- Published on
One of the Science Fiction and Conspiracy/Thrillers that so aptly defines our collective mindset of the 1970’s was Capricorn One.
Written and directed by Peter Hyams, the story focused on the predicament of three astronauts – Charles Brubaker (played James Brolin), Peter Willis (Sam Waterston), and John Walker (O.J. Simpson) – who learn that their fabled moon shot is scientifically impossible to complete due to a life-threatening exposure to radiation. But rather than exit the Space Race in shame, their government overlords decide to proceed with televising a fake moon landing all produced at a secret facility and broadcast to the world. When the astronauts begin having second thoughts about participating in what could be the grandest hoax in human history, the mover and shakers decide it’s time to eliminate them permanently from the equation … a development that has the trio escaping their incarceration in a race against time to expose the liars and save their own lives.
Like it or not, Capricorn One tapped into a growing conspiracy that suggests that the United States actually did fake the NASA moon landings, a sentiment that continues to persist decades later. While I won’t get into the particulars of that debate (mind you: I’ve read quite a bit on the subject as it’s always interested me), it’s safe to say that such a premise has fueled a good many other theatrical and television efforts that have nibbled with the same perspective. Furthermore, storytellers have even pushed the envelope a bit further, going so far as to postulate that perhaps not you and I are wrapped up in some grand cosmic simulation but maybe the space travelers themselves could be kept in the dark with how they’ve been manipulating by secret scientific and governmental forces.
In fact, the 2014 television miniseries titled Ascension produced in part by the Syfy Channel took such an idea and really went remarkable distances with it. In the show, a veritable luxury liner launched deep in the cosmos housed hundreds of Earth’s descendants, and they were all proceeding under the perception that they were on a decades-long journey to establish a new outpost for humanity on a distant world. However, the reality of their dilemma known only to a few was that they were secretly sealed in a research facility wherein unseen scientists were privately studying the effects of deep space travel on the human psyche. (There was a bit more to it, but, essentially, this is the narrative crux of the program.) The fact of the matter that no one was actually sent to the stars – and that it was all an elaborately manufactured hoax – put it in similar stomping grounds as Capricorn One, teaching us that there are more ways to ‘skin’ a conspiracy than one.
Now I can add another title – Spain’s Órbita 9 (2017) – to the small catalogue of films that would have you believe maybe we’re not quite destined to explore the galaxy because – truth be told – maybe plumbing the depths of the human soul should truly be our Prime Directive. While a bit imperfect here and there and perhaps a bit too committed to matters of the heart that develop along the way, the picture still is an interesting portrait of morality gone awry when humanity is pushed to reconsider its options when facing a harsh existence evolving from our inadequate stewardship of the planet Earth.
Written and directed by Peter Hyams, the story focused on the predicament of three astronauts – Charles Brubaker (played James Brolin), Peter Willis (Sam Waterston), and John Walker (O.J. Simpson) – who learn that their fabled moon shot is scientifically impossible to complete due to a life-threatening exposure to radiation. But rather than exit the Space Race in shame, their government overlords decide to proceed with televising a fake moon landing all produced at a secret facility and broadcast to the world. When the astronauts begin having second thoughts about participating in what could be the grandest hoax in human history, the mover and shakers decide it’s time to eliminate them permanently from the equation … a development that has the trio escaping their incarceration in a race against time to expose the liars and save their own lives.
Like it or not, Capricorn One tapped into a growing conspiracy that suggests that the United States actually did fake the NASA moon landings, a sentiment that continues to persist decades later. While I won’t get into the particulars of that debate (mind you: I’ve read quite a bit on the subject as it’s always interested me), it’s safe to say that such a premise has fueled a good many other theatrical and television efforts that have nibbled with the same perspective. Furthermore, storytellers have even pushed the envelope a bit further, going so far as to postulate that perhaps not you and I are wrapped up in some grand cosmic simulation but maybe the space travelers themselves could be kept in the dark with how they’ve been manipulating by secret scientific and governmental forces.
In fact, the 2014 television miniseries titled Ascension produced in part by the Syfy Channel took such an idea and really went remarkable distances with it. In the show, a veritable luxury liner launched deep in the cosmos housed hundreds of Earth’s descendants, and they were all proceeding under the perception that they were on a decades-long journey to establish a new outpost for humanity on a distant world. However, the reality of their dilemma known only to a few was that they were secretly sealed in a research facility wherein unseen scientists were privately studying the effects of deep space travel on the human psyche. (There was a bit more to it, but, essentially, this is the narrative crux of the program.) The fact of the matter that no one was actually sent to the stars – and that it was all an elaborately manufactured hoax – put it in similar stomping grounds as Capricorn One, teaching us that there are more ways to ‘skin’ a conspiracy than one.
Now I can add another title – Spain’s Órbita 9 (2017) – to the small catalogue of films that would have you believe maybe we’re not quite destined to explore the galaxy because – truth be told – maybe plumbing the depths of the human soul should truly be our Prime Directive. While a bit imperfect here and there and perhaps a bit too committed to matters of the heart that develop along the way, the picture still is an interesting portrait of morality gone awry when humanity is pushed to reconsider its options when facing a harsh existence evolving from our inadequate stewardship of the planet Earth.
(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 the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Helena has lived on a spaceship since birth 20 years ago. She meets her first human besides her dead parents when Álex repairs the oxygen supply. Things are not what they seem.”
I’ve had to point out in reviews before that the more complex a film’s story – i.e. its premise, its science, its hard embrace of politics, etc. – then the more likely some of its nuances are likely going to wind up lost in translation. While lines of dialogue get effectively translated from one language to another, there’s occasionally the problem that something now said in English – fitting the time and mouth movements of an actor speaking in their native tongue – won’t precisely convey everything needed for a development or plot twist to make perfect sense. At best, subtitles and dubbing are imperfect techniques, and still they’re the best we’re able to do in allowing stories to cross borders from one nation to another.
Though I could be wrong, I suspect that’s the case with a small portion of Órbita 9. Writer/director Hatem Khraiche has structured a morally and (mildly) politically-charged thriller that in many ways only uses the framework of the study of space travel to postulate a world wherein its simpler ‘boy meets girl’ story gets overshadowed by understandably meatier issues. Sadly, there’s a vagueness to a good deal of it – what’s precisely happened to our world that’s required mankind to consider abandoning it; how is it that such a massively complex survival program has been relegated to such a small number of scientists; why has this possible doom produced so little interest from the general public; etc. – and I found it hard to believe that some of these issues were passed over with nothing more than a casual line of dialogue here or there. This is the kind of story that probably would work better in novel format wherein storytellers have a easier time ‘getting into the heads’ of multiple characters; as this one develops, I never quite got a hold of each player’s psychology, and I feel a bit more was required for clarity.
Álex (Álex González) is the shuttlecraft technician that’s been dispatched to repair a faulty air purification module aboard Helena’s (Clara Lago) spacecraft. As he’s the first human she’s come into contact with in years (her parents abandoned the deep-space journey when she was very young in order to give her the air and food supply necessary for successful completion), she’s understandably intrigued and eventually smitten with him. Against his better judgment, he allows her into his temporary chambers aboard the spaceship, where they inevitably do what boys and girls do best. But once he disembarks, the audience discovers that Helena is little more than a guinea pig: her shuttle is not out amongst the heavens but, rather, in a subterranean bunker where Álex and Hugo (Andrés Parra) have been studying the effects of long-term isolation on individuals. Apparently, such journeys have not boded well on our species, and these two scientists have been tasked with figuring out how to solve this impasse in order to ensure our survival from a future cataclysm.
By borrowing the tapestry of Science Fiction, Órbita 9 does occasionally feel like a solid conspiracy yarn. This organization apparently has the backing of some global cabal, and the compound itself has all the markings of the usual secret government facility that’s been tucked away somewhere in the wilds at the behest of the military-industrial complex. Khraiche’s script makes some allusions to the fact that the research has been going on for some time – there are more bunkers equipped with shuttle interiors that Álex monitors privately from his apartment – and, when necessary, it becomes clear that those involved at the highest levels of the operation aren’t opposed to using lethal force to obtain whatever objectives they deem necessary. Still, I just wish all involved could’ve gone to great lengths to clear up some confusion they create along the way.
From the film’s IMDB.com page citation:
“Helena has lived on a spaceship since birth 20 years ago. She meets her first human besides her dead parents when Álex repairs the oxygen supply. Things are not what they seem.”
I’ve had to point out in reviews before that the more complex a film’s story – i.e. its premise, its science, its hard embrace of politics, etc. – then the more likely some of its nuances are likely going to wind up lost in translation. While lines of dialogue get effectively translated from one language to another, there’s occasionally the problem that something now said in English – fitting the time and mouth movements of an actor speaking in their native tongue – won’t precisely convey everything needed for a development or plot twist to make perfect sense. At best, subtitles and dubbing are imperfect techniques, and still they’re the best we’re able to do in allowing stories to cross borders from one nation to another.
Though I could be wrong, I suspect that’s the case with a small portion of Órbita 9. Writer/director Hatem Khraiche has structured a morally and (mildly) politically-charged thriller that in many ways only uses the framework of the study of space travel to postulate a world wherein its simpler ‘boy meets girl’ story gets overshadowed by understandably meatier issues. Sadly, there’s a vagueness to a good deal of it – what’s precisely happened to our world that’s required mankind to consider abandoning it; how is it that such a massively complex survival program has been relegated to such a small number of scientists; why has this possible doom produced so little interest from the general public; etc. – and I found it hard to believe that some of these issues were passed over with nothing more than a casual line of dialogue here or there. This is the kind of story that probably would work better in novel format wherein storytellers have a easier time ‘getting into the heads’ of multiple characters; as this one develops, I never quite got a hold of each player’s psychology, and I feel a bit more was required for clarity.
Álex (Álex González) is the shuttlecraft technician that’s been dispatched to repair a faulty air purification module aboard Helena’s (Clara Lago) spacecraft. As he’s the first human she’s come into contact with in years (her parents abandoned the deep-space journey when she was very young in order to give her the air and food supply necessary for successful completion), she’s understandably intrigued and eventually smitten with him. Against his better judgment, he allows her into his temporary chambers aboard the spaceship, where they inevitably do what boys and girls do best. But once he disembarks, the audience discovers that Helena is little more than a guinea pig: her shuttle is not out amongst the heavens but, rather, in a subterranean bunker where Álex and Hugo (Andrés Parra) have been studying the effects of long-term isolation on individuals. Apparently, such journeys have not boded well on our species, and these two scientists have been tasked with figuring out how to solve this impasse in order to ensure our survival from a future cataclysm.
By borrowing the tapestry of Science Fiction, Órbita 9 does occasionally feel like a solid conspiracy yarn. This organization apparently has the backing of some global cabal, and the compound itself has all the markings of the usual secret government facility that’s been tucked away somewhere in the wilds at the behest of the military-industrial complex. Khraiche’s script makes some allusions to the fact that the research has been going on for some time – there are more bunkers equipped with shuttle interiors that Álex monitors privately from his apartment – and, when necessary, it becomes clear that those involved at the highest levels of the operation aren’t opposed to using lethal force to obtain whatever objectives they deem necessary. Still, I just wish all involved could’ve gone to great lengths to clear up some confusion they create along the way.
Because this story at its core remains a ‘boy meets girl’ archetype, Álex winds up betraying a long-established commitment to ‘the science’ when he falls in love with Helena, breaks her out of the facility, and throws a huge figurative monkey wrench into the gears he’s so ably supported all of these years. If he suffered some epiphany that had him finally questioning the ethics of using humans as test subjects, then Khraiche should’ve gone to greater lengths to both document and discuss it. Instead, this all unspools rather quickly, leaving this reviewer to have a hard time accepting his reversal as anything other than a scriptwriter’s convention. But because she loves him back – in spite of the fact that she’s had, literally, no exposure to any other human being or any other possible romantic suitor – audiences are just expected to roll with the changes.
There are other developments that kinda/sorta come out of nowhere; and, sadly, they, too, don’t get the kind of dissection that would’ve elevated the film to the point of seriously considering this world as it gets postulated here. Issues of cloning and the efficacy of research are unfortunate victims of trying to somehow find a way to give these two characters a somewhat Hollywood happy ending – one where love can still triumph over all even in the face of catastrophe – when things were headed well on the path to looking decidedly grim for all of us. At 95 minutes, Khraiche and his cast and crew breeze over the material, never pausing for any real measure of reflection but instead pushing ever onward with the hope that no one – audience included – will pause to ask important questions much less seek the proper answers. Why, it’s almost like knowledge wasn’t required so long as our two good looking leads cared about one another, and that’s a disappointment.
In a world where intentions matter most, Órbita 9 strives to give everything the proper emotional context – good guys still exist, bad guys will stop at nothing, and love is all you need – leaving the coldly clinical examination of doing what’s right for all of mankind kicked to the curb. Oh, they’ll happily manufacture a magical ending to put the proper spin on everyone’s best efforts, but pardon me if I point out the end result felt way too sugary for everything that came before that big finish.
Orbiter 9 (aka Órbita 9) (2017) was produced by Cactus Flower, Dynamo, Mono Films, and Telefonica Studios. The film shows as presently available for streaming on the Netflix website. As for the technical specifications? While I’m no trained video expert, I found the sights-and-sounds to be of exceptional quality from start-to-finish. Lastly, as for the special features? Given the fact that I enjoyed this viewing via streaming, there were no special features under consideration.
Recommended.
Órbita 9 (2017) ignores what it does best – setting the stage for a true moral quandary of the ages – when love rears its ugly head as it is prone to do at the movies. Intent on looking good and perhaps presenting Science Fiction as a great night out for the dating public, it squanders the heavy potential in favor of sticking to easy landings for its photogenic leads. Surprisingly, it still works effectively as a thriller when it needs to, but I really wanted to see the film that it looked like it was going to be without descending into the somewhat paint-by-numbers arena of silver screen romances. Nothing ventured means nothing gained … and who knows if the human race will survive long enough to spare itself from our otherwise inevitable doom.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for this review of Orbiter 9 (2017) as I streamed it via my very own subscription to Netflix.
-- EZ
There are other developments that kinda/sorta come out of nowhere; and, sadly, they, too, don’t get the kind of dissection that would’ve elevated the film to the point of seriously considering this world as it gets postulated here. Issues of cloning and the efficacy of research are unfortunate victims of trying to somehow find a way to give these two characters a somewhat Hollywood happy ending – one where love can still triumph over all even in the face of catastrophe – when things were headed well on the path to looking decidedly grim for all of us. At 95 minutes, Khraiche and his cast and crew breeze over the material, never pausing for any real measure of reflection but instead pushing ever onward with the hope that no one – audience included – will pause to ask important questions much less seek the proper answers. Why, it’s almost like knowledge wasn’t required so long as our two good looking leads cared about one another, and that’s a disappointment.
In a world where intentions matter most, Órbita 9 strives to give everything the proper emotional context – good guys still exist, bad guys will stop at nothing, and love is all you need – leaving the coldly clinical examination of doing what’s right for all of mankind kicked to the curb. Oh, they’ll happily manufacture a magical ending to put the proper spin on everyone’s best efforts, but pardon me if I point out the end result felt way too sugary for everything that came before that big finish.
Orbiter 9 (aka Órbita 9) (2017) was produced by Cactus Flower, Dynamo, Mono Films, and Telefonica Studios. The film shows as presently available for streaming on the Netflix website. As for the technical specifications? While I’m no trained video expert, I found the sights-and-sounds to be of exceptional quality from start-to-finish. Lastly, as for the special features? Given the fact that I enjoyed this viewing via streaming, there were no special features under consideration.
Recommended.
Órbita 9 (2017) ignores what it does best – setting the stage for a true moral quandary of the ages – when love rears its ugly head as it is prone to do at the movies. Intent on looking good and perhaps presenting Science Fiction as a great night out for the dating public, it squanders the heavy potential in favor of sticking to easy landings for its photogenic leads. Surprisingly, it still works effectively as a thriller when it needs to, but I really wanted to see the film that it looked like it was going to be without descending into the somewhat paint-by-numbers arena of silver screen romances. Nothing ventured means nothing gained … and who knows if the human race will survive long enough to spare itself from our otherwise inevitable doom.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for this review of Orbiter 9 (2017) as I streamed it via my very own subscription to Netflix.
-- EZ
- Published on
Good morning, gentle readers ... and -- yes, yes, yes -- it's yet one more Monday on the road of life! Woohoo! Why not go and greet it with both arms open wide? Embrace it! Embrace the challenges that go with it, big and small. No matter what you think, it's certainly better than the alternative, am I right?
And how was your weekend? Did you squeeze in every possible bit of rejuvenation that was humanly possible? I know that I did. Well ... to be fair ... it isn't as if I did tons of things. The wifey and I caught a Saturday afternoon matinee of the (non-SciFi) film The Holdovers. We'd wanted to see it since it came out to positive reviews, but we hadn't had the time. Before you knew it, the flick was gone from the cineplexes, but then the recent Academy Awards announcements gave it a little bit of second life, and we jumped at the chance. How was it? Well ... meh. One critic had proclaimed it good enough to be inserted into the regular holiday season as an 'all-new classic,' and (sorry) I'd strongly disagree with that. Don't get me wrong: we enjoyed it, but it was a bit long, a bit slow, and a bit really depressing in spots. The holiday vibe is really one of the things that saved it from being a bit too formulaic -- in my opinion -- and, still, I wouldn't christen it as a must-see every silly season. It's definitely the kind of production that Hollywood used to embrace on a pretty regular basis, so I'm happy for that. Otherwise? Meh.
Sunday evening, I found a film I'd read about on Netflix -- Orbiter 9 -- and I watched that (as the wife was away). It was quite good -- not at all what I was expecting -- and I'll probably pen a short review on it this morning. As a SciFi, it also had a touch of romance along with a healthy side of conspiracy whatnot; and it was exceedingly well put together. A solid thumbs up experience.
And how was your weekend? Did you squeeze in every possible bit of rejuvenation that was humanly possible? I know that I did. Well ... to be fair ... it isn't as if I did tons of things. The wifey and I caught a Saturday afternoon matinee of the (non-SciFi) film The Holdovers. We'd wanted to see it since it came out to positive reviews, but we hadn't had the time. Before you knew it, the flick was gone from the cineplexes, but then the recent Academy Awards announcements gave it a little bit of second life, and we jumped at the chance. How was it? Well ... meh. One critic had proclaimed it good enough to be inserted into the regular holiday season as an 'all-new classic,' and (sorry) I'd strongly disagree with that. Don't get me wrong: we enjoyed it, but it was a bit long, a bit slow, and a bit really depressing in spots. The holiday vibe is really one of the things that saved it from being a bit too formulaic -- in my opinion -- and, still, I wouldn't christen it as a must-see every silly season. It's definitely the kind of production that Hollywood used to embrace on a pretty regular basis, so I'm happy for that. Otherwise? Meh.
Sunday evening, I found a film I'd read about on Netflix -- Orbiter 9 -- and I watched that (as the wife was away). It was quite good -- not at all what I was expecting -- and I'll probably pen a short review on it this morning. As a SciFi, it also had a touch of romance along with a healthy side of conspiracy whatnot; and it was exceedingly well put together. A solid thumbs up experience.
Folks, like so many of you, I had an immeasureable fondness for a whole lot of Star Trek. I grew up watching the original in TV syndication as a young guy, and Star Trek: The Next Generation had enough of the old and the new to make it appointment viewing throughout its entire run. Star Trek: Deep Space Nine had its moments, too -- as did Star Trek: Voyager -- but I just couldn't quite get into Star Trek: Enterprise's vibe. I gave it two seasons, and I've even tuned in and watched some of what came after that; but it just didn't quite preserve the magic the way those earlier incarnations did.
Still -- also like many of you -- I can see a stinker for what it is ... and, sure, Trek has had a few of those along the way.
In fact, one of the episodes of Star Trek TNG that's been almost universally dubbed as "one of the worst hours of the entire franchise run" turns an astonishing 30 years young today: on this day all the way back in 1994, Beverly Crusher came centerstage in the horrifically looney "Sub Rosa," a Gothic-style (kinda/sorta) ghost story (kinda/sorta) that gave her a spectral entity as a would-be lover. Good Lord, how many non-Trek elements can you pile into a single hour? Well, "Sub Rosa" would have you believe all of them, and it was just so terribly inadequate you won't imagine until you see it ... if you dare.
To compound matters for the Trek legacy, the franchise also endured another blemish to its complexion when on this day back in 1996 Tom Paris and Captain Kathryn Janeway found themselves not only turned into giant salamanders but also copulating (talk about your unprofessional relationships on the job) in an adventure called "Threshold." Good grief, was that another tepid assault on our senses or what? I know, I know, I know: there are folks in Trekdom who think "Threshold" is actually an interesting idea, and so be it. As I always say, to each his own. But for me? No thank you very much. No, no, no thank you very much.
Still -- also like many of you -- I can see a stinker for what it is ... and, sure, Trek has had a few of those along the way.
In fact, one of the episodes of Star Trek TNG that's been almost universally dubbed as "one of the worst hours of the entire franchise run" turns an astonishing 30 years young today: on this day all the way back in 1994, Beverly Crusher came centerstage in the horrifically looney "Sub Rosa," a Gothic-style (kinda/sorta) ghost story (kinda/sorta) that gave her a spectral entity as a would-be lover. Good Lord, how many non-Trek elements can you pile into a single hour? Well, "Sub Rosa" would have you believe all of them, and it was just so terribly inadequate you won't imagine until you see it ... if you dare.
To compound matters for the Trek legacy, the franchise also endured another blemish to its complexion when on this day back in 1996 Tom Paris and Captain Kathryn Janeway found themselves not only turned into giant salamanders but also copulating (talk about your unprofessional relationships on the job) in an adventure called "Threshold." Good grief, was that another tepid assault on our senses or what? I know, I know, I know: there are folks in Trekdom who think "Threshold" is actually an interesting idea, and so be it. As I always say, to each his own. But for me? No thank you very much. No, no, no thank you very much.
The older one gets, the more one's prone to look back at formative years and realize, yes, we had it pretty good.
And back in my day, gentle readers, actor Marc Singer was one of the genre heavyweights to rule the big and small screens. I realize that maybe TV's V wasn't exactly up-to-snuff, as they say, but for those of us who dug it Marc Singer was the adventurous lead we needed for the time and the place. Launched by two successful miniseries and morphed into a single season on broadcast television, V put a modern spin essentially on the whole 'War Of The Worlds' idea by having the Visitors take over our world with their charm instead of those huge tripods of the H.G. Wells tale. Humans actually joined forces with them, so it became increasingly difficult to know who to trust, and this is what made for some compelling stories. Heck -- if I remember correctly -- the program had a series of novels to flesh out the idea some; and there was even a short-lived comic book series.
But V wasn't Singer's only foray into the realms of the Fantastic, and fantasy fans definitely remember him as the hunky Dar in The Beastmaster franchise. The first movie was popular enough to spawn two lesser sequels, and there was even a short-lived television series that expanded upon the man's abilities to 'talk to the animals' in ways each of us wish we could do. While I wasn't a huge fan of the first film, it does have its charm; and I'd never say it isn't worth the time. It's a fun flick, but it doesn't have the textual depth that Conan The Barbarian or even Conan The Destroyer mustered in their time on the silver screen. Consider yourself warned.
And back in my day, gentle readers, actor Marc Singer was one of the genre heavyweights to rule the big and small screens. I realize that maybe TV's V wasn't exactly up-to-snuff, as they say, but for those of us who dug it Marc Singer was the adventurous lead we needed for the time and the place. Launched by two successful miniseries and morphed into a single season on broadcast television, V put a modern spin essentially on the whole 'War Of The Worlds' idea by having the Visitors take over our world with their charm instead of those huge tripods of the H.G. Wells tale. Humans actually joined forces with them, so it became increasingly difficult to know who to trust, and this is what made for some compelling stories. Heck -- if I remember correctly -- the program had a series of novels to flesh out the idea some; and there was even a short-lived comic book series.
But V wasn't Singer's only foray into the realms of the Fantastic, and fantasy fans definitely remember him as the hunky Dar in The Beastmaster franchise. The first movie was popular enough to spawn two lesser sequels, and there was even a short-lived television series that expanded upon the man's abilities to 'talk to the animals' in ways each of us wish we could do. While I wasn't a huge fan of the first film, it does have its charm; and I'd never say it isn't worth the time. It's a fun flick, but it doesn't have the textual depth that Conan The Barbarian or even Conan The Destroyer mustered in their time on the silver screen. Consider yourself warned.
And yet, folks, there's more ... there's a lot more ... all of it you can be thankful for and worthy of celebrating on this day in Science Fiction History. I point it out, well, because that's what I do here. That's my day job, as they say, and I'm thrilled to share it with all of you. By all means, head on over to the Daily Citation Page and check it out. There's a lot waiting for your discovery. Here's the helpful link ...
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
Good morning, gentle readers, and ... IT'S FRIDAY!
Woof. What a week, am I right?
I don't know about you, but I'm ready for another weekend. I have no big plans, but having no big plans sometimes is the best way one can go about truly enjoyed a good weekend. We might take in a movie -- we've had our eye on one for a few weeks -- but as it isn't a Science Fiction, Fantasy, or Horror I won't trouble you with my choices in this space for now.
This morning, I've already crafted and posted a column about my support of the 'From A Certain Point Of View' anthologies that have come out from Random House in celebration of Star Wars, The Empire Strikes Back, and Return Of The Jedi. Seriously, folks: if you haven't seen them, then I'm strongly encouraging you to check them out. Basically, they're short story collections, each one crafted to tie-in with the people, places, and events of their respective films; and they're nothing short of fantastic. I like a good short story, and the ones in these collections have been very entertaining. They're not about messages. They're not about ideologies, though a certain political perspective might play out as a plot point here and there. What they are, basically, are just fabulous fleshing out of what already exists in some small way within the wider Star Wars mythology; and I've had nothing but fun enjoying each and every one of them. Highly, highly recommended.
So ... what else do I have 'on tap' for you in this post?
Woof. What a week, am I right?
I don't know about you, but I'm ready for another weekend. I have no big plans, but having no big plans sometimes is the best way one can go about truly enjoyed a good weekend. We might take in a movie -- we've had our eye on one for a few weeks -- but as it isn't a Science Fiction, Fantasy, or Horror I won't trouble you with my choices in this space for now.
This morning, I've already crafted and posted a column about my support of the 'From A Certain Point Of View' anthologies that have come out from Random House in celebration of Star Wars, The Empire Strikes Back, and Return Of The Jedi. Seriously, folks: if you haven't seen them, then I'm strongly encouraging you to check them out. Basically, they're short story collections, each one crafted to tie-in with the people, places, and events of their respective films; and they're nothing short of fantastic. I like a good short story, and the ones in these collections have been very entertaining. They're not about messages. They're not about ideologies, though a certain political perspective might play out as a plot point here and there. What they are, basically, are just fabulous fleshing out of what already exists in some small way within the wider Star Wars mythology; and I've had nothing but fun enjoying each and every one of them. Highly, highly recommended.
So ... what else do I have 'on tap' for you in this post?
Folks, folks, folks ... I've taken a lot of flak -- and I do mean A LOT OF FLAK -- over the years regarding my opinion of Babylon 5.
Let me be clear: I didn't dislike it. (I know, I know, I know ... syntax rules aside, I'm sticking with that statement.)
My issue with it is that when I tried to get into it via its first airing on television -- "Midnight On The Firing Line" premiered on this date all the way back in 1994 -- I just couldn't. Honestly, I have no reason why. Production quality -- mostly -- was very good. I love the actors, and the cast of characters was definitely something to behold. For whatever reason, I just found that first season an incredible slog, especially early on. It took some time to find itself in the proper gear; and -- once it did -- I think it became a vastly better program. But, again, right out of the gate? It just didn't win me over, so I tuned it out.
Once it came out on home video, I purchased the first season to give it a binge-style viewing ... and I honestly felt the same way. The pacing felt off; and -- while I started to appreciate even more what the talented actors and actresses were doing in their roles -- I grew even more frustrated with the fact that I couldn't quite get its vibe. For each of us, some shows can be hit or miss, and we either push through that or we find a way to make it work. I just couldn't.
Anyway, flash forward a few years to the emergence of SciFiHistory.Net. I was doing what I do, extending birthday wishes to all of the smiling faces who've made an impact in the realms of the Fantastic, when -- lo and behold -- the actor Jerry Doyle actually responded to the tweet I had blasted on Twitter about his birthday. Not only had he read the Tweet, but he had also followed the link to my site and read what I had written about his work in the show (which was complimentary but I admitted I struggled to get into the show). Well ... what happened? The guy actually took the time to Tweet me a reply, encouraging me to give the program one more shot, insisting that it definitely got better. So out of nothing more than respect I took the man up on his challenge.
Over the next few months, I purchased every season of Babylon 5, and I made it through. I even picked up Crusade -- for good measure -- but I won't go into that for personal reasons. Let's just say ... no. I'll let that be.
In the end, yes, as Doyle promised, Babylon 5 grew vastly more important and remains one of the big sagas that helped defined what SciFi and Fantasy storytelling could be like on the small screen. While I didn't love it as much as its most ardent fans, I finally found the appreciation for it that I believe it's owed ... but that wouldn't have happened if Doyle hadn't prompted me to do so.
Happy birthday, Babylon 5!
Let me be clear: I didn't dislike it. (I know, I know, I know ... syntax rules aside, I'm sticking with that statement.)
My issue with it is that when I tried to get into it via its first airing on television -- "Midnight On The Firing Line" premiered on this date all the way back in 1994 -- I just couldn't. Honestly, I have no reason why. Production quality -- mostly -- was very good. I love the actors, and the cast of characters was definitely something to behold. For whatever reason, I just found that first season an incredible slog, especially early on. It took some time to find itself in the proper gear; and -- once it did -- I think it became a vastly better program. But, again, right out of the gate? It just didn't win me over, so I tuned it out.
Once it came out on home video, I purchased the first season to give it a binge-style viewing ... and I honestly felt the same way. The pacing felt off; and -- while I started to appreciate even more what the talented actors and actresses were doing in their roles -- I grew even more frustrated with the fact that I couldn't quite get its vibe. For each of us, some shows can be hit or miss, and we either push through that or we find a way to make it work. I just couldn't.
Anyway, flash forward a few years to the emergence of SciFiHistory.Net. I was doing what I do, extending birthday wishes to all of the smiling faces who've made an impact in the realms of the Fantastic, when -- lo and behold -- the actor Jerry Doyle actually responded to the tweet I had blasted on Twitter about his birthday. Not only had he read the Tweet, but he had also followed the link to my site and read what I had written about his work in the show (which was complimentary but I admitted I struggled to get into the show). Well ... what happened? The guy actually took the time to Tweet me a reply, encouraging me to give the program one more shot, insisting that it definitely got better. So out of nothing more than respect I took the man up on his challenge.
Over the next few months, I purchased every season of Babylon 5, and I made it through. I even picked up Crusade -- for good measure -- but I won't go into that for personal reasons. Let's just say ... no. I'll let that be.
In the end, yes, as Doyle promised, Babylon 5 grew vastly more important and remains one of the big sagas that helped defined what SciFi and Fantasy storytelling could be like on the small screen. While I didn't love it as much as its most ardent fans, I finally found the appreciation for it that I believe it's owed ... but that wouldn't have happened if Doyle hadn't prompted me to do so.
Happy birthday, Babylon 5!
- Published on
Rather than ‘pile on’ when faced with all the current negativity surrounding the wider Star Wars franchise, I’m going to offer up an alternative.
In case you’ve missed the latest dust-up, activist director Sharmeen Obaid-Chinoy has unnecessarily created a controversy all of her own when she recently reframed her earlier arguments about men and film when she told a CNN reporter: “We’re in 2024, and it’s about time that we had a woman come forward to shape a story in a galaxy far, far away.” Think what you may, but we here at SciFiHistory.Net thought that Obaid-Chinoy smacks of everything that’s wrong within the entertainment business today, that being of hiring a candidate for a job based almost entirely on one’s gender (it would seem) as opposed to credentials that indicate this storyteller both understands an Intellectual Property and can effectively add one more chapter that fandom will embrace. Given the lady’s already established preference of “making men uncomfortable” and the fact that – despite Lucasfilm and the Walt Disney Company’s best effort – Star Wars is largely a male-centered space saga, her comments seem tone deaf and equally divisive.
However, I’ve already cautioned readers not to make too much of Ms. Obaid-Chinoy’s obvious grab for publicity.
Yes, yes, and yes: there’s a layer of arrogance to her persona, but that’s not uncommon for a filmmaker who has risen quickly to a level of prominence amongst her peers and has been repeatedly rewarded for exposing the evils of Eastern civilization. (Sorry, folks, but there’s truth in them thar hills.) Follow her level of thinking, and – to a degree – there’s some application here in the Outer Rim. Vader’s a man, and men are bad. Palpatine’s a man, and men are bad. Moff Gideon’s a man, and men are bad. See where this is going? In fact, I’ve both watched and read so much Star Wars I can assure you that one thing we haven’t seen all that much of is – ahem – bad women. Respectfully, they’re a rarity in this sector of space, so maybe someone should instead give Ms. Obaid-Chinoy a primer on Star Wars lore.
As an olive branch, might I recommend a bit of reading?
So far as this reader is concerned, one of the most fascinating series to come from Random House on the whole Star Wars scene has been the ‘From A Certain Point Of View’ collection. The release dates of these anthologies were coordinated with the 40th anniversaries of the original films – Star Wars (1977), The Empire Strikes Back (1980), and Return Of The Jedi (1983) – giving each volume the chance to present short stories that creatively intersect the people, places, and events of each production. In other words, the adventures of From A Certain Point Of View: The Empire Strikes Back might focus in on a secondary character shown briefly on screen, but the story enhances this participation by giving it greater depth or, in some cases, a completely different perspective entirely. Thus, each books adds something to the wider Star Wars legacy by dabbling within established continuity.
Rather than push a message or mash a political perspective where it needn’t be, these books exist to simply entertain …
… and this reader has found them wonderful.
Folks interested in picking up a copy of From A Certain Point of view are encouraged to follow the links below. Merely click on a box, and you’ll travel through hyperspace to the destination of your choosing.
In case you’ve missed the latest dust-up, activist director Sharmeen Obaid-Chinoy has unnecessarily created a controversy all of her own when she recently reframed her earlier arguments about men and film when she told a CNN reporter: “We’re in 2024, and it’s about time that we had a woman come forward to shape a story in a galaxy far, far away.” Think what you may, but we here at SciFiHistory.Net thought that Obaid-Chinoy smacks of everything that’s wrong within the entertainment business today, that being of hiring a candidate for a job based almost entirely on one’s gender (it would seem) as opposed to credentials that indicate this storyteller both understands an Intellectual Property and can effectively add one more chapter that fandom will embrace. Given the lady’s already established preference of “making men uncomfortable” and the fact that – despite Lucasfilm and the Walt Disney Company’s best effort – Star Wars is largely a male-centered space saga, her comments seem tone deaf and equally divisive.
However, I’ve already cautioned readers not to make too much of Ms. Obaid-Chinoy’s obvious grab for publicity.
Yes, yes, and yes: there’s a layer of arrogance to her persona, but that’s not uncommon for a filmmaker who has risen quickly to a level of prominence amongst her peers and has been repeatedly rewarded for exposing the evils of Eastern civilization. (Sorry, folks, but there’s truth in them thar hills.) Follow her level of thinking, and – to a degree – there’s some application here in the Outer Rim. Vader’s a man, and men are bad. Palpatine’s a man, and men are bad. Moff Gideon’s a man, and men are bad. See where this is going? In fact, I’ve both watched and read so much Star Wars I can assure you that one thing we haven’t seen all that much of is – ahem – bad women. Respectfully, they’re a rarity in this sector of space, so maybe someone should instead give Ms. Obaid-Chinoy a primer on Star Wars lore.
As an olive branch, might I recommend a bit of reading?
So far as this reader is concerned, one of the most fascinating series to come from Random House on the whole Star Wars scene has been the ‘From A Certain Point Of View’ collection. The release dates of these anthologies were coordinated with the 40th anniversaries of the original films – Star Wars (1977), The Empire Strikes Back (1980), and Return Of The Jedi (1983) – giving each volume the chance to present short stories that creatively intersect the people, places, and events of each production. In other words, the adventures of From A Certain Point Of View: The Empire Strikes Back might focus in on a secondary character shown briefly on screen, but the story enhances this participation by giving it greater depth or, in some cases, a completely different perspective entirely. Thus, each books adds something to the wider Star Wars legacy by dabbling within established continuity.
Rather than push a message or mash a political perspective where it needn’t be, these books exist to simply entertain …
… and this reader has found them wonderful.
Folks interested in picking up a copy of From A Certain Point of view are encouraged to follow the links below. Merely click on a box, and you’ll travel through hyperspace to the destination of your choosing.
As I’ve said elsewhere on the Information Superhighway and even in a post on SciFiHistory.Net, my offense at Ms. Obaid-Chinoy’s statements about the galaxy far, far away is that they smack of ignorance. Apparently, her journeys to these worlds and visits with these characters hasn’t shown her fully that – unlike other franchises – Star Wars is one that since its inception has been deep and rich with diversity. Since the beginning, it has had men. It has had women. It has had aliens. It has had droids. It has had creatures. It has had machines. It has had technology, and it has had vehicles and ideas and objects and planets and worlds that have spurred our collective imagination. Whether these stories have been written by males or females has never mattered; and so long as whatever adventures yet unexplored still fit within that basic rubric, fans will always embrace new chapters with our without one’s slavish devotion to ‘The Message.’
In the spirit of fostering amity, I heartily encourage the lady to pick up these volumes and educate herself to the vast diversity that’s already been on display without her assistance before casting aspersions on what has come before. These stories are fantastic and fanciful, and every one of them -- regardless of quality or relevance – fits damn near perfectly without trying to foist an ideology on any of the – cough cough – 71 different genders allegedly out there in our world today. They transport us out there; and – by doing so – they relieve of us the trials and tribulations of daily life … exactly what entertainment was designed to do.
Save your gender politics for the Oscars ceremony where they belong.
Instead, may I suggest: “These are the droids you’re looking for.”
May the Force be with you. Always.
-- EZ
In the spirit of fostering amity, I heartily encourage the lady to pick up these volumes and educate herself to the vast diversity that’s already been on display without her assistance before casting aspersions on what has come before. These stories are fantastic and fanciful, and every one of them -- regardless of quality or relevance – fits damn near perfectly without trying to foist an ideology on any of the – cough cough – 71 different genders allegedly out there in our world today. They transport us out there; and – by doing so – they relieve of us the trials and tribulations of daily life … exactly what entertainment was designed to do.
Save your gender politics for the Oscars ceremony where they belong.
Instead, may I suggest: “These are the droids you’re looking for.”
May the Force be with you. Always.
-- EZ
- Published on
Good morning, gentle readers, and welcome to Thursday, January 25, 2024.
Wow ... can you believe it? Why, it seemed like just yesterday we were starting this all new year, and -- as of today -- we're almost done with its first month, January. Boy oh boy, does time fly whether or not you're having fun, am I right?
Whatever the truth there may be, I've not a whole lot to report this morning. Oh, don't take that to mean that there isn't a grand amount of information deserving of your attention today because nothing could be further from the truth. I do my part to place as much relevant information into those Daily Citation Page as is humanly possible, and -- with also being humble -- I really do think that there's plenty of information up there worth a gander. You can take that to the bank, my friends.
Behind the scenes, I've been working on -- yes, yes, and yes -- a few more reviews to add up onto the MainPage. The flicks have been -- sigh -- only OK, if I'm being perfectly honest. I do get a solid handful of requests for new releases, and they're not always top notch entertainment. Because I tend to be forgiving, I'm perfectly happy reviewing and promoting smaller, independent, and older flicks as I find them more interesting than a lot of mainstream stuff. But I'm kinda/sorta in a rut as January through March tends to be a gruesome time of year wherein not exactly the hottest features get released. It's an interesting portfolio of projects ... but it does occasionally get challenging for me to muster some greater focus. Just bein' honest.
Wow ... can you believe it? Why, it seemed like just yesterday we were starting this all new year, and -- as of today -- we're almost done with its first month, January. Boy oh boy, does time fly whether or not you're having fun, am I right?
Whatever the truth there may be, I've not a whole lot to report this morning. Oh, don't take that to mean that there isn't a grand amount of information deserving of your attention today because nothing could be further from the truth. I do my part to place as much relevant information into those Daily Citation Page as is humanly possible, and -- with also being humble -- I really do think that there's plenty of information up there worth a gander. You can take that to the bank, my friends.
Behind the scenes, I've been working on -- yes, yes, and yes -- a few more reviews to add up onto the MainPage. The flicks have been -- sigh -- only OK, if I'm being perfectly honest. I do get a solid handful of requests for new releases, and they're not always top notch entertainment. Because I tend to be forgiving, I'm perfectly happy reviewing and promoting smaller, independent, and older flicks as I find them more interesting than a lot of mainstream stuff. But I'm kinda/sorta in a rut as January through March tends to be a gruesome time of year wherein not exactly the hottest features get released. It's an interesting portfolio of projects ... but it does occasionally get challenging for me to muster some greater focus. Just bein' honest.
I'm torn here, peeps, so let me share.
I was considering do a full review of Chuck Dixon's "The Siege Of The Black Citadel" for readers. I finished it late last night (couldn't sleep so I was up a few extra hours in the dark); and -- having picked it up after watching the forthcoming Arrow Films' new home video releases of the Schwarzenegger flicks -- I was hungry to continue the experience further. (I had purchased this one last year, but I didn't get around to reading it until now.)
But here's my thing ...
Fans of the Robert E. Howard property, frankly, tend to be a bit vicious in their opinions of follow-ups to the Conan saga. In my experience, they either hate them or they like to pile on anyone who has any opinion other than theirs with respect to these random or errant continuations. (I say this as I encountered nothing but controversy in dealing with them during my years as an Amazon.com Top 1,000 reviewer.) Given that I prefer to avoid a certain type of controversy in this space, I'm less inclined to give this short novel -- really, it's more of a novella with some graphic inserts -- a full once-over.
Second ... well, yeah, as I said above, it's really a bit short. A honest review of it would amount to little more than how well the story was told (which is very good) and whether or not it felt authentic to the wider Conan universe. (Functionally, I thought so, and I say this entirely on my memories of reading them years ago.) There both is and isn't a big climax -- it's kinda/sorta brought to a close not so much my Conan's efforts and more to the band of characters he's involved with -- so readers showing up to see the Cimmerian in the same muscular prowess as the films are bound to be a little underwhelmed.
So ... I'm gonna leave it at that. What I wrote right there services just enough to let you know I found it a middling affair -- good at parts, a bit off in others -- and let's hope that averts the Howard fanatics from releasing the hounds on me, as it were.
I was considering do a full review of Chuck Dixon's "The Siege Of The Black Citadel" for readers. I finished it late last night (couldn't sleep so I was up a few extra hours in the dark); and -- having picked it up after watching the forthcoming Arrow Films' new home video releases of the Schwarzenegger flicks -- I was hungry to continue the experience further. (I had purchased this one last year, but I didn't get around to reading it until now.)
But here's my thing ...
Fans of the Robert E. Howard property, frankly, tend to be a bit vicious in their opinions of follow-ups to the Conan saga. In my experience, they either hate them or they like to pile on anyone who has any opinion other than theirs with respect to these random or errant continuations. (I say this as I encountered nothing but controversy in dealing with them during my years as an Amazon.com Top 1,000 reviewer.) Given that I prefer to avoid a certain type of controversy in this space, I'm less inclined to give this short novel -- really, it's more of a novella with some graphic inserts -- a full once-over.
Second ... well, yeah, as I said above, it's really a bit short. A honest review of it would amount to little more than how well the story was told (which is very good) and whether or not it felt authentic to the wider Conan universe. (Functionally, I thought so, and I say this entirely on my memories of reading them years ago.) There both is and isn't a big climax -- it's kinda/sorta brought to a close not so much my Conan's efforts and more to the band of characters he's involved with -- so readers showing up to see the Cimmerian in the same muscular prowess as the films are bound to be a little underwhelmed.
So ... I'm gonna leave it at that. What I wrote right there services just enough to let you know I found it a middling affair -- good at parts, a bit off in others -- and let's hope that averts the Howard fanatics from releasing the hounds on me, as it were.
A few years back, a very polite fellow reached out and wondered if I -- as the web's self-proclaimed steward of All Things Genre -- had ever put some serious thought into ... ahem ... both tracking and reporting on all of the flicks that had come out in Science Fiction and Fantasy that had more of a pornographic focus.
Now, don't take this the wrong way, peeps.
After swapping a few emails, it became clear that the guy wasn't looking for nudes. (snicker snicker) Apparently, he was interested himself in doing a more extensive article on the subject matter, but he was interested to see if I had gone to any special cataloguing of these films on my own. Clearly, if I had, then it would be of use to him in ways one can only imagine. Eventually, I explained to him that I hadn't -- I Googled the topic and pointed him in the direction of a few longer features that had some listings -- but the idea has always stuck in my mind that having some means to find pictures of particular focus would be of historical value.
Again, stick with me here.
For example, suppose I did a daily feature blog/column called "It's Alive, It's Alive," and this post would detail any and all Frankenstein-related highlights from history centered on thi day. (I dabbled with this some time back -- using Marvel as a centerpoint -- with some posts titled 'All Roads Lead To Marvel.') This kind of specialized focus could be applied to any number of interesting subsets -- i.e. on this day in Star Wars history, on this day in Star Trek history, All Roads Lead To Marvel, etc. -- and I think it might be a way to continue broadening the appeal to all of SciFiHistory.Net.
What does this have to do with ... erm ... porn films in genre?
Well, not all that long back, I started adding a tag to them when I celebrate anniversaries on Twitter (X). When I see them -- and I remember to do it -- I add the hashtag #HeroErectus to the titles. This way, if a user wants to go on Twitter (X) and search #HeroErectus, one can find all the releases I've managed to correct for posterity's sake ... or is that posterior?
On this day in 1978, La fille a la fourrure enjoyed its first release ever.
Now, don't take this the wrong way, peeps.
After swapping a few emails, it became clear that the guy wasn't looking for nudes. (snicker snicker) Apparently, he was interested himself in doing a more extensive article on the subject matter, but he was interested to see if I had gone to any special cataloguing of these films on my own. Clearly, if I had, then it would be of use to him in ways one can only imagine. Eventually, I explained to him that I hadn't -- I Googled the topic and pointed him in the direction of a few longer features that had some listings -- but the idea has always stuck in my mind that having some means to find pictures of particular focus would be of historical value.
Again, stick with me here.
For example, suppose I did a daily feature blog/column called "It's Alive, It's Alive," and this post would detail any and all Frankenstein-related highlights from history centered on thi day. (I dabbled with this some time back -- using Marvel as a centerpoint -- with some posts titled 'All Roads Lead To Marvel.') This kind of specialized focus could be applied to any number of interesting subsets -- i.e. on this day in Star Wars history, on this day in Star Trek history, All Roads Lead To Marvel, etc. -- and I think it might be a way to continue broadening the appeal to all of SciFiHistory.Net.
What does this have to do with ... erm ... porn films in genre?
Well, not all that long back, I started adding a tag to them when I celebrate anniversaries on Twitter (X). When I see them -- and I remember to do it -- I add the hashtag #HeroErectus to the titles. This way, if a user wants to go on Twitter (X) and search #HeroErectus, one can find all the releases I've managed to correct for posterity's sake ... or is that posterior?
On this day in 1978, La fille a la fourrure enjoyed its first release ever.
That's all I have for now, gentle readers, but I'll be toiling away as I always do, trying to widen the scope for those who traffic in this space. It's what brings me joy, and I hope you enjoy the ride.
Here's the link for today's goodies ...
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
Apologies, folks: I meant to get this announcement up yesterday, but it completely slipped my mind.
1975's Rollerball was a film that a good many folks had recommended to me. I hadn't seen it, and -- though I was aware of it -- I recall reading some critical blurbs about it at that time that weren't exactly favorable. As can happen in films shot, say, a decade or two before some critic or historian discovers it, there were a scene or a sequence or two that were dated to some degree, so much so that viewed later they might seem wildly out of context (or something). So I'm pretty certain I know the footage that left this curious mark on this curious critic, and -- sure -- I was inclined to agree once I sat down and screened the film on VHS (ask your parents, kids) when I did. Setting aside that little vignette, it's easy to see why the Norman Jewison effort was as highly regarded back then and remains a story of some importance even today.
As for the rest of Jewison's career?
Well, I think it's safe to say that he wasn't a genre auteur in any stretch of the imagination. It's pretty clear that he was more concerned with conventional settings and circumstances even though there might be a picture or two that wandered a little bit outside the lines. His 1967 film In The Heat Of The Night confronts racism head-on in the heart of the Deep South, and -- even though it is about as far from genre entertainment as one can get -- it's one of my personal favorites. He made a few other like-minded, socially-conscious pictures after that -- and I see a few musicals in there -- but Rollerball stands out as a curious exception to his normal body of work (so far as I'm seeing things). Maybe that reason alone is enough for readers of SciFiHistory.Net to sit down and watch it, as I think a viewing is long past due for those of you who haven't had the pleasure.
Our warmest prayers are extended to the family, friends, and fans of Mr. Jewison.
May he forever rest in peace.
-- EZ
1975's Rollerball was a film that a good many folks had recommended to me. I hadn't seen it, and -- though I was aware of it -- I recall reading some critical blurbs about it at that time that weren't exactly favorable. As can happen in films shot, say, a decade or two before some critic or historian discovers it, there were a scene or a sequence or two that were dated to some degree, so much so that viewed later they might seem wildly out of context (or something). So I'm pretty certain I know the footage that left this curious mark on this curious critic, and -- sure -- I was inclined to agree once I sat down and screened the film on VHS (ask your parents, kids) when I did. Setting aside that little vignette, it's easy to see why the Norman Jewison effort was as highly regarded back then and remains a story of some importance even today.
As for the rest of Jewison's career?
Well, I think it's safe to say that he wasn't a genre auteur in any stretch of the imagination. It's pretty clear that he was more concerned with conventional settings and circumstances even though there might be a picture or two that wandered a little bit outside the lines. His 1967 film In The Heat Of The Night confronts racism head-on in the heart of the Deep South, and -- even though it is about as far from genre entertainment as one can get -- it's one of my personal favorites. He made a few other like-minded, socially-conscious pictures after that -- and I see a few musicals in there -- but Rollerball stands out as a curious exception to his normal body of work (so far as I'm seeing things). Maybe that reason alone is enough for readers of SciFiHistory.Net to sit down and watch it, as I think a viewing is long past due for those of you who haven't had the pleasure.
Our warmest prayers are extended to the family, friends, and fans of Mr. Jewison.
May he forever rest in peace.
-- EZ
- Published on
Ach. My heart hurts right now, folks, and there are days that I just hate checking the news.
I'm aghast to learn that long-time genre favorite Gary Graham has passed, apparently from a heart attack.
To me, Graham always seemed like this blue-collar fellow with an amazing talent to craft interesting characters and thus found his way into the world of the entertainment business. Initially coming onto the scene in small roles, it didn't take long for those in charge to recognize that he was capable of much, much more; and he started receiving offers requiring far more screen time, deservedly so. While he may have trafficked a bit outside the worlds of Science Fiction, Fantasy, and Horror, I think it's safe to say that he definitely had a home inside the realms of the Fantastic; and fans embraced whatever work the Thespian was able to send our way.
Just take a gander at his resume, and you'll see what I mean. TV's The Incredible Hulk, 1989's Robot Jox, TV's Alien Nation, a handful of episodes as part of TV's M.A.N.T.I.S. superhero series, and -- of course -- Star Trek: Enterprise are just a small part of the legacy his career leaves for us to enjoy ... and here's hoping folks do continue to sing the man's praises well into the years ahead.
Our warmest thoughts and prayers are extended to the family, friends, and fans of Gary Graham.
May he rest in peace.
-- EZ
I'm aghast to learn that long-time genre favorite Gary Graham has passed, apparently from a heart attack.
To me, Graham always seemed like this blue-collar fellow with an amazing talent to craft interesting characters and thus found his way into the world of the entertainment business. Initially coming onto the scene in small roles, it didn't take long for those in charge to recognize that he was capable of much, much more; and he started receiving offers requiring far more screen time, deservedly so. While he may have trafficked a bit outside the worlds of Science Fiction, Fantasy, and Horror, I think it's safe to say that he definitely had a home inside the realms of the Fantastic; and fans embraced whatever work the Thespian was able to send our way.
Just take a gander at his resume, and you'll see what I mean. TV's The Incredible Hulk, 1989's Robot Jox, TV's Alien Nation, a handful of episodes as part of TV's M.A.N.T.I.S. superhero series, and -- of course -- Star Trek: Enterprise are just a small part of the legacy his career leaves for us to enjoy ... and here's hoping folks do continue to sing the man's praises well into the years ahead.
Our warmest thoughts and prayers are extended to the family, friends, and fans of Gary Graham.
May he rest in peace.
-- EZ
- Published on
Good afternoon, gentle readers, and welcome to yet another Hump Day in the new year of 2024!
How's everyone's day shaping up so far? Mine is pretty solid, to be perfectly honest. Got up early. Did some stretching to loosen up a bad back. Had to go to school and work with some high school kiddies with their material. Now I'm back at the blog puttering away on the greatest corner of the Information Superhighway ever conceived.
So ... how are you?
Doing a quick rundown on the day, I do see a few items worth a bit of extra attention, and I'll mention them below. But that should never stop folks from taking a look at the whole enchilada (sp?), you know? Please, please, and please always make sure to check out the full detail at the provided link because I can only draw attention to those citations that are of interest to me. (Yes, I hear those of you who wonder why I haven't highlighted your favorites, and I'm trying to be respectful and considerate.) So check them out, and always feel free to share them far and wide with your family and friends because I do this for all of you.
Okay?
How's everyone's day shaping up so far? Mine is pretty solid, to be perfectly honest. Got up early. Did some stretching to loosen up a bad back. Had to go to school and work with some high school kiddies with their material. Now I'm back at the blog puttering away on the greatest corner of the Information Superhighway ever conceived.
So ... how are you?
Doing a quick rundown on the day, I do see a few items worth a bit of extra attention, and I'll mention them below. But that should never stop folks from taking a look at the whole enchilada (sp?), you know? Please, please, and please always make sure to check out the full detail at the provided link because I can only draw attention to those citations that are of interest to me. (Yes, I hear those of you who wonder why I haven't highlighted your favorites, and I'm trying to be respectful and considerate.) So check them out, and always feel free to share them far and wide with your family and friends because I do this for all of you.
Okay?
Ernest Borgnine -- believe it or not -- built an incredible career in the realms of the Fantastic. While he may not be exactly one's first choice when it comes to genre favorites, a quick rundown of his resume ensures that his work should definitely be a cause for celebration for fans of Science Fiction, Fantasy, and Horror.
Not convinced?
Take a gander:
All the way back at the beginning of his career, the actor enjoyed a twelve-episode run as a supporting player for Captain Video And His Video Rangers.
From there, the man enjoyed appearances as part of an incredible, incredible assortment of intellectual properties, including Get Smart, Willard (1971), The Neptune Factor (1973), The Devil's Rain (1975), Future Cop, The Ghost Of Flight 401 (1978), Ravagers (1979), The Black Hole (1979), Super Fuzz (1980), Escape From New York (1981), Deadly Blessing (1981), Airwolf, Treasure Island In Space, Laser Mission (1989), Merlin's Shop Of Mystical Wonders (1996), Gattaca (1997), Small Soldiers (1998), Mel (1998), Early Edition, Touched By An Angel, and The Blue Light (2004).
That, my friends, is quite a track record.
Happy birthday, Mr. Borgnine ... wherever your spirit may reside.
Not convinced?
Take a gander:
All the way back at the beginning of his career, the actor enjoyed a twelve-episode run as a supporting player for Captain Video And His Video Rangers.
From there, the man enjoyed appearances as part of an incredible, incredible assortment of intellectual properties, including Get Smart, Willard (1971), The Neptune Factor (1973), The Devil's Rain (1975), Future Cop, The Ghost Of Flight 401 (1978), Ravagers (1979), The Black Hole (1979), Super Fuzz (1980), Escape From New York (1981), Deadly Blessing (1981), Airwolf, Treasure Island In Space, Laser Mission (1989), Merlin's Shop Of Mystical Wonders (1996), Gattaca (1997), Small Soldiers (1998), Mel (1998), Early Edition, Touched By An Angel, and The Blue Light (2004).
That, my friends, is quite a track record.
Happy birthday, Mr. Borgnine ... wherever your spirit may reside.
As par for the course, there's a lot more to love for today, and you're encouraged to head on over and check it out. Here's the link ...
As always, thank you for reading ... thank you for sharing ... thank you for being a fan ... and live long and prosper!
-- EZ
- Published on
High schoolers and college kids have always suffered from the greatest degree of personal angst.
In fact, just ask ‘em. They’ll tell you so.
To them, everything is a crisis, from the latest pimple to what they’re going to do with their lives all the way down to what they’re going to wear to school today. It’s a universal experience – everyone who undergoes whatever rites of passage is common to the teen years is bound to be scared in some way, shape, or form by some sad event – so audiences tend to be forgiving of yet one more look into ‘the best days of your life!’ Occasionally, a film comes along that taps some new angle on adolescence, and this crowd pleaser puts all of us back in high school or college once more, perhaps even has us reaching for nostalgia instead of watching what unfurls on the silver screen.
What we become as a consequence of suffering all of that emotional duress, I’m told, is just the first step toward adulthood … but if +1 (aka Plus One) is any indication, then some of us may have left a pretty astoundingly high body count in our wake!
(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 the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Three college friends hit the biggest party of the year, where a mysterious phenomenon disrupts the night, quickly descending into a chaos that challenges their friendships – and whether they can stay alive.”
David (played with curious emotional detachment by Rhys Wakefield) and Jill (a fetching Ashley Hinshaw) have hit an impasse in their two-year relationship, and nothing says ‘teen comedy’ like bringing these two sparring lovebirds together for one last party of the summer. It’s a chance at reconciliation or maybe even a chance to redemption or, at least, resolution. However, something is definitely afoot on a cosmic level as a meteorite interacts with the city’s power supply to create a dimension of overlapping timeframes. Suddenly, the house is packed with two versions of every person, and, before all is said and done, only one of each can and will be left alive.
How’s that for an identity crisis?
A dark and demented fairy tale, +1 is arguably one of the most unusual cinematic hybrids I’ve ever seen. Who would’ve thought that a mash-up of the ultimate teen comedy with the fantastical elements of parallel dimensions would work? Truth be told, it doesn’t work all that well – or, at least, all that consistently well – throughout the tale’s seemingly endless ups and downs; but it’s the kind of film that’s probably destined for cult status amongst those who find it refreshingly original if for no other reason that it is. Written and directed by Dennis Iliadis, +1 reminds me in several ways of 2007’s superior Timecrimes: both films expose the increasing difficulty of trying to right what went wrong in matters of chronology without loosing one of those insufferable paradoxes that’ll rip space and time apart as we know it.
In fact, just ask ‘em. They’ll tell you so.
To them, everything is a crisis, from the latest pimple to what they’re going to do with their lives all the way down to what they’re going to wear to school today. It’s a universal experience – everyone who undergoes whatever rites of passage is common to the teen years is bound to be scared in some way, shape, or form by some sad event – so audiences tend to be forgiving of yet one more look into ‘the best days of your life!’ Occasionally, a film comes along that taps some new angle on adolescence, and this crowd pleaser puts all of us back in high school or college once more, perhaps even has us reaching for nostalgia instead of watching what unfurls on the silver screen.
What we become as a consequence of suffering all of that emotional duress, I’m told, is just the first step toward adulthood … but if +1 (aka Plus One) is any indication, then some of us may have left a pretty astoundingly high body count in our wake!
(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 the last three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Three college friends hit the biggest party of the year, where a mysterious phenomenon disrupts the night, quickly descending into a chaos that challenges their friendships – and whether they can stay alive.”
David (played with curious emotional detachment by Rhys Wakefield) and Jill (a fetching Ashley Hinshaw) have hit an impasse in their two-year relationship, and nothing says ‘teen comedy’ like bringing these two sparring lovebirds together for one last party of the summer. It’s a chance at reconciliation or maybe even a chance to redemption or, at least, resolution. However, something is definitely afoot on a cosmic level as a meteorite interacts with the city’s power supply to create a dimension of overlapping timeframes. Suddenly, the house is packed with two versions of every person, and, before all is said and done, only one of each can and will be left alive.
How’s that for an identity crisis?
A dark and demented fairy tale, +1 is arguably one of the most unusual cinematic hybrids I’ve ever seen. Who would’ve thought that a mash-up of the ultimate teen comedy with the fantastical elements of parallel dimensions would work? Truth be told, it doesn’t work all that well – or, at least, all that consistently well – throughout the tale’s seemingly endless ups and downs; but it’s the kind of film that’s probably destined for cult status amongst those who find it refreshingly original if for no other reason that it is. Written and directed by Dennis Iliadis, +1 reminds me in several ways of 2007’s superior Timecrimes: both films expose the increasing difficulty of trying to right what went wrong in matters of chronology without loosing one of those insufferable paradoxes that’ll rip space and time apart as we know it.
Largely, the similarities end there as +1 ends up being less and less about the science of mastering time travel, instead following the path of least resistance by embracing the youth experience of the mashed-up protagonists and their antagonizing temporal counterparts. In short, somebody has to die … and it ain’t gonna be me … or is that me? Wait … is that you? But if you’re me, then who are you? See what I mean? It’s best not to be all that much thought into the premise and just go with the flow, even if that means a rather quick descent into slasher territory only if everyone got the chance to kill.
Wakefield – as a lead – isn’t particularly impressive. He spends far too much of this story on a spiritual quest: he desperately wants to find a way to get back into Jill’s good graces (and bodily charms), even if that means killing her original so that he can spend the rest of the evening with her alternate (whom he’s properly fooled thanks to an earlier scene). Thus, he wastes an awful lot of the remaining screen time wandering about, appearing sullen or lost and just not very interesting as a lead. By contrast, Hinshaw’s Jill looks terrific – she’s imbued with the right balance of teen innocence and budding womanhood – but the scenes between her and David (both versions!) lack any palatable chemistry.
Director Iliadis clocks far better mileage with the film’s secondary relationship – one far more convincing to the nature of high school or college make-out scenes – focusing on David’s pal, Teddy (Logan Miller), and Melanie (Natalie Hall). Theirs is the typical ‘brush with sex’ that takes place in most raunchy teen comedies, and that’s precisely how it plays out … only once. When their respective doppelgängers show up, the chemistry is understandably (and comically) spoiled, though that doesn’t stand in one another’s way of trying to make sense out of not only their budding hormones but also a shared temporal anomaly.
At 96 minutes, +1 still feels a bit overlong – with several sequences treacherously overwrought to the point of confusion – and the circularity of it all starts to fall apart before the big and massively bloody climax. But scoring solely on the merits of a film holding one’s interest bodes well for this little sleeper. Not quite funny but not quite serious either, it’s definitely one that kept me thinking until the last frame.
+1 (aka Plus One) (2013) is produced by Process Productions in association with Lola Visual Effects and Hydraulx Entertainment. DVD distribution is being handled by MPI Media Group through IFC Midnight. As for the technical specifications, the film is accented with quality sights and sounds, though I found some of the special effects to appear a bit juvenile compared to some of the better efforts available today. But if it’s special features you want? Look no further than this disc as there’s a commentary track, some behind-the-scenes shorts exploring the said effects, deleted scenes, cast and crew interviews, a poster gallery, cast auditions, and multiple theatrical trailers. Now that’s what I call “special” features, indeed! Nicely prepared!
Recommended.
I’d stop just short of saying that I enjoyed the entirety of +1 (aka Plus One). Rather, it’s one of those experiences I’d describe as frustrating as it was interesting, as ground-breaking as it was dismissive, and as exciting as it was … well … dull. The script tries to weave strategically through one mind-blowing night in the lives of perhaps too many primary and secondary characters. While it’s easy to score points for originality, it’s also easy to lose them with a relatively lackluster presentation. Also, our two leads fail to muster any relatable chemistry – though theirs is in part a frustration we’ve all been through (wanting to recapture a lost love) – but the far more interesting pairing ends up in the quirkiest menage a trois Freud would’ve imagined!
In the interests of fairness, I’m pleased to disclose that the fine folks at MPI Media Group provided me with an advance DVD copy of +1 (aka Plus One) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Wakefield – as a lead – isn’t particularly impressive. He spends far too much of this story on a spiritual quest: he desperately wants to find a way to get back into Jill’s good graces (and bodily charms), even if that means killing her original so that he can spend the rest of the evening with her alternate (whom he’s properly fooled thanks to an earlier scene). Thus, he wastes an awful lot of the remaining screen time wandering about, appearing sullen or lost and just not very interesting as a lead. By contrast, Hinshaw’s Jill looks terrific – she’s imbued with the right balance of teen innocence and budding womanhood – but the scenes between her and David (both versions!) lack any palatable chemistry.
Director Iliadis clocks far better mileage with the film’s secondary relationship – one far more convincing to the nature of high school or college make-out scenes – focusing on David’s pal, Teddy (Logan Miller), and Melanie (Natalie Hall). Theirs is the typical ‘brush with sex’ that takes place in most raunchy teen comedies, and that’s precisely how it plays out … only once. When their respective doppelgängers show up, the chemistry is understandably (and comically) spoiled, though that doesn’t stand in one another’s way of trying to make sense out of not only their budding hormones but also a shared temporal anomaly.
At 96 minutes, +1 still feels a bit overlong – with several sequences treacherously overwrought to the point of confusion – and the circularity of it all starts to fall apart before the big and massively bloody climax. But scoring solely on the merits of a film holding one’s interest bodes well for this little sleeper. Not quite funny but not quite serious either, it’s definitely one that kept me thinking until the last frame.
+1 (aka Plus One) (2013) is produced by Process Productions in association with Lola Visual Effects and Hydraulx Entertainment. DVD distribution is being handled by MPI Media Group through IFC Midnight. As for the technical specifications, the film is accented with quality sights and sounds, though I found some of the special effects to appear a bit juvenile compared to some of the better efforts available today. But if it’s special features you want? Look no further than this disc as there’s a commentary track, some behind-the-scenes shorts exploring the said effects, deleted scenes, cast and crew interviews, a poster gallery, cast auditions, and multiple theatrical trailers. Now that’s what I call “special” features, indeed! Nicely prepared!
Recommended.
I’d stop just short of saying that I enjoyed the entirety of +1 (aka Plus One). Rather, it’s one of those experiences I’d describe as frustrating as it was interesting, as ground-breaking as it was dismissive, and as exciting as it was … well … dull. The script tries to weave strategically through one mind-blowing night in the lives of perhaps too many primary and secondary characters. While it’s easy to score points for originality, it’s also easy to lose them with a relatively lackluster presentation. Also, our two leads fail to muster any relatable chemistry – though theirs is in part a frustration we’ve all been through (wanting to recapture a lost love) – but the far more interesting pairing ends up in the quirkiest menage a trois Freud would’ve imagined!
In the interests of fairness, I’m pleased to disclose that the fine folks at MPI Media Group provided me with an advance DVD copy of +1 (aka Plus One) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Good morning, gentle readers, and welcome to Tuesday, January 24th! Here's hoping you're up and at 'em today as mankind needs whatever you're going to add to the party in order to thrive!
Ahhhh ... well me? I just got up from a power nap. I had one of those nights where I just couldn't sleep. You ever have one of those? For whatever reason, you just keep waking up and waking up and waking up. I tried trying to find a more comfortable position, and that didn't help. I tried listening to white noise for some time, and that didn't help. I ended up just staying awake for so long that I needed a bit extra, so I'm better now ... even refreshed, I'd say.
But enough about me ... how are all of you this morning?
I've built a short stack of flicks I'm needing to pen reviews for, and I'll be working on that later today. One is a Science Fiction Comedy, and the other two are film noirs I received as part of a set. It's an interesting assortment that gave me something to think about, but sadly there wasn't a home run in the bunch. Doesn't mean they're not worth seeing; these just aren't ... well ... magical, the way a really solid story swings and hits from the plate. Regardless, watch this space over the next few days, and you'll see what I mean.
Ahhhh ... well me? I just got up from a power nap. I had one of those nights where I just couldn't sleep. You ever have one of those? For whatever reason, you just keep waking up and waking up and waking up. I tried trying to find a more comfortable position, and that didn't help. I tried listening to white noise for some time, and that didn't help. I ended up just staying awake for so long that I needed a bit extra, so I'm better now ... even refreshed, I'd say.
But enough about me ... how are all of you this morning?
I've built a short stack of flicks I'm needing to pen reviews for, and I'll be working on that later today. One is a Science Fiction Comedy, and the other two are film noirs I received as part of a set. It's an interesting assortment that gave me something to think about, but sadly there wasn't a home run in the bunch. Doesn't mean they're not worth seeing; these just aren't ... well ... magical, the way a really solid story swings and hits from the plate. Regardless, watch this space over the next few days, and you'll see what I mean.
Oh, sweet Mother of Dragons, I can't begin to tell you the grief I've had to endure over the years for admitting for ... ahem ... Stargate: SG-1 just wasn't a show for me.
Now, now, now: hear me out, people.
I absolutely loved the ensemble, as well as their stable of capable back-up players. Stargate: SG-1 was one of the better produced sagas in all of genre entertainment. My issue with it was just that it never quite meant anything to me on a personal level. Some of its stories were quite good, but I honestly found a lot of blandness to a good deal of what I've seen (about three seasons of it). This just happens from time-to-time -- fandom will embrace a show wholeheartedly, so I'll watch it and go 'meh' -- so don't take it personally. Each of us are entitled to our own opinions, and my disinterest with it has absolutely nothing to do with its quality. In ways, I felt like I'd seen a lot of it before, so it lacked a measure of freshness I need in new adventures.
But ... Richard Dean Anderson? What a solid leader for the crew, and it was great to see him headline a SciFi/Fantasy show the way he did. Fabulous work, and his ongoing contributions to the whole Stargate Universe of shows is to be commended.
(I know, I know, I know ... I never quite got into MacGyver, but that's another whole issue.)
Happy birthday, Mr. Anderson, and here's to many, many more!
Now, now, now: hear me out, people.
I absolutely loved the ensemble, as well as their stable of capable back-up players. Stargate: SG-1 was one of the better produced sagas in all of genre entertainment. My issue with it was just that it never quite meant anything to me on a personal level. Some of its stories were quite good, but I honestly found a lot of blandness to a good deal of what I've seen (about three seasons of it). This just happens from time-to-time -- fandom will embrace a show wholeheartedly, so I'll watch it and go 'meh' -- so don't take it personally. Each of us are entitled to our own opinions, and my disinterest with it has absolutely nothing to do with its quality. In ways, I felt like I'd seen a lot of it before, so it lacked a measure of freshness I need in new adventures.
But ... Richard Dean Anderson? What a solid leader for the crew, and it was great to see him headline a SciFi/Fantasy show the way he did. Fabulous work, and his ongoing contributions to the whole Stargate Universe of shows is to be commended.
(I know, I know, I know ... I never quite got into MacGyver, but that's another whole issue.)
Happy birthday, Mr. Anderson, and here's to many, many more!
Speaking of birthdays, the great Gil Gerard -- better known as TV's Buck Rogers himself -- turns another year older and another year wiser today.
For better or for worse, Buck Rogers In The 25th Century was appointment television in the years of my youth. Sadly, I couldn't quite say why -- well, other than the obvious, it being SciFi -- because so many of its first season episodes were the stuff of reasonably high camp and corn (things I vehemently hate). I suppose it's probably because there really wasn't anything else like it around the dial at the time, and Gerard was such a good sport of making all of it work. He had a swagger not unlike Star Trek's Captain Kirk, and he definitely had a thing for the space ladies ... also like Capt. Kirk.
Yes, I know, I know, I know (what is it with you complainers today?): it's second season was a bit of an embarassment of riches to those who watched it ... but you know what? I actually liked a few of those adventures precisely because they were a change of pace from the goofiness of the first season. Clearly, they tried to adopt a more serious tone, and they added a few faces to the cast that could've used more screen time for audiences to like them. I guess it just wasn't meant to be, and Buck disappeared into the distant reaches of space almost in the same way he appeared out of them in the pilot telefilm.
Happy birthday, Mr. Gerard! You're a true veteran space hero regardless!
For better or for worse, Buck Rogers In The 25th Century was appointment television in the years of my youth. Sadly, I couldn't quite say why -- well, other than the obvious, it being SciFi -- because so many of its first season episodes were the stuff of reasonably high camp and corn (things I vehemently hate). I suppose it's probably because there really wasn't anything else like it around the dial at the time, and Gerard was such a good sport of making all of it work. He had a swagger not unlike Star Trek's Captain Kirk, and he definitely had a thing for the space ladies ... also like Capt. Kirk.
Yes, I know, I know, I know (what is it with you complainers today?): it's second season was a bit of an embarassment of riches to those who watched it ... but you know what? I actually liked a few of those adventures precisely because they were a change of pace from the goofiness of the first season. Clearly, they tried to adopt a more serious tone, and they added a few faces to the cast that could've used more screen time for audiences to like them. I guess it just wasn't meant to be, and Buck disappeared into the distant reaches of space almost in the same way he appeared out of them in the pilot telefilm.
Happy birthday, Mr. Gerard! You're a true veteran space hero regardless!
That's all I have for now, faithful readers, but that doesn't mean that there won't be more later today. As I said above, I'm toiling away on a few items, so keep your eyes peeled as I may just have some other new content in the hours ahead.
Here's what you're really looking for ...
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ