Cinematography:
Martin RuheCast:
Christopher Abbott, Kyle Chandler, Rafi Gavron, Graham Patrick Martin, Lewis Pullman, Austin Stowell, Pico Alexander, Jon Rudnitsky, Gerran Howell (more)Episodes(6)
Plots(1)
There's only no way out. Catch-22 follows the adventures and misadventures of a U.S. air squadron in Italy during World War II. Yossarian (Christopher Abbott) is a bombardier, whose frantic obsession every time he goes up on a mission is "to come down alive". The real enemy for Yossarian and his rag-tag bunch of friends is the bureaucracy of the military, inverting logic at every turn. The pinnacle of this is Catch-22, a military by-law which states that if you fly your missions, you're crazy, and don't have to fly them; all you have to do is ask. But if you ask not to, then you're sane, and so you have to fly them. (Paramount Home Entertainment)
(more)Reviews of this series by the user Dionysos (1)
Catch-22 (2019)
Repetition to the new, or a direct route to always the same thing? A clear example, obviously escaping the authors: the original book logo MaM changes to MM in the miniseries, and in this difference everything is contained - the illusory conjunction & created internal differentiation and the appearance that two M's are something different than the single person Milo Minderbinder, who stands behind all the business: we thus had sameness that differentiates itself from itself and creates something new, a constantly expanding world within a world, a circular economy from M to M with the symbol &, full of twists and circularity of time. In contrast, MM connected by a common vertical line where one M ends where the other begins refers to unidirectional verticality of time, also known as linearity of time and storytelling, which in the case of American TV series, Netflix series, Apple TV products, HBO miniseries, and Hollywood films is always the same, an eternal return of the same narrative pattern, visual and narrative clichés, and with it, the smoothed contents that are so contrary to the very basic building block of the book source that this cannot be reflected, as it is not a legitimate change (because any adaptation from a book to a film is always perceived by the original readers as simplification/distortion, etc., which is not the case with this rape of the basic narrative structure itself), but it is political, ideological, and Artistic with a capital A, against which one must fight always and everywhere and by all means!
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