The Crown: Balancing Family and Calling Is a Royal Pain

The Netflix series focuses on the pressure around the monarch’s marriage.
I recall sitting with my mother in my childhood living room and watching Diana Spencer—about to be Princess Diana—walk slowly down the aisle toward the altar and her prince. The year was 1981, and despite my tender age, the princess fantasy did not take hold. Nor did I become a “royals watcher”… at least not until Netflix released its Queen Elizabeth II bio series, The Crown, earlier this month.

Why the change of heart? Maybe it was the promise of seeing Elizabeth, now the longest-reigning monarch in British history, as a young woman. Maybe it was the heady feminist air as the series debuted, just days before the US—it seemed—might elect its first female president. For others, maybe a love for British period dramas is enough to pull them in.

Since I’ve been aware of the royal family, of course, but not particularly interested before, the effect of the series has been something like moving a piece of furniture in your grandparents’ house only to find that behind that bookcase, the wallpaper you’d taken for granted your whole upbringing had at one time been far more bold and colorful than you’d ever realized. It’s enough to make you question the assumptions you’ve made about what sort of stories the walls would tell if they could talk.

The Crown attempts to tell those almost forgotten bits of the queen’s life that transpired before she ascended the throne and took on a relentlessly public life for the next 64 years. It begins with her marriage to Prince Philip Mountbatten, Duke of Edinburgh, in 1947 and is chiefly concerned with Elizabeth’s life during her 20s, including her coronation at a mere 25 years old and finding her footing with Prime Minister Winston Churchill.

The Crown brings into focus how much the story of Elizabeth’s transition into leadership is also the story of refining her marriage. Much like the images of gold being poured out and cast into a new shape that accompany the opening credits, the union of Elizabeth and Philip is remade in dramatic fashion. […]

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originally published at ChristianityToday.com December 2, 2016.

Starcrossed and Some Thoughts on Teen TV and our Craving for Destiny

I recently binge-viewed CW’s single-season science fiction effort Starcrossed.  These are the sorts of confessions grown people without blogs don’t feel obliged to make, but here we are.

What is–or was–Starcrossed?  If you guessed, Romeo and Juliet with aliens, then yes.  If you were thinking more along the lines of yet another vehicle wherein the CW recycles too-good-looking actors from a handful of other teen drama series, then you’ve also won the bonus round.

(If you saw the show and remember it most as “that time girl-next-door Aimee Teegarden, formerly of Friday Night Lights fame, whittled herself down to cheekbones and an impossible figure to look eerily like Vampire Diaries star Nina Dobrev,” then you and I are kindred souls drawn to the same distractions–though ones I won’t further discuss here.)

The series met its promise of love-torn-teens-from-different-worlds quite admirably if also rather literally, along the way also making good on science fiction’s promise to project our society into a novel situation so that viewers can more easily spot our usual cultural attitudes and contemplate how well they really serve us for adapting to possible futures. The program’s unusual maneuver on this sci-fi element was that it quite explicitly pondered our humanity rather than our relationship to technology.   Continue reading Starcrossed and Some Thoughts on Teen TV and our Craving for Destiny

Daredevil’s battered body

I really like Netflix’s take on Daredevil and have been waiting–maybe too long–to write anything about my binge view that first week.  The series is gruesome in the unflinchingly dark psychology of its murderous Kingpin (bone-chillingly brilliant Vincent D’Onofrio)–and probably too explicit for some–though in my view, it stops short of glorying in his violence.  It is pretty darn smart in its pacing, maybe one of the better uses of the all-at-once-available season I’ve seen.

It is also doing something interesting with how it depicts its hero’s body.  Continue reading Daredevil’s battered body