Posts Tagged ‘review’

Review: Season Two of Ragnarok

Posted: June 2, 2021 by John Ruberry in culture, entertainment, media
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By John Ruberry

Late last week Season Two of Ragnarok began streaming on Netflix. The Norwegian series presents a modern telling of the ultimate battle, Ragnarök, between the Norse gods and their enemies, the jötunn, evil deities who are usually called giants in English. It is set in the fictional small fjord town of Edda, which is being poisoned by the town’s largest employer, Jutul Industries. The company is run by Vidar Jutul (Gísli Örn Garðarsson), the head of the jötunn quasi-family. His wife, Ran (Synnøve Macody Lund), is the principal of Edda High School, which Magne Seier (David Stakson) and his brother, Laurits (Jonas Strand Gravli), attend. Also students there are two other Jutuls, Saxa (Theresa Frostad Eggesbø) and Fjor (Herman Tømmeraas).

In Season One, my DTG review is here, teenager Magne suspects he is the rebirth of Thor. Yes, he’s another “chosen one.” In the final episode of that season, while Laurits humiliates Ran in a public address, Magne confronts Vidar in a battle. 

https://www.youtube.com/watch?v=Ofy4lTvNu1o

The second season picks up where the first ends. Somewhat diminished this season is the teen love anxiety–while the Norse mythology is elevated. There are few scenes at the high school. So there is a bit less of a Twilight feel this time around.

Laurits is a prankster so if you know a little bit about the Norse gods, you should have suspected in the first season that he is a modern representation of Loki, the mischievous god. Reluctantly and by happenstance, as Jake and Elwood did in The Blues Brothers, Magne is “putting the back back together,” and that includes Wotan Wagner (Bjørn Sundquist), Edda’s Odin, and Harry (Benjamin Helstad) as the militaristic god Týr. Edda is multicultural, so it’s not surprising that an immigrant from Sri Lanka, Iman (Danu Sunth), achieves goddess status as Frigg, a clairvoyant.

The powers–and the alliances–of the gods and the jötunn as told in Norse mythology are complicated–as they are here. So are the romances, particularly the one with Fjor and a human, Gry (Emma Bones).

According to the myths Loki was a shape shifter–that is not shown here–and some of those tales of the trickster god involve gender fluidity. Laurits is unsure of his gender–but more certain of his sexuality. Oh, there is also a brief sensual scene with two women.

All through Season Two the government is investigating the environmental devestatation Jutul Industries brings to Edda–as well as the company’s financial improprieties. 

Magne and Laurits’ mother, Turid (Henriette Steenstrup), does her best in keeping the family together while struggling with poverty and of course, raising two teen sons who are conflicted gods. 

The final episode, the sixth–Season One is also consists just six entries–brings forth another climactic confrontation. The door is open for a third season of Ragnarok and I’ll be back if there is. Although to be honest I probably would have lost interest during Season One has their not been a mythological foundation for the series. As of this writing Ragnarok is a Top Ten series on Netflix.

The streaming service gives viewers the option of watching Ragnarok in dubbed English or in Norwegian with English subtitles. There are also some passages, dubbed of course, in Old Norse. 

Season Two of Ragnarok is rated TV-MA because of foul language (and gasp!) smoking. In reality the series is more like a PG-13 movie in regards to possibly objectionable content. 

John Ruberry regularly blogs at Marathon Pundit.

Review: Season 1 of Shadow and Bone

Posted: May 2, 2021 by John Ruberry in culture, entertainment
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By John Ruberry

Throughout the late 1960s and 1970s there was the hope, egged on by the music media, that soon “the next Beatles” would arrive. The Bee Gees, Badfinger, and the Knack were among those acts who failed to match the hype. And no band could match the Beatles’ level because even when they were together they were already legends. 

In that same time period there were even more “next Bob Dylans” heralded.

No one can supercede a legend.

Late last month the first season of Shadow and Bone began streaming on Netflix. 

And many are wondering if Shadow and Bone is the next Game of Thrones. 

Short answer? No. Longer answer? Not even close. And as HBO’s Game of Thrones has entered the world of legend, Shadow and Bone doesn’t have a chance. 

Call me sadistic, but I knew in the first episode of GoT, “Winter Is Coming,” that here was a series that broke the mold when Jamie Lannister pushed young Bran Stark from a high window ledge so to hide his sexual relationship with his sister, Cersei.

With Shadow and Bone you are exposed to an eight-episode muddled mess. 

The show is based on a trilogy of high fantasy books by Leigh Bardugo, and there are elements from two of her other works thrown in too. To understand what is going on you it seems you have to read all of these books first. And I’ve read none of them.

“Students,” I can see a teacher announcing, “your assigment is to read five books and then, only then, watch Shadow and Bone.” Uh, no.

The alternate world of Shadow and Bone is largely based on Russia of the late 19th century. The costume designers make the most of it and they deserve an Emmy nomination for their efforts. Soldiers wear fur ushankas and papakhas. Women don ornate dresses, the heads of civilian males are often topped with bowlers. While GoT and Lord of the Rings is rooted in the Middle Ages of western Europe, viewers here find themselves in the Russia of the Industrial Revolution. There are guns and a train. But no sword battles.

Ravka (Russia) is in the center of the continent and it’s separated by the Fold, a thick cloud wall inhabited by human-eating volcra, who are a cross between griffins and pterodactyls. Spoiler alert: there are no dragons. The Fold was created years earlier by an evil grisha, that is, a magic maker of Ravka. Maybe I’m a dope but it wasn’t until the third episode that I ascertained that the grisha were magicians. They are particularly adept at fire-starting. The grishas make up one of two armies of Ravka.

The central character of Shadow and Bone is Alina Starkov (Jessie Mei Li), a woman in her late teens and a grisha who is half-Shu Han. The Shu Han nation, which we don’t encounter here, is the show’s version of China and they are enemies of Ravka. To the north is Fjerda, a stand-in for Scandinavia. We see the Fjerdans when they fight the Ravkans.

An orphan–just like Harry Potter and Frodo Baggins–Alina encounters racism because of her foreign looks. She has a puppy love relationship with a fellow orphan, military tracker Malyen “Mal” Oretsev (Archie Renaux), they’ve known each other since childhood. Alina is a mapmaker for the First Army, the non-magical one–and man oh man, could viewers use a decent map here to get a grip on the geography of Shadow and Bone. Only one is briefly shown. More time is devoted to Alina burning maps.

We quickly learn that Alina, like Harry Potter, is a Chosen One. The revelation brings her to a grisha leader, General Kirigan (Ben Barnes), and the capital city of Ravka, where she meets the king, who looks a lot like Czar Alexander III. Alina is declared a Sun Summoner, that’s a really big deal you see, and then begins her training to fully utilize her powers.

Word spreads about Alina–all the way to the island nation of Kerch–which is Shadow and Bone’s version of the Netherlands, complete with its largest city, hedonistic Ketterdam, which parallels another city. Do I really need to spell out which one? We meet three underworld characters there, Kaz Brekker (Freddy Carter), Inej Ghafa (Amita Suman), and Jesper Fahey (Kit Young) who leave Ketterdam to kidnap Alina for a one-million kruge reward. The three criminals have an intriguing dynamic and they are more captivating characters than Alina and Mal. 

If you like elaborate clothes, eye-catching special effects, and being transporated 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. 

If magic and the 19th-century interests you then instead I recommend streaming Jonathan Strange & Mr. Norrell on Amazon. In this series, among other things, the Duke of Wellington is aided by a magician to fight the French during the Napoleonic Wars. 

As for the grisha–if they are so powerful how come they are captured with relative ease?

Shadow and Bone is rated TV-14 for violence, adult situations, and brief nudity.

John Ruberry regularly blogs at Marathon Pundit.

An appreciation of The Divine Comedy band

Posted: December 13, 2020 by John Ruberry in culture, entertainment, media
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By John Ruberry

Listening to music is a serendipitous adventure. And it was on one of those journeys I uncovered another great band that you’ve probably never heard of, The Divine Comedy. Last year before the post was swallowed up by a memory hole at Da Tech Guy, I profiled another undeservedly unknown band, the Rainmakers. Only I first encountered the Rainmakers on a local radio station years ago.

I discovered The Divine Comedy when I downloaded the “Inspired by the Kinks” compilation on Apple iTunes. A great collection, yes, and easily the standout cut for me was “The National Express,” a satirical look at a ride on the eponymous company’s bus line.

Unknown? As this is an American blog with, I believe, a predominately American readership, that’s true. But The Divine Comedy has scored hits in Europe, particularly in Great Britain and Ireland, which is understandable as the band’s only constant member is Neil Hannon, who is from Northern Ireland.

As great as “The National Express” is, there’s just one small issue in my opinion. I’m a huge Kinks fan, but unless you count that British band’s last big hit, “Come Dancing,” it doesn’t sound like any other Kinks tune.

Listen for yourself!

The Divine Comedy’s first album, since cancelled by Hannon, was the R.E.M. inspired Fanfare for the Comic Muse, which was released in 1990. The only place it seems to be available is on YouTube. If you somehow find a copy of it at a rummage sale or used record store, grab it if it’s priced cheap, as it is probably a collector’s item.

The band then “regenerated” three years later into a chamber pop, or if you prefer Britpop band, for Liberation. Actually I prefer the moniker baroque pop. Regardless of the name, what kind of music am I talking about? Think along the lines of “Penny Lane” by the Beatles, “Senses Working Overtime” or “Easter Theatre” by XTC, or “Never My Love” by The Association, the glimmering song that was used with such beautiful yet chilling effect in the final episode of the most recent season of Outlander. Oh, throw in a bit of Cole Porter too. Back to Liberation: My favorite song from that collection is “The Pop Singer’s Fear of the Pollen Count,” which is cleary inspired by the Beach Boys. Yes, I suffer from allergies too so I can commiserate.

Hannon, who writes nearly all of the band’s songs, is a clever lyricist who brings wit and even snarkiness to many of his songs. The Divine Comedy’s melodies are striking and the musicianship is superb.

Here’s a snippet from “Catherine the Great.”

With her military might
She could defeat anyone that she liked
And she looked so bloody good on a horse
They couldn’t wait
For her to invade
Catherine the Great.

Yes, there is a sly reference here to the historical gossip that the Empress of Russia died from a mishap during carnal relations with a stallion.

“The Frog Princess” incorporates strains of “La Marseillaise” into it.

One more Divine Comedy favorite of mine is “Gin Soaked Boy” from the 1999 compilation A Secret History…The Best of the Divine Comedy, which might be good place for you to see if The Divine Comedy is for you. Or you can begin as I did on Apple Music with their “Essentials” and “Next Steps” collections.

Of the band’s dozen studio albums Fin de Siècle, which contains “The National Express,” is my favorite. If you prefer to see what the Divine Comedy is up to now, its latest album is Office Politics. The track I enjoy the most on this collection is “Philip and Steve’s Furniture Removal Company.” It’s about a proposed sitcom and its theme song, both devised by Hannon, in which minimalist classical composers, Philip Glass and Steve Reich, operate a furniture removal business in the 1960s in New York.

Silly? Of course. Brilliant? Definitely.

Oh yes, I said “regenerated” earlier. Regeneration is the title of the Divine Comedy’s 2001 album. Perhaps not coincidentally Hannon contributed a couple of solo tracks, “Song for Ten” and “Love Don’t Roam” to Doctor Who: Original Television Soundtrack from 2006.

In addition to Apple Music works by The Divine Comedy are also available on Amazon.

John Ruberry regularly blogs at Marathon Pundit.

Review: The Liberator on Netflix

Posted: November 22, 2020 by John Ruberry in entertainment, media
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By John Ruberry

By John Ruberry

Lost among the fallout after the presidential election was the debut of a compelling four-episode on Netflix, The Liberator. It tells of exploits of the leadership of Felix Sparks (Bradley James), who eventually reached the rank of lieutenant colonel, of the 3rd Battalion of the 157th Infantry Regiment in the European theater of World War II. Yes, for the most part, this is a true story.

The series which began streaming on Veterans Day, is animated and it uses the new technique of Trioscope, which combines live action and computer and manually created images. The series is based on Alex Kershaw’s book The Liberator: One World War II Soldier’s 500-Day Odyssey from the Beaches of Sicily to the Gates of Dachau. It’s a huge improvement over rotoscoping, most famously, or notoriously used in the first feature film version of J.R.R. Tolkien’s The Lord Of The Rings, which was directed by Ralph Bakshi. The animation is grainy with a touch of sepia, the latter hue of course is common in films set in first half of the 20th century.

For the most part, The Liberator avoids hackneyed plotlines and characters of many World War II projects, other then sepia. There is no “Guy From Brooklyn” in it. But here is a soldier from Chicago, who of course is a Cubs fan. Fact: real and fictional characters from in television and movies are never White Sox fans, unless, as in Field Of Dreams, the South Siders are central to the plot. Oh well, to be fair it was the Cubs, not the White Sox, who played in the World Series in 1945.

When Lieutenant Sparks arrives at Fort Sill in Oklahoma shortly before America’s entry into World War II, he’s given command of “Company J,” which consists of soldiers locked up in the stockade. These ragtag men are a mix of Mexican Americans, Native Americans, and cowboys. 

It’s a tough command, “The Indians and the Mexicans don’t like each other very much,” a jail guard tells Sparks. “And they hate us more.”

But Sparks is looking for fighters, not divisiveness. He and molds them–even though the Native Americans and Mexicans can’t enter a bar off base in Oklahoma. In Italy a captured member of the Thunderbirds is confronted with this irony by a German officer. 

During its two years in Europe, in addition to the invasion of Sicily and the liberation of Dachau, but also the invasion of southern France, as well as the Battle of the Vosges near the German border, and finally fighting in Bavaria, the 157th Infantry Regiment encountered over 500 days of combat. Sure there are arguments and spats among the soldiers. People never always get along. But the soldiers form an effective fighting unit. 

The German troops are treated relatively sympathetically in The Liberator, but only up to a point as the Thunderbirds later of course liberate Dachau.

The supporting cast is superb, particulary the performance of Martin Sensmeier as Sergeant Samuel Coldfoot and Jose Miguel Vasquez as Corporal Able Gomez, two composite characters.

Originally The Liberator was intended as a live action miniseries for A&E Studios for the History Channel but filming such a project in so many disparate locales, the plains of Oklahoma, Italy, the Mediterranean coast, the Vosges, and Bavaria, proved financially impossible. Not so much with animation. Which is why The Liberator is probably on the cusp of what we’ll see soon on the big and small screens. And the use of animation in war dramas will spare us motion picture embarrasments such as the desert combat scenes in the 1965 box office flop The Battle Of The Bulge.

The Liberator is currently streaming on Netflix. It is rated TV-MA, although despite depictions of battlefield wounds and the frequent use of profanity–in English and Spanish no less–I’m unsure why. Oh, some people smoke cigarettes in it too. I’m mean c’mon. This is the 1940s!

Tune in and start watching. You’ll be glad for it. 

John Ruberry regularly blogs at Marathon Pundit.

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