Knight of 7, series premiere - Jan 21

 Obligatory disclaimer: real life sucks. Toronto Public Library, of which I am a card-carrying member and all, decided to remake its’ website fully, and so now I had to re-register myself online and all. It was unnecessary, redundant, and all, but they did it regardless. Damn them.

The weather is just as bad – this winter is a bad one and the weather network cheerfully reiterates it day after day. Between that, and our apartment needing repairs, life sucks. So, let us look at HBO’s ‘Knight of the seven kingdoms’, shall we?

…Well, my first avenue of escape from reality was our RPG, based on D&D 3.5. (Why is a story for another time). One of our opponents was a Green Star Adept, that is to say something of a magic user who is slowly becoming a construct instead. The person who was designing this opponent just had the GSA be a wizard before becoming a GSA; one of our players wanted the GSA’s base class story to be more diverse, and so the gaming session just imploded; person 2 proclaimed that the GSA was just a basic wizard with the prestige class tackled on and that the base class history should’ve been more diverse, and person 1 pointed that a lot of GSA’s skill requirements were Knowledge skills, and so a wizard was a best choice… it was a mess. Onto the ‘Knight’?

Eh, after watching the series’ premiere I have one question: what happened to HoD? GoT was able to finish itself, though no one was pleased as to how it happened, and HoD? HoD ended with S2, so far there is no info when HoD will go onto S3, and HBO is already presenting an entirely different Westeros show. Is HoD on a hiatus or something? People would like to know, I bet…

As for ‘Knight’ itself… it is an RPG. It is a quasi-historical RPG, set in a quasi-England, with Dunk and Egg being the main players. They have to pass obstacles, surmount challenges, flat-out survive and all… it is not a bad concept, and not a bad delivery, and I, for one, have no problem with ‘Knight’, but that robin…

One of the scenes in 1x01 is Duncan hearing – and seeing – a robin in a tree. Since Westeros is based on England (of Shakespeare, and Chaucer, and even Bearns, just a bit), I am guessing that it is a European robin rather than some other – in our times the name ‘robin’ is applied to several bird species, not really related to each other. Of course, given how Westeros is imaginary, and that Mr. Martin tends to use animals in his novels as random monsters if at all, HBO could’ve used an American robin just as well, seeing how no one cared; but.

But what exactly did they do with the robin? I am reckoning that they could have gone into public video domain and got the footage of the European (or any other) robin to use in their show. Instead, I am mostly convinced, they used some sort of an AI to generate the bird; it is not a bad idea, it just makes the bird look rather fake. Duncan’s (ok, his actor’s) look at the singing bird only drives this point further – it’s quite fake and the show didn’t even tried to pretend that the fellow was really staring at an actual bird; instead, the actor just did his best to look incredulous… at nothing in particular. Fun!

That said, CGI-birds and the like aside, ‘Knight’ is a good TV series and I am surprised at the general lack of reaction towards it. Sure, there are reviews about it online, but little else; seemingly the Westeros fanbase itself is suspicious of HBO’s new move, even though ‘Knight’ does work. Oh, and Mr. Martin is teasing his new book, ‘The Winds of Winter’. Sigh.

Did not want to go there, but perhaps part of Mr. Martin’s, and HBO’s, problem is that people are moving past Westeros; his books aren’t selling as they did before, and overall the franchise’s popularity is waning; HBO tries to fix this, and they’re doing it better than how Disney did with SW, but regardless…

Regardless, it might not be enough. Right now, it’s winter 2026, it’s a bad and snowy one, and the Donald seems to be trying to destroy democracy on the planet, so of course people will watch anything to escape reality, and ‘Knight’ is a good show. Of course, so far, it is just the series’ premiere, so what happens next is anyone’s bet, but so far, the show is promising, so let’s be optimistic for the moment, even though real life still sucks.

Well, this is it for now, actually. See you all soon!

Story idea 1 - Jan 14

 Obligatory statement - real life sucks, so here's an idea for a fiction story if anyone's interested:

Story outline.

Aphrodite is a schemer, like most other Olympians are, and she planned to make one of her children into something more than just a demigod. Initially, she was going for Silena, grooming and preparing her for her potential destiny discreetly but Silena died during the war with Chronus, and Aphrodite had to start anew.

Not a problem, she has two candidates, the heir – Piper, and the spare – Drew. Well, Drew is mostly out because Piper seems to be perfect, doing exactly what Aphrodite wanted her to do, including saving Olympus from Gaia and the giants, but also a relationship with Jason.

Jason is the youngest son of Zeus/Jupiter, (so far, officially), and the latter has an ambiguous relationship with all of his sons: he keeps a close watch on them, and if they stand out and rebel (by the Thunderer’s standards), he ends them. Initially, Piper’s job was to occupy Jason’s attention and ensure that he did not do that – and in return, both she and her mother were to receive benefits from the king (and the queen) of Olympus.

At first, it worked, but when the pair moved to college, it stopped. The relationship ended, Jason stood up for Apollo, (who was in Zeus’s bad books now), and ended up dead with no chance of coming back, because you do not come back after you argue with Zeus. Hera is not happy and scheming, but Aphrodite and Piper are not a part of it.

Aphrodite tries to manipulate Piper by giving her Shel – who is almost a literal shell of a person, but it backfires: Piper is done with gods, demigods, and monsters, and takes what Shel de-facto offers her – a life as an ordinary mortal. (There is some squiggle room, but since Piper has de-facto renounced her status as the daughter of Aphrodite, none of the options are good). Aphrodite goes to Drew.

Drew knows that Aphrodite came to her only after Piper is done, and knows that for Aphrodite she is the last option. Still, Aphrodite is her mother, and so, when Aphrodite gets her to go on a quest, Drew accepts.

The quest is the first step out of several that are supposed to make Drew into something more than a demigod, almost like a junior partner for her mother. Drew suspects that something is off from the start, and though she loves and obeys her mother, she doesn’t do so without questions and doesn’t do all the right moves fully, and Aphrodite can’t manipulate/force her to do that, because that would ruin her whole plan – so now the mother and daughter are stuck in a very precarious position as both found themselves bound to each other by Aphrodite’s plot.

Add the Egyptian magicians, led by the Kane siblings. They do not know the Greek-Roman world too well, but Drew is helping them learn, (and learns back), and they recognize enough of Aphrodite’s plan to be wary. (Drew wants them to stop it, on some level). The story is set, and many people are going to have headaches before it ends.

This is it for now. See you all soon.

PJO S2, take 2 - Jan 13

 Obligatory disclaimer: real life sucks, so let us return to PJO S2 once again.

We start with ‘the Sea of Monsters’, obviously. Riordan’s novel was one thing, and Disney+ went with something visibly influenced by the PotC franchise – remember the entire Depp vs. Hearst RL story? Yes, that PotC. Disney is continuing to play fast and loose with its properties – guess the Sequel Trilogy of SW did not teach them anything…

No, really, let us expand. In the SW 7-9 films, Disney tried to push female power and other progressive politics onto the movies’ audiences, and failed. The state of affairs where Disney/SW just swung back and forth between bending backwards to appease the viewers to flat-out defying them (Witcher S4 style) to elsewhere made it worse. In PJO S2, this state of affairs is not present, instead we have POCs, especially young women of Afro-American origin, being the main characters – mostly. Circe took over for Medusa here, (sort of – out of the two, Medusa is the more appealing character), and PJ (who is played by an Anglo-American male), and Grover, (who is a POC, but male, rather than female), are still important to the plot. However, otherwise? Athena is depicted here as a POC. Not a problem – she is a goddess; in Homer’s ‘Odyssey’ she tended to alter her appearance constantly whenever she was in the mortal world – she could appear as anyone, male or female, as well as human or bird. Right now, we behold her as a woman of color, just as Zeus is an Afro-American man – but that does not matter at all. Zeus courted Europa as a bull, Danae – as a shower of gold, Alcmene – as her legitimate husband, and Leda – as a swan to name a few; right now he looks like an Afro-American man; in the next moment he can look like an animal, an inanimate object, or, Tartarus, even a woman – he seduced and impregnated Callisto in the shape of his another daughter, Diana slash Artemis of the hunt, so, clearly, the divine equipment is different from the mortal on many levels…

Athena, of course, is supposed to be a virginal goddess. Pause. In the second series, Riordan made it so that Minerva is a virginal goddess, but Athena isn’t – and now, in ‘The Court of the Dead’, there are ‘legacy demigods’ of Minerva too. He is clearly doing his best to adapt to whatever Disney is doing with his franchise, for what else is there?

Calling it quits and leaving with some originality and integrity intact. As king Midas showed, you cannot have all the money in the world, and Croesus showed that you could be rich, but still have an unhappy ending to your life. (Neither appeared on PJO yet). Riordan has 15 books on the Greek-Roman myths, 3 on the Egyptian, and another 5 on the Norse – plus oodles of supplementary books. That is quite enough for a single person; the royalties for them should last him a lot – and then there are the ‘RR presents’ YA novels – but we’ll talk about them another time. Right now we reach the point that Riordan’s characters can be POC or WASP and move to the fact that Disney is trying to pull an ‘Ironheart’ here – Annabeth, Clarisse, even Thalia (in the flashback), all are POCs, and they almost steal the show from Percy, who is not. The show is good, but now the fans have reached the acceptance stage – they do not care about the race bending, (good for them), or about anything else. They just watch the episode of the week, and move on. Riordan and Disney tried to reinvigorate the franchise. It does not appear to have worked. Of course, if they kill Clarisse, (rather than Luke) on the show, I will be sad and disgruntled for one, but that is unimportant. I believe they are trying to make Clarisse almost like a mentor/big sister to Percy and that, again, is original content. Pause.

There is nothing wrong with original content; Hell, Tom Holland’s ‘Spider-Man’ movies are full of it, and if original content is delivered correctly, (in those movies it is), it works. Otherwise, you have ‘Ironheart’ or even ‘Marvel Zombies’, where it does not work. What next?

Clarisse’s heartfelt speech in the scene with Scylla. Of all the depictions they could have taken with the sea monster, this one was disappointing – a watered-down version of the PotC Kraken. Seriously, they just could have made her a giant squid and be done with it, ‘cause why not? In addition, on another note, it is Epic: the Musical. What?

In JRH’s version, Odysseus sacrificed a random half-a-dozen of his crew so that he, and the rest, could get through and to Ithaca, eventually. In Homer, Odysseus prepared to fight Scylla, but since six heads can be smarter than one, Scylla launched a surprise sneak attack and stole six of Odysseus’ crew before Odysseus could do anything. In addition, here, in PJO S2, we have Clarisse and co. doing their best to save Clarisse’s crew (who are not entirely human themselves, but Scylla does not care)… with mixed success, but still. I honestly wonder if the script of Epic: the Musical, (there the Scylla episode is something of a response to the ‘Survive’ song set in Polyphemus’ cave), hadn’t influenced Disney’s PJO script writers and they went the other way…

Polyphemus, of course, is Polyphemus, (just as Tyson is Tyson). Here, the PJO script did something different from the book again – the Tyson vs. Polyphemus fight, for example. Clearly, the PJO scriptwriters felt that they needed to do something different from the book (and the movie) here, and they did. It was certainly dramatic, too. Good for them. Pause.

Do I like the PJO S2? It is not bad. It is full of progressive politics, just like Ms. Haynes’ books, and as I wrote before, Ms. Haynes seems to be doing her best to be noticed by Disney and co. – but she does not appear to have much luck in this direction. As it was written earlier, her writing usually does not have any passion, any investment – it is not written by an A.I., but that is not necessarily an improvement.

What is the advantage of A.I.? It allows you to bounce your ideas around, to see what they look like as a draft.

…Ok, it can enable you to do a lot more – write an official letter, an essay, explain a complex myth to your child and so on. The A.I. is here to stay, but you must learn how to handle it precisely – a slight mistake and the result is nothing that you wanted. If this sounds familiar, it is. It is Athena and her wisdom – she can help you see clearly, (or clearer), what you want, but nothing else. You are in charge, in fact, you decide where to go from there, what to do with this advice, and so on. The ‘Odyssey’ shows this clearly – Athena, disguised as Mentor, (a man – therefore, for all that we know, she was hanging around Annabeth regularly, Annabeth just never knew that it was her mum), helps Telemachus to organize his thoughts, make up his mind, design his plan, and go off to execute it. It is clean, precise, methodical, and not exactly humans – but the gods of Olympus are not exactly human to begin with, and neither is A.I. I am not saying that Annabeth is the daughter of a divine Skynet, but wouldn’t it be cool if it were?

Back to PJO… it was not written by A.I., or at least – not purely by A.I., and neither were Riordan’s original YA novels, and therefore, the PJ franchise feels more emotional than Ms. Haynes’ works. Her non-fiction works are something else, and ‘1000 ships’… well, it has Odysseus and Penelope in it, and so it is a much more interesting read than ‘Stone’; as for ‘House’ (her upcoming 2006 novel), we will just have to wait and see.

For now, though, this is it. See you all soon.

 

PJO, Riordan, and Ms. Haynes - Jan 11

 Obligatory disclaimer: real life sucks. My apologizes for vanishing for the rest of 2025, but real life sucks, and I did not have a regular access to computer until now. I really hate my life, you know? That said, the ‘Endlings’ have ended for now, (and we will talk about them some other time), MCU is about to bring forth ‘Wonder-Man’ by the end of Jan 2026, (and we will talk about it then), so what is left?

The second season of PJO, mostly. After the excitement of the first season, the second is going down much quietly, people have accepted this PJ reality and just go with it – or not. The sirens, for example, clearly designed via 3.5 edition’s D&D Monster Manual II, are just… not working. This probably brings us to Annabeth (and Clarisse). Pause.

Once upon a time, there was plenty of racebending artwork – not just of PJ, but also of HP and the like – and then the first season of PJO came out, and racebending became official, and unofficially? The racebending stopped. Even via the AI, as well as the more traditional artwork. In fact, the popularity of the entire Riordan franchise still appears to be gradually dying down, which brings us to Ms. Natalie Haynes.

Ms. Haynes, judging by her books, both fiction and non-fiction, wouldn’t object being noticed by Disney or someone like that; to achieve this, she’s trying to be politically progressive, especially in ‘Deific Might’ (that features a particularly cheeky goddess Athena on the cover)… just when the progressive politics are dying – thanks to the Donald (at the moment). Moreover, as I wrote in 2025, most of the time, Ms. Haynes’ prose is more mind than passion, more Athena than Medusa (by her standards), and while she does get passionate (say, about Phaedra in ‘Pandora’s Jar’), most of the time she is not. Therefore, it is rather hard to get excited/involved/etc. in her writings as well. You read them, and you are done. Onto Athena?

Athena… is a special case for Ms. Haynes – she is clearly her favorite goddess, she tries to put her into every entry of PJ and DM. Ms. Haynes tends to be long-winded anyhow, (and it doesn’t always work in her favor), but when Athena, (or Odysseus, Penelope, or Homer), is talked about, she becomes especially so. Ms. Haynes has her favorites, and no matter how hard she tries to some across as a politically progressive person, she does not always achieve this. So what does Riordan has to do with this?

As we have seen the goddess Athena in PJO, she too is now Afro-American, as is Annabeth, her daughter. This means nothing, because Athena is a fully blooded goddess and can look like everyone. This is traditional, in fact, because in Homer’s ‘Iliad’ and ‘Odyssey’, (as well as the later works, especially Ovid’s ‘Metamorphoses’) Athena was quite fond of disguises and could be anyone, before revealing her godly might and surprising the unlucky mortal. She got it from Zeus, of course – the king of gods and mortals really loved disguises, especially when it came to seduction; he usually didn’t go as himself (unless the other party themselves was divine, like Leto or Maia), but rather as someone else – as the lawful husband when he sired Heracles, as his own daughter when he seduced Calypso, as a bull, or a golden rain, or – you get the idea. How does Athena fit here?

Zeus was worried about himself being dethroned. After all, his father, who was dethroned by Zeus himself, so there was tradition, dethroned his grandfather and since it was in Zeus’s disfavor, he did not like it. Therefore, his Olympian children were rather worried about him whipping out his old thunderbolt and sending them off the Olympus into who knows where. There are actually myths about Apollo (and sometimes Poseidon) having this sort of experience – usually serving mortals as well. Riordan’s TTOA books have precedent on their side.

For Athena’s part, she was the daughter of Metis. Zeus was worried that Metis will bear a son, who will dethrone him, so he swallowed her, and Metis bore Athena, a daughter, instead. I.e., Athena is the son that Zeus always wanted – a daughter who cannot inherit his throne (or deposit him – theoretically). In addition, for her part Athena is always obedient to Zeus in the canon and usually does what he wants and nothing more. That is one.

Two is that Athena is wisdom, true, but… the wisdom she gives is the one that the person already has. Look at Aphrodite. As love, she can be anyone, so all of those depictions of her are all true – she can take any shape, from a skinny blonde-haired woman to a short and busty redhead, to anyone else – and she will always be Aphrodite. Athena, too, can be anyone or anything – an old woman, a bird (and not just an owl), your best friend or even your sibling – and she will always give wise advice. Only… everyone has their own wisdom (and common sense), and that is what Athena does. She tells the person not so much what they want to hear, but rather what they are already thinking; she helps them work through the thinking process and arrive where they want to go mentally – and that can be dangerous. In the ‘Iliad’, for example, Athena pretended to be one of Hector’s brothers (who wasn’t Paris), who promised to help Hector with his fight with Achilles – and so Hector went to fight Achilles, and his brother (let alone Athena) wasn’t there to help him, and that was one of the reasons he died.

The rub there, of course, is that it might’ve been one of Hector’s brothers (who wasn’t Paris), who wanted Hector to die so that he can be the next commander in chief of the Trojan forces, and Athena just helped him figure out how to do it – how to set Hector up. Athena, the wisdom, does what you want to do, she helps you get to your goal without caring about morality, and if you fail, or succeed, and the price is paid – Athena is already gone; she usually does not care about mortals, normally she does not care about the mortals at all…

You know who, or what, this sounds like? An AI or a robot. Athena is almost all intellect, normally; she does not have much emotions. Poor Annabeth has her work cut out for her trying to impress her divine parent – it is not that Athena does not care about her children; it’s that she doesn’t do that emotionally. Moreover, I do not think that she would have children without Zeus’ permission – he is not exactly grandfather material, he is always suspecting that there is a rival within his family and so he keeps his thunderbolt ready and primed. If he suspected that Athena was not loyal to him, he would smite her too – as he did with Apollo, most likely. Therefore, Athena can prance before Ares and proclaim that she is better than he is at war and his domains, but in reality? It is a superiority of a computer/robot over a human being (in a matter of speaking), and we all know how it goes does in a sci-fi movie (or a TV series) – the human eventually triumphs…

It would have been an interesting twist, if in PJO Riordan did not make Ares the villain in the ‘Lightning Thief’ book, but rather Athena: she could have started as this flawless, perfect being, and then gradually the titular hero and his friends realized that this perfection is hollow and that Athena is manipulating everyone without caring about anyone. Chronus, of course, would still be the puppeteer; Athena would be free from his control and would spend at least a couple of books putting her life back together after this disaster. (Instead of Trials of Apollo, we could have Trials of Athena – that would be interesting too). However, no – Ares is a stereotypical villain, Percy defeats him, and Ares recovers his standing by the third book of PJO, the end. Clichéd and boring – no wonder that Riordan’s world is slowly fading into overall oblivion, Disney+ series or not. Meanwhile, Ms. Haynes?

The same thing. Her fiction books, feel like they have been written by an A.I. (or Athena) – smooth, flawless, easily forgettable. Her non-fiction books… Ms. Haynes tries to be politically progressive, but sometimes she sounds like a neophyte who arrived at progressive politics late in her life and who tries to compensate for this fact with extra zeal – and sometimes she sounds more like an opportunist, who doesn’t care about the progressive politics but wants to use them to get ahead… isn’t that Disney? It sure is – no wonder Ms. Haynes is trying to hit all the right notes and be notices – after all, if Disney worked for Riordan, and made him successful and rich, why not for her?

…Because Riordan actually has passion in his writing and emotion. Some of his novels – especially the second pentalogy, where Percy and friends meet the Romans and have to ally with them to defeat the giants – are quite good. Ms. Haynes’ novels are not so much. (In addition, authors are publishing fictive books based on Greek myths quite regularly in the last few years, so Ms. Haynes is also getting lost in the crowd). However, hey, Athena would be proud!

…Athena is not the goddess of creativity or literature – that is the role of the Muses and Apollo. Riordan invested into the latter a lot – five entire books, a whole series. Maybe Ms. Haynes should try to do something similar rather than sticking with ‘girl power’ – something that Athena does not have much in common with anyhow. (Seriously, Athena does not care all that much for mortal women, unlike the other Olympian gods and goddesses). However, hey, it is her call. (The real life sucks, again – unlike the sirens of PJO who are not even good or bad – just bizarre, and looking like some animatronics gone wrong – but that is a rant for another time).

For now, though, this is it. See you all soon!

Endlings: Guinea Worm - Dec 08

 Obligatory disclaimer: real life sucks, and recently I have an especially problematic development in my family – but no one wants to hear about it, right? Therefore, since there is no counterarguments, let us get back to the BB ‘Endlings’ series. This week’s topic – the Guinea worm.

In fact, this is a parasitic roundworm, a nematode, who has several hosts, including humans as well as copepods – crustacean cousins. For the copepods, the Guinea worms (they actually have a scientific name, but let’s just stick with this one, as it is quite distinctive) mean one thing, but for humans they result in a lot of pain, as the females of this species, (and those roundworms have both males and females), burst through skin on human legs and lay their eggs in the water, where the larvae encounter the copepods and etc. Those parasites are unpleasant and painful, and on their episode, BB talked about how humans plan to exterminate them all, to drive them into extinction. Pause.

Let’s be honest – the narrator of team BB is himself uncomfortable when talking about this topic: these days, driving any other live organism into deliberate extinction smells of hubris, and that feels even more wrong – gods, even polytheistic ones, tended to punish hubris quite severely…

On a more practical and less esoteric note, I feel doubtful that humans – us – will be able to drive the Guinea worm with extinction without a hitch. Why? Because of the same arrogance, but differently…

Earlier in 2025, for example, the U.S. talked about exterminating several thousand barred owls in order to save the spotted owls. This proclamation was met quite sceptically and unenthusiastically: a slaughter of several thousand owls is not a pleasing perspective to anyone sane and coherent, you know?

On the other hand, there is the practical aspect – and how are people to execute this… execution? Both of those owl species are not as showy as the great horned owl or the snowy owl are, for example – they are shy, retiring birds that hunt during the day in tree hollows, in the tree tops, and so on – they aren’t found so easily, (plus they got impressive camouflage and all). Finding them is not easy or simple or fast, so fulfilling the kill quota is something else, so it is not too surprising to learn that the talk of killing the barred owls has dissipated… Back to the roundworms?

On the Guinea Worm episode the narrator mentioned some other diseases that were eradicated – supposedly, only not entirely, and they can come back. He swears that this is not the case with the Guinea worms, if they are gone, they are gone. Perhaps they will be, but humans are actually bad at driving animals to extinction directly, as a rule it is done indirectly instead, so in this case, if we are driving the Guinea worm to extinction intentionally and directly, then there is a chance that it, this attempt, will fail and we will have something worse on our hands. When humans mess with nature, it is bad. When we do not and act as if we are a part of it, it is not an improvement either. This is the unintentional message of ‘Endlings’.

More precisely, humans should decide if the Guinea worm nematode is as natural as we are and thus we should endure it as our ancestors did in ancient Egypt and medieval Europe, or not – humans are almost supernatural in their power of managing and shaping Earth and nature, and the Guinea worm nematode can go bye-bye and good riddance. No one will miss it. It is a question of human ethics, and that is a discussion for another time.

…Of course human competence is also a part of this question, (re: the owls). If we cannot execute the… extinction due to ‘mechanical’ reasons, then all of the ethics suddenly become more or less redundant instead… Isn’t real life fun?

Well, no, not to me anyhow. However, thank you for your visit to my blog. See you all soon!

Prehistoric Planet S3 - Nov 27

 

Obligatory disclaimer – real life sucks, so let us talk about ‘Prehistoric Planet’, and especially the latest, 3^rd, season. What can be said about it?

…Looks like the people behind the show also feel like RL sucks and so they decided to spruce their stories… with drama! Many stories behind the clips feature cute baby animals getting into mortal danger, (occasionally the animal in danger is of a different age, but that changes little), and they escape the carnivores just in time, (or their parents help them), more often than not.

Take for example, the dwarf elephants vs. giant storks in 3x02 (“New Lands”). A fuzzy little dwarf Stegodon (elephant) calf is in trouble, but her mum arrives and fights off the giant storks with their huge, solid, and sharp beaks. Not that I wanted the elephants to perish, but modern storks (Jabiru storks, to be more precise), are sometimes able to fight off modern caimans with their beaks, and those storks were the bigger birds here. I have no idea why they would be intimidated by the dwarf elephant mum – I somewhat expected her to retreat with new bruises and wounds, (while her calf got away herself in the commotion). The calf herself has adorability level dialled up to maximum – to have the audiences root for her, no doubt.

The same goes for the Aepyornis (elephant bird) hatchlings – they are adorable so that the audiences root for them, and not for the giant prehistoric fossa, (whose existence is still debatable, BTW). Pause.

Here is the thing – the problem is not in the visuals and the CGI – they are great, but in the scrip and its’ repeating, well, repetition – repeatedly we get the same thing – an animal is in trouble from a carnivore, but escapes. Either that, or the carnivore gets its’ meal – ‘tis column A or column B, not much else.

By contrast, look at the much earlier TV series. The original ‘Walking with…’ series set the standard not just in visuals, but also in the plots. ‘Walking with Dinosaurs’-1999 and ‘Walking with Prehistoric Beasts’-2001, for example, was about evolution of life on Earth, but each of their episodes, (each series had just 6) told a different story: a sauropod’s coming of age, a pterosaur’s last trip around the globe, struggles of a prehistoric whale to keep herself and her unborn calf fed, etc. Some episodes had a main character, (such as Half-Tooth, an ousted Smilodon male), while others were less concentrated and focused, say, on the life in the late Jurassic seas in general; they didn’t restrict themselves to primarily predator/prey and parent/child interaction and told a more complex story overall.

Other series… ‘Chased by Dinosaurs’ and ‘Sea Monsters’ (2002-2003) were more entertainment than education; ‘Sea Monsters’ even had an online game for a while. ‘Walking with Monsters’ (2005) was the last entry in the series until the 2025 revival, it was shorter and streamlined, with much more CGI, but even so, it focused on evolution of life on Earth, not just birds hunting elephants or vice versa. In addition ‘Walking with Cavemen’ (2003) was about human evolution (4 episodes) and is something entirely – these day, the media do not like to talk about human evolution aloud; they cannot deny it, thankfully, but since 2003 there was nothing like WWC either.

Moreover, the original ‘Walking with…’ series were not unique. BBC also released – In 2002 – another mini-series called ‘Prehistoric America’ about – you probably guessed it – prehistoric America. The first five episodes talked about the different ecosystems of that time, from the frozen north to the prehistoric prairies; the final episode talked about the human colonization of North America, from the Ice Age to the modern times…

In addition, in 2003 there were ‘Monsters We Met’, which discussed humans meeting the last of the megafauna – in North America, Australia, and New Zealand (plus other south Pacific islands). Again, MWM talked about a very important topic – how the early humans contributed to the extinction of the last megafauna (up to date). ‘Prehistoric Planet’ S3 never did, even though it covered a much narrower scope of time – only the Pleistocene epoch, while the other shows covered the entire Cainozoic time period, for example, or, in case of ‘Prehistoric America’, they discussed the Pleistocene North America in much greater detail. ‘Prehistoric Planet’ comes across here as jack-of-all-trades instead, and that is not exactly a compliment here… Less anthropomorphic drama there, too…

Therefore, in conclusion, ‘Prehistoric Planet’ S3 was not a bad show, but it was only a show, nothing more, leaving me, for one, with mixed feelings. Ah well, real life sucks, but the way ‘Prehistoric Planet’ S3 handled that is not necessarily an improvement… See you all soon!

Endlings: Przewalski's horse and Genghis Khan - Nov 17

Obligatory disclaimer: real life sucks, so let us talk about BB ‘Endlings’ once more. This week’s animal – the Przewalski’s horse.

Now, last week’s episode, about the Thylacine, (aka the Tasmanian wolf), was rather lacklustre; this week’s episode is something else because of two points. One is that the Thylacine and the Przewalski’s wild horseserve as foils to each other – both were captured for the zoos, but while that served just as an extra cause of extinction for the Thylacine, for the Przewalski’s horse it was a salvation – the species was able to survive its’ extinction in the wild In the zoos, and those zoo animals served as the initial breeding stock for the rewilding program. Only, as BB points out, returning a formerly extinct (in the wild) animal into the wild is only the beginning, much more management lies ahead. This just might be a subtle criticism to such programs, as Colossal, who appear to do exactly that… once they get to it, of course. When that happens is another question, but BB is gearing up to be prepared already.

That said, the point that BB brings up in this week’s episode is a good one – humans are still the dominant force on the planet, many things happen on Earth with their involvement, and living space is one of them. Namely: to survive in the wild, the Przewalski’s horses need a certain ecosystem, and without human help that would be impossible. Moreover, to achieve this ecosystem, to accommodate the Przewalski’s wild horses, a certain amount of land had to be given up to them, land that could be used otherwise, by other species, including humans. In Mongolia, In case of the Przewalski’s horse, this came true. In other cases, it might not have, and as BB point out, PR and aesthetics (and national pride) were very important, if not crucial, in achieving this – and we come to the second point.

Genghis Khan. One of Earth history’s lynchpins. In this week’s historical anecdote, he, supposedly, saw some of the wild Przewalski’s horses in his day and age, but his horse was spooked by them, and did not approach them. Good for the horses! GK was one of the most formidable and ruthless leaders in human history, and his take on nature was to organize giant, organized (sorry about the repetition), hunts, that took their toll on nature, including wild horses, most likely. Yes, the scale with modern hunting is not comparable, but hunting alone does not cover all of the extinctions on this planet…

Back to Przewalski’s horses and Thylacines, another reason why the latter perished while the former did not… yes, because an Australian marsupial had a worse time surviving in old time zoos than an Asian placental mammal. However, the fact that horses have an entirely different PR than wolves (or anything wolf-related) do, also served a fact. Humans – especially those of the West, of the Anglo-Saxon Protestant (initial) origin wanted to save Przewalski’s horses, and so they did, while the Thylacine… while with the Thylacine, it was the other way, and so the Thylacine is gone, extinct, at least officially… Real life sucks, remember?

Well, this is it for now. See you all soon!