“Mindhunter” is going on ice at Netflix. Variety has confirmed that the show’s cast members have been released from their contracts. The streamer is not ruling out a third season of the series, however, depending on executive producer David Fincher’s schedule. Fincher is currently working on directing the Netflix film “Mank” as well as executive…
via ‘Mindhunter’ Cast Released From Contracts, Season 3 Put on Hold — Variety
Womp womp.
A link to my Quick Review.
On paper, this is the sort of thing I should hate: an unnecessary exploitation of an excellent TV show several years after the fact, by a streaming service that just happens to still have the original on its platform. And far from being a movie, it’s really just a feature-length epilogue of the show. You can’t just watch El Camino unless you’re familiar with Breaking Bad, and as that show finished a while ago, you’d be better off rewatching at least the final season, and probably the whole damn thing. It’s almost shameless, really.
However, I don’t hate it, because:
So while it’s not the most brilliant thing I’ve ever seen on Netflix, it served its Hail and Farewell admirably. It was worth the series rewatch.
A thought about my most recent review:
I don’t tend to like things unless they stand out from the herd. Call that elitism, call it snobbery; I don’t care. I can’t pretend to like things I don’t like.
One thing I feel obligated to point out is that I detest snobbery. Snobbery is close-minded, passive bullying. Snobbery is adopting a categorical rule that X kind of story, told by Y kind of people, cannot possibly be good. It is a sweeping (possibly hasty) generalization, a fallacy of relevance.
That line about not liking things unless they stand out from the herd sounds snobby as hell, but I dont’ really mean it like that. I’m not holding myself above the Great Unwashed and their low-brow tastes. I’m fine with common tastes and basic stuff. They can be a positive tonic.
What I mean by that is I get bored of seeing the same kind of stories over and over. Everyone likes to dump on Hallmark movies this time of year for their cookie-cutter plots, but the truth is almost every genre has tropes that it regularly employs. This is true of so-called “Prestige Television” as well. No one who sat through the Game of Thrones finale could have escaped how obligatory that ending felt.
Certain kinds of stories appeal to me more than others. That’s personal taste. What snobs do is conflate their personal taste with universal aesthetic truths. A story may not interest me, but it would be wrong to say that a story is bad because I’m not interested in it.
So you should never take my grumbles about Nothing to See at the Theater as serious aesthetic judgements. That’s just me being bored, and venting spleen accordingly. 80% of all my prejudices are “Good Lord, this again…” That doesn’t prevent me from overcoming it.
Stranger Things is starting not to get the 80’s right.
Probably it never did. Nostalgia coasts on dusting off old images, making people say “Hey, remember this!” and that’s only fun if it’s in the brightest possible colors. So much of the charm of Stranger Things lay in seeing boys riding around on bicycles, unattended, just like they used to (What about Elle? She didn’t ride a bike. Max doesn’t either; she’s a sk8er grrl).
But one of the things that occured to me with this new season was how *clean* everything looked. And the fact that I noticed it is suggestive.
Folks, the 80’s were dirty. People didn’t care that much about littering, nor about drunk driving. A street that didn’t have broken beer bottles on the side of it was a street that hadn’t been built.
Also, nobody in the 80’s talked about Soviets as being “enemies of the state”, especially not radical journalists. The 80’s weren’t the 50’s. Yeah, the Cold War was an ongoing thing, but we’d all gotten used to it. We were tired of it and wanted it to be over. Not that we suddenly liked the Soviets or disliked Reagan (whose landslide 1984 re-election took place within the timeline of Season 2), we just settled into it as being normal. If anyone found a nerdy Russian in Indiana who wanted to go to a County Fair, we would have bought him all the cherry slurpees he wanted. The 80’s were the great age of Yakoff Smirnoff. That said, I’m glad the show didn’t make the Russians the secret good guys, which I kind of expected during the first episode.
As for the plot: I liked it better than Season 2, which really felt like Season 1.5. Granted, the bad guy was the same, but the approach of it was different. And creepily so: a monster dissolving it’s mind-controlled victims into puddles of flesh that it then draws into itself. The merely Lovecraft-derived Demogorgons and Demodogs from the previous seasons look almost adorable by comparison. Elle finally became an actual character rather than a victim/plot device, and they nerfed her at the climax to underscore this. And they did something useful with Billy other than make him the new Steve Harrington. On the whole, I’m fine with it.
Let’s hope they stop after Season 4.
In retrospect, both of the statements in this headline invite a “duh” response. HBO’s current stock-in-trade is prestige TV series, and it’s been apparent since the second season of True Detective that prestige television is an exercise in miserabilism. Nothing good can happen and everyone of value has to die or lose what they love unless they’ve tacked up enough suffering points (looking at you, Sansa Stark) to trade in for a happy ending. It has become its own set of tropes.
And of course, when real life gets shoved into a TV script, the exercise of creating a narrative for audiences to follow will simplify a lot of the messiness of actual truth. That’s completely understandable and not worth commenting on. But when a show deliberately ramps up the misery, and evades truth to do so, that deserves notice.
There is no good evidence that Chernobyl radiation killed a baby nor that it caused any increase in birth defects.
“We’ve now had a chance to observe all the children that have been born close to Chernobyl,” reported UCLA physician Robert Gale in 1987, and “none of them, at birth, at least, has had any detectable abnormalities.”
Indeed, the only public health impact beyond the deaths of the first responders was 20,000 documented cases of thyroid cancer in those aged under 18 at the time of the accident.
The United Nations in 2017 concluded that only 25%, 5,000, can be attributed to Chernobyl radiation (paragraphs A-C). In earlier studies, the UN estimated there could be up to 16,000 cases attributable to Chernobyl radiation.
Since thyroid cancer has a mortality rate of just one percent, that means the expected deaths from thyroid cancers caused by Chernobyl will be 50 to 160 over an 80-year lifespan.
It’s worse than that. Did you know that 80% of the Chernobyl first-responders who suffered from Acute Radiation Syndrome survived? That seems like a really high number, so the link goes to the official report where the numbers are from. You can see for yourself.
Better yet, read this interview with the Soviet general in charge of the containment operation for his take on the show. He’s kind of okay with it, but finds a lot of it baffling, particularly the image of teenage conscripts shooting pets in suburban areas.
Tarakanov: There’s this episode [in the HBO series], it’s is an ugly one. They show this boy, a conscript arriving at the military compound. What comes next is just ridiculous. They give him a uniform and moments later they are teaching him how to shoot animals. I mean, that’s just silly. Nothing even close to that ever happened. This is one serious mistake.
RTD: Are you saying they never executed animals, like they show in the episode?
Tarakanov: No, they did, but never in the residential area. In the residential parts, there were no cows, no dogs – not a single one. The shooting did take place, but it was in the forests, where wild animals still roamed, including deer, as well as cattle that wandered off after the evacuation. But to show this young boy, recently drafted, being given all this equipment straight away [is just absurd].
The way it actually happened was pretty simple. The government issued a decree announcing general mobilization. They were supposed to call in 20,000 reservists, as they were called, from, say, Moscow and elsewhere… Those were all men of conscription age, between 30 and 40, mostly.
To ask the question of why this change was made is to answer it. The emotional impact of seeing a young boy being ordered to shoot animals next to what was a family home is much greater than a 30-year-old man shooting a deer in the forest. We need that emotional impact. We need that gut-punch. That’s why people watch something like Chernobyl, and that’s why HBO makes it.
It’s a high-brow soap-opera, aspiring to be Aeschylus. In the process, actual humans are turned into props, puppets, and beasts. There’s a segment of society that feels its worldview pandered to thereby.
Anger be now your song, immortal one
Akhilleus’ anger, doomed and ruinous
that caused the Akaians loss on bitter loss
and crowded brave souls into the undergloom,
leaving so many dead men– carrion
for dogs and birds; and the will of Zeus was done.
-The Iliad
Below the fold, the climactic scene in the episode, with Black Sabbath in the background. Obviously, *SPOILERS*. This has also been done with AC/DC, and Metallica, but I like this way better. And seriously, this stuff is R-Rated; it’s incredibly violent.
This post, which is full of SPOILERS, has been inspired by Ace dumping all over the doubleplus goodthinker who’s mad about the ethnicities of the fictional characters who took it in the shorts in the recent battle with the hordes of undead zombies in front of Winterfell.
It’s literally: “Zombie Apocalypse, Immigrants Hardest Hit”
I guess all those pasty wildlings who died at Hardhome don’t count. Whatever.
{Also, if you want to tout the virtues of immigrants, maybe DON’T connect them in people’s minds a violent horde of pseudo-Mongol cavalrymen who love murder and rape.}
Also, I’m thinking of the brainiac who had to mount the soapbox because no one gave Melisandre the “redemption” that Theon Greyjoy got (and of course takes the opportunity to shoehorn in something about Brett Kavanaugh, because he’s the Villain of the Year). This sort of nonsense is largely self-refuting, because in no way has Melisandre been as central to the story as Theon has. His entire arc of fall, punishment, escape, and redemption has been connected to the main plot and a massive fan favorite. Melisandre has always been a character half-off screen, representing forces larger than herself. It was those forces that gave her the power to do dark and terrible things, and those forces that made her the enemy of the Night. Davos watching her collapse into nothing, her race run, her battle won, was not the obvious Stark-forgives-Theon redemption, but it was something deeper. It was a kind of grace.
Not that I’d expect a dim ideologue to understand that, or if she did, acknowledge it. Her purpose is not to consider such nuance, but to blurp out screaming clickbait and turn everything into a reflection of her religion ideology by ham and by fist. So really, these first two aren’t that bad. They’re obvious and predictable and so far off-base from the show they’re ostensibly critiquing that they aren’t even wrong.
No, I’m talking about the rest of you.
The fans.
The ones who, 8 seasons in, are still SURPRISED when this show doesn’t do what you think it will do.
The ones who are mad at the way the Battle of Winterfell turned out, because in your head it was going to go a completely different way. Because in your head, you had it all figured out. Just like you totally saw the execution of Ned Stark, the rebirth of dragons, the Red and Purple Weddings, Tyrion’s Trial, and everything else coming. Yup. So transparent, this show is.
The Game of Thrones subreddit is full of whining salty tears because the WHOLE SEASON IS RUINED NOW. That whole plot was The Plot. That Villain was T*H*E Villain. It was *SO* obvious, you guys.
And yet, it isn’t. And yet, something else is happening.
When the story is over, you can critique structure, methods, character and purpose. But the story is the story. The Night King is dead because that’s the story in the hands of the showrunners. And it’s folly to complain about what happens in the books because a) the show has been deviating from the books for several seasons, and b) the books are unfinished, and likely to remain so for some time. So any expectations built off of the books are doubly irrelevant. The show is speedrunning to its own conclusion.
And of course, reserve the right to be disappointed by that ending when it does come. Reserve the right to critique everything once we have a complete saga. That’s legitimate. What’s not legitimate is confusing the show as it exists with the one you’re imagining in your head.
I actually finished Season 3 of The Man in the High Castle, which I had been seriously anticipating for a while. People who were also fans told me it was something of a disappointment, and actually a chore to get through. This proved to be right: I watched the season in shortish binges and the whole time found myself wondering why anything was happening. There was a general lack of overarching narrative/conflict, such as Season 2 had. Now that I’ve watched all 10 episodes, I have nothing but questions, and not the cliffhanger kind, that you want answers to. These are the kind of questions that I suspect all have the same answer.
I should also point out that I have a copy but have not read the novel by Phillip K. Dick. I’m thinking I might read it now. It’s long, but I can do it pretty quickly.
So, before I continue, let me just leave a big old banner that says…
I think the problem lies in two elements: 1) the economic need of TV to fit Content to More Seasons, and 2) the habit of High-Concept dramas to use Gotchas.
As I discussed here, the economics of TV, requires that storylines get stretched out over longer and longer seasons, because successful TV shows need to keep going so they can make their producers money. This is what happened to How I Met Your Mother: a concept and ending that would have worked well enough had the series closed after 6 seasons became completely unbearable after 9. So probably High Castle is in a busywork/stretching phase, giving characters “something to do”.
The other thing is a habit that Prestige Television likes to do to viewers, which is to say, sucker-punching with a sudden development or death. Just when you think you know what’s going on, boom, here’s an assassin or explosion or tap at the shoulder and NOW EVERYTHING’S DIFFERENT WHOAAAA.
Hence, Joe Blake and Franks’ death. Hence, Helen’s abandonment of John Smith in the last episode. Hence, pretty much everything.
Hopefully Season 4 will be better. For now, I’m gonna read the book.
