RIP David Warner (1941 – 2022)

I don’t know why I’m so upset by this. Obviously, he was a huge, huge actor, his IMDB has got 228 acting credits. I’ve loved so many things that Warner turned up in and made a possible 7/10 a 12/10.

He made everything better. Even if it’s one voice or a passing bit, David Warner made it stick and made you think about it often years after.

He felt like family.

No Such Thing As A Good Empire

I see a lot of USA-bashing on Twitter and Reddit by Brits. And, yes, some of it is historically justifiable. But those same Brits are the ones who think of the British Empire as some kind of benevolent, peaceful arrangement.

There is a huge blind-spot in Britain about the horrors of their bloodsucking Empire. If, like me, you’re Indian and you ever speak up you’ll get, ‘BUT BUT – railways! Cricket!’

This historian fits perfectly into that white, English demographic. He’s just saying what deluded millions think. But for anyone who’s from a former colony, the Union flag will always be the Butcher’s Apron.

Anti-Semitism Weaponised By Blairites

Well, well – anti-Semitism weaponised by the right wing, to get rid of Corbyn? And the whole British media going along with the scam?

Also, to accuse the actual socialists of weaponising anti-Semitism is ridiculous: they didn’t start the whole campaign of lies, the right wing did. Nothing the left could do to investigate or defend the party was going to work against the systematic campaign to turn the party into the UK Democrats.

The tame media said that Labour had a terrible problem with anti-Semitism in the party when, in fact, it was around 0.3% of members. Now that is 0.3% too much – I have zero love for Nazis. But it’s not the masses of bootboys that the media portrayed.

To all the former “Labour supporters” who denounced Corbyn – how do you feel now? He was witch-hunted by the Tories and the Blairites and you fell for it.

Every fucking lie.

Ms. Marvel And The South Asian Diaspora

I am so happy that young South Asian girls have Ms. Marvel on their tellies, tablets and phones.

I am so happy that young white kids watching Ms. Marvel will see views of Karachi and get an idea of Pakistan beyond the racist tropes peddled by the Western media. Beyond the murder porn of US drone footage.

I cried when Kamala talked to her nani and heard her say this:

Nani says: "My passport is Pakistani, my roots are in India. And in between all of this, there's a border marked with blood and pain. People are claiming their identity based on an idea some old Englishmen had, when fleeing the country."

If you’re Irish, you know what partition means, why it was carried out and the consequences for a once-united country. If you’re South Asian, you carry that same understanding and many, many families will have their partition stories. (I mean, let’s face it, there are very few countries that haven’t been sucked dry by the ravenous British Empire. It’s more common weal than commonwealth, amirite?)

Ms. Marvel is a wonder for the way it handles tone-shifting, moving from real history to Marvel mythology and back again without insulting or cheapening the actual events.

But the bestest thing is that Ms. Marvel is a bright, chirpy kids’ show. It has moments of pure silliness, as it should. It is joyful, it’s not some bleak sermon about South Asian oppression, it’s a celebration of our cultures, home and away. It is soooo rare for us to see South Asian families represented, let alone as the centre of a fantastic superhero origin story. There are plenty of grim stories about South Asians and, yeah, we need justice and we need to hear about injustice but, fuck me, could we be allowed to be HAPPY and DANCE and be YOUNG and STUPID and have churi-enabled magic powers?

I’m so happy that I, a middle-aged Indian immigrant living in Britain, can see this show which makes me cry and laugh in equal measure.

But I really, really wish that me in the ‘70s, a little brown kid growing up in a succession of white towns had been able to see himself on TV, too.

I would have been a lot less lonely.


Jamais Vu Or No?

Any idea what this might be?
I'm not sure what subreddit to post this in but I'm genuinely curious as to whether what I experience is unique or an actual condition and I thought this subreddit would suffice.

When I listen to certain songs, for example recently, "Everyday" by A$AP Rocky, Rod Stewart, Miguel, and Mark Ronson, I imagine my future life, usually just a specific "scene," where the song I'm listening to is somewhat like background music. The only thing similar that I can compare this to is a scene from a movie where the MC is traveling and music plays as the camera pans across the car driving down a road.

When I go into this trance-like state, I really enjoy fantasizing about what I could achieve in my life and I seek out more songs that make me feel that way.

In response to the above:

I know *exactly* what you mean. I often have a sharp moment of feeling like I’m in another life, another whole existence and I know that person’s history, setting, everything. I used to call it jamais vu as a play on deja vu until I found out that was already in use:

It’s most often triggered by music but I can’t make it happen on purpose, it’s entirely random! It’s not favourite bands or songs or always unknown, there’s no pattern I’ve been able to divine. Some music will start and, suddenly, I’ll be on top of a mountain I’ve never been on or in New York in 1934 as a kid.

I like to think of it as quantum bleedthrough enabled by the brain structures that Roger Penrose posited.

Everything Everywhere All At Once (2022)

Years ago I worked out how to travel between universes. I was pleased but not overly so, thinking, ‘well, this is a normal skill, like riding a bike or getting cold butter to spread.’ Turns out, no it’s not and if you talk about it too much, people will start thinking you’re a nutter and edging away from you. And then you have to move universes again.

How happy I was, then, that on Thursday, my bestie and I went to see Everything Everywhere All At Once. EEAAO stars the fabulous Michelle Yeoh as a beleaguered business owner drowning in a sea of receipts, familial dyspepsia and unfulfilled dreams.

I’m not going to put any spoilers in this review, I’m just going to waffle on about how it made me feel.  I’d also advise you not to watch the trailer before seeing the film as it gives too much away. But I can say this: EEAAO starts off with a family struggling to keep their laundromat business going. Add to that an increasingly estranged daughter and a father who feels unvalued for who he is.

That’s the setup. What breaks that ordinariness is the multiverse poking its infinite heads into the story and, before long, the audience is being slapped with the most transreal, unhinged imagery that’s ever been seen outside of celebrity colonoscopies.

Unlike the tragically impoverished version of the multiverse that Marvel has slung our way, EEAAO’s vision is horrific, funny, sad, poignant, ridiculous and everything between. If the MCU multiverse is the infinity of integers (yawwwnnnn), EEAAO’s multiverse is the infinity of all real numbers. It’s wilder, it’s bigger, it’s cheerfully irrational. Thus, the ways in which it can twist the central characters of the story are exponentially more powerful than merely guesting actors from an earlier film or, failing that, inserting a pointless CGI puppet.

Speaking of CGI – Marvel et al should take another lesson from EEAAO here. All the VFX were apparently done by a core of five people who were self-taught. The directors pitched in too. The resultant CGI is supportive, appropriate and, above all, it doesn’t subsume the entire bloody story. The centre remains Michelle Yeoh, Stephanie Hsu and Ke Huy Quan giving exceptional performances that integrate perfectly with the fantastical elements while always retaining the human scale. Yeoh owns this film, she is incandescent and I could not tear my eyes away from her even if I wanted to. Her grace and power course through every moment, not just the fight scenes. Props also to Jamie Lee Curtis who has to cover an impossible range in her character(s) and does so with verve and total ferocity. I hope that other directors take note and she gets more work like this.

In the company of this cast, we travel to universes that, in lesser hands, could have reduced the pain of the film, there were certainly enough preposterous premises. But under the Daniels’ (Dan Kwan, Daniel Scheinert) sure direction, everything is made to serve the central interleaved stories. Personally, I would love to live in Wong Kar Wai verse if I could, who wouldn’t want that dreamy, super-saturated romance? But the Daniels use it in the most exquisitely painful way. Even now, it’s making me tear up to think of Ke Huy Quan’s speech and just how handsome he looks. But that’s the point, to poke at the audience and bring out our alternates, every what-if or if-only-I’d-been-brave-enough.

This human heart is what makes the audience care about all the crazy shit popping off onscreen. Without it… well, I think we’ve all seen enough CGI-snoozefests without me having to name and shame them. I cared about the family, I cared about their fates, their loves, their dreams, no matter what the universe. This is a film that made me cry about a falling rock. How good a storyteller do you have to be to achieve that? Well, you have to be the Daniels, apparently.

Every now and then, I’d look at my friend in the cinema and we’d both have tears coursing down our cheeks but be grinning like howler monkeys on a log flume. This film is a fucking ride, it is art, it is cinema, it is everything that 9/10 films that clog our multiplexes are not. It is not bland and therefore it will alienate as many as it thrills. You might see it and totally hate it, which is fine. But you can’t sit with us.

EEAAO is hugely, unfashionably emotional and it says things that are un-approved by committee or viewer survey. It is the greatest of joys to leave the cinema feeling so alive, so fizzing with questions and jokes and observations and puzzles.

Everything Everywhere All At Once deserves all the Oscars for everything. All at once.

Picard And 24th Century Mental Health

It was bizarrely melodramatic *and* old-fashioned. And, obviously, potentially harmful.

Also, like 90% of Picard The Series, it directly contradicts Roddenberry’s template of a future Earth that’s post-illness, post-scarcity, post-money. Like Rafi being poor and being “abandoned”, like *everyone* being an alcoholic or addict of some sort.

No spoilers but where was the help for the person in question? Seems like they would have got better help in today’s 21st century capitalist hellhole than the fully-automated luxury space communism that Roddenberry envisioned.

tl;dr ->


#Heartstopper is the show I needed when I was a kid. It would have made me feel so much less isolated and weird. I wouldn’t have felt so unloved and unlovable.

Lost tracks at the number of times I’ve cried watching this series. I was like, ‘I’m an old man, I’ll find this cute but it won’t affect me, oh no, not with this tough old hide of mine.’

And then:

Thank fuck it’s there for today’s kids.