Archive for the ‘media’ Category

Review: Season 2 of Shadow and Bone

Posted: March 26, 2023 by John Ruberry in culture, entertainment, media
Tags: , , , , , , ,

By John Ruberry

Two years ago here at Da Tech Guy, I had this to say about the first season of Shadow and Bone, a Netflix fantasy series.

If you like elaborate clothes, eye-catching special effects, and being transported to an alternative yet familiar civilization, then Shadow and Bone could be for you. But if you expect fully-developed characters and a coherent plot line, then stay away.

With the second season, which began streaming mid-month, we have more of the same.

Shadow and Bone is based on a young adult fiction series of books, set-in an alternative universe centered mostly on the nation of Ravka, which in turn is based on circa–1880s Russia. The costumes are Emmy-worthy, as is the CG art direction. The acting? Not so much.

The central character of Shadow and Bone is a Grisha, Alina Starkova (Jessie Mei Li), a practitioner, although this term isn’t used much in the show, of magic. She’s a Chosen One character, an orphan like Harry Potter, who is dubbed the Sun Summoner. Alina is reluctantly placed in the position to heal the world of many ills, including disposing of “The Fold,” a smoke wall of sorts, inhabited by pterodactyl-like beasts that divides Ravka–kind of how the Ural Mountains separate European and Asian Russia.

The Fold is the creation of an evil Grisha, General Kirigan (Ben Barnes), also known as the Darkling. His dream is–along the lines of Darth Vader’s recruitment of his son, Luke Skywalker–to combine their talents and create a dark version of Utopia. 

Season Two begins as Alina, accompanied by her love interest who she met in an orphanage years earlier, Mal Oretsev (Archie Renaux), are headed to Noyvi Zem, an African-like nation. They are internationally known fugitives and…well really now, do you think they’ll go unnoticed? It is in Noyvi Zem where they connect with a key figure, Sturmhond (Patrick Gibson), a pirate, or as he calls himself, a privateer. 

Also back for the second season are the Crows, a midlevel trio of organized crime schemers: Kaz Brekker (Freddy Carter), Jesper Fahey (Kit Young), and Inej Ghafa (Amita Suman). They were hired by an underworld figure to kidnap Alina. The Crows have returned to their base of Ketterdam, a thriving city of vice based on Amsterdam. The Crows have two new members, another Grisha, Nina Zenik (Danielle Galligan), and an explosives expert, Wylan Van Eck (Jack Wolfe).

If there are midlevel hoodlums in Ketterdam, then of course there must be a Big Boss. That man is Pekka Rollins (Dean Lennox Kelly).

I observed in my Season One review that the Crows are much more interesting characters than Alina and Mal–and apparently, I’m not the only person who believes that, because a spinoff series centered around the Crows may be in the works. But if viewership of the second season tails off and the show is cancelled, we probably won’t see a Crows series.

As of today, Shadow and Bone is ranked fourth in viewership on Netflix.

There are many more Shadow and Bone characters–too many of them. And too many subplots. 

What about those Grisha? Even they are confusing.

There are three levels, I think, of Grishas. They are the Summoners who have power of wind, water and fire, Alina is one of those, the Heartrenders, whose powers are over the body, and Durasts, whose domain is chemicals, rocks, and the like. But the Grishas are not explicitly defined in Shadow and Bone, unless I missed something. A vintage-era Hollywood scriptwriter could have solved that head-scratcher by adding a one-minute conversation between Alina and a random passenger on the ship to Noyvi Zem, who could ask her, “Tell me about all of the Grishas?”

One of my criticisms of Season One is that maps showing the different countries were needed for coherency. This season has them.

Are there monsters? Yes, some ho-hum smoke beasts who are impervious to gunfire. And as I’ve seen too many times in bad mid-20th century science-fiction serials, of course that doesn’t stop characters here from shooting at them again and again.

While the universe of Shadow and Bone is of the late 19th century, there are some 21st century flavors. Ravka (Russia) is predominately white but multiracial. Nearly all of the romantic pairings are interracial–and there is nothing wrong with that.

But rather than focusing on check-box casting, Shadow and Bone needs to present viewers plotlines that are easy to follow, stronger performances from lead actors, and more frightening monsters.

Shadow and Bone is rated TV-14 for violence.

John Ruberry regularly blogs at Marathon Pundit.

The left hates the word “woke,” which is why we must use it more often

Posted: March 19, 2023 by John Ruberry in culture, education, media, News/opinion, opinion/news, politics
Tags: , , , , , , , , , ,

By John Ruberry

The left has a new mantra. Well, they always have a new one. And their newest mantra is, “The right doesn’t know the meaning of the word ‘woke.'” 

As far as I can gather, the earliest use of “woke” was by African American musician Lead Belly, who added “stay woke” in an afterword of his recording of “Scottsboro Boys,” which was about the injustices faced by nine black youths accused of raping two white women in 1931. 

First, a brief side note: This is the second post in a row of mine at Da Tech Guy where Lead Belly gets a mention.

But words often change meanings. For instance, centuries ago “garble” meant “to sift.” In the spice trade “garbling” was the process of removing impurities from spices. Over time, “garble” evolved into meaning confusing, unclear, and yes, impure. For instance, someone might say, “I couldn’t understand the voicemail message you left for me, it was garbled.”

The definition of woke has similarly evolved. It appears woke made a reappearance in the public dialogue in 2016 after the police shooting of Michael Brown in 2016, but by 2020, conservatives had adopted and co-opted the word. People who are woke–this is my take–are rigidly beholden to far-left political beliefs and they will use mob action to enforce their viewpoints.

“Politically correct,” a term that emerged from the left, was similarly co-opted by the right, so liberals dropped it years ago. 

The word woke is a much more serious problem for the left, which is why libs, in a futile effort, are trying to reclaim it, or at least neutralize its meaning. After all, woke is an unpleasant word with only four letters and just one syllable, it is better suited for our contemporary sound bite and pithy headline culture, compared to the more cumbersome “politically correct.” Over the past week leftist journalists, an intellectually incestuous lot, pushed back. An opening to them was given by Bethany Mandel, the co-author of the best seller Stolen Youth, which is about the dangers of woke culture. Last week, in an interview captured on video–one that went viral–Mandel suffered, in her words, “a momentary brain freeze,” and she wasn’t able to clearly answer a question about the definition of woke.

But shortly afterwards on Twitter, Mandel was able to clarify what woke means.

“A radical belief system suggesting that our institutions are built around discrimination,” Mandel Tweeted last week, “and claiming that all disparity is a result of that discrimination. It seeks a radical redefinition of society in which equality of group result is the endpoint, enforced by an angry mob.”

Since Mandel’s verbal misstep, leftist writers have attacked the woke word. In MarketWatch, Rachel Koning Beals has tried to dial back the new meaning of woke–as has Ross Douthat in the New York Times.

Just now, as I was finishing up this entry, I watched as Jen Psaki, in the premiere airing of her MSNBC show declare, “Republicans have gone all-in on their anti-wokeness.” Psaki, a smug know-it-all, then presented a one-sided view of Mandel’s “momentary brain freeze.”

All but admitting defeat in the word war, Matthew Cooper in Washington Monthly says the word needs to be disposed. The headline of his article is, “Let’s retire the word ‘woke.'”

Too late!

The legacy media is up woke creek without a paddle.

Gov. Ron DeSantis has often said, “Florida is where woke goes to die” and vows that “we will never, ever surrender to the woke mob.”

This month two woke mobs attacked in California. The Federalist Society invited a US Appeals judge, Kyle Duncan, who was appointed to the bench by Donald Trump, to speak at the Stanford Law School. Only the mob, the led by the school’s diversity, equity, and inclusivity dean, Tirien Steinbach, all but prevented the judge from speaking. Diversity to the left hasn’t meant diversity of opinion for years.

Shortly afterwards, the dean of the Stanford Law School, Jenny Martinez, apologized for the beastly misbehavior Duncan received, which led another woke mob to disrupt her lecture hall.

In my opinion, outside of the ten percent or so of the populace who is indeed woke, no one can argue that such boorish antics are justifiable.

As is also the case of the second California campus woke outburst, when Turning Point USA’s Charlie Kirk spoke at the University California, Davis. “Black-clad goons” goons is how the Daily Mail described the protesters who pepper-sprayed attendees and smashed windows at the hall where Kirk spoke.

Kirk’s UC Davis address is available in podcast form. Unlike Duncan, Charlie was permitted to speak. And in his opening remarks, Kirk vowed, “Tonight, you’re going to see that anyone who disagrees with me tonight is not just allowed–but is encouraged to go ask [me] a question.” Kirk even called for his dissenters to head to “the front of the line.”

Now, that’s what I call diversity.

Those leftist protesters–I believe it’s fair to call them rioters–were probably egged on by a woke Sacramento Bee opinion columnist, Hannah Holzer, who, in a since retracted claim, said Kirk “called for the lynching of trans people.” In his remarks that evening at UC Davis, Kirk responded, “That is a lie. I have never done that,” adding, I’ve always been clear about peaceful activism.”

The unpeaceful ones that night at UC Davis were the members of the woke mob.

The great majority of Americans don’t have politics on the top of their informational diet. But this truly silent majority, the ones who decide the outcome of elections, is aware of the evils of leftist violence, intimidation, misinformation and censorship. And now there is an ugly word for that and more that is now entrenched in the mainstream conversation.

“Woke” is that word.

To my conservative writers and influencers: The other side has betrayed a weakness and a fear. They hate it when we say “woke” to decry radical policies and angry leftist mobs. What is worse than “woke?” Well, those odious things that the word describes, such as the recent outrages at Stanford and UC Davis.

Say “woke” early and often.

We will win.

John Ruberry regularly blogs at Marathon Pundit.

Review: Van Morrison’s Moving on Skiffle

Posted: March 12, 2023 by John Ruberry in covid, culture, media, News/opinion, opinion/news, politics
Tags: , , , , , , , , , , , ,

By John Ruberry

Last Friday, Rock and Roll Hall of Fame inductee Van Morrison released his 44th studio album, the exuberant Moving on Skiffle. 

What is skiffle? Well, the first time I heard of it was in was in an unusual place–maybe not for an American–in the movie This Is Spinal Tap. Before joining the band that would become the heavy metal act Spinal Tap, David St. Hubbins (Michael McKean) was a member of a skiffle group.

Wonderful observation, you might be saying, but once again, what is skiffle? In the late 1920s, it developed as an offshoot of jug music, a genre of the American South and performed mainly by African Americans. The original skiffle was a bit country, a bit folk, and a bit delta blues. Then skiffle died once the Great Depression hit. 

Only it didn’t completely perish. 

Like a sprout from an errant wildflower seed, skiffle surprisingly blossomed again a couple of decades later in Great Britan. The UK’s biggest skiffle star was a Scotsman, Lonnie Donegan. Another skiffle performer, Chris Barber, a British aficionado of New Orleans style jazz, often recorded with Donegan. 

Growing up in 1950s Belfast, Morrsion was one of many UK youths listening to skiffle on the radio. Soon Morrison joined a skiffle band, but by the mid-1960s he was fronting Them, a blues-rock act best known for “Gloria,” before going solo in 1967. Well, you probably know the rest of his story.

Just as skiffle quickly reemerged in Britain, it all but vanished as a popular music phenomenon in the early 1960s. Only its disappearance wasn’t mysterious. The tsunami of the Beat Groups–known as the British Invasion in the United States–which included Them, was the culprit. 

The Belfast Cowboy maintained his love for skiffle thru the decades. Morrison recorded a live album with Donegan and Barber, The Skiffle Sessions – Live in Belfast 1998.

For Moving on Skiffle, Morrison issues a double album of additional classic skiffle songs–there are no repeats from the live collection.

Morrison, who turns 78 this summer, has been newsworthy of late because of his fervent opposition to COVID-19 lockdowns.

In 2021, Morrison released Latest Record Project, Volume 1, a double album. Many of the tracks, including “Stop Bitching, Do Something” and “Why Are You on Facebook?” pushed back on government and Big Tech power. Last year, on What’s It Gonna Take?, Van the Man more directly challenged the lockdowns and creeping totalitarianism, in such tracks as “Dangerous,” which was in response to comments made by Northern Ireland’s health minister, Robin Swann, about Morrison’s anti-lockdown stance. Swann has since sued Van the Man, Morrison has counter-sued. 

On what will likely be remembered as his”COVID albums,” Morrison penned all of the tracks. Moving on Skiffle is a covers collection.

Morrison, who is not a doctor or a scientist, has been proven, in my firm opinion at least, to be correct that lockdowns would not be an effective defense against COVID-19. The harm of lockdowns, such as an overall increase in mental illness and declining school test scores, is apparent.

Yes, COVID, along with pre-exisiting conditions, killed millions, despite lockdowns, masking, and vaccine mandates. But Florida, which didn’t pursue an aggressive lockdown and masking policy, didn’t see a higher COVID death rate compared to lockdown states like New York.

Moving back to Moving on Skiffle, this sparkling collection stays away from politics, except for the strongest track on the collection, “Gov Don’t Allow,” a reworking of the 1920s folk standard “Momma Don’t Allow,” with new lyrics authored by Morrison.

“Gov don’t allow any freedom of speech in here,” he sings, “but I think it’s going overreach–gov don’t allow any freedom of speech in here.”

Now that I have politics out of the way, let’s discuss the rest of Moving on Skiffle.

Other highlights of this ninety-minute collection include another musical reworking, “This Little Light of Mine” becomes “This Loving Light of Mine,” where Morrison adds “Amen” verses. “Gypsy Davy” has a Celtic feel, and there are two Hank Williams songs, “Cold Cold Heart” and “I’m So Lonely I Could Cry.” 

Overall, the collection has a Creedence Clearwater Revival flavor, partly because of the inclusion of Lead Belly’s “Cotton Fields,” which CCR covered on Willy and the Poor Boys. Their hit from that album, “Down on the Corner” has a classic has a jug band feel. 

If you are a Van and Man enthusiast from way back, you’ll adore the final cut on Moving on Skiffle, “Green Rocky Road,” a nine-minute-long track that echoes Morrison stream-of-consciousness gems such as “And The Healing Has Begun” and “Listen to the Lion.”

Skiffle has many definitions. So if you’d prefer you can define Morrison’s latest work possibly as an Americana collection, albeit one with gospel music overtones. 

Oh, I nearly forgot. As with all Van Morrison albums, the singing here, including the work of the backup vocalists, as well as the musicianship–down to the washboard–are spectacular. 

Moving on Skiffle can be downloaded from iTunes or purchased at Van Morrison.com.

Related post:

As Van Morrison turns 77, here are his ten best albums

John Ruberry regularly blogs at Marathon Pundit.

“Roald the Rotten” Dahl an unlikely hero in battle against wokeism

Posted: February 26, 2023 by John Ruberry in business, culture, media, News/opinion, opinion/news, politics
Tags: , , , , , , , ,

By John Ruberry

Deep down every wokester is weak. Just as most bullies are. You criticize a woke person and you are called a racist, a bigot, or some sort of “phobe” or another. They expect you to cower in shame afterwards.

And if you don’t?

Like the dystopia described in Ray Bradbury’s Fahrenheit 451, the editing of books deemed offensive has begun. The endgame in Bradbury’s storyline was the banning of all books. 

Last week the publisher of Roald Dahl, Puffin, announced it was editing some of his works–which include the classics Charlie and the Chocolate Factory, James and the Giant Peach, and Matilda–to remove language they deem offensive. Augustus Gloop, the gluttonous German boy in the first book, will no longer be “fat,” he’ll be “enormous.” In Matilda, “mothers and fathers” become “parents.” The bald witches in The Witches will come with a disclaimer about baldness. 

Next came the backlash.

But let’s talk about the author first. 

Dahl, who died in 1990, had slight misanthropic and even more direct anti-Semitic sentiments. At the very least he was a beast of a person. Dahl’s marriage to Hollywood actress Patricia Neal–one of my late mother’s favorite performers by the way–was tumultuous. Neal suffered a stroke while pregnant, and as she recovered, she couldn’t remember the words of many things. Dahl, a serial adulterer throughout their marriage, refused to give his wife things she asked for, including food, until she used the correct word. 

Neal’s nickname for her husband was “Roald the Rotten.”

Dahl’s publisher for much of his career was Alfred A. Knopf.

After asking Knopf that a person who was “competent and ravishing” should send him dozens of Dixon Ticonderoga pencils, Dahl was sent different ones, after his first request was laughed off. Dahl made more demands and then threatened to send his writings to a different publisher.

But instead, Knopf released the popular author. Employees of the publishing house cheered when they heard the news of Dahl’s dismissal. They fought back against a bully and won.

Salman Rushdie, who lost his sight in one eye after a recent attack, was one of the prominent writers who came to Dahl’s defense. “Roald Dahl was no angel but this is absurd censorship,” Rushdie Tweeted. “Puffin Books and the Dahl estate should be ashamed.”

Even Queen Camilla voiced her support for him.

A few days later Puffin backed off. Oh, it will still publish the edited, make that censored, versions of Dahl’s books. But the original Dahl works will also be printed. Here’s my prediction: Woke Dahl, just like the New Coke debacle several decades ago, will go down as colossal failure. Vintage Dahl will win.

Heroes are hard to find in these complicated times. But the legacy of “Roald the Rotten” has been used to fight back against another bully, the woke movement, which deems itself morally correct and beyond reproach.

John Ruberry regularly blogs at Marathon Pundit.

Older Entries
Newer Entries