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Merissa (12346 KP) rated Catching the Dragon's Heart (Heartstone Rescue #2) in Books
Nov 5, 2023
CATCHING THE DRAGON'S HEART is the second book in the Heartstone Rescue series.
Eyv finds out his betrothal is being broken in favour of his younger brother. In anger, he bites off the hand of his 'beloved.' In return, his father crushes his heartstone and Evy gets sentenced to death. Nice, huh?! Durango is Boone's brother and one of the dragons sent to rescue Eyv. Their attraction is pretty much instant, but they have to cope with the whole, you know, dying part of not having a heartstone.
This was a great addition to the series but I would recommend reading it as a series rather than a standalone. It is full of characters we met in the first book, as well as new ones. There are also more rescues so that ramps up the political situation too.
Lake's story was perfect for him and Boone, just as this one is perfect for Eyv and Durango. I love their family and can't wait to see what happens next for them.
Definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Eyv finds out his betrothal is being broken in favour of his younger brother. In anger, he bites off the hand of his 'beloved.' In return, his father crushes his heartstone and Evy gets sentenced to death. Nice, huh?! Durango is Boone's brother and one of the dragons sent to rescue Eyv. Their attraction is pretty much instant, but they have to cope with the whole, you know, dying part of not having a heartstone.
This was a great addition to the series but I would recommend reading it as a series rather than a standalone. It is full of characters we met in the first book, as well as new ones. There are also more rescues so that ramps up the political situation too.
Lake's story was perfect for him and Boone, just as this one is perfect for Eyv and Durango. I love their family and can't wait to see what happens next for them.
Definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Merissa (12346 KP) rated Empress of Storms (Two Thrones #1) in Books
May 17, 2023
This is the story of Matthias and Danae, rulers of their countries, aligned in a political marriage that Danae hopes will become the real thing. She has had a 'crush' on Matthias for years, but he was happily married. Matthias is the one to marry Danae due to the fact that his wife died and his son, who was supposed to marry her, has disappeared.
This is an exceptional story, with undercurrents all the way through that will grip and entice you. The steamy scenes were certainly hot, but different to Nicola Cameron's other works. A lot more was left to the reader's imagination, which was a good thing for this book. I found the 'traitor' before the name was revealed, HOWEVER, it still came as a surprise, especially with the reasons given behind it. That is how well this book is written!
With a steady and flowing pace, this book with entice you from start to finish. Absolutely recommended and thoroughly enjoyed.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jan 16, 2016
This is an exceptional story, with undercurrents all the way through that will grip and entice you. The steamy scenes were certainly hot, but different to Nicola Cameron's other works. A lot more was left to the reader's imagination, which was a good thing for this book. I found the 'traitor' before the name was revealed, HOWEVER, it still came as a surprise, especially with the reasons given behind it. That is how well this book is written!
With a steady and flowing pace, this book with entice you from start to finish. Absolutely recommended and thoroughly enjoyed.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jan 16, 2016
Blossom and the Beast (The Alder Tales #1)
10.0
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Blossom Frane is only weeks away from her transformation. On her eighteenth birthday, she’ll find...
Paranormal Romance Fairy tale Retelling
Resolute (The Lost Fleet Outlands #2)
6.0
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Admiral John "Black Jack" Geary must battle dangers both within and without the Alliance, in this...
Mark @ Carstairs Considers (2271 KP) rated A Voyage of Vengeance in Books
Aug 5, 2024
Sailing with a Killer
Duchess Jacqueline Arienta Xavier is thrilled to be joining the maiden voyage of Rose of the Sea, a luxury vessel. The voyage is also a birthday celebration for one of her friends, Lady Carriena, the future ruler of Isla DeLacqua. But Jax is surprised to find that her fellow passengers are an odd assortment of people, more for the political gain of her friend’s duchy than a true celebration. Then the weird things start happening. Can Jax figure out what is going on?
I was so happy to be back with these characters for the third novella; they already feel like old friends. While we get all the suspects introduced to us at once, it wasn’t long before I felt like I knew them well. The plot wandered a bit, but my patience was rewarded with a strong mystery and a great revelation. I also appreciated that the plot felt appropriate for the length of the story. The setting has just hints of a fantasy world to it while still being mainly about the mystery, and I love it. There are some hints at what came before, so know that going in. I enjoyed this story and can’t wait to see how the series transitions to full novels.
I was so happy to be back with these characters for the third novella; they already feel like old friends. While we get all the suspects introduced to us at once, it wasn’t long before I felt like I knew them well. The plot wandered a bit, but my patience was rewarded with a strong mystery and a great revelation. I also appreciated that the plot felt appropriate for the length of the story. The setting has just hints of a fantasy world to it while still being mainly about the mystery, and I love it. There are some hints at what came before, so know that going in. I enjoyed this story and can’t wait to see how the series transitions to full novels.
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
Goddess in the Stacks (553 KP) rated My Life with Bob in Books
Sep 13, 2018
I need to read more books about books, because the few that I've read, I've really enjoyed! Earlier this year I read Tolstoy and the Purple Chair, and loved it. I have holds on Voracious: A Hungry Reader Cooks Her Way Through Great Books and The World Between Two Covers: Reading the Globe. (I also have a hold on The Man Who Loved Books Too Much, but I'm not sure that quite counts.) And, in looking up the links for those books, I just put holds on three more books about reading, since this is a genre I apparently enjoy!
My Life with Bob is about the author's reading life. Bob is a notebook she uses to keep track of what she's read. Just title and author, and whether or not she's finished it. Very simple. But in looking back through what she's read, she recalls where she was, and what she was doing or going through at the time. So the real story is how her reading choices fit into her life, and how being a bookworm affected her life.
I enjoyed the book, with the slight irritation (in the latter part of the book) of her insistence on calling Young Adult literature, Children's Lit. Children's books are picture books and books for young readers, not The Fault in Our Stars and The Hunger Games. Those are Young Adult, and there's a pretty big difference in my opinion. Maybe not in the professional world; she is the editor of The New York Times Book Review. But it's frustrating to hear her talk about Kid Lit and lump Harry Potter in with a 36-page autobiography of a teddy bear written for kids under 10.
I was also a little shocked to learn (in the book!) she wrote a book about how porn is destroying the American family, and testified before Congress about it, sponsored by Senators Orrin Hatch and Sam Brownback. I normally don't have a problem reading Republican authors - I often don't know the exact political leanings of authors - but I'm reading about her reading choices, and suddenly they are all suspect. (She disliked Ayn Rand, at least, so that's something.) The book was published in May of last year, so after the last presidential election. Anyone who acknowledges working with the GOP at this point, and isn't embarrassed by it, immediately gets a black mark in my book.
So ultimately I'm torn on this book. I liked reading it. I dislike the author. (I will never even try to be non-political on this blog. Sorry-not-sorry.)
You can find all my reviews at http://goddessinthestacks.com
My Life with Bob is about the author's reading life. Bob is a notebook she uses to keep track of what she's read. Just title and author, and whether or not she's finished it. Very simple. But in looking back through what she's read, she recalls where she was, and what she was doing or going through at the time. So the real story is how her reading choices fit into her life, and how being a bookworm affected her life.
I enjoyed the book, with the slight irritation (in the latter part of the book) of her insistence on calling Young Adult literature, Children's Lit. Children's books are picture books and books for young readers, not The Fault in Our Stars and The Hunger Games. Those are Young Adult, and there's a pretty big difference in my opinion. Maybe not in the professional world; she is the editor of The New York Times Book Review. But it's frustrating to hear her talk about Kid Lit and lump Harry Potter in with a 36-page autobiography of a teddy bear written for kids under 10.
I was also a little shocked to learn (in the book!) she wrote a book about how porn is destroying the American family, and testified before Congress about it, sponsored by Senators Orrin Hatch and Sam Brownback. I normally don't have a problem reading Republican authors - I often don't know the exact political leanings of authors - but I'm reading about her reading choices, and suddenly they are all suspect. (She disliked Ayn Rand, at least, so that's something.) The book was published in May of last year, so after the last presidential election. Anyone who acknowledges working with the GOP at this point, and isn't embarrassed by it, immediately gets a black mark in my book.
So ultimately I'm torn on this book. I liked reading it. I dislike the author. (I will never even try to be non-political on this blog. Sorry-not-sorry.)
You can find all my reviews at http://goddessinthestacks.com
Gareth von Kallenbach (980 KP) rated Wedding Crashers (2005) in Movies
Aug 14, 2019
In the tricky world of arbitration, John Beckwith (Owen Wilson) and Jeremy Grey (Vince Vaughn), are two of the best in their field. Day after day, John and Jeremy negotiate divorce settlements between many bitter and hostile clients in an attempt to avoid long and drawn out court cases.
As good as John and Jeremy are at mediation, this pales to their real talents as professional wedding crashers. John and Jeremy revel in their ability to crash weddings and in the process scoring all the food, drink and women they can handle as they move from one event to another with ease.
The actions of the two are based on a strict set of rules for crashing weddings that was passed down to Jeremy and have lead to many moments of merriment and debauchery for the duo. The rules are so detailed that everything from cover stories, ways to gain sympathy, and clues for gaining points with the guests are included.
After a very successful wedding season, John and Jeremy are set to take it easy for a while to recover from the barrage of seduction and partying they have subjected themselves to.
Alas, things do not go as planned as Jeremy convinces John to help him crash the wedding event of the year that will have a prominent political figure in attendance. Despite much reluctance, John goes along an in no time, the duo are at the social event of the year.
Eager to slip into their seduction modes, John and Jeremy have concocted their alibis and set their sites a pair of young ladies, Claire and Gloria Cleary (Rachael McAdams) and (Isla fisher). The two are the daughters of rising political figure Secretary Claire (Christopher Walken), who many think may be on the fast track to the Oval Office.
Things take a turn when John agrees to accompany Claire to an island retreat. Seeing the danger and eager to get away from the bizarre Gloria, Jeremy attempts to extricate himself from the situation.
Of course there would not be much of a film if this were to happen, and before long, John and Jeremy are surrounded by vicious boyfriends, over amorous suitors, and enough mayhem to keep the audience laughing.
The laughs come frequently and each situation becomes even more outrageous than the one that preceded it making for some of the most hilarious moments ever committed to film.
Sure the plot is very thing, but Wilson and Vaughn are enjoyable and if you do not mind some crude humor, you are likely to find yourself laughing along at one of the most pleasant comedic surprises of the year.
As good as John and Jeremy are at mediation, this pales to their real talents as professional wedding crashers. John and Jeremy revel in their ability to crash weddings and in the process scoring all the food, drink and women they can handle as they move from one event to another with ease.
The actions of the two are based on a strict set of rules for crashing weddings that was passed down to Jeremy and have lead to many moments of merriment and debauchery for the duo. The rules are so detailed that everything from cover stories, ways to gain sympathy, and clues for gaining points with the guests are included.
After a very successful wedding season, John and Jeremy are set to take it easy for a while to recover from the barrage of seduction and partying they have subjected themselves to.
Alas, things do not go as planned as Jeremy convinces John to help him crash the wedding event of the year that will have a prominent political figure in attendance. Despite much reluctance, John goes along an in no time, the duo are at the social event of the year.
Eager to slip into their seduction modes, John and Jeremy have concocted their alibis and set their sites a pair of young ladies, Claire and Gloria Cleary (Rachael McAdams) and (Isla fisher). The two are the daughters of rising political figure Secretary Claire (Christopher Walken), who many think may be on the fast track to the Oval Office.
Things take a turn when John agrees to accompany Claire to an island retreat. Seeing the danger and eager to get away from the bizarre Gloria, Jeremy attempts to extricate himself from the situation.
Of course there would not be much of a film if this were to happen, and before long, John and Jeremy are surrounded by vicious boyfriends, over amorous suitors, and enough mayhem to keep the audience laughing.
The laughs come frequently and each situation becomes even more outrageous than the one that preceded it making for some of the most hilarious moments ever committed to film.
Sure the plot is very thing, but Wilson and Vaughn are enjoyable and if you do not mind some crude humor, you are likely to find yourself laughing along at one of the most pleasant comedic surprises of the year.
Andy K (10823 KP) rated Truth (2015) in Movies
Aug 11, 2019
The truth is out there...
Doubtful anyone from outside the United States (or even many within the US) would remember "Rathergate", the subject this film explores, but I found it fascinating nonetheless.
The US during the 2004 presidential election between George W Bush and John Kerry saw the usual mudslinging back and forth, but this film is not really about that. The film focuses on a news story by CBS news involving then airmen George W Bush and his "attempt" to get out of going to Vietnam and certain important military paper which were supposed to have corroborated these events.
Producer Mary Mapes and then anchor Dan Rather decided to air the story on 60 Minutes before they had flushed out all their sources and may have brushed aside criticism which happened to be against their political beliefs and ran with the story anyways. After airing in the fall of 2004 certain aspects of the documents came into question as to whether they could've been written with typewriters of the time or whether these documents were forgeries made by someone who could've merely used Microsoft Word instead.
Repeated attempts to legitimize their accuracy ended up having the opposite effects having witnesses change their stories, allegiances or even admit they had not been honest when presenting their original facts.
Since this is based on actual events, I can say this ended up costing producer Mapes and Rather their careers and sullied their reputations for the rest of their lives.
Even though the film has a very specific set of facts it has to deal with, I found it just as interesting when the director showed scenes of the audience viewing the story when it aired and then began to think about the state of modern news.
Nowadays, most people get their news cycle from internet headlines, scrolling information at the bottoms of television screens and even siloed one-sided stories that support only their own personal political beliefs
I think the broader message this film is trying to convey is that news organizations have the utmost responsibility to not only the report the news, but to keep their biases out of the mix and to make sure every fact is checked and rechecked to make sure they report accurately. News can change public opinion and even though they mostly get things correct, mostly isn't good enough.
I love Cate Blanchett and the legend Robert Redford and they don't disappoint here. The screenplay by writer and first time director James Vanderbilt is pointed and mostly avoids injecting opinion into the facts and presents an interesting and fascinating film I would easily recommend.
The US during the 2004 presidential election between George W Bush and John Kerry saw the usual mudslinging back and forth, but this film is not really about that. The film focuses on a news story by CBS news involving then airmen George W Bush and his "attempt" to get out of going to Vietnam and certain important military paper which were supposed to have corroborated these events.
Producer Mary Mapes and then anchor Dan Rather decided to air the story on 60 Minutes before they had flushed out all their sources and may have brushed aside criticism which happened to be against their political beliefs and ran with the story anyways. After airing in the fall of 2004 certain aspects of the documents came into question as to whether they could've been written with typewriters of the time or whether these documents were forgeries made by someone who could've merely used Microsoft Word instead.
Repeated attempts to legitimize their accuracy ended up having the opposite effects having witnesses change their stories, allegiances or even admit they had not been honest when presenting their original facts.
Since this is based on actual events, I can say this ended up costing producer Mapes and Rather their careers and sullied their reputations for the rest of their lives.
Even though the film has a very specific set of facts it has to deal with, I found it just as interesting when the director showed scenes of the audience viewing the story when it aired and then began to think about the state of modern news.
Nowadays, most people get their news cycle from internet headlines, scrolling information at the bottoms of television screens and even siloed one-sided stories that support only their own personal political beliefs
I think the broader message this film is trying to convey is that news organizations have the utmost responsibility to not only the report the news, but to keep their biases out of the mix and to make sure every fact is checked and rechecked to make sure they report accurately. News can change public opinion and even though they mostly get things correct, mostly isn't good enough.
I love Cate Blanchett and the legend Robert Redford and they don't disappoint here. The screenplay by writer and first time director James Vanderbilt is pointed and mostly avoids injecting opinion into the facts and presents an interesting and fascinating film I would easily recommend.