#which was wildly untrue and maddening

[just-a-queer-crow]

Hmmm have to post this for clarification I think becuz ppl keep misconstruing me:

A) I think u can HC what u want no one’s stopping u (that doesn’t mean ppl can’t say things abt it)

B) HCing other versions (like a book version or whatnot) of a character that r not specifically canon to a certain sexuality/gender is fine

C) if u HC a character as multiple genders that include the canon gender, fine whatever idc

D) now when u completely erase said characters canon sexuality/gender (specifically if queer (or honestly if straight if that’s important to the character, like Tao in Heartstopper,etc.)) that’s when I start to have an issue. Representation is so important to ppl and erasing that for ur fic or art or whatever is hurtful to ppl. Esp w/ underrepresented genders and sexualities. I am begging u to think abt how it might hurt ppl when u do this okay? Imagine if u HCed a canonically bi character as gay?? It’s not cool! Why is that different for gender? I understand gender is fluid and whatnot but these r characters, and representation of specific identities is important

Anyway blah blah blah what do I know I’m a stupid kid ig

[haroldgross]

New Post has been published on Harold Gross: The 5a.m. Critic

New Post has been published on http://literaryends.com/hgblog/the-power-citadel-two-amazon-misses-ish/

The Power & Citadel (Two Amazon Misses-ish)

[3 stars]

Sometimes ideas are better than their shows. Amazon recently added two to its arsenal that were just good enough to watch, but more than a little flawed in their delivery. In the case of The Power, the story and implications overrode the flaws by a narrow margin. In the case of Citadel… not as much.

The Power

While the better of these two shows by far, this is not a subtle show on any level. It’s an in-your-face physical metaphor for female empowerment, and often the lack of it. It borders on revenge fantasy, but given the state of the world I can’t really blame Naomi Alderman (Disobedience) for this self-adaptation of her book. It’s a wide-eyed reminder of reality viewed on a global scale. 

The problem with the lack of subtlety is that it often slips into arch presentation which diminishes the point and credibility. While that may work in a book, it is less effective on screen (large or small). The show may continue on in another season to be something more like a reverse mirror of Handmaid’s Tale. However, at the moment, even with a solid cast, it’s simply teeth-grindingly written at times. Not just in the dialogue, but also the forced character choices.

I didn’t know the book going in. And though the blurb was intriguing, it was the cast that initially got my attention. Toni Collette (Nightmare Alley) top lines this ensemble. The other main points of contact are Toheeb Jimoh (Ted Lasso), Ria Zmitrowicz (Teen Spirit), Zrinka Cvitesic,  and new-comer and tightly controlled Halle Bush. Each very different facets of the world and issues for women.

On the male side, Eddie Marsan (Vesper), John Leguizamo (Violent Night), and Josh Charles (Away) each bring different aspects of toxic masculinity, even while some are also “supportive.” Again, none of this is subtle, but also little is unfair or untrue at the core.

But that is, again, part of the problem. If you’re going to bring a problem to the screen that you want people to learn from or feel empowered by, you have to give them something more than what they already know to rally around. In The Power it is literally the “power” made manifest. But it’s just too obvious for a series…at least as stretched out over so many long episodes that turn out only to be prelude to the more interesting tale to come. I’d definitely come back to see if the story can be nurtured into something more, but this initial season had a little too little progression, despite its scope.

Citadel

The Citadel, on the other hand, tries way too hard to be clever and ends up being ridiculous. It’s purpose as a show, we find out at the end, is really to set up an anthology of series, each from different operatives in some way. I can’t say I’m all that intrigued as the writing was painful, even if found all the Brits and Aussies and Kiwis doing solid American accents entertaining.

I will say, though they weren’t well used, they did land a great cast for the inaugural story. From Stanley Tucci (Jolt), Richard Madden (1917), Priyanka Chopra Jonas (Baywatch), and Lesley Manville (Magpie Murders) in the main driving roles to Miss Fisher alumn Ashleigh Cummings in a solid supporting role, no one wasn’t working hard. But the script and direction did none of them any favors.

The story itself is a clever idea, and the writers try to cover over the silly aspects of it as best they can. But it swings wildly between action and absurd with very smart people making very stupid choices. And the world itself is rife with contradictions of facts that are presented to us at different times. I will grant the show that it often didn’t take the easy route for solutions at least.

Basically, watch for the action and, should it attract you, the romance. Don’t expect brilliance, at least in this opening entry to the anthology. Whether they can save this or offer something better, only time will tell.

Where to watch