John Joseph Lennon 4th November 1932 – 16th March 2022

Champion golfer, jazz nut, chess player, photographer, opera fan, movie buff, keen
cruciverbalist, quizzer and fervent if frequently disappointed
follower of the nags, John had many interests and pursuits and was
above all an enthusiast, the original fanboy, decades before the term was coined. He appreciated everything from the everyday to the esoteric. His proudest boast of his time at University
College Galway was that he saw 300 films at the cinema in his first
year of alleged studying! He loved a good book and was widely read,
relishing everyone from Lawrence Durrell to Mikhail Sholokhov but
disliked most modern novels because he insisted they were too long and
life was too short. He was eternally devoted to PG Wodehouse and his
tales of Blandings Castle, the Drones Club and Bertie Wooster’s aunts.
He named his son for Gavin Lyall the thriller novelist whose work he
read avidly.
He wore his scholarship lightly. On one occasion when Elaine had
inadvertently given the impression in her workplace that she was
multilingual she called him during his lunch hour for a few phrases in Greek
and he immediately rattled off a list that she could say
phonetically for a TV producer. She thereby gained an entirely
unearned reputation as a Classics expert thanks to his effortless
recall of a traditional education. He never stopped learning and
passed on that love to his children.
Johnny was born in New York City and spent the first few years of his
life there with his parents James and Helen. He finally returned to
the land of his birth in the 1990s with Elaine when they attended the
New Orleans Mardi Gras. Despite being charmed by everyone he met he
persisted in expounding on his low opinion of ‘Yanks,’ as he insisted
on calling them – when he suddenly found himself talking to the caddy
of his hero, the great American golfer Sam Snead, who couldn’t have
been more delightful company. As a lifelong player himself and
boasting many shelves of trophies from around the clubs and courses of
Ireland, that encounter momentarily stunned him and put an end to his
complaints about his native countrymen!
He loved jazz music and opera and many nights were spent listening to
everyone from Benny Goodman and Count Basie to Jussi Bjorling and Tito
Gobbi. You could set the clock to Humphrey Lyttleton’s show on the
BBC which he recorded every week on cassette.
He was a very witty man with scabrous if occasionally unrepeatable
views on every conceivable subject which were expressed in the most
succinct terms and delivered with his inevitably wry smile which
camouflaged his capacity to shock. His favourite saying in later years
was “You should try everything once, except incest and folk dancing.”
We can confirm he never tried folk dancing. He was more your waltz kind
of guy.
He met Anne sixty-one years ago this week upon his return from Africa
where he spent a very enjoyable three years working for the Crown
Service building roads and bridges and shooting snakes on his days off. He drove a
red VW Beetle and a day after she saw him park it on the streets of
Longford Town he saw her talk to his colleague Maura McGowan in
Longford County Council and asked for an introduction. A lifetime of
golf widowhood and pithy conversation ensued.
Despite his commitment to a career in the civil service he was often
surprising and unconventional. After a brief flirtation with
Thatcherism in the Eighties he became disenchanted with those politics
when they were applied in his workplace where he was required to hire
road crew from the ranks of Fas recruits. His only question to the men
concerned their marital status. Why? Because, he said, any man doing
that kind of job would need a good breakfast and he wouldn’t take food
from the mouths of babies. He was besotted with babies and probably
wished he’d had more of them – he only had issues with children who
talked back to him when they developed minds of their own and
challenged his views – which were however remarkably tolerant and
tempered by his common sense, his travels and his reading.
He loved animals and his man of the twentieth century was David
Attenborough because he educated and informed
people about the real world inhabited by wonderful creatures whose
lives were shaped by the increasingly challenging environment made
by mankind – including young engineers let loose in Nigeria with a
shotgun. He wanted a universe for everyone. Twenty years ago when he
was watching the World Cup he said he wished it were on every summer
because he didn’t think he’d see too many more of them. His
anticipation of an easeful retirement to the golf course was
thwarted by the tricky turns in his health. He took the long view
of issues and understood that things changed slowly and then quickly
and often unexpectedly. A creature of habit, he swore he only bought The Irish Times for
Myles na gCopaleen but after the writer’s death in 1966 he saw no
reason to change his daily paper which sadly carries his
death notice this week. Johnny died the way Hemingway said men go bankrupt – gradually, then suddenly, with good grace and swift
acceptance. He was some kind of man.

Gilbert Lennon 17th April 2003 – 2nd August 2019

Gilbert10 May 05007.jpgGilbert in the Study 16 May 2005001.jpgGilbert 16 May 2005003.jpg

The world’s most charming and cine-literate cat died in my arms at 1120 today following a very short illness. Gilbert was the light of my life and accompanied me everywhere, including my travels on the internet to which he was a keen contributor and editor via this diary. I thought of a lot of things but not this. Now he is on the wild road with his brothers and sister. Vaya con Dios, amigo. You are the best of everything and Mondo Movies and I will not be right without you.

Civil War (2024)

We are now closer than we have ever been to victory. The near future. A civil war has broken out between an authoritarian US Government and various regional factions. The dictatorial President (Nick Offerman) who is serving a third term, claims that victory is close at hand. Renowned war photojournalist, Colorado-born Lee Smith (Kirsten Dunst) saves aspiring photojournalist Jessie Cullen (Cailee Spaeny) from a suicide bombing in Brooklyn. Lee and her colleague, Florida-born Reuters journalist Joel (Wagner Moura) intend travelling to Washington DC to interview and photograph the president before the city falls. Lee’s mentor New York Times veteran journalist Sammy (Stephen McKinley Henderson)asks to accompany them as far as Charlottesville where the Western Forces (‘WF’) of Texas and California are presently assembling. Despite Lee’s hesitance she and Joel agree. Unbeknownst to Lee, Jessie persuades Joel to take her with them as well. After leaving NYC, the group stops at a rural gas station protected by armed men where Lee negotiates the purchase of fuel in Canadian dollars. Jessie wanders off to a nearby car wash, which she saw from the road. There, she finds two men being tortured by the owners, who claim that the men are looters. One owner follows Jessie but Lee defuses the situation by taking a photo of the man posing with his victims. After leaving, Jessie berates herself for being too scared to take photos. Following an overnight stop close to ongoing fighting, the group documents the combat the next day as militiamen assault a building held by loyalists. Lee sees Jessie’s potential as a war photographer, while Jessie photographs the militia executing captured loyalist soldiers. Continuing on, the group spends the night at a refugee camp  before passing through a small town where, under watchful guard, residents attempt to live in blissful ignorance. Look at the tops of the buildings. Be subtle. Lee and Jessie grow closer, trying on clothes at a local shop. Later, they are pinned down in a sniper battle amid the remains of a Winter Wonderland theme park. No one’s giving us orders, man. Someone’s trying to kill us and we’re trying to kill them. The snipers they are with mock Joel’s attempts to ascertain which party they are fighting for or against, telling Joel that they and the sniper in a nearby house are simply engaged in a struggle for survival. Jessie’s nerve builds and her photography skills improve as she witnesses several deaths and she develops a mentorship under Lee … They shoot journalists on sight in the capital. Writer/director Alex Garland’s latest film plugs into the inflammatory State of the Union as it currently pertains, figuring a fissure that is as much physical as ideological with the Western secessionist states of California and Texas pitched against the federal forces that protect a President hiding out in the White House. Garland’s work from The Beach onwards has focused on trouble in paradise and lately on dystopia. Lee and Joel are both camouflaging psychological disturbance from previous war zones – she has PTSD, he has modern-day shellshock and Lee especially exhibits something world weary cynicism to control symptoms that threaten to erupt into something worse. It’s gonna make a good image. How that dissonance within Lee translates into a kind of mentoring relationship with Jessie reflecting Sammy’s relationship with her provides much of the tension as the action and violence spiral the further into the US they travel. I remember you at her age. The juxtaposing of beautiful landscapes with jarring imagery of shock and awe combat provides much of the troubling visual texture. The sense of reality, the minutiae of a road trip under fire and the urgency of the storytelling has the quality of reportage from the front line. The fact that Lee wants to photograph the President to prove he is still alive speaks volumes. What happens ultimately is straight out of the Romanian playbook. The ones who get taken are always lesser men than you think. With no enemies identified, the viewer is asked to come to their own conclusions, a motley crew of varying protagonist-journalists providing a kind of collegiate and immersive focus group of the population, a prism for coming to terms with radical change and war as Americans fight Americans. Every instinct in me tells me this is death. Whether the presence and role of good old-fashioned photojournalists recording events makes a difference is not really questioned here – it’s presumed necessary for history: proof that things are happening because seeing is believing. Hence the acknowledged reference to Lee Miller in Dunst’s character’s name. What kind of American are you? A powerful state of the nation portrait that feels immediate and true. What happened back there is nothing in comparison with what we’re heading into

And the Band Played On (1993) (TVM)

Is there a name yet for this disease? 1976: by the Ebola River in Zaire. American epidemiologist Don Francis (Matthew Modine) of the World Health Organisation arrives in a village where he finds many of the residents and the doctor working with them have died from a mysterious illness later identified as the Ebola haemorrhagic fever. It’s his first exposure to this kind of epidemic and the images of the dead he helps to cremate haunt him when he later becomes involved with HIV/AIDS research at the CDE (Centres for Disease Control and Prevention) in Atlanta. 1981: Francis becomes aware of a growing number of deaths among gay men in Los Angeles, New York city and San Francisco from a rare lung condition – pneumocystis pneumonia. It only afflicts people with weakened immune systems. He moves to Atlanta, Georgia where CDC Administrator Dr. James Curran (Saul Rubinek) asks him to begin an in-depth investigation into this new immune disorder. Due to the Reagan Administration’s clampdown on public spending, Francis is forced to work with little money, limited space and outdated equipment including microscopes. He clashes with members of the medical community, many of whom resent his involvement because of their personal agendas. Francis comes into contact with the gay community after he and his colleagues find strong evidence that the disease is spread through sex. Some gay men support him, such as San Francisco activist and congressional aide Bill Kraus (Ian McKellen) but others such as Bobbi Campbell (Donal Logue) express anger at what they see as unwanted interference in their lives, especially in his attempts to close the local bath houses, read as homophobia. Kraus works with the doctors treating gay patients to try to save the gay community from the virus, to the point that it costs his own relationship with boyfriend Kico Govantes (BD Wong) who moves on with an architect. Francis and other CDC staff are shocked that representatives of the blood industry are unwilling to do anything to try to curb the epidemic because of potential financial losses. While Francis pursues his theory that AIDS is caused by a sexually transmitted virus (based on his own interest in feline leukaemia and Hepatitis B) his efforts are stymied because of competition between French scientists from Paris’ Pasteur Institute led by virologist Luc Montagnier (Patrick Bauchau) and American scientists, particularly Robert Gallo (Alan Alda) of the National Institutes of Health who is enraged when he finds out that Francis collaborated in typically collegiate fashion with the French scientists. The researchers squabble over who should receive credit for discovering the virus and for development of a blood test. Meanwhile the death toll climbs among many different types of people including children who receive infected blood. One day in 1984, while exercising at a local gym, Kraus notices a spot on his ankle and worries that it might be Kaposi’s sarcoma, an AIDS-defining illness … The party’s over. One of the two most essential publications of the 1990s (the other being Crisis in the Hot Zone) was Randy Shilts’ 1987 non-fiction book And the Band Played On: Politics, People, and the AIDS Epidemic. Excellently adapted by the venerable screenwriter Arnold Schulman (who died February 2023 aged 97) and premiered at the Montreal Film Festival before being screened on TV first by HBO and later by NBC, it knits several strands of storytelling together. It of course has the flavour of public service broadcasting as well as that benighted niche, Movie Illness of the Week. But with this cast and talent never mind the source material it still possesses a unique urgency. This could be the first deadly epidemic in history in which nobody officially died. The intricate scaffolding of the screenplay is constructed to bring together the various aspects of the teams working in silos who unwittingly find commonalities but take their time to work out their findings collectively through accident and coincidence until finally they discover the starting point. Almost everyone I know has or wants to. An internationally starry cast including Lily Tomlin, Steve Martin, Nathalie Baye, Glenne Headly, Anjelica Huston and Tcheky Karyo – with Richard Gere’s cameo as a version of (unnamed) acclaimed choreographer Michael Bennett – finds itself linked to the impossibly handsome Gaetan Dugas aka Patient Zero (Jeffrey Nordlin) that French-Canadian air steward the carrier who is symptom-free until he gets Kaposi’s. It’s like all the plagues in the history of the world got squeezed into one. When it’s not just gay men but African women in Paris and Haitian people in the US and babies in NYC dying from what Prince called the big disease with a little name, the strands of the narrative are united just as the personal issues are pushed to the forefront with a race to find a vaccine. The sparing use of archive, timed to punctuate developments and place them in an historical context, assists the affect of the performances. I want to stop you from turning this holocaust into an international pissing contest. On the political front there are a number of interests – the Reagan administration, the CDC, the doctors whose big pharma investments are at risk, the blood banks, the gay activists resistant to the bath house closures and then there’s the rivalry between Gallo and the Pasteur Institute which the American narcissist insists is a competition between countries. When doctors start acting like businessmen, who do people turn to for doctors? The irony that the man preaching safe sex finds himself infected is wonderfully exposed in McKellen’s subtle performance. Ultimately progress comes down to the same sample leading the competitors to discover the first new human retrovirus. This is where the diseases are. In an impressive ensemble, which doesn’t extol one individual over any other, Modine as Francis is the motor and the conscience, the protagonist whose original findings in Africa trigger his understanding of the spread of the disease creating empathy for a difficult front line that involves the everyday problems besetting the medical profession. The credits rollcall of the dead – from Arthur Ashe to Ryan White – and the movement’s activists, over Elton John’s The Last Song, is sobering indeed. Elegantly directed by Roger Spottiswoode who delivers a coherent, moving and emotive docudrama with a powerful political punch about stigma, prejudice, ignorance and self-interest that still has the capacity to make jaws drop in chronicling an epidemic with lessons for everyone. Will we ever learn? And will anyone ever commit to the fact that the origin of the protein that evolved alternately into HIV/AIDS or Ebola in humans came from Africans eating monkeys? This was known in 1993, when this film was produced, six years after Randy Shilts’ book was published but presumably nobody dared bring it up. We still fear a little reality about the transmission of disease in a world where borders no longer exist in the rush for globalised profit and concomitant unstoppable uncontrolled migration. This didn’t have to happen. We could have stopped it

Happy 90th Birthday Shirley MacLaine 24th April 2024!

Hollywood legend, Academy Award winner, gifted actress, brilliant comedienne, dancer, singer and all-round star, the irrepressible Shirley MacLaine is a magnificent 90 years old today. What a career she has had, from her debut with Alfred Hitchcock’s The Trouble With Harry, through an astonishing collaboration with Billy Wilder with The Apartment – one of the all-time great films – and the perversely charming Irma la Douce, a chance to return to her musical theatre roots in Sweet Charity and more than one alleged comeback in the 1970s with The Turning Point (another dance film) and later with Terms of Endearment and much more besides. That auburn pixie cut, those elfin features and the cunning impishness have always belied astonishing dramatic depths. Never mind those legs!! She was quite brilliant in Some Came Running and ran with the Sinatra crew for a spell. As well as being an author and spiritual seeker she and her younger brother Warren Beatty have always been immersed in Democrat politics, somewhere her commitment found a ready home. She has written autobiographies and directed too, a documentary and a feature, and has remained a vital part of the culture from her TV appearances in drama – her Downton Abbey role was an international incident – and in interviews: she made memorable appearances in the UK with Michael Parkinson on his chat show. Passionate, wickedly funny, smart and sensitive, she has crafted some of the most immaculate performances on screen. We salute you, Shirley! Many happy returns!

Wait Until Dark (1967)

I’ll be chopped up into little pieces and end up all over the river. Montreal Airport: Lisa (Samantha Jones) takes a flight from to New York City, smuggling bags of heroin sewn inside an old-fashioned doll. When she disembarks, she becomes worried on seeing a man (Alan Arkin) watching her from the airport roof. She gives the doll to a fellow passenger, professional photographer Sam Hendrix (Efrem Zimbalist, Jr.), for safekeeping. She is roughly escorted away by the other man. A few days later, con artists Mike Talman (Richard Crenna) and Carlino (Jack Weston) a crooked NYPD cop, arrive at the Greenwich Village apartment of Sam, recently married to Susy (Audrey Hepburn), who was newly blinded in an accident, believing it to be Lisa’s place. Harry Roat, the man who met Lisa at the airport, arrives to persuade Talman and Carlino to help him find the doll. After the con men discover Lisa’s body hanging in a wardrobe in Susy’s apartment, Roat blackmails them into helping him dispose of it and convinces them to help him find the doll. While Sam is on an assignment, the criminals begin an elaborate con using Susy’s blindness against her and posing as different people to win her trust. Implying that Lisa has been murdered and that Sam will be suspected, the men persuade Susy to help them find the doll. Mike, posing as Sam’s old army buddy using information gleaned from his previous recce, gives her the number for the phone booth across the street as his own after falsely warning her of a police car outside the basement apartment. Gloria (Julie Herrod) a girl who lives in an upstairs apartment and who had borrowed the doll without permission, sneaks in to return it. She reveals to Susy that there is no police car outside. After calling Mike and realising it’s the phone booth’s number, Susy figures out that the three men are criminals and hides the doll. She tells them it’s at Sam’s studio and the three leave after Roat cuts the telephone line. Carlino stays behind to stand guard outside the building. Susy sends Gloria to the bus station to wait for Sam. When she finds out that the telephone cord has been cut, she prepares to defend herself by breaking all the lightbulbs in the apartment except for the safelight. When did you figure it out about me? When Mike returns, he realises that she knows the truth and demands the doll but she refuses to cooperate. He tells her that he has sent Carlino to kill Roat. Having anticipated their plan, Roat has killed Carlino instead, and then kills Mike on the doorstep of Susy’s apartment, his body falling down the stairs. Intent on acquiring the doll, Roat threatens to set the apartment on fire … Do I have to be the world’s champion blind lady? Alfred Hitchcock said you acquire a play for its construction and he should know. He developed Dial M For Murder by Frederick Knott with great success (especially for his new muse Grace Kelly) and this similar chamber piece by Knott was a huge Broadway hit starring Lee Remick that became a vehicle for Audrey Hepburn with her husband Mel Ferrer in the producer’s seat (a situation that apparently contributed to the end of their already fraught union). Warner Bros. had bought the property prior to its Broadway success so convinced were they of its possibilities but according to her biographer Alexander Walker, Hepburn wanted her participation announced quickly to avoid the situation she’d endured with My Fair Lady when she was accused of stealing the lead from an untested Julie Andrews so discussions were going on prior to the production of How To Steal a Million in 1965. For tax reasons Hepburn wanted to shoot in Europe but that preference and her wish to be costumed by Givenchy was knocked on the head. Initially the aforementioned Hitchcock was mooted as possible director but he immediately rejected the studio’s offer because of Hepburn’s leaving No Bail for the Judge half a dozen years earlier when she wouldn’t agree to the inclusion of a violent rape scene and the project remained unmade. Thus charming British James Bond helmer Terence Young, who a teenage Hepburn had helped escape from Holland when he was shot down during the war, was in the director’s chair. Hepburn prepared meticulously for the role, visiting a clinic for the blind in Lausanne and continuing at the Lighthouse Clinic in New York where some of the film was made (as well as in Toronto) prior to shooting at Warners’ Burbank studio in Hollywood. For all of Hepburn’s detailed physical work, she ended up having to wear hard contact lenses to cover up her inimitably sparkling eyes, removing at least one of her trademarks which cinematographer Charles Lang did his best to illuminate. In a way this is a fraternal (or sororal) twin to the setup in Hepburn’s comic thriller Charade, with three men after something Hepburn doesn’t know she possesses. This thriller as adapted by husband and wife screenwriting team Robert Carrington & Jane-Howard Carrington has no comedy elements however and the premise starts by setting up a drug smuggling story in Canada with a deliriously beautiful woman (model Jones) who will eventually be found dead in one deeply awful moment of discovery: first when she’s seen by Mike and then when Susy puts on her scarf and unwittingly disturbs the dead woman’s hair. It’s a perverse sign of things to come. Arkin’s splashy star-making triple role of the various Roat characters might logically be questioned – how can our blind protagonist spot the difference? (She notes the commonality, in fact). Roat dispenses with his goons as expected and they are performed exceedingly well by the charming Crenna and compelling Weston, both of whom exhibit traces of guilt and fear. Damn it, you act as if you’re in kindergarten! This is the big bad world, full of mean people, where nasty things happen! In the end it’s a one on one fight and when the camera shoots wide for the final attack on Hepburn cinema audiences screamed louder than they’d done since Psycho: theatre owners were warned to turn down their lights to make it an immersive experience. It’s a brilliant shock, a literal jump scare, excellently staged. Everything in the suspenseful narrative leading up to that situation is about how Susy compensates for her devastating sight loss – that’s a classic dramatic writing tool, utilising the protagonist’s apparent weakness and turning it to their advantage. There’s a terrific performance by child actor Herrod as the ungainly little girl whose behaviour is entirely unpredictable but who ultimately proves her worth as an ally, providing Susy with the eyesight she no longer has. This is all about how appearances can be deceptive. Everything planted is paid off in spades. Hepburn may not be outfitted in her preferred designer but she is gifted another Henry Mancini score (using two pianos, a quarter tone apart with eerie echoing phrases) and theme song to accompany this wholly impressive heroine, stripped back to her essence, deprived of one of her senses, cornered behind a refrigerator door by a drug-ridden madman, fighting for her life. It’s a totally committed physical performance, among Hepburn’s very best. Despite receiving an Academy Award nomination, her fifth, she wouldn’t make another film for eight years, divorcing Ferrer, marrying a Roman psychiatrist and having another child, before the world of cinema finally lured her back to Robin and Marian. She would reunite a few years following that with director Young for Bloodline, a disappointing potboiler. How would you like to something difficult and incredibly dangerous?

BlackBerry (2023)

We call it PocketLink. 1996: Waterloo, Ontario. The co-founder and CEO Mike Lazirides (Jay Baruchel) of Research in Motion and his best friend and co-founder Doug Fregin (Matt Johnson) are preparing to pitch their ‘PocketLink” cellular device to businessman Jim Balsillie (Glenn Howerton). Lazaridis is bothered by the incessant buzzing of Balsillie’s Chinese intercom and fixes it before Balsillie arrives to the meeting. Their pitch is unsuccessful but when Balsillie is fired from his job due to his aggressive ambition, he agrees to work with them provided he is made CEO of RIM and given one half of the company. They hesitate but after they confirm Basillie’s suspicion that their deal with US Robotics was a malicious attempt to bankrupt them, they bring Balsillie in as co-CEO with one third of RIM for a cash infusion that requires Balsillie to mortgage his house. Balsillie arranges a pitch for the PocketLink with Bell Atlantic and forces Fregin and Lazaridis to build a crude prototype overnight which he and Lazaridis take to New York. Lazaridis forgets the prototype in their taxi, leaving Balsillie to attempt the pitch alone. Lazaridis recovers the prototype at the eleventh hour and finishes the pitch, rebranding the PocketLink as the ‘BlackBerry’ which becomes massively successful. 2003: Palm CEO Carl Yankowski (Cary Elwes) plans a hostile takever of RIM which forces Balsillie to try to raise RIM’s stockprice by selling more phones than Bell Atlantic’s (now Verizon Communications) network can support. This crashes the network, as Lazaridis had warned, so Balsillie poaches engineers from around the world to fix the problem, as well as hiring a man named Charles Purdy (Michael Ironside) as RIM’s COO to keep the engineers in line but this upsets Fregin who values the casual fun work environment he and Lazaridis had created. The new engineers fix the network issue under Purdy’s strict management enabling RIM to avoid Yankowski’s buyout. 2007: RIM’s upcoming pitch of the BlackBerry Bold to Verizon is thrown into chaos when Steve Jobs announces the iPhone … You’re not selling togetherness any more. You’re selling self-reliance. The story of the original smartphone is equal parts horrifying and hilarious. The original Canadian tech bros vs their own boss (with differences cleverly signalled by their in-car musical choices) whose acquisitiveness culminates in a funny aeroplane chase across the US trying to buy out the National Hockey League is on the money when it comes to the cultural differences between creatives and financiers. Maybe we could call it the prophet: profit margin. The core initially is the long-term friendship between Mike and Doug which is gradually usurped by Mike’s dealings with the reptilian Jim who is performed with vainglorious precision by Howerton. His presence prises the friends apart as Mike cannot handle the pressure and Doug cannot comprehend his fraility. This has the virtues of a whistleblower-style docudrama, recounting that insanely good idea to combine a cellphone with a pager and email. The dark moment when Steve Jobs announces the iPhone triggers a chain reaction of events of a desperation that is blackly comic and (almost) tragic. Mike’s presentation to Verizon is a model of a public nervous breakdown. How a small operation of laidback tech geniuses is transformed into an impersonal profit-driven major player (albeit briefly) with grownups in the once friendly groovy music-filled workplace being supervised as though they’re retarded teens in a silent call centre is sobering but explains much about our paranoid surveillance society and the men who control it. This razor-sharp comedy drama is directed by co-star Matt Johnson from a screenplay co-written with producer Matthew Miller. I created this entire product class!