- Published on
Babylon 5's Stephen Furst Passes Away
As I've had to explain far more times than I care to remember, I never quite "got" Babylon 5.
As much as I am a fan of immersive storytelling, its character just never caught on with me; and I did give it the better part of two full seasons to show me the money. Still -- as I often caution -- this rarely has anything to do with the talent before and behind the screen, of which I'm pleased to say the talented Stephen Furst never disappointed. While his character of Vir Cotto was always a bit lighthearted, there's never anything wrong with delivering some mirth to lighten the mood, and Furst certainly knew his fair share about how to deliver the goods.
Still, I'll always fondly cherish my memories of him aboard Animal House (1978), where he first came to prominence in the role of the mildly bumbling Kent Dorfman, pledge.
Godspeed to you, Mr. Furst, wherever you may roam, and our deepest thoughts and prayers to those who knew you best.
As much as I am a fan of immersive storytelling, its character just never caught on with me; and I did give it the better part of two full seasons to show me the money. Still -- as I often caution -- this rarely has anything to do with the talent before and behind the screen, of which I'm pleased to say the talented Stephen Furst never disappointed. While his character of Vir Cotto was always a bit lighthearted, there's never anything wrong with delivering some mirth to lighten the mood, and Furst certainly knew his fair share about how to deliver the goods.
Still, I'll always fondly cherish my memories of him aboard Animal House (1978), where he first came to prominence in the role of the mildly bumbling Kent Dorfman, pledge.
Godspeed to you, Mr. Furst, wherever you may roam, and our deepest thoughts and prayers to those who knew you best.
- Published on
Who Goes There: A Review of Doctor Who's "Empress Of Mars"
When a character has been around for fifty plus years, he’s often taken for granted, both by those who conceive his stories as well as those who partake of what he has to say. And when he’s made it his business to save life as we know it, dare I suggest that his tactics could easily grow more than a bit cliché? I’ve always thought that’s the real danger inherent in weaving yarns for Doctor Who: as one who has been watching the program off and on since the mid-1970’s, there’s a certain element of predictability to him, despite whatever actor brings him to life.
In short, he’s a hero, and he (thus) behaves heroically. While I might not be able to anticipate his every move, there’s a fair share of his actions and reactions I can, and I would imagine that there are plenty of Whovians who think likewise.
Still, it isn’t that often that he’s scared, much less terrified, and – for my two cents – it’s grown increasingly unlikely as of late to see the Doctor legitimately “terrified” of events unfolding; and that’s what makes Empress Of Mars particularly satisfying. He’s aware of the threat to humanity, and he’s equally aware of the danger he places himself in while trying to broker whatever peaceful outcome he can for this circumstance.
As for the story …
A trip to NASA for the unveiling of new photographs from Mars delivers a shocking development for the Doctor, Bill, and Nardole: a series of rocks spelling out ‘God Save The Queen’ puts them back into the TARDIS and on their own trip to the Red Planet. Once there, they find a battalion of British soldiers working alongside the sole surviving Ice Warrior to uncover a civilization’s lost riches … but the surprising awakening of the Ice Queen might spell doom for one and all unless the Doctor and Bill can convince the female leader to give peace a chance.
Who scribe Mark Gatiss proves once again to have “the right stuff” in returning the Ice Warriors to the modern era: certainly the British redcoats are no match for the alien fighters, not when they’ve proven to be the stuff of even the Doctor’s nightmares. TV veteran Wayne Yip directs, giving Empress the feel of a comfortable throwback to the days of simpler, less-heady tales – the inevitable clash of nationalist cultures both bent on colonial expansion.
In short, he’s a hero, and he (thus) behaves heroically. While I might not be able to anticipate his every move, there’s a fair share of his actions and reactions I can, and I would imagine that there are plenty of Whovians who think likewise.
Still, it isn’t that often that he’s scared, much less terrified, and – for my two cents – it’s grown increasingly unlikely as of late to see the Doctor legitimately “terrified” of events unfolding; and that’s what makes Empress Of Mars particularly satisfying. He’s aware of the threat to humanity, and he’s equally aware of the danger he places himself in while trying to broker whatever peaceful outcome he can for this circumstance.
As for the story …
A trip to NASA for the unveiling of new photographs from Mars delivers a shocking development for the Doctor, Bill, and Nardole: a series of rocks spelling out ‘God Save The Queen’ puts them back into the TARDIS and on their own trip to the Red Planet. Once there, they find a battalion of British soldiers working alongside the sole surviving Ice Warrior to uncover a civilization’s lost riches … but the surprising awakening of the Ice Queen might spell doom for one and all unless the Doctor and Bill can convince the female leader to give peace a chance.
Who scribe Mark Gatiss proves once again to have “the right stuff” in returning the Ice Warriors to the modern era: certainly the British redcoats are no match for the alien fighters, not when they’ve proven to be the stuff of even the Doctor’s nightmares. TV veteran Wayne Yip directs, giving Empress the feel of a comfortable throwback to the days of simpler, less-heady tales – the inevitable clash of nationalist cultures both bent on colonial expansion.
To ramp up the tension, Gatiss gradually slips away those elements our central character has come to rely on as of late. First, the TARDIS is uncharacteristically whisked away from the dire predicament on Mars, taking Nardole with it. Second, the sonic screwdriver proves to still have no setting for wood. (Yeah, it’s a bit comical, but it still proves my point.) Third, the Empress herself extends from a matriarchal society, meaning she’s less likely to take the Doctor’s words of advice and instead turns to Bill. These developments serve to heighten the anxiety, and Capaldi gives a great turn focusing the lead character’s apprehensions about how he can best manage the conflict, especially given the fact he’s essentially relegated to second-tier status.
Pearl Mackie’s Bill spends a bit too much time gawking bug-eyed from the sidelines, a role she’s started to obviously feel a bit more comfortable in. (It’s probably never easy to play second fiddle in any Science Fiction universe, especially one as wondrous as Who’s.) Once she realizes the responsibility of saving the day has fallen to her, she rises to the occasion much in the way a Companion of stories of old would: speaking exactly the way the Doctor has raised her to believe. Nardole eventually returns with the TARDIS, but he’s not without help – a last second development that’s a mild cliffhanger for what’s likely to come as the tenth season nears completion.
And while I’m on the subject of performances, let me add that Adele Lynch’s turn as Queen Iraxxa was downright evil: she ably chewed scenery as the lady awakened from her slumber for the purpose of returning her empire to its former glory. I’ve been assured that make-up often makes the job easier, but kudos to the actress for giving malevolence such a delicious face.
I realize I may end up being alone in my high praise of Empress. (Trust me, that’s a position I tend to occupy more and more the older I get.) But the hour worked wonderfully for me because it completely ignored some of the heavier themes of the last few seasons and stuck to one self-contained story. Even though it felt like a throwback, I think remembering where any franchise has come from and doing it well is never a bad thing, even when that past is largely men-in-suits playing monsters and an elderly traveler preaching about how life is precious.
Where I live, those things rarely go out of style, and Who’s Empress was a welcome diversion, especially when I know a regeneration is right around the corner.
Pearl Mackie’s Bill spends a bit too much time gawking bug-eyed from the sidelines, a role she’s started to obviously feel a bit more comfortable in. (It’s probably never easy to play second fiddle in any Science Fiction universe, especially one as wondrous as Who’s.) Once she realizes the responsibility of saving the day has fallen to her, she rises to the occasion much in the way a Companion of stories of old would: speaking exactly the way the Doctor has raised her to believe. Nardole eventually returns with the TARDIS, but he’s not without help – a last second development that’s a mild cliffhanger for what’s likely to come as the tenth season nears completion.
And while I’m on the subject of performances, let me add that Adele Lynch’s turn as Queen Iraxxa was downright evil: she ably chewed scenery as the lady awakened from her slumber for the purpose of returning her empire to its former glory. I’ve been assured that make-up often makes the job easier, but kudos to the actress for giving malevolence such a delicious face.
I realize I may end up being alone in my high praise of Empress. (Trust me, that’s a position I tend to occupy more and more the older I get.) But the hour worked wonderfully for me because it completely ignored some of the heavier themes of the last few seasons and stuck to one self-contained story. Even though it felt like a throwback, I think remembering where any franchise has come from and doing it well is never a bad thing, even when that past is largely men-in-suits playing monsters and an elderly traveler preaching about how life is precious.
Where I live, those things rarely go out of style, and Who’s Empress was a welcome diversion, especially when I know a regeneration is right around the corner.
- Published on
Star Trek: The Cruise II Setting Sail in 2018
Perhaps proving that old saying -- "once is never enough" -- the crew of the various Star Trek incarnations are setting sail for another fan-friendly cruise early in 2018. I had seen this advertisement a short time ago, and I meant to share it here previously: it just somehow got lost in the shuffle of news and reviews. For those of you interested, be sure to check out there official website right here.
Meh. That's a little too rich for my blood, though I suppose if those of you who plan on excursions like this have time to plan ahead then maybe you can set your latinum aside for such an event. I do love a good convention as much as the next person, but I'll also admit I was a bit disillusioned the last time I partook of an official Star Trek event. Don't get me wrong: they're super-fun in all kinds of ways ... I just don't like being lectured by well-paid actors and actresses on how I should live my life politically (here's looking at you, Takei), nor do I like the fact that several of them use these get-togethers to kinda/sorta finance their own outside causes. I guess there's nothing wrong with celebrities using fan venues to raise money for a charity or whatnot, but given what it costs to get in to these things, stay at the hotel, sit for an official autograph event, and all you'd think some regular Joes might feel a bit guilty about asking you to spend more. I guess I'm just old fashioned ... and you kids get off my lawn!
As always, thanks for reading ... and live long and prosper!
Meh. That's a little too rich for my blood, though I suppose if those of you who plan on excursions like this have time to plan ahead then maybe you can set your latinum aside for such an event. I do love a good convention as much as the next person, but I'll also admit I was a bit disillusioned the last time I partook of an official Star Trek event. Don't get me wrong: they're super-fun in all kinds of ways ... I just don't like being lectured by well-paid actors and actresses on how I should live my life politically (here's looking at you, Takei), nor do I like the fact that several of them use these get-togethers to kinda/sorta finance their own outside causes. I guess there's nothing wrong with celebrities using fan venues to raise money for a charity or whatnot, but given what it costs to get in to these things, stay at the hotel, sit for an official autograph event, and all you'd think some regular Joes might feel a bit guilty about asking you to spend more. I guess I'm just old fashioned ... and you kids get off my lawn!
As always, thanks for reading ... and live long and prosper!
- Published on
Is This What 'The Last Jedi' Is About? (Spoilers)
All right, peeps, before you get up on your high horse and crucify me for sharing the latest "news" as provided by the folks at We Got This Covered (link and spoilers), let's remember that this is the Internet ... and, by definition, that means that there's far more garbage out there in cyberspace that could fill a galaxy full of landfills. As is customary, you'll want to read this (A) only if you're interested in knowing what the possible plot of Star Wars: Episode VIII - The Last Jedi might be and (B) only if you're willing to know what an erroneous plot of said film could be.
As the article suggests, I don't doubt that a rough cut of the feature has been done for some time: there's certainly nothing spoiler-y about that, and I suspect the still somewhat recent passing of Carrie Fisher may've prompted all involved behind-the-camera to get at least a rough cut done for studio suits who would eventually be tasked with creating a storyline for Episode IX (as it's been long-stated -- even by the late Ms. Fisher herself -- that the final film in this new trilogy would've been Leia's central story).
Again, it is what it is, but don't follow the link if you don't want to know.
As always, thanks for reading ... and May The Force Be With You!
As the article suggests, I don't doubt that a rough cut of the feature has been done for some time: there's certainly nothing spoiler-y about that, and I suspect the still somewhat recent passing of Carrie Fisher may've prompted all involved behind-the-camera to get at least a rough cut done for studio suits who would eventually be tasked with creating a storyline for Episode IX (as it's been long-stated -- even by the late Ms. Fisher herself -- that the final film in this new trilogy would've been Leia's central story).
Again, it is what it is, but don't follow the link if you don't want to know.
As always, thanks for reading ... and May The Force Be With You!
- Published on
Will She Or Won't She?
Patty Jenkins Is DC Cinematic Universe's New 'Wonder Woman'
Color me confused, but Screen Rant (link) is reporting that Wonder Woman director Patty Jenkins has not yet been official signed to return and direct a sequel to the popular DC Universe motion picture. This report follows hot on the heels of another one I read just the other day that suggested not only had she signed but also she'd had more than a few ideas about where the next film would go with the character, time period, etc.
I don't know what the status of this is, but one would think that the Powers That Be would want to lock that down while Jenkins' availability remains solid. Certainly with the feature's success, her clout in Tinseltown and beyond is on-the-rise, and even though I had some quibbles with the first flick I'd hate to see someone else take the reins and push the property in a different direction.
As always, thanks for reading ... and live long and prosper!
I don't know what the status of this is, but one would think that the Powers That Be would want to lock that down while Jenkins' availability remains solid. Certainly with the feature's success, her clout in Tinseltown and beyond is on-the-rise, and even though I had some quibbles with the first flick I'd hate to see someone else take the reins and push the property in a different direction.
As always, thanks for reading ... and live long and prosper!
- Published on
TNT's 'Snowpiercer' Adds Starpower By signing Jennifer Connelly To Cast
2013's Snowpiercer was one of those films that did fairly well critically but ultimately failed to garner a sizable audience. Science Fiction and political satire can make for strange bedfellows, especially when the mores and themes explored are just a bit off-center and maybe a bit harder to swallow than, say, our planet being overrun by intelligent apes. I saw it not long after it dropped onto home video, and -- for what it was -- I enjoyed it quite well. I didn't "chat it up" so to speak as I figured its beauty would be lost on most.
In any event, Snowpiercer is still a kinda/sorta strange SciFi commodity to make the transition to the small screen. (For those unaware, the film was based on a graphic novel.) More accessible properties like Planet of the Apes, Logan's Run, and Alien Nation enjoyed limited success in heading from the silver screen to the small screen, but none of them made it out of their single-season existences. (Alien Nation did eventually launch a series of telefilms to tie up some loose ends and continue to develop plotlines from the show, but you catch my drift.) Given its lackluster box office, I'm not certain what the suits at TNT are expecting, but rest assured I'll be there when it eventually airs.
Deadline (link) has published a story today citing that award-winning actress Jennifer Connelly has boarded that "train to nowhere," and I think that definitely bodes well for the project. She's a recognized talent who has an established track record in choosing excellent stories, and I suspect her participation will raise some eyebrows amongst the entertainment intelligentsia. Check out the link for a few more details on the production, if you're interested.
As always, thanks for reading ... and live long and prosper!
In any event, Snowpiercer is still a kinda/sorta strange SciFi commodity to make the transition to the small screen. (For those unaware, the film was based on a graphic novel.) More accessible properties like Planet of the Apes, Logan's Run, and Alien Nation enjoyed limited success in heading from the silver screen to the small screen, but none of them made it out of their single-season existences. (Alien Nation did eventually launch a series of telefilms to tie up some loose ends and continue to develop plotlines from the show, but you catch my drift.) Given its lackluster box office, I'm not certain what the suits at TNT are expecting, but rest assured I'll be there when it eventually airs.
Deadline (link) has published a story today citing that award-winning actress Jennifer Connelly has boarded that "train to nowhere," and I think that definitely bodes well for the project. She's a recognized talent who has an established track record in choosing excellent stories, and I suspect her participation will raise some eyebrows amongst the entertainment intelligentsia. Check out the link for a few more details on the production, if you're interested.
As always, thanks for reading ... and live long and prosper!
- Published on
Tala Ashe To Become Legendary, Joins Cast Of
The CW's 'Legends Of Tomorrow' For Season 3
To my learned tastes, the first season of The CW's Legends Of Tomorrow was a bit more interesting than the second one (which concluded not all that long ago): the many trips through time seemed a bit more instrumental in the former mission as opposed to the latter, but both seasons were definitely grounded in effective superhero action for a network practically built around the genre.
Recently, Variety (link) announced that the fetching Tala Ashe had signed with the program for its third season: details are a bit scarce (I'm certain much of this is currently transitioning from the drawing board to the story boards), but the newspaper is reporting she'll be filling out the shoes of Zari Adrianna Tomaz, a Muslim-American of the near-future. She'll eventually fill out the spandex as Isis, yet one more secondary hero within the greater DC Comics Universe. (For those unaware, Legends' showrunners have long maintained that their program would keep an open door policy, allowing heroes to come and go as their storytelling requirements change from season to season.)
If it interests you, then check out the link above. As always, thanks for reading ... and live long and prosper!
Recently, Variety (link) announced that the fetching Tala Ashe had signed with the program for its third season: details are a bit scarce (I'm certain much of this is currently transitioning from the drawing board to the story boards), but the newspaper is reporting she'll be filling out the shoes of Zari Adrianna Tomaz, a Muslim-American of the near-future. She'll eventually fill out the spandex as Isis, yet one more secondary hero within the greater DC Comics Universe. (For those unaware, Legends' showrunners have long maintained that their program would keep an open door policy, allowing heroes to come and go as their storytelling requirements change from season to season.)
If it interests you, then check out the link above. As always, thanks for reading ... and live long and prosper!
- Published on
With An Astounding Season Three, '12 Monkeys' Proves Itself Worthy Of Your Time
In all honestly, I wasn’t sure what to think of Syfy’s signature series 12 Monkeys at the end of its first season.
Some of my hesitation to embrace the program was the fact that I wasn’t thrilled with the source material: while many folks sang praises to Terry Gilliam’s Twelve Monkeys (1995) – itself a remake of a French short film – I found it offering good performances and great visuals but hamstrung by an all-too-convenient finish that kinda/sorta overworked the feature’s premise. Still, I’ve found an awful lot of Gilliam’s works to be an acquired taste – one I’ve struggled with over the years – and I held out hope that Syfy’s variation would bring something new to the time travel fold.
That first season offered lead Aaron Stanford ‘channeling’ the Bruce Willis character from the Gilliam film all too often; and co-star Amanda Schull while likeable seemed far too young to be the acclaimed, established physician somewhere near the heart of a globe-spanning virus. Those first ten episodes were well-scripted, offering up some welcome deviations from the 1995 film, and it definitely looked like showrunners had a roadmap for getting from Point A to Point B and maybe – yes “maybe” – it wouldn’t all involve hopping through time and avoiding certain death via paradox. The show was good – “good” in that way it was just interesting enough for fans to want to hang around and see what they did with Season Two.
Some of my hesitation to embrace the program was the fact that I wasn’t thrilled with the source material: while many folks sang praises to Terry Gilliam’s Twelve Monkeys (1995) – itself a remake of a French short film – I found it offering good performances and great visuals but hamstrung by an all-too-convenient finish that kinda/sorta overworked the feature’s premise. Still, I’ve found an awful lot of Gilliam’s works to be an acquired taste – one I’ve struggled with over the years – and I held out hope that Syfy’s variation would bring something new to the time travel fold.
That first season offered lead Aaron Stanford ‘channeling’ the Bruce Willis character from the Gilliam film all too often; and co-star Amanda Schull while likeable seemed far too young to be the acclaimed, established physician somewhere near the heart of a globe-spanning virus. Those first ten episodes were well-scripted, offering up some welcome deviations from the 1995 film, and it definitely looked like showrunners had a roadmap for getting from Point A to Point B and maybe – yes “maybe” – it wouldn’t all involve hopping through time and avoiding certain death via paradox. The show was good – “good” in that way it was just interesting enough for fans to want to hang around and see what they did with Season Two.
However, in that treacherous place between Seasons One and Two, I read that Executive Producer/Showrunner Natalie Chaidez would be departing those duties in order to concentrate on developing Hunters for the channel’s 2016 season. (Sadly, Hunters came and went with only a single season, leaving viewers with an unanswered cliffhanger and yet one more reason to hate the channel’s management – it was quite good, in my opinion.) On 12 Monkeys, creators Travis Fickett and Matalas took the reins … and what a ride they delivered.
In short, Season Two was nothing short of phenomenal, largely in that the program engaged in some serious character development as well as expanding the broader universe in which these people interacted. New alliances were forged – as well as new villains were introduced – and the show took great pains in crafting a deeper mythology upon which the past, present, and future were desperately and deliciously interconnected. Friends became enemies (for a time), and enemies became allies, all in the service of broadening this unique world for an even wilder ride than perhaps even Gilliam could’ve conceived. And all of it led up to a season finale not so much about “the end of life as we knew it” as it was “the life you never thought possible.”
The show became a bit of a phenomenon. Online groups sprang up (as they tend to do around stories where answers are in short supply). Message boards discussed and dissembled the episodes, much of which revolved around the secret identity of ‘The Witness,’ and oft-mentioned but still shadowy character tied closely to the program’s new mythology. And – as can happen when the stars properly align – a Season Three renewal was delivered to rabid fans, with the program’s stars even teasing what big events were coming the next time they stepped up to the plate.
In short, Season Two was nothing short of phenomenal, largely in that the program engaged in some serious character development as well as expanding the broader universe in which these people interacted. New alliances were forged – as well as new villains were introduced – and the show took great pains in crafting a deeper mythology upon which the past, present, and future were desperately and deliciously interconnected. Friends became enemies (for a time), and enemies became allies, all in the service of broadening this unique world for an even wilder ride than perhaps even Gilliam could’ve conceived. And all of it led up to a season finale not so much about “the end of life as we knew it” as it was “the life you never thought possible.”
The show became a bit of a phenomenon. Online groups sprang up (as they tend to do around stories where answers are in short supply). Message boards discussed and dissembled the episodes, much of which revolved around the secret identity of ‘The Witness,’ and oft-mentioned but still shadowy character tied closely to the program’s new mythology. And – as can happen when the stars properly align – a Season Three renewal was delivered to rabid fans, with the program’s stars even teasing what big events were coming the next time they stepped up to the plate.
In case you missed it, the Syfy Network relatively recently did the unthinkable: they brought 12 Monkeys back to their line-up … and they burned off the entire third season in a binge-worthy event that took place over a single weekend.
Say what?
That’s what I thought when I read they were doing this with one of their signature shows. Why? Why would you do this with a property that deserved to be spread out the way traditional television programs are done ... with viewers having to wait and wait and wait (well, “wait” at least a week between episodes) to have their appetites satiated … OK, hold up there … I think I’m seeing the logic in this …
These days, binge-watching has really grown to be all of the rage. My wife and I ignored the phenomenon until we ‘discovered’ FX Network’s Sons Of Anarchy in its fourth season (or so): we then spent the time to go back and review the first three seasons on home video, and we were hooked, not only with that particular program but with the whole ‘binging.’ Streaming outlets have gone to great lengths to take similar advantage when unveiling their original properties: this new approach to storytelling has helped fuel (in my estimation) TV’s greater Renaissance, giving talented storytellers from all genres the opportunity to do the same.
So that’s what Syfy did: the unveiled this new season in a weekend.
How was it received?
Well, I’ve seen a few differing accounts of it, but I suppose – as a viewer – ratings have never been “my thang.” I’ve always been more of a plot person – give me something to watch, and give me good characters to tell it – and in that respect Season Three was downright unimaginable. So, so, so very much happened in the scope of ten hours, and God Bless the suits at Syfy for delivering an incredible season in a three-night event. It was everything a 12 Monkeys’ fan could possibly have hoped for. Fickett, Matalas, Stanford, Schull, and company hit one out of the park … maybe even one for the ages in terms of SciFi storytelling.
All of the questions raised in Season Two were answered, but – even better – these new stories forced every one of the show’s players to up their game. Even secondary characters were granted opportunities to shine, often with an hour uniquely sculpted to give added depth. Newcomers were even tasked with stepping into an already vast universe, make some space to call their own, and raise the bar. Not everyone was given equal time, mind you: they were given “equal weight,” and that requires stronger commitment both in front of the camera and behind. In that respect, 12 Monkeys proved it’s possibly one of Syfy’s best efforts yet.
Say what?
That’s what I thought when I read they were doing this with one of their signature shows. Why? Why would you do this with a property that deserved to be spread out the way traditional television programs are done ... with viewers having to wait and wait and wait (well, “wait” at least a week between episodes) to have their appetites satiated … OK, hold up there … I think I’m seeing the logic in this …
These days, binge-watching has really grown to be all of the rage. My wife and I ignored the phenomenon until we ‘discovered’ FX Network’s Sons Of Anarchy in its fourth season (or so): we then spent the time to go back and review the first three seasons on home video, and we were hooked, not only with that particular program but with the whole ‘binging.’ Streaming outlets have gone to great lengths to take similar advantage when unveiling their original properties: this new approach to storytelling has helped fuel (in my estimation) TV’s greater Renaissance, giving talented storytellers from all genres the opportunity to do the same.
So that’s what Syfy did: the unveiled this new season in a weekend.
How was it received?
Well, I’ve seen a few differing accounts of it, but I suppose – as a viewer – ratings have never been “my thang.” I’ve always been more of a plot person – give me something to watch, and give me good characters to tell it – and in that respect Season Three was downright unimaginable. So, so, so very much happened in the scope of ten hours, and God Bless the suits at Syfy for delivering an incredible season in a three-night event. It was everything a 12 Monkeys’ fan could possibly have hoped for. Fickett, Matalas, Stanford, Schull, and company hit one out of the park … maybe even one for the ages in terms of SciFi storytelling.
All of the questions raised in Season Two were answered, but – even better – these new stories forced every one of the show’s players to up their game. Even secondary characters were granted opportunities to shine, often with an hour uniquely sculpted to give added depth. Newcomers were even tasked with stepping into an already vast universe, make some space to call their own, and raise the bar. Not everyone was given equal time, mind you: they were given “equal weight,” and that requires stronger commitment both in front of the camera and behind. In that respect, 12 Monkeys proved it’s possibly one of Syfy’s best efforts yet.
What might it all mean?
Well, despite obviously being a Science Fiction show exploring the possibilities available to mankind should we ever develop time travel, 12 Monkeys is a constant human reminder that life is not pretty and rarely -- very rarely -- does it come with a storybook ending. Still, James Cole and Cassandra Railly have persevered, breaking the rules and defying both friendships and the odds if for no better reason than to assure those watching that the pursuit of that storybook ending is still and will always be worthwhile, despite whatever cost it may leave on your person much less your soul. In a day and age where reputations can be destroyed in a single Tweet, dare I say that lesson remains refreshing?
Now, maybe it ain’t perfect. Maybe it’s become all too easy to hop, skip, and jump through time in order to fix what went wrong that should’ve gone right. I’ll grant you that the first two seasons time travel seemed a bit more complex – a bit harder to manage if not pinpoint accuracy – than it did in this third go-round; and maybe that’ll prove narrative problems once the show returns in 2018 for its promised fourth and final season.
But I suspect Monkeys’ fans will be there ‘til the final credits fade.
Well, despite obviously being a Science Fiction show exploring the possibilities available to mankind should we ever develop time travel, 12 Monkeys is a constant human reminder that life is not pretty and rarely -- very rarely -- does it come with a storybook ending. Still, James Cole and Cassandra Railly have persevered, breaking the rules and defying both friendships and the odds if for no better reason than to assure those watching that the pursuit of that storybook ending is still and will always be worthwhile, despite whatever cost it may leave on your person much less your soul. In a day and age where reputations can be destroyed in a single Tweet, dare I say that lesson remains refreshing?
Now, maybe it ain’t perfect. Maybe it’s become all too easy to hop, skip, and jump through time in order to fix what went wrong that should’ve gone right. I’ll grant you that the first two seasons time travel seemed a bit more complex – a bit harder to manage if not pinpoint accuracy – than it did in this third go-round; and maybe that’ll prove narrative problems once the show returns in 2018 for its promised fourth and final season.
But I suspect Monkeys’ fans will be there ‘til the final credits fade.
- Published on
Wonder Woman Is A Wonder To Behold!
As SciFiHistory.Net readers well know, I was born and raised a DC Comics guy, so count me as one of the many who was dying for a great Wonder Woman film. She’s an epic character who has deserved a chance in a silver screen movie, especially one that could both do her origins justice and bring a welcome, healthy dose of female empowerment to a genre (namely ‘superhero’) that has for far too long relegated ladies to secondary Spandex considerations. Finally – after countless starts and stops – Warner Bros. and DC delivered, giving the lovely Gal Gadot the central role and director Patty Jenkins her willing enabler.
As fate would have it, both critics and audiences embraced Wonder Woman (2017), as well they should: “you’ve come a long way, baby” can now mean something to millions upon millions of young ladies hoping and praying for a role model who doesn’t have to sacrifice her femininity while standing up for truth, justice, and whatever nation state will have her. The motion picture opened to rave reviews and garnered an impressive $100M+ in its opening weekend.
Now, far be it from me to rain on anybody’s parade, but I’m going to willfully and deliberately admit to having some issues with Wonder Woman. Thankfully, they’re not what I’d call “big deals,” but a few narrative hiccups did cause me to enjoy the flick a bit less than most (that’s never unusual, as I’ve always been far more of a ‘story guy’ than a ‘performance fan’).
As fate would have it, both critics and audiences embraced Wonder Woman (2017), as well they should: “you’ve come a long way, baby” can now mean something to millions upon millions of young ladies hoping and praying for a role model who doesn’t have to sacrifice her femininity while standing up for truth, justice, and whatever nation state will have her. The motion picture opened to rave reviews and garnered an impressive $100M+ in its opening weekend.
Now, far be it from me to rain on anybody’s parade, but I’m going to willfully and deliberately admit to having some issues with Wonder Woman. Thankfully, they’re not what I’d call “big deals,” but a few narrative hiccups did cause me to enjoy the flick a bit less than most (that’s never unusual, as I’ve always been far more of a ‘story guy’ than a ‘performance fan’).
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to my last few paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
On the hidden island of Themiscyra, young Diana is raised as an Amazonian princess with more than a few secret gifts from the gods. Not long after she blossoms into womanhood, the chance meeting of a downed American spy named Steve Trevor alerts the budding warrior of impending doom for mankind, and she defies the wishes of her mother and people in order to save Earth from forces unknown. Against the backdrop of World War I, Diana, Steve, and what few friends they can make along the way race against time to stop the end of life as we know it.
It's important to enter Wonder Woman knowing full well that it’s truly an origins picture, and – practically by definition – this means there are two stories: (1) there’s a foundation built of where she’s from, and (2) there’s an adventure as our hero becomes the fighter she’s meant to be. Thanks to the preponderance of Marvel films over the past decade, the marketplace has been treated to a host of these, many of which have been well-conceived and executed; and – for the most part – Wonder Woman fits that mold.
Zack Snyder, Allan Heinberg, and Jason Fuchs all had their hands in crafting a script which obviously emerges from the mind of William Moulton Marston, the character’s creator. As someone who is more than casually aware of Diana’s beginnings, I can say that they’re done justice to her time on Themiscyra; what troubled me more as a viewer was her introduction into global society.
On the hidden island of Themiscyra, young Diana is raised as an Amazonian princess with more than a few secret gifts from the gods. Not long after she blossoms into womanhood, the chance meeting of a downed American spy named Steve Trevor alerts the budding warrior of impending doom for mankind, and she defies the wishes of her mother and people in order to save Earth from forces unknown. Against the backdrop of World War I, Diana, Steve, and what few friends they can make along the way race against time to stop the end of life as we know it.
It's important to enter Wonder Woman knowing full well that it’s truly an origins picture, and – practically by definition – this means there are two stories: (1) there’s a foundation built of where she’s from, and (2) there’s an adventure as our hero becomes the fighter she’s meant to be. Thanks to the preponderance of Marvel films over the past decade, the marketplace has been treated to a host of these, many of which have been well-conceived and executed; and – for the most part – Wonder Woman fits that mold.
Zack Snyder, Allan Heinberg, and Jason Fuchs all had their hands in crafting a script which obviously emerges from the mind of William Moulton Marston, the character’s creator. As someone who is more than casually aware of Diana’s beginnings, I can say that they’re done justice to her time on Themiscyra; what troubled me more as a viewer was her introduction into global society.
What they got right:
Raised as the only child on an island populated by women only, Diana would essentially be a “fish out of water” in a world largely ruled by (you guessed it) men, and the script smartly plays up those angles. Trevor (played by Star Trek’s Chris Pine) and his secretary Etta (Lucy Davis) wring useful laughs out of dressing Diana for her part in the affair as well as trying to make her understand even the most refined and/or intelligent ladies of this era were largely viewed as insubordinate to males. This clash of cultures fuels a good portion of the film’s second half, right up to sentiments involving ‘the big villain’s reveal’ in the final reel.
What they got wrong:
Sadly, some of those same sentiments – that of women being insubordinate – ends up influencing some of the humor, making me question Etta’s involvement in the film entirely: she’s a secretary, and the script ends up painting her so thin that she serves no purpose beyond the humor (and the traditional duties of, well, a secretary). Rather than giving her something greater to do, a talent as gifted as Davis ends up blending in with the background, a disservice given the central theme of female empowerment running strongly through the picture’s spine.
Also – dare I ask – why would a spy even HAVE a secretary to begin with? Snyder and friends’ script – while good – struggles a bit with Trevor’s identity: would so high-ranking and useful an officer be dispatched deep behind enemy lines in so treacherous a role? Were he to be captured and interrogated, wouldn’t what beans he could spill be too great to risk? Clearly, Trevor wasn’t conceived as something as potentially expendable as a spy, but he needed a role that would keep him central to the war efforts as well as requiring action for a leading man.
And how exactly was Trevor able to reach the island to begin with? We’re led to believe that the place was shielded from history, but his plane manages to pass through the invisible wall as do the German fleet in pursuit. Perhaps this was glossed over with the quick storytelling – it’s all handled on the cusp of the feature’s opening action sequences – and, if so, my apologies. (I have a theory, but again I’d rather not spoil it for those who haven’t yet seen the flick.)
Raised as the only child on an island populated by women only, Diana would essentially be a “fish out of water” in a world largely ruled by (you guessed it) men, and the script smartly plays up those angles. Trevor (played by Star Trek’s Chris Pine) and his secretary Etta (Lucy Davis) wring useful laughs out of dressing Diana for her part in the affair as well as trying to make her understand even the most refined and/or intelligent ladies of this era were largely viewed as insubordinate to males. This clash of cultures fuels a good portion of the film’s second half, right up to sentiments involving ‘the big villain’s reveal’ in the final reel.
What they got wrong:
Sadly, some of those same sentiments – that of women being insubordinate – ends up influencing some of the humor, making me question Etta’s involvement in the film entirely: she’s a secretary, and the script ends up painting her so thin that she serves no purpose beyond the humor (and the traditional duties of, well, a secretary). Rather than giving her something greater to do, a talent as gifted as Davis ends up blending in with the background, a disservice given the central theme of female empowerment running strongly through the picture’s spine.
Also – dare I ask – why would a spy even HAVE a secretary to begin with? Snyder and friends’ script – while good – struggles a bit with Trevor’s identity: would so high-ranking and useful an officer be dispatched deep behind enemy lines in so treacherous a role? Were he to be captured and interrogated, wouldn’t what beans he could spill be too great to risk? Clearly, Trevor wasn’t conceived as something as potentially expendable as a spy, but he needed a role that would keep him central to the war efforts as well as requiring action for a leading man.
And how exactly was Trevor able to reach the island to begin with? We’re led to believe that the place was shielded from history, but his plane manages to pass through the invisible wall as do the German fleet in pursuit. Perhaps this was glossed over with the quick storytelling – it’s all handled on the cusp of the feature’s opening action sequences – and, if so, my apologies. (I have a theory, but again I’d rather not spoil it for those who haven’t yet seen the flick.)
With such capacities in the field, Trevor ends up having a ‘secret squad’ of friends – generally all war-time spies developed their own; and the script gives some talented secondary players to step up – unfortunately Saïd Taghmaoui’s Sameer, Ewen Bremner’s Charlie, and Eugene Brave Rock’s The Chief are given so little to do so they’re not even afford surnames. Also a misstep (maybe one sacrificed in the final edit) is the fact that they’re all granted “issues” requiring some resolution but no screen time to affect a positive change. Like the faded picture Diana Prince receives as a gift to set her memories and the entire film in motion, they’re mostly lost to history … and characters always deserve better in my book.
Still, director Jenkins stages some epic action sequences, one befitting a heroine who has been around for decades. The opening sequences on Themiscyra are nothing short of legendary. Diana’s charge across World War I’s ‘No Man’s Land’ is no doubt one of the film’s high points, and much of her showdown with the feature’s source of evil (I won’t spoil it) is much the same, though troubled some by the abundance of CGI. I’ve always cautioned that the more of a picture conceived in the computer the less the human attachment, and some of Wonder Woman’s second half is plagued by that loss of emotional connection to the living, breathing, celestial body that is Gal Gadot. (I’ll mention it here at the risk of sounding old.)
I’ll always quibble with inferior special effects; while the film has a few that tested my patience I know that gripe of mine generally leaves me in the minority. All-in-all, Wonder Woman is an achievement, both visually and culturally (again with the female empowerment praise); and now that her set-up picture is out of the way I’m definitely interested in seeing where the greater DC Cinematic Universe can take the character. Not only has she come a long way, but she has miles to go before she sleeps!
Still, director Jenkins stages some epic action sequences, one befitting a heroine who has been around for decades. The opening sequences on Themiscyra are nothing short of legendary. Diana’s charge across World War I’s ‘No Man’s Land’ is no doubt one of the film’s high points, and much of her showdown with the feature’s source of evil (I won’t spoil it) is much the same, though troubled some by the abundance of CGI. I’ve always cautioned that the more of a picture conceived in the computer the less the human attachment, and some of Wonder Woman’s second half is plagued by that loss of emotional connection to the living, breathing, celestial body that is Gal Gadot. (I’ll mention it here at the risk of sounding old.)
I’ll always quibble with inferior special effects; while the film has a few that tested my patience I know that gripe of mine generally leaves me in the minority. All-in-all, Wonder Woman is an achievement, both visually and culturally (again with the female empowerment praise); and now that her set-up picture is out of the way I’m definitely interested in seeing where the greater DC Cinematic Universe can take the character. Not only has she come a long way, but she has miles to go before she sleeps!
RECOMMENDED.
Honestly, Wonder Woman (2017) didn’t thrill me as much as I had hoped it would, but that’s only because it’s two halves didn’t quite achieve the balance needed for seamlessness. In fact, the second half in some ways felt like the picture was “beefed up” by studio thinking – “always go bigger” even though some of the polish might seem unnecessary – and its best moments are undeniably when both Gadot and Pine are allowed to their ‘thing.’ (Indeed, if there is any justice in the film universe then this one should make Gadot a household name, as she's that good.) At times stirring and at times romantic, it’s a Wonder this kind of origins picture is even made any longer, but let’s be thankful the Amazonian princess has finally been delivered her chance to shine.
As always, thanks for reading ... and live long and prosper!
Honestly, Wonder Woman (2017) didn’t thrill me as much as I had hoped it would, but that’s only because it’s two halves didn’t quite achieve the balance needed for seamlessness. In fact, the second half in some ways felt like the picture was “beefed up” by studio thinking – “always go bigger” even though some of the polish might seem unnecessary – and its best moments are undeniably when both Gadot and Pine are allowed to their ‘thing.’ (Indeed, if there is any justice in the film universe then this one should make Gadot a household name, as she's that good.) At times stirring and at times romantic, it’s a Wonder this kind of origins picture is even made any longer, but let’s be thankful the Amazonian princess has finally been delivered her chance to shine.
As always, thanks for reading ... and live long and prosper!
- Published on
American Gods Must Master The 'Slow Burn'
I know, I know, I know. Everyone is singing the praises of Starz Network’s adaptation of Neil Gaiman’s American Gods. (FYI: I covered the pilot episode in my review right here.)
Now, far be it from me to jump on the popularity train, but I’m going to disagree just a wee little bit with those in the consensus. I would never argue that the source material isn’t worthy; I’ll admit I haven’t read it, but that doesn’t make me unfamiliar with it. In fact, it’s been the recipient of much praise and several awards. Also, I’d never argue that Bryan Fuller and those involved with the show don’t know how to deliver something that’s slick, visually captivating, and audacious. Each and every hour has served up a kind of look not found on television all that often, giving audiences one loving frame after another.
Still, my position is that up until this past installment – “Lemon Scented You” – even Gods’ artistic images weren’t enough to elevate the complete storytelling to the level required to justify all of the program’s praise. The first four hours all had great moments with fantastic characters, but – artistry aside – there was no compelling reason to stick with the show as it lacked any central conflict. Sure, I could agree that you could sense a storm coming, but why wait all the way until after the midpoint of your first season to introduce the conflict?!?
Hey now, haters: we’re all entitled to our opinions. I’m not saying that American Gods isn’t worth hanging around for in its entirety (even though none of us know what that entirety might look like), nor am I suggesting that a storyteller as accomplished as Bryan Fuller has lost his way. What I am saying is that great characters need something to be directly and visibly in conflict with in order for there to fundamentally be a great story. One doesn’t necessarily make for the other, and –up until episode 5 – Gods was looking like a huge pile of sugary scenery.
We’ve got a villain. Sad that we had to wait so long to meet him.
Now the fun begins …
As always, thanks for reading … and live long and prosper!
Now, far be it from me to jump on the popularity train, but I’m going to disagree just a wee little bit with those in the consensus. I would never argue that the source material isn’t worthy; I’ll admit I haven’t read it, but that doesn’t make me unfamiliar with it. In fact, it’s been the recipient of much praise and several awards. Also, I’d never argue that Bryan Fuller and those involved with the show don’t know how to deliver something that’s slick, visually captivating, and audacious. Each and every hour has served up a kind of look not found on television all that often, giving audiences one loving frame after another.
Still, my position is that up until this past installment – “Lemon Scented You” – even Gods’ artistic images weren’t enough to elevate the complete storytelling to the level required to justify all of the program’s praise. The first four hours all had great moments with fantastic characters, but – artistry aside – there was no compelling reason to stick with the show as it lacked any central conflict. Sure, I could agree that you could sense a storm coming, but why wait all the way until after the midpoint of your first season to introduce the conflict?!?
Hey now, haters: we’re all entitled to our opinions. I’m not saying that American Gods isn’t worth hanging around for in its entirety (even though none of us know what that entirety might look like), nor am I suggesting that a storyteller as accomplished as Bryan Fuller has lost his way. What I am saying is that great characters need something to be directly and visibly in conflict with in order for there to fundamentally be a great story. One doesn’t necessarily make for the other, and –up until episode 5 – Gods was looking like a huge pile of sugary scenery.
We’ve got a villain. Sad that we had to wait so long to meet him.
Now the fun begins …
As always, thanks for reading … and live long and prosper!