Tea & Review: mother!

If you’ve watched Black Swan and/or The Wrestler you’d know that director Darren Aronofsky is big on the whole tortured artist motif. He plays this stories close to the vest and tries to distort the viewers’ perception of what is or isn’t real.

Unlike so many typical Hollywood films, Arononfsky isn’t trying to a movie that tries to make you feel a good warm on the inside. His stylistic choices are meant to disarm you, make you uncomfortable.

I laid low on seeking out a synopsis for the movie mother!. But to be perfectly honest, even if you read the synopsis or the director and cast explanation of the story it still won’t really validate what you took away from the experience.

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Fandom Friday: My ‘Citizen Kane’ List — Round 1

{Header image courtesy Pixabay and used under a Creative Commons Public Domain license..}

Note: this article was also published on Contents May Vary.

I have a list of movies I’ve started calling my Citizen Kane list. I’m sure it’s something that we all can relate to: movies (as well as other media, for that matter) that, while we’ve never actually seen, are such a part of our cultural landscape that we may as well consider them watched. Funnily enough, Citizen Kane is no longer on my list as I finally saw a few years ago.

Here are five from my current list of movies that I’ve never actually seen from beginning to end, but I know all about them. And yes, the goal is to eventually take these off the list. Maybe when I invent that 48 hour day.

First is my genre shame: I have never seen Blade Runner. Even worse? My partner and I even own a copy. The problem? It has both the original and the director’s cut, and so I don’t know which one I want to watch first. I’ve seen arguments for both being the one to watch, and while I will definitely watch both, I know the first one I watch will be the one I will relate to more. The idea of replicants, the cyberpunk elements, the performance of Harrison Ford and Rutger Hauer, and the concepts behind it have colored the visual world of science fiction since 1982, so there isn’t much here I won’t already know. With the sequel coming soon, I plan on watching it. I just need to decide which one to watch first.

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Tea & Review: Fargo – Somebody to Love

The finale of the Fargo’s third season is so unpredictable, so confoundingly inexplicable, that as I’m writing this review I’m really having trouble parsing it. If I had to rate it I’m not sure I would be able to, but thankfully all I really have to do is come up with a kind of easily digestible critical interpretation that tries to make sense of an hour that repeatedly reinforces the idea that life is inherently meaningless.

So here goes…

We open with Emmitt (Ewan McGregor) and Gloria (Carrie Coon) signing papers, both preparing to seal their fates and vacate long-held positions. Emmitt attempts to threaten Varga (David Thewlis) into letting him go and fails spectacularly, while Gloria gets a call from Chekhov’s IRS agent that makes her stay her retirement from the force. Then all hell breaks loose.

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Tea & Review: Fargo – Aporia

Season Three of Fargo has been the Cold War to the second installment’s World War, and the penultimate episode follows suit by building a climax out of an anticlimax. This year, eight episodes worth of buildup doesn’t amount to a massacre or a standoff or even a real shootout. Instead, what we get are small victories nestled in larger disappointments, and more importantly, characters coming to terms with who they are.

“Aporia” begins with yet another murder, though this one has even less to do with the main action than the unnecessary execution of Ennis Stussy that put to whole plot in motion. The victim, perhaps unsurprisingly, is another Stussy, killed by Meemo (Andy Yu) to make Emmit’s (Ewan McGregor) confession to Gloria (Carrie Coon) appear less plausible. Of course, given Chief Dammick’s (Shea Wigham) unwillingness to believe anything that isn’t completely straightforward (and the fact that Varga’s (David Thewlis) henchmen don’t just leave it at one dead name-alike), it works.

But that doesn’t mean the confession was useless.

Although Emmit is ultimately allowed to go free (for a laughable measure of “free” anyway), his admission of guilt allows the audience to hear all that he’s been bottling up about his brother through their troubles, in addition to providing him with some much needed emotional catharsis that will keep his conscience steady in the finale and hopefully fuel his ability to bring the hammer down on Varga.

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Tea & Review: Fargo – Who Rules the Land of Denial?

Fargo is a show that has always been unafraid to throw supernatural elements into narratives in which they would not normally be expected to fit. Though such elements were rather minimal and more subtle in the first season, the second introduced aliens and psychic dreams, and now the third, which has thus far held back on the otherworldly, appears to be going all out.

I’ll be honest and say I’m not entirely sure what the magical realist aspects of the prior seasons really added to the story, whether thematically, tonally, or in terms of narrative, apart from perhaps intentionally stretching the credulity of the idea that the stories being told are true. I mainly enjoyed those scenes because of how off-the-wall and unexpected they were; they were entertaining if nothing else.

But as of “Who Rules the Land of Denial?” I can safely say that Season Three is using the same conceit in a brand new way.

The episode opens with Nikki (Mary Elizabeth Winstead) and Mr. Wrench (Russell Harvard) escaping the clutches of Yuri (Goran Bogdan), Meemo (Andy Yu), and an unnamed third Varga henchman played by DJ Qualls. They flee into the woods with the killers in pursuit, and in the second best part of the episode, engage in a battle of wits-come-stamina in which Qualls is decapitated and Yuri loses an ear to Wrench (get it?).

They then stumble upon a bowling alley in the middle of nowhere, which may or may not be some sort of gateway to the afterlife.

There are several facets to the following sequence that I think are worth discussing…

While at the bar, Nikki meets a character played by Ray Wise, who if you’ll recall was the traveling businessman Gloria met on her way to Los Angeles some episodes prior. This man is credited as Paul Marrane, which research (i.e. reading online forums) tells me is one of the names attributed to the “Wandering Jew” of legend. Paul explains to Nikki that she is a lost soul and asks her to deliver a message to the wicked.

But that’s not all. He also makes reference to the massacre of the Jews of Uman at the hands of the Cossacks, as well as the revered Rabbi Nachman of Breslov who was buried among them. These seem to underline the recurrent motif of Jewish history and folklore that has danced around the edges of the season, relating both to the few Jewish characters we’ve been introduced to, as well as antisemites like Varga (David Thewlis) and Yuri.

Speaking of Yuri… After Nikki and Wrench leave the bowling alley in a green VW, everyone’s favorite modern day Cossack enters covered in blood. He too is greeted by Paul, who seems to recognize him and introduces him to the aforementioned Jews of Uman, as well as Helga, the girlfriend he murdered back in 1988. We do not see Yuri again after this.

So…what do I make of all this? Do I believe Fargo is suggesting its world is governed by laws similar to those outlined in the Old Testament, and that the truly wicked among its characters are all subject to Biblical levels of divine retribution? It would certainly be an oddly specific thing to bring up if I didn’t believe it…

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Tea & Review: The Leftovers – The Book of Nora

The Leftovers has come to an end. Three years of experiencing the maddening doubt of inexplicable loss through the eyes of an eclectic ensemble of characters and it turns out we were watching a love story the entire time.

“The Book of Nora” is as elegantly simple and simply beautiful a series finale as one could ask for. It provides potential answers while refusing to confirm anything; it gives us one final, meaningful look at characters we’ve grown to love; and it is as emotionally charged as anything on television has ever been.

This final hour (and a bit) devotes its first third or so to picking up where Nora (Carrie Coon) and Matt’s (Christopher Eccleston) adventures left off and seeing Nora through to her final destination, so to speak. She and her brother say their goodbyes, she records her last will and testament, she makes the final decision to enter to magical radiation departure machine, and she takes the plunge.

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Tea & Review: Fargo – The Law of Inevitability

The writers of Fargo have, over the course of nearly three full seasons, done an excellent job of crafting individual episodes which tell their own little stories while at the same time contributing to a larger narrative. This is a difficult thing to achieve in any serialized medium, but it is especially hard when you have a limited number of hours with which to work. Fargo doesn’t have the privilege of being able to stall or go on tangents, and yet it still manages to create little thematic pitstops on the way to each tenth episode.

In Season Three, it has been especially easy to pinpoint what each particular episode was about, or rather what each one did that set it apart from the rest. We had Gloria’s (Carrie Coon) solo trip to L.A., the Peter and the Wolf analogue, and an episode that delved heavily into Russian and Eastern European concepts. Other installments, meanwhile, have prioritized individual characters and relationships.

Tonight’s episode—“The Law of Inevitability”—is thus far the hardest to pin down. One could argue that it’s an episode that needs to pick up the pieces left after Ray’s murder last week, and so doesn’t have time to be about anything. And while I think that’s true to an extent, I also believe that same practicality affords it a theme that is in and of itself inevitable: transition.

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May the Force Be With You: Star Wars 40th Anniversary

A few years ago, I worked at a summer camp. There was a particular child at this summer camp that came in every day clad in Star Wars shirts and shoes. It impressed the staff and was a testament that is possible to parent while instilling a healthy geek background.

Obviously, the child hadn’t even been born when A New Hope came out in 1977. What has always been impressive about the Star Wars universe is its ability to remain relevant to generations that followed.

My fondest memory is when I used my dad’s metallic basketball pump as a lightsaber. It got dinged up, a lot, as I waved it around whacking into other things, pretending I was battling Darth Vader.

I was not a girly-girly. I liked Sailor Moon but prior to that, I fancied myself a Jedi.

Princess Leia (Carrie Fisher, RIP) was kickass. I mean, when we first see her or really hear her speak she’s Darth Vader’s prisoner. But she’s not small. She’s not scared. She’s defiant. She’s everything women want to be when surrounded by men who want to destroy her world (literally).

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Tea & Review: The Leftovers – The Most Powerful Man in the World (and His Identical Twin Brother)

When The Leftovers premiered back in 2014, it was unclear if it was going to be a work of purely speculative fiction in which a mundane world experiences a single inexplicable event, or a magical realist series more on par with Damon Lindelof’s earlier creation, Lost. And though there were some surreal elements sprinkled throughout the first two seasons hinting at the latter, it wasn’t until “International Assassin” that it became clear the writers were intent on heading in a supremely supernatural direction.

Since that episode, the otherworldly elements have only grown in prominence, building a mythology that adds myriad layers to an already-thematically-rich world.

So it only makes sense that in “The Most Powerful Man in the World (and His Identical Twin Brother)”—which serves as both a sequel to that aforementioned episode as well as the penultimate installment of the series as a whole—we would return to the dreamlike afterlife that first marked the show’s swerve into the mystic.

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Tea & Fiction – No Cups Just Plots