Daredevil Brings Great New Villain(s)

Media

From Gene Hackman’s Lex Luthor to Phillip Blake’s The Governor (The Walking Dead), great casting and charismatic actors have frightened, enraged, and intrigued us with super villains from the comics universe. If you’re hankering for a new Big Bad, definitely turn on the Netflix series Daredevil. Vincent D’Onofrio strikes all the right notes of charming-sociopath evil in his surprisingly vulnerable Wilson Fisk (aka, Kingpin, in the original Frank Miller comic).

Daredevil Wilson Fisk

As many have noted, there’s an obvious historical reference in Wilson Fisk’s uber-developer “activities.” It’s a nod to mid-century NYC villain Robert Moses. Moses is the infamous urban planning autocrat and destroyer of blue-collar neighborhoods from the 1950’s and ’60’s.

But that’s overlooking the more salient two-headed juggernaut-of-gentrification: Mayor Giuliani/Bloomberg. Wilson Fisk “cleans up crime” by sending Chinese immigrant suicide bombers to Russian mobster hideouts; Giuliani/Bloomberg blows up minority neighborhoods with the now roundly repudiated policing tactic of stop-and-frisk.

Wilson Fisk wants to make the city safer and more beautiful. The question of course is, safer for whom? Beautiful in the eyes of whom? Giuliani and Bloomberg say the same thing during their tenures as mayor. Gentrification may bring safety and (a very particular kind of) beauty. But at what cost? By its nature gentrification shreds the existing social fabric — demolishing the historic character of the street and displacing existing residents. Consider the following.

  • In central Harlem the white population grew 405% between 2000 and 2010.
  • Average house prices in Harlem increased 86%.
  • 37% of the city was re-zoned.
  • Eight of the city’s tallest buildings have been built since 2001.

My brother lived on Manhattan’s Lower East Side (aka, LES) from 1993 to 2007. During the ’90’s, when I would visit him we’d walk through the blacktop city park around the corner, and I would worry about the kids on the seesaws and doing Double Dutch on the sidewalk; scattered on the asphalt were spent syringes and used condoms from people in the park the night before.

Since the time of Giuliani/Bloomberg, the grit and grime of the LES has been completely erased. Crime has been rendered moot. But that park is gone, too. So are the children. Now the LES is high-rise condos and the well-to-do. The Salvation Army Residence is now the Bowery Boutique Hotel. CBGB, the iconic, hellhole live music venue, is now a John Varvatos shop.

Sounds great. But what about history? What of people and character displaced? No more Indian curry walk-up windows. No more mudflap, by-the-slice pizza counters. The writers and academics? The Asian produce vendors and union film-production workers (like my brother)? They’re all gone.

And it hasn’t stopped with Manhattan. As new skyscrapers push lower-income and middle class Manhattanites out, the displaced are pushing into the outer boroughs. A telling New York Post headline reads, “New Hipsters Fight Old Hipsters in Bushwick.” Another headline puts it less ironically: “Gentrification as ‘Benign Ethnic Cleansing.'”

Here’s an amazing image from an article in Gothamist :

gentrification Google Street view - Daredevil blog post

Image credit: Justin Blinder, via Gothamist

 

New York Magazine says of Bloomberg’s development efforts:

[Bloomberg] bullied and cajoled developers, steered Liberty Bonds their way, and pushed through rezoning as they wanted. Today, each new Skyland Summit gets superseded by another. The race to the clouds is reminiscent of 1930, when the Chrysler Building and 40 Wall Street tried to bound past each other for the title of world’s tallest — only to have their rivalry mooted a year later by the Empire State building.

Sound like someone we know? (Less the immigrant suicide bombers, of course.)

VINCENT D'ONOFRIO as WILSON FISK in the Netflix Original Series “Marvel’s Daredevil” Photo: Barry Wetcher © 2014 Netflix, Inc. All rights reserved.

Photo: Barry Wetcher
© 2014 Netflix

SAS vs. NBA: Basketball Bodies

Health, Media

Spurs_on_court

Many NBA stars are built like NFL players.  That is, except for the San Antonio Spurs.

Kawhi Leonard actually has some pretty beefy muscles.  But he’s the “biggest” on the team, by far; his built-up muscles are atypical for San Antonio.

Compare a few famous physiques:

NBA                                                                                     NFL

SF  Lebron James — 6-8 / 260 lbs.                  DE  J.J. Watt — 6-6 / 240 lbs.

SF  Larry Johnson — 6-7 / 250                          LB  Lawrence Taylor — 6-6 / 250

SG  Derek Fisher — 6-1 / 210                              RB  Reggie Bush — 6-0 / 203 lbs.

 

Think about those numbers.  Compare Michael Jordan’s height / weight:

SG  Michael Jordan:  6-6 / 216 lbs.

SG  Dwyane Wade:  6-2 / 220 lbs.

And Jordan was big for the league of his day.  When he first entered the league, MJ weighed only 200 pounds.  He bulked up after the Pistons manhandled him in both the 1989 and 1990 Eastern Conference Finals using their new defensive strategy, the “Jordan Rules.”  Jordan himself attributes his 1991 success in defeating the Jordan Rules to his increased power and bulk from off-season strength training.  (See ESPN Films, 30 for 30 Bad Boys.)

This seems to mark the beginning of the arms race in ever more massive NBA bodies.  The trend’s logical conclusion?  Shaquille O’Neal, heaviest (and, some would argue, most overrated) NBA star of all-time.  Shaq scored a lot, passed the ball little.  If you’re seven feet tall, have explosive strength, and you weigh 100+ pounds more than the individual guarding you, why wouldn’t you?

Shaq offensive foul

 

Too many NBA teams today feature an incredibly powerful superstar, give him the ball, and have him fly at the rim, scattering smaller defenders like bowling pins.  It makes for some eye-popping individual player highlights.  But I prefer team ball.

Ball movement is NBA conventional wisdom.  But it’s also something of a lost art.  The TV-announcer euphemism for high-time-of-possession individuals is the “go-to” player; NBA coaches use the term “ball stopper.”  That term indicates the stoppage of ball movement on offense, not on defense.  While there’s nothing about built-up muscles that prevents a player from passing the ball, if you were bigger, stronger, and faster than nine of ten players on the floor, it would seem a rational choice to keep the ball and score 35 points.

It’s a legitimate choice, I suppose.  But is it merely a distraction from the true team-nature of basketball?  Is it just a coincidence that Coach Popovich has put together his team without any players that could pass for an NFL linebacker?

Some of the league’s current young guns:

eric bledsoe_576x324Eric Bledsoe — 6-1 / 200 lbs.
dwight-howard-mens-healthDwight Howard — 6-10 / 265

 

7-corey-magette

Corey Magette — 6-5 / 225

This is a shoe the Spurs just don’t fit.

 

Spurs championship team larger

 

Am I right?  I mean, think about this collection of guys.

Tony Parker — 6-1 / 180 lbs.

Manu Ginobli — 6-6 / 200 lbs.

Danny Green — 6-6 / 205

Kawhi Leonard — 6-7 / 225

Matt Bonner — 6-10 / 235

Tim Duncan — 7-0 / 250

Of their amazing 2014 Finals dominance, Manu Ginobili commented on how “differently” the Spurs play.  In the Bleacher Report piece “Passing stats Illustrate Spurs Dominance in Finals,” Ginobili says “if you don’t have as much talent, you still can do it. You can move the ball and put a lot of pressure on the defense.”  He may as well have said “if you don’t have as much muscle . . .”

Judging from their bodies, as a team, the Spurs don’t just play different.  They are different.

 

The Babadook: Ghost Story or Psychological Thriller?

Media

the-babadook-book

I watched an exceptionally good horror film on Netflix, called The Babadook. One thing I like to do after seeing a good movie is try to reverse engineer the screenplay. What was the spark that inspired the screenwriter?

In this case the spark was likely a familiar domestic scenario in fiction: what tvtropes.org calls “Maternal Death, Blame the Child” — i.e., the mother dies in childbirth, and the father resents the child.

In this breakout Australian film, the genders are reversed. It’s the father who dies in a horrific auto accident while rushing his pregnant wife to the hospital. Fast-forward seven years, and you have single mother Amelia, struggling to raise her stormy, high-strung son, Sam. The lines on Amelia’s face hint at the toll Sam has taken on her with his eccentric hyperactivity. At just seven years old, Sam has developed a spastic repertoire of magician’s tricks, while fashioning homespun mechanical weapons that shatter windows and break dishes.

 

the babadook - sam in car

 

The film makes clear Sam’s motive in demanding all of his mother’s attention. He’s afraid she doesn’t love him. It’s his greatest fear. And in a horror film, your greatest fear can turn murderous.

Amelia begins to fear this about herself, as well. Has she stopped loving her son? Though her affection for Sam is obvious, her sanity is wearing thin. She puts out Sam’s fires left and right: Sam ejected from school for bad behavior, Sam shoving his cousin out of her tree fort and breaking her nose.

Amelia is also horribly sleep deprived. With Sam’s birthday–also the anniversary of her husband’s death–fast approaching, she’s plagued by nightmares of the car crash that decapitated her husband seven years before.

Sam has nightmares, too. Amelia must soothe him long into the night. The best way is to let him sleep in her bed. But she’s robbed of her own sleep, as he clings to her. In two memorable close-ups, Sam’s hand grips her throat or he grinds his teeth right next to her ear.

As the sleep deprivation wears on her, Amelia begins to lose her temper. She snaps at Sam, curses, even. “If you’re so hungry, why don’t you eat shit!” She apologizes, horrified at herself.

But we’re not surprised. We see she’s on the verge of a nervous breakdown.

 

Tellingly, that’s when the Babadook–a supernatural creature from a super-creepy children’s book–begins to terrorize them in their shadowy house.

 

the babadook gif

Amelia reading the pop-up book “The Babadook” to her son, Sam

(Spoiler alert:  if you haven’t seen the film yet, stop reading here.)
.
From that point on, the film plays as a supernatural slasher flick. The Babadook possesses Amelia’s body and targets Sam. It/she stalks him with a butcher knife.
Or, is it the case that Amelia has simply lost her mind? If so, the story shifts from supernatural thriller to psychological thriller and becomes much more disturbing.
But the camera storytelling keeps us on the fence. It’s a classic presentation of Freud’s the uncanny:  we don’t know how to take Amelia’s violence–is she possessed or is she insane?
.
Rather than run away, Sam fights back. With his arsenal of homemade weapons, he pelts Amelia/Babadook with darts and bocce balls.
 the-babadook-Sam weapons

He slows her attack long enough to wrest her attention: “I know you don’t love me,” he shouts. “The Babadook won’t let you!”

It’s at that moment the film so movingly reveals the central metaphor: that Amelia’s grief at the loss of her husband poisons her relationship to her child. The Babadook represents her resentment. Resentment kills relationships.

At the risk of revealing too much, let’s just say Sam battles the Babadook to the end.

Corporate Data Breaches: What They Mean for Us

Entrepreneurship, Media

Part III in a series on personal online security. Parts I and II can be found here and here.

sony-hacked-again-1

 

What’s it gonna take?

That’s the question we’re all asking after the countless cyber attacks on the world’s most powerful corporations. The Sony Pictures hack got a lot of attention for the 47,000 embarrassing executive emails and celebrity Social Security numbers dumped onto the Internet. But check out this list of high-profile hacks and how many records were breached:

  • Michaels Stores, Inc. — 2 million
  • JP Morgan — 83 million
  • Home Depot — 109 million
  • Target — 110 million
  • eBay — 145 million
  • Adobe — 152 million
  • Court Ventures (Experian) — 200 million

We’re talking credit card data, home addresses, checking account numbers–everything an identity thief dreams of at night.

For this post I had planned on listing all the household-name companies hacked in recent years. But it would be way easier to list the handful that weren’t hacked. One prominent cyber security analyst claims 97% of all companies have had their servers broken into.

What’s it gonna take for them to do better?

Actually, that’s the wrong question. We now know the biggest, most powerful companies don’t have our backs regarding Internet security. We also know, by the sheer scale of these attacks, that we have all been touched by these crimes, if not directly, then via someone close to us.

So, the real question is, What’s it gonna take for us to take better care on our own initiative?

(Image:  yuhootech.com)

Password Managers, or Doing Passwords Right

Entrepreneurship, Media

Part II in a three-part series on personal online security. Parts I and III can be found here and here.

please don't steal this

Still Using Scraps of Paper?

Back when I was “storing” passwords via pen and paper, I had, what, twelve pages worth? Fifteen? Of course it’s impossible to memorize more than just a few passwords, which is why people duplicate, or reuse, passwords on multiple sites. Reusing passwords is the primary no-no of personal Internet security. Yet we all do it, we who keep passwords on paper.

The trouble is, when a reused password gets stolen, the thief has access to any site associated with it. This is the principal danger for most when caught up when a big company gets hacked.

Then there’s the problem of using easily remembered passwords for our most frequented sites. Your dog’s name, your child’s birthday. Now that’s secure! Use it for online banking or your most-used email account!

Our third most common failing is not changing passwords regularly. Really? All fifteen pages worth?

If your password-tracking system is stack of dog-eared, greasy pages in disintegrating manila folder, you’re essentially dangling your business checking account in front of cyber criminals and taunting them to take its contents.

The Best of the Best:  LastPass vs. 1Password

Enter: the password manager.

Here are the two password managers I have direct experience with: 1Password and LastPass. These two, along with KeePass, represent the best of the best.

Ten years ago I started out with 1Password. 1Password is one of the few top password managers that does not store your data in the cloud. 1Password is essentially an encryption program, but one dedicated to password management. It generates and organizes strong, unique passwords, all encrypted and stored locally on your hard drive.

What soured me on 1Password is its lack of cloud-sync. It’s greatest strength was also it’s biggest weakness.

Like a lot of entrepreneurs, I have a raft of devices float through my life every few years. Without cloud syncing, 1Password  limited my password “vault” to my main laptop, only. After a few months I bit the bullet and manually re-created a second password vault on my second laptop. That chore took hours.

1Password did offer syncing via Dropbox. Convenient, yes. But then you have to rely on Dropbox’s security, as well.

At that point I switched to LastPass. Yes, this switch was guided, admittedly, by convenience. How great it was to have all my passwords on all my devices! But LastPass also offers topflight security.

I was queasy at first about LastPass storing my data in the cloud. It took some time to get comfortable with their basic concept: LastPass servers don’t actually store passwords. They only store encryptions of passwords. That’s how they thwart any potential inside job (a.k.a., a LastPass employee stealing customer data).

How Long Is a Billion Billion Years?

The encryption also discourages cyber attacks from outsiders. With AES 256 bit technology, a hacker who cracks the LastPass servers would need at least a billion billion years to decrypt even a single password. That’s not a typo. A billion billion. (Here’s a discussion of these numbers.) Hear that? That’s the sound of hackers crossing LastPass off their hit list. (1Password also uses AES 256.)

Finally, decryption of the LastPass ciphers happens locally, on your device. In other words, your naked passwords never travel outside of your device. Plus, you are the only one who holds the key to the decryption. That key is what LastPass calls your Master Password. Hence, the name–your Master Password is the last password you ever have to memorize.

So, I remember one, and LastPass handles the other 179.

No matter which program you choose, you should make your Master Password long and strong. And change it three to five times each year. Rather than a pass-word, I use a pass-phrase.

Two Factor Authentication

We should also all be using 2 Factor Authentication (2FA) with our password manager. Even if my Master Password were stolen, say, by keylogger malware, the thief still couldn’t access my LastPass vault without my 2FA security key. I love having my USB security key on my keychain, which I can use to access LastPass on any laptop or desktop. For my Android needs, I use the Google Authenticator app (always on a separate device).

It’s heartening to learn that LastPass is popular at MIT.

Next Post: Data Breaches in the News

Time: “Why You Should Change Your Amazon Password Now”

Entrepreneurship, Media

Part I in a series on personal online security. Parts II and III can be found here and here.

keep-calm-and-change-your-password- 400x467

“Why You Should Change Your Amazon Password Now”

So says the headline of a recent Time magazine article. The word “now” sure makes for provocative news. The article begins, “Hackers said Friday that they leaked data associated with 13,000 accounts on Amazon, XBox Live and other sites.” The writer concludes, “[This] news should underscore how important it is to change your passwords frequently.”

But is this just alarmist rhetoric? Should we really worry about such a small number of victims?

Online retailers say we have nothing to fear. Not only was the number of victims small, the 13,000 were spread out amongst 14 different retailers, not just Amazon. Some might point to the much larger 2014 Home Depot hack as cause for concern (56 million credit card numbers stolen). But the online retailers say the Home Depot crime wasn’t actually a “hack,” per se. In that attack, credit card info was stolen from Home Depot’s self-checkout machines in physical stores, not from the company’s computer database.

In other words, according to the spin doctors, cyber security is sound. They might admit the 2013 hack of Target was large (40 million credit card numbers stolen), or that the Sony hack of 2011 came with high costs for the company. But Sony, Target, Home Depot, and any big company watching the fallout of their hacks, have cried, Never again! They’ve elevated their cyber security. They declare online retailing to be safe–or even safer than–shopping in a physical store.

That’s plain wrong.

In a recent segment of CBS 60 Minutes, cyber security expert Dave DeWalt says “97 percent–literally 97 percent of all companies–are getting breached.”

What a mind-blowing figure. And DeWalt should know. Target has hired his security firm, FireEye, to prevent future breaches. “Even the strongest banks in the world . . . can’t spend enough money or hire enough people to solve this problem,” he says.

Perhaps the real takeaway from the 60 Minutes piece was that “80 percent of security breaches involve weak passwords. One of the most common is: 123456.” In other words, 80 percent of the passwords now in the hands of criminals were absurdly weak to begin with. Or, rather, 80 percent of us are still using passwords the way we did in the 1990s: simplistic, easily remembered (aka, easily guessed by strangers).

DeWalt says, “The days when we our username and password is our son or daughter’s name, or our cat or our dog, is not enough security to thwart today’s hackers.”

So, don’t just “change your passwords now.” Make them stronger.

My next post: Password managers, or Doing Passwords Right

My New favorite TV Writer/Producer: Wendy West (DEXTER)

Media, Writing
Dexter

Dexter showcases the talents of my new favorite writer/producer, Wendy West.

West knows how to push my thematic buttons. My TV tastes favor stories of the human condition. Think of David Milch’s heroes coping with alcoholism as a stand-in for human emptiness and alienation. Think Andy Sipowicz in NYPD Blue, or Calamity Jane in Deadwood.

 

Dexter lends itself a priori to such themes. Serial killers are addicts, after all. Plus, other Dexter writers had worked the addiction angle before West began working for the show in Season Four.

But Wendy West goes for the thematic (ahem) jugular. Her writing strikes the optimal balance between methodical structure and dramatic authenticity. For instance, she returns to a single trope, over and over, giving variations of it in each of her five episodes: in each script, she contrasts Dexter to a second killer, deftly marking out the boundaries of Dexter’s values and aspirations as he kills the other killer.

  • Season 4, Episode 4, “Dex Takes a Holiday
    • the killer:  Zoey Kruger (police officer, killed her husband and daughter)
  • Season 5, Episode 6, “Everything Is Illumenated” [sic]
    •  the victim/killer:  Lumen Pierce
  • Season 6, Episode 7, “Nebraska”
    • the killer:  Brian Moser, “the Ice Truck Killer”
  • Season 7, Episode 4, “Run”
    • the killer:  Ray Speltzer (forces victims to run through his torture maze)
  • Season 8, Episode 8, “Are We There yet?”
    • the killer:  young psychopath-in-training, Zach Hamilton

In the most darkly hilarious episode of Season Six, “Nebraska,” West has Dexter’s addiction talk to him in the form of his dead brother, Brian, a serial killer whom Dexter was forced to kill in Season One.

In this road-story plot, Brian is ravenous for junk food. In each scene he tries to persuade Dexter to kill freely–i.e., to dispense with Dexter’s code of only killing serial killers—all the while scarfing drippy, convenience store nachos and falling-apart, Dairy Queen cheese burgers. The motel side table strewn with the burger’s detritus is not only a sight gag (more than anything, ghosts miss eating), but also a way of reifying the character, and in turn dramatizing the power of Dexter’s addiction.

Later in the episode, rather than rushing to kill Jonah Mitchell, Dexter insists on working to verify Jonah’s guilt. This annoys brother Brian:

“Ugh, your code, again…”

“The code is more than that.  It’s kept me safe.  It’s given me a life–“

 “–A life that’s a big fat lie.”

Remember, this is Dexter’s addiction talking. If Brian can persuade Dexter that his life is “a big fat lie”–that his family relationships are merely a front to hide a serial killer in plain sight–then darkness wins.

But Dexter wants a real life, wants love and to be loved. This is the force of Dexter’s burgeoning humanity struggling against his addiction.  Dexter is a psychopath. Psychopaths are incapable of emotion. For Dexter to be the best serial killer he can be, he needs to be fearless, unattached, uncaring of those individuals he’s manipulating to be his camouflage.

What makes Dexter a tragic figure is he wants the lie to be real. He wants to be honest with his friends and family. He wants to be worthy of the trust he has falsely cultivated.

This is Dexter wanting his own undoing. Were any family or friend to know the truth, they would not only shrink back in fear. They would turn him in to the authorities. Plus, because Dexter truly cares for his friends and family, he is vulnerable to his enemies using them as leverage against him.

In the end Dexter spares Jonah, and Brian vanishes. West gives Dexter a closing monologue. He wonders “if darkness is defined by light. If so, darkness can’t exist on its own. There must, by definition, be light somewhere, waiting to be found.” Translated:  Dexter’s “Dark Passenger” (the nickname he’s given to his addiction) has a companion of its own–the light. Perhaps Dexter is not simply a monster. Perhaps he can nurture the light in him to overtake the darkness.

This is brilliant thematic writing. We so want Dexter to succeed.

The tragedy is that’s the same as wanting Kryptonite for Superman.

My First-ever Beer-industry Publication

Entrepreneurship, Food and Drink, Media, Wisconsin, Writing

screenshot - chocolate chili stouts

Big announcement. Da, da, DAAAAHHH!

I’ve recently published my first-ever piece of actual beer-industry writing. Please go have look!

Totally excited about Mobcraft, a real up-and-coming, two-year Madison brewery, ready to break ground on their $2 million facility.

I’ll be freelance blogging for them. This first post of mine is an article on chocolate chili pepper stouts, in advance of their newly-bottled beer No Stout About It.

My next piece for them will come out in the coming days. Stay tuned . . .

The Walking Dead, Season 5: Death? Uh, yeah.

Media, Writing
screen-shot The Insightful Panda dot com

Rick in the church becoming a god. (Screenshot credit: TheInsightfulPanda.com)

Has ‘The Walking Dead’ Cracked My All-time TV Top 5?

SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT

[If you haven’t watched Season 5, yet, stop reading, right now. Or, enter at your own risk . . .]

Just a few words of praise upon finishing Season 5.

Wow, do I have my hair blown back. And I don’t mean just by the thrills and chills. I mean by the relationship drama, the villains/villainy, the comedy. Perhaps where the show excites me most is the inventiveness — a.k.a., rule-breaking — of its cinematography. That’s especially true of Season 5. Sure, the camera work has always been fresh and ingenious. But now, with all the night shooting and severe-yet-nuanced studio lighting, they’ve really turned the thumbscrews on pure retinal agitation. Plus, shooting on the infinitely more mobile 16mm camera produces some startlingly original looks. Like in Ep. 3, “Four Walls and a Roof,” in the church, when our heroes turn the tables on Gareth and Martin, and the hunters become the hunted. That shot from Gareth’s point of view, looking up at Rick wielding the “machete with the red handle.” Sure, that point of view isn’t new, angled up and making a giant of Rick. But the framing — the shot has the altar and stained glass in the background. You’re not supposed to elevate heroes to the level of God. (Not in America, anyways. It’s not an uncommon trope in Japanese screen culture, especially in anime. See Berserk.)

Though it’s impossible to argue what the show does best, consistency has to be part of that conversation. Not a single episode feels like a dud, not in any of the five seasons. Only the rarest cable drama reaches this astonishing level of reliability, episode to episode. The Sopranos, Six Feet Under, and Deadwood keep it at a “10” from bell to bell. But other shows? I can’t think of any. Even some of my favorite shows of all time have their off, phone-it-in days. Dexter, Breaking Bad, The Wire. None of them can match such perfection.

In its mature state the series unsurprisingly has become heavily philosophical. Mostly themes of identity and ego. And, oh yeah, that third theme. Despite having way more characters who die than survive, the show has rarely been about death. Season 5 is about death. Tyrece, Beth, Bob, Martin. (Martin. Yep. Death.) That the nature of existence depends on death — or, rather, IS death — that’s one common thread among the episodes of Season 5.

It’s no coincidence Beth is only a great character when she confronts death.  At the front of her plot arc (Season 2, Ep.10) she tries to kill herself; at the back of her plot arc (Season 5, Ep. 8) she dies bitterly. In both, her cynicism and clear sight ring true. Take for instance her first real scenes (Season 2, Ep. 10). Maggie tries to talk Beth out of suicide.

Maggie: “You could do that to Dad?”

Beth:  “He’s clueless. He had us waitin’ for a cure.”

Maggie: “You could do that to me? I can’t take another funeral.”

Beth: “You can’t avoid it. What are we waiting for? We should both do it. At the same time–”

Maggie:  “What!”

Beth: “–help each other. It’s hard to do–”

Maggie: “Stop talking like that.”

Beth: “–our choice. Then it would be over. Or we’ll be forced to do it when this house and the farm is overrun . . . I don’t want to be gutted.”

In Seasons 3 and 4, the middle span of her plot arc, Beth comes across as flat and contrived and superfluous. But her lustrous scenes in Season 5, Ep’s 6 – 8, anchoring the drama of the mid-season finale, she grows into herself. She survives in that Lost-like, dystopian hospital from hell. She stands up to the depraved corruption, the naked abuse. She helps shield victims of what is essentially a prison. She becomes larger than life, becomes a worthy member of our group of super heroes. In her swan song she says, sneering, seething at Dawn, “I get it now.” She stabs Dawn in the chest and gets shot in the face. Showrunner Scott Gimple could’ve gotten many more great miles out of her. But her death feels just forthright. It is certainly courageous on his part.

Throughout this season Rick feels the need to tell the town folk over and over, “It’s all about survival.” Well, that’s one side of the coin.

Exciting New Anime: Knights of Sidonia

Media

Knights of Sidonia lifeboat pod

No matter how much I like an anime series, I hesitate to make blanket recommendations. I’d hate for my writing to entice someone to watch anime for the first time and have them come away thinking I have terrible taste in TV. See, there’s a learning curve to watching anime. (The giant anime sweat drop? It means he’s embarrassed.) Without “anime literacy” an anime newbie can watch even the best series and think it’s silly, or worse, a product for children. Knights of Sidonia is definitely not for children.

Also, even the best anime suffers from radical swings in quality over the course of a long season. Think of Joss Whedon TV shows—Buffy, Dollhouse, Firefly. We love them for their high highs, despite the admittedly horrid lows.

That said, Knights of Sidonia (KOS), a recent Netflix Original Series, is some of the most thrilling military science fiction I’ve seen in a long time. It’s certainly not without its shortcomings. Its relationship drama doesn’t succeed the way the military aspect does; the several love-triangles and the central rivalry between the hero and his nemesis are so thinly drawn as to feel tacked on. Yet the stunning battle scenes–the eye-popping visions of sci-fi adventure futurism–make the series more than worth one’s while.

Although I don’t have time to review KOS in full, here, I’ll drop a few observations.

1) How to Repopulate the Human Race

The show’s renderings of deep-space survival create an intriguingly realized future. Sidonia is a “seed ship.” It’s a Battlestar Galactica setup. When the earth was overrun by aliens, the last survivors escaped on Sidonia and survived seven centuries drifting about the galaxy. How did the seed ship repopulate the human race? Successful cloning explains all the look-alike characters in the cast. Others form a “third gender,” changing sexes depending on available partners. Apparently there are limits to seeding “success”: Sidonia holds regular mass funerals for compulsory deaths to keep its fragile ecosystem in check. An “organic converter reactor” processes all the bodies and human excrement for fuel that powers Sidonia.

2) Hillarious Site Gags

KOS re-imagines space travel in (ahem) compelling detail, like the skin-suit catheter (see image). Not only is the catheter necessary for spending many hours (or even days) in the tiny cockpit of a giant robot, the skin suit also filters urine for drinking water.

In one quiet scene our hero averts his gaze to leave his co-pilot her privacy while she photosynthesizes. (Yes, in the future we will only eat once a week because, via genetic modification, we will all photosynthesize.) But because they’re in the glass-bubble cockpit, he can’t escape her nude reflection. Hence, he doubles over in discomfort at the emergence of his catheterized erection!

3) Space Opera!

The space opera (i.e., soap opera in space) elements are by turns wonderful and awful. In quieter moments, the romance between the hero and his love interest can be quite affecting, like when the two are stranded in deep space together, trying not to freak out in the face of dwindling food and water rations.

Sadly, the show’s fan service tends towards the sleazy: untold millions were spent to animate the zero-gravity jiggling of curvy female figures in skin-tight space suits.

4) Warning:  It Goes Fast

That the script doesn’t wait for slower viewers can be a bit frustrating at times. Like any good cyberpunk fiction, KOS respects the intelligence of its audience, rarely overexplaining its backstory and future-tech. The show assumes fans will take multiple passes by hitting rewind or will binge-watch the whole season again later, anyway.

For instance, there appears to be a blunder of failed script-supervisor continuity when we watch a pilot eject from her exploding robot in only her space suit. But in the next scene we see her floating in a spherical, escape-pod lifeboat (see image at very top of this post).

Where’d that come from? Turns out the escape pod is stored in each pilot’s backpack, in some futuristic wonder of nanotechnology. Very cool. I definitely missed it the first time around.

KOS escape pod A-0

KOS escape pod A

KOS escape pod B

KOS escape pod C

5) The Good with the Bad

It’s a shame the first half of Episode 5 gives us one of the most exciting battle scenes ever filmed, a thrill negated by the episode’s second half: an overlong, ham-fisted delivery of backstory, all in unnecessary and terribly written dialogue. When Captain Kobayashi argues with Dorm Mother Lala, she reminds her of a factoid neither could have possibly forgotten: “We’re the last two surviving members of the first strike team in human history to have destroyed a gauna, 600 years ago.” Ugh.

I guess it’s no worse than Rick Grimes in The Walking Dead talking out loud to God, the empty chapel amplifying his cartoonish Southern accent.

6) Coincidence or Cosmic Convergence?

Though spelled differently, the series shares its title with the Muse album “Knights of Cydonia.” Coincidence or cosmic convergence? Judge for yourself by watching the hilarious, sci-fi/kung-fu/spaghetti Western mashup video of Muse’s song on YouTube: