- Published on
Regular readers of SciFiHistory.Net have probably noticed that I don't do all that many "In Memoriam" features. My personal philosophy regarding them is that I feel that -- as a blogger and an individual who celebrates a specific genre of the arts -- I should be celebrating the works of artisans and craftsmen and women while they 're alive: waiting until they've passed on to do some retrospective always 'feels' kinda/sorta flat to me. I've grown more aware of how much folks respect posts of such a nature, and I do try to reflect in such a way when and if the mood strikes.
The recent passing of the legendary John Hurt certainly caught my eye, and I wanted to offer up a few humble words on the man, largely because he's made such an impact on the realm of Science Fiction even though it certainly wasn't his 'mainstay' of work.
Like most regular folks, John Hurt came into my life as the guy who really put the whole Alien franchise in dramatic motion. Ridley Scott's seminal film is arguably as much horror as it is SciFi, and perhaps that's most owed to Hurt's brief portrayal of the ill-fated Kane from the 1979 film. In fact, one could argue that Kane as a metaphor is precisely what that franchise is all about: "we came, we saw, and we found ourselves inferior so we died." Tragic though it may be and as defeatist as it may sound, Kane's demise is often what most of us feel is waiting for mankind when we venture into the stars.
As is often the case with many of the truly great actors of his or her generation, Hurt's resume is filled with performance after performance investigating mankind's flawed nature ... and perhaps even a few non-human ones. He voiced Aragorn in the animated The Lord of the Rings (1978), an adaptation fans are still angry was never fully realized. He played Jesus himself in Mel Brooks' wacky The History of the World: Part 1 (1981), yet another incomplete epic unless the elder storyteller decides to actually do a follow-up. And then there's 1984 (1984), Spaceball (1987), Roger Corman's Frankenstein Unbound (1990), Contact (1997), the Hellboy franchise, and V For Vendetta (2005).
(For those uninformed, yes, I'm pretty much mentioning only genre works as this is, principally, a genre website!)
Of course, there's more -- much more, indeed -- but methinks you get the point: Hurt's career was filled with the kind of happy, sad, enlightened, and tortured moments that make up this fool's game we call 'life.' 'Existence.' 'Reality.' He was a man who lived big onscreen perhaps to give back to those of us who couldn't do the same, and he leaves behind a legacy of work that I believe will continue to inspire long after his memorials end.
Naturally, I'd be a fool if I didn't give an appreciable nod to his take on Doctor Who, debatably one of the oldest, dearest, and most impactful creations for televised Science Fiction and beyond. In "The Day of the Doctor," "The Night of the Doctor," and "The Name of the Doctor," the actor gave special credence to even that fabled character's darkest times, and he showed us in his own impressionable way that light can never be forever snuffed out by the blackness, no matter how grave, no matter how dire, no matter how powerful it may seem. Unlike suffering Kane's end, how fitting it was that -- near the end of Hurt's life -- he was given the chance to underscore how a life can transcend the mere 'ticking of the clock' to be something vastly more important, vastly more interesting, and vastly more impactful that we ever imagined.
He's gone now -- God rest his soul -- and Hurt will indeed be missed; but we'll always have the visual memories he left his audiences to cheer him onward and upward.
The recent passing of the legendary John Hurt certainly caught my eye, and I wanted to offer up a few humble words on the man, largely because he's made such an impact on the realm of Science Fiction even though it certainly wasn't his 'mainstay' of work.
Like most regular folks, John Hurt came into my life as the guy who really put the whole Alien franchise in dramatic motion. Ridley Scott's seminal film is arguably as much horror as it is SciFi, and perhaps that's most owed to Hurt's brief portrayal of the ill-fated Kane from the 1979 film. In fact, one could argue that Kane as a metaphor is precisely what that franchise is all about: "we came, we saw, and we found ourselves inferior so we died." Tragic though it may be and as defeatist as it may sound, Kane's demise is often what most of us feel is waiting for mankind when we venture into the stars.
As is often the case with many of the truly great actors of his or her generation, Hurt's resume is filled with performance after performance investigating mankind's flawed nature ... and perhaps even a few non-human ones. He voiced Aragorn in the animated The Lord of the Rings (1978), an adaptation fans are still angry was never fully realized. He played Jesus himself in Mel Brooks' wacky The History of the World: Part 1 (1981), yet another incomplete epic unless the elder storyteller decides to actually do a follow-up. And then there's 1984 (1984), Spaceball (1987), Roger Corman's Frankenstein Unbound (1990), Contact (1997), the Hellboy franchise, and V For Vendetta (2005).
(For those uninformed, yes, I'm pretty much mentioning only genre works as this is, principally, a genre website!)
Of course, there's more -- much more, indeed -- but methinks you get the point: Hurt's career was filled with the kind of happy, sad, enlightened, and tortured moments that make up this fool's game we call 'life.' 'Existence.' 'Reality.' He was a man who lived big onscreen perhaps to give back to those of us who couldn't do the same, and he leaves behind a legacy of work that I believe will continue to inspire long after his memorials end.
Naturally, I'd be a fool if I didn't give an appreciable nod to his take on Doctor Who, debatably one of the oldest, dearest, and most impactful creations for televised Science Fiction and beyond. In "The Day of the Doctor," "The Night of the Doctor," and "The Name of the Doctor," the actor gave special credence to even that fabled character's darkest times, and he showed us in his own impressionable way that light can never be forever snuffed out by the blackness, no matter how grave, no matter how dire, no matter how powerful it may seem. Unlike suffering Kane's end, how fitting it was that -- near the end of Hurt's life -- he was given the chance to underscore how a life can transcend the mere 'ticking of the clock' to be something vastly more important, vastly more interesting, and vastly more impactful that we ever imagined.
He's gone now -- God rest his soul -- and Hurt will indeed be missed; but we'll always have the visual memories he left his audiences to cheer him onward and upward.
- Published on
When does too much of a good thing become a bad thing? And what exactly IS too much of a bad thing?!
The franchise that apparently will never end -- Sharknado -- continues to lumber on, as today I received an email announcing that Sharknado 5 has begun preparations. In all honesty, I've seen the first two of these flicks, and -- because I was raised on a healthy diet of zany SciFi features back in the days of wired cable services -- I have absolutely no problem with anyone calling them "guilty pleasures." Films like this were never about plot: they're all about exploiting the zaniness of the premise, and everyone aboard seems to play it all 'tongue-in-cheek.'
Still, kudos for Syfy for -- ahem -- knowing a good thing when they see it, and I'm happy to copy and paste the important sections of the press release for posterity's sake below. Happy reading!
The franchise that apparently will never end -- Sharknado -- continues to lumber on, as today I received an email announcing that Sharknado 5 has begun preparations. In all honesty, I've seen the first two of these flicks, and -- because I was raised on a healthy diet of zany SciFi features back in the days of wired cable services -- I have absolutely no problem with anyone calling them "guilty pleasures." Films like this were never about plot: they're all about exploiting the zaniness of the premise, and everyone aboard seems to play it all 'tongue-in-cheek.'
Still, kudos for Syfy for -- ahem -- knowing a good thing when they see it, and I'm happy to copy and paste the important sections of the press release for posterity's sake below. Happy reading!
SYFY AND THE ASYLUM ANNOUNCE SHARKNADO 5
IS GOING FIN-TERNATIONAL
- Ian Ziering and Tara Reid Return to Star in Worldwide Production -
NEW YORK, NY - February 2, 2017 - Syfy and The Asylum announced today that Ian Ziering and Tara Reid will again star in SHARKNADO 5 (working title), reprising their roles as shark-fighting heroes Fin Shepard and April Wexler. Principal photography commenced today, February 2, in Bulgaria. The latest film in the hit global franchise, SHARKNADO 5 features the return of original cast member Cassie Scerbo as Nova, a bartender turned badass Sharknado fighter.
SHARKNADO 5, which sees the deadly weather phenomenon of shark-infested storms bombard cities around the world, will film in more than 5 countries, including the UK and Australia. Anthony C. Ferrante, who directed the first four films, is back to helm this latest installment, based on a script by Scotty Mullen.
The original 2013 SHARKNADO film, which introduced a cyclone depositing man-eating sharks on the citizens of Los Angeles, became a worldwide phenomenon and spawned a pop culture franchise. In SHARKNADO 2: THE SECOND ONE, New York City was the target of the disaster, and in SHARKNADO 3: OH HELL NO!, a mega-sharknado made its way down the "Feast Coast" from Washington, D.C. to Florida. In the most recent installment, SHARKNADO: THE 4TH AWAKENS, the shark-infested storms went national. The film ended with the Eiffel Tower ripping away from Paris and crashing down on Niagara Falls - a chilling indication that no one in the world is safe!
Now, in SHARKNADO 5, with much of North America lying in ruins, the rest of the world braces for the inevitable - a global sharknado. Fin Shepard and his family must put a stop to this disaster before Earth is completely obliterated.
About Syfy
Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in 96 million homes, Syfy is a network owned by NBCUniversal, one of the world's leading media and entertainment companies. NBCUniversal is a subsidiary of Comcast Corporation.
About The Asylum
The Asylum is one of the world's leading brand-oriented motion picture and television studios. With a focus on high-concept, market-driven entertainment, like the SHARKNADO franchise and the popular Z NATION television series, The Asylum finances, produces and releases 25 films per year through its direct pipeline to the nation's top retailers and its network of international partners. Since its founding in 1997, The Asylum has released more than 500 films and has built a library of over 200 original productions, including top-rated movie premieres for Syfy, Lifetime, and Animal Planet networks. In addition, The Asylum has begun production on Season 4 of Syfy's highest-rated scripted show, Z NATION, a critically-acclaimed action-horror series.
IS GOING FIN-TERNATIONAL
- Ian Ziering and Tara Reid Return to Star in Worldwide Production -
NEW YORK, NY - February 2, 2017 - Syfy and The Asylum announced today that Ian Ziering and Tara Reid will again star in SHARKNADO 5 (working title), reprising their roles as shark-fighting heroes Fin Shepard and April Wexler. Principal photography commenced today, February 2, in Bulgaria. The latest film in the hit global franchise, SHARKNADO 5 features the return of original cast member Cassie Scerbo as Nova, a bartender turned badass Sharknado fighter.
SHARKNADO 5, which sees the deadly weather phenomenon of shark-infested storms bombard cities around the world, will film in more than 5 countries, including the UK and Australia. Anthony C. Ferrante, who directed the first four films, is back to helm this latest installment, based on a script by Scotty Mullen.
The original 2013 SHARKNADO film, which introduced a cyclone depositing man-eating sharks on the citizens of Los Angeles, became a worldwide phenomenon and spawned a pop culture franchise. In SHARKNADO 2: THE SECOND ONE, New York City was the target of the disaster, and in SHARKNADO 3: OH HELL NO!, a mega-sharknado made its way down the "Feast Coast" from Washington, D.C. to Florida. In the most recent installment, SHARKNADO: THE 4TH AWAKENS, the shark-infested storms went national. The film ended with the Eiffel Tower ripping away from Paris and crashing down on Niagara Falls - a chilling indication that no one in the world is safe!
Now, in SHARKNADO 5, with much of North America lying in ruins, the rest of the world braces for the inevitable - a global sharknado. Fin Shepard and his family must put a stop to this disaster before Earth is completely obliterated.
About Syfy
Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in 96 million homes, Syfy is a network owned by NBCUniversal, one of the world's leading media and entertainment companies. NBCUniversal is a subsidiary of Comcast Corporation.
About The Asylum
The Asylum is one of the world's leading brand-oriented motion picture and television studios. With a focus on high-concept, market-driven entertainment, like the SHARKNADO franchise and the popular Z NATION television series, The Asylum finances, produces and releases 25 films per year through its direct pipeline to the nation's top retailers and its network of international partners. Since its founding in 1997, The Asylum has released more than 500 films and has built a library of over 200 original productions, including top-rated movie premieres for Syfy, Lifetime, and Animal Planet networks. In addition, The Asylum has begun production on Season 4 of Syfy's highest-rated scripted show, Z NATION, a critically-acclaimed action-horror series.
- Published on
For those of you who may’ve missed the big announcement yesterday, then here’s the gist of it: after the upcoming season of Doctor Who actor Peter Capaldi is bowing out as the time traveler from Gallifrey to pursue other interests. This would put him on the same path the previous incarnation as played by Matt Smith, meaning ‘third times a charm’ before hanging up the Sonic Screwdriver for – ahem – greener pastures.
Methinks it’s safe to say that Capaldi’s run has not been without some controversy, some legit and some not so much.
For starters, the actor was a bit older than what modern audiences have been accustomed (Capaldi is six years senior Christopher Eccleston who helped bring the Doctor back onto the tele in 2004, though obviously at a younger age than when Peter inherited the TARDIS); and while it’s safe to suggest that his maturity may’ve put off some viewers I personally had no issues with it whatsoever. (In fact, I’ve enjoyed having a sense of seniority back at the show’s helm.) Some ‘talking heads’ in entertainment media have strongly pointed out the program’s falling ratings imply that audiences never quite “took” to Capaldi, but I’d counter that the continued media explosion – namely the reality that there are vastly more choices for entertainment available each passing year – could equally dilute those numbers. Lastly, of course, there’s the never-ending ‘Russell T. Davis vs. Steven Moffat’ hullabaloo (who has served as a better showrunner), and I’m always quick to point out that over fifty years of existing stories and backstories might just make that job more and more thankless each year as it grows harder and harder to find fresh, fertile ground to explore. While the universe might be expanding literally, creativity will always be bound by the restrictions of TV budgets.
Alas, it may not exactly have helped matters that this past holiday special – “The Return of Doctor Mysterio” – really had no sense of the traditional holiday trappings to much of it (you can check out my review right here if you’re interested), perhaps even mildly suggesting that Who was due to a shakedown. Both Capaldi and Moffat are on record as having suggested that perhaps a new showrunner should also inherit a new Doctor (the BBC has previously announced that Chris Chibnall will be taking over Moffat’s duties beginning with Series 11), so I tend to see Capaldi’s announced departure as little more than that: a chance for the show to ‘begin anew.’
That said, change can be a ‘best friend’ just as easily as it can become a ‘worst enemy.’ David Tennant had some reasonably big shoes to fill with Eccleston’s departure, and I’ve read Matt Smith’s comments about assuming the same mantle when Tennant opted to move along. The Who universe can be a vast and frightening place to live in what with all the Daleks and Cybermen waiting in the deepest, darkest corners. These days, fandom can be notoriously fickle, and viewers expecting great returns for their continued loyalty are quick to register their disappointment at practically every opportunity online and beyond.
Methinks it’s safe to say that Capaldi’s run has not been without some controversy, some legit and some not so much.
For starters, the actor was a bit older than what modern audiences have been accustomed (Capaldi is six years senior Christopher Eccleston who helped bring the Doctor back onto the tele in 2004, though obviously at a younger age than when Peter inherited the TARDIS); and while it’s safe to suggest that his maturity may’ve put off some viewers I personally had no issues with it whatsoever. (In fact, I’ve enjoyed having a sense of seniority back at the show’s helm.) Some ‘talking heads’ in entertainment media have strongly pointed out the program’s falling ratings imply that audiences never quite “took” to Capaldi, but I’d counter that the continued media explosion – namely the reality that there are vastly more choices for entertainment available each passing year – could equally dilute those numbers. Lastly, of course, there’s the never-ending ‘Russell T. Davis vs. Steven Moffat’ hullabaloo (who has served as a better showrunner), and I’m always quick to point out that over fifty years of existing stories and backstories might just make that job more and more thankless each year as it grows harder and harder to find fresh, fertile ground to explore. While the universe might be expanding literally, creativity will always be bound by the restrictions of TV budgets.
Alas, it may not exactly have helped matters that this past holiday special – “The Return of Doctor Mysterio” – really had no sense of the traditional holiday trappings to much of it (you can check out my review right here if you’re interested), perhaps even mildly suggesting that Who was due to a shakedown. Both Capaldi and Moffat are on record as having suggested that perhaps a new showrunner should also inherit a new Doctor (the BBC has previously announced that Chris Chibnall will be taking over Moffat’s duties beginning with Series 11), so I tend to see Capaldi’s announced departure as little more than that: a chance for the show to ‘begin anew.’
That said, change can be a ‘best friend’ just as easily as it can become a ‘worst enemy.’ David Tennant had some reasonably big shoes to fill with Eccleston’s departure, and I’ve read Matt Smith’s comments about assuming the same mantle when Tennant opted to move along. The Who universe can be a vast and frightening place to live in what with all the Daleks and Cybermen waiting in the deepest, darkest corners. These days, fandom can be notoriously fickle, and viewers expecting great returns for their continued loyalty are quick to register their disappointment at practically every opportunity online and beyond.
Still, a property like Who endures. Because its formula allows for alterations in the fabric of cinematic reality, the program can be practically anything it needs – humorous, dramatic, lighthearted, fantastic, and horrific … all at once or divvied up in separate installments. Some of its best hours have had very little time spent with the singular Doctor (the Sally Sparrow-centered “Blink” comes to mind), but dare I suggest that even a weary time traveler needs a bit of a holiday to himself now and again?
Or should I say – to herself?
If viewers are perfectly honest with themselves, then it’s easy to admit that Who is and has always been a show founded in transition: characters (good and bad) come and go, and the central character himself can regenerate into another version, opening opportunities for changes in both themes and tones constantly. After all, how many hours have fans debated online and elsewhere just whom the best Doctor is? The best villains? The best companion? The best TARDIS interior? While these elements are arguably fodder much in the same way they are for any franchise, Who’s uniqueness perhaps spurs even more controversy than any single showrunner should have to endure for too long a season.
I’ve always welcomed a new Doctor, and I will again. Granted, I do wish Capaldi’s run wasn’t coming so soon (I say that even with this forced ‘hiatus’ probably not serving the show well either), but as his adventures and those of his predecessors have taught me there are fixed points in time that cannot be avoided, cheated, nor tempted, not matter how hard we try. Perhaps this ‘change’ is nothing but more of the same.
Only time will tell …
… and time -- as we know -- is the Doctor’s day job.
Or should I say – to herself?
If viewers are perfectly honest with themselves, then it’s easy to admit that Who is and has always been a show founded in transition: characters (good and bad) come and go, and the central character himself can regenerate into another version, opening opportunities for changes in both themes and tones constantly. After all, how many hours have fans debated online and elsewhere just whom the best Doctor is? The best villains? The best companion? The best TARDIS interior? While these elements are arguably fodder much in the same way they are for any franchise, Who’s uniqueness perhaps spurs even more controversy than any single showrunner should have to endure for too long a season.
I’ve always welcomed a new Doctor, and I will again. Granted, I do wish Capaldi’s run wasn’t coming so soon (I say that even with this forced ‘hiatus’ probably not serving the show well either), but as his adventures and those of his predecessors have taught me there are fixed points in time that cannot be avoided, cheated, nor tempted, not matter how hard we try. Perhaps this ‘change’ is nothing but more of the same.
Only time will tell …
… and time -- as we know -- is the Doctor’s day job.
- Published on
Occasionally, I get asked for further details about SciFiHistory.Net, and -- when I do -- I'm never quite certain of how to answer. As I've always said, I started SciFiHistory.Net as my own li'l celebration of All Things SciFi, meant to give ShoutOuts to the significant births, movies, series, and events worth highlighting historically; and it's pretty much stayed on track, though I have expanded some days for nods to Horror and Fantasy entries.
In any event, I've always believed that it would be possible to get each day to have 100 different citations, be they birthdays, TV episodes, books, and the like. There's so much out there, in fact, I've often argued that each day will likely surpass 100 entries ... just maybe not in my lifetime. (I do have mouths to feed, after all.) Still, I never realized how much time, love, and tenderness it would take to get to those 100 daily citations, but today's entry for January 30th reached a critical milestone in being the first day's log entries to have over 50 citations!
Yea me and yea SciFiHistory.Net!
I couldn't help myself but share.
Here's a link to the day: January 30th
As always, thanks for reading ... and live long and prosper!
In any event, I've always believed that it would be possible to get each day to have 100 different citations, be they birthdays, TV episodes, books, and the like. There's so much out there, in fact, I've often argued that each day will likely surpass 100 entries ... just maybe not in my lifetime. (I do have mouths to feed, after all.) Still, I never realized how much time, love, and tenderness it would take to get to those 100 daily citations, but today's entry for January 30th reached a critical milestone in being the first day's log entries to have over 50 citations!
Yea me and yea SciFiHistory.Net!
I couldn't help myself but share.
Here's a link to the day: January 30th
As always, thanks for reading ... and live long and prosper!
- Published on
One of the distinct pleasures I experience as a SciFi/Fantasy blogger is I get to meet people from all walks of life via the great Information Superhighway. While many of them are offering me services or advice on how to better run my little Rest Stop (aka SciFiHistory.Net), others are simply stopping by to say hello, request a posting update, or asking if I can make readers aware of a new item which may be of interest to them. (Keep in mind that I'm not in the business of reviewing digital content, so please don't mistake a blurb here or there as any kind of professional endorsement: the only thing I'm honestly professional at is being me!)
In that regard, I'd like to give a SciFi-ShoutOut today to budding author Alberto Guaita Tello. He's crafted a new fantasy novel -- The Eyes Of The Sea -- and it's available for purchase via Amazon.com right here. And here's the information about the title for those of you hesitant to follow the link:
In the early 1970’s, on the coast of Cameroon, young Fanya and her grandmother, Simone the tribal healer, find a wounded, unconscious being lying on the beach, tangled in a mass of seaweed. The strange creature is human-like and goes by the name of Sharduk. Together, the two women will try to save Sharduk’s life, healing his wounds and hiding him in the mangrove swamp. When he awakes, he will tell them the story of the distant world he comes from, Telluria, and how he came to ours through a mysterious portal called a crossing point. Fanya and the convalescent Sharduk soon fall in love, but due to dangerous circumstances he must leave her, promising to return with a safe means for them to travel together back to his world through the underwater crossing point that had brought him here. Thus begins an epic story full of adventure, romance, African magic, and science fiction, with surprising twists and turns along the way. It’s a tale that will take us to the new worlds and new mysteries of each of its characters, who find themselves confronting prejudice in their different societies, as well as terrible enemies. An epic tale of adventure, love, African magic, and mystery.
Congrats to Mr. Tello on achieving this release, and we here at SciFiHistory.Net wish him the best of luck in this and his future endeavors!
As always, thanks for reading ... and live long and prosper!
In that regard, I'd like to give a SciFi-ShoutOut today to budding author Alberto Guaita Tello. He's crafted a new fantasy novel -- The Eyes Of The Sea -- and it's available for purchase via Amazon.com right here. And here's the information about the title for those of you hesitant to follow the link:
In the early 1970’s, on the coast of Cameroon, young Fanya and her grandmother, Simone the tribal healer, find a wounded, unconscious being lying on the beach, tangled in a mass of seaweed. The strange creature is human-like and goes by the name of Sharduk. Together, the two women will try to save Sharduk’s life, healing his wounds and hiding him in the mangrove swamp. When he awakes, he will tell them the story of the distant world he comes from, Telluria, and how he came to ours through a mysterious portal called a crossing point. Fanya and the convalescent Sharduk soon fall in love, but due to dangerous circumstances he must leave her, promising to return with a safe means for them to travel together back to his world through the underwater crossing point that had brought him here. Thus begins an epic story full of adventure, romance, African magic, and science fiction, with surprising twists and turns along the way. It’s a tale that will take us to the new worlds and new mysteries of each of its characters, who find themselves confronting prejudice in their different societies, as well as terrible enemies. An epic tale of adventure, love, African magic, and mystery.
Congrats to Mr. Tello on achieving this release, and we here at SciFiHistory.Net wish him the best of luck in this and his future endeavors!
As always, thanks for reading ... and live long and prosper!
- Published on
To the delight of some and consternation of others, I've always freely admitted that I'm far too old to get excited about news blurbs associated with upcoming film releases. Don't get me wrong: I'm looking forward to each and every Star Wars films as much as the next fan ... it's just that at my age I've been burned far too many times to really expend much energy thinking about "What could that title mean?"
On the face of it, Star Wars: Episode VIII - The Last Jedi is functional. (For those who missed it, the official Twitter feed for Star Wars released this title to some hype earlier this morning.) It certainly kinda/sorta sums up the time and place and circumstances of the overall junction where we find ourselves in that galaxy far, far away: for all intents and purposes, Luke Skywalker remains the last Jedi Knight. (Or is he? Is there another? Could there be?) It's head and shoulders above "The Force Awakens" (sorry, peeps, but that title remains almost as bad as the film itself), and maybe it even harkens back to the simpler themes of previous installments like "A New Hope," "The Empire Strikes Back," and "Return of the Jedi."
Add to this the most recent announcement that Lucasfilm and Walt Disney have no intentions to recreate Princess Leia digitally (with the recent passing of actress Carrie Fisher); and it kinda/sorta beckons the question, "What's awaiting 'The Last Jedi' when he races onto movie screens this holiday season?" That's probably exactly where the storytellers want you to be, so let's be thankful for small miracles.
As always, thanks for reading ... live long and prosper ... and May the Force be with us!
On the face of it, Star Wars: Episode VIII - The Last Jedi is functional. (For those who missed it, the official Twitter feed for Star Wars released this title to some hype earlier this morning.) It certainly kinda/sorta sums up the time and place and circumstances of the overall junction where we find ourselves in that galaxy far, far away: for all intents and purposes, Luke Skywalker remains the last Jedi Knight. (Or is he? Is there another? Could there be?) It's head and shoulders above "The Force Awakens" (sorry, peeps, but that title remains almost as bad as the film itself), and maybe it even harkens back to the simpler themes of previous installments like "A New Hope," "The Empire Strikes Back," and "Return of the Jedi."
Add to this the most recent announcement that Lucasfilm and Walt Disney have no intentions to recreate Princess Leia digitally (with the recent passing of actress Carrie Fisher); and it kinda/sorta beckons the question, "What's awaiting 'The Last Jedi' when he races onto movie screens this holiday season?" That's probably exactly where the storytellers want you to be, so let's be thankful for small miracles.
As always, thanks for reading ... live long and prosper ... and May the Force be with us!
- Published on
As I've often said, getting the mix right for a SciFi/Comedy is never an easy thing. For starters, the project needs a legitimately humorous idea and then a story worth the time and effort of both the players and the audience. Then, assembling a cast and crew with the right chemistry along with a willingness to 'make it stick' adds layers of complexity that could scare the stuffing out of most Hollywood accountants.
Colossal's trailer is a bit brief, but there's enough in there to possibly tickle the imaginations of moviegoers, so much so that it looks downright charming. Granted, I'm far too old to get excited about something as simple as a trailer, but this one gave me a modest chuckle.
Colossal's trailer is a bit brief, but there's enough in there to possibly tickle the imaginations of moviegoers, so much so that it looks downright charming. Granted, I'm far too old to get excited about something as simple as a trailer, but this one gave me a modest chuckle.
As always, thanks for reading ... and live long and prosper!
- Published on
If you had told me 20 or 30 years ago that we'd reach a time in our society culturally when you could count on two or three big budget comic book movies in any year I would've told you that you were crazy; for far too long, studios just didn't know what to do with comic book flicks, often times just rolling them out for the sole purpose of giving those costuming and special effects wizards something to do. The downside, however, is that these days the stories don't often give emerging heroes all that much to do that's different from what's come before, but Logan's trailers have a freshness to them, despite the fact that clearly aging and mortality figure in central to the lead character's journey.
Plus ... Hugh Jackman? Am I right? He remains an inspiration in the role of Wolverine, and while he's been clear that this is his last go-round with the mutant I would love to see a few more even in a supporting capacity.
In any event, the final trailer has dropped via the web, and I'm happy to share it for interested parties right here. Check it out; it's pretty spiffy.
Plus ... Hugh Jackman? Am I right? He remains an inspiration in the role of Wolverine, and while he's been clear that this is his last go-round with the mutant I would love to see a few more even in a supporting capacity.
In any event, the final trailer has dropped via the web, and I'm happy to share it for interested parties right here. Check it out; it's pretty spiffy.
As always, thanks for reading ... and live long and prosper!
- Published on
Readers, I learned a long time ago (not in a galaxy far, far away) not to put too much 'stake' or value in casting news. The problem with getting excited about such announcements is that -- on the face of them -- they don't mean much as they're usually not paired with substantive information about what role the actor or actress may untimately play in an unknown story. Plus, because the story itself remains a secret, who knows if a great actor can pull off what's required of him or her? We've all seen good flicks that honestly could've been a bit better if a different talent had been brought in to provide a different 'take' on the character.
Still, Woody Harrelson has a pretty solid record in achieving results when he's booked for it, and today the Star Wars website has posted a release regarding the Woodster's casting in the as-yet-untitled 'Young Han Solo' stand-alone film. The web rumors are suggesting that Woody will be serving as a mentor to the young star pilot turned smuggler, and that might end up being pretty fun to see. As is always the case, I'll remain hopefully optimistic, especially since I found the stand-alone Rogue One to be, largely, pretty darn stellar (with a few drawbacks).
As always, thanks for reading ... and May the Force be with you!
Still, Woody Harrelson has a pretty solid record in achieving results when he's booked for it, and today the Star Wars website has posted a release regarding the Woodster's casting in the as-yet-untitled 'Young Han Solo' stand-alone film. The web rumors are suggesting that Woody will be serving as a mentor to the young star pilot turned smuggler, and that might end up being pretty fun to see. As is always the case, I'll remain hopefully optimistic, especially since I found the stand-alone Rogue One to be, largely, pretty darn stellar (with a few drawbacks).
As always, thanks for reading ... and May the Force be with you!
- Published on
It’s often been said by those within the entertainment community that it can take a season or two for some programs to really ‘find their legs.’ (I’ve always disagreed with this, incidentally.) While I certainly understand that it may take actors and actresses some time to achieve a level of understanding about a character’s drives and motivations, I don’t think any show has or should have the luxury of two or three seasons to craft compelling stories worthy of an audience’s time. To borrow an analogy, these days showrunners had better be hitting a few episodes ‘outta the park’ early on, or viewers have hundreds if not thousands of entertainment options just waiting for discovery elsewhere.
Usually, I don’t binge shows, largely since I’m not a huge fan of streaming. (You kids, get off my lawn!) But not long after The Man In The High Castle premiered on Amazon.com, I found myself on the other side of the country caring for a cancer-stricken family member during the day and hungry for something to watch during the evenings; so over the course of a few nights, I bit my tongue and streamed the first season … and I fell in love with the world, the possibilities, and the concept much more than I did those particular characters. In short, too many of them were more than a bit wishy-washy, clearly not quite committed to any mission but instead left responding to the demands of others. Without a clear protagonist and hamstrung by what I felt were too many cooks in the kitchen, High Castle didn’t quite coalesce into something I thought I’d stick around for too long.
Thankfully, my wife saved me some embarrassment (bless her heart!) when she suggested on vacation that we check out how issues were resolved. I cued up Season Two … and are you watching this?
Usually, I don’t binge shows, largely since I’m not a huge fan of streaming. (You kids, get off my lawn!) But not long after The Man In The High Castle premiered on Amazon.com, I found myself on the other side of the country caring for a cancer-stricken family member during the day and hungry for something to watch during the evenings; so over the course of a few nights, I bit my tongue and streamed the first season … and I fell in love with the world, the possibilities, and the concept much more than I did those particular characters. In short, too many of them were more than a bit wishy-washy, clearly not quite committed to any mission but instead left responding to the demands of others. Without a clear protagonist and hamstrung by what I felt were too many cooks in the kitchen, High Castle didn’t quite coalesce into something I thought I’d stick around for too long.
Thankfully, my wife saved me some embarrassment (bless her heart!) when she suggested on vacation that we check out how issues were resolved. I cued up Season Two … and are you watching this?
Season Two of the Man In The High Castle is a complete turnaround (nearly) from Season One.
There are still moments wherein characters react more than they direct the action, but thankfully Alexa Davalos (as series lead Juliana Crane) ‘manned up,’ made a few decisions, and took charge (somewhat) of her fate. In her defense, the character spent far too much of those first hours trapped between a Reich and a hard place that I honestly figured she wasn’t long for this world; perhaps that’s what the writers sensed, and they crafted her a more interested arc for Season Two.
For those of you born and raised on an island, The Man In The High Castle is a loose adaptation of a novel of the same name by SciFi visionary Philip K. Dick. (It’s often the work most cited for putting Dick ‘on the map’ as one to watch in Science Fiction.) It’s an Alternate History tale – one wherein the Third Reich created the bomb and decimated parts of the United States to end World War II – but somewhere, somehow folks dwell on a very different outcome (i.e. our reality): American survivors are smitten with a book called ‘The Grasshopper Lies Heavy,’ a banned work of fiction that suggests Germany and Japan lost the war. Naturally – for the modern audiences – the Amazon production changes the book into a series of underground films, all of which are mysterious in origin.
There are still moments wherein characters react more than they direct the action, but thankfully Alexa Davalos (as series lead Juliana Crane) ‘manned up,’ made a few decisions, and took charge (somewhat) of her fate. In her defense, the character spent far too much of those first hours trapped between a Reich and a hard place that I honestly figured she wasn’t long for this world; perhaps that’s what the writers sensed, and they crafted her a more interested arc for Season Two.
For those of you born and raised on an island, The Man In The High Castle is a loose adaptation of a novel of the same name by SciFi visionary Philip K. Dick. (It’s often the work most cited for putting Dick ‘on the map’ as one to watch in Science Fiction.) It’s an Alternate History tale – one wherein the Third Reich created the bomb and decimated parts of the United States to end World War II – but somewhere, somehow folks dwell on a very different outcome (i.e. our reality): American survivors are smitten with a book called ‘The Grasshopper Lies Heavy,’ a banned work of fiction that suggests Germany and Japan lost the war. Naturally – for the modern audiences – the Amazon production changes the book into a series of underground films, all of which are mysterious in origin.
What the series has done well is establish these films as a credible MacGuffin – a plot device that spurs others to action. Because they’re rumored to depict the fall of Germany, they draw the attention of the Fuhrer no less (Hitler’s still alive in the 1960’s setting, though his health is failing), and the Nazi leader has committed resources to securing them for his private collection. Thankfully, in the transition from Season One to Two the writers kinda/sorta loosened the foundation just a bit – not every character is in pursuit of whatever truths these reels may hold – and I think that’s given High Castle (as a program) some appreciable depth missing from the early hours.
Now – as you can probably tell – I’m not one of those reviewers who completely fell in love with the program’s first season. To be as blunt as possible, there were moments that were downright painfully misdirected, almost as if the writers were tasked to fill out more broadcast time with unnecessary scenes and unfulfilling characters (primary and secondary). I challenge those who thought those ten hours were ‘perfect’ to go back and watch them now – especially with the greater context added in the second season – and justify such praise; outside of a few exceptional opening hours, those middle installments dragged so heavy that the narrative had little momentum, and most of the developments were far more frustrating than they were appreciably enlightening.
Now – as you can probably tell – I’m not one of those reviewers who completely fell in love with the program’s first season. To be as blunt as possible, there were moments that were downright painfully misdirected, almost as if the writers were tasked to fill out more broadcast time with unnecessary scenes and unfulfilling characters (primary and secondary). I challenge those who thought those ten hours were ‘perfect’ to go back and watch them now – especially with the greater context added in the second season – and justify such praise; outside of a few exceptional opening hours, those middle installments dragged so heavy that the narrative had little momentum, and most of the developments were far more frustrating than they were appreciably enlightening.
Season Two, though, has been inspiring. There’s palpable tension between practically everyone, much in the way good noirs work best. Motivations are never quite clear – sometimes by obvious intent – and this has gifted these ten hours with not only stronger reveals but also better hooks – the reasons for you to stay with the program even if it’s only the next part. Also, some of the secondary characters from Season One have finally been given interesting and relatable reasons to exist in this time and space; as a viewer, I’m all for having a big cast – my only requirement is that everyone here have a reason to exist, and Season Two has exceled in that regard. Finally, these players ‘feel’ a bit more organically poised to tell a good story, and the audience is rewarded for paying attention.
Lastly, here’s the icing on the cake: Amazon.com recently announced plans for a Season Three, and that’s great news for those of us who’ve finally been drawn into this conflict and joined the Resistance. Season Two certainly ends with solid cliffhangers, and who knows where they’ll go with this next time?
If you’re not watching, then why not? There’s no better time to jump aboard than the present.
Lastly, here’s the icing on the cake: Amazon.com recently announced plans for a Season Three, and that’s great news for those of us who’ve finally been drawn into this conflict and joined the Resistance. Season Two certainly ends with solid cliffhangers, and who knows where they’ll go with this next time?
If you’re not watching, then why not? There’s no better time to jump aboard than the present.