As soon as she arrives in Wellow, Polly Flint knows there is magic in the place. And she should know, because she is an unusual girl who can see things others can’t. She seems to be able to call up a village that had disappeared from the face of the earth – and the people who lived in it, as they slip in and out of time.
Helen Cresswell was a staple of my childhood back in the day, this book, and Moondial were both wonderful and their accompanying TV shows were just as compelling. Not only did Helen Cresswell create compelling stories but she was a local author, and set this story in the grounds of Rufford Abbey, a place I last went to last Christmas, and had at least three school trips to, as well.
The story is crammed full with so many wonderful ideas, especially for the minds of children. There is a feeling of history, tradition passed down – the inherent idea of magic that lurks behind so much of it – and of the weight of time and our participation in it.
Time plays a huge part in the book, both as a barrier, and a contributor to the sense of dislocation felt throughout, but also to the passing of days and the rhythm of the seasons. It seems as important for Polly to understand what isn’t there and exists, as it is to interpret what is present and can be seen. Continue reading “The Secret World of Polly Flint – Helen Cresswell”
Writing in the last week has had a different sort of soundtrack, there hasn’t been much in the way of music coming through my speakers, as I have been following all manner of different paths from; film analysis, to the situation with the Italian government, and the bad news of the EU trying to pass Article 13, scientific testing of free will, and the wacky world of Flat Earthers. Forcing myself back onto the music front, the gold started flowing pretty much instantly with this gem:
I first came across this funky tune thanks to its brief appearance on The Wire. Then it was featured more prominently on the closing credits of The Deuce, another David Simon (together with George Pelecanos) created show which documents the legalisation and rise of the porn industry in New York, as well as the accompanying drugs, real estate booms, police corruption and the connected violence. The first season admittedly feels like a – quality – prequel but I expect big things from season two. Watching this as it came out was great, the whole of last year was exceptional for quality television and nothing beat grabbing a few beers and having a TV night with Tom, catching up on whatever had previously come out over the weekend, in the US.
The tune took me back to a totally different time and place – only eight months ago – but so much has changed. Thinking back to that period now, it was such a good time and discussing the show as the end credits theme rolled, it was always interesting to get an alternate take on what we just saw. Discussion was made more insightful by a few beers, of course, but I don’t think I have been challenged in such a sustained way by myself, my peers, or film and TV before or since. Continue reading “Music to Write By #3 – Assume the Position/(Don’t Worry) If There’s A Hell Below, We’re All Going To Go”
Full of Secrets contains virtually everything you need to know about Twin Peaks. This fascinating collection of essays considers David Lynch’s politics, the enigmatic musical score, and the show’s cult status, treatment of violence, obsession with doubling, and silencing of women. Also included are a director and writer list, a cast list, a Twin Peaks calendar, a complete scene breakdown for the entire series, and a comprehensive bibliography.
What a comeback event the first few episodes of the third season of Twin Peaks was. No doubt one of the seminal shows of television history, this book analyses the first two seasons and prequel film Fire Walk With me but rest assured as ever, there are no spoilers contained anywhere within this review.
The twelve detailed analyses contained in this collection are part of the fascinating world of deconstruction that never ceases to revolve around this enigmatic show. It is a shame, then, that it is such a challenge to tease out the interesting bits from a lot of overblown posturing.
Any attempt to intellectualise Twin Peaks (as written by these authors all with a Ph.d) will predictably straddle the fine line between pretentious and sometimes insightful. There is a lot called on here to illustrate points from art and literature all the way through to Semiotics. It underlines the point that when something is a mystery, more obscure references must be pulled in to explain points and thus widen and convolute the original enigma.
The selection of subjects is of varying interest, the internet chatrooms – in their infancy in the early 90’s – is interesting, as the state of US TV and how programmes are marketed to different demographics. Any mention of Umberto Eco is always likely to make my day as well. Continue reading “Full of Secrets: Critical Approaches to Twin Peaks – David Lavery”
Thanks for reading this far, I’ll make this my last post of The Wire, with what I judge to be have been a reasonably in depth look at the show without going too overboard on the whole topic. Summing up this show with all its depth would take up more blog space than I am prepared to give on account of books piling up but with such a wide range of things to mention I will venture to add a few more, just to make the show more enticing in case I have failed thus far.
The directors and writers are of a high calibre such as well-known authors like Dennis Lehane and George Pellecanos, David Simon and Ed Burns have the experience of being a journalist and homicide detective respectively. It is worth noting that Simon wrote Homicide: A Year on the Killing Streets and with Ed Burns, The Corner: A Year in the Life of an Inner City Neighbourhood which are both excellent reads, adding more to the real life inspirations behind the show. There is an experienced excellence to all this work which demands more of an audience and from an audience in thought .
The lack of soundtrack means all those everyday noises are more distinctive and this adds to the realism allowing the actors to take centre stage rather than having their performances enhanced with emotive music. It’s a case of showing how powerfully an actor can influence the viewer’s feelings without the crutch of any outside influence moving us, highlighting once again the exemplary ensemble cast. There is music but it is part of the natural order, tunes blasting out from a car or on the radio and so on, the regular soundtrack to life.
Season One does not put a foot wrong, its impact not only on the TV landscape but on the audience has changed the way that police procedurals are viewed, not that The Wire sits easily in any genre, it transcends the need for being pigeonholed by being all things effortlessly at once. By the end of the first season it is easy to think that although it will continue to be a challenging watch it’ll also have an established pattern. Simon is one for changing up his themes though and giving us something new to explore constantly.. Continue reading “The Wire: The Thin Line Between Heaven and Here.”
Season four is my favourite season purely because with all the other elements of previous seasons still vital to the storyline, education is introduced and central to that is the lives of a group of boys whose lives diverge dramatically throughout the school year.
The life of children in inner city schools can be brutal, that they have grown up with so much violence surrounding them, it is understandable that they see mortality as a very real thing, some not expecting to live past their mid 20’s. Added to this is the cynical way that the education system is run and how it further entwines with the themes of previous seasons, showing how the problems are systemic and can’t be fixed by anything but radical moves by those whom we elect as our officials.
As with real life, we don’t get introductions and establishing shots of these characters, finding out who they are and there motivations are about straight away. The characters names and personalities become clear after an initial confusing overload but it’s that feeling of not being spoken down to that becomes one of the most appealing factors. It’s intelligent and assumes its viewers will be too.
The show demands that you pay attention and don’t leap to snap judgements because people are complex with often hidden motivations and a sense of morality based on their own internal rules. It’s this depth of character that really impresses and often, it is a small thing that elicits a change of response from the audience to how they respond to a character.
As I mentioned previously, I’m embarking on the story – for it is all one story with a different aspect shown in each series – for the sixth time and rewatching the series makes the stories more powerful and hard-hitting in my opinion. Watching what seems now inevitable unfold has a greater impact as you watch the ascent and descent of so many character arcs. It’s a mosaic of richness that rewards over and over as newer aspects not previously considered come to light, showing the planning of scripts to be a work of majestic artistry. You can focus on the nuances that inevitably get lost on the first watch in a programme with such ambitious intricacy.
It would be remiss as a book lover not to mention the episode in which a journalist is told his work is not Dickensian enough because that is how the news needs to be, there has to be a human aspect we can sympathise with, otherwise why the readers people care? The streets of Baltimore and the characters who, through brilliant storytelling face both brutal lives but also have their comedic moments does feel very Dickens-ish, however his need to tie things up, for resolution was often furnished with a handy plot twist to sort things out. This perhaps diminishes the overall power of the message of social inequality but Dickens for all his flaws was a genius writer and The Wire will stand up to comparison of that man’s name for the 21st century.
Continue reading “The Wire: The Dickensian Aspect”
The Wire centres on ‘The Game’, which is the colloquial term for the drugs trade but in reality has a much wider scope as an overall set of rules used by drug dealer and politicians alike. Played by subtly different rules within each group, it’s all about social advancement and the pursuit of power, money and of being remembered. There are codes that everybody sticks to, unique in their line of business; the internal logic, no matter how disagreeable adheres to rules which reward blind loyalty but also demands a strong sense of self-preservation.
The disconnection of the people at the top end of politics who make the decisions, from the rest of the populace is palpable, the failing system does more harm than good yet voter indifference seems to perplex these people. On the side of the drug dealers, it is generally accepted that anybody in the game faces the consequences of their employment, mortality being high and emotion seen as a weakness to be exploited.
The futility of the drugs war – at least as it is fought now – allows institutions on all sides to treat it as nothing more than a contest. For example the interactions between street level dealers and police are viewed by both sides as ineffective but a routine in which the rules are adhered to blindly, (the inevitability of prison, parole, back to the street). it is expected despite no real conclusion forthcoming but as a form of going through the motions with little respect and no hope of a finish which makes it all the more tragic.
What The Wire does best is offer detachment, its lack of compromise or sentimentality allows the viewer to debate the morals of the players which are often conflicted but all too painfully real. The apathy of both sides on the front line is harrowing; especially in terms of the offhanded nature with which murder and overdose are greeted, which is now just accepted as an inescapable consequence of street life. Continue reading “The Wire: All in the Game”
On the drug-infested streets of West Baltimore, there are good guys and there are bad guys. Sometimes you need more than a badge to tell them apart.
From David Simon From David Simon, creator and co-writer of HBO’s triple Emmy-winning mini-series The Corner, this unvarnished, highly realistic HBO series follows a single sprawling drug and murder investigation in Baltimore – one that culminates in a complex series of wiretaps and surveillance. Told from the points of view of both the police and their targets, the series captures a universe where easy distinctions between good and evil , and crime and punishment are challenged at every turn.
The Wire is hands down the best TV show I have ever seen, partly because it’s the closest to a novel that you can get on a televisual scale but saying that doesn’t really cover just how much depth the viewer is treated to throughout its five seasons.
Now on my sixth watch through, it’s about time I tried to put down – to some degree – why this TV show is rightly regarded as one of the best shows ever and for me the greatest. It’s hard to know where to begin, especially as I will be avoiding spoilers throughout so I shall begin with the opening scene which is posted at end this part of the overview.
In under three minutes the viewer is sucked into a story about a street murder as well as being introduced to some of the key themes, revolving around the street and ‘the game’. Within 14 seconds it’s already established that young children show little horror or surprise about a death so close, the offhand way it’s dealt with is frightening in its own way and the overall feeling is that business must go on. It’s as powerful an opening as one could want and but a taster of the masterpiece yet to come.
First time viewers need to know that this is a slow burning show that you will need to stick with for a few episodes in order to fully appreciate what it does so stylishly, not to mention working out who everyone is. It demands the viewer’s attention by not giving an easy ride or compromising its artistic integrity, which happens so often in the mostly down format of Television. The plot in itself takes its time and as such culminates into a realisation of just how clever it is when season one ends; the impact is perfectly pitched
The Wire’s way of telling a story was not really suited to TV as it is a medium that demands instant gratification and the complexity of this show doesn’t allow for such simplistic outlooks. Now it is out on DVD and streaming on the internet, watching a handful of episodes at a time is by far the best way to watch it. One can only imagine how challenging it would be to watch an episode a week and try to remember who everybody was and what was going on without the benefit of the all the episodes to hand, hence the initial poor ratings. Continue reading “The Wire: The game is rigged, but you cannot lose if you do not play”