2024 In Review: Media Consumed

One of the things that struck me this year was just how much media I consume at the moment. At any given time I'm watching a few TV shows and movies (based on interest and on feeling like I'm getting my money's worth from the various streaming services I pay for), reading a number of books and comics, listening to music and podcasts, and maybe playing video games. Which all makes it odd when I consider that it doesn't feel like it's been that good of a year for it all, somehow?

In fairness, I have kept up with a number of shows, particularly from Disney Plus. Of those, X-Men 97 was the clear standout, both because it was a good treatment of the characters and because it dovetailed well with the comics I was reading this year. Echo was decent, though maybe not as memorable as Hawkeye, where Maya Lopez originated, and the Acolyte had some promise but didn't necessarily live up to it. Its cancellation feels like capitulation to the toxic review bombers, but I also don't feel like I'll wither and die not knowing what happens next. 

Agatha All Along was another promising one, which did a very nice job of playing a long con on its viewers, at the same time that it was pulling the con on its characters. Its seventh episode, "Death's Hand in Mine", was the standout, but somehow I felt like it whiffed at the end - not in undoing Agatha's death, but rather in failing to really explain her motivations. I liked the fact that the Witches' Road never really existed, though.

That said, there was one other big standout, and that was Shogun. I already wrote about it, so I won't go on at length here, but it was probably the most compelling show I watched all year. Honorable mention also goes to Slow Horses, Fargo and Fallout, while Bel Air remained the most fun cheesiness. I'm expecting Slow Horses and Fallout to get more seasons, but I'm also hoping for more from Fargo and Bel Air.

In terms of movies, I feel like the one standout was Deadpool and Wolverine, which is the only film I watched twice. It held up just as well on the second viewing, on Disney Plus, but I'd have even been happy to catch it in theaters a second time. Dune Part Two was pretty good, though maybe not the visual feast that the first part represented, while the Maxine Minx/Pearl trilogy of horror movies from Ti West was good, trashy fun - particularly the first two movies. The Zone of Interest was so different from the book that it might as well have had a different title, but it was a fascinating, harrowing watch. And for ongoing comfort watching, I started the year with Fox's X-Men series and continued with a new MCU rewatch, which let me re-evaluate a couple of films and confirmed my opinions of the others.

Turning to books, the one that was most influential was Douglas Wolk's All the Marvels, which has brought me into the world of critical analysis of American superhero comics. It led me to The New Mutants, Ramzi Fawaz's review of how postwar comics informed progressive activism and imagery, and vice versa, as well as Guy Mankowski's Albion's Secret History, which I picked up because of its references to music but was pleased to see that it talked about other cultural aspects of Englishness.

I also read a lot of Richard Osman and Mick Herron, and I'm debating picking up Osman's latest, even though it's not in the Thursday Murder Club series. Other than that, history was a big part of my reading, particularly the Shortest History series, as I took in the volumes on Italy, Japan and India.

For comics, I mostly read X-Men related books, though Wolk's book convinced me to try The Unbeatable Squirrel Girl, which turned out to be a great read. A friend lent me Image's W0rldtr33, and that was a nice change from the superhero stuff. I'm still debating whether or not to get the DC Universe Infinite app, but somehow the pile of physical comics beside my bed isn't diminishing fast enough for me to go ahead with that one.

For podcasts, I finally finished Revolutions, which I started in 2022, just as it was ending. Ironically, just as I was finishing its final series on the Russian Revolution, Mike Duncan started it up again, but this time with a speculative story about a possible Martian Revolution. I don't know if I'll check it out, but it might have to wait until it's done - somehow I found it harder to retain information from the Revolutions format than I did from Duncan's History of Rome.

Keeping the X-Men theme going, however, the standout podcast for me this year was Jay and Miles X-Plain the X-Men. I've mostly been listening in order from when they started, so I'm only up to the episodes from 2016, when they were covering Inferno, though I made sure to listen to their more recent review of X-Men 97 and their interview with Lenore Zann, who played Rogue. Their show's given me a taste for more comics-related podcasts, so I've started exploring Wolk's Voice of Latveria, and at some point soon I'll be checking out the Cerebrocast for more X-related goodies.

And finally, my video gaming has been limited primarily to various Kingdom Rush tower defense games on my iPad. I've been playing them off and on for about a decade, but my interest really took off when the Youtuber Voduke published his magisterial ranking of all the heroes in the series. That led me to buy a few heroes and towers across the various games of the series, including the DLC levels for the fourth installment, Vengeance. 

The big news for this year was the launch of Kingdom Rush Alliance, the fifth tower defense game in the series; for the first time I was there from the start, though on some level I found it a little underwhelming - I still haven't been able to figure out if that's because it only offered the main campaign at launch, whereas I discovered all the other games after they'd been out for a while and had released a lot of elite levels. Alliance has its charms, though, so I won't say it's terrible or on the wrong path, but it does feel a little lacking in replayability. I'll have to see how I feel when the next elite levels and its first DLC drop.

Looking ahead to next year, I'm hoping for big things from Marvel's new offerings, particularly the fourth Captain America movie, Brave New World. Having watched the MCU's Infinity Saga again, it's clear that Marvel dropped the ball a bit in the Multiverse Saga by not giving us more glimpses of the core characters - if you think about it, this is the first time we're seeing the new Cap since 2021's Falcon and Winter Soldier, and we're not getting a new Avengers movie until 2026, so it'll be a gap of seven years since Endgame. That means Brave New World will have a lot riding on it, particularly since Marvel had to pivot away from the Kang storyline they were doing.

I'm also hoping for a good new season from Star Trek: Strange New Worlds, which will hopefully make up for the end of Lower Decks next week. I'm sure other, unheralded shows will come up, and I'm looking forward to being pleasantly surprised by them as they launch.

Overall, though, I'm hoping to spend a little less time consuming media and more time... I dunno, doing stuff? I wouldn't say my media diet made me stay home more, but now that I'm not really sequestering myself like I did during Covid, I think I can go out and explore the world more again.

Or maybe we'll be stuck inside again thanks to the new administration? I'll explore some of those concerns in my next blog, which will be a rundown of my 2024. Though I'll spoil the main theme for you here: 2024 sucked, just like the eight years before it, and like the four years that are coming now. But next time I'll explain just how 2024 sucked. Lucky you!

Quick One on the Hunter Biden Pardon

Whenever I'm with my mom, she'll usually ask me what I think about some cultural or political thing that's going on, and generally speaking, I refuse to venture an opinion. There are lots of reasons for this, whether some deep-seated thing about being criticized later for my answer, or because I honestly don't care - when she asked me over Thanksgiving about the prospect of President Biden pardoning his son Hunter, it was primarily the second one.

I haven't followed that case a ton, beyond reading a couple of articles here and there, as well as listening to Hunter's interview on Marc Maron's WTF podcast a few years ago. So I don't know the ins and outs, beyond whatever's filtered out through osmosis into the wider culture. Based on that, my read is that Hunter probably is a bit dodgy, but that his dad probably isn't... or isn't dodgy for the same reasons.

When President Biden announced this week that he'd be pardoning his son for any crimes he may have committed between 2014 and 2024, I thought about that conversation with my mom, and then decided that I was okay with it. Part of it is probably that phenomenon where a party's voters agree with an action when their party's leaders do it, and disagree with it when the other party's leaders do it. But part of it is also a slightly nihilistic satisfaction at seeing the Democrats doing something that the Republicans have been happy to do forever (and make no mistake, Bill Clinton made dodgy pardons too).

Trump's been talking about pardoning the January 6th rioters forever. Some news headlines have suggested that Biden's pardon of Hunter gives Trump the "excuse", but it was always going to happen. And Trump's going to pardon himself for the January 6th thing and the missing documents case. That was going to happen regardless of what Biden did.

So the reason I'm broadly in favor is that, if Biden hadn't pardoned his son, Hunter would be at the mercy of Trump's Justice Department as of January 20th. Make no mistake, they'd have thrown the book at him, and they wouldn't have minded any of the bleating about political witch-hunts that would have ensued. At least this way, Biden's earning some of the criticism he's getting from the right, and his son is off the hook.

For the moment, anyway. When I brought it up with my mom today at dinner, she was a little less pleased with it than I was, but she also pointed out that Trump's people are going to... ahem... find some trumped-up charges to get Hunter on. Realistically speaking, laws are only effective insofar as they're enforced, so there's probably very little stopping Trump from ordering his attorney general to have Hunter thrown in jail on general principle. Especially given that the Supreme Court ruled this year that the president can commit crimes while in office.

But this pardon is a last middle finger to Trump and the whole ecosystem around him, which depends on sycophants to enthusiastically do whatever he says, as well as moderates to criticize the Democrats more severely for doing the same things that the Republicans do. The whole "when they go low, we go high" thing has been totally invalidated - and if it's bad for democracy and the rule of law that certain pardons are skirting dangerously close to dodgy territory, then too bad. I'm sick of Democrats getting steamrolled by Republican gamesmanship (cf. Merrick Garland's nomination to the Supreme Court in 2016).

Anyway, what's bad for democracy and the rule of law isn't so much a father pardoning his wayward son, shady as he may or may not be, as a convicted felon and known insurrectionist getting voted into office on promises of being a dictator on day one and of prosecuting his political rivals. I wish the pearl-clutching brigade had spent more time criticizing that for the past eight years, rather than enabling Trump's worst instincts.

The Darkest and/or Stupidest Timeline

I won't deny that it's been very hard to be existential the last couple of weeks. The worst possible outcome of the elections came about, and now all we have to look forward to in the lead-up to January 20th is learning exactly how screwed we are. Matt Gaetz as attorney general? Sure! Some dum-dum from Fox News who doesn't believe in germs as Defense secretary? Hey, why not? The anti-vax, brain-worm guy in charge of Health and Human Services? The more the merrier.

All the good news at the moment feels transitory at best (e.g. the Onion buying Infowars), or a bit infuriating (e.g. Marine Le Pen potentially going to jail for misuse of EU funds). That last is infuriating because we could have short-circuited Trump's return, but we decided to dismantle all our guardrails for democracy and rule of law instead. So now I get to worry if the food I eat is going to kill me, and I won't be able to get vaccinated against diseases anymore. I'd inject bleach, like Trump suggested during the pandemic, but I won't even be able to tell if it's pure bleach or adulterated with some crap or something.

I did engage in one meaningless act of defiance (two, if you want to be nitpicky) and deleted both my Twitter accounts this week. There was a little hemming and hawing over conversations I've had over the years, but fuck it, I'd been inactive so long (except for posting links to this blog) that I don't even miss it.

Instead I'm now on Bluesky, which, yeah, feels a tiny bit like old Twitter, and also doesn't come with the soul-crushing negativity of the last few years. I'm following a lot of writers and interesting people there, so hopefully my timeline evolves past people comparing it to Twitter. That said, I have already had to block a fascist, just to give you a sense of how much the sewers are overflowing.

The best part is that I fired my therapist last month, because I wasn't getting much out of it and she kept minimizing my concerns, saying it was just anxiety. That may be true, but I caught myself wishing I could talk to her last week - until I realized that she'd probably just have told me I was spiraling again. If they do deport everyone in January, I might drop her a line again, assuming neither of us has been sent to Venezuela or been buried in a ditch somewhere in the Central Valley.

On the plus side, now that another pandemic and lockdown is pretty much inevitable, I don't feel like I have to defend my continued Covid-hoarding. Indeed, I may have to increase my reserves of toilet paper, paper towels and Kleenex boxes, ahead of any further catastrophes.

There's also the possibility of moving to Europe, but a good many places are already run by fascists (Italy), or are under threat of it in the near future (Germany). This might be the opportunity my dad's been waiting for, that I finally move back to Italy. Or I might try Ireland, which is apparently an expensive real estate market, so I'll feel right at home not being able to buy a house there. I also have to keep on my little sister's good side, so that if needed, she can sponsor me to move to Australia.

On the plus side, if I have to move to a place with fresh air, public transportation and single-payer healthcare, I'll probably get a million times healthier within a month. Which means more McDonald's! Also, I know where the Taco Bells in London and Sydney are, so I'll be covered from that perspective.

Hmm. Better pack the statins anyway, just in case.

This post started as an aimless brain-dump of my thoughts on the past few weeks and then turned into a standup act, so maybe it's best to end here. I'll be back in the next few weeks with various musings on TV shows, movies, comics and roundups of 2024, but I'll end with this final thought:

We haven't really had a good year since 2015 (which itself was pretty sucky for a number of people). My hope with the election was that we could move toward turning a corner, but now I see that at least the next four years are gonna suck hard too. I'm hoping to find ways to make them suck less, at least within my circle of control, but 13-plus years of suckage is a long time, there's no getting around it.

In the meantime, come find me on Bluesky!

Two Different Visions of 'Salem's Lot (And X)

I haven't read that much Stephen King, and I haven't read him in a while, but I absolutely loved 'Salem's Lot when I read it in 2003 or 2004. I read it at the right time to be primed for the updated NBC miniseries that came out in 2004, starring Robe Lowe as Ben Mears and Donald Sutherland as Straker, but it's also been so long since I watched it that I don't remember anything except the iconic scene where Barlow kills Mark Petrie's parents - instead of clonking their heads together, he spins their bodies around, breaking their necks.

These are the things that stick with you, 20 years after the fact.

I also knew that there was a 1979 version, but I can't recall how much of it I saw - if any. In any case, just before I left for Europe I saw that Max was getting ready to release a new version, so I put it down on my "to-watch" list, and dutifully caught it when I got home. My short review is, just watch the 1979 version instead.

This is exactly what I did, and the differences are pretty stark, even though the new movie is pretty indebted to the 1979 version, moreso, in some ways, than it is to the book.

The 2024 version suffers from two big problems. First, it is a single, two-hour movie, instead of a three-hour TV miniseries (as the previous two versions were). The pleasures of the novel come from the slow unfolding of the horror of what's going on, after we've become acquainted with the characters who live in the town and their relationships to one another. This new movie has pretty much none of that, so that the characters feel like they're on rails - they're just doing their thing as dictated by the plot, without it feeling like any of their actions are organic.

The other big problem for me is that the new movie is set in the 1970s, as the book and the first miniseries were. I love a well-done period piece, but this version suffers from the same issue that a lot of 70s-set movies made in modern times do, which is throwing in 70s signifiers to really hammer home what decade we're in. In the 1979 version, Ben Mears drives a jeep, but in the 2024 version he drives a sort of Impala that is intended to scream 1970s. The 2004 doesn't have this problem, because it sets the story in the present.

There's another issue with Ben Mears, which is his age. David Soul was 36 when he played the character in the 1979 version, while Lewis Pullman is 31 in this year's version. Five years doesn't seem like much, but it does give you a change in perspective, as you start to see middle age on the horizon - and it's particularly important here, because of Ben's backstory as (supposedly) a grieving widower. I say "supposedly", because the 2024 version doesn't give Ben any of that backstory - he's just some guy who lived in the Lot as a kid and came back. This version also takes away his interest in the Marsten House, which is the thing that brings him back to the Lot in the other versions.

I don't particularly begrudge other changes the new version makes. It may have been more true to life that the only Black character in the 1979 version was one of the gravediggers - and he has, at best, one line in a single scene. But the actor that was cast as Mark Petrie is pretty good, and I'm never going to complain about Alfre Woodard in a role (here she replaces Jimmy Cody, Ben's first ill-fated sidekick in the book).

But overall, the better technology for photography and special effects ends up detracting from the story. In the 2024 version, characters get grabbed in jump scares, but in the 1979 version, they didn't have the budget for stuff like that, so they just stand there while the vampires bite them - which is true to the book's depiction of vampiric hypnosis.

The climactic battle in the 2024 version takes place at a drive-in theater, where the vampirized townsfolk are hiding in the trunks of cars. This sequence has some good visuals, but it also relies on a vampire trope that I hate, which is of them being able to survive in shadow (in this case, the shadow of the movie screen). It's emblematic of the movie as a whole: it has some good, evocative visuals, but it lacks substance. The 1979 version is pretty cheesy, but it does the atmosphere and the characters' motivations better, and because it's set in its own concurrent era, it's not so desperate to show you how 1970s it is.

This thought was brought home to me when I watched X, the throwback slasher flick directed by Ti West and starring Mia Goth. X is set in 1979, but it seems a lot less desperate to show that it's set then - the year is more to link it to old-school slasher flicks from that same era, and to comment on the way porn capitalized on new technologies even back then (there's a scene where one of the characters talks about the possibilities that home video holds out for porn). The result is a lot less self-conscious, and a lot more deft in introducing the characters and describing their relationships.

It's kind of an unfair comparison, because 'Salem's Lot has different themes on its mind than X, but as I say, the new version of 'Salem's Lot doesn't do as good a job of exploring those themes. All that leaves you with is a good-looking but ultimately empty movie - on the other hand, Lot director Gary Dauberman originally filmed a three-hour version, and I'd like to have seen that.

England Presses the Tuchel Button

Well, at least it wasn't Frank Lampard.

I was intrigued when the FA announced that Thomas Tuchel would be the next England manager. I admit I don't know a lot about him, but I also wasn't expecting them to go for a foreigner again. I don't think it's a bad appointment, but it raises a few questions, which I'll be interested to see answered as he takes the reins.

The tenor of the reports I read today talked about his clashes with upper management at his previous clubs. This was confirmed by a perusal of his Wikipedia page, which cites acrimonious departures at almost every club he managed (a notable exception being Mainz). That doesn't seem too big a problem at clubs like Paris St. Germain or Chelsea, which have reputations for sacking managers, or at Bayern Munich, since he was the first coach in 11 seasons not to win the Bundesliga (though he won it in the first of his two seasons in Munich). On the other hand, the fact that he left so many clubs in the same circumstances should give the FA pause - particularly since the manner of his departure is a reason why Manchester United decided not to hire him during the summer.

Then there's the fact that Tuchel also rubs players the wrong way. He had issues with certain players at Chelsea and Bayern, and had a bit of a reputation for being an authoritarian at other clubs too. Speaking as absolutely not an expert, the England job seems like it depends more on man-management than tactical nous, so this is really the aspect that concerns me about Tuchel's appointment.

Fabio Capello was brought in partly to impose some discipline on the England squad after the antics at the 2006 World Cup, in which the WAGs' sideshow contributed to this feeling of the players being more concerned with celebrity and endorsements than playing for their country. Early reports spoke glowingly of Capello's rule that players had to wear suits to team dinners. On the other hand, the football at the 2010 World Cup was disappointing, and Capello left two years later amid a dispute with the FA over John Terry losing the captaincy because of his alleged racist abuse of Anton Ferdinand.

My other question about this appointment isn't about Tuchel's ability, but rather about the FA finding the courage to appoint a foreigner for the first time in 12 years. That phrasing should indicate how I feel about them appointing a non-English coach - both Capello and Sven-Göran Eriksson had excellent records, even if they never won trophies or got as far in tournaments as Gareth Southgate did. I expect that Tuchel should do well, if he doesn't set everything on fire before the next international break - he is, after all, a league winner in both Germany and France, and a Champions League winner with Chelsea.

However, the fact that the FA opted for a foreign coach this time shows how few decent English coaches are left. I've banged on about this a few times over the years, so I'll just rehash my points quickly by noting how odd it is that an Englishman hasn't won the top flight in England since 1991, and that a British manager hasn't done so since 2013. The best jobs seem to go to buzzy, fashionable foreigners while English managers get stuck on the carousel of diminishing returns that starts with the clubs outside the notional top six (Arsenal, Chelsea, Liverpool, Manchester United, Manchester City, Spurs) and ends with Everton or West Brom or something.

The last English manager to get a top 6 club on merit was Graham Potter at Chelsea, and he didn't have a good time of it. He was then replaced by Frank Lampard, who isn't considered a very good manager but still walks into these roles because he was a famous player. Either would have been a bit underwhelming if they'd gotten the job instead of Tuchel. Not that Southgate inspired dancing in the streets when the FA appointed him in 2016.

The way I see it, Thomas Tuchel will either be a masterstroke, bringing home a World Cup or Euro... or he'll be a disaster. He won't bed in long enough to get boring, a point that the Guardian's Football Weekly made today, but it'll be one of those other two extremes. Indeed, given his track record of making friends and influencing people, I feel there's even an outside chance that Tuchel breaks all the china before the 2026 World Cup. At any rate, if he doesn't win that, I don't expect him to still be there for Euro 2028.

Either way, I appreciate the FA's willingness to look beyond the tired carousel of English underachievers for an actually decent tactician. I'm looking forward to seeing how Tuchel does, and maybe, hopefully, this appointment gives English managers a kick up the arse and we'll see more of them gaining experience abroad.

RIP John Cassaday

As if the passing of James Earl Jones wasn't bad enough for the nerdosphere, I learned today that comics artist John Cassaday also passed away yesterday. He wasn't as much of a household name, even among comics fans (I believe), and I don't even know the full range of his work, but I did know his work on Planetary, and honestly, the craft on that is enough to cement his place as one of the greats.

I first encountered his work back in 2000 or 2001, when Planetary was a going concern and Warren Ellis was revitalizing the hell out of the Wildstorm line. And while Bryan Hitch was giving the Authority the widescreen comics treatment, Cassaday's ultra-detailed style was doing something equally interesting on Planetary, which was Ellis's sort of meta-commentary on how superhero comics (and especially Marvel) erased the pulp characters who'd come before.

Each issue dealt with a different aspect of either 20th-century adventure fiction (like the Shadow, Doc Savage, Victorian horror literature) or 60s comics (the Hulk, the Fantastic Four, Superman and Wonder Woman), and Cassaday's style accommodated all of them. He could do beautifully craggy faces, which was notable after the 90s, when certain artists couldn't seem to depict different ages to save their lives. But he could also imply action without undue bombast - this is a talent that Hitch has, and Frank Quitely also does it quite well.

I also liked that if Hitch's Authority looked like Alan Davis, Cassaday's work on Planetary reminded me of a slightly less cartoony Kevin Maguire. Incidentally, the reason Hitch's work looked like Davis's is that he was being inked by Paul Neary, who inked some of Davis's most famous work (and who, sadly, also passed away earlier this year, a fact I only learned today when looking for reputable sources about Cassaday's passing).

I did experience a little of Cassaday's non-Planetary work, in the form of one issue of Astonishing X-Men, which he did with Joss Whedon. I didn't stick with the book, because I couldn't see how anyone could follow up Grant Morrison's New X-Men, but I've since heard that Astonishing was almost as good, so I have that to look forward to. And I've been seeing some panels from Cassaday's Captain America work, so that's another body of work to get stuck into.

But I'm sad that, having passed away at 52, Cassaday leaves behind much less than if he'd had his allotted threescore and ten. Ellis may have conceived of the strangeness of the world in Planetary, but Cassaday brought it to life, and he'll be missed.

RIP James Earl Jones

Like everyone, I was sad to see the news that James Earl Jones died today. I confess I didn't know much of his work beyond the obvious ones, like voicing Darth Vader and Mufasa, as well as in the early Tom Clancy films. But of course I knew his voice, and I knew his presence whenever he showed up on screen.

Reading his Wikipedia page, it's exciting to see that he had the same type of experience on stage as some of the great British actors, having played roles in Shakespeare as well as contemporary American theater. I've long thought that America should have an equivalent to the Royal Shakespeare Company, i.e. a group that turns out the most talented actors, like Ian McKellen, Michael Gambon, Patrick Stewart, Lawrence Olivier... I'm aware I've listed a bunch who did SFF movies or shows, but bear with me, will you?

Anyway, Jones would belong in that company, and now that I've read of his background in Shakespeare and in theater more generally, I'm sad I never got to see it. He was a great actor, and he'll be missed.