Television/Streaming Series Review: HARRY AND MEGHAN

After a little deliberation, I’m coming clean over having watched the Netflix docuseries HARRY AND MEGHAN. (Some out there may think I should have my “politically progressive” identity card revoked for daring to watch something about rich heterosexual people and feeling actual sympathy for them. lol) This was a good follow-up to reading Prince Harry’s autobiography SPARE, even though his very recent book is technically more the follow-up. He covers much of the same ground here, with less detail, while his wife Meghan shares about her own personal background and recent experiences with the British monarchy.

I find this whole breakaway of a British Royal and his wife from their institutional duties and, by extension, their roles within Harry’s family of origin fascinating. Family roles and dynamics are a main area of study and work for me, so I appreciate the couple’s opening up a long-sealed window into the workings of one of the most publicly prominent families in human history.

Regardless of how one may feel about these two, their values (which I certainly don’t fully share), and their decisions, their ongoing joint, and separate, narratives are interesting, compelling, and informative in the context of such a core colonial-based, change-resistant institution of Western civilization. What a sociological and psychological study unfolding in the media, one which includes challenging the constant barrage of racist, sexist, and classist messaging Meghan has bravely endured from many quarters. I’ve enjoyed stepping into observing it more closely as a relatively educated viewer who enjoys learning through consuming visual narratives and being entertained along the way.

The six part series, with episodes averaging just under an hour long, is a mix of personal narratives and historical and political background about the British monarchy. For some viewers, the romantic, heteronormative overtones may seem like rather superficial Hallmark style branding. I was able to enjoy and even be moved by the romance without feeling put off/turned off by it because of the added deep implications of courageous nonconformity Harry and Meghan have engaged in through their union. Sadly, for a great many, Meg’s biracial and economically modest family background still make her taboo for a British Royal to fall in love with and marry. The two really have challenged an inherently racist, sexist, and classist institution from within and come through it scarred but, so far, victorious. And I so admire when people can arrive in life that way, from out of whatever their struggles have been.

Television/Streaming Series Review: GRACE AND FRANKIE

The seven season, ninety-four episodes series GRACE AND FRANKIE (2015-2022) on Netflix is a delightfully funny and poignant watch, filled with a mix of lovable and annoying characters. I thought Lily Tomlin, Jane Fonda, and Martin Sheen were especially excellent. Ms. Tomlin’s Frankie is a fantastical hodgepodge of hippie, New Age flakiness, and silly eccentric. She seemed to be enjoying herself playing this comedy’s most unrealistic, stereotypes-derived role. She takes “colorful” to the next level, including with wearing some fantastic clothing and jewelry, especially in the final season.

The show revolves around two families united together through Robert Hanson (Martin Sheen) and Sol Bergstein (Sam Waterston), who own a legal practice specializing in divorce law. After twenty years of being in love, over a seafood dinner in a restaurant one night, the two finally come out to their wives, Grace Hanson (Jane Fonda) and Frankie Bergstein (Tomlin). From there, the primary focus is on Grace and Frankie developing a deep bond in the initially devastating wake of their husband’s leaving them for each other. The central characters’ four grown children bring their own share of humor and drama.

GRACE AND FRANKIE resorts to fantasy and “what if” scenarios at times, though not too much to wear thin. This added a dimension of creative imagination that I myself very much appreciated. Filmed largely in sunny Los Angeles, California, doubling as San Diego, this CA native enjoyed the scenery while weathering yet another New England winter.

Due to the series’ mix of writers and directors, many viewers will likely find the quality somewhat uneven in places. Personally, I think all of the actors, especially Fonda, Tomlin, and Sheen, effectively carried the show. Fonda as the straight-laced, alcoholic, “all business” Grace is a perfect foil to Tomlin’s pot-smoking, creative, and politically progressive Frankie. I was thrilled to see these two talented, long-lived actresses get such plumb, enjoyable roles. Bravo for them, as well as for Sheen and Waterston.

Television/Streaming Series Review: STRANGER THINGS (Seasons One Through Four, 2016-2022)

I can see why the Netflix series STRANGER THINGS is so popular, particularly the first two seasons. I enjoyed how it takes place in a small city/town (fictional Hawkins, IN) in the early 1980s, culturally similar to where I was growing up at that time, which was Grass Valley, Northern CA. The writers clearly have Gen Xers, such as myself, very much in mind.

Both season one and two had powerful endings, culminations of tightly written plot lines. What great writing, a balanced mix of tender, funny, dramatic, creepy, and suspenseful. I can’t remember the last time I saw so many lovable, compelling characters, most of them misfits and outsiders, like myself, all in one movie or series. Each kid in the friendship group of nerdy middle schoolers was adorable, initially bonding around playing Dungeons and Dragons. I was left feeling warm fuzzies, which I wasn’t at all expecting.

This show is unabashedly derivative, which is how even a certain young character in a scene aptly describes the whole bizarre situation the main cast finds itself in: “derivative.” But, the way the recycled ideas are written into such tight, creative scripts in the show’s first two seasons is impressive. It comes across like the best elements of 1980s sci-fi and horror movies and television shows, plus terrific music from that period (including the Clash’s wonderful “Should I Stay or Should I Go”), got selected, thoughtfully put together, and then more deeply explored in places.

In the third season of STRANGER THINGS, the initial focus seemed to be more on the characters with their friendships and/or romantic relationships than the slowly unfolding plot line of a monster causing trouble in Hawkins, yet again from a neighboring dark dimension. We the audience spend a lot of time hanging out with them and meeting a few new people introduced on the show. There is definitely less eerie intrigue and intensity to the plot compared to the first two seasons. That felt okay with me, since I like most of the ensemble cast a lot and the small-town setting in the 1980s is pleasantly nostalgic. Clearly, though, this season was not as good as the two preceding ones. The main storyline involving Soviet Russians interfacing with the evil from a parallel dimension was weaker, less focused, even ridiculous in places. And there was far less mystique about this dark world itself, given that it had already been slowly introduced in the first season and then further explored in the second. But, compared to the previous seasons, there seemed to be more dialogue written for laughs and warm fuzzy moments between characters. With the exception of a few newcomers, the writers emphasized having established characters deepen their bonds with each other wherever possible, which some viewers might find annoying, perhaps feeling it siphons off energy for action scenes and plot intrigue. Frankly, I didn’t mind this because the players got to be fleshed out a bit more as people. And what other worthwhile and intriguing sci-fi plot can unfold in a small Midwestern municipality anyway? I think the writers were scraping at the bottom of the barrel for coherent, compelling story ideas by this season. (No wonder why the fourth season took place in other locations in addition to Hawkins, IN.) Hence, more focus on relationships and character development, I guess. Towards the end, there were some overt saccharine moments between two individuals to lighten the tension of suspense a bit, which seemed ridiculously, unnecessarily drawn out. But, most of the writing was pretty even overall.

Several scenes took place in a shopping mall, which aptly represented a lot of 1980s youth culture and its being replicated, hyper-commodified, at the expense of uniqueness on both individual and regional levels. The dark economic effects of burgeoning shopping mall development on American culture were explored in the third season somewhat. This added a bit of thoughtful depth next to all the humorous dialogue and campy imagery of slimy monsters and over-the-top Soviet villains. I was tickled to find myself remembering that I had seen every movie listed on the theater marquee in fictional Hawkins’ indoor mall (built by the Soviets and including a secret underground facility— rather funny), which is set in the summer of 1985. The frequent verbal and visual references to TV shows and films from that period piled on the already substantive nostalgia for me. It’s interesting to know that the Duffer Brothers, twins who created this show, are actually Millennials, not Gen Xers like I and the teenagers in the series are. They seem to have a fascination with 1980s Americana, which is pleasantly fine with me.

The fourth season of this Netflix series left me largely unimpressed. For one thing, the story arc was spread way too thin compared to the relatively tight narratives of the earlier seasons, especially the first two. By the seventh episode or “chapter,” the series “jumped the shark,” as is often said when TV shows go precipitously downhill, by becoming conveniently contrived and absurd. There’s creatively campy overdone and then there’s way overdone, which this season devolved into being. I find the latter of the two styles tiring and annoying on one hand and laughably ridiculous on the other. That all said, I continued watching due to being invested in the characters. I felt both for them and the actors playing them. Hence, I watched ‘til the careening end of this bloated up season, the ninth and final “chapter” lasting over two hours. Five of the episodes averaged around seventy-plus minutes in length, three far longer than that, all a bit too long. I wonder if the writers, producers, and, perhaps, even some or much of the crew and cast took drugs to get through this exhausting latest season. Any traces of the series’ initial eerie tone and intriguing, tight writing were long gone. I will say here, though, that the end decently came together, finally, after so much mind-numbing drama. The many moments of characters bonding through heart-felt dialogue, like in the third season, did continue to occur somewhat in the fourth set of chapters. But, these were often in between tiresomely drawn-out scenes of action and over-stuffed displays of pretentious, contrived/tacked on back story exposition. Also, some of the dialogue was pat and sappy in places more than I recall in earlier seasons, even season three. And we the audience never find out how a certain dynamic character manages to return from the first season. I may have missed some quick explanation, but I don’t think so. That seemed to be a blatant plot hole. Messy.

In the fourth season, which has a supernatural and haunted house story arc, the arch villain Vecna comes across as a mix of Freddy Krueger, a creature from the Predator franchise, a bit of monster influence from the Alien movies (such as in skin color and texture), some vague elements from the 1980s Poltergeist movies, and surely other source influences I can’t consciously recall right now. Perhaps I’m jaded because I felt like I’d seen this guy elsewhere before, a lot. His presence and his antics were blatant, in your face, devoid of mystery or intrigue, and all-too-familiar feeling. This particular derivative aspect of the series felt tired.

Season four was very uneven. Besides being overdone and spread thin, as described above, it was sincere and heart-felt in places, but periodically silly and childish in tone in others. To sum up the fourth season of STRANGER THINGS in brief, it was often tiring and contained tired elements. This is what seems to eventually happen for a series or movie franchise when its creators try to continue to appeal to a wide audience and go beyond their interesting original, though inevitably limited, story idea and its settings. The order eventually grows too tall to fill, or one that’s simply run out of substance. Time to generate another idea and different kind of narrative altogether.

The acting was generally excellent across the board, even after the ensemble cast was given increasingly less quality material to work with after the first two seasons. However, Argyle (Eduardo Franco), was introduced in the fourth season, to my extreme irritation. This long-haired, bright colors wearing, perpetual pot smoker remained two dimensional throughout. Talk about over-acting a stereotype of 1980s California youth. I’m sure he was written in for comic relief and as a convenient device to help a handful of the veteran characters achieve their collective purpose in one of the subplots. But, he did not mesh well with the other comparatively fleshed out players, instead standing out like a poorly drawn cartoon within a world of live action. I waited for Argyle to fall in a hole or get lost in a smoky haze from one of his lit up joints, never to be seen again. No such luck, so his screen presence continued to drain focus and energy from me, the viewer. More unevenness.

Millie Bobby Brown was notably compelling in her role as STRANGER THINGS’ linchpin character Eleven/Jane (“El”), a girl with telekinetic and clairvoyant abilities who was secretly institutionalized and experimented on during the first twelve or so years of her life. We meet her early on when she has newly escaped from her strange prison, an ominous government facility on the outskirts of Hawkins. The actress clearly put much thought into portraying El, pausing often when speaking and only verbalizing simple words and sentences. She believably came across as a child raised in extreme isolation. I can see why Ms. Brown has received much praise for her work here.

Talented, ruggedly handsome actor David Harbour was my favorite person to watch through the whole series (as it exists thus far). He plays Jim Hopper, the Hawkins chief of police. Exhibiting a brutal exterior, Chief Hopper endured intense loss in his past. Although the child actors physically changed through the series due to naturally growing up, Mr. Harbour’s changes in appearance and demeanor are the most dramatic. He eventually lost an incredible amount of weight for the part while also having Hopper grow into being a more introspective and compassionate human. Remarkable. I applaud David’s dedication to the role, which appeared very challenging to play. I’ve actually seen him in a fair amount of movies and TV shows over the years. He can portray both dark villains and caring heroes well. He’s admirably versatile. No doubt, we will continue to see more of Mr. Harbour in assorted productions. I’m a new fan of his.

A few vintage songs stood out for me on STRANGER THINGS. The fourth season made wonderful use of Kate Bush’s song “Running Up That Hill,” first released in her native UK in 1985 and growing popular among Progressive Rock genre fans in the United States by 1986. This song was basically a personal anthem for a certain troubled character Max Mayfield (played by the adorable red-haired Sadie Sink), who used it to get herself through an arduous psychic confrontation with Vecna while he exploited parts of her painful past in an attempt to kill her. This was excellent use of an established, cool artist’s music, and an introduction to a new generation of listeners. I’m glad for Ms. Bush.

The other song I appreciated was Siouxsie and the Banshees’ 1981 recording of “Spellbound.” It was perfectly placed at the very end of the final episode in STRANGER THINGS’ fourth season, continuing as the credits roll. I’ve always dug Siouxsie and the Banshees with their haunting, elegant sound. The foreboding music closed the series as the main main cast and the rest of Hawkins face more ominous challenges on the horizon, literally.

I can’t imagine what turn of events await in the fifth and final season of STRANGER THINGS, due out sometime next year (2024). Will some of the youths actually, finally look and seem too old for their roles? Will the writers even out the show again with consistently good dialogue and more focused, original plot development? I somehow doubt it with this latter wondering. But, I’ll be there watching anyway because I’m committed to this universe of mostly endearing people in Hawkins, IN even if you, the reader, need not be, particularly after the first two seasons when this series steadily went off the rails.

Television/Streaming Series Review: WEDNESDAY (Season One, on Netflix)

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I just finished watching the final of eight existing episodes (thus far) of the Netflix series WEDNESDAY and remained pleasantly impressed throughout. I found myself particularly relating to the titular character as she freakishly danced at a school party, not caring what others thought. I remember doing that too a few times in high school, only I didn’t have a hot guy for a date admiring me and another one nearby jealously watching. But she, brooding, poised, and darkly beautiful, understandably did.

This is quite an imaginative, zany, and macabre show that shoots zingers at age-old insider/outsider social dynamics, making the insiders/establishment folk look like self important, often fake, fools. This first (but not last, I hope) season opens with the young Ms. Addams causing major mischief at a predominantly white public school, appropriately named Nancy Reagan High, getting promptly expelled from there, and enrolling in the Nevermore Academy, an old, somewhat Gothic style boarding school for misfits. She soon becomes embroiled in solving the mystery behind a string of grisly murders. The withering one liners Wednesday (Jenna Ortega) delivers, including about herself, are frequently the best moments. Her lovely, dead-pan visage in the face of so much shenanigans going on around her is both precious and funny. And some of the women’s clothes are fabulous, such as those worn by the tall and arch Larissa Weems (Gwendoline Christie), headmistress/principal of Nevermore.

Catherine Zeta-Jones, while no Carolyn Jones, who still remains the quintessential Morticia for me, makes a competent, glamorous enough Addams’ family matriarch. She is not as good as Anjelica Huston’s Morticia, due to being far less expressive with her eyes and more wooden in her interpretation. Nonetheless, she looks the part and smolders, somewhat, especially due to her sultry lips and voice.

I felt a mixed response to this series’ choice of Gomez Addams (Luis Guzman), Wednesday’s father. After watching suave and gorgeous Raul Julia portray him in the two A.F. movies from the 1990s, I initially found Mr. Guzman a let-down. He is thuggish and rather squat in appearance and very subdued. However, there is what I would call both a haunted and haunting quality about him that comes through. To an extent, he grew on me. At least he is more substantial than non-Latinx John Astin’s repetitive, two dimensional caricature of Gomez in the 1960s TV series.

I’m glad to see Thing, the Addams family’s (re)animated hand servant, playing an important role as Wednesday’s helpful companion and a sort of familiar. His/its use of ASL and general expressiveness are wonderful developments beyond the more limited use of this character on the original THE ADDAMS FAMILY series and the aforementioned two movies. The wonders of finely honed CGI have also helped to make Thing come alive more.

I would have liked to see at least one or two student characters of the Nevermore Academy portrayed as trans and/or queer in some way. Instead, we viewers have to settle for a Latinx lesbian couple being the two moms of one of the students. Their roles are brief, very peripheral. Well, that’s better than nothing for LGBTQ portrayal here, I suppose. Perhaps, and hopefully, the next season of this series will introduce a trans and/or queer identifying Nevermore student or two.

WEDNESDAY is a visual and verbal equivalent to an exotic dessert involving truffles and dark chocolate, a thrilling, rare treat. This is high camp with heart, Goth style. Delicious!

TV Series Review: V (the 2009-2011 reboot)

I just finished watching V (2009-2011), a reboot of the 1983-1985 TV miniseries and series (which I immediately found dated and unwatchable). “V” stands for “Visitor,” a member of a race of humanoid looking aliens come to earth in “peace,” or so they say. Overall, this newer series is intriguing, amusing, and visually impressive with its state-of-the-art special effects. The show indeed ends on a cliffhanger, due to abruptly being canceled. But, I didn’t find the finale as incomplete feeling as I thought I would.

This production is a playground for conspiracy theorists’ imaginings. I read, however, that the original inspiration for it was Sinclair Lewis’ anti-fascism 1935 novel IT CAN’T HAPPEN HERE. And I did see a basic Antifa thread throughout. I appreciated the ethical dilemmas the show effectively explores.

I enjoyed watching Elizabeth Mitchell as Erica Evans, an FBI agent and single mother, who becomes the leader against the villainous Anna (played by the beautiful and compelling Morena Baccarin), high commander and queen of the alien Visitors. In each of their starring roles, Ms. Baccarin is effectively sinister and creepy while Ms. Mitchell is both bad-ass and caring. I was annoyed by the racist overtone tropes of blonde, “good” mother vs. dark-featured “bad” mother portrayals here. Nonetheless, Morena as Anna steals the show time and again.

The overall cast is strong and well-acted, with one exception being Brett Harrison as Sidney Miller, a young scientist who is introduced in the second season. He is brought in to provide tech. support brainpower for the rebels against the V’s but, also, for some comic relief and to represent non-heroic, human vulnerability. While I appreciate the creators’ intentions behind this character and acting choice, I was not impressed with Harrison’s lack of gravitas in the role. I found it difficult to see him as a scientist boy genius. He should remain doing light-weight comedy television, which largely comprises his resume. In this show, Harrison does not believably mix well with all the heavy hitter, dynamic actors around him. A more emotionally skilled and nuanced, slightly grittier actor would have made for a better fit.

The first season had a bit more intensity and plot precision to it than the second, which did manage to pick up steam and focus after the first three episodes or so. I was tickled to see Jane Badler, who stars as Diana, the V’s high commander and queen in the original miniseries and series, reprise her role in this remake’s second and final season. The wonderfully posed archness of queen against queen, with them always wearing fabulous designer dresses or gowns and high heels while standing elegantly within grand, high-ceilinged sets (to emphasize their own highness), made for deliciously campy fun. And the lizard features of the Visitors beneath their human skin disguises were colorfully imaginative, adding to the camp factor, even if there was a bit of copying from the ALIEN franchise.

Micro/Mini Movie Review: BURIED IN BARSTOW

In BURIED IN BARSTOW, Angie Harmon stars as Hazel King, a kick ass woman with a dark past who owns and runs a diner outside of Vegas. She is beautiful, somewhat scratchy voiced, and entertaining in this new, trashy suspense drama on the Lifetime Movie Network. Her high heels, leather jacket, and form fitting pants add to the high camp factor.

I’ll Pass On the CW’s BATWOMAN.

Ruby Rose in the title role of the brand new show BATWOMAN on the CW channel…well, hmm, I don’t know. That nasal, monotone voice-over of hers during the epilogue to the pilot episode had me thinking of a bored Valley girl rather than a savvy woman of deep convictions. I’m going to pass on this silly, generic-seeming superhero TV drama. But, I at least gave it a try at the suggestion of a particularly attractive employee at the local movie theater I frequent.

TV Series Review: “Balance of Terror,” from Season One of STAR TREK: TOS

By far, one of the best episodes of STAR TREK: THE ORIGINAL SERIES is the suspenseful, tightly-paced “Balance of Terror.”  It’s my personal favorite.

This is where viewers are first introduced to the fascinating warmongering Romulans, distant descendants of the Vulcans, of which Science Officer Spock is half of through his father’s line.

The narrative plays out like a short war movie of cat and mouse, with the U.S.S. Enterprise facing off against a Romulan warship.  Responding to a group of Federation outposts mysteriously being destroyed, the Enterprise comes to the edge of the Neutral Zone, a demilitarized zone in which a peaceful alliance of many worlds (i.e., the Federation) has agreed to keep its vessels clear of in order to maintain a tense truce with the Romulans.  These warlike, pointy-eared humanoids have long refused to join the Federation.  A trespassing Romulan vessel is identified as the attacker of the outposts, instigating a hot pursuit by the Enterprise.  Captain Kirk must apply his shrewd military strategy skills.  His brave leadership yet compassion come through very believably here.  The commander (movingly played by Mark Lenard) of the Romulan ship proves to be Kirk’s perfect match as an enemy, albeit a reluctant one.  Tragic, gripping drama ensues.

It is too bad that more high quality episodes like “Balance of Terror” were not produced for STAR TREK: TOS, particularly in regards to pacing, plot/logic of storyline, character portrayals, and even special effects.  All of these suffered to varying degrees in several of the shows, especially after the series’ first season.  Still, it is gems like this particular episode from the first season that remind me why I so enjoy this classic 1960s sci-fi television drama.  At its best, the original STAR TREK was able to draw from older movie genres, specifically Westerns and war films, to create something truly ground-breaking, compelling, thought-provoking, and entertaining.