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It’s also worth mentioning that this show never overstays its welcome. The non-sequitur jokes get better, the absurd scenarios grow more amusing, and the deep frustration and bitterness beneath much of the humour grows more cutting. I’ll only say that this second season of the Netflix sketch comedy show pays enormous dividends on rewatch. It’s a fool’s errand to try to quantify a good joke, so I’ll spare you in-depth analysis. I didn’t laugh harder at anything this past year than I laughed at this absurdist sketch comedy show from Tim Robinson. Squid Game is the rare bit of super popular television that’s actually better than its reputation suggests. Best of all, it is riveting storytelling, unbearably tense one moment, tender and moving the next. The characters are deeper than the character types they resemble, the filmmaking is more intelligent and perceptive than most of what you’ll find on streaming television, and the thematic takeaways challenge our assumptions about each other and the world, while forcing us to acknowledge some deep dysfunctions both in our modern society and our notions of equity. It’s weirder and more complicated than that and I’m thankful the show avoids reductive generalizations at every turn. There’s an obvious metaphor for economic precarity in there, but don’t mistake this for some straight allegory. It’s hard to overstate how good the hook is: desperate individuals join a contest where they play children’s games, but to the death. It’s basically everything I want in a popular show. Squid Game has a great concept, a strong cast, relevant themes, and propulsive storytelling. Sometimes things are popular for a reason. That it managed to do this in the atrocious year of 2021-which tested my affection and compassion for other people, to put it lightly-is remarkable.
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At its best, How To with John Wilson made me howl with laughter or learn to love the imperfect beauty of my fellow human beings. What seems to be a weird fanclub for a great (but reviled) science-fiction film turns into something more like a support group, as we watch these people bare their souls to each other and help each other overcome loneliness and dissatisfaction. In perhaps the best segment of the season, he follows a group of nerds who meet together to learn the fictional language, Naavi, from James Cameron’s Avatar. He showcases some truly bizarre and sad individuals, whether the man who eats expired American war rations or a sex offender who’s trying to get his life back together. He investigates some ordinary activities that are more fascinating than you’d think-his episode on parking in New York is eye-opening, even for someone living in a different major North American city. In this second season, John shares a bit more of himself than in the first season, which leads to some hilarious detours into sex cults, amateur filmmaking, and The People’s Court. I’m thankful John’s so odd because we get this show as a result. It’s a strange habit, but one that allows him to reconfigure the footage into these episodes on everyday topics. The show is made possible by his habit of recording footage of every day of his life on the streets of New York. It helps that John is something of an odd guy himself. There is a fine line between letting someone tell a weird story and mocking them for their story, and How To with John Wilson walks this line perfectly. Rather, it is one of the most perceptive, sensitive, and, yes, hilarious portraits of human oddness I’ve ever encountered. But don’t mistake this description as claiming the show is sentimental. They described showing a lesbian couple on screen as being against their culture and religion.In a year of isolation and deep loneliness, How To with John Wilson felt like a big, warm hug of a show. But over the weekend, a social media campaign with the Arabic hashtag “Ban Showing Lightyear in the Emirates,” caught the attention of conservative Emiratis.
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Movie theaters in the UAE, a federation of seven sheikhdoms on the Arabian Peninsula, had already advertised showtimes for the film. The tweet included an image of the film’s poster, with the profile image of its main character Buzz Lightyear with a “no” symbol over it in red. The office did not elaborate on the tweet and did not immediately respond to questions from The Associated Press. “The office confirms that all films screened in cinemas across the country are subject to follow-up and evaluation before the date of screening to the public, to ensure the safety of the circulated content according to the appropriate age classification.” The film “is not licensed for public screening in all cinemas in the UAE, due to its violation of the country’s media content standards,” the office said in a tweet. Buy summer concert tickets in Indy for just $20.22