Category Archives: TV

Reporting In the Internet Age, In Fact and Fiction

One of the story elements in this season of the CW’s Supergirl is that CatCo has been bought out and taken over by Andrea Rojas (Julie Gonzalo), a corporate schemer (and, we’ve learned, a supervillain on the side) under whose governance clicks, hits and eyeballs are the sole measure of good journalism. Crap is better than good journalism if the crap is serious clickbait.

Recent developments at the Deadspin sports-and-news site have demonstrated that’s a very realistic prospect. The new owners promptly told everyone that to draw more eyeballs, they should stick to sports coverage and nothing else. The flaw in this argument being that the political stuff drew lots of hits: if the owners had any brains, they’d have run with it. As former Deadspin reporter Megan Greenwell puts it, “The tragedy of digital media isn’t that it’s run by ruthless, profiteering guys in ill-fitting suits; it’s that the people posing as the experts know less about how to make money than their employees, to whom they won’t listen.” Which is why so many of the staff are resigning.

Part of the problem may be that “publishing well-written, well-researched articles that address various subjects with authority takes longer and costs more than publishing a high volume of short posts that exist only as filler underneath narrow-topic headlines designed to game Google searches.” Which fits with my experience at the Freedom News chain: I often felt like upper management would have been happy to convert the papers to endless pages of ads and “Cutest Cat” contest instead of actually paying anyone, only they, at least knew that wouldn’t work. It’s why I became suspicious of the business-speak phrase “content providers” which implies that reporters and photographers are really no different or more important than the people who submit press releases, fishing photos or letters to the editor. It’s all content, what’s the difference?

Where Supergirl gets it wrong is that, as Greenwell puts it, “the journalists at Deadspin and its sister sites, like most journalists I know, are eager to do work that makes money; we are even willing to compromise for it, knowing that our jobs and futures rest on it.” Again, that fits with my experience. I know writing about city council budget meetings or zoning hearings might as well be blank space as far as most readers are concerned (though it’s still a bad thing that local news coverage is disappearing), even though it affects their lives big-time (more than once I’ve seen someone declare at a Destin City Council meeting that there’s been no information released about a particular issue or city project, even though I’ve written dozens of stories about it). But I do the best I can to make them interesting and readable. And I also do stories that are more appealing to readers: talented kids and their accomplishments, local writer publishes book, new business development on the harbor.

Kara, Jimmy, Nia and their fellow journalists, however, don’t think about that. As Greenwll puts i, it’s a story where “idealistic journalists, unconcerned with profit, are posed against ruthless business-doers” rather than journalists trying to combine quality and popularity with management that happily flings crap against the wall in the conviction they know what will stick. Nobody argues with Andrea that their serious news article will be a better hook than whatever clickbait she has in mind, they just protest on principle.

Of course, I also have problems with the opposite handling of journalists, where their only standard in covering stories is how it will advance their career (e.g., the graphic novel Genius: Siege). Most of the reporters I’ve known find covering stories and writing about them interesting; awards are great but they’re not the prime motivator (and bosses don’t usually assign coverage based on what will advance our careers).

Still, despite my criticisms, Supergirl comes closer to capturing 21st century reporting than the comics have lately.

#SFWApro. All rights to image remain with current holder.

Leave a comment

Filed under Comics, Nonfiction, TV, Writing

Two great companions and the Master’s return: Doctor Who, Season 14

Wow, S14 of the original series was amazing. First rate stories, Sarah Jane’s last episodes, the return of the Master and the intro of Leela, the companion who kills people.

In a media world where formidable women protagonists are a lot more common, I’m not sure anyone can appreciate how totally novel Leela looked when she debuted. A barbarian warrior, she fights well, doesn’t lose her cool (faced with unkillable adversaries in Robots of Death and Talons of Weng-Chiang, she retreats but it’s strategic, not terrified) and has no qualms about killing people. Within the world of Doctor Who she stands out even now: there’s never been a companion as tough and deadly as she was.

The season kicked off with its weakest storyline, THE MASQUE OF MANDRAGORA. Sarah and the Doctor arrive in Renaissance Italy, dragging along a piece of the star-entity called the Mandragora Helix. They’re all embroiled in a local power struggle between Giulano, an enlightened young noble, and his power hungry uncle, Federico (“Only corpses fail to stand in my presence.”), allied with the scheming astrologer Hieronymous and a local cult. The Mandragora, which dislikes human free will and reason, sides with the bad guys; the Doctor and Sarah are on the other side.  I remember liking this one when I first saw it, but rewatching it’s too much mundane swashbuckler intrigues, not enough of the Helix. This does give the reveal that the reason Sarah can speak Italian (or anything else) is a “Time Lord gift” the Doctor shares with her. “It depends on whether the moon is made of cheese and whether thirteen roosters cluck at midnight.”

Sarah Jane bows out with THE HAND OF FEAR, which begins when a literal hand is turned up in a quarry, buried in rock (there are some jokes about the series’  long history of using quarries as barren alien planets). It possesses Sarah Jane (Elisabeth Sladen does an excellent turn) and takes drastic steps to regenerate (“Eldrad must live again!”). With the Doctor and Sarah in tow, Eldrad (much less memorable than Eldrad-possessed Sarah Jane)heads back to its homeworld, but it’s fudged some of the backstory — and there are surprises waiting even beyond that. It’s a good story, ending with Sarah Jane deciding enough’s enough (amusingly, she walks off humming the song My Daddy Wouldn’t Buy Me a Bow-Wow, little realizing the Doctor would some day gift her with a robot dog). “The Atomic Energy Commission is not going to believe this.”

At the end of that serial, the Doctor gets a summons to Gallifrey. They’re in the middle of a presidential election, but somewhere among the crowds lurks THE DEADLY ASSASSIN … and it appears to be the Doctor. Can he clear his name before he’s executed? This marks the return of the Master after several years absence, though here he’s a physical wreck from running out of regenerations (it would be another four seasons before he returned and got a new face). This one is intense, twisty and effective, though at the time it upset a lot of fans: showing the Time Lords riven by internal politics and coming off almost like humans didn’t fit most people’s ideas of what Gallifrey was like. With time, more people have recognized how good this one is. “You’d delay an execution to pull the wings off a fly.”

THE FACE OF EVIL has a familiar set-up — Earth-settled planet that’s forgotten its origins, devolving into two hostile cultures, one technological, one savage. It’s well-executed though, and it turns out the Doctor has a surprising role in the planet’s history. The best thing about this one, though, is the debut of Leela. “You know the very powerful and the very stupid have one thing in common. They don’t alter their views to fit the facts.”

THE ROBOTS OF DEATH would be a standout in any other season but it’s almost minor in S14. The TARDIS deposits the Doctor and Leela inside a giant mechanical miner whose crew are scouring a desert world for potentially valuable minerals. Unfortunately, some of the robot workers have decided to ignore the First Law of Robots and begin killing people. Oh, and look, these two strangers showing up must obviously be the guilty parties! The result is a mix of old-school murder mystery and SF. “I see, you’re one of those boring maniacs who likes to gloat.”

Last, but definitely not least we have the singularly frustrating THE TALONS OF WENG-CHIANG. The frustrating part is that it leans very heavily on Sinister Oriental stereotypes including tongs, opium, Fu Manchu-type villains and the general Othering of the Chinese. Not to mention that the sinister Chinese stage magician Chang is a British guy in yellowface. I’m sure for some fans these details will ruin what’s otherwise a fantastic story.

The Doctor takes Leela to Victorian London to see how her Earth ancestors lived. They land, wouldn’t you know, just as Chang is mysteriously kidnapping local women using his hypnotic powers, with his not-so-inanimate ventriloquist dummy and the Scorpion Tong eliminating anyone who gets in the way. The Doctor and Leela find themselves working alongside the flamboyant showman Jago (Christopher Benjamin) and Professor Litefoot (Trevor Baxter) to learn what’s behind it all (it turns out to involve a rival time traveler whose scientific theories have some flaws). Despite running six parts, it never feels padded: it’s well-acted, tense, well-performed and cleverly done. Scriptwriter Robert Holmes actually hoped to give Jago and Litefoot a spinoff series, but it never came to pass.  “Unfortunately the night vapors are very bad for my chest.”

#SFWApro. All rights to image remain with current holder.

 

Leave a comment

Filed under TV

Woman as hostage, as engineer, as office drone, as widow: movies and TV

REAL TIME: Siege at Lucas Street Market (2001) has a convenience-store robbery turn into a hostage crisis thanks to the idiocy of the two stick-up artists; can pregnant Brinke Stevens find a way to keep herself and her fellow hostages alive? Written and directed by Max Allan Collins, who says he wanted to do a found-footage crime thriller film rather than horror (we see everything unfold in real time via the security cameras) and that Stevens’s character is more-or-less his comic-book female PI Ms. Tree (he was concerned using the real Ms. Tree would undercut the cinema verité feel, and might also hurt the money he and co-creator Terry Beatty earned from studios occasionally optioning the character). A good, low-budget thriller. “I don’t have a purse — I came here to shoplift.”

I wasn’t a fan of the two recent Atlas Shrugged movies and apparently neither was anyone else: ATLAS SHRUGGED III: Who is John Galt? (2014) went straight to video, recast everyone and only ran 90 minutes, which mercifully reduces the amount of speechifying. Protagonist Dagny Taggart having reached Galt’s Gulch at the end of II, she gets to hear lots of lectures on the virtue of selfishness and fall in love with John Galt. Back in the regular world, society continues sliding into an unconvincing dystopia (it’s not much worse than the standard media view of New York in the 1970s). And the film is still clueless about how the world works, for examples portraying the trans-continental railroad as a pure capitalist project with no government support (a myth that cropped up in the earlier films). Glenn Beck plays a talking head awestruck by Galt’s visionary speech (which is way shorter than the book). “At last someone had the courage to say the truth and to say it the way it must be said!”

I will give the creators credit, the second season of AGGRETSUKO didn’t simply replay Retsuko’s struggles from S1. Here she’s dealing with her mom’s attempts to fix her up, her desire to find direction in her life, an entitled millennial underling — and if not a happy ending to the season, Retsuko does at least come to accept the good stuff in her life. I’ll be back if there’s an S3, but this works as a stopping point. “It doesn’t matter whether you believe you’re worthy of love — what matters is whether he does.”

I caught the first season of MARLEY’S GHOSTS on the Britbox streaming service and quite enjoyed it; that it was only three episodes didn’t hurt, as I don’t think the premise would work if drawn out. Sarah Alexander plays Marley, who’s stuck seeing dead people, specifically her selfish, unemployed schmuck of a husband, then her boyfriend, then the town’s clueless vicar. The shticks are familiar (like the neighbor across the street wondering why Marley’s talking to herself all the time), but the show and the cast makes them work. “Oh, wait the story’s not from the Book of Luke, it’s from that book of Joan Collins’ — that makes much more sense!”

#SFWApro. All rights to image remain with current holder.

Leave a comment

Filed under Movies, TV

Robert Altman, Alfred Hitchcock and the Doom Patrol: movies and TV

After watching Robert Altman’s disappointing Short Cuts, I put his NASHVILLE (1975) in my Netflix queue to see if despite the similarities (sprawling cast, nonlinear narrative, almost three hours long) it was, as I remembered it, a much better film.

Yep, it is. Possibly because Short Cuts is a group of separate stories tied together by connections among the characters where Nashville feels like a single story, albeit broken into multiple different subplots, many of which don’t really go anywhere. The narrative spine is a Nashville rally for a third-party politician whom we never see but whose messages (tax churches, end the electoral college) are heard throughout the film. Various other characters include country superstar Henry Gibson, womanizing musician Keith Carradine, Keenan Wynne and Shelly Duvall dealing with a woman’s death in different ways, choir director Lily Tomlin having an affair, a racist British reporter trying to interview Elliott Gould … It’s very much a slice of life, which is a tricky thing to pull off, but it works brilliantly. “Let’s consider our national anthem. Nobody knows the words. Nobody knows how to sing it.”

Silent movies were definitely not Hitchcock’s glory years — Like Easy Virtue, THE FARMER’S WIFE (1928) is another Filmed Stage Play by Hitchcock, this time a comedy one in which a widowed farmer pursues various local women in the entitled conviction he’d a fantastic catch for any o f them. Looks good — there’s a real sense of life around the crowd scenes, like the carnival in The Ring — but the story couldn’t keep my interest. “You are the first man who has accepted my sex challenge!”

Hitchcock shows good judgment in classing CHAMPAGNE (1928) as one of his worst films; the story of a madcap heiress who elopes only to learn her father’s just gone broke — what will she and her fiancé do now? I didn’t care at all. “I’ve met some lively people, invented a new cocktail and bought some snappy gowns.”

As a die-hard Doom Patrol fan, I shelled out for DC’s streaming service and binged their DOOM PATROL over the past few weeks (while there’s other stuff I wouldn’t mind catching, I’ve canceled it until DP S2 comes out in 2020). As NASCAR driver and first-class jerk Cliff Steele, Brendan Fraser wakes up from an accident to discover he’s now a brain in a robot body, living in a creepy old mansion alongside Niles (Timothy Dalton), Rita Farr (April Bowlby), Larry Trainer (Matt Bomer) and Crazy Jane (Diane Guerrero). Then reality-warping intelligence Mr. Nobody (Alan Tudyk) kidnaps Niles for revenge and begins tormenting the team in countless bizarre ways, forcing them to change and adapt while making sneering metacommentary (“You’ve spent thirteen episodes whining like a C-list Breakfast Club!”).

This was absolutely fantastic. Adapting Grant Morrison’s DP gave them good material to start with and they’ve used it well. Rita’s arc, slowly going from selfish withdrawal to decent human being; Larry dealing with the energy being inside him and his own homosexuality; Guerrero giving an absolutely amazing performance as a metahuman with multiple personalities. And the show stays strong all the way to the finish. It was actually worth adding another streaming service — next year I might keep my subscription going so I can watch week to week. It’s that good. “I would sooner have sharks in my vagina than spend another minute in the same zip code as you.”

#SFWApro. All rights to images remain with current holder. Cover by Richard Case.

2 Comments

Filed under Movies, TV

Stacking the deck: Twilight Zone’s “Miniature”

So I wrote a couple of weeks back about the way writers stack the deck to make their point: that life is fair/isn’t fair, that God is good/shitty, that violence is/isn’t the answer, that the legal system can/can’t be trusted. Watching the Twilight Zone episode Miniature, it occurred to me we stack the deck in our stories on a personal level as well.

The story is part of the show’s fourth season, when it jumped to hour-long episode and most fell flat on its face (I think the ratio of good to bad is at best, 1/3). But it had gems and Charles Beaumont’s Miniature is one of them. Robert Duvall plays Charlie, an introverted guy who just doesn’t fit with the world. His boss fires him because he doesn’t like to hang with his coworkers and that’s bad for morale. His mother obsessively takes care of him. His sister (the most likable of the supporting cast) tries to fix him up with a girl but Charlie’s not at all comfortable with her. And everyone assumes he’s the problem. Being in the Twilight Zone, of course, he has an escape hatch: a beautiful, elaborate dolls’ house at the local museum. Gazing into it, he fantasizes the young woman of the house is alive, and as lonely as he is … if only he could be with her, she’d be a woman he could connect with. If only … Of course everyone tells him it’s a delusion but guess what? It isn’t (yes, you probably guessed that). And two lonely people end up finding each other.

It didn’t move me as much as it did first go-round, probably because, like Harlan Ellison’s Jeffty Is Five, I got past the point where I was inclined to withdraw from the world into fantasy. It’s still well executed, with a great performance by Duvall. But it got me thinking about how stories stack the deck in regard to characters’ lives, as well as the big picture political/economic stuff.

Serling did a lot of stories about people desperate to escape into fantasy. Into their past, or their youth or some other world. But unlike a lot of writers who wallow in that (Jack Finney was particularly fond of rejecting the present for what he imagined was the wonderful 19th century), Serling knew it could be a trap. In Trouble With Templeton, the protagonist learns to stop living in the past and get on with his life. Jack Klugman in Passage for Trumpet is bitter and miserable about life, but learns “it can be as rich and sweet as the music he plays — if only he will listen.”

Stacking the deck is how Serling (and writers on the show such as Beaumont and Richard Matheson) show us which is the right outcome. Is the problem that the protagonist needs to embrace life instead of hiding from it? Or that life really sucks, as for the frustrated nursing-home residents in Kick the Can? Is love a possibility if you reach out, or have they lost the big chance already? Does the hero need to change, or is it other people? The answer is whatever the story tells us or shows us.

Of course sometimes I just don’t buy what it’s showing. Ida Lupino in Sixteen-Millimeter Shrine seemed to me like someone who needed to embrace the world, but she gets a retreat into fantasy instead. That’s the risk of stacking the deck: if you’re not plausible about it, it won’t work. And it’s hard to stack the deck if the audience really wants it stacked the other way. I can’t get into stories where the happy ending is the protagonist becoming a happy recluse because for me that’s a sad ending (the whole withdrawing thing).

But that’s the risk we take with writing.

#SFWApro. All rights to image remain with current holder.

 

 

Leave a comment

Filed under TV, Writing

Sherlock, She-Ra and Jack the Ripper: movies and TV

Continuing my viewing of the Basil Rathbone Holmes filmsTHE PEARL OF DEATH (1944) remains a personal favorite, a relatively faithful adaptation of Doyle’s The Six Napoleons. A stupid stunt by Holmes enables Moriarty-esque mastermind Conover (Miles Mander) to steal the priceless Borgia pearl, but where did he hide it? Does the theft tie in with a series of brutal murders by a killer who likes to break his victims’ backs and then smash plates? A solid story, with Mander fine in his vicious role, backed up by Evelyn Ankers (much better as a bad girl than the wharf rat in Voice of Terror) and acromegalic Rondo Hatton as the brutal “Creeper.” “I don’t like the smell of you — an underground smell, the sick sweetness of decay.”

Moriarty himself returns in THE WOMAN IN GREEN (1945)with Henry Daniell as an understated but ominous Moriarty (I can easily buy him as a mathematics professor) who actually gets some of Doyle’s dialog from The Final Problem. Unfortunately he’s in a mediocre movie involving hypnosis and an implausible blackmail scheme involving cutting off women’s fingers. This is narrated by Gregson, one of Doyle’s secondary detectives, which doesn’t add much (apparently the producers felt Dennis Hooey’s buffoonery as Lestrade wasn’t needed when they already had Watson for comic relief). However Daniell does manage to pull off one of those “let’s not put a bullet in Holmes right away” drawn out endings that annoy me so (“I’ve waited a long time for this moment.”). “Then we shall walk together through the gates of eternity, hand in hand.”

TERROR BY NIGHT (1946) has Holmes and Watson taking a train to safeguard the fabulous Star or Rhodesia, only to have the gem disappear en route with its minder dead. Could it be the woman traveling with her husband’s corpse? The dead man’s mom? The couple with the tea pot? Is it possible the real mastermind is Sebastian Moran? Competent, but no more than that, with Dennis Hooey returning and Watson at peak levels of stupid. “Col. Moran was directly responsible for what nearly turned out to be my premature death on three separate occasions.”

At six episodes, the third season of SHE-RA AND THE PRINCESSES OF POWER is even shorter than S2, but in compensation it’s very good. The story arc focuses on Hordak’s plans to open a portal and bring through the full Horde but the strength is in the character bits: Hordak and Entrapta bonding, Shadow Weaver switching sides, Adora freaking from the fear she’s failed everyone, Katra demonstrating she’s really as good as she thinks she is. Highly recommended. “I’d sooner see the world end than let you win again, Adora!”

When I picked up the Holmes DVDs at the library, I also snatched up a collection of early Hitchcock films. THE LODGER (1926) is widely seen as the first “Hitchcockian” film as it addresses one of Hitchcock’s favorite themes, an innocent man under suspicion. Based on a successful British novel (which the film’s script reworks radically) this has silent star Ivor Novello as the gentlemanly eponymous boarder striking sparks with his landlady’s daughter — but is it possible he’s also the mysterious Ripper-esque serial killer, the Avenger? This shows Hitchcock Romance‘s point about Hitchcock’s romantic streak as the heart of the film is the romance triumphing over the obstacles (suspicious parents, a disgruntled former boyfriend). Unfortunately that doesn’t make it interesting — it’s more a dry run for future classics than substantial in itself. “When I put a rope around the Avenger’s neck — I’ll put a ring around Daisy’s finger.”

#SFWApro. All rights to images remain with current holder.

1 Comment

Filed under Movies, TV

Two Western series, rewatched in full

KUNG FU‘s ratings slipped during S2 which gives me the feeling the show-runners were putting some extra effort into S3 (though it didn’t help). We have several episodes set entirely in China (Besieged and The Devil’s Champion) and some where Caine’s facing unambiguously supernatural forces (The Devil’s Champion again, one that absolutely fascinated me as a kid). There’s also the introduction of a running foe, a cult of Chinese assassins dedicated to hunting Caine down for killing the emperor’s son.Most importantly, we get the resolution to Caine’s quest as he tracks down his brother Danny (and Danny’s son), and gets embroiled in that ne’er do well’s feud with gambling czar Leslie Nielsen (the kind of serious role he was known for before Police Squad! established him as a comedian). I felt a little disappointed Caine just left his family behind to go on wandering, though it’s not out of character (as the episode Thief of Chendo shows, being a wandering defender of the helpless was what he dreamed of as a kid in the monastery. A good finish to a good series (unless, as I’ve noted before, you find the yellowface aspect a dealbreaker); followed by a good movie in 1986 (I plan to rewatch that one eventually) and a forgettable present day-set series, Kung Fu: The Legend Continues. “Both roads, the right and the left, must have an end — and when you reach that end, you will know your destiny.”

The fourth and final season of WILD, WILD WEST picks up from the disappointing S3, though it still isn’t up to the first two years. The good episodes are really good, including Night of the Avaricious Actuary, the Phantom of the Opera riff Night of the Diva and the very Sherlockian Night of the Bleak Island but there’s way too many bland episodes as well. There are, as usual, some good guest villains, including Harold Gould in Avaricious Actuay and Jo Van Fleet in Night of the Tycoons.

There’s not much Artemus: Ross Martin had a heart attack midway through shooting (there was serious fear he’d die or be too weak to keep performing) so the show fills in with several Artemus substitutes, most frequently Charles Aidman as Jeremy Pike. They only show that Ross Martin brought something to the role that his pinch-hitters didn’t have (my favorite is probably Alan Hale Jr. in Night of the Sabatini Death, which ends with a Gilligan’s Island joke). There’s only one Michael Dunn appearance, in The Night of Miguelito’s Revenge. I suspect Tycho, the mastermind in Night of the Raven was a possible replacement if the series had gotten to S5 (super-genius, world-beating ambitions, physically peculiar — in his case, a giant head stuffed with brains).

Minor changes include that Jim smokes cigars frequently (I don’t remember that as much in earlier seasons) and there are a lot more black faces — minor roles, but it seems like a lot more episodes than previous seasons have black bartenders, dance-hall girls or government messengers. One change that had me scratching my head is that they de-emphasize the eye candy aspect, which has been part of the series since the sexist first season (and was normal for most action/adventure shows back in those days). Some episodes (e.g. Night of the Janus) have no pretty girl at all — not that there’s anything wrong with that, but it’s a surprising choice.

This show had two sequels that were also pilots for a reboot series, More Wild, Wild West and Wild, Wild, West Revisited. As my DVD set of the series includes them, I’ll have them for review soon. And I shall probably watch the widely panned big-screen version with Will Smith, Kevin Kline and Kenneth Brannagh soon enough.

#SFWApro. All rights to image remain with current holder.

1 Comment

Filed under TV

The women of early Star Trek

A few weeks back I started doing something I’ve wanted to do for a while: rewatch the original Star Trek series. It was very much a part of my teen years as I watched episodes over and over in syndication, but it’s been years since I caught any of the episodes, except in passing when TYG was rewatching them. When I began, I discovered Netflix’s run includes the original pilot episode The Cage preceding the first episode, Man Trap. The difference between them was interesting.

Gene Roddenberry has rightfully taken crap for a vision of the future in which women, even though qualified to serve on a space ship, are primarily eye candy. The Cage is a step up from that. The ship’s first officer, Number One (Majel Barrett) is competent; Captain Pike’s female yeoman, Colt (Laurel Goodwin) is much more tomboyish in demeanor than ST: OS’ Yeoman Rand; the show emphasizes that having a female yeoman on the bridge is a novel thing.

The show does make it clear that the woman are attracted to Pike, so who knows how they’d have been written if the original pilot went to series. But having a woman as first officer, and clearly competent, is still striking, particularly in that era.

A little too striking for the network, which told Rodenberry to either dump Number One or get rid of Spock; he opted to keep Spock, believing viewers needed to see an alien on board. Colt got replaced by Rand.

The opening episodes of the regular series do feel much more sexist. Yeoman Rand is mostly there to be pretty and smile and run errands (watching as a teenager, I thought “yeoman” must be something like a valet). Uhura flirts quite a bit with Spock. It’s disappointing to compare.

But then we get to the second episode, Charlie X. This gives the Enterprise it’s first encounter with a cosmically powerful foe, a teenage boy raised by disembodied intelligences who taught him their ability to transform matter. It’s apparently a limitless power, and Charlie’s a teenager, full of raging hormones and completely unused to dealing with other humans. He reacts viciously to slights or hurts and winds up a lot like Billy Mumy’s demigod on It’s a Good Life.

He also looks like the embodiment of the #metoo villain. Once he meets Yeoman Rand she’s all he can think about, and he can’t tolerate being told no. She tries introducing Charlie to a girl his own age; he treats the girl like dirt. His feelings, his needs, are all that he cares about; he thinks he loves Yeoman Rand but she’s just a means to an end, the end being his own satisfaction.

Watching in my teens, I knew he was out of line, but I saw him mostly as a tragic figure, screwed up by his own lack of experience dealing with people. Now I see him as much creepier.

I don’t think I’ll have more to say about the series until I finish S1, but you never know.

#SFWApro. All rights to image remain with current holder.

Leave a comment

Filed under TV, Undead sexist cliches

The Twilight Zone, a tree and the Incredibles: TV and movies

With S3 of THE TWILIGHT ZONE, the bloom is definitely off the rose with way more flops than in previous seasons. E.g., Cavender is Coming, The Shelter, The Passerby, Still Valley, Dead Man’s Shoes, Four o’Clock and Showdown With Rance McGrew. Some are preachy and heavy-handed, some are unfunny comedies, some just fill a half-hour of TV and accomplish nothing more.

That said, the season also had some terrific episodes. Elizabeth Montgomery and Charles Bronson give solid performances as post-WW III survivors in Two, which opens the season. Donald Pleasance gives a moving performance as an aging teacher in the final S3 episode, Changing of the Guard. In between we have It’s a Good Life, the anti-Nazi drama Death’s Head Revisited, Five Characters in Search of an Exit and Person or Persons Unknown. It’s worth sitting through the mediocre to get to the good stuff. I’m not sure I’ll feel that way about S4, the notoriously unsuccessful switch to hour-long episodes (I think mediocre-to-bad episodes are the majority) but I won’t turn back before I finish the whole run (are you impressed at my heroism?).

CHARISMA (1999) is a confusing Korean thriller in which a cop is put on mandatory leave after a botched hostage crisis, travels to a small village and winds up obsessing over a mysterious tree in the arae. I’d assume my utter lack of interest in this (I checked out after about 40 minutes) was due to a culture gap if I hadn’t watched and enjoyed so many Korean films for the time-travel book.

THE INCREDIBLES 2 (2018) picks up immediately where the first film wrapped up, as the family’s battle against Undermind creates so much wreckage it looks like superheroes will stay on everyone’s shit list. A billionaire superhero comes up with a solution, using Elastigirl to fight crime on camera so that viewers will see how much good they do; Mr. Incredible, being overly prone to collateral damage, has to become the stay-at-home parent. But a villain named Screenslaver has a plot that may destroy the family for good … This was a lot of fun, and I give them credit for showing Mr. Incredible as a competent parent rather than a complete inability to handle the kids. Jack-Jack isn’t as cute as they think, but overall this makes me hope for Incredibles 3 some day. “Let’s not go testing the ‘insurance will pay for everything’ idea all at once, okay?”

#SFWApro. All rights to image remain with current holder.

Leave a comment

Filed under Movies, TV

A superhero, a melancholy Dane and Netflix cartoons: movies and TV viewed

Michelle Yeoh is SILVER HAWK (2004) a millionaire martial-artist riding a motorcycle against crime. A kidnapping turns out to be Step One in a cyborg mad scientist’s plan to turn cell phones into mind control devices; can Silver Hawk stop him even with her childhood best friend now a cop assigned to bring her in. Yeoh, as always, radiates star quality, and the movie is a blast. “My boss is correct — it really does take you four hours to get dressed.”

David Tennant gives a spectacular performance as HAMLET (2009), a Royal Shakespeare Company production shot at Elsinore Castle (not the first film to do that) and one of the more unstable melancholy Danes; in his early scenes with Ophelia, his madness does seem more like he’s snapping than him putting on an act. With Patrick Stewart as Claudius, this is a solid modern-dress production (though the gimmick of having some scenes apparently caught on security cameras brings nothing to the table); Ophelia’s madness feels very out of the blue, though, and as usual I find Gertrude under-written. “Though Hercules himself do what he may/The cat will mew and dog will have his day.”

S2 of SHE-RA AND THE PRINCESSES OF POWER alternates between the Princess Alliance working on ways to take back the territory the Horde have occupied and Katra, Skorpia and Entrapta working on ways to advance Hordak’s end-game. The imprisoned Shadow Weaver, however, has plans of her own … This was an excellent season, culminating in revealing Bow’s secret origin (raised by pacifist academics, he’s been hiding the truth about joining the resistance). Katra, meanwhile, worries her achievement in becoming force commander is rapidly eroding, bringing all her insecurities to the surface. My only complaint is that seven episodes was too short — I hope we got back to 13, or at least 10, next season. “ “All the Horde ghost stories are about evil dead princesses — I can’t believe I never noticed that!”

I also finished the first season of AGGRETSUKO,a Netflix series loosely based on some Japanese anime shorts. Retsuko, the protagonist, is a corporate drone working under a bullying sexist boss in accounting and relieving her feelings by blasting out heavy metal karaoke after work. Can she find love? Or the courage to tell her boss off? Or will she stay stuck in her current mode forever? This was no She-Ra but it was fun, and fits with some of the stories my corporate-employed friends tell about work. “Even a high school boy has better sense than that!”

#SFWApro. All rights to image remain with current holder.

3 Comments

Filed under Movies, TV