TV, Book, Movie and Podcast Roundup – Summer 2019

Welcome to September! Because there’s not enough useless information floating around on the internet, I thought I would update readers of this blog as to what I’ve watched/read over the previous month, each month, in the form of TV, movies and books.

Some of this I will have reviewed on the blog but others I’ve just been watching for enjoyment with Mrs Black. This edition covers both July and August collectively.

Let’s start this month with TV…

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ONCE UPON A TIME IN HOLLYWOOD: Tarantino’s Goodbye to All That

There is a different aura around Quentin Tarantino’s latest film, Once Upon a Time in Hollywood. There is the sense of a film maker continuing to season, to look back, not just at his own legacy but that of cinema itself in the last half century.

The title almost says it all. Not just a nod and wink to the king of QT’s beloved Spaghetti Westerns, Sergio Leone, and his epic Once Upon a Time in the West, but rather acknowledgement that Tarantino has crafted a Hollywood fable and, as a result, what has to be the most sweet-natured picture he has ever given us. Gone are the loud, vituperative gangsters or assassins, war heroes or slave traders, replaced by the most sensitive of all warriors: the actor.

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The X-Files – ‘Ghouli’

SCULLY: I should have had the courage to stand by you, but I thought I was being strong because it was the hardest thing I’ve ever done: to let go, and to know that I was going to miss your whole life.

When plans for the latest season of The X-Files were announced, quite a number of fans were surprised to be informed by FOX head honcho Dana Walden that Season 11 would feature only two episodes concerning the ‘mytharc’, Chris Carter’s long-running, labryinthian mythology which has coursed through the series over the last twenty-five years. ‘Ghouli’ proves that statement was never entirely accurate, and continues what was already established in ‘This’ – the mythology is being weaved in more with stealth than grandiosity.

Ostensibly, of course, ‘Ghouli’ is a monster story – two teenage girls try and kill each other, each believing the other to be a tentacled beast from some kind of Lovecraftian nether realm. It recalls Season 5’s ‘Folie a Deux’, which memorably dealt with the literal idea of an unspeakable ‘thing’ hiding in plain sight, with a dash of Season 3’s cosmically apocalyptic black comedy ‘Syzygy’ (just without the laughs). Before the episode, a neat level of viral marketing presented the fictional ghouli.net discovered by Agents Mulder & Scully in the episode as a real site fans could click on, reading the fictional urban legend recounting of people seeing or encountering the mysterious Ghouli. Everything about the episode, on the face of it, points to a classic monster of the week.

If not for a character named Jackson van de Kamp, who very swiftly establishes himself as the raison d’être for James Wong’s entire piece. Look away now—no seriously, don’t say I didn’t warn you—but Jackson is, of course, Mulder & Scully’s long-lost biological son William (or Scully’s for certain, at least). William was born at the end of Season 8 having been coveted by alien super-soldiers and later bonkers cultists for being some kind of supreme alien/human hybrid being, indeed prophecies exist about how he may either save humanity or lead the aliens to their complete destruction (in Season 9, so we try and forget about all that). Nevertheless, William is important with a capital I. He was crucial to the last two seasons of the original series. He played a key, off-screen role in Season 10. And he is central to everything about ‘Ghouli’.

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