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Luke Cage – If It Ain’t Rough, It Ain’t Right (Review)

The past stays with us.

Part of what is interesting about the second season of Luke Cage is the manner in which it engages with, and builds from, what came before. Continuity is a long-standing fixture of superhero narratives, most obviously in the four-colour source material. Fictional characters accrue a history, as individual issues and appearances add up to create a complex set of interlocking details that define and shape the character. It is in some ways comparable to how individual histories help to forge identities and determine who we are.

Of course, it should be noted that superhero movies and television shows have carried over some of this continuity from the comic books. Although cinema’s first “shared universe” was arguably constructed between the Universal monster movies of the thirties, the modern popularity of the term is driven by the success of the Marvel Cinematic Universe, an elaborate physical construct that ties together everything from Avengers: Infinity War to Daredevil to Agents of S.H.I.E.L.D. to Spider-Man: Homecoming.

The idea is that, in theory, events from one end of this universe might ripple over to another. After all, Misty can drop a casual reference to “the Incident” into an interrogation in Straighten It Out, a nod to the events of The Avengers which can be used to justify the proliferation of advanced technology within this shared universe. Overlap can happen in the strangest places, such as a character mentioned by Misty in For Pete’s Sake turning up a week or so later in an episode of Cloak & Dagger.

At the same time, the Marvel Cinematic Universe has struggled to build a truly interconnected universe, in part due to the commercial of realities of film and television production. As a result, Robert Downey Junior is highly unlikely to pop by Hell’s Kitchen for an homage to Born Again, while the Hulk can only be explicitly referenced as “the big green dude” in AKA It’s Called Whiskey or “the green monster” in All Souled Out. The characters from The Defenders are highly unlikely to ever have to worry about Thanos’ finger snap, after all.

This strange dissonance and discontinuity that exists between the various facets of the live action Marvel Cinematic Universe is part of what makes the strong continuity connections between the first and second seasons of Luke Cage so compelling, the sense of a tightly woven narrative that is expanding in a logical way from earlier events, where characters’ current behaviours are largely shaped and defined by what the audience has already seen. It’s a very effective use of continuity, particularly for a comic book television series.

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85. Forrest Gump (#12)

Hosted by Andrew Quinn and Darren Mooney, 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, Robert Zemeckis’ Forrest Gump.

Forrest Gump is an unremarkable man who has lived the most remarkable of lives, a feather caught in the breeze of history. From his childhood in Mississippi through the turbulence of the sixties and seventies, Forrest Gump lives a life that intersects repeatedly with the biggest moments of the twentieth century, having a profound and unspoken effect upon the course of history.

At time of recording, it was ranked the 12th best movie of all time on the Internet Movie Database.

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Star Trek: Voyager – Fury (Review)

Normally, the return of an old cast member to an established show is a cause for celebration, akin to a belated family reunion.

The obvious examples involve the appearances of cast members from other shows on later spin-offs. Think of the reverence and sincerity with which Star Trek: The Next Generation treated Spock and Scotty in episodes like Unification, Part I, Unification, Part II and Relics. Think about the delight with which Star Trek: Voyager greeted Geordi LaForge in Timeless or Deanna Troi in Pathfinder. Even when Star Trek: Deep Space Nine subverted expectations with Jonathan Frakes’ appearance in Defiant, it was still joyful. If anything, Star Trek: Enterprise went too far in accommodating Troi and Riker in These Are the Voyages…

Self-control.

Even within individual shows, the return of long-absent cast members is often treated as an opportunity to celebrate that character, and perhaps even to acknowledge past missteps involving them. Yesterday’s Enterprise brought back the character of Tasha Yar, and used the opportunity to rewrite her mean-spirited and pointless death in Skin of Evil. When mirror!Bareil visited in Resurrection, the episode became a meditation upon how the character’s intrinsic decency was strong enough to transcend dimensions and to define even the worst version of himself.

This approach to the return of established characters makes a great deal of sense for a wide variety of reasons. Most obviously, the production team have gone out of their way to recruit these actors for this specific purpose; it makes sense that these episodes should serve as a celebration of their contributions to the franchise. Even beyond that, it is safe to say that almost any lead character on a Star Trek series has something resembling a fan base; think about the ominously-named “Friends of Vedek Bareil.” Why bring back a character, and attract in those fans, just to do something horrific?

That healthy blue glow.

All of this serves to make Fury all the more perplexing. Fury is an episode of Voyager that effectively resurrects the character of Kes, a regular on the first three seasons of Voyager who departed the series in The Gift at the start of the fourth season. The return of Kes is a strange choice, in large part because the production team often struggled with what to do with the character while she was part of the core cast. Still, there are any number of interesting possibilities. And there is the possibility that, like Yesterday’s Enterprise or Resurrection, the production team might use the occasion to say something interesting about Kes.

Unfortunately, Fury is a spectacular mess of an episode with half-developed character motivations and a highly surreal premise that undercuts a lot of the appeal of bringing Kes back in the first place.

Having its cake and eating it too.

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Irony, Thy Name Is Gump: “Forrest Gump” and the Art of Earnest Irony…

Forrest Gump is a movie that I’ve never quite been able to wrap my head around.

On one level, it’s an incredibly sacchrine and simplistic exploration of the first fifty years of the so-called “American Century”, the turbulent second half of the twentieth century as navigated by a dim-wit with nothing but good intentions to guide his way. The eponymous character floats on the winds of history like a feather, a metaphor that bookends the film in a manner that is incredibly cloying. There is something undeniably condescending and overly simplistic in the notion of history in Forrest Gump, as a force that sweeps up men and nations without any rhyme or reason.

As such, it’s easy to be wary of Forrest Gump and its approach to history. Forrest Gump presents a very clean and sanitised accounting of the second half of the twentieth century, one in which there is absolutely nothing happening beneath the surface of American life, and in which there is no point even attempting to comprehend the myriad of forces at work on the country and its inhabitants. In this way, Forrest Gump plays as a trite moral fable. There is no point in even trying to understand the chaos that is the modern world. It is enough to be decent and oblivious, and things will work out fine.

At the same time, there has always been something lurking at the edge of the frame in Forrest Gump, beneath all the folksy trappings and the simplistic history lessons. It is too much to suggest that Forrest Gump has an edge, but it certainly has a point. Forrest Gump in many ways presents an avatar of the final fifty years of the twentieth century in its central character. The eponymous character is an embodiment of a certain American ideal, a personification of the American public that has been bewildered and confused by the speed and pace with which history seemed to move in that turbulent half-century.

With that in mind, there is something vaguely self-aware in Forrest Gump, something that perhaps simmers beneath the surface of the film. Gump is a likable and charming protagnonist, brilliantly brought to life by Tom Hanks in a performance that (deservedly) won him his second Best Actor Oscar. However, there has always been something uncanny in the film’s presentation of Gump as the character most ideally suited to the twentieth century, in contrast to supporting characters like Lieutenant Dan or Jennie. Forrest Gump is a movie that argues the only way to survive the twentieth century is as a fool and an idiot.

There’s always seemed something very wry and very cynical in that idea, buried beneath the film’s cotton-candy exterior.

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New Podcast! The X-Cast – Season 3, Episode 2 (“Paper Clip”)

A real pleasure to re-team with Tony Black to round out our coverage of “the unopened file” on The X-Cast, following on from our discussions of Anasazi and The Blessing Way. And this time, it’s an even stronger line-up. The wonderful Chris Knowles is joins us for the discussion of the final part of the season-bridging trilogy.

As ever, a huge thrill to be a part of this. Anasazi, The Blessing Way and Paper Clip represent a landmark moment for The X-Files as a television show, and it’s been an honour to talk through those changes with Tony. However, Paper Clip is something special because it’s clear how much Chris loves this episode. There are few pleasures in life quite as satisfying as sitting down with somebody to talk about something they love.

I’ll be back on The X-Cast later in the season, to the point that I think the members of the Patreon may already have access to one of my own smaller side projects as part of the podcast. However, it was a delight to get to talk about three episodes that are so close to the core of what The X-Files is for a combined runtime of close to four hours.

The truth is in here. You can listen to the episode here, or click the link below.

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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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75. Amadeus (#82)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Phil Bagnall, The 250 is a trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT, with the occasional weekend off.

This time, Miloš Forman’s Amadeus.

Following a failed suicide attempt, ageing composer Antonio Salieri is consigned to psychiatric institution while babbling incoherently. When a young priest comes to visit, Salieri offers an account of his life. In particular, he elaborates upon a confession that he made on the night that he tried to take his life, that he murdered an illustrious young rival by the name of Wolfgang Amadeus Mozart.

At time of recording, it was ranked the 82nd best movie of all time on the Internet Movie Database.

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