Every few years I head to the Edinburgh Fringe for a week of theatre, comedy and impromptu games of Avoid The Leafleteers. This year we were once again ready to brave the professional performances, the amateur dramatics and the wind, drizzle and fog. As always, the range of shows to see was immense: from queasy comedy (or is it?) about toxic masculinity via Korean mashups of Shakespeare, folklore and calligraphy to immersive flights on Schroedinger Airlines, but also from accomplished acting and acrobatics to the decidedly more homespun and rough around the edges – but often no less engaging for that.
This film nerd here is a complex beast. On the one hand, I get as much childlike joy out of well-executed genre films that follow the formula to a T. I enjoy the climactic showdown between Hero and Villain. On the other hand, I cackle gleefully when a film (or a book, for that matter) frustrates my expectations. No Country for Old Men is a good case in point, where the supposed hero dies off-stage and isn’t even killed by the bad guy of the piece. Even Raiders of the Lost Ark, a genre movie if there ever was one, doesn’t end with the hero triumphing: it ends with the hero tied to a stake as the ultima deus ex machina comes and melts the faces off a bunch of undeserving unbelievers.
I just finished re-reading Neil Gaiman’s Stardust. I’d last read it in the summer of 2001, just after graduating. I have fond memories of sitting in a French café in Edinburgh during festival time, drinking good coffee, eating croissants and not looking up from my book until I’d finished half of it in one sitting. What I remembered much less was the plot, at least beyond the broad strokes. What I definitely didn’t remember was how differently it told its story from how Hollywood would (and, from what I’ve heard, did) do it. Here too, we don’t get a showdown with the villainess – instead, we get a melancholy coda and a bittersweet ending that made me realise how rarely Hollywood does “bittersweet”. I know that most Gaiman fans prefer American Gods, but I must say that even without Charles Vess’ pictures (I have the non-pic edition), this is a beautiful, wonderfully light, exquisitely crafted fairytale. In comparison, I feel that American Gods collapses under its own ambition, because its dozens of ideas never really come together in a fully satisfactory way.
Oh, and in case you’re wondering about the title of this entry? Well, we’ve just started watching The Wire season 1. Very different fare from Buffy, if you would believe it… But intriguing, with carefully drawn characters and lots of shades of grey. Definitely looking forward to seeing more of it – and telling you all about it, in epic detail. Shudder and despair.