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Re: TV Thread

PostPosted: Wed Jul 12, 2017 11:17 am
by Garrett Gilchrist ...

So the reboot of The Tick has already ditched the ugly, more organic suit from the pilot in favor of a much more traditional superhero muscle suit. That's a relief, as the pilot suit had a body horror/Cronenberg/insect quality to it. The suit is now more like the Patrick Warburton suit, or a Captain America/Batman suit, and gives Peter Serafinowicz the mass of a comic character.

Hard to tell from the trailer but I'm guessing they're adopting a lighter tone as well, as the pilot was more serious than expected (and the Tick scenes have possibly been reshot). We'll see. It's not a farce like the well-remembered animated and Patrick Warburton versions were.

Some described the pilot as putting The Tick into the world of Christopher Nolan's Batman, without really changing either. The great thing about The Tick is his enthusiasm, not unlike Adam West's Batman. I think Serafinowicz gets that part of the character. And creator Ben Edlund (Angel) is in charge of this one, so it should be interesting regardless of what tone he ends up exploring, as a quirky TV take on the superhero genre.

Known for his impressions and voice work, Serafinowicz has been doing great comedy for a long time.

News sites said that Patrick Warburton was offered the role but unavailable (recently having played Lemony Snicket) -- but this has such a different tone from the 2001 show that it's best to move on.

Re: TV Thread

PostPosted: Thu Jul 13, 2017 1:44 am
by Garrett Gilchrist
Two episodes into GLOW. I have no idea what I'm watching. Alison Brie, occasionally terrifying. We're seeing a lot of sides to her we never saw before. In more ways than one. Very clearly she wanted to play a character who was as flawed as your average male protagonist. I guess I'll see how that works out for her. Her life is a mess and you wonder to what degree it's her own fault. GLOW starts as a show about how sleazy and cut-rate Hollywood is and how there aren't meaty roles for women. And the show is almost nothing but meaty roles for women. Marc Maron, who I guess is like this in real life, brings the sleaze as the director, and also reminds us a lot of an 80s Stan Lee. Some familiar 80s tunes bring the energy, which is supposed to be a bit ironic at this point. A lot of us are old enough to remember when this stuff was normal, and it still feels normal.

From what I read about this, Alison Brie and Betty Gilpin were somewhat like their characters -- in that Betty was digging into self-esteem issues and found the whole thing cathartic and empowering, and that Alison wasn't what the filmmakers had in mind but campaigned hard for the part. Alison is naturally cute and charismatic and I get that she wanted to show an entirely different side here, as someone who doesn't have her act together and has no friends. Her whole part is surprising so far, and a showcase for her.

Here's an interesting article by Betty Gilpin about her thought process. ... ized-boobs

Still have no idea what I'm watching.

Re: TV Thread

PostPosted: Thu Jul 13, 2017 3:26 am
by Garrett Gilchrist
A bunch of scenes in the new Twin Peaks just don't work for me, but the stuff that does work stays in my head for weeks. And that's David Lynch for you. I wish the old cast had more of a presence but we'll see how it all comes together. The journey keeps you wanting more. I rewatched a bit of one scene to take a screencap and immediately noticed something I'd missed. When I read recaps of the episodes, they've invariably missed the point of about four scenes, and caught about three big things I'd missed entirely.

Re: TV Thread

PostPosted: Mon Jul 24, 2017 9:22 am
by Garrett Gilchrist
In the original Twin Peaks series, episodes directed by David Lynch would often set up a very tense, cliffhanger situation, and then waste the viewer's time, and make the viewer like it. The new series is like that too. You need to have patience and accept that what you're seeing will be unexpected, and unfold at its own pace. Like the original, it's set in modern day but feels like 1963. David Lynch's attitude toward women feels old fashioned at best but these characters are never uninteresting. Worth noting as well that three of Lynch's major films starred women - Sheryl Lee, Naomi Watts and Laura Dern - who all recur here.

We spend a lot of time on some storylines, and others come jumping at us without much setup. Amanda Seyfried's character has been like that. We jump into intense situations without a lot of introduction. What's very welcome in episode 11 is that we spend more time with Becky and the established Twin Peaks characters in general - we've needed more from Shelly Johnson and Bobby Briggs. Turns out they were together and had a daughter - but they're not anymore. And Shelly and Becky are both mixed up with "bad boys," again. This is really the most traditionally "Twin Peaks" episode so far. We're still learning how these pieces fit together, and whether everything is worth the time Lynch spends on it. It's been a pleasure to watch Lynch and the late Miguel Ferrer (as Gordon Cole and Albert Rosenfield) investigate the strange goings-on. But what's going on with Diane?

There's a sudden, silent appearance by Alicia Witt, who played the young Gersten Hayward briefly in the original series. Looks like we'll be seeing more from her. Composer Angelo Badalamenti also appears onscreen.

A lot of time has been spent on "Dougie Jones," a sleepwalking fragment of the long-lost Agent Dale Cooper. Lynch knows we want our lead character back, and has spent many episodes now delaying that. Almost no one in Dougie's world seems concerned that this man is barely functioning. He's given the benefit of the doubt and allowed to sleepwalk through someone else's life. Kyle MacLachlan nonetheless commands the screen.

Jim Belushi has actually fit in pretty well, playing a casino owner as a comedy mobster type. Candy the casino girl is still off in her own little world, managing to steal scenes that way. Not unlike "Dougie," in fact. It strikes me that the three casino girls in pink sort of resemble Sheryl Lee, Madchen Amick (or Naomi Watts), and Chrysta Bell. David Lynch may have a "type." (And Alicia Witt's Gersten Hayward, at this point, actually resembles her sister Donna, though that'll just be lucky coincidence.)

Re: TV Thread

PostPosted: Mon Jul 31, 2017 4:14 am
by Garrett Gilchrist
Twin Peaks 3.12. Didn't like this one at all, apart from Albert. Reintroducing Audrey as another mean wife is a shame. Basically the show's kinda sexist, giving old men a quiet dignity that the women largely aren't afforded. I'm hoping that David Lynch can successfully land this show, and give this classic series, and his entire brilliant career, a good sendoff. As we get closer to the end, I'm more worried.

I liked last week so we'll see.

Re: TV Thread

PostPosted: Sun Aug 13, 2017 3:53 pm
by Garrett Gilchrist
MARVEL: We're building a cinematic universe! Here's Iron Man, Captain America, Thor, Star-Lord ...

WARNING: Number of white guys onscreen reaching critical mass. Audience may not be able to invest emotionally in ...

FANS: We could make Dr. Strange Asian. His whole character is about Asian culture and he looked Asian in his first appearances --

MARVEL: We must cast the whitest British guy possible.

WARNING: Casting choice is boring! Will be criticized as "one Marvel movie too many!"

MARVEL: We're building a Netflix TV universe! Here's Daredevil, Jessica Jones, Luke Cage ...

FANS: Please make Danny Rand Asian. He's inspired by Bruce Lee and --

MARVEL: We must cast the whitest British guy possible.

WARNING. WARNING. ... at-w496490

Re: TV Thread

PostPosted: Mon Aug 14, 2017 4:29 pm
by Garrett Gilchrist
Twin Peaks 3.14. I like an episode of the Twin Peaks revival which focuses more on the recurring characters from the original series, and I liked this one.

Gordon Cole has a "Monica Bellucci" dream and flashes back to the events of Fire Walk With Me's David Bowie scene. Which means, at last, Bowie is in the cast list. He also gets in touch with the Las Vegas FBI, who are basically silly children playing at being cops. There's something of a recurring theme here about that. Cole himself is a bit silly, out of context.

Bobby, Frank, Hawk and Andy investigate in the woods. Andy is given an important message from the Fireman. Let's see if he remembers that message later. Again we see how close Andy and Lucy still are, and why.

James, now a security guard, talks with Freddie, a young man who may be destined to punch somebody.

Sarah Palmer, drinking alone, meets a man who threatens her. It doesn't go well for him. Highlight of the episode, perhaps.

We meet another two young women at the Bang Bang Bar and Lissie performs "Wild Wild West" - a big step up from James.

Re: TV Thread

PostPosted: Thu Aug 17, 2017 2:38 pm
by Garrett Gilchrist
Morty just wanted a fun superhero adventure with his heroes, like Vindicators 1. The Vindicators wanted a scientist on their team again. They could have all gotten to be heroes. Rick got jealous that they were Morty's "heroes," got drunk and devised an elaborate plan to use their weaknesses to murder them all Saw-style. Except Noob-Noob, who he saw as a possible replacement Morty who wouldn't call him on his shit.

The pilot to Rick & Morty was noticeably darker than season 1 was, overtly setting this up as the adventures of an abusive alcoholic with all the power of the universe at his fingertips. His genuine need for Morty's approval has often held him back. This was dark.

Re: TV Thread

PostPosted: Sun Aug 20, 2017 10:44 pm
by Garrett Gilchrist
Wow. This is incredibly shitty. He cheated on his wife for fifteen years.

I've always supported Joss Whedon because of the quality of his writing, showrunning and worldbuilding, not so much because of his politics. There were always cracks that showed he had mistreated people, sometimes quite horribly, such as how Charisma Carpenter/Cordelia was punished for getting pregnant while starring in Angel, and her character not allowed to recover.

But it's tense working on a TV show and there's always drama which could be water under the bridge later.

He himself has said that his work as a writer straddled a line between being feminist and being Cinemax (exploitation). He was only "feminist" toward characters he was personally attracted to, and treated them badly anyway. His women writers reined in his worst instincts. On his own, he was awful to Black Widow in the second Avengers film, and his unproduced Wonder Woman script was a misogynist piece of garbage, much mocked on Twitter.

I'm not sure I'm even surprised and it doesn't blow my mind that he cheated on his wife -- it actually would fill in a lot of blanks about how his TV series tended to peter out in certain ways, though I won't press for further details. I'm not gonna start with conspiracy theories as there's a lot of reasons why major characters would vanish and never return - and not be adequately replaced. But "Joss feels done with this person/character" tends to cover it, one way or another.

His statement at the end is shitty too.

He's always been a talented writer who has produced a ton of great material, but the rest of the people who worked with him deserve just as much credit -- and can pick up the slack if this ends his career somehow. ... cole-says/

Re: TV Thread

PostPosted: Mon Aug 21, 2017 5:10 am
by Garrett Gilchrist
Twin Peaks 3.15: Tension is building. David Lynch works slowly here, and has set up a lot of different story points over these past episodes. The big question has been whether all these storylines are going to pay off at all by the end of the series. By the evidence of this episode, Lynch is paying off plotlines and building up to a big finale. He's also coping with the death of several castmembers, and the results are haunting - if curiously one sided. Meanwhile it's still unclear what's going on with Audrey Horne. It is clear what's going on with Gersten Hayward - and unfortunate. And Kyle MacLachlan continues to command the screen.