Remembering and Rating Pop Culture

by James Wallace Harris, Wednesday, July 11, 2018

I began keeping a reading log back in 1983 where I record every book I finish reading. I wished I had started this log in the third grade when my mother read me Treasure Island. That was 1960, I was eight, and the first book I remember. The first book I read myself, was Down Periscope, but in an abridged version for kids. That was probably 1961. I figured I finished over a thousand books that I don’t remember between 1961 and 1983.

As you might guess, I’m hung-up on memory. Just remember, this blog is called Auxiliary Memory. My memory has never been great, and now it’s in obvious decline. My reading log has proved valuable on countless occasions and in many ways. Over the years I’ve often regretted not maintaining a movie log.

Recently I began a Pop Culture Log, where I record the short stories, essays, albums, TV shows, movies that I finish each day. In the sixties we had a phrase, you are what you eat. Well, I believe we are the pop culture we consume.

I keep my new pop culture log on a Google spreadsheet online. I now wish I had logged every pop culture work I consumed in my lifetime. Recording all my brain food takes a bit of effort, but is revealing. More and more when I tell my friends about shows or stories I enjoyed I can’t recall their titles. That’s very frustrating.

Aging and struggling with memory reveal details about my identity in those logs. In Westworld season 2 they show different approaches to creating artificial immortality. One method involves teaching an android all the memories and habits of a person until the android can’t be distinguished from the real person. Who we are, often comes from our attitudes towards the pop culture we’ve experienced in our lifetime. On Facebook, I see more and more groups formed around pop culture memories with tens of thousands of baby boomers participating in each. My identity can be partially defined by those groups I joined. (That’s why Facebook is so powerful to advertisers and political pollsters.)

Here’s a snippet of the last couple days. If I tried to record them from memory the day after tomorrow all of them would have been forgotten except maybe The Admirable Crichton. That’s the work that’s given me the most pleasure this week, but it would only take another couple days and I’d forget it too.

Pop Culture Log

 

I’ve tried to devise the most useful columns. I added a link column, something I don’t have on my reading log of books. That gives me actual details about the work, and is very educational, often expanding my reaction to the work.  Just collecting the entries for the spreadsheet helps me remember more.

My friend Janis recently gave me a box of vinyl LPs she had stored away at her father’s house for decades, mostly from the 1970s and early 1980s. I’ve been playing a couple each day. As you can see, I’ve rated them all three stars. But I wonder what I would have rated them back when they were new. Most stuff from decades ago seems kind of mediocre and blah, but I bet some of those albums sparkled when they first appeared. I know I liked some of them much better then than I do now.  I’ve decided to rate my current reaction rather than trying to discern absolute artistic quality, it’s context in history or its lasting value. The links do that. It would have been enlightening to see how my ratings changed over time.

Rating Systems

There’s all kind of rating systems. The classic school grade (A+ through F). The test score (0 – 100). The 10 scale (0 – 10). Various 3-star, 4-star, and 5-star ratings. I liked what Rocket Stack Rank uses, a 5-star system that’s less judgmental and more practical. I’ve amended their system for my use:

  • 1-star (*) – Technical flaws that annoy. Can’t finish.
  • 2-star (**) – Storytelling flaws ruin the flow. Can’t finish.
  • 3-star (***) – Average. Good. Competent. Even well done. Once is enough.
  • 4-star (****) – Will recommend to friends. Would reread/rewatch. Hope to remember probably won’t.
  • 5-star (*****) – Should win awards, be remembered, and become a classic. Would buy to have permanently. Would want to study and remember.

This system avoids judging art by objective criteria. A graph counting all the ratings should show 80% falling into the 3-star rating, 18% for 2-star or 4-star, and 2% for 1-star and 5-star. Because I only record what I finish, I shouldn’t be listing 1-star and 2-star titles.

The Admirable Crichton - 1957

Of the works rated above only the English film The Admirable Crichton (Paradise Lagoon in the U.S.) based on the J. M. Barrie play (he also wrote Peter Pan) is rated 4-stars. I gave it 4-stars because it’s one I’d recommend to my friends. It was so much fun that I’ve ordered two other film editions of the story, one a silent, Male and Female (1919) that stars Gloria Swanson directed by Cecille B. DeMille, and 1934 pre-Code screwball comedy starring Bing Crosby, We’re Not Dressing.

Rating a work is hard. Janis, who is also my TV watching buddy, and I, both greatly enjoy Glow, a show about lady wrestlers in the 1980s. It gets good reviews, and I know other people who like it too. However, the quality of streaming TV is so great compared to the older broadcast TV that it’s hard to say when a show is worthy of 4-stars. I would definitely say Breaking Bad, The Handmaid’s Tale, The Marvelous Mrs. MaiselThe Crown, Downton Abbey are 5-star shows. And I would say Anne with an E, Humans, FargoWestworld, The Duece are 4-star shows. But really good shows like Glow and Killing Eve aren’t in their class. A 3-star rating includes a lot of very entertaining shows because there’s really a great number of entertaining well-made shows. 3-stars doesn’t mean something isn’t very good. Well-made entertainment is very common today.

My concern is more about memory than artistic judgment. I want just enough information in my logs to trigger hidden memories. I’ve never been sure if bad memory is due to lost memories or poor memory retrieval. If I had kept logs of all the artistic works I consumed in my lifetime it would help me remember, but also it would also describe who I was, something I’m still learning myself.

JWH

 

 

 

 

How Important is Screen Size to Television Watching?

by James Wallace Harris, Mondy, June 11, 2018

Some people love watching movies on their smartphone even though those film premiered on IMAX screens using Dolby Atmos speakers. Evidently, the essential quality of a film is in the storytelling. Television viewers used to watch widescreen Technicolor movies on nineteen inch black and white sets and still enjoyed them immensely.

So why should I worry about upgrading my TV to a larger screen and better sound?

Last night I watched a 1957 western, Night Passage, on a 56″ DLP television via a local over-the-air station called Grit TV. I had recorded it with my TiVo and it cut off the last few seconds. Luckily, I had a DVD copy to watch the ending. When I played the disc I was startled to discover this old western was in 2.35:1 widescreen and the color levels were completely different. When watching the over-the-air version, it didn’t feel like the aspect ratio of 4:3 of old TV pan and scan, because the frame was more rectangular. It had been cropped to be slightly widescreen in appearance.

Below is my way of faking what I’m talking about. I wish I could provide real screenshots, but this is close. I just cropped a widescreen scene with Brandon De Wilde and Jimmy Stewart to 400 x 300 pixels and converted it to black and white to imagine what 1950s TV might have been like (it would have been fuzzier). The second is a photo I found that feels more like the Grit TV version. I assume the third photo is the right aspect ratio.

Night-Passage-fake-4to3

Night Passage cropped

Night Passage widescreen

The thing is, I enjoyed the heck out of seeing this movie again. I especially enjoyed the beautiful scenery. The first time I watched this film was on a black and white television set — and I love it then too. I always remember it as a black and white movie even though it’s in color because of first seeing it on a black and white TV set. But when I looked at the DVD version, I felt like I had missed a significant portion of the film. The DVD widescreen view showed far more scenery, was much sharper and probably the color palette more accurate.

What artistic qualities do we miss from movies and television when we only focus on the storytelling? We could just read books instead if all we wanted was a story.

Would I have enjoyed the film more if I had watched the DVD from the beginning? I have dozens of my favorite westerns on DVD and Blu-ray, but quite often I watch them off of Grit TV. It’s just convenient.

I’ve been contemplating giving up the physical technology of CDs, DVDs, SACDs, and Blu-ray discs. 99% of the time I stream music or television. It would simplify my life if I got rid of all my discs.

I love the idea of minimalism, but what am I sacrificing by rejecting the higher resolution discs of my favorite movies, TV shows, and albums? For the most part, streaming music via Spotify isn’t that different from listening to CDs unless I’m concentrating. Streaming movies with Netflix and Amazon are almost as good as Blu-ray if I’m not concentrating.

Watching the DVD on my 56″ TV is probably as close as I can currently get to having seen Night Passage in the theater in 1957. That would be even truer if I had a larger television set. I assume the more I can recreate the cinematographer’s original vision, the more I can experience the original story to its fullest. But what are those extra dimensions beyond storytelling?

Visual and aural realism.

I was looking at TVs at Best Buy today, thinking I’d upgrade to a 65″ television. But my eyes loved the 75″ screens more, and I was blown away by an 83″ model. The bigger the screen, the more I felt like I was seeing reality. That’s also the difference between books and movies. Before movies, writers spent more words describing what readers would see. Such descriptions added realistic details. The better the author was at describing the world in details, the more readers felt like they were reading something based on truth.

Movies give verisimilitude to storytelling. The widescreen version of Night Passage made me feel Jimmy Stewart was actually in all those natural settings and not on a soundstage. When movies were black and white and had an unrealistic square aspect ratio, they were mostly filmed on sets and backlots. Those old films had a tinsel town feel. When we got Technicolor and widescreen, moviemakers went on locations around the world to give us more realism.

Would I experience art as more true-to-life if I built a home theater with a projector TV with a screen in the 100-120″ range? Probably. Is it needed? No. If I was watching a 4K nature documentary I’d certainly feel like I was there more than when watching a smaller set. It’s like when I play CDs and SACDs, I only hear the extra sound texture if I’m concentrating diligently.

It was when I watch a turtle swimming underwater on the largest sets a Best Buy that I noticed the details of the sand and plants it swam over. I then felt like I was there scuba diving. If I watched The Sweet Smell of Success, another 1957 film, I’d feel what it was like sitting in a glamorous smoky bar in New York City with Burt Lancaster and Tony Curtis.

If we watched Downton Abbey at an IMAX theater, the realism of the sets and costumes would be stunning compared to TV watching. Of course, when I tell my wife I want to get a giant screen television she thinks I’m crazy. Why spend so much more money when we already love our twelve-year-old 56″ television? Well, Susan isn’t a good judge of TV technology. She watches television while playing games on her laptop or using Facebook on her iPhone. She needs much less from a story to enjoy it.

The older I get the more I withdraw into my home. Our television set is the way we view the world and visual arts. Is it worth upgrading to 4K? If Night Passage was available on Blu-ray or 4K discs, should I buy them for that extra realism?

Should I give up over-the-air TV? MeTV shows old Perry Mason episodes cropped for modern widescreen TVs without any distortion. Perry never looked better. I tried to find a streaming version of Night Passage to compare, but it’s not available that way. Handmaid’s Tale is stunning to look at on a 56″ TV at 1080p, but what would it look like on a 75″ 4K set, or even projected to 120 inches?

Is wanting a humongous screen just crazy? I could give up all my high-resolution discs, and only live with convenient streaming on a modest 65″ television, but what would I be missing? I suppose someday streaming music and movies will have the same quality as discs and wall-size televisions will be affordable by all and we won’t have to worry about making such decisions.

JWH

 

 

 

What I Loved and Hated About Lost in Space (2018)

by James Wallace Harris, Friday, April 20, 2018

I remember watching the first episode of the original Lost in Space when it premiered back in September of 1965. I was thirteen and hooked on reading Heinlein juveniles. Science fiction was my religion. Even as a kid, I thought Lost in Space rather cheesy, but I watched it every week for a few months. I have fond memories of the 1965-66 television season. My favorite show of that season was I, Spy, but I also loved Twelve O’Clock High. I was embarrassed to admit I watched Lost in Space to my friends because I didn’t have any that were into science fiction, and they made fun of it as a kid’s show — but hell, we were kids. I loved the robot and thought Penny (Angela Cartwright) awful cute (hey, I was her age at the time).

Lost in Space - Robot and Will

I was a little apprehensive about giving Lost in Space (2018) a try. I was afraid they’d make it into a campy joke like before. I was wrong. It was ten episodes of action-oriented science fiction, visually pleasing, with engaging characters who were complex. This time around I still liked the robot best, but found Maureen (Molly Parker), the mom, the most attractive female, even though I’m way too old for her. It’s a weird headspace to remember a show that I watched as a kid being remade when I was older than any of the characters.

The Robinsons of Lost in Space is inspired by Swiss Family Robinson which was inspired by Robinson Crusoe.  The Robinsonade is a very old literary type and has always been one of my favorites. I highly recommend In Search of Robinson Crusoe by Tim Severin (currently $3.99 for the Kindle) if you want to read a fascinating history of lost on deserted island stories. In the original series the Robinsons were alone in space, but in the reboot, they have some company.

Lost in Space - Mauren

This time around the female characters get a lot more screen time, and Dr. Smith is played by a woman, Parker Posey. In fact, I would call Maureen Robinson the main protagonist, with Penny (Mina Sundwall) and Judy (Taylor Russell) getting as much or more story time as Will (Maxwell Jenkins), John (Toby Stephens), and Don West (Ignacio Serricchio). Even though the characters have the same names as before, their backstory and present stories are much different. Sure, everyone is super-smart, but each has a flawed history, which the show presents in flashbacks.

Lost in Space (2018) is mostly about family dynamics, and that’s what makes the series compelling this time. Each episode has lots of science fiction action, usually with one or more Robinsons escaping death in the last few seconds. Now that’s copied from the original. Interestingly, the cliffhangers in the new series don’t fall between episodes. The original series ended each episode with a new cliffhanger, which added to its cheesiness, demanding viewers to tune in next week. 2018 episodes have a nice closure to each.

21st-century television shows, especially those with limited seasons and high production values like Westworld, The Man in the High Castle, and The Handmaids Tale, are light years ahead of 1960s television productions. Back then TV was considered crap, and movies were art. Now movies are comic books and TV is art. Lost in Space isn’t at the level of Breaking Bad or The Sopranos, but I think it’s as good as Stranger Things.

However, I do have some disappointments to register. But they aren’t unique to Lost in Space, but to current science fiction in general. Lost in Space (2018) looks very realistic. The sets, props and special effects are excellent. However, the science behind the story is rather lame. They practically don’t try. The Jupiter class spaceships are fueled by liquid methane. That’s just silly. Even sillier is when they find a substitute in high-grade alien-bat guano. Plus the apparent amount of fuel that each Jupiter holds is only a couple hundred gallons. I won’t give away the story secrets of the interstellar travel methods, but it’s closer to comic book terminology.

What disappoints me about modern science fiction is the total lack of realism regarding space travel. We’ve just given up and turned outer space into fantasyland. Spaceships are now equal to flying dragons or magical portals. Writers, if they make any effort at all to explain how we can travel in space, throw out a few gobbledygook words. The word wormhole is the new abracadabra. Man is that depressing.

I grew up reading science fiction believing that some stories were serious speculation about how humans might one day travel into space. I doubt 1-in-100 SF stories today even try to imagine something real.

Lost in Space (2018) has become a 1965 kids story for 2018 adults. Science fiction now lives on nostalgia. Hell, most visual science fiction today are remakes of films, shows, and comics from the 1960s and 1970s.  I read “What’s Going Wrong With Sci-Fi?” this morning from Esquire, which the essay opens with:

“One of the problems with science fiction,” said Ridley Scott back in 2012 ahead of the release of Prometheus, “is the fact that everything is used up. Every type of spacesuit, every type of spacecraft is vaguely familiar. The corridors are similar, the planets are similar. So what you try to do is lean more heavily on the story and the characters.”

And Scott is only complaining from a filmmaker’s perspective. I’m complaining that science fiction has practically given up on any kind of basis in science. Readers and watchers only want escapism. Lost in Space (2018) is good escapism but bad science fiction.

Half a century ago, NASA gave us Project Gemini and Project Apollo. Being a science fiction fan in the 1960s meant believing that humans would make it to Mars and beyond in our lifetimes. Well, our lifetimes are almost over and we’re still orbiting the Earth dreaming of beyond.

The new Lost in Space imagines life on Earth getting bad enough that people would want move to Alpha Centauri to start over. Suggesting that idea is wrong on so many different philosophical and scientific levels. It’s a fantasy on the level of Superman comics. A few hundred humans might one day colonize the Moon and Mars, but they won’t be places for pioneers seeking escape dismal lives on Earth. And travel to the stars is completely impossible by the science we know today. And I hate when true believers answer that with, “But we don’t know what science will discover in the future.” Study the problem. Wormholes and warp drives are only slightly more realistic for space travel than magical wardrobes in the Narnia books. Star Wars is no more science fictional than Lord of the Rings.

Lost in Space (2018) is fun television, but its science is no more advanced than Lost in Space (1965). Writers use scientific terms like magical spells in Harry Potter movies. Of course, this is the norm. I shouldn’t complain. Movies like Gattaca and Her which are at least philosophically realistic about the impact of science aren’t blockbusters. The reality is we live in a small world, orbiting an average star, in a nothing special galaxy, and the likelihood of going anywhere else is almost zero. So, is fantasizing about space travel really that bad? It is if we think we can escape Earth once we’ve trashed it.

I found a lot of pleasure watching the new Lost in Space, but I’m also depressed that after 57 years of traveling in space, spacefaring humans only live the distance from Memphis and Nashville above the Earth. I thought humans would be dwelling much further away by now. Instead, we’re still just watching unrealistic science fiction dreaming we had.

JWH

 

Why We Need To Share

by James Wallace Harris, Thursday, December 7, 2017

This morning while I was eating my breakfast I played “Your Top Songs 2017.” This is a playlist Spotify generated for me by collecting the songs I listened to most this year. If you subscribe to Spotify you can play the songs with this embedded player immediately below. For those who don’t, I’m going to embed some YouTube videos to try.

I played this music very loud while I ate and because it’s the music I love the most. It moves me in ways I can’t describe. And while this music pushed my emotional buttons I wished I had someone here to share it with. My friend Mike was my last pal who would listen to music with me, but his hearing has gone downhill so he no longer likes to share music. Getting old is sad. I worry that my hearing is going too.

The past year, more than ever, I realized that friendships are based on what we share. I think this is why Facebook is so popular. We post something we like and then see who else likes it. It’s always fun to find a video or cartoon that many friends love too. I guess it’s a kind of validation of our tastes. But I think it also allows us to feel we’re existing close to someone.

We all live in our heads, and no matter how physically close we get to another person we don’t feel that closeness unless we psychologically resonate. The easiest way to achieve this is to do something together with another person that shares our interests. For example, it’s far more enjoyable to go to a movie and both people love it than to go and only one person love the show.

I love the Bette Midler song above. I will relate to you more if you love it too. Now “Do You Want To Dance” is an easy song to like so I should find plenty of friends to share it. And “The Other Side” by Michael Nyman easily admired by most folks because it’s so pretty. But what about “Moanin'” by Charles Mingus. Mike and I connected on this song, but I don’t think I have another friend that shares this particular love.

Probably somewhere in the middle, I can find more people who will share “I’ll Play the Blues for You (Pts. 1 & 2)” by Albert King. Bette Midler’s song was pop music, so duh, that stands for popular music. Jazz is esoteric for most music fans, but blues has a decent following. I share a love of the blues with my sister Becky. I almost can’t play this Albert King song too loud.

Susan, my wife have a lot of songs we love together, but our playlists of favorite songs are very different. When we’re in the car we have to choose who’s songs get played. When a song she’s crazy about comes on and I don’t love it back Susan’s disappointed. The same is true when one of my favorites is playing and she finds it annoying.

Susan works out of town, so in the evenings I have different friends over to watch TV in the evening. Each friendship is a Venn diagram where we find what to watch in the intersection of interests. What’s really difficult is to have 3-4 people all trying to agree on a film to watch. It’s a very satisfying feeling when the pick makes four people happy.

However, there’s a range of television shows and movies I want to see that I can’t find a friend to share. This makes me feel lonelier. Even Janis, my main TV buddy goes to sleep on a many of the shows I’m most anxious to see. Generally, I have to watch westerns, documentaries, and old black and white movies from the 1930s and 1940s by myself.

Some of my most intense feelings come from songs, books, movies, and television shows. Often these deeply aesthetic pleasures come late at night when I’m alone. Listening to these songs this morning is generating intense emotions that I wish I could describe, but can’t. And I think that’s the key to why we want to share. We can’t describe what we feel so we at least hope to find someone to experience the same thing with us. Unfortunately, we can click the Like icon but we have no way of knowing if what our friends are feeling is the same thing we’re feeling.

Do any of these songs resonate with you?

JWH

‘Godless’ and the Western Movie Genre

by James Wallace Harris, Tuesday, December 5, 2017

I grew up back in the 1950s watching old westerns on TV. Even though I took up reading science fiction in the 1960s and have always identified myself as science fiction fan, my favorite movie genre is westerns. I’m rather finicky about my westerns too. Although the 1950s and 1960s were the heydays of television cowboy shows, I prefer the cinema westerns from Stagecoach (1939) to Ride the High Country (1962) era. Starting with films like A Fistful of Dollars (1964) and The Wild Bunch (1969) movie makers began to alter the genre. I liked these films, but they weren’t the same as the westerns I loved most and how I define the genre.

Too often today when they do make westerns, the level of violence is off the scale. We still get a quality western every few years. Open Range (2003), Appaloosa (2008), and True Grit (2010) are wonderful examples, even though their style has migrated away from how I define the classic western. But I find westerns like Quentin Tarantino’s two recent films grotesque insults to the genre. All too often, I just can’t watch the films called westerns today.

Godless - Alice Fletcher

Thus, I was both excited and a little worried when I first heard about Godless. I must say I enjoyed the series and raced through all seven episodes in days. However, I’m not sure what to make of it artistically, morally, and philosophically.

No work or critic can define a genre, but there are movies called westerns that completely distort what I consider to be the heart of the genre. Even during the 1950s, there were so-called westerns where characters rode horses and carried guns but their story’s soul belong to some other historical psyche.

Goddless Frank Griffin

As a kid, I grew up believing watching westerns taught me about American history. That made my black and white television screen a window to the past. It wasn’t until I got older that I realized that every decade has a different view of the American West. How do you reconcile They Died With Their Boots On (1941) with Little Big Man (1970)? Godless (2017) gives us another view of 1888, but should we consider it insight into 1888 history, or just a thrill ride fantasy like West World (2016)?

Godless is full of horrendous violence with a hard-to-believe ending. I feel any good western should be true to the 19th-century even if it doesn’t chronicle historical events. I judge westerns by these criteria:

  • Do characters talk and act like their 1800s period counterpoints?
  • Do the costumes and sets look like the era they depict?
  • Could the plot have happened in the true west era?
  • Are the guns right for the period?
  • Is the level of violence appropriate for the times?
  • Is the story connected with history?
  • If the characters are based on real people how well are they portrayed?
  • Are there anachronisms in the sets, costumes, dialog, mannerisms, or plots?

Frank Griffin (Jeff Daniels) is an extreme character in Godless, especially since he thunders around the country with over thirty killers on horseback. But was Griffin more violent or crazy than William Quantrill or John Brown? Was the bizarre massacre of Creede, Colorado unrealistic when you think about Lawrence, Kansas of 1863? Also, Frank’s strange adoption by Mormons is based on the real Mountain Meadows massacre. (Although Frank looks too old to have fit the real timeline of history.)

My measuring rod for western violence is the gunfight at the O.K. Corral which took place in 1881. It was probably the most famous gunfight in the old west with nine combatants and three deaths. The most famous killing of the gangster era of the 1920s and 1930s involved seven deaths, and it was an execution and not a shootout. So when movies have their characters racking up huge body counts it moves away from being historical towards gun porn to thrill our prurient bloodlust.

Godless feels both realistic and unrealistic. I found it hard to believe Frank and his band of murderers traveled without pack horses and supplies. They looked kind of silly galloping across the land like a large anti-posse with one-armed Frank in the lead. It reminded me of Forty Guns when Barbara Stanwyck would lead 40 gunfighters on 40 horses faithfully riding behind her wherever she went. In both movies, the mass of riders looked silly, even overly melodramatic. Modern movies are always trying to out-do past movies. I’m surprised Frank did have 80 outriders. Maybe the makers of Godless hadn’t seen Forty Guns. The show would have been more realistic with just a dozen in Frank’s army. It certainly could have made the ending more realistic.

Overall I admired and enjoyed Godless. But the show kept bugging me with small distracting issues. Michelle Dockery had too many outfits for a poor woman living on an 1888 ranch, some of them much too fashionable. And she changed them too often. And even though I liked the idea of a town full of women fighting an army of outlaws, it seemed cartoonish. Their last stand reminded me of The Magnificent Seven, which is a western I love, but one that’s somewhat over-the-top. Godless goes way overboard. There were other small details that bothered me too, but mentioning them might give spoilers.

I wasn’t sure about the costumes. They seemed realistic at times, especially for the men. Westerns are always changing how the old west looked. Just compare True Grit (1969) to True Grit (2010). One reason I didn’t like 1960s TV westerns was everyone’s costumes seem too clean and store bought. I’ve always wondered if the wild west fashions of cowboy films of the 1920s and 1930s were more realistic because they were closer in time to the actual historical west. I keep looking for period photos for clues, but they are hard to come by.

1888 woman of the west

[Here is Mattie Lucas 1888 from Custer County, Nebraska.]

Finally, there’s the philosophical interpretation. Westerns are inherently about violence. Guns and gunfights are the solutions to western plot conflicts. I assume Frank and his gang represent evil and the citizens of La Belle represent goodness. But I’m curious how our politically divided country will see things. To liberals, Frank and his gang may remind them of gun nuts and mass shooters. Frank could be a stand-in for Wayne LaPierre and the NRA. To conservatives, Frank is a crazy Islamic fundamentalist with a gang of terrorists. They see La Belle as proof that people need to arm themselves. The film shows women with no gun training effectively using firearms to save themselves.

The love triangle between Roy Goode (Jack O’Connell), Alice Fletcher (Michelle Dockery), and Bill McNue (Scoot McNairy) was unsatisfying to me. But the one between Mary Agnes McNue (Merritt Wever) and Callie Dunne (Tess Frazer) felt logical. So did the one between Whitey Winn (Thomas Brodie-Sangster) and Louise Hobbs (Jessica Sula).

Godless - ranch

Law and the government are shown to be ineffective at protecting citizens in this story, as is in most westerns. Plus, the press is corrupt. A. T. Grigg (Jeremy Bobb) is the editor and reporter for the Santa Fe Daily Review and a publisher of fake news. Grigg reminds me of W. W. Beauchamp, the writer in Unforgiven (1992). I believe this is realistic though because newspapers back then printed pretty much what they felt like, and dime novelists invented the Wild West with tall tales.

Sean T. Collins over at AV Club has an episode-by-episode review of Godless, where he did a fair amount of nitpicking. I could see the faults he saw, but for the most part, they didn’t bother me. Collins gave most of the episodes a B or B-. I think I’d give the show a B+ overall. Godless isn’t Lonesome Dove, but it’s not far behind it as a western mini-series. I’d guess most fans would consider Lonesome Dove (1989) the gold standard of television westerns. I’d agree and also give Deadwood (2004-2006) an A+ too.

Here’s a list of some of my favorite westerns.

Recommended Reading

JWH

Why Do I Love Old Black and White TV Shows and Movies?

by James Wallace Harris, Tuesday, October 10, 2017

Normally I watch the latest hit TV shows, usually on Netflix, HBO, or Amazon Prime. Generally, I watch these shows with friends. I’ve gotten so I don’t like watching TV alone. However, when I do, it’s because I’m too tired to do anything else and it’s too early to go to bed. When I’m alone I’m drawn to old black and white television shows, movie westerns from the 1950s and old Hollywood movies from the 1930s. Why do I prefer black and white shows? Why do I save shows in color for when I’m with friends?

MeTV got me hooked on two old TV series this month, The Fugitive and The Outer Limits. Both shows premiered in 1963. As a kid, I discovered The Outer Limits when the first episode aired. It ran on Monday nights at 7 on ABC. My father loved The Fugitive which came out on Tuesdays on ABC at 10 pm. I watched it some back then but didn’t really care for it. I generally hated the TV my folks loved. I don’t know if that was rebellion or I was just too young for the content.

I have a hard time remembering my dad being home, but he loved TV, and he liked it best when us kids weren’t around. There was nothing on Tuesdays at 10 my sister Becky and I wanted to see, so we left him alone to watch The Fugitive in peace. A half-century later, I’m staying up late watching The Fugitive alone like he did. I wonder if that gives me any kind of psychic connection to how my father felt?

Fugitive

Becky and I were horrible TV hogs. We’d have huge shouting matches with our dad on Sunday nights during the 1966/67 season when we pleaded to watch The Smothers Brothers Comedy Hour and he fought to see Bonanza, his favorite western. I loved westerns too, but not Bonanza or The Virginian, my mother’s favorite cowboy show. Gunsmoke was my TV shoot-em-up. I don’t think Becky ever liked westerns, but I should ask her the next time she calls.

This year I’ve also bought the first seasons of Gunsmoke, Have Gun Will Travel, Route 66, and Cheyenne. I bought the complete series of The Twilight Zone on Blu-ray and The Fugitive on DVD. I’m thinking about buying Perry Mason and Maverick.

Route 66

I used to hate Perry Mason, which was my mother’s all-time favorite TV show. She also loved to read the Perry Mason mysteries. But for some reason this year, I started watching them on MeTV. I liked that it was in black and white and sometimes featured street scenes of the early 1960s. That’s why I bought Route 66 because it was filmed on location, viewing 1963 America in contrasty black and white.

 

At the start of the 1963 TV season, we were living on Homestead Air Force Base. I started the seventh grade at Redlands Junior High in South Florida, when I was eleven. After a few weeks, we moved back to Hollywood, Florida, and I attended my second 7th-grade school, but I forgot its name. I thought it was Broward Junior High, but I can’t verify that on the internet. I was in class at that school when they announced over the PA that JFK had been shot. Three days later I turned twelve. After that, we moved to South Carolina, where I went to my third 7th-grade school, John F. Kennedy Junior High.

The Outer Limits

Memories of 1963 represent living in two states and three schools, and for some reason the 1963/64 television season also vividly sticks in my mind. I started regularly listening to rock music at the end of 1962 when I got an AM clock radio for Christmas. I became much more aware of the world around this time. It was during that time period I became a bookworm, rock & roll fan, addicted to the boob tube, and started going to the movie theater on my own.

High Barbaree

I remember watching TV since I was four or five, probably with the 1956/57 television season. My family didn’t get a color television set until 1965, so my first decade of TV was in glorious black and white. All my life I’ve loved old black and white movies from the 1930s and 1940s. I wonder if that’s because I spent my formative years viewing a B&W TV screen? My earliest memory of my father is waking up in the middle of the night when I was four, and walking out to the living room to find my dad watching an old movie on television. He let me stay up and watch it with him. This is my first memory of television and the first movie I ever remember seeing. I didn’t discover until years later it was High Barbaree (1947) with June Allyson and Van Johnson.

Why now? Why has my mind started craving old black and white TV shows again, ones from long ago? Is it just nostalgia? Is it a way of communing with my dead parents. And isn’t it odd that I’m not watching the shows I loved as a kid but prefer seeing the ones my parents watched when I wasn’t around?  I still can’t stand Bonanza or The Virginia. Both of those shows insult my sense of what a western should be.

The other night my friends and I watched The Solid Gold Cadilac and I found it immensely pleasurable it was in wide-screen black and white. I can only remember a couple wide-screen black and white films at the moment, The Apartment and The Big Trail, both of which I have on Blu-ray. It’s a shame B&W wide-screen didn’t catch on back in 1930.

Am I drawn to the black and white, or to the period content? I don’t know. I’m not sure I would like The Fugitive as much if it had been in color for its first three seasons. For some reason, I’ve never liked the remakes of The Twilight Zone or The Outer Limits which were made in color. And the only horror movies I enjoy are the classics from the 1930s which were in black and white.

I wonder if nostalgia comes in black and white and modernity in technicolor? The 1950s were definitely a black and white decade to me, even though I have some personal photographs to prove it was indeed in color. I wonder if kids who have always lived with color TV ever think of the past in black and white? Were my formative years corrupted by black and white TV sets? Will children today remember the world in LCD/OLED imagery? How would my consciousness of the past be today if I had never seen a TV, movie or computer screen, or photograph of any kind? Would I even conceive of black and white?

The world does turn black and white in low light, or when you’ve had way too much to drink. But now that we preserve the past digitally in color, will that eventually eliminate an appreciation of viewing reality in grayscale?

JWH

 

 

 

Why I Canceled CBS All Access

by James Wallace Harris, Tuesday, September 26, 2017

Last night I signed up for the 7-day free trial of CBS All Access to see the second episode of the new Star Trek Discovery. I’ve been meaning to give CBS All Access a try, and this was a good time. However, I canceled today. Although I thought the production values of the new Star Trek series were the best yet, equal to the latest ST films, I just didn’t want to watch a limited series about the war with Klingons. Nor did I want to subscribe to a premium streaming service with commercials. And it annoyed me that we’d only see four episodes this year, and then have to wait to watch the rest next year.

star-trek-discovery

I did learn:

  • I hate paying for streaming shows that have commercials. Both CBS All Access and Hulu offer to exclude commercials for extra bucks but that’s annoying considering Netflix charges less, has more to watch, and is commercial-free for all users.
  • I don’t like streaming series that are dribbled out. I joined Hulu to watch The Handmaid’s Tale and they stretched it out over weeks. I like the way Netflix provides all the episodes at once. TV worth watching has to be binge-able.
  • I’m disappointed that Star Trek has become an adventure story, rather than being idea driven. What made the original Star Trek and Star Trek: The Next Generation great were their creative individual episodes. Modern Star Treks don’t do stories like “City on the Edge of Forever,” “Trouble with Tribbles,” or “The Inner Light.”
  • I can only support so many paid streaming services. Netflix and Amazon Prime are great deals, offering an abundance of shows I want to see. Hulu and CBS All Access have little I want to watch. I couldn’t find anything on CBS All Access to see after watching the second Star Trek Discovery episode. I expected it to have a zillion old CBS shows. It didn’t. If CBS All Access had more shows I would subscribe if it was free with commercials or pay $1.99/month for its current selection of shows without commercials, and maybe $2.99 if it had more shows like Northern Exposure and Joan of Arcadia.
  • Every broadcast or cable network can’t expect to create a paid streaming network. I’m happy with Netflix and Amazon Prime, and sometimes I buy Hulu for a couple of months. However, Hulu rarely has a show I want to watch. If The Handmaid’s Tale had been a DVD set or a digital series to buy for $20 I would have been happier.
  • I doubt I’ll be tempted to subscribe to a new streaming service in the future just because of one show. CBS used that trick very effectively with the new Star Trek, but I can’t imagine it will succeed again in the future. If they offered 5-10 original series every month, it would be different. Netflix always seems to have another binge-worthy show coming out.
  • I doubt I’ll ever subscribe to a streaming service again that charges extra to be commercial free.

JWH