Tag Archives: Netflix

Pandemic Picks: Sex Education

For my second Pandemic Pick I’ve chosen to go for something a bit more distracting from the horror of current world events. Sex Education. This series is a mixture of comedy and drama combining elements of teen movie fare like American Pie and giving it an honesty that films of that nature always lacked.

Set in the fictional English town of Moordale the series combines a lot of British and American high school tropes into a strange hybrid which sort of weirdly works. Have no illusions though, my American readers, there are no high schools in the UK that are like Moordale, we don’t have high school swim teams for the most part and our “jocks” don’t wear letterman jackets, very few, if any, high schools in the UK have rows of lockers like in American schools and we don’t have school swimming pools. Even if we did, swimming would probably be the last thing you’d want to do in them. Then again, I’m basing my knowledge of American schools on films and TV series so maybe this trope of a row of lockers in schools is just that, a film/TV trope.

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Pandemic Picks: Jericho

In this time of self imposed quarantine we need something to take our minds off of the awfulness that is occurring in the real world. Not surprisingly viewing habits seem to reflect the real world events, the number of people watching films such as Contagion has skyrocketed. So here is my Pandemic Pick for today which I have just finished binging for what is probably the fiftieth time. Jericho.

I’ll preface this with saying this is going to be a brief unspoilery overview of why it’s a good watch as I plan on doing a more in depth article about the series at some point. I’m keeping this spoiler free because it is a really good show that you should go into without having things spoiled for you if possible.

Jericho is the story of a small town in Kansas trying to survive the after effects of a series of nuclear blasts occurring all over the US which has crippled the country. Not only was the series about survival but it was also had an espionage twist and an aura of mystery surrounding several of the characters. It also has some very chilling images, one of the most iconic from the series was that of a young boy witnessing the mushroom cloud of a nuclear blast. This image became heavily used in marketing and is on the cover of the Complete Series DVD Set in the UK.

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The Other Voices: Atlantics

Hey! It’s been a long winter vacation, but I’m back this week with French director Mati Diop’s supernatural indie drama ATLANTICS, now available on Netflix.

On New Year’s Day, for some reason, my partner put TRANSFORMERS: DARK OF THE MOON on the TV first thing in the morning. That night, we decided to watch 6 UNDERGROUND, completely not intending to make it a full circle Michel Bay kind of day. And if there’s one thing I learned from that experience, it’s that if you’ve ever wondered what the opposite of a Michael Bay movie is, it’s ATLANTICS.

ATLANTICS tells the story of a young Senegalese woman, Ada, who despite being engaged to a rich asshole,  is in love with a construction worker named Souleiman, who, along with his coworkers, is not paid his promised salary for 4 months of work on a huge tower that looms over the town of Dakar. In order to find work, the men all hop on a boat and try to cross the sea to Spain, leaving their women behind. The men don’t reach their destination, and that’s when weird shit starts happening.

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Blood, Grit and Skulls: Garth Ennis’ The Punisher MAX 15 Years Later

Garth Ennis has always been known for more adult comic writing and his series Preacher is a perfect example of this. However, his writing has also always had a sense of humour to it. He had been brought on to re-launch The Punisher with Welcome Back Frank in 2000 and after a successful run under the Marvel Knights imprint, he wanted to try something different. In 2002 Ennis teamed up with Darick Robertson and wrote a proposal for a short run of comics about Frank Castle’s time in Vietnam. This outline would ultimately become The Punisher: Born. This became the framework story for the series, detailing the differences between Castle and another main character in the series, a young Private called Stevie Goodwin.

At this time, the MAX imprint was relatively new. It was created in 2001 when Marvel broke from the Comic Codes Authority to establish their own rating system. The first series in the MAX line was the Jessica Jones Alias series- which served as inspiration for the recent Netflix series. The MAX line allowed artists and writers greater freedom to tackle more adult storylines. It wasn’t just about blood, gore, swearing and nudity- the stories would tackle hard hitting themes such as rape and also give readers the first ever star of their own comic that was openly gay (Rawhide Kid). The MAX imprint was essential for Garth’s Born mini-series. It allowed them the freedom to really drive home the horrors of war. With the success of Born, a new series of The Punisher was greenlit with the first issue premiering in March 2004.

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The Chilling Adventures of Sabrina… and Satan

A look at the nightmarish monstrosity of Sabrina’s satan!

 

Movie depictions of Satan are generally pretty lame — he’s either portrayed as generically seductive (Devil’s Advocate, End of Days) or she’s portrayed as seductive (Bedazzled), or Mel Gibson makes it a woman with a snake in her nostril (Passion of the Chris). Black Phillip, morningstar of my favorite wish-fulfillment fantasy The Witch, never really showed his true self, and I’m still sore about it. Not so with Netflix’s Chilling Adventures of Sabrina. Satan is the the goat-headed, cloven-hoofed, full-bodied patriarchal monster of my nightmares, and I love it.

 

Look, you can come at me with your Biblical knowledge that Satan is supposed to be tempting and attractive, the beautiful angel fallen from grace. I know. I definitely Sunday School’d better than you, trust. But at the end of day, the seductive nature of sin, the frailty of temptation, they have no place in the world of Sabrina (or, quite frankly in any of the non-Witch movies I listed above). In her world, the Father of Lies, the Dark Lord Himself, should be as scary as the evil he is meant to embody.

 

Sabrina’s quiet little town of Greendale is home to a Satanist coven. Although primarily populated by women, the men have most of the seats of power, handing down orders from the Dark Lord with supreme authority. This literal goat, like all mediocre men who’ve risen to power on their own arrogance, believes himself the metaphorical GOAT and pushes that fantasy like herpes by taking advantage of women who wanted a sense of safety. Typical. And not so different from it’s alleged opposite, the Christian church. It’s almost laughable in its transparency, in the same way that seeing a horned monster in an otherwise melodramatic show invokes that same tickling unease.

 

The show itself has struggled with tone in the first half of its first season, but Satan is a welcome constant. He reveals himself to his demon-wife at the end of episode one in all his animalistic glory. It’s what kept me watching. Even when he’s not on screen, his presence is felt in a big way — the same way patriarchy colors all of our communal social interactions whether we wish to acknowledge it or not. Rather than trying to make him all things Evil, the creators of Sabrina made the devil a clear metaphor for the biggest evil plaguing Sabrina and her friends — unchecked misogyny.

 

While I would never pledge my loyalty to this monster, I am excited to see where he takes Sabrina as more of her Chilling Adventures hit Netflix.

 

 

True Crime: Where’s The Line?

Wrestling with the balance of entertainment value of True Crime vs its insight.

 

The true part of true crime always gives me pause. It’s not that I am distrustful of documentarians, reporters, or even murder enthusiasts on podcasts. But engaging with true crime content makes me uneasy in the same way I felt nervous as a child when I did something I knew was wrong. For all the commentary these pieces offer, for all the new perspectives they provide or questions they raise about the quality of our justice system, these programs are first and foremost always about engaging an audience. To call them entertainment might seem crass, but therein lies the rub. True crime series and documentaries are inherently voyeuristic and thrilling. There is entertainment to be gained from real human suffering, and while we might learn something, it becomes a hard balance to reconcile.

 

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On Quitting

We need to take a step back and look at why we love the things we love.

 

This past weekend, I watched Hannah Gadsby’s comedy special, “Nanette,” on Netflix. It was a revelation. Or perhaps it’s more accurate to say her words confirmed and shaped some things that had been percolating at the edges of my subconscious for the last several years. In the special, which you should absolutely watch if you have not yet, Gadsby talks about why she is quitting comedy, how jokes are only two parts — setup and punchline — and not a whole story. Essentially, she says comedians create tensions through their setups so that the punchlines can break it, and she no longer wants to create tension. She wishes to instead create connection. Rather than use comedy to obfuscate her painful past, she tells the rest of the stories that inspired her funniest bits, and the humor goes away, but something so much deeper remains.

 

This week, I had meant to write about why I have quit consuming and engaging with so much of nerd culture in recent years. And while I cannot make quite so eloquent a connection as Hannah Gadsby with the two parts versus a whole story metaphor, I can say that I think it’s to do with how mistaking engaging with pop culture the same as engaging with and influencing our communities.

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