Smeggin' Mondays: RED DWARF X - Trojan

In all honesty, although it can be difficult being a Doctor Who fan....it's often more difficult to be a Red Dwarf fan.

I've been having problems writing a column about the show for Comic Related - not because of creative block, but because the writing has tended to be hit-and-miss, and a long hiatus as co-creator Doug Naylor has attempted to bring the show to the big screen....with the original cast. So watching the first episode, "Trojan", of the latest series has brought about mixed feelings.

On the one hand, it feels like traditional Red Dwarf - a typical, studio bound comedy with plenty of science fiction-based humor. The leads all perform amazingly well, and several lines hit home with great laughs. (One of the great strengths of Red Dwarf's sensibility is that it doesn't rely on popular comedy cliches - even familiar situations are written with unique, crackling lines). The script is relatively solid (although it does veer towards a traditional "American" sensibility with its sense of irony). In short, it's a great traditional episode that wouldn't be out of place in the first five series....

....on the other hand, it's hard to watch with the leads being that much older. Thankfully, it avoids what the 2009 Back to Earth series did in past continuity....but there is a slight sense that Naylor's obsession with bringing the show has slightly damaged the show. Had this been created in, say, 2000 or 2001, it would have  fit right in place (and after Series 8, a refreshing return to form); now, it can't help but appear steeped in unnecessary nostalgia. The fact that the cast fit so well into their old costumes (with Kryten - the fussy robot - now possessing a pot belly (!)) is a service to their ability to sell this story.

So I'll be watching the rest of the series, and think this is a great return to form. But in hindsight, it seems almost understandable why Rob Grant left at the end of series five - focusing on one sole creative endeavor can often lead to delayed opportunities.

Although it's being shown in England on Dave, for US fans...make sure you get this when it comes out on DVD. You'll be glad you did.

Smeggin' Mondays: Back to Earth

This has been a very eventful weekend for science fiction - not only for the broadcast of Doctor Who: Planet of the Dead (which I'll write about tomorrow), but a special three-part return of Red Dwarf on Dave UK. And given the relative stressfulness of this week, I clearly needed a break.

First, the good news - it's actually much funnier - and more clever - than all of Series 8 combined. There are some flat-out funny lines, and given the premise (an unusual near-existential twist), the smeg is taken out of more, er, "lively" fans of the show.

In short, the premise is this - after defeating a beastie in a water tank on board (don't ask), a second hologram arrives to inform them that Dave Lister's mission is to restart the human race. Through a series of wacky mishaps (and quite frankly, only on television are mishaps 'wacky'), the Dwarfers find themselves in early 21st century earth...as characters on a cult science fiction show.

There are some clever touches - references to a non-existent Series 9 and 10 (so don't go digging through the Amazon bookstore to find them); the cast has aged relatively OK (although you can easily see that it's been slightly over ten years since the last series). Many lines are flat-out funny (including Space Corps Directive 596....or is it 569?). There are some great character moments (especially Craig Charles as Dave Lister), and the plot turns enough that, without spoliing anything, it's a good watch.

Now, for the bad news - some of the special effects don't quite come off (especially the computer generated Red Dwarf ship). And, in addition, Doug Naylor seems to have contracted Russell T. Davies' disease - there's so many references to past episodes and continuity, that I'm unsure whether it was meant to be a joke (about continuity-heavy series) or serious. (Every 15 minutes, a character seems to ask, "Wasn't this like the time we...?"). You would think that, after ten years, Mr. Naylor would want to create an all-in-one, non-continuity-specific mini-masterpiece...but this has the sense that he's gone to the well one time too often.

However, the clever bits far outweigh and outnumber the not-quite-clever ones. So this is, definitely, well worth the time for both the hardcore fan, the casual fan...and for those who want a little "teaser" of what the show's about.

Maybe Mr. Naylor was more clever than we imagined....

Smeggin' Mondays: Red Dwarf Series 8

I would have loved to ended this series of liveblogs triumphantly, to have said that the final series of Red Dwarf was a brilliant distillation of previous series; that this was Dwarf at the height of its powers...

...but I'd be lying. This is Dwarf "jumping the shark".

Thanks to events towards the end of series 7, our intrepid band finds itself amongst a newly revived Red Dwarf crew, moving the series from being a smart, intelligent sci-fi comedy to "McHale's Navy in space".

(And, of course, I'm referring to the 1997 Tom Arnold movie, and not the classic series featuring Tim Conway...because this series needed a Tim Conway).

Much of the writing just doesn't work - several episodes are too padded, there's little continuity within episodes (I just now realized that the ending of Back to the Red relates to the beginning...and that's a three part episode). Various past bits are thrown into the season's mix, making this series as much fanwank as, say, Of Gods And Men or the last Doctor Who series finale. Even times when it attempts to reach previous heights (like Cassandra), it falls horribly short.

There are some good bits - probably, though, your best bet is to catch them on YouTube. But there is one flat-out brilliant scene - the scene that, I think, encapsulates Dwarf at its best - and that makes this series worthwhile. And thanks to a slightly seemingly overeager fan, you can watch it - for free:

Smeggin' Mondays: Red Dwarf Series 7

I have to admit, rewatching series 7 of Red Dwarf has stirred up a lot of mixed feelings about this particular batch.

On the one hand, four years had passed since series six, allowing for advancements in CGI technology (meaning better special effects). Since Rob Grant had left the Grant Naylor team, his partner was left to collaborate with other writers, perhaps putting some familiar twists on old themes and to try a different tone. In fact, they brought back Kochanski, and Chloe Annett does a good job in playing posh spice in what was becoming, admittedly, a "sausage factory". The fact that they took several creative chances, including stylistic ones (such as single camera work and becoming more of a "dramedy") provides it with some really cool moments (including Duct Soup, Stoke Me A Clipper, and Beyond a Joke).

However, there isn't so much a "jumping the shark" moment as....well, approaching shark jumping territory. The new tone doesn't quite jell as often as it should, and much of it feels repetitive and obvious. It's also, at times, very tough to watch - one can understand why Rob Grant might have left, because series five seemed to be a high point, and series six had some more-of-the-same. (I would argue that Grant's leaving after Series 6 was like Monty Python's fourth season after John Cleese left - it was OK, but didn't quite match its earlier successes).

Your best bet to catch the funny bits? Look them up on YouTube. I'm not sure that this series is even worth renting. It's not bad, but it just has too much of a...well, smeggish flavor.

Not Recommended.

Smeggin' Mondays - Red Dwarf Series 6

I've been offline for a bit, admittedly, but I've been fighting off a cold. So it was in an attempt to build up some positive attitude that I put on Red Dwarf, series six, hoping for a laugh.

It was then that I made an observation - the previous five series were relatively solid, with five really good stories and one rather OK story. Unfortunately, the fatigue begins with series six - with three plain episodes, two brilliant ones, and one flat-out stinker.

The stinker - Rimmerworld. Basically, it's a planet full of Arnold Rimmer clones. Wow.

But the middle, somewhat OK episodes show that - at the very least - Rob Grant and Doug Naylor were beginning to recycle ideas. One is an flat-out sequel to a season three classic (and one of the photos in this post is a spoiler for which two returning characters), and both Legion and Psirens have their moments...but don't really catch fire. They're enjoyable, but nothing really stands out in either one. (OK, Pete Trantor's sister quote about making the "big, juicy peach" is one, but that's about it).

However, the two remaining episodes are simply flat-out brilliant, and are really reminiscent of the Dwarf of old. Gunmen of the Apocalypse is a fan-favorite, and it's easy to see why: it has some great concepts, a good story, and is wrapped in a nice little package. It also has some great quotes, and quite frankly, deserves all of the accolates that it has received.

But the season-ending Out of Time is, in my opinion, a flat-out work of genius. It contains multiple mini-plots within the episode, and quite frankly, I think that the last three minutes (warning: clicking this link will spoil it, but you can watch it for yourself).

Normally, I would have a link for you, dear reader to buy a copy of the DVDs (and you can always head straight to the online store); but my recommendation is that you rent the DVDs.

Series 6 isn't bad, but to put it into perspective - it would be four years between series 6 and 7.

And series 7....well, that's next week.

See you then.

Smeggin' Mondays - Red Dwarf Series 5

I cannot be objective about this - I pretty much love series five of Red Dwarf.

It's hard to even know when to begin - yes, it's beginning to be a little more like a sitcom, but the plots are dense - in fact, the plots do more in half an hour than in an entire episode of Star Trek: Voyager. (Just ask Siskoid). Much of the writing is spot-on, and there isn't a clunker episode in the bunch.

(And for me, that's admitting a lot - I really didn't care for the episode Devils and Angels at first, and having rewatched it - it's not all that bad. It would come in # 6 on my top five).

But these episodes often straddle the line between comedy and drama, with several downright chilling moments happening between wisecracks. (See The Inquisitor or Quarantine). Granted, one of the big themes of this series is delving into the characters of Lister, Rimmer, the Cat, and Kryten, mostly through showing lives never led, and/or alternative lives. (Given that an American version was being developed around this time, perhaps this has a subconscious influence on Rob Grant and Doug Naylor's writing).

This is also the season where several near-iconic characters and situations are introduced - the Cat's nerdy alter-ego, Duane Dibbley (Back to Reality); the Inquisitor, who judges individuals on whether they lead a worthwhile life; and of course, perhaps the greatest character ever created in the history of western civilization:

MR. FLIBBLE - GREATEST. CHARACTER. EVER.
(If Mike Sterling or Chris Sims really loved us, they'd feature more Flibble on their blogs)

But the greatest thing about this series is how smeggin' quotable it is - you'll find yourself watching this over and over repeatedly to take in really cool phrases. You'll learn more Space Corps Directives than ever. But you'll also begin casually inserting series five lines into your daily conversation, including:

• Let's put on the jet powered rocket pants and Junior Birdman the hell out of here!
• A fine plan, sir, with just two flaws...
• From where I come from, nothing is up
• Spoiling for a rumble
  
• You've got brains...brains you've never used
• I know what to get you for Christmas - a double lobotomy and 10 rolls of rubber wallpaper and my personal favorite:
• That sounds like the kind of hard-living, no-nonsense flatfoot that gets the job done by cutting corners and bucking authority...and if those pen-pushers at city hall don't like it, they can park their overpaid fat a$$e$ on this mid-digit and swivel...swivel until they squeal like pigs on a honeymoon!

So do yourself a favor - be sure to watch Red Dwarf Series 5 at least once in your life. It may not be the secret to personal growth...but you'll laugh yourself silly.

Everyone should see this at least once in their lives.

Very Highly Recommended

Smeggin' Mondays - Red Dwarf Series 4

It's times like this that I'm so glad I chose to change the date for this edition of the Red Dwarf liveblog, because series 4 is probably the first beginning-to-end solid season.

Not a stinker in the bunch. And yes, I am including Meltdown. Most fans don't like that episode. I do.

But let's start from the beginning.

One of the cool things about this season is that it shifts towards being a full-on science fiction sitcom, integrating some of the former's thinking with the latter's structure. Here's where we see the infamous "Space Corps directive" begin to take form. (First introduced last season). There's even a slight irony in using the twist from last season's The Last Day as a launching pad for one of the funniest sequences in Red Dwarf history (the beginning of Camille).

But what's great about this series is that it really allows - even in the compressed space of six episodes - to really begin exploring the nature of the characters. We see their ideal mates (Camille), their alternate selves (Dimension Jump, with the excellent Ace Rimmer), the subversion of the robot-that-wants-to-be-human trope (DNA). The writing is spot-on: Kryten's "defense" of Rimmer in Justice; the time-jumping shenanigans of White Hole...there's no real lack of strong writing, either. (In fact, most of Meltdown's derision seems more out of locale and the fact that the episode was transmitted during the first Gulf War).

But all in all, this is a special season for me - it was my "first" season. Imagine, it's a bleak December, having just moved from Eugene, Oregon to St. Louis. I'm staying with my friend, Craig, and the only joy I could take was that the woman who hired me, far from being dumpy, was a gorgeous redhead. I needed a good laugh, and Craig recommended Red Dwarf. Although I caught the first episodes of season 8 haphazardly, my first "official" episode was Camille. From there, I was hooked - so much so that I would heartly recommend series 4 for anyone who wants to dive right in.

Smeggin' brilliant. Dwarf at its dwarfiest.

See you next Monday.

Very highly recommended.

Smeggin' Mondays: Red Dwarf Season Three

(Special announcement - since I'll be participating on One Web Day on September 22nd, next week's Red Dwarf review will appear on Sunday. So please, no angry e-mails next week complaining that it's Smeggin' Sunday rather than Monday. Thanks for reading!)

In all honesty, I have mixed feelings about Series 3 - no, I don't think it's absolutely horrible; it's a series that feels rather awkward, and some of the growing pains are evident.

And quite frankly, that's a good thing.

At this time, Rob Grant and Doug Naylor are beginning to hit their stride as writers, expanding into more complicated plots and concepts. (See Backwards, Timeslides, and Bodyswap). In addition, the sets are looking a little more polished (thanks to an increase in budget), and unlike Series One and Two, is actually beginning to look like a more polished science fiction show.

Thankfully, though, the writing is beginning to show the signs of Series Four and Five greatness to come - both Rimmer and Lister have had their characters expanded, and even the Cat gets slightly better material. What helps, though, is the recasting of two key parts. Although she's no Norman Lovett, Hattie Hayridge picks up the baton from Series Two's Parallel Universe, giving Holly a nice little Gracie Allen-esqe twist on the character. OK, she doesn't get to do much, but having a female presence amongst the all-male cast helps make some of humor work (especially in The Last Day).

Of course, it's Robert Llewellyn's portrayal of Kryten which helps sell the series. Granted, the character is in his early stages (his accent is more faux-Scandanavian than the later faux-Canadian), but we see the seeds of later seasons begin to be planted. Although it would be easy to play armchair quarterback, Llewellyn really provides a nice contrast to David Ross' initial characterization, which I doubt would have worked. (The end of Kryten suggests the initial stages of a robot's self-discovery; throughout this series, we see those themes going further).

Plus, quite frankly, this season has some very excellent laugh-out-loud scenes, including the aforementioned Kryten wearing a robe and a Ronald Reagan mask(and the Wilma Flintstone discussion) in Backwards, the infamous Kryten/Lister scene in Polymorph, and the "hangover" scene in The Last Day. (Actually, there's more than that, but it's one of those you-have-to-watch-for-yourself scenarios.)

Much of Season Three feels awkward - however, as I had said before, that's a good thing. Initially televised in 1989, it would be another two years before Season 4.

And that's when the fun really begins.

Highly Recommended.

Smeggin' Mondays: Red Dwarf Season Two

One of the cool things about series two of Red Dwarf is that - quite frankly - it feels like the second half of a full-length season. The writing is amazingly consistent, feeling like an extension of season one rather than a whole separate season. In fact, one episode's premise later showed up in an episode of Star Trek: The Next Generation

Fortunately, this is where the universe gets a lot bigger for the crew - the effects budget for the first series went into model work for the main ship; this time, with a little more money, the crew gets off the ship in a variety of ways, whether it's by shuttle (Kryten, Thanks for the Memory), time warp (Statis Leak), virtual video game (Better Than Life) and interacting with their parallel selves (Parallel Universe).

Fortunately, this series also begins laying some ground as to the future - most notably, introducing the character of Kryten. Although David Ross plays the role relatively "straight" (at least, as straight as a science fiction comedy can be), he doesn't take on the full-on neuroses that Robert Llewellyn would later bring to the role. In fact, the addition of a fourth character at this early stage brings a whole new dynamic - and much of this series seems to begin several key plot threads. Rimmer's almost self-destructive neuroses are played to comic effect - so much so that his later "redemption" makes it seem the series is about his character. (In fact, series two is where Lister's, Rimmer's, and Cat's characters begin to gel and solidify into the people Dwarf fans know and love)

In fact, I would argue that this series contains the first real masterpiece episode, "Queeg". (Yes, that is a Caine Mutiny reference). When the Queeg 5000 battle computer takes over for a seemingly ineffectual Holly...well, this episode is the first "great" episode of Red Dwarf. Sharp dialogue, clever writing, and an ending that still surprises after multiple viewings.

Plus, it shows Norman Lovett doing what he does best - kicking bottom and taking names.

But the best thing I can say about Series Two is that...well, if you watch Series One and Two in sequence, it beats out the best season of any American show. Red Dwarf is hitting its stride.

And now, a special treat: the "Tongue Tied" video that appeared in the beginning of Parallel Universe, for your musical entertainment:



Recommended.

Smeggin' Mondays: Red Dwarf Season One

It would be easy, in many ways, to suggest that Red Dwarf was able to pick up where Doctor Who left off in terms of fandom. After all, Survival (Who's final episode) came almost 18 months after The End (Dwarf's debut episode) was televised...but that's a stretch.

By its nature, Dwarf is a situation comedy where the situations are based on a unique mix - characterization and science fiction. (Dwarf has the same relation to "real" science as Who does). However, it's the premise - a low-level technician, through situations beyond his control, finds himself the last human in existence, stuck on a ship 3,000,000 years in the future with a hologram, an evolved cat, and a slightly dodgy computer. It would be easy to turn this into a near-adventure; but this first season of Dwarf (and for the next seven weeks, the other seven seasons) is probably one of the most (in retrospect) modest attempts, often preferring sharply-written scenarios over special effect-driven extravaganzas.

Part of the charm of this first season lays in the series' unconventional casting choices - there isn't the flat-out silliness of most television comedy. This first series works because...well, the cheap sets help sell the idea of a 3,000,000 year old, worn-out mining ship. The scripts are almost existential takes on the characters' situation, including time travel (Future Echoes), religion (Waiting for God), and...well, dealing with everyday trivial stuff (Balance of Power, Confidence & Paranoia, and Me2). Although the idea was ambitious, the execution was very modest - if this were the only series of Red Dwarf, it would still be impressive.

(And you know who deserves the credit? Norman Lovett as Holly. Imagine a sexy, witty computer version of Mike Sterling, and you can get a sense of Lovett's droll delivery. Any actor who can deliver a line like, "I am a computer with an IQ of 6,000...which is the same IQ as 6,000 PE teachers" without telegraphing the joke...is a genius.)

But for the uninitiated, this is well worth watching. It helped cheer me out of a very painful breakup ten years' ago. It has developed its own fandom. And for the next seven weeks, I'll continue to watch it season by season.

At the very least, it'll be more fun than watching The Prisoner on a weekly basis.

Recommended