Monthly Archives: April 2025

Top Tens – TV: Top 10 Fantasy & SF TV (6) SF: Black Mirror

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(6) SF: BLACK MIRROR
(2011 – PRESENT: SEASONS 1-6)

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Black Mirror – the cyberpunk Twilight Zone of the twenty-first century!

Okay, that cyberpunk label may be overstating it, but it certainly is a series of dark and satirical twists in the tale of the unanticipated or unintended consequences of technology and social media in modern society – or, in the words of series creator Charlie Brooker, “the way we might be living in 10 minutes’ time if we’re clumsy.”

It is an anthology series with no continuity between episodes – each episode has a different cast, a different setting or even a different reality, so you don’t have to watch them in order. Personally, I’d recommend starting with the later seasons and working your way backwards – particularly as the very first episode doesn’t extrapolate so much on technology or social media and can be a little confronting (although unforgettable – let’s just say you won’t feel about pork the same way again).

As for the premise and title of the series, it’s back to Charlie Brooker:

“If technology is a drug – and it does feel like a drug – then what, precisely, are the side effects? This area – between delight and discomfort – is where Black Mirror, my new drama series, is set. The ‘black mirror’ of the title is the one you’ll find on every wall, on every desk, in the palm of every hand: the cold, shiny screen of a TV, a monitor, a smartphone.”

 

FANTASY OR SF?

 

SF, as per its title premise – among the least fantasy of my Top 10 Fantasy & SF TV Series.

 

HORROR

 

As is typical for dystopian SF, it has a few borderline horror elements.

 

RATING: 4 STARS****
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Top Tens – History (WW2): Top 10 Second World Wars (Special Mention) (14) Anglo-Soviet Invasion of Iran & Iran Crisis

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Map legend shows origins and direction of Russian and British attacks as the two nations invade Iran to protect oil fields from sabotage by German agents who they claim have infiltrated there – Iowa City Press Citizen Newspaper Archives August 26, 1941 Page 1 (public domain image)

 

 

(14) ANGLO-SOVIET INVASION OF IRAN & IRAN CRISIS

(1941-1946)

 

Another part of the Middle Eastern theater that everyone forgets about when it comes to the Second World War. Following on the heels of Britain’s successful campaigns in Iraq and Syria, as well as the new Anglo-Soviet alliance in the wake of Operation Barbarossa, Britain and the Soviet Union jointly invaded and occupied the neutral state of Iran in the six days from 25 August 1941 to 31 August 1941.

Britain invaded from Iraq to the west while the Soviet Union invaded from its border to the north. Hopelessly outmatched, Iran largely did not oppose the Anglo-Soviet invasion and surrendered on 31 August 1941.

Its primary purpose was to secure Allied supply lines to the Soviet Union – and indeed the so-called Persian Corridor turned out to be the most reliable route for Lend-Lease aid to the Soviets.

Other purposes included securing the Iranian oilfields – although the Middle East in general had a lot less prominence for oil during the war than it was to have later – as well as blocking German influence in Iran (understandably enough from the Iranian perspective of a history of being stood over by Britain and Russia) or pre-empting an Axis through Turkey (and later the Caucasus), albeit unlikely.

Not pictured among those purposes – concern for what was, after all, a neutral nation, or for the effects of the occupation on Iran, which manifested primarily in that recurring handmaiden of both British and Soviet empires, famine, with the disruption of food supplies and transport.

For their part, the Soviet Union and Britain signed a treaty with Iran ruling that Iran was not to be considered occupied by the Allies, but in alliance with them. They also declared that they would remain in Iran until six months after the end of the war. Once in the war, the Americans were also drawn into Iran, helping to man the Persian Corridor (and providing Lend-Lease to Iran itself) while effectively guaranteeing the Anglo-Soviet withdrawal from Iran after the war.

That led to the Iran Crisis in 1946 – the first crisis of the Cold War and one in which the Americans succeeded in forcing the Soviets to back down. While the British withdrew according to schedule after the war, the Soviets did not – refusing to relinquish their occupied territory, and worse, supporting pro-Soviet separatist states of the Azerbaijan’s People’s Government and the Kurdish Republic of Mahabad.

Those states actually fought against Iran, but ultimately intense pressure from the United States forced Soviet withdrawal and the dissolution of the Azerbaijani and Kurdish separatist states.

 

RATINGS: 4 STARS****

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Top Tens – Film: Top 10 Fantasy & SF Films (6) Fantasy: Excalibur

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Nigel Terry as King Arthur in the 1981 film Excalibur directed by John Boorman – still the best cinematic adaptation of Arthurian legend

 

 

(6) FANTASY: EXCALIBUR

(1981)

 

“Forged by a god

Foretold by a wizard

Found by a king…

Excalibur!”

 

Yes – that’s the cheesy blurb from the theatrical release poster.

Yes – the film itself can be cheesy at points, or messy, reflected by Roger Ebert calling it both a wondrous vision and a mess.

Yes – it conflates various elements of Arthurian legend, although perhaps necessarily so for adaptation to film and not unlike the adaptations made by the various texts of Arthurian legend. In particular Perceval does some heavy lifting here, conflating in his character (at least) the roles of Galahad and Bedivere in Arthurian legend. He’s not the only one – the film also conflates Morgana and Morgause.

I know all these things but I still love it anyway. I can trace my fascination for and love of Arthurian legend directly to this one film.

 

For mine is the grail quest –

round table & siege perilous

fisher king & waste land

bleeding lance & dolorous stroke

adventurous bed & questing beast

 

And most of it is here. Well, except for the questing beast. Arthur Pendragon himself, the once and future king. His flawed father Uther. The wizard Merlin, played by Nicol Williamson in arguably the film’s best performance. The Lady in the Lake. The titular Excalibur, conflated here with the sword in the stone. Queen Guinevere. The enchantress Morgan Le Fay, conflated with Morgause as the mother of usurper Mordred. The knights of the Round Table – most famously Lancelot but also Gawain and Perceval. The Holy Grail. Avalon – and so on.

That’s of course just the characters – despite its limited budget, the film’s cast is a veritable who’s who of actors who would rise to stardom. Helen Mirren. Liam Neeson. Patrick Stewart. Gabriel Byrne. Ciaran Hinds.

Then there’s its visual style and lighting, used to best effect to convey the ethereal nature of the mythic (and mystical) otherworld that overlaps with our own throughout Arthurian legend. Apparently there’s a study by Jean-Marc Elsholz that “demonstrates how closely the film Excalibur was inspired by the Arthurian romance tradition and its intersections with medieval theories of light, most particularly in the aesthetic/visual narrative of Boorman’s film” – and I’d say it shows.

And the music! It’s again used to much the same effect for the ethereal otherworld, but also for the heroic scenes of battle – I can trace my love of Carl Orff’s Carmina Burana to this film, even if I was disappointed to subsequently learn that work is essentially about drunk monks singing.

Intriguingly, the film apparently started as an unproduced adaptation of The Lord of the Rings – and it makes me wonder what director John Boorman might have done with that property. Perhaps not quite as good as the Jackson film trilogy but I’d be prepared to bet it would have been the next best thing.

As it is, the film is still the single best cinematic or screen adaptation of Arthurian legend, although Monty Python and the Holy Grail comes in a close second. Although that may also say something about the adaptability of Arthurian legend, particularly to the sensibilities of modern directors or producers of film and television – and that it takes something like lightning in a bottle for a director such as Boorman (who after all made films such as Zardoz) to make it work.

 

FANTASY OR SF?

 

Fantasy obviously. The film that is most fantasy in my top ten fantasy or SF films – not a shred of SF to be seen here.

 

HORROR

 

As with much mythology or legend, there’s elements reminiscent of horror, although perhaps less so than in the Arthurian legend from which it was adapted. .

 

RATING: 4 STARS****

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Top Tens – History (WW2): Top 10 Second World Wars (Special Mention) (13) Anglo-Iraqi War

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Map of Iraq during WWII by Kirrages for Wikipedia “Anglo-Iraqi War” under license https://creativecommons.org/licenses/by-sa/3.0/deed.en

 

 

(13) ANGLO-IRAQI WAR

(1941)

 

Everyone forgets about the Middle Eastern theater in the Second World War. Granted, it wasn’t much of a theater in terms of actual fighting, but that was because Britain moved quickly behind the scenes to secure the Middle East under its control – behind the scenes that is, of Britain’s defeats fighting Germany elsewhere in the Mediterranean at the same time.

One part of that was the British taking over Syria from the Vichy French government in the successful Syrian campaign in June-July 1941. However, before that was the Anglo-Iraqi war in May 1941 which was the central part or ground zero of the Middle Eastern theater – not least because it then enabled (and led to) both the Syrian campaign as well as my next special mention entry.

Britain had taken over Iraq from the former Ottoman Empire, ostensibly as a mandate under the League of Nations, but effectively in real terms as a colony or protectorate. Iraq nominally became independent in 1932 but the British had been careful to lock in a pro-British government with the Anglo-Iraqi Treaty of 1930.

Iraqi nationalists as well as the Axis nations of Germany and Italy saw the opportunity of the war for a coup to oust the pro-British government in April 1941. As usual, German political diplomacy and material support counted for little beyond the effective projection of its military power, although it (and Italy) did supply material and even aircraft through Vichy French Syria (hence the subsequent Syrian campaign).

If it’s one thing Britain could still do well, even at this late stage of empire, it was to crush colonial revolts – which it did by quickly mobilizing forces from the neighboring parts of its empire, notably including Indian troops, and stamping out the Iraqi coup in four weeks from 2 May 1941 to 31 May 1941.

Thereafter, Iraq served Britain as its base of operations within the Middle Eastern Theater.

 

RATING: 4 STARS****

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