TV Room: ‘Fahrenheit 451’

Michael B. Jordan in ‘Fahrenheit 451’ (HBO)

Indie director Ramin Bahrani (Goodbye Solo, 99 Homes) takes a detour into the land of splashy classic literature adaptations with his take on the great Fahrenheit 451, which premieres on HBO this Saturday.

My review is at The Playlist:

There’s a lot left out in this noisy and luridly shot but thin adaptation of Ray Bradbury’s novel. A prescient fable about the death of the imagination and individuality in the postwar war, it imagines a world where the houses have all been fireproofed and firemen race through nighttime streets looking for books to burn..

Here’s the trailer:

Nota Bene: Margaret Atwood isn’t Getting Rich from ‘Handmaid’s Tale’ Series

So even though Hulu is going into its second season of their adaptation of The Handmaid’s Tale, don’t assume that means piles of cash for Margaret Atwood.

In an essay about women, money, and power—and how rarely all three are allowed to align—Atwood points out that the hit series isn’t sending much money her way:

The Handmaid’s Tale television series was not my deal. I sold the rights to MGM in 1990 to make a movie – so when the TV rights were sold to Hulu, the money went to MGM. We did not have a negotiating position. I did get brought on as an executive consultant, but that wasn’t a lot of money. People think it’s been all Hollywood glamour since the TV show happened, but that’s not happening to me. But book sales have been brisk, so there’s that.

(h/t: Bookforum)

TV Room: ‘Altered Carbon’

Richard K. Morgan’s cyberpunk noir novels posited a future world where death is mostly a thing of the past. Everyone’s mind can be downloaded into a surgically implanted “stack” which at the point of death can then be “resleeved” into a new body of whatever gender or race one prefers. It’s a fascinating concept that Morgan mined for a hardboiled capitalist critique but is worked out for mostly action-junkie hijinks in the derivative 10-part streaming adaptation of Altered Carbon, the first novel in the series.

Altered Carbon premieres on Netflix February 2. My review is at The Playlist.

Here’s the trailer:

TV Room: ‘Wormwood’

Launching Friday on Netflix is Errol Morris’s immersive new six-part series Wormwood, which mixes hardboiled investigative documentary filmmaking with David Lynchian recreations. A four-hour theatrical edit is also playing in limited release.

My review is at Film Journal International:

When Eric Olson was still just a child in 1953, his father Frank died while away on business. The official explanation was that Frank fell or possibly jumped out of a hotel room. “At that moment,” Eric says in Errol Morris’ epic new investigation of the mysteries surrounding Frank’s death, “the world stopped making sense entirely.” That burning ember of uncertainty stayed with Eric the rest of his life…

Writer’s Desk: Work in Groups

The writer’s life is a solitary one. That’s true, until it’s not.

Take the example of Aleksandar Hemon. The Bosnian writer had always followed the expected path:

[My writing] had taken place in the self-imposed isolation of my head. I don’t take part in workshops or writing groups; I don’t share ideas or drafts with my fellow-writers for feedback; I make all the decisions and am responsible for every word in the book that I am writing, acknowledgments included.

But then, like many writers out there in a world of hundreds of television shows needing scripts, he joined the collaborative workforce of televisual scriveners. Working out scripts for the sci-fi series Sense8, he discovered a new process:

… my role was to make proposals that would be taken up by the other people in the room and spun around a few times. The version of the proposal that emerged would have little to do with the original, yet belonged to me as much as to everyone else … I’d never experienced the pleasure of temporarily losing my intellectual sovereignty—of watching my bright idea be destroyed, only to be transformed into something entirely different.

Sometimes a writer has to hew closely to their original vision, come hell or high water, for it to be worth a damn in the end. More frequently, another pair of eyes, or five or ten, can make all the difference in the world.

Notes: Not All Alternate Histories are Equal

Ta-Nehisi Coates explains why, in quite simple terms, any comparisons between The Man in the High Castle and the upcoming HBO series Confederate don’t hold water:

It is illegal to fly the Nazi flag in Germany. The Confederate flag is enmeshed in the state flag of Mississippi.

In one conflict, the defeated acknowledged their loss and paid a price. In the other, the defeated quickly got back to their old tricks. 

In other words, imagining a world where the white Southern racist establishment won may not be far different enough from reality to warrant the term “alternate history.” 

TV Room: Jason Bateman’s new Missouri Noir ‘Ozark’

In the new Netflix family crime series Ozark, Jason Bateman plays a Chicago financial adviser forced to uproot his family’s entire life in order to save their lives.

Ozark premieres on July 21. My review is at The Playlist:

There are a few things guaranteed to strike terror into the heart of your average Chicagoan. High on that list would be having your family threatened with a cruel and slow death by a drug cartel, as happens to Jason Bateman in the first episode of his new Netflix culture-clash crime series “Ozark.” Nearly as frightening, and definitely more relatable, is the solution that Bateman’s character improvises to save his family: pack up and move to the Lake of the Ozarks in southern Missouri. Set against relocating to the shores of the artificial lake resort region that one character tartly terms “Redneck Riviera,” there would probably be at least a few Chicagoans who would look at the cartel gunmen and decide, nah, let’s play the odds…

Here’s the trailer: