La Brea’s “Don’t Look Up” Buries the Lead
La Brea’s “Sierra” gets the final season started
Welcome back to one of the more entertaining high concept series in the last couple of years. For those of you worried you’re a bad fan, fear not! It’s been almost a year since the season two finale aired way back in February of 2023, so forgive yourself a little forgetfulness and let’s bone up a bit on what’s been going down before we fall right back into this insane ride!
First season finds our main characters all living their best lives in LA (respectively) when a giant sinkhole opens up and ruins their day. From there the goal two-fold. The folks trapped in 10,000 B.C. need to survive and figure out a way home. The folks in 2021 want to sort out what happened before attempting to rescue the sinkhole victims. This involves both the government and private institutions.
A lot of crazy shit goes down but here’s what matters. Gavin Harris (Eoin Macken), his wife Eve (Natalie Zea), son Josh (Jack Martin), and daughter Izzy (Zyra Gorecki) are the main family unit. Along the way we’re introduced to Scott (a brilliant pothead played by Rohan Mirchandaney), Lucas (a villain to hero type played by Josh McKenzie), MaryBeth (Karina Logue as Lucas’s mom), Veronica (Lily Santiago as a former kidnapee with trust issues), Lilly (Veronica’s “sister” played by Chloe De Los Santos), Sam (Jon Seda playing the doctor/ navy seal), Riley (Veronica St. Clair playing Sam’s daughter), Ty (a suicidal shrink with terminal cancer played by Chiké Okonkwo), Levi (Gavin’s bestie and Eve’s cardinal sin, thanks Nicholas Gonzalez), Isaiah (Diesel La Torraca), Silas (Mark Lee), and Paara (Tonantzin Carmelo) – ppl living in 10k B.C. already. Not to mention a bunch of other randos who serve a brief purpose and then either die or sink once more into the background.
Over the course of the season it’s revealed that Gavin is actually Isaiah, Mary Beth killed Lucas’s dick of a dad (she later dies), Lilly becomes a woman named Ella (played by Michelle Vergara Moore; she and Gavin were found as kids in 1988), and time travel is real! Breathe… ok.
Season two picks up with Josh and Riley in 1988 (they had to take Isaiah to a portal to ensure Josh and Izzy’s existence), Gavin and Izzy in 10K B.C., and the story, once again, centered largely on Gavin’s past. Long story short Gavin’s dad James (Jonno Roberts) and his wife Caroline (Melissa Neal) invented time travel, but Caroline realized it was causing sinkholes and wanted to stop it. James was convinced he could fix the issue then became obsessed with fixing his family and from there it goes downhill. Along the way Ty’s cancer is cured (he and Paara get married), Levi destroys the Lazarus building (where James was working on the time travel stuff, ultimately stranding everyone in 10K B.C.), Veronica and Lucas get together, Ella dies saving Veronic from bees, Josh and Riley make it back to 10K B.C., Gavin kills his dad, and Eve gets sucked into a portal to…somewhere.
Season three starts with Gavin determined to find Eve. Izzy doesn’t want false hope, and Josh is, well… distracted. His relationship with Riley finally got official so wouldn’t you know it she’s mauled by a raptor. Other problems include Lucas ignoring a head injury, Levi trying to make amends for fucking up everyone’s ticket home, and dinosaurs taking over the clearing. That’s right, dinosaurs – did I forget to mention last season ended with a bunch of portals (aka auroras) opening up and dropping all kinds of crazy shit into 10k B.C.? Huh…in my defense there’s A LOT going on in this show.
Lucas did attempt to build a border protection but the dinos just busted right through and now everyone’s gotta move. The problems don’t stop there though, Riley’s injuries are BAD, and she might not make it, meanwhile, Gavin – who salvaged a laptop connected to the portal Eve was sucked into – gets it up and running thanks to high school science, potatoes, and Scott, but any celebration is short lived. See, the laptop immediately formed a connection with someone, but who that someone is, isn’t clear. Scott manages to track down the signal, but while searching for the source Petra (Asmara Feik) and Levi get kidnapped. However, before the gang can go looking for the abducted Ty directs their attention a more pressing matter: a dual aurora. Gavin’s mom told him dual auroras go to two different places, here one side is red the other is blue (hmm The Matrix anyone?). Josh takes Riley through one side in hopes of getting her more advanced medical care, while the other side sucks up Ty!
Considering this season is only six episodes and the last, we should brace for a lot of crazy shit to go down. As a rule, final seasons can be tricky. There’s the pressure to give the fans a satisfying ending while maintaining the integrity of each character’s journey so far, the tying up of any loose ends, and the overall need to make it all make sense. Not easy to do even when a show knows it’s ending, but to do it in six episodes!? With this high of a concept!?!?
Still, La Brea looks like it’s taking off running with the premiere. Picking up after last season’s cliffhanger is a good sign, not to mention some new twists and turns to make the next five episodes extra juicy, but I am curious exactly how this all pans out. So far there’s been no further mention of Gavin’s mysterious sister, no sign of Eve (the actress might not be seen till later on in the season), we just let go of that civil war gold from season one completely…Eh, I’m ok with that. The kicker with high concept shows is that the higher your concept and the longer your show runs the more likely you are to run into dead storylines and dropped or warped mythologies. That being said, I like the new questions this episode raised. Who is on the other side of that laptop connection? How do they relate to Petra and her mom Maya (aka SIERRA played by Claudia Ware)? Will Riley survive her injuries? We know that Ty got sent to September of 2021 BEFORE the initial sinkhole, so did Josh go to the future? He better hope so for Riley’s sake! Finally, what does the dual aurora mean? Is there still hope for the 10K B.C. gang to return to modern times???
Solid season premiere! I’m hoping they keep up the pace.
The Curse Review: “Young Hearts” Bleed the Octane and Await the Spark
The cold opening of the penultimate episode of The Curse starts mysteriously with a POV shot from a vehicle. After observing Whitney (Emma Stone) leaving her house and walking to work and passing her, we are a passenger to its gorgeous long take while the sick synths score the way as this mystery driver navigates the road, until we pull up to Iosheka jeans, filming in progress.
Though Pascal (Alexander Adrian Gibson) and his girlfriend Janice (Aliyah Lee) are unknowingly being staged in a lascivious position, HGTV Head Martha (GiGi Erneta) is happy with how Dougie (Benny Safdie) is producing it thus far. For all we know, she’s seeing it from one angle. Keep that word in mind.
Martha suggesting Asher and Whitney run through Pascal and Janice’s gag is a great understated full-circle moment. It harks back to when Whitney first wanted to stage antics between them in a more genteel manner, with Whitney not being able to work her way out of a sweater. However, that ship has sailed, and something tells me we’ll be all the worse for it in the best way possible.
I ain’t even mad at Dougie for playing by Martha’s rules, excluding some of Whitney’s more personal diatribes against Asher. It appears her show is crumbling before it even hits the air, including the firing of a PA because they passive-aggressively (it’s coming full circle, I can feel it) left a note on her windshield. For someone trying to outrun their past, the truth coming to Whitney’s storefront couldn’t be more poetically just, which brings us to her meeting with Phoebe (Lejend Yazzie), the driver whose uncle was evicted by her parents.
A few things stand out about this scene. It’s filmed from outside the edifice, as if we’re prying in. There’s also a sudden shift in Phoebe’s demeanor after she gets maudlin. She says everyone will get to see the real Whitney when the show comes out. We all know Phoebe ain’t holding her breath for Whit to help.
I think my theory might be right and the whole crew, constantly overlooked, are the real ones who orchestrate how this show will ultimately be seen. I think the trio are on the chopping block. It would make so much sense that Whitney and Asher’s biggest blind spot is the very community they’re trying to infiltrate.
Before shooting, Whitney suggests she and Asher go bowling before dinner with Martha, only taking him aback. My guess is she wants to put him in a situation where he’ll try to act tough. The only tough element is bearing witness to Asher hijacking Whitney’s “answer clock” only to get no response as to whether she loves him. The sick feeling I get from the emotional hijacking will be all too gloriously usurped by the credits roll.
When Bill (David DaLao) enters the frame, Asher’s tough guy side comes out… but I couldn’t be more disappointed. Copping a sanctimonious attitude and using his wife as a “shield” by “protecting” her is peak cringe. What isn’t is the acting. Just, phenomenal. The episode goes hard in the paint. The only thing more cringe-worthy than Asher’s flash of feigned toughness is his using the moment as a mental lubricant as he cranks it later that night as a shocked Whitney overhears him. He berates the figment of Bill and forces him to fuck the prize that is his wife, injecting a bit of psycho-sexuality into the whole of it all, reminiscent to me of earlier David Lynch work.
I mean, he had to release that tension somewhere from the dinner they had with Martha earlier. Martha wants sunshine, lollipops, and rainbows, while Whitney knows there are many angles to a story. It doesn’t look like the Queen is getting her way. Martha even suggests maybe starting a family for curb appeal, making it the second instance of childbearing mentioned. I feel this is by design.
Now mid-episode, we have Whitney stepping into more figurative shit when she pays the ‘rents a visit at her old stomping grounds, the Bookends buildings, and nothing about this gives me comfort. Paul (Corbin Bernsen) reminding his daughter that she’s cut from the same cloth as them doesn’t give me comfort. Elizabeth (Constance Shulman) being on board with destroying Native artifacts to erase litigation doesn’t give me comfort. Her not being comfortable with Whitney playing “dress up” with the Star of David around her neck does not give me comfort. Paul reminding his wife that Yogi Bhajan tried to have sex with her does not give me comfort. The only thing that gives me immense comfort is that the writing is still immaculate. Everything said in that scene is a full-circle moment, right down to Whitney’s evictions from Española going straight to Bookends.
The discomfort is only further amped up when Whitney and Asher arrive at Dougie’s to see the new cuts of Green Queen. I will first say that from the graphics to the musical cues, how it was shot, and everything in between, the new product perfectly imitates a makeover show. The glossed-over look in Whitney’s eyes and the hurt in Asher’s throat when all is revealed leaves enough tension in the room to choke a snake. Even Asher swallowing an emotional response almost appears reptilian.
The immediate reaction of Whitney over her vainglory and Asher over his portrayal. Whitney said a lot of hurtful but truthful things. Granted, she nearly disavows the marriage on her account of Asher being too much of a “stan”, but she doesn’t deserve what’s coming next, which is Asher’s counter-apology and emotional terrorism. The updated cut might as well have been a Viagra for him.
The very visceral moment of revelation has tinges on Tom Wilkinson’s hauntingly brilliant moment of clarity monologue in Mann’s Michael Clayton. The thing that’s most uncomfortable though is that unlike Tom’s character, who is self-aware of his sins, Asher is virtually flagellating himself to emotionally hijack his wife once again, even more vicious than their interaction in the coffee shop.
He becomes that amorphous, vacuous black hole Whitney believes he is before their very eyes. Emma’s sheer horror of being emotionally hijacked even more intensely is equally as haunting as Nathan letting the demon take the wheel as if almost being possessed. Hurt people hurt people. Whitney’s cornered, and we can’t do anything about it. They just keep swallowing each other whole, the essence of ouroboros. It does, however, mean the real Green Queen is a go. Asher finally found his spark in this figurative funeral pyre under construction, Green Queen. It’s just so fucking unsettling how much he doesn’t listen. Bravo. The acting is bone chilling.
Nathan Fielder is once again in the director’s chair, and I couldn’t be happier. From the mysterious opening shot to the very last quivering moment of Asher, madly “awakened” by revelation, this episode was the meatiest yet, all in just under an hour. We get more moments of tension and buildup to a big fat payoff.
The only thing that slightly stood out of place for me was Whitney going to the masseuse and getting Cara (Nizhonniya Austin). Was the beat supposed to linger on how it killed an artist’s soul? Was it supposed to linger on how much of a chickenshit Whitney is when it comes to confrontation as Asher, which is why she cancels and overtips? I’m not marking against it though because I believe it’s just another element fomenting.
I would say somewhere toward the middle of the episode, one particular name sprang to mind: Cassavetes. It felt like a massive pressure lifted off my brain as if it was some damn splinter in it. Benny and Nathan’s work has hit that gritty vibe that somehow feels like home with the casting. The casting has been off the charts throughout the season, and the writing and directing only bolster the performances of the fresh faces before us.
The episode is called “Young Hearts” as a reference to the chorus in the Rod Steward bowling alley needle drop “Young Turks”, which is a good choice for what amounts to more than just a feel-good montage of Whitney and Asher letting loose amid their stressful lives… it’s a visual metaphor. It’s a place where the word “strike” is a good thing and it’s a game all built around rebirth. Over and over. It’s a place that sets Whitney and Asher up through true connection only to knock them down, later. It’s what this series does so well with its characters.
Let’s see if the finale goes for the 7-10 split.
5/5 Stars.
Addendum: Nathan displaying his bowling prowess is something I didn’t know I needed.
The Big Squeeze Gives Magnum P.I. One More Dramatic Case
I can hardly believe it, but here we are, the last episode of Magnum P.I. “The Big Squeeze” is an episode that tries to do as much as possible in the remaining time, so let’s not waste any.
It all starts with Thomas and Juliette in full romance mode under the bed covers. They’re in such a great place they’re running late to a dinner with Rick and Suzie. Thomas suggests they save time and water by showering together, but Juliette opts to find a shirt since her top was discarded downstairs. And inside his shirt drawer, she finds a ring in a red box.
This discovery totally throws Higgins off balance, and she’s talking with Kumu about it later. Kumu asks if she doesn’t want to get married to Thomas, but it’s not that. She’s not entirely sure why the revelation upset her so, just that it did. Luckily she’s saved by the bell since Thomas texts to let her know they have a new case.
The moment she meets up with Thomas, things are awkward. But she tries to focus on the mission as they meet at the appointed spot to chat with a Michael Reeves. A well-dressed black man ushers them inside, where they find an unfortunate surprise. Their client isn’t Michael Reeves, it’s Sam Bedrosian! AKA the scumbag from “Run With the Devil.” And while he does want payback, it doesn’t take the form we might have expected.
Bedrosian sneers that at first he wanted them killed, but then grew to appreciate their gamesmanship. Now he wants to offer them a job, at zero pay. The reason they’ll take the job? He has a recording taken from “Ashes to Ashes,” where Magnum and Higgins admitted they kept information from HPD that could get them in trouble. And he’s holding the recording over their heads unless they do what he wants. If he uses it, not only could Thomas and Juliette be taken down, but so could Gordon.
Bedrosian is a gleeful asshole, played pitch-perfect by Patrick Fabian. Though I wanted a big bad all season who was responsible for everything that happened, I’ll settle for a truly bad man making our team’s life hell one last time. Thomas and Juliette are taken by Bedrosian’s man to a crime scene and given plastic gloves. They need to find answers to what happened at a specific crime scene but without the benefit of a lab, HPD, and all in a limited time frame.
Our duo does their best to grasp the scene and find that the dead man, Gavin Larson, was forced at gunpoint to open his safe. They’re not sure how his killer got inside since there’s no sign of a break-in. Higgy manages to copy the number of the last person to text Larson, while Magnum spies a suspicious blood drop away from the crime scene and dips his glove into it, balling it up for later use. My favorite Sherlock moment is when Higgins uses a meat thermometer to ascertain how long the body has been cooling and surmises the incident occurred eight hours ago.
They’re let go but are told to check in with Bedrosian’s number two guy once they know more. Back at La Mariana, T.C. is telling Rick he wants to remove his stake from La Mariana so he can expand Island Hoppers. Rick is generous and tells him that’s fine, though Kumu spies his face, and sees the lie. Rick is worried about keeping his bar running without the financial support.
Suddenly a female officer gets a call about a tip, and arrives at the crime scene Thomas and Juliette had been forced to investigate. Two of Bedrosian’s men are inside, cleaning the scene and putting Larson’s body in a tarp when they hear the cop arrive. She spies movement, and so pretends to call dispatch and tell them nothing was wrong. In secret, she enters the house via another entrance. Sadly, a ping alerts the two criminals inside, and Officer Cole finds herself shot.
While Magnum and Higgins were told not to involve HPD, they ask Rick to have a friend in the department run the blood sample. Then Thomas asks his girlfriend why she’s being so strange. She won’t say, but he figures it out and reveals that the ring wasn’t for her. It was Rick’s ring since he was going to make it official with his baby mamma, Suzie. And though Higgy is initially relieved, she feels regret when Magnum jokes they’ll just end up marrying other people.
I’ll just be honest, the next scene didn’t proceed naturally and kind of came out of left field. Magnum and Higgins find themselves in a hotel room with a man gagged and bound after chasing the ping of a burner phone, which I thought was given to them by Bedrosian’s man. That’s not the guy bound to the phone with a sock in his mouth, though. No, this guy was having fun time with an escort, when someone named Mac barged in. Apparently, this leads to a Larson connection, though at this point in the episode, I really wasn’t sure how. Luckily it gets tied up once it all wraps.
Gordon arrives at the scene where Officer Cole was attacked, and we discover she survived the incident. Then the blood sample is traced to a parolee named Neil McRae. Unfortunately for our investigators, they discover this when they’re talking with McRae, who is posing as the missing escort’s brother. This leads to a really fun fight scene. McRae fires off warning shots and runs, with Magnum on his heels, as Higgy does her best Ghost Spider impression and gets real vertical. Thomas races into an elevator right before it closes, and fights the man in close quarters. A knife is drawn, a phone is used, and Magnum almost gets his guy, but McRae escapes with a handy hostage and takes her Jeep.
As they’re assessing what happened, Thomas and Juliette realize that the escort from earlier had her purse in an odd position, and discover a hidden camera in a false bottom. They think that Larson was paying the escort, named Emilia, to get footage used to blackmail marks. They confront Bedrosian with their suspicions, and they’re right. The pool of people he’s blackmailed with Larson is large, and one of them might be responsible for Larson’s death. But then the criminal gets a text, and suddenly fires them, holding onto his recording of them both.
Back at the hospital, Katsumoto gets an update about Cole being stable, and a motormouth cop helps him realize Magnum and Higgins are already investigating his case. He pulls them over and badgers them for more information. By putting their heads together, they realize Bedrosian might be blackmailing the governor of Hawaii with Larson’s help, and that Emilia might be the person that got the blackmail. This would mean that Bedrosian has the governor under his thumb and that what he’s after isn’t the killer of his man, but the blackmail info he’s been gathering. Now it’s a race to find McRae before he gets to Emilia.
Katsumoto meets with the governor’s aide and asks about why the governor paroled McRae, who is now on a rampage. She brushes him off, but he then walks outside and into an undercover vehicle. Some cops inside inform Gordon that the aide grabbed her phone the moment he left, and contacted McRae. It’s clear he’s planning on using the leverage from the blackmail, and selling it to the highest bidder.
Our duo tracks Emilia to her client’s fancy villa and gets met by her drawing down on them with a shotgun. Once they calm her down, she reveals she was forced into Bedrosian’s blackmail ring by her son. He has a rare condition, and Larson helped pay for his medication, and then forced her to sleep with people to secure compromising info. It’s all on a thumb drive, which is what McRae is after. And then things get worse when Bedrosian’s armed goons arrive.
Since they don’t have much in the way of weapons, Thomas and Juliette use what they can find to their advantage. For Juliette, she makes the best of a shotgun with only a couple of shells. Magnum, meanwhile, smashes a painting over one goon’s head, catches another’s knife in a book, and generally makes a mess of the villa. He also uses a semi-automatic from the first goon he takes down to go full Scarface for a brief, glorious moment.
Just as one goon is about to find Emilia and her son hidden away, Juliette takes him out with her last shell. And then we have the challenge. McRae is found and taken into custody, along with the thumb drive. But Gordon tells Thomas and Juliette they can’t connect Bedrosian to Larson or the armed goons. So he gives them the thumb drive to trade for their freedom. Luckily, they make the right decision and give it to the authorities, who announce over the news they’re investigating the governor, who resigns while Bedrosian furiously breaks his television.
Like many episodes of Magnum P.I., “The Big Squeeze” ends at La Mariana. Kumu agrees to buy out T.C.’s stake, Suzie is sporting her shiny new wedding ring and Thomas and Juliette are dancing to the music. She apologizes for her reaction to the ring and tells him if he asks her to marry again, she’ll say yes.
It wasn’t a perfect episode of Magnum P.I. and sadly didn’t manage to involve all the cast (sorry, Jin, Shammy, and Higgins’ puppies). But overall it was a fond sendoff to a great show, even though it was clear they might have had to rush things at the very end. I’m glad I was able to cover the series and thank everybody who has read my rambling reviews. Be sure to stay tuned to The Workprint for ongoing coverage of TV, movies, and streaming shows in the future!
Ashes to Ashes is an Emotional Episode of Magnum P.I.
Today is a sad day. Not only does it mark the end of Magnum P.I., but it also marks the end of my time writing at The Workprint. But fret not, it’s on good terms and the site will be great without me, and features many talented writers. And while I’m sad to leave, it’s fitting I do so with the Magnum P.I. team. So let’s get to the meat of the penultimate episode of the series, titled “Ashes to Ashes.”
It all starts with a blazing fire, and Mahina and her fellow firefighters arrive to deal with the conflagration and save anyone inside. Or at least, search and rescue is the goal, but things quickly get complicated. Mahina thinks she spies someone in a bedroom, but moments later the ceiling starts to collapse, forcing Mahina and her team outside into the fresh air. There, just as she’s catching her breath, a frantic woman arrives trying desperately to get inside, saying her uncle’s truck is parked outside, and she’s worried he’s trapped in the burning home.
While I expected the story to stay there, it instead cuts to another tale. Kumu is helping volunteer at a Veteran’s Help Line with Rick, and going by the name of Tammy. Apparently, operators don’t use their real names, just to be safe. At first, Rick is annoying her with procedure, and Kumu is eager to get started. But you know what they say, be careful what you wish for. Turns out, Kumu’s story will be just as harrowing, though perhaps less convoluted, than the main storyline.
It’s been a few days since the fire. Even though T.C. is in a great mood, making breakfast, dancing, and talking about the future, girlfriend Mahina is in a dour mood. Her team found traces of accelerant in the home and it looks like the man she saw died in the fire. Worse, the woman that was trying to get inside, named Halia, is now on the hook for manslaughter, since she’s a contractor, and had been living in the house her uncle died in. They even suspect she lit the house up for insurance money. All this is taking Mahina to a dark place, so T.C. does what any supportive boyfriend should, and calls his buddy Thomas to help out.
Magnum and Higgins talk with Halia and learn that she had been raised by her uncle, and even inspired by him to go into the contractor business. They’re pretty certain she’s not just playacting, and so they ask for anybody who might have a grudge against her since perhaps that’s why her uncle was involved. She says she had a jealous and controlling ex she just broke up with, so the duo goes to talk with Brian, who is trying to sell a home. And though he’s twitchy and waspy as hell, he seems legitimately surprised to hear about Uncle Moku’s death. Though he can’t do much to prove his innocence, other than a corporate retreat, he does mention a few days ago he saw a strange man outside her house, smoking a cigarette.
T.C. and Mahina look over the crime scene for clues, and Mahina is still really overwhelmed. She blames herself for not saving the old man. Thankfully, they do find something that could provide some answers – a discarded cigarette right where Brian saw the man smoking.
Cut to a cheery montage of Rick and Kumu answering phones, many of which are irritating, including one asking about a veterinarian instead of a veteran. Just as Rick leaves to grab some lunch, Kumu gets another call. The man is breathing heavily and his number is blocked. All Kumu can get at first is his nickname, DJ. She’s flustered, but things get worse when DJ admits he’s not going to hurt himself because he already did. He took a bunch of pills right before he called. She does her best to keep him talking and finds he was discharged 6 years ago, feeling depressed and useless. But when DJ recognizes Kumu is reading from a script, he angrily hangs up, leaving the poor woman aghast.
Back with the main case, Magnum gets a DNA hit off the discarded cigarette and finds a man named Henry Carson. He seems clean, but he has a son who’s in lockup. More suspicious, Higgins finds that Henry’s phone has been turned off since the night of the arson. When they track his phone ping prior to being turned off, they find a hardware store. They suspect they’ll find some accelerant Henry bought, but no such luck. Instead, Thomas spies a building across the way – a funeral home. Knowing that embalming fluid can be used as an accelerant, they make their way inside.
It’s quickly apparent the funeral home was recently broken into since there are some boarded-up windows and a new lock on a door. They talk about how they want to meet their maker, and to nobody’s surprise, Higgins is a fan of the tidiness of cremation, while Magnum prefers burial. Before that conversation can spiral too much, the man who runs the home pops in. His name is Randal, and he looks eerily similar to George Santos. He claims there was no break-in, but eventually cracks and admits the only thing that was stolen was a body. One that sounds eerily similar to Uncle Moku. Thinking that perhaps something strange is going on, Thomas and Juliette ask Gordon to put out an APB for Henry while they look for answers.
Back in Kumu’s nightmare, Rick is running the audio from her session and hears train tracks from an elevated train. Just then, another blocked number comes in, and it’s DJ again. He wants to spend his last moments talking with her, so Kumu gets real and tells DJ her birth name. He can’t pronounce the Samoan version, so he goes with Kumu. DJ is recently divorced and just lost custody of his child. Worse, he says his son thinks he’s a monster, which might mean he’s a burn victim. Then they hear a bell, and they narrow his location down to Chicago.
Thomas and Juliette talk with T.C., Mahina, and Halia about their suspicions and find a connection. Halia says her uncle worked on a prison compound where Henry’s kid is being held. Cut to 3 hours earlier, when Dominic picked a fight with a man and shivved him, earning a spot in lockup. On purpose. Men are in the vents trying to find him, and poor Uncle Moku is being forced to direct them with a map of the facility, at gunpoint. Magnum normally would loop in Gordon and HPD, but he’s worried that if anything interrupts the escape attempt, Moku will be instantly killed.
Back with Kumu, she’s trying her best to keep DJ talking. He talks about his child and asks her if she thinks that he’ll be able to forgive his father for committing suicide. Kumu says she’s not sure, since her own life was devastated by the suicide of her father when she was only 10. DJ admits he thinks he made a mistake, but it’s clear he’s running out of time. Luckily right before he can check out, EMTs are heard on the line, and they confirm he still has a pulse before taking him away for treatment.
The final confrontation involves Higgy tracking the uncle to an abandoned warehouse. Normally this would be where Thomas and her do something heroic to save the day, but things don’t play out as expected. They draw guns on Henry and his accomplice but are at an impasse. They ask that Moku get released since he did what was asked, but the accomplice is ready to start shooting. To my great surprise, Henry ends the standoff by shooting his partner in cold blood, saying he just wanted his son back.
It all ends with a heartfelt reunion between Moku and Halia, and Rick and Kumu visiting her father’s grave. Definitely an emotional episode. While I usually prefer Magnum P.I. for the comedy and banter, “Ashes to Ashes” was a very solid episode. Don’t go anywhere yet, since my review for the very last episode of Magnum P.I., “The Big Squeeze,” is next!
‘Star Trek’ author Derek Tyler Attico on ‘The Autobiography of Benjamin Sisko’
The recently released novel The Autobiography of Benjamin Sisko tells the story of Starfleet’s celebrated captain, and Bajor’s Emissary of the Prophets, celebrating the 30th anniversary of Star Trek: Deep Space Nine… which for many is arguably the best Star Trek series ever to grace our television screens. The book’s author, Derek Tyler Attico, discusses his background as a writer, the impact of Star Trek, and his approach to the story in the below interview.
Can you tell us a bit about your background as a writer? How you got started, what led to your first published work, etc?
I started writing when I was ten after watching another sci-fi and cultural phenomenon, Star Wars (A New Hope). I wanted to learn everything I could about writing and screenplays specifically. When I was sixteen, I wrote my first screenplay (naturally, a Star Wars script). I gave the script to my high school English teacher to look over, and unknown to me, she entered it in a national contest, where I won an award for screenwriting.
After that, I applied to NYU Tisch School of the Arts and was accepted. However, even with financial aid, I couldn’t afford it. So, with that, I put my desire to write professionally aside and moved on. Then, in 2005, a friend told me about a yearly Star Trek anthology contest from Simon and Schuster, Pocket Books, called Strange New Worlds, which ran from 1998 – 2007. The best Star Trek short stories submitted by fans were selected and published in the anthology. It had been some time since I’d written anything, so I was delighted when my short story (Alpha and Omega) made it into the anthology and won first place! After that, it was clear that I needed to rekindle my dream of writing professionally.
What role has Star Trek, and, in particular, Deep Space Nine and Captain Sisko, played in your life?
Star Trek has had a profound influence on me, both personally and professionally.
Like many people worldwide, I have a personal relationship with Star Trek because of my parents. As a kid, TOS (The Original Series) with Kirk and Spock was the first television show I consistently watched with my Mom. I couldn’t have been more than six or seven, and watching “grown-up TV” with her made me feel older. I also realized the values and morals she was teaching me were the same I would see upheld by the crew of the Enterprise. This was the first time I’d seen this on a television program. Sometimes, my mom and I would talk about an episode for hours after we watched it.
Deep Space Nine and Captain Sisko were not just the embodiment of these values, but for the first time, for me, a personal reflection of them. Having Mr. Avery Brooks, a Black man, play the lead of a Star Trek series, in effect being the spokesperson for the franchise, meant everything. At the time (1993), there were Black leads on sitcoms (situation comedies) and in supporting roles in crime dramas. However, Deep Space Nine (DS9) was the first to showcase a Black actor in a serious lead role. Beyond that, I found the writing of DS9 always presented a candid realism that offered an authentic perspective of the 24th century. I can only hope watching the show has influenced my writing.
What was your approach to writing The Autobiography of Benjamin Sisko and bringing to the page such an iconic character?
I never thought of the book as an autobiography, but simply a father’s message to his son. Out of framing that message from father to son, I knew the secondary goal would be an autobiography. Once I adopted this view, everything became clear. Like the show, the book and Ben’s origin story became primarily about family, about people and the choices we make in life instead of technology and starships.
What was your favorite part about writing the book, and what was the most significant challenge?
Creating Ben’s family and telling their story within his was a lot of fun and the book’s most challenging part. At no point did I want these individuals to feel like secondary characters of convenience. In our lives, family are the ones we lean on and learn from, and I wanted this to be reflected in the autobiography.
Is there anything about the book that would surprise readers or might be unexpected?
There are many surprises in this book. Foremost, I think, is that readers don’t have to be fans of Deep Space Nine or Star Trek to enjoy this book. I wrote this in such a manner, so if you only have a passing familiarity with Star Trek (maybe you haven’t watched it since you were a kid), you will enjoy this book just as much as the consummate fan! Also, the book has between fifty to a hundred easter eggs and covers every Star Trek series (old and new) for fans. The autobiography also covers some very unexpected territory in the Star Trek universe.
The Autobiography of Benjamin Sisko is now available in hardcover and e-book.
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The Curse Review: “Down and Dirty” Digs Beyond the Soil and Into the Bedrock
The eighth episode of A24 x Showtime’s The Curse opens with a bunch of teens en route to a robbery. No masks, no straps. They simply saunter into Iosheka Jeans and make out like bandits as the driver of the group chats up Enola (Rosie B. Molina) taking careful stock of what’s being pilfered. I love that Whitney busted open her storefront window to the public without even lifting a brick.
Shotgun-wielding Fernando (Christopher Calderon) confronting the real criminals, the Siegels, is wonderful for a few reasons. The camera angle with Fernando situated in the middle of literal black-and-white walls is stark symbolism. Fernando calling both cancerous is a joyous moment. The irony of Whitney (Emma Stone) explaining her de-escalation process going from 0-60 between Asher (Nathan Fielder) and Fernando in 3 seconds is too perfect before the concerned citizen is asked to leave. Nathan’s paper tiger act though is a sight to behold.
However, what immediately follows is probably one of my favorite Emma moments when her paucity for empathy is put front and center. Her outburst when Asher shows a modicum of sympathy for Fernando and his mother. It’s so venomous that you could nearly see it secreting from her teeth. It’s also our first massive tonal shift in the nearly hour-long episode. I’m super amused when even Asher stands mouth agape.
I’m all for the Ash-man getting a hotfoot when Dougie (Benny Safdie) lays down a damn inquisition in confessionals. He easily gets Asher to paint an unflattering self-portrait through coerced dialogue. This will pay off in a very satisfying way later on. For now, Dougie’s simply there to make Asher look bad, and his interrogation-like tactics turn to an outright roast when he brings Asher’s romantic past and predilection for cuckoldry into the picture. This would’ve been prime time for comedy on Asher’s part! Sadly, we don’t get that.
Their dynamic is something I was hooked on in this episode. The rage, hurt, and betrayal on Asher’s face is remarkable, vowing to never tell Dougie anything ever again, but he agrees to make it up to him by taking him out for dinner. No paragon of society by any feasible stretch, Asher is not; he’s still a human being with feelings, and his behavior of taking pity on his bully is very hard to watch.
Sure, Dougie was ignored by Asher at every turn, but Ash reminded Dougie that when they were kids and he was homesick, Dougie and his crew would always “include” him in their pranks. If Asher was always the butt of the joke, that’s just straight denial and very hard to hear. It is the dank reality of the situation though. He tolerates the dude’s puerile behavior because, without Whitney, who else does he have?
Yes, Dougie’s barrage of bullying doesn’t end with the day’s interviews. It doesn’t end with the full plate of chicken as a gag. It doesn’t even end with the gay porn rags bought for him at the gas station or him teasing him with full spreads of throbbing gristle in the car. It ends in the one place it shouldn’t and the first place it started: with Nala.
Though contrastingly quieter, Whitney’s plot with Cara (Nizhonniya Luxi Austin) and her perspicacious friend Brett (Brett Mooswa) provide some well-needed levity to an increasingly stifling atmosphere, never outshining the dread of being in the gorgeous house of a military contractor, Vivi (Antonio Weiss). After bothering Brett and Marjorie (Elizabeth Katz Sperlich) for footage, it’s down to the big guns: Cara.
Dougie wanting Nala (Hikmah Warsame) to curse him to prove it’s bunk is concerning, yes. You’re freaking out a child with a strange request, looking, well, like Dougie. It shows an unbridled lack of concern for the child and a blatant selfishness, sure. What’s even more concerning is his breaking down in front of the child. He’s truly tormented and just needs answers, raising more questions in me on a personal level.
While nobody is without smudges on their record in life, is desiring some semblance of tranquility considered the ultimate sin? If not, are there degrees to which each individual deserves that which he seeks, inner peace? Does asshole Dougie deserve less inner peace than chicken Asher? Are their sins both not mortally egregious?
Dougie doesn’t need to pay for something already in him. He’s plagued by guilt and denial. That curse is just labeled the “human condition”. Still, he skirts the line with drinking and driving, which is a conscious decision to endanger others. I guess it only makes sense that in their stop to replace a Fire Alarm battery, Asher only endangers the house on Questa Lane with Dougie’s infernal presence.
Something interesting happens, however, when they both enter the house of Abshir (Barkhad Abdi). Not only is there a noticeable shift in tone, but also for a fraction of a second, the camera glitches. I at first thought it may have just been my internet, but it’s embedded into the episode as if a presence there is making itself known. Despite Dougie’s horrid haranguing of Nala, I’m glad he’s finally calling Asher out on his character; however, the sharp tenebrific turn the show takes when Dougie says his last words of the episode has me second-guessing some shit. Fucking chef’s kiss.
Whitney’s tonal shift comes after a brief flirtation with a coquettish Kundalini community member who offers Whitney most likely an eyeful in the bathroom. Whatever it was, she emerged beaming, taking her confidence into the filmed chat with Cara, arrogantly placing herself as Cara’s contemporary, feeding her lines shamelessly as if they were the grapes that Kundalini creep offered her moments earlier.
Seeing Cara regurgitate Whitney’s puffery back to her as if some verbal snowballing is sick in its own right. Real talk though. Money may talk, but when it’s 20k, it screams. The scene also mirrors Dougie coercing Asher in the interview beautifully. Whitney shines in usurping herself, however, when after hearing Cara’s explanation of her very personal tee-pee piece, she reenacts it in real-time, leaving her high and dry once the camera’s cut. She “ate the turkey” once more, and took a piece of Cara unapologetically. It’s heartbreaking to watch because it’s as if Cara just had her art stolen and reappropriated. Something sacred has been taken with zero compunction. It’s just straight evil, and I can’t stop thinking about it.
Directed by Nathan Fielder with a story from Nathan, Benny, and Carrie Kemper, the antepenultimate episode in a 10-run season once again sets up the major shit show that will be the final two, and does it successfully. From the big, vibrant “Welcome to Española” mural in the cold open to details like Dougie offering to pay Nala a 20 spot for the curse (reversing the order? coming full circle?), to even more genius character insights into Dougie, to a Bob Dylan needle drop at the end, this episode came to play.
The shots are all gorgeously composed throughout, especially in Vivi’s house, from the interior to the exterior. We do get more shots from outside the edifice peeking in, but these are not shaky. Something tells me though the B-roll camera guy is simply there as a distraction. I mean the show is all about veneers; would be be such a stretch?
The tonal shifts and metaphors were just right. “Down and Dirty” is a reference to how Asher never does the heavy lifting. Ever. And it’s true. He’s a shitbag that way. He is trying in his way, but is it even fucking enough at this point? Dougie’s hands will never be clean, so he doesn’t need to worry about getting them dirty. Whitney’s beginning to dig in, doing what needs to be done, however disgusting, for success. That’s 2 against 1 and something though the odds aren’t great, I’m pulling through for him to do the right thing, even if it’s too late.
The episode was the heaviest one yet to me. Dougie’s incorrigible as ever, Whitney’s just a hair under scorched-earth mode, and though Asher’s pushing back, I’m not sure if he’s setting himself up for success. The long shot as the credits roll is a thing of beauty, with garbage men literally “taking out the trash.” It’s a great button to remind us there’s a finger just above it.
5/5 Stars.
Addendum: Nathan making the valiant effort to spit Dead Prez was something I didn’t know I needed, but I sure am grateful for it.
Our Favorite Things from 2023
As we approach the end of 2023, it’s only natural for us to look back on the past year in entertainment. We covered a lot of things here on The Workprint, from The Mandalorian to Magnum P.I. and all points in between. So as we await the dawn of 2024, the writers here though it would be cool to share with you some of the things that brought us the most joy in 2023.
We present a few of our favorite things.
Mary Fan’s 2023 Favorites
Fave Sports Movie You Probably Haven’t Watched:
Chang Can Dunk (Disney+)
Fave TV Show that Must Be Saved:
Warrior (MAX)
Fave Casting in a Broadway Show:
Jordan Fisher as Orpheus in Hadestown
Norton’s Best of 2023
Teenage Mutant Ninja Turtles: Mutant Mayhem
Gen V
Final Seasons
Sunil Patel’s Three Favorite Indian Films of 2023
1. The Archies (dir. Zoya Akhtar)
2. Rocky Aur Rani Kii Prem Kahaani (dir. Karan Johar)
3. Jawan (dir. Atlee)
Robert J Kijowski’s Best of 2023
BEST STREAMING PODCAST
The Best Show has been a staple in comedy for over two decades. Having moved base from their humble studio in Jersey City to Forever Dog studio in Los Angeles, CA, the show has only grown in audaciousness, streaming live every Tuesday night. That includes this year’s 24-Hour Podcast.You read that right. On a summery Jersey night, I spent nearly 16 hours on and off (“the spirit was willing, but the flesh, weak”) watching Twitch, in awe of and in total hysterics from the likes of host Tom Scharpling and a plethora guests musical and otherwise to rocket this podcast into a stratosphere all its own, all of which can be seen on Patreon and heard wherever you get your podcasts.
BEST MUSIC VIDEO
Victoria Monét’s video for “On My Mama” hit the scene hard this summer, drenched in sexy-as-fuck throwback Y2K R&B swag. Incorporating complex choreography from start to finish, the banger plays out like something that exists out of time and space — a scintillating look into the future through the lens of the past. Ms. Monét knows exactly how to blow the roof off with heavy confidence, elegance and sapience in these 3 minutes and 36 seconds of baggy drip that look even better now than when I remember them back in high school.
BEST TRUE CRIME DOCUMENTARY
The third month of summer seems like the only month fitting for HBO to have dropped Telemarketers. Directed and produced by Adam Bala Lough and Sam Lipman-Stern, the 3-parter is nothing but genuine, confrontational and, I’ll say it, august.Following two former telemarketers, the serious sleeper of a series takes a deep dive on those who put national dread on the map: the cigarette smoking, on-the-job drug-taking, Central Jersey crew of the CDG that made the unscrupulous draining of unsuspecting citizens’ funds a high-fucking-art form.
Victor Catano’s 2023 Favorites
Favorite Movie:
GODZILLA MINUS ONE
It wasn’t a banner year for franchises. Marvel and Disney had well publicized stumbles at the box office. Both Tom Cruise and Harrison Ford had trouble connecting their classic characters with audiences. And DC… well, let’s just not mention them right now.But there was one literal box office titan that towered over all of them.Produced by Toho Studios at about a tenth the cost of the recent Hollywood versions, Godzilla Minus One is both a tribute to the classic Godzilla films of old and something completely new. I’ve always been a Godzilla fan, but the giant monsters can sometimes feel campy. Not here. For the first time I can remember, I was scared in a Godzilla movie. The destruction and loss of life feels real and visceral. It’s a return to Godzilla‘s roots as a metaphor for Japan’s post-war trauma and nuclear anxiety. For the first time, I was invested in the humans and actually cared if they got squashed. It’s a remarkable movie, better than any Hollywood SFX blockbuster I saw this year, and in a just world it would get some Oscar love.
Favorite Show:
BLUE EYE SAMURAI
I reviewed this in depth a month ago. This was not only the best animated show of the year, it was my favorite show, period. A beautiful and bloody tale of revenge and identity in feudal Japan… yet it was so much more. The characters are all perfectly defined, the dialogue is so sharp it could cut you, and the animation is the best you’ve ever seen. If you’ve got the week off, there is no better way to ring in the New Year than by binging this epic on Netflix.
Favorite Play:
HERE WE ARE, ACT I
The final show of the late master of musical theater, Stephen Sondheim, arrived in New York, off Broadway. Even if this were terrible, it would still be noteworthy because it’s the very last music we will ever get from him. But it’s Sondheim! Even his lesser works are fascinating. And this is a very moving show.Here We Are adapts two movies from surrealist filmmaker Luis Bunuel. Act One adapts The Discrete Charm of the Bourgeoisie, and Act Two covers The Exterminating Angel. Act Two is a very black comedy and only has a couple songs early on (because Sondheim was unavailable for rewrites, obviously). Act One is much more of a farce or comedy of manners, and it is a pure delight.
The cast — featuring Bobby Canavale, Dennis O’Hare, and David Hyde Pierce — is wonderful. The songs feature all of Sondheim’s trademark wit and wordplay. In the best number, which has a waiter at the Everything Cafe explaining that they are, in fact, out of everything, he gets off the line “we may get a little latte later,” which recalls his classic wordplay in “Into the Woods.” (“While her withers wither with her.”) Even going into his nineties, Sondheim was an unmatched talent to the very end. Cross your fingers and hope that a cast album comes out soon.
‘Rebel Moon’ is 2 Hours of Tropes in Search of a Story
You’ve seen this film before.
Maybe it wasn’t called “Rebel Moon,” but you’ve definitely seen this. Have you ever seen a space opera? A movie where a plucky band of rebels fight against a superior force? Have you seen literally any science fiction movie from the last 50 years? Then, yeah, you’ve seen this.
Rebel Moon (Part 1) is the latest movie from writer/director Zack Snyder. Snyder is a fantastic visual stylist. If he drew comic books, he would be highly sought after. His eye for a killer shot is incredible. Unfortunately, his story skills and pacing leave a lot to be desired. Too often, his movies get bogged down in bad, portentous dialogue and awkward story beats that lead nowhere. (Ah, remember all the fun we had with “WHY DID YOU SAY THAT NAME?” in Batman v Superman: Dawn of Justice?)
Snyder pitched this movie to Lucasfilm as a darker, more mature Star Wars. Lucasfilm passed, prompting Snyder to go make this on his own for Netflix. The thing is, we already have a darker, more mature Star Wars project. It’s called Andor, and it is sensational. Rebel Moon is not.
Rebel Moon tells the story of Kora (Sofia Boutella), a young woman working on a farm on the moon of the planet Veldt. She’s been happily toiling away, hiding her dark and mysterious past, until a ship from the Imperium shows up. The Imperium, as the opening narration dump explains, is a thousand-year-old empire based on the Motherworld. After consuming all of their own resources, they have taken to conquering other planets.
However, in the power vacuum after the King and Princess were assassinated, there are sparks of rebellion, led by Debra Bloodaxe. The sadistic Admiral Noble (Ed Skrein) is leading the hunt for her, stopping on Veldt to torture the populace and steal their grain. Realizing that the Imperium isn’t going to stop until they’ve taken everything, Kora reverts to her old ways. She was a high-ranking soldier in the Imperium, and after killing the garrison Noble left behind, she heads out to find the rebels herself so they can help her defend her new home. She comes across a number of badass fighters who volunteer to help, including the ne’er-do-well pilot Kai (Charlie Hunnan, rocking a ludicrous Irish accent), the nobleman-turned-jacked-slave Tarak (Staz Nair), the expert swordswoman Nemesis (Doona Bae), and the disgraced former general of the Imperium, Titus (Djimon Hounsou).Once this ragtag crew is assembled, they head back to fight off the Imperium.
Rebel Moon is made up of snippets from other movies. There’s Star Wars, of course, with the space opera setting and a cantina that is a wretched hive of scum and villainy and the laser swords (I am really wondering how those got in without a cease and desist from Lucasfilm’s lawyers).
The plot echoes that of Seven Samurai (or the remake, The Magnificent Seven) The Imperium ships look very similar to the ones in the anime Space Battleship Yamato. The Imperium itself seems inspired by House Harkkonen in Dune, and their fascist soldiers in trench coats are straight out of Starship Troopers. Tarak flying on a hippogriff creature looks like a cut scene from Avatar. The distaff crew is lifted right out of Firefly. There are even references to Snyder’s own films, like 300. (One of the mercenaries they pick up is on a gladiator planet. Not sure if they’re betting with quatloos.)
Snyder picked all of these tropes and scenes because he obviously loved all of these movies, but rather than stopping to ask why these scenes worked and what made them funny or clever or interesting, he just picked the stuff that looked cool and threw it in.
Now, I have no problem with tropes or borrowing plot prompts. (“Plucky underdog stands up to overwhelming foe” is a story as old as the Bible, for goodness sake.) But if you are going to lean into tropes, you need to make them interesting. They need to serve an actual story. Tropes are a good shorthand, but if they aren’t being used to add character depth and are instead the entirety of the character, then it’s a problem.
It’s a real problem, because the tropes are doing all of the work here and Snyder put absolutely no effort into the dialogue or characters. Every word sounds like it came out of ChatGPT after it was fed a “Space Fantasy” prompt. There is honestly a line a character is forced to utter that goes, “Queen Issa was called the Life Giver. It was said she had the ability to give life.” I heard that and my brain hurt.
The characters don’t fare a lot better. Aside from Kora, they have no backstory and literally no motivation to go help a farming colony on a distant world. Yet, all of them follow Kora with little hesitation. The characters don’t have personalities; they each have one trait. Kai is a charming rogue. Nemesis has honor. Kora is a brooding bad ass. They’re archetypes. This affects the story, because situations and scenes that ought to have weight and emotion just feel hollow. For example, the film is building to a confrontation between Kora and Noble, and it certainly seems like there ought to be some history between them, but none is ever mentioned. It just becomes yet another of Snyder’s well choreographed fight scenes, complete with his trademark slo-mo and random close ups.
The pacing is also weirdly off. So much time is spent on the set up, there’s barely any room to meet the crew. Some of the characters — like Nemesis and Titus — have hardly any screen time, but the viewer is supposed to care about them. Djimon Hounsou is a wonderful, Oscar-nominated actor, and he has maybe five lines here. The pacing is such a hash that by the end of the 2 hour and 15 minute film, it’s basically gotten to the end of the first act of Seven Samurai.
It’s a real shame, because the visuals here can be stunning, to the point of frustration. Snyder puts so much care and effort into a wide shot of an asteroid field around a ringed planet, or a sun setting through a mist, yet he can’t be bothered to type out a line of dialogue that doesn’t hurt to listen to.
And I could forgive even all of that — the tropes, the bad dialogue, the flat characters — if this was at all fun to watch. It’s not. The best you can say about it is that it’s much lighter on its feet than Zack Snyder’s punishingly long Justice League cut. But that’s really not enough to recommend this.
Part One is available on Netflix now. Part Two comes in April. And I doubt that I’ll be interested enough to check it out.
Rating: 2 out of 5
The Curse Review: “Self-Exclusion” Doesn’t Protect, Only Attacks
The focus of the cold opener in the seventh episode of The Curse (Showtime/A24), titled “Self-Exclusion,” is on Nala (Hikmah Warsame), who has it out for bully Josie (Aspen Martinez). Wishing for a foe to fall, especially when it’s from a rope climb in gym class isn’t what concerns me. Kids are kids, and nobody got hurt. Nor is the P.E. teacher (Greg Fernandez) not taking Nala’s side because Josie’s bullying is only verbal, throwing me off. Disheartening? Yes, but that’s just the failure of our public school system. What’s most disquieting is how intent Nala looks while Josie’s on the ropes. It’s a death stare worthy of Kubrick.
Whitney (Emma Stone) comes with her set of baggage, literally and figuratively, when she purchases the horrid wooden Native American statue at the golf course and hauls it right to the doorstep of Cara Durand (Nizhonniya Luxi Austin), who is initially none too pleased. It’s a shameless shill at buying Cara’s signature on the art release forms, and I’m not the only one that’s uncomfortable with this. Cara herself is also very uneasy, given Whitney’s genetic disposition of disrepute.
Stone’s acting in just the face alone when being rejected is some of her finest acting yet without words, and when she finally reveals all that’s plaguing her concerning Asher, Cara simply listens. It’s evident that Whit’s tearing at the seams, but this show has a beautiful skill of imploring me to look at these individuals through a finer lens. Is she being sincere, or is she playing the emotional card for Cara?
My vote is for the latter, especially factoring in how many times she deploys the term “friend” as if to weaponize it, and we go back into her original intent: making Cara a cultural consultant for the show. Money talks, and I believe this is Whitney at her cruelest yet. She’s trying to get an artist to sell out. Freedom and integrity are the true hallmarks and net worth of an artist, and the look on Cara’s face is just devastating as she mulls over the paycheck in exchange for her principled values as an artist, whatever they may be.
While Whitney is looking like slime, they do something interesting with Asher (Nathan Fielder). At his comedy class, he’s ground more into the floor when the lesson on self-deprecation doesn’t land for him. Not only is he verbally being “pantsed” by his teacher Jeff (Doug Montoya), but also unknowingly forms a bond with Nala.
The brilliance of this scene lies in its parallel to the cold open. It’s another instance of someone tamping down years of bullying only to fail when put on the spot, the incompetency of their feckless “saviors” front and center, which also is touched upon when Whitney passes a bunch of roadside protestors, decrying the name 3HO/Kundalini Yoga Community leader Yogi Bhajan.
If you recall, Whitney visited the community earlier this season. These threads that are never dropped only add to the richness of the tapestry Fielder and Safdie are weaving on screen. Yogi Bhajan (a real person) by accounts was a horrible person who eventually died in Española. Since Whitney and Asher are surely no exemplary people in the least, it’s a nice visual cue to their days being numbered.
Smack dab in the middle of the episode, we go from bad to holy shit. If Asher running over what I’ll assume is a strategically placed box in his driveway wasn’t enough, Whitney’s side-eye says it all. Asher’s information to Monica Perez (Tessa Mentus) bore fruit in what is a gorgeously shot exposé on how Whistling River Casino allowed a recovering gambling addict to play and win big before revoking the money.
I get an even bigger hit when the exposé releases footage of the onsite inspector and Asher laughing as recovering addict Joanna Hernandez (Bertha Benitez) welcomes in the demon of intemperance before their very eyes. Whitney’s seen the story, but hard as Asher tries to slither his way out, he just burrows himself deeper in the shit, and Nathan’s performance in this moment is truly haunting.
It’s the inflection of his voice, the timbre, the rhythm. These aren’t aureate lies he’s spilling forth to save his marriage; they’re half-assed, fully-defeated excuses to save his hidebound ass. I agree with Whit: if it weren’t for her, Asher would just be Satan. His ensuing “stigmata moment” wasn’t the show’s most subtle if they’re painting Asher as some “false savior” to Abshir’s family, but it works. I do feel like he’s in a spiritual war of his own as well. No notes.
At Whit’s first real confessional, we get some time with Dougie (Benny Safdie), who is particularly taken by her monologue, especially about the part of not knowing the person you thought you knew. Stone knocking it out of the park isn’t rarified territory in this season, but it bears repeating: she’s simply phenomenal, and Whitney stopping just short of accusing Asher of holding her back makes me ill, but not for the obvious reason of Asher in that footage acting sub-human.
Sure, Whitney’s spoiled, displaying zero growth, especially when enabler dad Paul (Corbin Bernsen) lends her cash. Sure, she’s in a toxic co-dependent (redundant, I know) relationship. Neither of which are good, but as much as I am so Team Dougie, I don’t know that he’s not just using the couple as his magnum opus; why celebrate marriage when he could be at the vanguard of a new form of reality TV: dissolution of marriages? To be fair, Dougie has every right to be pissed off at Asher for not inviting him to Shabbat.
The tertiary Nathan Fielder-directed episode, even in its last minutes, gives us even a few more sludgy moments when we see that it isn’t the network that’s paying for Cara’s employment; it’s Whitney buying her friend under a false premise. I mean, she purchased a Native American at the beginning of the episode. That sort of full-circle poetry is why the show’s never displayed a dull moment.
With Asher taking notes on the recorded argument they had earlier, I’m not sure whether to believe he’s trying to better himself by self-critiquing for the sake of personal growth and learning to accept responsibility instead of being an excuse factory… or just as a means to game Whitney and win arguments. I hope he at least took from the class that emotional intelligence begins with being self-aware.
The final moments of this episode completely knocked me for a loop. Though Nala’s wish didn’t first come true, it does rear its head all the same, coming full circle. Hmm, I also noticed the “C” in the title itself is circular, as are camera lenses. The show never lets up giving me frissons of simultaneous dread and excitement — a fever dream I don’t mind being enveloped in.
That snake charm was more than just on the set of keys to one of Whitney’s abodes in this episode. It’s also in Whitney. Let me find out there is no fucking consultant position. I have a feeling Whitney just bought Cara’s whole artistic identity for twenty stacks, even though Cara might be smarter than to sign an actual signature, but even then, that’s fraud. She’s got her “friend” over a barrel, but what does she care? She got her way.
It’s also interesting for how it’s shot, with the camera lingering inside the bank to zoom in on Whitney until Paul with the audio coming in clear as fuck, as if they were mic’d up. We also get an odd scene of Asher getting made up for his confessional. This particular shot is interesting because it sets up a tonal shift visually. Something about seeing his warped reflection in the house is both funny-looking and creepy, almost like a clown. This is fantastic foreshadowing if his Arthur Fleck moment is in the cards.
The episode is named “Self-Exclusion”, for the voluntary act of a recovering addict signing away their rights to play at any casino for a set amount of time. I curiously think the language of the form itself might be the actual template Whitney uses to get people to sign away their rights. I don’t remember if we’ve gotten a look at Whitney’s form yet. The duo’s cowardly yet brazen tactics to ride roughshod over anybody that stands in their way is sickly poetic, since the most poisonous they are, are to each other.
5/5 Stars.
Isn’t It Romantic? ‘Quantum Leap’ Explores Relationships in “Nomad”
Quantum Leap is all about time, and keeping track of it in the show can lead to some head scratching. Just how long has it been since Ben discovered that three years had passed back at HQ in what was, of him, the blink of an eye? Does he ever get to sleep? If each leap lasts only a few hours or at most days from his perspective, does that mean from his perspective, the whole show so far has only occupied a handful of weeks? Just how does he experience time?
I found myself wondering these things because of the rushed nature of his romance with Hannah. Scarcely a few episodes passed between him being heartbroken over Addison, who moved on during that three-year time jump, and him locking lips with another fetching blonde, midcentury super-genius Hannah.
And now she’s back, in episode 208, “Nomad.” The title refers to the asset (real name Layla) that Ben’s spy host is supposed to save from certain death, but it could just as easily apply to Ben himself. This time, he’s in 1961 Cairo, which Hannah just happens to be visiting for a conference. We get a few fun moments of international intrigue, where Ben, as a CIA agent investigating how Russia was operating in the Middle East during the Cold War, has some nasty run-ins with the Stasi, the former East German secret police.
But all that feels like it fades into the backdrop once Hannah shows up on the scene. Despite Ben wearing a different face, she somehow recognizes him without him saying a word. She mentions that she’s asked numerous strangers over the six years since their last encounter too. At no point does she or anyone else bring up what happened after Ben leaped mid-kiss following their last encounter. And neither do they care what becomes of this current host, whose face the show doesn’t even bother revealing via the usual reflection or photo.
Look, I get that Quantum Leap is just a sci-fi show, and perhaps it’s better to just sit back and enjoy the ride. But gaps in logic (and ethics) like this just bother me. I wish I could go “aww” over Ben and Hannah’s softly lit, whisper-acted, gooey-eyed romantic moments. I love me a good romance, after all. But the fact that Ben is occupying someone else’s body — someone who hasn’t consented to any of this — is simply too distracting. Have you ever woken up after a wild night out and been told you made out with some stranger while blacked out? That’s pretty much what’s happening to these hosts.
Worse, there’s a moment when it looks like Ben might have failed in his leap. The mission goes wrong, and Nomad/Layla (who really feels like an afterthought despite being the episode’s titular character) is presumed dead. Ben faces the possibility of being stuck in 1961, and all anyone can say is, “Well, at least he’s with Hannah! Maybe this is his happy ending!” Um… what about his host? Where is his host during all this, anyway? Unlike the original show, which showed the hosts in the Waiting Room, this version never explains that (or where Ben’s body is).
Meanwhile, Addison and Tom appear to be moving quickly as well. Addison is convinced that he’s about to propose. She’s also perfectly happy third-wheeling with her ex and his new girlfriend, and doesn’t seem too bothered over the speculation that the reason they keep meeting across time is because they’re in love, implying that Ben has some kind of control over his leaps. In the original, it was revealed that Sam could have leaped home whenever he wanted. Is that true for Ben too? Did Addison simply not matter enough to him for that to happen, but Hannah, who he’s known for a matter of days, is so special that he encounters her again and again? Ouch.
The show really feels like it’s borrowing from the novel / TV show The Time Traveler’s Wife this season, and showrunner Martin Gero has mentioned that the story line will conclude in Season 2. I have a feeling that will mean Ben eventually encounters an aged Hannah on her deathbed, with dramatic music playing for full tragic effect.
Anyway, despite wanting to enjoy the spy thriller aspect and the dramatic backdrop of Ben’s first international leap, the romance aspect was simply too distracting for me. We spent an entire season investing in Ben and Addison as a couple — the whole reason Ben leaped in the first place was to save her life — and while I don’t entirely object to breaking them up for dramatic effect, throwing in a replacement girlfriend so quickly isn’t working for me.
Unfortunately for me, it seems Hannah is here to stay (for season 2 at least). Here’s hoping one of the writers finally speaks up on behalf of Ben’s hosts before the pair decides to sleep together and we have to wonder whether she date-raped someone.
2.5 / 5 stars.
‘Wonka’ Is a Delightfully Sweet Treat Perfect for the Holiday Season
It may surprise you, dear reader, that the person who decided to review Wonka isn’t someone that suffers from a debilitating sweet tooth. Don’t get me wrong, I love a sweet reward now and again. But even when I was a young boy trick or treating, I cared more about sorting my haul than actually eating it. That said, there is one thing I definitely share with the titular protagonist: We’re both dreamers. And while that might seem insufficient on occasion, sometimes all you need in life is a dream and the motivation to make it a reality.
One thing that struck me as somewhat of a revelation in recent years is how talented Timothée Chalamet is. I went from barely knowing who he was to fervently looking forward to what he’ll do next. It’s not easy having a range that encompasses Paul Atreides, a terrifying drifter, and Willy Wonka. So it’s fair to say he’s having a moment right now, and I welcome it. For his current role, he brings a captivating, energetic charisma to bear. He’s constantly singing and dancing (and sometimes awkwardly rhyming). Wonka is optimistic to a fault, and manages to use his mystical knowledge of chocolate making to conduct acts of culinary magic.
Now, many prequels fail to live up to the original, but I’m happy to say that Wonka is at least as entertaining as Willy Wonka and the Chocolate Factory (the original classic, not the creepy Johnny Depp version). A big part for that success comes down to the directing of Paul King, who you may know from the ridiculously cozy Paddington movies. Wonka moves at a brisk pace, with extravagantly colorful set pieces and a cast that’s equally capable of dark humor and goofy slapstick. That includes the likes of Keegan-Michael Key, who plays a corrupt police chief; Olivia Colman, a demented innkeeper that enslaves her poor inhabitants to work off their debt in her laundry prison; and Rowan Atkinson AKA Mr. Bean as a chocoholic priest.
Then there’s the Chocolate Cartel, a trio of miscreants including Slugworth, Prodnose and Fickelgruber, that has the Gallery Gourmet on complete lockdown, and who pushes any upstart new shop out, and that’s if they’re lucky. There’s also relative newcomer Noodle, played by Calah Lane. She starts out as a broken down and broken-hearted orphan, but with Willy’s help, she finds a new drive to make something positive of her life.
The crux of the movie is that Willy wants to open up a shop in the Gallery Gourmet, and he quickly finds that everything is weighed against him. Most of the cops are on the take, bribed by the Cartel in sweet, sweet chocolate currency. There’s also plenty of thieves and con men willing and able to take every silver Sovereign Willy owns, from shoe shine urchins to struggling young mothers.
Perhaps the worst of all was the aforementioned innkeeper played by Colman, Mrs. Scrubitt, and her accomplice, the brutish Mr. Bleacher. She seems jolly and helpful at first, willing to keep Willy off the cold streets for a night. But he suddenly discovers he’s accrued debt for doing things such as using the stairs (coming and going), availing himself of the “mini bar” of soap, and even drinking a glass offered to him by Scrubitt herself. Young Noodle, who’s also “employed” by Scurbitt, tries to warn Willy to read the fine print before he signs Scrubitt’s contract. There’s just one problem: Willy is illiterate. So the optimistic young Wonka finds himself enslaved and thrown into the laundry dungeon.
It wouldn’t be much of a movie if he stayed there, so fret not, Willy finds a way to evade these confines. But not before meeting and befriending a goofy cast of other inmates, including an accountant, failed comedian and others. At first they think Willy’s optimism is misguided, until he finds a way not only to escape each day, but to keep them from having to do an ounce of work.
I should mention that while Willy Wonka is more known for his chocolate-making skills than anything else, we learn here that he’s also something of an alchemist. In one flashback, he recounts how he was actually interested in being a magician first, but then his chocolatier mother instilled in him a drive to learn her skills. Especially after she died from an unspecified illness when he was younger. So in the present, Wonka is equipped with skills and masterful tools of his trade. Those include an unfolding cabinet of ingredients, a staff that doubles as a coat rack, and a hat that seemingly can hold an endless number of items. And when he makes chocolate, he doesn’t use basic ingredients or limit the palette of his confections. No, he uses all sorts of unusual flavors and ingredients, notably including giraffe milk.
If that wasn’t enough, most of Willy’s chocolates have secondary properties thanks to their exotic ingredients. Which isn’t a surprise if you’re familiar with the original movie, but it’s no less delightful here. There’s chocolates that make you hover, others that make you drunk and emotional, even one called Silver Linings that helps people get out of the doldrums. Later in the movie, his chocolates are spiked with something called Yeti Sweat, which shockingly cause those that eat them to grow colorful masses of hair all over their bodies.
There’s ups and downs in Willy’s quest, thanks in large part to the scheming of Slugworth and the Cartel. To my surprise, despite how sweet the movie was, it’s also a little bitter and dark at times. There’s a Dickensian quality to the inequality on display, with orphans and twisted innkeepers. Willy even bites the bullet not once, but twice, nearly getting exploded and then almost drowning. But it wouldn’t be a heroic journey without challenges, and I’m happy to say there’s plenty here to keep Wonka busy and the audience entertained. Perhaps one of my favorite moments is when he starts opening pop-up shops all throughout town, making money and ducking into the sewers whenever the Chief of Police and his cops arrive to bust him.
I’d be remiss if I didn’t touch on another exemplary performance in Wonka: Hugh Grant’s turn as an Oompa Loompa. I’m not a big fan of Mr. Grant normally. I didn’t think he was handsome in his earlier years, and I didn’t think he was charming in his later. But when he’s shrunk down into the form of a arrogant orange ninja? Then you have my attention. And he brings all his British gravitas to bear in a delightfully insane performance, complete with little songs and dances. Best of all, he’s after Wonka for reasons I won’t disclose, but which add a lot to the lore of the series.
While there are no bad performances in Wonka, I am sad that we don’t get more screen time for the amazing Rowan Atkinson. I loved Mr. Bean as a kid, and I was excited to hear he was a part of the cast. But in reality, he’s on screen for maybe 10 minutes total, and the majority of that is towards the very end of the movie, much to my chagrin. On the plus side, when things really get crazy for him, it involves escaped zoo animals and a hungry, hungry giraffe chasing him. Other than that, my only real complaint is that I wanted to know more about Willy’s mother and childhood. Though in the grand scheme, these are pretty minor quibbles.
It’s hard to impart comedy in written form, but I’ll do my best to touch on some of the things that made Wonka such a delight. Part of Willy’s scheme to escape his confines involves tricking Mrs. Scrubitt into believing that Bleacher is some sort of Germanic lord, which escalates to him “showing some thigh” to captivate her. Then there’s what I call the Nutty Professor antics of Key’s Chief of Police, who gets more and more obese over the course of the movie thanks to his payment in chocolate. Perhaps one of my favorite things is when Hugh is trapped by Willy, only to escape and bash young Wonka upside the head with a frying pan.
Combine this with the musicality of the movie, which not only features several original tracks, but even one very familiar song for fans. Some of the standouts were “Have You Got a Sweet Tooth”, “Scrub Scrub”, and “A World Of Your Own”. If it wasn’t enough that Chalamet is a talented actor, he also boasts an impressive singing voice, along with his constant dancing.
I won’t spoil the big moments of the movie, other than to say Noodle is more interesting that she first appears, and the Cartel’s stranglehold is undone by a well hidden treasure. Ultimately, the movie is all about one line delivered by Willy’s mother: “Every good thing in this world started with a dream“.
In the end, Willy’s dream comes true, and he manages to make the world a better place in the process. It’s a wonderful and colorful film which is the perfect thing to get your mind off the darkness of the world, even for a little while.
Extracurricular Activities Provides a Twisty Magnum P.I. Episode
If you caught trailers prior to tonight’s Magnum P.I., you’d be forgiven for thinking “Extracurricular Activities” was another comedic episode. While there are definitely lighthearted moments, this week takes things in a decidedly different direction than last week’s fantastic showcase of the comedy stylings of Jin.
The episode begins with Magnum playing frisbee with a group of young college kids. Despite only being on campus for a day, he already has a nickname, M Dog, and is invited to a toga party later. Thankfully Higgins is an adult, and keeps her free-spirited boyfriend on a short leash. They’re not at college for fun, after all, they’re here to investigate an allegation against one of the dean’s professors.
Sam Brody is a professor and bioengineer researching crop resilience. There’s lots of rumors swirling about him coercing sexual favors for research positions at his lab. The dean doesn’t want to ruin the man without proof, so Thomas and Higgins head out to find what they can. Higgy starts her usual hacking routine, but runs into an unexpected roadblock. The professor’s devices are all heavily encrypted. Meaning Thomas and Juliet are going to have to go back to school and surveil him the old school way.
As for the rest of the team, they have a different extracurricular in mind. T.C. and Gordon are heading out for a father / son camping trip with their boys, after raiding La Mariana for supplies. Rick complains, as expected, and manages to whine his way onto the trip. Mostly for a chance to get some much needed sleep after dealing with his newborn for several months. Since they’re already taking so much food and supplies, T.C. and Gordon agree to let him come along.
Back at college, Juliet sits in on a Brody lecture, and overhears two girls gossiping about how one of them is on a first name basis with the professor. Then when one boy named Travis starts offering high-minded opinions, Juliet proves him wrong and accidentally embarrasses him. Later she goes to apologize, and realizes Travis may be the one circulating rumors about his professor. Mostly because he’s salty about not getting the research position, which he insists Brody only gives to attractive young women. Which is why he’s not trying for Brody’s open research position. Though Travis did overhear Brody making time with someone in his office the other night, who he thinks is a girl named Kelly.
Meanwhile Magnum heads to Brody’s office to get to his phone and upload some spyware. He’s pretending to be a repairman and gets in effortlessly, though the hack is a bit more complex. In order to access the phone, he makes an artificial fingerprint and starts the upload. As he twiddles his fingers, he gets a call from Juliet about how class is out and Brody’s heading back to his office. Problem is, the upload is taking forever. So poor Magnum has to hang from the window frame outside as Brody mills about. Fret not, he’s able to sneak back in without breaking any bones. And with the spyware in place, he finds texts from Brody about having company over, along with a cringy winky face emoji.
Magnum and Higgins do some surveillance from a vehicle parked close to Brody’s house, and find Travis was wrong about one thing. Brody isn’t interested in Kelly, he’s hot for a student named Helen. He’s about to get smoochy with the girl (apparently this isn’t their first tryst), when he mentions that the rumors about him means he has to give the research position to someone other than her. That ruins the mood, and Helen leaves, pissed. Our intrepid investigators thus decide to get Helen’s side of the story.
Back in the woods, it’s an awkward camping trip. Rick is playing pack mule, as Gordon forces the group to look for a rugged campsite, not one of the cushy, pre-made ones. Dennis is proud he got into Michigan in the fall, and when T.C. suggest Cade ups his college preparation, it’s clear Cade’s hiding something from his adoptive father. On the plus side, Rick brought a portable generator, which Gordon and T.C. think is too easy.
It turns out, Cade wants to enlist in the Marines, just like his adoptive father. T.C. isn’t happy about that, and just wants his boy to be safe. It dampens the mood, and T.C. is mopey. Gordon tries to lighten things with a deck of cards, but nobody wants to play. Then the next morning everybody other than Rick is exhausted. Turns out, Rick’s a bit of a snorer. He wants to make breakfast as recompense, just one issue—their generator and food are both gone.
Higgy continues to pretend she’s a transfer student, and talks her way to Helen’s table. Unfortunately she doesn’t get anywhere with her. Thomas has more luck finding a past assistant named Lydia who apparently killed herself 4 months ago. When they talk with Lydia’s mother, they discover she lost weight, couldn’t sleep, spent nights at the lab and didn’t talk with anybody. Magnum manages to get access to Lydia’s phone for answers.
Juliet has an old MI6 contact try and remotely figure out what’s happening with her faulty spyware, just as Magnum discovers Lydia was being blackmailed. A month before her death, Lydia met with the blackmailer in a cafe on campus, which happens to have cameras. And to my surprise, they didn’t show Professor Brody blackmailing the dead assistant. No, the blackmailer was Helen!
It gets worse—Higgy’s contact confirms that the spyware issue was that two different spyware programs were running on the same system. Which means Helen is a Chinese spy, not just a lovestruck student. She shows her true colors by pushing Brody to give her the position again, and he refuses. So she asks again with a pistol to his forehead.
In the woods, Rick and T.C. find a homeless man with all their food and generator. Him and his son have been living in the woods for months, and our team feels sympathy. So Rick loans the stuff to them until they don’t need it anymore, and it’s clear T.C. comes to a realization about Cade as well. He has to let his boy follow his own instincts, since he’s a proven survivor.
Though Brody resists, Helen decides to go the hard route and knocks him out, using his fingerprint to access his terminal and copy all his data. She wants to use his study of crop resilience to create deadly pathogens to use against China’s adversaries. With the mother lode in hand, she heads for the Chinese consulate, and it’s an epic race to get there before her. First in cars, and then with Higgy and Helen jumping on motorcycles. It seems Helen might get there first, until Magnum comes in and sideswipes the spy to the curb.
It ends with Brody resigning, though the dean is unwilling to bring all the facts to the surface. She’s clearly a political animal, and Thomas and Juliet aren’t happy she’s hiding things for expedience. But at least they can tell Lydia’s family how and why she killed herself, stressed to the max being forced to work for a spy. As for T.C., him and Cade finally talk, and he realizes he has to let his boy do what he wants. Overall a solid and well-written episode of Magnum P.I.
WITCHCRAFT! ‘Quantum Leap’ sends Ben further back than ever before
Rules are made to be broken, and in the case of Quantum Leap, the show has now thrown any pretense of staying within the leaper’s lifetime out the window. The show has broken the lifetime rule before, of course, both in the original and the reboot. But it’s never gone quite this far before.
Episode 207, “A Kind of Magic” takes place a whopping three centuries before Ben was born. It’s 1692, and Ben’s host is a Puritan servant girl named Elizabeth in Colonial Massachusetts. You know where this is going… yup, the witch trials.
The ginormous leap throws off the team back home because lack of historical records makes it hard for them to do their thing — you know, using articles and databases and whatnot to dig up info to help Ben on his leap. But other than that, they’re oddly nonchalant about the magnitude of the leap (other than a moment when Ian resorts to a seance to try to find out what went on back then). It’s just a brief moment of “whoa, that’s a long time,” rather than anyone fussing over how it’s even possible. Which I’m not too mad about because drawing out that conversation and getting into the nitty-gritty of the sci-fi tech wouldn’t be very fun. I’d rather focus on the leap anyway.
But before we get into that, another plot point that feels kind of swept under the rug is the whole thing with Rachel’s mysterious, unnamed “boss” spying on the project. Thanks to Rachel, that’s fixed now. I’ll bet it’ll pop up again in future episodes, but the team, again, feels a little to casual about the whole situation, which kind of kills the tension of that whole arc.
Anyway, onto the leap! Massachusetts 1692, witch trials, Ben in the mix… without having watched a single trailer, I knew immediately where this episode was going. Of course some poor innocent lady was going to be accused of being a witch by fire-and-brimstone Puritans — it’s a young woman called Bridget Smith, aka Goody Smith. Brief aside: “Goody” is an honorific, not a nickname. It was short for “Goodwife” and the equivalent of “Mrs.” for civilian women back in the day (whereas “Mistress”, which would later be abbreviated to “Mrs.” was for ultra-high-class women who were the heads of households).
Anyway, of course Bridget was being blamed for the town’s mysterious misfortunes, and of course Ben was going to try to science his way out of it and end up being accused of being a witch as well. The one wrinkle is when the local apothecary, an unconventional woman called Morgan, tries to stick up for the other two and ends up being the third accused witch.
Ben is here to save Bridget, and later himself and Morgan too. I wanted to be more invested in the story, but I just felt like I’ve seen it before. The ignorant Puritans, the impassioned but ultimately useless pleas for rationality, the historical misogyny… there wasn’t anything to set the episode apart from all the other tales about the witch trials out there.
It also stuck out to me that Ben didn’t even try to blend in, and didn’t seem too concerned about what kind of state he’d be leaving his host Elizabeth in when she returned to her body. I mean, he gives CPR, techno-babbles about the science behind the town’s misfortunes, and uses future knowledge to appear to summon divine intervention. What’s poor Elizabeth to do when she returns with no memory of any of this (as the current Quantum Leap has established that hosts black out during leaps)?
Ian and Jenn take turns being the hologram before Addison finally steps back into the imaging chamber… turns out, being the hologram takes skills that Ian and Jenn aren’t quite up for (they’re better off nerding it up behind the computers). I’m glad to see her back in her previous role — even the character acknowledges that she’s been sidelined, and I was starting to worry that she’d all but disappear from the show. That said, I do hope they keep rotating in Ian, Jenn, and Magic as circumstances require. Letting Ben interact with different members of the team provides more storytelling opportunities (the Ben/Addison romance-then-break-up thing feels played out at this point).
All in all, “A Kind of Magic” was decently executed, if a bit underwhelming. More than anything, the writing felt a bit careless. Which is a shame because this episode will be remembered as significant due to the magnitude of the time travel and really deserved better.
3/5 stars
The Curse Review: The Hosts and Their House Fail at Keeping Cool in “It’s A Good Day”
The fifth episode of The Curse (Showtime/A24) titled “It’s A Good Day” starts with another day of filming, this time of the Juniper Lane couple, Lucinda (Nikki Dixon) and Dennis (Eric Peterson). Dougie (Benny Safdie) is visibly over and done trying to make lemonade with Whitney’s (Emma Stone) backseat directing, and the fugazi yet positive vibe immediately gives way to frustration, so we get apt foreshadowing in the very first scene. We also get a taste of what may be behind the voyeuristic moments when Whitney’s told off by cameraman Remi (Oscar Avila) “as a joke” and boom operator Jose (D.J. Arvizo) is accused of listening in on her getting Asher (Nathan Fielder) to obtain couple’s signatures on a contract so duplicitous, even Janus would be jealous.
The contentious Pueblo lease agreement negotiations are enough to make anybody sweat, but this Juniper Lane abode has that covered with inefficient cooling. To me, the use of Whitney’s houses as a metaphor for the couple themselves is still exceptional, cinematic storytelling. The internal elements clash while externally, the mess calls attention to itself by trying so hard to fit in. Whit’s houses are like an extension of her, which isn’t a compliment. It’s why she takes umbrage with buyers changing anything inside. I would even argue the structures themselves are monuments to past trauma.
Speaking of, another side of Whit is unceremoniously unveiled when dad Paul (Corbin Bernsen) and mom Elizabeth (Constance Shulman) show up to filming unannounced. It’s a smart and believable move because when nothing’s going right, the last thing anybody wants is a reminder of the source. Whitney’s febrile outburst about the land she was “promised” by her parents legit took me aback and the air of unironic entitlement concerning a whole community only highlighted how threadbare her cloak of philanthropy is. I’m not ashamed to admit, that when her day is further derailed, I was legitimately giddy. It’s as if the universe was giving her a complimentary class on diplomacy but instead of proving her parents wrong by handling her shit like a boss bitch, she crumbles under the weight of her cowardice.
I’m happy to report, she’s no better than her husband in lacking a vertebrae, especially with Fernando (Christopher D. Calderon). I love that the fantasy continues to erode before her very eyes when she notices her star barista still packing heat, a surreal image that exists rent-free in my brain. Whitney’s ignorance is truly bliss for me. It’s like a damn narcotic when she hands over her credit card to pave over future incidents of theft because it’s the most myopic I’ve seen her yet. I want her to succeed, but only time will tell.
Money does seem to have a big presence in the show, so I’m beginning to think it could be the curse. Whitney grew up with no need to worry about it and judging by Asher’s constant state of anxiety about it, he’s most likely used to not having it. Something’s lining up with his former employment and how hard he doubles down and keeps hitting in situations that could easily sink the entire city… but so far, I’m only getting intimations of what fireworks may be in store.
If the two pompous poltroons want to see any tangible results, they gotta get their beautifully manicured hands dirty by being just fucking good people, but Benny and Nathan have done a great job of reminding them they’ve nothing to warrant or legitimize their presence in Española. One such reality check comes in the form of Cara Durand (Nizhonniya Luxi Austin). Able to see through Whitney’s bullshit, her being called on only has the artist passive-aggressively calling out her fraudulent friend.
The Siegels are not welcome and I’m not mad at the show for knocking the deluded duo down a peg here and there; it’s when their truest selves show. I’m also not mad at Cara and Dougie for potentially having chemistry. Their alliance could add some explosive moments to the pretty decent trash fire currently underway.
Whitney just becomes further unglued when she sees the opportunity to use people on the street as “avatars” (re: tokens) for her houses as if this were an effing Sims game. The dialogue hits so real because it rawly encapsulates her: the candy-coated outside belying the evil within. I would assuredly earmark this as an eye-opening moment.
To be fair, had I any doubt of it being so, the scene gives the audience a glaring clue to the show’s conspiratorial tone in the way it’s being presented. It’s the first time we see someone not affiliated with the show in the direct shot and the first time a person breaks the fourth wall by acknowledging the camera. I’m sure naysayers would deride this as just another ‘arthouse’ moment A24 fans can collectively nut to, but to me, it’s an inspired decision. The thing is, even though it’s detail kind of hard to miss, it’s just a taste. The inscrutability of the show hasn’t waned for me, especially with Asher and Whitney becoming more apparent, so why not just let it ride?
Asher for some reason didn’t feel as weighty in this episode, but his lying then yelling at Dennis and Lucinda, going behind his wife’s back and against her wishes for a sale, and mistaking her comment for a self-deprecating joke gave me new insights. Nathan does a great job of exemplifying someone with a total lack of regard for himself, or the only person in the world he wants to please. He also made me believe that he’s genuinely trying to wipe out some karmic debt with Questa Lane.
The dude’s far from exceptional, but at least he doesn’t have as much of a god complex as Whitney does. This temerity is deliciously checked when she must compromise when Asher nabs a buyer in Mark Rose (Dean Cain), someone whose surface ideals her branding doesn’t align with. Whitney takes this as a crushing blow rather than a chance to grow and therein lies the magic of these two titans of tantrums.
They operate with the grace of a bike with a flat. Even their wins are losses because they’re not united. Still, despite some untoward moments of theirs, I’m pushing for reformation, for recovery. That latter is a theme I’m beginning to notice in Asher. Comedically, recovery is an Achilles’ heel but let me find out it extends out into former addiction as well. It would bring even more grit to the character.
At first, I wasn’t completely blown away by this episode. However, as of this writing, I believe the 53 minutes and change did what it set out to do in introducing new problems that determine which way the wind will blow for the remainder of the season while giving us some vague answers through choice camera shots. These elements make it enough of a high-wire act for any director, but Nathan Fielder made sure these elements made it to the finish in what, pacing-wise, felt more like a slurry than a storm. Sure, if you know and love Fielder’s idiosyncratic brand of humor, the sentiment isn’t one of derision but more of observation. I would say for a mid-season episode, the alchemic talent it takes to mix the cantankerously contentious Whit, the hilariously thirsty fill-in Pascal (Alexander Gibson), and the leaden atmosphere of Mark’s arrival isn’t going unnoticed. Sure, the pacing seemed slightly soporific, but it was far from static. I just hope we’ve not seen the last of Mark Rose, as the albatross around Whitney’s neck was set up as too much of a fucking snack not to have been dreamt up by some ancient god of mischief.
Lastly, the closing shot of the malevolent married couple, worlds apart, snuggled under Cara’s violent artwork assuredly lets me know that everything’s far from copacetic, so the show surely delivers on hitting that last beat so right.
4/5 Stars.
Napoleon, an epic…comedy.
Ridley Scott’s latest historical epic Napoleon is less historical and more aspirational? I’ll be honest, as a big fan of the legendary Emperor of France, I went into this movie excited to see my man conquer the big screen. Unfortunately, what I got was another movie that proves Joaquin Phoenix can’t play anyone but himself.
But, before I get into my rant, let’s cover the few positive things about the film. First and foremost, though highly inaccurate, the battle scenes are easily the best things in this movie. The sheer scope, detail, and emotion of these moments truly prove what this epic could have been. It’s almost sad really, because it’s a glimpse at greatness in a sea of subpar.
My favorite, by far, is the battle that ends with Napoleon tricking his enemy onto a frozen lake and then shooting cannonballs to break the ice beneath them (factually inaccurate, like most of the movie). I just sat there in awe of how amazing Napoleon was, and also how ruthless in war. That’s what you want, though: someone who puts their emotions aside and beats their enemy down in body, spirit, and mind. There’s a line in the movie where a British general is talking to the king of Austria (I think; I honestly ignored a lot of the details since the movie clearly didn’t care about them either), and he describes Napoleon as brutal. How boss is that?
Secondly, gotta give props to my girl Vanessa Kirby for playing Napoleon’s embattled first wife Josephine. Now, I’ve seen Kirby in The Fast and the Furious movies, I’ve seen her in The Crown, girl’s got range, and I love her for it. But here? Oof, she does what she can, I imagine, but like Phoenix, there are a number of times where I feel she breaks character and Scott simply doesn’t care. Mostly, I’m giving her more credit than she’s due because I really don’t like Phoenix as an actor in general. Kirby has proven herself capable of fantastic range and emotional depth, and here she even gets to give her inner Posh Spice a spin (that scowl!), while Phoenix never feels like he plays anything other than a quirky man-baby with delusions of grandeur.
The third, and final plus side is the costuming and set design. For as stupid as this movie is allowed to be at times, the costumes and set design do not shirk their responsibilities, becoming the only elements that remind the audience that this is supposed to be a serious movie, guys! I feel a little bad, as the acting and writing do not live up to the promise the costumes and set design speak of.
That’s about all the praise I can give this film. Actually, there is one other point I can give to this movie that’s a bit of a double-edged sword. It is hilarious. Honestly, unexpectedly, and at times painfully, funny. From Napoleon’s horse getting its chest caved in by a cannonball to the pissy catfights between the emperor and his wife, this movie is ripe with truly random moments of hilarity. There’s a line during one of the contentious dinners between Napoleon and Josephine where she calls him fat and he, for real, responds, “Destiny has brought me this lamb chop!”. Like…seriously??? It felt like an outtake that had somehow snuck its way into the finished product. There are plenty of these moments throughout the film where I couldn’t help but laugh at the absurdity and I wasn’t sure if that was on purpose or not. I kind of hope not, because if it was, then what exactly is this movie supposed to be? What is the tone Scott was going for?
And, speaking of the director, allow me to bring up the main issue that plagued this movie: a man who should retire. Much like his subject matter, Scott is past his prime but too stubborn to admit it. I’ve seen Gladiator; it was an amazing movie with a simple plot but great acting, direction, and casting. This? This is a fart. Mind you, I’m not picking on Scott either. I recently saw Killers of the Flower Moon, and I would say the same to Martin Scorsese. Killers is a looooooooong movie, but to his credit, it doesn’t feel as long as it is; however, it is weirdly structured. The movie jumps around a lot, very similar to Napoleon in that sense, but both movies have something else in common: they are beautiful. As I’m a believer in constructive criticism, I would suggest that these guys give up directing and instead become cinematographers. While the staging, direction, and pacing of their movies can be questionable at times, the imagery is not.
One of my biggest complaints is Phoenix, who, for most of this movie, felt like he’d messed up his line or let loose some odd ad-lib or just dropped out of character entirely (that feeling was consistent), seeming to admire the period piece he’d been cast in like some You-Tube prankster. The instances of his inner monologue making it to the screen ruined sincere moments. Frankly, I don’t think Kirby had to do much acting to look as annoyed as she did.
Also, what the hell was up with that weird toxic relationship? Kirby’s Josephine appears largely disinterested in Napoleon for practically all of it. She dances with him in a detached way, seduces him in a detached way, and fights for their relationship in a — you guessed it — detached way! In fact, one of the only times we see her come to life feels like an accident. During the divorce scene, Josephine can’t stop laughing, but it doesn’t fit the scene too well. I mean, up until that point, she’d understood the idea that she had to get a divorce since she wasn’t making any heirs, but then the moment comes, and she’s just laughing at the absurdity. It genuinely felt like Kirby was laughing at having to act next to a guy like Phoenix.
There’s a lot to hate about this movie. The strange pacing that doesn’t seem to give a shit about its subject so much as battles both on the field and in his personal relationship. The Oppenheimer level of awkward sex. The historical inaccuracies that rob the subject of his true accomplishments and boils him down to all the worst stereotypes ever made of him. The poor use of score which forces the audience to wonder if the director fell asleep while editing it, because there are some jolly musical backups to what should be somber scenes. And of course, the acting, writing, and directing. But, to be honest, as much as I’ve ranted against this movie, I actually didn’t hate it.
Overall, Napoleon’s absurd humorous undercurrent saves it from being a complete dud. So long as you can embrace the fact that no one making this movie actually cared about it, save for the cinematographer, costume designer, and set designer, you can just go with the flow. Enjoy it as another bullshit Joaquin Phoenix performance dressed up as an Oscars vehicle. I have no doubt he and Kirby will get nominated for their work here, if only because they played dress up as two well-known historical figures, but they really shouldn’t win. Napoleon should not be Oscar bait for anything other than score, costumes, set design, and cinematography (essentially, any technical award). This is, in my humble opinion, the kind of “historical epic” Tommy Wiseau would have churned out. Ok… this is easily better than anything he ever made, so congrats Ridley Scott, you edged out a guy several leagues below you.
The thing is, if Scott had simply made a historical epic set in France during Napoleon’s time and created a Napoleon proxy character instead of focusing on actual Napoleon, I believe this movie would have been received a lot better. Because, in all honesty, for as weirdly funny as moments in the film are, it isn’t without charm. The battle scenes are epic, the drama is delicious if not over the top, and without tying itself to a being a movie about Napoleon, it could have easily soared as a borderline satirical romp through the ridiculousness of French aristocracy/royalty, the ambitions of one man, and a marriage decidedly on the rocks. But, by labeling the movie “Napoleon”, it loses that freedom and gets a harsher criticism than I think is deserved.
If I want to really stretch and give Scott some kind of “genius” credit, I would wager a guess that this is in reality a movie about Trump. Here’s a man who definitely didn’t come from nothing, and certainly didn’t conquer everything, but in this movie he is touted as a battle genius, made emperor, and gets a hot detached wife. If that’s not Trump, I don’t know who is (granted, this would be a warning type of movie, but still). Even the way Phoenix plays Napoleon feels like a Trump impersonation. The little man-child in charge says insane things throughout the movie, makes horrible choices, gets his own men killed in droves because of these choices, and never takes the hint that he’s disgraced his country despite being exiled from it — twice! But that’s me giving Scott and this movie waaaay too much credit.
Bottom line? Save this one for on-demand or streaming, or even when it hits cable in what I’m guessing will be no time at all. Don’t waste any real money on this. Napoleon deserved better, and so do we.
Consciousness of Guilt Lets the Humor Shine in Magnum P.I.
Don’t let the dramatic start to the latest episode of Magnum P.I., “Consciousness of Guilt”, fool you. Sure, the main story is about a murder. But the best part of the episode is a humorous arc involving Jin, with a fun little cameo from the legendary Jon Lovitz.
It all starts with a frantic call to 911. A man named Tate Walker says his brother Michael had a horrible accident and isn’t breathing. Fast forward to a skeptical Gordon Katsumoto checking out the scene and then talking with Tate. As his brother lies lifeless in the pool, Gordon catches Tate in an inconsistency. Then we jump forward again, with Gordon on the stand in Tate’s trial. It’s going well at first, until his shady lawyer plays a game of character assassination on Katsumoto. Despite evidence that seems to point to Tate murdering Michael over their dead mother’s estate, the trial ends in a hung jury. Worse, they’re not willing to retry the case without serious evidence. But Gordon’s not done yet.
Cut to Jin with headphones on, a shirt emblazoned with the title Jin Dog, and him dancing like a maniac to, well, Flashdance’s “Maniac”. Apparently the goofball is a dog walker now, and he uses his client’s code to walk in and grab the happy puppy, Pippin. Just one problem — a woman named Margot is there, and says Ms. Fredricks is on a cruise for a couple weeks, so Jin’s not needed until she gets back. Despite nothing seeming dramatically out of sorts, he’s very, very suspicious.
At La Mariana, Rick is regaling Magnum and Higgins with his horrible new leprechaun voice, which is a hit with his baby Joy. He’s been using it to entertain her since he’s finally living with his baby momma and bundle of joy. T.C. finally has things going his way as well, and is hot and heavy again with his lady friend, Mahina. Which leads to Higgins asking if her and Magnum spend too much time together, and are “missing out on missing each other”. Which falls squarely under “be careful what you wish for”, as Jin comes in hot.
He rushes into the bar, saying that Ms. Fredricks is missing and something is clearly wrong with this Margot person. And as “a former thief / con artist / male model”, he knows a criminal when he sees one. So a very unsure Higgins is roped into working with him, while Magnum goes to talk with Gordon about a potential murderer set free by the justice system.
Gordon wants Thomas to find something, anything to convince the jury to retry the Walker case. He loops in Magnum, and says Tate is from East Coast money, a spoiled golden boy. Tate claimed he was at his private cigar club when his brother Michael suddenly died. Worse is the fact the judge that tried the case is a member as well. So Magnum and Rick decide to take a little detour to see what’s what.
Magnum and Rick walk into the cigar club in big pimping style, with a day pass as prospective members. Rick worked his magic, and he really knows his cigars. So much so that he’s able to pepper the club manager with questions and keep him distracted while Magnum snoops. Though he doesn’t find anything in the club’s records that might indicate Tate left the club early, Tate suddenly walks in, providing another avenue of investigation. They chat, and the man says he’s celebrating his freedom. He also knows who Magnum is, as he was warned about him by his lawyer. He warns Magnum off, and makes things more complicated with a restraining order.
Not content to quit, Magnum finds that Tate was dropped by his first attorney right before the trial. So he goes to see an old frenemy played by Jon Lovitz. He makes a living taking naughty pictures of people to provide evidence to spouses and significant others. Thomas walks right into his car as he’s taking some photos, and asks about the attorney, named Zoey. Lovitz had been asked by her to do some snooping about her would be client, and whatever he found made her jump ship. It’s something called Ocean Sunset Oldies, a LLC under Tate’s mothers name.
To the surprise of nobody, Jin is not great when he’s stressed. He’s inhaling cheese puffs over Higgins’s shoulder while she looks into Margot. Everything she finds seems clean as a button, but he pushes her to keep looking, while getting cheese dust everywhere.
In the ongoing misadventures of Jin and Higgy, he gets a text from the old woman he’s immediately suspicious of. For one thing, she calls him Jin, which is weird, since he tells Higgins Ms. Fredricks always called him John, despite his best efforts. Higgy has had enough, so she leaves Jin to his search. Which ends up with him trying to use the code to get into the house again, and finding it’s been changed. Which then leads to a hilarious sequence with Jin trying to use the doggie door to get in instead, and getting stuck like Winnie the Pooh. Only the clever use of a doggie toy and Pippin playing tug of war get Jin through, but then he finds Margot pretending to be the old woman and talking about signing over paperwork. He also spies she has a pistol.
Magnum and Gordon suspect that Tate might have paid off a witness named Harris $50K. Harris was a gardener at the mother’s estate. That search leads to a possible missing woman named Paula that Magnum cannot find. But that doesn’t stop either of them, so they head to talk with Harris about Paula. This leads to the revelation that 20 years ago, Tate killed Paula, and Harris came upon the body. Only to be paid hush money by Tate’s mother, and then again in the present by Tate. Magnum thinks Harris killed Michael, but he says it’s not him. Plus, Michael had called Harris about Paula’s murder. Then Gordie and Magnum realize there’s something odd about how Tate refuses to sell his dead mother’s house, and wondering why.
Jin hides in Margot’s trunk, and seemingly finds the old lady’s corpse there. Terrified, he calls Higgins just before his battery dies. Realizing Jin wasn’t full of crap for once, she calls T.C. and asks for him to search the skies in an Island Hopper chopper. Then, as an added jump scare, Jin realizes the old lady isn’t dead, just hurt badly. Margot shot her, dumped her in the trunk and was getting ready to steal her money. Jin does his best to fight off Margot, but she manages to grab her gun and train it on him. Luckily Higgins is a better shot, and her and T.C. arrive in a chopper to save the day.
As for the main case, Magnum and Gordon get a warrant to check under a patio in the mother’s house, and find a skeleton. That’s enough to get Tate imprisoned for one murder, and more than enough evidence to look into the suspicious death of his brother Michael. It all ends with Magnum and Higgy realizing they don’t spend too much time together and dancing to slow music. Overall a pretty solid and fun episode, and thankfully one where Jin got to really shine comedically.
It was Nice Getting to know You Before The World Was Doomed
A lot is happening in the world right now and the last thing you’ll probably want to hear is a final post on this blog from me. Yet, I thought it important to close this 6-year chapter of my life. Say something honest to talk about why it is I’m finally leaving, but also, to honestly address where I see the industry is going.
To be clear, this piece is meant to address why I have chosen to finally step away from The Workprint, the website and blog that for all intents and purposes, have helped rebuild since 2018. It’s very hard for me to say goodbye as I’ve learned so much here. It’s been sad to say the least saying bye to the place that taught me so many things.
Now, not many people know who I am but they have seen my work a bit of everywhere. I’ve got a couple of quotes for my gaming coverage on Steam. Death threats for my critical take on Cyberpunk 2077 when it was first released. I’ve worked with major brands covering shows from Prime Video, Netflix, Paramount, and NBC Universal. Had done more than my share of Marvel coverage for the comics and unlimited line and even, online movie premieres.
I have been plagiarized, pull-quoted, and asked a million times over to attend an event, function, or convention, writing about the most random topics and the most indie games and premieres. You name it. I’ve done it. Playing point person here for just about everything. From movies to games, to TV, Film, and indies. On average, I probably am sent 50 E-mail solicits a day.
Yet when I talk about The Workprint, almost immediately, everyone thinks that it’s my website. It isn’t. Nor has it been. Nor will it be, despite my over 100 episodes of podcasts edited and recorded along with efforts to monetize and get writers onboard. My life the past few years has been answering a sea of e-mails from every PR organization from every major player you can imagine. I am a living breathing communications network these days.
Honestly, for such a small outlet, we have such a large amount of connections, partially from the work we put out before I came on here, but also in many due thanks, to the work I put out there time and time again. Gaming. Film. TV shows. Board games. Indies. I prided for so long in myself in creating a place where voices matter. It’s what my podcast monomythic was about. It’s why I wanted to be a journalist.
My interview skills are a specialty of knowing the market while also taking deep dives into the lives of creators – getting to share their story and just how much their project, big or small, meant to be out there and find its place in the world.
In my time here, we had a longstanding relationship with Syfy working on titles such as Resident Alien. We also built a relationship with IDW—covered events in NYC during the pandemic. Even interviewed a slew of creatives from Marvel and IDW along with just about any creative product by SYFY or even NBC.
Suffice it to say I’m proud of what our little outlet achieved.
But now the hard part. The reason I’m leaving is I decided to just write for myself. I am juggling too many writing projects between my comic books, my book deal, and hopefully, a TV show that I’ve been asked to script for a pitch. Having been onboarded at TheBeat, arguably one of the last vestiges for good comics journalism with the legendary Heidi MacDonald, I can’t really pass up these opportunities right now. Not with so much going for me… which leads me to another issue I’m experiencing: getting older.
Health problems. I’m 35 now and things are slowing down with my body. I can’t push over the edge anymore and I’m in dire need of self-care that I’ve been neglecting. The past few months, I’ve had an MRI done on my brain due to a DVA I’ve had in there since I was about 17 (I’m 35 now), along with a CT scan of my lungs due to discovering that my entire workspace has been flooded with high amounts of radon that I’ve been breathing in for over a decade.
Thankfully, both ended up being clear. No signs of cancer (which was what I was afraid of) and I pray that it stays that way. However, I have to acknowledge that at this age, I can’t really neglect myself any longer. I see that now and so I am going to try and lose weight and eat a heck of a lot healthier than I have. Because none of this means anything if you run out of time. And health? Kinda the big gatekeeper of how much time you have on this planet.
Though that’s not the only reason I’m going.
In all honesty… the industry seems more doomed now than ever before.
In the past year, I’ve seen my cohorts in gaming, comics, and most especially, the journalism space of the industry get laid off. If not at least one time this year, then multiple times in the past several. People who are far more talented than I am and who by far deserve better are being laid off. People, not just with a slew of bylines, but also, a genuine work ethic in trying to get the truth out there. Just people trying to share the story…
In all honesty, journalism seems like its dying. PR maybe not so much, but even then, who do you go to when everyone is no longer there to report the story?
It makes me worry about my future. For any graduates out of college right now, the best word of advice I can give is it pick up a practical skill. To be reassured about attending trade schools. Better yet, to start your own business and brand as it seems impossible to survive right now unless you’re hustling, though to also, keep a day job while you’re at it, because this entire job market is all but non-guaranteed – no matter the skillset… Minus maybe healthcare, though not doctors, who at this point, may be better off going to school as nurse practitioners or physician assistants, as their jobs are also starting to be relegated to other services as well.
I’ve also seen a slew of people in technology be laid off. Which in total as of now, stands to be around 300,000 in the past two years. Today alone, Spotify just announced they were laying off 1,500 people. Everyone seems to say tech is safe, but from what I see, I do think this is the next sector to get replaced with AI. A lot of the tech skillsets will probably no longer be needed. At the same time, a lot of the AI replacing these types of labor is still in its early days of seeing what’s useful versus what’s noise, so there’s no guarantee for work there, either.
In the comics space, which has notoriously always been rather rife with changes, there have been layoffs at Image, Oni, DC, and IDW – the last of which, I was providing coverage for as a new beat on the site before layoffs hit them as well. Hell, even in the entire journalism space, Vox and Conde Nast just announced layoffs. G/O media just shut down Jezebel entirely. Bustle Digital group has repeatedly performed layoffs this year. In the gaming sector, about 6500 people have been laid off in what’s strangely being considered, the greatest gaming year in over a decade – though one terrible for anyone working in the industry.
What’s strange to me is that most of these places are claiming it’s because of the pursuit of getting revenue into the green. This is why you’re seeing things like WB content being pulled before debut for the sake of a tax writeoff, though all of which, doesn’t seem to coincide well with a growth-based acquire users for the sake of services as an economy, especially when interest rates were so low less and just about everyone was spending, unrealistically in favor of high-growth models of revenue.
Add on top of this AI-driven content this past year from places such as Sports Illustrated, CNET, and AI Content-driven websites and it’s become painfully obvious the direction this industry is heading.
If I had to gamble, which I am with my future, I’m well aware, I’d rather take this risk on in spaces I truly care about and feel like I can make a difference. That’s in writing, both fiction, but also, non-fiction, as there are a ton of stories I want to share that I’m starting to see… perhaps only I can.
Climate change is approaching the point of no return. We’re at war globally just about everywhere in the world. Nowhere’s entirely safe. Humanity feels like it’s at a breaking point and I refuse to sit down and watch my fellow humans go through it.
So I’m going to tell the hard truth through my writing. If not as a journalist, then as someone who can forge entertainment into a wake-up call. Sort of address things I see always being neglected and am to sick of seeing go past without something being said.
That’s why I’m leaving. I want to help save this planet before it’s too late… or die trying.
And I plan on doing that through stories
Good luck everyone. Thank you for reading. I hope you’ll follow what I’m trying to do, at ComicsBeat, but also, just the writing on the whole.
Miles Davis and The Search for The Sound is a Synesthetic Comic about an artistic Legend
Amongst the luminaries who inspired a generation of musicians in the mid-20th century, Miles Davis was an exception. A lodestar talent in a universe all of his own. His influence and career in music was multi-generational, and his album, Kind of Blue, is still considered the greatest Jazz album of all time. When everyone was ditching jazz clubs for the rock concert, and artists wanted to become the next rockstar, it was Miles Davis who took the stage emphasizing the importance of reinventing yourself, moving from post-bebop to electric jazz, wailing on a trumpet-like electric guitar with the inclusion of wah pedals and all.
This was the kind of music jazz instructors taught in private schools. The kind of material meant to those seeking to understand the basic fundamentals of chord progressions, arpeggios, and the very fibers that made sound, musical.
“But what was Miles’ s search for the Sound?”
Better yet, how does one visualize the color of music? The task was meant for someone who knew Miles Davis’s story well. A virtuoso who equally knew both worlds of art and music just like Miles Davis himself. It’s why cartoonist and jazz scholar, Dave Chrisholm – known for his musician-inspired comic works such as Enter the Blue and Chasin’ the Bird atop his own stylized trumpet career – heeded that call.
Created in collaboration with Z2, this graphic novel biography, Miles Davis and The Search for The Sound by Dave Chisholm, is a creative tour de force venture that looks into the life and times of Miles Davis. Having impressed Davis’s son Erin with his graphic novel work depicting the life of Charlie Parker in Chasin’ the Bird, with the Miles Davis estate’s permission, Chisholm was allowed to create this spiritual sequel. This time focused in on the life journey of Jazz legend, Miles Davis.
It begins with Davis recovering from a debilitating stroke in 1982, having found painting as a form of creative therapy. Chisholm skillfully navigating these moments of vulnerability in the life of Miles Davis’s by interspersing the artist’s own words as he draws about, with fond remembrance, his life’s journey with music. Notably, it underscores how Kind of Blue missed the mark for Miles Davis, a revelation savored against the backdrop of its tunes. The comic then became a bit of a page-turning look at a man’s artistic pursuit of perfection. Above all else, Miles Davis’ search for sound…
With kinetically paced, forward-moving art, you can see that this story is going places in terms of its pacing, becoming a visual symphony that mirrors Davis’s pugilistic drive in pursuit of that perfect sound. The pages thus feature abstract shapes splattered with vibrant colors and deft paneling work utilizing techniques of knowing how to stretch out an image or give emotional moments of verbosity to the page.
This dramatic use of large panels, layered with color, resonate with the harmonies of the very songs and albums under discussion, creating an intricate tapestry that reflects the essence of Davis’s music, in a visual metaphor for the evolution of Davis’s musical odyssey. Some of the best moments in the story embrace moments of stillness. Or at other times, the opposite, loaded with character work and dictations of how his artists around him should be playing in the days where Miles was often seen, rushing ahead.
Employing these narrative shifts to showcase his growth over time, the biography offers a tale accessible to all—a human experience of major successes intertwined with intimate failures. Navigating through his life with fellow musicians, including icons like Charlie Parker, John Coltrane, Gil Evans, Art Blakey, Jimi Hendrix, and even later in his life, Prince, the biography does not shy away from the tumultuous aspects of Davis’s personal life—failed marriages, substance abuse, and the intricate web of relationships.
This engaging biography delves into the fragments of Davis’s personal life—a tapestry woven between accomplishments in creating albums and performing with some of the greatest legends in jazz while being utterly atrocious with his often abusive treatment of the very women who took care of him in his life.
Seeing these moments interspersed with Miles’s on-and-off-again struggles with addiction, atop of his complex romantic entanglements, it becomes soon obvious that the selling point of the life and works of this man’s genius is met with his utter disdain for the fact that he had motherhood abandonment issues. His chase for the elusive sound and his relationship with it—capturing a lost innocence and mimicking other autobiographical portrayals often seen in fiction.
Journeying through Davis’s changing musical styles over the years, the narrative unveils Davis’s range of influences. From his early life performing with Bird to the Davis’s ongoing struggles with race, not only in his personal life, but which was also embedded in the entire cultural tapestry of jazz. Mind you, this story is told during racially charged 20th century America, a country on the cusp of the civil rights movement. Miles’s story then becomes a bit of a message of hope. His dream was to see Jazz as a genre young Black youths could flock toward (but didn’t).
It is here where Chisholm’s dynamic storytelling approach and adventurous designs groove together, creating a synesthetic canvas through visuals of Miles’s life. The results are pages that mirror the diversity and vibrancy of Davis’s musical legacy, providing readers with an intoxicating introduction to the life of a challenging genius whose quest for sound led him through a myriad of both styles and ensembles.
The pages thus unfold like a finely-paced musical masterpiece (one which you can play albums of Miles Davis’s music along with), inviting readers to acquaint themselves with Miles Davis not just as an artist, but also as an incredibly flawed man whose struggles felt ineffably human. The narration used in the panels is a delicate dance of Miles’s own words, drawn from interviews, essays, and his own written biography about his life.
In this work, Miles Davis, the person, emerges out of this biography a complex individual entangled in a struggle for love, connection, and an unquenchable thirst for artistic perfection. For those unfamiliar with Davis’s journey, this narrative unfolds with surprising humanization and the inevitable ebb and flow of creative inspiration all seemed tied to this grandiose purpose…
In essence, Miles Davis and The Search for The Sound transcends the boundaries of a his own biography. It is a testament to the evolution of music, the death of an era, and the interplay of styles and shapes that could be provoked with sound. It invites readers not only to understand Davis but to immerse themselves in the fusion of person, experience, and the ever-changing tapestry of musical history. All in a symphony of words and images and an ode to a musical genius whose search for sound forever altered the landscape of music history.
Read this book if you love Miles Davis or would like to see a prime example of synesthesia in action. It’s a fantastic work of art and arguably, Dave Chrisholm’s best work.
“Monarch” finally gets the human element right in the Godzilla franchise
I love Godzilla. I love kaiju in general. Yes, I am That Guy, the one who will stop you when you say Godzilla breathes fire and say “Well ACTUALLY, it’s radiation. You see, Godzilla is a creature of the atom, born out of Japan’s post war anxieties about…” (I’d probably shout the rest at you as you backed away from me.)
I’ve always been a fan of the big monsters stomping though cities and whaling on each other. I watched Godzilla vs. Kong about six times when it debuted on HBO during the pandemic.
Well, I watched about half of it six times. The parts where Kong is trying to chop Godzilla in half with an axe and then throwing a revolving restaurant at him like a frisbee, or where the two alpha monsters team up to destroy Mecha-Godzilla. Those are awesome! I mostly zip through the parts where the human characters talk about things like “hollow earth” or a mute girl teaches Kong sign language, or where a corporation secretly builds a tunnel from Pensacola, FL to Hong Kong. (We can’t get three miles of subway track built in NYC without a decade of environmental impact studies, but you built a 5000 mile undersea tunnel without anyone noticing? Cool cool cool.)
Which is to say, the human characters in these movies are largely afterthoughts. They are sometimes there to help the plot along, but otherwise the main job of a human in a kaiju film is to run away screaming while Godzilla tramples everything in his path.
So, when Apple announced they were creating a spin-off series based on the recent Godzilla movies of the past decade called Monarch: Legacy of Monsters, I was expecting some nifty monster scenes but not a lot else. So it is with no little surprise that I report that the humans characters are pretty compelling, and the show is worth watching just for them.
The show follows Cate (Anna Sawai), who is traveling to Japan to settle the affairs of her late father, Hiroshi. Cate is a survivor of the Godzilla attack in San Francisco (as seen in 2014’s Godzilla), and she is suffering from severe PTSD. She was on a school bus that was teetering on the Golden Gate Bridge as Godzilla crashed through. She escaped and tried to get the kids off the bus, but a lot didn’t make it. Her dreams are haunted by the screams of children and giant lizards. The last time she saw her largely absent father was at a refugee camp after the attack. Once he saw she was safe, he told her he had to go do something and left. His plane crashed somewhere over Alaska.
When she gets to Tokyo, she is shocked to discover that the apartment she expected to be empty is occupied by her dad’s secret family. He has another wife and Cate has a half-brother, Kentaro (Ren Watabe). They quickly discover that Hiroshi had ANOTHER secret apartment (geez, slow down, guy!) where they learn he was a part of something called Monarch.
In the movies, Monarch is the organization that tracks and studies the giant kaiju that are roaming the planet. If you’re concerned about continuity (and honestly, you shouldn’t worry all that much about it), this show takes place in 2015, one year after the events in the first Godzilla movie. It also jumps back to the early years of Monarch, where a pair of romantically involved scientists – Dr. Keiko Miura (Mari Yamamoto) and Bill Randa (Anders Holm) – and their military escort Lt. Lee Shaw (Wyatt Russell) track down the titans, or MUTOs as they call them. (Massive Unidentified Terrestrial Organisms.) I guess “AAAHHH MONSTERS!” wasn’t scientific enough.
Cate and Kentaro find that dear old Dad had a stash of hidden data tapes that they take to Kentaro’s hacker friend (and ex) May (Kiersey Clemons). When she decrypts them, Cate is shocked to see a picture of her grandmother, Keiko (the same Keiko we see in the past sections), standing in a giant Godzilla footprint.
This also triggers an alarm in Monarch headquarters, which causes a pair of agents to chase them across Japan. Which causes Cate, Kentaro, and May to seek help from Lee Shaw, who is still alive and living in a retirement community in Japan. Old Lee is played by Kurt Russell, and it’s a nice touch having father and son play the same character at different ages. Lee is disgusted with what Monarch has become, more concerned with covering up the existence of MUTOs rather than studying them and warning people about them. He joins them, and soon they’re on a quest to find what Hiroshi was looking for.
The show is really good in creating a world that feels lived in and that is dealing with the sudden realization that giant monsters might come stomping through their city. Tokyo has Godzilla Evacuation Route signs everywhere, with batteries of missiles trained on the ocean. During a Godzilla alert, Cate has a panic attack while sheltering in a subway tunnel. There are even conspiracy theorists, who speculate that is was all CGI by the Deep State. (Check out the cabbie’s podcast to learn more!)
The relationships here all feel fleshed out and real. Cate and Kentaro aren’t exactly thrilled to discover each other’s existence, since each one is proof of Hiroshi’s bad behaviors. But as they are forced together, they start to accept each other and bond over their dad’s habits. Wyatt Russell does a great job with young Lee Shaw, as someone who grows to like the scientists he was ordered to protect. The intergenerational connections are being revealed thread by thread, and I suspect that the subtitle – Legacy of Monsters – is going to have layers of meaning.
Oh, and the monsters? They’re used sparingly, but effectively. There’s about one big monster scene an episode and they’re all used to great effect. In the premiere, we see Godzilla destroying the Golden Gate Bridge as seen from Cate’s perspective and it truly feels like an ant trying to figure out what is stepping on it. Other episodes show how small and futile humanity is in the face of these beasts. It’s very frightening and one of the few times in the Godzilla movies that the sheer sense of scale really comes through.
This is a worthy addition to the Godzilla canon. The mysteries here are intriguing and the MUTOs are scary. And for once, I actually care about what happens to the humans.
Monarch: Legacy of Monsters has new episodes each Friday on Apple+. Three episodes out of ten have been released so far.
Rating: 4.5/5
‘Where The Body Was’ Review: Ed Brubaker and Sean Phillips create a Short Little Masterpiece
Ed Brubaker and Sean Phillips, the incomparable creative team behind works such as Criminal, Kill or Be Killed, and Night Fever, have once again graced the world with another crime fiction story in, Where The Body Was. This remarkable new work by Brubaker is a captivating noir-lite mystery story, set in a seemingly tranquil suburban backdrop, but rife with unexpected twists and turns. The kind of writing and pivot points that will keep readers on the edge of their seats.
Kicking off with a narrative that centers around the discovery of a lifeless body, what unfolds ignites a labyrinthine web of questions regarding how it ended up there and, perhaps even more crucially, who it belongs to. This thread becomes the driving force behind the story intertwining with a colorful array of characters living in 1984 suburbia, each with their own distinctive personalities.
Where The Body Was unfolds with a charming map of the local neighborhood and a small page-length profile page as an introduction to the cast. A tool that effectively immerses readers into the community. Once the story kicks off, the reader then jumps from character to character in a series of narratives serving as slice-of-life characterization, all while utilizing skillful use of monologues that breathe life into these people with very well-defined voices. Overall, these early pages plus friendly colors set the stage for their subsequent interactions and conflicts, as suburbia turns into delinquent chaos propelled by interpersonal expectations and desires.
The result becomes a delightful portrayal of a high-stakes murder story with a unique twist in how it isn’t really at all about the mystery. It’s distinct from Brubaker’s previous work in that while expectations start with what you think will be a cop drama, then almost entirely deviates from what you think will be the mystery. The people you think you know from those opening intros serve as tropes very typical of these genre stories, yet all of them prove to be vastly different from the caricatures you think they’re meant to be.
It’s thus in its genius storytelling and illustration, that rather than focusing solely on solving a mystery, the narrative delves deep into the lives and histories of the street’s inhabitants, the local neighborhood, and truly, an intricate tapestry of human experiences. It’s not the mystery, it’s the characters. People with backstories reflected in substance abuse, marital neglect, superheroic aspirations, and even attempted murder—all interwoven into the rich tapestry of this engrossing tale utilizing both bending expectations and foreshadowing. By using a bit of a flashforward which bends what you think is happening in a way that’s very reminiscent of early pulp comics. Where crazier, kooky ideas and misdemeanors elevate into substantially dangerous, but oftentimes also hilarious, climaxes for everyone’s thread.
Where The Body Was comes highly recommended for those seeking a compelling and unique reading experience. The stark contrast between the seemingly idyllic suburban setting and the dark secrets that lurk within intensifies the narrative’s impact.
With a runcount of 144 pages, this comic arrives in comic book shops on January 16, 2024.
The Curse Review: What’s Meaning Without Understanding in “Pressure’s Looking Good So Far”
The episode of The Curse (Showtime) “Pressure’s Looking Good So Far” opens up with a close-up of a pregnancy test being filled as the icy synths fill me with a sort of wonderment as the two lines appear. What I’m digging so far is we’re all in the dark on this titular affliction. I could see each episode posing new threats that might be the singular sentence.
Asher (Nathan Fielder) meets up with Monica (Tessa Mentus) and I couldn’t be more thrilled that we’re not giving Asher an easy out. Without video proof of the Gaming Control Board not protecting gambling addicts, the story cannot run and with it already being two weeks, it’s now or never for him, which means going into the belly of the beast. Did you know casinos have no windows on purpose and it’s legal?
At Whistling River Casino, we once again see the true colors of Asher in radiant ‘circadian light’ when former co-worker Bill (David DaLao) shows my guy the fruits of his labor for the House in a few new forms of subconscious devices to get people to gamble more. Asher is the unconscionable one and though the exotic neon glow of money being lost by the second lights him beautifully, all I see is a big shit stain on the screen.
Though not a gambler myself, I fucking love the allure of a casino. It’s a breeding ground for sin and a playground for the id, bathed in neon, gold, and marble. Time has no fucking place in a casino, which is why it’s so fucking sexy. Asher’s mind seems to still be here. I feel it’s a smart move on Fielder and Safdie to make this a microcosm in their world. The casino is its own habitat, so even if we don’t visit it much, a few more times outside of this episode would be entirely welcomed by me.
Because his boss Wandall’s not in, Asher has no choice but to return at a later time. Meanwhile, Whitney (Emma Stone) meets up with the Governor of the San Pedro Pueblo, James Toledo (Gary Farmer). He’s very proud of the patches of Pueblo land still available. I feel that Whitney really wants to feel the plight of the Pueblo, but she’s just fucking struggling as if it’s a silent spiritual war of her own. Oh, it’s all in Emma’s acting.
Whitney invites the Tewa gentleman to her Tiwa friend’s art gallery opening. The mistake seems earnest enough and she is trying. Yes, this is for major cultural clout and her way of handling these matters toes the line of appropriation. Rest assured, she’s also knocked down a few pegs when her artist friend Cara Durand (Nizhonniya Austin) can see through the bullshit. Whitney is no artist. She is stealing a look from a famed artist.
The beautiful juxtaposition is later on at Cara’s opening, “dinner for ten”, which includes MLB bobbleheads. Yes, she didn’t make them. Yes, they are in fact stolen. Yes, this was to prove a larger point about Major League Baseball, re-contextualizing. Yes, there’s a toy tee-pee where Cara sits, carves turkey with a deli slicer, and screams whether you eat it or not. I’m sure it all means something to her, no matter how silly or pretentious is may mean to some. What do the houses mean to Whitney? Not a goddamn thing.
The outsides are not inspired and birds keep fucking flying into them. The insides have art that isn’t theirs but rather Cara’s to sell the look and investment. Everything about the structures seems more wasteful than the purpose they’re supposed to serve. A fucking change needs to happen… one that does not include appropriating her ‘friend’ nor the governor of the San Pedro Pueblo for clout.
Not all hope is lost, however, when Whitney reveals to Asher about her being pregnant.
Dougie (Benny Safdie) himself has an interesting C Plot. He’s out on a date with one of the crew, Laura (Adrianne Chalepah). He’s a smoothie, even when revealing some grisly details about his wife’s death with him at the wheel with a BAC slightly over the limit. Benny keeps me riveted to Dougie. He seems genuine, but his tactics aren’t the most becoming of him, so when he offers to drive Laura home, the pit in my stomach is very present. That is why I was pleasantly shocked when he blew a red while driving, immediately prompting him to pull over and walk… to the casino. Where else is he going to go but back in Asher’s designed ‘trap’?
Though finally getting his meeting with former boss Wandall (Marcus LaVoi), his attempts at getting some work there fall flat, causing the awkwardness to kick into high gear when he basically has to weaponize his wife’s pregnancy as a means to getting to his old computer to show him a stupid viral clip before making a literal mess of the situation for distraction. Though not a visceral motor wreck, the scene gives you a few seconds heads up before what happens happens. They want you to visualize what will happen and not want it to happen before it does. I think that’s a really sweet move.
Another sweet move is when Whitney has her house checked for leaks. As smoke fills the house, we’re informed the “pressure’s looking good so far.” The visualization of the cloudiness in their own home leads to an even stormier ending.
Whitney does catch up to Cara to congratulate her but she cannot seem to reach her… or anybody in that building. The acting is great in saying nothing but putting it all out there. she’s not welcomed and the uneasiness in her face says it all. At the gynos, where they’re getting the results for their baby. They’re in high spirits, but something’s amiss and it’s very quickly revealed that Whitney’s had a previous abortion. Asher is floored. The acting is also great for saying nil in the moment, letting his face do all the talking.
However, they fucking sing as a duet when it’s revealed that what Whitney has is an ectopic pregnancy, and the sooner they act on it, the better. It’s something I feel I shouldn’t be watching, especially through the camera lens so invasive, yet intimate. It’s being shot from the outside, and though it feels invasive, the regular glass naturally reflects the beautiful nature as we zero in on the cursed black spot on her sonogram.
Could this be the curse? Whitney’s suddenly inspired to do a mosaic house, Pueblo style. Is this her gift? Inspiration. I could see this as a series where everything shitty that happens for Ash happens great for Whit. Six weeks. They’ve given us a time window for the season, which I love in series these days.
Directed by brothers David and Nathan Zellner with a script from Carrie Kemper, Fielder, and Safdie, the uneasiness doesn’t relent and shows that you can raise the stakes by removing from the equation. As for the chemistry between Nathan and Emma, I’m not hating it. They’re not a perfect couple, much less paragons of society. They have money, the one thing that makes people feel invincible. What they lack is soul. I believe both are fighting for whatever remnant of that hope is in them, together but alone, and in order for them to maybe (or never) get their balance restored, be hectored by the universe a bit. I’m still here for it, especially with Whitney’s new loss a maybe an auroral beginning.
4/5 Stars.
Ultimate Spider-Man #1 Features New Marriage Cover by Scott Campbell
The highly anticipated Ultimate Spider-Man #1 by Jonathan Hickman and Marco Checchetto just received a new cover by longstanding Spider-Man artist J. Scott Campbell. In stores on January 10th, the cover features a hand-in-hand Mary Jane and Peter forming a little heart as they dance over each other’s legs and hosts a Spider-Man heart-shaped logo in the backdrop. It’s an adorable little feature celebrating the new take on their story for the ultimates line, as a middle-aged Peter Parker and Mary Jane operate his life as a crimefighter while still having to raise their kids.
“When we decided that we were going to do a book about an older Peter Parker becoming Spider-Man, we really wanted to lean into him starting his super hero life from a very different place than what’s traditionally expected,” Hickman explained in a statement by Marvel. “Peter and MJ being married is one of many decisions we made that underline this being quite a ‘different’ kind of Spider-Man story.”
You can check it out in the official press release below.
New York, NY— November 20, 2023 — Honoring the vision of the original Ultimate Universe, Marvel’s new Ultimate Universe spinning out of Jonathan Hickman and Bryan Hitch’s recent Ultimate Invasion series will captivate new and longtime readers with bold storytelling choices and extraordinary fresh takes on iconic characters! Hickman and Marco Checchetto lead the way into this new era with their radical transformation of Peter Parker’s super hero journey in ULTIMATE SPIDER-MAN #1. Hitting stands on January 10, ULTIMATE SPIDER-MAN #1 will spin a new web for Peter, presenting him as an older, wiser super hero who balances his great power and responsibility with being a loyal husband to Mary Jane and a loving father to their two kids. It’s a new Spidey for a new generation and the introduction of the Parker family promises to make it the most surprising Spidey story of the 21st century!
To celebrate this new chapter of the Spider-Man mythos, legendary Spider-Man artist J. Scott Campbell has turned out a gorgeous variant cover for issue one! Also available as a virgin variant cover, the best-selling artist’s latest piece captures Peter and MJ’s romance in his iconic style!
“When we decided that we were going to do a book about an older Peter Parker becoming Spider-Man, we really wanted to lean into him starting his super hero life from a very different place than what’s traditionally expected,” Hickman explained. “Peter and MJ being married is one of many decisions we made that underline this being quite a ‘different’ kind of Spider-Man story.”
Check Campbell’s cover now and stay tuned later this week for more ULTIMATE SPIDER-MAN news, including the premiere of the new ULTIMATE SPIDER-MAN trailer!
ULTIMATE SPIDER-MAN #1 – 75960620796100111
Written by JONATHAN HICKMAN
Art and Cover by MARCO CHECCHETTO
Variant Cover by J. SCOTT CAMPBELL – 75960620796100181
Virgin Variant Cover by J. SCOTT CAMPBELL – 75960620796100139
On Sale 1/10
‘Quantum Leap’ Takes Ben on an ‘Da Vinci Code’-style Adventure
The original Quantum Leap had Sam Beckett romancing a bevy of interchangeable beauties while totally ignoring what consent means when you’re in someone else’s body, and your partner thinks you are that someone else. And they got away with it because it was the late ’80s / early ’90s and Scott Bakula was considered Grade A man candy, so whatever, bring on the (seriously icky, from my 2023 POV) kissing.
Season 1 of the new show skirted the issue of dating while leaping by giving Ben a loyal love interest back home — no flirting with strangers from the past when you’re engaged to your hologram — and avoiding having any guest stars romantically interested in him (or making clear that the person was interested in his host while he basically said “ask me later”).
Season 2, however, started by blowing up Ben’s love life with a 3-year time jump that allowed the writers to hit the “reset” button on a few things… including Ben’s relationship status. With Addison out of the picture — literally, now that he has banished her from the imaging chamber — the door opens for some time-travel romance.
And boy, does he move on fast. Did you really think the fetching genius waitress from two episodes ago would be left in the leap after that long, softly lit conversation? Of course not… she’s back in Episode 206, “Secret History,” which takes place 6 years after her first encounter with Ben. Apparently, Hannah took Ben’s advice and went to Princeton, where she’s studying wildly complicated sci-fi physics.
The ostensible reason for Ben’s leap this time, to 1955 Princeton, is to uncover a secret formula that Einstein left behind. This formula, if discovered, could change the world. The episode kicks off with a murdered professor who uses his dying breath to whisper a code word to Ben, whose host is also a professor. So now Ben must search for and decode clues in what is essentially a Da Vinci Code-style treasure hunt, while, naturally, being chased by baddies who want the formula for their own nefarious reasons.
But the plot isn’t what matters in this episode. Rather, it’s Ben’s star-crossed romances that take the spotlight. First with his re-encounter with Hannah, which immediately leads to more soft lighting and goo-goo-eyed close-ups that scream to the audience “Love interest alert!” (Ben has a thing for blondes, doesn’t he?). She, of course, becomes his partner while seeking Einstein’s formula, and there’s an immediate connection between the two… which is a bit weird since Ben is now inhabiting a different body from the one he first met her in. But she seems to recognize him nonetheless…
Meanwhile, with Addison barred from the imaging chamber and Magic out of the office, Jenn initially takes on hologram duties before being pulled away by Ian, who needs her help dealing with security issues (and vague threats from a mysterious entity). That just leaves Tom, Addison’s new boyfriend, who also went to Princeton and might have some insight into the location. Awkwaaaaard…
The writers must know that in 2023, you can’t ignore the consent issues that make the original Quantum Leap romances seem pretty icky, because they have Ben confess his true identity to Hannah midway through the episode. And Hannah acknowledges that she sensed that he was the same person she’d encountered six years ago, just in a different body (don’t ask how, that’s not romantic). Okay, cool, she knows just who she’s flirting with.
BUT THEN. The episode ends with a rather sudden kiss just as Ben leaps… which means Hannah’s about to find herself lip-locked with a professor whose real personality she’s never encountered, and that professor is about to come out of a blackout with his mouth on a woman he’s never met. YIKES. C’mon, writers, y’all can do better!
The whole thing also comes rather fast… Unlike the audience, Ben doesn’t get a break between leaps. And it was only in the episode before last that he booted Addison from the imaging chamber to give himself space to heal from the heartbreak of losing her. Last episode took place over the span of a few intense hours during the 1992 LA Riots… not exactly conducive to healing. So from Ben’s point of view, barely a day or so has passed since he said “I need some space” to a tearful Addison. And given how tight the episodes are and, again, the lack of any time between them from Ben’s point of view, it’s probably barely been a week since he discovered Addison had moved on. The whole thing feels rushed, especially for a show that’s generally been great at depicting its characters’ emotions, that spent an entire season exploring the now-discarded Ben-Addison relationship.
I wouldn’t have objected to a Ben-Hannah romance if they’d had maybe one or two more leaps together, and it does open up some interesting storytelling possibilities (I’m imagining him appearing at various points in her life, out of order chronologically from her POV). I just wish the writers had given Ben more space from Addison first, while also allowing Hannah to develop a bit more; at the moment, she’s a bit bland… sure, she defies midcentury gender norms by being a scientist, but the “girl genius who is otherwise conventionally feminine and still, above all things, hot” route has been taken so many times in entertainment that by now, it’s boring.
All in all, “Secret History,” was a generally solid episode with some fun treasure-hunt moments and interesting hints as to what Ian might have gotten everyone into back at HQ. We get some cool scenes where Ben and Hannah are figuring out what the clues Einstein left behind meant, and some tense encounters with baddies. Plot-wise, the episode does pretty well, and Ben and Hannah’s chemistry works in general, even if it is a bit boring (Addison left some big shoes to fill…).
I just hope they address the whole bodily consent thing next time Hannah appears, which I have a feeling won’t be far off…
3.5/5 stars
Happy Life Day to All Who Celebrate!
Happy Life Day, everyone!
On this day in 1978, millions of children gathered around their family televisions to watch the Star Wars Holiday Special. I was one of them. The previous year, I had seen Star Wars (and it was just called Star Wars. This was the original release, long before “A New Hope” was added as a subtitle). I was four and a half when it came out, and I was an instant convert. I’d seen the movie about 10 times in theaters, I had all the action figures, I had a vinyl record that was basically an audio recording of the movie that I was wearing out the grooves on. Star Wars was everything to me.
And now, there was finally more!
Empire Strikes Back wouldn’t come out for another 18 months, so any shred of Star Wars content was welcome. So I was very excited about this!
For reasons, that will soon become clear, I do not have memories of my six-year-old self watching this, so I’ll let my mom take over here and describe my reaction:
“You were so excited. But once it came on you wouldn’t stop crying.”
Yes, the Star Wars Holiday Special is where so many children learned about disappointment for the first time. Don’t come at me with your scorching takes about how The Last Jedi ruined your childhood. You obviously didn’t spend an evening in November 1978 crying over your grape juice and Jiffy Pop because you just watched an old Wookiee named Itchy get aroused by an intergalactic Diahann Carroll. I have blocked my initial viewing of this show from my memory.
The Holiday Special is legendary in its awfulness. The “plot” ostensibly centers around Han and Chewie trying to get back to Kashyyyk in time for Life Day, the Star Wars version of Thanksgiving, but really it’s all about cramming in some truly awful comedy bits and songs. All of the characters you know and love from the movie — Luke, Leia, Han, Chewie, R2, Threepio — were contractually obligated to make an appearance, but you can tell they aren’t real happy about it. Harrison Ford can barely be bothered to grumble his lines, and Carrie Fisher had the good sense to get stoned out of her gourd before singing her stirring Life Day ballad.
And speaking of stirring, how could anyone forget Harvey Korman’s legendary cooking video where he dresses up in drag and has four arms and shows Nala — Chewbacca’s wife — how to make Bantha Surprise?
Or Bea Arthur singing in a cantina? Or Art Carney as a human fixer, trying to aid the Wookiees? Or the fact that about half of this show is just Chewie’s family — wife Nala, Dad Itchy, and son Lumpy — hanging around their tree house and grunting, with no subtitles?
It’s comically bad. It owes more to the campy variety specials of the 1970s than it does to Star Wars. It’s the kind of thing you’d expect from the Brady Bunch Variety Hour or Donny & Marie, not the highest grossing film in history. George Lucas loathed it, and his name appears nowhere in the credits. According to legend, he said that if he had time and a hammer, he’d destroy every copy.
The Holiday Special has never been officially released on home video or for streaming. (The animated segment that introduces Boba Fett — The Legend of the Faithful Wookiee — has popped up on Disney+, under the heading “Star Wars Vintage.”) It’s amazing that the special even survived at all. George Lucas bought up all the rights to it, allegedly so it could never be rebroadcast. I would assume that there were a few families that had early VCRs that managed to record it, and then did not destroy those tapes or use them to record episodes of Dallas. But, ever since YouTube became popular, those grainy recordings have found a digital home, allowing for new generations to be traumatized each year.
And maybe because of those campy YouTube clips, the concept of Life Day has become actually popular! It’s actually a canon holiday in the Star Wars universe. It’s mentioned in the first episode of The Mandalorian! (Just as Din is about carbon freeze him, Bobby Moynihan’s character complains that he wanted to get home for Life Day.) Disney made a Lego Star Wars Holiday Special, which featured Nala, Lumpy, and Itchy coming to visit Chewiee on the Millenium Falcon. So, his family is canon. Along with Diahann Carroll as a space temptress, I suppose…
Disney has even leaned into marketing it. You can buy actual Life Day merch! There’s a Chewbacca plush with him wearing his red Life Day robes! They had a whole Life Day event at Disney World last year, where you could get photos with a glowing Life Day orb! You can even get your own official robes!
I have to admit that I find this very bizarre. I understand that if there is a buck to made off of something, Disney is going to make it. But the Star Wars Holiday Special was literally traumatic to me as a child. I know that everything under the sun gets reclaimed at some point, but the Holiday Special? For real?
Granted, there is some tongue-in-cheek attitude from Disney and Star Wars about this. There is an acknowledgement that the special was dreadful, but hey, let’s have some fun with it. Sure, but someone is buying those $60 Life Day hoodies.
In case you think I’m exaggerating how bad this is or making a mountain out of the molehills of youth, I am going to include a link to the special below. Watch it for yourself! But I would recommend you follow Carrie’s example and have a few edibles before doing so.
And remember: when making the Bantha Surprise, it’s whip then stir.
In Showtime’s The Curse, the “Land of Enchantment” is an Oasis By Design
From the very jump of the Showtime x A24 collab The Curse, we go a bit claustrophobic, looking into the window of Fernando (Christopher D. Calderon), an ex-gangbanger and his cancer-stricken mother. Asher (Nathan Fielder) and Whitney (Emma Stone) Siegel are a couple filming the pilot of their HGTV series. Even with their joyous reveal of ‘giving’ Fernando a job at the new local coffee shop, I’m feeling tense. As a fan of Fielder’s, viewing the ‘uncomfortable’ might be a kink of mine because it’s at times a task for me to stare it down in person. Watching him feels like I’m afloat in a warm, saltwater soak until long, greasy-tressed showrunner Dougie Schecter (Benny Safdie) enters the picture, exercising creative license, fabricating tears for the mother, blowing menthol in her eyes for the redness. I’m suddenly feeling a bit uneasy inside. So far, the price of admission is one dropped stomach and I’ll happily plunk it down.
Benny Safdie (Uncut Gems, Oppenheimer) and brother Josh are goddamn craftsmen with high tension and anxiety. I remember feeling equal parts amped and uneasy watching Uncut Gems. When you combine that with the 151 Proof of Nathan Fielder’s awkwardness, the cold open feels like my first time drinking White Russians: I was queasy throughout, but the taste and elation of inebriation had me going back for more. Bottoms up.
Making Dougie an asset highly recommended by the network gives his agency more bite, but making Whitney’s character aware of their situation gives her more of an edge. The goddamn optics look pretty touchy themselves with them both being a straight, white married Tesla-driving couple who travel to Española, New Mexico to ‘save’ its destitute Hispanic/Latino community with their new eco-friendly homes, driving up the rent and ultimately displacing the Hispanic/Latino community like what happened to the Indigenous before them… for public display.
It’s gorgeously stomach-churning, right down to Whitney’s ‘invisible homes’ as an architectural example of the farce hidden in plain sight. The ‘net-zero’ passive houses are what I can only describe as Architectural Digest subscriber’s fever dream, externally looking like reflective modern art installations. Similar designs are meant to reflect nature, essentially erasing the house itself, which is what they’re doing to this neighborhood, deleting it. The structures are good “show, don’t tell”, just irritating enough to be disruptors in their own right.
On opening day at the Barrier Coffee shop, Asher blows quite possibly their only shot at promotion, interviewing with the local news station, blowing up at field reporter Monica (Tessa Mentus) for a sneak attack on Whitney doing more harm than good with her houses and mentioning her slumlord lineage, prompting Asher’s Mr. Hyde to emerge. Though not entirely unsolicited, his hostility is fucking creepy because it’s bubbling passive aggression, a measured type of screaming.
The ghastly first impression is a testament to Nathan’s acting. I felt that shit, so it only makes sense to me that he makes it right with a scoop for the reporter to retire off of in order for the review to be killed. It’s “borrowing from Peter to pay Paul”, which is precisely the type of high-stakes shit we had seen with Benny’s other work.
We don’t let up when the focus shifts to Dougie, staging an extemporaneous shot with Asher and a little black girl selling soda, embodying the very foundation of what makes reality TV the insidious mind rot it is. When the camera rolls, a redemptive moment blossoms before our very eyes before Asher figuratively snatches it away from us and literally from the little girl, prompting her to “curse” him, twisting the tone in a most distorted way.
Who even cares if his meeting with Monica ended kind of positively? A curse is in play and by dint of watching Asher, I feel cursed. Messes showing up on one’s doorstep? Compartmentalizing acts of shit so they don’t intersect until they all explode in magnificent fashion? It’s a Safdie staple for a reason.
Whitney’s parents fittingly don’t win any humanitarian awards. Paul (Corbin Bersen) is at best tolerant of his Jewish son-in-law with his wife Elizabeth (Constance Shulman) at least contributing to her daughter’s eating disorder. We’re not meant to like any of these people, but maybe just be surprised by them. Paul’s greenhouse speech about small dicks whilst he nourishes his tomato’s soil with his own urine is oddly enlightened, creeping back into the surreal. We get a solid glimpse of Asher when he urinates a few scenes prior and though I remember vaguely reading about it beforehand, it still snuck up on me. It’s not used for titillation but rather food for thought. Could this be the source of the dude’s anger, this curse, and the only way Asher can accept his gift, which, from what Paul says in no uncertain terms is accepting the truth? It’s a matter of philosophy ending on a ‘button’ of a visual micro-penis gag. “The Cherry Tomato Boys.” Wow.
Crass? Yes. Cringe? You bet, and even after a tender moment of decompression when finally home after a tense car ride, we’re back for more “Should I be watching?” in the bedroom where Asher uses a vibrator named “Steven” on his wife while being frozen out. It feels like we’re not meant to see this, but yet here we are. Then again, why should I spend all this glorious time feeling gross when it’s been a minute since I last felt dirty?
This comes hilariously in the form of Dougie showing Asher and Whitney his unaired reality dating show that places a masked burn victim in front of 15 potential partners. It’s hilariously in horrific taste, but the silliness is quickly swapped for queasiness when Whitney comes across the footage shot from earlier with the little girl. Come on, did you really think Dougie would cut?
I’m a fan of Asher consequently being forced to right a heinous wrong and pinheadedly ignoring the few ways he could. Sure, he doesn’t find the little girl, but instead of helping keep the lights on in a homeless shelter for one more night, he paints over the necrotic wood of his soul by giving a woman with a baby the money (only maybe scoring him a couple of good Karma points) then lying to his wife about finding the girl, embellishing to make himself sound heroic (putting him in the Karmic debt).
The episode titled “Land of Enchantment” ends with Dougie in Whitney’s ear and a question in ours. Sure, Dougie’s scuzzy, but at least he didn’t dash a little girl’s dreams. What would we do? It’s given the audience an interesting hypothetical to mull about.
Showtime Studios with A24 is an inspired choice, though I can see where the divisiveness can factor in. A24 is like McDonald’s in that when you pass the Golden Arches, you don’t smell food, you smell a brand. This arthouse studio is no different. I’m not saying that’s a bad thing, but I can see where A24 sycophants (like myself) will eat this up without holding more of a critical eye to it.
From the sometimes distant, yet intimate cameras, we’re given something that feels voyeuristic, not unlike the Nathan Fielder docu-comedy The Rehearsal. Benny Safdie employs the sick synths, compliments of jazz musician John Medeski and fellow Safide collaborator electronic music producer Daniel Lopatin (aka Oneohtrix Point Never) to keep the tension taut. The score grips you and never lets go, no matter the tonal shifts in the script.
In a show where glass houses are as much of a visual satire as they are a metaphor, we see the real invisible house, the farce of the facade: a couple constantly wallpapering over their shit for the camera. Seem like good bones to me.