Warning: Spoilers ahead for the TV series “The Travelers,” “The Umbrella Academy,” and the movie Interstellar, as well as The Time Machine, Star Trek’s “City on the Edge of Forever,” and Oedipus Rex. Plus thinking about things that make your head hurt.
Old English poem The Wanderer and Bernard Cornwell’s Saxon Stories
The Norse understood about Fate because their worldview envisioned Norns, Weird (Wyrd) Sisters who controlled all that happened, weaving the giant tapestry of our lives. The sisters represented what was, what is, and what is to be. One Old English poet summed it up in that “weird” saying: Fate is unalterable. The Greeks understood it, too, at least the ones that told the story of Oedipus.
Science fiction writers are kind of on the fence.
Recently, I have been binge-watching series that happen to address time travel. We’ve gotten so used to this as a subject that we take for granted certain conventions, namely that it’s possible in a sci fi story to go back and change something in the past to alter the future. But what if it turns out that isn’t possible? What happens when Wyrd bið ful aræd — the idea that the future can’t be changed–smashes into the quantum technology that allows movement through time? Time travel, meet the Norns.
We seem to be so grouchy about our entertainment. There was so much grousing about the 92 Academy Award nominees and the awards show itself, you’d think the entire world was forced to take a spelling test and file their taxes at the same time. There’s not enough diversity in the nominees. There’s too much diversity in the production numbers. There’s too much politics in the acceptance speeches. Don’t like that host. Don’t like not having a host. The ceremony is too long. They shouldn’t have cut off the speech from THAT person… The Academy Awards seems like a microcosm of our American politics. No one likes the process or the outcome, except for the ones we agree with.
Thoroughly NonAmerican and Violent
In the interests of full disclosure, I did not see Parasite, which won Best Picture. It also won Best International Film (note the change in language from the old “Best Foreign Film”), Best Director, and Best Adapted Screenplay. This was the first time the Best International film also won this distinction and the first time the Best Picture was in a non-English language. Seems especially ironic in a country immersed in a war over whether to expel everyone not from ‘Murica.
In 1968, if you were off from school in Detroit on a weekday, you might start the day at 8:30 am with Rita Bell’s Prize Money Movie where she would dial for dollars during commercial breaks from black-and-white-movies. It just had to get you to 10:30. Time for Jeopardy.
Last night, Jeopardy completed its “Greatest of All Time Tournament” in riveting fashion as nearly 20 million viewers watched a trio of America’s fastest trivia buffs duke it out for a million dollars. It’s strange to think that you’d spend much of your life watching a particular show, seeing the drama of life play out in questions and answers, risky wagers and eye-popping pull-out-of-your-fundament responses. The players have aged; the hosts have aged; I’ve aged. This is no longer television. This is mythology.
The Game Before Alex
It may seem like a tangent to go back to the first rendition of Jeopardy, which ran on NBC from 1964 to 1975, then again from 1978-79. But, in a way, Jeopardy saved the quiz show, bringing respect back to fact-based questions following the scandal of the 1950s, where contestants were fed correct answers in order to boost TV ratings. In the early 1960s, game shows had switched to focusing away from trivia, where contestants guessed dollar amounts (Price is Right), played simple games (Concentration), or performed silly physical challenges (Beat the Clock.) Jeopardy was the first where contestants had to demonstrate knowledge more than luck and where the answers were more interesting than the banter between barely known celebrities.
Shakespeare is my jam, which is why I particularly like summer with its Shakespeare Festivals popping up in every district park and on every street corner. I also just finished a class, which knocked me on my ass, filled my head with iambic pentameter, and turned a lot of my bardic understanding upside down. Isn’t that just like a comedy?
There’s nothing like a good lusty Elizabethan comedy – boy falls in love with girl at first sight, girl dresses up as a man, twins get mistaken for each other, bears and donkeys gambol in the forests, and they all get married in the end. Eighteen of Shakespeare’s 38 plays had the comedy label slapped on them by the playwright’s buddies who helpfully subdivided his plays the early folios. We all learned about those divisions in school: comedies end in marriages and no (usually) deaths; tragedies center around a protagonist whose flaw causes mayhem and his own death; and histories were about the kings.
Yet comedies aren’t so easy to categorize. In fact, the last five chronologically are often recategorized by modern scholars as “romances” because they contained tragic elements. But, then, there are the three middle comedies, written before the romances, which have also been called “problem plays.” They are problematic indeed.
I had the opportunity to watch both the 1963 Cleopatra and 2019 Godzilla, King of the Monsters this month and found myself loving them both. They share eerie parallels. Both are expensive movies, which also were wildly popular despite getting horrid reviews. Both reflect on the past and are engrossing films, even if you bring no prior knowledge to the viewing. But both really pay off if you know the history outside the story and let that backstory clothe your experience, almost like an extra dimension. Trashy pinnacles of cinema; perfect for summer watching.
History shows again and again How nature points out the folly of men…
Blue Oyster cult
The 26th Most Expensive Movie Ever Made
By the time Cleopatra premiered in 1963, the film had overspent its $5 million budget by somewhere between $20 and $39 million. The lavish Roman epics that were popularized in the 1950s were driving up costs, but films like Ben Hur, which were costly and well-received, paved the way for Cleo. Variety puts the ultimate cost of the 1963 Fox epic at $44 million, so even before it came to the screen, it was rumored to be a disaster. Cleopatra was a huge box office success, the highest-grossing film of the year at $57 million, but was considered to have lost money. As you watch the scene where Cleopatra enters Rome on a giant barge, flanked by hundreds of costumed dancers, you can’t help but hear *ca-ching* with every painted golden trumpet.