5 Reasons to Watch STAR TREK: DISCOVERY

Like many other Star Trek fans, I was eagerly awaiting the debut of Star Trek: Discovery. Although Sunday night's debut was delayed with a variety of technical glitches, I was able to catch both episodes....and here are five reasons why you should watch Star Trek: Discovery.

1. It never feels like a pastiche - it feels like Star Trek: I know many friends who feel this is too close to the "movie-style" Trek are missing the point: Trek has always been about the now. Take away the high-gloss effects, and you have a great example of Trek for the 21st century. And speaking of which...
2. It makes The Orville look really, really cheap by comparison: I gave The Orville three episodes as a trial...and it hasn't come together. It really comes off as a very low budget ST:TNG pastiche, right down to the design and the scripting. Star Trek: Discovery, however, feels much more developed....and it's understandable why producers chose to delay and wait to debut. But most importantly...
3. It's the best Roddenberry-esque comment about modern times we have: In short, you have one group that is looking to unite against a common perceived enemy. On the other, a side that could potentially move from peace to war. If that isn't living in post-Trump America, I don't know what is. And speaking of which....
4. There isn't a bad acting or character note - not really much said, and finally....
5. This isn't your father's Star Trek - right now, Trek is experiencing what Doctor Who faced in the early years of its reboot: fans who say that it isn't like "classic Trek", and these fans...well, need to get over their man crushes on Kirk and/or Picard. (Especially since Sisko is the best Starfleet captain).

Many of you may be concerned because...well, Star Trek: Discovery is only available on a new online streaming service. Whether you have the money to stream, all I can say is...I would never condone piracy, but do whatever you can to watch Star Trek: Discovery.

Just because CBS is mishandling Star Trek: Discovery doesn't mean you should miss out. 

Otherworld Theatre's A PRINCESS OF MARS - Review

(Special thanks to Otherworld Theater for providing a complimentary ticket for review purposes).

Right now, many people feel the need to escape, to lose themselves in another world. With an impending move and maternal health issues, I was desperately needing to mainline some straightforward pulp thrills.....

....and Otherworld Theatre's production of A Princess of Mars fits the bill precisely. With creative staging, atmospheric lighting, and a smart script, this is one theatrical production you don't want to miss.

Adapted by Nick Izzo and Tiffany Kean Schaefer from the pulp-era Edgar Rice Burroughs novel,  Otherworld Theatre's A Princess Of Mars deftly manages to balance many plot threads, integrating some of the best aspects of the novel while integrating some more contemporary concerns. This is a play that has it all: action, romance, and a smart message that lifts the material. Think of it as the exact opposite of John Carter, choosing to emphasize character and circumstance over special effects.

(And let's be clear - I liked John Carter).

With minimal staging and a high level of atmospherics and costuming, A Princess of Mars manages to drive home several themes: the need for a personal mission, the drawback of being a "chosen one", and the need to act towards the greater good.

It's also incredibly fun, with very well-staged fight scenes. (And a bit of a trigger warning: even though I knew that most of the action was being blocked, it still felt real at times. This isn't a complaint - it's a compliment. Because this is being done by an all-volunteer troupe, and that's definitely worth kudos).

Plus, the cast really makes this a great experience. Elliott Sowards' John Carter isn't the traditional action-hero of many of my contemporaries, but a man truly out of step and thrust into a very unusual world. (And I'm late to the John Carter bandwagon, only having read A Princess of Mars five years ago). Mary-Kate Arnold crafts a very real Dejah Thoris driven by scientific curiosity and a deep passion for her home world.  With a large cast (including Bennett Decker Bottero, Elizabeth MacDougald, Tim Larson, Michael Bullaro, Nathan R. Miller, Julia Rigby and Shaun Hayden) that has some members playing multiple roles, Otherworld Theatre's A Princess of Mars really hits home in many ways, and is a great example of small, local theater done right.

With a greater emphasis on pulp-era literature and characters being developed for the big screen, it's really pleasurable to see smaller, more intimate takes on the material. One of the joys of Otherworld Theatre's A Princess of Mars is how it takes an early 20th century work and gives it a contemporary immediacy.

Simply put, go see Otherworld Theatre's A Princess of Mars. It's being run for a limited time, and you'll fall in love with this production.

Second City's WINNER OF OUR DISCONTENT: A Review

Let's be totally honest - if you supported Donald Trump in November, you're probably not going to enjoy some of the sketches in Second City's latest review, The Winner of Our Discontent.

For the rest of us, don't worry - this Second City revue is not only one of their funniest revues, but it's also one of their more insightful productions that really strikes at the heart of how people are feeling...and processing...the events of the past year.

Now, if you are expecting particularly partisan sketches, well....there are a few moments. But many sketches in Second City's Winner of Our Discontent really strike at the heart of how many people are feeling. Everything from a son asking his mother not to smoke pot on her porch because they're "In Lake Forest, not Lombard" to a person frustrated at a bass player showing up in her dying mother's hospital room speaks to a general commentary on how some things seem off place, yet somehow gel.

Or as a quote from one sketch suggests, "Some things were meant to be broken."

Several sketches turn on a basic wish to be safe, to be secure, like the three African-American cast members "magically" becoming Caucasian, with additional complications. (There's no way I can do justice to the sketch - it deserves to be seen). Another focuses on a unique driver's education instructor and her effect on her students. You could state that Second City's Winner of Our Discontent has the unique claim of being both funny and compassionate, reassuring its audience as it ventures forth to explore that sense of disconnection.

My personal highlight was a monologue discussing the wish to go to "Black Heaven", where "Prince is Jesus". (I'm not making this up, nor am I going to try to quote the rest - it's best experienced live). It was one of the most touching, insightful, and flat-out funny monologues I've ever seen in years. (And you're reading the blog from a man who saw the Kids in the Hall live in the studio and onstage). Even towards the end, when another monologue states that we "lost a lot", the revue strikes on that feeling of disconnection and disappointment...and allows us the best revenge...by laughing at it.

Second City's The Winner of Our Discontent revue is a masterpiece: well-written, well-performed, and with insight and energy to spare.

At the end of the revue (right before the "unscripted third act), several brave souls - including myself - gave the troupe a standing ovation...because they deserved it.

Check out Second City's The Winner of Our Discontent, and you'll come to the same conclusion.

Review: Steve Bellinger's THE CHRONOCAR

(Note: this review originally appeared in Goodreads; a complimentary copy was provided for review)

To be honest, I started The Chronocar shortly before the election...and couldn't quite get into it. Traveling back and forth downtown the next day I managed to read it through both trips on the Midway Orange Line.

Steve Bellinger's The Chronocar is a really good, brisk science fiction novel about time travel...but its focus is on the African-American experience. When Tony, a student at IIT, discovers a paper about time travel by a man who lived almost a century before, he decides to build the machine and see things for himself... ...and that kicks things into motion.

 It's hard to discuss the actual plot without spoiling it, but one of the great things about The Chronocar is that it addresses the usual tropes of time travel fiction...but it also provides insight into the African-American experience both currently and in a "less enlightened" time.

Centering around a little-known historical event, The Chronocar defies many expectations - the plot moves along at a brisk pace, tropes are used in creative ways, and the ending contains a twist worthy of The Twilight Zone.

Although I would categorize this book as a Young Adult novel, there are elements here that can please anyone. The Chronocar is a short, brisk, entertaining read that deserves a place on your bookshelf. After you've read it, of course. :)

Review: CARRIERS: PIRATE BAY/WATCHERS IN THE NIGHT

(Special thanks to Pilot Studios for providing electronic copies for review)

I have to admit, much of my enthusiasm for comics has waned thanks to the ever-prevalent cycle of reboot/revamp/recon of the majors....but sometimes, a comic can serve as a reminder of the power of the medium....and that, despite the material, comics can be imaginative and fun.

Carriers: Pirate Bay # 1  and Carriers: Watchers in the Night from Pilot Studios are imaginative, fun reads...and deserve your attention.

Carriers' premise is simple: a group of anthropomorphic carrier pigeons fight fantastic menaces in New York City. Part of a series of graphic novels, Pirate Bay # 1 is the third of the series (and the first chapter of a multi-part story), and Watchers in the Night is the seventh, but both contain strong, well-written stories and...well, after reading these, you'll be heading to Indy Planet to purchase more copies. Yes, they're that good.

Pirate Bay starts in high gear with a group of seagull pirates engaging in arson...and a threat: release the Croc King or more damage will happen.

You read that correctly - seagull pirates. Part of the joy of JD Arnold's script is how it deftly balances high pulp adventure with a great sense of characterization. As the opening chapter of a series, Carriers: Pirate Bay lays out its scenario well, providing easy entry into this world.

(Plus, both series have a one-page introduction to the world of Carriers)

Although Arnold's script is excellent, I thoroughly enjoyed Luis Rivera's art and inking on Carriers: Pirate Bay. Even though disparate elements are provided (moving from seagull pirates to more high-tech setting to the sewers of New York), Rivera's art provides a nice continuity and never breaks tone or feels inauthentic. Micah Meyers' lettering and Grupo Escomics' colors also provide context and consistency. In short, this is a really good book.

I have to admit that although I also enjoyed Carriers: Watchers In the Night, the book didn't have the same excitement or discovery.

Part of it, I'll admit, is that it comes later on in the overall "series" (meaning that I may have missed some critical pieces). I think part of it also is that there are some blatant nods to the Watchmen movie which feel a bit forced...

Granted, it should be expected with the word "Watchers" in the title, but it does make sense in plot terms.

Jay Huwer's script (from a story written in collaboration with artist Jason Kimble) highlights one of the key themes, as the plot concerns how the Carriers interact with the Parliament, a group of owls protecting the city. As the plot progresses, it becomes clear that the Parliament has their own, more extreme way of protecting the city....

Carriers: Watchers In the Night focuses on a well-told story in comics: how far is too far in protecting the common good? Despite this common theme, the script actually does a great job in laying out the beats, and providing a natural new "rival" for the Carriers.

In fact, it manages to do in twenty-some pages what the Watchmen movie took four hours. And made it much more pleasant.

Jason Kimble's art brings fantasy-oriented, almost contemplative quality to the story. I'm not a fan of that particular style of art, but in this context, it works wonders, giving Carriers: Watchers In the Night a more fable/parable-like quality. Even though it's not quite my favorite, I have to admit that it tells a frequently-told story in very moody, thoughtful terms.

If you're suffering through a slight sense of comic burnout (like I am), you should pick up Carriers: Pirate Bay # 1 and Carriers: Watchers in the Night. You can purchase online via IndyPlanet, or you can ask your local comic shop.

After reading these books, you will rethink your pull list. I guarantee it.

About RED HOT # 3 By Mike Luoma/Glow In the Dark Comics

Has there really been three issues of Red Hot, written by Mike Luoma and published by Glow in the Dark Comics?

Google answers - no. I wrote about issue one here, and issue two here.

And on August 24th, Red Hot will hit issue three, concluding its first story arc. And trust me - it's a really cool conclusion.

(Plus, you can easily order through Glow-in-the-Dark's page...and catch up on Mike's other excellent work).

One of the best things about this book (which was written and lettered by Mike - and yes, he and I are on a first-name basis) is the art. Illustrated by Juan Carlos Quattordio (FIERRO, GPS del AMOR), Red Hot # 3 starts with a climax and never lets go. It's a really strong, well-paced book with a twist that I never saw coming...and quite honestly, I don't think I would have. 

But what's also cool is how Red Hot establishes a great new universe. Or, as Mike says: 

"Happy to be releasing Red Hot three – great to be finishing with Juan Carlos what Rhys ap Gwyn and I began," Luoma said. "With his introductory story now complete with this issue, we hope comic book readers will give RED HOT a chance!"

I have to admit, I haven't been doing a lot of comics reading...and I've been missing it. Red Hot # 3 from Glow in the Dark Comics is a great reminder of how much fun reading comics can be.

Red Hot # 3 will be available digitally at comiXology and Drive Thru Comics and in print at Indy Planet.

Cheapskate Film Festival - REEL INJUN

Right now, the topic that's driving a lot of conversation - and controversy - is that of representation and diversity in popular culture. Everything from female Ghostbusters to the casting of Dwayne "The Rock" Johnson as Doc Savage encourages people to share their opinions.

(Mine? I thought Ghostbusters 2 was an unnecessary sequel, and the film was a great done-in-one....but female Ghostbusters work. I think Johnson is a great choice for Doc Savage. And people who complain about having their childhoods "ruined" need to get over themselves. But I digress).

However, 2006's Reel Injun, a Canadian documentary that was featured on PBS - is one of the best examinations of how movies (and other popular culture) have framed an entire group....and how having representation behind the camera is critical for driving greater diversity.

The history of Native American/First Peoples representation is a bit...well, at times it's very problematic. Although initial representations during the silent era were rather positive, eventually Hollywood turned to more negative portrayals, as well as highlighting the "whitewashing" of native peoples.

(Or, to put it bluntly, Johnny Depp isn't the first person to be accused of misrepresentation....and neither is Vanilla Ice. And there's a really good reason why several actors walked off the set of a recent Adam Sandler movie during production).

In addition, there are tales of actors who "presented" as native...but who were far from it. Like the silent actor who later committed suicide. Or even the tale of Iron Eyes Cody (which is especially surprising). But the most powerful part of this production is the input of several people from indigenous tribes. (And my apologies for my phrasing - I'm trying to be as sensitive as possible; any errors or lack of sensitivity in phrasing are clearly my own). Filmmakers and actors like Wes Studi, Graham Green, and Adam Beach (whose performance in 1998's Smoke Signals helped spark the renaissance and I have to admit - I like the actor so much I "cast" him in the lead in a recent short story)

Reel Injun might be a bit hard to find on DVD (which is why I'll also include a streaming link via Amazon), but it's worth it - it's a great hidden treasure that's well worth a look. It's both invigorating and revelatory, and quite honestly, probably the best film featured this week.

Go. Watch. Now.

Cheapskate Film Festival: DAMNED - DON'T YOU WISH THAT WE WERE DEAD

Let me take you back to the glory days that were the early 1990s: Bill Clinton was in the White House, I was enjoying a post-college preview of the "real world", and I was getting involved in music. More specifically, the kind of "alternative" rock promulgated by the fanzine called The Big Takeover.

(Yes, I'm still a subscriber, why do you ask?)

One of the bands I "discovered" was The Damned, who were part of the holy triumvirate of 1977 punk along with the Sex Pistols and the Clash. If the Pistols were the Beatles and the Clash were the Rolling Stones, the Damned were more like the Who, with some wild experimentation and musicianship behind some killer tunes. (I also discovered the genius of their third album Machine Gun Etiquette).

All of this is a preface for possibly one of the best music documentaries of 2015, The Damned - Don't You Wish That We Were Dead?

I'm not sure where to begin with this documentary...because it's that good. Much of it is the music, but where the documentary really comes alive is in how the Damned's approach to music differed from its contemporaries. There was as much "art" as "thrash" in their style of punk, and part of what helped was that the Damned were making noise by touring when other bands were making news.

It's also remarkable how many of the band members seem...well, remarkably down to earth. Dave Vanian and Captain Sensible are the kind of people who seem more than happy to hang out and have a drink with you (at least, as long as you pick up the tab). Even former members come off relatively unaffected by their involvement - Brian James still has some ego, but a great sequence involving Paul Gray and (the now late) Bryn Merrick - both bassists for the band - really cements how a love of music permeates this band.

It's only Chris Miller, aka "Rat Scabies", who comes off in a very unflattering light. At one point, Captain Sensible hints as business issues, and Mr. Miller looks at the camera and provides a very patronizing lecture on how the Damned record royalties are distributed. An ill-advised tour with Brian James provides the only wince-worthy moment (their lead singer....well, let's just say that for ten seconds, you'll be in physical pain), and at the end, Miller just rails in bitterness. It's not a pretty sight....but it's one of the most honest moments in the film.

The Damned - Don't You Wish That We Were Dead also contains some great character moments: Captain Sensible discussing hijinks when cleaning toilet, David Vanian revealing more than you would expect from his performing persona....this is as much an entertaining film as it is a thorough documentary.

This one's a keeper. Watch it, especially if you really like music. It's nostalgia without the sappiness.

Cheapskate Film Festival Welcome: MR PEABODY & SHERMAN

Greetings! Welcome to this blog's third annual Cheapskate Film Festival - a series of blog reviews of movies acquired via the Chicago Public Library or discount stores. (This year's docket includes one film acquired via a discounted Google Play rental, and another purchased at Dollar Tree). Each review will provide a link for online viewing (via this blog's Amazon affiliate program), as well as (when possible) a DVD for purchase.

It's ironic that I'm starting on Father's Day, because Mr. Peabody & Sherman - based on the classic Jay Ward animated series of shorts  - makes a wonderful, heartwarming Father's Day view.

And make no mistake about it - this is definitely a family-oriented film that really is fun for all ages. Mr. Peabody & Sherman starts with a more developed backstory to the relationship between Mr. Peabody & Sherman - a dog whose "smarter than your average dog" decides that he wants to be less alone, and so he adopts a boy. Although he discourages Sherman calling him "Dad", it's very clear how much Peabody cares for the young boy.

Of course, the WABAC machine makes its appearance in a very nice, makes-a-lot-of-sense 21st century way. Sherman's attempts to be "normal" in school results in a conflict with a classmates, which leads to an attempt for both families to reconcile....and the time travel shenanigans ensue.

Time travel is always a tricky concept for most films....but Mr. Peabody & Sherman manages to negotiate the paradoxes with a very articulate script with some genuinely funny scenes. It manages to balance classic Jay Ward-style satire with a very solid emotional core. In short, there isn't a false note in Mr. Peabody & Sherman....

...if you're one of those "purists" about things like Mr. Peabody & Sherman, you probably won't enjoy this movie, and that's fine. It's not meant for you.

It is, however, meant for anyone with a heart, and is enjoyable. A must-watch.

UP FROM WHERE WE'VE COME: A Must-Read

Musician Charles Wright is best known for his 1970 song, "Express Yourself"...and he's taken his own advice in writing his memoir, Up: From Where We've Come

Although I must disclose that I received a complimentary electronic copy for review, I'm glad I took on the assignment, because Up From Where We've Come is one of the best memoirs I've read in awhile.

First, I enjoy reading about the small, more personal takes on history, and this is where Up From Where We've Come shines. Wright structured his book as a series of small vignettes, but these vignettes craft a very intricate portrait. Starting from his experiences of something that happened before he was born to his family's move to California, Wright explores his experiences as a child in the deep South.

While discussing his youthful experiences, Wright doesn't pull punches. For those seeking a smaller, more intimate exploration of the African-American experience, Wright shares in a direct, honest way. Up From Where We've Come has several stories where heartbreak and pain are prevalent. (There's a scene involving Wright, his brother, and a turtle that will soften even the hardest of hearts). Even when describing experiencing racism in the South, Wright provides a matter-of-fact tone that neither condones nor condemns.

But much of Up From Where We've Come is a sheer joy to read. Wright gives his tale warmth, humor, and refreshing surprises. (Like an introduction by Little Richard). Up From Where We've Come is one of the best things I've read this year, and is definitely worth reading.

Up From Where We've Come is supposed to be the first volume in a series of memoirs by Charles Wright....and I'm looking forward to the next volume.

Mondays with Columbo: ETUDE IN BLACK

(Revised 12/21/2024)

As the opening episode of Columbo's second season, Etude in Black has several things that make it sparkle: the interplay between Peter Falk and John Cassavetes; the witty, engaging script co-written by Steven Bochco; and some exceptional direction by Nicholas Colasanto (aka, Coach on Cheers).

But not all of the direction is exceptional...but more on that later.

John Cassavetes plays a conductor who is having an affair with his pianist. However, the pianist threatens to reveal the affair to his wife....and of course, his wife's mother just happens to be the orchestra's major funder. And Alex Benedict, the conductor....well, he just can't have this.

Move forward towards a very staged suicide....and in walks Columbo. That's when the sparkling begins.

It helps that Falk has worked with Cassavetes on several films; there's a lovely, charming interplay between the two men that always feels real but never becomes over the top. It also helps that Blythe Danner - looking like her daughter, Gwyneth Paltrow - provides a really strong support as the conductor's wife. There's never a false character beat, and the plot unfolds casually and naturally. (Since this is one of the longer Columbo movies, that lack of padding is sorely appreciated)

But the big clue that will lead Columbo towards his final conclusion...is telegraphed a mile away.

It's dwelt on in the beginning, and the audience is aware that it will figure into the story's resolution....and it's a poorly executed move on Colasanto's part. It's not enough to completely ruin the story, but it is enough to diminish the episode's punch.

Let's call this one an A minus - but even an A minus Columbo is still worth watching....

Especially on Tubi.

Comics I've Read: Dynamite's MASKS 2

You know, it seems like only yesterday I was declaring Dynamite's first Masks series"a near-perfect pulp comic." Of course, as it progressed Masks became rather disappointing, moving from strength to weakness. So I was prepared to see Cullen Bunn's work on Masks 2 in a similar light - a great start followed by a decline into weakness. But Bunn's work on Masks 2 pleasantly surprised me....

....as I have never been as immediately dissatisfied with a comic as Dynamite's Masks 2.

I am grateful that I "binge read" the individual copies all at once, because I might have given up with the first issue. Masks 2 basically throws a series of heroes into a situation, and then as things progress...

Well, I'm going to stop here, because I'm throwing in spoilers a-plenty. But I'm going to be vague - not out of some sense of obligation, but because if I told you all of the details, you would think I was putting you on.

Masks 2 quickly becomes a story about time travel. Seriously. And the inventor of time travel....well, you might think it would be a public domain science fiction pulp hero. Or some reference to H.G. Wells. Or even a made-up or revived hero....that would make sense. But who invents time travel?

A two-gun avenger who casually mentions that he does this on a regular basis

No, I did not make that up. I'm not having you on. That was a key plot point in Masks 2.

From there, it turned into the kind of fannish mis-mash that reads like badly written Doctor Who fan fiction. (And I should know - I've written Doctor Who fan fiction. No, seriously, I have). And then it becomes the obligatory "alternate-takes-of-classic-characters", which leads to...

The Black Bat becoming the Black Bats, a masked avenger in a New York Yankees Uniform.

No, I'm serious. This isn't a joke. And the series ends with the classic "reset button" trope.

The only redeeming quality is Edam Casallos' art - gritty, moody, with a great sense of composition. But it's sadly wasted on such a weak, meandering script that never manages to tell a convincing story, and Masks 2 feels more like an effort to keep key licenses than an effort to tell a cohesive tale.

(And we all know what less-than-fantastic results happen when you do something in order to keep a license...)

Masks 2 does the same thing wrong that Marvel's Squadron Supreme does right; take familiar tropes and characters and tell a story about them. But while
Squadron Supreme provides an excellent window into its characters (as well as provide a really strong story context), Dynamite's Masks 2 is an absolute waste of time. You may wish to avoid the trade collection when it comes out.

Or more importantly, find some of the original characters via reprints and the Digital Comics Museum. It will be a better use of your time, and more importantly - a much better introduction to many of these characters via Masks 2.

Comics I'm Reading: SQUADRON SUPREME # 1

Quite honestly, it's been awhile since I've allowed myself the pleasure of reading comics on the regular basis. (Mostly, budgetary - if I have to choose between comics and Ramen noodles, well...)

But I've been drawing increasingly more towards Marvel's output than DC's. Part of it is that Marvel seems to be doing a better job of DC-style comics than their competitor; much of it though is that there's a stronger sense of diversity....not just in their characters, but in their storytelling approaches.

Squadron Supreme, written by James Robinson and drawn by Leonard Kirk, is my current favorite series, hands-down...and we're only two issues in.

It might be tempting to view this as Robinson's satirical "take" on Geoff Johns' writing - this issue opens with a team of members from parallel worlds banding together to protect their new home. Squadron Supreme # 1 features high-end action, the death of a major character through loss of a key body part, and resulting mixed reactions from the world at large.

What that attitude ignores is that Robinson does a very clever - and subtle - job in world-building....and by 'world-building', I mean on a multiversal level. (So we get alternate takes of "new-ish" characters, but they all have their own history/weight/etc). When the "big moment" happens (and no, I'm not going to spoil - my choice as a blogger), it has definite consequences which begin playing out in issue 2.

Leonard Kirk does a very good job in illustrating - there's a night sense of weight and pace to his work. It also helps that it never feels exaggerated or showy, especially with the way in which this series is proceeding.

No doubt about it - Marvel's Squadron Supreme is being added to the pull list.

And DC - you might want to rethink your creative approach to your comics.

Think Anaxar's Got It Rough? A Review of CHAOS ON THE BRIDGE

With all the brouhaha around Paramount suing producers of the Star Trek fan film Axanar (and you betcha I'm going to be writing about that), it's easy to forget that Star Trek - like any other television show - has an ardent group of people that can be difficult to please. It's also, like many other shows, been "rebooted" in the past, and Star Trek is not without its controversies.

Available on DVD and Google Play, William Shatner Presents: Chaos On The Bridge is a documentary that focuses on the early production troubles of Star Trek: The Next Generation. It's a brilliant documentary that handles a variety of issues with intelligence and insight, and most importantly, shows that William Shatner can actually be humble when he wants to be.

Imagine, if you will....well, we don't have to imagine it, since we know it's a fact that Paramount had begun production on a new Star Trek series for a variety of reasons. (One of which was the then-fledgling Fox Network). Getting Gene Roddenberry back on the helm would prove to be problematic due to both health and philosophical issues. Although eventually Star Trek: The Next Generation would hit its stride in its third season, the series had a very difficult genesis.

One of the very striking things about Chaos on the Bridge is the absolute candor with which various participants discuss the behind-the-scenes politics. (Although it should be said that the gunfighter/poker metaphors tend to be a bit overdone). Flashbacks are done in a nice, comic-book style, and actually help the flow of the narrative. There's never a false note, and recollections can be often brutally candid.

(For example, Patrick Stewart and Paramount Executive John Pike recall either two different versions of the same meeting, or the same meeting from two different perspectives. Both feel true, and neither gentleman disparages the other).

Chaos on the Bridge also highlights the rather tumultuous experiences of cast working on the show. (Summary - if the conditions in Cardiff 2005 were similar to those at Paramount in 1987, no wonder Christopher Eccleston left Doctor Who after one season). There are some snarky comments about some of the actors, but there is a sense that the leadership of Star Trek: The Next Generation was always in flux.

(And the most interesting - at least, for me - were the recollections of the writing staff. There's valuable insight into how a show like ST: TNG would be approached, and more importantly, how a decent show can easily ride of the rails without - and sometimes with - a strong showrunner at the helm).

Simply put, Chaos on the Bridge shares a lot with some recent fare about superheroes and classic novels, focusing on how sometimes internal pressures and politics can sabotage the best of efforts.

The only exception for Chaos on the Bridge is that this time, things worked out.

So to speak.

\

Doctor Who: THE HUSBANDS OF RIVER SONG (Review)

Doctor Who Christmas specials are....well, a bit of a tough call. They're not meant to be part of the regular "season" (although last year's Last Christmas provided a nice coda), so there is greater opportunity for a much broader, more fist-pumping feel good episode to be produced and shown....and each Christmas special has its detractors.

But The Husbands of River Song is a near pitch-perfect Christmas special, which starts as a clever romp but then shifts into a much more somber, meaningful meditation on the transience of time...as well as provide a coda to a previous Moffat story.

Now, there is a growing contingent of Who fans who believe that Moffat is the worst thing to happen to Doctor Who. In fact, they take issue with everything Moffat does, adopting the attitude that somehow Moffat is performing a crime against them.

Obligatory Chicago TARDIS
Victory Photo

For the rest of us, this is a really fine episode - the first forty minutes of Moffat's script feels like nothing less than his science fiction take on His Girl Friday (Don't believe me? Watch for yourself). It's rather fun, with very clever twists, some great witty moments, and great chemistry between Peter Capaldi and Alex Kingston.

(Who, might I just say at the risk of being a bit patronizing....absolutely sparkles in person. But it's that charm and sparkle that really gives the episode an extra lift).

But, in typical Moffat fashion, the last fifteen minutes shift dramatically, revealing the events that were hinted at in 2008's Silence in the Library/Forest of the Dead. Now, the Who fans described above would complain that the fact that Song was clearly referring to Tennant - and, by extension, her entire timeline - is a huge plot hole.

People, it's a show about a guy in a box who travels through time. Had Moffat known, he might have thrown in a reference about a guy with a Scottish accent.

But the last fifteen minutes....I'll say this: I will argue that Husbands of River Song reflects many of the themes of the final three stories of Series 9. And I'm totally willing to argue on that point.

Moffat has claimed that he wrote this thinking that he might never write Who again. (And he has been announced to be involved with Series 10). Husbands of River Song is a near-perfect episode, serving as a coda to one of the most consistently-written series in Doctor Who's history.

THE DEATH OF SUPERMAN LIVES - A Review

To be completely honest, I'm not quite sure how to feel about The Death of Superman Lives: What Happened?, the documentary which focuses on the unmade Tim Burton/Nicholas Cage 1990s Superman film.

On the one hand, it does a good job as a documentary focusing on the effort and thought behind the development of the film. The Death of Superman Lives shows great insight into the development process....as well as the reason why the film may not have been made. (SPOILER - Warner Brothers had a series of big-budget flops, making them very uneasy about the film's potential). It also helps that Tim Burton provides some insight into his own process....and there's plenty of great (and rarely seen) behind-the-scenes footage that makes this a really strong piece of history....

....and yet, there's much about the film that is a bit off-putting, and that really made it a bit difficult to watch.

Much of it is the way that director Jon Schnepp inserts himself into the film - yes, he's doing all of the interviews, but it feels distracting and unnecessary. (And did we have to watch Jon Peters take a phone call while Schnepp watches, sipping from a bottle of water) Some documentary directors insert themselves as a way of providing an object viewpoint (like Morgan Spurlock) or because they were already part of the story (like Alex Gibney in The Armstrong Lie). Granted, this is a subject Schnepp feels worthy of exploration, but the movie felt at times awkward to watch...

...but the greatest issue I have with The Death of Superman Lives is that many of the participants reflect an attitude that's all too prevalent in fan culture: the attitude of Wouldn't this have been cool?

To be fair, part of the attraction of this documentary is that, like the documentary about Richard Stanley's attempts to adapt Island of Dr. Moreau), The Death of Superman Lives shows how people working on making a film engage with their work with great passion. However, despite the obvious feeling of loss, there is a sense that those involved felt more about the "coolness" of what they were doing that they lost sight of any themes, story, etc. In short, it was the 1990s equivalent of current fan engagement (just pop into Facebook and read any review of Star Wars: The Force Awakens if you think I'm wrong).

As far as whether a Nicholas Cage-led, Tim Burton-directed Superman movie would have led to a series of films....unlike many other reviews, I don't automatically believe that would be the case. Given much of Burton's post-Batman approach to film making (take a beloved franchise, make it about a quirky outsider, and throw in tons of art direction), I think his Superman Lives would be seen in the same light as his "re-imagining"of  Planet of the Apes.

Despite its flaws, though, The Death of Superman Lives provides greater insights into the mechanics of big budget movie making - as well as overeager ambition - than it disappoints. Definitely worth seeing.

DOCTOR WHO - Hell Bent (Review)

This is both the easiest Doctor Who review I've had to write....and one of the hardest.

Context - Mom entered the hospital last Sunday evening. Needed surgery - received it on Friday. So after a very busy - and slightly dramatic - Chicago TARDIS (don't ask), I had to leap into caregiver mode. So after ten days of moving forward....my health is questionable, and I'm seeking deep rest.

But one thankful, pleasant activity was last night's group view of Hell Bent, the series finale, which hit a very emotionally satisfying conclusion....and which really hit home on several levels.

Much like Face the Raven, Hell Bent deals with loss.....and more specifically, how some people will do anything to avoid loss. The Doctor's actions in this episode were some of his most human - asking if the universe can't grant him just one thing, acting out of desperation to save the life of a friend...these were just the kind of things I needed to experience. My own feelings about Mom's health have been ambivalent, pushing me to try to force the issue....but learning to accept loss can be critical.

And there's a great reversal, too - it's not so much a cop-out (as the Moffatt haters will have you know), but the realization that sometimes, people have a right to their pasts. It means that letting go of another includes memories, and that there may always be some perception of loss....but that loss enables us to move forward.

There are also some....well, with minor spoiling - I'm not a big fan of the take-someone-out-of-their-time-when-we-know-they'll-die trope. I see why it was done, but I also think the tacked on "happy ending" felt a bit forced. This should have been about the Doctor coming to grips with his transient nature....but it felt all too much like the setup for a spin-off.

But anyway, Hell Bent was a satisfying conclusion to a consistently written, emotionally complex series for all but one episode. (The less said about Sleep No More, the better).

And arriving for Christmas - River Song.

THE AUTOBIOGRAPHY OF JAMES T KIRK - A Review

Although Star Trek was my introduction to fandom and genre television....recently, I've had a reluctant relationship with the franchise. No, it's not that I feel negative sentiment towards either of the JJ Abrams films, but I'm tired of the blatant cries of "it's not the Trek I grew up with"....and the unnecessary hero worship of William Shatner. In fact, I approached The Autobiography of James T. Kirk with some reluctance, expecting professionally written fan fiction.

Ironically, David A. Goodman's work makes this book a pristine example of Trek done right....and more importantly, helps redeem the franchise - and its more vehement critics - in my eyes.
In terms of spinoff media, it reflects Greg Cox's three books in the Eugenic Wars saga in its mix of clever narrative and clever references. Unlike the Eugenic Wars saga, The Autobiography of James T. Kirk is a much more straightforward narrative, serving as Kirk's "memoirs" shortly before the events of Star Trek: Generations.

Goodman does a clever job of mixing both Trek-references (with heavy dollops of Star Trek: The Original Series) with some clever interpretation and elaboration. With Kirk relating many "behind the scenes" anecdotes behind several stories (and a clever handling of Star Trek V: The Final Frontier which is better read than described), this book tells the kind of story Trek does best: using futuristic concepts to tell a very human tale. James T. Kirk is no longer the swashbuckling hero we're familiar with, but a man who regrets some of his choices, and possesses enough self-awareness to attempt moving forward.

To be honest, I needed a bit of an escape from the past week and a half (Mom's health issues striking hard after an especially rough Chicago TARDIS), and this book hit the spot. It's an easy read, has plenty of great references, and quite honestly....probably the greatest piece of fan appreciation I've ever read.

It's a must-read.

Doctor Who: FACE THE RAVEN (Review)

(Some mild spoilers, but none around the ending. I promise).

After the relatively dismal Sleep No More, Doctor  Who really needed to kick the series back into high gear. After a first half that was well-laid out, allowing its stories to play out more (and avoiding the crash-boom of the Matt Smith years) provided the show with a well-needed buildup.

Face The Raven is simply brilliant...and not for the reasons you may think.

First, the story manages to mix tones and elements in a more successful manner than last week's - moving from harsh drama to Neverwhere/Harry Potter-esque explorations to a Pandorica Opens/Big Bang premise with overt political overtones around civic power, control, or law and order.

(Although many other reviewers site the "refugee camp" aspect as being a bit stretched, Face The Raven would not feel out of place in an American series around 2002 - 2003. That subtext resonates powerfully, and I'm more than happy to take criticism for saying it out loud).

But then there's....the ending. No, I'm not mentioning it despite the show being televised.

It's an emotional gut-punch, especially given my recent experiences.

Last week, family health issues disrupted many of my activities. (Which is why my blogging attempts this month have been rather off-the-cuff....because they were off-the-cuff). Earlier that day, I was involved in a conversation that, in hindsight, reflected much of the conversation that happened towards the climax.

It could have been handled in a much kinder, gentler way. I can understand if some people found it a little...upsetting or controversial. But the general overtone - about letting go, accepting certain burdens, and acceptance - was a very beautifully written piece of television.

When I sit down to blog my reactions, I try to maintain a balance between my personal feelings and whether a piece works dramatically. For Face the Raven, keeping that balance is a little tough....but this one knocks it out of the park.

Doctor Who: SLEEP NO MORE (Review)

Normally, I don't like posting spoilers - I try not to, mostly because I enjoy the challenge of writing about something with some constraints. However, much like Gene Siskel in his review of Friday the 13th, I'm going to spoil last night's episode of Doctor Who. Heavily.

Because it sucked. Possibly the worst episode of the entire season so far.

Much of the problem is that Mark Gatiss stuffs this episode with too many ideas that never seem to go anywhere.

If the only driving idea were "found footage", with a lifeform that hacked into the human brain....that's actually clever - it would make this like Series Three's 42: an experiment in using contemporary television/movie styles in Doctor who.

If the only driving idea was the need to sleep and personal balance....it would have worked. It's what Who does best: take something normal and turn it into a menace.

If the only driving idea were a futuristic pandemic....it would have worked.

But this episode takes all three....and mixes them together into an incoherent mass. Nothing about this episode feels like it makes sense, and the surprise "Jason-springs-from-the-dead" ending feels like a cheat. It's a shame when the luxury car ads that play during the episode provide some relief (and assorted jokes about BBC America's media buyer not doing their job properly).

But Gordon, some of you are thinking, Many other sites are giving this a good review. I liked it. How can you be so harsh?

Simple - sometimes, you can like something on initial viewing and then realize the error of your ways.

Or sometimes, you can see something for what it is first time around, and go with your immediate reaction. I'm choosing the latter.

This is a real stinker, all around.