Max Beesley is very impressive as Seale - another British actor (along Paddy Considine as his brother) doing fine work in the show.
solomon grundy
solomongrundy69
Why would that comment offend you?
Why does the truth require falsification and/or alternate facts to make a horrible reality more palatable (entertaining, shocking, stupid, serviceable)? Something is either true or false, and creating a world of make believe requires the question: what are we to make of such (false) beliefs?
It’s been a while since I’ve read The Republic, but yes Glaucon’s argument regarding the golden ring predates Welles by over a thousand years - and is presumably the inspiration for his own story. Thanks for providing the larger historical context.
The hubris is the pretext - the cautionary tale (about what happens to a person’s soul when they can longer be seen) the text.
I’m not sure why Universal horror films and comic books are your main point of reference in the review.
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Terry Notary should have played the dog in real life too...his chimpanzee was very convincing in The Square
You left out a ‘previously on Star Trek: Picard, Picard talked about what previously happened on Star Trek: Picard’
The show needs more characters and situations involving people talking about what everyone else is saying and doing.
Oh, please. The show is clearly political in two related ways: it seeks to humanize ‘the other’ (or others) and it locates different immigrant experiences within the context of ‘the American dream’.
To some extent, you also miss the point Randall. The issue is that we now all live in a hall of mirrors, and the Trump campaign willfully spread misinformation to create an alternate reality. See this great Vox article on our hackable media system and/or manufactured nihilism.
To those puzzled by my comments: I wrote a very critcal review of Spielberg’s film (including Gibson’s Passion of Christ and Jackson’s Return of the King) many years ago.
I’m more offended by Schindler’s List which is (in essence) a Holocaust denial film. Spielberg’s celebrated film provides the consolations of Hollywood narrative and (essentially) tries to turn it into an occasion to feel good about something that is inherently evil and/or inconceivable.
That was very unengaging and self important - as evident by the fact that the show really wanted us to see Rios reading Miguel de Unamuno’s The Tragic Sense of Life. In case you missed the show’s sense of importance or existential angst the first time, here’s a close up and then a blow up.
So much exposition and talking about what they’re already saying and doing.
Say it isn’t so!