Short films can find it hard to attract a wider audience, so it’s cool to see Netflix promote a big, splashy showcase of animated sci-fi shorts. Sadly, Love, Death & Robots feels much less cool and boundary-pushing when you take a closer look. Curated by Tim Miller (Deadpool) and David Fincher (Fight Club), this anthology is full of gratuitous onscreen sexism—and blatant gender discrimination behind the camera.
I did watch this on Netflix, and I actually enjoyed a few of the shorts featured as they were written by one of my favorite authors, John Scalzi. John Scalzi is not known as an especially “edgy” type of writer. In fact, he’s very progressive, so those shorts seem incongruous next to some of the other, more violent, shorts in the anthology. But this article is correct in stating that in every short that featured violence, female sexuality and nudity was associated with it, and in every instance of female nudity or sexuality, there was an extreme amount of violence involved in that story. In some of the stories the two occur simultaneously.
In all fairness though, not all of the short films feature either topic, and some of them are actually worth watching. Most notable were:
The Day the Yogurt Took Over was written by Scalzi from his anthology titled Miniatures. It’s hilarious.
Ice Age was very interesting. I enjoyed it a lot.
Fish Night is a story I remember reading, in another anthology, a couple of decades ago, and the story just stuck with me.
Lucky 13 was one of the better Scifi stories, and has a Black woman as the lead character.
Three Robots was really cute and it has cats, so some of you will definitely like it, and Suits was frantic and suspenseful.
But the story that affected me the most was Zima Blue, which I consider one of the best stories in the entire anthology. It was emotional and though provoking.
The Wired is a lot more damning of the show than I am though:
Netflix’s Love, Death & Robots is sexist sci-fi at its most tedious
It’s not just a male gaze that ruins Love, Death & Robots, it’s an adolescent male gaze. The sex scenes are so bad they’re funny. At times, the dialogue is borderline farcical. All too often the series leans precariously on visual tricks – and while the worlds created here are vast and vivid, the plots are often non-existent.
Sadly, this is the final season for Into the Badlands. It was not renewed for a fourth season on AMC, and surprisingly, I’m okay with that. Into the Badlands was groundbreaking in so many different ways, and I really did love the show, despite how it treated its one Black female character in season two, (and I explained in a previous post why that didn’t stop me from watching the show), but most especially in its representation. It had an Asian male lead, adequate representation of women and Black people, in an alternate future timeline, and the show has the distinction of having the only Black/Chinese- American woman, Chipo Chung, kicking ass on this show.
I’m okay/ not okay with the cancellation, because it will be followed by a first class runner up: Warrior, which is airing on Cinemax. I gotta get my Martial Arts fix! Warrior is an homage to Bruce Lee, featuring a concept he came up with early in his career (and eventually became the show Kung Fu), but was not allowed to implement, because Hollywood had no fucking idea what to do with Asian men back then, except mock them or erase them. I’m a huge Bruce Lee fan, so I’m here for it. The representation is beautiful and accurate for the time period, and its just nice to see more Asian people in TV shows, (although now we probably need to see fewer of them doing something besides Martial Arts and Comedies. Hi, Sandra!)
Warrior is a complicated show, with a lot of depth and detail. Its based on an early idea Bruce Lee had for a story about a man from China, wandering the American old West. This was basically the premise of the show Kung Fu, which starred David Carradine, about a Shaolin Monk named Caine. Actually that idea was stolen from Lee, it generally lacked Asians, and when they were present, it was only in supporting roles, in a show that was supposedly about Chinese immigrants. David Carradine is not Asian, btw.
This show is produced and directed by Justin Lin, of Fast and Furious and Star Trek fame, so I expect the most out of this, since I like Lin, and think he’s a good director, and he mostly does not disappoint, The show is very dense with meaning and action scenes. You don’t need to know anything about the history of San Francisco, Chinatown, or what was going on in China, to watch the show, but it helps if you have a little bit of grounding, and pay close attention to what the people say on the show, because they talk about things, even though all the ass kicking is distracting. It also helps if you’ve religiously watched any of Bruce Lee’s movies, because there are more than a few very nice Easter Eggs. That outfit, for example, that Ah Sahm wears below is a callback to the outfit Lee wore in The Big Boss, (although in all his movies, Lee’s shirt gets artfully torn off. Later, Ah Sahm’s shirt gets artfully torn off, too.) I don’t know if that actor is deliberately channeling Lee’s acting/ fighting stances, but he looks great doing it, and it made me smile.
The series is based on the real life events of the late 1880s, in Chinatown, when there were a series of Tong wars, mostly over the Opium Trade. At the time, in China there was the aftermath of the Opium Wars, and the beginning of the Boxer Rebellion (against the Qin dynasty). Into this stew of rivalries, steps Ah Sahm, a Martial Arts champion of some kind, who is in America looking for his sister. He finds her in the first episode, so that mystery is out of the way, but she wants nothing to do with him. She has a traumatic past, and current secrets, like being married to the leader of a rival Tong than Ah Sahm works for, secretly working behind her husband’s back with an American, who wants to keep Chinatown destabilized, and going out at night as a vigilante to kill White men who harm Chinatown citizens. (At least I think this is her, or perhaps a character we haven’t met yet.) Her dance card is pretty full, and the last thing she needs is an appearance from her wayward brother, trying to save her. Plus, she hates him.
In fact, a lot of the women in this show live in complicated circumstances. The pretty blond wife of the town Mayor, (I think her name is Buckley), hates her husband, has compassion for the Chinese, and is having a very open relationship with his secretary, or brother, or somebody , who lives in their house with them. It is unclear if he approves of their relationship, although he most certainly knows about it. Oh yeah, there are a lot of bare titties in this show, so be aware of that, if you’re letting your kids watch this, although I suppose if you’re letting them watch all the hyper-violence and cussing, you should not have a problem with female presenting nipples. (There’s equity, too, as plenty of male presenting nipples are also on display. Okay, it’s mostly Ah Sahm.)
The show starts off with everyone speaking Cantonese, and gradually, during one long take, they start speaking English. That was done so smoothly, that I missed it the first time. The residents of Chinatown have their own English language terms, their own slang, and it can be hard to know what some things mean. You pretty much get thrown into the deep end on this show, and if you’re not of Chinese descent, it can be a little overwhelming. Even though I know a little something something about Chinese history, I was still having trouble keeping up, having to watch the episode multiple times.
The title of the epis. is called The Itchy Onion, and I’m not sure what Onion means, except it’s a slur that some Chinese people were calling one another in the show. I know a slur when I hear one, and that’s exactly what it is. An “itchy” one is the equivalent of the Black people version of the word “froggy”. As in , “Do you feel froggy? Then you just jump!”. Its a call out to a fight. And conveniently, Ah Sahm kept getting called out by everyone he meets. Some challenges he backed down from, but others he just jumped right in with gusto. Most especially, the first fight of the show, when he first gets off the boat, as he totally thrashes a trio of bullying White bigots. I stood and I applauded, because that is such a Bruce Lee thing to do, he could have written that scene himself. If you’ve watched any of his movies, then you know he hated bullies, and always stood up for the underdog.
And what glorious fight scenes we get! I’m telling you, I was tired after watching this show. Ah Sahm has several fights, all of them well done, and very cinematic, rivaling any scene in Into the Badlands. He also kinda has a big mouth and is well aware of his skills.
Where the show falls flat is in the depiction of its female characters ,and some of the White characters are less than compelling. One of the most interesting of that group is a White police officer, who emigrated from Georgia after the Civil War, named Richard Lee, and played with a very genuine sounding Georgian accent, by the very British Tom Weston-Jones. What is is with English men and Southern American accents? Anyway, he volunteers to be amember of a Chinatown Detective Squad after several of the residents are murdered by angry Irishmen, who are concerned about losing their jobs to foreigners. He is the only cop on the force with integrity apparently, and he does have some ass kicking skills himself. I’m looking forward to watching him team up with or face off against Ah Sahm, cuz you know it’s coming. They will probably team up though, because while Bruce was angry about a lot of things people did, he also believed that cooperation and unity between the races was a good thing, and he championed that in several of his movies, (most notably, Enter the Dragon.)
There’s a wealth of information out there about Bruce Lee, and an 8 part video series about the making of the show. Each video is only about five to ten minutes long, but if you want to know more about Bruce Lee’s ideas about life and the show, there are several documentaries floating about Youtube, so check those out:
The Twilight Zone
I mostly skipped the first episode of this season, which seemed to have a The Shining vibe to it, as a man, Kumail Nanjiani, sells his soul and life in a comedy club. Its creepy and haunting, but didn’t really hit me much, even though Tracy Morgan gives a great performance, 0009199119299
and I’m not particularly interested in shows about comedians. I did watch the second episode, and I really enjoyed it, although I think it went on a wee bit longer than it needed to.
The second episode of the Twilight Zone, Nightmare at 30,000 Feet, is an homage to one of the every first episodes of the original series, and Jordan manages to pull this off very well, without me being able to predict what’s going to actually happen until a few minutes from the end, even though you’re told what’s going to happen at the end. The original story, Nightmare at 20, 000 Feet was written by Richard Matheson and starred William Shatner, and I thought this episode would be a retread of that story. In the original story, one of the passengers sees a gremlin tearing apart the wing of the plane. He has a panic attack, while trying to convince everyone on board that there is a monster on the wing. This episode also managed to make its way into the Twilight Zone (one of my favorite) movie and starred John Lithgow.
In this remake, they change the story up a bit. Just as in the original, you sort of travel around the cabin meeting various odd characters, as the lead character slowly loses his shit, as he becomes aware that something is wrong with the plane.
Justin Sanderson tries to avoid Fate when he finds a listening device on the plane that is cued up to a podcast that discusses the loss/crash of the flight. He spends the rest of the episode trying to convince people that the flight is doomed, or trying to stop it, which, when you think about it, isn’t really his responsibility. This was more than a little frustrating to me, because I know the rules. In trying his best to stop it, he ends up causing the problem, and I could have told him that’s how Fate works.
Before this, we get treated to some nice foreshadowing on the number 015, and he argues with his wife about the PTSD he’s been experiencing, after witnessing some shit go down in Tel Aviv. This gets the audience to question his sanity. So we learn a lot about him through dialogue, and he’s not an unlikable character, but there were times I wanted him to just sit his ass down, and stop trying to help, because I just knew HE was going to be the reason the plane crashed, and I also knew it would have something to do with that “extra” character on the plane, with speaking lines, who appears to have no actual purpose. But none of this weakened my enjoyment of the episode becasue it was just fun.
The character that does end up crashing the plane, a drunken ex-pilot named Bob, was someone who felt really off to me the moment I saw him. I was immediately suspicious of his presence on the plane, especially since he was so friendly with Justin, for no reason, and most especially after he said he was a pilot.
There’s a funny little moment when Justin confronts a couple of Sikhs, and tries to get them to stop speaking their language out loud, or people would get suspicious. They just roll their eyes at him and tell him they’re not Muslim, and to go away somewhere, which I thought was funny/but not funny. Jordan always makes sure to mention some social issue we’re currently dealing with in all his horror stories, and Muslims on airplanes is something (White) people are still freaking out about in the US.
Jordan is very successful at upping the tension, especially in such a confined space, so in that sense, its as good as the original episodes, and well worth giving it a watch. And if you know little factoids about the original episode there’s some nice Easter Eggs in it.
But what stood out for me is Jordan’s summation at the end of these episodes, in which he seems to be channeling the full spirit of Rod Serling. Standing there in a suit, holding either a glass of wine or champagne, with Serling’s vocal mannerisms intact, this is more than a little creepy, and kind of funny. I’m so used to him being a comedian that I just expect him to burst into laughter at any second, as if he was just putting me on. I couldn’t help a nervous giggle.
For some reason people are so surprised at Peele’s turn towards Horror, and how he is so successful at it, but these must be people who didn’t watch Key and Peele. Peele has an almost encyclopedic knowledge of Horror movies, and he was forever referencing them on the show.
In fact, a lot of the comedy on the show was clearly horrific, with a punch line tacked onto them , like the episode, Das Negros, where two Black men in whiteface pretend to be Nazis in order to hide from a Nazi officer looking for victims of the Reich. It’s a terrifying idea by itself, and it’s full of tension, but made hilarious by the idea that the officer is dumb enough to fall for their bad makeup jobs, and his silly stereotypes of Black people. Peele seemed to fully understand the idea that fear and laughter both spring from the same fountain, and can be turned towards one or the other by the addition of the ridiculous. In the Twilight Zone remake, the tension and horror are still there, but the ridiculous has been removed, leaving a distinct unease.
I have four other social thrillers that I want to unveil in the next decade…The best and scariest monsters in the world are human beings and what we are capable of especially when we get together,” Peele said. “I’ve been working on these premises about these different social demons, these innately human monsters that are woven into the fabric of how we think and how we interact, and each one of my movies is going to be about a different one of these social demons.”
I’m so looking forward to Peele’s next work and the rest of his career. I’m also looking to the far future when he starts making those Dramas, that, like with Cronenberg, I know live somewhere in his mind.
I am officially no longer reviewing or watching The Walking Dead.
I’ve been standing up for this show through all eight seasons, through all the shows racial problems, and through all the death, but I simply can’t take this show anymore. Don’t get me wrong. The show is still compelling. It’s still addictive. But I gotta find something else to watch.
I’m a very emotional viewer. When I watch a show, I really get involved with the characters, and plots, and settings. Yes, I’m one of those people who yell at the screen. I look for attachments to certain characters, (I still love Michonne and Carol, btw), and checking in, to see what some character is doing, is a large part of what keeps me watching a show. But I think last week broke me. I think perhaps this was simply not the kind of show I should ever have been watching in the first place. I got presented with characters adventures, and I wondered about their futures, and I cared about them, and too many times, I’ve had those imagined futures cut short because a character got brutally killed.
I’ve never re-watched a single episode of this series.
NOT IN NINE SEASONS!
That says something.
When I don’t want to revisit a show I’ve been watching, for eight years, that means something . I’ve re-watched episodes of X-Files, Star Trek, Farscape, Firefly, and Supernatural numerous times. I love to go back and revisit favorite episodes, as if they were the first time I’ve seen them. They’re fun, and I like visiting with the characters, and remembering why I liked them the first time.
I don’t do that with this show. There’s no point in remembering the fun times with a character knowing that their future is a brutal and pointless death.
I managed to get through so many deaths on this show. I realize that’s almost the point of the show, but when you’re going through personal shit, and political shit (as a Black woman both can take its toll on you) when you watch a TV show, that can sometimes be a respite from your anxiety producing life.
The Walking Dead ain’t it.
Last week the show killed off so many characters, it was just emotionally devastating, in a way that the singular deaths weren’t. And it really did feel like something that was done for the spectacle. The show keeps increasing the number of deaths per season, sometimes pointlessly. The characters, all of them, their deaths were utterly meaningless, their deaths fixed nothing. The people who did it, did it on a whim, for some nebulous purpose I barely understand, because I don’t exactly know what The Whisperers philosophy is.
But Negan is still alive though….
This is a world that produces more than enough stress in my everyday life. I don’t need that type of stress from a TV show, too. I’ve found myself gravitating to more innocuous, lighthearted, less anxiety producing shows, comedy stand ups, and reality cooking documentaries. I’m just not emotionally equipped right now to be watching shows that are going to hammer my emotions every week. I gotta stop watching it just for my emotional health.
I knows some you been quit this show, and you had your reasons. I supported all of your reasons for that, because when a person quits a show, it’s personal to them.
I think, just like for a lot of other people, it’s time for me to leave the show alone.
This season has become a very interesting blend of the personal moments interlocking with the overarching plot, for a lot of the characters. We are re-introduced to Phillipa Gheorghiu , Doctor Culber, and Ash Tyler, as well.
In the first season we dealt with Michael’s personal traumas and how those traumas impacted the decisions she made throughout the season. Her life isn’t perfect, now. There still needs to be resolution on some of the issues of her childhood, and choices she made last season, so the writers are getting started on working on some of her childhood issues with Spock and her parents, and how these relationships intersect with the Red Angels in the series main plot.
We’re also dealing with the traumas and issues related to other characters and the show has experienced its first real death in the form of Airiam, the cyborg-like being who was a member of the ship’s bridge crew. We get a little bit of backstory on her, who she was, what happened to her.
The show has gotten a lot better at integrating all these plots into the greater plot of the show because last season some of the themes felt a little separated, to the point where some people were very confused about what the show was about, saying that it felt disjointed. Well, they’ve gotten better at it, because it’s impossible to talk about the other characters, and other themes, without relating them to events which happen in the main plot involving the Red Angels.
The Discovery is still on the trail of the Red Angels who keep sending them to different places in the galaxy, usually to resolve some issue that needs Starfleet’s immediate attention. Spock has had visions of the Angels since he was a small child. When we first met Spock he was a cute little six or seven year old, and his first meeting with Michael was not promising, as he closed his bedroom door in the face of the new sister his parents introduced him to. Later, through flashbacks, we find that he and Michael closely bonded, but after several murder attempts from Vulcan radicals Michael decided to run away from home to protect her family, and she emotionally hurt Spock to get him to leave her alone, an event which altered Spock’s perception of her and his own humanity.
In the first season we dealt with Michael’s emotional fall out of the Klingons having killed her immediate family, but this season we are dealing with the fallout of Michael having been attacked several times by Vulcan radicals, who were trying to rid Vulcan of humans, and destroy the diplomatic bonds between the two planets. This was mentioned somewhat in the first season in Sarek, and Michael’s flashbacks to her childhood while we dealt with the emotional repercussions of Sarek’s life choices regarding her and Spock, and the reparation of their estranged relationship. it turns out though that Michael’s actions are completely meaningless, as Spock explains to her that she is not the focus of the Vulcan terrorist’s anger. Its Spock, because he’s half human, and they are opposed to miscegenation.
This season we are watching Michael try to fix the relationship between her and Spock, and hopefully the two will be reconciled. Meanwhile, Spock is of major importance to Starfleet, (and a clandestine organization in Starfleet called Section 31), as he is the only being who has any knowledge of the Red Angels. Spock is on the run, after escaping from an asylum, after being accused of killing several doctors. When Michael finds him, he is mentally incapacitated by his visions, and it is up to her to decipher them, (and with the help of the Talosians) figure out how they are connected to current events. The Talosians are a race of strong telepaths, who are directly tied to Pike’s past and future, and are referenced in the original Star Trek episode, The Cage. I am really loving how the writers have fleshed out his character, because he has almost none in the original series. I really like him now, so when I went back and watched The Cage, it hit me especially hard.
I have a theory about the Red Angel that may have some impact on Spock’s relationship with Michael, and why they appeared to Spock, and only Spock, in the first place. It turns out that the Red Angels (at least one of them) is a woman, wearing a special suit from the future. A couple of episodes ago, the Discovery encounters a dying creature that the Red Angels led them to, whose explosive death creates some time repercussions for the crew, and Captain Pike, with many other characters receiving visions and information of the past and future, including Airiam, a cybernetic being who regularly uploads her memories to the ship’s core computer.
I think the Red Angel that Spock has known for most of his life, and nearly drove him insane, is probably some future version of Michael. The Red Angels always appear at the moment of some future catastrophe that the Discovery is supposed to prevent, which sounds exactly like the kind of thing Michael would do – trying to help the galaxy by heading off catastrophes, before they can happen, or save people during and after them. (At this point in the show, I have been proven both right and wrong about who the Red Angel is.)
As of this review, Michael and Spock have had some severely uneasy conversations regarding Michael’s selfish tendencies to shoulder responsibility for things that are not her fault, like her parents deaths, the terrorist attacks against her as a child, and the danger to Sarek’s family because of that, or fix problems that are not hers to fix, like Spock’s emotional issues. Needless to say, Michael does not like hearing these things about herself, but I agree with Spock.
From the beginning of the show, we’ve watched Michael try to solve everyone else’s problems, and fix everyone, in favor of ignoring her own needs. This is most telling in an earlier episode where Tilly is going through some extreme emotional event, but so is Michael as she has just had a fight with her mother, and rather than focus on her own problem, Michael tries to fix Tilly’s problem. his is a constant that can get a little frustrating at times, becomes it skirts too closely to the Mammy trope, (where a Black female character focuses her attention on solving the problems of the White characters around her rather than focusing on her own issues.) I understand why they are showing Michael like this. They are presenting Michael’s focus on saving other people as a character flaw that Michael needs to work on, but that doesn’t make it any easier to watch.
Spock confronts Michael, saying she is a martyr, who is always trying to save everyone, like Spock, Sarek, and her parents, even though she is not responsible for the situations they find themselves in. Michael has to acknowledge this when she is given the decision to kill Airiam, to stop her from uploading information that will bring sentience to an AI that wants to destroy the galaxy. Michael desperately resists killing her friend, and is saved from having to do so, by the security officer who opens an airlock to destroy her. But we can see in that scene of Michael desperately trying to save Airiam’s life, everything that Spock said about her, because not only was she disobeying a direct order from both Pike and Airiam, she was endangering her own life, and the lives of the entire ship’s crew.
There is also the subplot of Dr. Culber being alive again, and Ash Tyler, now a member of Section 31, being back on the ship. If you remember from season one, Ash discovered he was a Klingon (Voq) who had been genetically altered to look human, with Ash Tyler’s human personality as an overlay. The human Ash is dead, and this is who is left behind, the Voq personality having been expunged from the body. When he was Voq he killed Dr. Culber. Through the assistance of his lover, Stamets, and Tilly, and the spores (which is an entirely different subplot connected to Culber) he is alive and again and reconciling his after life experience with who he is and what happened to him. This is a situation that is not helped by having his killer on board. Culber does try to work out his grievance by kicking Ash’s ass, but that doesn’t work, and he is still very …discombobulated, I guess. As of the last episode, thanks to some counseling from several friends, (and Gheorgiu), he is beginning to grasp some idea of who he is, and what he meant to Stamets, but the two of them are still not yet reconciled.
As of the writing of this review, Discovery has been issued a renewal and we will be getting a Season three! I expect there to be a bigger ratings bump after the debut of Jordan Peele’s new version of The Twilight Zone, especially after the success of his new movie, Us.
This review is a little bit late because I’ve had some life interfering in my leisure time, but hey! better late than never, huh? I will be back at the end of the season to give an overview of what happened and my thoughts about it.
But first we need to have some behind the scenes discussion, just like in the show itself. Bryan Fuller is no longer the show runner for this season. He was let go after writing a couple of this season’s episodes.
American Gods is taking new steps forward today, though; Jesse Alexander, who worked with Fuller on Hannibal and Star Trek: Discovery, has been officially named as its new showrunner. Meanwhile, the six scripts Green and Fuller had already written for the show’s second season are allegedly set to be tossed out, with Alexander and Gaiman returning to square one as they fight to get the series back up and running for its anticipated January 2019 return.
The new show runners are the author of the book, Neil Gaiman, and Jessie Alexander (who is also now out). I’m not sure how I feel about that. I’ve never watched a show run by Gaiman before, but I am familiar with Fuller’s output. Those of you who watched last season are going to notice some differences in how the story gets told, and I am not confident that Gaiman will keep that same in your face attitude that was such a great part of the first season. Its possible the show may end up being little more than a lovely spectacle, but I’m not going to give up on the series just because Fuller isn’t on it. I’m really curious about what’s going to happen this season, and the show has already been renewed for a third, so even though I have some doubts that it won’t be as good as Fuller’s version, there might be other compensations. I’m sticking with it.
That Fuller is an openly gay man had a lot of influence on what was depicted on screen, most especially in the episode Head Full of Snow, where we met Salim and the Djinn. Fuller was also responsible for the many subtle layers throughout the season, as he is a master of subtext. There have already been some dramatic changes, because Kristen Chenoweth and Gillian Anderson left the show on Fuller’s heels, and the writers have had to accommodate that. So we do not pick up where we left off at the end of season one, and Ostara’s actions at the end of that season seems to have had little effect on the world.
Aside from a brief background news piece, this action has no clear impact on the world, and Easter has apparently turned her back on Wednesday because he ran over some of her bunnies.
And to explain Anderson’s absence from the show:
Meanwhile, the New God Media, who Anderson played with an overabundance of confidence as she threatened and cajoled heroes and villains alike, was apparently so shaken by Wednesday’s display of power that she’s gone into hiding to reinvent herself.
The story opens with Mr World bruised and battered, being ferried to a secret location by Technical Boy. Media has disappeared, after her run in with Easter, and TB is tasked with finding her by Mr. World. Mr. World is in this secret location to visit Argus, a secret surveillance site (and an old god of some kind, which is the reason Technical Boy is not allowed to meet him. Mr. World can spy on the old gods, thanks to the presence of Bilquis, and her tracking device.
In the meantime, all the gods we saw from the first season make their way to the House on the Rock, along with a couple of hangers on. Sweeney, Laura, Wednesday, and Shadow all travel in the same car and their proximity to each other is not easy. Sweeney hates everyone, and Shadow and Laura are not comfortable with each other.There’s a lot more of the book dialogue in the episode, as Nancy ,and Wednesday talk about the history of the House on the Rock. Neil Gaiman wanted more of the book to be on the screen and he has somewhat got his wish.
We are introduced to Kali, also known as Mama Ji who is one of my favorite characters from the book, even though she doesn’t get a lot to do beyond some ass kicking, and her speech in this episode. I hope we get to see more of her this season. As a human, she works in a local hotel, in the humble position of a housemaid. She argues that she doesn’t need a war because her position as an Indian deity is pretty strong, due to the influx of Indian immigrants to America. As am extremely powerful True God, in her own right, she argues that she is in no danger of being forgotten. Whiskey Jack and John Henry also get name checked.
Bilquis was sent by Mr. World to spy on the meeting of the old gods, and according to Mr. World, make her complicit in his act of betrayal later in the movie, which we’ll get to in a moment. Bilquis was chosen for this because she owes Technical Boy a favor for creating the dating app that has given her new worshipers, and she is definitely feeling her own power, (as we saw last season when she tried to seduce TB), and she is reluctant to do anything for the new gods. They need a way to keep her in line, and one their side, otherwise she is too powerful to control. So ironically, Bilquis ends up in exactly the situation that was talked about in the first season when she was exiled from her homeland, her sexuality now under the control of a men, to be unleashed when they only with their permission.
At the House, the Djinn, who is working security, is confronted by Salim, who tells him that he is following his heart and wants to stay with him. The Djinn wants him to go away because its too dangerous for him to get involved in this war. The Djinn issues everyone coins to a mechanical oracle as a kind of reverse entry fee to the meeting. Bilquis prophecy has something to do with Shadow because when she receives hers, she glances sharply in his direction. Notice the very warm greeting between her and Mr. Nancy vs. the one between her and Wednesday which is decidedly cooler, as she chastises him that she is older than him, and he neglected to invite her.
Sweeney, Salim, and Laura are not invited to the meeting, and must wait outside, but Shadow gets a ticket and his prophecy is interesting:
Every ending is a new beginning Your lucky number is none Your lucky color is dead Motto: Like father, like son”
If you’ve read the book, then YOU know what that prophecy means but Shadow is mystified.
The gods all meet up just before the meeting which involves riding the Carousel. Bilquis expresses some interest in who Shadow is. Everyone is always curious about Shadow and what he’s doing hanging out with Wednesday. Bilquis and Nancy admire Shadow’s physique although of course Nancy takes every opportunity to belittle him. Nancy’s son gets a shout out, too. If you haven’t read Anansi Boys, then check it out. Its not directly related to American Gods, but is related thematically for its theme of relationships between fathers and sons.
Laura, even though she’s not invited, demands a coin for a prophecy too ,and the Djinn tries to refuse her but is warned away from making Laura angry by Salim and Sweeney. Her prophecy is blank, because she’s already dead. She has no future. Wednesday meets with the eldest Zoraya, The Evening Star, who looks lovely and is played by the magnificent Cloris Leachman, and her brother Czernobog, who is his usual profane self.
The old gods all meet to ride the Carousel and invite Shadow to ride as well. As I mentioned last season, there are a lot of things the gods do that is related to their worship, like smoking, and prophecy. The act of or the idea of spinning is a theme across several religions, with the most famous being Sufi Whirling, or Whirling Dervishes of Turkey. Whirling in circles is a form of active meditation used to touch the divine. Even some of the fundamentalist Christian regions mention spinning in circles as a way to connect with God, or a sign that one has connected with God.
This is the purpose of the carousel, as Shadow is connected to the gods by the whirl of the machine, he wakes up in a mental state in which he can see the gods true forms. The old gods are reluctant to join Wednesday in his war against the new gods, but Shadow gives a rallying speech ,which Wednesday believes will sway some of them.
After the meeting the old gods meet at a local diner where Shadow get gaslighted by the gods, who pretend the carousel event didn’t occur, and will not answer his question about whether or not they are all gods. Technically, some of the them are just Personages, not gods. I would call them Powers, like Mad Sweeney, and the Djinn. Shadow also tries to ignore Laura exists, but she is somewhat compensated by Bilquis’ attention to her.
I have no idea if Bilquis has the ability to turn her seduction powers on and off, or if they are simply innate to her, or if they work, or don’t work, on some people. Certainly many of the gods, both old and new, seem able to resists her charms, but ordinary humans cannot. It’s hard to tell if her powers are working on them. First she tries to guess if Laura is some sort of god, because she recognizes that Laura is different from an ordinary human, and seems attracted to her, until she finds out that Laura is married to Shadow, and then kisses her. Beyond looking bashful Laura doesn’t really respond.
Bilquis leaves but has signaled the location to Mr. World , who has sent an assassin to take out as many of the old gods as possible. The primary casualty is Zoraya, The Evening Star, who dies in Wednesday arms. Her brother goes on a long rant about what he pans to do to the killer, and its an interesting speech. You will recognize the prophetic content of it if you’ve read the book.
I really do hope we get to see the Zoraya sister again. Cloris Leachman is a favorite of mine, and her character was hilarious, and played to perfection.
Shadow runs outside to beat up the assassin, but gets abducted by what appears to be a UFO. This is the introduction of another character I do not remember from the book, Mr. Town. He works for the new gods and wants to get to the bottom of who Shadow is, and why he is with Wednesday.
So in the second episode we get to find out a lot about Shadow along with some new questions as well.
*I am very late with these reviews, but life has a way of delaying one’s well laid out plans and that’s what happened this week. So for the next couple of weeks, it’s just going to be reviews of shows I’ve been watching, rather than my usual essays. Next week is the premiere of the last episodes of the last season of Into the Badlands, and I’ll be focusing on those, and I have reviews of Doom Patrol, Upgrade vs. Venom, and Siren, coming soon.
So The Passage finally finished up it’s ten episode run with a two hour finale, and there is a lot to talk about. I was going to start with a recap of the season, but I’m going to do something a little different by discussing the key characters in the show. I know a lot of you may have more access to the books, than the show, which airs on American network TV, and may or may not be available on an app somewhere.
We’re going to start with the second episode of the finale because the first hour felt like more filler. The vampires do finally escape, but we knew that would happen, and its somewhat anticlimactic. All season long we’ve been seemingly sitting still, with everyone running back and forth inside the facility, without anyone actually leaving. It’s all moot anyway because by the time of the final 15 minutes of the last episode, all of that is rendered pointless, and in the second season, we’ll get to the meat of the book, as all of this first season is basically set up for what we’ll be dealing with from the middle section of the book onwards.
All season we have focused very heavily on the relationship between Amy Bellafonte and Agent Brad Wolgast because that is the key relationship to who Amy is, and what she becomes. It is her relationship with Brad that sets her future in motion, determines how she reacts to that future, and even that she has a future.This is why we spent so much time with the two of them in the first three episodes. Our investment in their relationship is important to understanding Amy’s motivations. We have watched as Brad adopts her as his own daughter, after the loss of his biological child, and we have watched as the two of them bonded, loved ,and supported each other.
In the first episodes, we watch the two bond as they attempt to escape the government agents who want to use Amy for medical experimentation. They eventually get caught, and Amy is infected with the vampire virus, and unwillingly forms a relationship with the lead vampire, Fanning, who attempts, repeatedly, to undermine her relationship with Brad, so that he can replace him. Amy resists all his attempts because she received a slightly different, (less virulent), strain of vampirism, and because Brad has supported her unconditionally, no matter how much she changed. She is able to withstand Fanning’s control in a way the other 11 vampires cannot. She is also able to walk about during the day, unlike Fanning and his kind. In other words, like Blade from the Marvel comics movie, she has all the strengths of the vampires, and none of their weaknesses.
Of all the vampires, though, it is Babcock who is the most sympathetic, and the most charming. Fanning has a very compelling manner, in that he is able to talk people into doing things they are initially resistant to, but Babcock has the ability to be very likable, and open with everyone. This works especially well, since most of the time we see these characters from inside the mental landscapes they’ve created to communicate with the human beings in their orbit, and with each other. Their actual physical bodies dont speak or even acknowledge human beings except as food.
Amy and Brad spend most of the finale escaping from the facility, and living in an abandoned cabin in the woods, while the US is quickly overtaken by the vampires, who also, finally, escape the facility, after having planned to do so since their creation. We seemed to spend an inordinate amount of this season waiting for the vampires to break free, and even I was going tired of just watching all the players run around in the facility for three to four episodes, but really, what we were doing was setting up Brad and Amy’s relationship, and the reason for the enmity between Fanning and Amy. Fanning refused to escape from the facility without Amy because he was waiting for her to turn into a full vampire, and give him her allegiance, which she refused to do. We get several moments of foreshadowing that Fanning is not infallible, when a woman he wanted for himself, rejects him to die in the arms of her husband, and when Amy rejects Babcock’s overtures of friendship. Fanning isn’t always in control, and Amy has a strong will of her own.
Make no mistake, Amy is a full vampire, but unlike the other vampires, she refused to give into the dual choices that were given to her by Fanning. Whenever any of the other vampires turned, they had been given the option of dying, or becoming full vampires under Fanning’s control. Amy created a third option. She chose to live and become a vampire on her own terms, and it is Brad’s love and support that aided her in that choice.
Amy vowed repeatedly to Brad, Fanning, and herself that she would not kill, or make other vampires, but Fanning uses her connection to Brad as her weakness, and in the tragic finale, he successfully forces her hand by infecting Brad. She only kills to protect Brad from being shot by his two friends who happen to be present. Having killed to protect Brad, she infects him with a different version of the vampirism virus, so that he will be more like her, and not the mindless minions created by the other vampires under Fanning, since he’s going to turn regardless. She leaves, after saying goodbye to him, to try to make it on her own, having been taught various survival skills, like archery, and hunting, by Brad during their interlude in the cabin.
During their time at the cabin, the cities are slowly being overrun by vampires that are all offshoots of the initial vampires created by the experiment. The initial vampires (which include Amy) are known as The Twelve. In the books, they are not all sympatico, or even all in league with each other. Some of them are allies, a couple are rivals, and a couple are loners, like Anthony. In the TV series, the end of the world is brought about when the other countries, witnessing what is happening in the US, decide to nuke all the cities where they have taken up residence.
The reason the first season is narrated by Amy is because we’ve been watching a flashback from some 100 years in the future. Humanity is almost extinct, and the land is populated by mostly starving vampires, that can’t die. We see Amy, still a child 97 years later, her hair in long braids, bow and arrow in hand, shooting down the lesser vampires, as she searches the US for Brad, whom she feels is still alive. In the final scene she is seen approaching The Colony. In the second season we’ll hopefully be meeting those characters, who are all the human beings left after the nuclear (and vampire) apocalypse. The other books, The Twelve and City of Mirrors are also being jumbled in as well, since some of the first season comes from the second book.
I have to admit, I was mostly distracted by the question of who braided Amy’s hair, because she is wearing these long box braids. This is a something that probably wouldn’t have occurred to me to ask if I hadn’t earlier seen Brad braiding Amy’s hair in that Black momma ritual that had resonance for a lot of Black women watching the show. Nearly all of us have some memory of sitting at our mother’s feet, getting our hair braided, while discussing the day’s important issues. In Amy’s case, she confesses to Brad that she can see the future. She foresees Brad’s death, and the death of most of humanity.
Another admission I have to make is that I did not find the middle section of the book, The Passage, especially interesting, as most of it takes place inside The Colony, and involves a lot of personal politicking among characters I didn’t care about. The characters were not interesting, and nothing of real import occured in that section. I had to push really hard through that section of the book, because I kept being told it was worth it to get to the end, and that’s true, the last 100 or so pages were much better.
So, I’m hoping we get a second season, and it does look promising to get one. Unlike some people, who refused to engage with the show because it airs on network television, and were afraid of having it be canceled once they fell in love with it, I considered this show to be well worth getting burned. This show is everything that The Strain, a show I had high hopes for, should have been.
Don’t forget to check out last month’s post and the introduction! I may later eat my words because I haven’t seen more than season 1 of ToS or any of the movies but I hate that Uhura in the reboot is just a love sick puppy that follows Spock around. Like she doesn’t even resemble […]
As I mentioned before, (and keep mentioning, because, above everything else), I want the reader to keep in the forefront of their minds, that fandom is not practiced in a vacuum. A lot of fandom tropes, and misbehavior comes directly from real life, and the fans own personal experiences, and knowledge, of race, gender, and sexuality, often imparted to them by a media that is by, for, and about White ,straight men, even if its on a subconscious level.
Fandom has been taught, by decades of media consumption, that Black women CANNOT be love interests. The media has not only taught White women, but has also taught Black women, that we are unloved, unlovable, and not capable of love, which is the foundation behind a lot of arguments that we are “strong, so we don’t need a man”. The foundation of this argument is the Mammy stereotype, who is often defemenized, or sometimes even masculinized, (as a sign of her strength), and who cares so much for her White patron, that she has no concerns for her own life.
The caricature portrayed an obese, coarse, maternal figure. She had great love for her white “family,” but often treated her own family with disdain. Although she had children, sometimes many, she was completely desexualized. She “belonged” to the white family, though it was rarely stated. Unlike Sambo, she was a faithful worker. She had no black friends; the white family was her entire world.
This stereotype is especially recognizable in arguments about how Uhura is too strong to need a man. Instead, she is meant to be background support of a mlm relationship, that has absolutely no chance, whatsoever, of becoming canon. It is interesting to me that in their erasure and denigration of Black characters, that so many fans (especially the ones who consider themselves feminists), tend to fall back on Black stereotypes they’ve consumed from media. To me, it shows the insidiousness of racism. That media that goes unexamined is media that has filled one’s mind with beliefs one may not actually “believe”.
It took me many years to root out some of the more damaging beliefs, about being a Black woman, from my own consumption of Pop culture, and this happened despite my mother’s vigilance in making sure that I consumed messages in other forms of media (Black media, for example), that did not reinforce stereotypes, so I know how sneaky this sort of racist messaging can be.
As I always say, please visit Snitch’s Media blog, where she discusses the how and what of fandom, on the intersection of race and Queer issues. That’s her area of expertise and I always go to her blog when I need to know what kind of fu**ery the fandom has been engaging, and I like to riff on her posts, rather than subjecting her to one of my long winded comments on her blog.
My agenda isn’t so much what the fans are doing, so much as why fandom does it, and to tie her posts to wider media and Pop cultural narratives. There’s a reason why the fandom does what it does, and much of it can be laid at the feet of examined White supremacy that so many of us, (because I’m a fan too), have consumed.
Later, we’ll discuss how the consumption of racist narratives in Pop culture affects the self-esteem of Black girls and women, and how, due to the resurgence of source material created by, for, and about Black women, that’s slowly starting to change.
As a general rule, I try not to post a whole lot of negative stuff on this blog, unless it’s directly related to Pop culture. There has been a lot of racist fuckery, just this month, that we’ve been dealing with. I am, at this point in my life, inured to (i.e. tired of) the abject stupidity of the American public when it comes to the subject of race, and hey! it is Black History Month! What I’m not gonna do is turn this blog into a space that chronicles White wtf*ery towards Black people. There are plenty of places on the internet that already do that. Let’s celebrate some positive/happy stuff. Like I said before, “Don’t bring me no bad news!”
I’m going to focus on the positive, like the first, recorded, Black, onscreen kiss. They are so cute!
“Something Good-Negro Kiss,” the newly discovered William Selig silent film from 1898 is believed to be the earliest cinematic depiction of African-American affection. Thanks to scholars at the University of Chicago and the University of Southern California, the footage is prompting a rethinking of early film history. The performance by cakewalk partners Saint Suttle and Gertie Brown is a reinterpretation of Thomas Edison’s “The Kiss,” featuring May Irwin and John Rice. The film was announced December 12, 2018 as a new addition to the Library of Congress’ National Film Registry—one of 25 selected for their enduring importance to American culture. The 29-second clip is free of stereotypes and racist caricatures, a stark contrast from the majority of black performances at the turn of the century.
Bayard Rustin has been largely erased from the Civil Rights struggle. I wonder why.
Bayard Rustin was an openly gay Black man who was Martin Luther King’s right hand man. He planned the Million Man March and was subject to scrutiny for his sexuality and deemed a “deviant” and “pervert”.
Bayard Rustin can be found in nearly every picture of MLK yet he has undoubtedly been erased from history. We have to fix that.
I did a research project on him, Ella Baker, Claudette Colvin and Stokely Carmichael comparing their contributions to the Civil Rights Movement to the lack of recognition and misrepresentation they received in commonly used high school American History textbooks. All of these people played major roles in the Civil Rights Movement—almost on par with MLK—yet they go largely unnoticed or unfairly pushed aside not only during their time, but even now in classes on American History. These men and women deserve to be remembered.
There has always been a thriving Black film industry, especially for comedies and romances. Movies like Black Panther are not new, and it is mostly an outlier because of its sheer scale. But there a lots of beloved films about everyday Black life and romance that have little to do with the stereotypes of mainstream Hollywood.
Scan most lists of the greatest rom-coms of all time and you’ll notice that films featuring black leads are either gravely underrepresented or just flat-out missing.
You won’t find Eddie Murphy charming his way into the hearts of his leading ladies in any one of his 1980s or 1990s mega-hits. Or Sanaa Lathan and Omar Epps playing one final game of one-on-one and inevitably falling in love in “Love & Basketball.”
The pop culture writers who put together these lists are partly responsible, but they don’t take all of the blame. Hollywood has been slow to greenlight films for black and general audiences created by black moviemakers seeking to highlight black life and love in all its complexity and relatability.
Sure, Sidney Poitier came to dinner in 1967, but, by and large, black romantic portrayals were given the short shrift.
The story of Yasuke may sound like the plot to a Quentin Tarantino movie, but he did indeed don a kabuto as history’s only African samurai.Yasuke was abducted from his home somewhere in central or western Africa — or Mozambique, historians say — and sold to a Jesuit priest named Alessandro Valignano.
Bessie Coleman soared across the sky as the first African American, and the first Native American woman pilot. Known for performing flying tricks, Coleman’s nicknames were; “Brave Bessie,” “Queen Bess,” and “The Only Race Aviatrix in the World.”
I’m actually enjoying Titans, which is something I’ll talk about later, but one of my favorite episodes was number four, which featured the superhero group, called Doom Patrol. Yes, they are comic book characters. No, I never read any of the books. I sort of knew about Doom Patrol in passing, but never actually picked up any of the books. Occasionally, I’d stumble across that Robot guy, but I’ve never heard of the team beyond Cyborg.
In the Titans episode clip below, Beast Boy takes Raven to meet his family. I have this thing about depictions of family dynamics, so I was on board right from the beginning. The team, as it will in the show, consists of Negative Man (the guy with the bandages), Elastic Woman (who can shift her looks), Robot Man (who used to be a race car driver before he lost his body in an accident), Cyborg,(we met him in Justice League), and Jane (who has 60 different personalities, all of whom have a different superpower).
I’m looking forward to watching this soon.
One of the things I like about the new year are all the interesting new trailers for films no one has mentioned, or I’ve never heard of. This is Fast Color, about a Black woman who has superpowers, who goes home to discover her daughter has abilities too. I really like Gugu Mbatha-Raw. I’ll watch anything in which she stars, so if this is playing in my area, maybe I can talk Mom into going to see it with me.
This is the latest trailer for the new Avengers movie, airing during the Superbowl. I’m very excited to see this movie mostly because I’m deeply curious about the interactions between characters who have never met before.
It seems that we’ve been reduced to the first five, or so, original Avengers, in the direct aftermath of the loss of so much life, so there’s a distinctly melancholy feel to the movie. I don’t mind, as long as I get to see most of my favorites return.
The Twilight Zone
I’m a huge fan of the original TW, and the various reboots weren’t too bad either. I’m a big fan of Jordan Peele, who has already shown us his horror bonifides with his first movie, Get Out, and his newest release this Spring, titled US. I think he’s just a Producer on this, which is cool. I already have the CBS All Access App for watching Star trek Discovery, so I might as well take advantage.
I can’t say I’m a fan of the movie, which turned out not to be the full on action fest I thought it would, but turned out to be quieter, and more contemplative, than I thought. I did not dislike the movie this came from, but I didn’t love it either, probably because my expectations, and the payoff were so wildly different.
The movie is a bout a young girl raised by her adoptive father to be lethal, her escape from his pursuers, and her attempts to live as a normal teenager, when she meets another young woman looking to be friends. If the show follows the movie, then be prepared for some really good action scenes, alongside a great deal of coming of age drama. I’m curious about this. one of the standout things , from the movie, was Hanna’s relationships with the normal teens, and their reactions to who and what she is.
So, I’m going to check it out and let you know what’s going on here. Hanna airs on Amazon Prime. Tbh, I haven’t watched a single one of Amazon Prime’s many original series, so maybe I’ll break that record with this one.
Toy Story 4
I’m probably not going to the theater to see this, but then I’ve said that about other movies, so don’t take me at my word on it. After all, I have several nieces and nephews who all love Toy Story, I’ve seen all the other ones in theaters, and I could be easily persuaded to take them to see it. My family has discovered that I am notoriously easy to be talked into seeing movies I had no plans to watch, (and I’m pretty sure my Mom is just taking shameless advantage of me.)
So, we’ll see.
Game of Thrones
Season eight is coming.
Scary Stories To Tell In The Dark
I remember scaring myself to death with these books as a kid, so I’m mildly excited about a movie based on them. For me the scariest parts of the books are the illustrations, but some of the stories are pretty effective today, too. Apparently this movie is produced by Guillermo Del Toro, who rarely goes wrong when it comes to Horror, so I’m looking forward to checking this out.
Hobbs and Shaw
I’m not really a Fast and Furious fan. I’ve maybe watched half of the movies, but the inclusion of Idris Elba, as a total badass, has my complete attention, Since my Mom is a huge Idris fan, and will actually go see movies featuring The Rock, and for some reason that is unbeknownst to the rest of her family, has become enamored of Jason Statham’s Transporter movies, I’m pretty sure I can talk her into going to see this movie with me.
It looks like a helluva lot of fun, too.
The Secret Life Of Pets 2
I though the original film was just sooo cute! My favorite character is Gidget because her name reminds me of those Gidget Beach movies I watched as a kid. This new trailer is really funny, so I’m sure I can be talked into going to see it by my sister’s kids.
I watched the second season premiere of this, and I’m sensing a theme. If the first two episodes are any indication then the overarching theme for this season will be Faith vs. Science. In the first episode, the Discovery is sent to investigate several light flares throughout the galaxy, as people claim to have seen “Red Angels” figures at those sites. Micheal is hoping to meet with Spock, from whom she has been estranged, but learns from Captain Pike that Spock checked himself into a mental institution just before the Enterprise met up with Discovery. (The series is set about ten years before the original series. Pike is the Capt. of the Enterprise, at this time, and Spock is his Science Officer.)
In the second episode, the Discovery follows one of these flares to a planet humans were brought to just before WW3, by some unknown alien benefactors. There’s not a lot of discussion surrounding who these mysterious benefactors are, which is the part of the show I was most interested in. There are some long discussions about having religious faith versus faith in science, which would be a lot more convincing if the writers made clear exactly what they meant by religion, and faith.
The underlying themes of the season will be watching the crew actually become a crew, after Lorca’s betrayal last season, and Pike is just the Captain they need to regain their equilibrium, as he is much more relaxed in his captaining style, slightly looser in his interpretation of the rules, and also “not evil”. This season’s focus, while not taking the main camera off Michael’s journey, will also be the viewers getting to know the rest of the crew. We’ll be getting to know the bridge crew, following Tilly’s and Saru’s development as officers, and following Stamets’ journey as he mourns his late partner, Dr. Culber. Not every episode is going to centered on Michael, but just as with last season, she’s in nearly every scene, and we’re always well informed about where she is physically and emotionally during any episode, even if that episode isn’t strictly about her.
Tilly gets into some physical trouble after which she begins to see the ghost of a former high school friend. This “ghost” may or may not be related to the return of Dr. Culber, as fans have been very upset at his fridging, and we were promised his return. I’m inclined to believe the creators because they very emphatically promised the return of Phillipa, and she did return, just not in a manner we thought she would.
We also get some more backstory on Michael’s relationship with her adoptive family, and her first meeting with Sarek’s wife Amanda, who took to this little girl as if she were her own, and I loved seeing their relationship. Spock was less welcoming to her, so he, for sure, had some feelings about her living in the house.
On the away team mission of the second episode, we get some interesting backstory on the bridge crewmember, Owesekun (pronounced Owe-WAY-sha-kun). We discover she is from a community of Luddites, so I can’t help but think that her making it to Starfleet had to be an interesting journey, and I hope we get an episode devoted to her past. We get a statement from Detmer that she got her pilot’s licence when she was 12 years old, which I find intriguing. Piloting what? So we have started getting these intriguing little glimpses of the bridge crew’s personal lives. There’s an Asian man on the bridge who we know nothing about, and a Black man, with no backstory, so yeah, we’ve got plenty of stories to be told. I think I noted before that outside of Pike there are no White men in the bridge crew at all. (No, Saru does not count.)
But I think the most intriguing character on the bridge is this person. Is she like Robocop? What is she/he/they? We havent even gotten a hint yet, and she hasn’t said a whole lot, but I hope we find out this season.
For some reason, this iteration of Star Trek has been successfully hiring comedians as extras on the show, and I just want to shout out to the woman above, Tig Notaro. if you haven’t heard any of her stand up, go take a listen. She’s hilarious on stage and she’s very refreshing here, and I hope she stays on the ship. I’d like to see a more of her.
In the first episode, we get this awesome look at he crew working like a well oiled machine. They are simply fantastic, and it was a real joy to watch, as they worked to save Michael’s life, when she is injured on an away mission. Now this is the Star Trek I remember, (only everyone talks a lot faster). My advice for those complaining that the show didn’t feel very Trek-like in that first season was to give it time, because the show had to get its main character’s primary backstory out of the way, after which we could actually focus on the mission, and their characters.
A lot of the feel of the first season was due to the presence of Lorca, who had a heavier, more intense persona, and this episode really shows how a Captain influences the mood of the bridge, and it’s crew. With the addition of Pike, the show feels lighter, and well…happier. Probably because that’s how he is, and while I actually did like Lorca, I definitely prefer Pike, even though he’s not much like the original series Pike. It’s not that the show lacks drama. It just doesn’t feel as dark and heavy. Starfleet isn’t involved in a war, and the Captain isn’t secretly evil. Yay!
Now, I have to talk about something really quick here. I’m having some kind of emotional reaction to Michael, that for some reason, I did not foresee, and part of it is because there has never been a character like Michael in a mainstream scifi show. I knew she was a groundbreaking character, but I didn’t give it deep thought, and really, the closest we fans have ever gotten is Uhura, and it took decades to start fleshing her character out, even a little bit. (We won’t mention Abby from Sleepy Hollow.)
I really cannot think of a Black female character that has been, not just the emotional focus of a Scifi show, but one who has been given so much backstory, and depth, and I’m having some trouble articulating how I feel about that level of representation. What’s even more interesting, for me, is that we are getting this type of character development, that isn’t centered around her race. Its not that there have never been Black women in such shows, there are a few I’ve greatly admired, including Uhura, Guinan, Auntie Entity from Thunderdome, Grace Jones, Martha from Doctor Who, but none like Michael. (There are other Black female characters in other shows, and I love them too, but they usually are not the center or focus of the entire show. The show isn’t exactly about them. I think the closest we get to such characters are Thunder from Black Lightning, and Iris West from The Flash.)
I want to say I like Michael, but it goes far beyond liking her. I want to love her, but I am nervous about getting too close to her, (not because she’s a bad character, but because I cannot trust the writers to do right by her. I fully expect them to fuck this up because that has always been the pattern). I cannot imagine what it must be like for Black women, younger than me, to see themselves so represented, so closely, in one of the most iconic television shows in history. I can’t imagine it for them, because I couldn’t imagine what it would be like for me, although I knew what I wanted. One of the very first posts I ever wrote for this blog was called “Black Women like to have adventures too”. I didn’t for-see, nor could I have possibly known, that I would (or even could) get this kind of representation when I wrote that. I got exactly what I asked for, and I’m really happy, but the moment is somewhat bittersweet, because I wish I had gotten it sooner, and because I’m not entirely sure I knew exactly what I was asking for, and now I don’t know how to handle it. (Probably, I should just act a fool! Whaddaya think?!)
One of the most moving videos I ever watched was a young man looking at a Black Panther poster and he started yelling, and he said something like, “This is what it must feel like for White people all the time!” In the past ten years this is the first time we’ve gotten any kind of representation in popular culture, like this. My mom has actually become interested in comic book characters, (she’s never read a superhero comic in her life. My biggest highlight as an adult was arguing with her, in the car, about whether or not Superman could beat the Hulk!) and started watching different TV shows, and movies. that she mostly would have ignored, because they only starred white people.
I have always had firm reasons for loving Star Trek, despite its issues. Star Trek has done right by me in ways no other show has, even when I didn’t particularly care for some of them, and I’m always gonna stan for this franchise. Even if the creators never do another show correctly, there is at least this one. I will never (nor do I want to) listen to any White man’s idea of what this specific show is about, or what he thinks of the characters. I just don’t give a flying cooch what anybody who is White and male thinks of this show, or Michael, or Pike even. I won’t look for the reviews, or opinion pieces, and I don’t need their affirmation either. I made up my mind about this a long time ago.
Let’s keep this short and salty: did y’all know that there are people – thankfully a minority in their respective fandoms – that will claim a white male character or actor isn’t white for some reason or another. Well, if you didn’t know before reading that sentence, I’m willing to be that you’ve figured out […]
Stitch is considered something of an expert on the subject of fandom racism dynamics, since this is something she has intensely studied. I never argue with her findings, but I am constantly surprised by the ways in which fandom seeks to revert to a certain status quo. What I’d like to do is build on this by tying fandom racism back to how its been learned from the source material, and fan’s understanding of how racism works, through the material they’ve been consuming, because their performance of these forms of racism don’t exist in a vacuum. White people (all races really) have been unconsciously inundated with decades of racist messaging in American films, books, and TV, and fandom often becomes nothing more than the act of regurgitating what was consumed, especially if these things have never been critically examined.
I don’t think we can fight against how fandom racism is performed without acknowledgment, or understanding, of how its performance is tied to the decades old, racist narratives in Popular media.
There’s also a new angle to this as well. Since the source material being consumed has become more diverse and inclusive than ever, what I’ve been witnessing, is fans trying to bend these narratives to fit their world view – worldviews that have been informed by years of racist narratives. This is just as much an attempt to keep things the way they’ve always been, and they are no less different, from the harassment campaigns against PoC actors, in an attempt to center Whiteness in Geek media, and reassert the status quo of PoC, and other marginalized groups, on the fringe of narratives that center White characters. This is what such fans are used to, and this is what they twist these stories to reflect. This particular form of fandom racism is often engaged in (but not necessarily exclusive to) White women in fandom, while the more public and aggressive forms of racism are usually engaged in by White men.
I’m going to reiterate that the reason fandom acts this way is that fandom isn’t the slightest bit progressive or woke. In fact, its fairly conservative, and quite a lot of them are thoroughly unimaginative, as well, as the participants do nothing but reproduce the same narratives they’ve seen over, and over, and over, from the source material (and sometimes other parts of fandom, which accounts for the sheer numbers of coffee shop AUs in fanfiction), – narratives that have been overwhelmingly written, and helmed, by straight white men, who themselves have only the most rudimentary idea of what its like to be a member of a marginalized group.
That’s another reason I’m against racial allegories in fiction, especially the ones referenced above by Stitch. Such narratives do nothing to further dialogue, or deepen understanding of racial issues, because the writers of these narratives do not live, or understand, race in any personal capacity. All fans get out of these stories is a foundational understanding that “racism is bad”. The Handmaid’s Tale, Zootopia, The Gifted, Teen Wolf, and Bright, are bad racial allegories because they get the depiction of racism wrong, have suspect intentions, borrow the oppression of Poc, while not including them, or take little to no account of the systemic and institutionalized nature of racism, often showing it as a problem of individuals simply not liking some people.
Contrast those stories to Jordan Peel’s discussion of racism in the movie Get Out, or the music video, This Is America, by Childish Gambino, or the discussions surrounding the movie Black Panther. The understanding of racism is different when written by those who have actual knowledge of the subject, something which most fans of the media listed above, do not have, so all they can do is reproduce the media they’ve been given, and can only approach these subjects in their meta and fictions with the performative wokeness that they are engaging in now.
Hey everybody, I’m still here. Just in a kind of hiatus while life happens to me.
I had a really nice and quiet Christmas with the fam. I got some smart, practical gifts, like a muscle warmer for my back, and some gifts I have no idea what to do with. For some reason my family members all got me food gift cards. Don’t get me wrong, I’m definitely gonna use them, but it’s puzzling, since I never mentioned liking any of these restaurants to them. I went to my sister’s Xmas party, and I’m not a party type person, so that was remarkable for me. I didn’t do anything but eat, play with my niece’s and nephew’s toys, and watch a movie about Tina Turner with my Mom, while trying to avoid getting our pictures taken, and failing.
New Year’s Day was really nice. The night of I got to watch some fireworks over my house, because the neighbor had some left over from Independence Day, I guess. That was kinda cool. I drank some sparkling grape juice and fell asleep. I’m a party animal.
In the Southern part of the US, its traditional to eat a mess ‘o black eyed peas on New Year’s Day. I had mine with neckbones and cornbread, so I’ve done my duty. I made only one resolution this year, to knit my first sweater. (Top down, and in the round, for you knitters out there!) I haven’t picked out a yarn or a color yet. I’m spoiled though and want the good wool yarn, and the good wool yarn is moderately expensive. I’m looking more closely at some Lion Brand, though.
I’ve got some interesting posts coming up about movie landscapes as characters, the depiction of greed in the movie Fargo, my ten favorite characters of 2018, and scifi movies that tackle memory and identity. Plus the usual show and movie reviews. There are some things I won’t be reviewing anymore, like The Walking Dead, and Supernatural, although I will still be watching both these shows, and there are some shows I most definitely will be reviewing in their entirety this year, namely season two of American Gods, starting in March. Some shows I’m still on the fence about reviewing, like The Passage. I want to focus more on long form essays this year, as you guys seem to really those. Apparently, the weird way in which my mind parses the world is fascinating to some of y’all.
Glass will be released on Jan. 18th and I will be going to see that at the theater, and I’ll let you know what’s up. With the release of more trailers, I’m beginning to get slightly more excited for Captain Marvel, but not too much. I’m just not feeling it like that. I’m more excited by her appearance in The Avengers sequel (if she’s in there) than her standalone film, because I really want to see her go up against Thanos. I’m interested in going to see the new Hellboy. I’m hoping my Mom and sisters don’t make me go see the new Medea movie. I don’t hate the Medea movies, but they’re really not my cup of tea.
I have never heard of this show, movie, or whatever this is, and don’t know anything about it beyond the trailer, but it sounds interesting, and looks like fun. so I’m going to check it out next week. All I know is that its kinda like Buffy but edgier, with demon hunters and priests in the city. I’ll get back to you guys and let you know what I think.
23) Watership Down
I had no intention of watching this because I saw the original and it was pretty depressing. I have no need to subject myself to this anew adaptation, but I know there’s someone out there who loves the original animation, and will probably like this version, too.
28) Black Mirror (Netflix)
We’re supposed to get a surprise Xmas special at the end of the month. I’ve really enjoyed Black Mirror, and I’m looking forward to this, if the rumor is true. Of course there’s no trailer for something that’s supposed to be a surprise.
30) Orville (Fox)
This show was wildly uneven, as it couldn’t seem to balance out the comedy and drama at the same time, but I could see the potential, and I could see what MacFarlane was trying to accomplish, and sometimes it takes a show a season or two to get on its feet, and hit that groove. The show needs to make up its mind if it wants situational humor or character humor. Buffy, for example, didn’t really capture a lot of viewers until well into its third season. Well, we’ve been given a second season so I’m going to try it again because I want to like this show.
1)A Series of Unfortunate Events Season 5 (Netflix)
I find it hard to believe this is season five of this. I enjoyed the movie this was based on but I’ve been pretty much ignoring this. Well, maybe one day, I’ll get around to watching it because it does look like fun.
10) Brooklyn 99 (NBC)
I’m really looking forward to this. The show was threatened with cancellation earlier this year but was rescued by NBC.
13) True Detective (HBO)
I don’t normally watch cop shows but sometimes they’re just too good to pass up, like Brooklyn 99, and True Detective. Unlike a lot of people I didn’t dislike the last season, but it was unremarkable. I’m watching this because I’m a huge fan of Mahershala Ali, and eager to see what he can do in this role.
14) The Passage (FOX)
I talked about this show earlier, mentioning my enthusiasm for it, based on my liking of the trilogy by Justin Cronin. Check them out if you’re interested in the show.
16) Deadly Class (SYFY)
I like the visuals of this show, and the fact that Benedict Wong, from Doctor Strange, is in this. It sorta looks like fun, but I hope it doesnt turn into a copy of The Magicians. Normally, I don’t watch teenagers on TV doing anything, but Sometimes I make an exception.
17) Star Trek Discovery Season 2 (CBS Access)
I’m very eagerly looking forward to this, since I really enjoyed the first season.
This show got quite a few things wrong, but for every wrong thing, it got something right, and I still like the idea of predatory mermaids. Now the rumor is that other supernatural beings are running around in the town, and we will be seeing some new cast members.
15) Umbrella Academy Netflix)
This is another show that I think is based on a comic book, although its possible that it isn’t, because I read the comic book and this doesn’t seem very much like what I read. So now I’ve got to watch it and see how much alike or different it is.
10) American Gods (Starz)
Yeah, I’m definitely here for this, despite the change in showrunners. I can only hope the new showrunner doesnt fuck it up, and treats the characters of color, and the gay and lesbian characters, with a certain amount of dignity.
I reported a couple of weeks ago about Rick Grimes leaving the show, and how the show would take a jump six years ahead, to see what Alexandria and Hilltop had gotten up to in his absence. This is what came after.
The three societies are no longer as close as they once were, and that has something to do with Maggie’s disappearance, and Jesus now being the acting leader of Hilltop, in her absence. To bring the three communities together, Jesus and Ezekiel have planned a fair of some kind, so that everyone can come together to touch base, but the impression is that the Alexandrians have withdrawn from contact with The Kingdom and Hilltop because Michonne had some kind of falling out with Maggie. Michonne is the security chief of Alexandria, not its leader, but she makes hard rules for the others to live by, even thought there is a counsel. The implication is that none of the Alexandrians should have contact with the other two communties.
We begin by meeting a new group of people who have fallen afoul of a swarm of walkers in the woods. One of them is injured in the fight and Judith, Aaron, and the others happen to come along at the right time to save them. Judith decides they should be taken to Alexandria, but Michonne is upset that she did it and advises that the new people be sent away.
The new group consists of a young Black boy or girl, (I’m unsure which, because the character in the comic books is male, but its an actress playing the character on the show), and their older, deaf sister. They communicate using American Sign, a music former music teacher, (Kowalski from Fantastic Beasts), an Asian woman who was badly injured, and another woman who is an ex-con, with trust issues. I am glad to see these two hearing impaired characters on the show because its a way to answer questions about how people with various disabilities would navigate a zombie apocalypse. I actually like the two of them because you can see the bond between them. I hope they survive longer than one season.
The Alexandrians take them back to the compound where we find that Michonne is nominally in charge along with a kind of counsel. The Alexandrians we meet now are much less trustworthy than they were under Rick, which makes me wonder what they went through after he was gone. There is no sign of the surviving Saviors who were attached to that community, so there may have been some event regarding that group.
There’s a counsel meeting where the newcomers are rejected because one of them was hiding a weapon, and withholding information that she was an ex-con, who had killed people. Later, Michonne changes her mind about them and elects to guide them to Hilltop, which is now being run by Jesus, with Tara as his assistant.
The alliance between the three groups, The Kingdom, Hilltop, and Alexandria, appears to have seriously atrophied.
Rosita and Eugene go out to broadcast radio signals from the top of a water tower because they want to contact new people. Rosita is currently in a relationship with Father Gabriel, which I didn’t see coming, but Eugene still seems to be crushing on her. One of the more positive moments I saw on screen is Eugene’s change from timid know- it- all, to born again killer of zombies. He is definitely hardcore, and I was glad to see that. It seems he really stepped up to help care for and protect the group after Rick’s absence. Eugene and Rosita get ambushed by a swarm of walkers who are acting very oddly, and very deliberately chase them, while communicating in harsh whispers about not letting them get away.
This is the introduction of the most famous group in the comic books, the very possibly deranged Whisperers. With the addition of this new group, The Walking Dead just got really scary again, because we know nothing of this new group except that they live like the zombies, by hiding among them. This season will also introduce Samantha Morton as someone called The Alpha, the leader of The Whisperers, during what the books call The Whisperer War.
Meanwhile, The Kingdom has been dealing with some raiders, the last surviving members from Negan’s Sanctuary, who keep ambushing their supply wagons. Carol ,who is now married to Ezekiel, decides to accompany their son, Henry, (the little boy we saw them training last season) to Hilltop. They get ambushed too, but as you probably guessed, Carol gets through it by being her usual murderous bad ass, and after their adventure, they encounter Daryl, who has been living in the woods like the wild man he’s always wanted to be.
I’m trying really hard not to compare Judith to Carl and her father, but its almost impossible not to do that. She seems so much like and un-alike either of them. At this time, Judith is somewhere around 9-11. I don’t know what her exact age was six years ago.
She’s not like your typical child of that age. She is very resourceful and extremely self possessed. She is a child who knows her limits and her power because she has had to know these things. Unlike Carl, whom we watched as he began to understand his power as he grew up, she has always had to know hers, as the zombie apocalypse is all she has ever known. For children like Judith, born after the zombie apocalypse, the walking dead are just a feature of the world, and they have nothing else to compare it to.
Carol and Ezekiel:
Carol and Ezekiel are now married, a result of the marriage proposal we’ve seen him make a number of times since he met her. Jerry refers to her as The Queen, which kind of irks her a bit. Together she and Ezekiel have been raising Henry and refer to him as their son, The Prince. It’s interesting seeing the two of them being really together as Carol has always seemed to kep people at arms length, but they are very much in love with each other, and are not afraid to engage in PDAs. Their relationship is another one of the positive things about this episode.
Carol has not entirely given up her murderous ways, as she kills the raiding group, that attacked her and Henry, by setting them on fire. Yeah, this ain’t the first group of Saviors that she has set on fire, remember? Carol has always been willing to be extra, to protect her family, so this is entirely in keeping with her usual modus operandi.
Daryl isn’t introduced until the end of the episode. Apparently, he has been living in the woods with his doggo, and looks his usual greasy self. How much of his current livelihood can be boiled down to Rick’s absence, we don’t know. Carol wants Henry to meet Daryl, because she is about to send Henry out into the world, and wants someone she can trust to be at his back. She knows Daryl well enough to know he will adopt Henry as his own, and he does just that. That evening, after they have met on the road, she spies on Henry and Daryl as they kill zombies together. She got exactly what she wanted – an alliance between two of the people she most loves in the world.
Its been six years, and Negan is still locked in Alexandria’s jail. People still interact with him, but his little verbal schtick, where he mixes truth with lies to emotionally rattle his interviewers, doesn’t get as much respect as it used to, and doesn’t seem to work at all on my girl, Judith, who not only sees right through his bullshit, but actively calls him out on it. She does not know or care who he used to be, and he can’t seem to manipulate her the way he used to do others.
Michonne has been through a lot since she lost Rick, and I suspect some of that lot has to do with Maggie’s absence from the episode. She’s been raising Judith, and has been acting as Alexandria’s Head of Security. She is still not coping with Rick’s absence in a way I think is healthy. At one point, Judith walks in on her having an imaginary conversation with Rick or Carl, I’m not sure. She has also been raising her and Rick’s son RJ, (Rick Jr.?) who was born not long after.
When we first see her, she looks as mean and cold and hard as ever, but by the end of the episode, we see that she can still laugh and smile, even if she only does it for Judith, who like her father, is very protective of her mother. It’s also kind of nice to see she’s stopped wearing that awful headband, as I was really getting tired of it. It’s Judith who helps change her mind about the newcomers to Alexandria, even after one of them comes to her home, planning to kill her. The woman’s hand is stayed because she witnesses Michonne interacting with her son, although Judith did have her back with Rick’s gun, which is bigger than she is.
When Michonne was getting dressed, we saw that she had some kind of x shaped scar over the place where her left kidney should be, and I wonder at the story behind that, and if that has anything to do with Maggie disappearing. The writers keep giving us hints that the reason behind why the three society’s are not in contact with each other is because of something Maggie did.
Mid – Season Finale
During the mid-season finale, Negan is freed from his jail cell, and goes hunting, probably for Lucille, and Jesus is the first casualty in the Whisperer War, after he and Aaron set out to rescue Eugene from a zombie swarm.
Michonne sees Carol for the first time in several years and their meeting is somewhat prickly. Something happened between the three communities that was so bad, that the Alexandrians entirely cut themselves off from the Hilltop, and the Kingdom.
Henry gets into some trouble with the other teenagers at the Hilltop. It’s kind of like he went away to college. he’s supposed to be apprenticing with the blacksmith there but ends up in jail after a night of drunken zombie fighting, and is in danger of getting expelled.
Now the show has entered some seriously scary territory, because the Whisperers are so unlike anything these communities have ever faced, or like anything we’ve seen on the show, and there’s gonna be a lot more death before the end of the season. I’m not entirely sure I’m up for that, but this is the scariest the show has been since the first three seasons, so my nosiness will probably get the better of me.
Apertivo, is a beverage, usually wine, that’s consumed before eating a meal, to clear the palette, and stimulate the appetite. This episode is prelude to the meal to come that is season three.
In this episode, there’s not a lot of plot, but there is a lot of maneuvering, as the various players state their goals, and move themselves into position to resume the chase for Hannibal Lecter, who is living in exile in Florence, with Bedelia Du Maurier. Its not that nothing of consequence occurs during this episode, but we’ve spent the first three episodes of the season finding out where Hannibal and Will are, and what they’ve been doing, and this is our chance to find out who survived the Red Dinner, and see what they have been doing since that night.
In a flashback, we see Crawford in the hospital next to his wife, Bella, who is dying of cancer. Just before she dies, she admonishes him for nearly getting killed, saying that unlike her he can stop what’s killing him, his obsession with the Chesapeake Ripper.Will Graham has gone home, back to fixing boat motors. The most startling change in the aftermath of The Red Dinner however, is Alana Bloom, who has become Mason Verger’s new therapist. Frederick Chilton encounters Alana when he visits Mason in an attempt to scheme the capture of Hannibal, but Mason rejects him, in favor of hiring Alana. We start with Chilton and Mason Verger in a face off, as Mason takes off his mask, and Chilton removes his makeup, both of them showing off facial scars received as a result of Lecter’s machinations.
You can see that Alana has undergone some radical emotional change, since her last encounter with Hannibal, when she was pushed out of a window by Abigail. Alana was as significantly changed by the events of that night as much as Will, and Hannibal (who of course claims that he was not.) Alana is on a mission of revenge, but she goes about it in such a subtle manner that it’s difficult to tell what her plans are exactly, until she comes right out and states to Mason Verger that she is there to offer her services in capturing Hannibal. Mason is his usual vile self, making sexual jokes and asides to her, although I think he says these things to see how she will react to them. When she shows no reaction, (Alana has far more pressing concerns than Mason’s bullshit), we don’t see him talk that way to her again.
This is also when Alana first meets Margot Verger, and you can immediately see that Margot is smitten by her. Until now, we’ve been given no idea that Alana might be bisexual. Later, we see that the two of them have developed a romance, and are working together to defeat Mason. The reason I find Alana so fascinating is that her survival of that night at Hannibal’s has really scarred her on an emotional level, to the point where her entire demeanor has changed, and she seems entirely unlike the woman we met in the first season.
Alana has hardened. She is cool, blunt, and pragmatic. She certainly seems less warm and motherly than she was three years ago. She is more calculating. This isn’t just the trauma of having been thrown from a window by Hannibal’s protege. She is reacting to the final loss of Abigail ,a young woman she couldn’t save, the shame and guilt at not having listened to Will’s warning about getting close to Lecter, and whatever shame and guilt she felt as a result of having fallen for Lecter’s ruse that he loved her, and the fact that he had been feeding her the bodies of his victims.
Alana also dresses differently from the first and second seasons. Where before she wore pretty feminine wrap dresses, she now wears boldly patterned pants suits, with high collared coats and jackets, as an expression of power. In fact, she dresses the way Margot used to dress. What’s interesting is that Margot begins to dress in a more relaxed and casual manner than when we first met her, and I think it’s because her relationship with Alana has opened her in a way she couldn’t express before. Remember when we first met Margot she wore a very severe wardrobe with high collars in stark colors, as a kind of armor against her brother. In other words, Alana is good for her.
As usual though, no matter how progressive male showrunners believe themselves to be, they almost always fall into some of the same traps regarding female characters, by neglecting relationships between women on their shows. Often there’s just a lone female character, and when there’s more than one, the women are often in adversarial relationships with each other. This is starting to change as shows begin to hire more women writers and showrunners. I’m glad to see the show has moved away from that dynamic in the third season. We only just met Margot halfway through season two, so don’t know enough about her other than she is a woman who knows what she wants, and has no problem making it known, and she makes it clear ,she wants Alana.
In flashback we see Crawford visit Will Graham at his home and ask Will why he contacted Lecter to warn him that the police were coming that night. Will Confesses that he did it because Hannibal was his friend, and that he wanted to leave with him, but couldn’t. It is interesting that he and Hannibal, as far apart as they are, are emotionally sitting in the same place, regretting their actions towards each other, and missing one another terribly while both of them are engaged in a semi-contentious relationship with a close friend.
Chilton, still scheming, goes to Crawford to ask for his help in capturing Lecter, after his rejection by Mason. Crawford tell him that he is officially out of the business of chasing Hannibal. He says he has had enough and only wants to tend to his wife in her last days. We later find out that this is a lie, and that he has hatched a plan for Will to lure Hannibal out of hiding, so they can kill him. Or rather say, he has decided to follow Will to Hannibal. Chilton has come to the party too late, because all the key players have already formed their personal Hannibal Recapture teams.
Eventually, Bella dies, and Crawford is enraged to find that Hannibal has sent him a condolence card. Will Graham attends the funeral and Crawford tries to talk him out of the plan to capture Hannibal. He warns Will that he will probably be killed. But Will is determined (for a number of reasons) and sets out on a boat to Florence. How does he know where Hannibal is? He simply knows Hannibal. Both Chilton and Alana are aware that Will can lead them to Lecter, but it is only Chilton who mentions this to Jack ,who follows Will to Europe. Alana elects to find out on her own, rather than attempt talking to Will again, as the last time they spoke, he rejected her.
Essentially this episode is about a bunch of horribly scarred and vengeful people teaming up to hunt down the man who did this to them before he skipped town. Its almost as if they had learned nothing from their previous inability to capture Hannibal. Later, these same scheming tactics will be in used at the tail end of the season in an attempt to not only capture the Red Dragon, but destroy Hannibal Lecter, once and for all.