TV Tuesday: It’s Vikings again

After a long hiatus, Vikings Season 4 returns. Can I … before we start, can anyone explain to me in what sense this is not Season 5? It’s as long as a normal season, it has the schedule of a normal season, and it’s way more different from Season 4 than Season 4 was from Season 3. I mean, I don’t really care, I just don’t understand.

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Anyway, when last we left our cast, Ragnar had been spending some time at the Old Friends Senior Dog Sanctuary but had finally returned to grumble at the replacement cast of characters and act all whimsical, only now with a sense of regret. He’s also catching up with the viewers in terms of the knowledge that he’s going to die. I do like the way Sexy Fimmel of Season 1 has turned into Looks Like an Old Leather Couch Owned By a Family With Dogs Fimmel in just a few short years. I’m sure Actual Fimmel remains a fine figure of a man, but he must be spending longer and longer in that makeup chair every season.

Meanwhile, the young Ragnarssons are doing their patented line in being everything from Not That Much of a Bastard (Ubbe) to Your Average Level of Bastard (Sigurd) to Rotten Little Bastard (Ivarr). I have to say that for all he used to be Action Hero Dude, Bjorn is pretty good in this. Alexander Ludwig does this thing where he mimics Ragnar’s body language, and it’s clever.

What else, what else? Season 4 ended with a savage purge of extraneous plotlines, killing off Whatsername, the other Whatsername, her brother Whatsername’s Brother, and probably some English people too. This season continues the trend by, for a miracle, confining its action only to the towering peaks and rocky fjords of … southern Denmark. No Wessex, no Paris, no those two Norwegian guys, no nothing. Which is fair enough; with five or six new characters to introduce (the girls get pretty short shrift here, so I don’t know if they’re going to be recurring) it would be ridiculous to go back to the other plotlines.

Now, I don’t know if this means that the show has decided to stop trying to be Game of Thrones and go back to trying to be Sons of Anarchy, or if they’re just easing us back in to the upcoming Alfred the Great plotline one step at a time. I would like to see Rollo again, but it’s hard to imagine how other than Bjorn’s side plot.

Sexy Sexy Murder Alert: I was pleased to see that Ivarr didn’t kill the blonde girl (Margret?), which I was assuming would be his Rotten Little Bastard characterisation moment. Instead, he has a good old cry and she comforts him, which is a pretty kind way to treat someone who was trying to strangle you a moment ago. I hope that this is just her trying to survive in a tough situation rather than genuine empathy. Maybe she was just sleeping with all the brothers until she found the one she could manipulate? Frankly I hope she becomes his psycho Lady Macbeth character; we need more female political characters now that Aslaug seems not to be doing much. Well, it’s early days yet.

So yeah: I like the new kids, all brittle and insecure and dangerous, I like Lagertha being all stately with posh hair, it would be nice to see a little more … narrative economy this season and it looks like we might get that. There isn’t much history-lesson stuff in this episode, which means there isn’t much totally risible history, so that’s nice.

TV Tuesday: It’s Vikings again

Obituaries and first drafts of history

So Fidel Castro died.

I’m currently teaching a fair amount of Cold War history, so I’ve been thinking of Castro and Cuba, of the way in which both became symbols in American foreign policy. It’s a sad truth that this enemy state is — and, apart from a few weeks in 1962, always has been — so basically harmless to the US that the US can treat it like a symbol despite the fact that it is full of real people.

Harmless other than symbolically, of course.

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Nothing inspires confidence like a ruler-for-life in a military uniform.

So Fidel Castro died. Cue three responses, each no doubt sincere:

  • Fidel Castro was a real piece of work, a dictator who ruled without challenge for decades and then handed power off to his brother, which isn’t exactly the most anti-tyrannical thing you could do. Jailed journalists, oppressed homosexuals, looted businesses, show-tried political enemies and generally demonstrated a complete disregard for civil liberties second only (and crucially) to the rotten gangster he replaced. The fact that leftists are sad about the death of this villain only shows that they don’t live in the real world. Yes, OK, the US’s policies toward Cuba are silly, but that doesn’t mean Castro wasn’t a son of a bitch. BONUS POINT: Jesus Christ, Justin Trudeau/Jeremy Corbyn, what the hell is your problem.
  • Fidel Castro stood up to US imperialism for decades, surviving the malice of a much larger and more powerful enemy that explicitly aimed to kill or topple him (although how seriously they pursued this goal is up for debate). The fact that he could do this — and do this while theoretically more powerful allies dried up and blew away — is a vital corrective to the myth of US omnipotence. He also showed that a country — even a poor country, even a country suffering from a crippling economic embargo enforced by its largest obvious trading partner — could focus on social services in a way that provided a much better standard of living for its citizens than its wealth would suggest. Sure, he wasn’t perfect, but he resisted the unfair attacks of the US and that’s what really matters. BONUS POINT: Jesus Christ, Donald Trump, what the hell is your problem.
  • Criticism or praise of Fidel Castro falls more or less like you’d expect on political lines. What matters, good or bad, is that he was important, a historical figure who punched way above his weight and had a huge impact on politics not only in his own country and the region but around the world. Probably came closer to genuinely starting World War III than anyone else, which … is good? I guess? Not sure about that one.

Naturally I tend to fall into the third category, since the impulse of my temperament is to look at binary thinking and go “must be some possible synthesis” even when there might not be. In this case, I think there is and I think it’s obvious: you can think that the Bay of Pigs was a bad thing and Castro is a bad guy simultaneously, even if prominent politicians in this and other countries don’t seem to be able to.

But the truth is that the people we look up to were often pretty bad guys in ways other than the ways we look up to them. We just gloss over that because it’s history and in history we try to be conscious of and accept contradiction (I guess, maybe). And here we have, I don’t know, current events becoming history, and that transition seems to be painful.

Obituaries and first drafts of history

Election interlude: or, some caution about the Nov. 9th explainer

So as you may have heard, on Tuesday the United States had a Presidential election. I’m trying not to think about the existential implications of this for a republic that, despite the fact that I am not a citizen, nevertheless matters profoundly to me as the place where I grew up and where my parents, brother, in-laws and so on still live. When I think about the issues I care most about — protecting the rights of minorities, taking action to prevent climate change and building a stable international order — I have to say the outlook is not promising. But that’s not what I want to talk about!

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Nothing to do with this election looks good, so here’s a picture of me looking serious. 

If you’re like me, then your post-election-day social media feeds have been full of people with links to articles explaining exactly why the election turned out the way it did. These are often presented as the real reason for Trump’s victory, which contradict the previous reason you believed in. This showcases a remarkable ability to understand the election 24 hours after it by people who, 24 hours before it, were apparently way off base, but let that pass. Here are a few of the explanations I’ve seen so far:

  • Clinton was a weak candidate who failed to motivate 2008’s powerful “Obama coalition.” Optional extra: Sanders would have won.
  • The Electoral College has once again betrayed us.
  • Liberal elites have overlooked the valid anxieties of working-class whites.
  • Liberal elites have overlooked the ignorant racism of working-class whites.
  • Clinton is friends with too many celebrities.
  • American voters do not want a female president.
  • Voter suppression in states like North Carolina depressed African-American turnout.
  • Young people voted in insufficient numbers.
  • Trump voters are throwing a bomb at what they perceive as an unaccountable elite.

Now on the face of it, most of these seem reasonable, except of course for the one about the celebrities (by this view, “ordinary Americans” don’t like celebrities, something I have not seen a lot of evidence of). I might also quibble with the Sanders thing — for most Americans, the word “socialist” is a filthy one, and the guy who didn’t run always looks appealing, as we can see from the New Hampshire voters who wrote Mitt Romney’s name in.

But what seems obvious to me is that, maybe apart from those, they’re all true. Like, voter suppression definitely happened and definitely had an effect. Voter ID laws are all about suppressing the Democratic vote based on essentially groundless concerns about fraud (if you were going to rig an election with phony ballots, hiring extras to impersonate voters would be the absolute worst way you could do it in 2016), and voting rights advocates have been saying so forever. The pattern is pretty clear.

But does that mean that American voters aren’t actually opposed to a female president? I mean, I think you only have to look at the gendered rhetoric of the campaign, especially the unofficial Trump merchandising, to see that a lot of people don’t like the idea that Hillary Clinton is a woman. So that’s true. But the fact that that’s true doesn’t mean that Trump voters aren’t angry at a system that they feel — erroneously or not — isn’t working for them and just want to blow it up. Many of them said as much, and I don’t see any reason to doubt them. And it is true that elites sneer at working-class whites, especially southerners, that conservative elites have done a somewhat better job of hiding the fact, and that those working-class whites have noticed.

So it seems like all or many of these possible explanations hold some water and that we could see them as contributing factors. And I’m sure that if you asked many of the authors who write these stories, they’d agree with you. But they way they’re shared and promoted is as though each of them is the key, the explanation that makes it all make sense (since a Trump victory is understood not to make sense).

My natural inclination is to view these as mainly being the product of how long an online article is meant to be — or of the way that headlines, which everyone knows journalists don’t write themselves, are phrased — and assume that the ultimate goal of a lively debate, well-informed polity, etc. is to be served by people reading a bunch of these and eventually assimilating them all into some general sense of a post-2016 Democratic party or whatever, in the same way that the aftermath of 2004 led to the rise of the Obama coalition. Perhaps. My main point is that the process of understanding how people take their complex and contradictory mess of motives and beliefs and turn that into a multiple-choice answer which then turns into a binary choice is a difficult one.

Of course, this is not to downplay the importance of some of these conclusions. African-Americans, for example, are obviously alarmed by what this seems to say about their countrymen, and it’s not hard to see why. If people want to highlight that reaction, that’s more than fair.

I just mean overall that this is the kind of analytical challenge that historians struggle to overcome. To understand even one of these factors, you have to devote a certain amount of your time to learning about it. As a result, you get a kind of flashlight problem, where we all shine our light very intensely on one thing but more dimly on the areas around it.

I’m also a little surprised that I haven’t seen these two explanations put forward more:

  • Americans are reluctant to vote the same party a third term in power.
  • James Comey, who had better watch his back.

I’m not sure about the first one, if only because the sample size for presidential elections is so small, but given the thin margins involved, the second one seems like a pretty plausible factor. I dunno.

 

Election interlude: or, some caution about the Nov. 9th explainer

Low content mode again

Hi all,

as you know, I try to keep this blog on a regular schedule in which I update every other weekday. However, the end of half-term has revealed to me that with my present workload and other projects (about which hopefully more later in these virtual pages) I just don’t have the time. I’ve found myself desperately trying to mash out posts at the last minute more than once, and that’s usually a sign that I can’t keep up. So for November at least I’m going to shift to an as-and-when posting schedule. Normal service should be restored before too long, but right now I just need the time more. Thanks for understanding.

Low content mode again

TV Tuesday: Reign

So I got a few votes here and on G+, and the verdict was that I should write about Reign, the pretty-people drama about the early life of Mary, Queen of Scots. I have written about Mary in a previous Movie Monday, so you can check that out if you want to.

I’ve only watched the first episode (maybe two by the time this article gets done), but let’s talk about the obvious things first:

  • this is a romantic drama show looooosely inspired by the life of Mary, and bears very little relationship to the actual history apart from the sort of general premise.
  • And that’s OK.

At the same time, I’m still going to point at some of the changes because I find trying to figure out the train of thought interesting.

Let’s start by talking about the accents. There were three ways that the show’s creators could have approached the question of Mary’s accent:

  1. They could have given her a Scottish accent, for sentimental purposes. This would have been silly in a way, but roughly consistent with the idea that her character is, you know, Scottish. This is the obvious approach.
  2. They could have given her a French accent. This is the “interesting historical fact” approach. Mary’s mum was French and she lived for years in France. Presumably these conversations are happening in French, and this would be incongruous enough to be jarring. This is the approach taken by Liz Lochhead in Mary Queen of Scots Got Her Head Chopped Off, in which Mary speaks in kind of a weird Scots-French hybrid.
  3. They could have given her an Australian accent, since the actor herself is Australian. This is the approach taken by Mary of Scotland, where Katharine Hepburn just uses her own voice, or at least her own stage voice. This is the “minimal interference with the actor” approach.

Instead, they do none of these things, giving her an English accent instead. You guys don’t need me to tell you that this makes no sense, right?

They change the names of some characters in a way that makes obvious sense — in reality, all four of the noble women who accompanied Mary during her time in France had the same name: Mary Beaton, Mary Seaton, Mary Fleming and Mary Livingston. It makes sound dramatic sense for them not to do this.

They change things to be sexier. For instance, Nostradamus was in his 50s at the time of this show, but he is presented as a younger, better-looking guy, because the CW.

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Certain characters have been removed, including most of Mary’s court, presumably to build up the theme of Mary being a stranger at court rather than a visiting dignitary with a substantial entourage. I think Antoinette de Bourbon would have been a fun sharp-tongued old grandma character a la Game of Thrones.

No one mentions the idea that Mary is queen of England, an idea that was important to the French.

Now, this is not a history lesson, it’s just a derpy fun TV show. It’s not really my kind of derpy fun, though, so I don’t know if I’m going to persist with it unless something really weird or interesting happens in the next few episodes.

TV Tuesday: Reign

Heck, it’s Friday

My holiday schedule has thrown my sense of timing off, and as a result I forgot it wasn’t Saturday. So I tell you what — let’s have a quick poll. Tuesday of next week is TV Tuesday, and I have a few historical TV series I could choose from. So here’s your chance to vote! Leave a comment or catch me on social media and tell me what I should watch next. Your choices are:

Mary, Queen of Scots drama Reign

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Turkish Ottoman palace drama Magnificent Century

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Chinese historical epic Empresses in the Palace

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Australian prison thingy Banished

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Whatever you choose, I will watch at least one episode of it and blog about it on Tuesday.

Heck, it’s Friday

Movie Monday: Belle (2013)

I mentioned earlier that some of my tutoring students are doing a unit on the history of migrant and minority communities in Britain. As part of that, they watched this film: a biopic about the life of Dido Elizabeth Belle, daughter of a Royal Navy officer and a West Indian woman named Maria Belle (or Bell). Raised by relatives in England, Dido Belle had a pretty unusual life for a mixed-race woman of the time. We don’t know every detail, but she seemed to live with the family — and her uncle was the Earl of Mansfield, Lord Chief Justice, so a pretty high-ranking family — on conditions of some (although perhaps not total?) equality.

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The film fictionalises the story (since, as I said, we don’t know as much as we might about Dido Belle’s life) and focuses on a couple of things: the legal battles concerning slavery in 18th-century England and Dido’s romance with serious-looking legal student John Davinier. She did in fact marry a John Davinier, but I don’t think this guy has much in common with him.

So it’s clearly going for a sort of Austen-movie style, with young ladies worrying about finding suitable husbands and who’s got £2,000 a year, and might the stern son of a local clergyman have feelings for our heroine? The romance, of course, ties in to both Belle’s race and the issue of social class — the challenge set up by the film is that Dido is from an aristocratic family, and therefore shouldn’t marry beneath herself, but because she’s mixed-race British people of the correct social class won’t be interested. Unless, that is, they are handsome fortune-hunters being pressured by Miranda Richardson to do it.

The legal plot focuses on the Zong case, which was a court battle relating to insurance payments on slaves killed by the crew of a slave ship. Mansfield’s decision is seen as a stepping-stone toward the abolition of slavery, and it plays a big role in the film, but the question of romance (with an abolitionist) is definitely foremost. Which is fair enough; I am not a legal historian, but I am given to understand that a) Belle wasn’t particularly involved in the Zong case — that’s just something Mansfield’s critics said as a jab — and b) the idea that Mansfield was moving toward abolition in that case is probably an overstatement. Publicity surrounding the case did stimulate anti-slavery activism, though, and it was seen as important that Mansfield had ruled against the slavers, who were an important economic pressure group.

Mansfield’s summation in the Zong case in the film is actually taken from another important anti-slavery case, the Somersett case, in which he famously said that slavery was “odious” and “incapable of being introduced on any reasons, moral or political,” but it glosses over the more complex context of what he was actually saying — that slavery couldn’t be supported by common law but only by “positive law.” This was the decision that established that slavery was illegal in England and Wales, and is usually given as more persuasive evidence of Mansfield’s anti-slavery position than the Zong case.

It looks good, it’s well-shot and it has a lot of good people in it: Tom Wilkinson, Emily Watson, Miranda Richardson, Penelope Wilton. Gugu Mbatha-Raw is good in the title role. But the dialogue is … well, it could be better; it sounds stiff, and not quite authentic. Some of the exposition is pretty obvious. And it is a little slower than it might be. Perhaps a lot slower in places. That would be fine if the slowness came from character-illuminating digressions or scenes that were genuinely funny or exciting by themselves. But a lot of them are just slow expository scenes in which very good actors explain things to each other in a stately, dignified way.

So as a drama it isn’t completely successful, and as a period piece it has to be treated with caution, simply because we know so little about its very compelling subject. But it’s an interesting piece, and especially good, I thought, in its portrayal of the hurtful racism of people who weren’t trying to be hurtful racists — indeed, who were being as much of the opposite as practicality would allow. Social norms are a hell of a thing, and even people genuinely trying to be kind and caring can use them to hurt others, which is something that often gets overlooked in films about prejudice in historical periods. It’s a shame, then, that much of the rest of the film is kind of … rote.

A note about the painting: one of the subplots is about the famous painting of Dido and her cousin, once thought to be by Zoffany (who I only really know from Gilbert and Sullivan) but now attributed to an unnamed painter.

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In the film, the painting is portrayed as a statement of the characters’ equality — the two women are on the same eyeline, which is something art historians have pointed out about it. But there are also a lot of signs of racial difference in the image — the seated, reading white woman and the almost impish black woman carrying the platter of fruit representing a distinction between culture and nature that was often given a racial edge in the art of the era.

 

Movie Monday: Belle (2013)