We have reached Peak Rebook, a point beyond which we surely cannot possibly go any further.
CBS has announced its latest reboot subject: Nancy Drew.
We have reached Peak Reboot, a point beyond which we surely cannot possibly go any further. It needs to stop. The television industry owes us better than this, and it knows it. It’s not what audiences have been asking for, and they’ve been backing their asks with their time and their patronage: Television is turning more and more into a legitimate art form, with stunningly beautiful, well-crafted shows getting huge turnout from viewers who are excited about the narrative and artistic possibilities of television. As we face down a television landscape filled with elegance and beauty, networks persist in shoving reboots down our faces.
We can’t get Stewart back again, but we weren’t looking for a Stewart replacement in the first place.
Trevor Noah stepped into an extremely large pair of shoes on Monday night as he took the helm of the venerable Daily Show, replacing long-time host Jon Stewart. Stewart was largely responsible for making the show what it is today, and many were extremely nervous about seeing a new face on stage. Noah was a target for suspicion almost from the start as people promptly dug up old tweets and comments to point fingers at a perceived lack of sensitivity and progressiveness, and he’s tripped up since with some public comments as well, exposing himself to the internet’s usual heightened and aggressive scrutiny. The internet, fearing change, is predisposed to loathe him, and with a deck stacked against him, he needs to hit the ground running.
The book feels a bit like it might have come out of a 1990s cultural studies department – everything is valid, nothing is meaningless or just plainly what it appears to be.
Satin Island is Tom McCarthy’s second grab at the Man Booker ring – his book C was shortlisted in 2010 but lost out to Howard Jacobson’s The Finkler Question.
Doctor Who has brought us some of the most creepy and menacing enemies in pop culture. This attempted to humanise one.
Doctor Who is back with ‘The Magician’s Apprentice,’ part one of a double episode series opener, and it’s clear that this season, like the last, is going to be pure Moffat. The showrunner is hell-bent on pushing the envelope with the characters and the setting, to mixed results—ratings were low for the premiere, suggesting that viewers may, perhaps, be tiring of his handling of the venerable franchise. While those who did tune in offered some positive reviews, this episode was generally a bit of a sloppy, confusing mess, and it showed.
Only one of these six writers seems to have any optimism at all about the human condition.
The shortlist for the Man Booker Prize was announced on Tuesday. The six titles that made the cut are:
Satin Island (Tom McCarthy)
A Spool of Blue Thread (Anne Tyler)
The Fishermen (Chigozie Obioma)
The Year of the Runaways (Sunjeev Sahota)
A Brief History of Seven Killings (Marlon James)
A Little Life (Hana Yanagihara)
Puberty the second time around is every bit as unique as puberty the first time around.
Going on hormone replacement therapy, some of us like to say, is like enduring a ‘second puberty’ as you finally start bringing your body into alignment with your identity…with a few bumps along the way. It’s not just that hormones are expensive and finally progressing with medical transition — for those who choose to pursue it — can be emotionally intense.
That said, as a book about the tragedy of lost promise (both of individuals and nations), this dark tale has a lot to say, and says it with a facility that grips tight and holds on to the final chapter.
Chigozie Obioma’s The Fishermen is the second of the three debut novels on this year’s Man Booker longlist, alongside The Chimes and Did You Ever Have a Family. In very different ways to The Chimes, this is also a book that speaks its writer’s newness – both in energy and power, with which this book is redolent, and also in its slight overreach. Unlike Smaill in The Chimes, Obioma controls his pacing expertly, but what he doesn’t quite pull off is the master narrative that I think he was reaching for. That said, as a book about the tragedy of lost promise (both of individuals and nations), this dark tale has a lot to say, and says it with a facility that grips tight and holds on to the final chapter.
What’s important for many of us isn’t transition, but what comes after — and young readers too need to see that life goes on after transition.
Alex Gino’s George is hitting the shelves of US bookstores at a time when transgender issues are everywhere — high-profile trans women are occupying an important part of the media conversation, trans characters are cropping up in fiction more and more, and the media is beginning to confront the way it handles transgender reporting. The book, published by Scholastic, edited by David Levithan, and aimed at middle grade readers, aims to be part of that canon, but it’s important to have a larger conversation about who is included in trans media.
What a pity we can’t leave the cinema thinking that last line, “damn, that shit was dope.”
“Straight Outta Compton” explodes with a blank screen, helicopter blades and media chatter. We could be starting another zombie apocalypse or alternatively listening to a multi-layered, cinematic section of an NWA or Ice Cube track. The living dead or gangsta rapper, it doesn’t matter which as both are interchangeable. Both are American folk devils that rattle the white establishment to its core who then respond with a series of increasingly inept moves to halt the threat to the capitalist status quo. What’s worryingly similar is that despite the zombie hordes being fictional, dead husks of human beings and gangsta rappers being the living, breathing embodiment of young black resistance in the late 80s and early 90s, both are treated with equal levels of violence by the world’s premier democracy.
The Chimes is a skilful, gripping, and very enjoyable book, and deserves to be read widely.
New Zealander Anna Smaill’s debut novel is an interesting choice for the Man Booker longlist. It crosses at least one, and I suspect, two, general Booker taboos – it’s genre fiction, and it also reads to me like a YA book. I’m not sure if that was Smaill’s intention, but I think it’s a book that could be read and enjoyed by good readers from 12 or so upwards, which is certainly not the case for most longlistees in the Booker over time. It’s not just the language – it’s that this is a book that mixes danger, personal agency, ideas, and hope, without a trace of the realist grimness that seems mandatory in serious literary fiction.
Global Comment © 2015 | Design & Developed by : Slate