More screens, more distractions; fewer screens, fewer distractions

It’s a simple rule, but I repeat it here because it is difficult to internalize and even more difficult to put into practice, whatever one’s context:

In any given physical space, the more screens that are present, the more distractions there will be for people inhabiting that space; whereas the fewer screens, the fewer distractions.

So far as I can tell, this principle is always and everywhere true, including in places where screens are the point, like a sports bar. No one would study for the LSAT in a sports bar: it’s too distracting, too noisy, too busy. It’s built to over-stimulate. Indeed, a football fan who cared about only one game featuring one team would not spend his Sunday afternoon in a sports bar with a dozen games on simultaneously, because it would prove too difficult to focus on the one thing of interest to him.

Now consider other social spaces: a coffee shop, a classroom, a living room, a sanctuary, a monastery. How are these spaces usually filled? Given their ends, how should they be filled?

The latter question answers itself. This is why, for example, I do not permit use of screens when I teach in a college classroom. Phones, tablets, and laptops are in bags or pockets. In the past I have used a single projector screen for slides, especially for larger survey/lecture courses, but for the most part, even with class sizes of 40 or 50 or 60, I don’t use a screen at all, just markers and a whiteboard. Unquestionably the presence of personal screens open on desks is a massive distraction not only to their owners but to anyone around them. And because distractions are obstacles to learning, I eliminate the distractions.

The same goes for our homes and our churches.

At the outer limit, our homes would lack screens altogether. I know there are folks who do this, but it’s a rare exception to the rule. (Actually, I’m not sure if I have ever personally known someone whose home is 100% devoid of any screen of any kind.) So assuming there will be screens of some kind, how should they be arranged in a home?

1. There should be numerous spaces that lack a permanent screen.

2. There should be numerous spaces in which, by rule or norm, portable screens are unwelcome.

3. There should be focal spaces organized around some object (fireplace, kitchen island, couch and coffee table) or activity (cooking, reading, playing piano) that are ordinarily or always screen-free.

4. What screens there are should require some friction to use, i.e., a conscious and active rather than passive decision to turn them on or or engage with them.

5. Fewer screens overall and fewer screens in any given space will conduce to fewer distractions, on one hand, and greater likelihood of shared or common screen usage, on the other. (I.e., watching a movie together as a family rather than adults and children on separate devices doing their own thing.)

There is more to say, but for those interested I’m mostly just repackaging the advice of Andy Crouch and Albert Borgmann. Now to church.

There are a few ways that screens can invade the space of public worship:

1. Large screens “up front” that display words, images, videos, or live recording of whatever is happening “on stage” (=pastor, sermon, communion, music).

2. Small screens, whether tablets or smartphones, out and visible and in active usage by ministers and others leading the congregation in worship.

3. Small screens, typically smartphones, in the pockets and laps of folks in the pews.

Let me put it bluntly: It’s often said that Sunday morning is the most segregated hour in America. In a different vein, it’s equally true that Sunday morning may now be the most distracted hour in America.

Why? Because screens are everywhere! Not, to be sure, in every church. The higher liturgical traditions have preserved a liturgical celebration often, though not always, free of screen colonization. Yet even there parishioners still by and large bring their screens in with them.

Certainly for low-church forms of worship, screens are everywhere. And the more screens, the more distractions. Which means that, for many churches, distraction appears to be part of the point. Those attending are meant, in a twist on T. S. Eliot’s phrase, to be distracted from distraction by distraction—that is, to be distracted from bad distraction (fantasy football, Instagram, online shopping) by good distraction (cranked-up CCM, high production videos, Bible apps). It is unthinkable, on this view, to imagine worshiping on a Sunday morning in a screen-free environment. Yet a screen-free space would be a distraction-free space, one designed precisely to free the attention—the literal eyeballs—of those gathered to focus on the one thing they came for: God.

I hope to write a full essay on this soon for Christianity Today, laying out a practical vision for screen-free worship. For now I just want to propose it as an ideal we should all agree on. Ministers should not use phones while leading worship nor should they invite parishioners to open the Bible “on their apps.” Do you know what said parishioners will do when so invited? They may or may not open their Bible app. They will absolutely find their eyes diverted to a text message, an email, or a social media update. And at once you will have lost them—either for a few minutes or for good.

The best possible thing for public Christian worship in twenty-first century America would be the banishment of all screens from the sanctuary. Practically speaking, it would look like leaders modeling and then inviting those who attend to leave their phones at home, in their cars, or in cell phone lockers (the way K–12 schools are increasingly doing).

I’m well aware that this couldn’t happen overnight, and that there are reasonable exceptions for certain people to have a phone on them (doctors on call, police officers, parents of children with special needs). But hard cases make bad law. The normative vision should be clear and universally shared. The liturgy is a place for ordering our attention, the eyes of the heart, on what we cannot see but nevertheless gain a glimpse of when we hear the word of the Lord and see and smell and taste the signs of bread and wine on the Lord’s table. We therefore should not intentionally encourage the proliferation of distractions in this setting nor stand by and watch it happen, as if the design of public space were out of our hands.

More screens, more distractions; fewer screens, fewer distractions: the saying is sure. Let’s put it into practice.

The Acolyte: mea culpa & apologia

I take it all back.

In my view, the final two episodes of The Acolyte’s first season redeemed the whole thing. It didn’t become perfect, but it did become something: an actual story, told with perspective and, by the end, with style.

From what I can tell, this is not the consensus. And I don’t deny that flaws remain. But what felt missing that felt so frustrating through five episodes made itself apparent by episodes seven and eight. Let me start with the flaws before I defend the show and issue my mea culpa.

First, Amandla Stenberg is not, at least on this show, a particularly good actress. Her range is minimal; she played both twins almost indistinguishably; and her inability fully to sell her descent to the Dark Side is an understandable hurdle for viewers disappointed with the finale.

Second, the whole idea of twin sisters played by the same actress was goofy from word go and never paid off. Alas.

Third, it’s true that we were not in need of a replay of The Last Jedi’s basic beats: revisionist Jedi deconstruction mediated by Rashomon-like competing memories of an ambiguous tragic accident whose misunderstandings turn a hero into a villain.

Fourth, I still don’t understand why the twins had to be separated at the end, nor exactly why Mae’s memory of Osha has to be erased entirely—yet with the hope that they would one day be reunited. Huh?

Fifth and finally, I grasp the seven-year long frustration with Disney seemingly trying to undermine the Jedi at every turn in the Star Wars extended canon. Once the coolest, most mysterious characters around, they’re now lying bureaucrats who can’t be trusted, and who certainly are no match for the Sith.

Let me begin in reverse.

To begin, don’t blame Disney or Rian Johnson. Blame George Lucas. He’s the one who not only told of a thousand-year Jedi reign brought down by the Dark Side and the Empire—raising the question, “Why and how did they lose?”—but also offered his own answer in the prequel trilogy. That answer was: sectarian insularity, political sclerosis, spiritual blindness, and institutional decadence. If you don’t like Jedi as weak and foolish celibate wizard cops more eager to save their own hide than to protect the weak, then blame Lucas, not the last decade of Star Wars canon. It’s his fault.

Besides, he was right. He was always telling a fall-of-Rome descent from a republic to an empire, and if it was all happening beneath the noses of the Jedi, and if a rival rose quickly enough and powerful enough to wipe them out in a flash, then doubtless they were at fault to some extent. And The Phantom Menace clinched the deal: Qui-Gon Jinn is the fly in the ointment whose death at the hands of Darth Maul simultaneously ensures (a) the defeat of the Jedi, since they will no longer have a critical voice in their midst to possibly heed, and (b) the return of the Jedi, since his dying wish was for Anakin to be trained, and Anakin proved himself the Chosen One prophesied to bring balance to the Force by destroying Palpatine. (Reminder: Episode IX never happened.)

Granted all this, it was an inspired choice by Leslye Headland to make the final image of the series the iconic head of Yoda, framed from behind. If Yoda’s life is more or less coextensive with the rule of the Jedi, then he’s got to take some blame as well. There’s no retconning of evil here. There’s the hint—and it’s only a hint for now—that Yoda may not be a blameless saint in the centuries-long march to Order 66. He may even have covered up a scandal or too in his time the way a shrewd political operator might. And why not? Surely a millennium of peace and justice is worth a few secrets between Jedi Masters.

I repeat: While Yoda presided on the Jedi Council for centuries, Darth Plagueis and his apprentices flourished, culminating in Darth Sidious, Darth Maul, and Darth Tyranus. The defections from the Jedi were accumulating one after another in the decades leading to Anakin’s training—this is canon already by Episode II, since that film reveals that Yoda trained Tyranus (i.e., Count Dooku) before he in turn trained Qui-Gon, left the Order, and joined Sidious—which raises the question: How long had such defections been occurring, and why wasn’t the alarm being sounded more widely? The fact that the Stranger turns out to have been a former Padawan of Vernestra’s, a fact known to Yoda, is neither revisionism nor deconstruction: it’s a logical deduction. It’s putting a name where a blank used to be.

True, The Acolyte is now part of a story meant to fill in the gaps between Plagueis, whom we learn about in Episode III, and the “vergence in the Force” mentioned in Episode I, namely Anakin’s miraculous birth without a human father. I suppose that makes it one more prequel connected to the Skywalker Saga. But in this case is that so bad? It makes narrative sense that Plagueis had false starts and mixed results in his attempts to create and sustain life with midi-chlorians alone. Osha and Mae appear to have been part of the run-up to Anakin. Given Palpatine and Dooku’s respective ages in the prequels, this show is only a few decades out from their births and thus only a couple more from their turning to the Dark Side. The question now is who ends up killing Plagueis: the Stranger, Osha, or Palpatine. If not Palpatine, then we might actually see it happen on screen. (It could be Osha who takes on Palpatine as an acolyte, not Plagueis—now there’s some double-barrelled retconning.)

Turning back to the show itself, let me note a few more virtues and reconsiderations, given my boredom and annoyance just a few weeks back.

First, I reiterate my affection for Lee Jung-jae as Sol. What I wasn’t prepared for was coming to appreciate Rebecca Henderson’s performance. Vernestra seemed both boring and bored in early episodes. I now see that she was meant to embody the cynical self-interest of the decadent Jedi, running in notable parallel with the nameless imperial bureaucrats scrambling for patronage, status, and safety in Andor. She’s not meant to be cool or likable. She’s the very reason the Jedi fall, and the Republic with them. I should have been more patient.

Second, I thought the finale was expertly made. I’ll even go so far as to say that the lightsaber duel between Sol and the Stranger struck me as the most creative, distinctive, unique Jedi action choreography put on film since the fight between Obi-Wan, Qui-Gon, and Maul in The Phantom Menace. That’s 25 years, y’all! (The only rival is the throne room scene in Episode VIII, but that isn’t a lightsaber duel; it’s two Force- and lightsaber-wielding fighters facing off against Snoke’s Praetorian Guard.) Too often lightsaber duels are little more than glorified sword fights. But these are wizards! Who can do magic! Who can float and fly and manipulate objects through space, including their own bodies! Where’s the creativity? We saw it on display in this episode, with more than one nod to Hong Kong action cinema. Kudos to Hanelle M. Culpepper, the director.

Kudos also to the composer, Michael Abels. The music and cinematography were finally atmospheric; they made you feel something, rather than serving as so much visual and aural wallpaper for “made-for-TV Star Wars.” Lee sells the hell out of his anguish, inner turmoil, and (even in the end) refusal to accept responsibility and insistence on his own innocence, his own righteousness. No one can doubt his good intentions, but he did in fact invade a secluded town, woo a child away from it, kill her mother, lie about it, and maintain a decade-long cover-up.

It’s for this reason, third, that I buy Osha’s turn, even if her acting doesn’t sell it the way Lee’s does. The one man she looked up to for so long not only kept the truth from her the whole time; he himself killed her mother. That shattering moment shatters her whole world. How could it not? Everything else he told her must be a lie. The Jedi rejected her, after all. The Stranger hasn’t lied once. Sol becomes collateral damage, even as his death at her hands is a point of no return. She’s committed. She’ll be trained. She’ll become an Acolyte to the Sith.

Now, do I take back what I wrote previously about the way they should have told this story? No. This was always the right story to tell, but it took them too long to get there, and they should never have told it from the vantage of the Jedi Temple and its inner workings. It should have been from Mae and Osha’s viewpoint from the start. Nor were all eight episodes of the season equally successful. Two, four, and six (if I recall) were duds. One, three, and five range from solid to good. And seven and eight were excellent. Perhaps, if there’s a second season, they can build on this momentum and keep the quality high. It doesn’t hurt that we can begin the season from Osha and Plagueis’ perspective, rather than starting all over again.

Having said all that, the fundamental question posed by my last post was this: Does The Acolyte once and for all confirm, in conjunction with other established Star Wars canon, that the Dark Side is definitively stronger than the Light? So that it remains an utter mystery how the Jedi remained in power for so long? Yes, it does. The question remains. This show won’t answer it. But perhaps another one—or a film, like James Mangold’s Dawn of the Jedi—will. My hope is now nonzero.

Mea culpa.

Sith > Jedi

Through five of eight episodes, The Acolyte is a middling failure—and a failure because it is middling. Of everything Star Wars needed, the very last was one more showdown between the Jedi and a mysterious Sith shrouded in darkness, a long drawn-out unveiling and encounter shot without beauty or grandeur or style or grandness of scope. What a bore.

Oh well. Three more thoughts before we finish the series then immediately forget it ever existed.

First: In the lead-up to the show, the buzz was that it would be a story told from the Sith’s perspective, that is, from the vantage point of powerless partisans of the Dark Side at the tail end of a millennium-long unchallenged reign by the Jedi. That’s an interesting idea! Why wasn’t this exact story told in that way? Never in the hallways of Jedi power; never looking at the Sith or his acolyte through Jedi eyes; always, instead, looking at the Jedi aslant, from an angle, burning with furious resentment. In this way the aha-reveal wouldn’t be a Sith under a mask, but the epiphany of actual Jedi in all their boring beige glory—come to steal children, enforce galactic edicts, and kill with impunity. Why did no one think this the better route?

Second: If Disney wants to make quality Star Wars (on either the big or the small screen), they have to commit to top-tier casting. Cast a show the way HBO does. Don’t cast tweens and newbies. Don’t cast on the cheap. Get the best of the best. The only way this works is if the actors on screen have gravitas. Most of the actors on this show, like Kenobi and Boba Fett before it, look like third billing in a spin-off DC comics movie. Follow Andor’s lead and make every actor who has even a single line of dialogue someone who could win an Emmy—someone who could steal the show. (Make them human, too, by the way.) As it is, we get stilted dialogue performed by teens and twentysomethings who look like it’s their big break following a string of guest appearances on the CW. And it’s Disney, I remind you, that’s footing the bill. They’ve got the cash.

Third: Does this show prove once and for all that, canonically, the Dark Side is more powerful than the Light? Ignore Episode IX, since it never happened. Across eight movies, nearly every time a Jedi fights a Sith head-to-head (or a Force-wielding opponent in touch with the Dark Side, since neither Snoke nor Kylo Ren are Sith), the Jedi loses. Darth Maul defeats Qui-Gon Jinn and, at least in terms of lightsaber combat, Obi-Wan too. Dooku defeats Anakin and Obi-Wan both before fighting Yoda to a draw. Palpatine beats Yoda. Anakin may lose to Obi-Wan, but he “wins” in Episode IV and wins again in Episode V against Luke. Luke bests Anakin only by tapping into his anger (i.e., the Dark Side); Palpatine then defeats Luke; and Anakin in turn destroys Palpatine. In other words, this particular Sith loses not to a Jedi but to a fellow Sith—his own apprentice.

It turns out that, with the exception of Obi-Wan in his prime against an Anakin lacking any training in the Sith arts—having turned to the Dark Side mere hours earlier—the Jedi are no match for the Sith. The Sith are simply too powerful. The Dark Side appears to be the stronger side of the Force, and by a wide margin, whatever its moral content. (Note further that the Jedi themselves teach, as doctrine, that the Force as such is amoral; what it seeks, and what the universe wants, is balance, not for the extinction of the Dark by the Light.)

To its credit, The Acolyte confirms and extends this canonical pattern. In doing so, it raises questions it will surely avoid, such as why the viewer should root for the Jedi; why the Light is preferable to the Dark Side; why, post-Rey, anyone should have confidence that the Dark will not return and prevail; and how, pre-Palpatine, the Sith and the Dark Side alike were dormant, or even nonexistent, for a thousand years.

Star Wars has written its canon into a corner. Leslye Headland isn’t going to write it out. That falls to someone else. I have my doubts such a person exists. And even if they did, I wouldn’t hold my breath that Disney would hire or empower them to tell the only story that needs telling.

Update (5 minutes later): I realize, upon pressing “publish,” that this post is, unwittingly but unsurprisingly, one long apologia for Rian Johnson and The Last Jedi. IYKYK.

But seriously: I forgot to mention that Rey and Ren fight to a draw; that Rey is powerless before Snoke; and that only Ren can defeat Snoke. Which only furthers the point. Not to mention that Snoke converts Ren from the Light to the Dark and that Ren rebels against Luke—a Jedi Master!—thereby casting him away into exile and self-incurred defeat, even if also (at the end, through Rey) toward a sort of self-immolating victory. Had Kathleen Kennedy permitted Rian Johnson or some equally brilliant screenwriter to follow the lines he’d drawn where they were pointing (that is, in the climactic ninth film), all this would have already been resolved, since the question at the heart of the above post is the question at the heart of Episode VIII. Asked but, on principle, unanswered by Kennedy, Abrams, et al. Oh well. Maybe that was their signal that it never would be. So it goes.

The Acolyte

1. Lee Jung-jae as Sol is A+. A precursor to Liam Neeson’ Qui-Gon Jinn. Check.

2. Charlie Barnett as Yord, aka “but what if a Jedi Knight were a tool?,” is a great call. Even from the commercials you could see the stilted self-regard, which out of context presented as CW-quality acting, but in context is a nice in-universe joke. The Jedi are the worst! And Yord is the worst of the worst.

3. I’m fine with the twins plot, not least given the Sith’s Rule of Two and the Light and Dark sides of the Force. Already in the first episode we’re hearing about this, plus the episode titles make the subtext text. Will Amandla Stenberg’s characters be anything more than a literal outworking of this metaphor on screen? TBD.

4. I’m curious as to the show’s depiction of the Jedi’s inner workings. Are they sclerotic and bureaucratic? Or democratic and therefore unhurried (if possibly too slow to meet the urgency of the moment)? If the latter, then they are more like the Ents, and thus to be admired. If the former, then we’re back with Qui-Gon and d-e-c-a-d-e-n-c-e. But if the former because the latter, well, then you’re just making Palpatine’s argument for him.

5. I do not mind at all (unlike Alan Sepinwall) that the decadence, sclerosis, and institutional blindness on evidence in the prequels is already evident here, a century before the Empire. These things takes time. Moreover, Qui-Gon will be born some fifty years after the events of this show, and there will be living memory of whatever transpires in the rest of the series when he’s being trained as a child in Coruscant. I am eager to see whether Leslye Headland et al can make thematic or narrative hay of these matters beyond “Palpatine-versus-the-Jedi avant la lettre.”

6. See further Timothy Burke on the difficulty of nailing down the Sith’s concrete motivations in Star Wars lore.

7. There are intriguing hints. “Our political enemies” says one Jedi to another. Who are they? What do they want? What is their brief? But these questions raise a whole new set of questions, as does The Acolyte as a whole…

8. Boil them all down this: How is it possible that the Jedi kept the Republic from war for a thousand years? Remember, Star Wars is not a Star Trek: this isn’t meant to be utopian. Life isn’t perfect. Greed and lust and wrath and gluttony and pride and all the other sins prevail; the Republic is not the Federation. This isn’t communism minus Lenin and Stalin. It’s just ordinary civilizational life projected onto the stars. How, I repeat, was there absolutely zero war—no conflict beyond the local, the petty, the private—for a full millennium? Across how many solar systems in an entire galaxy? Even contained on a single planet? None, zero, zilch? Are we committed, canonically, to this necessarily and strictly being true? For real?

9. Now think about the Jedi. They are a tiny religious minority of celibate wizards who forsake emotional attachment, are taken from their families while very young to be trained by a secret order on the galactic capital planet, wield magic spells at a whim, brandish laser swords, and carry an imperial (sorry, republican-senatorial) remit to investigate, subdue, arrest, and (if necessary) kill any and all suspected of breaking the law or making trouble. In effect, Jedi are medieval monks, knights, and sheriffs, all in one. They leave family behind, they neither marry nor have sex nor have children or households, yet they possess occult powers that intimidate and discipline a galactic population of trillions. How, I ask once again, did such a tiny, terrifying, and unrepresentative group preserve, much less enforce, peace and justice in the galaxy? As Obi-Wan remarks at one point in the prequels, the Jedi are not soldiers. Who wouldn’t feel burning resentment at these magical universe policeman? “The Jedi live in a dream,” the acolyte’s master says. I’m inclined to agree.

10. I failed to mention that, in this galaxy, there is no God, only the Force. No one worships the Force, not exactly. The Force has servants and students (a la Chirrut Îmwe), but the Force itself is neither good nor evil, only the balance of the two. Why should any ordinary people “believe in” the Force, or respect or admire or even care about it? And by extension, the Jedi?

11. I suppose a postmodern debunking of Obi-Wan’s “more civilized age” as just so much nostalgic hokum could be interesting. But I’d prefer a deeper answer on this score. Even during the Jedi’s (and by extension, the Republic’s) high tide of peace, politics was never extinguished. What was going on? How did they preserve it? By what maneuverings? With what shenanigans? Who, after all, initiated the Jedi doctrines about detachment, much less celibacy? Are they necessary? Or are they part of the problem? And thus part of what led to Sidious, Maul, Anakin, Snoke, Ren? Could Rey’s new Jedi order correct for these past mistakes, as Rian Johnson’s film implied? If Disney makes good on a new series of films focusing on her efforts—as well as a biblical epic, directed by James Mangold, depicting the Jedi’s origins in the distant past—could these form a kind of narrative thread, even an inclusio, centering less on Luke and Leia’s family drama and more on the High Republic’s failures, the Jedi’s decadence, and Palpatine and Qui-Gon’s shared critique of the status quo? In order too forestall repeating history, which would doom the galaxy (and moviegoers) to an endless cycle of Sith/Dark-versus-Jedi/Light?

12. Fat chance. But in theory, it could work.

Ahsoka

Start with the good:

• Charting a path to another galaxy.

• Bridging the gap from Episode VI and Mandalorian to the rise of the First Order in Episode VII.

• Bringing the animated characters of Rebels into real life.

• Dreams and memories and holograms of Anakin—a natural move, since he was Ahsoka’s master, and by this point in the timeline he’s been redeemed and died, without ever resolving his relationship to Ahsoka.

• Mary Elizabeth Winstead as Hera: of all the actors on the show, she’s got the most life in her eyes.

• Ray Stevenson as Baylan Skoll. Not only is the late Stevenson a commanding presence; his secret long game, whatever it is, is the only narratively compelling and unprefabricated part of the show.

• Genevieve O'Reilly as Mon Mothma, given her spectacular turn on the equally spectacular Andor—but only if she plays more than a minor role; that is, if Filoni et al have plans to continue and eventually finish that character’s arc, on this or another show, given that we don’t know her final fate.

• The general action choreography, including the space fights and (some of) the lightsaber duels. Kudos on the old school Samurai-esque solo-move kill by Ahsoka in her duel with Marrok.

Now for the middling:

• Rosario Dawson! Perfect for the role, and yet somehow she’s not quite clicked with the character. She clearly made the decision to play Ahsoka as contemplative, unemotional, patient to a fault. No spunk or flavor at all. Sometimes she, and thus the show, feels like it’s stuck in molasses. This was an unwise decision, to say the least.

• Not bringing back Zeb! Why? The hassle of a CGI character? The entire gang’s back together. Shouldn’t all of them constantly be asking one another why this old friend isn’t tagging along?

• Huyang and Chopper. Low-key or downer screen presence the both of them. Someone has got to bring some life and verge to the show, no?

• Ivanna Sakhno as Shin Hati. She’s aiming for the boiling-over-with-rage-and-desire-for-power Sith thing, but it only sometimes works. Just as often she just looks like she’s posing, and so trying too hard with nothing evident for the viewer to care about in the character’s nature or motivations.

• Lars Mikkelsen as Thrawn. I’m withholding judgment on this one until the finale airs. I read the original Thrawn trilogy by Timothy Zahn thirty years ago, so it’s a pleasure to watch a live-action Thrawn on a bona fide Star Wars show with my sons in the year 2023. Neither Mikkelsen’s acting nor Thrawn’s depiction so far is a disappointment. But it hasn’t blown me away yet either. The show needs to make good on this guy as a—the—Big Bad of this stretch of time in the canon, a villain on a par with Vader and Palpatine and Kylo Ren and Maul. Stick the landing, people!

And the bad:

• Natasha Liu Bordizzo as Sabine Wren is a dud. Close behind is Eman Esfandi as Ezra Bridger. Not only did these characters need to pop, their chemistry—with each other, with Ahsoka, with anyone and everyone—needed to function as the beating heart of the show. Unfortunately the opposite is the case.

• The eye-rolling hero’s welcome for C-3PO. My word. Not only does the fan service need to stop. The excuses for why neither child of Anakin Skywalker can’t find it within themselves to come join the action are getting old. Kennedy, Favreau, and Filoni made a tactical error when Solo scared them off from re-casting the Original Trilogy characters. So now we’re stuck with either bad CGI recreations of a young Mark Hamill or a stage-left fanfare appearance of Leia’s droid envoy—instead of just recasting the parts and letting these fictional characters show up and do stuff, as they unquestionably would have in such a story. Oh well.

• The sequel-to-a-show-most-viewers-haven’t-watched problem. This was the one nut needing cracking, and Filoni wasn’t up to the task. There were creative ways around this. Why not do something unexpected and actually film key scenes from Rebels in live action, with the newly cast actors? Either for flashbacks or even for a kind of mini-movie that might serve as a prologue or prelude to the show itself? How cool! Fun for the fans of Rebels, fun (and necessary) spadework for new viewers. A win win. Instead we’re deluged by exposition and vague references to the past, a past we’re made to know is Heavy and Sad because we saw melancholy faces reflecting silently about mostly unidentified things that happened on a children’s animated show that premiered almost a decade ago!

• The story itself. The real story begins to ramp up in the second half of the series, which makes the first four episodes pure build-up. This was a mistake. It’s clear to any viewer watching this show that it’s just a launching-pad, or segue, into a larger story—the real one, the “star war” against the fledgling New Republic as led by Thrawn and his imperial remnant—a story whose conclusion we’re going to have to wait years to see. Even if it culminates in a fantastic theatrical film by Filoni (I’ll be there, I always am), this series will have proved to be nothing more than a stepping stone, when it could have been an interesting stand-alone story, far more than a bridge. Perhaps the finale this Tuesday will prove me wrong, but I have my doubts.

Marvel on a budget

Why do Marvel’s productions look so bad? Why does Secret Invasion look like it was shot by numbers in about three weeks on an Atlanta backlot the size of a basketball court? Why are scenes so often in cars or indoors? Why are so many actors unknowns or newbies? Why does everyone seem sedated except Olivia Colman?

Likewise, why was Ant-Man 3 so aggressively ugly? Why were the graphics so poor? Is the studio on a budget? Is Disney siphoning money from Marvel to other IP? Is Disney’s current cost-cutting already evident in Marvel’s post-Endgame entries? Is Marvel’s aesthetic on purpose? Are the directors and cinematographers happy with the way the shows and movies look, or is the aesthetic imposed on them from on high?

Either way, where is all the money going? Consider the latest season of Jack Ryan on Amazon. Shot on multiple locations, regularly featuring wide-angled shots of gorgeous outdoor vistas, it looks and feels like a slick action movie with a visual language and a modicum of style. It’s never hazy or gooey the way Marvel (and, for that matters, Netflix) productions are. You can see everything. It’s high definition. Care has been put into the image. And into the acting and writing. Even if it’s just popcorn entertainment, there’s forethought and planning in evidence. Bezos is getting his money’s worth.

You can’t say the same for Marvel. It’s embarrassing. It’s beginning to feel like late 90s primetime television: same production quality, same writing exhaustion, same pseudo serialization. This, from a multibillion-dollar movie studio that conquered the globe over the last fifteen years. Does anyone know why? What’s going on?

I’ve stuck with the movies just for fun. And Guardians 3 was good. But last year I couldn’t bring myself to finish Moon Knight, much less try She-Hulk or Ms. Marvel. I don’t know anyone who did. I sampled Secret Invasion because (a) it’s summer and (b) Samuel L. Now I’m hooked just to see how the car wreck comes to an end.

After this, it’s Loki (potentially solid) followed by a run of shows and movies that are humdrum, eyerolling, or parody: The Marvels, Echo, Agatha, Captain America 4, Ironheart, Daredevil (again), and Thunderbolts. (Deadpool 3 doesn’t count; it’s inherited, won’t follow house style, won’t mess around with MCU canon, and will wrap up the trilogy.) Future Avengers movies keep getting delayed, contain no narrative momentum, and feature no names or actors normie audiences care about. Plus the one interesting thing about the multiverse, Jonathan Majors’ performance as Kang, is unlikely to continue; I assume Majors will be replaced by another actor by year’s end.

When Kevin Feige hired Ryan Coogler and Taika Waititi and James Gunn, it seemed as though Marvel’s productions would have style and panache, built on relative directorial freedom. Sometimes that came through. But in the last few years it’s become clear those were exceptions to the rule. The rule, it appears, is half-rendered sludge on a budget that will always prefer an Atlanta green screen to an actual physical location. At the very moment Tom Cruise is defying death in practical stunts on the big screen. It’s bizarre.

If there’s an explanation, I’m all ears.

Ranking drama series finales

The Ringer ran a fun piece this month, since revised, ranking the forty best series finales by TV shows of any kind—bar miniseries—since the turn of the century. Some of the choices were head-scratchers, though. Parks and Rec? Lost?? New Girl??? The Good Place???? They also included both comedies (Friends, 30 Rock) and reality/other (Nathan For You, The Hills). But the move to limit the options to the post-Sopranos prestige/peak TV era was smart. And they ranked a couple episodes usually overlooked in these debates (though they missed one big one). Overall it’s a solid list.

Here’s mine, following the conclusion to Succession Sunday night. Like many, I’ve soured on the TV hype over the last few years. Partly just because I want to spend my time doing things other than keeping up with the latest shows. But mostly because Peak TV was excellent at creating B-level series with A+ production and unreliable at creating A+ series of any kind—especially ones that made it to the end, rather than starting with a bang and ending with a whimper.

With the end of Better Call Saul last year and Succession this spring, I expect to limit my TV viewing going forward to occasional/pure-fun shows: basically, blockbusters or popcorn fare that involve cooking, spies, or galaxies far, far away. And any series that gets a lot of attention out of the gate, I’ll wait till the start of season 4 (I’m looking at you, Last of Us and House of the Dragon). If everyone still swears by it at that point, I’ll give it a look.

Having said that, the following is a list of shows I don’t regret watching, because each of them stuck the landing. Though first some criteria followed by honorable mentions.

First, I’m only ranking dramas.

Second, I’m only considering finales aired after the year 2000.

Third, I’m considering the finale in the context of the final season. No “good” finale of an otherwise dispensable or poor final season qualifies.

Fourth, while I’m not prioritizing unhappy endings, I am giving the nudge to conclusions that avoid the sitcom trap of giving everyone an (unrealistically) happy ending, because these are people we (and the writers room) love, and we can’t allow ourselves to imagine them unhappy once we say goodbye.

Fifth, I’m also (and therefore) giving the edge to finales that simultaneously (a) work as episodes of television, (b) conclude the overall story of the season/series, and (c) do not in any way swerve from the story the show was always telling, but are clearly an organic and fitting and thus (in the Aristotelian sense) necessary way of completing the story.

Full disclosure: I’ve seen whole seasons of Girls, Atlanta, Half & Catch Fire, and Deadwood, but not finished any of them. I’ve not seen more than a scene or an episode of Six Feet Under, Dexter, Sex & the City, Barry, and Ozark. I’ve always heard wonderful things about the SFU finale, as well as Deadwood’s. Perhaps one day I’ll make it to the latter; I doubt I’ll ever get around to the former.

Honorable mention: Battlestar Galactica (a wild ride, but a bit too hand-wavy even for this Christian Luddite), Mr. Robot (somehow successful, if dragged out there in the final episodes), The West Wing (good for CJ! But all around too much, even for this show), Parenthood (melodrama is as melodrama does), The Expanse (an action-packed blast, but too premature—given how much more story there was to tell), Boardwalk Empire (so good! Almost cracked my top 10), Breaking Bad (excellent, obviously, but still too happy and action-hero-ish for Walt), Mad Men (one or two seasons too late, and too enamored of its two leads to see them as the sad, artless, tragic souls they always were), Hannibal (off the deep end … and also in need of that Clarice sequel!)

Dishonorable mention: Lost + Game of Thrones (no comment necessary)

Now to the top ten … (Minor spoilers ahead, though I’ve tried to be vague.)

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10. Friday Night Lights. Unlike all that follow, this one partakes of the happy tradition of TV dramas and sitcoms giving everyone the happy ending the audience wants them to have. But because that was always the nature of this show, as a high-production soap opera about high school Texas football and the perfect marriage at its heart, this was never going to be the wrong call. Our heroes ride off into the sunset—the bright lights of Philly, that is.

9. Rectify. Somehow not on The Ringer’s list! The best TV drama of the 2010s. It ended in just the way it ran from the beginning: beautiful, ethereal, contemplative, ambiguous, honest, hopeful. This is the only show I recommend to anyone without reservation. A lovely and humane work of art.

8. Justified. Like Star Trek movies, the best Justified seasons come in evens: two, four, six, followed by five, one, three. The finale hits all the beats, while providing surprising catharsis between the star-crossed hero and villain. I’m not a re-watcher of TV shows, but I look forward to going back through this one with my kids once they’re old enough.

7. The Leftovers. Had the finale of season two been all she wrote, it would have been higher on the list. As it stands, the third season is good but unnecessary. I’ve long wanted to write something about the finale, which has something to say about religion. It’s the wrong thing, but it’s something all the same. You can’t help but cry in those final moments. And it doesn’t spoil a thing in the previous seasons. It even brings a measure of closure to both leads’ stories, along with a question mark the viewer can’t answer for himself. We just have to trust Nora’s word, too. (Or not.)

6. The Wire. Dinged for the final season going a bit haywire. But still a magnificent final two episodes. A sort of sitcom finale, except without making everyone’s ending happy. Feels epic the way the whole show was epic: a story about a city and the lives and institutions that make it endure, for all its dysfunction. And that last Irish wake…

5. The Americans. They were holding out on that U2 song. When it hits, you know why they were so patient. In a sense, this finale was “happier” than expected. But not all happy. And no corners were cut getting there. And when you realize what the leads have lost, you realize it’s not happy at all. But that final confrontation! A whole series building to one single moment in a parking garage. Marvelous performances. When The Americans was on, it was the best show around.

4. The Shield. A pitch-perfect finale with so much plot, so many storylines built into it! So brutal, so devastating. And that final scene. Haunting. An underrated show.

3. Succession. Shows four through one on this list all have perfect finales, in my view. It’s only been twenty-four hours, but Succession belongs. They stuck the landing. They knew the story they were telling. They knew the characters they were crafting. They knew how it had to happen. And they twisted the plot in just the right—and sometimes unexpected—ways, to get there. (Tom!) I wonder how this show would play for someone watching it all for the first time, binged in a week or two? Viewers have been agonizing for what feels like ages to see how it all would come to an end. And people interpreting the finale as a set-up for more seasons or even a movie have utterly misunderstood both the show and the finale. It’s done, folks! They, and we with them, were stuck in interminable infernal circles for forty episodes—and they’re still stuck. They’ve just swapped spots in hell’s musical chairs. It’s never getting better. That’s the point.

2. Better Call Saul. I’ve written about the BCS finale at length. Whether I’m right or Alan Jacobs is right (or his amended take is right), the finale couldn’t have been better. Not only were they completing Jimmy McGill’s arc, they were also bringing the entire Breaking Bad universe to a close—not to mention the excellent-but-still-slightly-missed-opportunity of the BB finale. It’s true, Jimmy-Saul gets to shine. But not because the writers couldn’t bear to see him unhappy. Because he couldn’t help himself. And whether or not he’s happy where he landed, it’s not a happy place to finish one’s days.

1. The Sopranos. This one’s been written about to death. I’ve got nothing to add. It’s still on the throne. No dispute from me. Long live the king.

Slow Horses

In adapting the novels, here’s what the show gets right:

1. Gary Oldman as Jackson Lamb. Not only a perfect match between actor and character, a so-obvious-it’s-inspired choice given Oldman’s previous role as Smiley in Tinker Tailor Soldier Spy.

2. The rest of the casting in season 1. Jack Lowden’s River is a would-be cross between Bond and Bourne, except he’s a bit of a doofus, self-regarding, a screw-up, and still in the service owing mainly to nepotism. The rest fit their roles perfectly, whether Kristin Scott Thomas, Christopher Chung, Saskia Reeves, Freddie Fox, or Dustin Demri-Burns. Give the casting director a raise.

3. The general atmosphere and vibe: the former within the world of the story, the latter put off by the same. Slough House is dark, dank, and cranky; Lamb is genuinely embittered and misanthropic; redeeming qualities are few and far between; you really believe this is an island for MI5’s misfit toys. The vibe thus produced is simultaneously cool (spies!) and bitterly funny (losers!), placing the audience always on the ironic edge between cheering on the slow horses and laughing at their incompetence. And it’s hard to believe when actual danger and daring-do come along and rope these has-beens and second-rates into the game.

Here’s what the show gets wrong:

1. The final episode of season 1. In the book, not only do we get to live inside Ahmed’s head as a character in his own right. For all the slow horses do to find him, much less to save him, Ahmed rescues himself. All the Lamb/River action is at Regent’s Park. The others try to track Ahmed from a deli or coffee shop. But the kidnapping and attempted execution are botched due to a combination of foolishness (Lady Di), in-fighting (the two remaining kidnappers), and shrewdness (Ahmed). The slow horses are nowhere to be seen! That is, in the book. In the show, Lamb and River and Min and Louisa speed down the highway to find Ahmed and, eventually, save him—more or less on camera! Give me a break. It’s absurd TV high jinx that lights the subtext of the show on fire. All of a sudden we’ve got real spies doing real Bond–Bourne–Jack Ryan stuff, rather than the back-ups to the back-ups accidentally stumbling upon observing some spy stuff … on their laptop screen.

2. The second season is a mess from start to finish. Marcus and Shirley are both duds—whether as written or as acted, it’s unclear. The plot of the book is so complicated that the writers attempted both to simplify it and to make it more closely connected to Lamb and the slow horses, but the result is a story impossible to follow by anyone unfamiliar with the novel and finally nonsensical on its face. I still can’t believe that the finale opts to leave both the “evil pilot mom” and the “cicadas” plot threads utterly dangling, unaddressed. Including the bald man in the action, making Roddy an action hero with his laptop, putting Lamb and Popov in the same room, flying River to the OB’s house to save the day … once again, the finale is absurd, on its own terms, while also being a denial of the whole point, ethos, and thematic heart of the show.

3. I’m also unsure about the wisdom of beginning to reveal, as soon as the season 1 finale, secrets about Lamb, the OB, Partner, and their interlocked past that might be best reserved for later. That is, the shock of some of their secrets needs time to become shocking. If we learn them more or less up front, then they’re just part of who the characters are, rather than revelations that complicate what we thought we know.

4. The second season also ups the “feel good” schmaltz a couple notches compared to the first season. It feels the need, in other words, to give the good guys a heart, rather than to keep them the losers they are. Lamb in particular basically just becomes a grand master spy, running his joes, rather than a cynical drunk who can’t spare a single second’s thought for another person’s feelings—especially if that person is someone he cares about. I hope, in the next season, they have the wisdom to drop the warmth and return to the cold the way it should be.

Out of touch

Before they premiered, I assumed that both House of the Dragon and The Rings of Power would flop. The assumption was pure projection. I couldn’t gin up an ounce of interest in either. Why? Because they were both inessential prequels produced entirely for reasons having to do with the bottom line, i.e., competing corporations spending hundreds of millions of dollars in the service of diminishing returns from previously profitable IP. Did anyone ask for them? Are they answering some urgent question about the fantasy worlds or original stories told about them? No. HBO wanted more of that sweet sweet GRRM cash, and Bezos wanted his own GRRM, so he opted to buy the next best thing: the rights to JRRT.

Clearly I was wrong. Both shows were enormous “hits,” in the sense that millions of people watched them and, apparently, cared about what happened on them. I confess it felt a little like going through the motions, watching from the outside; the precaps and recaps, podcasts and explainers, reviews and “arguments.” Do people actually enjoy these shows, or are they playing the old hits, reliving the glory days of Peter Jackson’s films and the initial shock and awe of Benioff and Weiss’s show?

But I may be wrong, since I was wrong the first time. What the popularity of these series showed me is just how out of touch I am. It was a pleasant surprise. Once upon a time, the mere existence of these shows and their accompanying buzz would have made them irresistible to me. No more. And thank God.

*

My rule with TV, as I’ve written about before, is that it either needs to be weightless fun (Top Chef, Great British, Brooklyn 99) or an A/A+ (Better Call Saul, Succession, Mare of Easttown). My students have time for C+ and B– shows. I once did too—or I thought I did: the truth is, there’s always something better to do with your time—but no longer. An episode or two of TV per week works for me. I can certainly do with less. More, and I should reconsider my priorities.

So regarding the other big franchise premiere this fall, Andor, I stayed away. I’ll eventually consider checking out HOTD or TROP if people are saying either show is genuinely A-level headed into season 4. Until then, it’s just a waste of time. But friends have been telling me that Andor is worth the time, so I finally gave it a watch this week. Some habits never die, and this childhood Star Wars fan is a sucker for more time in the galaxy.

And it’s not bad! It’s actually quite good, and getting better with each episode. A far cry from the useless, boring redundancy that was Kenobi. Some thoughts on the first eight episodes:

• True to his word, Tony Gilroy has made what appear to be four mini-movies, each made up of three episodes. I wish this had led to greater formal experimentation. What if the season actually were four movies, and edited accordingly, rather than randomly sliced and diced episodes? The opening three in particular feel random in when and how they begin and end. One more example of a filmmaker not quite understanding the television medium.

• Having said that, “movement two” (i.e., the arc spanning episodes 4-6) is magnificent, and if episode 9 delivers, then the third movement will be too. You can feel the Gilroy-ness of it all (brother Dan is writing as well). They’re in their element with the plotting, characters, and intrigue. It may well be the first successful live-action depiction of these things. Even Rogue One was beset by the dual shadow, on one hand, of Vader and the Force, and on the other, of our knowledge of the Death Star, its plans, and its eventual destruction. The mini-dramas of “BBY 5” and these heretofore unknown characters (minus Mon Mothma and Andor, only one of whose fate we know—we’ll think of her as Kim and him as Jimmy for now) have no canonical future for viewers. Their simultaneously small and large stakes create wonderful narrative tension.

• By contrast to the other Star Wars shows so far, the acting has been uniformly excellent. No comedic guest stars, no amateurs doing their damndest to make gibberish sound profound. Gilroy hiring top-notch old British guys and letting them chew scenery is just what the doctor ordered. Even smaller parts like Fiona Shaw’s adoptive mother lend gravitas that, in their absence, would make the show feel small and forced.

• The show is at its best, surprisingly, on Coruscant and inside the walls of the infinitely byzantine corridors of the immaculately white Imperial Security Bureau. (Cue Melville on the whiteness of the whale.) Kyle Soller, Alex Ferns, Denise Gough, Anton Lesser, and Genevieve O'Reilly are brilliant in their roles, and Gilroy et al give them both the words and the direction to make it all feel far more than glorified galactic dress-up. Whereas whole stretches of Kenobi felt like low-rent TV—“where’s the money???”—most of Andor makes clear exactly where the money went. Who knew Star Wars minus wizards and laser swords could be fun?

• The weakest link so far is the titular lead. Diego Luna plays Andor as a twitchy, world-weary, unsmiling Han Solo. All exposed nerve and bitter anger. That’s fine. But it drains him of any charisma. He’s supposed to be a womanizer. But who would want to go near this guy? He seems brittle and sketchy, not alluring or mysterious. Clearly he’s playing the role “correctly”—in the seventh episode, we understand why the stormtrooper stops him (however unjustly): Cassian Andor always wears a guilty look on his face, as if he’s only one step ahead of the law (which he is). His tell is his nervous constant surveillance of his own person. In that sense, Luna is doing his job. But why should we, the audience, care? We’ve got to have a reason at some point. When he vanished for a full 15-20 minutes in a later episode, I didn’t miss him at all. I wanted to stay on Coruscant with Mothma and Luthen and the rest. Make him matter, Gilroys!

• Having said that, Luna was quite impressive in episode 8, in which, from memory, Andor basically lacks a single line of dialogue, except to repeat, over and over, his own false name to judges, stormtroopers, pilots, and prison guards. The dawning realization of his situation in prison is almost feral in its raw bodily expression. The addition of Andy Serkis was a grace note in an otherwise brutal episode. If what we’ve got waiting for us in episode 9 is one long masterfully executed prison break, I’m here for it.

• The real weakness of the series so far is its opening three episodes. I understand why something like the story they sketch was necessary, but again, I think something more formally interesting could have served the show’s purposes much better. What if, for example, the show began with season 4, in media res, with the viewer as clueless about who Andor is and why he’s there as any of the other rebels? Then you fill in the back story at the necessary moments, when other characters are also learning these things for the first time, surprised when they are surprised (as when he reveals he’s a mercenary, for example), all while stretching out the suspense of the planning and undertaking of the robbery and escape. You scrape away the fat of those first 105 minutes while filling in the gaps in a much more engaging way. You also do away with some of the pro forma “yes, this is the backstory for the guy whose backstory we’re telling in this prequel” paint-by-numbers feel of the opening episodes, which surely turned many viewers away from what quickly becomes a richly suspenseful story of empire, law, bureaucracy, sedition, criminality, justice, morality, politics, and spycraft.

• I do hope Gilroy is able to make season 2. It would be a bust if the low viewership of season 1 led to premature cancellation. If season 2 really does stretch from BBY 4 to, more or less, the opening scene of Rogue One, that could be an absolute blast in the right hands—and so far, these are the right hands. Here’s hoping Kathleen Kennedy agrees.

Jimmy’s change

So far as I can tell—but I haven’t been trawling Twitter for contrarian takes—Alan Jacobs’ negative reaction to the Better Call Saul finale (spoilers herein, obviously) is the exception to the rule. The people I read loved it. Friends and family who watch it loved it. I loved it. But it’s useful to read a take against the grain. Is Alan right?

His case is simply stated. Jimmy’s volte-face in the third act of the finale is unwarranted either by the episode’s events or by the series’ narrative thrust as a whole. Who Jimmy is, deep down, has more or less always been set in stone, and that concreteness was not softened by these final episodes. Jimmy-as-Saul-as-Gene has only become more narcissistic, more reckless, more negligent, even murderous and sociopathic. Are we really supposed to believe that a single remarkable deed by Kim has the power to undo all of that, to make of Jimmy a Sydney Carton bound, selflessly, for the guillotine of a lifetime in prison?

Answer: Yes, actually. I think so. But before I defend that view, let me say why I resonate with Alan’s disappointment.

His disappointment was my disappointment with the original finale of Breaking Bad, which just about everyone else I read and know thought was perfect. It was not perfect, and for the same rationale Alan offers for BCS. Vince Gilligan loved his character too much to let him down. Though Walt had to die, though he had to be humiliated, he also had to go out in a blaze of glory. He had to earn some degree of redemption. He had to do something good, or at least something on his own terms. And thereby, all fans, not just “bad” fans, could get some measure of catharsis for watching and secretly (or not so secretly) cheering on a wicked and murderous drug dealer for five years.

Ever since that finale first aired nearly a decade ago, I’ve proposed an alternate ending. It’s only slightly different than what occurs in the final ten minutes of the episode. Walt arrives in his car, parks it where he does, walks into the building with all going according to plan. Only: when the button is pressed and the machine gun lets loose, the bullets spray wildly without hitting anybody. The plan fails. The cowboy’s last hurrah is an anticlimax. Walt doesn’t win. Instead, once the bullets are finished, the neo-Nazis look at Walter, look at Jesse, and shrug. Then they take them both outside. First they shoot Jesse, as Walter looks on. Then they shoot Walter. They dump both in an unmarked grave. Fade to black; end credits.

That’s a bleak ending, but its bleakness matches the bleakness of the show’s story. For that story is one without any happy endings. Walt doesn’t get to save his orphaned would-be son. His outlandish plan doesn’t succeed. Such plans don’t always work. He doesn’t get to pass out and pass on in the midst of the humming chemistry of a meth lab, happy in his own way, dying as he lived. He doesn’t get to set the terms of his exit from this life. That’s the way he thought he could live. But he was wrong. And the show’s writers mistook their protagonist’s self-understanding as the show’s own inner meaning. An easy error to make, but a costly one. Not just the bad fans rejoiced at the finale. Even ordinary viewers left with a sense of cathartic release: Jesse got away, the bad guys lost, and Walt redeemed himself. Good for him.

It seems to me that Alan thinks the same (whatever his actual thoughts on the BB finale) of the BCS finale. I wondered, going into the episode, whether Gilligan and Gould would be tempted by the same error: the need to make their evil lead good by the end; the desire to make things right that can’t be made right; the pull to let Saul undo, by TV magic, what can’t be undone.

I understand why one might see “Saul Gone,” the name of the series finale, as indulging that temptation. But I don’t agree, for the following four reasons.

First, there’s a lot more going on in Jimmy’s incredible courtroom speech than breaking good, for Kim’s sake. He’s putting on a performance. That performance is Heisenberg-like in its pomposity and pride. He doesn’t want seven years in a cush prison with the world thinking he was a victim. Instead, he wants the world—the feds, the judge, his future inmates, even Kim—to know that without him, Heisenberg wouldn’t have lasted a month as a free man. The real hero of Walt and Jesse and Mike and Gus’s story was Saul Goodman. He made it all possible. After all, he’s the only one still standing. Are you not impressed? Are you not entertained?

Second, so much of what the previous 61 episodes of BCS gave us, which the 62 episodes of BB did not, is that, unlike Walt, who was rotten to the core from the beginning and just needed the opportunity to show it, there was always a goodness to Jimmy intermingled with the bad. Not only certain good inclinations, but the desire to do and to be good. Granted, that desire is snuffed out by the time he’s transformed into Saul. But we have no reason to suppose that it’s gone forever, that it’s beyond recovery. Moreover, he didn’t leave Kim; she left him. It is precisely her reentry in his life that reawakens that desire once more. On the phone, she tells him to turn himself in; he scoffs and tells her to take her own medicine. She does. At great cost to her own life, possibly bringing it to an end. I find it wholly plausible, not that her extraordinary good deed converts him from pure evil to pure good, but rather that her action, like a flash of lightning, transforms the scenery before him. It shuffles the board of his potential actions. It makes possible certain decisions that he would never have considered before. He doesn’t become a martyr. But he does tell the truth.

Why? Because, third, what we know of Jimmy—again, from those prior 61 episodes—is that his moral psychology is not defined solely by greed or victory or successful schemes. An additional and irreducible element is his desire to please those he loves or reveres, even in spite of himself. (In this, too, he is different and, I think, a more complicated character than Walter White.) That’s the thing that made his relationship to Kim so complex. Together, they were bad. But in truth, while he made her worse, she made him better. She kept him from from the dark side, from truly breaking bad all the way. Only in her absence does does he do that. All his worst propensities, however much he toyed with them and leaned in their direction, he kept at bay so long as she was still around. That’s not to say such an arrangement would have lasted forever. But he always cared what she thought. Because he always truly loved her, as she did him. And what he is doing in that courtroom is trying to earn her approval, trying to see a glimmer of the love that once burned bright in her eyes. I have to say, this strikes me as absolutely and unquestionably psychologically and emotionally plausible. The man is a living image of self-sabotage in service of his insatiable desires. He never knows when to stop. Only now, he isn’t risking everything for the sake of some petty score. He’s forsaking a short time in prison for an indefinite one for the sake of the woman he never stopped loving, because the one and only thing that ever competed with his love for self and love for money was love for her. Which is to say, his need for her requited love. So he schemes one last performance for the ages. (Showtime!) And, as ever, he gets what he wants. It works—like Walt’s plan worked—except no one thinks him a hero, and the cost is a life sentence.

Fourth and last, it’s essential not to overlook what Gould shows us on the bus and in the prison. Jimmy isn’t in chains. His spirit isn’t quenched. He’s finally at rest. He’s among the people he always worked for and with and among. He always had their back, and now they’ve got his. They’re chanting his name. They’re fist-bumping him as he swaggers by. He’s not a fish out of water. He’s not suffering in squalor. He’s king of the castle. He’s come home. This is where he belongs. This is where he’s comfortable. This is where he was always meant to be, where his path always led. There’s not a trace of pain or resentment on his face. Not, again, because he’s a martyr. But because he’s accepted who he is and what he’s done, in an irresolvable combination (one that defined his life from start to finish) of chest-thumping pride, feigned performance, and quiet shame.

Nor is Kim’s visit an absolution. Their few words reflect the years and the distance between them. There’s nothing he can do to change the past, to rectify his wrongs. But behind bars, in the plain light of day, he can acknowledge who he is to the one person (apart from his brother) whose opinion he values, and she can accept that knowledge so long as he isn’t hurting anyone or inciting her to do the same. His quiet bravado (“…with good behavior…”) is a sign that he’s no Sydney Carton, nor does he imagine himself to be. He’s Jimmy. But then, Jimmy isn’t the antithesis of Saul Goodman, since Jimmy always was and always will be Slippin’ Jimmy. Kim, though, always loved Jimmy, and Jimmy always loved Kim. If what it took to see her again, to see her look at him like he was Jimmy, not Saul, one more time, was this—getting all the credit for Heisenberg’s crimes while serving time he always knew was coming down the pike—then so be it.

His whole life was a tissue of tradeoffs, anyway, cooking up some brilliant idea in the moment to get what he wanted most, without necessarily thinking of the long-term effects. He did it one last time. Who’s to say he’d regret it now anymore than he did in the past? In the time machine motif that haunts the episode like the ghosts of another Dickens tale, Jimmy wonders about regrets, his own and others. We know he always regretted losing Kim. His moment in the courtroom is his last chance to hop in his own personal time machine and make one single change. Not to alter the laws broken, the people conned, the lives ruined, the victims murdered. Not even—though he does regret it—to unwind his brother’s end.

No, the one change concerns Kim, having once lost her, seemingly forever. Once that change is made, he can live with the consequences.

NOPE, BCS, TOM, MCU

Some pop culture odds and ends…

Nope. I’ve got little to add to the Discourse here, just a few scattered thoughts. (I saw the film with friends and processed it with them; I’ve not done any online reading besides skimming—and being disappointed with—this article.) First, Daniel Kaluuya remains Jordan Peele’s not-so-secret super-weapon. What an actor. Second, it’s nothing but good for the movies that Jordan Peele productions have become events unto themselves. That’s a happy world to live in, even when Peele doesn’t quite hit the mark, as here. Third, the problem with Nope is the opposite of what ailed Us. Where Us worked at the visceral level of story and characters, it failed at the symbolic or metaphorical level. In Nope, by contrast, the allegory is what’s potent and compelling, whereas the literal narrative has gaps and questions. At times it feels like the plot does X or Y because that’s what the Meaning requires, rather than the significance arising organically from the story. When the allegory calls for the same signifier to mean two or more contrary things at once, the plot becomes unmoored. Having said that, fourth, a couple minor interpretive ventures. What’s up with that shoe? What came to my mind was the monolith in 2001, whose presence always signals a powerful evolutionary or technological shift in a group or species’ agency—and whose first appearance involves apes, tools, violence, and a jump to spaceships (re the last, the dad in the sitcom appears to be space-related in interests or profession). I wonder if, on a re-watch of Nope, mention or flashback or appearance of the shoe would similarly signal not only Gordy’s turn but also key turns in the narrative and/or Jean Jacket’s behavior. I’ll also add, mostly tongue in cheek, that when wondering aloud about the title of the film, what came to mind was Knope, as in Leslie. If Get Out (still his most successful film) was Peele’s rejoinder to the fantasies of well-meaning Obama-era white-liberal post-racism—though it understandably took on new force when someone other than Hillary was elected—perhaps Nope is a rebuttal of the same phenomenon, only applied to Hollywood instead of Washington, D.C. It’s Peele’s Nope to Poehler’s Knope.

Better Call Saul. I’ve been on the BCS bandwagon from the beginning. I’ve written about it briefly before, but mostly I’m just here to stand in awe. Like MBD, I anticipate these final episodes like each is Game 7 of the NBA Finals. Be sure to be reading what Alan Jacobs writes about it. Even DBH is in on the glories of Saul:

I became genuinely addicted, however, to Breaking Bad, which was so much better written than any of the television of my youth—and better written than just about every studio film made since the 1970’s—that it astonished me. It was the perfect balance of Dostoyevsky and Ed McBain, with just a hint of Lawrence Sanders here and Charles Portis there. I did not even mind the somewhat fantastic conclusion of the series. When, however, its sequel (or “prequel”) Better Call Saul came out, I was hesitant to watch it, fearing it would prove to be an inferior product that would only diminish my memory of the original program. But I watched. Now, in its final season, having just returned from its mid-season break, the show is dwindling down to its end over half a dozen episodes; and I am prepared to say not only that it is the better of the two programs, but that it may be the finest wholly original program ever to grace American television (or television anywhere). Like its predecessor, it is a grim portrayal of the gradual destruction of a soul, though now perhaps with somewhat greater subtlety and nuance, and with a richer range of characters. Comparisons aside, though, the quality of the writing has proved consistently astounding, and never more so than in these concluding chapters. Anyone who has followed the story—and I will give nothing away—will know that the final episode before that mid-season break was at once shocking and brilliant. It arrived in its closing minutes at a denouement (ominously announced by the slight flickering of a candle’s flame) that made perfect sense of the entire narrative of the series up to that point, and of the current season in particular, but that was (for me, at least) wholly unexpected until the moment just before it occurred. The construction of the story was so ingenious, and its moral and emotional power so unexpectedly intense, that I was left amazed. I do not know what it tells us about the current state of our culture that good writers have more or less been banished from the movie industry and have had to take their wares instead to television; but I am glad the medium as it now exists can make room for them. I also do not know what to make of the reality that there are television programs so much more competently written than most novels today. But, whatever the case, I can at least assure my three correspondents that, yes, I do watch television, even sometimes when something other than baseball is on; and that, moreover, in the case of Better Call Saul I feel positively elevated by having done so, because the program is a genuine work of finely wrought art.

I’ll add that, though Alan Sepinwall is usually reliable, his most recent recap of the show is strange, and it worries me he might know something about the final three episodes and be unintentionally telegraphing it to readers. He’s done this in the past, where he interprets an episode’s implications in ways no normal viewer would, because screeners or confidential information tugs his mind in an unpredictable direction. All that to say, he suggests over and over both (a) that this is probably our last glimpse of Gene’s future story and (b) that it provides a “happy ending” to Jimmy/Saul/Gene’s story.

A happy ending? What could that possibly mean? Deceiving and abusing an elderly woman and her loser son with a meaningless heist that could get the latter sent to jail, thereby reminding Jimmy of “the good old days” when—wait for it—theft, fraud, drugs, and murder were part of his daily life … this is a “happy ending”? Huh? The story is explicitly and intrinsically a fall narrative, a decline into moral squander and misery. The eminently wise and trustworthy writers and showrunners of BCS may or may not have more Gene in store for us. But even if we don’t return to him, his ending is as far from happy as one could possibly imagine.

The Old Man. Shows like The Old Man are more or less factory-produced for my tastes: The Honourable Woman, The Night Manager, The Americans, Fauda, even season five of Homeland—self-contained, stylish cocktails of spycraft, action, and character, realistic enough to be taken seriously, unrealistic enough to be fun. Le Carré lite, in other words. I was disappointed by the finale of TOM, however, because I thought it was a seven-episode miniseries, not the first of two seasons. I also didn’t realize Jeff Bridges’ battles with lymphoma and Covid brought production to a halt multiple times. Imagine being 70 years old, cancer in remission, Covid finally beaten, and the next day you’re hanging out a window at 70mph playing grandpa-Bourne, shooting back at the bad guys chasing you (and grandpa-driver John Lithgow). Not a bad capstone to a remarkable career.

Marvel. By my count, between May 2008 and November 2025, if Disney has its way, there will have been at least thirty-nine official “Marvel Cinematic Universe” movies. By the time the fifth and sixth Avengers films come out (six months apart) in 2025, my bet is that there will have been even more than what’s currently announced, which means the number will likely cross the threshold of forty movies in a little over seventeen years. And that’s not counting any Marvel characters produced by Sony outside of the MCU. Nor is it counting the Marvel TV shows, which in the same time span should amount to at least twenty-six in toto, which on average run two to three seasons each. So again, in less than two decades, we’re talking one hundred movie hours and hundreds of TV hours.

Now look at quality. From 2019 to the present there have been nine MCU movies. Two have been very bad (Captain Marvel and Eternals), three have been middling (Black Widow, Shang-Chi, and Thor 4), and four have been solid (Avengers 4, Spider-Man 2 & 3, and Doctor Strange 2). People love the Tom Holland Spider-Man movies, but they’re actually pretty forgettable; and although the final Avengers entry provided a cathartic conclusion to the previous two dozen films’ worth of story lines, it was bloated and even sort of boring in the middle act.

All that to say, that’s three and a half years of the world-bestriding Marvel Universe, the most successful film franchise of our (all?) time … and it’s a pretty mixed record, when you step back and look at it. Add in the deluge of Disney+ series and their even spottier quality, plus a narratively unclear and mostly uncompelling “multiversal” saga connecting these films to the coming ones in the next few years, and it makes sense that people are writing about Marvel’s “problem” or “crisis.”

Nevertheless, I think that sort of language overstated. Between one pole, which suggests the MCU will keep on breaking records forever, and the other pole, which suggests the MCU is about to crash, I think the correct position lies somewhere in the middle. When characters and properties that people love are featured in a Marvel movie, people will keep buying tickets; see Black Panther 2, Guardians of the Galaxy 3, Blade, etc. When people don’t care, or the movies are bad, people will start to drift away. Instead of seeing 2019 as a peak followed by a steep cliff, we should see it as the highest peak, followed by only very slowly diminishing returns, with many subsequent slightly smaller peaks, with a cliff awaiting only after 2025. At that point, unless they nail revivals of Fantastic Four and X-Men, which somehow spark another wave, a new generation, a seventh “phase,” and thus a third decade of MCU fandom and culture-wide mania, I think that’s when it all, finally, comes to an end—where “end” doesn’t mean “no more popular comic book movies” but “everyone and their mom ceases to reflexively see most MCU movies in the theater.”

Then again, the almighty Kevin Feige has been doubted before. He knew something no one else did fifteen years ago. Maybe he knows something we don’t today. But count me skeptical.

The issue with Kenobi

It’s not that it’s especially good or especially bad. It’s not that it’s revisiting a time period we’ve seen before. It’s not that it involves old characters and a fair bit of retconning.

It’s not that we’re back on Tatooine (for an episode). It’s not that we see kid Luke or kid Leia. It’s not that Hayden Christiansen is behind the mask (or in flashbacks). It’s not that the stakes are lower than usual. It’s not even that it’s serialized TV rather than a movie—though that’s close.

It’s that it feels like TV. It isn’t cinematic: in scope, in style, in ambition, in storytelling. Both its visual grammar (on the screen) and its literal grammar (on the page) are fit for the age of binging and streaming, not for a once-in-a-lifetime must-see cultural event.

There are no stunning landscapes. There is no moving music or even a memorable theme. The action is indistinguishable from other generic CGI-fests today, only somehow smaller. Even with the deep Disney pockets and the Star Wars brand, the show feels like it was made on the cheap: on soundstages, before green screens, with small crews, smaller casts (regular and extra), yet without the modest grandeur of The Mandalorian manufactured by StageCraft.

Compare with Top Gun Maverick, which for all its “legacy sequel” status is so big, so impressive, so jaw-on-the-floor awesome that it’s already the biggest hit in Tom Cruise’s 40-year career. It bends your will into submission by virtue of nothing so much as its self-confidence as pure spectacle.

By contrast, there is neither spectacle nor patience in Obi-Wan Kenobi, no pregnant pauses or non-filler geography. The editing is ho-hum. Viewers find themselves in the land of close-ups, the default setting of television cinematography. No one is winning any awards for this show.

That’s it. That’s the problem. Ewan McGregor is doing yeoman’s work, as ever. Kid Leia is cute. I didn’t mind the Anakin flashback. Nor do I mind looking to the animated series as a template here. But that template is for character, canon, and nuances of character. The visual, aural, and storytelling template is 1977—full stop.

Whether or not the finale lands the plane without eye-rolling, nostalgia bombs, or massive canon-revision—that is, even if the last episode doesn’t ruin anything in the OT and actually turns out to add a thing or two—it will still not have been worth the effort. Kennedy, Favreau, Filoni, et al have to start thinking bigger. They have to start unleashing their writers and directors while resisting, at all costs, the siren song of a Star Wars analogue to the Marvel in-house style, which is no style at all.

The worst eventuality here is not to make something bad, a la Episode II. The far greater sin is to make something boring, even forgettable. And I expect to have forgotten this series by year’s end.

Kim, breaking bad

You heard it here first. To be specific, on March 3, 2020, here’s what I wrote:

A brief comment on Better Call Saul, prompted by Alan Jacobs' post this morning:

I think the show rightly understands that Kim is, or has become, the covert protagonist of the show, and by the end, we (with the writers) will similarly come to understand that the story the show has been telling has always been about her fall. No escape, no extraction, no pull-back before the cliff: she, like Jimmy, like Mike, like Nacho, like Walter, like Jesse, like Skyler, lacks the will ultimately and decisively to will the good. They're all fallen; and in a way, they were all fallen even before the time came to choose.

In this way the so-called expanded Breaking Bad universe has made itself (unwittingly?) into a dramatic parable of original sin. Not that there is no good; not that characters do not want to do good. But they're all trapped in quicksand, and the more they struggle, the deeper they sink.

This was only three episodes into season 5; the closing moments of the eventual season finale—in which Kim not only initiated an unnecessary, risky revenge-scheme (now being played out in season 6) but also wryly double-barreled Jimmy just the way he had done in the closing moments of season 4 (“It’s all good, man!”)—signaled that the writers have known this was the destination, and the overriding theme of the show, for some time.

The present two-part final season is stretching out that slow burn to the breaking point, in peerless, masterly form as usual. In Gilligan and Gould we trust.

Personal tech update

It’s been an unplanned, unofficial Tech Week here at the blog. I’ve been meaning to write a mini-update on my tech use—continuing previous reflections like these—so now seems as good a time as any.

–I deactivated my Twitter account on Ash Wednesday, and I couldn’t be happier about the decision. It was a long time coming, but every time I came close to pulling the trigger I froze. There was always a reason to stay. Even Lent provided an escape hatch: my second book was being published right after Easter! How could I possibly hawk my wares—sorry, “promote my work in the public sphere”—if I wasn’t on Twitter? More to the point, does a writer even exist if he doesn’t have a Twitter profile? Well, it turns out he does, and is much the healthier for it. I got out pre–Elon Musk, too, which means I’ve been spared so much nonsense on the proverbial feed. For now, in any case, I’m keeping the account by reactivating then immediately deactivating it every 30 days; that may just be a sort of digital security blanket, though. Life without Twitter is good for the soul. Kempis and Bonhoeffer are right. Drop it like the bad habit that it is. Know freedom.

–I deleted my Facebook account two or three years ago, and I’ve never looked back. Good riddance.

–I’ve never had Instagram, TikTok, Snapchat, or any of the other nasty social media timesucks folks devote themselves to.

–For the last 3-4 years I’ve been part of a Slack for some like-minded/like-hearted Christian writers, and while the experience has been uniformly positive, I realized that it was colonizing my mind and thus my attention during the day, whether at work or at home. So, first, I set up two-factor authentication with my wife’s phone, which means I need her to give me access if I’m signed out; and, second, I began limiting my sign-ins to two or three Saturdays per month. After a few months the itch to be on and participate constantly in conversations has mostly dribbled away. Now I might jump on to answer someone’s question, but only for a few minutes, and not to “stay on” or keep up with all the conversations. I know folks for whom this isn’t an issue, but I’ve learned about myself, especially online, that it’s all or nothing. As with Twitter, I had to turn off the spout, or I would just keep on drinking until it made me sick.

–I don’t play video games, unless it’s a Mario Kart grand prix with my kiddos.

–I only occasionally use YouTube; nine times out of ten it’s to watch a movie trailer. I cannot relate to people, whether friends and students, who spend hours and hours on YouTube. I can barely watch a Zoom conversation for five minutes before needing to do something else with my time.

–I subscribe to Spotify, because it’s quality bang for your buck. I’d love to divest from it—as my friend Chris Krycho constantly abjures me to do—but I’m not sure how, should I want to have affordable, legal access to music (for myself as well as my family).

–I subscribe to Audible (along with Libby), because I gave up podcasts for audiobooks last September, a decision about which I remain ecstatic, and Audible is reasonably priced and well-stocked and convenient. If only it didn’t feed the Beast!

–I happily use Instapaper, which is the greatest app ever created. Hat tip to Alan Jacobs, from whom I learned about it in, I believe, his book Reading for Pleasure in an Age of Distraction. I’ve even paid to use the advanced version, and will do so again in the future if the company needs money to survive.

–I’ve dumbed down my iPhone as much as is in my power to do. I’ve turned off location services, the screen is in grayscale, and I’m unable to access my email (nor do I have my password memorized, so I can’t get to my inbox even if I’m tempted). I can call or text via Messages or WhatsApp. I have Audible, Spotify, and Instapaper downloaded. I use Marco Polo for friends and family who live far away. And that’s it. I aim to keep my daily phone usage to 45 minutes or so, but this year it’s been closer to 55-75 minutes on average.

–I use a MacBook Pro for work, writing, and other purposes; I don’t have an iPad or tablet of any kind. My laptop needs are minimal. I use the frumpy, clunky Office standbys: Word, Excel, PowerPoint. I’ve occasionally sampled or listened to pitches regarding the glories of alternatives to Word for writing, but honestly, for my needs, my habits, and my convenience, Word is adequate. As for internet browsing, I use Firefox and have only a few plug-ins: Feedly for an RSS reader, Instapaper, and Freedom (the second greatest app ever)—though I’ve found that I use Freedom less and less. Only when (a) I’m writing for 2-4 or more hours straight and (b) I’m finding myself distracted by the internet (but don’t need access to it); I pay to use it but may end up quitting if I find eventually that I’ve developed the ability to write without distraction for sustained periods of time.

–I’ve had a Gmail account since 2007; I daydream about deleting my Google account and signing up for some super-encrypted unsurveiled actually-private email service (again, Krycho has the recs), but so far I can’t find it within me to start from scratch and leave Gmail. We’ll see.

–I have the same dream about Amazon, which I use almost every day, order all my books from, have a Prime account with, and generally resent with secret pleasure (or enjoy with secret resentment). Divesting from Amazon seems more realistic than doing so from either Apple or Google, but then, how does anyone with a modest budget who needs oodles of books (or whatever) for their daily work purchase said books (or whatever) from any source but Amazon? That’s not a nut I’ve managed to crack just yet.

–I don’t have an Alexa or an Echo or an Apple Watch or, so far as I know, any species of the horrid genus “the internet of things.”

–In terms of TV and streaming services, currently my wife and I pay for subscriptions with … no platforms, unless I’m mistaken. At least, we are the sole proprietors of none. On our Roku we have available Netflix, Prime, Hulu, Disney+, Apple+, HBO Max, and YouTubeTV. But one of these is free with our cellular service (Hulu), two of them are someone else’s account (Apple+ and YouTubeTV), and another is a byproduct of free shipping (Prime). We pay a nominal fee as part of extended family/friend groups for Netflix and HBO, and honestly we could stop tomorrow and we’d barely notice. We paid a tiny fee up front for three years of Disney+, and if we could have only one streaming service going forward, that’s what we’d keep: it has the best combination of kids, family, classic, and grown-up selections, and you can always borrow a friend’s password or pay one month’s cost to watch a favorite/new series/season before canceling once it’s over. As for time spent, across a semester I probably average 3-7 hours of TV per week. I’ve stopped watching sports altogether, and I limit shows to either (a) hands-down excellence (Better Call Saul, Atlanta, Mare of Easttown), (b) family entertainment (basically, Marvel and Star Wars), or (c) undemanding spouse-friendly fare (Superstore, Brooklyn 99, Top Chef). With less time during the school year, I actually end up watching more TV, because I’m usually wiped by the daily grind; whereas during the summer, with much more leisure time, I end up reading or doing other more meaningful things. I will watch the NBA playoffs once grades are submitted, but then, that’s nice to put on in the background, and the kids enjoy having it on, too.

–Per Andy C.’s tech-wise advice, we turn screens off on Sundays as a general rule. We keep an eye on screen time for the kids Monday through Thursday, and don’t worry about it as much on Friday and Saturday, especially since outdoor and family and friend activities should be happening on those days anyway.

–Oddly enough, I made it a goal in January of this year to watch more movies in 2022. Not only am I persuaded that, my comparison to television, film is the superior art form, and that the so-called golden age of peak TV is mostly a misnomer, I regret having lost the time—what with bustling kids and being gainfully employed—to keep up with quality movies. What time I do have to watch stuff I usually give to TV, being the less demanding medium: it’s bite size, it always resolves (or ends on a cliffhanger), and it doesn’t require committing to 2-3 hours up front. I’ve mostly not been successful this year, but I’m hoping the summer can kickstart my hopes in that area.

–If I’m honest, I find that I’ve mostly found a tolerable equilibrium with big-picture technology decisions, at least on an individual level. If you told me that, in two years, I no longer used Amazon, watched even less TV, and traded in my iPhone for a flip phone, I’d be elated. Otherwise, my goals are modest. Mainly it has to do with time allocation and distraction at work. If I begin my day with a devotional and 2-4 hours of sustained reading all prior to opening my laptop to check email, then it’s a good day. If the laptop is opened and unread mail awaits in the inbox, it’s usually a waste of a day. The screen sucks me in and the “deep work” I’d hoped to accomplish goes down the drain. That may not be how it goes for others, but that’s how it is with me.

–The only other tech-related facet of my life I’m pondering is purchasing a Kobo Elipsa (again, on the recommendation of Krycho and some other tech-wise readerly types). I’m not an especially good reader of PDFs; usually I print them out and physically annotate them. But it would be nice to have a reliable workflow with digital files, digital annotations, and searchable digital organization thereof. It would also help with e-reading—I own a 10-year old Kindle but basically never use it—not only PDFs for work but writings in the public domain, ePub versions of new books I don’t need a physical copy of (or perhaps can only get a digital version of, for example, via the library), and Instapaper-saved articles from online sources. I’ve never wanted a normal tablet for this purpose because I know I’d just be duped into browsing the web or checking Twitter or my inbox. But if Kobo is an ideal balance between a Kindle and an iPad, designed for the sole purpose for which I need it, then I may end up investing in it here in the next year or two.

Foundation

Later this month the television adaptation of Isaac Asimov’s Foundation will premiere on Apple+. I had been planning on writing something about it, then doubled down on that plan when I read a piece resorting to that laziest but most common of critical terms of approval these days: the R-word. You know what it is. “Relevant.” As in, and I quote, Asimov’s story is “deeply relevant” and represents “something that feels more relevant than ever these days.” Foundation may be relevant, but if it is, it’s not because Asimov has something useful to say about our lives. Nor is it because Asimov offers us a critique of the late decadent phase of the American imperium. It’s because Asimov’s text begs to be read against itself, as an unconscious window on the late modern technocratic mind that believes itself to be the solution to decadence, when it is actually its principal symptom.

I have, or rather had, a lot more to say about that. But then Alan Jacobs beat me to the punch. He notes how, in both Asimov’s trilogy and Arthur C. Clarke’s Childhood’s End, which were all written between 1942 and 1952, each author is “deeply invested in thinking about the ways old political orders give way to self-proclaimed Utopias; and both, also, see that the technocratic Utopia—as distinguished, I think, from the more traditional Utopias of authoritarian and totalitarian states—is a new thing in the world.”

Let me add one thing, which concerns the protagonist, Hari Seldon, and his Foundation scheme that sets the plot going. Not only is Seldon a pure projection of Asimov, or Asimov as he imagines himself and his ilk to be. The so-called science that Seldon has cracked is the science of predicting the future based on the past with perfect exactitude. And it’s the cranks who run the Empire who are fools not to believe his probabilistic calculations. I remember, when I first read the initial novel in the trilogy, thinking that Asimov was setting Seldon up to be a fool himself. I mean, imagine thinking “psychohistory” to be a legitimate empirical-mathematical enterprise in which the custodians of trillions of living souls should place their trust! But I was the foolish one. Naturally, that is exactly what Seldon-Asimov thinks world leaders should do: believe the science—in this case, the pseudo-science of technocrats tinkering with their algorithmic prediction machines. Knowing the unlikelihood of being believed, Seldon-Asimov sets in motion a series of events leading to the hoped-for future founding of a new intergalactic civilization with far less bloodshed and destruction than otherwise would have occurred (in the absence, that is, of his genius). His well-timed appearances and messages in the centuries to come are a running deus ex machina, only the god in the machine is Hermes, bringing one more message, just in the nick of time, from the omniscient Seldon-Asimov (speaking from the past). Not to put too fine a point on it, whereas the Foundation he establishes is meant to contain all the knowledge humans have amassed across the millennia, the cornerstone of the Foundation is—you guessed it—psychohistory. (It doesn’t help that every time just what the Foundation is preserving is mentioned it’s always, or almost always, the deliverances of the technical and empirical sciences, and never, or rarely, the treasures of the humanistic arts. You can be sure the gadgets of Steve Jobs reside safely in some Foundation vault; less so the works of Bach or Rembrandt.)

All that said, the book is worth a read, not least for its influence on Frank Herbert and George Lucas. And it’s still a fun, if not especially well written, yarn. And I might check out the show; it would be nice if the showrunners signaled their having grasped the unintended subtext of the story instead of buying into its ostensible prescience and relevance to the year of our Lord 2021. But I’m not holding my breath.

An action movie pet peeve

I don’t recall when it first appeared on screen, much less when it became a tired trope, but in the last 5-10 years a certain scene has become a mainstay in action movies (and TV shows). The protagonist realizes he needs the help of A Certain Someone. But either the last time he saw A Certain Someone things didn’t end well, or A Certain Someone is an unsavory character who can’t be trusted. With nowhere else to turn, though, our protagonist goes in search of ACS anyway. And when he finds him, one and only one thing happens. ACS sees him coming a mile away; the two of them fight—often quite brutally—until one submits to the other or, more commonly, the fight results in a draw; then, invariably, they look into each other’s eyes, realize the futility of their conflict, let bygones be bygones, and grab a drink.

Not only has this become an eye-rolling cliché. Most of the time it’s nonsensical. The brutality of the fight suggests unquenchable malice; the violence is bloodthirsty and aspirationally fatal. They’re trying to kill each other. Only, moments later, they’re not; all is well, since (as the plot demands) the protagonist’s needs must be met, and the two must join forces to continue his quest.

I’m the last person to suggest genre conventions are a drag. It’s just that this particular convention is stupid. We know what’s going to happen. The fight is devoid of stakes. And the ferocity of the fighting has no connection to what comes next, often mere seconds later. It’s little more than an annoyance; it’s a box to be checked by the screenwriter or writers’ room; it’s a way to kill time, the plot spinning its wheels; it’s unimaginative, and shows the filmmakers are out of ideas.

I’m looking at you, Mandalorian; and you, John Wick; and you too, Black Widow. To name only a few.

Just stop it already.

From meaningless content to doomscrolling

One of the truly essential Substack writers is Justin E. H. Smith, who is neither a journalist nor a start-up freelancer but a major academic philosopher and polymath scholar of (what always strikes me as) ten thousand interesting things. His newsletter from two Sundays ago was a typically undefinable reflection on (inter alia) memory, streaming, tense, eternity, and the internet. Here are some sample grafs that bring home one of the essay’s central points:

If this assessment sounds bleak or cynical, consider Amazon’s recent acquisition of MGM for $8.45 billion. Jeff Bezos now holds the rights to numerous treasures of twentieth-century American entertainment, not least Albert R. Broccoli’s almost boutique-style James Bond films with their iconic, mythos-incanting musical opening numbers. Bezos has explicitly stated his intention to “reimagine and redevelop that I.P. [sic] for the 21st century.” On the surface, his idea of what a “good plot” looks like would seem to make twenty-first century content scarcely different from the most archaic and deep-rooted elements of myth and lore. Thus he thinks there needs to be a heroic protagonist, a compelling antagonist, moral choices, civilizational high stakes, humor, betrayal, violence…

“I know what it takes to make a great show,” Bezos has confidently said, “this should not be that hard. All of these iconic shows have these basic things in common.” The problem is that Bezos’s purpose in returning to a quasi-Proppian schema of all possible storytelling is not at all to revive the incantatory power of cliché to move us into the ritual time of storytelling. It is rather to streamline and dynamicize the finished product, exactly as if it were shipping times Bezos were seeking to perfect, rather than the timing of a hero’s escape from a pit of conventional quicksand.

And so the college freshman imagining her life as a show seems doubly sad: she turns to the closest thing we have to new narrative art in order to frame her own life and make it meaningful, but the primary instances our culture yields up to her to help with this framing are in fact only meaningless content being passed off as narrative art. It is no wonder, then, that what she will likely end up doing, after the passing and briefly stimulating thought of life itself as a TV show, is to go back to doomscrolling and vain name-checking until sleep takes over.

Do go read the whole thing; the closing section is eloquent, incisive, and damning in equal parts. Then do your duty and subscribe.

“TV" by John Updike

TV

By John Updike

As if it were a tap I turn it on,
not hot or cold but tepid infotainment,
and out it gushes, sparkling evidence
of conflict, misery, concupiscence
let loose on little leashes, in remissions
of eager advertising that envisions
on our behalf the better life contingent
upon some buy, some needful acquisition.

A sleek car takes a curve in purring rain,
a bone-white beach plays host to lotioned skin,
a diaper soothes a graying beauty’s frown,
an unguent eases sedentary pain,
false teeth are brightened, beer enhances fun,
and rinsed hair hurls its tint across the screen:
these spurts of light are drunk in by my brain,
which sickens quickly, till it thirst again.

A very special episode of Daniel Tiger's Neighborhood

In which Daniel, now the middle child with half a dozen siblings, experiences a tiny setback that flummoxes his otherwise unqualified expectation that everything in his young life ought to go his way.

He sits down and cries—but in the chaos of a bustling household and so many other children, his mother and father are unable to pause the family's life, halt the earth's spin, and sing a song to soothe his self-esteem while ostensibly increasing his emotional intelligence.

Soon enough Daniel stops crying.

Eventually he gets up, discovers a solution to the problem on his own, and moves on.

The 11 Best Hour-Long TV Dramas of the Decade (2010–2019)

A few months back I posted this list to Twitter, but I thought I'd re-post it here, with a bit more commentary, as well as a reshuffling due to Mr. Robot's outstanding fourth season.

First, to the rules. This is a list of hour-long dramas: so no half-hour genre-exploders (Atlanta, Louie) or comedies (Parks and Rec, Brooklyn 99). I'm also only thinking of TV series, with discrete seasons that tell something of a unified narrative: thus excluding miniseries (e.g. The Honourable Woman) and specialty shows (a la Sherlock or Black Mirror). Further, in order to qualify the series must have at least three seasons to its name (so The Knick falls short and both Succession and Yellowstone ran out of time before decade's end). Seasons prior to 2010, however—such as Mad Men's first three or Breaking Bad's first two—don't count for the purposes of this list. I am solely considering television seasons comprising hour-long dramatic episodes shown or streamed between 2010 and 2019.

Now to the list:

1. Rectify (SundanceTV, 2013–2016)
2. The Americans (FX, 2013–2018)
3. Breaking Bad (AMC, 2008–2013)
4. The Leftovers (HBO, 2014–2017)
5. Better Call Saul (AMC, 2015–)
6. Mad Men (AMC, 2007–2015)
7. Game of Thrones (HBO, 2011–2019)
8. Mr. Robot (USA, 2015–2019)
9. Justified (FX, 2010–2015)
10. Fargo (FX, 2014–)
11. The Expanse (SyFy/Amazon, 2015–) 

Comments:

–My, that's a M-A-N-L-Y list. No apologies—one is who one is, one likes what one likes—but I'm not blind to it.

–Some shows got the cut due to waning quality in later years: I'm looking at you, The Good Wife, and you too, Orange is the New Black.

–Others were marked by high highs matched only by equally low lows: e.g. Homeland, True Detective.

–Consulting my annual lists, I was reminded of Boardwalk Empire, which is sorely underrated. The fourth season is up there for single-season masterpieces. But I'll never be able to shake Matt Zoller Seitz's comment, when he reviewed the short-lived series Boss, that the character Nucky Thompson should have been played by Kelsey Grammar. The show becomes an immediate classic in that alternate universe.

–Hannibal! A real show that really played on NBC—NBC!—for three—three!—seasons! That second season, y'all.

–You know, I never got around to watching the final season of Halt & Catch Fire. An unjustly overlooked show, beloved by none but critics. But the fact that I just never quite found myself needing to finish the story might say something. About the show, or about me, at least.

–It would be easy enough to keep the list to a clean ten and leave off The Expanse. But it just got too good in those second and third seasons, I couldn't do it.

–Were it not for Mr. Robot's second season, I might have been willing to move it up to the top five. Alas.

–Game of Thrones is so strange. Those last couple seasons were so dreadful overall (fun at times, but almost always stupidly silly), and the series was far from flawless in the first six. But the sheer narrative scope, the quality of the source material, the heft of the story and acting, the excellence (at times) of the writers' ability to juggle so much so deftly, and, man, those big moments: it still deserves much of the awe it garnered.

 –For me, at least, separating rankings by time limit and/or genre makes things so much easier than it would otherwise be. How are you supposed to compare Mad Men to Parks & Rec, or Veep to Mr. Robot? But once you sort for genre and running time, the top 10-20 dramas more or less sort themselves.

–Watch Rectify. It may well be the only TV show—given my predilections to tell people to turn their screens off, not on—that I suggest people ought to watch, and without reservation. It's that good.