinity War – This Just In (#10)

Hosted by Andrew Quinn and Darren Mooney, and this time with Tony Black, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 250 best movies of all-time, as voted for by Internet Movie Database Users.

This time, Anthony Russo and Joe Russo’s Avengers: Infinity War.

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