It’s always fun to pick at trends in contemporary cinema, especially when so many movies with similar ideas arrive in such rapid succession.
Film production is a long and arduous process. This is part of what distinguishes it from television. Films spend years in development and then production, their releases carefully managed and synchronised. As a medium, mainstream cinema often lacks the urgency suggested by the churn of television. It is harder to immediately react to trends. This is why, for example, the feature film Slender Man arrived more than half-a-decade after the character had taken the internet by storm and arguably after culture’s attention had wandered in other directions. Similarly, the success of movies like Iron Man and The Avengers led other studios to pursue that model of film-making, but it’s telling that the DCEU lagged roughly half a decade behind with Man of Steel and Justice League.
This is why it is particularly interesting when movies tackling the same big ideas happen to be released around the same time; Deep Impact and Armageddon, The Prestige and The Illusionist, Capote and Infamous. These films arrive so quickly that they are unlikely to exist in response to one another. Instead, they suggest similar ideas developed in parallel, perhaps hinting at some deeper motivating factor that spurred these similar ideas into development. Recent weeks have seen the release of three relatively distinct films operating in three very different genres; Shazam! is a superhero story, Little is a broad nostalgic comedy, Unicorn Store is a quirky independent film. However, each of those three films gets at the same idea.
Shazam!, Little and Unicorn Store are all stories about the intersection of childhood and adulthood. Shazam!, Little and Unicorn Store all feature adults who become children, in a manner of speaking. Of course, Unicorn Store is rather less literal than the other two examples, with Kit content to simply recapture her childhood dreams rather than to physically transform herself into a child. While Shazam! might more accurately be described as the story of a child who becomes an adult, the story’s central thrust is that Billy Batson needs to lean to be comfortable being a child and that he cannot remain an adult superhero forever. (Indeed, the primary plot of Shazam! features an adult trying to reclaim “the power of Shazam”, with the film insisting that it belong to a child.)
Still, taken together, these films suggest an interesting trend within contemporary pop culture. They hint at the awkward relationship that exists between childhood and adulthood in modern society, and the difficult that many individuals face in navigating the boundaries between the two. In Little, a forty-year-old tech entrepreneur finds herself transformed into her teenage self so that she might live the childhood that she previously denied herself. In Shazam!, a superhero is able to transform into a child with the mere mention of the title word, able to retreat from the responsibilities of heroism into the comforts of a warm and loving family environment. In Unicorn Store, Kit still lives in her parents’ house and sleeps in her childhood bedroom, dreaming of owning a unicorn.
These films are rather strange, in large part because they run counter to so many of the beloved stories with which they might otherwise be compared. During the eighties and even into the new millennium, children dreamed of the freedom that being an adult might afford them. In recent years, many of those children grew into adults who longed for the relative safety and security of childhood.
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Filed under: Movies | Tagged: ageing, backward, childhood, culture, growing up, millennials, regression, reverse ageing | 2 Comments »
Star Trek – Bread and Circuses (Review)
The first Star Trek pilot, The Cage, was produced in 1964. To celebrate its fiftieth anniversary, this December we are reviewing the second season of the original Star Trek show. You can check out our first season reviews here. Check back daily for the latest review.
Bread and Circuses is not subtle. Then again, that is the point.
There’s a lot of interesting stuff happening in Bread and Circuses, the fourteenth episode produced for the second season, but the last to air. There’s the idea of a world dominated by “a twentieth century Rome”, a rogue captain, a Prime Directive dilemma and a scathing indictment of modern television. Not only is it one of the last episodes with a “produced by Gene L. Coon” credit, it is also an episode co-written by Roddenberry and Coon. It is also the episode of Star Trek that endorses Christianity most explicitly and heavily.
“Wait, we’re only getting it in black and white?”
Bread and Circuses is a bold and audacious piece of television, full of venom and righteous anger, rich in satire and cynicism. It’s a plot so ridiculously over-stuffed with good ideas that viewers are liable to forgive the show’s somewhat cop-out ending where Kirk and his away team beam back to the Enterprise and continue on their merry way as though little has actually happened. Bread and Circuses feels like it uses every minute of its fifty-minute runtime wisely, balancing character with world-building.
It is probably a little bit too messy and disjointed to be labelled a dyed-in-the-wool classic, particularly when compared to the shows produced around it. Nevertheless, it is a decidedly ambitious piece of work, and one that demonstrates what Star Trek could do when it sets its mind to something.
When in Rome…
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Filed under: The Original Series | Tagged: behind the scenes, cancellation, capitalism, Christ, christianity, competition, culture, faith, fans, fourth wall, game shows, Gene L. Coon, gene roddenberry, kirk, McCoy, ralph senensky, reality television, religion, romans, romulans, science fiction, Shatner, social commentary, space!romans, spock, star trek, star trek: the original series, Television, the all, the original series, tos | 5 Comments »