Same information already presented here, but this is the first time I’ve seen some sites pick up on a Sliders report:
Seems to be a small snowball effect happening which is good in bringing Sliders back to social awareness.
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Sliders Bboard → Posts by TemporalFlux
Same information already presented here, but this is the first time I’ve seen some sites pick up on a Sliders report:
Seems to be a small snowball effect happening which is good in bringing Sliders back to social awareness.
The issue may be St. Clare Entertainment. If it had an ownership interest (which is possibly the case), then it creates a problem because St. Clare is now a defunct production company. If the company doesn’t exist now, then where did those rights revert? The company was founded by Robert Weiss, John Landis and Leslie Belzberg - would each have a 33% stake in St. Clare’s share of Sliders now? So instead of dealing with one company and one president / chairman; NBC would need to get all three to agree separately?
I’m not sure about any of it except that St. Clare doesn’t exist now (it hasn’t produced anything since 2002). But talking to Bob Weiss would be the place to start on figuring it out; and you would think that at least Jerry and JRD would know that.
I would wager it goes to a streaming service if anywhere - Hulu, Amazon, Apple. There’s also Netflix, but I doubt that one. I believe Netflix would have went for Sliders by now if they were interested.
Using Sliders strikes me like a company trying to use a brand name to play catch up and get some attention. Under that thought, Apple makes the most sense as a candidate. Also don’t forget that Apple already has an announced series mining old Universal Studios sci-fi - “Amazing Stories”:
If Apple was already talking to Universal, it’s pretty easy to believe Universal slid the rest of their catalog over and said “look at these too and see what you think”.
Jerry O, a new entertainment talk and comedy series hosted by the actor and TV personality will get a three-week preview this summer.
Per Fox stations’ limited-run model, the series from Lionsgate’s Debmar-Mercury and Funny Or Die is set to debut on select Fox-owned television stations starting August 12.
It will feature a mix of celebrity interviews and specially produced comedy segments from the Funny Or Die team.
I think Captain Marvel is going to be Marvel’s first misstep in awhile now. I thought the problem might be that they’ve emphasized the “first woman” aspect too much - playing with fade-ins on titles to read “HERo”; releasing the movie on International Women’s Day; etc. The effort felt like a gimmick and it was off-putting to me. But when you look at it, Black Panther did the same things - Black in the title, released during Black History Month; etc - and yet I always felt excited to see Black Panther and thought it would be a hit. So what’s the difference?
The trailers and likely by extension the movie.
For the months preceding Black Panther, we had a commercial with a dramatic leap from above onto a moving car where Panther stops some bad guys. For Captain Marvel, we have had a stoic Brie Larson riding in a car with Nick Fury. We also have Brie fighting constipation on top of a train. Oh! And Brie punching an old lady.
To add more fuel to the fire are the reviews for Captain Marvel. A recurring mention? The cat steals the show. The best thing about it...is the cat. I see Marvel trying to damage control too - mentioning that the first Iron Man movie wasn’t a billion dollar movie and these things can take time to build up. Not exactly comparing apples to apples. The first Iron Man movie had little studio support behind it.
If you have a good movie to promote, the advertising gimmicks fall to the background and you don’t notice them. They become almost subliminal. If it’s a weak movie, all you see is the gimmick. I’ve become increasingly repulsed every time I see them pushing the movie as “it’s a woman!”; and I’ve come to realize my repulsion is because I think that’s all the movie has going for it. It’s a shame too, because there’s nothing wrong with Captain Marvel or Carol Danvers - it could easily be great with the right writers, directors and actors.
Never found the footage, but Stephanie scenes were filmed for the pilot. She was played by then Melanie Pearson (now Melanie Bradshaw).
I think it was lost to the old board, but some may remember a post I made about Universal’s habit of rebooting shows around 25 years after the original. Well, next month will see us 24 years out from the debut. We’re due.
The logic of the rule? That’s about the length of time it takes for a child or teen who loved the original show to grow into a position where they could sell an idea in Hollywood.
More rumors flying around the Arrowverse than usual. Arrow ending after Crisis (season 8). Legends and Supergirl on the bubble after Crisis due to continued low ratings. A new Superman show featuring Tyler coming in to replace Supergirl. Cisco and Caitlyn leaving Flash.
I have to say - if they want to do a major shake-up, that’s what Crisis was made for. From the various articles I’ve read, it seems like Cisco leaving has the most weight to it. If so, XS already name dropped his replacement at the start of this season - Ryan Choi (the successor to Ray Palmer’s Atom in the comics):
My own take on it:
I think there were some interesting choices made in the story that are not so much clues to the resolution but instead groundwork.
First there is the title of the episode - “Identity”. It’s a title choice that has many layers. Obviously it’s referring to who Isaac’s people really are, but it can also be referring to Isaac himself. Isaac has formed his own personal identity while on the Orville. As he mentioned in an earlier episode, his subroutines have been altered to the point that he needs the Orville crew to function. Keeping them alive is his own self preservation in a way.
Next we start out the episode with Isaac playing something like 8th dimensional chess. Isaac boasts about how he is smarter than everyone, but he’s also proving his ability to form complex strategies and win every time.
Then Isaac shuts down. As we later find out, this was done remotely by his people from a vast distance away. If it can be done to Isaac, it stands to reason it can be done to any of his kind - potentially to all of them no matter where they are.
Isaac returns home and is rebooted. It is stated he will be taken away to be disassembled and re-integrated; but the only thing that happens is an interface and possibly a download. This is different than the Kaylon receiving Isaac’s reports - this was a direct connection to Isaac himself. After the interface, Isaac is *not* disassembled and is returned to talk to the crew of the Orville. Why did the Kaylon change their mind?
Isaac goes through his good byes and the party, but he is acting a little differently. After receiving the drawing, he leaves. Before leaving the ship, Isaac takes a long look at the drawing and then discards it. Why did he look at it like that? Why didn’t he refuse the drawing when it was first offered?
Lastly, the Kaylon spring their trap; but they don’t kill the Orville crew on the spot? They only kill those who are attacking them. Why keep the crew alive? Why take the ship? The Kaylon don’t need any of them.
I think Isaac is playing a long game; and like his people were doing, Isaac was stalling for time (which made it necessary to act differently to the crew so as not to give himself away to his people). Isaac has infected his people with his subroutines in that download, and they are being altered to have an affinity for the Orville just as Isaac has. Isaac knew this would happen, but it takes time. Ty’s exploration of the planet messed things up a little causing the Kaylon to spring the trap early before their minds could be changed, but it’s still processing in their systems.
The interesting thing is this. What if it doesn’t work? There is another option. Would Isaac push the off button of the Kaylon species? Makes for an interesting discussion on genocide, and it could potentially make Isaac the last Kaylon in existence (making him more like Data). Of course, Isaac won’t be viewed the same by humanity after this; but killing his entire species to save the Union would go a long way toward the Union (and the Orville) giving him a second chance.
And the massive punchline to the whole story? If Isaac pulls all of this off, he’s going to prove he is smarter than everybody else.
Just my thoughts on it. We’ll see where it goes!
If they pay it off like I think they will, it will be pretty impressive
So last night’s episode of Orville - wow.
The Moclan trajectory also has shades of modern ideas like Brexit. It’s what Star Trek used to be and was meant to be - a look at modern problems through a sci-fi lens.
And while it’s been tempting to see Moclans as a Klingon analogue, it’s becoming more clear that they are a Vulcan analogue. If that’s the case, then the Moclans aren’t just a partner - they are a major partner.
They were playing a little mix and match too. In the comics, the first Killer Frost was a love interest of Martin Stein, but he rejected her which led her to her fate as Killer Frost. Having Caitlin as Ronnie’s love interest, I would guess they were setting up a potential love triangle if they introduced Firehawk down the line; and that could then lead into Killer Frost. But actors leave and plans change and orphan ideas live on.
I am surprised we haven’t seen Firehawk pop up in some form (especially since we did see Henry Hewitt / Tokamak whose experiments created her).
I remember back in the old mca netforum days coming up with a half baked idea to explain the time difference between the pilot and summer of love.
For an extended time, they stay on the Michael Mallory world at the end of the pilot trying to figure out how best to return home, and they finally arrive on a solution that requires them to have the least amount of variance as possible from earth prime’s vibrational frequency before they make the attempt. This means they need to wear the same exact clothes they had on the day they left earth prime. But Mrs. Mallory has donated some of their old clothes to charity in the time they’ve been there, so now they go on a quest to find them.
It was a bit wacky, but that could have fit with the tone pretty easily; and it would have offered a deeper look at the differences on that world as they find where the clothes ended up.
I do remember that mentioned as an early outline; don’t think it made it to script form. I also seem to remember it was part of a chat with either Torme or Weiss, so chat transcripts would need to be checked too. Earth62 still has many of those:
I cannot stress enough in the name of...Jerry O'Connell's damaged liver.
I’ll always remember the Zicree rule of thumb on this one; when an actor leaves a show, you can usually tell under what circumstances the exit occurred by how they’re written off.
In the case of Halston Sage, she was not only given a well done special episode; but her character was left happy, healthy and with the explicit offer by Mercer / McFarlane that her seat was always there if she wanted to come back. This is kind of a reverse-Arturo. Where the Professor had one of the most horrible exits I’ve seen, Alara was probably given one of the best. It’s hard for me to believe there’s any bad blood.
I will offer one last observation, though. McFarlane comes across as pretty crass and egotistical, but I believe all of it is an act. Looking at the edges of his behavior (especially concerning the Harvey Weinstein reports), McFarlane seems like someone who has a great respect for women.
The most obvious explanation for Sage leaving is the break-up with McFarlane. Was Alara’s exit written so perfectly opposite of the norm because McFarlane was trying to make it that way? Was McFarlane trying to be classy about it? That’s where I’m leaning toward on the explanation.
Given the brutality of Snyder’s run, I think they would have taken another page from the New 52 introduction of the Justice League. In the comic, there was a panic pile on where the heroes ended up stabbing out both of Darkseid’s eyes leaving him blind. The animated adaptation presented it like this:
It’s just not the Justice League I know, but it would feature things Snyder likes.
I foresee - the search for Oliver Queen!
Reports of Snyder’s ouster appear to have been exaggerated - he’s still got his fingers in there:
And The Batman is reported to focus more on the detective aspect of the character. So we’ve had Nolan’s ninja Batman (with a dash of detective); we’ve had Snyder’s military Batman (with a dash of detective); so what does a primary detective Batman look like? The word noir is also being thrown around, so I would suspect that even characters we know to be “good” may have a cloud of suspicion over them.
This is the kind of story Harvey Dent / Two-Face was made for, but I doubt they would dip into that well again so soon. Looking to villains we haven’t seen yet on the big screen, an obvious candidate would be Clayface (who could in fact be anybody and everybody - only a detective could figure it out).
Batman is supposed to be the smartest guy in the room, but most often we’ve seen him playing catch-up or getting blind-sided and surprised. It would be refreshing to see a Batman who had it all figured out ahead of time and was moving people around like chess pieces so that he could obtain the evidence to convict the criminal. Clayface would be a monster once he’s cornered, though; and that brings out the super-hero aspect.
As an appropriate non-sequitur, here’s what Peter Griffin thinks of The Orville:
It’s a shame, but not surprising. Another similar example is Tim Allen’s “Last Man Standing”. I don’t watch the show, but it was successful on ABC from what I understand. Then suddenly it’s cancelled - the only real explanation being that Tim Allen was conservative. The show moves to Fox and is a continued success.
Hollywood cuts its nose off to spite its face. It’s become less a business and more of an overt political propaganda movement as time has marched on.
On a personal note, I’ve met Dean Cain in person. He is one of the nicest and most humble people I’ve met; and if he was covering his true self by acting, then he deserves an Oscar. How anyone could hate the guy enough to push him off is beyond me.
Was looking through Red Box and came across a film called “Time Freak”:
Based on the 2012 Oscar nominated short film of the same name:
It’s one of those movies you have to stick with for the pay off (it takes a little turn in act three that I didn’t expect), but overall I enjoyed it. It’s a romantic comedy drama that I don’t think was described accurately in its press. Despite his intentions, it’s not about a boy fixing a break up by using a time machine; it’s really about a boy dealing with a break up by using a time machine.
But the reason I post it here is because it had some shades of Sliders to it. Awkward physics genius creates a time machine in a storage unit using cobbled together equipment and equations written on glass blackboards and walls (leading to the one solution circled that almost begs for a smiley face). The time machine then ultimately controlled by a cell phone that tends to malfunction.
The genius is paired with a free spirit very much like Wade, and the story plays out how they are a really bad fit. Then you have the everyman best friend serving as a little comic relief when he’s pulled along for the time travel ride he didn’t really want to go on.
As I watched it, I found myself plugging Quinn, Wade and Rembrandt into the roles; and that probably heightened my enjoyment of it. It was like watching an echo of their stories playing out - especially if you throw in a dash of how Quinn behaved concerning Daelin in “As Time Goes By”.
If you’re looking for something to watch, you might want to check it out.
I still can't find the will to watch the footage, but TF made me think of this:
With regard to the Lincoln Memorial incident, I’m reminded of an old Mark Twain quote:
“Never argue with a fool; onlookers may not be able to tell the difference.”
It started with the Black Israelites (so named because they wear black garb) who were trying to incite everyone at the event by throwing insults at everyone they saw. The kids in the MAGA hats responded to them by starting a school chant to try to drown out the Black Israelites (the chant becoming so animated that one kid jumping up and down took his shirt off). Native American Nathan Phillips then began beating his drum in response to the kids’ chants; and the kids continued their chant adding tomahawk chop motions in response (much like you often saw at Braves baseball games). Phillips then walked into the group of kids and started beating his drum within inches of the face of one of the kids - an aggressive movement.
In my opinion, they all looked like fools.
The Russia thing continually amuses me. Mitt Romney was openly mocked in 2012 for saying Russia was a threat to the US. Four short years later, Russia is suddenly the gravest threat to face America! The only thing that changed between the two times is that Democrats lost power.
It goes back to the blue collar billionaire image he tried to create for himself during the election. Turns out the reason he ate so much fast food was because those places don’t know who they’re cooking for and generally don’t mess with it. You go to a restaurant where people see Trump ordered something? There’s no telling what the chefs would put in that food if they’re a Trump hater.
I’m not surprised; I faced that since the day I started. Admittedly some of that is my own fault, and some due to protecting my methods; but it’s also partly due to my presentation rarely being visually glamorous. That’s the sad truth of humanity - shiny objects and beautiful people often carry more weight and credibility.
I don’t recall ever going in depth on how I did it, but it’s not really a secret. I stumbled into something seasoned investigators already knew - the wealth of information that provides a foundation comes from the “little people” and not so much the marquee name. The secretary, the make-up artist, the prop maker, the visual effects technician - all of these people are ground zero of production discussions and actor interactions, but they largely fade in the background and are overlooked by those talking because they’re just “the help”. Of course, that leads to disgruntlement and a search for appreciation which makes them interested in talking to a fan who cares about what they do.
All of that is only step one, though. After all, information from those sources can be filled with bias and personal agendas; and that’s why their information is only the foundation you build your house on and not the house itself. After you’ve done that leg work with the below the line people, you then search out the bigger names. When talking to them, you don’t necessarily get into the things you’ve heard about the person you’re talking to; you instead get into what you’ve heard about the people they worked with. I cannot tell you how many times I’ve heard “how do you know this? It’s like you worked there.” This leads them to open up and start seeing you as someone who shared the experience, so they let their guard down and then start talking about their perspective of what they personally did. Compare notes to other people’s accounts and see what holds up. Conversely, if you’re hearing the same identical anecdotes from multiple crew - yeah, it’s very doubtful they all got together and made sure their fabricated story was straight.
As for how you accomplish this in finding these people - it’s probably not as easy today as it was in 1997 - 2000 when the Internet was still young; people are more guarded and private now even with things like Facebook. But, the first place you start is EBay - after all, that’s rarely if ever someone like Jerry O’Connell selling a script or fake money props thrown into the air during a one second scene in “Prince of Wails” - it’s the low level guy trying to make some side money. Contact the seller - ask them if they have more to sell that they haven’t listed yet. That leads into them opening up about who they are and who else they can connect you to.
To give an example. I purchased a copy of a later draft script for “Luck of the Draw” on EBay likely 20 years ago at this point, but I had long been interested in finding the first draft because other people I talked to claimed it had a different ending. It turned out the guy selling the script on EBay was Jon Povill’s assistant, and he put me in direct contact with Jon. Jon knew what I was talking about but hadn’t given it much thought; in fact, the only remaining copy was a saved file on a laptop Jon had set aside to throw away. The only reason that script still exists today is because my efforts led me to Jon, and I made him realize it held some value to people.
Another way of finding people back in the day - SAG and WGA. SAG in fact had a number you could call (meant for journalists) where you could call and get agent contact information which could then lead you to the star, writer and even producer. It didn’t work reliably (agents protect their clients after all), but you could get a surprise such as the time they didn’t realize they gave me the number to Sabrina Lloyd’s sister. We had a nice conversation after I explained my intended goal was to find a fan mail address for Sabrina.
But the process used to get me to the final product is why I didn’t always talk about sources (a sticking point for some fans who used that to believe I simply must be making it all up and lying). Tagging the names or job titles of low level people on news (especially when the show was still in production) would have had a chilling effect - the bosses and actors would have been more careful about what they said, and the information would have stopped. In the worst case scenario, people could have lost their jobs. But to some fans that doesn’t matter - reveal all or be branded a liar. It’s frankly ignorance - which leads us back to their attraction to only shiny objects and beautiful people.
Many have speculated that Arrow’s deal with the Monitor is leading to his death. If they’re going that route, it would be refreshing to see them pull off a Malibu Exiles style surprise.
When Malibu’s Ultraverse started, it rolled out a lot of new series in a short span, and one of them was Exiles solicited as an average monthly book. Then issue 4 came out and everybody died. It was always intended that Exiles was a four issue mini-series; the solicitations for the other future issues were a lie so that the ending would be a shocker.
So let’s say they renew Arrow and promote it as business as usual. Then the final part of Crisis hits in November and Ollie is dead. The future listings on your channel guide for new Arrow episodes suddenly change to “listing not available”. Another show appears in the slot. It’s over. Arrow is dead.
Probably not feasible for television, but it would get people talking.
Something’s got to give. I don’t see all of the CW DC shows surviving the addition of Batwoman.
I can’t help but notice the timing of it all. Gotham ends its run on Fox soon, and Batwoman comes directly after. With Gotham dead, I imagine that frees up everything bat related. And looking at what’s happening on series like Titans, it’s doesn’t seem that Warner is holding them back too much on what they can use.
The interesting thing will be what comes after Crisis. The primary function of Crisis on Infinite Earths was to merge all realities into one to streamline continuity. We may soon see one cohesive universe across all of the shows with somethings changing and some staying the same. After Crisis, Batwoman and Batman may exist together the way Supergirl does with Superman.
As far as Batwoman rogues go, there is some crossover not only with Batman but also Arrow and Flash rogues:
Looks like the Netflix deal states that their Marvel characters can’t appear in any non-Netflix production (movies or tv) for two years after cancellation:
Punisher might be exempt but doubtful.
Today they announced that Shang-Chi -Master of King-Fu is going to be one of the phase four movies.
Comic characters tend to run in families - characters like Nick Fury, Falcon and Black Widow are all known in their own right, but ultimately they are part of the Captain America family. What’s interesting with Shang-Chi is that he is part of the Heroes for Hire family - he runs with Luke Cage, Iron Fist and Daredevil (both sharing a villain in The Hand). Marvel is obviously visiting Shang-Chi to replicate the success of Black Panther, but it’s also a nice back door to a cinematic version of the Netflix shows.
Ike Perlmutter is the problem at Marvel. He’s a notorious penny pincher who believes everything should be as low budget as possible (last year’s failed Inhumans theatrical roll-out being an example of his philosophy). He’s also rather petty (an example being the death of the Fantastic Four comic because Fox wouldn’t do what he wanted on the film side).
That said, Perlmutter is still part of Marvel / Disney; so there’s not necessarily a reason to shop the shows around to other services. Similar to Universal’s Brooklyn 99 going to Universal owned NBC after the Fox cancellation, the Marvel tv properties could “come home” to Hulu (which Disney now has a 60% stake in and likely about to be a 70% stake if they buy out Universal as has been reported). It just depends on if there is the will for it inside Disney; and I’m betting that comes down to a numbers game. Were the Netflix shows popular enough to justify continuing with a 60% to 70% stake in the profits - likely more than they were getting with Netflix).
But moreso, things are complicated by Netflix retaining some stake and keeping the existing episodes on their service. Is this a Firefly / Serenity situation? For an unspecified time, is Netflix the only service with the right to make an episodic television format of these characters while Marvel retained the right to make feature films? Universal could have kept making Serenity movies; but Fox denied them the right to restart the tv show on Sci-Fi Channel.
I just realized that I haven’t posted my off-the-wall Flash theory of the season. Meta-tech? First appearance was the cell phone hacking people’s brains. Flashed a purple glow in their eyes.
Is the true villain of the season the Kilg%re? He may have been able to upload himself into that satellite before it blew up; and even in the comics, the nature of Kilg%re’s powers did not require a body - he was more of a computer code / consciousness. Kilg%re could have survived Thinker once the Thinker’s grip was released thus freeing him.
In the comics, Kilg%re ended up outgrowing humanity and their petty concerns; and his “defeat” was that he essentially left for greater things in the universe that more deserved his attention. But Kilg%re did save the life of Flash before he left - Flash had a pretty big bullet hole in his chest thanks to Vandal Savage.
More details have emerged about the Crossover, including confirmation that Barry and Oliver are doing a body-switching movie, essentially. I maintain it would've been more fun if we were simply watching a story where a carefree Oliver Queen ended up as the Flash and events led to Barry Allen becoming the Green Arrow.
Hadn’t been paying much attention, but the story is going to feature an Arkham Asylum doctor named John Deegan. In the comics. Dr. John Dee is the Justice League villain Doctor Destiny who through use of his Materioptikon device is able to make dreams into reality. He’s basically the DC version of Freddy Kruger but looks like Skeletor. It’s not a rip off in the way one might think, though. Destiny pre-dates those more famous ideas by twenty years or so.
They did a story in the comics where Doctor Destiny was mixing up the identities of heroes, so this crossover would play into that idea. At the end of the day, it’s seeming like the title of the Elseworlds crossover is a bit misleading. This doesn’t look like much of a parallel earth story beyond Supergirl and Flash. The Monitor is involved (known for his role in Crisis on Infinite Earths), but I’m starting to think he’s only there to tease the greater story yet to come. They did that in the comics too - Monitor was a shadowy, mysterious figure popping up in comics stories for a year before Crisis ever happened.
Something too that people tend to gloss over when talking about where this is going in the Arrowverse. Crisis certainly was the death of the Flash; but it was the death of Supergirl too.
Also a pretty funny thing Amazon has done:
No idea if it’s intentional or not, but you can’t currently find “Kerblam!” on Amazon Prime - if you choose that episode, it instead plays this coming Sunday’s episode “The Witchfinders” leaked well ahead of schedule. Perhaps a little revenge on the BBC for taking shots at Amazon?
“Kerblam!” sounds like another example of hitting the target but veering off the bullseye. It’s just clumsy.
To revisit “Rosa” for a second, I earlier mentioned how the villain was underutilized. From many comments I’ve read, people have seemed confused over what Krasko’s plan was. Would destroying that singular event in the history of Rosa Parks somehow end the civil rights movement? That idea stretched plausibility past breaking. So what was Krasko thinking?
I believe the idea was actually meant as a commentary on the mass shootings that have been happening in the United States recently. In those cases, the murderer doesn’t have a full plan - instead they’ve just picked a spot that in some way fits the target of their rage, and then they walk into that church, synagogue, etc and start shooting anything that moves. No real message. No specific goal. They just want to destroy the lives of some of their perceived enemy.
I believe this is what Krasko was doing. Just like our current mass shootings, Krasko was under no illusion that his actions would change the world. Krasko just walked into history and started shooting up the timeline. Chibnall hit the target with the idea but veered off the bullseye leaving the audience not quite getting the full message. Clumsy.
...it sounds like they replaced stories and metaphors with lessons and monologues.
For me, it does have that feeling to it. It’s like a college lecture taught by the Socratic method (where the teacher asks the students questions so that they fill out the lesson instead of the teacher). I know Doctor Who was originally designed in the 1960’s to be an educational series; the monsters were added much to creator Sydney Newman’s chagrin (he being the head of drama at the BBC). It was producer Verity Lambert who kept throwing the monsters in (like Daleks and Cybermen) to try to juice up the show; and it worked. A pure educational series just doesn’t work.
As for Capaldi, it was hit or miss; but I liked it overall. The problem was that then showrunner Stephen Moffat was running on fumes; he was tired. He didn’t even want to do that final season, but the BBC convinced him to do it to give Chibnall time to wrap up his other works already in production. From what I’ve read, it wasn’t so much that the BBC wanted Chibnall; it’s that Chibnall was the only person they could find who would take the job. Nobody wanted to take over running Doctor Who.
I don’t mean to be doom and gloom; but if you’re having that much trouble finding someone to take the job - well, the show is on its last legs. We may be looking at another long rest for Doctor Who soon; but the BBC has years yet of Chibnall and Whittaker to deal with because of the long contracts that were negotiated.
It’s all really just a shame.
I’ve been trying to give this a chance; but we’re now six episodes in, and I’m just not into it. I also find it odd how much praise the new episodes are receiving, and even the ratings are good. I’m a bit perplexed by it. The rest of the post will contain spoilers if you haven’t yet seen the episodes.
If I had to sum up the reason I’m not enjoying it, I would say the show has now become more drama than a fantasy sci-fi adventure. Whittaker is not the problem; I think she could be a fine Doctor. However, she’s not being given the material to work with. In fact, my sense of the stories so far is that Whittaker’s Doctor is delegating out tasks to the point that she’s almost irrelevant. I’ll put it this way - I don’t watch a James Bond movie to see him ask what everybody else thinks they should do.
Really, I’ve begun to wonder if the Doctor is now actually the surrogate voice of showrunner Chris Chibnall - a showrunner in over his head asking everyone else what they think the production should do. Just look at the episodes so far and how bereft of imagination they are.
The first episode felt like and looked like a 1990’s direct to video low budget sci-fi movie. Alien hunter stalks the city in a sports hunt for humans. Then he pulls off the helmet. Tooth head!
The second episode is what’s left of a racing contest on a planet of ingenious traps like flying bed sheets and rejected sports gear robots from Sliders “Rules of the Game”.
Rosa was an exception and was done pretty well even though the villain was underutilized. But again, look at the grand ending. The Doctor tells the others how Rosa’s mark on history will last forever, and she flings open the door to show them. Do we see the flagship of the Earth Fleet named Rosa Parks? Maybe the planet Rosa inhabited by people who uphold the ideals of civil rights? No. We see a rock. I felt like that kid in the Charlie Brown Halloween special.
Then there’s the giant spider episode with Donald Trump. We can forget for a minute that this story is just another tired Trump bashing exercise; but the spiders aren’t even as good as those in “Eight Legged Freaks” with Kari Wuhrer. What’s the big resolution? The big spider grows too large and suffocates under its own weight. Nobody did anything to make it happen; it just happened.
Then we get to the spaceship adventure, and who’s the threat of the week? It’s Stitch from Disney’s “Lilo and Stitch”! And I don’t mean as a metaphor; I mean literally. Disney could probably win a copyright infringement lawsuit against the BBC.
The most recent episode - didn’t even watch it. Not sure I will.
Looking back at Doctor Who since it returned under Russell Davies, the show hasn’t always had the big budget or the best actors; but it always had imagination. Whether it be Cat people, carnivorous shadows or that big ole face in a jar, it was there. An adventure. A spectacle. There was always a plot thread - a big epic story that connected the entire season whether it was obvious or not. Halfway through Chibnall’s first season, and I’m not seeing it. It’s all gone.
I don’t know. I guess I’m posting this just to see if Ive lost my mind. Everyone I see seems so into it and loving it. I don’t get it. Is it because the Doctor is a woman for the first time? Are people afraid to say it’s bad for fear of diminishing that? If so, that may be the one genius thing Chibnall has done in his Doctor Who run - he hid his inability behind a social agenda.
I was just talking about this with someone, and Legends really isn’t a DC show anymore.
Did anyone else read this and get jealous? Like -- TF is talking to someone about LEGENDS? Someone who isn't US? Who!? Where!? When!?!? Why weren't WE included!??! Oh, wait, we are being included. Okay. Carry on.
Well, he is a guy who dresses up as the Ted Kord Blue Beetle in his spare time, so...
I was just talking about this with someone, and Legends really isn’t a DC show anymore. To use this season so far, there is so much DC lore they could be pulling from to populate this magic story:
The Demons Three - Justice League level villains which include their own quest element with the bell, wheel and jar artifacts used to summon and banish them.
Nebiros - the Demon connected to the origin of Blue Devil - a stunt man who becomes magically fused with his animatronic movie costume.
Neron - DC’s version of Satan who focused on offering villains power ups to encourage them to be evil again - a perfect story for Mick Rory to take part in.
Mordru - the timeless Lord of Chaos with a strong connection to the Justice society, the Legion of Super-Heroes and Gemworld (featuring the hero Amethyst).
That’s just off the top of my head. There is so much they could be doing, but instead we’re getting unicorns and fairy god mothers. At this point, Crazy Ex-Girlfriend has as much claim of being a DC show as Legends does.
Wasn’t me, but AlternityOrange ran into her at a Florida convention back in the early 2000s I think it was. He said he tried to strike up a conversation with her about Sliders, and she was visibly frustrated and said “I’ve done other things too, you know?” It came across as something she was tired of talking about.
I hadn’t kept up with her except in passing, but she’s had a rough go since those days for certain.
I definitely agree about the huge missed opportunity with Logan; and she would have given something back to the group dynamic. They toyed with the idea of Arturo having some darkness to his character, and Logan would have been perfect for that. Is she bad? Is she good? Is she self serving? Is she just misunderstood?
I could see it as something like Capaldi’s first season on Doctor Who where we weren’t quite sure what to think of him. The scene that comes to mind for me is when Clara is trapped in the room with the robots and she asks the Doctor for the sonic; but the Doctor refuses. Did he really need it? Did he just not care if she survived? Did he look at Clara as something he didn’t need anymore? We weren’t sure.
It’s a shame Sliders didn’t go there. I think it would have been a role Zoe would have relished with many layers to the character to explore; but as it is, it seems Sliders is something she’s long ago tired of people mentioning.
The whole thing with Joe is just strange. They had the perfect opportunity with the Cicada attack to put him in a wheelchair (or bed) due to injuries, but they didn’t take the opportunity. Very strange. I guess they expect him back up and running really soon?
Am I the only one who thinks it odd that not a single mail bomb has blown up? We’re up to ten now? Either this is the worst bomb maker in history or it’s a stunt.
Sliders Bboard → Posts by TemporalFlux