We're here to do business, not to judge them." Victoria takes an interesting detour to address the international relationship of the monarchy and also to repair the bonds between Victoria and Albert that have been broken since their traumatic experiences. Victoria has gained new momentum in her acquisition of knowledge to better serve her country and to gain the political skill that she has always needed. Prince Albert, on the other hand, is still suffering from the shocking new he received from his Uncle Leopold about his true origins.
The political spectrum has been pretty null and void in this series so far, and it's nice to finally at least mention the consequences of marrying and allying with the wrong people. As usual, Victoria is willing to be unconventional in these matters and sends a direct message to Louis Philippe, arranging a personal meeting. Whilst always loyal to his wife, Prince Albert is less than enthusiastic about the trip, considering the reputation of the French as being rather blaze about their fidelity. Their visit is riddled with complications, especially when Victoria feels self-conscious about her appearance compared to the French Court ladies. There were a lot of small details to treasure this episode. Dame Diana Ring as the Duchess was delightful as always, spouting brilliant insults at the country she claims to be godless. Her delight at returning to England to enjoy a familiar meal was wonderfully observed and acted. Albert's self-portrait was a great bit of introspection for his internal conflict about the nature of his heritage. Also, Victoria taking along her bag inscribed with Dash's name was a nice touch and reminds us that despite her ability to accept her losses, Victoria still remembers those who matter to her. Unfortunately, the story becomes distracted by whatever Daisy Goodwin has planned for Lord Alfred and Drummond. There have been a lot of hints about a taboo relationship between them, but that is all. Equally, Prince Ernest's presence is only minimal, and I'm starting to lose the thread of his role in the story, except as a shoulder for his younger brother. The script is also quite sloppy concerning some of its characters, concentrating far too much on formalities rather than proper interactions between dignitaries. I did, however, like Albert's final, convincing story, whether it was a successful convincer or not. Lavish in production, Victoria has never held back on its appearance and decor. The royal palace in Paris looks wonderful and all the costumes are incredibly extravagant. There's no doubting the effort is creating the perfect scenery for its many characters, and the attention to detail in traditional French customs must be commended. I doubt this will change as the series continues, but I do hope we concentrate more on the larger picture plot-wise, instead of rediscovering the characters in troubled situations. The character development is good, but too much and we're left in the dark about the actual history of this time. As an aside, Jenna Coleman has no need for make-up to improve her complexion. 7.5/10
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The longer you wait, the more it’s going to feel like committing a whole murder. I think your arm just called it too early because it wasn’t the arm of a paramedic." Following on from such a high-calibre, clever and hilarious premiere was always going to be difficult, and yet this show somehow manages to maintain its reputation as a free-flowing, bad-mouthed torrent of burps, insults and wild diversions. Rickmancing the Stone is a comparably low-key episode than usual, but it balances both the ramifications of Jerry's departure from the family and a new world (parody of Mad Max) with skill. Indeed, all the characters have certainly changed, although Morty continues to exhibit long bouts of undignified distress. Summer is the character who has changed most of all - maturity has hit her full in the face as she attempts to compensate for the loss of her father by shacking up with a bucket-headed, bare-bottomed nihilist with a vanity problem. Rick, concurrently, seems to be the most stressed of the trio as he attempts to keep his daughter happy with robotic replicants of her children and himself, whilst attempting to acquire a natural source of power inside glowing-green minerals. In brief, a typically bonkers episode of Rick and Morty with many a dark twist.
Despite being ejected from his home and his family, Jerry plays a big role in the episode, as the catalyst for the numerous feelings his family exhibits. He has never quite been in tune with Grandpa Rick's unconventional way of life, but in this Universe at least, that's what being Jerry constitutes. Father figure or not, he is still the nincompoop who dared to ask a Meeseeks to improve his golf - sheesh. However, despite Summer's sudden meandering into a post-apocalyptic society, when she returns to her own dimension, she has thought to give her father a visit - even if it is to teach him a lesson in moving on. Character-building aside, I am interested in the ghostly voice that seems to be following Jerry around the place, every now and then whispering 'LOSER'. Our role model and searcher of Szechuan sauce, Rick himself, was on top form as usual. Disregard for the societies he joins continues to be a staple in his life diary. The concept of a society powered (and controlled) by a naturally-occurring mineral is intriguing, but this is not the most original part of the episode, and neither is it the story under the spotlight. Whilst he does love to compliment Summer for her rapid progression into psychopath, he does feel slightly burdened in knowing that his daughter will not be pleased to see her daughter with a penchant for violence. His laughable attempts to convince her of her children's safety is hilarious. Never have there been truer words spoken by a robot than that of Morty's replicant as he attempts to spill out his unwavering love of living a real life. This is Rick and Morty at its darkest. Summer's transformation can only be described as sudden as she impulsively joins a band of ragtag warriors who have nothing better to do than drive around an endless desert in their underwear. One of the funniest scenes is the leader of Death Stalkers unmasking to reveal an impromptu moustache. If there's one thing that writers team of Rick and Morty are good at is making the smallest detail explode with laughs. Later in the episode, the parallels with real life are uncanny as Summer has married her new lover and is living in a nice suburban house with a council that has great thought for its recycling. However, divorce is imminent as her marriage has reached the point where bucket-head is mesmerised by the television and hasn't moved all day. Quite suddenly, Summer decides to get a divorce, and simply escapes the dimension with her grandpa and brother while stealing his only source of power. In my opinion, Morty's story is the most meaningful as he grows a close relationship with...wait for it...an arm. A heavily-muscular arm at that. In the darkest turn of the episode, a reawakened arm, infused by Rick into Morty, intends to exact revenge on the soldiers and King who massacred his family. The metaphorical message here is that the arm represents Summer and Morty as they independently act regardless of their ties with the family. As his new companion attempts to strangle the (rather hateful) man who gave the order for his family's death, Morty realises that by constantly leaving the house, they are merely making things worse and causing their family cohesion to be irreparable. Rick's gizmos are there to save the day once again as they return home with a new power source, but there's something amiss here that I suspect the writers are hinting at, but not telling us as of yet. This was a rather isolated adventure with a subtle lesson for Morty and Summer - and Summer quickly learned from her mistakes. The question now is: will they continue to join Rick on his adventures through the multitude of dimensions, or have they finally learnt and understood its imminent danger? It will probably be the former. 8/10 Pins for the bones. Threads for the muscles. Paint for the skin." This is a nice way to tie up the loose threads that have been hanging for the last three episodes. We take a lingering look at Laura Moon's story starting from her first meeting with Shadow at the casino, all the way up to present time as Shadow finds her waiting for him following her death. Due to the unconventional tone of this story, many may be confused as to the nature of her return (myself included). Her meeting with Anubis was cut short following the car accident as she was sent back to the real world a walking zombie. For what purpose and to what end, we may find out later.
As an introduction to Laura's story, this is great setup as it gradually adds in the background scenes that we've heard about, but never experienced. The relationship between Shadow and Laura, especially, is one of lust and danger. Considering the moment they first meet, Laura quickly learns that Shadow is attempting to rob the casino, something that she quickly leans to after much thought and deliberation. However, when Shadow gets caught and sent to jail, she struggles to find that danger again. The affair with Robbie was the one thing that sated her dangerous personality, and that's what killed her in the end. It's interesting that it was her affair that killed her. One of the important things we learn about the proceeding events is that Laura was the one to cut down Shadow from the tree after an attempted hanging by Technical Boy. If Shadow is about to become aware of this, the question now is whether they'll start falling in love again. I don't exactly see how this could happen, considering the unconscionable betrayal she performed in her past life. But, now that they're both trapped in a supernatural world, whether nothing is as it should be, there's nothing to stop their relationship from flourishing again. Thanks to excellent foreshadowing and a effective performance from Emily Browning, this was a great exposition episode that gave the audience some more information to understand this confusing story. I also continue to enjoy the visual aspect of the direction - that fight scene involving Laura and the faceless assailants is possibly one of the most artistic scenes yet. Despite relying too much on one character and filling in the gaps of a story we're already familiar with, this episode had thematic resonance that will no doubt help define future episodes. As an aside, I'd like to highlight the use of the 'bug' or 'fly' symbolism. Many series have used this representation before - I can name Breaking Bad and One Foot in the Grave - with something that refers to futility of a fly. As the bottle of 'Git Gone' was discovered in heaven with Anubis, Laura was sent back to her old life - symbolising her idea of the fly - something irritating that you can simply spray to kill, but there will always be more to replace the first. 8/10 We remember what's important to us." I don't think I've watched anything as weird or as indulgent as American Gods. As I've said before, I'm not well acquainted with the novel, but from past experience with Neil Gaiman, he does have the ability to conjure up some far-out concepts. Head Full of Snow demonstrates that boundless imagination quite easily in a story that tells of the god, Anubis, taking a victim to their heaven, a man meeting a Jinn who doesn't grant wishes, and the most unlikely duet robbing a bank. You couldn't make this stuff up - and yet Neil Gaiman has. It's like science-fiction, fantasy and reality all rolled-up together.
The good part is that there's some great character work and the visual aids are so well done that it's hard not to be immersed in the spectacle. The bad part is that three episodes in, I'm still wondering what the hell is going on. Clearly, there's a whole host of god-like beings scattered across the United States, as is self-explanatory in the title. But their respective roles in the wider picture are still unexplained. How do all the Gods that we've been introduced to so far play into the story of Mr Wednesday and Shadow Moon. What overall influence do they have on the story, if any at all? Hopefully these are questions that will be answered soon, but I desperately worry that I'm going to lose the thread along the way before it's given. From what I can gather, Mr. Wednesday, or Odin, is gathering a group of other powerful allies to face up against this modern god, Technical Boy. If it's that simple, why does this feel so complicated. In truth, there's significant lack of coherence to the story. Shadow's journey is a fascinating one - his connection with Zolya, the girl who was supposedly locked in her room in the last episode, was a great way to allows Shadow to change his mind and fight for his life. But, without any clear explanation as to the Wednesday's intentions, there's no meaning to anything that happens. Granted, the scenes outside the bank were cleverly done, and with the snow coming down too - it was all beautifully shot. However, what is this leading to? With Shadow's wife now back from the grave, things appear to be looking even more mad. Once again, I enjoyed the opening sequence. It was played sarcastically and with a bit of comedy involving Mrs. Fadil's cooking. Those landscape shots in the desert after they'd climbed the seemingly endless steps into the clouds - it was a mesmerising use of visual effects. I would also like to heavily praise the acting. Everyone involved are catching the mood perfectly. McShane is just the right amount of humour and candidness, while Shadow is just the right amount of stubborn and grumpiness. Everyone allows their characters to shine individually - each with their own defining traits. I'm still intrigued as to how this show continues and when exactly, within its self-deprecating madness, will it start to form exposition. The characters and beautiful direction may be enough for now, but soon I'm going to need something logical to tide me over. The symbolism regarding snow and the representations of gods are all there, it's just lost in a sea of disconnected plots. 7.5/10 There are bigger sacrifices one might be asked to make than going a little mad." True to form, American Gods is dark, twisted and a little bit bonkers. Honestly, I'm struggling to follow the thread and the overall message that the show is trying to convey, but the execution and total conviction of the acting is breathtaking. Following last week's dreamscape of twists and turns that not many people were expecting - this week opted to take back seat to proceedings and view them in a clearer, more sure-footed way. The combination of visual expertise and some fine performance from McShane and Stormare made for some eye-opening entertainment.
I'm loving the opening scenes. An introduction to a new God that has seemingly emigrated to America is a great way to usher in each episode, allowing us a taste of their power and a feel for their intentions. This week's covered Anansi, an African folklore, that convinced a group of slaves in the 17th century to burn down the ship that was carrying them to their perpetual incarceration. Whilst heralding racial themes, this scene also gave us a hint as to the motivation of this unusual God. Hopefully there's a connection to a spider in a future episode that links nicely to this. The monologue was wonderfully written, and was given inspiration in a strong performance by Orlando Jones. Meanwhile, Bilquis' conquest continues this week, with four new victims. The method with which she consumes her prey is unclear, but the imagery and mystery surrounding her entire person has such an impact that we're almost stunned into silence. Perhaps that collection of jewellery is a clue to the origin of her power. More exposition would be helpful, but in a show this independent and unconventional, that's a big ask. Two great scenes this week that really stood out for me; the first was in the superstore, when Shadow's shopping duties are interrupted by Media, played, to my utter surprise and delight, by Gillian Anderson. Anderson shows her versatility in giving us a character brimming with sarcasm and old-fashioned wit. Her primary existence is a mystery at the moment (as is everything on this series), but the concept of Media is clever, no doubt the original idea of Neil Gaiman. What person who owns an electronic device on this planet, doesn't believe it to be God? It's a tempting piece of technology that has easily captured us all. And now, Shadow has met the entity behind it all. The second scene of choice was the final one - a game of checkers between Shadow and Czernobog. Already represented as a mean-spirited, spine-chilling man of unusual talents, Czernobog has turned even more terrifying in his second outing, arranging to kill Shadow with his sledgehammer if he lost the game. Whether this deal was worth it or not to persuade this crazy character to join them on the road is now negligible as we wait for the hammer to fall. It's an odd cliffhanger, but an effective one. The only question is, where does the reality end and the fiction begin in this tricky and untempered show. Stormare is dynamite though, bursting with demonic hatred, and facial expressions that will always give you the chills. I'm giving this show the benefit of the doubt, simply because I'm enjoying the aesthetic of the visuals, and the original way in which this story is told. Regardless of whether the story is progressing cohesively, there's spirit there with the writers, and a rewarding passion from the actors involved. Something tells me that there's a big chunk of explanation that I'm missing, but it may be yet to come. Anyhow, I like American Gods for what it is - pure, artistic entertainment. 8/10 We have reprogrammed reality. Language is a virus, religion an operating system, and prayers are just so much fucking spam." Just to let you know to begin with, I have never read American Gods, and am not familiar at all with the work. The only Neil Gaiman novel I've read is a childhood favourite of mine, the Graveyard Book. Whilst it does propose the same wacky and unconventional imagery, it's far from as coma-inducing as this. Truly, much like Fuller's work on Hannibal, American Gods is a work of abstract art. It crosses the boundaries between reality and fantasy quite blatantly in almost every way.
I'm very fond of the opening monologue with the depiction of vikings landing on an unknown land for the first time and facing danger. It's suitably violent and superficial, but it seems typical of Gaiman's storytelling abilities. I'm guessing the message we get from this short story, whether real or not, is that gods want a lot of blood spilt before giving gifts to Humans. Seeing as I'm going into this blind as a story, there's a lot of hints I can see towards this God-like faith. But, I suppose, the question is, why specifically American Gods? Concerning Shadow Moon, I think Ricky Whittle is brilliant. He provides a sense of loss and innocence to his role that makes me empathetic towards him. Conversely, Mr. Wednesday, played eclectically by Ian McShane, is complicated and uncertain. What his role might entail in this many-threaded show is temporarily hazy, but it's mysterious enough to keep me guessing. The rapport both characters share on screen is polar opposite, but exciting, and I can't wait to see their relationship flourish. For Shadow, it seems his life has turned incredibly sour, with the loss of his wife and friend, made more bitter thanks to an uncovered affair between them. The premiere paints a very bleak picture, but at least there's enough humanity to keep us anchored to the story. The most-talked-about scene is pretty obvious considering the context. In what is possibly a both bizarre and uncomfortable situation, two single people meet for the first and seemingly hit it off. So much so, that they're already moving to the bedroom. This rapidly unfolds into an insane sex scene where the woman, Bilquis, demands that her lover worship her as a goddess. This recurring theme indicates to me that this woman probably has a vital part in the unfolding mystery. This hunch is doubled when Bilquis appears to completely absorb (if that's the right description) her lover. It's a graphically filmed scene, and shocking to say the least, but it communicates to the viewer a specifically horrific power. This is no ordinary show, and its originality will be its success no doubt. Unfortunately, the second half of the premiere suffers from a dragging effect as we are introduced to three new characters; namely Mad Sweeney, who has a predisposition for violence; Audrey, who is suffering from the betrayal of her husband and best friend; and Technical Boy, who has already pinpointed himself as the possible hostile entity of the show. It's a lot to take in, and with so little exposition, but its enough to keep me rooted as I learn earnestly about this fascinatingly disorganised world. As an extra point, I would like to particularly commend the production team for the visual aspect. Graphic and uncomfortable at times, yes, but it's a testament to the artistic nature of the scenes that makes the audience react in such a way. The opening sequence, final sequence and use of symbolism especially raises the bar for the visual aesthetic. I hope to see more of this craft later on in the show. 8/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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