I haven’t seen yet Seth Rogan’s apparent attack on Pixar movies, Sausage Party, but (an-apparently-sabotaged?) ad campaign makes its premise – talking food literally ripped to shreds – vomit-inducing. Despite the good reviews and Internet chatter calling the movie funny but mean-spirited, and for all the complaints about how implicitly anti-Christian the movie supposedly is (Canadian tax dollars at rest, people), I’m wondering how soon until reports start surfacing calling the movie sickeningly gross.
Cat’s real problem is that’s she’s given Kara (why not Linda, writers?) no reason to trust her (not part of Clark’s inner circle, abuses the staff, sees Supergirl as a scoop). The writers’/studio’s/network’s problem is that they’ve given the viewer no reason to apply “The fewer who know [superhero’s identity], the fewer who get hurt.” CBS may be at fault, too: likely angry at Warner Brothers for letting Person of Interest’s writers run that show into the ground and rely on crazed fans to silence the network, probably wanted to go to superhero-comics cliches as a means of making the show “better,” and to avoid PoI’s descent from sci-fi cop drama to nihilistic trash (IMHO; mo on that later).
Kara, meanwhile, is scared of her boss anyway, and essentially works two high-tension jobs already, and so probably is incapable of conceiving of Cat as anything but a weight.
Or the whole thing is misapplying our reality’s version of human nature to the show’s version of sapient nature: real-world human interactions and relationships may not apply to a world of high-powered people/weapons/equipment/events at every turn. But who’s misapplying what to which, dear reader?
Person of Interest started on CBS in 2011 as a cyberpunk twist on police dramas.
By 2014 it turned into sexist and racist trash (both women of color are brutalized on-camera – and replaced by women not of color; practically all the women on the show are written as unprofessional and self-righteous anyway). In a new misreading of comic books as both story and art, the writers think that we could sympathize with brain-cell Harold “renamed Ben Linus” Finch being written as a sniveling coward – when his actor, Michael Emerson, not only can’t sell that to the viewer (or at least this viewer), but brings to mind Ben Linus’ self-servitude and -justifications instead with that material.
Then there’s the supposed good guys accepting a raving-lunatic opponent of theirs (another sterling example of the women on this show, and one of the women-not-of-color-replacing-a-brutalized-on-camera-woman-of color) as a partner and not as a marriage-of-convenience in the face of a common foe.
Said common foe, the second of the show’s two hacking-into-computer-feeds-for-vigilante-work-computer-systems, sees anybody not on its team as a threat – and denies the supposed heroes successes in saving people whom the first system wants saved.
And then what fans the show has left EXCUSE this with “It’s really cyberpunk darkness that had to be sold as a cop show.” And CBS can’t complain without pissing off the show’s fans, supporters, producers, and writers – and can’t let back past actors or get rid of the crazy lady mentioned earlier without a lot of hurt feelings somewhere.
I hope you’re happy, “fans.”[Note: Post subject to change this weekend.]
Heroes Reborn – Tim Kring’s paycheck reborn. That’s probably the only reason why he wanted to do this mixed-bag whose pedigree (heh) it’s struggling to escape.
On Television Without Pity – in February 2014, back when it still had a forum – I noted the following critic and viewer complaints about the old Heroes:
- Uneven pacing
- Unlikable characters
- Racist and sexist characterization
- Unjustified nihilistic worldview
- Diffuse, derivative, and repetitive plots
- Failing to maintain a sense of wonder, despite the writers’ best efforts
- Failing to explore/expand the show’s own backstory, universe and mythology any further/sooner/greater than the writers already had and ended up doing
- Giving the viewer a sense of disbelief, disgust, and dismay instead
- Reach-exceeding-grasp ambitions that fall apart when exposed to real-life problems and are not as much salvaged as rework-able as soon/well as possible as trashed as not being memorable enough to be worth salvaging, much less reworking
- Over-reliance on special effects when budget kept telling them not to instead of building up character drama to compensate
And my personal problems with Heroes:
- Least-bad writing wasted on the least-liked characters
- Poor storytelling to explain those problems
- Acting like Los Angeles can look like other parts of the world when verisimilitude problems would and did work against this – as it often does with location shoots – and have the writers flat-out admit instead that they really are in Los Angeles …
Thus forcing the issue with diffusion, and with it pacing and characterization, while making a single geographic point a character in its own right and an integral part of and grounding for the show itself and its identity, thus possibly masking and resolving some of the other script/story problems as well…
To which we can now add Toronto to the Los Angeles references. That said, both shows have set scenes in LA and made references to Toronto – just too-little-too-late, and with California and Ontario portraying each other when not standing in for themselves or other parts of the world.
Thrown in now another problem with Heroes Reborn: Ripping off DC & Marvel’s superhero stories each chance Heroes gets. Guy in armor with a grudge runs around a big city fighting unscrupulous bigwigs? Arrow and Daredevil have your backs. Government agents and corporate contractors grab big-E “Evolved” humans off the streets for bigoted and other nefarious reasons? Agents of SHIELD and The Flash have their diatribes lined up for the fan websites. Once-abusive ex-Fed tries to make amends to his family? Arrow and Agents of SHIELD deal with that also. Heroes dealing with crimes they’re going to get involved in? Daredevil & The Flash question this too, albeit obliquely and in their own ways.
Also I wondered aloud that
Whether or not the producers and network can/will address the writing depends on… how many and which lessons both producers and writers have learned, and how much/well they’ve learned those lessons…
“Only halfheartedly, from what we’ve seen,” is the answer.
Case in point: The October 8, 15, & 22 episodes of Heroes Reborn each suffer from slow pacing, and in each case the story doesn’t really pick up until the 8:30 mark. The October 29 episode had the self-defeating, confusingly-described attitude of, “We can’t change the past from the viewpoint of its future, though others from our past could’ve gone into our present/their future, seen the outcome, and gone back to change their future/our past – we shouldn’t help them because we’re scared of timeline changes messing us up even worse. We can, however, modify some parts of our past to negate a worse future down our road. And forget anything from the old show that seemingly negates this.”
The cynical would claim that Kring’s scared of time travel creating a new show backstory, thus throwing whole episodes into a counts-for-little-from-a-rerun-standpoint alternate universe.
We’re nearly halfway through the season, and it feels as long; before tonight, I was just glad that the story was speeding up, but scared that it won’t go fast enough. Now I’m dismayed that Kring went to the smaller-more-plot-serving-paradoxes-to-avoid-a-larger-plot-denying-paradox.
Tim Kring said that he wanted a central mystery that characters would puzzle out individually, calling it exciting drama (go figure). Is what he claimed, I wonder, code for, “dragging the story out to pad the home video/online streaming/strip-syndication package?” As Milo Ventimiglia noted, the downside is that without at least one resolved story line and/or revealed plot point per episode, viewers would get impatient – and abandon the show.
Apparently, viewers – at least here in the USA – got that impression, and for this reason (among others) stayed away from the old Heroes, by and large.
The only plus that continues is Jack Coleman earning viewer admiration for giving his character an impressive toughness – and even then, the father’s had to deal with his daughter’s (badly handled) death and two nothings of sidekicks. Said ankle-weights include Quentin Frady, a nerdy anti-corporate hackitivist (is there any other?) whom I’ve dubbed “Beardy” for the carrot shavings hanging from his actor’s, Henry Zebrowski‘s, chin.
The other is Taylor Kravid (Eve Harlow), the self-righteous brat excuse of a daughter of a corrupt CEO (Erica Kravid, played by Rya Kihlstedt), and whose distinctiveness begins and ends with her actress looking like she could be Michelle Rodriguez’s little sister.
Though that didn’t stop him from teleporting to Ontario for some cheap-time-travel-plot reason.
Let’s talk about film festivals – and conventions. For us fans & students of sci-fi/fantasy genres, they can in spirit be the same to us. Both are chances for the best and brightest in our fields to show how and why we are who and what we are, on paper, stage, or screen.
Coming in January 2016 to South Florida is the Third Annual MiSciFi – the Miami International Science Fiction Film Festival. It promises to offer independent movies showing what we love and how much we love it. It looks like it uses film how Comic-Con, the Star Wars Celebration, ConventioCon and Bi-Mon-Sci-Fi-Con use panel discussions – to explain things to each other, what we do and how we do it.
Given the Star Wars Episode VII Canon/Legends division and disparities among different versions of the saga, Star Wars fans may have to accept, if most haven’t already, what Star Trek fans may have already decided on, fan writers were already doing, and StarGate ones may have accepted: Have multiple continuities, each with its own past, present, and future, with viewers and writers combining elements as desired, everybody and his brother living with it. it’s probably the only way to keep sane about these behind-the scene conflicts.
What follows is how I feel from a combination of:
2.) Fan speculation back in the 1990s whether or not “Darth Vader” was a name that Anakin Skywalker expropriated from from a fellow Jedi/Sithlord;
4.) http://www.trekplace.com/fj-kdint02.html George Lucas seemingly sharing in Gene Roddenberry’s attitude towards licensees (they’re good only as long as they don’t shake you down to get their work on your screen);
5.) The Grand Prize: Star Wars Episode VII and its sequels (for now, at least) ignoring the Expanded Universe (i. e., Legends) stories, likely for Point 4’s reasons as well as reader complaints about repetitive plots, darkening tone, inconsistent writing, unlikable characters, and bizarre conceits.
US/Canadian science-fiction fans may also call the last point the Bad Robot Productions/Ron Moore approach (demolish the building to the foundation, redevelop from there, and dismiss the old building as ungainly). Ask older fans how acceptable that approach and outcome are – if you dare.
Unfortunately, that point may mean that whatever was good from Legends (Luke and Leia’s spouses and children, chiefly) and some fan-favorite characters and events may never show up on screen. The writers already denied movie immortality and payouts then may have the thankless task of explaining where character A was/how that character participated in continuity X. Also, those writers may have to fight with Disney over how characters introduced in one continuity may interact with characters introduced in another continuity or originated before the split in continuities.
As it is, those writers must be seething about the situation, but likely can’t complain publicly, go to court, or run to former Star Wars distributor 20th Century-Fox, and/or publishers, Bantam Books, Dark Horse Comics, West End Games, and/or Wizards of the Coast for financial/legal/moral support. They have to deal with the Disney/Marvel megalith and its monies, after all. So there Legends lies, tolerable/enjoyable in its own right, an historical curiosity in others, but pushed aside for corporate reasons, for good and ill, by something that time will tell is “preferable.”
And then there’s the fan reaction. Famously, for reasons explained previously, Star Trek has no two licensees agree with each other in continuity not previously established on screen. Similarly, StarGate actually has TWO continuities, the Bill McKay book series from the 1990s and the SG-1/Atlantis TV franchise. (ironically enough, the former was supposedly closer to the original film’s world-building than was the latter).
In Basic (terms and Star Wars’ English-like language), there you have it: different continuities, each created by fans based on their preferences. It’s probably the only way to keep sane about these behind-the scene conflicts.
Sunday, August 30, 2015, ending his 5-minute-long acceptance speech at the MTVVMAs, Kanye West claimed to be running for US President. Taking this seriously, we have the possibility of both the dumbest and vainest First Lady in USA history, and a President who confuses “assertive” with “aggressive,” and “the good fight” with “preemptive strikes motivated by presumptions about people who call liberal means counterproductive, and thus must be bigoted for opposing liberal means.”
And if this is Kanye’s idea of a joke, and/or an attention-grabber, then this is possibly the dumbest attempt for both in recent times.
And for viewers -or at least me – “drop” means the 10:30 mark. That’s when possibly the two biggest stories of the night for the MTV 2015 Video Music Awards reached memetic status.
1.) Miley “Hannah-Montana-no-more” Cyrus – Oh Miley, I know (or at least THINK) you’re spoofing your public image (I’m over 21! Woo-Hoo!), but it comes off like you just want to keep partying until you drop, and this is more of the fun.
After the Kanye West acceptance speech (which seems to have backfired on him, see more below), Miley dropped the self-satire and went into full-on self-satisfaction, making her bad public image worse and Vanessa Beyer’s defamatory attacks (IMO) on her more truthful than defamatory.
2.) Kanye West. When Taylor Swift was introducing him, she all-but-flat-out called him an ignorant, unfair ingrate, leaving him looking hurt. In a long, possibly-thought-up-on-the-spot acceptance speech that MTV ikely was too scared to cut short, he said he was grateful for the award and the cheers, admitted that he came off too strong while fighting the good fight and for artistic expression, and that he meant well. He also claimed that MTV exploited his infamous criticism of the network – and himself by extension – for ratings reasons, leaving Taylor looking steamed. Lastly – and who knows if he’s kidding – he claimed to be running for President in 2020. Twitter promptly blew up, with posters yet again calling him a self-righteous bully (see the #MTVVMAs hashtag for August 30-31, 2015, for why).
(BTW, Beyonce Knowles, whom Kanye claimed in the upthread video to be a better and much-more-memorable show-woman than Swift, was nowhere mentioned, never mind shown. My money is on both her and MTV not wanting her in the theater, on anybody calling her out, in case Kanye dragged her into his complaints.)
In related news, Nicki Minaj is still her outrageous self, Justin Beiber’s starting a comeback, and Truth.org is now running anti-marijuana ads.
After re-reading my past few posts, I’ve seen how negative, reliant on other people’s work, and light on sourcing they’ve been. To compensate, I’m moving over to more-positive and better-sourced reviews and comments, as well as original content and speculative-fiction stories and documents I’ve been working on. Hopefully, this gets me more and better attention and reception.