Lughnasa and the Harvest Moon
Three high quality but very different offerings on TV right now. On Hulu, the least strange show of the three: Veronica Mars 4th season. The first three seasons ended in 2007, so number four is set 12 years later. The show’s first three seasons are also on Hulu, which paid for the late addition.
If you never met Veronica, you’ve missed an iconic character in American television. Smart mouthed, brave, petite, beautiful, and brainy, she’s first in high school solving the problems of students at Neptune High. (California) In the third season she’s in college. Ditto. By season number four she has a Stanford law degree, but chooses to return to Neptune to work as private investigator with her father, Keith.
Four stars out of five. Four only because I like things a little stranger. So, a biased ranking. (But, aren’t they all?)
Amazon Prime Video put up Carnival Row on August 29th, so it’s brand new. Orlando Bloom and Cara Delevingne star. A British production, it’s loaded with character actors you might have seen on BBC shows and has a fascinating set complete with monorails, gritty streets, and an overall Victorianesque tone.
There’s been a long war between the fae with their human allies and the Pact, a mysterious and brutal enemy to both. There are pixies with wings, trotters with rams horns on their heads, lots of Midsummer Night’s Dream references (this is a British show after all), and yet another take on zenophobia. This last is a bit disappointing though I get it as an of the moment plot device. Disappointing, btw, in its overuse, not in its broader significance.
High production values, great cast, an edgy plot. Four and a half stars. Right now. I’ve not finished it so I may go up to five or down to four when I’m done.
As I said in yesterday’s post, Netflix has taken the biggest chances by funding shows and limited series from a diverse collection of nationalities and story telling traditions. My recent and so far all time favorite is Frontera Verde, the Green Frontier, made by Colombians and filmed in and near Leticia, Colombia’s southern most point. Leticia is the capital of the department of Amazonas, and borders Brazil’s state of the same name.
A detective from Bogota is sent to Leiticia to investigate the murder of four missionaries in the jungle. Helena Poveda was born in the jungle near Leticia, but sent to Bogota as a young girl and has not returned until this trip. The murder of the missionaries, from Edens Church, and the solution to them, does make this a mystery.
Solving the murders is a vehicle that takes us into the botanical mystery that is the Amazonian jungle and the lives of those indigenous communities who live there. The old days of rubber plantations, the current threats of rogue loggers and a secretive group intent on penetrating the mystical center of the jungle for their own purpose provide the villainy.
The story telling has a Gabriel Garcia Marquez inflection, magical realism often taking the story in surprising directions. Early on a hand, covered in black pigment, comes to rest on a root and the root glows and pulses. This is Yua, the eternal slave, and a guardian of the jungle. Ushe is his long time companion, both many decades older than they appear. Ushe’s murder, discovered by Elena while investigating the killing of the missionaries, is the central plot line though it takes a long time for that to become evident.
I love the undercurrents here. An indigenous detective has to choose between his police duties and his community, the Nai. Elena discovers the true depth of her home coming. “The jungle is in your heart,” says the indigenous detective’s grandfather to her. Yua and Ushe navigate the jungle’s essence, sometimes using magic, other times their knowledge of the communities, other times their vast botanical lore. Edens Church has a much different belief system than its predecessor, an order of Catholic nuns.
The videography is wonderful. A slim boat travels quickly up the wide, brown Amazon. Ushe and Yua meet in a cosmic space held together by mother jungle. The jungle itself is by turns claustrophobic, vast, and alive.
I realized last night that by an odd coincidence Colombia is the foreign country I have visited most. Three times. Once in 1989, Bogota. Once in the 1990’s with Kate, Cartagena. And once in 2011, Santa Marta. Long before any of those trips I had found Marquez and his Hundred Years of Solitude.
With those trips to Colombia, our two transits of the Panama Canal, and the 7 week cruise we took around Latin America in 2011, I feel I’ve had a modest immersion in the often strange world of this continent where the Portugese and Spanish ran headlong into indigenous communities. Might be why I like this so much.
I’ve begun a second watching of Frontera Verde, something I almost never do. It’s mixture of indigenous magic and shamanism with contemporary problems of the “earth’s lungs,” as the Amazon is often referred to in the stories about its many fires, makes it compelling to me.
Five stars. Good acting, wonderful landscapes, strange plotlines. Another world brought to life. Compelling.