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Canned TV Show #22: Sym-Bionic Titan

June 10, 2012 1 comment

So I was planning a month of all animation but that kind of didn’t pan out.  But here’s another animated series anyway!  This one’s a little different from what I’ve done before, since it’s geared toward a younger audience than the more adult-friendly animated shows I’ve covered so far.  But make no mistake, it’s a mature, thoughtful show all the same.

Today’s show is Sym-Bionic Titan, co-created by the great Genndy Tartakovsky, who was also responsible for Dexter’s Laboratory and Samurai Jack, two tentpoles of my childhood.  I have great affection for this guy’s work, so I was excited to watch this to say the least.  Credit where credit is due though: Bryan Andrews and Paul Rudish also share a creator credit, so it’s hard to know exactly who was responsible for what, though it certainly shares some important similarities to past Tartakovsky work.  Much like Jack, this show features a more serialized plotline, and pays homage to a whole host of pop culture.  Whereas Jack was an extended tribute to everything from samurai flicks (duh), spaghetti westerns, and dystopian sci-fi, Titan references nearly the whole of science fiction cinema, as well as some other, less expected elements.  It’s slightly less serialized than Jack, which was, to my memory at least, one of Cartoon Network’s first attempts and doing more long-form storytelling, more like an anime (another important influence on both Jack and Titan), and that continues here.

So what is the story, you might ask?  It concerns three individuals: Ilana (voiced by Tara Strong), the princess of a planet called Galaluna, a sort of quasi-Victorian world with futuristic technology; Lance (voiced by Kevin Thoms), a military prodigy; and Octus (voiced by Brian Posehn, who is just great), a super-intelligent robot who can change form.  Lance is charged with protecting Ilana, who is hiding out on Earth while fleeing her home planet due to a military coup in progress.  The man responsible for the coup is General Modula, who used to be the king’s right-hand man.  He’s enlisted the help of the Mutraddi, a race of horrifying aliens, in order to sieze power (listen, I don’t wanna be “that guy,” but is it a coincidence that the ugly, violent “other” in this scenario has a name that sounds vaguely Arab, or is there some secret anti-Islamicism at work here?  It’s probably just me.  God, I never wanna be “that guy” again).  Modula is holding the king hostage, and sends a range of giant beasts to Earth to kill Ilana, beasts which are continually defeated by the titular Titan.

About that Titan: it’s essentially a giant robot formed from three smaller robots, two commandeered by Lance and Ilana, and the third is just Octus.  They work in tandem to control it and harness it’s power, hence the sym part of the title.  It’s a pretty neat example of “work together and you can do anything!” kind of thinking.

The show balances a number of plotlines, including the trio’s attempts to assimilate into high-school culture and keep a low profile while also protecting Earth from the monsters sent to destroy them.  Ilana and Octus (as a nerdy student named Newton) are ostracized, but Lance becomes surprisingly popular in a dark and mysterious kind of way.  In addition, the military views Titan as a threat, and they’re also being monitored by G3, a sort of S.H.I.E.L.D. or Men in Black-esque group that monitors alien activities.  There’s sort of a romance teased between Ilana and Lance, though each of them also has their own separate beau at one point.  In one of the show’s stranger (but pretty charming) subplots, Newton begins dating Kimmy, the most popular girl at school, after he helps her with her math test and actually treats her like a person, which causes him to begin questioning his newly emerging feelings.  It’s pretty unlikely that the most popular girl would ever date an oddly shaped nerd in the real world, ever, but it’s affecting, and prompts one of the show’s most stylish sequences:

As you can imagine, Sym-Bionic Titan is composed of some pretty unexpected influences.  Tartakovsky said he was equally influenced by giant robot anime as he was by John Hughes movies, and it’s surprisingly effective.  It’s enjoyable to pick out the different sci-fi genres on display, from the obvious giant robot and monster of the week shows to movies like Robocop, Blade Runner, and The Thing. The show feels like an affectionate love letter to sci-fi as a genre.

Titan does follow a formula in its early going, where some dispute divides the group, then a monster comes, and the group must get past their differences to defeat it.  Happily, the show demonstrates a willingness to play with or even abandon the monster of the week formula, which does get a little tedious after a while.  Some of the series’ best episodes are devoted to showing us what happened before our heroes ended up on Earth, or are more character-based.  Sometimes, weirdly enough, a giant monster appears just to be easily dispatched, almost as a matter of course.  Unfortunately, the Galaluna subplot is abandoned for several episodes at a time, our only information being that yep, General Modula’s still in power and yep, he still wants Ilana dead.  There’s a little bit of time devoted to showing Galalunians fighting in resistance to the Mutraddi takeover, but it doesn’t get developed very much, at least in the episodes we get. Perhaps had the show been able to continue, it would have explored these plotlines in more depth.

There are plenty of things to like though; the show is really beautifully designed and realized, featuring a combo of Jack’s stylish, outline-free animation style, and the more traditional feel of Dexter’s Lab.  Different episodes do have a slightly different feel, no doubt the product of different directors.  But it’s always wonderfully animated and dynamically constructed.  Even at their most tedious and generic, the monster battles are always well staged and exciting to look at.  The show balances its darker, graver moments with some very funny ones, such as Octus’ (who also poses as Lance and Ilana’s father) attempts to use a little kid’s cartoon to help him better understand how to communicate with humans (or humanoids):

Though the show is geared towards a younger set, it’s also surprisingly dark and even sexual at times, like when Kimmy does a sort of stiptease for Newton (minus any clothing removal) in an attempt to get him to give her the test answers:

That wouldn’t have flown when I was a kid, by golly!  (this sentence brought to you by your grandfather)

So what happened to Sym-Bionic Titan?  Was it low ratings or network disinterest?  Surprisingly, it may be neither of those things.  Some unnamed industry insider said that, while ratings were decent, Cartoon Network opted not to renew the show because it didn’t have enough toys connected to it.  Seriously.  Only in the world of animation is that a concern.  Though it’s basically the same as any other show’s need for merchandising capability, I can’t help but picture a hyper nine-year-old in a business suit surrounded by action figures shouting “I demand more toys!”  Clearly, my mind is a strange place.  I suppose it makes sense that toys would be a concern, but the show isn’t really geared towards the age of kid who would really play with toys, anyway.  That is, unless you’re weird and still collect action figures at 14 or 15 (though to be fair, that’s probably the same group that would also watch cartoons at 14 or 15…unlike myself, who is an adult and hasn’t just spent over 1,000 words writing about a cartoon).  The other sad thing is the toys for this show would probably be pretty badass.  I mean, who doesn’t love giant robots and monsters?  Built in money right there.

So, should it be back on the air? absolutely.  It’s an engrossing, well-made piece of storytelling, despite a few flaws.  Unfortunately, though fans rallied in support, Cartoon Network has shown no interest in reviving the show, and Tartakovsky moved onto Sony Pictures Animation to direct the upcoming CGI film Hotel Transylvania.  Here’s hoping it ends up being good, though with him involved, chances are high.

Join us next time!

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Canned TV Shows #20 & 21: Allen Gregory and Napoleon Dynamite–Canned-imation Double Feature!

May 10, 2012 Leave a comment

Hey folks, leave it to me to kick off a month-long event a week into the actual month.  But that’s how I roll, not obeying those calendars and shit!  Today, we’re gonna look at two back-to-back animated series, one that died an ignoble death, and one whose fate is uncertain; and examine if they’re both wastes or if they deserved more time.

First up on the chopping block is Allen Gregory, co-created by Academy Award nominee Jonah Hill (God, that’s a sentence I never expected to write) with Andrew Mogel and Jarrad Paul.  The show premiered in October 2011, in that perilous timeslot on FOX’s Sunday night animation block that has claimed many a show, before being left off the midseason lineup and quickly vanishing after only seven episodes.  The show follows the titular protagonist (voiced by Hill), a sheltered, pretentious, unbelievably selfish and manipulative seven year old thrust from his comfortable homeschooled life into public school.  Predictably, things are not easy for Allen Gregory out in the real world; his upbringing has in no way prepared him for a world where maybe he’ll have to earn people’s trust and respect instead of immediately assuming it.  Over the course of the show’s seven episodes, he never even begins learning that lesson.

One of the biggest problems with Allen Gregory is that the characters are unbelievably obnoxious and completely unlikable and unsympathetic.  I have no problem with a show’s protagonists being self-centered and mostly unrelatable–both It’s Always Sunny in Philadelphia and Arrested Development spring to mind–but they at least have to be likable in a funny way.  One of the reasons Sunny works is that the characters bring out the worst and best within each other, and any normal character is steamrolled by the shear insanity of the central cast.  Arrested Development features a relatable everyman at its center in Michael Bluth, who grounds the show as its other characters exhibit absurd levels of narcissism.  Beyond that, both shows are insanely funny, which is not something you could burden Allen Gregory with.

It all wouldn’t be so bad if the show didn’t try to get us to like and sympathize with its horrible protagonist and his equally horrible father Richard (voiced by French Stewart), and actually root for them to succeed over the authority figures in their way.  Not to keep dredging up those two other shows, but they end up working because, at the end of the day, the characters almost never get what they want, and therefore order is restored to the world.  It’s damn near impossible to both laugh at the characters on this show and feel for them at the same time.

For example, When Allen Gregory tries to fire Guillermo, a student at his school, because he assumes he’s a janitor given his Latino heritage, he’s required to write an apology letter.  In his typical fashion, he turns it into a much longer stage play which makes Guillermo look like the villain and him the hero for demanding this janitor do his job or get out.  The crowd initially reacts with rightful vitriol towards the content of the play, and cheers when Guillermo gets up onstage and gives a speech about how racism is bad and we should respect working-class people.  We then find out that they thought Guillermo’s speech was part of the play, and his teacher (voiced by Leslie Mann), is admonished for trying to convince the crowd that it wasn’t.  And so, Allen Gregory walks away unscathed, free to go on being a racist, entitled douche.

On an unrelated note, the show does offer some reasonable voices in the form of Jeremy, Allen’s stepdad (voiced by Nat Faxon); and Julie, his Cambodian adopted sister (Joy Osmanski), and predictably, they’re the punching bags for Allen and his dad.  There’s really nothing to justify Jeremy taking so much abuse, other than the backstory that he was worn down by Richard’s advances until he left his own wife and kids to move in with him, which still doesn’t give him any reason to stay beyond the fact that Richard has money.  The show even brings this up when Jeremy temporarily leaves Richard and tells his troubles to a bartender, who can’t understand why he’s sad.  I couldn’t either, and I cringed at the inevitability that he would go back to that hellhole.  Maybe if the show had more episodes, they’d get to the heart of Jeremy’s feelings for Richard and Allen Gregory, but as it is, it offers no explanation why he should care about these people that treat him like crap.  This might be a weird complaint against a show that features seven-year-olds acting like adults, but since Jeremy’s supposed to be our Alice for this wonderland, it’s jarring to see him acting so pointlessly unreasonable.

Here’s a clip of the actors talking about this relationship, and it seems like even they don’t understand why they act like they do:

This might all seem like I’m being unnecessarily harsh on what amounts to a silly little comedy that stretches realism an absurd amount in the first place, but Allen Gregory just isn’t funny enough at the end of the day to make all its mean-spiritedness okay.  Allen Gregory isn’t a protagonist I can get behind, and nothing in the show even remotely convinces me to care.  I really do like Jonah Hill’s other work, and the voice cast contains some majorly funny people, including Will Forte and the great Keith David (who is criminally underutilized), but the whole thing is just a major misstep in my opinion, despite its promising pedigree.

So, should it be back on the airNope.  There are some interesting ideas at the core of the show, such as why Jeremy stays with Richard, and the fact that Richard was able to, in French Stewart’s words, browbeat a straight man into becoming his lover; and the fact that Richard seems to have adopted Julie out of his own desire to appear charitable.  If the show wanted to be a smart satire, maybe it would explore these things, but it doesn’t seem to have much desire to be like that.

Allen Gregory was replaced on the midseason calendar by Napoleon Dynamite, an animated version of  that seminal mid-00’s film that took the world by storm.  FOX executives were undoubtedly hoping the nation’s infatuation with Napoleon and his awkward pals would have reached a fever pitch by the year 2012, a whole eight years after the movie’s release, so they ordered a show to give us a glimpse into the continuing adventures of its titular geek god protagonist.  Pretty much everyone thought it was a horrible idea, and ratings and reactions declined as it went along.  While it hasn’t officially been cancelled, it also hasn’t been renewed, and the numbers wouldn’t seem to justify a second season from the notoriously cancellation-happy FOX network.  Is it unfair to post about a show that hasn’t officially been declared dead?  You bet!  If it does get renewed, I’ll print a redaction or something, but until that time, on we go!  So is it as bad as it seems like it was destined to be?

Let me start out by saying that after all this time, I am still a defender of the movie.  I think it got blown way out of proportion, but as a tiny oddity with its own sensibility and a poignant undercurrent of sadness, I think it’s pretty successful.  And I don’t buy the criticism that creators Jared and Jerusha Hess were asking the audience to laugh at the sad sacks on display.  Looking back, it’s funny to imagine how much of a pop cultural sensation this weird little movie really was.  I can’t imagine the creators ever expected it to take the world by storm, and it was probably never meant to.  I think a lot of the backlash towards the movie came from unnecessary over-hype, which is a shame.  That said, do I really think the world needed to see more of these characters?  Not really.  The spouses Hess had seen diminishing returns on their films after their initial success, so no doubt returning to their original property seemed like a surefire way to get back in the public eye.  After all, the world loved these characters once before, right?

That all said, I’m happy to report that the show was nowhere near as bad as I expected.  I wouldn’t go so far as to call it good, per se, but it was surprisingly funny at times, and showed a willingness to leave behind its origins and embrace its own style of comedy.  The Hesses developed the show with Mike Scully, a writer and showrunner who had success on Family GuyThe Simpsons, and Parks and Recreation, so I think he knows funny to a certain degree (though the consensus is that apparently his stint as showrunner on The Simpsons was the show at its worst).  It mostly leaves behind the quiet, uncomfortable humor of the original film and leans towards a broader, more absurdist form of comedy that mostly works.  It embraces non-realism, which allows Napoleon’s strange fantasies to come to life in a way that would’ve been jarring in the film.

One gripe I have against the show is, despite being able to rangle the entire original cast back into their roles, some characters aren’t really given much to do, and appear to be there simply because the fans expect them to be.  Though he is a relatively prominent character, I was disappointed with Uncle Rico’s characterization on the show.  He’s still an enterprising boob, but I miss his sleaziness and manipulation from the film.  Here, he’s just kind of an idiot who doesn’t really mean much harm.  Jon Gries was easily the funniest part of the film as Rico, acting as Napoleon’s main antagonist.  The creators appear to want to turn the town of Preston, Idaho into its own world, much like Springfield, Pawnee, or to a lesser extent, Quahog.  They bring back random recurring characters such as a gay Brazilian barber, a bizarre biology professor voiced by Jemaine Clement, along with more expected ones like Diedrich Bader’s martial arts guru Rex.  However, Preston doesn’t earn a place among those memorable television towns, mainly because the characters at its edges aren’t quite as memorable or distinct as the ones in Pawnee or Springfield.  But at the end of the day, I can’t totally fault a show that features moments like this:

Or this, for that matter:

So, take it with a grain of salt, but those who didn’t like the movie might be able to find something funny in the show.  Or maybe not.

So, should it be back on the air? You know, maybe it would’ve worn out its welcome before too long anyway, but I would watch  a short second season.  The show seemed to be settling into its own style by the end, and I think if it were allowed to continue, it may have come up with something unique.  Well, as unique as an animated show based on an eight-year-old pop cultural oddity can really be.

Tune in next time for more animated series!

UPDATE: Napoleon Dynamite has officially been cancelled by FOX.  That was close, i was worried there for minute that I’d be wrong!

Canned TV Show #17: Garth Marenghi’s Darkplace

June 5, 2011 Leave a comment

Greetings traveler…

So…yeah.  It’s been like 9 months since my last post.  No doubt many of you conceived and subsequently gave birth to children in that time, most likely riled up to the point of copulation by my delicate prose detailing the sexual exploits of the employees of the fictional hotel on Do Not Disturb.  Or you were thinking that something, anything, including intercourse, was better than watching that show.  Actually, intercourse is better than almost anything, but we won’t go there.

Today’s canned subject comes from across the pond.  It lasted for only one six episode season (or “series” for all you silly Brits out there), before being cancelled and gaining a cult following via the internet and stateside reruns on Adult Swim.  The show is Garth Marenghi’s Darkplace, and it’s arguably one of the funniest British TV shows of all time.

The premise is as follows: fictional horror author Garth Marenghi (a character of Matthew Holness) presents, nay, graces the viewer with an episode of a show he wrote, directed, and starred in back in the 1980s which went tragically unaired and unappreciated in its time.  Only now “in the greatest creative drought in television history” is he able to finally give the world this gift.  Each episode is framed by an introduction from Marenghi, and are also intercut with brief commentary from him, his publisher Dean Learner (played by Richard Ayoade, more on him later), and occasionally the actor Todd Rivers (Matt Berry).  The series takes place in Darkplace hospital, which was relatively normal until its protagonist, Dr. Rick Dagless, M.D. (played by Marenghi played by Holness), opened the gates of hell and unleashed a host of supernatural terrors onto the ward.  Each episode then deals with another supernatural problem that the effortlessly heroic Dagless must solve, with the help of his best buddy Dr. Lucien Sanchez (played by Rivers played by Berry), hospital administrator Thornton Reed (played by Learner played by Ayoade), and occasionally psychic new doctor Liz Asher (played by Madeline Wool played by Alice Lowe).

So what is it that makes this show so hilarious?  The show’s creators (Holness and Ayoade) and production crew take the greatest care and detail into making it seem like they took no care or detail.  The sets, the costumes, the effects, the acting, and the dialogue are all hilariously awful, and you can tell the whole crew pulled out all the stops to make it as laughably terrible as possible.  Even things other spoofs don’t always think about, like weird sound problems and inexplicable editing, are on display here.  Only the most competent of filmmakers could pull off something so purposefully incompetent.  Other, more subtle elements of the writing add to the hilarity, such as how Marenghi’s unrelenting egotism filters into his writing, in that he has to make his character the most amazing doctor in the history of medicine.  As he tells a little boy who inquires about the state of his father, “we’re doing all we can, but I’m not Jesus Christ.  I’ve come to accept that now.”  Also, casual misogyny abounds, as Liz is painted as materialistic and overly sensitive, crying and ruining her makeup at the slightest outburst.  Marenghi’s assurance that his show was too radical for the world at the time emphasizes his delusion and inflated ego in hilarious ways.

One of the chief sources of funny on the show are the performances.  Holness plays Marenghi playing Dagless with a modicum of acting skill but absolutely no directing talent (you know what?  it’s gonna get too confusing writing about an actor playing an actor playing a character, so from now on I’ll just refer to them using their fictional actor names…God, even clarifying makes it confusing).  Rivers plays Sanchez with a bizarre, barely recognizable accent delivered in a smooth baritone.  He also has a habit of having overdubs that don’t quite match his lips.  Wool delivers most of her lines really quickly and softly, that is unless her PMS causes her psychic powers to take over the hospital, as it does in the episode “Hell Hath Fury.” Easily the funniest performance belongs to Dean Learner as hardened hospital administrator Thornton Reed.  Dean has no acting experience whatsoever, and therefore delivers a stiff, completely unnatural performance that is mesmerizing in its awfulness.  It has to be hard for an actor to essentially ignore all acting rules for a role like that, but Ayoade does is wonderfully.  Dean’s commentary segments are dryly hilarious, and he gets in some of the best lines of the show.  Several guest actors also turn in funny performances, such as Julian Barratt as the hospital vicar, and Stephen Merchant as a surly cook.

Most of what I’m talking about is on display here, especially Liz’s whole breaking down crying bit:

There are honestly too many small things to recount in detail, but in my mind that is one of the show’s greatest strengths.  It rewards repeat views, as there’s always something else you didn’t catch the first time that ends up being hilarious.  Every episode is a gem, but I think the first one, titled “Once Upon a Beginning,” is probably the funniest.  It sets up the series’ tone brilliantly right off the bat, and features an unending string of brilliant comic moments.  From an arm visibly dropping a cat into frame to hilariously redundant lines like “if that’s how you treat your friends, imagine how you treat your enemies!  Worse, I expect!,” it’s wall-to-wall funny.

That line pops up here, in fact, along with all of the other hallmarks of the series:

So if it’s soooo funny, how come it didn’t last?  Well apparently it was aired on England’s Channel 4 in a late time slot with little advertising, and thus had low enough ratings that the network decided not to continue it despite strong critical reaction and a budding cult fanbase.  I’m not sure how much a show like this would cost to make (looking at it you’d think they spent a couple hundred bucks, exchange rate included), but perhaps the costs were too high to take the risk.  The channel did approach Ayoade and Holness about writing a script for a movie version, though there hasn’t been any word on that for some time, so it’s doubtful that it’ll happen.  Perhaps the creators will one day bring the show back to its stage roots (two stage specials, Garth Marenghi’s Fright Knight and Garth Marenghi’s Netherhead, were performed in the early 2000s at the Edinburgh Fringe Festival.  These specials acted as the inspiration for the series) instead.  Hopefully one day the cast will reunite for one last hoorah, despite them all moving onto new and most likely bigger projects.

So, should it be back on the air? I’m gonna say yes, of course, but honestly I’m a little torn.  I feel like something like this isn’t designed to continue for very long, and the show actually ends on a note that could be final but is flexible enough to possibly continue.  I’d say maybe one more series would’ve done it, but much beyond that and it might’ve gotten a bit tiring, sad to say.  I’m sure the crew would’ve made it worth watching for as long as they could, but that exhausting attention to detail would probably start to lag after a while.  Luckily, we have this brief but fantastic series to keep coming back to.

Unfortunately, the show doesn’t exist on region 1 DVD, so youtube is the only place for us yanks to get our fix.  Here’s a link to the first part of the first episode:

http://www.youtube.com/watch?v=nNfQ0ORwSDM&feature=related

to send us out, here’s a clip from the final episode of the cast performing an awesome original song:

Join me next time (which hopefully won’t be nine months from now) when I finally review Kings!  Gotta do it soon, it won’t be on Hulu forever.

Canned TV Show #11: Earth 2

March 25, 2010 Leave a comment

Hello loyal readers.  It’s been a while.  How’s the wife?  Really?  You’re kidding!  Well, I wish her a full recovery.

But in all seriousness, I’m sorry it’s been so long since I did one of these.  It’s been a busy couple of months, and it’s been tough to find much time to sit and watch old TV shows of late.  But hopefully such a long and unfortunate break between posts won’t happen again.  Today, we’re going to go back in time, to a magical, far off world called the Clinton administration.  It’s hard to believe that 1990 was twenty years ago, but there it is.  The 90s will no doubt soon become the 80s, where a nostalgia boom will undoubtedly happen, more so than has already occurred.  I grew up watching 90s TV shows, primarily of the animated variety, but any 90s show, cartoon or not, has an undeniable sensibility that makes it instantly recognizable.  Often, it’s a winningly cheesy sensibility, but one that we have to forgive.  I did not watch the show I’m covering today in the 90s.  In fact, I hadn’t heard of it until my good pal Michael offered to let me borrow the DVDs for this blog (thanks for the loan Michael, by the way).  Despite not hearing about it until late last year, while watching it I felt completely at home in its 90s-ness.  The show I refer to is the forgotten (by most) sci-fi series Earth 2, which crashed and burned after one twenty-two episode season.  Did it deserve such a fate?  Is more like Lost in Space, or is it more like Lost, in space?  More on that soon enough.

Given that this show is from 15 years ago, I think it’s a little pointless to say whether or not it should be back on the air, because it’s undoubtedly a product of its time.  So, instead of my usual final statement, I will change it to “should it have stayed on the air?”  Just so y’all don’t think I’m being inconsistent.

Now, onto the show itself.  Earth 2 tells the story of a ragtag group of pioneers who are on a mission to set up a colony on a planet similar to Earth.  The reason they need to do this is because the original Earth has become an almost uninhabitable place, and most of humanity has moved to orbiting space stations.  However, this doesn’t seem to solve all their problems, as some kids born on the stations are afflicted with a disease called The Syndrome, which causes them to die by the age of eight.  This is due to the fact that apparently spending every waking and sleeping hour cooped up in a space station really isn’t so good for developing bodies.  Not content to sit idly by and watch her son, Ulysses (Joey Zimmerman), perish of this disease, rich lady Devon Adair (Debrah Farentino) leads and expedition to a planet known as G889, in the hopes of building a new colony where all the sick children can run and play and hopefully not be sick anymore.  With her on this expedition is Yale (Sullivan Walker), a reformed criminal whose brain has been wiped and is now a tutor; John Danziger (Clancy Brown), a gruff but kind blue-collar worker and his daughter True (J. Madison Wright); Morgan Martin (John Gegenhuber), a snivelly government guy and his wife Bess (Rebecca Gayheart); Julia Heller (Jessica Steen), who was genetically programmed to be the group’s doctor, and Alonzo Solace (Antonio Sabato Jr.), the ship’s pilot, who is a lot older than he looks, due to all the time spent in cold sleep.  On the way to the planet, the ship is sabotaged and crash-lands on the other side from where the colony was supposed to be set up.  So this group of reluctant pilgrims must traverse a harsh landscape that looks suspiciously like New Mexico, to get to where they need to set up the colony.  Along the way, they discover that the planet is basically one living organism, and that a group of creatures called the Terrians have a special connection with the planet’s resources.  When they take Ulysses and cure him of his illness, they give him certain Terrian abilities, making him a link between their world and the humans.  This makes a secret government group called the council, run by a man named Reilly (Terry O’Quinn in an excellent recurring role), interested in harvesting this link for future use in controlling the planet.

Here’s the opening credits that give you a nice feel of the series:

That’s the basic premise, without getting too detailed or spoiler-y on you.  A reliably good, campy Tim Curry shows up early on as a mysterious stranger who claims to be a marooned astronaut, but is actually hiding some dark secrets.  There’s also some creatures called Grendlers that play a part in some episodes, either causing trouble or actually helping the crew in some way.  Every episode has the same basic premise: something is putting the crew in danger and they have to stop it.  It gets a little repetitive, but for the most part it works.  The overlying message has an environmental vibe, but it doesn’t beat you over the head with it too much.  The idea is that in order to live on the planet, or our planet, for that matter, we have to coexist with our surroundings and not just barge in and take over.  It’s hard not to see the Terrians as sort of a stand-in for Native Americans who were forced off their land as we settled the frontier, but none of the environmental stuff really distracts too much from the story and characters.

One of Earth 2‘s strengths is that it seems most concerned with developing its characters, and seeing how each one of them grows in this new, unpredictable world.  Pretty much all the characters get their own storylines, and most of them are pretty interesting.  Like any series, it’s the characters that keep us coming back week after week, and it’s nice to see that underneath all the weird sciencey mumbo-jumbo talk and the constant peril, the show is really invested in letting its characters grow and change in their new environment.  Most of the acting is pretty solid, though I have to say sometime Sabato’s acting is a little questionable.  I know he was on General Hospital before this, but still.  I especially liked Brown and Farentino, who both very well play the sort of put-upon leader roles and complement each other while also being complete opposites.  They’re often at odds but have a very clear sexual tension between them that I’m sure would’ve been more deeply explored if the show had more time.  There’s one time where this tension really comes to a head, when Devon has to grab Danziger’s canteen with her mouth, given that they’re both tied up.  She has to bend down basically to his crotch and grab it with her teeth, it what can only be described as a mildly disturbing pantomime of oral sex.  I don’t think that’s my dirty mind making that up; I really think that’s what they were planning.  I wish I could find a clip to show you.

I should tell you though, weird oral sex thing aside, not everything in Earth 2 works.  It does fall victim to a lot of 90s cheesiness, even if it is endearing cheesiness.  Also, some of the plotlines are just plain ridiculous, and some of the science involved just seems like complete bullshit.  I know it’s in the future and all, but some of it sounds like total bologna, especially if, like me, you’re not one of those science loving folk.  There’s one really odd one where the crew finds an ancient Terrian body frozen in ice, and somehow its spirit, which is evil for some reason, manages to possess Danziger, at which point Alonzo has to enter the dream plain (which, I realize now, I neglected to mention.  Basically, Alonzo can communicate with the Terrians through his dreams, on what is known as the dream plain.  There.) and fight the evil Terrian to save Danziger.  It’s not a terrible episode, but it feels kind of out of place with the rest of them, especially since it does nothing to advance the story.  Think of it like the diamond thieves episode of Lost, only a little less stupid and not featuring Billy Dee Williams.

A few highlights, of many solid episodes, would have to be some of the final ones of the season.  I really liked one where 25 year-old Ulysses communicates with his mother via the dream scape, telling her she has to send his younger self into a cave with the secrets that could save the syndrome kids in the future.  We also get a glimpse at what the colony will look like, and it really doesn’t look too much better than the stations.  Sometimes these future episodes just seem like a filler when a show has no more new ideas, but I have to say it worked this time.  It was a legitimately interesting look at the future, and what would happen with Devon and Ulysses.  I also liked a two-parter where Yale starts to think his mind wash is going to malfunction and he’ll revert back to his criminal ways, but later he finds out the truth about what he did in the past, and it’s different than he thinks.  I like how the show wasn’t afraid to let a story play out over a couple episodes, instead of wrapping it up neatly at the end every time, like some shows do.

But alas, the show was unable to flesh out its characters too much, as it was cancelled after the first season, despite an extensive campaign by fans to keep it on TV, due to dropping ratings.  Evidently there was more at work than just your average ratings drop, however.  According to one site, NBC fired the producers of the show and made a promo video showing the direction they wanted to take the series.  When people finally saw this promo, including the cast and crew, they decided it was better off cancelled.  Apparently the network wanted to dumb the show down and make it more appealing to mass audience.  I get the sneaking feeling maybe sci-fi shows don’t really belong on major networks, especially the smart ones.  Luckily, what was made has been preserved on DVD, though unfortunately it is in broadcast order, which puts two unaired episodes at the very end, even though they belong earlier in the season.  Why they didn’t just put them in the right order, I have no idea.

So, should it have stayed on the air? I think so.  It may not have worked all of the time, but it had an intriguing premise, interesting characters, a constantly changing world, some compelling drama and some decent for the time special effects.  Sure, it appeals more to the sci-fi crowd than anybody else, but it’s still a reasonably compelling series.  It would’ve also given its actors more work, as not many of them have really had very illustrious careers after this show.  Clancy Brown went on to appear in numerous movies and shows, including memorable stints on Carnivale and in The Shawshank Redemption.  Also, my brain literally almost exploded when I found out he voiced Mr. Crabs.  All this time, and I never realized it was him!  Crazy.  He’s probably the most successful post-series; Farentino’s appeared in some stuff, as have Steen and Gayheart.  Antonio Sabato Jr. attempted a movie career, and largely failed.  Gegenhuber and Walker didn’t fare much better; his last notable film role was in the largely worthless 50 Cent vehicle Get Rich or Die Tryin’.  What a shame.  What’s also a shame, and a tragedy, is that J. Madison Wright, who played True Danziger, died of a heart attack at age 22.  That’s insanely young to have a heart attack.

Overall, while not spectacular, I’d recommend giving it a watch.  If for nothing else, than simply to bask in it’s wonderful 90sness.

Come back next time (though let’s be honest, who knows when that’ll be?  Hopefully soon) when I’ll be watching the recently cancelled Aliens in America!  I’ve heard good things.

Canned TV Show #6: Firefly

December 7, 2009 Leave a comment

Well fans, the hour is upon us.  Possibly the most beloved cancelled show of all time is here, and after five long entries, it is surely the moment you’ve all been waiting for.  For today, I will be reviewing the show most often mentioned when it comes to the idea of shows cancelled before their time: Joss Whedon’s Firefly.

Joss Whedon could have one of the most substantial pedigrees of anybody working in the TV medium.  He’s created numerous shows which have developed massive cult followings, such as Buffy the Vampire Slayer and its spinoff, Angel.  His most recent show, Dollhouse, was recently cancelled by FOX before airing the rest of its second season, but will surely develop its own cult, most likely made up of the people who comprise the cults for his other shows.  Instead of it being his shows that have fan bases, Whedon himself commands a very large group of followers who will love and support pretty much anything he does, which is something very few TV show creators can say.  In fact, the work done by said fan base even lead to a comeback of sorts for this series, but more on that later.

Needless to say, there’s a lot of hype circulating Firefly, and so I had high expectations of the show.  I mean, an intensely loyal fan base, which included several of my close friends, must see something, right?  I entered my viewing experience expecting nothing less than literal TV gold, something that would change my life and the way I thought about it for eons to come.  Ok, so maybe that was a little high, but I certainly didn’t leave the show feeling disappointed.  I admit, it isn’t a perfect show, but it isn’t hard to see why so many people rallied so hard to keep it afloat, to see it return in some way.

The plot is really nothing too radical; but the characters, like any good series, are where the real reward of the show lies.  It’s centuries in the future, after the human population has grown to large for earth to sustain it, humanity leaves to terraform new planets and spread out over the galaxy.  There’s a central governing body called The Alliance, which is similar to your totalitarian governments of most future-set sci-fi, who represent a shadowy antagonist to our heroes, a ragtag group of outlaws who fly through the galaxy in a “firefly-class” spaceship looking for jobs of varying legality to sustain them.  They live outside of alliance rule, and frequently come into opposition with them.  Onboard the ship, the motley crew consists of captain Malcolm “Mal” Reynolds (Nathan Fillion), the stubborn but intensely loyal leader; his first mate Zoe Alleyne Washburne (Gina Torres), who in turn is extremely loyal to him; her husband Hoban “Wash” Washburne (Alan Tudyk), the ship’s pilot; Kaywinnit Lee “Kaylee” Frye (Jewel Staite), the ship’s bubbly mechanic; and Jayne Cobb (Adam Baldwin), the hired muscle of the crew.  Also on board is Inara Serra (the gorgeous Morena Baccarin), a registered “companion,” basically a high class prostitute who is afforded almost royalty status, who rents out one of the smaller shuttles attached to the ship.  In the pilot episode, they also pick up holy man Shepherd Derrial Book (Ron Glass), who ends up serving as Mal’s conscience many a time, and Dr. Simon Tam (Sean Maher), who is carrying cargo which contains his sister River (Summer Glau), whom he rescued from The Alliance, which was performing experiments on her.

So if you managed to make it through that lengthy description of the crew, it’s not hard to see that the ensemble is really the heart of the show, and the characters’ conflicts with one another and with themselves is what keeps the show interesting from week to week.  Really, it’s one of the most interesting and entertaining ensembles ever assembled; everyone gets something interesting to do, and were all on their way to being very fleshed out, well-rounded characters before the show was cancelled.  The fact that even our heroes’ heroism is continually called into question offers a thought-provoking moral paradox to the series.  Each episode pretty much serves as its own adventure, and you don’t necessarily have to watch it from the beginning to get what’s going on at any given moment.  There is a larger storyline and some unanswered questions that carry over, but unfortunately the show didn’t get around to answering them before the ax fell.  What exactly were they doing to River?  Why does Shepherd Book seem to have such intimate knowledge of guns and combat?  Will Simon ever kiss Kaylee (there was a romance developing between them)?  Some things we’ll never know, and some things were cleared up a couple years later, in the form of a feature film called Serenity which gives some closure to the series.  I won’t really go into it, other than the fact that it has the awesome Chiwetel Ejiofor as the villain is reason enough to see it, but fans of the show can’t have a complete experience unless they watch it, and I’m sure pretty much all of them have by now.

One of the show’s central conceits is that the future is basically the same as the present; we’ll be dealing with the same problems we do now, just maybe on a different scale.  The sort of “future meets old west” look the show has going reflects this idea of the past and the future colliding, and it gives the show a unique and creative style.  Occasionally it doesn’t work quite as well, and the deliberate “blue collar” sound to the dialog occasionally sounds clunky coming out of the actors’ mouths.  Some can pull it off, but some sound a little awkward with the phrasing.  Also, the fact that the characters will occasionally slip into Chinese when they want to curse, because evidently the only two superpowers left are the U.S. (woot woot) and China (well of course), can be a little distracting.  I love the colorful ways sci-fi shows and movies get around not being able to swear, like the Chinese phrases here or the use of the word “frak” on Battlestar Galactica, with the excuse that “in the future there’ll be new swear words!”  But these are by and large nitpicky details to an otherwise massively entertaining series.

It’s hard to pick out which episodes are the best, since they all have great moments of their own.  If I had to choose, I’d say one of the standouts is the pilot, which introduces us to our crew and sets up the conflicts that will continue throughout.  The episode “Out of Gas,” in which a wounded Mal stumbles towards the back of an empty Serenity to replace a part which has caused her to break down, which is intercut with flashbacks explaining the origin of the crew and how Mal came to possess the ship we know and love, is another one.  The finale is also great, in which Richard Brooks (who would later reteam with Fillion on FOX’s Drive, which I covered a few weeks ago) plays a philosophical bounty hunter who subdues the crew and then tries to find River, not realizing she’s better at mind games than he is.  These are only a few, but really any given episode warrants a recommendation for some reason or another.  I enjoyed when the show was able to balance a scrappy comic tone and a heavier, more dramatic one, with Wash and Jayne providing a large amount of the comedy.  The closest the show comes to straight comedy would probably be “Our Mrs. Reynolds,” in which sexpot Christina Hendricks plays a con artist who tries to subdue the crew and take their ship, and it’s pretty hilarious.  Shepard Book warns Mal, who believes he accidentally married the girl during a recent celebration on an outer planet, “if you take sexual advantage of her, you’ll go to a special place in hell usually reserved for child molesters, or people who talk at the theater,” and later reiterates, “you were kissing, eh?  That sounds…special.”

So what caused such a beloved show to die an early death?  Probably the most obvious answer would be that FOX seriously mishandled the show.  They ended up not airing the pilot first, and instead aired the second episode, apparently concerned the pilot didn’t bring viewers into the action fast enough, which ultimately made the overall plot more difficult to follow.  More episodes were aired out of order as well, and FOX apparently didn’t believe keeping Whedon’s vision alive was a risk worth taking.  They also stuck the series in a bad time slot, and didn’t advertise it the way they should have.  While the series had a devoted following while it was on, it wasn’t enough to keep it on the air, even though said following sent in postcards and tried to get other networks to pick it up.  While they weren’t successful in keeping it on the air, their vigilance inspired Whedon to bring it back in some way.  I was probably still a tad too young to get into it while it was on, I’m sure had I been older I would have done my part to bring it back.  However, it makes me wonder if it’s better to be a short lived much much beloved show that will live a second life on DVD, to be continually rediscovered and relived, or to be on for several seasons and go without much fanfare.  If I made a TV series, I think I’d prefer the former.

For those who haven’t seen it, you can watch it all on hulu, though I’d recommend giving the DVD a look as well, as there’s some interesting bonus material on there.

So, should it be back in the air? I’m afraid I’m not going to break the trend here: yes, it most certainly should.  I think the thing I would’ve most liked to have found out about is Shepherd Book’s past; he obviously has some experience with fighting and possibly even killing, and it would’ve been cool to see where that came from.  Perhaps a prequel series could be arranged?

To send us out, here’s the kick ass opening title sequence with a kick ass theme song written by Whedon himself, and performed by Sonny Rhodes:

Come back next time when I’ll be reviewing the Pamela Anderson bookstore comedy Stacked!  Is Anderson’s ample cleavage enough to salvage the show?  Based on her acting skills in the past, I’m certain it might have to be.