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Stardate 01.31.2017.A: Doctor Who - A Franchise In Transition

1/31/2017

 
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For those of you who may’ve missed the big announcement yesterday, then here’s the gist of it: after the upcoming season of Doctor Who actor Peter Capaldi is bowing out as the time traveler from Gallifrey to pursue other interests.  This would put him on the same path the previous incarnation as played by Matt Smith, meaning ‘third times a charm’ before hanging up the Sonic Screwdriver for – ahem – greener pastures.

Methinks it’s safe to say that Capaldi’s run has not been without some controversy, some legit and some not so much.

For starters, the actor was a bit older than what modern audiences have been accustomed (Capaldi is six years senior Christopher Eccleston who helped bring the Doctor back onto the tele in 2004, though obviously at a younger age than when Peter inherited the TARDIS); and while it’s safe to suggest that his maturity may’ve put off some viewers I personally had no issues with it whatsoever.
  (In fact, I’ve enjoyed having a sense of seniority back at the show’s helm.)  Some ‘talking heads’ in entertainment media have strongly pointed out the program’s falling ratings imply that audiences never quite “took” to Capaldi, but I’d counter that the continued media explosion – namely the reality that there are vastly more choices for entertainment available each passing year – could equally dilute those numbers.  Lastly, of course, there’s the never-ending ‘Russell T. Davis vs. Steven Moffat’ hullabaloo (who has served as a better showrunner), and I’m always quick to point out that over fifty years of existing stories and backstories might just make that job more and more thankless each year as it grows harder and harder to find fresh, fertile ground to explore.  While the universe might be expanding literally, creativity will always be bound by the restrictions of TV budgets.

Alas, it may not exactly have helped matters that this past holiday special – “The Return of Doctor Mysterio” – really had no sense of the traditional holiday trappings to much of it (you can check out my review right here if you’re interested), perhaps even mildly suggesting that Who was due to a shakedown.
  Both Capaldi and Moffat are on record as having suggested that perhaps a new showrunner should also inherit a new Doctor (the BBC has previously announced that Chris Chibnall will be taking over Moffat’s duties beginning with Series 11), so I tend to see Capaldi’s announced departure as little more than that: a chance for the show to ‘begin anew.’

That said, change can be a ‘best friend’ just as easily as it can become a ‘worst enemy.’
  David Tennant had some reasonably big shoes to fill with Eccleston’s departure, and I’ve read Matt Smith’s comments about assuming the same mantle when Tennant opted to move along.  The Who universe can be a vast and frightening place to live in what with all the Daleks and Cybermen waiting in the deepest, darkest corners.  These days, fandom can be notoriously fickle, and viewers expecting great returns for their continued loyalty are quick to register their disappointment at practically every opportunity online and beyond.

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Still, a property like Who endures.  Because its formula allows for alterations in the fabric of cinematic reality, the program can be practically anything it needs – humorous, dramatic, lighthearted, fantastic, and horrific … all at once or divvied up in separate installments.  Some of its best hours have had very little time spent with the singular Doctor (the Sally Sparrow-centered “Blink” comes to mind), but dare I suggest that even a weary time traveler needs a bit of a holiday to himself now and again?

Or should I say – to herself?

If viewers are perfectly honest with themselves, then it’s easy to admit that Who is and has always been a show founded in transition: characters (good and bad) come and go, and the central character himself can regenerate into another version, opening opportunities for changes in both themes and tones constantly.
  After all, how many hours have fans debated online and elsewhere just whom the best Doctor is?  The best villains?  The best companion?  The best TARDIS interior?  While these elements are arguably fodder much in the same way they are for any franchise, Who’s uniqueness perhaps spurs even more controversy than any single showrunner should have to endure for too long a season.

I’ve always welcomed a new Doctor, and I will again.
  Granted, I do wish Capaldi’s run wasn’t coming so soon (I say that even with this forced ‘hiatus’ probably not serving the show well either), but as his adventures and those of his predecessors have taught me there are fixed points in time that cannot be avoided, cheated, nor tempted, not matter how hard we try.  Perhaps this ‘change’ is nothing but more of the same.

Only time will tell …

… and time -- as we know -- is the Doctor’s day job.

Stardate 01.30.2017.A: SciFiHistory.Net's First 50+ Day Celebration

1/30/2017

 
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Occasionally, I get asked for further details about SciFiHistory.Net, and -- when I do -- I'm never quite certain of how to answer.  As I've always said, I started SciFiHistory.Net as my own li'l celebration of All Things SciFi, meant to give ShoutOuts to the significant births, movies, series, and events worth highlighting historically; and it's pretty much stayed on track, though I have expanded some days for nods to Horror and Fantasy entries.

​In any event, I've always believed that it would be possible to get each day to have 100 different citations, be they birthdays, TV episodes, books, and the like.  There's so much out there, in fact, I've often argued that each day will likely surpass 100 entries ... just maybe not in my lifetime.  (I do have mouths to feed, after all.)  Still, I never realized how much time, love, and tenderness it would take to get to those 100 daily citations, but today's entry for January 30th reached a critical milestone in being the first day's log entries to have over 50 citations!

​Yea me and yea SciFiHistory.Net!

I couldn't help myself but share.

Here's a link to the day: January 30th

​As always, thanks for reading ... and live long and prosper!

Stardate 01.24.2017.A: Today's SciFi-ShoutOut - Alberto Guaita Tello's 'The Eyes Of The Sea' Now Available At Amazon

1/24/2017

 
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One of the distinct pleasures I experience as a SciFi/Fantasy blogger is I get to meet people from all walks of life via the great Information Superhighway.  While many of them are offering me services or advice on how to better run my little Rest Stop (aka SciFiHistory.Net), others are simply stopping by to say hello, request a posting update, or asking if I can make readers aware of a new item which may be of interest to them.  (Keep in mind that I'm not in the business of reviewing digital content, so please don't mistake a blurb here or there as any kind of professional endorsement: the only thing I'm honestly professional at is being me!)

​In that regard, I'd like to give a SciFi-ShoutOut today to budding author Alberto Guaita Tello.  He's crafted a new fantasy novel -- The Eyes Of The Sea -- and it's available for purchase via Amazon.com right here.  And here's the information about the title for those of you hesitant to follow the link:

In the early 1970’s, on the coast of Cameroon, young Fanya and her grandmother, Simone the tribal healer, find a wounded, unconscious being lying on the beach, tangled in a mass of seaweed. The strange creature is human-like and goes by the name of Sharduk. Together, the two women will try to save Sharduk’s life, healing his wounds and hiding him in the mangrove swamp. When he awakes, he will tell them the story of the distant world he comes from, Telluria, and how he came to ours through a mysterious portal called a crossing point. Fanya and the convalescent Sharduk soon fall in love, but due to dangerous circumstances he must leave her, promising to return with a safe means for them to travel together back to his world through the underwater crossing point that had brought him here. Thus begins an epic story full of adventure, romance, African magic, and science fiction, with surprising twists and turns along the way. It’s a tale that will take us to the new worlds and new mysteries of each of its characters, who find themselves confronting prejudice in their different societies, as well as terrible enemies.  An epic tale of adventure, love, African magic, and mystery.

Congrats to Mr. Tello on achieving this release, and we here at SciFiHistory.Net wish him the best of luck in this and his future endeavors!

​As always, thanks for reading ... and live long and prosper!

Stardate 01.23.2017.A: Is The Force Strong With 'The Last Jedi'?

1/23/2017

 
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To the delight of some and consternation of others, I've always freely admitted that I'm far too old to get excited about news blurbs associated with upcoming film releases.  Don't get me wrong: I'm looking forward to each and every Star Wars films as much as the next fan ... it's just that at my age I've been burned far too many times to really expend much energy thinking about "What could that title mean?"

​On the face of it, Star Wars: Episode VIII - The Last Jedi is functional.  (For those who missed it, the official Twitter feed for Star Wars released this title to some hype earlier this morning.)  It certainly kinda/sorta sums up the time and place and circumstances of the overall junction where we find ourselves in that galaxy far, far away: for all intents and purposes, Luke Skywalker remains the last Jedi Knight.  (Or is he?  Is there another?  Could there be?)  It's head and shoulders above "The Force Awakens" (sorry, peeps, but that title remains almost as bad as the film itself), and maybe it even harkens back to the simpler themes of previous installments like "A New Hope," "The Empire Strikes Back," and "Return of the Jedi."

​Add to this the most recent announcement that Lucasfilm and Walt Disney have no intentions to recreate Princess Leia digitally (with the recent passing of actress Carrie Fisher); and it kinda/sorta beckons the question, "What's awaiting 'The Last Jedi' when he races onto movie screens this holiday season?"  That's probably exactly where the storytellers want you to be, so let's be thankful for small miracles.

​As always, thanks for reading ... live long and prosper ... and May the Force be with us!

Stardate 1.20.2017.B: Logan Is Coming ... And This Time He's Bringing A Kid

1/20/2017

 
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If you had told me 20 or 30 years ago that we'd reach a time in our society culturally when you could count on two or three big budget comic book movies in any year I would've told you that you were crazy; for far too long, studios just didn't know what to do with comic book flicks, often times just rolling them out for the sole purpose of giving those costuming and special effects wizards something to do.  The downside, however, is that these days the stories don't often give emerging heroes all that much to do that's different from what's come before, but Logan's trailers have a freshness to them, despite the fact that clearly aging and mortality figure in central to the lead character's journey.

​Plus ... Hugh Jackman?  Am I right?  He remains an inspiration in the role of Wolverine, and while he's been clear that this is his last go-round with the mutant I would love to see a few more even in a supporting capacity.

​In any event, the final trailer has dropped via the web, and I'm happy to share it for interested parties right here.  Check it out; it's pretty spiffy.

As always, thanks for reading ... and live long and prosper!

Stardate 1.20.2017.A: Colossal Looks ... Interesting ...

1/20/2017

 
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As I've often said, getting the mix right for a SciFi/Comedy is never an easy thing.  For starters, the project needs a legitimately humorous idea and then a story worth the time and effort of both the players and the audience.  Then, assembling a cast and crew with the right chemistry along with a willingness to 'make it stick' adds layers of complexity that could scare the stuffing out of most Hollywood accountants.

​Colossal's trailer is a bit brief, but there's enough in there to possibly tickle the imaginations of moviegoers, so much so that it looks downright charming.  Granted, I'm far too old to get excited about something as simple as a trailer, but this one gave me a modest chuckle.
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As always, thanks for reading ... and live long and prosper!

Stardate 1.11.2017.A: Han & Woody Are Joining Forces In Space!

1/11/2017

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Readers, I learned a long time ago (not in a galaxy far, far away) not to put too much 'stake' or value in casting news.  The problem with getting excited about such announcements is that -- on the face of them -- they don't mean much as they're usually not paired with substantive information about what role the actor or actress may untimately play in an unknown story.  Plus, because the story itself remains a secret, who knows if a great actor can pull off what's required of him or her?  We've all seen good flicks that honestly could've been a bit better if a different talent had been brought in to provide a different 'take' on the character.

Still, Woody Harrelson has a pretty solid record in achieving results when he's booked for it, and today the Star Wars website has posted a release regarding the Woodster's casting in the as-yet-untitled 'Young Han Solo' stand-alone film.  The web rumors are suggesting that Woody will be serving as a mentor to the young star pilot turned smuggler, and that might end up being pretty fun to see.  As is always the case, I'll remain hopefully optimistic, especially since I found the stand-alone Rogue One to be, largely, pretty darn stellar (with a few drawbacks).

As always, thanks for reading ... and May the Force be with you!
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Stardate 1.5.2017.A: Are You Watching This? The Man In The High Castle - Season 2

1/5/2017

 
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It’s often been said by those within the entertainment community that it can take a season or two for some programs to really ‘find their legs.’  (I’ve always disagreed with this, incidentally.)  While I certainly understand that it may take actors and actresses some time to achieve a level of understanding about a character’s drives and motivations, I don’t think any show has or should have the luxury of two or three seasons to craft compelling stories worthy of an audience’s time.  To borrow an analogy, these days showrunners had better be hitting a few episodes ‘outta the park’ early on, or viewers have hundreds if not thousands of entertainment options just waiting for discovery elsewhere.

Usually, I don’t binge shows, largely since I’m not a huge fan of streaming.
  (You kids, get off my lawn!)  But not long after The Man In The High Castle premiered on Amazon.com, I found myself on the other side of the country caring for a cancer-stricken family member during the day and hungry for something to watch during the evenings; so over the course of a few nights, I bit my tongue and streamed the first season … and I fell in love with the world, the possibilities, and the concept much more than I did those particular characters.  In short, too many of them were more than a bit wishy-washy, clearly not quite committed to any mission but instead left responding to the demands of others.  Without a clear protagonist and hamstrung by what I felt were too many cooks in the kitchen, High Castle didn’t quite coalesce into something I thought I’d stick around for too long.

Thankfully, my wife saved me some embarrassment (bless her heart!) when she suggested on vacation that we check out how issues were resolved.
  I cued up Season Two … and are you watching this?
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​Season Two of the Man In The High Castle is a complete turnaround (nearly) from Season One.

There are still moments wherein characters react more than they direct the action, but thankfully Alexa Davalos (as series lead Juliana Crane) ‘manned up,’ made a few decisions, and took charge (somewhat) of her fate.
  In her defense, the character spent far too much of those first hours trapped between a Reich and a hard place that I honestly figured she wasn’t long for this world; perhaps that’s what the writers sensed, and they crafted her a more interested arc for Season Two.

For those of you born and raised on an island, The Man In The High Castle is a loose adaptation of a novel of the same name by SciFi visionary Philip K. Dick.
  (It’s often the work most cited for putting Dick ‘on the map’ as one to watch in Science Fiction.)  It’s an Alternate History tale – one wherein the Third Reich created the bomb and decimated parts of the United States to end World War II – but somewhere, somehow folks dwell on a very different outcome (i.e. our reality): American survivors are smitten with a book called ‘The Grasshopper Lies Heavy,’ a banned work of fiction that suggests Germany and Japan lost the war.  Naturally – for the modern audiences – the Amazon production changes the book into a series of underground films, all of which are mysterious in origin.

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What the series has done well is establish these films as a credible MacGuffin – a plot device that spurs others to action.  Because they’re rumored to depict the fall of Germany, they draw the attention of the Fuhrer no less (Hitler’s still alive in the 1960’s setting, though his health is failing), and the Nazi leader has committed resources to securing them for his private collection.  Thankfully, in the transition from Season One to Two the writers kinda/sorta loosened the foundation just a bit – not every character is in pursuit of whatever truths these reels may hold – and I think that’s given High Castle (as a program) some appreciable depth missing from the early hours.

Now – as you can probably tell – I’m not one of those reviewers who completely fell in love with the program’s first season.
  To be as blunt as possible, there were moments that were downright painfully misdirected, almost as if the writers were tasked to fill out more broadcast time with unnecessary scenes and unfulfilling characters (primary and secondary).  I challenge those who thought those ten hours were ‘perfect’ to go back and watch them now – especially with the greater context added in the second season – and justify such praise; outside of a few exceptional opening hours, those middle installments dragged so heavy that the narrative had little momentum, and most of the developments were far more frustrating than they were appreciably enlightening.
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Season Two, though, has been inspiring.  There’s palpable tension between practically everyone, much in the way good noirs work best.  Motivations are never quite clear – sometimes by obvious intent – and this has gifted these ten hours with not only stronger reveals but also better hooks – the reasons for you to stay with the program even if it’s only the next part.  Also, some of the secondary characters from Season One have finally been given interesting and relatable reasons to exist in this time and space; as a viewer, I’m all for having a big cast – my only requirement is that everyone here have a reason to exist, and Season Two has exceled in that regard.  Finally, these players ‘feel’ a bit more organically poised to tell a good story, and the audience is rewarded for paying attention.

Lastly, here’s the icing on the cake: Amazon.com recently announced plans for a Season Three, and that’s great news for those of us who’ve finally been drawn into this conflict and joined the Resistance.
  Season Two certainly ends with solid cliffhangers, and who knows where they’ll go with this next time?

If you’re not watching, then why not?
  There’s no better time to jump aboard than the present.

Stardate 1.3.2017.A: The Not-So-Supergirl, Or What A Difference A Network Makes

1/3/2017

 
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As regular readers of SciFiHistory.Net know, I consider myself one of mankind’s greatest Superman fans, and, yes, that pertains to the entire Super-franchise.  I read my first Supes comics back in 1970, and I’ve always found an interest in what any members of the whole SuperFamily are up to.  While I could nitpick some of the films and some of the Super-TV-series to death, I do give them a pass creatively since it’s the subject matter that interests me more than (over)analyzing the production: if it works, then it works, and – when it doesn’t – I’ll simply say it doesn’t.

So as a fan I was thrilled when it was announced that Supergirl would become a staple in the greater BerlantiVerse (as it’s known online).
  (For those unaware, that simple refers to the various DC Comics television programs created under Greg Berlanti, TV producer, writer, and director.)  Mr. Berlanti is responsible for shepherding Arrow, The Flash, Supergirl, and Legends of Tomorrow onto the Boob Tube, and I – like so many – was initially surprised when CBS ponied up for the broadcast rights to ‘Girl’s inaugural season; however, they passed on a renewal, and the popular show transitioned to The CW (maybe where it should’ve been all along) though not without some “primping.”

With this change, some of the faces changed as well.
  The luminous Melissa Benoist still impresses as the choice to lead this show as Supergirl, though she’s been hamstrung a bit with changes for her alter ego Kara Danvers.  Calista Flockhart’s Cat Grant appeared for an episode or two, but as the actress didn’t wish to relocate to Canada wherein Supergirl is now filmed her character was kinda/sorta written out (though there’s been talk of her inevitable ‘return’ for special events).  Peter Facinelli’s kinda/sorta villainous Maxwell Lord – a Lex Luthor wannabe if there ever were – also vanished but his departure was largely without a trace; I don’t even remember a passing mention in the second season explaining where the prominent National City citizen went off to in such a rush.  And Jenna Dewan Tatum’s Lucy Lane didn’t make the cut either, leaving the playing field free for Kara and Mehcad Brooks’ “James” Olson to once and for all consummate a romantic relationship.
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When shows move from one network to another, it isn’t uncommon for there to be some differences.  As mentioned, shooting locations alone might require cast changes for those who no longer wish to make the commute; and network requirements might have new ‘suits’ perhaps pushing writers and showrunners to consider tailoring the program more toward a specific target demographic.  Some of these challenges can be accomplished seamlessly, but – dare I say? – Supergirl hasn’t quite fared as well as one would hope, especially given Berlanti’s dominance of programming with The CW.

To a certain degree, much of Supergirl’s first season followed the tried-and-true ‘villain of the week’ format: some new baddie showed up in or around National City each week, and Supergirl had to come to grips with these unanticipated challenges, rise to the occasion, and allow good to rule the day.
  There were occasionally attempts made to build minor arcs – i.e. Jeremy Jordan’s Winn Schott falling in and out of love with coworker Kara; Maxwell Lord’s latest attempt to corner the market on ____ (insert whatever); James Olson’s on-again-off-again relationship with Lucy Lane; etc.  But the bulk of the action remained on the formula – get the villain in, give Supergirl a challenge, and resolve the issue so that it could all begin again next week.

But …


In short, I’ve found most of this second season to be a narrative mess.
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For example, the departure of Lucy Lane should’ve set James and Kara on course for something different, and it did … only that something different left James deciding he needed to ‘suit up’ as a full-blooded superhero on his own and assist Kara clandestinely after the two of them put an end to their non-romance (nomance?) before it even started.  The super-secret government agency (Department of Extra-Normal Operations, aka DEO) moved from its understandably super-secret mountain hideaway into the light of a sunny, silver skyscraper wherein its operations are hardly much of a secret, given they’re right in the middle of town!  With Maxwell Lord nowhere to be found, apparently showrunners decided to go back to the drawing board and bring the remainders of the Luthor family out of the shadows, fully primed to take control of … well, so far it isn’t all that clear.  Something with clones?  Technology?  Shopping?

Even worse, one of first season’s stand-out relationships was that between Kara and her adopted Earth sister, Alex Danvers (played by the comely Chyler Leigh), has been completely sidelined, almost if that sisterly strife so evident in those earlier episodes was never all that important to the show’s fabric.
  Now, Alex has been bound by the writers with an “is she/isn’t she” homosexuality that entirely derailed any momentum she’d made as a person of substance in the first season.  Don’t get me wrong: it isn’t the homosexuality I take issue with but rather the fact that this personal discovery came quite literally out of nowhere based on what audiences knew of the character before her epiphany.  While this may be un-PC of me, I thought we as a society have been led to understand that gayness wasn’t a choice but something folks have been since birth; were that the case (even for a fictional character), shouldn’t there have been SOME inkling earlier?  A few throwaway scenes suggesting she’d long known it but never faced the reality (along with a scene wherein her fictional mother always suspected it) felt not only troublesome but downright offensive to such a personal revelation.
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What first season’s Supergirl did well was use that dynamic – that of two young women fully known to one another but still learning to cope with life’s individual and collective challenges – to tell interesting, timely, and fun adventures.  In fact, I’d even likened the show to my wife as a modern day ‘Bionic Woman,’ a great late 1970’s SciFi program that simply told action stories with a little morality thrown in for good measure; Lindsay Wagner’s cybernetically-enhanced warrior never thumped viewers over the head with why she stayed a single woman (while she did) … she just went out and kicked butt!  Supergirl’s second season appears to have discarded the sisterly relationship almost entirely, elevating a lifestyle to the point of absurdity even when it has little to do with the action, situation, or circumstances.

Despite my complaints (and, yes, they are complaints), The CW program has still managed to deliver some good moments, though I’d argue that there hasn’t been a great episode from this early batch of eight.
  Kara’s cousin – Kal-El, aka Superman, aka Clark Kent – joined the BerlantiVerse; while I wasn’t much enamored with actor Tyler Hoechlin’s performance as Big Blue I think he delivered a spiffy TV version of Clark.  The season opener was a two-parter giving Hoechlin and Benoist a chance to show their stuff as family had some great chemistry, so much so that I think fans will be happy to see the two working together in future hours.  Thankfully the writers have expanded David Harewood’s role; as the head of the DEO, he also harbors the secret of being the Martian Manhunter.  Several episodes have given him some material to work with as he finds he may not be the true ‘last survivor’ from Mars after all.  While it was decidedly awful to watch a U.S. President giving legitimate aliens (from space!) unquestioned rights to U.S. citizenship (without having to earn it whatsoever), it was terrific to see Lynda Carter back on television in the role.

Supergirl isn’t necessarily a ship that has to right itself.
  My take as a viewer is that the show has been forced to go through some growing pains precisely because of the network shift, and my take as a critic is that these first few hours of its sophomore season may be little more than a creative hiccup that’ll disappear once the tales begin again after the winter break.  Supergirl boasts a talented cast, and – as a superhero property – it often times finds stories to tell that project popular values though some may not be as traditional as purists would like.  I still believe a man – or a girl – can fly.  I just want more action and less exposition.

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