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Star Trek: Voyager – Natural Law (Review)

Natural Law represents another vaguely nostalgic entry in the final season of Star Trek: Voyager.

Most superficially, Natural Law evokes the vague New Age sentiment that defined a lot of the early episodes focusing on Chakotay – episodes like The Cloud or Tattoo. It feels entirely appropriate that Chakotay should be part of the away team to encounter the Ventu, as the presentation of the Ventu evokes a lot of the early approach to Chakotay’s own Native American heritage; a romanticised ideal of a more primitive culture. In fact, it seems entirely plausible that the aliens who build the shield to protect the Ventu – the mysterious “Species 312” – might in fact be the same white-skinned aliens encountered in Tattoo.

“I can see what’s happening, and they don’t have a clue…”

More specifically, though, Natural Law represents a familiar archetypal Star Trek episodes. Although the words are not actually spoken within the episode itself, Natural Law is pretty much a textbook “Prime Directive” episode. It belongs to that familiar subset of stories about the crew encountering a group of primitive aliens affected by a piece of outside technology, and trying to weigh their obligation to help that society with their desire not to directly intervene. The Ventu are a familiar native archetype, albeit one handled with a little more grace and dignity than the inhabitants of Gamma Trianguli VI in The Apple.

There is something very interesting in Natural Law, particularly in the context of the seventh season’s recurring fascination with tying Voyager back to the roots of the Star Trek franchise with references to Kirk in episodes like Q2 and Friendship One. Ironically, Natural Law only underscores how far removed Voyager is from the original Star Trek. Kirk often struggled to justify bending the Prime Directive to liberate societies trapped in oppressive circumstances and kept in arrested development. In contrast, Natural Law strains to justify the washing of the crew’s hands. More than that, Natural Law reveals the true purpose of the Prime Directive has nothing to do with primitive cultures.

The rise and falls…

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New Podcast! The Time is Now – Season 1, Episode 13 (“Force Majeure”)

It was a delight to stop by The Time is Now podcast again, particularly so soon after my last appearance on The X-Cast.

This week, I’m joining host and showrunner Kurt North to talk about one of my favourite episodes of the first season and a definite turning point in the evolution of Millennium. Force Majeure is one of the first times in the season that Millennium really lets its freak flag fly high. It is an episode that feels very different and distinct from what came before, eschewing the conventional “serial killer of the week” format in favour of something more abstract and eschatological.

This was a fun, broad discussion. As ever, you can listen to the episode here, subscribe to the podcast here, or click the link below.

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Torchwood: Miracle Day – Rendition (Review)

Rendition serves as a demonstration of the flaws with Torchwood: Miracle Day. While some of those flaws – the flaws inherent to the production between the BBC and Starz, the difficulty with scale – were built into The New World, Rendition hits upon quite a few more. Most obviously, it’s an entire episode dedicated to filler. Pretty much the only plot line that advances in a meaningful way is that involving Oswald Danes. Otherwise, Rendition feels like a bit of a holding pattern, a time-wasting exercise designed to pad out the season to ten episodes.

Dead on arrival?

Dead on arrival?

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139. The Lion King (#45)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Phil Bagnall and Graham Day, 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.

This time, Rob Minkoff and Roger Allers’ The Lion King.

The Pridelands have enjoyed a period of sustained peace under the stewardship of the proud king Mustafa. However, Mustafa’s young son Simba finds himself embarking upon a journey of self-discovery and adventure as he learns just how fragile happiness can be and just how heavy responsibilities can weigh upon a king.

At time of recording, it was ranked 45th on the Internet Movie Database‘s list of the best movies of all-time.

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New Podcast! The X-Cast – Season 4, Episode 13 (“Never Again”)

I had the pleasure of popping by The X-Cast again, this time to discuss Never Again with the wonderful Deana Ferrer.

Long-time readers of the blog will know (or at least suspect) that Never Again stands out as one of my favourite episodes of The X-Files. Most days, it’s a toss up between that and One Breath. There are a lot of reasons for that, but I think the most obvious is that – as I’ve gotten older – I’ve found myself identifying more with Scully than with Mulder. Scully’s anxieties and uncertainties here, her self-doubt and her insecurity, all resonate with me more and more as I get older. More than any other X-Files episode, I understand the feelings that drive Never Again.

Of course, there’s more to it than that. It is also a fantastically constructed episode of television, an interesting illustration of how continuity is an external construct in long-form narratives, and something that pushes very strongly at certain ideas of what The X-Files is and what The X-Files is about. So it was a pleasure to join Deana to discuss the episode, to break it down and to try to make sense of it all. I know it’s a controversial episode, so I simply hope that we make a relatively coherent argument for it.

As ever, you can listen to the episode here, or click the link below.

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Non-Review Review: Horrible Histories – The Movie: Rotten Romans

Horrible Histories – The Movie: Rotten Romans is essentially a feature-length pantomime, and works best on those terms.

Horrible Histories is an adaptation of a popular series of children’s (teenager’s) books that aim to explore history through an unconventional lens, providing a somewhat grittier and more tongue-in-cheek accounting of the historical record than those found in school books. They are immensely popular, and have existed long enough to have a cross-generational appeal. It is entirely possible that many parents bringing their children to see Horrible Histories will themselves have read one or two of the source books.

Sharp satire?

Naturally, Horrible Histories is not the first attempt to adapt the books for a broader audience. The BBC adapted the series to television a decade ago, attracting a wide range of comedic talent to bring the show’s unique perspective to life; the series included figures like Alice Lowe, Simon Farnaby, Al Murray, Mark Gattiss, David Badiel and Chris Addison. The series was beloved, even featuring satirical musical numbers. Its influence lived on in specials like the BBC’s centenary rap battle marking the start of the First World War.

Horrible Histories largely eschews a lot of the talent responsible for the television series, although it does make room for a few cameos. However, the film is at its strongest when it embraces the source material’s irreverent playfulness. Ironically, the film suffers when it tries to weave a conventional narrative into this structure.

“Our problems are legion.”

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New Podcast! Scannain Podcast (2019) #27!

It’s time for the Scannain podcast!

This week I join Ronan Doyle and Roisín Geraghty, both fresh back from the Galway Film Fleadh. The pair talk through what they saw there, including a slate of really exciting short films (Irish and international) and the retrospective of Agnès Varda.

The big film news of the week is that Roisín has joined us to discuss the slate at this year’s GAZE Film Festival, which will be running over the August Bank Holiday Weekend in both the Lighthouse and the Irish Film Institute. It’s a pack slate, with a host of really great material – both new and old. In other news, the Dublin Feminist Film Festival announced their own slate, George R.R. Martin is coming to the Irish Film Institute as part of WorldCon, and independent Irish horror The Perished is premiering at FrightFest later this year.

The top ten:

  1. Anna
  2. Rocketman
  3. The Queen’s Corgi
  4. The Secret Lives of Pets II
  5. Aladdin
  6. Midsommar
  7. Westlife – The Twenty Tour Live
  8. Yesterday
  9. Toy Story 4
  10. Spider-Man: Far From Home

New releases:

You can listen to the podcast directly here.

Note: This will be be the last Scannain podcast I’m hosting for a little while. I’m taking a break to concentrate on some other commitments.

138. Trois Couleurs: Rouge (Three Colours: Red) – Bastille Day 2019 (#246)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest 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.

This time, Krzysztof Kieślowski’s Three Colours: Red.

The third installment in the landmark Three Colours trilogy focuses on a strange relationship in mid-nineties Geneva. Valentine is a young student model trying to find direction in her life, who stumbles into the life of a voyeuristic retired judge. The two strike up a strange relationship, discovering just how interconnected their lives are despite the gulf that seems to exist between them.

At time of recording, it was ranked 246th on the Internet Movie Database‘s list of the best movies of all-time.

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Non-Review Review: The Lion King (2019)

It’s a very strange comparison to make, but the film that most obviously comes to mind when watching Jon Favreau’s The Lion King is Gus Van Sant’s infamous nineties remake of Psycho.

This is Favreau’s second “live action” adaptation of a classic Disney animated film, even if that descriptor is somewhat misleading. It might be more accurate to describe The Lion King (which was shot entirely in virtual reality) as “verisimilitudinous.” It is designed to approximate “live action”, rather than being live action itself. On that note, the film is a technical triumph. On the level of pure craft, The Lion King is a staggering accomplishment. It is a virtual reality film that is in many ways indistinguishable from reality itself. However, the onion has even more layers to it. It is a virtual reality film approximating the reality while meticulously and faithful reproducing a beloved animated film.

Join the cub.

As such, and much like Van Sant’s Psycho, there is an element of reflexive postmodernism to The Lion King. Both the Psycho and Lion King remakes feel more like conceptual art installations than movies in their own right. They are certainly more interesting as abstract objects than as actual stories. After all, the stories in question were so closely wedded to form and context the first time around that the idea of remaking them so literally and so faithfully seems absurd from a creative point of view. As such, the process of replication becomes intriguing of itself. Both Psycho and The Lion King are incredibly faithful copies that consciously lean into their uncanniness.

Favreau’s Lion King looks beautiful, but largely feels like a limit case. It is a certain approach to modern filmmaking taken to – and perhaps pushed beyond – its farthest extreme.

Pride of the Pridelands.

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Non-Review Review: Blinded by the Light

If the type of jukebox musical codified by the success of Bohemian Rhapsody, Mamma Mia and Rocketman is to become a fixture of the pop cultural landscape, there are certainly worse ways to approach the template than Blinded by the Light.

Many of the beats and structures of Blinded by the Light will be familiar to audiences. Blinded by the Light is a variety of familiar genres blended together; a nostalgic pop period piece rooted in the late eighties, a coming of age story about an insecure teen, a culture clash dramedy about an immigrant family in turbulent times. On top of all that, it is a loving ode to the music of Bruce Springsteen in particular, and more broadly to the power of musical fandom in the life of a wayward teenager.

“Stay on the streets of this town, and they’ll be carvin’ you up all night.”

Blinded by the Light knows the track relatively well. It hits most of its marks. There are few surprises nestled within the run-time of this life affirming story of a young man treating the music of Bruce Springsteen as a spiritual guide. Indeed, there is even a little clumsiness on display. Blinded by the Light makes a strong thematic argument for the importance of family and friends, particularly those around frustrated teenager Javed. However, those characters tend to drop into and out of the narrative, disappearing for extended periods.

However, Blinded by the Light is elevated by infectious enthusiasm. Blinded by the Light – for better and for worse – captures that teenage intoxication of excitement and interest, with a compelling vulnerability and with all the energy of youth. Blinded by the Light is cringy and silly and goofy, but knowingly so. It doesn’t just capture the awkwardness of teenage fantasy, but embraces it. There is a sense that Blinded by the Light is aware of the embarrassment and the stupidity obscured by teenage enthusiasm, and refuses to look away. There’s something joyous in that.

“In Candy’s room, there are pictures of her heroes on the wall,
but to get to Candy’s room, you gotta walk the darkness of Candy’s hall.”

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