Tag Archives: netflix

The Age of Streaming Services: Then, Now, and Beyond [Exclusive Interview Inside]

Previously published on The Artifice.

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SOURCE: Vidooly

“My family are huge TV watchers. We will, unfortunately, subscribe to everything”, states an anonymous comment made by a viewer in a public survey.* It is common to feel impotent towards new movies and tv shows releasing online every week. The Internet made content accessible for the public, but the catch is that the viewers feel the need to keep up with it all both financially and otherwise.

Streaming is replacing the beloved TV in the average household. Whether it is Netflix, Hulu, or Amazon Prime, (or all three!), there is a guest in the house who will literally cut the cable, and, it may be here to stay. So, how did the average consumer welcome streaming without a visible transition? It started with a live internet video by some tech company nerds in 1993. It was a poor attempt that used up half of the available bandwidth of the entire internet. In 1994, the New York Times referred to the Rolling Stones as “the first [major] rock band in cyberspace” to promote their music to millions of streamers. As you can imagine, there was some controversy about who was first and what should’ve been written in Rolling Stones’ press releases. Fast forward to 2005, Saturday Night Live (SNL) released its first video short on Youtube, right around the time that the service started becoming popular. In 2007, Netflix (NFLX), previously known to be a mail-order service, introduced its on-demand platform and became an influencing figure as both a content-producer and provider. Today, the same company has 24 Oscar nominations (2020).

The Inevitable Death of Television

The Universal TV Problem is perhaps rooted in its adaptable nature. In the 40s, the black chunky boxes found their place in the American home and made their debut a little later internationally in the 70s. As Media Theorist Neil Postman discussed foreseeingly in the 80s, the average family (despite their income) started positioning their couches to face the television. And the television found its purpose as the entertainer, silence-filler, and now, a mere accessory.

Our brains spend too much uncommitted time in front of the television to truly commit to its information. The television is rapidly dying along with the broadcast news. We retain less and less of what we hear and even forget where we heard it from. It is not to say that there weren’t any attempts at bringing different content with a monetary cost like subscription TV—However, nothing seemed to help the fate of once adored television.

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What Now? A New Place for the Televisual Content

While the traditional network executives have been busy planning detailed marketing strategies, streaming services are releasing a notable number of original shows every month. The subscribers are seated to be entertained by different content continuously, leaving no time for boredom and rewarding a few of the eager viewers with the binge-watching curse. Yes, the entertainment machine takes a new form in 2020, however, the viewers have all freedom they would need to make the choice on their exposés.

Binnur Karaevli, the director-producer, and screenwriter of Netflix’s critically acclaimed The Protector [Hakan Muhafiz], stated in an interview (Vancouver, BC) “Future is really the streaming services. Of course, the networks will continue, but right now, we have Netflix, Amazon [Prime], Apple [TV], and recent additions like Disney Plus and HBO Max.” Karaevli is the first Turkish filmmaker to score a deal with Netflix (NFLX), the global market leader. Netflix is projected to have an 86.3% penetration in the US market.

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The Protector Season 1
SOURCE: log.com.tr

Streaming Services: An International Powerhouse

Streaming services are writing history while the traditional broadcast TV is rapidly losing its viewers. Amongst other reasons, it may be true that streaming services are the reason for the decreasing rate of television viewership. Karaevli states, “It’s a completely different way of doing business [compared to local filmmaking in Turkey]”, she adds, “Doing the first one [globally-accessible production] is always challenging—but exciting, too.” The streaming productions do not target a specific local group nor suffer from network or government bans, which means they can offer fresh opportunities for diverse content. Karaevli suggests, “In fact, it is helping the industry. The streamers are international so, it is a huge plus.” Prior to the rise of the stated services, US-based networks like ABC, NBC, targeted the American culture. “Today, streaming services you can access productions from Turkey, and all around the world— which I find exciting!” says Karaevli (See, references for further information on the interviews).

Familiar Faces: The Mouse House

2019 solidified the presence of streaming services in the average household with releases of highly expected services like Apple TV and Disney Plus. Specifically, Disney was expected to be Netflix’s biggest rival. As the President of Marketing Asad Ayaz stated in an interview, it was important for Disney to market the films that spoke to the now-older audience and expand their horizons for the youth. It was inevitable for Disney to develop the much-talked remakes to achieve these two goals at the same time. It is forecasted that Disney Plus will have 60 to 90 million global subscribers by 2024. According to A.J. Black, the author of Myth-Building in Modern Media, there are already too many services in the market. Black states, “People will inevitably dip in and dip out of subscriptions, but it could lead to some trying to lock down customers for long[er] subscription periods”, and adds, “If they do, that could cause problems if too much content is still diversified across platforms”.

Gold Standards Established by the Users

The results from a public survey conducted upon the development stage of this article showed: 86% of the viewers stuck with Netflix, followed by Amazon Prime (41%), Hulu (25%)*. It was surprising to see Disney Plus (16%) was not amongst the first choices for the viewers. However, it should be noted that there are simply too many countries that Disney Plus has not been released yet. 48.94% of the streamers stated they would be purchasing a Disney Plus membership upon its availability in their countries. 81.63% of the streamers were satisfied with the service they have been using.

Streamers first considered 1) a wide range of older shows (78%), 2) the purchase price (77%), 3) original (new) shows (69%), and 4) brand reputation (30%) to affect their decision of purchasing a membership. Others noted, “interface design and usability”, “advertising”, “lack of exclusivity and geo-blocking”. Streamers also preferred to have “access to episodes all at once (85.19%)” over having “access to one episode on the release date (14.81%)”.

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James Bareham/Polygon
FILED UNDER: STREAMING

What the Streamers Say

“I don’t care about new originals; I base my purchases solely on the shows and movies I am specifically looking to watch. Thus, I am about to drop Hulu and Disney+ and will use Netflix until I have seen everything on there I care about. I have zero brand loyalty.”

“I would only pay for a maximum of 2 streaming services. I think what each company has done in creating their own service is stupid and I refuse to pay for it – instead, I’ve just gone back to torrenting, which is a shame because I prefer legally streaming but I can’t afford 5+ memberships.”

“There’s too many available right now – we’re back to where we started with cable.

“Streaming services should be about service, but currently they revolve around exclusivity (which I find an immoral monopoly) and geoblocking (despite being provided through the internet, which is global). Because of that moral objection I don’t subscribe to any and resort to the moral alternative of piracy.”

“It’s smart business. Streaming has the potential to eventually eradicate common TV entertainment…or…they have the potential to be put on TV channels of their own, to be a part of cable/satellite packs at everyone’s disposition.”

“It’s turning back into Cable. People are going to be back to pirating shows before long. I am concerned about the withdrawal of physical media from the market.”

“Until a streaming service can reliably provide me with anything I want at a moment’s notice better than my own library can, I’m not interested and I’ll continue to use my own library.”

“Stream services are dying. The appeal used to be you’d have one or two sites that had practically everything, so it was a nice convenience price. But now everyone and their mouse want a slice, and we’re dealing with a bunch of sub-par services where you’re lucky to find a single worthwhile show. So yeah, back to just stealing what I would otherwise more than happily pay for if they didn’t make it so pointlessly hard to do so”.

“Streaming is going to die, everyone will go back to pirating again.”

The Grand Finale

Streaming services already created a need to catch up with the flood of neverending content, and pulled TV’s plug– It is even beginning to threaten the business of movie theatres. The business model used to be based on streaming platforms pulling older seasons of shows and attracting viewers to the newer content that could be found in the traditional TV. The production of original content exclusively for the online platforms started taking life away from the TV, and potentially movie theatres. To be fair, if a consumer can watch an Academy Winner movie at the comfort of their home, why would they attend a niche film festival and pay extra for it? (Streaming productions often make their debut as a part of these festivals and find their way to the on-demand platforms a short while later).

It would be cruel to ignore other truths: Streaming is currently reviving the film industry, opening doors to international content, and allowing viewers to choose what, when, where, and how much they want to watch certain content. In short, streaming services give the viewer their freedom. However, this also has monetary costs. As the anonymous comments state, the availability of content in separate platforms forces the viewers to purchase several memberships. In practice, it makes sense; in reality, the average person cannot (and likely will not) spend 50 bucks per month to watch a new form of TV. And, they most certainly will not want to be tied to years-long subscription periods.

A significant number of streamers already seem like they are going back to illegal methods to access online content. Pirating seems to be the only way to make a leap out of the diverse number of exclusive content that these platforms offer. This will eventually hurt the film industry, but for now, it is still the golden age of streaming services.


*Should you require additional information about the survey results stated above, please contact hazalscamera@gmail.com

References

Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985) by Neil Postman

Binnur Karaevli interviewed in-person by Hazal Senkoyuncu in Vancouver, BC (2019).

Neiger, C. (2019, August 27). Netflix’s Market Share Is Shrinking, but It’s Still the King of Video Streaming. Retrieved from https://www.fool.com/investing/2019/08/27/netflix-market-share-shrinking-still-streaming.aspx

Online Interview of A.J. Black by Hazal Senkoyuncu (2020).

Poggi, J. (2019, December 9). Marketers of the Year No. 6: Walt Disney Co. Retrieved from https://adage.com/article/media/marketers-year-no-6-walt-disney-co/2221176

Roxborough, S. (2019, November 14). Netflix Dominates Global SVOD Market, but Local Services Gain Ground, Study Finds. Retrieved from https://www.hollywoodreporter.com/news/netflix-dominates-global-svod-market-but-local-services-gain-ground-1254438

Strauss, N. (1994, November 22). Rolling Stones Live on Internet: Both a Big Deal and a Little Deal. Retrieved from https://www.nytimes.com/1994/11/22/arts/rolling-stones-live-on-internet-both-a-big-deal-and-a-little-deal.html

Survey on “streaming services” conducted by Hazal Senkoyuncu, www.hazalscamera.com

Switchboard Live. (n.d.). Retrieved from https://switchboard.live/blog/live-streaming-history

[Underrated Mondays]: The Zodiac (2007)

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There is a new section on the blog: Underrated Mondays. In this section, I will review movies that are filmed between the years 2000 and 2010, and that I think are underrated. For the sake of clarification, movies that make it to this section will be ones that do not double their budgets (reflected as ‘gross box office data’). I expect to update this section twice: the first and third Mondays of the month.

“It is more fun than killing wild game in the forest, because man is the most dangerous animal of all.”

The first film that has the honor to start this section is The Zodiac (2007) directed by David Fincher. Despite its intriguing topic and hall of fame cast, it barely surpassed its budget of 65M USD, grossing 84.8M in the box offices. It is fairly surprising that this film did not gather greater public attention. Nonetheless, here is my limited critique of the film—do not let it blow you off; it is a film guaranteed to keep you on the edge of your seat.

The Zodiac is a film based on the true crimes of a Bay Area killer, active between the 1960s and 1970s who is known as the zodiac killer. For nearly five decades the police were not able to identify the killer. What makes the film so interesting is its loyalty to the real events, as well as its well-crafted ending. While much of the public criticism was due to the unsatisfactory ending that does not reveal the status of the killer, I would argue that it only places information on a fair ground in terms of storytelling—Afterall, how fair would it be to project a success that the police, reporters, and victims were not able to experience for your at-home entertainment?

Before I praise the movie, I will talk about certain problems that made me put in a little more effort to feel engaged at the very beginning of the film. I felt a lack of audience-engagement in the first half. The way the story was visually set up makes the audience feel like an outsider. While that is completely intentional, it takes away from the influence of horror that must have been given to the audience. To note, this is not entirely problematic because it would have been a genre-bending practice to change the projection; The Zodiac is a thriller and not a horror film, and there is a fine line between the two.

The first half of the movie moves rather slow until the audience recognizes the true hero. Initially, it is expected that Crime Reporter Paul Avery (played by Robert Downey Jr.) or Inspector David Toschi (Mark Ruffalo) will have greater or even partial roles in solving the crime. However, it is the underdog Cartoonist Robert Graysmith (Jake Gyllenhaal) who eventually develops an obsession to find out who this killer is; in one of the final scenes, Graysmith looks the killer in the eye and fulfills his character’s overall objective. It is later revealed that he writes a book about The Zodiac and lives a healthy life.

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Another minor thing to point out is the casting of actors. As expected, Downey Jr. is an eccentric alcoholic personality, what is unexpected is that he drops out of the movie rather quickly (aka not enough screen time). Gyllenhaal seems to reprise his role in The Proof (2005), a curious nerd figure, yet this time he grows to be a man. Ruffalo did play a grounded character as he has in various films before, however, I was pleased with his performance. I do think he deserves to be praised alongside Gyllenhaal.

Alongside such minor details that I found that was important to discuss, The Zodiac is truly intriguing, informative, and true to its compelling story. It combines publicly known facts alongside the strong influence of Robert Graysmith’s perspective. (I’d even put The Zodiac above Netflix’s latest film on Ted Bundy murders any day—you can see my review for it here). My advice to you is to stay with the movie for the first half an hour and let it hook you. By mid-movie the pace picks up and you will soon realize that it is worth the wait. This is one of the best crime-mystery films I have ever watched. The Zodiac is full of suspense, and if you watch carefully, you can be a part of hunting “the nation’s most elusive serial killer”.

[Review] Noah Baumbach’s Marriage Story is set to score multiple Oscars.

Baumbach’s Marriage Story had the film festival audiences compelled before it dropped in the movie theatres and Netflix. The response of the general audience has been equally positive, Baumbach’s diligently written screenplay and picture as a whole are expected to score a number of Oscars, along with Johansson (as Nicole) and Driver’s (as Charlie) performances.

The story is about a talented couple who decides to go through a divorce. How does divorce make such compelling screenplay? It seems to happen instantly when the audience realizes that Charlie wants to continue living in New York for his theatre company, and Nicole desires to relaunch her once-alive Hollywood career in Los Angeles. The film is about existing together as a couple and having the freedom to occupy individual spaces. It is about sharing a living and having a special space that is your own.

As the theme settles into the film heavily when Nicole moves to Los Angeles with their son, Baumbach builds his climax on this new life by channeling how this move affects Charlie. The couple initially to agree to go through a divorce without lawyers, in the hopes that they will remain friends. However, the affair of Charlie likely changes the direction of the events; as a result, lawyers are involved and things get nasty. Initially, the blocks are meant to sit in an unusual way, representing a happy divorce. As the events shift, the audience sees the blocks fitting just right. In a particular scene, Charlie tells Nicole he wishes she was dead, reflecting both love and hate at the same time and revealing the beautiful toxicity of the relationship as Nicole hugs him.

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The blocks (or events) lead both characters to arrive at the climax of the movie—Driver’s solo performance of “Being Alive” from the Company Musical. Baumbach jokingly states in an interview, “the whole movie is just me reverse engineering Being Alive”, and it does not seem untrue giving the fact that it indicates such a powerful moment in the film. The whole movie is set up to defend the importance of existing as an individual, being alive to fulfill individual dreams. In Charlie and Nicole’s relationship, the audience sees the love in the middle of unfulfilled dreams. When Charlie finally sings Being Alive, it seems too late to recover the events they both go through. However, the song is his confession that Nicole was his way of being alive, and his sacrifices were worth it and his dreams did not compare. Continue reading

September 2019 Book, TV, and Film Roundup

As October is welcomed with its sweet rainy weather, I cozied up at home drinking coffee and watching films. Hence, this roundup is a longer one. Before you get reading, I just want to mention that I may have to stop writing the roundups for the next few months. I am getting closer to my highly anticipated graduation and things have been busy in a nice way. I will, however, keep writing reviews for individual intermedia products that I like.

If you like reading posts like this one, consider getting me a coffee here. I write a lot faster with caffeine.

The Shelf

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Amusing Ourselves to Death (1985) by Neil Postman

I have read snippets of Postman’s Amusing Ourselves to Death numerous times for classes throughout the university. I never had the chance to read the full book until I came across it in a second-hand bookstore this summer. It is a foundational book from Postman, the media theorist, and educator, that takes both Orwell and Huxley’s predictions about the techno-future and shows them under a clear lens for our eyes.

Part I sets up the importance of epistemology; in other words, the information about how media come to our lives is just as important as how we engage with it. There is invaluable information about the history of typography here. Postman wants to make sure we know the difference between how things were, and how things are. While we retained important information then, we get trivial knowledge that is worthy of a few quick seconds now. Hence, the news does not mean anything; people die on TV, and we get over it. In Part II, Postman digs deeper into the social components of our lives and how they are represented on TV. He talks about religious shows that are drained out of their spirituality to entertain a wider audience and keep their attention for long periods, too. He, then, talks about politicians as actors on TV and strongly despises it. He argues, TV strips the political content out of its history and ideology. Lastly, he argues that TV as an education gadget cannot work simply because it lacks interaction. When education becomes an entertainment toy, it stops educating.

In the final chapter, Postman decides it is time we stop flipping the pages and gives us the answer to the following question: Who is prepared to take arms against a sea of amusements? He does not suggest we eliminate TVs altogether, but de-mythologize them, break them apart and be aware of their purpose as the amusement objects that they are. This book is one that needs to be read a few times because of its information-heavy nature. It is, in fact, a holy book for anyone interested in media.

The Small Screen

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Great News (2017-2018)

This is a very sweet, sweet sitcom that I came to love. I eventually clicked play simply because I was hoping to get a somewhat realistic look into a newsroom setting. I did not binge-watch the whole thing at one sit, but I could easily see myself doing that, too. The story seems to be about Katie but truly, it is about her relationship with her mother (Carol). Carol decides it is time for her to follow her dreams and starts going to journalism school while interning at the newsroom. The series tackles the workplace dynamics, power structure, and also the patterns of Katie and Carol’s mother-daughter relationship and how this looks within a workplace setting.

Season One mainly deals with Katie’s dilemma about having her mom around. We get to know all of the characters and decide who we like and who we probably won’t within the coming seasons. It is set up very well. On the other hand, what drives the story of Great News is the mother-daughter relationship, which actually may choke you up quite a lot (especially in the first season). In season two, we realize that Katie may have a love interest: Greg, the British producer. With that, there are numerous awkward scenes and anticipation that one of them will open up. Another bonus in season two is the guest appearance of the brilliant Tina Fey. Let me stop before I give too much away– in summary, this is a cute show to cheer you up but you may be sad to know that it is not cleared for another season with Netflix.

The Big Screen

 

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Rambo: Last Blood (2019)

With its significantly larger budget of $50 million, Rambo could not attract enough viewers to fill the theatre seats (Box Office $60.3M). The question of whether Sylvester Stallone will retire from playing Rambo flew around for years. However, the vague interest wasn’t enough to find Rambo appealing once he was out of the war zone, as seen in Last Blood.

Why was Rambo simply bad? The legendary Stallone’s acting was not enough to hold a poor screenplay together. The screenplay of the fifth Rambo film has been a hot topic of Stallone’s interviews in 2018. Morrell and Stallone previously worked together on a soulful story for this last journey. Little did they know that the producers would prefer going with the version we saw on screen today. Hence, the human trafficking plot resulted in Stallone announcing his retirement from playing Rambo. You can read more about Morrel’s interview on the topic here. Continue reading

August 2019 Book, TV, and Film Roundup

If I didn’t mind everything to appear as orderly as they really aren’t—I would call this roundup, August: The month of half doing everything. I did not particularly go crazy about anything I watched, read, or listened this month. It was deeply saddening because it seemed like I was wasting my time while running away from wasting my time, especially in terms of my book choice, Caramelo. Next, I began watching The Protector(or ‘Hakan Muhafız’, 2018) a superhero series, but with a Turkish twist. The big screen was rather safe with a late catching up with The Lion King (2019) and a re-watch of an all-time favorite, Coco (2017), at home. I cannot recommend Coco enough; I cry every time I watch it. Lastly, The Red Sea Diving Resort(2019) was a painfully lifeless movie to watch; the plot wasn’t tragic but the movie itself was.

The Shelf

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Caramelo, Or, Puro Cuento (2002) by Sandra Cisneros

The Vancouver Public Library has an amazing system that asks about your intermedia favorites and comes up with an extensive list of books just for your taste. I was recommended this sweet book about a Mexican family that lives in Chicago. They take one of their famous trips to the awful grandmother’s house in Mexico, where the literal definition of a whole family meets every summer. The book is written from the views of Lala, the young girl who watches her mother and grandmother’s power struggle, her quiet father, funny uncles and tormentor cousins. She seems lonely and out of solutions in the middle of it all. She becomes our eyes in the family and navigates through what seems to be a map of family history and shows us why things are the way they are.

Now that you have an idea about the plot, let me tell you about all the reviews I read prior to picking up this book. The readers preach the award-winning author’s poetic way of storytelling and especially Mexican readers, state that they have found a piece of home in it. I am writing this review because I could not get past the first 150 pages of Caramelo. Cisneros is, indeed, a master of words, and you can tell that it comes easy to her. She is extremely descriptive, but it becomes overbearing and unnecessary at times; it even spoils the story. The point she is so eager to make so beautifully diminishes as she runs on different tangents. The chapters are very short, they can be called short stories which have a hard time to intertwine. With all due respect, I am a stranger to such a different literary approach to storytelling. I tried to love Carameloand really wanted to relate to the enthusiasm of the other readers—It did not work. Hence, I do not recommend it. If you read the book, let me know what you think below.

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Stan Lee’s Alliances: A Trick of Light (2019)by Stan Lee and Kat Rosenfield

A Trick of Light was the very first audiobook I ever listened; as you might know, I am more of a paper person. Hence, it caught me by surprise to hear Yara Shahidi’s excellent narration. Her voice is very neutral and timeless yet keeps the story exciting. It is also the door to Stan Lee’s world. In A Trick of Light, we follow the origin story of Cameron who accidentally gains super-techno-powers. He, then, meets Nia, a hacker who is overly protected by her father. They take on a journey to find what happened to Cameron’s lost father. On a side note, while the plot builds up toward a love story, we never really get one.

While Stan Lee’s brand is within this book, I have a bit of a hard time believing he has more than a small touch on the details. I believe the story is very timeless because it embodies the long for human connection in an internet-connected world. However, it does not go very far from Ernest Cline’s book that inspired Spielberg’s Ready Player One(2018) in terms of setting up the story and its characters. It is very far from the Marvel plots we are used to in terms of its softer tone and action scenes. Overall, a good little book to listen to when you cannot read a better one. It is a mediocre story though, which makes me refuse to believe that Lee had much of an influence in A Trick of Light.

The Small Screen

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The Protector (2018)

Review based on the episodes 1-3

Before I dive into this review, I want to remind you, the new readers, that I grew up watching Turkish tv series. If you are one of the viewers who watched The Protector  with a dub, now you know that it is produced and filmed in Turkey. I find this bit of information very important because while there is an Oriental feel to The Protector, the Netflix team was able to add a global touch to it. Or, was it Joseph Campbell? (I’ll link an article here about The Hero’s Journey if you haven’t heard about it yet. In essence, it is a global approach to myth-building). Continue reading

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

May 2019 Book, TV & Film Roundup

Welcome to the first Roundup of Hazal’s Camera. I’ll try to keep this as a monthly ritual. Let’s dive in.

 

The month of May can only be described as a blessing and a curse. I finalized an intense period of summer courses, followed by an intense period of free time. The North American culture subtly rewrites your DNA and convinces you that you need to be busy all the damn time. So, my free time called for a lot of binge-watching, and it was beautiful.

Let’s start the roundup with books, shall we? I promised myself that I would be reading one book a month. The apple era took this pleasant activity away, and my thesis research gave it back to me. I started with Tom Hanks’ Uncommon Type (2017). It was my every bus read from school or internship. It became my companion when I laid down on the grass. It had many stories that literally pulled you in, and some that didn’t but nonetheless, it is was a nice companion for May.

In the TV zone— I started with Defenders (2017) hoping that I could revisit my love for the series Jessica Jones but definitely loved the plot despite the fact that it mainly revolved around the Iron Fist. Next, I went through a series of emotions watching Jane the Virgin (2014-). It is definitely a cheesy romance show or “telenovela”. I regretted wasting the vast of the plot away all so quickly once I found out that the series was set to finish this year. I honestly loved this show. I guess I am a hopeless romantic, after all.

None of the film productions really wowed me this month. I watched the live action Aladdin (2019), it had a couple problematic representation patterns. In fact, they weren’t problematic, but rather, clearly wrong. I won’t get into it again in this post, but you can see my full review here. Next, much anticipated (and advertised) Extremely Wicked, Shockingly Evil and Vile (2019). I watched the film on the first day of release. I am one of those young adults who watched Zac Efron in chick flick blockbusters in the past, but his portrayal of Ted Bundy really wowed me. The film did not though, and I will explain why. Finally, I watched what seems to be Jon Favreau’s passion project Chef (2014). Sadly predictable, and an okay movie. Continue reading