Wednesday, December 21, 2011

Things to look forward to in 2012

In roughly chronological order...

Continuing reading The Malazan Book of the Fallen
Returning to Monday night football
Game of Thrones series 2
Kingdom by Bluetree
June Project - in half term!
The Dark Knight Rises
Lord of the Rings Lego
Weddings (including one of my oldest friends and my sister (not to each other))
London 2012
Red Dwarf series 10
The Hobbit: An Unexpected Journey

Tuesday, December 20, 2011

Albums of 2011

I only got a few new albums this year.  Here they are, in ranked order:

1.  Matt Redman - 10,000 Reasons
One of Matt's best albums, only pipped, for me, by The Friendship and the Fear.  Excellent congregationally, and with one of the best worship songs of the last decade in 'Here for you'.  More thoughts here.
2.  Stoney+ - The Scene and the Unseen
I saw Stoney supporting Athlete about a year ago.  Quite unique and very interesting to listen to.  My personal 'unknown band of the year'.
3.  The Temper Trap - Conditions
Really cool album with barely a weak point.  Catchy and lively.  I shall be keeping a close eye on this band.
4.  Coldplay - Mylo Xyloto
Not as good as some of their previous efforts, but still some great songs on this.
5.  Lou Fellingham - Step Into the Light
Quite similar to Phatfish really, but nonetheless good.  Some really nice songs here.
6.  British Sea Power - Valhalla Dancehall
BSP are awesome and everything, but this just isn't as good as previous albums.  It's still good, just not as good.
7.  Tim Hughes - Love Shine Through
Really quite disappointing, as explained here.

Also, a few decent EPs this year:
Flight Brigade - Flight Brigade; Shaw Court Sessions - a total of 11 great songs from a band I discovered for the first time this year.  Lovely stuff.
Stoney+ - The Soar Before - Just 4 songs from the aforementioned Mark Stoney and co.
The Listening - The Listening - Formerly The Rock'n'Roll worship circus, some great stuff on this EP.

Soundtrack of 2011

Following previous years here, here and here, it is now time for my soundtrack of 2011.

Athlete - Wild Wolves

Just lovely.  Only on the Black Swan bonus disc, but a great song.  I was lucky enough to see them play it live twice about a year ago.

Flight Brigade - Planes, Trains and Motor Vehicles
I discovered this band at The Vane Tempest Sessions in Durham, and this was the song that grabbed me the most.
(no video)

Hans Zimmer/Lisa Gerrard - Now We Are Free

Not new at all, but still very special.  Gerrard's voice is immense.  One of the best film ending songs ever.  "Not yet, not yet".

Lifehouse - Simon

Another song over ten years old.  It's always been huge.  This year it's probably become my favourite by Lifehouse.

Lou Fellingham - See the Lamb of God

I saw Phatfish play at Spring Harvest this year, and this song was the highlight.  They built it up much more than on the recorded version.  Massively epic.

Matt Redman - Here For You

The best song off his latest album.  A lot of people are saying this is the best worship song since 2002's Consuming Fire.

Matt Redman - We can change the world

Touted at the June Project 2012 video song, this is also from Matt's latest album.

Matt Redman - Oh This God

So is this.  Musically probably my favourite on the album, and with better lyrics than it is given credit for.

Sigur Ros - Flugufrelsarinn

This is here simply because of the chord change at 3.56 (and later places), which is apparently just G to A, but sounds awesome.

Sigur Ros - Gong

Everyone knows what Sigur Ros do (if you don't, the above song is what they do), and everyone knows that they are amazing at what they do.  Gong is simply not what they (normally) do, and they're still amazing at it.

Soul Survivor - Our Hope
(no video)
A Spontaneous Song from Soul Survivor which, unlike most of the spontaneous ones, is immense.

Stoney+ - Jailbird

This just has a really catchy chorus.  It's a weird, but additive, song.

Stoney+ - Ghost

With some of the best lyrics I've ever heard, this song also entered my 'contenders for greatest song of all time' list this year.

Stoney+ - Underdog
(no video)
Just another very cool song from Stoney.  Some brilliant imagery.

Stoney+ - Let it go
(no video)
This has a very catchy riff and a very cool trumpet part.  I never get bored of it.

The Temper Trap - Love Lost

Temper Trap released a very good debut album this year, and while I can't pick a favourite track, this is right up there.

Sunday, December 18, 2011

Films of the year

This year, I decided to keep track of the films I have watched for the first time.
Here is my list, from the worst to the best, with a few comments for each film:

32: Black Hawk Down
This was just rubbish.  Almost entirely a big shootout scene.  The plot is boring (barely even present) and the action uninspired and repetitive.

31: No Country for Old Men
Nothing actually happens.  One guy looks for another guy.  That's it.  Nothing interesting about this.

30: Tinker Tailor Soldier Spy
Unconvincing, overlong (an unusual comment from me), overcomplicated, difficult to follow.  Completely failed to hold my interest.  If it had, I might have enjoyed it.  But the first thing a film must do is hold my interest, and this failed at that first hurdle.

29: Tropic Thunder
One of those Ben Stiller films that some people find hilarious but are actually just a waste of time.  It's meant to make me laugh.  It didn't.

28: Blade Runner
The first on this list that I don't think is complete rubbish.
A classic, really?  It's just weird.  A couple of good action scenes, but little else on offer here.

27: Atonement
Had potential, but ultimately just completely failed to convince me.  For more detail, see this link.

26: The Hurt Locker
A series of tense and dramatic set pieces, with no plot to hold them together.  Occasionally spectacular but unfortunately there just isn't a plot.

25: Despicable Me
A mindless laugh.  Except it wasn't funny.  Except in a couple of places.

24: Invictus
On paper, brilliant - Morgan Freeman and Matt Damon as Nelson Mandela and Francois Pienaar during the 1995 Rugby World Cup.  On film, disappointing.  Very forgettable.  Which is why I can't say much more - I can't remember much about it, except that it wasn't very good.

23: The Curious Case of Benjamin Button
Nothing particularly wrong with this, except that it was ludicrous.  No explanation was given for the central idea of the baby being born old and getting younger, and everything else hangs on this.  Not impressed.

22: Spy Game
Seemed like a good film, but I didn't follow it.  I don't mind complicated films, but they have to explain themselves.  This one didn't.  Things that seemed significant were not, and things that seemed insignificant were not.

21: Legends of the Fall
Just very overdramatic really.  A family drama/romance, but neither the drama nor the romance convinced me.

20: Hereafter
Some brilliant ideas, and some great scenes.  But an awful ending.  Right up there with Vanilla Sky as one of the most disappointing endings ever.

19: In Bruges
Funny in places.  Merely silly in others.  An ok film.  Glad I watched it, but wouldn't watch it again.

18: Mary Shelley's Frankenstein
Classic story, reasonably well done.

17: Disturbia
The first on this list that I would watch again.
Fun, lively and exciting.  A reasonable film.

16: Taken
Liam Neeson eat your heart out.  Fairly mindless, but very watchable.  Gripping.  One particularly superb scene.

15: Shrek 4
I was wary, after the disaster of Shrek the Third.  But this was much better.  An adequate end to the series, though not as good as Shrek 2 and nowhere near Shrek 1.  Even managed to explain time travel.

14: The Departed
A good film.  Nothing amazing, but a good film.

13: Mission Impossible 4
Great action film.  A right laugh.

12: 127 Hours
Very watchable indeed.  James Franco is excellent, as is the soundtrack.  A bit short for my liking though.

11: The King's Speech
Not as good as everyone says, but still a good film.  Brilliant acting throughout.  Plot is a bit weak though.

10: X-Men First Class
Another good x-men film.  A good film in its own right, but also linked to the original series really well.  A difficult film to make, but it was very well done.

9. Unknown
Really cool action film, kept me guessing until the end.  Very nicely done.

8: The Blind Side
Quality film.  Nothing spectacular, but a good story well told.

7: Rise of the Planet of the Apes
Andy Serkis, I take my hat off to you.  Yet again.  Really good film all round.

6: 12 Angry Men
Really cool.  Great concept, wonderfully done.  A genuinely excellent film.

5: Face/Off
Ditto (though in a very different way).

4: The Social Network
Brilliant screenplay and acting.  Other than that, I'm not quite sure what makes this film so good.  But it is so good.

3: The Fighter
It was always going to be great.  Mark Wahlberg is great, but Christian Bale and Amy Adams (robbed of an Oscar) are superb.

2: Black Swan
Properly intense.  Squirmtastic.  Gripping.  Amazing final scene (literally one of the coolest scenes I've ever seen).  More on 127 Hours, The King's Speech and Black Swan here.

1: Never Let Me Go
The most emotionally intense film I've seen since Bridge to Terabithia ripped my heart out and smashed it apart with a sledgehammer.  Parts of this film are jawdroppingly beautiful.  Carey Mulligan, I salute you.  I think I have a new favourite actress (sorry, Nicole Kidman).  More on Hereafter, Never Let Me Go and The Fighter here.

Sunday, November 20, 2011

Matt Redman album ranking

From 5 minutes thought, here is my Matt Redman album ranking:


The Friendship and the Fear
10,000 Reasons
Father’s Song
We shall not be shaken
Intimacy
Where angels fear to tread
Facedown
Passion for your name
Beautiful News
Wake up my soul

That is all.

Saturday, October 29, 2011

Five stars


The five star rating system is commonly used to rate many things such as hotels, films, music, and players on Football Manager games.  Football Manager got me thinking about the five star system when I discovered that on the 2011 version of the game, the best player in the game, Lionel Messi, was 4.5 stars.  How can the very best of thousands of players still not be in the equivalent of the 90-100% range?!
There are two problems with the five star system as a ranking system – one obvious and practical, one less obvious and more theoretical.

Firstly, things are often given half stars, such as 3.5 stars out of 5.  Why not just rate things out of ten instead, and make everyone’s life easier?
Secondly, upon examination of the five star system, I see that there are several possible ways to use it, which make various amounts of sense.
The first way to use this system is with a uniform distribution – so the top 20% of films get 5 stars, the next 20% get 4 stars, and so on.  This is the most helpful way, because you can immediately tell roughly how good a film is from the number of stars it has.  Sadly, this is also the least used way.  It is also impractical to use for something like films – because how can one tell how a film will compare to as yet unreleased films?
The second way is with a normal distribution – so the many films get 3 stars, some get 2 and 4, and few get 1 and 5.  This is less useful, because so many films get the standard 3 stars, but more often used than the first way.  It also suffers from the same drawback as the first way.
The third way is with an arbitrary distribution – so the reviewer or critic basically guesses the star number based on how good they thought the film was.  This is unhelpful because there is no standardisation – one critic may give a ‘reasonable’ film 3 stars, another may give a ‘reasonable’ film 2 stars.
The fourth way is the checklist system, often used for hotels – so a hotel gets four stars if it has certain facilities or services.  This is more helpful, but can’t be used for things like films or music.

The five star system is generally very unhelpful, because you never know the criteria the reviewer is using (unless you have read all the reviews by a reviewer, which is just silly).  Now I think about it, the same could be said for out-of-ten or percentage rating systems.  The numbers are fairly meaningless.  Therefore giving a film a score, out of anything, is a waste of time, unless (a) you are going to give a score to all the films you have seen, and (b) people are going to look at all those scores – then a ranking list could be produced by the reader to helpfully indicated what you think of films compared to each other.  In which case, forget the scores and just produce a ranking list!  (Some readers will be smiling at this point as I attempt to justify all my ranking lists).

A much more helpful way of communicating thoughts on films etc is with a full review.  If people would prefer a score out of 5, or 10, or 100 because they are too lazy to read a review, tough.  An isolated score is largely unhelpful.  If you want my score out of 10 for a given film, you will have to listen to my score for every film I have ever watched.  Good luck with that. 

Concept albums


Until recently I had never heard the term concept album.  I don’t know why, I must have just never come across it.  Then I researched Coldplay’s new album Mylo Xyloto on Wikipedia and found that the album was a concept album.  I found that a concept album is an album that is ‘unified by a theme, which can be instrumental, compositional, narrative, or lyrical’.
This initially confused me, because I have always thought that a vital ingredient of any album is a unifying theme.  For example, my all-time favourite album, Lifehouse’s No Name Face is about identity, and the theme and how it is discussed is one of the excellent things about the album.  The idea that only some albums have a unifying theme is strange to me – I would think that if an album doesn’t have a theme then it shouldn’t be called an album.  It’s just a playlist.
Looking further, it seems that many (most?) concept albums have focussed around an imaginary character, two of the most famous being Sgt Pepper and Ziggy Stardust.  But if the theme can be ‘instrumental, compositional narrative or lyrical’, then the vast majority of recordings should be defined as concept albums – a quick scan of my music collection reveals a total of zero albums that are entirely disjointed.  While the definition above seems often quoted, reviewers and critics usually look for characters and stories when labelling a recording as a concept album.  This is a bit silly, really.  No Name Face has never been called a concept album, but if Jason Wade (singer/songwriter for Lifehouse) had come out and said that the album was about Mr. X who is struggling with his identity, it would have immediately been labelled as a concept album.
When it comes to Mylo Xyloto, Coldplay have said that the album is about ‘two protagonists, Mylo and Xyloto, who are living in an oppressive, dystopian urban environment, meet one another through a gang called "The Lost Boys", and fall in love’.  This is ridiculous.  These characters are never mentioned, and the lost boys only get a passing mention in one song.  There is no significant mention of dystopia.  The songs are generally about relationships, that is true, but there is nothing within the songs themselves to suggest that this is a story about two particular characters.  If Coldplay had not explained what the album is about, it would not have been labelled as a concept album.  The only thing that can be said for Mylo Xyloto as a concept album is that the songs could be argued to show the progression of a (any, not a specific) relationship throughout the album – the first few songs are about the past, then there are songs about meeting and falling in love, then breakup and reconciliation songs.  There is a progression in the track order.  But this is equally true of other albums.  As argued elsewhere, thoughtful tracklisting is part of what makes a good album, and is not a particular mark of one of these so-called ‘concept albums’.
An album has a theme.  That’s what sets it apart from a playlist.  The whole concept album thing is an attempt to classify albums that are about specific imaginary characters.  I don’t know much about any other of these concept albums, but Coldplay’s example is pitifully poor because there is nothing in the album itself to suggest the existence of such characters.  I’m not saying it’s a bad album (I am remaining silent on that question for now), just that it’s not a concept album.

Saturday, October 15, 2011

Weather

I am a big fan of the John Ruskin quote 'there is no such thing as bad weather, only different kinds of good weather'.
Why do we have to spend so much time complaining about the weather?  Why can't we be happy with grey drizzly days as well as clear sunny days?  What exactly is it about some kinds of weather that people dislike?  Do you really think it will always be sunny in heaven?
We need to be grateful for the heatwaves and the thunderstorms, but we also need to be grateful for the muggy days and the drizzle.  Varied weather is part of a glorious creation, so stop complaining.

Saturday, September 24, 2011

Ron Weasley


Ron Weasley: a major character in the Harry Potter series and one of the best friends of the hero.  A favourite character of many people.  But not mine.  Not even close.  I don’t really like Ron that much.  He just seems so…useless.  He’s a muppet.  He abandons Harry twice.  He has very little conscience.   He’s immature.  I don’t understand what Harry sees in him and I don’t understand what Hermione sees in him.  I love Harry, Hermione, Ginny, Neville, Luna, Dumbledore, Hagrid and the rest, but I’ve always had a bit of a barrier to liking Ron.
So I did some research to try to answer the following questions:
1.      What does Harry see in Ron that I don’t?
2.      What does Hermione see in Ron that I don’t?

I started by googling ‘What does Harry see in Ron?’, which threw up nothing, and then ‘What does Hermione see in Ron?’, to see if other people had similar thoughts to me.  A few quotes from this search:

“Just got through re-reading Order of the Phoenix and The Half-Blood Prince. 
It's easy to see what he sees in her. Hermione's cute, has got brains, and loads of magical talent. Too much the goody-two-shoes know it all, true, but she's basically a good catch.
But all I see in Ron are three minorly admirable qualities: he's tall, funny and loyal. But Hermione never laughs at his jokes and his loyalty is mostly to his mate Harry.
Granted, the Weasley clan is a great plus: Ginny seems like she'd be a great sister-in-law, the twins are well on their way to riches with their magic shop, Charlie is dragon breeder and Bill is a banker, and even if Percy is a prat, having family in the Ministry of Magic is a dead useful contact. But she can still be Ron's friend and get to hang out with his family.
Basically, I don't get it. What gives with the Hermione/Ron attraction?
NO, I'm not jealous. I'm puzzled.”

“Anyway, what makes the relationship seem improbable to me is not the fact that Ron and Hermione bicker but just that I can't see what she sees in him. Hermione's a pretty good catch - after she fixed her teeth, it was apparent that she at very least cleaned up nice. And she's smart, capable, confident, and so forth - she's got a bright future ahead of her. Ron, on the other hand, simply doesn't bring as much to a relationship. He's not that smart. He's never described as particularly good-looking. And ninety percent of the time, during their adventures, he's sort of deadweight (except in the ridiculously contrived chess game in the first book, whose ending in general was pretty contrived.) Plus, he's got a real wussy side, as revealed in his performance as keeper.
Not like there's anything wrong with Ron, but Hermione seems to leap into most aspects of her life with a view towards improving herself and achieving. Most real high-achiever types like that that I've known generally have fairly high expectations for others. It's one thing to pal around with someone like Ron, but it just doesn't seem likely that Hermione would be satisfied with a guy who's frankly much less intelligent than she is and probably won't be doing nearly as much with his life. It just doesn't seem likely to me that Hermione would want someone who doesn't challenge her.”

“In general, ISTM that what women almost universally want in a man is one who is playing the lead role in his own life. He can do that confidently, humorously, heroically, tragically, or whatever, and different women have different preferences when one breaks it down like that. But few women are looking for the insecure guy who's always being pulled along in others' slipstreams because he doesn't know where he wants to go on his own, and the more self-assured the woman, the more unlikely that is.”

These quotes, especially the first, sum up what I was thinking.

Next, it was time to look at the books.  I read through the series to find occasions where Ron is particularly likeable/honourable/a good friend and occasions where he is mean/negative/a bad friend.
In book one, Ron is generally a good friend to Harry and loyal to and protective of his family.  He is initially rude to and about Hermione; once they become friends there are no particularly good or bad signs from him towards her.
In book two, things continue well for Ron – he sticks up for Harry and Hermione, reassures Harry, and shows bravery in following the spiders into the forest and going with Harry to the Chamber of Secrets.
In book three, he defends, encourages and reassures harry, and sticks up for Hagrid.  At times he is a good friend towards Hermione, but he becomes nasty and malicious towards her over the Scabbers incident.  He does, however, take the first step in making up with her.
In book four, Ron shows signs of being protective of Hermione and is generous to Dobby.  Unfortunately, he also has a phase of rejecting Harry and not trusting him.  He later apologises Harry and encourages him, but then has a row with Hermione, borne out of jealousy and mistrust and resulting in rudeness to and rejection of her.  Overall, not a good book for Ron.
Book five is better for Ron – he shows loyalty to Harry, defends him and celebrates with him and sticks up for him.  His friendship with Hermione has no particular highs or lows.
In book six, Ron is fairly pathetic with Fleur and Lavender, and spiteful to Hermione.  His best moment is his promise to stick with Harry at the end of the book.
In the final book, Ron is protective of Hermione and Ginny.  Of course, he becomes tetchier than the others when guarding the locket horcrux and eventually abandons them.  On his return, he encourages and motivates the others.

In summary, Ron’s main strengths seem to be his bravery – he never shies away from dangerous or scary situations– and his loyalty – he sticks up for his mates and his family.  Unfortunately, books 4 and 7 contain massive incidents of disloyalty, which almost cancel out this positive trait from the rest of the series.  He is also known for being funny – Ron gets many of the humorous one-liners in the series.
On the negative side, his betrayal of Harry in book four and then Harry and Hermione in book seven stands out.  He also has a mean streak and has much less of a conscience than the other two.  Most of the admirable things Ron does are simply done alongside Harry, in the classic sidekick role, whereas Hermione has strengths in her own right.

A few more quotes from the internet, this time highlighting Ron’s appeal (unfortunately all from the Ron/Hermione POV, but it was all I could find):

“Ron admires Hermione's abilities, but has also seen her vulnerable, and has not rejected her. For a super achiever, this is a huge thing. His regard is unconditional, and that is also huge.”

“Hermione most likely intimidates most of her classmates, as well as the older kids. Now that they ARE the older kids, who is she to turn to? The faculty? Ron has shared good and bad with her. Despite their acrimony, she and Ron share many of the same values.”

“Another thing which occurs to me is that in the books, we really only see Ron and Hermione as they are viewed through the eyes of Harry Potter. We see Ron only as Harry sees Ron and only when Harry sees Ron. We don't see the moments that Hermione and Ron share together without Harry present. Harry sees Ron as his friend and as a bit of a goof, but he doesn't see him as a BOY the way an adolescent girl would see him. There must be aspects and sides of Ron which Harry never sees, conversations with Hermione which he never hears and attractive attributes which he never notices because he's a boy who likes girls and never looks at Ron "that way."”
 
“I don't think we should undersell Ron's loyalty. Loyalty is far more than a minor qualilty in the HP universe (for example, it is Harry's loyalty to Dumbledore that saves him in Chamber of Secrets). I think those who have already mentioned that Hermione is not as pretty as Emma Watson hit the nail on the head: Hermione is picked on mercilessly until the troll incident in PS (hell, even Ron says something like, "she's miserable--of course nobody likes her" before said run-in), and obviously she is gravely insulted by Malfoy and the like afterward. Ron is always there, and because his life is not screwed up like Harry's, he's there in a more complete sense. I think Hermione really appreciates that.”

Is it just me, or do these seem like clutching at straws?  The best that people can say about Ron is that he’s ‘there’ and that he’s gone through good and bad with Hermione.  Except of course, he’s not always ‘there’ (he abandons her and Harry), and much of the ‘bad’ that she’s been through was his fault (said abandonment, the Yule brawl, the Scabbers incident).

From the much-less-written-about Harry POV, as mentioned above, Ron just does what Harry does.  He has very little going for him in his own right.  One reason for Harry’s friendship with Ron could be that at the beginning of book one, both of them were alone and quite insecure, so they stuck together.  They become familiar and share experiences, and these things breed friendship.  But this is all I can come up with.  This is probably enough, because boys are capable of being good mates based on a few memories and plenty of banter.  Yes, Ron lets Harry down at times, but he always comes back and apologises (credit to him there) and at many other times he sticks by Harry.
His eventual relationship with Hermione is harder to fathom, for the reasons given in the first set of quotes above.  It just makes no sense.

So, can anyone explain?  I can just about deal with Harry’s friendship with Ron, but Hermione’s is simply unconvincing.  He is mean to her, he abandons her, he argues with her – what does she see in him.  Any ideas?

TV music

It is quite common that I hear a song on TV that sounds good, but the programme doesn't show what the song is.  When Soccer AM uses backing music, they always show what the song is and who it is by.  This is brilliant.  All TV programmes should have to do this.

Wednesday, September 21, 2011

Prophecy - part 2


A few months ago I wrote about the theme of prophecy in my two favourite series of books, Harry Potter and The Belgariad.
The summary is here:

“In The Belgariad the prophecy is a conscious personality, one of two destinies, trying to set things up to its own advantage.  One of the two prophecies will be fulfilled, and one will not.  If Garion’s prophecy is fulfilled, things will look very different from what will happen if it is not fulfilled.
In Harry Potter, the prophecy is a prediction that may or may not be fulfilled.  The fulfilment or otherwise determines the fate of many characters.  In a way, the only difference is the consciousness of the prophecies.  In both stories, characters can choose to follow the prophecy or not, but the fact that The Belgariad’s prophecy is conscious means that it has much more of a direct say in what happens.  This is paralleled in Harry Potter by the character of Dumbledore, who knows the prophecy and helps Harry deal with it, giving him advice and instructions.  The combination of the spoken prophecy and the character of Dumbledore combine to have a similar role to that of the conscious prophecy in The Belgariad.”

A friend read the post and suggested a follow-up post comparing prophecy in these two series and Christian prophecy.  So here are a few thoughts.

In the Belgariad, the Prophecy is conscious, rather than just a message given by someone to someone else.  It guides its own fulfilment, though another prophecy is working against it for the opposite outcome.
In Harry Potter, the prophecy is a message rather than a character.  Like the Belgariad prophecy, it was given at a certain time through a certain person (Trelawney), but, being non-sentient, it cannot work towards its own fulfilment.  Dumbledore takes the role of guiding characters towards the fulfilment of the prophecy, acting like a chess grandmaster, much like the consciousness of the prophecy in the Belgariad.
In Christianity, prophecy is a message from God, given through a person.  Like the Harry Potter prophecies, is it not conscious and can take no action.  While Harry Potter prophecies seem to be predictions of the future, Christian prophecy is not necessarily.  In Christianity, prophecy is a message from the all-powerful character (God), rather than being the all-powerful character itself (as in the Belgariad), or having the all-powerful character act on its behalf (Dumbledore in Harry Potter).
This can be summarised in the following table:


Belgariad
Harry Potter
Christianity
Consciousness of prophecy
Yes
No
No
Given by
Itself
Unknown
Deity
Given through
Human
Human
Humans
Given to
Group of humans
Everyone, via the Hall of Prophecy
Humans
Enacted by
Itself
Very powerful human
Deity

Christian prophecy is more similar to the Belgariad, because the Prophecy in the Belgariad is basically a god, who speaks to humans.  In Christianity, God speaks to humans, but the prophecy is the message, rather than God himself.  But the difference is only one of terminology.  In Harry Potter, there is no god, and the prophecy is the message.  Dumbledore plays part of the role of God in Christianity and the Prophecy in the Belgariad in terms of guiding humans to fulfil prophecy.

Spooks


Spooks is a very popular series.  On paper, I should like it a lot.  It ticks my boxes.  People are surprised that I’m not a fan.  Here is an explanation.

In this sort of multi-series drama, both plot and character are key to enjoyment.  The plots of individual episodes or shortish sequences of episodes keep short-term interest, and the characters sustain long-term interest over many series.  From what I’ve seen of Spooks (about 12 episodes), the plots are generally reasonable to excellent.  Series 2 episode 5 was one of the greatest pieces of TV I’ve ever seen.
I started watching Spooks at the start of series two, as my Dad and sister recommended it to me, rightly saying that I would like it.  I did like it, a lot.  But after series 3, I lost interest.  During the second series, the plots of individual episodes held my week-by-week attention, but the characters held my long-term attention.  Three characters in particular – Tom, Zoe and Danny.  They were engaging, I got to know them, and I wanted to see more of them.
Then swiftly, all three were gone – Tom at the end of series two and Zoe and Danny during series three.  I have no objection to killing off characters as a concept, but all three so quickly was too much.  In a long, many-series, drama, characters are what holds my interest, because while the plots are good, they generally form short, one or two series stories.  The stories of the characters are what sustains my interest over a series or several series.  When the three characters I cared about were all cut, I lost the interest I had.  The small, one or two series stories were not consistently excellent enough for me to watch without the appeal of the longer, character-based story arc.

In contrast, the recent HBO series Game of Thrones has a plot that is not episode-based.  Individual episodes do not have their own plot, as they often do in Spooks.  Game of Thrones is seven series long, and the single, continuous plot holds my interest as well as the stories of the individual characters.  And they don’t kill all my favourite characters at once.

Wednesday, August 24, 2011

Lord of the Rings book to film changes


There are always changes made when a book is adapted to make a film.  People have varying opinions on such changes.  Here are my thoughts on the major changes in The Lord of the Rings films, together with verdicts on whether I agree with the changes.

  1.  Frodo leaves the shire very soon after Bilbo.  In the book, there is a 17 year gap before Frodo needs to leave.
    I’m fine with this change.  Plotwise, there is no need for Frodo to stay for 17 years, and would have slowed the film down and required extra explanation in an already very info-heavy opening to the film.
    Verdict: Agree
  2. No Old Forest/Tom Bombadil sequence.  In the film there is a 3 or 4 chapter sequence between leaving the Shire and arriving at Bree where the hobbits meet a character called Tom Bombadil.
    Again, I’m happy with this omission.  The Bombadil sequence does very little, if anything, to advance the central plot of Frodo taking the ring to Mount Doom and it’s inclusion would have massively slowed the filmd down and delayed plot advancement.  In fact, I didn’t particularly like this section in the book – I found it unnecessary and an obstacle to the plot.
    Verdict: Agree (improvement to the book)
  3. Arwen rescues Frodo instead of Glorfindel.  In the book, Glorfindel is the one to bring Frodo across the ford to Rivendell.
    There are a lot of characters in this story.  They can’t all be included in the films or it would get messy.  Glorfindel is only a minor character and therefore no great loss.  This change also helps with the next one, the expansion of Arwen’s character.
    Verdict: Agree
  4. General expansion of Arwen’s character.  In the book, Arwen o€nly has one line.  Her character is massively expanded in the film.
    This is a good move as it makes the Aragorn/Arwen relationship more believable and gives it more depth.  I’m not a fan of every aspect of Arwen’s expansion, but in general it was necessary to help Aragorn’s story.
    Verdict: Agree (overall)
  5. Aragorn’s character change.  In the book he is more confident and willing to become king.
    I think the changes make Aragorn more interesting and less perfect.  I like his slight reluctance and his fear that he will fall like Isildur.
    Verdict: Agree
  6. Warg attack and Aragorn’s fall.  In the book, the warg attack occurs before Moria rather than on the way to Helm’s deep.  Aragorn does not fall off the cliff in the book.
    This is a difficult one.  The warg attack had to be either moved or omitted for the sake of pacing in the first film.  I have no problem with it fitting in where it did, but also probably wouldn’t have a problem with it being omitted.  Aragorn’s fall was pretty contrived and obvious but does help to heighten both the tension and his relationship with Eowyn.
    Verdict: Indifferent
  7. Elves at Helm’s Deep.  No elves come to Helm’s Deep in the book.  Instead they stay to defend Lorien from orc attacks.
    The Elves do fight in the book, just not at Helm’s Deep.  I like the element of hope that their arrival gives and I think that it was important to show that they were fighting alongside men to save Middle Earth rather than sitting around doing nothing.  It would not have worked to show Lorien battles, so Helm’s Deep is a good place for them.
    Verdict: Agree
  8. The ents don’t initially go to war.  In the book, the ents go straight from the entmoot to Isengard.  In the film, they have to be tricked by Pippin into going.
    This is poor – it makes the ents look stupid and makes them more of a joke.  The reason given for the change was to give the hobbits more of an active role, but this was unnecessary.  They could have just persuaded the ents to go during entmoot.
    Verdict: Disagree
  9. Faramir takes the hobbits to Osgiliath.  In the book, Faramir lets Frodo and Sam go, and doesn’t try to take them to Gondor.
    In the book, Faramir easily resists the ring’s temptation – as Philippa Boyens said, this ‘strips the ring of its power’.  In the film, he more realistically is weaker, like other men.  He doesn’t fall to temptation in the end like Boromir did, but he needs more of a shock in Osgiliath to persuade him to let the hobbits go.
    Verdict: Agree (improvement on the book)
  10. Gimli’s character changes.  In the book his character is fleshed out more and he is not just comic relief, as he is by the end of the film.
    I don’t have a problem with reducing the roles of Gimli’s and Legolas’ characters – it would have been nice to have had more of them but I understand that not everything can be included.  However, reducing Gimli to the comic relief farce that he is, is the worst of all the major changes.  It is unnecessary, as (a) the film doesn’t need any injection of humour at this stage, and (b), he’s not even funny anyway!  In the third film, almost all of Gimli’s lines are intended to be a joke.  Not necessary, not funny, not acceptable.
    Verdict: Disagree
  11. Frodo sends Sam home.  This doesn’t happen in the book – they enter Shelob’s lair together.
    Another difficult one.  This is against Frodo’s book-character and is a pretty huge change in the Frodo-Sam relationship.  However, it does allow all of Gollum’s hard work a pay-off, which is important for tension, and it allows Frodo to enter Shelob’s lair alone.  The sequence is well done, and overall I think it is a good change.  Mainly because Gollum has spent lots of time trying to drive a wedge between the hobbits, and needs some sort of result from this.
    Verdict: Agree (overall)
  12. Scouring omitted and different Saruman ending.  These are separate but related changes.  In the book, Saruman retreats to the Shire and starts causing trouble there.  On their return home, the Hobbit’s find the Shire greatly changed, and rescue the situation, killing Saruman.  In the film, this ‘scouring of the Shire’ is omitted and Saruman’s death moved to Isengard.
    Much has been said about the ending of the film.  My verdict is here.  Although I am in favour of the so-called ‘multiple endings’, including the scouring would have added another twenty minutes after the film’s climax.  This would, I believe, have been too long.  It is a shame that the theme of the homelands suffering indirectly from the war is not included, but I always thought that theme was a bit dodgy anyway, because they do not suffer indirectly but rather directly from Saruman, one of the chief antagonists.  So overall I agree with the omission of the scouring, and therefore also with the altered Saruman ending, much of which (the conversation with Gandalf and Theoden)  is actually present in the book.
    Verdict: Agree

 So, I mostly agree with the changes made.  There were generally necessary for pacing or plot reasons.  The change in the ents is a shame and the change in Gimli an even bigger one, but no film, not even The Lord of the Rings, is perfect.


Sunday, July 31, 2011

Ways to lose

There are two ways to lose at something.
  1. Losing because you play poorly/make mistakes/mess up
  2. Losing because the other person or team are 'just too good'.
It seems that most people would prefer to lose the second way.  'We did our best, they were just too good'.  This completely baffles me.  I would much prefer to lose the first way.  My thinking is that if I lose because the other team are just too good, there is nothing I could have done to change the outcome.  If, however, I lose because I made silly mistakes, I know that next time I could win.

I hate the powerlessness of losing to a team who are 'just too good'.  If I make mistakes, I only have myself to blame, and I can deal with that.  It is in my power to change that.

Similarly, I prefer to lose because I make mistakes rather than because a team-mate makes mistakes.  I have very limited power over my team-mate and can do a limited amount to help him/her improve.  I have much more power over myself and my own improvement.

Everyone I've spoken to has said they prefer to lose the second way.  Is there anyone out there who agrees with me?

Saturday, July 30, 2011

Best lyrics ever?

I know 'best lyrics ever' is quite a claim, but the lyrics to 'Ghost' by Stoney certainly deserves nomination.


Hear the song here.  Lyrics are below.


Looking back through the window in the door the now has closed.
The looking glass that loss has tinted rose,
And the secrets of the path we never chose.
We lose ourselves there and we fall into the arms of the unseen
Of all that never was but should have been
Beyond the day that woke us from the dream.

And it’s a little late to speculate on what we could have done.
It’s a little late to overstate the obvious 
We considered every move we made
We did what we thought best 
So release the fist of dirt into the grave
And lay the ghost to rest

Let it go with the hurt of all the promises unkept
The pride behind apologies unsaid
And the tradegy of hope we left for dead.
Because it's as fruitless as the tears in the sour milk we spilt
On the ruins of the tower that we built
And the silence and the loneliness of guilt.

And it’s a little late to speculate on what we could have done
And so easy now to overstate the obvious.
We considered every move we made
We did what we thought best.
So throw down the fist of dirt into the grave
And lay the ghost to rest.

This ones over
No phoenix from these ashes will arise
So let the tears upon the lashes of your eyes
Fall to the desert ground and bring new life.
Walk away now

I'm not saying that we can or should forget
Just don’t cloud your every sunrise with regret
The curtain hasn't fallen on us yet
The curtain hasn't fallen on us yet
The curtain hasn't fallen on us yet.

Friday, July 29, 2011

Bruce Almighty

I’ve seen Bruce Almighty several times, and at last have got round to what I’ve wanted to do since first seeing it: writing down all the different things it covers with respect to religion, faith, God etc.  I think it is quite remarkable how much is crammed into this 90-minute film.  Here is a list of the themes and ideas that crop up (no particular order or structure to this list).

The contrast between the first and last scene in Bruce’s attitude to his job and life in general
A reference to Chariots of Fire– a film about conflict between faith and profession
Bruce’s wife’s name is Grace, and she embodies that to him
Bruce’s initial view of God as either ignoring him completely or as a mean kid with a magnifying glass burning ants
God sending signals/signs/messages through mundane things such as pagers or road signs
Tongue in cheek jokes e.g. omni-presents, ‘smite me o mighty smiter’, many references to the number 7
God saying that his light is bright for most people who live their lives trying to hide from him
God’s complete knowledge of Bruce
The big questions of the film are how to handle ultimate power and how to make someone love you without affecting free will
Other themes include abuse of power and how and why God does or doesn’t answer prayers
Biblical references such as walking on water, parting red sea
The futility of using power for one’s own life and petty gain
The problem of God just saying ‘yes’ to all prayers
Everyone wins the lottery (classic prayer) one cause of the mass riot
Music includes ‘God-shaped hole’, ‘You’re a God’, ‘What if God was one of us?’
Even God can’t force love – Bruce tries
‘No matter how filthy something gets, you can always clean it right up’
‘Since when does anyone have a clue about what they want?’
Promotes everyday miracles e.g. ‘a teenager saying no to drugs and yes to an education’
Bruce’s life changes as he starts ‘being the miracle’ (helping people rather than just himself)
Reconciliation with arch-rival Evan
Honesty of Grace’s prayer vs token flippancy of Bruce’s, then Bruce’s true prayer
Bruce’s surrender to God’s will finalises the change in him, even via a road accident
The only time Bruce asks what God wants him to do, God says he wants Bruce to pray – about whatever he really cares about
Bruce understands what it means to see people through God’s eyes

Wednesday, July 27, 2011

Olympics Tickets

One year until the 2012 Olympics seems like a good time to comment on the ticketing system.

The plan was simple: everyone bids for the tickets they want.  If any sessions are oversubscribed, tickets in each price category are allocated by random ballot.  If any tickets are left over again, they may be purchased by any bidders who got nothing in the first round.  Simple, and fair.  But flawed.

Flaw one: the vast majority of people bid for the cheapest tickets, meaning that these tickets were enormously oversubscribed and many people ended up with no tickets at all.

Flaw two: as anyone who has played dice-based games will know, theoretical fairness and equality rarely occurs in practice.  Therefore some people were lucky enough to get all the tickets they applied for, while others got none.

Flaw three: the second round of ticket was not a random ballot, but first come first served.  This meant that it was possible for people who missed out in the first round to eventually acquire far more tickets than those who won a few in the first round.

A far fairer system is not difficult to devise.  Here is such a system.  Everyone bids for desired tickets as originally planned.  For any oversubscribed sessions, beginning with the most oversubscribed, a random ballot is used.  Then the next most popular session is balloted, but people who already won tickets in the most popular session are excluded.  The process continues until all bidders have tickets.  Then all bidders are again included as the process continues, until all sessions have been balloted.  Finally, if any sessions still have spare tickets, a second round of bidding occurs in exactly the same way as the first.
In this system, all bidders will receive at least some tickets, and bidding for more tickets leads to proportionally more tickets gained.

That took me all of about 30 seconds to come up with, but an Olympic Committee of goodness knows how many people couldn’t.

The ticketing fiasco is the most disappointing thing about the Olympics so far, including the appalling logo.

Friday, July 22, 2011

10,000 Reasons review

I’ve had Matt Redman’s latest album for about a week and have listened to little else.  This is partly because I have always been a massive Redman fan and wanted to know what the new album was like, but partly because it’s simply very easy to listen to and makes me want to keep listening.
Before hearing it, a friend claimed that 10,000 Reasons could be as good as The Friendship and the Fear.  That is an enormous claim.  By the end of this post I hope to have an opinion on it.

As an overview, 10,000 Reasons consists of 11 tracks and was recorded live at a worship conference in America.  This gives it a feel similar to that of Facedown – the congregation can definitely be heard.  The songs are generally bigger and rockier than most of Matt’s earlier stuff.  It is certainly very different to The Friendship and the Fear.  But Matt has shown that he can pull of the rocker style just as well as the more intimate one.

Track one, We are the free, is energetic, optimistic, anthemic and celebratory (as you might guess from the title).  Thumping base, crunching guitars and rapid hi-hits leave you slightly breathless by the end.  The live setting is noticeable from the first seconds and continues throughout the song.  This is an excellent album opener.  Catchy, upbeat and immediately memorable.

Track two, Here for you, is more ponderous but not boring at all.  It is a very singable song of commitment (‘we are here for you’ being the refrain) with a great melody.  The music kicks in after about a minute and builds into a huge middle 8.  It’s quite a long son, at 5:56, but could be shortened to make a great opener in a worship set.

Track three, Holy, is initially a smaller, less epic song than the first two and feels more like the Madd Redman of old.  It’s a simple song, but effective, making use of lots of repetition.  The relentless singing of ‘holy, holy, holy’ could possibly be a little too repetitive but only slightly so.  The song goes on for over 7 minutes but impressively holds your interest by cycling through builds and drops.  A simple song, but solid and effective

Track four, Bless the Lord, is similar in some ways to ‘Holy’ with its simple lyrics and piano driven style.  It is more directed at the worshipper than the songs so far (‘bless the lord, o my soul’), and it centres on Jesus as well as the more generic ‘the lord’.

Track five, Fires, suffers from having an identical intro to ‘There is a voice’.  It is upbeat and catchy, but has a slightly annoying rhythm.  A prayer to God to keep our fires burning – this is a decent song, but probably the weakest on the album.

Track six, Never Once, is classic Matt.  These sorts of songs are his absolute forte – perseverance in adversity.  This joins the list of Blessed be, Never let go, and others, and holds its own with them.  It has solid verses and an excellent chorus with some lovely piano over the top of the guitars.  It is only 4.5 minutes, but seems more epic.  The second chorus at the end, a la ‘You alone can rescue’ is a really nice touch.  A high point in a strong album.

Track seven, Where would we be, is a decent song, but perhaps more forgettable than the others.  It is a song of gratitude that has a similar style to much of the alum – a big sound, a strong melody, it fluctuates between quieter piano/acoustic guitar-led sections before the drums and guitars explode it again.  Solid, nothing wrong with it, but doesn’t have the zap that many of the other tracks do.

Track eight, We can change the world, is a change of style from most of the rest of the album – more like track one, it is fast, energetic and dreams of the possibilities of living as we might.  This is one of those really exciting songs.

Track nine, Magnificent, is another simple but very effective song.  It proclaims God’s magnificence and other attributes, and again keeps the focus on Jesus.  This son takes a little longer  to get into than some of the others, but it is a very good song and has a brilliant chorus entry.

Track ten, Oh this God, is another song of passionate commitment and promise to God.   Musically it is possibly the best song on the album.  It is another son with a big sound, but is distinct from the other songs on the album – there is no sign of repetition or lack of ideas yet.

Track eleven, Endless Hallelujah, is a beautiful way to end the album, looking forward to heaven.  A lovely finish.  It starts small, builds to a big sound but doesn’t overcomplicate and has a perfect re-entry into the chorus.  This final song is clearly still live, a theme that has run throughout the album.


Overall, an outstanding album.  Only ‘Fires’ slightly lets it down.  Is it as good as The Friendship and the Fear?  It does some things better, such as the live sound and the excitement of tracks 1 and 8.  In other areas, such as rawness and intimacy, it is weaker.  Overall I would say that The Friendship and the Fear is a bit stronger, because it has more variety, both musically and lyrically, has more material (14 tracks to 11), and, let us not forget, is a masterpiece recorded when Matt was only 22 years old.

To finish, a quote from Matt:
After years of experience, the worship leader concluded, “You can have clever chord progressions. You can work hard at getting some sort of nice sounding lyrics, but at the end, I just want a song that connects people with God.”
That is exactly what these songs can do.  Well done to Matt – this is an incredible album that proves that Matt Redman still, after nearly twenty years, sets the standard for worship music.