TV, Writing

TV Review: COBRA KAI (Season 3)

Dangerously close to rampant melodrama, Cobra Kai’s most anticipated season to date just about keeps its fast-moving feet on the ground.

Who knew that this YouTube originated series would turn out to be such a pop cultural success? Maybe we should have seen it coming, given how popular and beloved The Karate Kid (and to an extent its sequels) remains over 35 years on. Daniel-san and Mr Miyagi permeated the cultural consciousness of the 1980s to the same degree as Indiana Jones or the Terminator or Marty McFly. In a cheesy, all-American way, they extolled the virtue of Eastern philosophy on Western coming of age tropes, with Daniel LaRusso finding the personal balance in his life, and the martial art that developed his confidence, that allowed him to discover his way in the world. The sequels tweaked the formula but, much like the Rocky pictures of the same era, the core idea of The Karate Kid remained the touchstone.

Hence why Cobra Kai used the central conflict of that original movie as part of its concept, yet joyously flipped the script. This wasn’t a show, across the first season, that was directly about the grown-up Daniel LaRusso, the handsome All-Valley champion and wax on-wax off mentee of the sage Miyagi, but rather the teenager he bested in the final – Johnny Lawrence. Cobra Kai’s first principle lay in examining what happened to the loser, the kid who didn’t win the day and win the girl, and pick up The Karate Kid mythos of lost father figures around a broken, angry, disillusioned figure who re-adopts the misguided, first strike mantra of his cruel mentor and tries to use it to regain self-respect. The surprising brilliance of that first season is how we came to understand Cobra Kai as a series that introduced practical shades of grey within the delineated good/bad dichotomies of a simpler time.

While still entertaining, the series has lost a little of that as it expanded the idea, and the ensemble, into what the third season represents: fun, silly but overblown melodrama with only sparks of self-referential awareness that keep it grounded.
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Film, Writing

Bill, Ted & the Dark Fate of the Legacyquel

With the arrival of Bill & Ted Face the Music, we find ourselves facing down the latest example of what has become known as the ‘legacyquel’.
First coined in late 2015 by Matt Singer in a piece for ScreenCrush, in advance of Star Wars: The Force Awakens, the legacyquel operates from different principles than a traditional, standard follow up. The standard sequel continues the established story introduced in the original narrative – The Godfather Part II, for example. A legacyquel revives a property and the characters we came to know, years after the fact, often once they have been immortalised in popular culture – The Godfather Part III, for example, which gave us the final part of Michael Corleone’s tragic story sixteen years after we last saw him. Such immense gaps of time are common in sequels which are expressly designed to recapture, in the audience, a sense of reconnection with worlds and characters, and indeed the actors who play them, who mean a great deal to us.

This is certainly the case with Bill & Ted Face the Music, which expressly delivers another key aspect of the legacyquel – familiarity. Most legacyquels do not rock the creative boat and if they do, it is for a specific reason; a good example that bucks the trend is Star Trek 2009, which J. J. Abrams uses as both a legacyquel (allowing us to reconnect with Leonard Nimoy) and canonical reboot in which we rediscover Kirk & Spock while experiencing their origin stories. Star Trek in that sense is an aberration, with most legacyquels operating to the Bill & Ted principle: more of the same, with a much longer gap. This is the appeal of the legacyquel. Reboots offer nostalgia while exploring new ideas. Sequels or continuing franchises build on what has come before. Legacyquels are all about bringing you ‘home’ again.
This was, in many respects, the intention behind Terminator: Dark Fate. What saddens me is that it didn’t really work.
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Essays, Film

Cinematic Universes: the divisive wave of cinema’s future

With the advent of Justice League, many fans and commentators are once again discussing the concept of the ‘Cinematic Universe’, given the formative attempts by DC Comics over the last several years to emulate the rampant success of the Marvel Cinematic Universe, the first truly successful and revolutionary cinematic model of an overarching mythological world of characters and narratives informing one another.

Inevitably with the internet, it’s leading to a war of trolls – Marvelita haters and DC sceptics waging a pointless conflict over territorial ownership and trying the answer the utterly subjective question – ‘which is better?’. For every critic who tells you the MCU is technically stronger as a tapestry, you’ll easily find more than enough ‘DCEU’ defenders to race in with their Amazonian swords and claim everything Marvel has done is powerfully overrated.

There can be no victor in such a battle.

In truth, discussion of the Cinematic Universe has never gone away. Hollywood and the blockbuster movie system has been utterly consumed and dominated by the power of a connected storytelling model, following the template Marvel Studios laid down. It has arguably changed the very fabric of the cinematic franchise. Following the essential advent of the ‘blockbuster’ in the mid-1970’s with Jaws and of course Star Wars, it took Hollywood a while to truly embrace the idea of creating what we accept as a ‘franchise’.

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