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Posts Tagged ‘The Handmaid’s Tale’

  1. Twin Peaks: This could have gone so wrong.  Revisiting a TV show from quarter of a century ago with a combination of the original and a new cast.  The results were amazing, with one mind-bending episode in particular standing out.  Why did I ever doubt David Lynch.Twin Peaks
  2. The Handmaid’s Tale: I read Margaret Atwood’s 1985 dystopian satire back in the early 90’s and loved it.  There was a film version in 1990 that wasn’t bad.  Why is this version so good? Is it because it is frighteningly relevant today, because Elisabeth Moss is so good in the lead role, or that its just really well written well made television? Probably all three!The Handmaid's Tale
  3. Mindhunter: You could call it Manhunter/Silence of the Lambs Year 0.  Set in the mid/late 1970’s and telling the story of the FBI Behavioral Science Unit in the early days of criminal psychology and profiling.  It’s a very talky show, so don’t expect lots of action, but if that’s your thing you will love it.Mindhunter
  4. Godless: A seven part mini-series set in the American west in the 1880’s.  While it contains all the archetypes of the genre you would expect, and yet it feels strangely authentic.  A well constructed piece with flashbacks to tell back stories dropped in at just the right moment, it is more like a seven hour movie than a TV show.  The cast are all fantastic.Godless
  5. American Gods: Based on Neil Gaiman’s book of the same name.  The conflict between the old gods of mythology and the new gods of the modern consumer age told from the point of view of a mortal man.  Blending mythology and pop culture in a visually stunning way often trippy to a trippy effect.  You don’t always who what is going on but it kind of all pulls together in the end.American Gods
  6. Alias Grace: The second Margaret Atwood adaptation on the list, this time written for the screen by Sarah Polley.  Based on a fictionalized version of a murder in 19th-century Canada.  The story of female oppression feels sadly relevant today, but also works as a historical drama.Alias Grace
  7. Game of Thrones: The first returning show on the list (unless you count Twin Peaks), the penultimate series gives exactly what you expect of the show to date.  Taken on its own merits it would be higher up the list, as it is, it loses a few places for reasons of familiarity.Game of Thrones
  8. Taboo: A strange and dark tale that seems a little bold for prime time BBC.  What started out looking like a strange otherworldly tale quickly settled into a far darker tale; one of commerce, and a (real life) multinational corporation trying to survive at any cost to the society around it.  Tom Hardy is excellent as ever.Taboo
  9. Peaky Blinders: Steven Knight, also responsible for Taboo, returns with a fourth season of his Birmingham based organised crime/ gang series.  It was hard to see after the last season what there was left to say.  The new storyline is excellent as are the new characters but the standout is still Helen McCrory.Peaky Blinders
  10. Star Trek Discovery: Discovery has done the impossible, it is everything you expect from Star Trek, and nothing live Star Trek as you expect it.  The boldest move is to make a character other then the captain the shows lead character.  Sonequa Martin-Green is excellent in the lead, Jason Isaacs’ Captain Lorca is the most interesting character.Lethe

Also recommended:

Glow, The Punisher, Stranger Things, Preacher, 13 Reasons Why, Into the Badlands

Shows That have seen recommended to me, but I haven’t seen yet:

Big Little Lies, The Good Place, Legion, Feud, The Deuce

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The Dukes of Hazard, The Fall Guy, Knightrider, Battlestar Galactica, The A Team, Magnum, P.I.  I remember watching all of these movies as a kid.  One thing they had in common with all TV of the time, I watched one episode a week for the duration of their time on TV.  If I missed an episode, I missed it, unless I happened to catch a rerun.  On the whole this was never an issue as most shows were made up of self contained episodes.  There are exceptions, to this day, there still remains an episode of magnum that I haven’t seen, the second of a two part story. the dukes of hazard

Things changed a few years ago with programs like The Sopranos, Firefly and the new version of Battlestar Galactica.  Shows that I watched on DVD not when they aired on TV.  This was my first experience of binging TV shows.  With Amazon and Netflix shows like Bosch, The Man in the High Castle, Preacher and The Marvel TV shows Binging took on a whole new meaning. Battlestar Galactica

I recently bemoaned that American Gods was released one episode per week, however, some shows better savoured.  The long awaited third season of Twin Peaks and the TV version of The Handmaids Tale are perfect examples.  While every episode of American Gods leaves you wanting more Twin Peaks in particular needs time to sink in.  Part 8 is a perfect example, esoteric in the extreme and abstract in places.  After watching it, I wouldn’t have watched another episode straight after that even if it had been available.   Part 8

So what is the conclusion to all this?  Are TV shows best savoured or binge watched?  There probably isn’t an answer, it depends on the show, and the person watching it; I just thought I would share my thoughts and ramblings, what else is a blog for!

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Catching up on an old episode of The Matineecast got me thinking about movies set in dystopian futures. Ryan referred to dystopias that are not that far in the future, and via the movie Pleasantville (1998) he and his guest Sasha James Talked about how a nostalgic view of America in the 1950’s could be a dystopia for people from the present day. My first thought was that we could now be living in what would be the dystopian future that people in the 50’s feared. With dwindling natural recourses, and rising costs, losses of civil liberties and an over reliance on technology coupled with the threat of war and terrorism, we are probably closer to dystopia than utopia. With this in mind I have avoided movies set in an unrecognisable world to concentrate on dystopias that are not that different to the real world.

Movies like Gattaca (1997), V for Vendetta (2005) and In Time (2011) exist in a society that has adopted practices that oppress the masses and it is through rebellion that people are able to find a better life. There are other films like1984 (1984), Brazil (1985) and Code 46 (2003) that revel in their desperation and futility by pulling rug from under the hero, and the audience with it. Fahrenheit 451 (1966) and Children of Men (2006) find a happy balance where the despair is tempered by a glimmer of hope. The brilliance of Fahrenheit 451 the way we see a character comes to distrust what he has been taught to believe in and chooses to fight the system from within. We see a similar idea explored in the interesting if a little overrated Equilibrium (2002), set in a society where emotions are outlawed it also explores what it is to be human. Both these ideas are explored in the underrated and misunderstood RoboCop (1987). In there own way the characters in Rollerball (1975) and Death Race 2000 (1975). This is very different from District 13 (2004) and A Clockwork Orange (1971) whose protagonists are and remain outsiders. An interesting case is The Handmaid’s Tale (1990) whose main protagonists desire is only to escape the system but her desires bring her into the sphere of those who are trying to change things.

When you mention Mad Max many people think of Mad Max 2: The Road Warrior, in some ways the best film in the trilogy, but the original low budget Mad Max is actually equally as good in its own way. Set in a near future world were society is crumbling and law & order has begun to break down people will do what it takes to keep moving to stay on the road. It was relevant in its day but it has found new relevance in recent years. If we think about the glue that holds society together, it is not fear of prosecution, but a moral belief of right and wrong, if you take that bond away the world as we know it will crumble. We see the early days of this in Mad Max, and the subtlety with which this idea is displayed within a violent revenge thriller is why it is possibly the best dystopian movie. This breakdown of society is in the background of neo-noir Trouble in Mind (1985) and retro-future comic book inspired Streets of Fire (1984) but lacks the despair of Mad Max. The other movie that perfectly depicts society at a tipping point is Strange Days (1995). Made in the mid 90’s with LA’s troubles fresh in the memory and set just five years in the future, now more than a decade in the past, some would argue the world is a worse place now than what was depicted. Given the reality TV obsession of the last dozen years and current distrust of media and governments, The Running Man (1987) now seems strangely prophetic. Battle Royale covers some of the same ground but is all the more shocking in the way it casts children against society.

It is human nature to try and change and shape society, but some movies have taken this to an extreme. By travelling back in time from a dystopian future to change the present and reshape the future, their present. This is handled in different ways in different movies, the hero of Twelve Monkeys (1995) is haunted by memories of his own death and with it his failure to save the future. Millennium (1989) takes a different point of view as the characters from the future battle to hide the existence in the present through fear that it will change and potentially destroy the future with the effects of the paradox of time travel. While Millennium is afraid of the effects of paradox, The Terminator (1984) exists within a paradox. It is only within an effort to kill the hero who can save the world that he is conceived. The one thing all these movies have in common is the way they only give us glimpses of the dystopian future, a future created in the present.

One thing that is clear, there are as many differences as there are similarities within the genre, but the movies that are the best and that age the best are the ones that have a deeper relevance. This can be an overt plot, a subtle subtext or just a theme that anchors the story in reality.

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