Europe is to EU as European is to ?Europan?

I always make the point that the EU and Europe are not same thing, and how I love Europe, but hate the EU. You can disagree with me on whether the EU is something hateworthy or something praiseworthy, but you cannot disagree with me on this pedantic linguistic point, that the European Union, a political project consisting of many European nations, is not the same thing as Europe, a geographical and cultural area. 

Okay, fine, we can distinguish between “the EU” and “Europe”. But what of the adjective? For both it is “European”. This is clearly a defect of the language. And I think this lies at the root of some of the misunderstandings around Brexit as we confusingly mix the terms for these two concepts. Think of the term “Eurosceptic”; this doesn’t mean sceptical of Europe (or even of the euro), but of the EU.

I think we need to distinguish an adjective referring to the EU versus the usual one, “European”, which refers to the cultural-geographic area (namely, the continent itself). Why? Or else we could end up with an “American”-type situation again where English lacks a word like “United Statesian”, which many languages have (e.g. Spanish “estadounidense”).

I suggest “European” (of Europe, for the cultural-geographic area, that is, the continent itself) and “Europan” or “Europian” (of the EU). These words derived from “Europa”. They should be stressed on the second syllable. I sometimes use “E.U.pean” to make the distinction I am making clearer, but I don’t think that that is a good, long-term, non-derisory word.

I prefer “Europan” as it has a more distinct pronunciation to “European” than does “Europian”.

After thought

Incidentally, I’ve long since thought that one day, we will have EU citizens who are not citizens of their own country + the EU (which is what happens now), but citizens only of the EU if they so choose. Look how many British people wished to keep their “European”, i.e., Europan, citizenship after Brexit; it’s not possible as the EU citizenship hinges on your national citizenship. But I don’t see this situation continuing. This makes my Europan/Europian word all the more needed.

© 2020 Bryan A. J. Parry

featured image from https://upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Flag_of_Europe.svg/1200px-Flag_of_Europe.svg.png

 

Star Trek: Picard S1E6 “The Impossible Box” Review @SirPatStew @StarTrekPicard

“The Impossible Box” (S1E6) zipped along at a terrific pace. Picard and Soji are face-slammed directly into moments from their past that they had deeply repressed. Soji’s world begins to unravel as she is confronted with the disturbing reality of her situation, although we end the episode with her still not having had time to fully understand or internalise the situation. There’s some great Borg-based body horror, disturbing scenes where Picard struggles with the memories of his time being assimilated by the Borg. The flashbacks seem to smash through his, and the viewer’s, skull. This episode reminded us why the sci-fi/horror baddies that are the Borg are one of the greatest in all pop culture. And we finally get to see the show’s two storylines merge together.

All of this horrifying action hurtles along while in the background the equally horrifying situation from the last episode, where one of our crew isn’t quite what they appear, gut-churningly, slowly, steadily, threatens to explode at any minute.

All of this darkness is counterbalanced with a bit of sassy Raffi comedy. Thankfully, the comedy has been dialled back to warp factor one and appropriately served to break up what was an action-packed and terrifyingly dark story.

The genius of this episode was not discovering what happens, as we have known what the characters haven’t since episode one, but watching how it unfolds. A truly thrilling episode, and definitely the best so far from a dramatic point of view, although from a general entertainment standpoint I slightly preferred last week’s episode. My only criticism is that Star Trek: Picard really needs to knock its tendencies for exposition and introducing and/or resolving storylines in one scene/episode on the head.

4/5

© 2020 Bryan A. J. Parry

 

 

Star Trek: Picard S1E5 “Stardust City Rag” Review @SirPatStew @StarTrekPicard

This week, on Star Trek: Picard.

In “Stardust City Rag” (S1E5), our fellowship sets up a meeting on a dodgy planet to take part in an exchange: one life for another. This place, Freecloud, could have been lifted straight from Star Wars‘ cantina scene, where all sorts of criminals and smugglers and crimelords and aliens mingle in an anarchic power-vacuum region of the galaxy. Fascinating, but I’m not sure it totally sits within the Star Trek universe.

We find out why Raffi, who I’m now very fond of, wanted to leave Picard’s crew and go her own way when the team reached Freecloud. Just like Picard in the previous episode, she has a very weighty personal matter to resolve, a matter that has been hanging over her for years. Unfortunately, whilst Michelle Hurd’s (Raffi) acting more-or-less convinced, that of her counterpart in this scene distinctly did not (Gabe, Mason Gooding). Very disappointing. A big moment with a character I’ve come to care about, and yet I did not care much. Once again, Picard rushes and resolves an issue within the space of a scene or two. The writers do realise that this model, let’s call it the “Game of Thrones Season 8 Model”, is not a fan favourite, right?

This episode was full of zany comedy, including Rios dressed as a kind of intergalactic pimp, Jean Luc Picard putting on the most unbelievable French accent since Ewan McGregor in Beauty and the Beast, and Picard’s manservant-cum-bodyguard-cum-protégé establishing himself as the series’ light relief rather than broody angst merchant (as he appeared in the last episode) — and he seems to be acquiring an increasingly strong Antipodean accent as time goes on (think: the reverse of Deanna Troy in Star Trek: TNG). The writers and actors really pushed the boundaries of tone and good sense here, and they just stayed onside. The result? Back of the net! I loved it. I just hope they don’t camp it up too much; Picard has established itself as tonally distinct from some of the other, campier entries in the Star Trek canon, and it would be a shame to backslide from that or, worse, become tonally confused.

There’s a huge moment towards the end where one of our fellowship unexpectedly acts horrifically. Big drama to follow from this in future episodes, undoubtedly. I’m also starting to notice a pattern more generally: those who have served Star Fleet either get burnt out, go mad, or become numb in order to maintain their commission. The campy, intergalactic comedy romp belied this much darker core.

A lot happened. Great moments. Wonderful developments of some characters through their actions rather than through talking, as has sometimes characterised this show so far. The lightest and, paradoxically, also the darkest episode, this was an excellent outing and without a doubt the most entertaining so far.

4/5

© 2020 Bryan A. J. Parry

featured image from https://www.dailydot.com/wp-content/uploads/2020/02/star-trek-picard-episode-5.jpg

Star Trek: Picard S1E4 “Absolute Candor” Review @SirPatStew @StarTrekPicard

In Star Trek: Picard, “Absolute Candor” (S1E4), Jean-Luc Picard must face an unresolved personal issue from his past. It seems that Picard has apparently spent most of his life crashing around the cosmos, leaving his mark, and running away, leaving everyone else to pick up the pieces, like some kind of intergalactic lothario. Our other storyline, set on the Borg cube, is also becoming compelling, marked by increasingly nuanced character interactions between Soji and Narek. This was very much an episode delving into the past and how it shapes the future.

An exciting episode, better than the previous ones. I really felt absorbed in the world, like I’d known our merry band of explorers for ages — yet they only came together at the very end of the last episode. Our fellowship even has two new members, with the addition of a face from Star Trek‘s past, and the other from Picard’s past. I like how our crew feels like it has grown almost organically, giving us a chance to spend a little time with all of them first, instead of just dumping them all on us in the pilot. There was also some compelling racial tension on a de facto apartheid world which Picard refused to accept.

“Absolute Candor” wasn’t flawless, though. The meant-to-be emotional scenes with Picard facing his past seemed a little contrived and poorly acted, which is a shame as the characters involved all seem very interesting in themselves. Furthermore, this seems to be becoming a pattern in Star Trek: Picard; deep backstories, with years of emotional weight and angst behind them, are introduced, developed, played out, and resolved within the course of one episode, thereby robbing them of their full emotional impact. Why not settle these things over the course of several episodes?

Was this episode perfect? No. But there was a good balance of all parts — talk, action, characters being developed through their deeds.

This episode just nudges four out of five, by a nose.

4/5

© 2020 Bryan A. J. Parry

featured image from https://www.imdb.com/title/tt9420280/mediaviewer/rm1594395137

Random Images 41: Plastic Bottle #Random #RandomImages

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Netflix Film Review: The Hole In The Ground (2019) @SeanaKerslake @Netflix #HorrorMovie

check out my film review and Netflix blog at https://filmmovietvblog.wordpress.com

100 word review here

The Hole In The Ground is the remarkably well-accomplished debut feature from Irish writer-director Lee Cronin. Single mother Sarah (Seána Kerslake) has upped sticks to the remote Irish countryside with her eight year old son Chris (James Quin Markey). After Chris goes for a mysterious midnight stroll in the nearby forest, Sarah begins to notice disturbing changes in his character. Is this even her son at all? Cleverly, rather than Cronin have Chris’s behaviour deteriorate, the opposite occurs; where once he was sullen, withdrawn, and shy, he becomes calmly positive, controlled, and popular at school. But there’s just something off about this change of character, something that only a mother would notice, and I have to say wonderfully sold by young actor James Quin Markey. Seána Kerslake also convinces.

A gut-churning slowburn, this horror-thriller reminds me distinctly of 2014’s equally nerve-shredding The Honeymoon. It also shares DNA strands with The Babadook; has her son really been replaced, or is it all in her own mind? Just as in The Babadook, we start to fear for what this tormented mother might do to her own child, whilst also fearing that she is right.

The dank forest is beautifully shot and feels ancient, like nefarious creatures from Celtic myths might indeed dwell there, every tree seeming to have its own personality. The sinkhole in the centre of the wood projects an eerie and malevolent presence.

We are kept guessing until the very end: has Chris been replaced, or is his mother losing her mind? Credit again to Lee Cronin for eschewing any of the tempting and obvious potential twist-endings that the film could suggest. Rather, I found the ending befitting and equally horrifying. Without giving the game away, I can say that this family will never be quite the same again.

Genuinely disturbing, the psychological horror builds slowly but powerfully. How does it compare to other “forest horror” films? Fans of The Honeymoon should definitely watch this, fans of The Blair Witch Project might like it, and fans of Cabin Fever could probably give this movie a miss.

4/5

© 2020 Bryan A. J. Parry

featured image from https://image.tmdb.org/t/p/w1280/wTnFy6B5QCeRgjgCGBGlZaDESJ1.jpg

Random Images 40: Nosemonkey #Random #RandomImages

NoseMonkey

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Star Trek: Picard S1E3 “The End Is The Beginning” Review @SirPatStew @StarTrekPicard

Star Trek: Picard Episode 3, “The End Is The Beginning”, ups the stakes with a Romulan prophecy, plenty of juicy action sequences, and the forming of a kind of Fellowship of the Ring led by our Frodo-cum-Gandalf lead, Jean Luc.

In general, we warm to our motley collection of newly assembled ring-bearers. However, there were some slightly forced moments, such as Raffi (Picard’s former first officer) constantly calling Picard “JL”; we got the point that they’re close the first fifteen times she cracks out this cutesy name. It seems we’re often supposed to care about the characters for no good reasons other than such quirks and hints at history; sometimes it works, sometimes not.

The introduction of Cristóbal Rios, a cynical old space dog who’s swallowed a fermented case of sour grapes, is a great moment. I’ve been waiting for a big character to emerge in this show, and it might be him. Plus, his ship has an EMH (Emergency Medical Hologram) and an ENH (Emergency Navigation Hologram) who are both, despite being identical in appearance to our Cris, completely different and hint at being great characters in themselves, recalling one of the few high points of Star Trek: Voyager: Robert Picardo’s great portrayal of the EMH.

A disturbing scene with an ex-Borg Romulan provides much suspense and tension going into the next episode. We really get the sense that things are now set up nicely and are about to kick off in episode 4.

“The End Is The Beginning” was solid, just like episodes one and two, and it was incrementally better than episode two, which itself was incrementally better than episode one. But despite much intrigue, Star Trek: Picard has yet to really explode. But the future looks bright; the fuse appears lit, the explosion imminent. I would like to give it three-and-a-half stars, but half-stars are for fence-sitting, “not sure” fudgists.

3/5

© 2020 Bryan A. J. Parry

Momentum (not the Labour Party thing)

Kind of irksome. I was posting on this blog pretty consistently over a period of six years. Slowly but surely building my audience. Then a year-ish ago, life happened while I was making other plans, and I published almost nothing at all for a year. Consequently, the number of hits on this blog have gone back to where they were 2-3 years ago.

So there’s a lesson in that for all of you would-be bloggers. Should life ever intervene, remember this: nothing, and I do mean nothing, is more important than views or likes!

© 2020 Bryan A. J. Parry

featured image from http://resources0.news.com.au/images/2013/07/08/1226675/916664-d8bdd122-e772-11e2-b459-490c5143e0a3.jpg

Netflix Film Review: The Hole In The Ground (2019) #100WordReview @SeanaKerslake @Netflix #HorrorMovie

check out my film review and Netflix blog at https://filmmovietvblog.wordpress.com

The Hole In The Ground is the remarkably well-accomplished debut feature from Irish writer-director Lee Cronin. Single mother Sarah (Seána Kerslake) has upped sticks to the countryside with her eight year old son Chris (James Quin Markey). After Chris goes for a mysterious midnight stroll in the nearby forest, Sarah begins to notice disturbing changes in his character. Is this even her son at all?

A gut-churning slowburn, this horror-thriller recalls 2014’s equally nerve-shredding The Honeymoon and shares DNA with The Babadook. Convincing central performances and potent sound design and cinematography.

We are kept guessing until the very end: has her son really been replaced, or is it all in her own mind? A true delight.

4/5

© 2020 Bryan A. J. Parry

featured image from https://image.tmdb.org/t/p/w1280/wTnFy6B5QCeRgjgCGBGlZaDESJ1.jpg