I'm a sucker for sci-fi. When I heard about V I couldn't help but be at least a little interested. I don't know much about the original 1983 series, but I thought I might as well watch an episode of the reboot.
To get straight to the point, the pilot was really good. However, I'll admit now that it did have a rather big 'wow factor' that I'm not sure they'll be able to maintain for the rest of the series. The special effects were some of the best I've ever seen for a TV show. There's little chance the budget will allow for that kind of spectacle every week.
The characters introduced were interesting and mostly 'real' (ok, so they're sometimes cheesy, but they mostly get away with it). There's some (albeit limited) chemistry between the actors that's unspectacular, but watchable. Also, two words - Alan Tudyk.
As with much of good sci-fi, the genius truly lies in the subtext. There was a fair amount of exposition to help demonstrate what the show will attempt to explore. There was clear mention of indoctrination (and parallels drawn with religious extremism), parental responsibility (and teenage rebellion - itself paralleled with political rebellion) and political corruption. These themes will almost certainly play a big role in the show overall. So far they've been compelling and I hope the writers can keep it up.
Whilst I can't say I truly believe that the series will continue to be as good as this episode, I think the creators deserve credit for making an excellent pilot. The plot and characters are laid out clearly and the direction was used very effectively to help tell the story. The image on screen is often contrasted with the dialogue to highlight differences in characters' viewpoints and, conversely, to draw parallels between other characters. The dialogue itself is quite clever and often carries dual meanings. I get the feeling this has all been very well thought out.
In addition, the episode was well-paced and there were interesting, believable plot points that moved the story along. I didn't notice any examples of lazy writing or deus ex machina. This is often a dead giveaway of a poor sci-fi show. If the same attention to detail is given to the whole season then this show could really work. I hope it does.
Showing posts with label TV. Show all posts
Showing posts with label TV. Show all posts
Wednesday, 9 June 2010
Tuesday, 8 June 2010
The Boondocks
The Boondocks follows two black kids from inner-city Chicago who've been sent to live with their rich uncle in the suburbs. The story itself is not hugely important, but it provides the set up for what this show does best - social satire and biting political commentary.
The whole show acts as window through which the writer expresses his viewpoint as a true disillusioned 'African American'. So rarely does it seem that any black TV writer gets the opportunity to express their views this way without having to conform to the rules of mainstream American society. Thankfully, Aaron McGruder (creator) uses this opportunity to its fullest. The show is controversial, in-your-face and often downright offensive. Never before have I heard the 'N-bomb' dropped so many times in a show.
This may seem like a terrible thing, but it's only offensive to the people that, quite frankly, deserve to be offended. The 'N-bomb' is only overused because it is overused in real life. Much like other great satire, it uses these shock tactics to help highlight the ridiculous elements that exist in African American culture and (more broadly) American politics.
The Boondocks is thoughtful, obscene and incredibly funny. Everything it should be.
The whole show acts as window through which the writer expresses his viewpoint as a true disillusioned 'African American'. So rarely does it seem that any black TV writer gets the opportunity to express their views this way without having to conform to the rules of mainstream American society. Thankfully, Aaron McGruder (creator) uses this opportunity to its fullest. The show is controversial, in-your-face and often downright offensive. Never before have I heard the 'N-bomb' dropped so many times in a show.
This may seem like a terrible thing, but it's only offensive to the people that, quite frankly, deserve to be offended. The 'N-bomb' is only overused because it is overused in real life. Much like other great satire, it uses these shock tactics to help highlight the ridiculous elements that exist in African American culture and (more broadly) American politics.
The Boondocks is thoughtful, obscene and incredibly funny. Everything it should be.
Tuesday, 25 May 2010
Supernatural
I have a rule when it comes to TV programming. If something is available on ITV2, then it's just not worth watching. Every rule needs its exceptions though and for this one it's Supernatural.
The show initially appeared to fit neatly in the CW's lineup of glossy aspirational teen dramas (of which it is safe to say I am no fan). I long avoided the show on this basis. However, at some point or another I was browsing on TV.com and saw that Supernatural was the top rated show. I generally don't put too much faith in these online ratings, but I was surprised to see so many people enjoy a show I hadn't even given a second glance to.
I was intrigued and had nothing better to do, so I gave it a shot. I was impressed. The pilot was dark, mysterious and exciting. After a few follow-up episodes I thought the series would fizzle out, but it kept going strong. In fact, it seemed to just get better and better.
The format is unusual for an American series. First off, it's anthological, with very little connecting each episode. The cast consists of only two recurring characters. Two. This is no ensemble.
The brothers, Sam and Dean, are 'Hunters' travelling from back-water town to back-water town to rescue the townsfolk from various paranormal evils. They're 'heroes', but their work is often difficult and imperfect. They don't save everyone, they don't always do the right thing and they often end up questioning what they do.
It's a compelling fantasy drama, with interesting, multi-dimensional, human protagonists who travel around 'kicking ass'. They visit untraditional locales and tell the untold story of small-town America.
Somehow this programme has convinced me that rural America is kinda cool. I have fantasies of driving in their Chevy Impala, listening to rock n roll whilst on my way to some dive bar in Hicksville, USA. How do they make this cool?
The programme increases in complexity from season to season, getting better and better. Much of this is due to great guest stars and consistently innovative writing.
However, I've just begun watching the fifth (and final) season and am questioning my allegiance. Without giving away any spoilers, the premise for this season seems like it could be the most interesting by far. As of yet, however the episodes have been fairly unremarkable. I very much hope the show can find it's feet again because it could be the best season yet.
The show initially appeared to fit neatly in the CW's lineup of glossy aspirational teen dramas (of which it is safe to say I am no fan). I long avoided the show on this basis. However, at some point or another I was browsing on TV.com and saw that Supernatural was the top rated show. I generally don't put too much faith in these online ratings, but I was surprised to see so many people enjoy a show I hadn't even given a second glance to.
I was intrigued and had nothing better to do, so I gave it a shot. I was impressed. The pilot was dark, mysterious and exciting. After a few follow-up episodes I thought the series would fizzle out, but it kept going strong. In fact, it seemed to just get better and better.
The format is unusual for an American series. First off, it's anthological, with very little connecting each episode. The cast consists of only two recurring characters. Two. This is no ensemble.
The brothers, Sam and Dean, are 'Hunters' travelling from back-water town to back-water town to rescue the townsfolk from various paranormal evils. They're 'heroes', but their work is often difficult and imperfect. They don't save everyone, they don't always do the right thing and they often end up questioning what they do.
It's a compelling fantasy drama, with interesting, multi-dimensional, human protagonists who travel around 'kicking ass'. They visit untraditional locales and tell the untold story of small-town America.
Somehow this programme has convinced me that rural America is kinda cool. I have fantasies of driving in their Chevy Impala, listening to rock n roll whilst on my way to some dive bar in Hicksville, USA. How do they make this cool?
The programme increases in complexity from season to season, getting better and better. Much of this is due to great guest stars and consistently innovative writing.
However, I've just begun watching the fifth (and final) season and am questioning my allegiance. Without giving away any spoilers, the premise for this season seems like it could be the most interesting by far. As of yet, however the episodes have been fairly unremarkable. I very much hope the show can find it's feet again because it could be the best season yet.
Sunday, 9 May 2010
Firefly: Second Opinion
Ok, so it's not exactly a second opinion, seeing as it's pretty much the same opinion I had before but now I've just watched more. If you didn't read my original post, I can pretty much sum it up by saying that Firefly is the greatest sci-fi show ever made...In fact, why don't we go all the way? It's also the best adventure show ever made and beats the crap out of most dramas and comedies too. It's awesome, genre-spanning stuff.
I'm halfway through the series now - after spending the past two days locked to my TV - and have just finished watching Jaynestown. This episode really struck me for two reasons: firstly, it's an exceptional episode and secondly, Joss didn't write it.
I'm a huge fan of Whedon's shows and I've always liked that he uses the same core writing staff. There is something that does niggle at me though. Almost all the best Angel, Buffy and Dollhouse episodes are written and/or directed by Whedon himself. Seriously, he's just always amazing. His episodes are the smartest, funniest and most moving.
It seems like a weird criticism to say that Whedon is just TOO good, but he really does outshine his writing staff by a significant amount. I've always felt that others should get a shot. I was pretty stoked when I found out this episode was written by Ben Edlund, mastermind of the brilliant Angel episode, Smile Time. To keep it brief, Jaynestown is also incredible. So kudos, Mr Edlund!
Jayne, a character that mainly serves as the comic relief, has a real meaty story here to help flesh out and develop his character. I love how Whedon's shows don't ever forget the little guy - or in Jayne's case, the very BIG little guy! The episode is funny, moving and deep. Edlund manages to work in an incredibly interesting sub-plot for River and Book covering humanity's need for faith and spirituality whilst simultaneously using Jayne's main plot to challenge our nature of relying on those greater than us (i.e. God) to make our future better. This isn't just an episode. This is an essay, presenting both arguments and supporting them. IN-CRED-IBLE stuff.
In the other episodes I watched there has been much done to build on the solid foundation of the premiere. Best of all is Mal and Inara's relationship which, as I alluded to before, could very well be Joss's best on-screen romance, providing ample (and well-exploited) opportunity for both comedy and drama. I can't imagine myself ever getting tired of their fiery passion and constant conflict.
Credit is due to the writing staff who consistently manage to make Inara's role link in seamlessly with the work of Mal's crew, without ever appearing contrived or peculiar. Even though she works alone they manage to incorporate her into every episode. Whether she's on an 'ambassadorial' mission or with the rest of the crew, it always feels like she belongs on Serenity. Nothing breaks that reality and reminds you that you're watching a TV show. It all just feels right.
I love how the documentary-style shaky cam is used for all the shots on the ship to help maintain this realism. For all you Battlestar fans, this was done over 2 years before BSG was made. In fact, by comparison, Battlestar just seems so over-the-top. Every event is so GODSDAMN life-threatening that the camera has to move around at 100mph just to keep up with all the GODSDAMN FRAKKING important stuff. It's hard to watch that series without getting carsick.
However, Firefly has a gentle, natural shake and they use just the right amount of lens flare. They juxtapose the function and fluidity of running a crew of space pirates with the stillness and eerie beauty of space. It looks stunning and sets a great tone for the show - perfect for the whole Space-Cowboy theme.
Brilliant writing. Brilliant direction. Based on what I've seen so far, I'd be tempted to say that this show is perfect.
I'm halfway through the series now - after spending the past two days locked to my TV - and have just finished watching Jaynestown. This episode really struck me for two reasons: firstly, it's an exceptional episode and secondly, Joss didn't write it.
I'm a huge fan of Whedon's shows and I've always liked that he uses the same core writing staff. There is something that does niggle at me though. Almost all the best Angel, Buffy and Dollhouse episodes are written and/or directed by Whedon himself. Seriously, he's just always amazing. His episodes are the smartest, funniest and most moving.
It seems like a weird criticism to say that Whedon is just TOO good, but he really does outshine his writing staff by a significant amount. I've always felt that others should get a shot. I was pretty stoked when I found out this episode was written by Ben Edlund, mastermind of the brilliant Angel episode, Smile Time. To keep it brief, Jaynestown is also incredible. So kudos, Mr Edlund!
Jayne, a character that mainly serves as the comic relief, has a real meaty story here to help flesh out and develop his character. I love how Whedon's shows don't ever forget the little guy - or in Jayne's case, the very BIG little guy! The episode is funny, moving and deep. Edlund manages to work in an incredibly interesting sub-plot for River and Book covering humanity's need for faith and spirituality whilst simultaneously using Jayne's main plot to challenge our nature of relying on those greater than us (i.e. God) to make our future better. This isn't just an episode. This is an essay, presenting both arguments and supporting them. IN-CRED-IBLE stuff.
In the other episodes I watched there has been much done to build on the solid foundation of the premiere. Best of all is Mal and Inara's relationship which, as I alluded to before, could very well be Joss's best on-screen romance, providing ample (and well-exploited) opportunity for both comedy and drama. I can't imagine myself ever getting tired of their fiery passion and constant conflict.
Credit is due to the writing staff who consistently manage to make Inara's role link in seamlessly with the work of Mal's crew, without ever appearing contrived or peculiar. Even though she works alone they manage to incorporate her into every episode. Whether she's on an 'ambassadorial' mission or with the rest of the crew, it always feels like she belongs on Serenity. Nothing breaks that reality and reminds you that you're watching a TV show. It all just feels right.
I love how the documentary-style shaky cam is used for all the shots on the ship to help maintain this realism. For all you Battlestar fans, this was done over 2 years before BSG was made. In fact, by comparison, Battlestar just seems so over-the-top. Every event is so GODSDAMN life-threatening that the camera has to move around at 100mph just to keep up with all the GODSDAMN FRAKKING important stuff. It's hard to watch that series without getting carsick.
However, Firefly has a gentle, natural shake and they use just the right amount of lens flare. They juxtapose the function and fluidity of running a crew of space pirates with the stillness and eerie beauty of space. It looks stunning and sets a great tone for the show - perfect for the whole Space-Cowboy theme.
Brilliant writing. Brilliant direction. Based on what I've seen so far, I'd be tempted to say that this show is perfect.
Saturday, 8 May 2010
Firefly
Ok, so I'm a bit of a Joss Whedon fanboy and any opinion I have has to be taken with a pinch of salt. In my experience it's hard for a die hard fan to express any opinion (about the thing they're a die hard fan of) that can be even remotely comprehended by anyone who isn't themselves a die hard fan. I generally try to avoid the kind of overt bias typical of fanboy writing because it's pointless for most people to read. Nevertheless I can't ignore that after rewatching the first episode of Firefly there is a part of my brain that's just screaming "OMFGWTF!THISISTHEGREATESTSCI-FIPROGRAMEVER!!!". I just needed to get that out of the way.
Admittedly I loved it the first time around, but having gone through a phase of rewatching many of Whedon's shows, I've come to find greater respect for the artistry behind much of his work. If there's one important common element in all of these shows, it's that if you look hard enough, you see the hidden depth of thought beneath the surface. They're very deceptive actually because even the 'surface' is deeper than most shows. It's easy to be fooled into thinking that all the writers' time was spent writing the incredibly witty dialogue, charming characters and on creating interesting set pieces, but they go far beyond that. Firefly is no exception and after (re)watching only one episode I've discovered a greater love for it than ever before.
Well let's start off with the simple stuff. Firefly is witty, exciting and entertaining. The series' film-length premiere was jam-packed full of brilliant one-liners, expansive environments and frequent nail-biting tension. It's easy to think this is just a classic adventure sci-fi akin to something like Star Wars (I would actually go so far as saying it actually does this better). In 83 minutes the pacing never once lets up. We're introduced to a cast of over 10 major characters and 4 completely distinct sets of antagonists (Badger, Patience, The Alliance and the Reavers). In one episode! One episode!! Not once during this time did I feel that any plot-point was contrived or truncated. It all just works.
Now, chances are, that I've already lost you and you've written me off as just another sci-fi geek whose sole idea of excitement is the release of a new issue of his favourite comic book. Well, sadly you'd probably be right there, but I'm going to have to continue anyway. If anything just so that my brain doesn't explode from having to contain all this information.
All this stuff is great. In case you haven't got it already, it's really great. Imagine my glee when, upon rewatching, I realised there was actually more to this than I initially thought. Several core themes hit me much harder this time. Greatest of all is the 'religious' triangle that connects Mal, Book and Inara - Christianity, Far Eastern spirituality and Mal's loss of Christian faith, all clash here. Particularly in Book's initial meeting with Inara and then later as Book breaks down in front of her, both scenes involving Mal's aggressive attacks on the two strong religious figures.
Mal and Inara's relationship is a constant source of really interesting interpersonal dynamics. Their fierce arguments and clear yearning for each other provide endless opportunity not only to serve as the series' core romantic interest (I say 'core' because there are no fewer than 3 interesting romances on board Serenity) but also as important device for exploring these characters. I really didn't believe Whedon could improve on the Buffy-Angel exchange, but I think he's onto a winner here.
There are seeds sown all over the place for seemingly endless exploration. Zoe and Wash's love triangle with Mal, the mysterious and malevolant Alliance, Reavers, Wild West style pioneer culture, Zoe and Mal's involvement in the War, Jayne's potential for betrayal, Simon and Kaylee's romance, River's experience in 'the programme', Book's mysterious past. Seriously, I'm not even covering everything. Once again, I stress that this is ONE episode! Alright, so it's the length of two episodes back-to-back, but still, I can't think of a better series opener. I just can't wait to watch the next one.
Admittedly I loved it the first time around, but having gone through a phase of rewatching many of Whedon's shows, I've come to find greater respect for the artistry behind much of his work. If there's one important common element in all of these shows, it's that if you look hard enough, you see the hidden depth of thought beneath the surface. They're very deceptive actually because even the 'surface' is deeper than most shows. It's easy to be fooled into thinking that all the writers' time was spent writing the incredibly witty dialogue, charming characters and on creating interesting set pieces, but they go far beyond that. Firefly is no exception and after (re)watching only one episode I've discovered a greater love for it than ever before.
Well let's start off with the simple stuff. Firefly is witty, exciting and entertaining. The series' film-length premiere was jam-packed full of brilliant one-liners, expansive environments and frequent nail-biting tension. It's easy to think this is just a classic adventure sci-fi akin to something like Star Wars (I would actually go so far as saying it actually does this better). In 83 minutes the pacing never once lets up. We're introduced to a cast of over 10 major characters and 4 completely distinct sets of antagonists (Badger, Patience, The Alliance and the Reavers). In one episode! One episode!! Not once during this time did I feel that any plot-point was contrived or truncated. It all just works.
Now, chances are, that I've already lost you and you've written me off as just another sci-fi geek whose sole idea of excitement is the release of a new issue of his favourite comic book. Well, sadly you'd probably be right there, but I'm going to have to continue anyway. If anything just so that my brain doesn't explode from having to contain all this information.
All this stuff is great. In case you haven't got it already, it's really great. Imagine my glee when, upon rewatching, I realised there was actually more to this than I initially thought. Several core themes hit me much harder this time. Greatest of all is the 'religious' triangle that connects Mal, Book and Inara - Christianity, Far Eastern spirituality and Mal's loss of Christian faith, all clash here. Particularly in Book's initial meeting with Inara and then later as Book breaks down in front of her, both scenes involving Mal's aggressive attacks on the two strong religious figures.
Mal and Inara's relationship is a constant source of really interesting interpersonal dynamics. Their fierce arguments and clear yearning for each other provide endless opportunity not only to serve as the series' core romantic interest (I say 'core' because there are no fewer than 3 interesting romances on board Serenity) but also as important device for exploring these characters. I really didn't believe Whedon could improve on the Buffy-Angel exchange, but I think he's onto a winner here.
There are seeds sown all over the place for seemingly endless exploration. Zoe and Wash's love triangle with Mal, the mysterious and malevolant Alliance, Reavers, Wild West style pioneer culture, Zoe and Mal's involvement in the War, Jayne's potential for betrayal, Simon and Kaylee's romance, River's experience in 'the programme', Book's mysterious past. Seriously, I'm not even covering everything. Once again, I stress that this is ONE episode! Alright, so it's the length of two episodes back-to-back, but still, I can't think of a better series opener. I just can't wait to watch the next one.
Wednesday, 14 April 2010
You Have Been Watching
Took a trip down to BBC Television Studios yesterday to catch the filming of Charlie Brooker's You Have Been Watching. I happen to think, much like many in my age-group, that Brooker is somewhat of a demi-god, so I couldn't pass up the opportunity to see the filming of his series live.
I've seen quite a few TV filmings in my time and I was still pretty taken aback by how long it was. The recording lasted around 3h30 for a show that's half an hour in length. Fun as it was, I'll admit that I was pretty anxious to leave by the end of it.
Brooker was brilliant. Charismatic, witty and yet somehow just a bit shy. From the moment he walked on the audience were putty in his hands, laughing at everything he said, mainly because it was all hilarious. Great script and some hilarious ad-libbing. He was by far the most entertaining of the bunch.
The show itself suffers from some fairly big flaws. It's actually a reasonable comedy panel show but it's just terrible as a TV review show. In that 'panel' format, it's very hard to say anything honest about a programme because everything you say has to be 'funny'. The show quickly descended into being simply about who can insult the most creatively and ridicule anyone that did like it.
This gets a bit annoying after a while. I had to sit through more than 3 hours of people never really saying anything. David Baddiel seemed particularly prone to this. He had a notebook of one-liners prepared that he left slightly off-stage, seemingly just so that he could get some extra time on camera.
I've always respected Brooker's honesty. One of his greatest qualities, in fact. Whether good or bad, he expresses his opinions passionately and unreservedly, whilst still managing to connect with the reader/viewer. I've watched several TV series only because he has talked about them with such vigour and excitement. This show just lacks that entirely and it's a little dull to watch. I'm sure that, once edited, it'll be a fun show eventually added to Dave's programming schedule but don't expect too much from it.
The season premieres this Thursday 15th April at 10pm, Channel 4. I'll obviously be watching to try and catch myself in the audience because I'm that goddamn cool.
P.S. I managed to get these pretty bitchin' pictures of my sister and I with the Tardis. Fuck yeah!
I've seen quite a few TV filmings in my time and I was still pretty taken aback by how long it was. The recording lasted around 3h30 for a show that's half an hour in length. Fun as it was, I'll admit that I was pretty anxious to leave by the end of it.
Brooker was brilliant. Charismatic, witty and yet somehow just a bit shy. From the moment he walked on the audience were putty in his hands, laughing at everything he said, mainly because it was all hilarious. Great script and some hilarious ad-libbing. He was by far the most entertaining of the bunch.
The show itself suffers from some fairly big flaws. It's actually a reasonable comedy panel show but it's just terrible as a TV review show. In that 'panel' format, it's very hard to say anything honest about a programme because everything you say has to be 'funny'. The show quickly descended into being simply about who can insult the most creatively and ridicule anyone that did like it.
This gets a bit annoying after a while. I had to sit through more than 3 hours of people never really saying anything. David Baddiel seemed particularly prone to this. He had a notebook of one-liners prepared that he left slightly off-stage, seemingly just so that he could get some extra time on camera.
I've always respected Brooker's honesty. One of his greatest qualities, in fact. Whether good or bad, he expresses his opinions passionately and unreservedly, whilst still managing to connect with the reader/viewer. I've watched several TV series only because he has talked about them with such vigour and excitement. This show just lacks that entirely and it's a little dull to watch. I'm sure that, once edited, it'll be a fun show eventually added to Dave's programming schedule but don't expect too much from it.
The season premieres this Thursday 15th April at 10pm, Channel 4. I'll obviously be watching to try and catch myself in the audience because I'm that goddamn cool.
P.S. I managed to get these pretty bitchin' pictures of my sister and I with the Tardis. Fuck yeah!
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