The Lesser Joke: book reviews and more

TV Review: The Marvelous Mrs. Maisel, season 5

TV #27 of 2023:

The Marvelous Mrs. Maisel, season 5

I’m not a big fan of the decision to pepper this final season with flash-forward scenes to decades in the future, where we learn that the titular comedienne — and her manager! — will eventually achieve their dream of striking it big in showbusiness. For me at least, the knowledge of that forthcoming fame rather punctures the tension back in the moment, fun as it is to see glimpses of the kids’ adult lives and the main actors in old-age makeup. It reframes the story to be one of Midge definitively on the cusp of stardom, which flattens the usual issue of her self-sabotaging pride and proves somewhat tedious to watch play out in slow motion.

With that being said, the episode with the Friars Club roast is truly well done, and the series finale does a good job of making the heroine’s breakthrough feel earned by her specific choices, not to mention paralleling and commenting on certain events from way back in the pilot. I’m still not convinced that her material or her delivery has actually improved between then and now, but we’ve seen her grinding away at it for so long that it’s easy to root for and celebrate the win.

Giving the protagonist a position as a late-night screenwriter seems largely an excuse for the production team to recreate yet another fixture of mid-century Americana, but I’m okay with it, since those lush visuals are one of the elements I’ll miss most about the show, along with its thorough Jewishness and extended cast of characters who are all just as funny as the stand-up comic lead (but I repeat myself). Anyway, it’s an improvement over the last couple of seasons and ultimately a decent farewell act, so I’ll go with a rating of three-and-a-half stars, rounded up.

This season: ★★★★☆

Overall series: ★★★★☆

Season rated: 1 > 2 > 5 > 3 > 4

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TV Review: The Shield, season 6

TV #26 of 2023:

The Shield, season 6

This season of The Shield is a bit scattered compared to the ones before it. It’s initially exciting to see that Forest Whitaker is sticking around past his initial one-year-arc, given how thrilling the Kavanaugh investigation of Mackey has been, but then after a couple episodes, he’s abruptly out of the picture. Instead it seems like most of this run will be about the tightening noose of Vic getting closer to finding out what really happened to his friend in the previous finale — but then he learns that information halfway through and the story again has to reorient. These shifts keep the audience on our toes, and they wouldn’t necessarily be a problem if they were in service to some greater narrative purpose taking shape in their wake. But here, too much of it just feels like random noise.

It doesn’t help that a few of the characters are making choices that don’t register as particularly well-motivated, from Shane’s sudden partnership with the Armenians to Dutch’s weird escalating feud with Billings. Strike team newcomer Kevin Hiatt is especially egregious in this regard, his characterization seemingly mutating by the week to serve the writers’ current needs. And the background politics are murkier than usual too, with a lot of exposition about a nebulous Mexican / Salvadoran cartel war that seldom hits home for the cast in any meaningful ways. In prior dealings with the various gangland factions, we’ve gotten more specific personalities for antagonists, but now that element largely reads as an afterthought of context for Vic and Shane’s extralegal maneuvering.

With that being said, this series is generally competent enough that an off-year is still fun to watch. It’s great to finally get to see the new captain’s style of leadership, and plenty of scenes have that signature twisted Shield humor to them, along with the ever-present critiques both implicit and explicit that policing is an inherently flawed arrangement that breeds corruption and rarely serves the community’s true interests in the long run. The ticking-clock of Mackey’s impending forced retirement adds some good tension and desperate scrabbling, which is the mode his antihero protagonist tends to work best in. But overall I would call this outing a weaker effort.

[Content warning for gun violence, torture, sexual assault, racism, and gore.]

★★★☆☆

Book Review: Marley by Jon Clinch

Book #71 of 2023:

Marley by Jon Clinch

Jacob Marley is a bit of a blank slate in the Charles Dickens classic A Christmas Carol — which is not a fault; he serves his purpose in the narrative there most admirably — and so he represents a logical candidate for this sort of treatment by a later writer, expanding scant kernels of characterization into a full-fledged backstory. Unfortunately, however, the resulting text here bears so little resemblance to the original that I can scarcely understand why author Jon Clinch has bothered positioning it as a related story at all.

What are we told by Dickens about Marley, the former business partner of Ebenezer Scrooge who has been dead for seven years when that famous tale opens? Simply that he was a miser in life, every bit the equal of the still-living associate whom his ghost now returns to warn. That shade appears bound in chains reflecting his mortal focus on profits to the exclusion of all else, and he calls it the mirror of one awaiting Scrooge, who’s so similar he has kept the firm called Scrooge and Marley and answers readily to either name in his dealings. In short: the piece is a morality play on unchecked capitalism, and Marley is the cautionary example whose path Scrooge must steer away from, once his eyes are opened by the three spirits which follow.

Not so in Clinch’s version. Here, Marley is a moral reprobate and a conniver of the highest order. He gleefully participates in the African slave trade, and sets up elaborate false identities and record books to hide the practice from Scrooge when Ebenezer’s fiancee objects. He impersonates police officers to shake down local brothels for protection money and a free sampling of their wares. He spins an extravagant web of lies to woo Scrooge’s sister, after hiring a man to kill her husband. In short, his sins are far greater than pure greed, and while his machinations known and unknown take their toll on Ebenezer, winnowing him over time from a well-meaning naif to the familiar coldhearted figure, the two men are in no way responsible for equivalent crimes. It’s downright silly to imagine that this Marley would be punished in the hereafter for the trifle of his lack of charity, nor that this Scrooge would be in line for his same fate.

But even if this novella isn’t meant to be approached as a plausibly canonical prequel, it’s not terribly satisfying in and of itself. The first half in particular is very dry in its rote accounting of the antihero’s misdeeds, and while he eventually feels more like a real person making active choices to overcome fresh challenges, the lingering sense remains that of a criminal mastermind effortlessly executing a variety of schemes on his unsuspecting victims. His deathbed regrets are likewise thin and unconvincing, and perhaps worst of all, there’s just too little sign of any actual Scrooge/Marley partnership throughout. For me as a reader, the book doesn’t work as either a Christmas Carol reimagining or an independent plot on its own terms.

[Content warning for gun violence.]

★★☆☆☆

TV Review: Saturday Night Live, season 48

TV #25 of 2023:

Saturday Night Live, season 48

I’m a little behind on this review, since I only belatedly found out that the venerable sketch-comedy series had officially canceled its remaining episodes of this production batch due to the ongoing writers’ strike, rather than postponing them indefinitely. Strictly speaking, then, this was the 16th television season that I finished watching in 2023, even though I didn’t know it at the time (and don’t feel like going back to update the numbering now).

Despite the unexpected truncation, this run acquits itself well. I always like to assess each iteration of SNL by noting what made it different, and in this case, the biggest change is that eight cast members from the year before did not return, and a ninth, Cecily Strong, popped up for only a few weeks in the middle before making her official departure as well. While their talent is missed — except for Aristotle Athari, sorry — I’d say that in their wake, the ensemble feels like a leaner and more cohesive troupe. We’ve still added four new featured players and have the Please Don’t Destroy guys knocking around for a second year with their prerecorded skits, but everyone’s getting more screen time on average than they had been for a while there.

As far as the newcomers go, Molly Kearney is a delightful self-sabotaging physical actor in the Chris Farley tradition, who also breaks ground as the program’s first nonbinary cast member — a status which allows for some unique humor without ever making them seem like a punchline themself. Fluent Spanish speaker Marcello Hernandez brings his own manic energy to the table as well, especially when paired with likewise bilingual hosts such as Pedro Pascal or Ana de Armas. Michael Longfellow and Devon Walker haven’t made as strong an impression on me, but I’d expect at least one of them to probably return next season anyway.

Overall, the sketches are solid too. Some favorites of mine from this stretch include “Wing Pit” (a clear unhinged successor to the old Taco Town bit), “COVID Commercial” (a scathing piece of social commentary on the present apathetic state of our collective pandemic response), and “A Christmas Carol” (just an absurdly over-the-top gorefest punctuated by Steve Martin and Martin Short’s impeccable comic timing). But the winner has got to be Michael B. Jordan in “Jake from State Farm,” which extends that handsome corporate spokesman to his hilariously logical extreme.

I’m sad that we aren’t getting the last few planned episodes of this run, but I of course support the strike and hope that it leads to more equitable contracts for the writers of this show and all the others. And even at a shortened length without any big sendoff, I would call season 48 a win.

★★★★☆

TV Review: Bob’s Burgers, season 13

TV #24 of 2023:

Bob’s Burgers, season 13

As usual, this family cartoon is again riding the bubble between a three- and a four-star program for me. I’ll round up on this occasion, because even though I don’t have much new critical insight to offer, enough of these individual episodes seem to stand out as among the better of recent years. Given the agelessness of the characters over time, we may not believe Louise in “The Show (and Tell) Must Go On” when she bemoans her upcoming last presentation of that ilk, but there’s still the appearance of growth for her, as well as effective tugs on the heartstrings in installments like “The Plight Before Christmas” or “Show Mama from the Grave.” And hey, it’s nice for Bob — with some help — to finally get one over on Mr. Fischoeder in “What a (April) Fool Believes,” even if we can presumably guess that it will do little to alter their underlying dynamic.

As the first season to follow the movie, this year also features an update to the sequence of disasters in the opening credits, which goes a long way towards making the show feel fresher. It’s a jolt of added energy to start off each story, and a reminder that even this late in its run, there is still a possibility of change for the Belchers and their extended town community.

★★★★☆

TV Review: Six Feet Under, season 5

TV #23 of 2023:

Six Feet Under, season 5

This final season perpetuates a lot of my existing frustrations with Six Feet Under, and as I watched, I expected that I’d probably give it the same two-star rating that I handed the previous year. The characters are all melodramatic and self-sabotaging far more often than they’re compelling protagonists by this stage, and the show has long passed the point where it’s able to wring much pathos from the established nature of the funeral home setting or any particular client of the week. Luckily the last few episodes mark a step in the right direction, by means of a sudden personal tragedy for the family that in many ways forms a natural bookend with a parallel development back in the pilot. Here again, the survivors are forced to pull together, to confront their own mortality, and to consider the ways in which their paths going forward will be forever altered by the new absence. It’s a melancholic mood I wish the series had been able to maintain throughout.

Before then, however, we have the latest wave of Fisher / Chenowith / Diaz nonsense to sit through. Claire’s dating the walking red-flag Billy, then later drops out of art school and throws a tantrum that her trust fund won’t pay for her nebulously hedonistic lifestyle. In an out-of-nowhere twist a la Pacey in the later seasons of Dawson’s Creek, she ultimately gets a random corporate job and starts a new romance with a guy who’ll always be Danny from The Mindy Project to me. Meanwhile, Nate is feuding with his pregnant wife and falling for his ex-stepsister, which won’t even be the most incestuous thing that the writers decide to spring on us. David and Keith have the most reasonable plot of becoming new parents, while Ruth is mainly just bitter and complaining about everything these days. Rico spends most of the season trying to win back his wife’s affections, although it mostly seems like she just gets tired of fighting him. And as ever, all these folks are still regularly seeing daydream visions of various dead people who function to express their deepest fears.

It’s all fine or at least not too awful, and the ending really does help draw the story together. But I’ve never been as satisfied with this show as it patently is with itself, and I’m happy to finally put it in my rear-view.

[Content warning for gun violence, homophobia, drug abuse, and suicide.]

This season: ★★★☆☆

Overall series: ★★★☆☆

Seasons ranked: 3 > 2 > 1 > 5 > 4

Book Review: Elsewhere by Gabrielle Zevin

Book #70 of 2023:

Elsewhere by Gabrielle Zevin

The concept of an afterlife where everyone ages in reverse (until becoming a baby again and getting sent off to earth to be reborn as someone else) is neat, but I’m less sold on the rather generic plot that this novel provides as our lens into that setting. The 15-year-old protagonist can moreover be a bit obnoxious, and I hate that she’s given a 35-year-old romantic interest, even if his heavenly body appears 17 by the time they meet. I also feel like the most interesting aspect of this story doesn’t arrive until more than halfway through, when his wife dies and the spouses who have been apart for nine years must sort out their feelings and decide if they want to be together again in the hereafter or not. But that’s ultimately a pretty small portion of the narrative, and of course is wrapped up in a needless YA love triangle to boot.

Stronger worldbuilding might help matters, both to make Elsewhere a more distinctive environment and to cut down on the bizarre elements like talking dogs and body-shaming mermaids that don’t make any sense with the other rules we’re given. But overall, this 2005 title is a far cry from the talent author Gabrielle Zevin would later bring to her 2022 work Tomorrow, and Tomorrow, and Tomorrow.

[Content warning for gun violence, drug abuse, and gore.]

★★☆☆☆

Book Review: My Dear Henry: A Jekyll & Hyde Remix by Kalynn Bayron

Book #69 of 2023:

My Dear Henry: A Jekyll & Hyde Remix by Kalynn Bayron

This YA novel reimagines Robert Louis Stevenson’s 1886 Strange Case of Dr Jekyll and Mr Hyde with both Henry Jekyll and the narrator Gabriel Utterson cast as queer Black teens, whilst retaining the Victorian London setting of the gothic original. I value the added diversity and the attention author Kalynn Bayron draws to that period’s racism and homophobia — clearly a worse monster than Hyde in this version — and I’m especially struck by her choice to present the infamous transformation serum as a twisted sort of conversion therapy, which Jekyll’s scientist father hopes will suppress the boy’s natural sexuality.

Nevertheless, I’m not sure the book as a whole works for me. It sticks closely to the classic plot beats, which means both that the storyline is pretty predictable for readers who know the older one and that this take on the protagonist likewise doesn’t learn the big secret until the very end. For modern audiences for whom Jekyll and Hyde are household names, this creates an impatient feeling of waiting for the characters to make the connection and finally realize what story they’re in, which does little to endear us to the hero. A work that took greater liberties could have mitigated that effect, not to mention spent more time with Gabriel processing the fallout of the revelation.

This is the sixth title in Macmillan’s Remixed Classics line, but the first one that I’ve read myself. (Each release is by a different marginalized writer and stands unconnected except for the general approach of reclaiming and reinterpreting the text in question.) I might try some of the others, but I wouldn’t recommend this one too highly.

[Content warning for sexual assault and gore.]

★★★☆☆

TV Review: Star Wars: Visions, season 2

TV #22 of 2023:

Star Wars: Visions, season 2

I’m pleasantly surprised by how much I like this second year of the experimental Star Wars anthology, given how lukewarm I felt towards the first season. As before, these episodes are short anime films, each from a different production studio, handed free reign to remix and reinterpret the classic sci-fi universe without worry of fitting into existing canon. Yet whereas the first batch seemed to fly too far under that creative freedom, mimicking the aesthetics and surface concepts of the franchise only — “operating under rules so altered that you’d be hard-pressed to ever justify why” the stories are being labeled as Star Wars at all, as I complained in my review — these new releases strike me as rather more restrained. It’s not a lack of worldbuilding either, as the environment of each piece here is instead quite intricately constructed. But more of these plausibly feel like they could have happened in that galaxy far, far away, and it turns out that that’s an important element I need in a tangential work like this.

The visuals are great too! Even the entries like “Sith” that I’m more neutral on are incredibly fun to watch, and my favorites like “In the Stars” and “The Bandits of Golak” are simply bursting with color and fun design choices. I also feel like the scripts are more satisfying overall, generally managing to tell a complete plot in twenty minutes or less and avoid seeming like a mere proof-of-concept. For all these improvements, four-out-of-five stars for the season appears wholly appropriate. Well done, everybody.

★★★★☆

Movie Review: Guardians of the Galaxy Vol. 3 (2023)

Movie #4 of 2023:

Guardians of the Galaxy Vol. 3 (2023)

Another rollicking cosmic thrill ride, and one that doubles as an apparent farewell to this creative corner of the Marvel Cinematic Universe. (Never say never where comic book characters are concerned, but with visionary director James Gunn now working for the DC competition, this sure feels like the intended finale to its loose trilogy.) With that in mind, the film expects the audience to have done their homework coming in, remembering not just how this ragtag crew joined into a found family and their subsequent exploits together, but also the details of how Peter left earth in the first movie, how the team set up camp in the floating skull Knowhere in the holiday special, and how there’s a variant of Gamora who doesn’t really know the others running around now, having hopped over from a separate timeline in Avengers: Endgame. It can be a lot to keep track of, especially if you haven’t seen some of those older features in a while.

And yet the main thrust of the script is wholly original, smartly filling in the backstory of Rocket the talking raccoon, a figure who had previously been used largely as comic relief. If you think it was a risk for Marvel to make a movie featuring this character so prominently back in 2014, the choice to raise his profile from sidekick to full-on protagonist here might surprise you as well. But in practice, that transition reads as perfectly natural, and his arc — the most dynamic one in the movie — generates great pathos as we learn more about his painful origin and see him finally stop fleeing from it.

Structurally, the story plays out along twin lines, intercutting scenes from Rocket’s heretofore-unseen past with his friends’ efforts in the present to find a way to save his life while he lies convalescent. To do so they need to clumsily break into a secure alien facility, bicker constantly, and ultimately face off against the animal’s twisted creator. The plot may be a tad overstuffed, but it has all the things we love about this team’s previous adventures, right down to the classic music drops, wisecracking banter, splashy color palette, and comedically inventive combat sequences.

Besides Rocket, the Guardians aren’t necessarily faced with the most meaningful personal conflicts, and I specifically dislike the pushy Nice Guy vibes of Peter insisting to the new Gamora that she could grow to love him like her other self did and the times that the narrative seems to validate him for it. Certain departures at the end strike me as poorly-motivated too, for while the team isn’t disbanding after this, some of the individual members voice their decision to step away, and not all of that registers as actually driven by the heroes themselves rather than the studio and/or the actors. (Although as a Doctor Who fan, I guess I should be used to those cast change moments sometimes coming out of left field at a story’s end.) If there ever is a Guardians of the Galaxy Vol. 4 in the MCU, it will likely be with a distinctive new roster, somewhat analogous to the turnover that the Avengers are currently undergoing back on earth.

Overall this is probably a bit less fun than the first two films, especially given its darker themes, but it’s a welcome bounce back from the empty spectacle of the Disney+ holiday special, which I felt revisited the IP without managing to say anything new with it. That installment from last year could be safely skipped at the cost of only some slight disorientation here, but if you care about these characters and what they mean to each other, you should definitely catch this follow-up.

[Content warning for gun violence, alcohol abuse, animal biomedical experimentation, genocide, body horror, and gore.]

★★★★☆