Last time I asked, when it comes to actors playing roles, Who Can Play Who? To what degree do characters, particularly fictional ones, have fixed race or gender? How much latitude exists in adaptations of existing stories? Is there an acceptable spectrum from faithful retelling to jazz riff to based on to inspired by and finally to all but unrecognizable? If not, why not?
Last time I focused on race. This time I’ll focus on the gender side of the equation. Sexual differences and sexual attraction add a large and complex additional dimension. The question expands beyond matters of representation and actor swapping.
For instance, there is the additional notion of the Strong Female Character (SFC).
I was born in the Bronx and became a young man in Los Angeles, so I lived in racially mixed neighborhoods during my formative years. I’m aghast at the pain we cause over what are essentially paint jobs and accessories. It’s a vast and vital topic — a needed ongoing conversation. For now, suffice that “race” should never be the answer to any important question.
Such as the question of who can — as in “is allowed to” — have what acting roles in movies and TV shows. Specifically, the issue of “race swapping” in previously established roles. Complicating the matter is an asymmetry; swapping X for Y isn’t the same as swapping Y for X.
There is also the question of “gender swapping” and the “strong female character” in modern writing. We’ve forgotten Ellen Ripley and Sarah Connor.
It started when I watched Jack Reacher (2012), starring Tom Cruise. It was pretty good, and it’s as much fun seeing Robert Duvall in something as it is Christopher Walken. Plus, the bad guy is Werner Herzog! As it turns out, casting Cruise as Reacher is… interesting, but I’ll come back to that.
The movie is an adaptation of the 2005 Lee Child novel, One Shot, the ninth book in his Jack Reacher series. I enjoyed the movie enough that I thought I’d check out the book — my library had it (as well as the others in the series).
I’ve been binging on them ever since. To the point I’ve now read 16 of the 24 Lee Child Jack Reacher novels.
For Sci-Fi Saturday I have to post about Farscape, a science fiction TV series from 1999-2003 that (on the advice of a friend) I just started watching. I’m only up to episode 18 of season one, but I’m enjoying the series so much I thought I’d post about it. There are four seasons comprising 88 episodes (22 per season), so my opinion could change, but so far, I’m totally loving it.
I also want to mention the third Ben Bova book I’ve read recently. Bottom line, I really enjoyed it. Definitely the best of the three. It restored my faith in Bova.
Lastly, this morning I had, what even for me was, a particularly weird dream experience. Our subconscious minds are quite surprising and just plain bizarre sometimes!
Almost three years ago I asked Whither Science Fiction? That post pondered the state and future of what I see as a platform more than a genre and found both were probably doing okay. Authors still find new territory in a populated landscape (although much of it is well-explored by now).
Today’s question isn’t as deep or important, and my answer is much less positive. It regards a TV series I largely ignored in classic form but came to love as a modern reboot. For a while it was my favorite TV science fiction series. Even when it declined a bit in latter seasons, it still was some of the best SF on TV.
But I think Chris Chibnall’s Doctor Who is an unmitigated disaster.
Last weekend I watched the final episodes of Lucifer, a show I’ve really enjoyed since it began in 2016. It’s based on a DC comic book character created by Neil Gaiman, and I’ve always liked his work, so it’s not surprising I’ve enjoyed this series. On top of that, it blends a bunch of my favorite story genres, plus it gets right one of the most important aspects for such fantastic stories: it doesn’t take itself too seriously.
In honor of the show ending I thought I’d also mention a couple other favorite shows I’ve been re-watching lately, Elementary and Boston Legal. I’ve always ranked the latter as a favorite favorite, but seeing the former again I’m experiencing the love all over again.
Got a couple of Japanese anime stories to mention, as well.
This post’s fill-in-the-blank title (given the “season” clue that we’re talking about television shows) might refer to any of at least three series, all coincidentally from Amazon Prime studios. In fact it refers to all three, although this post is only about two because I already wrote about Upload. As it turns out, I liked it best of the three U___ shows.
The other two are Undone and Utopia (the new one). I’d tried the former last year but wasn’t grabbed. This time I liked it better and binge-watched the whole season. The latter was dark and very murder-y. Both of them were… okay. I don’t quite recommend either, though.
What I do recommend (highly!) is the anime movie, Penguin Highway.
History, location, and religion aside, the Wikipedia disambiguation page for “Babylon“ has 52 entries under “Arts and entertainment” — 26 of which are songs (including one by David Gray that I rather like). Two entries, a novel series and an anime series (which I binged last night), link to the same page because they refer to the same very interesting (very dark) story.
By interesting (and dark) I mean it’s about good, evil, and whether the right to suicide is a good thing. The battles here are mainly intellectual and spiritual. A key point for the characters is the question: what is good; what is evil?
I also recently watched Jupiter’s Legacy on Netflix (Meh!), and I want to offer props to the most recent episode of Grown-ish, which I thought was compelling, well-done, and worth seeing.
Last time on TV Tuesday, I ran out of time to write about a collection of sitcoms I’ve been watching that are all produced by, sometimes written or directed by, and in one case even starring: Kenya Barris.
His first creation, the family sitcom Black-ish, is probably the most well-known. That show has a spin-off, Grown-ish, as well as a prequel, Mixed-ish. He also has a family sitcom on Netflix, #blackAF, in which he stars as a fictional version of himself.
I really like these shows, in part because they’re pretty good — fun and funny with good characters — but also because I think it’s so important for us white folks to sometimes just STFU and listen to Black voices. Most of these shows make deliberate attempts to reach out and share something important.
This has the potential to be short since it doesn’t feel that I have that much to say, but I did want to record a few thoughts. I have neither rant nor rave — just some heavy disappointment in one case. In the other case, for me, it’s more a sense of, “Well, what did you expect from a time-travel movie? Time travel is utterly absurd and inherently contradictory.”
The post’s title may have clued you in. This post is about Tenet (2020), the most recent Christopher Nolan movie, plus the most recent effort by his brother, Jonathan Nolan (and wife Lisa Joy), Westworld, season three (also 2020). I’m a little late to the party seeing both of these, but I was so disappointed in season two of Westworld, that I didn’t much care about season three (and nothing I heard encouraged me).
Last night (and into this morning) I binged on all that Nolan.