Avatar is without doubt the most anticipated movie of the year. The buzz on it has been building for literally years. As such, it has been setup to miss expectations, not exceed them.
Yet exceed them it does...at least visually. Not only is this a leveling-up for CGI, it also is one for 3D. Everything in this movie works. Not just the explosions and the fight scenes... the smaller, simpler and far more difficult to achieve moments are there as well.
The best example, in my opinion, is the video log kept by Jake. The visual effects in these shots are completely accepted by the audience. And isn't that the ultimate in visual effects, when the audience doesn't even realize that is what they are seeing?
Your brain accepts everything in this film. The most damning thing I have heard about the look of Avatar is some people complaining that everything is too bright, too colorful, too distinct. Personally, as someone who just recently went through his first fall leaf season in the Appalachian Mountains, I think these people are a little too unaware of just how bright and colorful our own planet is. I find it completely acceptable that there is the potential for these hues on Pandora. And since the people saying this are a vocal but definite minority, I say that it works.
Yes, there are some obvious character arcs. Some archetypes. The story is rather predictable. And the hard science is lacking. But I don't need to hear the details of how they combined the DNA to create the avatars. That isn't the story here.
The story is about one man, with everything to lose, choosing to do the right thing. And yes, we have seen it before. We have even seen it with the "going native" angle built in. Often enough that we can point to both successes and failures. Every time I hear someone groan about Dances With Wolves In Space I want to counter with Apocalypse Now.
Again, in my opinion, the story works. I don't need all the gadgets explained. And if the cryo-sleep angle and the exoskeletons and the look of the ships and the strong female characters all want to make you say this guy is ripping off Aliens, remember that this guy directed Aliens. So, who is he ripping off? Himself?
Is Avatar subtle? No. Was Titanic? Was Terminator? James Cameron doesn't do subtle, he does science fiction adventure and occasionally throws in a little romance or gets obsessed with deep sea diving.
And you know what? I'm alright with that.
Avatar will wow your senses and make you cheer and boo at all the right times and for all the familiar reasons. It also will hit you with an environmental message and a message about trusting too much in profit-driven entities and powerful corporations. Again, familiar themes from this director.
Go see Avatar. See it in 3D, on a huge screen. In IMAX, if you can. It is one of those movies that really should be seen that way. And that, as much as anything, is what will make Hollywood love Jim Cameron all over again. Because there is drama and subtlety aplenty on HBO, Showtime and even the networks. But Avatar is meant to be seen in a theater.
So go see it there.
Monday, December 28, 2009
Sunday, December 27, 2009
Sherlock Holmes An Enjoyable Romp
The latest cinematic version of the great detective is an entertaining feast. The menu it offers is rather standard and the film sometimes seems to have just missed a higher level, but you'll leave the theater with a smile and not just from the special effects.
Robert Downey Jr. and Jude Law work well together on screen as Holmes and Watson. This film avoids the standard use of Watson as narrator and the result is beneficial. The relationship between the two, with Holmes showing a petulant side and Watson appearing fatherly at times, was one of the main appeals of the story.
The story itself reminds me of nothing so much as Batman Begins. Not because it is an origin story. It's not; we are thrown into this world with Holmes career in full swing. Because it seems to be a reboot and an updating of a franchise in the same manner that was. There is also an anticipatory moment at the end of Sherlock Holmes very similar to the Nolan film.
The Steampunk-influenced Victorian world of Sherlock Holmes London is extremely well done, with the scientific leaps both plausible and smooth. One never thinks to question the few anachronistic devices. Visually, the film is delightful, especially considering the sepia-toned color scheme. No bright lights, big city here. Holmes London looks and feels like it is constantly in the shadow cast by coal smoke clouds.
The plot is solid and serves to illustrate Holmes brillance without making the rest of us feel stupid. The eventual solving, which we know is coming, is accomplished complete with flashbacks to all the little moments we saw but may not have noticed. Yet it is done with an appreciable lack of trickery. We never feel like the camera, or more importantly the director, is responsible for us missing something.
I've never actually read the source material by Sir Arthur Conan Doyle, yet I'm told that fans of the literary, as opposed to popular culture, character of the great detective are concerned about the updating of Holmes into an "action hero." I'd like to think they will find themselves pleased with the process. This Holmes may be more violent, but his violence is extremely intellectual and some of the movies strongest scenes are of Holmes thinking through the action.
My favorite parts of the story were more character than plot. The dynamic between Holmes intellectual eccentricities and Watson's earth-bound preparedness and determination is the driving force for much of the lighter side of the film and also gives the actors many of their best moments. Holmes caustic side and his jealousy over Watson's impending engagement are especially enjoyable.
Downey Jr. and Law were given a difficult task. Take a pair of iconic characters and make them work for a modern audience while avoiding the very genre cliches partially created by this exact team of detective and assistant. They accomplish this partly because of the writing and partially because of the talent and chemistry of the acting team. I would gladly see another film with them reprising these roles.
Overall, despite the nagging feeling that this movie just missed being stupendous, I think that Sherlock Holmes is well worth an afternoon jaunt. It's well-written, acted with wonderful flair and leaves me feeling far fonder of the characters than any other recent effort. It's definitely a cut above the toy-adapted and explosion dominated films it is designed to compete with and I find myself anticipating the already hinted-at sequel. Let's call it four out of a possible five stars.
Robert Downey Jr. and Jude Law work well together on screen as Holmes and Watson. This film avoids the standard use of Watson as narrator and the result is beneficial. The relationship between the two, with Holmes showing a petulant side and Watson appearing fatherly at times, was one of the main appeals of the story.
The story itself reminds me of nothing so much as Batman Begins. Not because it is an origin story. It's not; we are thrown into this world with Holmes career in full swing. Because it seems to be a reboot and an updating of a franchise in the same manner that was. There is also an anticipatory moment at the end of Sherlock Holmes very similar to the Nolan film.
The Steampunk-influenced Victorian world of Sherlock Holmes London is extremely well done, with the scientific leaps both plausible and smooth. One never thinks to question the few anachronistic devices. Visually, the film is delightful, especially considering the sepia-toned color scheme. No bright lights, big city here. Holmes London looks and feels like it is constantly in the shadow cast by coal smoke clouds.
The plot is solid and serves to illustrate Holmes brillance without making the rest of us feel stupid. The eventual solving, which we know is coming, is accomplished complete with flashbacks to all the little moments we saw but may not have noticed. Yet it is done with an appreciable lack of trickery. We never feel like the camera, or more importantly the director, is responsible for us missing something.
I've never actually read the source material by Sir Arthur Conan Doyle, yet I'm told that fans of the literary, as opposed to popular culture, character of the great detective are concerned about the updating of Holmes into an "action hero." I'd like to think they will find themselves pleased with the process. This Holmes may be more violent, but his violence is extremely intellectual and some of the movies strongest scenes are of Holmes thinking through the action.
My favorite parts of the story were more character than plot. The dynamic between Holmes intellectual eccentricities and Watson's earth-bound preparedness and determination is the driving force for much of the lighter side of the film and also gives the actors many of their best moments. Holmes caustic side and his jealousy over Watson's impending engagement are especially enjoyable.
Downey Jr. and Law were given a difficult task. Take a pair of iconic characters and make them work for a modern audience while avoiding the very genre cliches partially created by this exact team of detective and assistant. They accomplish this partly because of the writing and partially because of the talent and chemistry of the acting team. I would gladly see another film with them reprising these roles.
Overall, despite the nagging feeling that this movie just missed being stupendous, I think that Sherlock Holmes is well worth an afternoon jaunt. It's well-written, acted with wonderful flair and leaves me feeling far fonder of the characters than any other recent effort. It's definitely a cut above the toy-adapted and explosion dominated films it is designed to compete with and I find myself anticipating the already hinted-at sequel. Let's call it four out of a possible five stars.
Thursday, October 8, 2009
Storytelling With Coffeehouse Harmonies
Alessia downloaded The Paper Raincoat's new album this morning and we are sitting here listening to it, nodding our heads and enjoying. Alessia gets full credit for the phrase "coffeehouse harmonies," BTW.
The phrase fits because I can totally picture Alex and Amber sitting on a small stage at a village coffeehouse, talking and joking with people at the tables between songs and then spinning another musical tale.
It doesn't fit because that also implies a lack of complexity. The music on this album is not simplistic or stripped down. However, the best element of that coffeehouse tradition, the focus on songwriting, is present here.
Paper Raincoat is a collaboration between Alex Wong and Amber Rubarth. I first discovered them because I saw Alex play with Vienna Teng and they performed "In The Creases." I was very taken with the song and thus made an effort to track down more music by the duo. On Oct. 6th they released their first full length CD and it was a forgone conclusion that it would be a purchase. In a tradition I fully endorse since it makes first records easy to identify, it is simply titled Paper Raincoat.
The duo previously released an EP entitled Safe In the Sound and some of the music is duplicated here, but there is also new stuff and if you purchased that EP then you are already a fan and while be buying this record anyway.
The album starts with Right Angles, which was used as a teaser download and is an excellent introduction to the distinct style and sound of the duo. The layered production immediately tells you that though this is advertised as electronic folk, that doesn't mean you are limited to an acoustic guitar and tambourine.
The very catchy Sympathetic Vibrations follows and draws you further in, as you start to sing along with the chorus under your breath. In Brooklyn Blurs, a not-too-subtle but very well executed Beatles wink should make any Lennon & McCartney aficionado smile.
Rewind begins with a whimsical bit of harmonizing that illustrates a point that struck me throughout my first listen. This duo has a enjoyable toe-tapping quality that shines through each infectious tune. It's difficult to avoid nodding your head or tapping your fingers on the arm of the couch.
Honest and melodic, the entire album is thoroughly enjoyable. The varied instrumentation never overpowers the voices.
One of my first thoughts was that this was an album to drink wine or coffee with, not beer. But on second listen, I disagree with myself. Drinking beer with this playing is fine, as long as its good beer. This is not an album for Schlitz. Like a good craft brew, the music here has multiple tastes that linger on different parts of the palette. Yet, for all the complex levels of enjoyment possible with concentration, it also satisfies in the most basic refreshing way.
Flat out, this is good music. So raise a glass to the stars and enjoy.
Paper Raincoat is currently available exclusively through Amie St. for the price of going to see Couples Retreat at the local multiplex, minus the expensive popcorn and fake butter. The writing is much better here. Stay in, listen to Alex & Amber and let a genuine unforced smile grow.
The phrase fits because I can totally picture Alex and Amber sitting on a small stage at a village coffeehouse, talking and joking with people at the tables between songs and then spinning another musical tale.
It doesn't fit because that also implies a lack of complexity. The music on this album is not simplistic or stripped down. However, the best element of that coffeehouse tradition, the focus on songwriting, is present here.
Paper Raincoat is a collaboration between Alex Wong and Amber Rubarth. I first discovered them because I saw Alex play with Vienna Teng and they performed "In The Creases." I was very taken with the song and thus made an effort to track down more music by the duo. On Oct. 6th they released their first full length CD and it was a forgone conclusion that it would be a purchase. In a tradition I fully endorse since it makes first records easy to identify, it is simply titled Paper Raincoat.
The duo previously released an EP entitled Safe In the Sound and some of the music is duplicated here, but there is also new stuff and if you purchased that EP then you are already a fan and while be buying this record anyway.
The album starts with Right Angles, which was used as a teaser download and is an excellent introduction to the distinct style and sound of the duo. The layered production immediately tells you that though this is advertised as electronic folk, that doesn't mean you are limited to an acoustic guitar and tambourine.
The very catchy Sympathetic Vibrations follows and draws you further in, as you start to sing along with the chorus under your breath. In Brooklyn Blurs, a not-too-subtle but very well executed Beatles wink should make any Lennon & McCartney aficionado smile.
Rewind begins with a whimsical bit of harmonizing that illustrates a point that struck me throughout my first listen. This duo has a enjoyable toe-tapping quality that shines through each infectious tune. It's difficult to avoid nodding your head or tapping your fingers on the arm of the couch.
Honest and melodic, the entire album is thoroughly enjoyable. The varied instrumentation never overpowers the voices.
One of my first thoughts was that this was an album to drink wine or coffee with, not beer. But on second listen, I disagree with myself. Drinking beer with this playing is fine, as long as its good beer. This is not an album for Schlitz. Like a good craft brew, the music here has multiple tastes that linger on different parts of the palette. Yet, for all the complex levels of enjoyment possible with concentration, it also satisfies in the most basic refreshing way.
Flat out, this is good music. So raise a glass to the stars and enjoy.
Paper Raincoat is currently available exclusively through Amie St. for the price of going to see Couples Retreat at the local multiplex, minus the expensive popcorn and fake butter. The writing is much better here. Stay in, listen to Alex & Amber and let a genuine unforced smile grow.
Saturday, August 22, 2009
My New Interactive Addiction: Evony
In addition to film and television, I also love video games. I am, after all,of the right age to have spent hour after hour in Pong tournaments when it was the absolute king. There was no one else vying for the throne, of course. That interest has followed me all these years. Currently, in addition to a couple computers, there is a Wii, a PS2 and a PS3 in this house, with dozens of games to play on those platforms.
My latest addition to the game catalog is not a cartridge though. It's a browser game, completely free and available to me anywhere I have my laptop and an internet connection.
Evony (www.evony.com) is basically a persistent real time strategy game. When you sign up, you are given control of a village nestled in a valley. Your valley is tucked in a landscape filled with terrain, barbarians and your competition. Your task? Grow your city and provide for your population while defending yourself from the predations of other players.
Luckily, they give you seven days of protection from other players. Use that time to get some farms and sawmills, build some walls and recruit an army. By the end of the week, you'll have enough knowledge and power to get your feet wet in the big, bad world. That's when the real fun begins. Because it is the community of other players that elevate Evony. The real time, real people aspect means that there is political manipulation, competition for resources and plenty of war and peace.
For me, the greatest thing about Evony and the reason I am enjoying it so much is that the game has been set up to appeal to multiple levels of what you might call "dedication demographics." One of the dangers of any MMOG (Massively Multiplayer Online Game) is that those who can pay the most attention and dedicate the most time to the game will dominate. It is as true here as it is in World of Warcraft or anything else out there. But where Evony really scores is in the way it allows you to pop in for a few minutes, make some tweaks and then let them run and get back to work.
Evony is wonderful for this. Because the tasks of building, recruiting and researching technology all take real time, you can log in and spend a few minutes at random and still make progress. The Beginner's Protection, which is frustrating and tempting to leave voluntarily by day four or so, saves you from simply being food for the wolves.
With me, that means that I can be writing or editing and take a quick little mental refresher break. Pop a browser window open and recruit a few cavalry, build a quarry, research military tech and then back to editing Urban Werewolves.
The games not perfect, of course. The biggest annoyance is the frustratingly low drop rate for the medals that are necessary to advance in rank and thus expand your realm to more than a single city. Rumor is that this drop rate is currently 1% and has been adjusted down since the beta period. Based on my own personal experience, calling it 1% might be overstating it. This needs to be adjusted if they don't want people leaving. Personally, I am getting close to the limits of what I can do with my two cities and the annoyance factor of having attacked dozens of valleys and cities fruitlessly is starting to build. If I abandon Evony, it will be over frustration with medals.
But that's not enough for me to back away from a hearty recommendation for Evony. It's fun. The ability to pop in for a little bit a few times a day and still succeed, if not dominate, is absolutely wonderful. And the system of alliances makes for a human element that may be the best thing about the game. Machiavelli would love Evony.
They've even elected a Queen. Using their forums. Worst thing about that was that I joined too late to get in on the voting. The best thing was seeing the diversity of interesting and yes, attractive, women who play the game. Gamer girls are breaking through that 'Daria' stereotype at last.
If you decide to give it a whirl and should happen to end up on server 50, look me up. I play under the name Belegon, have two cities in the province of Burgundy and am a member of the AE2 alliance.
Oh, and if you end up conquering five valleys and getting a Rose Medal, please forgive me when I hate you with a passion.
My latest addition to the game catalog is not a cartridge though. It's a browser game, completely free and available to me anywhere I have my laptop and an internet connection.
Evony (www.evony.com) is basically a persistent real time strategy game. When you sign up, you are given control of a village nestled in a valley. Your valley is tucked in a landscape filled with terrain, barbarians and your competition. Your task? Grow your city and provide for your population while defending yourself from the predations of other players.
Luckily, they give you seven days of protection from other players. Use that time to get some farms and sawmills, build some walls and recruit an army. By the end of the week, you'll have enough knowledge and power to get your feet wet in the big, bad world. That's when the real fun begins. Because it is the community of other players that elevate Evony. The real time, real people aspect means that there is political manipulation, competition for resources and plenty of war and peace.
For me, the greatest thing about Evony and the reason I am enjoying it so much is that the game has been set up to appeal to multiple levels of what you might call "dedication demographics." One of the dangers of any MMOG (Massively Multiplayer Online Game) is that those who can pay the most attention and dedicate the most time to the game will dominate. It is as true here as it is in World of Warcraft or anything else out there. But where Evony really scores is in the way it allows you to pop in for a few minutes, make some tweaks and then let them run and get back to work.
Evony is wonderful for this. Because the tasks of building, recruiting and researching technology all take real time, you can log in and spend a few minutes at random and still make progress. The Beginner's Protection, which is frustrating and tempting to leave voluntarily by day four or so, saves you from simply being food for the wolves.
With me, that means that I can be writing or editing and take a quick little mental refresher break. Pop a browser window open and recruit a few cavalry, build a quarry, research military tech and then back to editing Urban Werewolves.
The games not perfect, of course. The biggest annoyance is the frustratingly low drop rate for the medals that are necessary to advance in rank and thus expand your realm to more than a single city. Rumor is that this drop rate is currently 1% and has been adjusted down since the beta period. Based on my own personal experience, calling it 1% might be overstating it. This needs to be adjusted if they don't want people leaving. Personally, I am getting close to the limits of what I can do with my two cities and the annoyance factor of having attacked dozens of valleys and cities fruitlessly is starting to build. If I abandon Evony, it will be over frustration with medals.
But that's not enough for me to back away from a hearty recommendation for Evony. It's fun. The ability to pop in for a little bit a few times a day and still succeed, if not dominate, is absolutely wonderful. And the system of alliances makes for a human element that may be the best thing about the game. Machiavelli would love Evony.
They've even elected a Queen. Using their forums. Worst thing about that was that I joined too late to get in on the voting. The best thing was seeing the diversity of interesting and yes, attractive, women who play the game. Gamer girls are breaking through that 'Daria' stereotype at last.
If you decide to give it a whirl and should happen to end up on server 50, look me up. I play under the name Belegon, have two cities in the province of Burgundy and am a member of the AE2 alliance.
Oh, and if you end up conquering five valleys and getting a Rose Medal, please forgive me when I hate you with a passion.
Wednesday, August 12, 2009
The Hangover Won't Make You Sick...
....but your stomach might hurt from laughing so hard.
This is one of those movies that it is hard to review. Because the last thing you want to do is give away any of the story.
Basically, the story line is that four guys go to Vegas for a bachelor party and get blitzed out of their minds. Hilarity ensues. It's not giving anything away to most people to set the very basic scene, because other reviewers have already let some things emerge and because the trailers and ads give some stuff away.
Four friends (actually, three friends and the future bro-in-law) hit Vegas. They make a pledge to hit the town and get crazy. The next morning they wake up with the dentist missing a tooth, one guy wearing a hospital bracelet, a baby in the closet and a tiger in the bathroom. Oh, and missing one groom.
The rest of the movie involves them figuring out what the hell happened. It is not politically correct. It is not tasteful. It is not safe for children.
It is funny as all hell.
Oh, and stay and watch the credits. They are accompanied by some of the best laughs in the film.
This is one of those movies that it is hard to review. Because the last thing you want to do is give away any of the story.
Basically, the story line is that four guys go to Vegas for a bachelor party and get blitzed out of their minds. Hilarity ensues. It's not giving anything away to most people to set the very basic scene, because other reviewers have already let some things emerge and because the trailers and ads give some stuff away.
Four friends (actually, three friends and the future bro-in-law) hit Vegas. They make a pledge to hit the town and get crazy. The next morning they wake up with the dentist missing a tooth, one guy wearing a hospital bracelet, a baby in the closet and a tiger in the bathroom. Oh, and missing one groom.
The rest of the movie involves them figuring out what the hell happened. It is not politically correct. It is not tasteful. It is not safe for children.
It is funny as all hell.
Oh, and stay and watch the credits. They are accompanied by some of the best laughs in the film.
Sunday, May 10, 2009
J.J. Abrahm's Gives "Star Trek" A Rebirth
There are some things I'm not willing to wait for on DVD.
I am one of those who loved Star Trek in the past and fell away for the franchise. The last time I can remember being excited about the voyages of the Enterprise was Star Trek:First Contact. And that was a bit of a renewal, as I had been disappointed by The Undiscovered Country and Generations. I enjoyed them, but they didn't thrill me.
And I completely lost touch with television. Of course, a large part of that is not that I lost touch with Star Trek on television, but that I lost touch with television. To this day, I rarely watch TV. Sports, news, the history channel and Dollhouse is about it. So Voyager and Enterprise never got a real shot.
But I have to agree that Star Trek needed a reboot.
The movie I saw yesterday achieved it. Wonderfully so. It appeals to young and old, not only in years of life but in years of fandom. Yeah, they changed some stuff. Yes, they gave themselves an "out" to go against previous canon. Thankfully. I mean, when more time is put into fact-checking the script against previous episodes than into actually writing it, you have a problem. As a writer, I would despise that kind of oversight. No, you can't say that, that contradicts something Sisko said about Data recalling a line in the history books about Kirk. Talk about a buzz kill to creativity.
This movie is exciting. It maintains Rodenberry's original message, that we can survive and become a space-faring race, that diversity is a positive and that our humanity is why we will succeed, not how we will fail.
And it works not just as Star Trek, but as a movie. It is worth the money and it will rock your afternoon or evening.
I'll give a more detailed review in a couple weeks, so I can talk spoilers after those who want to see it have done so. But for now, let me just say that J.J. Abrahms did it right. Go see it.
I am one of those who loved Star Trek in the past and fell away for the franchise. The last time I can remember being excited about the voyages of the Enterprise was Star Trek:First Contact. And that was a bit of a renewal, as I had been disappointed by The Undiscovered Country and Generations. I enjoyed them, but they didn't thrill me.
And I completely lost touch with television. Of course, a large part of that is not that I lost touch with Star Trek on television, but that I lost touch with television. To this day, I rarely watch TV. Sports, news, the history channel and Dollhouse is about it. So Voyager and Enterprise never got a real shot.
But I have to agree that Star Trek needed a reboot.
The movie I saw yesterday achieved it. Wonderfully so. It appeals to young and old, not only in years of life but in years of fandom. Yeah, they changed some stuff. Yes, they gave themselves an "out" to go against previous canon. Thankfully. I mean, when more time is put into fact-checking the script against previous episodes than into actually writing it, you have a problem. As a writer, I would despise that kind of oversight. No, you can't say that, that contradicts something Sisko said about Data recalling a line in the history books about Kirk. Talk about a buzz kill to creativity.
This movie is exciting. It maintains Rodenberry's original message, that we can survive and become a space-faring race, that diversity is a positive and that our humanity is why we will succeed, not how we will fail.
And it works not just as Star Trek, but as a movie. It is worth the money and it will rock your afternoon or evening.
I'll give a more detailed review in a couple weeks, so I can talk spoilers after those who want to see it have done so. But for now, let me just say that J.J. Abrahms did it right. Go see it.
Sunday, May 3, 2009
Dollhouse: Why It Should Be Renewed
Those who already know me are probably wondering why it has taken this long for me to open my mouth about Dollhouse. After all, I totally love Joss Whedon and his work, being an unrepentant Browncoat and enough of a Dr. Horrible fan to have actually dressed up as Captain Hammer. (And I will wear it again at ComicCon, too.)
Perhaps I was reluctant, after all my talk early about how I never watch broadcast television, to talk about a TV show. I do watch TV on DVD. And to be honest, I have yet to watch a full Dollhouse episode on Fox live. I've been watching on Hulu.
For those who pay as little attention to the networks as I usually do, Dollhouse is on Fox, Friday nights in the notorious 9 p.m. death slot. Nothing survives there. The concept of the show revolves around programmable "actives," attractive men and women who can be given the background of anything from sexual toy to safecracker. They believe in their roles completely, because without that imprint they are Tabula Rasa. Blank slates. The story revolves around one particular active played by Eliza Dushku. A rogue FBI agent is trying to save her, The corporate entity behind the Dollhouse is exploiting her and her true background is unknown...meaning we don't really know if she wants to be saved.
Multiple twists have been thrown in, and as normal with Whedon the show is episodic in that each week a new story is started and completed with hints liberally and secretly distributed about a larger truth.
Unfortunately for Joss and his fans, what this often means is that the greatest enjoyment of his work is slow to emerge. Not a good thing in the immediate gratification world of network television. I often wish the man would go work for Showtime or HBO, or even endure the budget constraints of working with a smaller cable network. Not that Battlestar Galactica didn't pull it off.
Dollhouse follows this pattern. The more backstory that emerges, the better the program. Fans that have been there from episode one are falling in love. People that are tuning in one week in the middle don't understand what all the hype is about.
There is a lot to love about Dollhouse. It plays with the concepts of what truly makes us human. On a purely aesthetic level, the cast and sets are almost universally pleasing to the eye. Joss has consistently played with our expectations and resisted the urge to go too quickly for shock value. If he follows his own SOP, there will be events in next weeks season finale that will have been planned all along, with unrecognized hints in each previous episode hiding behind the obvious foreshadowing.
I am in favor of anything, movie or television, that give Alan Tudyk more opportunity to show his versatility. The man has awesome comedic timing and yet can switch gears to action in totally believable suddenness. There is a reason so many of the "tee shirt lines" in Firefly were delivered by Wash.
And Dollhouse has given us Miracle Laurie as a more voluptuous active who is never played by the Dollhouse as less attractive or able due to not being the Hollywood ideal in female weight and height. Indeed, one of the first twists was the show turning the expectations of its audience on ear in her character, who was initially teased as the stereotypical "not quite as worthy love interest." Laurie is gorgeous and I love that they are treating her as so and not acting like they need to apologize for her being 20 pounds heavier than the others. Indeed, the hottest love scenes on the show have involved her, not Dushku.
But I fear this show will be canceled as others have been. Sad, because if Fox really wants to rescue that time slot, the one thing that is absolutely required is patience. Well, patience and an understanding that in today's more fractured TV environment, ratings are never again going to approach "All In The Family" levels.
If it was for me to decide, Fox would wait until the fall season, when the hit 24 is on hiatus, and put 13 episodes of Dollhouse following House on Monday night. Not everybody watches Monday Night Football. I think it would capture some audience there and take them back to Fridays in the spring, possibly bumping Terminator's rating as well.
Also, take a lesson from Firefly... Dollhouse is going to rock on DVD, selling better than shows like House or Bones or even the aforementioned 24. Fox is currently living off things like American Idol... which is entirely in the moment and has no residual potential in rerun or on DVD.
If they are smart, Fox could take Dollhouse and Sarah Conner Chronicles and slowly build a Friday night powerhouse. But that takes patience and long-term planning. Two things in major deficit at television networks.
Perhaps I was reluctant, after all my talk early about how I never watch broadcast television, to talk about a TV show. I do watch TV on DVD. And to be honest, I have yet to watch a full Dollhouse episode on Fox live. I've been watching on Hulu.
For those who pay as little attention to the networks as I usually do, Dollhouse is on Fox, Friday nights in the notorious 9 p.m. death slot. Nothing survives there. The concept of the show revolves around programmable "actives," attractive men and women who can be given the background of anything from sexual toy to safecracker. They believe in their roles completely, because without that imprint they are Tabula Rasa. Blank slates. The story revolves around one particular active played by Eliza Dushku. A rogue FBI agent is trying to save her, The corporate entity behind the Dollhouse is exploiting her and her true background is unknown...meaning we don't really know if she wants to be saved.
Multiple twists have been thrown in, and as normal with Whedon the show is episodic in that each week a new story is started and completed with hints liberally and secretly distributed about a larger truth.
Unfortunately for Joss and his fans, what this often means is that the greatest enjoyment of his work is slow to emerge. Not a good thing in the immediate gratification world of network television. I often wish the man would go work for Showtime or HBO, or even endure the budget constraints of working with a smaller cable network. Not that Battlestar Galactica didn't pull it off.
Dollhouse follows this pattern. The more backstory that emerges, the better the program. Fans that have been there from episode one are falling in love. People that are tuning in one week in the middle don't understand what all the hype is about.
There is a lot to love about Dollhouse. It plays with the concepts of what truly makes us human. On a purely aesthetic level, the cast and sets are almost universally pleasing to the eye. Joss has consistently played with our expectations and resisted the urge to go too quickly for shock value. If he follows his own SOP, there will be events in next weeks season finale that will have been planned all along, with unrecognized hints in each previous episode hiding behind the obvious foreshadowing.
I am in favor of anything, movie or television, that give Alan Tudyk more opportunity to show his versatility. The man has awesome comedic timing and yet can switch gears to action in totally believable suddenness. There is a reason so many of the "tee shirt lines" in Firefly were delivered by Wash.
And Dollhouse has given us Miracle Laurie as a more voluptuous active who is never played by the Dollhouse as less attractive or able due to not being the Hollywood ideal in female weight and height. Indeed, one of the first twists was the show turning the expectations of its audience on ear in her character, who was initially teased as the stereotypical "not quite as worthy love interest." Laurie is gorgeous and I love that they are treating her as so and not acting like they need to apologize for her being 20 pounds heavier than the others. Indeed, the hottest love scenes on the show have involved her, not Dushku.
But I fear this show will be canceled as others have been. Sad, because if Fox really wants to rescue that time slot, the one thing that is absolutely required is patience. Well, patience and an understanding that in today's more fractured TV environment, ratings are never again going to approach "All In The Family" levels.
If it was for me to decide, Fox would wait until the fall season, when the hit 24 is on hiatus, and put 13 episodes of Dollhouse following House on Monday night. Not everybody watches Monday Night Football. I think it would capture some audience there and take them back to Fridays in the spring, possibly bumping Terminator's rating as well.
Also, take a lesson from Firefly... Dollhouse is going to rock on DVD, selling better than shows like House or Bones or even the aforementioned 24. Fox is currently living off things like American Idol... which is entirely in the moment and has no residual potential in rerun or on DVD.
If they are smart, Fox could take Dollhouse and Sarah Conner Chronicles and slowly build a Friday night powerhouse. But that takes patience and long-term planning. Two things in major deficit at television networks.
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