Beth Winter

Proper Trailer for the third season of Foundation on Apple:




So looking forward to this! (Not least because of all the other depressing cancellation news.)

Teaser traiiler of season 3 of The Diplomat, featuring the next West Wing alumnus:



The Diplomat: more cynical than The West Wing, but still believing in the basic drive of people to actually work for what they see as their couintry's benefit in addition to themselves. Neither universe would allow for the poisonous cesspit currently governing not just the US.

About a month ago, I bought the Big Finish episodes around the War Doctor in which the late John Hurt reprises his role. They're basically three episode storyarcs - "Only the Monstrous", "Infernal Devices", "Agents of Chaos" and "Casualties of War" - all set during the Time War. Now, because of the setting, the usual Doctor-Companion combinations are out, though the Doctor meets a likeable idealistic person in each of these three episode adventures (and can save some though not all). But the great charm of any Doctor Who tale are those relationships. So what did Big Finish do? It had the inspired idea of pairing up John Hurt with Jacqueline Pearce, playing, no, not Servalan, but a ruthless female politiician nonetheless, a member of the Gallifreyan War Council named Cardinal Ollista. She and the Doctor are the sole characters in all the four story arcs I've listened to, and the way their relationship develops was probably my favourite aspect in these stories.

Because this is the Time War, and this regeneration of the Doctor specifically is on a self loathing maximum while fighting it, Ollista is initially a good foil because she, who really does only prioritize Gallifrey and initially sees everyone not a Time Lord as expendable, shows that despite what he's telling himself, he is still the Doctor, he still has ethics and lines he won't cross and will fight for and have another way. But Ollista isn't simply an Evil McEvil megalomaniac, either, hence me saying "Gallifrey" and not "her personal power", and so the Doctor in the course of those stories develops a grudging respect for her while she while denying she does so finds herself defending, in the last story arc, precisely the kind of (non-Gallifreyan) people she in the first story arc would have dismissed as necessary casualties of war. Whether they argue or work together, all the Doctor-Ollista scenes are golden, and with both John Hurt and Jacqueline Pearce now gone, I am really glad they had the chance to work together near the end of their lives and create two more remarkable characters for us to appreciate.

Which I would have watched on the big screen if I could have, but a brief showing time and my tight schedule did not allow it. Anyway: this is the movie in which Natalie Portman plays a (tv) actress, Elizabeth, who wants to play Gracie (Julianne Moore) in a movie based on events taking place about two decades plus earlier than the film's setting, which is 2015. (Though the film itself premiered in 2023.) Said events consisted of Gracie, at age 36, having had a "relationship" with a thirteen years old boy, Joe ,whom she after some years in prison for statuary rape married; he's currently 36 (as is Elizabeth), the same age she was back then, and played by Charles Melton, who I osmosed before this movie was mostly famous for playing a jock type in Riverdale but who is absolutely stunning in this film (and should at least have gotten an Oscar nomination), which given he's working with Julianne Moore and Natalie Portman at their best, is truly saying something. There are also kids (the one Gracie was pregnant with when she got caught is now in college, and thn there are twins about to graduate), as well as Gracie's offspring from her earlier marriage, with her son Georgie being the same age as Joe. The movie is directed by Todd Haynes, and dives right into how incredibly messed up a story this is.

Now, if you start the film knot knowing what it's about, then the first few minutes might let you assume it's a black comedy about suburbia; Gracie, Joe and their children live in the proverbial idyllic white fenced area somewhere in South Carolina, with Gracie (who runs a small scale bakery) coming across as somewhat high strung but popular among her neighbours - and then Elizabeth arrives, only to find an anonymous package at the couple's front door which contains feces. There are some comedy beats throughout the remaining movie, but actually I would classify it as emotional horror. Gracie is still absolutely incapable of admitting she ever did anything wrong, and we get an early taste of her ability to manipulate and achieve emotional control when she comments on her daughter's choice of prom dress: "You're so brave to show your arms! I wouldn't have dared", with the result that of course the poor girl doesn't buy that dress but the one Gracie likes. Elizabeth isn't the film's heroine, either, though in the first half her investigation provides the audience bit by bit with the backstory from various povs via the characters Elizabeth talks to; the movie goes full throttle about what a disturbing and ruthlessly exploitative process an actor working on a role can be if that role isn't a fictional character but a real person. (BTW, of course Portman and Moore don't look much alike, but that only helps enhancing the sense of disquiet as Elizabeth adopts more and more of Gracie's mannerisms, with the scene where Gracie gives Elizabeth a makeover with her own makeup and lipstick being a showcase in point.)

Meanwhile, Joe starts out on a quiet background note when compared to the two women, and then the story shows more and more how messed up not just the start of his relationship with Gracie was but how messed up their present day relationship still is. More than one review described Joe as a thirteen years old still locked in the body of an adult man, and before watching the film I assumed this meant Joe would be characterized as a manchild, but no, that's not what was meant at all. If anything, he's the most reasonably and responsibly acting adult in this film. But emotionally, it becomes clear he's never had the chance to process what happened, not least because his entire life is still built around keeping Gracie happy. He became a father years and years before growing up, and the scene where due to his teenage son for the first time sharing pot with him his quiet and calm facade finally cracks and some of that repressed emotion breaks through is incredibly good and heartbreaking.

Incidentally: making a movie which deals with an adult grooming a kid without getting voyeuristic with a young actor sounds near impossible - but May-December by showing us the aftermath and the long term effect everything had on Joe decades later proves it can be done. At the same time, we do get a visual reminder of just how young he was when Elizabeth gets sent video clips of teenagers auditioning to play Joe. (The audition clips don't show more than them introducing themselves with their name and age.) Elizabeth looks appalled, and the audience might think it's because it hits her how young thirteen really is.... and then a few scenes later, she's on the phone with her producer and tells him these guys are just wrong because they don't look sexy enough. Which tells you something about Elizabeth.

Despite how good this film is - with script, acting and cinematography all outstanding - , I'm not surprised it wasn't a box office success (while getting deservedly criticial praise.) It's hardly a subject lending itself to relaxation, and despite its three leads all being very attractive people, any sexual activity is basically the opposite of fanservice - like I said, it's an emotional horror show. Not something I'll rewatch any time soon, though I am glad I watched it once, and am full of admiration for what it achieves.

I think now I must have read all the published work of the estimable Ms Tesh. In reverse order, as she published these two novel(la)s first, and once more demonstrating her bandwidth, being different yet again from both Some Desperate Glory and The Incandescent. (Not solely because in this duology, the two main characters are male, though there are very memorable female supporting characters.) What it reminded me of was fanfiction to some earlier canon, though I could not say which canon, in the way it focused on the central m/m romance. Which isn't to say said romance - which is thoroughly charming - is all it has going for itself, by far not. The books do a wonderful job with its vaguely 19th century AU England which has Wild Men in the woods, dryads, some (not many) fairies, folklore-studying researchers and female vampire hunters. In all her books, Tesh proves she can create beings that feel guinely different, not like humans in costumes, be they demons or aliens or fae, and the while the heart of the duology is in the romance between stoic and brawny Wild Man Tobias Finch and geeky and cheerful gentleman scholar Henry Silver, it's by far not the only interesting relationship going on. There's also Henry's mother, Mrs. Silver the enterprising non-nonsense slayer hunter, with the way she and Tobias come to relate to each other being a welcome surprise, in the first novel Tobias' creepy ex of centuries past and in the second Maud Linderhurst, ( who is something spoilery ).

One can nitpick (for example, it's not clear to me what the difference between what Bramble the Dyrad is by the end of the duology and what the fairy servant is, to put it as unspoilery as possible), but nothing that takes away from this thoroughly enjoyable duology of stories. And given the daily news horror, they were very welcome distractions indeed.

Speaking of entertaining distractions: Sirens on Netflix is a five episodes miniseries based on a play, both written by Molly Brown Metzler,), which strikes me as unusual (plays usually ending up as movies), though some googling after watching the series which brought me to reviews of the originial play (titled Elemeno Pea), I found the review descriptions of the play made it clear there were enough differences for the play now to feel like a first draft. The miniseries stars Meghann Fahy, Milly Alcock and Julianne Moore, and a lot of gorgeous costumes. (Also Kevin Bacon as Julianne Moore's husband.) At first I thought it would be another entry in the "eat the rich" genre, but no, not really. The premise: Our heroine and central character is Devon (Fahy), who is overwhelmed with work, an alcoholic father in the early stages of dementia, and her own past alcoholism (she's barely six months sober), and when after an SOS all she gets from younger sister Simone is an basket full of fruits, she impulsviely goes to the island for the superrich where Simone now works as PA for Michaela (Moore) to have it out with her sister. However, once she's there her anger is soon distracted by the fact Michaela/Kiki (as Simone is allowed to call her) comes across like a cult leader to her, and Simone's relationship with her boss has zero boundaries. The general narrative tone of the entire miniseries is black comedy, though as the Michaela and the audience discover both Simone and Devon have horroundous backstory trauma in their childhood and youth, said backstory trauma isn't played for laughs. The three main performances are terrific, with Julianne Moore having a ball coming across as intensely charismatic and creepy without technically doing anything wrong (so you get both why Devon is weirded out and why Simone seems to worship her), while Milly Alcock, whom I had previously only seen as young Rhaenyra in House of Dragon, also excells both as Simone in Devoted Lieutenant mode and with what's underneath showing up more and more. Meghann Fahy I hadn't seen in anything previously but she's wonderful here, no matter whether chewing someone out or trying to hold it together while things around her get ever more bizarre. Of the supporting cast, the most standout is Felix Solis as Jose, the house manager and general factotum. The fact that the staff hates Simone (who hands down Michaela's orders and is therefore loathed as the taskmaster) is a running gag through the series and gets an ironic pay off at the end, though again, this is not another entry in the "eat the rich" genre. Most of all it strikes me as a comedy of manners, and of course the setting - the island which in the play is Martha's Vineyard but in the miniseries has a fictional name - allows for some great landscaping in addition to everyone dressed up gorgeously. All in all, not something that will change your life, but immensely entertaining to watch, and everyone's fates at the end feel narratively earned.