"LOKI" Season One (2021) Photo Gallery

 

Below are images from Season One of "LOKI", the Marvel Cinematic Universe (MCU)/Disney Plus limited series. Created by Michael Waldron, the series starred Tom Hiddleston in the title role:

"LOKI" SEASON ONE (2021) Photo Gallery

Commentary on "DICKINSON" (1.01) "Because I could not stop" (2019)

 

COMMENTARY ON "DICKINSON" (1.01) "BECAUSE I COULD NOT STOP" (2019)

Recently, I began watching the Apple TV series, "DICKINSON" for the first time, due to finally gaining access to the Apple TV streaming channel. And naturally, I began my viewing of the series with its premiere episode, (1.01) "Because I could not stop". Although the series is highly acclaimed, I discovered I had a lot to complain about.

One, I have a problem with the episode's portrayal of Susan "Sue" Gilbert, Emily Dickinson's love and future sister-in-law. This portrayal seemed really off the mark, thanks to showrunner and screenwriter, Alena Smith's screenplay. The character had spent the entire first episode wearing a black evening gown, despite the span of several days. Come to think of it, Emily wore the same white day dress during most of the episode, with the exception of one or two changes in outfits. According to the episode, Sue began the series as her family's sole survivor. However, Sue's entire family had not been wiped out in real life. Around the time of her engagement to Austin Dickinson, most of her siblings were still alive and she had more than one brother. Her brothers, by the way, had provided a substantial dowry that enabled her and Austin to build their new home, Evergreen. But the series had portrayed Sue as lacking in money or support, which left her in a state of destitute.

Two, what year did this series began? The late 1840s, when Emily was in her late teens? The early 1850s, when Sue and Austin first became engaged? Or the mid-1850s, when the couple finally got married? Honestly, I am at a loss. I am aware that Sue and Austin first became engaged in 1853. This would make Emily and Sue at least 22 to 23 years old when the series first began, Austin at least 24 years old and the youngest Dickinson sibling, Lavinia, at least 20 years old. But the three Dickinson siblings behaved as if they were at least 17 to 20 years old. Very disconcerting.

Three, I hated the anachronisms featured in this series. I really hated them. I hated the modern music. I hated the modern dialogue. And I found the costumes, although pretty, rather sketchy. I will give the series' hairstylists credit for recapturing 1850s hairstyles I blame Sofia Coppola for beginning this use of modern music in period dramas in her 2006 movie, "MARIE ANTOINETTE". The use of modern music has popped up in various period dramas over the years - including in recent productions like "BRIDGERTON" and "THE BUCCANEERS", the second adaptation of Edith Wharton's last novel. And if I must be honest, I have grown to hate it. But the use of modern dialogue in "DICKINSON" struck me as the biggest elephant in the room for me (a problem also featured in "THE BUCCANEERS"). I have seen too many period dramas that featured period appropriate dialogue without coming off as a verbal museum. Why did series creator, Alena Smith, felt this was necessary or innovative? As for the costumes, well I have already pointed out most of my complaints about them. But they did reinforce my confusion over the time period for this particular episode.

I know what you are thinking. I must have really disliked that pilot episode of "DICKINSON". Well . . . you would be. To my utter surprise, I ended up enjoying (1.01) "Because I could not stop", despite it being wracked with anachronisms. Thanks to the episode's writing and the first-rate performances, I enjoyed it in the end. But what really sold the episode and the series (so far) for me was that one scene between Emily and Death. I simply found it emotional, poignant and a bit mind-blowing, thanks to Alena Smith's writing and Hailee Steinfeld and Wiz Khalifa's performances. Oh well, I guess I am hooked. I might as well grit my teeth over the annoying anachronisms and historical inaccuracies . . . and continued with this series.

"THE ADJUSTMENT BUREAU" (2011) Review

 

"THE ADJUSTMENT BUREAU" (2011) Review

Matt Damon made his second (or perhaps third) foray into the science-fiction/fantasy genre, when he starred in the 2011 film called "THE ADJUSTMENT BUREAU". The movie turned out to be a loose adaptation of Philip K. Dick’s 1954 short story, "Adjustment Team".

Adapted and directed by George Nolfi, "THE ADJUSTMENT BUREAU" is about an aspiring politician named David Norris, whose encounter with a talented modern dancer sparks a romance between the two. However, members of a mysterious force called the Adjustment Bureau keep interfering with their romance, explaining that Norris’ political career would be affected by his romance with Elise Sellas, the young dancer. They also explained that Elise’s future as a famous dancer would also be affected. At first, David agrees to stay away from Elise, when Richardson (one of the “angels” of the Adjustment Bureau) tells him that he will be “reset” or lobotomized, if he tells anyone about the Bureau. But three to four years later, David finds it difficult to forget Elise. And with the help from Harry Mitchell, the Bureau “angel” that has been overseeing his life, David sets out to fight the Bureau’s abilities to control his choices and form a permanent relationship with Elise.

"THE ADJUSTMENT BUREAU" struck me as one of those pleasant and whimsical movies that I usually find mildly interesting. Both Matt Damon and Emily Blunt gave believable performances as the politician and dancer who find themselves attracted to one another. If I must be honest, the two had a very strong screen chemistry. The movie also gave moviegoers an interesting glimpse into the possibility of a supernatural force that determined the paths of all individuals. And the movie presented this premise in an interesting way that perfectly balanced reality with fantasy. An interesting aspect of the movie’s plot is that the Adjustment Bureau “angels” used doorways to instantly teleport from one location to another. And in order for them to accomplish this, each “angel” has to be wearing the Bureau’s signature fedora hat.

However, I had some problems with the movie. I never understood how both David and Elise managed to remember each other after three years. At the beginning of the movie, they had briefly met inside the men’s bathroom at a local hotel. The following morning, they met again aboard a public bus and spoke for a few minutes. Three years passed before they laid eyes upon each other again . . . and they clearly remembered one another. Why do I find that implausible? And the Bureau’s decision to finally let David and Elise alone, because; a) they somehow "discovered" that the two were always meant to be together struck me as a bit saccharine, and b) they fought so hard to stay together struck me as rather saccharine. Every time I think of that final scene, flashes of the movie, "STAIRWAY TO HEAVEN" enters my mind. In fact, I am beginning to suspect that "THE ADJUSTMENT BUREAU" might be a slight remake of the 1945 movie. But at least "STAIRWAY TO HEAVEN" had more of a punch than "THE ADJUSTMENT BUREAU". And that is my final complaint about the movie. It simply lacked punch. It failed to blow my mind. It was a nice movie that I would have enjoyed more, watching on my television screen.

The performances in the movie were pleasant, but did not strike me as particularly memorable. Well . . . I take that back. I was impressed by two performances. One came from Anthony Mackie, who portrayed David Norris’ personal Bureau “angel”, Harry Mitchell. With very few lines, Mackie did a first rate job in conveying Harry’s increasing disenchantment with the Bureau’s policy of controlling the choices of others with an intensity that struck me as perfectly balanced. I was also impressed by Terence Stamp’s portrayal of Thompson, one of the senior members of the Bureau, who is called to deal with David, when the latter proves to be troublesome. Stamp was commanding, intimidating, slightly ruthless and very convincing in his character’s arguments to keep David and Elise apart. As I had stated earlier, both Matt Damon and Emily Blunt gave charming performances as the two protagonists. During the scenes in which Damon’s David Norris flirted with Blunt’s Elise Sallas, I was struck by the similarities in Damon’s flirtations with Vera Farmiga in "THE DEPARTED" and Minnie Driver in "GOOD WILL HUNTING". And I began to wonder if Damon had a standardized method for on-screen romances. I also enjoyed John Slattery’s performance as another one of the Bureau’s “angels”, Richardson. But if I must be honest, his character struck me as another variation on his Roger Sterling character from "MAD MEN". It would be nice to see him in another kind of role.

"THE ADJUSTMENT BUREAU" is a charming and clever movie. It benefitted from solid performances from a first-rate cast and a solid adaptation of Philip K. Dick’s short story by George Nolfi. But in the end, I found it slightly disappointing. It failed to pack a punch that this kind of story had the potential to deliver.

R.I.P. Terence Stamp (1938-2025)

"THE SUSPICIONS OF MR. WHICHER" (2011-2014) Photo Gallery

 

Below are images from the 2011-2014 ITV series "THE SUSPICIONS OF MR. WHICHER". Adapted from Kate Summerscale's 2008 book, "The Suspicions of Mr Whicher or The Murder at Road Hill House" and other sources, the series starred Paddy Considine:

"THE SUSPICIONS OF MR. WHICHER" (2011-2014) Photo Gallery