Category: Reviews

Marc Alan Fishman: Gotham Is Close, But So Far Away…

… from being what it could be. In short, they’re uncertainty is palpable, and it’s sickening to watch week to week.

For the uninitiated: Gotham creates a timeline in which a young James Gordon arrives in the titular city right as Bruce Wayne’s parents are murdered. The city that will one day be protected by a dark knight is at present a cesspool incarnate. Corruption is common and even embraced by the police force. Politicians are mob-owned. And the mob itself has its nightclubs, contractors and restaurants littering the yellow pages. Impending war between Don Maroni and Carmine Falcone is discussed as much as the local sports scores and the weather (the Knights won, and it’s always going to rain). And literally crammed into every visible orifice on screen, a future commoner of the caped crusader’s cadre of kooky criminals lays in waiting.

Look, kiddos. I don’t have an issue with starting the show with Bruce Wayne’s orphaning (yeah, I’m coining the term). It’s a pivotal moment with plenty of roots into the budding season’s serial storyline. What I take umbrage towards is how desperate it all feels. It’s truly as if the writers, producers, and executives behind the show are compelled to scream at the viewing public “People! It’s Batman! This is the Batman show! Don’t you like Batmaaaaaan!?” I know this is a common thought that’s traveling amongst the blogosphere, but, seriously, why can’t DC and Warner Bros. just take a page from Marvel’s handbook?

When the House of Mouse announced Agents of S.H.I.E.L.D., comic book fans largely held their breath. By anchoring their TV presence with a concept that could play in their cinematic sandbox but seemingly not require our favorite Avengers to drop by for a cameo… it took the better part of a season to truly win over the public at large. And when the words “Hail Hydra” were whispered, everyone rightly lost their marbles over the cleverness of it all. In contrast, Gotham has been obsessed with planting seeds that are so obvious they might as well just be trees already. Instead of trying to build a DC Universe, or even just a plausible setting, Gotham would rather be another Elseworlds tale. And were DC to have the smarts to tell us in any way that was the actual plan, maybe I would have happily declined even setting my DVR.

That’s a point I’d like to repeat for posterity. For Geoff Johns to drop even the inkling of a hint that the DCU-on-TV (Flash and Arrow clearly being coupled, Gotham, and potentially Krypton) could each exist in a parallel dimension to the movies, et al, is just dumb-dumb-doodle-dum. You can’t have your cake and eat it too. To think that the pencil pushers at DC Entertainment will eventually have to sell us a compendium guide to the Multiverse just so we can officially know where each damned show is in relation to one another is just sad to think about. Can you hear it now off in the distance? “Yeah, that Batman in Batman v. Superman isn’t the Batman from Gotham. No, I know that makes no sense [person who doesn’t understand Multiverse Concept].” Sigh.

As I’m prone to do at junctures like this, I’m apt to celebrate a few small victories the show has for itself. The cast – while anchored with pretty hammy dialogue – are all perfect fits. Our young Gordon is a proper police detective to Donal Logue’s lazy Harvey Bullock. The mobsters are all perfect caricatures we’d expect. And for what it’s worth, the Penguin is pitch perfect when he’s not going all kinds of Patrick Bateman on people wearing shoes he covets. The look of the show is also a small saving grace. Every edge is crammed with garbage and sepia toned grime. While it leaves little to no room for levity, the show is heads and shoulders above S.H.I.E.L.D. when it comes to environments… what little we’ve had to explore. And even young master Wayne is one of the better child actors I’ve seen cast. While (again) the script has called for less-than-stellar set-pieces for him to chew on (near suicide off the roof much, Brucey?), David Mazouz delivers a credible sell when he’s trying to be the rich kid forced to grow up too soon.

Beyond those points, Gotham is just too heavy fisted for its own damned good. With Edward Nygma posing poignant puzzles at every possible point he can, or Selena Kyle practically walking on all fours and meowing when she wants to be called Cat, it’s not as clever a turn as the showrunners seem to think. The public at large knows enough about the Batman mythos; few know about the brilliant shades of gray that exist in his world outside of the well-known rogues gallery. Why force feed us proto-Riddlers and Penguins when you can flesh out lesser-knowns like Mr. Zsasz, or Calendar Man who could tie to the mob war so much better than the current gaggle of goons being bum-rushed towards the credit roll. Agents of S.H.I.E.L.D. taught us that you need not depend on the name brands to be entertaining or credible. Don’t think so? Two words: Phil Coulson.

There’s still plenty of time for Gotham to turn things around. But the question to ask yourself is this: even if the show is successful, how will they find a way to not end up with fully developed supervillains straight outta Bat’s belfrey… all while he’s still having Alfred picking up Oxy at the Rite Aid? If the folks creating this cacophony could just take a deep breath and believe in Jim Gordon and solid police drama set in a slightly exaggerated world, Marvel might actually look up from their continuously growing pile of money and pay attention.

But I wouldn’t count on it.

 

Tweeks: Comics Squad Recess!

61h2omnqd0l-_sx258_bo1204203200_-2058737Hey Middle Grade Readers!  When you unload some of your trick or treat candy to the local orthodontist this weekend for cash, you might be looking for something to spend it on.  Well, since this time of year reminds us of the Scholastic Book Fair and rainy day recesses spent inside reading, we suggest: Comic Squad: Recess! It’s an anthology featuring some of the best in kids’ comics writing and drawing about the best part of school: recess!  There’s a super-secret Ninja club, a magic acorn, kickball, cupcakes and more!

Box Office Democracy: Avengers trailer, Constantine (TV)

Hi everyone,

I’m moving this weekend and didn’t have a lot of spare time to spend doing activities that weren’t packing so we have something a little different for you this week.  Here’s a review of a much shorter cinematic experience and a TV show based on a comic that once had a movie based on it.  It all comes back to movies, it all still counts.

Avengers: Age of Ultron trailer

 

Making a trailer for a movie like Avengers: Age of Ultron is a tricky proposition but one with absolutely no stakes. Everyone is going to see the film practically no matter what. This trailer would have had to be crudely drawn stick figures instead of CGI effects to have a negative impact on the gross and that’s probably underrating the drawing power of Robert Downey Jr.

Unfortunately, none of the stuff in this trailer is going to be what makes this movie special. Any major superhero franchise could produce a trailer with most of these shots. Massive destruction, iconic symbols shattered, big explosions. None of that is what makes The Avengers franchise special. What separates The Avengers is the wonderful character work and the exceptional dialogue. None of that makes for a particularly compelling trailer. If they are going to give me nothing but snippets of action shots and brief shots of people looking anguished or menacing I would have appreciated much more Hulk.

Everything they gave us looked great. I want to see more Ultron, I want to hear more James Spader doing Ultron, and I’m especially enthusiastic to hear Ultron dialogue that doesn’t feel like Marvel is using these movies as a backdoor plug for their old animation catalogue. I’m excited to see more from the characters that get the short end of the stick in the Marvel movies that have come since the first Avengers flick. It’ll be refreshing to see more from Hawkeye and Nick Fury. Black Widow got the closest thing to a punch line in this trailer and as long as Marvel stubbornly refuses to give Johansson her own movie I’ll have to take what I can get.

The characters I was surprised to see get so much screen time, probably as much as any Avenger not named Stark, were Quicksilver and Scarlet Witch. I guess you need to energize the geek base without showing too much of your big Ultron effect but is this connecting with anyone else? Those are fringe characters at best and they eat up a ton of this preview. It almost felt like they were putting as much footage out as possible as leverage is Fox decides those are X-Men after all and want to sue closer to the film’s release. It was a fine trailer but those parts felt a little more like notes from a future deposition.

 

Constantine

 

I’m so glad that DC/Warner Bros. finally decided to make a TV show starring John Constantine. Sure it was easier to just keep collecting those payments that Grimm, Once Upon a Time and Hemlock Grove kept forking over for taking the basic concept from the Hellblazer books but it’s so noble of them to give that money up and compete on their own. What’s that? No one was paying Warner any money for those? They just let one of their established franchises sit on the shelf while other people ate their lunch using a strikingly similar idea? How very latter-day Warner of them.

Constantine is a good pilot with a big problem: they do a ton of work establishing a character they wrote out of the series. Liv Aberdeen is the focal point of the entire episode, the lens through which we view the fantastic world of John Constantine, and she seems to be riding the beginning of a long narrative arc. Somewhere between pilot and series they decided they had no use for the character and hastily wrote her out in the last two scenes. I’m still very much interested in watching the show, they’ve hooked me that much, but unless every week they plan to introduce and overdevelop another temporary character they’ve given me no clear perspective on what I’ll be watching every week. I appreciate that it’s very expensive to reshoot an entire pilot but it feels weird.

I do like the bits of the show they plan to keep. Matt Ryan makes for an excellent John Constantine and I liked the way they did Chas although I’m sure they plan to take a lot of liberties with the source material there. The score seems a bit like they’re aping the sound of BBC’s Sherlock and while it stood out like a sore thumb the first time they used on of those cues by the end I rather liked it like that. Both shows benefit from that bit of musical whimsy. The show feels a smidge too Catholic for my tastes but that might just be the way shows about angels, demons, and magic have to feel and I should just get over it.

I don’t watch a lot of network dramas but I am a dyed-in-the-wool Hannibal partisan so know that it means something when I say this show impressed me with both its disturbing imagery and its slickness.  The cockroach scene at the asylum kicks things off especially well being unsettling without going too far.  Constantine is painting with a brush of the grotesque and rather than coat the walls the way a CSI or a Criminal Minds does it instead uses it just around the edges and that’s so much more compelling to me.  I’m not entirely sure this is going to make for an exceptional TV show over a 22 episode season because I find those too long in general but I’m excited to give this one a shot and am thankful I was forced to sample it for this review.

New Who Review: “In the Forest of the Night”

A great actor once said “never work with children or animals.”  This episode features both, and once again, the axiom proves true.  The students of Coal Hill School have a sleepover in the museum of natural history, and wake up…

IN THE FOREST OF THE NIGHT
By  Frank Cottrell-Boyce
Directed by Sheree Folkson

London, and indeed the whole world, ha been engulfed by dense, fireproof forests overnight.  The Doctor assumes it’s an act of aggression, but with the help of the kids of Coal Hill School, including one very sensitive girl, the real threat to Earth is identified.  But are they too late to realize they’ve been attacking the wrong side?

doctorjungle-300x199-4496900This is another episode where the main plot and the threat of the week is almost overwhelmed by the staggering character work.  Wonderful camera work from the director (the steadi-cam run around the top deck of the TARDIS is wonderful) as well as fabulous work bringing varied and mature performances from a raft of your people.  There’s quite a bit that goes unexplained in the episode, but like many great stories, the true star of the week are the emotions and reactions of the main cast.  Sometimes you have to let those refrigerator moments pass – it really doesn’t matter where the Harlequin got the jellybeans.

The episode features the return of a common theme in the new series – threats that aren’t threats at all.  In the case of this one, it’s actually a benevolent event, misunderstood by everyone, much like the star whale from The Beast Below.  Once again The Doctor was wrong about his assumptions.  In this case, if he’d done nothing at all, everything would have been fine, save for any small areas the pudding-brains exposed to damage by successfully taking down small areas of ttrees,

GUEST STAR REPORT – Frank Cottrell-Boyce (Writer) has won a Carnegie medal for his novel Millions (and wrote the script for the film) and has written several films with Michael Winterbottom, including Welcome to Sarajevo, 24-Hour Party People and Tristram Shandy: A Cock and Bull Story.

Sheree Folkson (Director) There may not be any female writers for Doctor Who in the new series, as Neil Gaiman so adroitly hung a lampshade on, there’s been at least a couple female directors, including Ms Folkson.  She directed the David Tennant film The Decoy Bride, and the mini-series that brought him to fame, Casanova.

THE MONSTER FILES – While the forests of the world certainly seemed to be the baddie of the episode, it turned out not to be the case.  But we’ve seen other plantlife on the show as well.  The Krynoids in The Seeds of Doom turned out to be quite a threat, as did the Ice Warriors’ biological weapon in The Seeds of Death.  The Forest of Cheem evolved from the plant life of ancient Earth, as we learned at The End of the World, and the mysterious sentient forest from The Doctor, the Widow and the Wardrobe didn’t want to harm anyone, but also didn’t care how they got what they wanted.

BACKGROUND BITS AND BOBS

SET PIECES – It turns out if you want to show London covered with forest, it’s cheaper to find a forest and cover it with bits of London. a forest near Newport was the location chosen, which was given the feel of London with selectively chosen icons.  The red phone booth, traffic light and entry to the Underground were there, but the double decker bus (with an ad on for the new series of Doctor Who) was only a large photo on a backboard.

NIGHT IN THE MUSEUM – Nice bit of foreshadowing in the museum – we see stuffed versions of a tiger and two wolves, which we see live versions of later on.  Tempting to think they came to life somehow, but The Doctor’s theory of the Zoo getting destroyed makes a bit more sense.

“When you drink a glass of Coke, it’s only this big, but it’s actually got THIS much sugar in it. Works a bit like that.” This is the second-best explanation of the TARDIS’ dimensional transcendentality ever.  <a href=”

target=”_blank”>The best one was given to Leela at the beginning of Robots of Death, where The Doctor shows two boxes of differing sizes explained fairly easily how you can place the bigger one inside the little one just by placing it farther away.  The Doctor twice gets to be gleefully frustrated by people seemingly being unimpressed by the bigger-insidiness of the old girl.

“Who do you want to talk do, Monty Don?” Monty Don is a TV presenter in Britain, best known for segments on Gardener’s World.

“No circuits, no mechanism…wood” – That’s the first logical explanation we’ve gotten for why the Sonic Screwdriver won’t work on wood, something that’s been the case since at least the Tennant years.

“Not everything can be fixed with a Sonic Screwdriver, it’s not a magic wand” – More lampshade-hanging – it was clearly being used as such in the past series, and as mentioned previously, is used much less so now.

“Furious, fearful, tongue-tied – all superpowers if you use them properly” – There’s a surfeit of bookends in this series – this is a callback to The Doctor’s speech to young Danny about how fear is a superpower in Listen. And as we see in the episode, the “Gifted and Talented” kids all start to come out of their shells and help in their own way, from Maebh’s talking to the forest to Ruby’s literal-minded observations of important things.

“Trail of breadcrumbs, Hansel and Gretel” –  The connection to fairy tales and forests recurs through the episode – Clara asks if they slept like Sleeping Beauty and fears they’ll find a gingerbread cottage. Maebh leaves a trail, she is wearing a red coat (with a hood) and is pursued by the Big Bad Wolf.

“This is a massive solar flare headed for Earth” – Earth suffers from attack by solar flare more then a few times in the history of the show – aside from the final one in The End of the World, there’s the one that Nerva Beacon tries to survive in The Ark in Space, and the one that Starship UK escaped from in The Beast Below.

doctorkid-300x199-4525088“The thoughts…they go so fast” – Maebh’s hand-waving gestures are sometimes a symptom of autism, a repetitive action it’s believed helps calm the person.  The autistic person can often feel overwhelmed by the sensory input we take for granted.  To take those gestures and turn them into a literal attempt to wave errant fleeting thoughts away is quite illuminating.  Maebh is described as being “tuned to another channel”, which is also a pretty good description of Autism.  That other way of seeing things is presented a number of ways in the episode, from being sensitive to the communication from The Green (to take a description from DC’s Swamp Thing) to being the only who notices there’s a gate just a few feet down the fence that The Doctor and Clara are trying to get her over.

“But we saw the future – lots of futures” – This is the first of two bookends to Kill the Moon – Clara asks again how the Earth can end now when they’ve both seen it so many times in the future.

“This is my world too. I walk your Earth, I breathe your air” – and this is the other.  He’s parroting what Clara said to him in anger, and he’s saying it earnestly.  And while in Kill the Moon, The Doctor says he can do nothing and walks away so humanity (through Clara) can make the right choice, here humanity (again through Clara) tells The Doctor to leave, because he can do nothing.

Which is, if you think about it, rubbish.  The TARDIS is powered by the full output of a dying start housed in the Eye of Harmony, and has the power to pull the Earth physically through space.  It seems to me that it could either absorb or deflect the solar flare, or just drag the Earth out of the way of the flare and pop it back after it passes.  But of course, that would leave us with no story, so I should just shut up and move on.

Also, both stories also feature truly outlandish saves to global catastrophes that should cause humanity to undergo a change to its shared human zeitgeist, but are virtually forgotten a galactic-scale tick of the clock later.  Truly we are short-sighted creatures.

“There are wonders here” – This little speech is on par with <a href=”

target=”_blank”>Tony Randall’s speech in The Seven Faces of Dr. Lao, and I am not being sarcastic.

“If you remembered how things felt, you have stopped having wars…and stopped having babies” – We are pretty good at romanticizing trauma, to the point that we’re keen on trying them again.

BIG BAD WOLF REPORT

“Let him call – this is more important” – If the subtext theme of the last two episodes was lying, if you had to name the theme in this episode, it would be “Priorities.”  Clara calls The Doctor before she calls the school or any of the kids’ parents.  More than once in the story, she’s more fascinated about what she’s seeing than in the safety of the kids – something she was chastising The Doctor about doing not too long ago.  And while Danny does stop things once or twice to discuss the fact that Clara is clearly still in touch with The Doctor, and still traveling with him, his priority is protecting the kids, a mindset Clara can’t deny she finds alluring.  Clara is more worries about Danny finding out about her still being on the TARDIS than the news that a solar flare is headed for Earth.

“I thought Miss Oswald told me to go find The Doctor, but it wasn’t her – it was just in my head” – There was no exact explanation for Maebh’s abilities – the voice of the plants said they had no idea who he is, so it seems unlikely they’d be behind her seeking him out.  Clara wasn’t even aware there was a problem when Maebh went off, so it wouldn’t have been her.  It’s possible this might be the subtle hand of Missy, guiding the young girl to The Doctor to make sure he doesn’t stroll off.

“…like the one that destroyed the Bank of Karabraxos” – The mention of the Bank from Time Heist specifically suggests a connection between the two – both were apparently a surprise to the planets in question.  One has to wonder whether Missy was behind the solar flares, here as well as on Karabraxos – bad guys seem to love big powerful weapons

“I didn’t try too hard to survive, but somehow, here I am” – Almost as if there was someone watching over him, perhaps?

“Well, that was surprising…and I love surprises” – Was Missy just watching the events, as we did, or did she have a hand in it somehow?  Well, we’ve not got long to wait to find out…

NEXT TIME ON DOCTOR WHO:  Not the Hanna-Barbera cartoon, and not the remake of the Japanese horror movie. Dark Water comes marching your way, as does the beginning of the end. of the season, that is.

REVIEW: The Warren Commission Report

The Warren Commission Report
By Dan Mishkin, Ernie Colon, and Jerzy Drozd
Abrams ComicArts, 160 pages, $29.95

Warren CommissionConspiracies are everywhere if you know where to look. Over the last century, Americans have increasingly looked for dire machinations behind the unbelievable. Much as our ancestors sat around campfires telling mythic tales to explain how the sun rose each day, today, people make up fantastical stories to make the impossible comprehensible.

With the growth of mass media, from film to radio to television to the internet, studies have shown we have gravitated towards like-minded thinking, narrowing our worldview and therefore giving voice and importance to ones who would have once been considered mad. This development gained traction and accelerated its piercing of the zeitgeist thanks largely to ineptitude. America knew Japan was going to bomb throughout the Pacific but didn’t say a word much as we knew there were foreigners acting suspiciously in 2001. But the largest of these incompetency’s may well be the actions taken in the minutes, hours, and days that followed the assassination of President John F. Kennedy.

Warren Commission 2Today, there is a growing subset of graphic novels that condense and streamline mass amounts of information for our benefit. There was Economix for finance and The 9/11 Report: A Graphic Adaptation. Now comes The Warren Commission Report, a handy one-volume guide to the facts, inconsistencies and theories surrounding the events of November 22, 1963. Adapted from the report, released September 27, 1964, writer Dan Mishkin deftly takes the reader through the indisputable facts and into the murky world of error, evasion, and espionage.

Looking back, it’s astonishing to see how inept and ineffective local and federal authorities were to secure the crime scene and preserve the evidence. We’re a CSI generation, used to minute inspection of every hair follicle and fiber, so the notion that precise measurements were not taken or that detailed studies of the president’s body were delayed, hurried, or incomplete is mindboggling. So too the inexplicably lax security when assassin Lee Harvey Oswald was moved, allowing Jack Ruby to get close enough to kill the killer.

Warren Commission 1Mishkin takes us step by step through the investigation, shining a bright light thanks to declassified and public documents that were not available at the time. He shows where mistakes were made, where politics and ass-covering led to facts being obfuscated, which went on to fan the embers that grew into the conspiracy fire. He also doubles back to introduce us to Oswald and how he had remained on intelligence radar for some time but agencies then, as now, didn’t share information or collaborate in the name of national security.

Brining Mishkin’s work to life is the art team of Ernie Colon and Jerzy Drozd, the former having gained newfound fame through the 9/11 graphic novel. Colon’s distinctive style is altered, not always for the best, by Drozd but the familiar faces of Kennedy, Oswald, Lyndon Johnson, and J. Edgar Hoover are readily recognizable. The storytelling is quite clear with the interesting color choice of making Oswald an all-white figure, letting him standout from the crowd wherever he is seen, devoid of connection to humanity. If there’s a visual fault it comes to some questionable balloon and caption placements that mar the smooth flow of the text.

This book does not attempt to sanctify or refute the report or the theories around it but offer clarity, especially the last two dozen pages or so that places the events in the larger context of a rapidly changing society as the 1950s conformity gave way to a rebellion of individualism. This may be one of the strongest parts of the book, since context, as we know, is everything.

For those who lived through it, this will bring some comfort and some new insights. For those who were born a generation or more after, this is a good primer to what America was once like and how it helped shape the world we currently live in.

Box Office Democracy: Birdman or (The Unexpected Virtue of Ignorance)

There is a scene near the end of Birdman’s second act where Riggan Thompson (Michael Keaton) delivers a brutal tirade against the idea of theater criticism. He talks about how safe the life of a critic is and how audacious it is of them to judge the work of actors. This puts me in a bit of a precarious place as a critic because these are words coming out of a strong character in a brilliantly executed film and they’re basically calling me an asshole if I have a problem with any of the performances in this film. Fortunately I have hardly any complaints about Birdman, acting or otherwise, and I can continue my life as a critic free from fear of the ire of Michael Keaton. (more…)

John Ostrander: Doctor McCrankypants

SPOILER ALERT: This week’s topic is Doctor Who. If you don’t watch the show, you probably won’t like the column. Also, if you’re saving this season to binge watch and haven’t seen any of the episodes yet, there may be some spoilers. Fair warning.

We’re several weeks now into the new season of Doctor Who featuring the latest incarnation of the Doctor as played by Peter Capaldi. While our own Vinnie Bartilucci has been doing splendid recaps/reviews here on ComicMix, I’d like to look at Capaldi’s Doctor overall and weigh in.

He’s not like the past several incarnations. Capaldi said he wanted his Doctor to be more of an alien and he’s succeeded. This Doctor also has something of an empathy problem and his social skills are rather lacking. David Tennant, the Tenth Doctor, was famous for telling people, “I’m sorry. I’m so so sorry.” Especially when something terrible was going to happen or did happen to them that he couldn’t prevent. I can’t imagine those words even occurring to Capaldi’s incarnation.

However, what distinguishes this Doctor most to me is – he’s cranky. He’s Doctor McCrankypants.

Start with the eyes. Our first glimpse of him showed an almost angry glare and fierce, fierce eyebrows. He scowls more than he smiles. Suffer fools gladly? This Doctor doesn’t suffer them at all. He doesn’t like being hugged and, when his companion insisted, did it very awkwardly. He almost looked as if he was in pain.

He is ruthlessly pragmatic. On “Mummy on the Orient Express,” the mummy appears only to those it is about to kill. They have 66 seconds to live. The Doctor insistently pumps one of the victims before their death for a description and any other information in an effort to learn what they are dealing with. He knows there is no chance of saving the terrified man and doesn’t try.

In the first of the new episodes, the Doctor and his companion, Clara, are fleeing automatons. A door comes down between them with only a porthole in it. “No sense in both of us getting caught,” says the Doctor and runs off, leaving Clara to survive as best she can. You can see her sense of betrayal. The Doctor does return with help and does later rescue Clara but his actions are very atypical of the Doctor.

There can also be amusing side-effects to the Doctor’s crankiness. He offers to take Clara anywhere she wants to meet anyone she wants and she asks to meet Robin Hood whom the Doctor insists never existed. They go anyway and, of course, the first person the Doctor sees is Robin Hood. Refusing to admit he’s wrong, the Doctor insists this is an imposter or a robot or a hologram or something but definitely not Robin Hood. Caught and thrown into a dungeon, the Doctor and Robin have a hysterical bickering session.

In a later episode, the Doctor goes “undercover” as a caretaker at the school where Clara teaches when she is not off traipsing through all of time and space. He pretends to be human and thinks he can get away with it. He is so tone deaf to his social ineptness that it really is very funny.

All of this makes him different from his immediate predecessors. He lacks the puppy dog verbosity of Matt Smith or the emo boyishness of David Tennant or the mannish, blunt charms of Christopher Eccleston. In fact, the only Doctor I can think of who has been as cranky was the first Doctor, William Hartnell. Maybe not even him.

I wonder how the fans who have only joined the show since Eccleston and Tennant will react to Capaldi’s Doctor? He’s older and, well, crankier. Myself – I like him. A lot. In many ways, I relate to him more. As I get older, I get – well – crankier. “Hey, you kids – get away from my TARDIS!”

So – here’s to Doctor McCrankypants. Long may he travel through space and time, alienating friends and enemies alike. Go get em, Doctor.

 

New Who Review – “Flatline”

It’s the premise of a classic short novel by a Shakespearian scholar and at least a half dozen EC Comics.  What happens when beings based in a differing number of dimensions interact?  Usually it’s the higher dimensions assaulting us, but if the invasion comes from the ground up, one would hope your defensive wall could be a…

FLATLINE
By  Jamie Mathieson
Directed by Douglas Mackinnon

A mysterious force is causing the dimensions in a council estate near Bristol to collapse, resulting in people vanishing, with only distended and partial projections left behind.  The TARDIS is affected by the distortion, and when it lands, the connection between the interior and exterior of the ship is…oddly affected.  Reduced to half-size, and then smaller, The Doctor is trapped within the ship, leaving Clara as the one with boots on the ground to discover the source of the attack, save everyone, and get the TARDIS back in shape – literally.  It sounds easy-peasy lemon squeezy, but it turns out to be difficult-difficult lemon…difficult.

Possibly one of the best mixes of humor and horror in an episode in quite a long time.  The magnificent distensions of the human form created by the art department are perfectly counterbalanced by the truly hilarious sight of Peter Capaldi’s hand reaching out the door of a tiny TARDIS to drag itself across the ground.  And once again, the theme of the series shines through once again – lying.

GUEST STAR REPORT – Christopher Fairbank (Fenton) most recently played The Broker in Guardians of the Galaxy. He’s had parts in genre classics like The Fifth Element and the Underworld TV series, as well as voices in video games like Puppeteer.

John Cummins (George) worked on Steven Moffat’s series Coupling, though on the production end.  He’s been seen before the camera on The Hour in a couple of roles, and a member of Parliament in the most recent 24 series Live Another Day.

BACKGROUND BITS AND BOBS –

BUT I KNOW WHAT I LIKE – Writer Jamie Mathieson got the job for writing this episode with a unique pitch – he drew a series of pictures based on the stories, including for the one that would become this episode.  As opposed to the previous episode where Moffat handed him the title and told him to write a story around it, this one was all his idea, and Steven liked the idea of the monster enough that he asked Jamie to, ironically, flesh it out.

broccoli_sag_600-300x300-8291275

A good idea of how a Flatlander would see broccoli.

YOU’RE NOT THINKING TWO-DIMENSIONALLY – Edwin Abbot wrote the novela Flatland: A Romance of Many Dimensions, as satire of Victoran culture, but it accurately described how a three-dimensional creature would be perceived in a two-dimensional world.  <a href=”

target=”_blank”>Carl Sagan discussed the concept in the original Cosmos, summarizing the mathematical bits of the story with visual aids.  The three-dimensional extrusions of the flatlanders are a pretty good example of how they’d us “three-deers” – a series of slices.  They took that idea and mapped it to a 3-d form, the end result being what looks like the “people” traveling through physical space with those slices making up their form.  Creative, and chilling.

UP AGAINST THE WALL, MOTHER… – There’s at least two recent videogames that use the idea of becoming two-dimensional as part of the game mechanic.  The PS3 platformer <a href=”

target=”_blank”>SIDEWAY: New York allows you to flatten against walls the make your way around buildings and collect graffiti tokens, and the latest Legend of Zelda game A Link Between Worlds lets Link step into cracks between light and dark lands in the adventure for the Nintendo 3DS.

DOCTOR-LITE – As has become traditional and required, this episode featured a reduced appearance by The Doctor to allow Peter Capaldi and the production staff to produce more episodes in less time. Starting with Love and Monsters, each series has featured episodes where some of the cast appeared in limited capacity to allow for what’s called “double banking”.  This episode was a reverse of The Lodger, where Amy Pond was trapped in the TARDIS while The Doctor had to work alone with only audio connection to his friend.  In both cases, this allowed the actor on the standing set to film their scenes in a short time, leaving their schedule open for other episodes’ filming.  Tennant and Tate each got a largely solo adventure in the episodes Midnight and Turn Left.

LET’S GET SMALL – The TARDIS has had issues with shrinkage before.  The Hartnell story Planet of Giants was sparked by the TARDIS materializing at the wrong size, resulting in both the ship and its inhabitants ending up the wrong size. A small error in calculation resulted in the TARDIS being reduced to 50% in size in Logopolis.  The Doctor flipped the script on the idea when fighting The Monk in The Time Meddler – he removed the dimensional control from The Monk’s ship, so while the outside of the ship remained the same, the interior reduced in size, so The Monk couldn’t enter it.

“It’s called the 2Dis…why do I even bother…” –  One of the things I was hoping for this series was a reduction of the use of the Sonic Screwdriver as a catch-all fix-me-up, and we’ve gotten that.  We’re back to seeing The Doctor create slapdash gadgets to achieve the results required, like The Machine That Goes “ding” When There’s Stuff.  That they don’t always work right is more logically explained by the fact that he’s usually literally built them on the run with anything he can lay his hands on.  Considering the TARDIS is able to instantly

BIG BAD WOLF REPORT – The theme from last episode carries through to this one – Lying.  The Doctor Lies all the time, and here we see Clara finding out why.

“Excellent lying, Doctor Owsald” – Clara’s lie from last episode is exposed to both people it affected – The Doctor learned that she lied about Danny being “Okay with it” them continuing to travel, and Danny has certainly been made open to suspicion that she’s not kept her feet safe on the ground.  And as a rule, lying to people doesn’t usually go well, especially in people with whom you’re in a relationship. And both gentlemen meet that description, however different those relationships may be.

Also, that’s a nice parallel to Donna Noble being referred to as “The DoctorDonna” near the end of her run on the series as she merged minds with the Meta-Crisis Doctor,  resulting in the first human Time Lord.  She got to do the swooping in at the end and saving everyone with all the switch-flipping, and Clara had to do the hard lifting of keeping everyone together and safe until a plan came together.

“Lie to them…give them hope” – The Doctor feels quite uncomfortable about how plainly his tactics are being exposed and explained to him by Clara.

“You were an exceptional Doctor, Clara…’goodness’ has nothing to do with it” – This is the mindset of The Doctor in this series and this incarnation in microcosm. Look at what she has to do – establish dominance in a panicked crowd, take no time to mourn those who die during the fight, and spend every moment puffing everyone up so they think they have a chance of surviving.  That’s been Capaldi’s job all year.  And she did it beautifully.

“My Clara…I have chosen well” – Missy is back, watching the action via an iPad that’s positively HUGE in her hands.  Now of course, this only begs the question, how does she define “chosen”?  We might suspect we’re back to thinking she’s the one who gave Clara the phone number to the TARDIS, but it might be more a case of just choosing who will be the one to help The Doctor the most.  It would be quite a frustrating turn of events if it turns out Clara was a mole all along (as well as patently contradicting her reason for existence for most of the series), so any connection would be, one would hope, non-complicit on her part.

NEXT TIME ON DOCTOR WHO – Clearly the governmental “go green” initiative has gone too far.  In The Forest Of The Night, coming this Saturday.

Tweeks: Enjoying Modern Literary Viewing

lizziegirlsThis week we get all literary with reviews of two modern adaptations of classic works: the new TV show Selfie (on ABC Tuesday nights at 8pm) based on My Fair Lady and one of our favorite web series, The Lizzie Bennet Diaries based on Pride and Prejudice.  

It’s just too bad this doesn’t count as homework.

Box Office Democracy: “Dracula Untold”

I can’t believe Dracula Untold got made. It’s an amazing jumble of nonsensical film parts that I can only believe the pitch meeting between screenwriters Matt Sazama and Burk Sharpless and the development executive at Universal went something like this:

Matt: So, we want to make a Dracula movie that tells the origin story of the most famous vampire in the world.

Executive: Great! Universal has a rich history of making horror movies with iconic characters like this. We’d love to get in the business of making a good horror movie to rescue vampires from being such a punch line in chick lit.

Burk: Oh, no, this isn’t a horror movie. It’s going to be more like the 300 movies. It’ll be a dark atmosphere-y old war movie like that.

Executive: That sounds good too. A brave town hunkering down as they have to defend themselves from the unspeakable horror of the first ever vampire. I still like it a lot.

Matt: Dracula is going to be the good guy in this movie. He’s going to fight the army of the Ottoman Empire.

Executive: Ok, I guess anti-heroes have always done good business and having him fight against a giant army might be interesting. We’ve seen vampires overwhelm individuals but an army of thousands of people might pose an interesting challenge.

Burk: He’s going to kill thousands of people effortlessly in seconds, there won’t be a moment in the film where you believe that anyone is a legitimate challenge to Dracula’s power.

Executive: Well…that’s an interesting way to handle conflict. I think I can still greenlight this movie, if we drop it in October no one will notice it isn’t a scary movie until we already have a lot of their money. Can you at least make a bunch of scenes that feel like they come straight out of Game of Thrones?

Matt: Absolutely, we even already have Charles “Tywin Lannister” Dance himself already attached.

Executive: Great! Is $70 million enough to get this movie in to theaters?

Suffice to say this didn’t produce a great movie. All origin movies have to deal with a certain feeling of inevitability but the good ones manage to do things that shine a new light on the stores we’ve heard a million times. Dracula Untold decides to tell us the parts of the story no one ever cared enough about to ask. I’m not in to Dracula movies to see Dracula care about his family or struggle with the burden of ruling Transylvania. I want to see vampire stuff, victims being stalked and seduced and the like. Dracula Untold gives that to me in the last three minutes of the movie. It’s like making a Superman movie where he doesn’t save Lois Lane until the end credits are rolling. There are a lot of movies this could have been and some of them might have even been satisfying but this was a terrible vampire movie and I would call it a disgrace to the name Dracula but I’ve seen Dracula 2000.

Photo by BagoGames

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