Last night I watched the first episode of Primeval: New World and so far I am of a more or less ambiguous attitude towards it.
First, the good. The technology/CGI side of the show was done very well, as always. IP always knew how to create realistic images of prehistoric/imaginary beasts, etc. As computer creations, the dinosaurs, pterosaurs, and anything else that the new team will encounter will be top notch.
The team itself, however, is something else. Basically, P:NW scriptwriters took the concept of the last season of "Primeval" – a six-person team and run with it. Connor Temple, the only character of the previous show to appear on P:NW up-to-date may be taking the role of Lester, or perhaps a senior team member who'll keep all the youngsters in check. And speaking of Connor, I admit that he has grown noticeably more competent than before and also sneakier – I'm not so sure that I like it. He also may be the ARC agent who had saved Evan from a dinosaur attack in the past, dying in the process, but until there is more information about that event, I'm not drawing any specific conclusions.
What about the new characters? As I said before, they have begun to form a 6-person team, just as in the last season of "Primeval", and Evan Cross, in particular, appears to be a younger version of Philip from the last season of "Primeval" as well, or at least that's how Connor sees him. In reality, Evan is probably more like Tony Stark (aka the Iron Man of Marvel comics©), an eccentric millionaire/inventor, who is also a superhero and a man of action. Just like so many other comic heroes, he is driven by his past, when a carnivorous dinosaur ate his wife when Evan and her snuck into a building and found a time anomaly. (More about the dinosaur later.)
If Evan is Tony, then Angelika Finch is Pepper Potts: she's the CFO of Evan's company, and is somewhat of a big sister to him, too: she keeps Evan grounded when he appears to be carried away – just as Pepper did with Tony, though with a slightly higher level of success. When in the beginning of the premier Evan tries to use Mac Randall to get away from a meeting with Angelika (Ange) – that was definitely a sibling interaction, sort of.
Angelika is also something of a neat freak, I suspect, and that is why she's going to be paired up with Lt. Ken Leeds – a Mulder-like character, who may be great at researching, but also really likes his things messy: maybe it drives his creative urges or something like that. His character didn't have much screen time in the first episode: so far he appears to be a tie to the Canadian government for Ange and Evan, and nothing more. He also has a big file on Evan and his company, Cross Photonics, so he may end up being Nick Fury (or at least agent Coulson) to Evan's Stark.
If Angelika is being paired with Lt. Leeds, then Evan is paired with Dylan Weir, an environmental activist and a police officer of some sort. The scene when Dylan and Evan fall through the time anomaly into the Cretaceous, and Dylan ends up on top of Evan (Dylan is a woman, though her name is manly – couldn't they go with Sarah, or Tanya, or something like that?), is pretty straightforward: Dylan is going to help Evan get over the loss of his wife (killed in part by his recklessness, BTW), and probably end up the next Mrs. Cross, though IP shows aren't big on weddings, I should note.
I also note that Dylan appears to be more laid back and accepting than Claudia Brown/Jenny Lewis was: she just accepted that there are radiomagnetic time anomalies in their uni-verse/dimension and went with the flow. Well, I don't see why not.
The last two main characters are Toby Nance (another woman with a manly name) and Mac Rendell. Mac Rendell is a daredevil and Evan's right-hand man: sort of a cross between Stephen Hart and Matt Anderson, I suppose. Toby is more like Jess, save that she isn't anywhere as fashion-conscious: guess the show's scriptwriters did their best of trying to differentiate P:NW's characters from their predecessors.
Sadly, that is probably P:NW's weakest part – the script. The actors, let's say it now, did a good job of sounding out their characters and to make them look real. The characters themselves are flat, though: Evan was the only one who's got some sort of a personal story behind him so far – probably because he's the central character (Buffy to Connor's Angel, if you would), and a personal story for the central character is a must. The rest of the P:NW characters (the supporting cast) have to go without it.
The second script flaw is the lack of a villain. "Primeval" had plenty of villains: Oliver Leek, Christine Johnson, Ethan Dombrowski, Philip Burton, and, of course, Helen Cutter made formidable opponents to the original ARC team. Because, let's be fair, modern humans, especially on their home turf (the 21st century) can outthink and outmaneuver any dinosaur or other prehistoric reptile, if given enough time. P:NW cast really needs a human opponent to test their mettle; otherwise the show will remain inferior to its predecessor.
Finally, there's the scientific angle, or rather – the lack of it. Ever since IP parted from BBC, it was steadily moving away from pseudo-documentaries ("Walking with" series) to true drama ("Primeval", P:NW, "Sinbad"). That said, they can still create more documentary-like shows, like "March of the Dinosaurs" (2011) movie, but they clearly are moving into more fictive shows instead. Maybe BBC, Discovery Channel, etc., are squeezing them out of the documentary niche, who knows?
That said, the lack of paleontological knowledge in P:NW is glaring. Pteranodon is depicted as man-eating bird of prey, literally: it has killed at least one person before it died. There were carnivorous and semi-terrestrial pterosaurs by the end of the Cretaceous, the azhdarchids, like Quetzalcoatlus and Hatzegopteryx, but Pteranodon belongs to a different family, the pteradontids, and it behaved more like a gull or a pelican, hunting for fish in the inland seas. Considering that IP was working with Pteranodon for a long time, since 2002 in "Chased by the Dinosaurs", they clearly know this, so why did they make it into a monster? If they needed a killer bird, why not use a teratorn instead? (Basically, a giant condor from the Ice Age.) Now that would be a giant bird of prey – literally and figuratively.
Then, the raptors. Evan calls them Utahraptors, but IP had problems with their identity from the time of "Primeval": influenced by the Jurassic Park movie franchise, their raptors are just generic sickle-clawed dinosaurs without any allegiance to any specific dromaeosaurid species; here the problem is that Utahraptor lived and died out just before Pteranodon appears on Earth, so they couldn't co-exist. Either that, or P:NW is doing something new with the time anomalies, which is another possibility.
Finally, the big dinosaur that ate Evan's wife, Albertosaurus (as identified on the official site). A smaller, more gracile relative of the T-Rex, Albertosaurus appeared several times in IP productions, but this version is mostly based on the aforementioned "March of the Dinosaurs" movie, except that it lacks feathers ("March" therapods were all feathered instead), and has one of its front claws bitten off. Odds that it will be P:NW's "villain" for this season at least quite good, since Albertosaurus had plenty of strength and speed, a nasty disposition and a decent amount of intelligence. If so, then P:NW can quickly devolve to a "man vs. beast" kind of a plot, and its characters lack "Moby Dick's" complexity to accomplish that sufficiently well to keep P:NW afloat for consecutive seasons. (Most of IP series, not counting "Primeval", are one-season hits.)
So. Good CGI and technology, decent actors and a flawed script. Right now, P:NW can go anywhere, and I will eagerly look over its journey.
Tuesday, 30 October 2012
Friday, 26 October 2012
Beauty and the Beast, episodes 2 +3 - oct 18 + 25
Two weeks ago I started to watch Showcase's "Beauty and the Beast" series, and I found them wanting. Last night I watched the show again, and my opinion didn't change.
Here's the developed premise. Catherine is a police officer who seeks to uncover the truth behind her mother's murder 9 years ago. Vincent was a soldier in the US Army, who became a lab rat for an attempt to create a "super-soldier" and experienced an epic fail on one hand and is legally dead on the other. 9 years ago Vince saved Cat from some unknown assassins and Cat had had issues ever since – a fact that didn't prevent Cat from developing issues, or becoming a policewoman.
Sounds straightforward, almost cliché-like? That's because Catherine and Vincent are clichéd characters that… do not have any connection to the titular fairy tale.
Let me elaborate. In theory, I suppose, the show's scriptwriters and producers took the original fairy tale (or the Disney version of it) and adapted it to a more feminist outlook (i.e. Cat and Tess the police officers). They also modernized it, as opposed to a more historical setting used by the CBS show in the past.
But… you can borrow someone else's material and change it only so much before it becomes something else – original content, for example. In Showcase's case, this resulted in a show whose titular 'Beast', Vincent, has more in common with the Hulk of the Marvel comic- and movie-verse than with the original Beast.
Well, that may be unfair. One of the ideas behind the original fairy tale was that to a newly married woman (Belle) a husband is something of a beast or a monster that changes to a handsome fellow over time. In time that mated to a concept that there's a monster inside any man (the werewolf legend, Dr. Jekyll and Mr. Hyde, the Hulk, etc.) so in a certain way Vincent the super-soldier is an heir to that tradition.
But… as the Hulk had shown, one does not need to be called a Beast to get in touch with their inner monster, and Vince, with his super-soldier situation is more closely connected to the Hulk than to the original Beast. Hence, the show's title actually impedes and restricts the character's development rather than helps.
The same goes for Catherine. The original/Disney beauty (Belle) may've been passive and old-fashioned girl by modern standards, but Disney at least made it work: Belle did indeed save the Beast by the power of her love and turned him back into the handsome prince (implying that love can make a man out of any monster) without being a sort of a warrior princess as Mulan or Rapunzel (from "Tangled") are.
In turn, this means that there was no reason for Catherine to have become a police officer to become a Belle-like character that keeps Vincent human (as shown by Showcase's latest episode). In fact, her occupation appears to be at odds with her character role, or rather – diminishes it, because Catherine and Belle are too different to be similar. Sounds stupid, I know, but still true. Two different characters act differently in the same situation and to create Catherine as an independent character and then expect her to be a stand-in for Belle just doesn't work – at least in my opinion.
In particular, that concerns Catherine's relationship with Joe Bishop, the police medic. Obviously, he's supposed to be a rival for Catherine's attention with Vincent and the more socially popular one – sort of like Gaston in the Disney movie. And it's true that Disney's Gaston was a 2-D character, a braggart and a blowhard, but in case of Catherine and Vincent it's the same. Cat is a cop obsessed with justice and little to no social life; Vincent is a suffering vigilante without any social life. As I wrote before, BtVS's Angel and Buffy has done something very similar before much more successfully; and as for DC Comics' "Batman" series – they basically own those heroic types. Just like Disney's Gaston, Cat and Vince are clichés and Joe Bishop, on the other hand, is much more likeable character.
Of course, that is also because of acting: Kristin Kreuk (Cat) and Jay Ryan (Vince) simply are not very convincing actors, they appear stiff and wooden, pretending to like each other so obviously, that nobody believes them. Or, more precisely, Jay Ryan is stiff and wooden; Kristin Kreuk appears to be overacting instead. (So does J.T. Forbes – Austin Basis.) Either way, the end result is the same: total lack of acting credibility from the show's main characters at the very least, and as for the plot…
Yes, there supposed to be conflict not just between the show's protagonists and their opponents, but also between themselves. Sadly, coupled with Kristin and Jay's poor acting (not that Austin improves things any) this makes the conflict very glaring and obnoxious, making one wonder just how long can the two go on and why should Cat and Vince have the relationship? Maybe that is the show's intention, but I doubt that it intended to approach this situation from such a direction.
Case in point: the next episode, where, will Cat and Tess deal with the case of an abused boy left for dead, the villains approach Cat with an offer of exchanging information about the death of Cat's mother for Vincent. Cat will waver and Vincent will plan to give himself up in return for Cat's safety. How more clichéd can you get? I have no idea, and am not sure that I want to find out – i.e., I am not sure that will continue watching this show. Considering that the show's audience has already gone down by 0.78 million views between just the first two episodes, I'm not the only one either.
Comments? Critiques?
Here's the developed premise. Catherine is a police officer who seeks to uncover the truth behind her mother's murder 9 years ago. Vincent was a soldier in the US Army, who became a lab rat for an attempt to create a "super-soldier" and experienced an epic fail on one hand and is legally dead on the other. 9 years ago Vince saved Cat from some unknown assassins and Cat had had issues ever since – a fact that didn't prevent Cat from developing issues, or becoming a policewoman.
Sounds straightforward, almost cliché-like? That's because Catherine and Vincent are clichéd characters that… do not have any connection to the titular fairy tale.
Let me elaborate. In theory, I suppose, the show's scriptwriters and producers took the original fairy tale (or the Disney version of it) and adapted it to a more feminist outlook (i.e. Cat and Tess the police officers). They also modernized it, as opposed to a more historical setting used by the CBS show in the past.
But… you can borrow someone else's material and change it only so much before it becomes something else – original content, for example. In Showcase's case, this resulted in a show whose titular 'Beast', Vincent, has more in common with the Hulk of the Marvel comic- and movie-verse than with the original Beast.
Well, that may be unfair. One of the ideas behind the original fairy tale was that to a newly married woman (Belle) a husband is something of a beast or a monster that changes to a handsome fellow over time. In time that mated to a concept that there's a monster inside any man (the werewolf legend, Dr. Jekyll and Mr. Hyde, the Hulk, etc.) so in a certain way Vincent the super-soldier is an heir to that tradition.
But… as the Hulk had shown, one does not need to be called a Beast to get in touch with their inner monster, and Vince, with his super-soldier situation is more closely connected to the Hulk than to the original Beast. Hence, the show's title actually impedes and restricts the character's development rather than helps.
The same goes for Catherine. The original/Disney beauty (Belle) may've been passive and old-fashioned girl by modern standards, but Disney at least made it work: Belle did indeed save the Beast by the power of her love and turned him back into the handsome prince (implying that love can make a man out of any monster) without being a sort of a warrior princess as Mulan or Rapunzel (from "Tangled") are.
In turn, this means that there was no reason for Catherine to have become a police officer to become a Belle-like character that keeps Vincent human (as shown by Showcase's latest episode). In fact, her occupation appears to be at odds with her character role, or rather – diminishes it, because Catherine and Belle are too different to be similar. Sounds stupid, I know, but still true. Two different characters act differently in the same situation and to create Catherine as an independent character and then expect her to be a stand-in for Belle just doesn't work – at least in my opinion.
In particular, that concerns Catherine's relationship with Joe Bishop, the police medic. Obviously, he's supposed to be a rival for Catherine's attention with Vincent and the more socially popular one – sort of like Gaston in the Disney movie. And it's true that Disney's Gaston was a 2-D character, a braggart and a blowhard, but in case of Catherine and Vincent it's the same. Cat is a cop obsessed with justice and little to no social life; Vincent is a suffering vigilante without any social life. As I wrote before, BtVS's Angel and Buffy has done something very similar before much more successfully; and as for DC Comics' "Batman" series – they basically own those heroic types. Just like Disney's Gaston, Cat and Vince are clichés and Joe Bishop, on the other hand, is much more likeable character.
Of course, that is also because of acting: Kristin Kreuk (Cat) and Jay Ryan (Vince) simply are not very convincing actors, they appear stiff and wooden, pretending to like each other so obviously, that nobody believes them. Or, more precisely, Jay Ryan is stiff and wooden; Kristin Kreuk appears to be overacting instead. (So does J.T. Forbes – Austin Basis.) Either way, the end result is the same: total lack of acting credibility from the show's main characters at the very least, and as for the plot…
Yes, there supposed to be conflict not just between the show's protagonists and their opponents, but also between themselves. Sadly, coupled with Kristin and Jay's poor acting (not that Austin improves things any) this makes the conflict very glaring and obnoxious, making one wonder just how long can the two go on and why should Cat and Vince have the relationship? Maybe that is the show's intention, but I doubt that it intended to approach this situation from such a direction.
Case in point: the next episode, where, will Cat and Tess deal with the case of an abused boy left for dead, the villains approach Cat with an offer of exchanging information about the death of Cat's mother for Vincent. Cat will waver and Vincent will plan to give himself up in return for Cat's safety. How more clichéd can you get? I have no idea, and am not sure that I want to find out – i.e., I am not sure that will continue watching this show. Considering that the show's audience has already gone down by 0.78 million views between just the first two episodes, I'm not the only one either.
Comments? Critiques?
Friday, 12 October 2012
Beauty and the Beast, ep 1 - Oct 11
Yesterday I watched the pilot episode of Showcase's "Beauty and the Beast". What can be said about it?
For a start, confronted with such fantasy shows as "Grimm", "Once Upon a Time", their own "Lost Girl", etc, where fantasy and mystery genres collide, Showcase made B&B more Gothic, rather than fantasy and also more modern. The Beast, Vincent, is an ex-veteran of fighting in Afgan, where he apparently started mutating into a "monster", while Beauty is police officer Catherine, who seeks to find the criminals who killed her mother and almost killed her.
Does this sounds cliched? Certainly, for the plot of Vincent (Jay Ryan) and Catherine (Kristin Kreuk) is very much influenced by "Buffy's" relationship between the titular heroine (Sarah Michelle Gellar) and Angel the vampire (David Boreanas) back in the 1990s. This means that Vincent and Catherine's relationship will have lots of angst, with Vincent's friend J.T. (Austin Bates) providing the occasional comic relief (and Austin isn't very good at it).
That's the more Gothic plotline. The second plotline, apparently is Catherine and her partner Vargas (Nina Lisandrello) go around solving crimes, as Rizzoli and Isles do, only without the lesbian subtext, since Catherine's "one true love" is Vincent. (Otherwise, the whole "Beauty and the Beast" idea is null and void.) That said, the detective portion of the show is good, showing very intense psychological work, similar to Disney's idea (in "Hunchback of Notre Dame") - "what makes a monster, what makes a man"? Guess B&B are going to show the audience, while the FBI appears to be the show's main bad guys, fighting Vincent for unknown reasons, and also possibly being connected to the death of Catherine's mom.
Sounds exciting? Perhaps, yet Ryan and Kreuk pull off the Gothic angle much more poorly than Boreanas and Geller did. When those two interact, it's the weakest part of the show, at least of the pilot. Guess they're just not a good couple, they lack the chemistry!
And speaking of what was lacking, DW came back today to Spike channel, at least from the first two seasons out of three. Its episodes were intermingled with episodes of other Spike series, like "1000 ways to die" and "Repo games". Coupled with the fact that throughout September DW's Facebook page was bombarded with links to the show's clips, all connected... to the upcoming Halloween makes me wonder if DW doesn't plan to return with a fourth season or something like that, or at least a holiday special. Got to admit, it was missed and its' return was appreciated.
So, a rather lopsided new show, and an old one coming back (at least temporarily). It could've been worse.
For a start, confronted with such fantasy shows as "Grimm", "Once Upon a Time", their own "Lost Girl", etc, where fantasy and mystery genres collide, Showcase made B&B more Gothic, rather than fantasy and also more modern. The Beast, Vincent, is an ex-veteran of fighting in Afgan, where he apparently started mutating into a "monster", while Beauty is police officer Catherine, who seeks to find the criminals who killed her mother and almost killed her.
Does this sounds cliched? Certainly, for the plot of Vincent (Jay Ryan) and Catherine (Kristin Kreuk) is very much influenced by "Buffy's" relationship between the titular heroine (Sarah Michelle Gellar) and Angel the vampire (David Boreanas) back in the 1990s. This means that Vincent and Catherine's relationship will have lots of angst, with Vincent's friend J.T. (Austin Bates) providing the occasional comic relief (and Austin isn't very good at it).
That's the more Gothic plotline. The second plotline, apparently is Catherine and her partner Vargas (Nina Lisandrello) go around solving crimes, as Rizzoli and Isles do, only without the lesbian subtext, since Catherine's "one true love" is Vincent. (Otherwise, the whole "Beauty and the Beast" idea is null and void.) That said, the detective portion of the show is good, showing very intense psychological work, similar to Disney's idea (in "Hunchback of Notre Dame") - "what makes a monster, what makes a man"? Guess B&B are going to show the audience, while the FBI appears to be the show's main bad guys, fighting Vincent for unknown reasons, and also possibly being connected to the death of Catherine's mom.
Sounds exciting? Perhaps, yet Ryan and Kreuk pull off the Gothic angle much more poorly than Boreanas and Geller did. When those two interact, it's the weakest part of the show, at least of the pilot. Guess they're just not a good couple, they lack the chemistry!
And speaking of what was lacking, DW came back today to Spike channel, at least from the first two seasons out of three. Its episodes were intermingled with episodes of other Spike series, like "1000 ways to die" and "Repo games". Coupled with the fact that throughout September DW's Facebook page was bombarded with links to the show's clips, all connected... to the upcoming Halloween makes me wonder if DW doesn't plan to return with a fourth season or something like that, or at least a holiday special. Got to admit, it was missed and its' return was appreciated.
So, a rather lopsided new show, and an old one coming back (at least temporarily). It could've been worse.
Sunday, 23 September 2012
Sinbad, ep 12 - Sep 23
In the final episode of Sinbad ep 1, a lot of excitement occurs; in fact, there's such a great amount of excitement, that I am actually not sure where to start.
Well, let's start with the land of the dead. As I wrote about it previously, it was clearly taken out of Homer's "Odyssey" for the reasons I said above. However, in this case I should add that the city of Limbo that was featured here was influenced by Dante Aligheri's "Inferno" instead. That was to be expected; together with Virgil's "Aeneid", "Odyssey" and "The Divine Comedy" are the classical depictions of European afterlife (I call them the big three, lol).
If the land of the dead is rooted in European classical literature (for the Muslims the afterlife was completely different), then its monsters are something else. The hounds were basically Primeval's hyenadons from S4 (and Primeval is also owned by IP, so no copyright infringement there, I hope), while the Guardians... I don't know what they are - they were just shapeless masses each one armed with a single glowing eye that mentally traps you in an alternate dimension until you die. Or, since the inhabitants of the city of Limbo are already dead, you move on and get reincarnated instead. (Considering that "Sinbad's" afterlife is a mishmash of Christian and pagan worlds anything is possible, so until S2 I'm sticking with the reincarnation theory.) Who knows?
Right, after the setting and the monsters come the characters, the heroes. Sinbad is still an impulsive ass, though in this episode he learns new wisdom: some things even people, even heroes cannot defeat - and in this case it's fate, karma, kismet, whatever. Jamil was intended to die and he remained dead, sacrificing himself to the Guardian to let Sinbad and the others instead.
Conversely, Taryn has rescued her daughter with the help of Sinbad's crew. However, since the girl (Alehna) looked around as she has left, the final shots of the episode show some sort of darkness in her eyes - if she proves to be the ancestor of one Tom Marvolo Riddle (and of one Luna Lovegood, played by the same actress earlier in the real life), that's when "Sinbad" have jumped the shark, believe it!
Or maybe it already has, if the scriptwriters are positioning Taryn into the role of Vala from "StarGate". Remember? She's the morally ambiguous alien (Teal'C is the one who's loyal and honest, etc), whose daughter is one of the big bad's of the show. Vala herself, however, seems to be improving her character and is no a member of the StarGate's crew. Since Taryn (and her daughter) are already on Sinbad's ship, maybe this process has already begun?
Speaking of Sinbad's ship, notice how the cook was absent from this episode as well? Well, of course he was - he's a part of the ship (that's my theory) and such not only is he bound to it, he has no place in a human afterlife - he's version is probably quite a bit different and a lot more woody and inorganic, you know?
And the other members of the crew. Taryn was amazing as she got Sinbad out of the Guardian-induced mental funk, but so was Gunnar as he recognized Taryn as she possessed Tiger. He also was the one who figured out how to rescue Sinbad from that funk, so, seriously, if Taryn's Vala, he's something of a Jack O'Neal or Teal'C. He also mentioned Valhalla (indirectly) in this episode, but we all know that he doesn't believe in this pagan pageantry anymore, he's a Christian here, just in secret.
Sinbad, of course, is still impulsive (and he's probably going to remain impulsive until he dies), and now he has learned that there are some things that cannot be beat. Guess he's still maturing - just as Telemachus does in the "Odyssey", cough. Anwar, of course, is also maturing, since he's now confident enough in his abilities, and Rina is still Rina. She's the obligatory halfling of the group.
So, the final episode of "Sinbad" S1 has a hybridized afterlife, a couple of mismatched monsters, a new possible villian (Alehna), Taryn and Gunnar being awesome, and the rest still being themselves. Oh, and Nala is still absent, though her dad made in appearance in the Basra of the dead (little pun here). Guess she's still in Basra and Tiger is Sinbad's love interest... until for now.
End (of "Sinbad" S1)
Well, let's start with the land of the dead. As I wrote about it previously, it was clearly taken out of Homer's "Odyssey" for the reasons I said above. However, in this case I should add that the city of Limbo that was featured here was influenced by Dante Aligheri's "Inferno" instead. That was to be expected; together with Virgil's "Aeneid", "Odyssey" and "The Divine Comedy" are the classical depictions of European afterlife (I call them the big three, lol).
If the land of the dead is rooted in European classical literature (for the Muslims the afterlife was completely different), then its monsters are something else. The hounds were basically Primeval's hyenadons from S4 (and Primeval is also owned by IP, so no copyright infringement there, I hope), while the Guardians... I don't know what they are - they were just shapeless masses each one armed with a single glowing eye that mentally traps you in an alternate dimension until you die. Or, since the inhabitants of the city of Limbo are already dead, you move on and get reincarnated instead. (Considering that "Sinbad's" afterlife is a mishmash of Christian and pagan worlds anything is possible, so until S2 I'm sticking with the reincarnation theory.) Who knows?
Right, after the setting and the monsters come the characters, the heroes. Sinbad is still an impulsive ass, though in this episode he learns new wisdom: some things even people, even heroes cannot defeat - and in this case it's fate, karma, kismet, whatever. Jamil was intended to die and he remained dead, sacrificing himself to the Guardian to let Sinbad and the others instead.
Conversely, Taryn has rescued her daughter with the help of Sinbad's crew. However, since the girl (Alehna) looked around as she has left, the final shots of the episode show some sort of darkness in her eyes - if she proves to be the ancestor of one Tom Marvolo Riddle (and of one Luna Lovegood, played by the same actress earlier in the real life), that's when "Sinbad" have jumped the shark, believe it!
Or maybe it already has, if the scriptwriters are positioning Taryn into the role of Vala from "StarGate". Remember? She's the morally ambiguous alien (Teal'C is the one who's loyal and honest, etc), whose daughter is one of the big bad's of the show. Vala herself, however, seems to be improving her character and is no a member of the StarGate's crew. Since Taryn (and her daughter) are already on Sinbad's ship, maybe this process has already begun?
Speaking of Sinbad's ship, notice how the cook was absent from this episode as well? Well, of course he was - he's a part of the ship (that's my theory) and such not only is he bound to it, he has no place in a human afterlife - he's version is probably quite a bit different and a lot more woody and inorganic, you know?
And the other members of the crew. Taryn was amazing as she got Sinbad out of the Guardian-induced mental funk, but so was Gunnar as he recognized Taryn as she possessed Tiger. He also was the one who figured out how to rescue Sinbad from that funk, so, seriously, if Taryn's Vala, he's something of a Jack O'Neal or Teal'C. He also mentioned Valhalla (indirectly) in this episode, but we all know that he doesn't believe in this pagan pageantry anymore, he's a Christian here, just in secret.
Sinbad, of course, is still impulsive (and he's probably going to remain impulsive until he dies), and now he has learned that there are some things that cannot be beat. Guess he's still maturing - just as Telemachus does in the "Odyssey", cough. Anwar, of course, is also maturing, since he's now confident enough in his abilities, and Rina is still Rina. She's the obligatory halfling of the group.
So, the final episode of "Sinbad" S1 has a hybridized afterlife, a couple of mismatched monsters, a new possible villian (Alehna), Taryn and Gunnar being awesome, and the rest still being themselves. Oh, and Nala is still absent, though her dad made in appearance in the Basra of the dead (little pun here). Guess she's still in Basra and Tiger is Sinbad's love interest... until for now.
End (of "Sinbad" S1)
Sunday, 16 September 2012
Sinbad, ep 11 - Sep 16
In the penultimate episode of Sinbad, we get... a lot of things. Here are the most obvious ones.
The land of the dead & the entire religious question. I see that the plundering of Homer's "Odyssey" continues. The original "Sinbad" was a part of "1001 Nights" stories, which were Muslim fairy tales. Since Islam is a monotheistic religion, it had a Heaven and a Hell, rather than a Land of the Dead, as the one described by the pagan Homer in his "Odyssey". So, why is it in IP's version of "Sinbad"?
To elaborate: yes, all things Muslim-connected are not fashionable in the Western world once again, especially given the recent events in North Africa and Middle East, but "Sinbad" was shot way before they occurred, so - what gives? Was IP trying to be over politically correct, or something?
Secondly, it's bad to mention all things Muslim-related, but it's all right to bad-mouth (sort of) all things Christian-related? The main villian tonight was father La Stessa, a cardinal or a bishop or some other high-ranking member in the local Christian monastery. Honestly, since "Sinbad" was supposed to be Muslim-related (re: Basra), then what's with all the Christian associations, etc?
It wouldn't be that bad if there wasn't Basra. After all, Odysseus' travels occurred largely in Elfland where there weren't any religious or political connotations. But that wasn't good enough for Sinbad's scriptwriters (though they certainly enjoyed plundering the "Odyssey" for ideas, at least once or twice), they actually had to make-it quasireal with Basra. Dirtbags.
In regards to Basra, Taryn's back. She had infiltrated the monastery and when Tiger discovered the map to Land of the Dead, she had taken over her body or something. Helen Cutter, who used a similar method to infiltrate the ARC in "Primeval" (also released by IP - what a coincidence) would've been so proud.
Sadly, putting aside the fact that IP's female villains are awesome, there's the issue of Basra once more. When we left it in ep. 7, Akbari was dead, and Taryn was supposedly in charge of it. Consequently, Nala remained behind to help Basra's citizens against Taryn's tyranny. Only... Taryn is no longer on Basra, but rather on Malta, so... what's with Nala? Taryn could've captured, skinned her alive and used her organs to divine where to find Sinbad, for example, but she could've just as easily given over the keys to Basra (and the phallic-shaped hat) over to Nala, told her that she's now the amira (or whatever it's called) of Basra and left. Hopefully, the last episode will reveal what happened to Nala... but I wouldn't count on it.
And speaking of phallic-shaped things... this episode's monster was a werewolf of some sorts, whose public identity was Philip, the campiest pub owner I've ever seen. Make no mistake, his orientation wasn't the problem, it's the way he acted - so over the top that it was just wrong. At least the snake lady/professor from the previous episode was realistic (as a character from a fantasy show, of course).
And what about the rest of the cast? Tiger has been taken over by Taryn, so she's out of commission for now. The Cook wasn't seen for 95% of this episode at least. Anwar has gained enough confidence now to actually argue with Sinbad, and Rina's cloak still makes her look like a hobbit from LotR. Oh, and Sinbad is still an impulsive ass, though somewhat subdued by now.
Finally, there's Gunnar, who may've found his one true love in the guise of a tailor's widow, making him a rival for the villain of the episode (see above) and almost werewolf chow. Oh well. Of all the heroes (and male characters) he was just too cool to die, and if he lives through the Land of the Dead (yes, the pun's intended), he may actually have a place to return to - on Malta.
So, in recap: Taryn and Gunnar were awesome, the rest of the cast - not so much, the monster was sort of cliche (a veggie version of a werewolf, basically), and the religious ideology in this show that is attempting a semi-serious approach to matters of religion and spirituality is seriously messed up.
Next week - end of Sinbad S1!
The land of the dead & the entire religious question. I see that the plundering of Homer's "Odyssey" continues. The original "Sinbad" was a part of "1001 Nights" stories, which were Muslim fairy tales. Since Islam is a monotheistic religion, it had a Heaven and a Hell, rather than a Land of the Dead, as the one described by the pagan Homer in his "Odyssey". So, why is it in IP's version of "Sinbad"?
To elaborate: yes, all things Muslim-connected are not fashionable in the Western world once again, especially given the recent events in North Africa and Middle East, but "Sinbad" was shot way before they occurred, so - what gives? Was IP trying to be over politically correct, or something?
Secondly, it's bad to mention all things Muslim-related, but it's all right to bad-mouth (sort of) all things Christian-related? The main villian tonight was father La Stessa, a cardinal or a bishop or some other high-ranking member in the local Christian monastery. Honestly, since "Sinbad" was supposed to be Muslim-related (re: Basra), then what's with all the Christian associations, etc?
It wouldn't be that bad if there wasn't Basra. After all, Odysseus' travels occurred largely in Elfland where there weren't any religious or political connotations. But that wasn't good enough for Sinbad's scriptwriters (though they certainly enjoyed plundering the "Odyssey" for ideas, at least once or twice), they actually had to make-it quasireal with Basra. Dirtbags.
In regards to Basra, Taryn's back. She had infiltrated the monastery and when Tiger discovered the map to Land of the Dead, she had taken over her body or something. Helen Cutter, who used a similar method to infiltrate the ARC in "Primeval" (also released by IP - what a coincidence) would've been so proud.
Sadly, putting aside the fact that IP's female villains are awesome, there's the issue of Basra once more. When we left it in ep. 7, Akbari was dead, and Taryn was supposedly in charge of it. Consequently, Nala remained behind to help Basra's citizens against Taryn's tyranny. Only... Taryn is no longer on Basra, but rather on Malta, so... what's with Nala? Taryn could've captured, skinned her alive and used her organs to divine where to find Sinbad, for example, but she could've just as easily given over the keys to Basra (and the phallic-shaped hat) over to Nala, told her that she's now the amira (or whatever it's called) of Basra and left. Hopefully, the last episode will reveal what happened to Nala... but I wouldn't count on it.
And speaking of phallic-shaped things... this episode's monster was a werewolf of some sorts, whose public identity was Philip, the campiest pub owner I've ever seen. Make no mistake, his orientation wasn't the problem, it's the way he acted - so over the top that it was just wrong. At least the snake lady/professor from the previous episode was realistic (as a character from a fantasy show, of course).
And what about the rest of the cast? Tiger has been taken over by Taryn, so she's out of commission for now. The Cook wasn't seen for 95% of this episode at least. Anwar has gained enough confidence now to actually argue with Sinbad, and Rina's cloak still makes her look like a hobbit from LotR. Oh, and Sinbad is still an impulsive ass, though somewhat subdued by now.
Finally, there's Gunnar, who may've found his one true love in the guise of a tailor's widow, making him a rival for the villain of the episode (see above) and almost werewolf chow. Oh well. Of all the heroes (and male characters) he was just too cool to die, and if he lives through the Land of the Dead (yes, the pun's intended), he may actually have a place to return to - on Malta.
So, in recap: Taryn and Gunnar were awesome, the rest of the cast - not so much, the monster was sort of cliche (a veggie version of a werewolf, basically), and the religious ideology in this show that is attempting a semi-serious approach to matters of religion and spirituality is seriously messed up.
Next week - end of Sinbad S1!
Sunday, 9 September 2012
Sinbad, ep 10 - Sep 9
As the show moves into the final third of S1 of Sinbad, we get hit with a bizarre episode. Well, maybe not bizarre - just not well thought through. Sinbad and Tiger (who's been called so because her father abandoned her and she was raised by tigers instead) get hired by a professor (whose name is never given) to transport her and her cargo to some island or other. Fine.
That cargo then proves to be a giant egg that hatches into a giant snake - that's also fine. Giant snakes are par-du-course for any Eastern/Oriental fantasy, so so far so good. When, however, the professor merges with her creation into one ultimate predator - that's just too much.
Let's recapitulate. The professor is, well, a mad scientist, but she acts mainly like a big bitch to everyone, though she seems to tolerate Anwar... to the point when she tried to feed Anwar to her pet but the snake ripped off her arm instead. This started the merging of professor and snake, mad scientist and her creation. Fine. I'm sure that that the screenwriters team of Kurti and Doyle had it all figured out on paper at least - let's leave it on their consciousnesses, 'cause to me it was just all ridiculous.
Sinbad and his crew, of course, had their own input on ridiculousness - they planned to use the snake monster's peanut allergy to kill it. No, I kid you not - they used crossbow darts heavily weighted down with peanuts to bring the monster down... in theory. In reality, of course, the weight of the peanuts put the darts off balance, and only one of them hit the snake...on the outside, in the neck, where peanuts did diddly squat. The bolt, on the other hand, drew attention of the monster to Sinbad, giving Gunnar the window of opportunity to hit the snake in the head with his axe repeatedly, until it stopped moving. Go Gunnar, Thor the snake-slaying thunder-god would be so proud of you, you dirty Christian...
While Gunnar saved the day (and Sinbad), what about the others? Sinbad and Tiger continue to flirt... but what about Nala? Sinbad saved her from Mr. Invincible in ep. 4, for crying out loud! Out of sight out of mind? Sheesh - no wonder then that Sinbad was in such a rush to save her in ep. 4 - if he dawdled he would've forgotten all about her instead and wouldn't that opened up a plot hole!!
The Cook shows an extreme reluctant (to put it mildly) to leave the ship - he would rather get eaten by the snake monster. Well, of course he can't - he's the ship's spirit (that's my theory, mind) and wherever the ship goes he follows. Simple.
Finally, Rina and Anwar. What was up with them? Throughout the first two thirds or so of this ep. Anwar seemed to be forging a bond with the professor, she was acting as his foil to show how far the Anwar came in his path to becoming a respected, learner and wise man of knowledge, as indicated by ep. 8, I hope. And then she merged with her snake (no pun intended) and Gunnar ended saving the day instead of Anwar. Why? What gives?
Rina, for her part, was barely in the episode at all. Again, what gives? Is she being threatened by Tiger? Was there some problem with Marama Corlett's contract at this point? I have no idea, but the absence of Rina was dissappointing. Hope that the last two episodes will give her a bigger role than this one.
So - a monster and a mad scientist both merging and going over the top (not quite jumping the shark but close), Gunnar saving the day, more insights in the Cook's nature, and the other four heroes acting lackluster. Not the best episode of the series, I say.
PS: In the next episode the search for the Land of the Dead starts in earnest, as I understand it. Homer, who had invented that domain in his "Odyssey" should totally sue IP for the copyright infringement.
PPS: Judging by the dentition, the snake was a constrictor rather than a venomous species. Ah well, don't worry Gunnar - you may meet your own Midgard serpent in time...
That cargo then proves to be a giant egg that hatches into a giant snake - that's also fine. Giant snakes are par-du-course for any Eastern/Oriental fantasy, so so far so good. When, however, the professor merges with her creation into one ultimate predator - that's just too much.
Let's recapitulate. The professor is, well, a mad scientist, but she acts mainly like a big bitch to everyone, though she seems to tolerate Anwar... to the point when she tried to feed Anwar to her pet but the snake ripped off her arm instead. This started the merging of professor and snake, mad scientist and her creation. Fine. I'm sure that that the screenwriters team of Kurti and Doyle had it all figured out on paper at least - let's leave it on their consciousnesses, 'cause to me it was just all ridiculous.
Sinbad and his crew, of course, had their own input on ridiculousness - they planned to use the snake monster's peanut allergy to kill it. No, I kid you not - they used crossbow darts heavily weighted down with peanuts to bring the monster down... in theory. In reality, of course, the weight of the peanuts put the darts off balance, and only one of them hit the snake...on the outside, in the neck, where peanuts did diddly squat. The bolt, on the other hand, drew attention of the monster to Sinbad, giving Gunnar the window of opportunity to hit the snake in the head with his axe repeatedly, until it stopped moving. Go Gunnar, Thor the snake-slaying thunder-god would be so proud of you, you dirty Christian...
While Gunnar saved the day (and Sinbad), what about the others? Sinbad and Tiger continue to flirt... but what about Nala? Sinbad saved her from Mr. Invincible in ep. 4, for crying out loud! Out of sight out of mind? Sheesh - no wonder then that Sinbad was in such a rush to save her in ep. 4 - if he dawdled he would've forgotten all about her instead and wouldn't that opened up a plot hole!!
The Cook shows an extreme reluctant (to put it mildly) to leave the ship - he would rather get eaten by the snake monster. Well, of course he can't - he's the ship's spirit (that's my theory, mind) and wherever the ship goes he follows. Simple.
Finally, Rina and Anwar. What was up with them? Throughout the first two thirds or so of this ep. Anwar seemed to be forging a bond with the professor, she was acting as his foil to show how far the Anwar came in his path to becoming a respected, learner and wise man of knowledge, as indicated by ep. 8, I hope. And then she merged with her snake (no pun intended) and Gunnar ended saving the day instead of Anwar. Why? What gives?
Rina, for her part, was barely in the episode at all. Again, what gives? Is she being threatened by Tiger? Was there some problem with Marama Corlett's contract at this point? I have no idea, but the absence of Rina was dissappointing. Hope that the last two episodes will give her a bigger role than this one.
So - a monster and a mad scientist both merging and going over the top (not quite jumping the shark but close), Gunnar saving the day, more insights in the Cook's nature, and the other four heroes acting lackluster. Not the best episode of the series, I say.
PS: In the next episode the search for the Land of the Dead starts in earnest, as I understand it. Homer, who had invented that domain in his "Odyssey" should totally sue IP for the copyright infringement.
PPS: Judging by the dentition, the snake was a constrictor rather than a venomous species. Ah well, don't worry Gunnar - you may meet your own Midgard serpent in time...
Sunday, 2 September 2012
Sinbad, ep 9 - Sep 2
This was a very interesting episode of "Sinbad"; much better, than its' predecessor. For one thing - no Kuji (cripes, but she was annoying); for anything, we had Taryn, or rather - her protege, Tiger (Tuppence Middleton, no relations to the new Princess of England, I've been told). Just like Taryn, Tiger was awesome; basically, the next step in Rina's "evolution", if the little thief (height-wise) hadn't run across, Sinbad, Anwar and others.
The episode's plot wasn't that bad either. A high priest of some cult (dressed rather like the High Inquisitor of Dostoevsky) had a vision from his sacred stone (shaped like a heart, more or less) that Sinbad was going to kill him, so as soon as he had Sinbad in his clutches, he had him killed instead. Only, Tiger had a deal with the high priest's sniveling son (made purposefully immature, I suspect), who drugged Sinbad and left him to Tiger's tender clutches instead; since Sinbad is the main character of this series, he wins Tiger heart instead (sort of) and gets her to join her crew.
Meanwhile... Anwar and Rina's relationship has apparently stabled out for now. That's good. Anwar got a chance to solve the labyrinth's puzzle as well. That's even better. But what's with Gunnar's new weird accent? Is he trying to impress chicks now with it or something? That is just strange, and since we're nearing the season's end, also pointless.
Sinbad, of course, is trying to be shown mature and competent, but as the incident with the stone shown, he's still something of an impulsive ass. I blame Nala's absence for this - her influence did soothe Sinbad down just a bit. Of course, since this is an IP production we're talking about, maybe Ms. Daniels just couldn't be around for all 12 episodes, and left the series' production at the ep. 7 (when Akbari died) - who knows? Guess for now Middleton will have to do for Sinbad's romantic interesting, eh?
Finally, Sinbad's plans for the future. When he smashed the magic stone as the impulsive ass that he still is (though to a lesser degree than before) he saw many visions (including him in love with Tiger, maybe?), one of which was his brother Jamil alive and in his arms - guess we now know what the last few episodes will be about, eh?
PS: What Sinbad doesn't know (and the Cook, who told him about the stone in the first place doesn't know or doesn't want to tell him), is that the stone isn't quite a liar, but it's visions are flawed, sort of: the high priest saw himself dying at Sinbad's feet as the latter held a bloody dagger - and it came to be, but only because the priest's son had stabbed him. Ergo, the stone only tells what can be, but not how it can be, and that, in the upcoming episodes, can make all the difference.
The episode's plot wasn't that bad either. A high priest of some cult (dressed rather like the High Inquisitor of Dostoevsky) had a vision from his sacred stone (shaped like a heart, more or less) that Sinbad was going to kill him, so as soon as he had Sinbad in his clutches, he had him killed instead. Only, Tiger had a deal with the high priest's sniveling son (made purposefully immature, I suspect), who drugged Sinbad and left him to Tiger's tender clutches instead; since Sinbad is the main character of this series, he wins Tiger heart instead (sort of) and gets her to join her crew.
Meanwhile... Anwar and Rina's relationship has apparently stabled out for now. That's good. Anwar got a chance to solve the labyrinth's puzzle as well. That's even better. But what's with Gunnar's new weird accent? Is he trying to impress chicks now with it or something? That is just strange, and since we're nearing the season's end, also pointless.
Sinbad, of course, is trying to be shown mature and competent, but as the incident with the stone shown, he's still something of an impulsive ass. I blame Nala's absence for this - her influence did soothe Sinbad down just a bit. Of course, since this is an IP production we're talking about, maybe Ms. Daniels just couldn't be around for all 12 episodes, and left the series' production at the ep. 7 (when Akbari died) - who knows? Guess for now Middleton will have to do for Sinbad's romantic interesting, eh?
Finally, Sinbad's plans for the future. When he smashed the magic stone as the impulsive ass that he still is (though to a lesser degree than before) he saw many visions (including him in love with Tiger, maybe?), one of which was his brother Jamil alive and in his arms - guess we now know what the last few episodes will be about, eh?
PS: What Sinbad doesn't know (and the Cook, who told him about the stone in the first place doesn't know or doesn't want to tell him), is that the stone isn't quite a liar, but it's visions are flawed, sort of: the high priest saw himself dying at Sinbad's feet as the latter held a bloody dagger - and it came to be, but only because the priest's son had stabbed him. Ergo, the stone only tells what can be, but not how it can be, and that, in the upcoming episodes, can make all the difference.
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