“The Post”–High Stakes

 

The Post movie

Perhaps no other film this year captures two important political moments of our time: the issue of fake news and “me too”, the invisibility of women’s voices, until they were not. The Post is high-stakes filmmaking. Released this month, The Post is already receiving wide-ranging, intensely opposing reviews.

The Post opens with a scene of an American military analyst, Daniel Ellsberg shocked by the depths of continued deceit in hiding the loss of American lives in the Vietnam War, under four successive presidents (Truman, Eisenhower, Kennedy and Johnson). Ellsberg photocopies 7000 pages of top secret government reports commissioned by Secretary of Defense Robert McNamara. (See my December 15, 2011 review, The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Paper” Now he is determined to shed light on the deceit by leaking the incriminating papers to The New York Times.

Only after the US Department of Justice secures an injunction against The New York Times, on the ground of threats to national security, do the Pentagon Papers become The Washington Post’s story and, therefore, Katherine Graham and Ben Bradlee’s story.

Tom Hanks and Meryl Streep star as Ben Bradlee (editor-in-chief) and Katherine Graham (The Washington Post owner) in a flashpoint in our history: the courageous decision, in 1971, to publish the Pentagon Papers, which then contributes to the end of the Vietnam War as well as bringing down the presidency of Richard Nixon.

The Post Meryl Streep
Meryl Streep as Katherine Graham

Katherine Graham, with no experience in the industry, has just assumed control of her family’s second-place local newspaper, The Washington Post,. The newspaper has neither significant power nor readership, and she is advised to take the company public since it is running at a financial loss. After her unfaithful husband has committed suicide, Katherine takes over the helm but she is fearful of losing her family’s newspaper legacy, having to lead in a man’s world where women do not manage corporations. Ben Bradlee gives her both respect and reminds her of the challenges of becoming a newspaper CEO.

Perhaps one of the most powerful and climactic moments in the film is when Katherine Graham, whose son has safely returned from Vietnam, realizes that US presidents’ lies have killed tens of thousands of young men over a period of two decades or more. Her turmoil anchors the film. Personal friends with Robert McNamara, John F. Kennedy, and Lyndon B. Johnson, masterminds of the Vietnam War, Katherine Graham has multiple challenges to face and conflicting loyalties to balance in this high-stakes game: to publish or not to publish. Similarly, Ben Bradlee, who had been close to John F. Kennedy and proud of his association, is disillusioned as well.

The tensions keep rising. The Washington Post has just had an IPO. How will investors react? Will Graham and Bradley be prosecuted for revealing top secret documents? Will she lose the company she has inherited from her father and grandfather, hoping to bequeath The Washington Post to her children? How can she publish such damning material about her personal friends?

The Post bristles with intelligence. Every role is brilliantly cast: Bob Odenkirk (“Better Call Saul” and “Breaking Bad”) and Sarah Paulson (“The Case of O.J. Simpson” and “American Horror Story”) have brief onscreen roles but commanding speeches.

While the memory of the 1970s is still momentous for many, the context of a president in the Oval Office detesting and trying to muzzle the media bears an unmistakable parallelism with political events today. Such a thing could never again happen in America, right?

Note: Companion films and series to watch along with The Post are The Most Dangerous Man in America, All the President’s Men , and the superb, unforgettable Ken Burns’ PBS Series, The Vietnam War. Look for my review of the Ken Burns’ tour-de-force in the near future.

Note: Viewers who believe that the newspaper beacons–The New York Times and The Washington Post–are outdated and irrelevant, will enjoy disliking this movie. For those born in the seventies and later, this may seem like irrelevant history but in reality it is a lesson to be learned. If you remember the breaking into a locked door of the Democratic National Committee, you will have to explain this ending scene to the millennials who will not know the significance.

 

Three Billboards Outside Ebbing, Missouri: A BOLO for Justice

Three Billboards in Ebbing, Missouri

Guest blogger extraordinaire Bill Clark

Writer-director Martin McDonagh’s film, Three Billboards outside Ebbing, Missouri (2017), takes us along Mildred Hayes’ journey as she deals with the unsolved murder-rape of her teenage daughter. Brilliantly played by Frances McDormand, bereaved mother, Mildred, decides to take on the avuncular police chief Bill Willoughby  (played by Woody Harrelson), after a year of apparent police inattention). She pays for three road-side billboards with provocative Burma Shave-like titles asking for justice from Chief Willoughby.

The billboards trigger a chain of events that sets Mildred at war not only against the Chief Willoughby, but also the citizens of Ebbing who side with him. The drama intensifies as Mildred becomes more and more frustrated in finding justice. She precariously veers into vengeance as she seeks answers for her daughter’s brutal death. [It is difficult not to mention spoilers here!]

The film’s sparkling dialogue lights up the dark corners of Mildred’s psyche, as we can visualize her torment, as well as offers a welcome counterpoint to the underlying suffering of her journey. Three Billboards navigates a mother’s necessary journey toward a place of hope that she doesn’t expect. Three Billboards is definitely a trip worth the price of a ticket, most especially for the astounding Frances McDormand, whose Oscar-worthy performance is favored to win.

The Beguiled–Bewitched and Possessed

 

The Beguiled

In Sophia Coppola’s reinterpretation of the 1971 Clint Eastwood film by the same name, The Beguiled opens with an eleven-year-old girl gathering mushrooms in her straw basket deep in a quiet wood in Virginia. Conjuring an image of Little Red Riding Hood soon coming upon a big bad wolf, we see her discover the wounded John McBurney (Colin Farrell), a Union soldier in the midst of the Civil War. The child decides to take him back to her girls’ boarding school. Headmistress Martha Farnsworth (Nicole Kidman) is reluctant but feels a moral obligation to tend to him. Edwina (Kirsten Dunst), a teacher locks McBurney in the music room, terrified of what could be a menace to their highly secluded and precarious lifestyle. In a series of lovingly erotic shots of headmistress Martha’s bathing Farrell’s chest, forearms, calves, and neck as she ministers to his injuries, the viewer sees a foreshadowing of what is to come.

Meanwhile, the students—especially the sexually blossoming teenager Alicia (Elle Fanning), huddle by the door, to get at least a brief glimpse of probably the only man to ever visit the boarding school. Aware of McBurney’s sexual drive as well as their own (albeit sometimes subconsciously), each girl except the youngest who is eleven, preens in front of him: with pearl earrings, a formal dress, or bearing small gifts. Miss Martha looks at all of this in horror, but raging hormones are everywhere.

McBurney is a shape-shifter, and his foil are the two adult women: Martha and Edwina. At times respectful or seductive, compassionate or manipulative, sometimes earnest, McBurney manages to be both for each resident.

The Beguiled is just that: hypnotic, mesmerizing, and unsettling. With each scene– fleeting, things unsaid, –there are repressed emotions and dreams, a stultifying code of norms for girls and women. The drama is internal–expressed in the cinematography by the placement of scenes within the boundaries of the boarding school. Perhaps symbolic of the interior life of the female realm where women, confined by their circumstances, can only be independent when the male lies powerless, the viewer sees what happens when women, unaccustomed to this power, react. The mere presence of a man unexpectedly and violently alters their group dynamic.

The pacing for this historical drama is at times slow. However, The Beguiled is worth watching, especially for the originality of Sophia Coppola’s world view. Both Nicole Kidman and Kirsten Dunst infuse humor and intensity into their roles, giving performances that are perfectly interwoven. This is perhaps Colin Farrell’s best performance yet. And Elle Fanning is a wonder, embodying teenage sexuality, giving heat through her languid gestures, evoking a boredom on the verge of explosion.

The Beguiled rages with what lies underneath the surface. This is Sophia Coppola at her very best.

 

Note:  Currently available on Netflix (DVD)

 

Mudbound–Mired in the Mississippi Delta

 

Mudbound the movie

Set in the Deep South in1939 and then fast-forwarding to World War II, Mudbound is an epic of two families–one white (McAllan) and one black (Jackson)–who are severely constrained by the Jim Crow laws and customs in Alabama. The two McAllan brothers, Henry and Jamie, epitomize Cain and Abel. The Jacksons are sharecroppers bravely facing the disconnect between their dreams and the dangerous obstacles set before them.

Mudbounds main plot focuses on Jamie McAllan (Garrett Hedland) and Ronsel Jackson (Jason Mitchell), decorated war heroes who, upon returning, are misfits in their hometown. As their friendship grows tighter, so do the menacing threats surrounding them. One subplot moves into sibling rivalry between Jamie and his brother; another into Henry’s brutal and defeated temperament, which affects his marriage to Laura (Carrie Mulligan).

Mudbound challenges our concepts of friendship, family, and marriage. Sometimes the story is predictable, even clichéd. There are also difficult scenes to watch. Yet, the retelling of this story is crucial, lest we forget. The military, out of necessity, gave responsibility to both black and white soldiers, albeit in segregated troops. It is the “welcome home” racism that is portrayed in all its hypocrisy and disrespect for heroes of color. ln addition, the French and Belgian openness in attitude and behavior towards black soldiers are in stark contrast to what Ronsel Jackson has to face in Alabama.

A history to remember, Mudbound showcases superb acting from an ensemble cast of up-and-coming actors who engage us enough that we can overlook a script that should have been better. In an unexpected scene-stealing performance, Mary J. Blige, the queen of hip-hop and soul, is virtually unrecognizable, as Florence Jackson. She gives as much soul to her subtle, heart-wrenching performance as the best, more experienced actresses.   A Netflix Original, this new addition to the genre focused on racial inequality deserves to be watched by all interested in history and family saga.

The Florida Project: Finding the Magic Kingdom

 

The Florida Project

[Another great review by guest blogger:  Bill Clark,  award-winning photographer, printmaker, writer, political activist and proud grandfather of four wonderful grandchildren. See his first review: “Faces Places–A Journey of the Heart”, October 23, 2017]

My six-year-old granddaughter’s first e-mail complained that her older brother was telling everyone her “sekrids.” I wondered what kind of secrets a loved, well-cared for and healthy child could have. After viewing The Florida Project I now know secrets a child may have who lives in poverty near Orlando, Florida and Disney’s Magic Kingdom. The Florida Project is sad, funny, happy, heart-breaking and most of all, unforgettable.

Director Sean Baker deftly reveals the hidden world of six-year-old Moonee, the only child of her free-spirited single mom, Halley.   They live in an extended-stay motel, the Magic Castle Inn, targeting low-income families.

Moonee (brilliantly played by Brooklynn Kimberly Prince) leads her pals Scooty (Christopher Rivera) and Jancey (Valerie Cotto) through a series of adventures over the course of a summer – no summer camps for them. For example, they manage to cage money in front of a soft-serve ice cream joint so the three can share one ice cream cone. They thread their way through the garish souvenir stores that line strip malls along Seven Dwarfs Way until Moonee brings them to a pasture where cattle are grazing. “See! I brought you on a safari.”

Moonee takes her friend to a gigantic fallen cypress. Straddling the huge limbs, Moonee tells her friend a secret. “This is my favorite tree because it’s tipped over but keeps on growing.” This may be Moonee’s life.

Episodic without a traditional narrative arc, The Florida Project tracks the children from scene to scene demonstrating their resilience, independence, boredom and, occasionally, petty crimes. Moonee’s mother, Halley (a breakout performance by Bria Vinaite), loves Moonee, but unable to hold a job or manage her anger, Halley ultimately fails her young daughter.

Veteran actor Willem Dafoe plays Bobby, manager of the motel, who does his best to protect Moonee, and all the other impoverished residents. More the kindly innkeeper than harsh rule enforcer, Bobby desires to make the residents’ lives better, or at least bearable, as they live in abject poverty.

A beautiful ending sums up The Florida Project–an ending I won’t disclose.

 

 

“The Salt of the Earth” (2014) –Drawing with Light

Salgado's Iguana Hand
Iguana Marina

Sebastiao Salgado, the renowned Brazilian sociopolitical photographer,  is the subject of this emotionally harrowing documentary. The viewer witnesses photographs of heartbreaking gravity and human agony, both unprecedented and breathtaking. The 2014 Academy Award nominated The Salt of the Earth reveals Salgado’s masterpieces of portraiture, political journalism, landscape, and animals in a way that evokes strong feelings. A display of Ansel Adams this is not!

Perhaps the most startling experience in watching The Salt of the Earth is the beauty that is embedded in the tragic and cruel situations of his subjects. Here we see the evidence of his emotional response to what he photographs and frame by frame, in mostly black and white photos. Each black and white photograph is a meditation, not a representation and Salgado is keenly aware of this as he narrates each photographic series: “Workers”, “Exodus”, “Genesis”, and others.

The majority of The Salt of the Earth is extremely painful to watch–a testimony to violence, genocide, and holocausts beyond even the most grotesque of imaginations. Deeply affecting, this documentary visualizes the inhumane, abject conditions that much of the world’s population, particularly women and children, endure. The Salt of the Earth is a must-see. Courageous and compassionate, Salgado explains his photographs in elegant poetic form: “Our history is a history of wars. It’s an endless story, a tale of madness.” With soulful voice and unbelievably sad eyes, he is unflinching in reporting on the ugliness of human existence but also the beauty of those struggling to survive. The underbelly of human behavior is powerfully depicted, mostly in stark monochromatic photos, with the support of the extraordinary director Wim Wenders (of “Buena Vista Social Club” and “End of Violence” fame).

Blind Woman of Mali
Blind Woman of Mali

Anyone watching The Salt of the Earth will wonder how Salgado survived the horrors of what he witnessed,– the heart of darkness,– with his soul intact. “We humans are terrible animals” he says at one point. He himself confesses there were times when all he did was sob throughout the night. Photographing war and genocide may have brought Salgado to the edge of despair and insanity, but recently his projects have been redirected to renewing and restoring the planet.

Salgado is a living testimony to how art can be witness to truth.  His photographs and experience, his “drawings in light”, The Salt of the Earth is unforgettable. You cannot but be moved by this film!

Note:  Available on Netflix

 

Carmel Bach Festival–The Joy of Music

Carmel Bach Festival 2017 program

Now celebrating its 80th anniversary, the world-renowned Carmel Bach Festival has just begun its summer season! If you are in the Carmel, California area sometime between July 9th and July 29th, stop by and experience the exuberant classical and contemporary music masterpieces being featured.

A touchstone of music in scenic Monterey and Carmel, this world-class music festival offers more than 25 chamber concerts, traditional chorale recitals, and full orchestraI programs. Some of the Carmel Bach Festival concerts are free, often accompanied by lectures by the Art Director and Principal Conductor. Open rehearsals and workshops for emerging musicians are educational and thoroughly enjoyable too.

I was fortunate to listen to one of the first pre-festival concerts so far this season at the beautiful Carmel Presbyterian Church. The Circle of Strings Quartet–featuring the violin virtuoso Emlyn Ngai as well as three other exceptional chamber musicians–played two 18th century pieces (by Beethoven and J.S. Bach) as well as 20th century compositions by Reinhold Gliere, Samuel Barber, and Philip Glass. Ranging from soothing, calming and undulating movements to a humorous duet and then to the passionate and poignant finale by Barber, the five selections managed to be a microcosm of the evolution of music from its baroque days to the masterful works by Philip Glass (who celebrates his 80th birthday this summer too).

The Carmel Bach Festival is held in a wide-ranging selection of venues throughout the town as well. Some concerts are held outside on the patio under the Clock Tower of the Carmel Sunset Center (the city’s performing arts center) while others are held in beautiful churches in the community (including the Church in the Forest in Pebble Beach) and the historic Carmel Mission. Candlelight concerts are particularly enthralling as the audience imagines a Mozart quintet or a baroque piece in its original lighting of the period.

And as an additional attraction for art lovers, there is an art auction raffle of miniatures by local artists as a fundraiser for the festival. This year’s theme is The Joy of Music to celebrate the cultural and musical vitality in our community. Plan to visit either this summer or next–the Carmel Bach Festival always is scheduled in the month of July.

Carmel Bach Festival Art Raffle
My “Jellyfish” print for Art Raffle

Enjoy!

Note: For tickets and more information call 624-1521 or visit www.bachfestival.org Remember, there are many free events at this festival, including music, lectures and special events. Whatever your budget, you can enjoy this marvelous event!

 

“Dear Evan Hansen”–A Note to Loneliness

 

“Dear Evan Hansen” is “13 Reasons Why” meets “Curious Incident of the Dog in the Night-Time.” This original Broadway musical premiered this year and has received critical acclaim. At the upcoming 71st Tony Awards (this Sunday, June 11), “Dear Evan Hansen” is nominated for nine awards including Best Musical, Best Score, Best Book of a Musical, and Best Actor in a Musical.

The title character, Evan Hansen, is a shy teenager almost incapacitated by some sort of cognitive or  social anxiety disorder.   Assigned by his therapist to draft letters about why each day will be good, one letter becomes the catalyst for the plot of the story. This letter was never meant to be shared, a lie that was only meant to be seen by the therapist. But for Evan a life he never dreamed happens as the letter’s impact unintentionally gains momentum and opens a portal for a chance to finally fit in. With unintended consequences, Evan Hansen’s letter reshapes events of a fellow student’s (Connor Murphy) suicide, resulting in both Hansen’s mom and Connor’s family experiencing heart-piercing grief. There is no justification for those left behind by a suicide and Connor’s death threatens the very existence of his family.

Deeply personal and profoundly contemporary, Dear Evan Hansen is about social media’s ability to unintentionally magnify “little lies” until they take on a life of their own. At that point there is no easy way out. As the lonely protagonist, Evan Hansen desperately wants to connect, even in cyberspace, but remains in an emotional abyss.   It’s also about how we project ourselves in our world, both physical and digital–but it’s not the “real you.” Our vanity metrics of “likes” become addictive and the dependency continues its hold on us.

The memorably soulful and emotionally resonant songs, by composers Benj Pasek and Justin Paul, based on a story from Pasek’s adolescence, strike the same complex notes that expose the tensions and conflicts of Evan Hansen.  The breathtaking stage design simulates social media’s continuous flashing and lightng, with computer screens in long hangings cascading behind and next to the performers on stage, reminiscent of the imaginative and Tony-award winning design for “The Curious Incident of the Dog in the Night-Time”.

“Dear Evan Hansen” is unforgettable, operatically emotional theater that should become a national sensation.

 

“A Royal Affair”

A Royal Affair
A Royal Affair

A Royal Affair, a 2012 historical Danish film based on a true story, is a surprisingly delicious introduction to court intrigue in 18th century Denmark. Starring Mads Mikkelsen (“Doctor Strange”, “The Hunt”), Alicia Vikander (The Danish Girl”, “Ex Machina”) and Mikkel Følsgaard, A Royal Affair was nominated for both the Academy Award and the Golden Globe for Best Foreign Language Film.

A Royal Affair centers on a delicate balancing act involving the young mad King Christian VII (an astonishing Følsgaard), the royal physician Struensee (Mikkelsen) and the young beautiful, highly educated Queen Caroline Mathilda (Vikander). Part forbidden romance between the queen and Struensee and part bromance between the mad king and his devotion to Struensee, this gripping tale changes the course of Danish history.

Soon after the royal marriage, Queen Caroline Mathilda realizes that her passion for the arts will be quashed, as many of her favorite books–some involving revolutionary political ideas–are banned by the state. Moreover, King Christian VII suffers from severe mental illness and is horrifying in his brutality, resulting in a deeply unhappy marriage for both of them.

When the German doctor Johann Struensee is recruited to be the mad king’s personal physician, he is soon the king’s confidant. The Danish Council takes advantage of King Christian’s disabling mental illness, ruling by fiat to serve their own interests against the welfare of the general populace. Struensee quietly begins advising the king, writing speeches which advocate his own progressive views based on Rousseau. Several reforms are passed but Struensee has alienated the aristocracy and threatens their wealth. The King, on the other hand, is soothed and becomes a more gentle and engaged human being with Struensee’s encouragement and support.

The Queen and Struensee fall in love and begin an affair, while Struensee simultaneously continues to become closer to the King and is given the title of Royal Advisor. Ultimately rendered de facto leader of Denmark, Struensee abolishes censorship and torture, and reduces the serfdom and peonage inherent in the the aristocratic system of property Heartbroken by the secret life he leads as both the queen’s lover and the king’s confidant, Struensee straddles between the two: an impossible mix of allegiances.

A Royal Affair is an Oscar-worthy production with beautiful recreation of scenes and costumes, impeccable acting, and an original plot revolving around the machinations of power, a mad king, a depressed queen, and an idealistic and revolutionary physician who fails in his attempts to heal all wounds.

This Danish film is a cinematic treasure not to be missed.

Note: Available on Netflix as a DVD.

 

“Black Mirror (Season 3): Hacking and Hijacking

 

Episode: "Nosedive"
Episode: “Nosedive”

The third season of “Black Mirror” deftly picks up where Netflix left us at the end of season two (see my December 29, 2014 review of previous seasons) exploring themes of techno-paranoia, the ugly side of social media and its lack of consequences. Technophobia thrives!

Like the prior seasons, this season’s six episodes of “Black Mirror” involve at least one unwitting main character who is controlled by devices or inventions that are supposed either to enhance the quality of life or be a source of entertainment.   Personal freedom is threatened instead. Each episode tackles some form of hacking and hijacking.

The first episode, “Nosedive,” explores the obsession with smartphones. Personal lives become shattered by low star ratings and swiping left, with the ensuing online shaming leading to tragedy.

“Play Test,” reveals what happens to a world traveler who stumbles into a genuinely terrifying video game that is more real than virtual.

In “Shut Up and Dance,” an unseen hacker gains access to a teenager’s webcam and blackmails him. The anonymous hacker blackmails each subsequent victim to engage in criminal acts. Those who saw “Snowden” and now “Shut Up and Dance” will think more seriously about covering their webcam lens with a post-it!

The fourth “Hated in the Nation” is a bit like the classic, “Manchurian Candidate”. An investigator soon sees how murders advocated on Twitter with the hashtag #DeathTo, intersect with the decimation of the bee population.  Use of #DeathTo actually grows rapidly in popularity after users learn that the Twitter “game” is real and actually used to identify people who become public hate figures.

“Men Against Fire” is not your usual mini–war movie. To avoid PTSD after killing enemy combatants, the military embeds electronic implants into soldiers’ brains to dehumanize the enemy and avoid PTSD.

“San Junipero,” is a romantic encounter between two women who time-travel to unexpected places, some real and some virtual. They can choose to live as their younger selves forever, resonating a bit with the movie “Sixth Sense”.

Watching each episode of “Black Mirror” is like falling into a rabbit hole, where the world of the Cheshire Cat is ominous and not only a figment of the imagination. “Black Mirror” poses the question: Do our smart screens prevent us from authentic relationships and a shared reality within a wider community? Or have our moral boundaries been erased by the often tantalizing and addicting worlds our Wi-Fi connections make so real and so easy to pursue?

All six episodes are evocative and open a portal to seeing if our minds can be hacked and hijacked. Choose your own favorite episodes and post your preferences here!

Note: The episode “White Christmas” from the end of last season is quite a somber Christmas to say the least. Starring Jon Hamm (of “Mad Men” fame), I loved this one!

“The Crown”–Glory to Her Highness

the-crownThe anachronistic British aristocracy must sensitively negotiate its relationship with its public. “The Crown”, the November original series released from Netflix, is the story of a conflict between private and public, between the personal feelings of a wife, mother, and sister and the queen (Elizabeth II).

At its core “The Crown” is a character study and a family drama. Do you put personal fulfillment over political duty and obligation? That is the question. “The Crown” is a family saga, particularly between sisters. Conflicts with personal fulfillment and romantic love hide behind a curtain of pomp and circumstance. We are allowed behind palace doors to witness a struggle of personalities.

Elizabeth’s drama begins with the abdication of Edward VIII in 1936, which forces his reluctant younger brother George VI to ascend to the throne. His oldest daughter, Elizabeth (in a remarkable performance by Claire Foy from “Wolf Hall”), is a witness to all the regal drama. With the death of King George VI, Elizabeth must suddenly transform from a loving sibling and shy young wife and mother into a queen.

And at the moment of her father’s death, it becomes clear that Elizabeth — unlike her tearful mother and sister — is able to suppress her desires and emotions in order to assume the throne.

Perhaps the most compelling drama in “The Crown”, however, is the conflict between sisters. Her younger and more glamorous sister, Margaret, asks for permission to marry a recently divorced officer whose ex-wife is still living. This love affair, ironically, is similar in circumstances to that of her uncle (King Edward VIII) who was compelled to abdicate the throne for marriage to a divorced woman (Wallace Simpson). At that time remarriage under those circumstances was strictly forbidden by the Anglican Church. First promising to stand by her sister, Elizabeth is compelled by those in power to recant as she chooses duty as queen and defender of the Anglican Church over her love for her sister.

The popularity of “Downton Abbey” reveals an American fascination with the British royal family and aristocracy. Why is the monarchy this crucial to the nation? Queen Mary (played by Eileen Atkins), the grandmother of Elizabeth, reminds her granddaughter: “Monarchy is God’s sacred mission to grace and dignify the earth, to give ordinary people an ideal to strive towards, an example of nobility and duty to raise them in their wretched lives.”

A superb family saga with the machinations of politics as its undercurrent!

Remember–This is the Year of the Monkey

Monkey2016  For those of you who didn’t get a chance to read my Chinese New Year’s post on The Year of the Monkey–Anything Can Happen, here it is again!  This has been a crazy year — the most volatile in the Chinese twelve-year Zodiac cycle and who can argue with that after this Tuesday’s election.  Inauguration Day 2017 is January 20 and the Year of the Monkey officially ends on January 27, 2017.

“As the Year of the Sheep comes to an end and the Year of the Monkey arrives, 2016 will be a year of invention and improvisation, unpredictability and unexpected change. The Year of the Monkey is considered the most volatile in the twelve-year cycle.

The Monkey is considered intelligent, witty, and inventive. The ninth animal in the Chinese zodiac, the Monkey is also believed to be a magnificent problem-solver and independent high achiever. Clever and nimble, monkeys are playful, energetic creatures who move from activity to activity, swinging from branch to branch. Though honored in Buddhist tales, the Monkey is also famous as an irrepressible trickster.

All animals in the Chinese zodiac have a dark side too. The problem-solving in the Year of the Monkey can turn opportunistic and untrustworthy, unscrupulous and devious, capricious and misguided.

Some may gamble, speculate, take unnecessary and highly risky chances but for some there will be ingenious outcomes. Business can thrive in surprising ways under the Monkey’s optimistic and shrewd influence.  Anything can happen. Everything is in flux.

Communication also takes on a humorous, even mischievous and light-hearted side as an antidote to the stressful changes which will occur. Some risks will have astonishing results and unconventional solutions are needed to solve old problems. Daring to be different leads to success but  tremendous effort is also required. Now is the time for bold action; even the wildest ideas may succeed.

Remember this year will reward individualistic and highly original enterprises. A lot of global economic growth due to entrepreneurship can be expected in the Year of the Monkey. Also expect a lot of life changes. The Year of the Monkey 2016 is a good year to break free and take calculated risks as there is nothing more powerful or rewarding than following your instincts, passion and intuition. This is the best year for changing jobs in the next decade! Don’t look back!”

 

 

 

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