As far as the world of comics goes, Stan Lee was probably the most important person to have ever lived. Born to a Romanian-Jewish family in New York in 1922, young Stanley Lieber became involved in the world of comics early. An office boy in the 1930s, by the end of a frustrating 1950s, Lee came close to quitting the world of comics forever until his Newcastle-born British wife suggested he create a new crop of comic superheroes to challenge the near monopoly then enjoyed by Superman and Batman creators, D.C. In a remarkably short space of time, Lee created Spider-Man, The Fantastic Four, Iron Man, The X-Men and The Avengers essentially establishing Marvel as the incredibly profitable global media powerhouse that it remains to this day. Happy ever after? Well, no. Partly because, as Adrian Mackinder explains, the extent to which Lee can really claim complete credit for creating all these amazing characters remains hotly disputed. This is not a hagiography and while Lee was careful to cultivate a loveable avuncular image amongst Marvel’s armies of ‘True Believers,’ Mackinder, though clearly a big fan himself, does not shy away from exploring the less desirable elements of Lee’s character.
In short, Mackinder not only does a commendable job of detailing the highs, lows, creative explosions, fallings out and film cameos which made up Lee’s almost 96 years on Earth but also does a commendable job of explaining the cultural context in which they occurred. In addition to Lee’s life, we also learn a lot not only about the history of Marvel comics, but also get much on how vaudeville declined in the teeth of competition from radio and cinema in the 1920s and 1930s and much of interest about ALL comic adaptations on TV and film over the decades, not just the Marvel ones. It is easy to forget, despite the renaissance in comic book based films in the 21st century,, just how many flops there also were (Daredevil, Elektra, Ghost Rider, to name but a few). I must admit: I have sometimes written about the history of comics myself. But ultimately, I must put aside any feelings of professional jealousy and concede: Adrian Mackinder really has done an exceptional job here. Nuff said.
Book review: Stan Lee – How Marvel Changed The World, by Adrian Mackinder. Published by: Pen & Sword, White Owl.
Moxie is the story of how a group of teenaged girls band together to defeat the sexism endemic in their high school.
The sexism is everywhere. The school American football team are treated as all-conquering heroes, even as they slap girl’s behinds in public and send out lists of which of the female students has the “best rack” or is “most bangable.” One suspects both this behaviour and the language used – though undeniably unacceptable – is actually fairly mild compared to what actually goes on in many schools in both the US and UK.
Worse still, a serious complaint of harassment made by new girl, Lucy (Alycia Pascual-Peña) against bullying sports star, Mitchell (who, in an interesting piece of casting is played by Patrick Schwarzenegger) is not taken seriously at all by the school’s head, Principal Shelley (Marcia Gay Harden). Another girl is angry over being unfairly penalised for wearing a tank-top, others are irritated by the lack of support given to girls’ sports by the school. A trans student is also annoyed to be excluded from the school production of Little Shop of Horrors. Long-suffering liberal teacher, Mr. Davies (Ike Barinholtz) amusingly ties himself in knots by trying to retain a neutral stance amidst the rising tide of rebellion.
One student, Vivian (Hadley Robinson) has had enough. Inspired both by the defiant attitude of her new friend, Lucy and by tales of the 1990s riot grrrl activism of her mother (Parks and Recreation star, Amy Poehler, who also directs this), Vivian single-handedly conceives, devises, writes, produces and distributes MOXIE! an underground magazine designed to tackle directly the plague of male chauvinism which infects the school. She manages to keep her own role in producing the new journal entirely secret from friends and family, an element of the story, I personally didn’t find entirely convincing. At times, Vivian exhibits signs of the intolerance which occasionally emerges in such movements. She also comes close to alienating her best and oldest friend, Claudia (Lauren Tsai).
Based on Jennifer Mathieu’s novel, I did not find every aspect of the film entirely convincing. The name Moxie or MOXIE! really works as a film title.
But as a well-acted and potentially inspiring call to arms against the evils of everyday sexism, Moxie is definitely worth watching. Moxie is available to watch on Netflix now.
He was a boy. She was a girl. Can I make it any more obvious?
Well, in fact, the answer to this question would have to be “yes,” as this is emphatically not a simple story of ordinary teenage romance. For while Eric Walker (played by Nick Robinson) is definitely a boy, a 17-year-old attending high school in Texas, the girl in question is not actually a girl at all but a grown woman. She is Claire Wilson (Kate Mara). She is married, around thirty years old and she is Eric’s new English school teacher.
And if you don’t want to know any more about this ten episode series, I would suggest you stop reading now.
Eric sees to be a fairly typical high school ‘senior.’ He is attractive, sporty and popular. Although he struggles a little academically, he is not stupid and has ambitions to be a doctor. At home, his mother is a single parent who while never neglectful has her hands full bringing up both Eric and his two younger brothers. Eric has a few friends at school, none of whom are terribly interesting.
Claire Wilson, meanwhile, is an unusually attractive young woman, something Eric and his other male classmates quickly note, although possibly using slightly different language to express it. Claire’s motivations remain a source of interest throughout. We realise she is very attracted to Eric early on but simple lust does not really explain her reasons for embarking on an affair with him, as indeed (belated spoiler alert) is what eventually happens. Such a course of action risks her job, her marriage, her reputation and even criminal prosecution. Such things do happen in real life, of course, but why on Earth does she do it?
Right from the outset, we get a few indications that there is something rotten in the state of Claire. Early on, she steals some lipstick from a shop. It is a minor misdemeanour and she boasts to her disapproving husband about it later. But there is no suggestion she needed to do it. Had she been caught, she would probably have been prosecuted. It was a reckless and unnecessary act. We later learn her early life was blighted by her father’s alcoholism. An amateur psychiatrist might speculate that her emotional development was frozen at that point. Or at the very least, that she might feel like she wants to enjoy a teenage experience which she feels she missed out on the first time round.
Claire and her husband Matt (Ashley Zukerman) are trying for a baby and their love life has become strained by the need to have sex at specified times to maximise Claire’s chances of conception. Intercourse has become more of a chore than a joy. Matt also shows signs of being preoccupied with forming a rock band with his friends, a perhaps slightly adolescent interest at a time when he should be focused on starting his and Claire’s new family. Neither of these issues seem insurmountable, however. Matt seems like a perfectly nice guy throughout. He doesn’t deserve what ends up happening to him.
Viewers are free to judge for themselves at what exactly what point Claire and Eric’s relationship crosses the line into ‘inappropriate’ territory. Is it when, having crossed each other’s paths several times, Claire offers to help Eric with his SATs revision out of school hours? This doesn’t seem inappropriate in itself, but Claire’s motives already seem suspect. Perhaps it is when Claire tells Eric there is no need to call her ‘Miss Wilson’ when they are not in school: he can call her ‘Claire?’ Maybe it’s when Claire accepts a Facebook friend request from Eric (the story is set in 2014). Or it could be when Claire takes Eric on an impromptu day trip to visit the college Eric is hoping to attend. When they run into some of Eric’s friends neither question their assumption that Claire is just a girl Eric is seeing. All these initial moves by Claire make an affair more likely. When Eric kisses Claire unexpectedly after class, she makes a show of being scandalised and disapproving. But before long, their affair begins in earnest.
For a while, the two co-exist in their fantasy world together. But soon, inevitably things fall apart as news of their dangerous liaison gets out. We are spared the full scandal which sees Claire losing her job, marriage and going to prison. The series picks up events afterwards.
The series deals nicely with the aftermath. Eric initially seems to have got off fairly light escaping to college and even gaining some superficial kudos from his friends who react in a predictable, “Woah dude, Miss Wilson? Awesome dude. She’s totally hot” type fashion. But he hasn’t got off lightly at all. He is tortured by residual confused feelings for her and a sense of unwarranted guilt over her fate. He dislikes the notoriety the aftermath of the scandal gives him and soon embarks on a self-destructive course of drinking and reckless behaviour. His career plans are derailed in the process and he still seems a mess emotionally years later.
Post-prison, Claire struggles too. She has a ‘scarlet woman’ reputation, cannot get a job and her marriage is over. She remains even at this stage a fundamentally unsympathetic character, however. Although ultimately the architect of not only her own misfortune but the downfall of several other people too, she remains in denial about her responsibility for what has happened. She has abused her power, thrown away her marriage with no regard for her husband’s feelings and emotionally traumatised a minor placed in her care. In the final scene, set ten years on (although don’t expect any ‘President Harris to attend King Charles’s coronation’ style headlines in the background), Eric and Claire meet again. Eric himself now effectively fills the role of teaching, teaching the older woman exactly what she has done wrong.
Adapted by Hannah Fidell from her little seen 2013 film of the same name, A Teacher is available on FX, Hulu and the BBC iPlayer.
She loves it from first sight, loving everything about it even before she knows what it is. Barely has she persuaded Mr. Shaibel (Bill Camp), the surly caretaker to teach her how to play it, than she is visualising alternative game scenarios on the ceiling of the bedroom at night. She doesn’t so much take to chess like a duck to water as like a fish to water. She is soon living and breathing chess. It has become part of her DNA and she lives for the opportunity to sneak down to the cellar for an illicit chess game with Mr. Shaibel, who effectively becomes her mentor. Soon Mr. Shaibel is actively teaching her basic chess openings such as the Queen’s Gambit and the Sicilian Defence: basically the techniques which mark professional chess players out from the multitude who never really think beyond their next move.
This is good news for Beth, as life isn’t going so well for her otherwise. The story begins in Kentucky in the 1950s and nine-year-old Beth (who is played as a young child by Isla Johnston) has been placed in an orphanage following the death of her mother in a car accident. The orphanage is not an overtly cruel environment but life there does seem very boring and all the children are starved of love and affection. Beth’s only real friend is Jolene (Moses Ingram) a free-spirited older girl.
Alarmingly, all the girls in the orphanage are routinely issued with tranquilisers, as was apparently standard practice at the time. These enhance Beth’s ability to visualise chess scenarios when she is not actually playing chess. On the downside, she soon becomes hopelessly addicted to the pills. As she grows into an adult (played brilliantly by Anya Taylor-Joy), we see her develop further addiction problems, notably to alcohol. Her adult sexual appetites do not seem unusual, however, and her personality as an adult does not stray too far from the conventional norms either, aside from her all-consuming obsession with chess.
In time, Beth is able to escape the orphanage, being adopted by the Wheatleys, a middle-aged and middle-class, mid-20th century, middle-American suburban couple. Although ostensibly a more stable environment, it soon emerges the Wheatleys’ marriage is in its death throes. Alma Wheatley (another excellent performance from Marjelle Heller) seems fragile, overeducated and frustrated. Her husband, Alston (Patrick Kennedy) is a selfish, unlikeable character who always acts as if he’s being distracted from something more important.
Happily, Beth’s burgeoning chess career ultimately provides an escape for both her and for her adopted mother. The stage is set for us to witness the birth of Beth Harmon’s career as a 1960s female chess legend.
Based on the 1983 novel by Walter Tevis (who also wrote the books which became the films, The Hustler, The Color of Money and The Man Who Fell To Earth), this is an endlessly watchable and compelling story of a fictional chess superstar, boosted enormously by a career-defining performance from Anya Taylor-Joy. Fidelity to the source material is not essential to a adaptation’s success. However, anyone turning to the original book after watching the series, will find the show follows the novel very closely with the exception of one major development early in the book, which was cut out of the series.
Following its October 2020 release, The Queen’s Gambit quickly became Netflix’s most watched scripted series to date. It is easy to see why.
In: Yes Minister and Yes Prime Minister (sitcom 1980-1984, 1986-1988)
Played by: Paul Eddington
Written by: Antony Jay, Jonathan Lynn
Indecisive, bumbling but ultimately well-intentioned. Hacker is generally thwarted at every turn as Minister of Administrative Affairs by civil servant Sir Humphrey (Nigel Hawthorne) who sees his role as to block any attempt at change or reform. Despite this, Hacker (who, unusually, is never given any party affiliation by the show’s creators) succeeds in becoming Prime Minister, largely on the back of a plan to protect the British sausage from European interference.
In: GBH (drama, 1991)
Played by: Robert Lindsay
Written by: Alan Bleasdale
The charismatic far left Labour leader of an unnamed northern city council (Derek Hatton suggested the show was about him, something which creator Alan Bleasdale denied), Murray leads an unholy war of terror against Jim Nelson (Michael Palin) a teacher who refuses to take part in Murray’s headline-grabbing “Day of Action”. Although both totally corrupt and a womaniser and prone to a nervous twitch, Murray grows more sympathetic as a character as we learn he is both the victim of a traumatic childhood prank gone tragically awry and a modern day plot by the security services to brand him a racist.
Sir Francis Urquhart
In: House of Cards, To Play The King, The Final Cut (dramas 1990, 1993, 1995)
Played by: Ian Richardson
Written by: Andrew Davies (based on Michael Dobbs’ books)
A very different kettle of fish to Kevin Spacey’s Frank Underwood of the recent US House of Cards remake, Urquhart is an apparently charming old-fashioned upper-class Tory chief whip, who begins plotting a bloody path to Downing Street after moderate new post-Thatcherite Prime Minister Henry Collingridge (David Lyon) fails to honour a promise to promote him to cabinet. As PM himself, Urquhart continues to occasionally murder his opponents and overthrows the Prince Charles-like new king after he shows signs of developing left-wing ideas.
In: A Very British Coup (drama, 1988)
Played by: Ray McAnally
Written by: Alan Plater and Mick Jackson (based on Chris Mullin’s book)
When former Sheffield steelworker turned Labour leader, Perkins leads his party to a dramatic surprise election victory, the establishment are thrown into a state of panic. Perkins is committed to re-nationalisation, nuclear disarmament and probable withdraw from NATO. The press barons, CIA and MI5 thus soon decide to ignore the people’s verdict and get rid of the new boy in Number 10.
In: The New Statesman (sitcom, 1987-1994)
Played by: Rik Mayall
Written by: Laurence Marks and Maurice Gran
A true Thatcherite to the core, Mayall’s flamboyant occasionally murderous backbench Tory MP easily lives up to his name whether engaged in blackmail, adultery or tormenting fellow backbencher Sir Piers Fletcher Dervish (Michael Troughton).
In: Our Friends In The North (drama, 1996)
Played by: Christopher Eccleston
Written by: Peter Flannery
Nicky encounters numerous politicians in this drama spanning the years 1964 to 1995 but his own bid for parliament on behalf of Labour in 1979 proves a woeful failure. Having initially been led astray in his youth by corrupt civic leader Austin Donohue (Alun Armstrong), a character based on the real life T. Dan Smith, Nicky’s campaign is sunk by press hostility, internal divisions, a right wing smear campaign and an attractive female Tory opponent. The son of a disillusioned Jarrow marcher (Peter Vaughan), Nicky rejects politics in favour of a career in photography soon after.