The English Game, created by Julian Fellowes (of “Downton Abbey”), is a Netflix Original period drama based upon a true story. Set in 1880’s England, The English Game is a notable example of class divisions exhibited in the early evolution of football aka soccer. Rising from a provincial game that was socially stratified for the “Old Etonians” of noble birth, we see the evolution of football to a world-class game, perhaps the most popular in the world.
Soccer’s first governing body was an “old-boy network” consistent with a clubby insular game for the privileged. They knew the playbook but to their chagrin soccer began to trickle down to the lower classes.
By the time The English Game opens, two Scotts from a mill town are drafted as the first paid players in soccer. Fergus Suter (Kevin Guthrie) and his friend, Jimmy Love (James Harkness) become the stars of the mill town soccer team, and prepare for playing in the semi-finals against the aristocrats. They create a new strategy of playing that upends the traditional style followed by the elite.
However, players being compensated for their skills were against the Football Association’s rules and so, the plot thickens. Arthur Kinnaird (Edward Holcroft), an Old Etonian of impeccable aristocratic status, is a founding member of the Football Association and heir to the white-shoe family bank that owns the mill sponsoring the paid players. His team is the arch-rival to the mill town team and unaccustomed to their innovative play strategy.
While TheEnglish Game is ostensibly about sportsmanship and soccer in particular, the overriding theme is class division and the leveling of the playing field for all who qualify, not just those who create exclusionary rules to avoid competition. And the subplots of competition between father and son, women’s vulnerable status and exploitation in a world of privileged men, in a highly rigid society are compelling to watch.
You don’t need to be a sports fan to enjoy The English Game!
Hillary, an intimate and candid four-part series about former First Lady and Secretary of State Hillary Rodham Clinton– one of the most admired and vilified women in the world–features never-before-seen footage of her life from birth in a close-knit family in Chicago, Illinois. The mission of this documentary is not only to interview Hillary Clinton (for a total of thirty-five hours) and several dozen colleagues and personal friends but also to try to analyze why people found Clinton so compelling—and so polarizing. Yet Hillary is so much more than a biopic. It is a distillation of the history of contemporary feminism in the United States, sexism, the failure of journalism, and the history of partisan politics.
For the first time in perhaps four decades, we see Clinton engage in a wide-ranging conversation about herself as a private citizen with breathtaking courage and unflinching reflection on those mistakes. This is maybe the first time she hasn’t had to self-censor.
Even with her exclusive access to Hillary Clinton, filmmaker Nanette Burstein did not intend to go over familiar territory about perhaps the most scrutinized public figure in the last half-century. “Can a woman ever—really, actually ever,– become president of the United States?” To this day, there is no easy answer. And only one woman has come extremely, some would say, perilously close.
Childhood friends, her daughter Chelsea, former President Barack Obama as well as staff members, campaign managers, journalists, and senators, both Republican and Democrat, are interviewed. The former speaker of the House Newt Gingrich so hated the idea of being interviewed that he is on record as responding: “I would rather stick a needle in my eye than talk to you about Hillary Clinton in a documentary.”
Hillaryframes the Hillary Clinton of the past half-century as a woman who learned that to be taken seriously, she’d have to wear a mask. She never fully removes it, of course, but in these interviews it occasionally slips, and clues about a brilliant intellectual that no one else seems to get are revealed. “I’m a private person,” Hillary confesses, “and I’ve made mistakes because of that.” As a woman especially, she may be just too cerebral for some people to put up with. Hillary Clinton is a national lightning rod for women’s status and image–the good, the bad, and the ugly.
Hillary Clinton was criticized for coming off as too cold,–even emotionless– but she had been forced to learn how to be affectless as the rare female law student at Yale University. Clinton’s gender hindered her in unpredictable ways as Burstein’s documentary unfolds. She was scrutinized, investigated, loved and hated.
At one interview, Hillary seems almost perplexed at the double standard, even after all the years on the campaign trail: “I’ve been on platforms with lots of male candidates, and they have shouted, they have beaten the podium, they have gone crazy with their hands and arms, and nobody said a thing.” “A woman candidate? Her voice rises, and somehow that’s over a line.” But what line has been drawn?
The filmmaker does a commendable job illustrating what Clinton was subjected to throughout her career: from footage of protesters with “Iron My Shirt” signs at her rallies, to male supporters earnestly advising her to smile more and wear something besides pantsuits. For younger viewers this past may seem almost unbelievable, in its blatant sexism. To the babyboomer generation, the behavior is dishearteningly familiar.
When Trump stalked behind Clinton in an effort to physically intimidate her, Clinton wanted to call him out, but didn’t. “He was preening like an alpha male.” She knew how the press would react.
Her communications director elaborates on why confronting Trump would have been ill-advised. “I think the post-2016 election world is a different universe — I think a woman could do that and be lauded for standing up to a man who was trying to intimidate her, but not then.” The same resistance to pushing back occurs throughout the film, in spite of anger: in the email with James Comey, in the PizzaGate trolling and in the Whitewater investigation.
She demonstrates how aware she is of the public’s perception of her and the role her gender has played in her polarizing image. And her most painful moments– when she had to face her husband’s sexual predation of Monica Lewinsky– are some of the most heartbreaking to watch. Hillary is personally hurt, admits that she could hardly breathe when Bill admitted he was lying, and demanded that he explain to their daughter about the affair. A fragile, chastened Bill Clinton is seen as a vulnerable humbled man for the unspeakable betrayal of her trust.
Clinton is also positive about how the women’s movement has brought change, but still there is no guarantee that the hard-fought changes and laws will not be rescinded or pushed back. Her tone is optimistic and hopeful, nonetheless.
Hillary is instructive and emblematic of a period in history that is not that long ago. Even for those who despise her, the series offers a unique glimpse behind the scenes of some of the most consequential moments in recent political history.
She cracked the glass ceiling. We now wait for it to be shattered. .
In this spinoff of the BBC popular series “The Missing”, detective Baptiste is now retired and recovering from brain surgery. The six-part crime procedural, Baptiste, is an intense crime thriller.
Baptiste (Tchéky Karyo) is called in by Amsterdam’s Chief of Police and former lover to investigate the disappearance of Natalie, a young sex worker. He meets her uncle Edward (Tom Hollander of “The Night Manager”) and soon Baptiste and Edward become involved in taking down a Romanian crime organization. The Romanians are in the business of sex trafficking in the red light district of the city. While still the same old curmudgeon as in “The Missing”, Detective Baptiste now has conflicting emotions in his relationship with his own daughter, and with his former lover. Nonetheless, he is quickly sucked into a case that exposes the seedy underworld of Amsterdam beneath the picturesque streets and canals. His family suffers while he becomes obsessed with the case.
Filled with a number of red herrings to throw the viewer off track, Baptiste may fool the viewer as to what really happened to Natalie, and who really is implicated in sex trafficking. This is a great whodunit worthy of six hours of viewing time.
Note: Available on Masterpiece Theater and pbs.org. Baptiste premiered in April of this year. A second season is planned for next year.
With the tagline: “Don’t talk to anyone. Don’t touch anyone”, this B-rated movie “Contagion” (2011), directed by Stephen Soderbergh, is eerily prescient nine years later.
A pandemic–“a novel virus”– is about to create havoc, beginning with the opening scene where Beth Emhoff (Gwyneth Paltrow) is at the Hong Kong airport, waiting to catch a plane back to Chicago. Her husband Mitch (Matt Damon) will soon discover that his wife is patient zero–the original carrier of the deadly virus which begins to get out of control in a matter of days. The CDC’s principal investigators, Dr. Mears (Kate Winslet) and Dr. Cheever (Laurence Fishburne), attempt to identify the virus and develop a vaccine while analyzing the exponential rate of growth. Everyone worldwide is advised to stay calm, maintain social distancing (yes, they use that term) and wear masks to avoid touching their own faces. It is unsettling to hear terms now commonplace such as fomites (the surfaces to which viruses cling) and R0 (“r-naught”)–the number of people a single carrier infects.
Several days pass before anyone realizes the extent or gravity of this new virus. In Contagion we see hospital workers with insufficient protective equipment,– some without N95 masks,– succumb as first responders. Do you hear the Twilight Zone theme song yet? The Centers for Disease Control, led by Dr. Cheever’s investigative team, is villified and accused of conspiracies. An unethical journalist profits from a homeopathic “cure” which creates mobs at local drugstores. Looting and panic ensue.
As the contagion spreads to millions of people worldwide, societal order begins to break down as people panic in the uncertainty that a vaccine will be developed.
The second time around, viewing Contagion is a chilling déjà vu. No longer a film of science fiction, depicting a dystopia in the distant future, Contagion is a cautionary tale right now… for all of us.