Spotlight: “Iron Fist” Season One

Warning: spoilers for season one of “Iron Fist” follow.

…Oh boy……

Ever since “Iron Fist” premiered on Netflix back in March, it’s been panned by many critics.  It’s easily considered the worst of the Marvel Netflix shows and possibly even one of the worst shows on Netflix period.  The reception to it was so bad that Finn Jones, the actor who plays the main character in the show, blamed Donald Trump for the negative perception of the show.  According to him, because of the wide distrust of the president people can’t root for Danny Rand because he’s a white billionaire superhero.

 

This is the appropriate reaction to what you just heard.

 

But I digress.  “Iron Fist” is currently sitting at a 37 on Metacritic and a 17% on Rotten Tomatoes.  Why?  Were critics just being unfair?  Was the show really made more for the fans like Finn Jones also suggested?  Or was there something else, a reason that the show was so negatively received?

Well, as it turns out, there was a reason.  You see, “Iron Fist” season one is boring.  Like, really boring.  I have to admit that I struggled watching through the entire thing.  That’s not to say that there aren’t good points to the show, but they’re faint pinpricks of light in an otherwise gloomy sea of tedium.

And the problem starts with Danny Rand himself.

Now, to be fair to Finn Jones, I don’t think he’s a bad actor.  He does a serviceable job here.  The main problem is the character.  But before we get into that, we have to give some backstory.  As a kid, Danny Rand was in a plane crash with his parents in the Himalayan mountains and was the only survivor.  After being rescued by a pair of mysterious monks, Danny spends his formative years in a place called K’un-Lun, a mystical monastery that is only accessible every fifteen years.  There he learns martial arts and gains the power of the Iron Fist, turning him into a mystical living weapon.  He returns to New York fifteen years after his supposed death and tries to reclaim the life he once had.

The thing is, Danny Rand is perfect…too perfect.  In fact, he’s so perfect he’s boring.  He spouts off Zen sayings left and right.  He’s in total control of his emotions (at least in the beginning).  And he’s practically unbeatable in a fight.  I mean he walks into the dojo of Colleen Wing (one of the side characters) and almost immediately schools her in martial arts.  It’s ridiculous.  And then later on, any time his company runs into a scandal, he always does the morally righteous thing.  And I mean always.  There’s nothing interesting about his character because there’s no flaws to his character.  At least, not until like three-quarters through the season when the writers suddenly decide that his guilt over the death of his parents clouds his judgement and renders him unable to summon the Iron Fist most of the time.  If this was implemented from the beginning of the season, that would be one thing.  But the way it just shows up later is jarring.

 

The impeccable Danny Rand.

 

Danny Rand reminds me of that stereotypical rich guy who constantly shares pictures of his vacations on Facebook or Instagram.  You know the type: you constantly see them posing in sun-bathed tropical locales or other exotic locations.   And they’re always spouting off life wisdom like they know that’s best for everyone else.

But enough about Danny.  What about all the side charac-

They’re boring.  Just…boring.  Aside from Colleen, the dojo teacher that becomes his love interest, none of the characters really have anything important or interesting going on (except for maybe Joy…I found some of her scenes to be kind of interesting).  I don’t care about the day-to-day business of the Rand corporation.  I don’t care about corporate backstabbing.  And I certainly don’t care about a boring subplot dealing with painkiller addiction.  Seriously, screw that noise.  It’s like the show is caught between being a bad superhero show and a bad soap opera.

And the pacing…oh god the pacing.  It’s so off.  Like I said before, the main problem with “Iron Fist” is that it’s just boring.  I hope you like martial arts poses because I swear that at least sixty percent of this show is people striking martial arts poses and talking about what they’re going to do next instead of, you know, actually doing it.

 

Who cares about plot when you can strike some sick poses brah?

 

Even the title sequence is boring.  “Daredevil”, “Jessica Jones”, and “Luke Cage” all had nuance in their title sequences that hinted at certain aspects of their characters or overall themes for the show.  What does “Iron Fist” have?  A silhouette of a man leaving inky trails all over the place as he strikes a bunch of poses.

 

Whoo…it’s so good guys. I’m not even being sarcastic…

 

And speaking of pacing, my god the show has no idea how to build or sustain momentum.  When the show isn’t being dull and full of people talking or striking poses, things seem to happen way too quickly.  For example, the end of the first episode has Danny being drugged by his former friends Joy and Ward Meachum, then being placed in a mental hospital.  And then he breaks out of the mental hospital at the end of the second episode.  Like…what?  This is the kind of stuff you do in the middle of the season, not at the beginning.  Not only that, but the show spends the first four episodes or so dealing with Danny trying to prove his identity.  And there isn’t even a real payoff to it.  The conflict is abruptly resolved and the people trying to keep Danny from getting back into the company are suddenly like “hey Danny we’re your friends again…we can just forget about that whole mental hospital thing right?”

There are so many little things with this show that I could complain about.  A villain becomes a not-villain only to suddenly become a villain again later on in the season.  The characters spend way too much time talking about duty and honor.  The last episode feels like it belongs in an entirely different season.  Certain things just happen without any real explanation (I still don’t understand how Danny suddenly winds up in a freaking penthouse after being kicked out of Colleen’s dojo).  Characters make decisions that don’t make any sense.

It’s a mess.  But if I keep going, this review will go on forever.

In the end, I feel like if the show had been done with a lighthearted tone, things probably would have worked out better.  The silly nature of Danny’s character and all the overemphasized martial arts combat doesn’t really blend well with the show’s dead serious tone.  But even if they did go for a lighter tone, then it just wouldn’t fit with the other shows.  Any way you slice it, “Iron Fist” just fails to deliver.

And yet, it was still Netflix’s most binge-watched drama.  Kinda sad when you think about it, but that’s the power of Marvel.  People will watch it regardless, especially because of how the stories are interconnected.

All I can say is that I hope “The Defenders” was worth it.  Because Marvel has seemed to be in a hurry to get that out the door for the past couple of years, and that has led to a decrease in quality for the Netflix shows.  The second season of “Daredevil” felt disjointed at times, with two major arcing plots that didn’t seem to mesh together well.  The second half of “Luke Cage” season one saw a complicated villain being swapped out for one that had very little depth and whose only motivation is revenge against Cage.  But clearly, “Iron Fist” was hit the worst.  There’s so much unnecessary subplot that could have been left out in favor of focusing on making Danny not suck as a character and giving him an origin story that’s actually enjoyable to watch.  But as it stands, “Iron Fist” season one is only worth watching for the connection to “The Defenders”.

If you watch it on its own hoping for a good standalone story, you’ll most likely end up disappointed.

 

But hey, at least there’s martial arts poses…right?

 

Thanks for reading.  Check back next Wednesday for a new post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Procedural Gains? The Value of “Case of the Week” Television Shows

A long time ago, television was different.  Shows mainly focused on the weekly adventures of its characters, very rarely (if at all) connecting them in any meaningful way beyond the initial premise (i.e. “Gilligan’s Island”).  But nowadays we have shows like “Breaking Bad” or “The Walking Dead” which have a single, continuous story going on throughout their episodes.  Television has changed quite a bit.  I wrote a bit about serialized storytelling in television shows a while back, where I basically said that it’s becoming more and more the standard for television shows.  But what about those “case of the week” shows?  You know, all those shows like the “Law and Order”s and the “NCIS”s and even that “CSI” show where it’s imperative that David Caruso put his sunglasses on at the end of each episode.

 

We have sunglasses! Repeat. we have sunglasses! ROLL CREDITS!

 

Well, these type of shows are still around.  “But,” you might be asking, “how are these shows surviving if serialized storytelling is becoming the norm?”  Well, some of them aren’t.  “CSI: Miami” has been off the air for about five years now.  But even so, “CSI: Maimi” went on for ten seasons and the original “NCIS” is still going (they’re on season fourteen as of this writing).  So how did they make it?  How are they still drawing an audience in the age of serialized storytelling?

Part of it has to do with the nature of broadcast television itself.  Since each episode airs at a specific time on a specific night, it’s sometimes difficult for viewers to keep up with an overarching story.  You can watch recent episodes of shows on digital streaming services like Hulu, but a lot of those require a monthly fee.  It’s just simpler to watch a show where each episode is its own story that doesn’t connect the other episodes.  And they’re sort of relaxing in a way.  I’ll admit that I watch some of them back to back when I go back to my parent’s house for a weekend, partially because I don’t have television at my apartment (I do have a handful of broadcast channels, but nothing on them interests me).

But even with this simpler nature, the streaming age is still marching on.  As more and more people gain access to these services and as the internet infrastructure in the United States and other countries gets stronger and stronger, these shows will lose that edge.  If you can watch a show anytime you want, that pressure to sit down and watch at a specific time disappears entirely.  And it seems that broadcast television is aware of that in some way.  More procedural shows have started injecting serialized elements into their DNA.  Lots of crime shows will have arcs that take place over multiple episodes.  A good example of this would be a main character suffering an injury in an episode and then the following episodes dealing with the fallout and limitations of that, all while they go about solving the crime of the week.

And this is something that procedural shows are very good at.  In serialized shows, we see characters always under pressure, always struggling against great odds.  But rarely do we get to see how they’d react to what they’d consider a normal situation.  Procedural shows are actually good at giving us glimpses into the normal lives of their characters, rather than using broad strokes like most serialized shows do.  It actually tells you a lot about a person when you see how they respond to a normal, everyday problem rather than an extreme one.

On the flip side, when serialized shows try something like this it often ends up feeling forced or it messes with the pacing.  A good example of this would be in season three of “Breaking Bad”.  There’s a segment that deals almost exclusively with domestic drama between Walter and Skyler.  And it’s just…boring.  There’s a lot of tension, but very little release.  It doesn’t really go anywhere and it just feels as though the writers were looking for a way to eat up time.  I mean the best moment from that section of the show is Walter bringing his family a pizza.

 

Incidentally, this scene was so popular that the show creator had to make a statement asking fans to stop throwing pizza on the roof of the Walter White house.

 

The strength of procedural shows lies in the myriad ways they can examine their characters.  “Star Trek: The Next Generation” did a wonderful job with the episodes focusing on Data, the resident android.  In a way, we got to know Data far better than any of the other characters on the Enterprise. which made him a fan-favorite from the series.  It would be a shame if we lost that power because television is growing more and more serialized.  That being said, it appears broadcast television has a ways to go before they can compete with the likes of “Breaking Bad”.  In particular, ABC seems to go through new shows like a hot knife through better.  Remember “Time After Time”, the show about H.G. Wells chasing Jack the Ripper?  If you don’t, that’s okay.  It was cancelled after five episodes.  And this happens a lot with broadcast.  I mentioned once that I thought broadcast television was too focused on the plot twists instead of the characters.  And the advertising seems indicate that, with commercials focusing on “that twist you’ll never see coming”.

But progress inevitably continues.  And eventually, they’ll have to catch up…sooner or later.

 

Thanks for reading!  Check back next Wednesday for my next short story!

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Contrived Destiny: Prophecies in Storytelling

So lately, I’ve been thinking about prophecies.  And I’m not talking about prophecies as in biblical prophecies or any of that Nostradamus stuff.  That’s a story for another time.  What I’m talking about are prophecies in fiction.  You know what I mean: in a story a prophecy will say this or that, and then the characters end up stressing about the prophecy instead of doing anything about it even though they have adequate time to take care of things and then their laziness actually makes the prophecy come true and MY GOD WHY AREN’T YOU PEOPLE DOING ANYTHING?!

No?  Just me?

When I was younger, I didn’t really have an issue with prophecies when it came to fiction.  To me, it was just a thing, especially in fantasy.  You know, some great evil would return to the world and only the chosen hero or heroes could defeat it, that sort of thing.  But more and more, I’ve come to the realization that prophecies can be really lazy.  And indeed it seems like some stories rely on them heavily, like a sort of crutch.

This is kind of an oblique example, but here goes:

You’ve probably heard of the reboot Star Trek movies directed by J.J. Abrams.  Now, I don’t really have an issue with them.  They’re mindless, action movies that kind of miss the point of what Star Trek was about, but they’re still fun to watch.  However, once I had this particular thing pointed out to me, I couldn’t un-see it.

In the first reboot movie, time is re-written when the villain is sucked through a black hole type thing and ends up in the past.  He attacks a Federation ship and destroys it, which kills Kirk’s father.  Fast-forward into the future, and Kirk is an edgy, dark young man who gets into bar fights and has a problem with authority.  Later on in the movie, he ends up marooned on an ice planet after he pisses off Spock.  Being chased by what might as well be a Yeti, Kirk finds himself in an ice cave.  And there he meets…Old Spock, played by Leonard Nimoy (rest in peace).  Old Spock tells him that in the timeline he comes from, Spock and Kirk are best friends.  Therefore, because of that, they are sort of destined to work together.  With that knowledge, Kirk and Spock inevitably put aside their differences and work together.

But that’s kind of lazy storytelling when you think about it, isn’t it?

Instead of Kirk and Spock naturally becoming friends, they end up as friends because they’re supposed to to be friends.  History has been changed.  Events occurred differently, shaping Kirk and Spock into different people than they would have been originally.  But instead of figuring out a clever way to use Kirk’s brashness and Spock’s logical thinking to save the day, they just force the two together because Old Spock said it was meant to be.

Their characters don’t really develop.  They’re just fated to be together…apparently.

 

Old Spock (Leonard Nimoy)

 

And this is something you can see in a lot of stories with prophecies in them.  Why does the hero become the hero?  Does he work hard?  Is he of admirable character?  Does he train and get stronger over time?  Or does he become the hero because some obscure, ancient writing said he was going to be the hero?

Now, prophecies can be used in interesting ways.  Take the video game “Final Fantasy X” for example.  In the game, there is this giant monster that returns to devastate the world and only a summoner can defeat it.  But to do so, they must sacrifice themselves to summon a being powerful enough to defeat it.  Later on, the main characters come to the realization that this is all a bunch of nonsense, because the monster will just keep coming back over and over again.  It’s at that point where the heroes basically say “screw prophecies” and forge their own path.  In that way, it uses prophecy to expose the flawed nature of the religion that the game’s world is based on.

So you see, you could do that.  Or you could do what “Snow White and the Huntsman” did: kill off Kristen Stewart, only to have her magically come back to life and suddenly be a badass warrior.

Why?  Because prophecy baby!

By insisting that a character be a hero according to prophecy, a writer can get past all sorts of pesky things like character growth, development, training, and so on.  The hero can just have god damn magical powers if they want.  And why not?  It’s a prophecy!  Anything goes!  Even “The Matrix” pulled something like that, although in that case it actually worked because it served to highlight the movie’s theme of rebirth.

 

Wait…Neo is an anagram for “one”? My god it’s ALL COMING TOGETHER!

 

Like I said, prophecy isn’t necessarily a bad thing.  It’s just too easy to use as a lazy crutch.  Why bother coming up with experiences for the character to justify their growth into a hero when you can just predestine that from the very beginning?  No one’s going to question it, because it has to be so if the prophecy said it.

The problem with prophecies is that they often become too binding.  They force things to play out in a certain way, whether it fits in line with the prophecy or not.  There are two basic outcomes to a prophecy in fiction:

  1. The prophecy comes true.  Heroes deal with the fallout and try to fix things.
  2. The prophecy doesn’t come true.  Cue preachy message about the future not being written in stone.

As you can see, there’s not a lot of wiggle room between these two outcomes.  At best, prophecies are usually a convenient way to foreshadow a major, future event.

At worst, they’re just lazy writing.

 

Thanks for reading!  Check back next Wednesday for my next short story, and as always, have a wonderful week!

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Spotlight: “Luke Cage” Season One

Warning: some spoilers for the first season of “Luke Cage” follow.

I’ve been a big fan of how the Marvel Netflix shows each have distinct feels so far.  Far too often superhero stories fall into the same basic storyline: hero starts as not hero, confronts flaws in character, becomes hero, throws bad guy through a building or two (wait I think I made that joke already).  The Netflix shows may not stray too far from that formula, but they manage to explore their characters in ways that are far more intriguing than any we’ve seen on the movie screen thus far.

And going into “Luke Cage”, I was fascinated to see a modern superhero story actually deal with the character’s race.

“Luke Cage” is set within the Harlem neighborhood of New York City, which is well-known for its largely African-American population.  It is considered a huge center for black culture within the city as well, and that is displayed prominently in the first season of “Luke Cage”.  Famous musicians from R&B, rap, and other genres even show up on the show as themselves and play their songs.  Their music is often used to underscore a montage of action within the show as well.

 

 

It’s an impressive display of culture from a genre that typically doesn’t get much deeper than “good guy fight bad guy…overcome shortcomings”.

The first half of the season is great.  It centers around Luke Cage and a club owner known only by the name Cottonmouth.  Cottonmouth is a lot like Wilson Fisk from “Daredevil”, in that he is a complex character who isn’t totally evil.  Early on in the show a respected member of the Harlem community is killed and Cottonmouth is visibly shaken by it, due to the fact that it happened as an indirect result of his actions.  He didn’t want it to happen, but it did.  And that’s what makes him a great character.  He’s not outright malevolent.  He’s obsessed with his reputation sure, but he’s not at all someone who just wants to destroy things or kill the hero.  In fact, when the season begins, Luke Cage actually works for Cottonmouth as a dishwasher before things hit the fan.

 

Cottonmouth

 

And speaking of the Harlem community, that’s another aspect of the show I liked.  Compared to the other shows, “Luke Cage” has a very good sense of place.  It attempts to capture the look and feel of Harlem and make that an integral part of the show’s plot.  In the end, the battle between Luke and Cottonmouth is essentially a battle for the future of Harlem.  This is reflected in the title sequence as well, with various icons of Harlem being overlaid over Luke’s body.

 

The title sequence also hints at the show’s connection with African-American culture and history.

 

Luke himself is a very quiet character.  He doesn’t say much, and when he does, it’s short and to the point.  He’s stoic, but intimidating.  His abilities are two-fold: superhuman strength and unbreakable skin, which leads to an impressive sequence early on where he storms a criminal headquarters and strolls through a hail of gunfire like it’s nothing.

 

Luke Cage doing his Terminator impression.

 

The first half of the season does a great job balancing action with character drama that feels nuanced and believable.  Unfortunately, “Luke Cage” starts to fall apart during the second half.

At around the halfway point in the season, Cottonmouth is removed from the picture and we are introduced to a new villain.  With no foreshadowing, we are suddenly cued in to the fact that Luke somehow knows him.  And, in a move similar to Blofeld in the James Bond movie “Spectre”, he proclaims that he is the mastermind behind the bad times in Luke’s life.  Luke going to prison for a crime he didn’t commit?  All him.  Cottonmouth?  Also all him.  If there was a bit more setup to the character and his introduction, I might be more willing to buy into the whole business.  But as it stands, you can’t just shove a new character into my face and pretend he’s some kind of mad genius.

More to the point, he’s a boring villain and a terrible replacement for Cottonmouth.  All he wants is revenge on Luke for some vague, past transgression that we don’t get much information on until near the end of the season.  And even then, all it really amounts to is “daddy issues” (which brings “Spectre” to mind all over again).  Instead of actual character depth, he just walks around spouting Bible quotes to give the illusion of depth.

A villain who feels vindicated in his actions by religious belief?  Gee…how original.

The show starts to suffer from some pacing issues as well later on.  Right before Cottonmouth leaves the scene, we have an episode that ends in what would appear to be a major triumph for our heroes.  But then it’s all undone within the first ten minutes of the next episode, which makes it pointless and a waste of the viewer’s time.

And then there’s the climax, which commits one of the worst sins a superhero story can commit.  Out of nowhere, the villain dons a suit that gives him the exact same powers of Luke Cage.  There’s no lead up to this.  There’s no hint at it ever happening.  It just…happens.  He just opens a crate, mutters a Bible verse, and then later on he confronts Luke with his goofy new attire.  Instead of actually having a tense standoff between the two characters, the show cheats and gives us a bog standard fist fight.

Speaking of the ending, I enjoyed that “Luke Cage” tried to go with a not-so-happy, unresolved ending that showcased a more grim attitude towards things.  But at the same time, with “The Defenders” releasing in just a couple of months, it makes me wonder how this is going to stand the test of time.  It’s obvious that they’ll have to resolve the cliffhanger-ish ending of the season in “The Defenders”.  What’s going to happen if someone five years from now sits down and watches the first season of “Luke Cage” and thinks “man…I want to know how what happens next”.  Are they going to start up season two and be utterly confused as to why everything already seems to be resolved?  That’s the problem with these massively interconnected universes…unless you research the chronology you’re likely to get confused.  Because the shows don’t really offer much of a hint as to which one takes place.  Even looking at the year on Netflix isn’t really going to help because of how much content Marvel generates.

But that’s a topic for another time.  Overall, I would say “Luke Cage” was solid to good.  The supporting characters were all well done, and I liked the inclusion of Claire, the nurse (you’ll remember her from “Daredevil” seasons one and two as well as her brief appearance in the first season of “Jessica Jones”).  The culture and the setting were all interwoven with the plot and the character to create a unique show that, despite being a superhero tale, also manages to deal with topical issues relating to race.  Even though the season falls apart in the second half, I never felt like I wanted to shut it off entirely.  There were still parts of the show that were interesting to watch.

All in all, still worth a watch in spite of the problems.

 

Thanks for reading!  Check back next Wednesday for another post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Spotlight: “Jessica Jones” Season One

Warning: some spoilers for season one of “Jessica Jones” follow.

The Marvel Netflix shows are some of the most interesting takes on the Marvel Cinematic Universe (MCU for short).  They represent more grounded takes on a world that includes Norse gods and hulking green steroid monsters.  They represent a moral ambiguity that underscores a franchise typically full of characters whose main struggle is “I’m not powerful enough” before they discover “oh wait, yeah I am” and then promptly throw the bad guy through a building or two.

I’ve already talked about “Daredevil” season one and two.  “Daredevil” was the start of the Netflix shows, representing a darker, more nuanced superhero story.  And while season two started to collapse under the weight of its multiple plots, season one still represents some of the best Netflix has to offer.

So, going into it, I had no idea that “Jessica Jones” would feel so different.

Like “Daredevil”, “Jessica Jones” is dark, but even from the show’s title sequence you can tell its tone is different.  The opening sequence for “Daredevil” showed the world being filled in bit by bit, which was a representation of the main character’s unique perspective.  By contrast, the title sequence for “Jessica Jones” plays with shadows and silhouettes.  It features many shots of windows and perspectives that imply being watched or observed, which ties into Jones’ career as a private investigator.

 

A shot from the title sequence.

 

 

It was about midway through the first episode when it hit me: “Jessica Jones” is essentially a modern noir story.

The aspects of the show line up: a private investigator with a tragic past, a piano-heavy soundtrack underscored with hints of jazz, and voice-over narration done by Jessica herself.  I’m not familiar enough with the character or the comics she comes from to say for sure, but it feels to me like the show is steeped in that tradition.  At its core, “Jessica Jones” is still a superhero story, making the noir elements mere icing on the cake.  But it’s enough to give the show a unique style all its own amidst the other Marvel Netflix shows.

“Daredevil” season one was all about Matthew Murdock coming to terms with who he wanted to be as a hero and the lines he was willing to cross.  We followed him as he grew into the hero he needed to be.  By contrast, “Jessica Jones” keeps things from us and much of the season is about uncovering those parts of her past to better understand her as a person.  It becomes clear by the end of the first episode that Jessica tried the hero thing before and something went terribly wrong.  The bad times in her past are centered around a mysterious figure named “Kilgrave” who has the ability to control people’s minds.

Jessica is guarded and masks her feelings with sarcasm.  At the outset it seems that she’s done trying to play the hero, but she’s quickly drawn back in when a new client sets her on a collision course with her old nemesis, Kilgrave.

 

Jessica, brooding as always.

 

They could have easily pulled Jessica too far down the sarcastic, gloomy route and made her an unlikable protagonist.  But her sarcastic quips and grim worldview are punctuated by glimpses of a person who wants to believe better, who wants to do good.  During one of the episodes, we get flashbacks of Jessica before Kilgrave that show how she gradually comes to the realization that she wants to help people.  Even her job as a private investigator after the fact clues us in to her inclination for helping people, despite her outward attitude.  The show succeeds at bringing us into Jessica’s world and letting us learn who she is bit by bit.

One aspect of the show that worked better than I would have expected was the introduction of Luke Cage, another Netflix Marvel hero who was later given his own show.  I’ve talked before about the inter-connection of Marvel’s universe and how that could become a problem, but that isn’t the case here.  Rather, the inclusion of Luke Cage feels natural.  His past and Jessica’s intertwine, which is evident from the start when we see Jessica spying on him in the very first episode.  The progression of their relationship and how it ties in to the greater plot of the season is done very well here.  It never feels forced or added for the sake of tying it in to the larger Marvel universe.

Another aspect of the show I was surprised by was the villain, Kilgrave.

 

Kilgrave.

 

Played by David Tennant, Kilgrave is a very different beast from Wilson Fisk in “Daredevil”.  Fisk was a character who believed he was changing the city for the better, albeit through extreme and violent methods.  By contrast, Kilgrave has no such noble goals.  He’s selfish.  He’s vain.  He’s unhinged and positively psychotic.  And he has an unhealthy fixation on Jessica, especially considering she’s the only one who’s ever escaped from his control.  Tennant was a great choice for the character too, providing that charming yet unpredictable nature to the character and making him a memorable villain.

That being said, I found it strange that they decided to not reveal his face until near the end of the third episode.  Anyone who knows David Tennant or has seen him in other shows will be able to tell that it’s him from the moment he says anything, so waiting on that reveal just seems a little pointless.  Even the pre-release stories for “Jessica Jones” had already confirmed David Tennant would be playing him.

All that being said, Kilgrave is a great villain and provides a very personal adversary for Jessica to face.  But not everything is perfect with the first season.

I’ve mentioned before how “Daredevil” season one decides to refer to the day when literal aliens invaded and blew up half the city in the first “Avengers” movie simply as “The Incident”.  It’s a weird, out-of-place choice that almost feels like they’re trying to distance the Netflix shows from the movies because of their wildly different tones.  “The Incident” shows up again in Jessica Jones, this time in the form of a minor character (read: very minor…as in they only appear in one episode) who has grievances with super powered people because of losing someone during the siege of New York.  It ends up feeling forced and has no purpose other than being a red herring.

There’s also a subplot featuring a police officer Jessica saves early on in the show.  It’s revealed later on that he is part of a mysterious research group with a doctor that developed some kind of combat enhancement drug.  It comes out of nowhere with no real buildup and doesn’t resolve itself by the end of the season.  Rather, its whole purpose seems to be to tease a future plot, as very late in the season it’s revealed that this mysterious group may have ties to Jessica and how she got her powers.

And that’s another thing that bothered me with the season.  Early on, after Jessica learns that Luke has powers as well, they have a brief conversation about where they got them.  Luke tells her his came from an experiment and Jessica says hers were an “accident”.  For much of the season, I assumed Jessica knew exactly how she got her powers and it would be revealed later on.  But as it turns out, Jessica has no idea.  During the final episode, she has a line where she mentions that she looked into her past before but kept hitting dead ends.  But it isn’t until near the end of the season that there’s any hint of that.  So when she says “accident”, we’re not really clear what she means by that.

Despite these issues, “Jessica Jones” is well worth a watch.  The pacing takes a dip during the last few episodes and the final confrontation doesn’t feel as climactic it should be, but overall it’s another great entry into the Marvel Netflix shows.  Its style and tone are quite different from “Daredevil”, so if you go into it expecting a similar outing, you might find yourself surprised and put off at first.  But if you give it a chance, “Jessica Jones” provides you with a wonderfully deranged villain and a gripping personal story.

 

Thanks for reading!  Check back next Wednesday for another post, and as always, have a wonderful week!

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Popularity and Controversy: “13 Reasons Why” and the Discussion Around Suicide

You’ve probably heard of the Netflix show “13 Reasons Why”, even if you haven’t actually watched it.  Controversy has surrounded it ever since it was released at the end of March.

For those who don’t know, “13 Reasons Why” centers around the suicide of a fictional high school student named Hannah Baker.  Following her suicide, her friend Clay receives a box of tapes, each with a message Hannah recorded before she died.  In the tapes, she lists the reasons why she committed suicide…or rather the people who drove her to it.  Since the show came out, there’s been a swirl of controversy surrounding it, as people have argued that the show glorifies the act of suicide.

 

 

Now, I’m going to add a disclaimer here: I’ve never actually watched the show myself.  So everything I’m about to say comes from that perspective.  Take that as you will.

“13 Reasons Why” was originally a book written by author Jay Asher, which released in 2007.  Asher himself recently spoke about the book and the show at the Twin Cities Teen Lit Convention in Minnesota.  According to an article on Fox 9’s website, critics have called the plot dangerous because it depicts high school counselors as unsympathetic to Hannah’s plight.  Asher himself says that he’s dealt with criticism ever since the book released and he believes the Netflix show is sparking discussion on an important and difficult issue.

“The only thing that bothers me, is when people try to shut down conversation about it.  To me, that is the most dangerous thing,” Asher is quoted as saying.

Some people even tried to have the book banned when it came out ten years ago.

There’s been a lot of talk about “13 Reasons Why” glorifying suicide, but not much talk on how it glorifies suicide.  Most of the news stories I see talk about how schools are warning parents about the show and encouraging them to have a discussion with their children.  This is all well and good, but I find it hard to believe that the show is somehow glorifying the act of suicide when it is so clearly a tragic story.  And when I watch the trailer I just don’t see the problem.  To glorify something means to represent it as admirable, and I don’t get the sense that it’s trying to make suicide look like the right thing to do.

It seems to me, as an outsider who isn’t really a part of the conversation, that a lot of people are jumping on the controversy bandwagon in an effort to appear socially conscious.  It reminds me of when people buy those ribbons or bumper stickers in support of some cause and proudly put them on display for everyone to see.  In the back of my mind I always wonder, “do they actually care about the issue?  Or is it just a status symbol for them?”  The same kind of thing could be happening with “13 Reasons Why”.  People go on about how it glorifies suicide but they don’t really explain how it does or why they think that.  Instead, many of them say “don’t let your kids watch the show” and just leave it at that.

And that is not a solution.

Here’s the thing: when you present something as “forbidden” to kids, it tends to entice them to find out more.  If you simply refuse to discuss something with a child, then it leaves them unprepared for it when it happens.  They won’t recognize the signs if one of their friends starts to contemplate killing themselves.  And if they don’t recognize the signs, then they can’t help.

Suicide isn’t easy to talk about.  That’s understandable.  But ignoring the subject does more harm than good.

Personally, I’m glad that “13 Reasons Why” has generated controversy.  Controversy can be good because it sometimes encourages discussion.

And discussion is important, no matter how uncomfortable it might be.

 

Thanks for reading!  Check back next Wednesday for another post, and as always, have a wonderful week!

You can like the Rumination on the Lake Facebook page here and follow me on Twitter here.

Generational Idols: Youtube vs. Hollywood

Everyone has at least one role model when they’re growing up, someone they look up to.  Role models teach by example, with younger people observing how they think and act in certain situations and then trying to emulate that.  Role models can be good or bad, depending on the person.  They don’t even have to be real people.  Some role models are the fictional characters actors portray on television or in movies, and some might even be characters in cartoons.

Traditionally, of course, role models have often been celebrities in Hollywood.  But that’s starting to change…

Recently I stumbled across a Variety article from 2014 that revealed that the most influential people among teenagers ages 13-18 are actually Youtubers (a term for people who make videos on Youtube).  This isn’t just a fluke either.  All five of the top spots in the survey were populated by Youtube stars.  The first Hollywood celebrity to appear on the list is Paul Walker at number six.  And honestly (not to be insensitive or anything), that might have something to do with the fact that he died.

Now, the tone of the article bothers me a little bit.  Here’s the beginning:

“U.S. teenagers are more enamored with YouTube stars than they are the biggest celebrities in film, TV and music.  That’s the surprising result of a survey Variety commissioned in July that found the five most influential figures among Americans ages 13-18 are all YouTube faves, eclipsing mainstream celebs including Jennifer Lawrence and Seth Rogen.”

I might be reading too much into it, but it’s almost like the writer was aghast at the fact that the folk in Tinseltown aren’t on teenagers’ radars as much as Youtube content creators.  Later the article comments that “despite having minimal exposure in the mainstream media, another comedy duo, known as the Fine Bros., Benny and Rafi, finished a close second…”.  In the end, I only have one question.  One, simple question…

Have none of you been paying any damn attention?

This shouldn’t be that big of a surprise.  Maybe Hollywood celebrities were important for older generations, but for newer generations their popularity is slipping.  It’s not some big secret either.  Plenty of people within my age group (including myself) have made it obvious how we feel about celebrities and their lives.  When we see the stories about how Brad Pitt and Angelina Jolie breaking up their marriage, we roll our eyes and ask “who cares”?  The news business as a whole seems to have this obsession with celebrities.  They dominate the headlines and fill up our browsers with click-bait articles.

So yes, the Fine Bros. may be highly influential “despite having minimal exposure in the mainstream media”, but that’s because we simply don’t care what the mainstream media thinks anymore.  It’s become increasingly obvious that the media regularly fails to do its job.  News stations are often owned by bigger corporate people or entities that have slanted opinions which trickles down into the news broadcasts, depriving us of a objective view on the story.  And sometimes the media even tries too hard to be objective, refusing to delve deeper into a story for fear of sparking controversy.

Do you know why Edward R. Murrow has an award named after him?  Because he stood up to Senator Joseph McCarthy and exposed him for the demagogue that he was.  He wasn’t afraid to speak his mind or tell the truth.  He showed us that what McCarthy was doing was wrong, and played a large role in his downfall.

But now?  We see stuff like this and wonder if our newscasters are even human anymore:

 

 

Youtubers, on the other hand, seem like polar opposites to the stiffness of newscasters and celebrities.  They seem natural and excitable.  They seem passionate about their work, passionate about the things they love.  As the Variety article points out, teenagers feel that they have a far more authentic relationship with a Youtuber.  They enjoy that Youtube stars don’t have a strict filter and that they have a more straightforward sense of humor.  Youtubers aren’t defined by PR marketing strategies created by professional spin doctors.  They’re still putting forth an “image”, so to speak, but one that appears far more believable and relatable than most of the people in Hollywood.

Sure, the liberal-minded among us can stand up and cheer when Meryl Streep calls Donald Trump a bully.  And we can applaud when Leonardo DiCaprio preaches about the necessity of fighting global warming.  But when we are confronted with a tough problem in our lives, we don’t find ourselves asking “what would Leo do”?  Because, in the end, they are still distant from us.  Most of them were born into families that had more money than they knew what to do with.  They grew up in lavish homes and never wanted for anything.  Now compare that to someone like Pewdiepie, who has the most subscribers of all on Youtube (as of this writing he has over 54 million people subscribed to him).  Pewdiepie (real name: Felix Arvid Ulf Kjellberg) was completely unknown until he was already in his twenties and going to college.  Even when he started Youtube he didn’t immediately have a massive amount of subscribers.  It took a combination of tenacity, luck, and other factors before his channel exploded and he went from two million subscribers to over twenty million in the span of a single year.

Instantly, Pewdiepie as a person is more relatable to us.  He wasn’t born into millions of dollars.  He had to work for it.  And when he gets on camera and records a video, it doesn’t feel like he’s reading things off of a teleprompter.  His image isn’t one crated by professionals.  His image is one he created by simply being an extension of himself.

 

And seriously, who could hate that face?

 

And that’s the key thing here: being relatable.  Youtube stars will always seem more relatable to teenagers than celebrities because of how they carry themselves.  Youtubers, at their core, usually started out by setting up a camera and recording themselves doing what they loved.  By contrast, Hollywood celebrities always seem to have a facade between them and us, whether they’re acting out a character or giving an award acceptance speech.  We can’t relate to them because most of us have never and will never have the same experiences.  But so many of us can relate to the more common experiences of playing video games or reacting to movies, experiences which Youtube has in spades.

Not everyone will enjoy their content or their personalities.  But like it or not, Youtubers are the celebrities for a new generation.

And if that still surprises you, maybe it’s time to stop judging and start paying attention.