July 2019 Book, TV and Film Roundup

Happy August 1st, AKA Spider-Man Day!

Now that July is gone with the wind, here is what went down: My screen exposure was higher than ever, hat tip to the Apple screen time(r) (I love to hate you). Unexpectedly though, this did not result in an increased number of reviews for this roundup. I spent most of my time watching Jessica Jones (2019), Season 3. I waited about two weeks to start the series… with hopes to delay the binge-watching, and the sadness caused by my favorite show wrapping up. Krysten Ritter nailed this season in so many levels, which I will expand on below. I saw Spider-Man Far From Home (2019) as soon as it came out. It put mind to rest after the destruction that the Endgame (2019) left and it reaffirmed Marvel’s well-thought creative decision about the rise of Spider-Man on our screens. I apologize for not having a review for The Lion King (2019). I promise it is in the works, and I will publish it separately. As I mentioned in my June roundup, I read Syd Field’s The Foundations of Screenwriting (2005). An excellent book by a sweet-talking author, screenwriter, and teacher.

The Shelf

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The Foundations of Screenwriting (2005) By Syd Field

As I have been trying to find where I would fit in the film industry upon graduation, I decided to explore whether I can do what I love the most: writing. A five to eight-minute google research led me to read Quora Digest and Reddit, where internet people strictly suggest not spending money on a “how-to” book for screenwriting. They suggest scripts will give you more freedom than the twenty bucks you spend. I didn’t listen to them and bought a cheap copy of Field’s book—I did not regret it, you won’t either.

Field did not write a how-to book. His book put a combination of his memories working in the industry and his lectures in words. In fact, as you read the book, you realize Field is repeating the pivotal sentences in your head over and over again. He really is lecturing you through this book. He wants you to know the right thing, fail a couple times, and return to what he told you again (because the guy really knows what he is doing).

So, what is it that you learned, you say? To recap: Stories can be found everywhere: In a magazine, newspaper, in the people you watch. Before you write the story—know the beginning and the end. Have a clear map, and you can play with the path. You capture the story by capturing your main characters. Write a biography for them, know what they would do in certain situations. Let them drive the story forward, otherwise, they are insignificant. Have plot points that change your direction along the way but keep your map in mind. Finally, take the hard responsibility of writing despite its challenges – These important points are only to name a few.

The 300 pages or so taught me more than its worth. So, believe me, when I say it is important for you to read this book if you don’t want to lose your way. Field also talks more about self-doubt, the real deal about creativity and licensing and selling your screenplay. But, he does so in a way that feeds you information while still making you feel like you are listening to one of his greatest stories. A fast read. A must-have. A Bible.

 

The Small Screen

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Jessica Jones– Season 3 (2019)

 What a journey it has been for Jessica. In a way, it has come a full circle. During the first season, he fought a mind-controlling, rapist and psychopath, Killgrave. In my opinion, this is still the best season to date. In season two, she fought her own mother, then, came in terms with her. She saw her own mother die with a bullet in the head, shot by Trish who is also family. In particular, I did not enjoy season two a lot. I am not necessarily sure why—But a guess might be because the mother-daughter duo did not feel as organic as it maybe should have. However, now I realize that season two planted the seeds of Trish, showed us her previous battles with addiction and harassment, and her desperate need to feel empowered. In a way, season three had both Krysten Ritter (Jessica) and Rachael Taylor (Trish) share the spotlight. We didn’t see much more about Malcolm’s character development or at least it wasn’t a driver of the story for this season. We started understanding, even emphasizing with Hogarth and the loneliness that is killing her.

Continue reading “July 2019 Book, TV and Film Roundup”

June 2019 Book, TV & Film Roundup

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June was a quiet month for screen exposure. Well, at least the second half of it. I have a special someone visiting me so, I assure you that there will not be any complaining. This also makes up my much-needed excuse for posting a June roundup on the second day of June, rather than the first of it. While I thought these roundups would keep the blog alive when I did not know what to write about, I also realize now that they also keep me somewhat accountable. I love deadlines. I am past my deadline. Well, let’s talk about all the great things in life. Books, TV, and film. Here we go.

The Shelf

I have been mainly busy with reading research articles, extending my own research article, and editing my thesis. I managed to get my hands on a second-hand copy of Syd Field’s Screenplay: The Foundations of Screenwriting (2005). It is an excellent read that is beyond a “how-to” book so far. I never got to finish it so, I’ll postpone the review to the next round up. What I did finish though, is Ta-Nehisi Coates’ take on Black Panther, A Nation Under Our Feet (2016).

 

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All images belong to the rightful owners.

 

Black Panther: A Nation Under Our Feet (2016) By Ta-Nehisi Coates

I remember reading an article by the ex-Atlantic journalist, Ta-Nehisi Coates prior to making the decision of picking up this comic book (Note that I have not read his take on Captain America, yet). The article talks about the mixed-feelings of producing a story that has been created by a predominantly White team of comic producers, Coates finding his purpose through taking the challenge, playing with a new voice and potentially making that voice sound better for many. I was curious to see how Coates re-introduced the previously primitive Black Panther (see, Fantastic Four #52) and whether the same criticisms made for the movie (2018) could also be traced back to this comic. Coates’ Black Panther actually received all of those criticisms in the comic itself: T’Challa was selfish, he was not heard by his nation, and he, perhaps, hurt his nation because he saw them as a burden rather than an honor.

The main plot revolves around the people of Wakanda attacking their own King. On the surface, they are controlled by a woman with supernatural abilities, however, Coates’ sets up the greater problem underneath, that is caused by the heaviness of T’Challa’s crown. While the enemies plot against overthrowing T’Challa, he fears his greatest challenge of failing Wakanda. Coates’ way of telling this story is beautifully poetic, complex, and one that houses an interplay of many messages. His take of the Black Panther is not actually a book of physical war but the fearful war within the King. It is nowhere close to a primitive representation, but psychological warfare that pushes T’Challa for reconsidering his ideology. It is Black Panther refreshed, yet not one that forgets history. I suggest you get your hands on it and read it. Then, read it again to truly appreciate the story behind every word.

The Small Screen

 

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All images belong to the rightful owners.

 

How to Sell Drugs Online (Fast) (2019)

I don’t know why I will stamp this show as mediocre yet but… I will anyway. Netflix caught me on its main page trap when the show was first released, I did not have anything to watch at some stressed point in my life and pressed play. I did not binge watch this show, rather, went back to it whenever I was desperate. Don’t get me wrong, it is wasn’t a bad show per se. It was just a real-life, coming of age story that had minimal sickening events (see, episode 8… I think), and not so sickening references to the dark web (I was forced to watch a YouTube video talking about the dark web so, I hate talking about the dark web).

The plot is about Moritz, whose girlfriend just got back from an exchange program from the US and questions the meaning of life (thanks to the drugs, hence the title of the show). So, Moritz decides to sell drugs to win her back and surprisingly makes a lot of money to fuel his greed. I don’t think the growth of Moritz’ online drug business is so typical, but the show accurately represents the German young-adult culture and the effects of the wide use of drugs. The show also deserves an A+ for its use of simplistic cinematography and tech-inspired graphic components. Overall, is it a waste of time? No. Is it an amazing show? No. Continue reading “June 2019 Book, TV & Film Roundup”

Playing God: Marvel’s The Punisher (2017)

Author: Muammer Tuncer
Editor: Hazal Senkoyuncu

 

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Visual Credit: Karina Rehrbehn (on halfnakedbanana.tumblr.com)

 

The Punisher (season 1) opens with Frank Castle’s troubled past that haunts him in his every waking moment and quickly establishes the overarching narrative of the show: Revenge. And, of course, it comes with pain.

To recap the series: Frank Castle’s family is murdered. He seeks revenge for those who are responsible for killing his family. His mission also reveals bits of his past throughout the series. While Frank is thought to be dead, Agent Madani follows Frank after spotting him on the news, spending her screen time to find the man of mystery. It is revealed later, that the murder of Frank’s family was part of a larger conspiracy, which then changes the direction of the series. This is exactly when the unstoppable action of The Punisher begins to unravel.

There are several flashbacks that play in Frank’s head: His wife and kids’ murder in front of his eyes, excerpts of Frank and his friends inside a military plane to Afghanistan, his friend Jigsaw’s betrayal. These moments build up the alter ego of a vengeful vigilante, or in Bernthal’s (who plays Castle) words, “He ain’t got a fucking cape. He ain’t got any superpowers. He [just lives in] an unbelievable world of darkness and loss and torment”. The Punisher certainly is a band-aid story. Frank cannot cure his own pain, so he numbs it. And, his substance is the vigilante work that pulls him out of the deep sadness.

Karen (Daredevil’s strong-willed blondie journalist) fights for Frank’s good intentions and truly believes in him. Her character is already established in Daredevil and the Defenders, and she continues to be the Marvel TV’s moral compass in the Punisher. Her role as the love interest and damsel in distress reprises as Jigsaw uses her in a trap to reach Frank. The scene reveals what Karen and Frank have been on the contrary: They have an unspoken, skinny love for each another.

The series revolve around the judgment of Frank the Punisher. Perhaps, he is playing God. In a world where the bad guys walk around the block swinging their arms, Frank is the justice. It would also be fair to say; Frank portrays a superhero misunderstood. He isn’t really a superhero; he is one of us. What makes him so different is his big heart, unbelievable courage, powerful character, and endurance.

Note from the Editor: This is the first collaboration featured on Hazal’s Camera. I would like to thank Muammer for jumping into writing his first review without a doubt and letting me help him in the process. While I love talking about media, I also want this website to be a platform that can house different opinions. I am looking forward to future collaborations. You can email me at hazalscamera@gmail.com with all of your ideas (travel, news, film-tv, books, personal reflections, etc.).