Vengeance, Naked

Tonight we had the rare opportunity for An Uncorrupted Double Feature (viewing two new {to me} movies, one after the other, thereby linking them forever in my mind and creating thematic linkage).  

As an unchilded human, this might seem on offer more often than to others, but it is, truly, a real rarity...  The first offering was Vengeance - a 2022 dark comedy by B.J. Novak, who quite possibly might turn out to be the most talented person to have been on The Office.  Vengeance is Novak's directorial debut, and in addition to being highly entertaining, it's possible that it may also turn out to be a defining film of the era.  It's the best kind of lowkey potentially great movie where it is surface level charmingly clever, spreading some sort of message that feels sort of important and profound (in the case of Vengeance there are 3 or 4 of these differing, but related messages), but nothing too scathing or cynical; and then on further reflection and examination it starts to dawn on you that this movie may in fact be not only deeply meaningful and great, but, in fact, important.

"Important" works of art are ones that are not just elegant or profound or even sublime, but I think most importantly they are the ones that are exceptionally timely.  What the world needs now, is aptness, sweet aptness.  Very often the messages that are needed at any given time are political (which is why so many "important" movies or "important" art generally is often political), but I think just now the messages we might most need are cultural and critical (in the academic sense) in nature.  

At one point in Vengeance, Ashton Kutcher's character (Quentin Sellers) says by way of critique of our current moment we find ourselves in: "Everything means everything, so nothing means anything."  The quote diagnoses the extent to which we have entered, just in the past few years, a postmodern cultural era.  Postmodernity is a complicated thing to define (just ask Fred Jameson who spent 500 pages or so in an attempt to do just that).  Possibly my favorite attempt at a definition is in Jameson's introduction to his book (and in postmodern studies, you only ever have to read introductions to books... or even just the marketing blurbs!).  He offers it somewhat glibly, but I think we can retrospectively now take it somewhat seriously...  He says something like:

"the Postmodern is thinking about the present historically in a world that has forgotten its history"

We are living in an era of supreme subjectivity where everyone's thoughts and identity have become significant and actual meaning and complexity and depth have become tertiary.  We have fully blown past Colbert's Era of Truthiness, briefly paused at the moment of "alternative facts", and now exist in a time when claims of "I feel that ____" and "I know the __{insert expert here}___ says ________, but I believe that ___________" have equal epistemological standing to previously 'absolute' truths like 3 + 3 = 6 and "water is made up of 2 parts hydrogen to 1 part oxygen".  And this, I think, is closer to a postmodern sensibility:

"Nothing means anything, so everything means anything"

That mentality is perhaps more akin to a less thought about branch of postmodernity called supermodernity (which itself is thought of as a branch of hypermodernity) which I think of as the notion that the meaning of the whole of anything can be ascertained by closely examining and understanding any part of it.  It's what Walter Benjamin was on about in his unfinished master work The Arcades Project, but I think it's also what's going on, in a satirical way, in Vengeance. In the movie, one of the Shaw daughters primary aspiration in life is to be famous - when this gets interrogated, and she is asked what she wants to be famous for - does she want to be a famous singer, or a famous actor, she decides she wants "to be a famous celebrity" - and this pretty well encapsulates the thesis of the movie, but is a throwaway joke line, soon forgotten.

And so (i haven't forgotten) we come on to Juliet, Naked, a bizarrely un-timely movie that came out in 2018, but is about email - in a moment after "email is over". It's based on a book by Nick Hornby from 2009, a time when email ruled - and the adaptation took the material straight (which is generally the best choice when adapting Hornby - who has kinda always already gotten it...), but that makes for a weird unmoored feel to the movie.

Given its excessive untimeliness, Juliet, Naked is anything but important, but as is so often the case with Nick Hornby, it captures aspects of the modern human experience, and interrogates them from a myriad of angles.  Here we find an investigation of highly curated fandom - questions of who owns a work of art, the artist or the appreciator of the art.  The movie is about the fraught-ness of an artist putting themselves out there, but also the fraught-ness of putting yourself out there - committing yourself to someone despite all their foibles and obsessions and insecurities.

As with Horby's best works - really all of his work that I've encountered, whether in writing, film, or song - the central question being asked is, "what is a life?" or maybe, "what should I do in my life?"  What to do with your life feels all-encompassing, and final, but what to do in your life feels like a good question to ask - where to spend your energies, what (and who) to give your attention to.

Life is like a weird dry run where only at the end of it we realize it was practice for a performance that's never going to happen

baby please hang on...

I have undertaken A Song of Ice and Fire (now that I'm driving most nights I couldn't come up with any more excuses why not to start {except for the fact that the books [at least the first two!] are ridiculously popular on the library circuit with a typical wait time of several months}) and am attempting to watch along again the HBO adaptation as I'm reading along.

My understanding is that this is easy to do with the first season and first book of the series, and damn near impossible to accomplish thereafter.  I'll try to do it anyway - watching as much as I deem aligned from what I've read, and will try to comment along the way as I go.

But as I am approaching the end of the first book (and first season), I'll make some initial comments, and observations then add (either to this post or in the comments) as I make my way along.

Unlike some other recent takers on of this challenge, I watched all of Game of Thrones as it was airing, and highly enjoyed the series (and yes, even the deemed bad last season, which seemed in a damned hurry, but I thought was overall satisfying).  As it turns out, I may never watch through the entire series again, although all reports are that Mr. Martin is in acceptable enough health he still has two doorstops to write to round out the (planned) 7 book series.  After Stephen King's near death encounter with a van in 1999, I think I sort of made an agreement with myself to not risk an epic fantasy series again that hinges on an author's mortality.  Better to deal with authors who are either safely dead or series that are neatly wrapped up, 

But here we go again - and so far, I'm quite enjoying the ride.

A Game of Thrones (Book 1) / A Game of Thrones (Season 1)

My favorite surprise discovery so far has been the characterization of Tyrion, which I thought as I've been reading through the first book was quite different than the tv series.  I thought of all the casting and acting decisions made for the series that perhaps they had made with Tyrion one of their few mis-steps.  Not that casting Peter Dinklage was a mistake - he is magnificent in this role - but I thought as I was reading through that his take on Tyrion was more grand and epically heroic than the novel was making him out to be, but I realized as I watched the first few episodes that I was mistaken and my memories of Dinklage's take on the character must have been from later seasons.  In this early going, Tyrion is quite as small, in every sense, as he is made out to be in the novel.  Clever and cunning to be sure, but also petty and pitiful - a far cry from the "I drink, and I know things" hero he will grow in to.

The show and novel have some differences to be sure (e.g. in the novel it is Catelyn who insists that Ned Stark must take on the role of Hand of the King, whereas in the show it is Ned's own honor that compels him), but for the most part this is a one-to-one transliteration of the novel, both equally enjoyable and well executed. (7 January 2023)

A Clash of Kings (Book 2) / A Game of Thrones (Season 2)

By something of a fluke of schedule, I began this round by reading nearly a third of the book before even starting in on episode one.  When I did finally get back to the show and watched episode 1 (the only I've revisited up to this point) it felt a bit like a speed round of the book, quickly covering nearly everything I'd read up to that point.

As the season and book have moved along, it has been a fairly even split, and it seems like they may eventually catch up with each other.  There is a lot (as always) that has to be skipped or skimmed over for the filmic version, but what is shown is mostly shown as it was in the novels except for a few specific choices:

• when Arya is brought to Harrenhal, in the show she serves as cup bearer for Tywin Lannister because it makes for better for TV with her interacting with a primary character rather than the way she takes up the role once Roose Bolton and the north take back the castle.
• This difference is exacerbated when Arya asks Jaqen H'ghar to help them free the Northmen to take over Harrenhal in the book, but only asks him to help them escape (which totally is not nothing!) in the show
• So too where Jamie Lannister finds himself in the show in a war camp prison is not so nearly as horrible as the dungeon he is being held in at River Run when he is freed by Brianne of Tarth & Catelyn Stark.
• A fascinating conversation between Davos Seaworth and his son a few minutes into episode 9 of Season 2, where his son is blindly faithful to the Lord of Light and their imminent success, where in the novel Davos's sons are all on separate ships and far from him, but he worries for them as the battle for King's Landing is about to start.

in every iteration (so it seems) Tyrion turns out to be a hero of the night of Stanis' attack on King's Landing.  The Hound - it seems - might be a different case, where he is heroic in battle, but ultimately loses his position (but mostly, like all of us, because he deems himself unworthy rather than anyone else doing it for him...).

The TV show ties up most of the loose threads and aligns fairly well with where this second novel ends, with a few exceptions.  Bran's party remains together at the end of Season 2, whereas in A Clash of Kings, Osha takes Rickon while Bran & Hodor head off in another direction (to keep at least one of the boys safe, the hope is).  Robb Stark also marries a woman in the final episode who (I think) has not even been introduced in the novels as of yet... but mostly we are still aligned at this point. (7 March 2023) 

A Storm of Swords (Book 3) / A Game of Thrones (Season 2:10 - Season 3 - Season 4 - Season 5:1 - 6)

The opening chapter is the perspective of Jamie Lannister (his first of the entire series), and is almost entirely (although very differently)  portrayed in this book 3 while he travels south to King's Landing under the protection of Brienne of Tarth, which almost entirely occurs in the final episode of Season 2..  This final episode of Season 2 also seems to contain a lot of storyline that feels a ways off in the novelization (and the third novel's early chapters seem to have a lot of filling time that never made it to the show). 

As Season 3 of the show begins, the scene north of the wall seems to echo the prologue of Storm of Swords, but the Nights Watch who are far north of the wall are heading home rather than planning a stand against the Wildings - much of the other scenes in the first episode match up to the first 20% of the novel or so.

• Theon Greyjoy's narrative seems to moving forward more quickly in the show than the novel, but it's possible that this is just an illusion as he no longer has any chapters following his progress in the book.  It's possible that as he makes his transition to Reek, he may no longer get a perspective in the book, so his story is ended...
• In this novel - the Red Wedding happens just past the half way point, whereas I just started episode 5, and we won't see it on screen until the penultimate episode of this season.  In many ways, though, this season seems again a straight-up adaptation of this third book - some things are happening out of order from the other, but I think these versions of the same story are both unfolding at about the same pace.
• The Purple Wedding is just a short while after the Red one in book 3 (and in actual show time, I think ends up just being a few episodes after it), so it seems that Book 3 will be taking us well in to Season 4 of the show, without any major noticeable storylines that are far behind the novel.
• Gendry gets taken by Stanis' Red Woman in episode 6, and here's maybe the first point where the show is starting to conflate portions of the novels - Gendry and Robert's bastard from Storm's End whose blood the Red Woman uses get condensed into one character
• As I enter the final 10% of the third novel it has already blown past the end of the third season of the show, and further (I'll figure out exactly how far once I get there as I'm currently on episode 3:8).  The one aspect of the book that is much farther ahead of the show at the end of the third of each iterations is the Wildings and the Wall - the battles at Castle Black and trying to take the Wall have progressed much further in the book and seem to be leaving the show behind. 
• The "Mhysa" moment is a lot more affective in the show because it is the finale of Season 3, whereas its buried in the lost middle of Book 3.  However, Daenerys's story seems to occur in a different order in the books from a show, but hits all of the same notes. 

Book 3 ends AMAZINGLY, and it did not make the show (might have made the Tom Savini version of the show).  I do appreciate that the show gives us the chance to see a lot more perspectives, not just the points of view of the primary characters.  We see the Wildings build-up to their attack on Castle Black and the Wall in a way that it only gets explained afterward when Jon goes to play diplomat / assassin after the attack.  And we get an insight into what Theon Greyjoy's transition to Reek has been like (although, I do sense that this storyline is moving faster in the show than in the book - just as Night's Watch {and particularly the White Walker's} storylines are further ahead in the book than in the show).

Now that I am well finished with the book, and just catching up on episodes it looks like I will reach the end of Season 4 before I run out of material from A Storm of Swards, and while that is undeniable, I am not sure that there is anything happening in the show that hasn't happened in the book yet.  It occurs to me that what is ahead in the show as I watch episode 4:4 seems to be Tommen & Margaery's story - in the book, Tommen is a boy of 8, and while all of the children in the show are older than in the novels (lest the show be banned!).  Jamie also sends Brienne out in search of the Stark girls (or at least Sansa) to bring them to safety in a way that never happens (yet) in the books, and we get the adventures Brienne & Podric!  Stannis and Davos also venture to Bravos in the show (to try to get a loan, exciting banking adventures)

Bran is also way ahead of schedule in the show - he is reaching the Children / (the big GodsWood) by the final episode of Season 4, but isn't anywhere near that in Book 3.  (The Three Eyed Raven seems a lot older and a bit more "Big Trouble in Little China" than I recall him being...).  Right on schedule as the Season 4 finale closes is Tyrion who is in a box on a ship leaving King's Landing with the aid of Varys (24 May 2023)

A Feast for Crows (Book 4) / A Game of Thrones (Season 4:10 - Season 5:1 - 10 - Season 6:6)

Season 5 of the show begins much as Book 4 does - in part - Tywin Lannister's funeral and power-brokering in King's Landing, but the other storylines feel a long way off (either back from Book 3 or things that seem a long way off).  Interestingly, there are no chapters in Book 4 for Jon Snow, Tyrion Lannister, Bran Stark, nor Daenerys Targaryen - whose stories are moving forward in Season 5, so it seems some of the storylines will be a long way off by the end of this book.

Book 4 has had a lot of storyline that mostly never made it in to the show for Brienne on the trail of Sansa Stark (a quite long storyline in the book that gets wrapped up neatly in about 11 minutes of screen time in Episode 2); Cersei recombobulating her power basis in the wake of her father's... wake; the politics of Dorne, and the fate of Princess Myrcella and her King's Guard protector (which seems to have gotten translated into Jamie Lannister heading southward to insert himself in their scene); Samwell's trip to Old Town, which is just a carriage ride in the show, I think (I haven't seen it again yet), but is an arduous boat trip in the book, where he runs in to Arya Stark!; and the Iron Born's sorting out of their new king.

• The religious fervor around the new, more lowly, High Septum and all of his Sparrows is evident in both the book and show, although in the book the church's army is explicitly rekindled by Cersei, whereas their power in the show is a bit more looming and lurking and softer power. (Oh, no, it turns out it's just as explicit on the show once we get a few episodes in to Season 5).
• The battling through this religious fervor is fought through Marjorie in the books, but Ser Loras takes the initial brunt in the show
• Sansa's story is far ahead of things in the show, getting married to Ramsey Bolton, and sending Brienne off.
• And now, after having just finished the book, frack!!, I know TV series (or movies) have to oversimplify plots and sometimes combine characters, but the TV show seems to mark any character with a Valerian Sword for the Last Battle (at least as I recall it now), but a lot has changed here...
• Also, Sansa's betrothal in the book, is all to do with the politics of The Vale (maybe the Boltons are off in her future, but for now), she is being promised to the future heir to Jon Arryn's domain...
• Jorah Mormont takes Tyrion captive to bring him where he's already going in the show, which is a delightful moment that hasn't happened in the book at all.
• Arya (aka Cat of the Canals) seems to actually be on track here in Season 5 / Book 4... she gets blind, and I haven't seen the results of that in either version yet...
• In the book, Jamie Lannister heads to take out the Blackfish (instead of rescuing his daughter from Dorne), and that happens in episode 6 of Season 6

This is the best guess of episodes (Season 5: 1-6 & Season 6:6) for this book, and I've honed and revised as I watch more and start in to the next book, but because A Feast For Crows and A Dance With Dragons happen concurrently, there is just too much happening in the show that hasn't been hinted at yet in the books, I am going to stop watching any more episodes for now, but I feel like episode 6 of Season 6 is worth watching (even if it's a big jump for some bits): 

• Sam is arriving home (in the last chapter of Book 4 he arrives at Old Town, with a plan to return to Horn Hill next) 
• Margaery is playing the devout prisoner, which she is also beginning to do just as Cersei is first imprisoned (not sure if that has happened in the show yet or not).  Margaery's crimes in the books are much more inflated and Ser Loras is the one who is truly accused in the show, rather than him being killed retaking Dragonstone
• Jamie gets sent off to Riverrun...
• Benjen Stark saves Bran & Meera (which may never happen, or is at least a long way off in the books), but it seems to fulfill his role that he had for Sam & Gilly in Book 3, I think (16 June 2023)

A Dance With Dragons (Book 5) / A Game of Thrones (Season 5:1 - 10)

It's funny, the first scene from Book 5 that happens (kind of) in Season 5 is Tyrion getting out of his box, and immediately finding some wine to drink, promptly vomiting that wine, and then drinking some more wine.  While this happens, Vaerys is explaining whose house they are in, and the large cabal that he is a part of (which becomes a huge part of Book 5 with a second Targaryen claimant to the throne, Griff, {aka Prince Aegon Targaryen} none of which will happen in the show).

• Drogon shows up at the end of episode 5:2, which is being hinted at a lot by the book, but ever seems no nearer.  Given the title (ADWD) I suspect all 3 will be running wild, and protecting Dany's interests by the end of Book 5, and probably at least by the end of Season 5 
• There is a lot less religion in Book 5, at least a lot less of The Seven - maybe there's a bit more of the Lord of Light, and in the mid-going of Book 5, Bran Stark is learning a lot more about the Old Gods & the Godwood Trees than we ever learn in the show. 
• Sansa (the real Sansa) is the substitute in Season 5 for a fake Arya in Book 5 who is set to marry Ramsey Bolton.  In the books Sansa is disguised as Alayne, and Arya is actually Jane Poole.
• The death of Ser Janos Slynt in the show feels a lot more shocking having seen in on the show (Season 5:3) and the politics of The Wall are more complicated in the book, more factions and betrayals (and re-betrayals?)
• For Daenerys, it seems things happen a bit out of order - Ser Beresten dies in episode 4 (or just before episode 5) of Season 5, but he's still alive and kicking through nearly 90% of the book.  And Drogon shows up very excitingly in the book, whisking her away, which I remember now will happen in the show (but hasn't yet in episode 6).
• Tyrion, meanwhile has almost completely caught up to his narrative in episode 6, getting captured by Ser Jorah Mormont, and then sold into slavery with him (minus Penny, which is a whole other thing), and then blows right past the books in the show, taking up the role of advisor to Queen Daenerys.

I'm not sure how to follow the goings on in Dorne - with Jamie Lannister and Bronn there - a lot of the political machinations surrounding Myrcella seem to rhyme, and I expect they will both end similarly, but having Jamie there, when in the books he is up retaking Riverrun (and MEETING AN OLD FRIEND!!!) tends to muddy the adaptation a bit.  The Iron Born's story has also been almost entirely ignored in the show so far, except for Theon's suffering.  It seems to me that I need to watch at least as far into the show to see some of that.  Theon & Yara Greyjoy have just been reunited in the book with just a few chapters to go.

I've just about finished up the book this evening, with just the Epilogue to finish, and as I now begin my long wait, here is where things seem to stand:

• The trip to HardHome has been much talked about in Book 5, but has now happened in the show (Season 5: Episode 8)
• Stannis's camp is attacked in the night by Ramsey Bolton in the show (5:9), while in the book Ramsey sends a dire letter to Jon Snow, claiming to have killed Stannis, and ended his claim to the Iron Throne.  In the show, his attack on Winterfell fails, but his ultimate end comes from Brienne, who avenges Renly's death.
• So there's some stuff in the books that could never make it into a show, it's so horrible, but the one thing that isn't in the books (yet at least), but happens in "The Dance of Dragons" (5:9) is that King Stannis burns his daughter alive, as a 'blood of kings' sacrifice.
• While Tyrion did get to her a little early, Daenerys gets saved by Drogon in 5:9, too.
• Cersei makes her walk of atonement in episode 5:10.  Interestingly, in the Epilogue of Book 5, her uncle, Ser Kevin Lannister promises that his niece Cersei will get up to no more in the future.  Needless to say, in the show, she does, a lot, so we will see how that plays out in the Books to Come...
• John Snow is left for dead at the end of episode 5:10, he hasn't gotten up again in the books after he met the same fate in his final chapter, so if Season 6 ever sees him rise, I will perhaps pause, but there is more (I think more from Book 4 than 5) that is missing in the show from what has happened in the books, so I'll venture forward at least a bit, as I finish Book 5.

And so, the book has ended, and now my watch begins - the Epilogue (as several of them have been) was full of unexpected twists and turns.  Lord Varys makes an unexpected appearance (at the end of the show as well), but half a world away), and seems to be throwing King's Landing into chaos.  I will start Season 6, but feel like I won't get very far before almost everything gets ahead of things from the books.