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By Thomas John Moore Released on Netflix on March 8, After Life is like nothing Ricky Gervais has worked on before. Taking a more serious approach than the likes of The Office, there is more of a focus in this series on dark humour. In this exploration of love, loss and self-discovery, Gervais has come out with one of the most thoughtful, introspective pieces of writing for the television screen that I have had the honour to experience. After Life follows the story of Tony, a lonely, angry widower who has given up on life. Depressed and suicidal, Tony comes to the conclusion that he can now live out the rest of his days without fear, doing whatever he wants whenever he wants, safe in the knowledge that he always has suicide to fall back on if things go wrong. To that end, Tony continues to work at the local newspaper, a dull, seemingly pointless job with co-workers toward whom he is constantly unapologetically rude. As the people in his life try their best to comfort him and make him happier, Tony’s newfound outlook leads him to mix with people he otherwise would not, including drug addicts and sex workers. As Tony forges new relationships, it becomes apparent that perhaps his character is not quite as clear-cut as he thinks. The relationship between Tony and his dog is a highlight of the series. Throughout Tony’s internal struggles, his dog represents all the love that he has locked away deep within his heart since the death of his wife. Every time he contemplates suicide, the dog is there to stop him from being able to go through with it, as he knows deep down that he still has love to give, and that there remain elements to life that are beautiful, but that he is currently blind to. At the end of the day, After Life is a story about a man’s love for his wife, and the grief that he has to suffer through in the wake of her death. It also focuses on the undying support that those close to Tony show him, even as he blatantly disrespects them. The true message of the series is that there is always hope. Even in the darkest of times when everything seems pointless and all Tony feels is pain, he finds it in his heart to stay alive so that someone will be around to feed the dog. He still has hope for the world, even as he is hurt and directionless.
Ultimately, After Life is a story that causes the viewer to review their way of looking at life. Personally, I feel completely different having watched this series. I have a newfound appreciation for the world and the many different ways we as humans can positively affect the earth and the lives of those on it. A sometimes heart-wrenching, somewhat heart-warming, and often comedic tale of love and redemption, After Life is the most personally impactful television series I have experienced in a long time. I implore you to watch it.
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By Thomas John Moore Obsession is one of the most effective tools employed by any screenwriter to form the basis of a good story. Damien Chazelle’s 2014 feature Whiplash explores the relationship between a young man and his drum kit, delving into his aspirations and the extent to which he will go in order to achieve them. This deep exploration of the psyche takes the viewer on a journey of emotion as Andrew Nieman, brought to life brilliantly by Miles Teller, struggles to assume a position as one of the best jazz drummers in the world. The brilliance of this movie is difficult to explain; one really has to see it in order to understand. To simply describe the premise of the film’s plot, a young drummer striving to be better, is to do Whiplash a massive disservice. The music and aesthetics alone makes it worth the watch. Jazz music as an art form is a perfect conduit for emotion, and through the soundtrack of the film we experience all of the highs and lows of Teller’s troubled character. The cinematography ingeniously sets the atmosphere of the film, immersing us in Nieman’s world and the tribulations of the students in Shaffer music school. The feat that Whiplash achieves of keeping the audience’s attention despite little change in plot for a large part of the film is testament to the director’s ability. The quality of acting displayed by Teller, as well as by J.K. Simmons as Nieman’s terrifying, sadistic teacher is among the best I’ve seen. The unpredictable, abrasive nature of Simmons’ character is expertly portrayed, leaving the viewer both appalled and impressed in equal measure. That is not to undermine Teller’s performance, however, as the presentation of the depths of Nieman’s obsession and emotional conflict is sublime. Nieman’s conflict is evident and there is not a single scene in Whiplash in which the viewer will question the authenticity of the character. Ultimately, the focus of the film is on the inescapable and destructive nature of obsession, as we see both Nieman and Simmons’ characters constantly finding themselves getting dragged back towards the orchestra. At the end of the day, not much has changed, and yet the viewer can’t help feeling satisfied. That is the brilliance of Whiplash. |
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