2,941

(686 replies, posted in Sliders Bboard)

There will be a fourth MATRIX movie by the Wachowski sisters and it will feature Keanu Reeves and Carrie Anne Moss.

Hunnh. The Wachowskis are amazingly talented, but SPEED RACER, CLOUD ATLAS and JUPITER ASCENDING were all box office disappointments. SENSE8 was cancelled off Netflix but revived for a finale, so it clearly didn't justify ongoing production. There is the sense of the Wachowskis now going back to an old franchise much as Matt Damon staggered back to Jason Bourne and Harrison Ford meandered over to Indiana Jones.

They're great directors, but as writers -- the first MATRIX movie was inspired largely by Grant Morrison's mind-bending, eccentric comic book THE INVISIBLES. The success of the film, however, led to sequels that had none of the perceptual, reality-warping twists of the first movie and offered only bland discussions of predestination and free will. The studio's wish for a summer blockbuster series, sadly, saw all of the Wachowski's reality-oriented storytelling shunted into the ANIMATRIX material. The sequels feel like an empty, pointless afterthought.

It'd be nice if THE MATRIX IV is great, but my view is that the first MATRIX and further explorations of the MATRIX universe with THE ANIMATRIX is all that were ever needed.

2,942

(1,683 replies, posted in Sliders Bboard)

I just want to say: I don't think Tom Welling looks out of shape, I don't think he looks fat, I don't think he looks like he let himself go. I think Tom Welling looks like a normal, healthy, average, middle-aged man. :-)

2,943

(934 replies, posted in Sliders Bboard)

The Sony/Marvel agreement was more a consultancy than anything else. Marvel provided creative stewardship, but Sony kept most of the money and allowed Spider-Man to feature in Marvel's AVENGERS films. Sony also continued developing its Spider-Man-adjacent properties with BLACK CAT, SILVER SABLE, MORBIUS, SINISTER SIX, INTO THE SPIDER-VERSE and VENOM and did so separately from Marvel. It was evident that Sony didn't see the Marvel Cinematic Universe as their universe; they wanted a Sony-based Spider-Man Cinematic Universe.

VENOM is unfathomable to me, but for some strange reason, it was ridiculously successful. I'd argue that it was a fluke that's unlikely to be repeated. VENOM, creatively, indicates that without Spider-Man himself, all of these Spider-Man rights are fairly useless. INTO THE SPIDER-VERSE, however, indicated that Spider-Man could indeed start a franchise separate from Spider-Man through using other Spider-themed heroes from Miles Morales to Spider-Gwen. INTO THE SPIDER-VERSE made a strong creative case for Sony ending their dependency on Marvel.

My personal opinion is... mixed. I do think Spider-Man benefits from being part of a shared universe with the Avengers. But I also personally prefer that Spider-Man, in film and TV, exist in his own universe. The Tom Holland version of Spider-Man, to me, is a diluted version of what I find appealing about Spider-Man. His connection to the Avengers and his tutelege under Tony Stark and his going on space missions and having a high tech suit -- none of that is Spider-Man to me. To me, Spider-Man is more like the characters of SLIDERS. The sliders have no official status, no authority, no support system and are perpetually faking and blustering their way through their heroics. Spider-Man, to me, is a blue collar, working class hero. The Spider-Man of the MCU is a rich kid; this version of Spidey has been tailored for the Avengers.

I don't see that changing if Spider-Man remains the Tom Holland incarnation but with no further references to the Avengers, but I also don't really understand HOW this character could function without the Avengers because he was created specifically to be on their team unlike Tobey Maguire and Andrew Garfield. And this split is more business oriented than creatively oriented; Sony hit it big with VENOM and INTO THE SPIDER-VERSE and doesn't need the Avengers. Tom Holland's Spider-Man might, but they're not looking at it that way.

My other concern is Sony head Tom Rothman who was responsible for X-MEN THE LAST STAND and X-MEN ORIGINS WOLVERINE (actual title) and micromanaging the poor directors to the point of having sets repainted without their knowledge and slashing budgets relentlessly. Rothman delayed the DEADPOOL movie for years because he didn't believe in comedic superheroes while being firmly behind the unintentional comedy of X-MEN ORIGINS WOLVERINE (actual title). I don't think his creative instincts are strong and he was lucky to have Feige... although Rothman is also behind the brilliance of SPIDER-VERSE, so many he's changed. I mean, Robert Greenblatt cancelled SLIDERS, but he saved CHUCK. Sci-Fi betrayed SLIDERS at every turn, but they saved WYNONNA EARP. Transmodiar gave various people in this community PTSD, but he cured mine. People change.

2,944

(686 replies, posted in Sliders Bboard)

Soooo, I'm going to write personal ruminations as inspired by other threads in the Random Thoughts thread and see if that is more tolerable for others. I don't want to distract from sensible speculation in the Arrowverse thread with thoughts on fitness. We've been talking a bit about how Tom Welling did some intense stuff to keep looking 25 for 10 seasons of SMALLVILLE and how since then, Welling has allowed himself to look like a 42 year old man.

Superhero Fitness: Because I do not play a CW superhero, I do not exercise as those actors do which is probably why I've been hovering at about 40 pounds heavier than I'd like to be for awhile. But actors in shows I watch have affected my attitudes to fitness in ways positive and negative. Tom Welling, Jerry O'Connell, Stephen Amell, Grant Gustin and Brandon Routh have all affected my approach to my body.

Bulletproof Diet: I eat somewhat like Brandon Routh does (grilled meats and vegetables, low carb, high fat). I don't go to his extremes of saving lard from cooked bacon for reuse and light-heating/moderate-steaming methods of the Bulletproof Diet are too troublesome for me. But I pick and choose my methods from various actors.

Tom Welling: I remember being a chubby and acne-covered 15 year-old and seeing Tom Welling onscreen and wishing I could be that good looking and being told I couldn't because Tom was genetically gifted and a model and an athlete whereas I had to do a makeup credit to pass high school gym. I accepted that I would be a bloated, awkward, scarred person and, I suppose, accepted the low self-esteem and self-loathing that resulted. Tom Welling made me give up. (Wow, that makes it sound like I'm blaming him.)

Five years later in university, I lost a ton of weight due to a poor student diet, became extremely skinny and discovered skin care and how small, daily cleansings and treatments could give me a fresh-faced look that I retain today. Another five years later, I was eating 'normally' again and regained all the lost weight. Clearly, weight loss was possible for me but not necessarily convenient or sustainable.

Jerry O'Connell: Quinn's body is an interesting but not necessarily enlightening study. In Seasons 1 - 2, Jerry would film SLIDERS and have a lot of physical activities with fencing and workouts. He maintained a lean, lightly muscled body even with a little weight gain during Seasons 3 - 4 when he was out all night drinking and eating junk food. His daily activity and some supplemental exercise was enough to keep him in shape during SLIDERS and it's not like Quinn Mallory wore tights. After SLIDERS and a period of weight gain that nearly got him fired off his kangaroo movie, Jerry adopted a Routh-type diet and exercise regime, but he describes it as his job.

Jerry described how when he switched to only eating meat and vegetables he cooked himself instead of foods he defrosted or ordered in, the fat "dripped" off his body. I tried doing that, but I would experience crazy hunger pangs, crave pizza and croissants and bagels and always gave in and fall back into sugar highs and sugar crashes that would lead to more binges.

Stephen Amell: Superhero fitness is an illusion. Stephen Amell has talked about how he can't even look at bread or beer when he's staying in shape for ARROW and that he has to constantly work out for specific shots and scenes. I don't need to look like that and Amell's diet and exercise regime sounded too insane to consider. I wouldn't have minded looking like the lean, trim Grant Gustin, but weight control seemed out of my hands; deprivation just led to binging. I couldn't eat less, couldn't exercise more.

Then a subsequent interview with Amell sparked something in me; he talked about how he ingested a large amount of fat and protein for breakfast and then his blood sugar would stay stable right into the afternoon and he wouldn't feel overly hungry and wouldn't overeat. Amell's words hit me when I was spending my evenings of consuming three helpings of lasagna. I realized that while it was important to eat the right things as Jerry O'Connell did, there was also an aspect of timing and what I ate in the morning would affect what I wanted to eat later on.

But after a few mornings of getting up an hour earlier to cook bacon and eggs before going to the office, I couldn't keep doing it. I am someone who sleeps later, has time to shower and make coffee and then I'm off to work. Amell's methods would work if I could execute them, but I couldn't.

Grant Gustin: I decided that I would like to look like the Flash. That seemed healthy and achievable. I started doing moderate daily exercise and started measure calories in versus calories out. I tried to make the bulk of my meals ones I cooked myself to avoid all the added sugar in processed foods. This worked to a degree; I lost quite a bit of weight and currently, I feel like I'm a few months away from looking like Barry, but I feel like I've been a few months away from looking like Barry for YEARS.

Every time I get a cold or get upset, I find myself lapsing back into frozen macaroni and cheese or pizza, and when I come out of it, I've regained about half to three-quarters of the poundage I've most recently lost. I recently had a fight with my niece and spent the next four days bleakly eating ice cream.

Bulletproof Coffee: In recent months, I read more of Routh's interviews where he explained that, like Amell, he consumes a large amount of fat first thing in the morning. But he does so in the form of a beverage: he stirs coconut oil extract and butter into a coffee and drinks 400 - 500 calories' worth of fat, preventing hunger pangs later in the day. The coconut oil metabolizes quickly and encourages the brain and body to burn fat instead of sugar and reduces cravings for processed foods.

Traditionally, convincing your body to burn fat instead of sugar is achieved through severe carb restriction for 3 - 4 days, but this high fat coffee supposedly gets your body into this state within a day. I tried this and it helped quite a bit. Whenever I fell into a carb heavy day, I used coconut oil and coffee to reduce the sugar withdrawal symptoms after resuming a healthy diet. This time last year, I was about 80 pounds from Grant Gustin's weight. I'm currently 40 pounds from his weight.

My version of Bulletproof Coffee omits the butter, so it only contains 180 calories per cup instead of the 400 plus. I'm contemplating adding the butter, drinking 400 calories every morning and seeing if that helps me avoid falling back into carbs again, and I also need try a few sugarless pudding recipes to try to replace ice cream in my life.

William Shatner: I find myself thinking about poor William Shatner. Shatner would start each season in shape. However, the low budget of the show meant that Shatner was filming 12 hour days. There was no time off for him to exercise. The producers demanded that he be in perfect shape, but did not supply Shatner with periods between filming to exercise or dieticians to manage his food or trainers to guide him in maintaining his physique. Instead, they fat-shamed him, encouraged him to crash diet. He would starve, binge, not have time to exercise, gain weight.

Also problematic: the Starfleet uniforms he wore were dry cleaned every episode. With each dry cleaning, the peculiar material of the uniforms shrank. The show didn't have the budget to manufacture more than a few for Shatner to wear, so his weight gain would show because his costumes kept getting tighter every week.

Admittedly, nutritional science was not where it is today with Stephen Amell and Brandon Routh and showrunners now know: if they want their leading man to look a certain way, they need to support him with hiring a trainer and a dietician and supply what the dietician stipulates. Even civilians can do fitness on a budget with a fitness tracker to monitor calories burned and a phone app to track how much one has consumed.

Serenity: Anyway. I've tried a lot of stuff and I really think that if I stop using junk food and frozen foods as a crutch for illness or mood swings and stick to cooking my own meals and maintaining my exercise, I will get my body into the shape I want in a few months. There's something to be said for the cost as well: it is a lot cheaper to buy raw foods and cook them than it is to buy frozen, processed products. When I don't buy processed foods, my food costs go down by 60 per cent.

I am struck by how Brandon Routh doesn't see fitness as his job. For him, it's his life. He has talked in interviews about the state of mind that comes with proper exercise and diet. The sense of knowing precisely what your body needs and giving it exactly that and no more and no less. The feeling of controlling not your weight, not your shape, but your health and well-being. The satisfaction of eating what you need and enjoy but not more than what you need and never more than what is good for you. I don't want to be Brandon Routh, but I want that sense of peace.

2,945

(1,683 replies, posted in Sliders Bboard)

To me, the defining characteristic of Jor-El is that he is a scientist. Whether he's Marlon Brando or George Lazenby or David Warner or Terence Stamp or Julian Sands or Russell Crowe, he's a thinker, a philosopher, a man of moral and scientific principle. Jerry O'Connell in Seasons 1 - 2 of SLIDERS makes me think of Jor-El as a young man; Julian Sands had that principled bent in his one full guest-appearance as Jor-El in SMALLVILLE.

I don't see Tom Welling being able to play that. It's funny how Tom Welling was costumed like Jerry O'Connell as Quinn (flannel, jeans, long hair), but Welling doesn't perform brainpower like Jerry. Instead, Welling plays instinctive morality and compassion.

I think maybe Welling could play Commissioner Gordon. If I had to cast Welling as a character in the Superman family, I think I'd have Welling play Dan Turpin, a police officer who works with Superman a lot. Turpin was created by Jack Kirby as a police officer who works with Superman and the SUPERMAN animated series modelled him on Jack Kirby. He's a middle-aged police insepctor and it would be a physical fit for Welling.

Slider_Quinn21 wrote:

I think Welling needs to be involved.  And while it'd be great to have him involved as (insert character), I think he needs to be Clark Kent.

If he HAS to be Clark Kent... I don't know if Tom would be willing to spend three months consuming no carbs and engaging in heavy cardio and weightlifting three times a day, living on egg white omelettes and bacon and salad greens and little else, doing push-ups and crunches to collapsing exhaustion before each filming day -- all for one guest-appearance.

I would probably suggest that Tom play the "Whatever Happened to the Man of Tomorrow" version of Superman. I'd say that in the offscreen Season 18 of SMALLVILLE, Clark gave up his powers to save Lois from a Sun Eater by transferring all of his solar energy into the monster and losing all his powers. Since then, Clark has lived as a human, worked as a reporter and mentored Connor Kent (the Lucas Grabeel-played Lex clone) as the new Superman, so Clark is now unshaven and at the average size of most 42-year-old men who aren't playing action heroes in TV and film.

Brandon Routh (whom I think is playing the KINGDOM COME Superman) strikes me as someone who is quite fixated on nutrition. During the miserable period where his SUPERMAN RETURNS sequel option was soon to expire, he was asked yet again when the sequel was coming. Routh said he had no idea, but he had been exercising a lot after a break between film roles. When asked if this was for Superman, Routh said that it wasn't; he was working out "just to do it." Routh lives for exercise and fitness. I think Welling lives for his family having spent 10 years living for SMALLVILLE and acting is now just a day job.

I have a shocking confession to make: I never finished watching ENTERPRISE.

The third season was a mess for the first half, opening with a nonsensical attack on Earth from the Xindi who were testing their planet annihilating weapon (and were so polite as to give Earth fair warning a year before they planned to destroy it totally!?!?). But as the season progressed, Season 3 dived away from NEXT GENERATION style single-episode stories and fully into an ongoing arc. As ENTERPRISE examined Starfleet ideals versus the horrors of an impending war, ENTERPRISE seemed to finally find a voice in showing STAR TREK's ideals being built before our eyes instead of existing as a settled state of affairs. New showrunner Manny Coto was a godsend.

Season 4 was also great, offering eight STAR TREK movies with its multi-episode stories. The first dealt with the Temporal Cold War and the shadow of the Nazis that the original series had always faced. The second addressed genetic engineering and attempted to give all the characters personalities as opposed to defining them by their jobs. We saw Trip, Mayweather and Phlox going to a bar on Earth! We saw the bridge crew playing basketball together! Season 4 was far too late to fully define them in an episode or two, but ENTERPRISE made them FEEL like people at last.

Also wonderful was Archer's definition: his blandness across three seasons finally solidified into clarity. Kirk was a man of action. Picard was a diplomat. Sisko was a cultural anthropologist. Archer is defined in Season 4 as a pilot, a man who is perpetually thrown into the deep end and will find SOMETHING to do whether it's trying to stop the genetically engineered soldiers from releasing a virus or trying to save as many Vulcans as he can. His fundamental decency and Scott Bakula's earnest screen presence finally made Archer come alive, and there's a beautiful sense of what Captain Archer stands for when he convinces the Tellarites and the Andorians to make find common ground and make peace.

Then we came to the two-part finale for the year where ENTERPRISE confronts anti-alien sentiment and... I didn't finish it. I liked Season 4 so much that I didn't want it to end. So I never watched the "Terra Prime" finale and only read the script for "These Are The Voyages."

**

I have another shocking confession: I never finished reading the ENTERPRISE relaunch novels. I read the first one, LAST FULL MEASURE, which is set during Season 3 during the Xindi hunt. It has a framing sequence where an old man meets a child named James Kirk. The ending returns to the framing sequence and reveals the old man to be Trip Tucker, alive decades after his onscreen death in the series finale. The second novel, THE GOOD THAT MEN DO, has a framing sequence where Jake and Nog are reviewing the historical files of the holodeck simulation in "These Are The Voyages" and realize that the entire story is a cover up to obscure Trip going undercover to investigate a mysterious conspiracy that turned out to be the start of the Romulans waging war on Earth and Vulcan.

... I never got around to reading THE ROMULAN WAR duology which, I assume, depicts Archer, Trip and T'Pol playing Battleship and Risk. I also never got around to reading the five-book series RISE OF THE FEDERATION, which I assume is a five volume cookbook series where Trip reveals his family's baking secrets and how to do Tucker style souffles and bread.

Anyway. Bought the lot just now. I guess I'll finally finish "Demons" and "Terra Prime" and get to reading.

2,947

(1,098 replies, posted in Sliders Bboard)

... I still haven't watched AQUAMAN. I have it on Google Play.

Should I watch it? Is it worth watching?

Should I watch it in my home theatre or is it okay to watch it on my tablet in bed?

2,948

(90 replies, posted in Sliders Bboard)

I have only ever watched six episodes of GOTHAM and decided it wasn't for me. And yet -- I am curious about it and have some questions for Slider_Quinn21.

Did Wayne Manor ever expand its set beyond the living room? The living room reminded me of Lex's office in SMALLVILLE; he ate there, worked out there, had his medical examinations there, held every meeting there, sat around with Clark there -- I honestly think he may have even slept there and that his bedroom was a corner of the Luthor mansion's office set with a bed shoved against the wall.

What was up with recasting Poison Ivy? What was up with recasting her AGAIN? Did that make sense to you? And was there ever any rationale for why Pamela Isley was given the name "Ivy Pepper" in the first season?

What was up with recasting Selina Kyle for the series finale? Did that make sense to you?

Did Batman as played by David Mamouz work for you in the finale?

Did you feel compelled to watch PENNYWORTH and is that anything to do with GOTHAM?

Were there any spin-off media tie in materials that you didn't consider canon?

Were their any mythology-legacy oriented cameos that you liked or didn't like (in the way Teri Hatcher, Dean Cain, Sam Witwer and Helen Slater were on SUPERGIRL)?

Was there ever any difficulty handling the sexuality of the Poison Ivy and Catwoman characters given the extremely young age of the actors playing these extremely sexualized-in-comics roles?

Were you happy with the origin of the Joker? What did you like? What didn't you like?

Was there ever the SMALLVILLE sense of the characters experiencing every major event of the SUPERMAN/BATMAN mythos before they ever even became their costumed selves?

Were you happy with the show?

2,949

(1,683 replies, posted in Sliders Bboard)

The one thing that makes me unsure about Tom Welling playing Superman in an ARROWVERSE return -- Tom doesn't look like SMALLVILLE's Clark Kent anymore. He looks more like John Winchester. See here: http://sliders.tv/bboard/misc.php?actio … mp;preview

Tom has aged. The truth is, he probably aged this much on SMALLVILLE over 10 seasons, but he took certain measures to keep playing a young man. He worked out intensely except for the summer between Season 4 and Season 5 when he returned to the fall production overweight after what he called "a summer of gluttony" where the pressure of Seasons 1 - 4 had him spend the summer eating everything in sight and not exercising. He was constantly shaving and had heavy makeup to keep a smooth complexion, he was likely dying his hair, he had to have been on a specific diet and exercise regimen to have a muscled yet sufficiently narrow physique, he was most likely deliberately dehydrated for shirtless scenes. He likely had a dermatologist giving him daily facial treatments. The only reason to do any of that craziness is to look like a CW superhero.

Since then, Tom has stepped away from such roles. He has widened at the midsection. His hair has silvered. His face is weathered. He's lost the specific musculature he had during SMALLVILLE. For SMALLVILLE, he kept himself looking 25 for 10 years. He's now allowing himself to look 42. He doesn't look like a superhero anymore and I'm not sure if he would want to or if he should even be asked to. Surely Mr. Welling has done his time and given us everything he could (except a final shot of him in the costume which wasn't bright, but Welling's creative instincts for shepherding the SMALLVILLE could be needlessly fundamentalistic at times).

He's said himself that he has aged (because he let himself) and he doesn't know if it would be good for fans to see him as he is now playing Clark Kent. If Tom were still playing his SMALLVILLE role today and the show hadn't ended with Season 10, I can't see him staying 25, but I also don't think he would look the way he does now. Likely, he'd have the same widened frame but with muscle instead of fat and he'd have the smooth complexion he had before. And that might be a bit much to have him affect for a guest-appearance. I say let Tom Welling drink beer and eat corndogs in peace.

TF's thoughts take me back to something TF once said (how circular!). TF remarked that people when conceiving alt histories for SLIDERS can get overly fixated on looking at the past to find an alternate present. Instead, alt histories and parallel Earths work best, TF said, by looking at the future, looking at where the world might be going and having the parallel Earth reflect some imagining of what is to come. TF pointed out that the hotline to report suspicious activity in "Summer of Love" is now a reality, that a shock jock becoming President in "Young and the Relentless" isn't far from reality, that abandoning a city to a natural disaster in "El Sid" is an extreme representation of certain parts of the States and that good science fiction is facing what might becoming next.

I do hope STAR TREK will continue to offer us comfort in troubled times, not necessarily through familiarity of format and formula, but in assuring us that we have infinite capacity for good within us and that it is possible that our best will prevail. I know Captain Picard and Data coming back can't promise us that things will work out just as Quinn, Wade, Rembrandt and Arturo's returns alone would not save us. But they can tell us that it's possible for our world to be better. That we can still do it. That would be enough.

2,951

(15 replies, posted in Sliders Bboard)

Transmodiar wrote:

Were some of the comments in this thread deleted? Why?

I didn't delete them. I moved them to Random Thoughts because if SliderNum5, JWSlider3 and Grizzlor feel my tangents are distracting from a sensible discussion of Marc Scott Zicree, then I felt I had to defer to them. It is no trouble to post my tangents in a different thread and it will make others here happier.

2,952

(1,683 replies, posted in Sliders Bboard)

My niece, despite having never seen ARROW, wondered how it would handle Season 8 without Emily Bett Rickards as Felicity. My response: I think Season 7 has done a good job of handling an unfortunate situation and I think Rickards, having fulfilled the six year contract she signed after her Season 1 guest appearances, has completed her obligations.

Season 7's flash forwards have established Felicity's life from post-Season 7 right up to Season 27 of ARROW. Even if we don't see her in Season 8, we know why she and Oliver are apart. We know where Felicity is. We know what she's doing. We know how her story on the show ends. We know that she and Oliver will be reunited and if we don't see it on camera, we know it will happen shortly after the series concludes. Knowing Felicity's whereabouts and activities during Season 8 isn't the same as having Felicity for Season 8, but the writers have made the best of it.

**

DC Co-Publisher Jim Lee revealed recently that DC Comics' digital sales are flat. That people love DC characters on TV and in film, but they aren't buying comic books digitally (and print sales are continuing to decline). I've said this before: I used to think I was a comic book fan, but I'm not. I read comics because it was the only place to find superheroes.

With superheroes in the cineplex and on streaming services, it doesn't make sense to spend $5 American on one issue of an a SUPERMAN or an X-MEN comic.

The comic book industry is really the superhero comic book industry, a genre that dominates the market, and the superhero comic book industry is failing to justify its existence. HOUSE OF X #1 cost $6 and each subsequent issue costs $5! To follow the X-MEN, SPIDER-MAN and AVENGERS line, you have to spend about $100 a month on 20 comic books that you could read in an hour.

Jim Lee wondered how he might drive more people to buy monthly comics which, to me, is like wondering how to convince more people to buy film cameras or visit Blockbuster to rent VHS cassettes. Over time, these financial models offered terrible value to the customer. Comics offer terrible value for the money. The prices for digital are the same as the prices for print versions.

If comics are to continue as anything beyond research and development for TV and film projects, the monthly 20 page pamphlet format is unworkable. The hackwork of the 1960s that filled these pages with slapdash content will no longer serve. The cost of hiring writers and artists at better rates to produce better 20 page pamphlets has led to a format that is unaffordable for potential readers.

I think the monthly format is no longer workable whether it's in print or digital. A better format might be a quarterly magazine or graphic novel released digitally and in a prestige print format that is the equivalent of the trade paperback collections. In addition, comic books have become so expensive for a consistently dwindling superhero audience: the medium desperately needs to branch out to a wide range of genres. It'd be ridiculous to go to the movies and only ever find medical dramas. Comics need to wean themselves off this overdependence upon superheroes.

If I wanted to save comics, I'd probably look at genres and demographics that are deeply underserved by film and TV. Right now, it's slacker comedies, romcoms, monsters and spoofs. And then I'd aim to produce product that can function in this quarterly or bi-annual format at a price point that offers a better value proposition to the reader.

Spending $5 on a 20 page pamphlet is insane; spending $20 - $30 on a 250 page magazine might make more sense. And the superhero magazines should be written so that casual readers can appreciate what's going on the way most cineplex goers could easily understand AGE OF ULTRON whether they'd seen the previous films or not.

For superheroes, it would be very hard to leave the monthly market, but that market isn't really working anyway. I wonder if the shift could happen gradually. It would require some upfront investment where as the monthly AMAZING SPIDER-MAN and SENSATIONAL SPIDER-MAN are being produced, different teams produce the quarterly magazine content for the following year.

Once the superhero model shifts to the titles receiving four to five 300 page magazines every year instead of one a month, there will likely be a protest that without a monthly supply of new product, the existing market will collapse. While that will happen regardless, DC and Marvel might attempt prequel/interquel material in the same way STAR TREK novels and comics offer prequels and sequels to the TV shows and movies. The magazines should be aimed at a mainstream audience; AMAZING SPIDER-MAN 2020, Volume 2 should work for people who might never have read the comic before.

However, between each of the four volumes, you could have SPECTACULAR SPIDER-MAN, a monthly pamphlet that might offer additional setup for plot points in the quarterly or could tell stories set in the past. These would be the more intricate, Netflix-series style stories while the quarterlies show the big events.

Or, going back to STAR TREK, the quarterlies would be like STAR TREK (2008), INTO DARKNESS and STAR BEYOND while the monthlies would be like the COUNTDOWN prequels that explained how the TNG cast were involved in the Romulus crisis and why Khan went from looking like Ricardo Montalban to Benedict Cumberbatch. (I don't think BEYOND got any tie-ins.)

Diehard fans who want monthly comics will appreciate extra tie-in content and see the connections with the quarterlies; casual readers need not buy them to appreciate the quarterly magazines. I suspect that as the monthly market fades away, these tie-ins can dissipate as well.

And ideally, the tentpole quarterlies wouldn't just be superheroes.

2,953

(686 replies, posted in Sliders Bboard)

Responding to a post in the Marc Scott Zicree thread:

ireactions wrote:

I'd like to apologize for my tangents. I felt they were related to the topic at hand, but if JWSlider and Grizzlor disagree, then I trust their judgement and have moved the posts to the Random Thoughts thread. And I encourage all of you to go there and exercise your Temporal Flux given right to call me an annoying weirdo. I support that. Love you all.

Slider_Quinn21 wrote:

Ha, I like your tangents.  #VoteIreactionsTangents2020

While I appreciate your support, I'm going to ask you to defer to others on this one. I confess don't fully grasp why every thought provoked by the name Marc Scott Zicree isn't relevant to the thread. But it's important to respect other people's positions even if we don't understand them so long as those positions are not ones of bigotry and hatred.

At the end of the day, if Grizzlor and SliderNum5 and JWSlider3 want to have a sensible discussion about Marc Scott Zicree as opposed to his relevance to my personal life, then I respect it fully and will behave accordingly. This is their board too. It is no trouble to create the appropriate quotes and post such content in the Random Thoughts thread.

I guess, because our threads on Informant's legacy and our Marvel Cinematic Universe thread have invariably meandered into politics and superheroes from different companies, pondering Zicree and the morals of deception and the question of redemption and the mental conflict of being friends to both Temporal Flux AND Transmodiar seemed germane to me. Others disagree and at the end of the day, I don't rule this forum; I serve it. I work for all of you.

2,954

(15 replies, posted in Sliders Bboard)

Some posts from this thread have been moved to Random Thoughts:
http://sliders.tv/bboard/viewtopic.php?pid=8910#p8910

I'd like to apologize for my tangents. I felt they were related to the topic at hand, but if JWSlider and Grizzlor disagree, then I trust their judgement and have moved the posts to the Random Thoughts thread. And I encourage all of you to go there and exercise your Temporal Flux given right to call me an annoying weirdo. I support that. Love you all.

2,955

(934 replies, posted in Sliders Bboard)

It'd be interesting to contemplate what Marvel TV shows would be like if Joss Whedon had stayed with Marvel after AGE OF ULTRON and continued to be the bridge between the film division and the TV branch.

That's pretty awesome! Thanks for backing that, Grizzlor.

Meanwhile, some of us are still watching CHAOS ON THE BRIDGE on streaming and mean to get around to watching THE CAPTAINS someday.

2,957

(1 replies, posted in Sliders Bboard)

Well, I'll definitely watch this. I mean, I once watched the entire first season of the TRANSFORMERS cartoon because TF spoke well of it in passing.

2,958

(686 replies, posted in Sliders Bboard)

Grizzlor wrote:
JWSlider3 wrote:

Ireactions, not really sure what any of that has to do with the topic.

Glad I wasn't the only one.

I saw these connections between my ramblings and Marc Scott Zicree:

Slider_Quinn21 wondered: is Zicree's pleasant, cheerful Mr. Sci-Fi persona when reviewing DISCOVERY and THE ORVILLE sincere or is it all a mercenary, self-serving act to promote his personal project, SPACE COMMAND? I feel Zicree is doing both because people can often be multiple things at the same time.

Duality

  • Zicree has frequently spoken about SLIDERS. Everything he's said about Season 4 is true, but everything he's said has also, in totality, been misleading by using select facts and deliberate omissions to leave false impressions. He is both a truthful, honest person AND a liar (by way of factual exclusions). Zicree is a unique sort of liar. Most people lie to gain sympathy or reputation; Zicree lies to be kind to people who haven't been kind to him, possibly out of professionalism, possibly because he believes people are capable of change.

  • Cleavant was friends with David Peckinpah despite being aggravated by him; Temporal Flux says it was a simple professional networking association, but Transmodiar says it seemed to him to be a respect for how Peckinpah was a family-driven man like Cleavant. My take: it was both of these things just as Zicree is a truth teller/liar, an ardent sci-fi reviewer/self-promoter.

  • Zicree had dinner with Transmodiar back when Transmodiar was the living embodiment of assholery. Zicree is having dinner with Transmodiar again when Transmodiar has matured into the dictionary definitions of kindness and indulgence for others (or at least me). Both versions of Transmodiar are the real Transmodiar. You can still see the earlier version of him in the current incarnation of his personality, but his acidic traits have been softened by time and humour and empathy.

SLIDERS is an intensely personal series to me and talking about it frequently brings my personal experiences to mind. Feel free to ignore them.

2,959

(686 replies, posted in Sliders Bboard)

JWSlider3 wrote:

Ireactions, not really sure what any of that has to do with the topic.

I think these MSZ commentaries are a pretty cool idea, maybe if they are well received maybe more will follow.

Also since when is being positive about your experiences lying?

I was going to write something to respond to you about how Zicree sometimes says things that are totally true while leaving an impression that's utterly false and how Zicree can have different goals that are in opposition but not mutually exclusive... but then it's pretty much what I already wrote above, so I can't answer your question any more than I already have.

2,960

(686 replies, posted in Sliders Bboard)

Responding to the Marc Scott Zicree thread ( http://sliders.tv/bboard/viewtopic.php?id=342 ) with personal commentary:

Slider_Quinn21 wrote:

He seems like a really nice, genuine person who really enjoys science fiction and writing good stories when he's on YouTube.  It could be partially an act (he uses essentially every video as a way to sell his show Space Command - literally), but I couldn't say for sure.

I think it is entirely an act. I think it's completely sincere.

Cleavant Derricks said in the EP.COM 2000 interview that he stayed with SLIDERS "for the fans." In on set footage from 1996, he's recorded saying he'll stay with SLIDERS no matter what because he has children to raise. Could it be both?

Cleavant was very upset with John's firing, with Sabrina being driven off the show, with the unedited teleplays he was made to perform. He was friends with David Peckinpah. Temporal Flux says that so Cleavant could further his career with a member of an influential Hollywood family. Transmodiar says Cleavant loved his family, observed that David Peckinpah loved his family -- and focused on that part of Peckinpah to socialize with him. What if it's both?

Maybe Zicree loves being "Mr. Sci-Fi," loves reviewing DISCOVERY and THE ORVILLE and also seeks to promote the shockingly generic title that is SPACE COMMAND? We can decide to behave in ways that are both self-serving and kind towards others and we might modulate our demeanors to perform both functions and the artificiality of our temperament could be a choice made with sincerity and honesty.

Transmodiar wrote:

I'm having dinner with him again tomorrow night. I will be sure to pass along any and all theories you feel merit his attention. (I actually won't.)

Zicree has clearly made a choice in his life to forgive others and give them some space to change and improve without his recriminations to hold them back. As we both went to journalism school (as did Slider_Quinn21), we know that the best responses from subjects are when the subject is asked questions they already want to answer whereas inquiring about subjects they don't want to get into will make them clam up.

Zicree doesn't want to talk about Jerry coming to set wasted; he wants to talk about the writer's craft and also, Jerry no longer comes to sets drunk, so it's best that a Hollywood veteran not spread that around. People can change.

Transmodiar wrote:

I was charming and inoffensive

That's good to hear.

I have often wondered at what point Transmodiar became what he is today, because he wasn't always. Let's sit in our armchairs for psychoanalysis and look at Transmodiar. Transmodiar caused great anxiety and distress for Temporal Flux back when SLIDERS was on the air and for a year after the cancellation. Transmodiar convinced the Bboard that the Robert K. Weiss fan chat was fake. Then he confessed that the faking was fake, but that severely dented the fans' trust in TF and Weiss' comfort in engaging with fans. As far as I can tell, Transmodiar gave Temporal Flux post traumatic stress.

After that, Transmodiar got married, fathered children and something in his mind shifted.

I once remarked that I could not see the volatile, deranged prankster of 1995 - 2001 as the constructively critical person of gentle jokes and indulgent patience that I've known since 2014. However, looking at Transmodiar's posts of the 1995 - 2001 era with a keen eye to how he communicates today, I realized this is not entirely true.

Transmodiar's posts to Buffyboy during this period that I call The Dark Age of SpaceTime, for example, trash Buffyboy's website, mock Buffyboy for his age, tell Buffyboy that his site is coded and laid out in a web illiterate fashion. His words tell Buffyboy that he's unskilled, that he will always be unskilled, that he can't get better and will only get worse, and Transmodiar seizes on something Buffyboy cannot control -- the year in which he was born -- in order to fully communicate Buffyboy's worthlessness.

In 2014, Transmodiar reviewed my SLIDERS REBORN prequel novella outline and sent me his feedback. 2014 was the height of my anxiety disorder where I was often afraid to go outside without a female companion to tether me to Earth. My social anxiety was so bad that sometimes, if my friends weren't available to join me for certain events, I would use a friend-renting agency and rent myself a date for the evening.

I dreaded Transmodiar's feedback. I expected to get the same treatment as Buffyboy.

Transmodiar's message to me was not positive. Transmodiar's message was also not like his comments to Buffyboy. Comparing Transmodiar's criticisms to me with his message to Buffyboy, I now notice similarities: the criticism cuts to the core, but for me, he has done it in a gentle, joking fashion that is without caustic acidity or damaging cruelty.

The original SLIDERS REBORN prequel novella: a woman is seeking lemon bars in her favourite bakery only to discover they're all sold out. A strange man approaches her, offers her his lemon bars if she will listen to his story. She agrees and he tells her the entire story of Seasons 1 - 5 and how he has been erased from reality due to a sliding accident, but if this woman can search her memory and remember him in some way, he will be reanchored to this dimension. He tells her that his name is Quinn; Amanda recognizes him as her son and Quinn is saved.

Transmodiar's reactions included:

  • "This took me like an hour to read, so it'd be like two hours to hear it out loud. NOBODY would listen to a crazy person telling a deranged story for two hours in exchange for 20 - 30 bucks of baked goods."

  • "You start out being hyperdetailed about sliding to introduce it on the ground floor, but by the end, you're referring to individual Kromaggs by name; I've watched the series more than anyone ever should and I don't remember who the hell these people are."

  • "I'm so confused: there are so many sliding machines in this story! One saves the Azure Gate Bridge world. One is destroying the multiverse. And then all the sliders die and then a third machine brings everyone back to life? Huh?"

  • "I don't get it: Quinn's been erased from existence and no one remembers him. But later on in the outline, all the sliders are joking about Season 3. Why do some people remember Quinn if your whole conceit is that Quinn doesn't exist anymore?"

  • "You've stitched together a bunch of random set pieces that do not make sense and cover up the lack of plot with continuity and violence. What are you trying to accomplish? If it's a back to basics story, why is it so wrapped up in what came before? If it's a character oriented piece, where is the character work?"

  • "What are you trying to accomplish?"

The criticism that Buffyboy experienced from Transmodiar is there. But note the shift: the focus is no longer on putting someone down, making them feel stupid, making them feel worthless.

Instead, the focus is on Transmodiar's personal, individual, subjective experience of the material and why the content is confusing him, disorienting him, providing him with contradictory details and premises that are mutually exclusive. Transmodiar is explaining how my first draft is providing tangled, garbled, confusing information and does not have a clear goal in mind for the information it presents.

Temporal Flux insists that Transmodiar is the same person he has always been and that nothing has changed. TF and I are in 'disagreement' on this. I could concede that Transmodiar is still who he was before, but he has become more than that as well. I could agree that Transmodiar hasn't 'changed,' but he has broadened. He used to be a hammer; now he has the full toolbox.

You can see the Buffyboy-directed edge in his comments to me, but that edge in his messages to me has been tempered with precision, direction, consideration and making sure to aim for the content instead of the person. His criticisms are as personal as ever, but the personal element is his own response rather than trying to hurt someone. He used to be cutting. He's now cutting and kind. He's both.

(Is this what becoming a father does to you?)

Because Transmodiar spoke to me in the way he did, I was able to address all the problems: I altered the story so that Quinn, instead of telling the crazy story of sliding to his mother, is telling the crazy story of sliding to a psychiatrist in the mental institution where Quinn has been incarcerated. I had the psychiatrist raise the inconsistencies in Quinn's erasure and whether or not others would remember him so that Quinn could explain his partial restoration as "a secondary revision of reality." Later on in the outline, I started writing individual script pages for certain scenes to get the voices of the characters into the story and put in the character work that Transmodiar saw was missing.

Transmodiar has caused Temporal Flux great anxiety. But Transmodiar cured mine. Transmodiar cut away my nervousness, my fear of criticism, my insecurity over how people might perceive me and taught me how to relax and accept criticism and act upon it, not necessarily with the solutions proposed by the critic, but with solutions that were informed by it.

Does that balance anything in this cold and lonely world? Does the good he did for me in any small and minuscule way negate the evil he did to Temporal Flux?

I dunno. Do I look like a moral philosopher to you? As with all debates and conflicts, we must turn to someone who has achieved balance, someone who knows the razor edge of existence and tightrope walks across it with aplomb. Slider_Quinn21, you're up.

2,961

(934 replies, posted in Sliders Bboard)

I haven't seen FAR FROM HOME, but that puts me in the same position the AGENTS OF SHIELD writers were in when conceiving their Season 6 threat. What about the Avengers Initiative? What's their situation post-ENDGAME? The AOS writers decided not to refer to what they didn't know.

However, even if the Marvel Film and Marvel TV connection were intact via Joss Whedon and even if the actors were willing, available and affordable, AOS could not have brought the Avengers into the Izel storyline.

If AOS had been in the ENDGAME and FAR FROM HOME loop, I can only see the references being made by having Daisy declare that they can't call in the Avengers because if Izel possessed Hulk or Dr. Strange or Captain Marvel or even Ant Man, she'd kill all of SHIELD in a second.

The AOS writers have said that the uncertainty of whether Season 6 would air before or after ENDGAME was also an issue, in which case such a scene might have been filmed twice: once with specific Avengers named, once without specific names, and both times establishing the same effect: The anti-possession devices are ultimately devices. They're breakable and possessing a human is bad enough. SHIELD cannot call in any more superhumans. Yoyo is already a liability.

That's the only Avengers tie-in I see being possible. Season 6, whether by accident or design, created a villain who made it unwise to bring in any Avengers.

2,962

(934 replies, posted in Sliders Bboard)

Man, why do you have to take the joy out of everything by overanalyzing it in terms of canonicity and continuity and event scale and impact? Why do you have to write 6,500 word novellas explaining what happened to Henry the Dog or spend months crafting two lines of dialogue to wrap up Colin's clone storyline? Why can't you just enjoy and be amazed? What happened to you to make you like this?

(Above are all things I feel Slider_Quinn21 should say to me.)

**

I think it would be difficult to transition AGENTS OF SHIELD Season 6 into a parallel Earth and insist that it is just as significant as the Earth of Seasons 1 -5. Surely the team wouldn't want to do anything other than get home. However, Slider_Quinn21 makes the insurmountable argument that an Earth which makes no reference to 50 per cent of all biological life being erased and then brought back five years later is ALREADY a parallel Earth.

I have no good response to that aside from saying that if that is indeed the case, I would be disinclined to draw attention to that.

**

From a behind the scenes standpoint, even if AOS' writing team had known ENDGAME's story, their options to tie in would have been limited. I can't see them changing Season 6 significantly or even at all.

Removing 50 per cent of their contracted and regular cast would be financially unworkable; even if the actors don't appear, they still get paid. Setting Season 6 five years after Season 5 might have been an option, but they could not have done it too overtly. If ABC's airdates shifted, AOS would spoil ENDGAME's endgame.

Even if AOS had known of ENDGAME and set their timeline accordingly, they still would have been able to refer to ENDGAME as much as they did in the end -- which is to say not at all.

However, when watching the show... I continue to feel that AGENTS OF SHIELD is set after ENDGAME and concurrently with the events of FAR FROM HOME (which I have not seen).

I think that the Snap took place during the Season 5 finale after the Zephyr touched down in Tahiti. Everyone vanished: the entire SHIELD team, Deke, everybody. Five years passed. Then the Hulk brought everyone back in ENDGAME. Nobody remembered having been absent. The team bid their farewells to Coulson and May, flew off in search of Fitz -- and then realized in mid-air/mid-holiday that what they perceived as a split-second had been a five year time jump. Everyone went into counselling or shrugged it off, and we picked up with the characters one year after the reversal.

Why wasn't it discussed? We don't see everything. We don't see the characters use the washroom or eat three meals a day. We never even saw how Fitz rescued Simmons from the HYDRA world when the last shot we had on the location showed Fitz losing his grip on her hand. We never saw how Agent Davis escaped Aida. The narrative force of the scene cut is not to be doubted.

Creatively, I feel this was the intention, although the offscreen events covered by the cut are far greater than AOS expected. They expected that they were leapfrogging over a year; instead, their approach is now bounding over five to six years.

Looking back at the last five seasons of SHIELD, perhaps I'm being disingenuous, but the Snap seems like one of SHIELD's lesser situations. In Seasons 1 - 5, SHIELD was exposed as a HYDRA cell, Inhumans were awakened across the globe, HYDRA unleashed HIVE, SHIELD faced a man with a flaming skull, killer robots mounted an AI apocalypse, the team was trapped in a virtual reality where HYDRA won WWII, monoliths sent everyone to the future, and then the team got home and spent half a season walking down one empty hallway after another and fought the lead of Disney's LIV AND MADDIE.

After all that, being erased from reality and then reinstated five years later with no memory of the experience is one of the least important things that has ever happened to these people. They fought Liv & Maddie! Liv & Maddie! This Snap-Blip nonsense that they don't even remember would barely register.

That's what I keep telling myself anyway.

2,963

(1,683 replies, posted in Sliders Bboard)

This is a ridiculous and unreasonable complaint, but when SUPERGIRL was first announced and when TITANS debuted and when BATWOMAN was launched, it always struck me as absolutely bizarre that we have all these spin-off shows but we don't have the core characters for these different DC families.

In 2006, the Wildstorm 'adult' superheroes line (populated by imitations of DC and Marvel heroes) relaunched its titles: WILDCATS (a bit of an X-MEN knockoff) and THE AUTHORITY (a JUSTICE LEAGUE pastiche) along with other titles such as MIDNIGHTER (Wildstorm's Batman), STORMWATCH: POST HUMAN DIVISION (basically AGENTS OF SHIELD), GEN 13 (an X-MEN/TEEN TITANS knockoff) and a few others. However, due to various production problems, WILDCATS and THE AUTHORITY didn't come out on time or at all even though the other titles did.

It was almost as though SUPERMAN, BATMAN and JUSTICE LEAGUE failed to make it to comic stores and readers had to make do with SUPERGIRL, BATWOMAN, GREEN ARROW, TEEN TITANS, LEGENDS OF TOMORROW, BLACK LIGHTNING and, uh, AGENTS OF SHIELD.

When I look at the CW shows, I can't shake the feeling that we're looking at spin-offs of core shows that were never made. It's weird and it's too late to change it.

2,964

(1,683 replies, posted in Sliders Bboard)

Slider_Quinn21 wrote:

Now I can't remember....was the John Wesley Shipp version of Flash that appeared in Elseworlds ever referred to as Barry Allen?  If so, it sorta opens up the doors for "fraternal doubles"  - which would open up the door for a Justin Hartley Oliver Queen or a Tom Welling Superman.

I also neglected to bring up the idea of a Alan Ritchson Aquaman showing up in Crisis.  Or my personal favorite, Kyle Gallner as Bart/Impulse.

I think Shipp represents an older Barry’s appearance whether he’s playing Barry’s father or an alternate Barry.

2,965

(15 replies, posted in Sliders Bboard)

I have two sets of thoughts on this.

The first: Zicree is a very interesting person. It is always a pleasure to hear him speak. He imparted wisdom to Temporal Flux that we still receive from time to time (such as how to decode an exit story to determine the circumstances under which an actor left the show).

Dinner: Zicree had a nice dinner with Transmodiar in the early 2000s (I think) under circumstances Transmodiar has declined to share as the result of events Transmodiar would prefer not to divulge. I assume this was when Transmodiar was a volatile firebrand and before Transmodiar became an indulgent, self-effacing goofball. If Transmodiar during this meal was anything like his message board posts of the era, we should be impressed that Zicree didn't put Transmodiar's face through a restaurant window but instead let him grow up into the very sweet and patient man he is today.

(The amount of work Transmodiar put into SLIDERS REBORN was insane. "Indulgent" and "patient" are understating it.)

I'm sure that Zicree's audio commentary on "World Killer" and "Slidecage" (and perhaps "Genesis" and "Revelations"?) will prove enlightening with regards to the craft, structure, pacing, plotting, characterization and visual realization of a TV episode.

Second Thoughts: However, and this leads into my second set of thoughts: Zicree has been less than honest regarding Season 4. In every exchange, he declares that he accomplished everything he set out to do, that he was happy with giving input into nearly every episode of the season, that he was pleased with his work, that he was sorry not to return for Season 4, that Jerry O'Connell was splendid, that Bill Dial was great, that David Peckinpah was lovely and that the only bad thing Zicree has to say about the season is that "The Chasm" was awful.

Courtesy of Temporal Flux, we know full well that all of the above is technically true but misleading. TF has called Zicree a master of tact (or, as I'd call it, a master of lying). TF explained that Zicree communicates very indirectly when expressing dis-satisfaction.

TF's behind the scenes information and the circumstances, interviews and information indicate that Zicree:

  • Won the story editor job through an interview with Peckinpah where Zicree reiterated everything Peckinpah said in a paraphrased repetition that convinced Peckinpah that Zicree was either a genius or a controllable yes-man.

  • Provided David Peckinpah with 10 pages of corrective notes on "Genesis"' portrayal of the Kromaggs and error with a double of Quinn's mother that were summarily ignored (and caused Peckinpah and Dial to view him as an annoying interloper).

  • Pressed for Wade to be written out in a way that wouldn't demand the characters to focus on finding her (rejected).

  • Pushed for Sabrina Lloyd to be hired as a guest-star to rescue Wade and send her off (couldn't be done with Sabrina declared she'd never come back after "Genesis" aired).

  • Argued for Wade's status to be reported upon by a fellow Kromagg prisoner who would assure us that Wade had escaped (rejected).

  • Sought for the Kromagg breeding camps to be explained as a necessity due to the Kromaggs being sterile (grudgingly carried out with 'The Dying Fields').

  • Created the Season 4 arc in which Quinn is tricked into thinking he is Kal-El of Kromagg Prime.

  • Sold "Revelations" as a season finale story where Quinn discovers that the Kromagg Prime backstory is a sham and that he's been used as a pawn to unlock the Slidecage and allow the Kromaggs to retake their former home.

  • Saw his story arc overturned when Peckinpah and Dial, displeased with Zicree's interest in rewriting scripts, reworking stories and doing his job instead of drinking and playing solitaire, declared that "Revelations" would no longer reveal Quinn's backstory as false -- simply to upset Zicree and drive him away.

  • Gave up on Season 4 after "Slidecage" and stopped doing anything beyond the contractual minimum (if not less), presumably turning his attention to his MAGIC TIME project and his ANIMORPHS scripts.

  • Decided not to bother returning for Season 5 and was replaced by (shudder) Keith Damron.

The Spin: But yes. Peckinpah was fun to work for if you didn't care about what you were producing. Bill Dial was indeed great when writing his own scripts: check out the real-time interrogation of the sliders in "Prophets and Loss." Jerry O'Connell put a lot of passion and effort into "World Killer." Zicree did give input into Season 4 scripts; whether his input was integrated is another question entirely. And Zicree did accomplish most of what he wanted with his two scripts of the year ("World Killer" and "Slidecage"). Zicree's impressive ability to focus on the positive, however, doesn't mean the negative ceases to exist.

The Best Liar: Zicree is the kind of liar who lies by telling you only things that are true, his omissions serving to create a false impression even though nothing he said was a lie. And his lies are never to make himself look better. Instead, it's to be merciful to others. As a result of his lies, Zicree:

  • Doesn't get a reputation for speaking poorly of previous employers and being ungrateful.

  • Avoids declaring a negative opinion of someone that is stored in perpetuity when that person might change and grow.

  • Forgives others their trespasses by refusing to dwell on their misdeeds and harm, instead choosing to move forward and allow those who hurt him to one day move on as well.

Alternate Feelings: TF and I are somewhat in 'disagreement' regarding Marc Scott Zicree and Wade. ("Disagreement" is too strong a word.) TF thinks that Zicree didn't have a concrete plan for what to do about Wade beyond creating hope for fans that she was out there and that the SLIDERS might find her. TF actually talked to Zicree, so we should absolutely go with his perspective.

But personally, as someone who has watched a ton of Zicree teleplays on CAPTAIN POWER, BABYLON 5, REAL GHOSTBUSTERS, JAMES BOND. JR., DEEP SPACE NINE and MANTIS, I find myself not aligned with TF on this front. I feel that Zicree writes very purposefully; he understands the medium of TV, that every story element is an expense and an effort for a rushed production whether it's live action or animation. Any detail Zicree presents is there to serve his story, whatever that might be.

What was the Plan? I can't see Zicree wanting the sliders to know that Wade was out there or claiming that Wade's absence wouldn't take center stage unless he had a purpose for that story element, a goal in mind for it, and a plan to make it happen.

My supposition is that Zicree simply intended for Wade to be missing, presumed leading the resistance, in "Genesis" or sliding alone with a stolen Kromagg timer -- and the rape camp element caught him off guard and was likely a point of contention in his 10 pages of corrective notes.

Likely, in Zicree's mind: if Sabrina Lloyd could return as a guest-star to portray Wade as a resistance leader or a solo slider, fantastic. If not, guest-characters could tell sliders that they'd met Wade and that she was doing fine, an idea clearly floated in the writer's room as it was released to the fans as part of the Season 5 sting operation of a stream of rumours to identify the Expert's source.

Buried Deep: I could be wrong about Zicree's plan and purpose, but I feel it safe to think he had one. I don't think TF is wrong in any of his information; I just think there is more to Wade in Season 4 than what TF has discovered (or chosen to share). That additional information may be lodged deep in Zicree's consciousness, unspoken and unvoiced, buried so deep under professional goodwill and personal charm that Zicree may be functionally incapable of offering it.

I may be wrong about this. I have no factual basis for any of this. It is a feeling. An extremely personal one and in no way an objective, unquestionable truth. Those who seek such truths should go to Temporal Flux.

The Commentaries: I could be wrong, but I feel that Zicree will continue to be less-than-candid when it comes to the troubled circumstances behind the production. I don't think he's going to touch on David Peckinpah's drug addiction, Jerry's alcoholism, the resistance to his editing scripts, Bill Dial's dependent personality disorder, Bill Dial's fixation on Solitaire, the casting of Charlie O'Connell, the infamous Scene in "Mother and Child" or the way Zicree was spitefully barred from completing his story arc.

Zicree is not going to talk about rape camps (or write about them). Zicree has cultivated a very specific online persona: Zicree is Garfield. Zicree is instant cinnamon oatmeal. Zicree is inoffensive gentleness. Zicree is an almond milk milkshake with sugarless sweetener. Zicree only courts controversy within his script pages.

I think Zicree will continue to offer his insights on the craft of writing but touch only not at all on the circumstances of Season 4. Like a healthy adult, Zicree shrugged off SLIDERS' failures and moved on with his life. He didn't spend two years of his life writing fan fiction screenplays for SLIDERS.

And maybe that's for the best.

I don't want to watch SEAQUEST. One cancelled-on-a-show cliffhanger that haunts me is quite enough for one lifetime, thank you. But I'm really looking forward to hearing Tom and Cory talk about yet another TV show that I have never seen and seeing it through their eyes. I feel like I've watched THE FLASH (90s edition), QUANTUM LEAP and VOYAGERS! when I haven't, and I feel like I could successfully bluff my way through any conversation about these shows.

2,967

(934 replies, posted in Sliders Bboard)

I dunno. It's hard to say because I am completely resigned to superheroes coming back from the dead and it's convinced me that Quinn and Arturo will also come back someday. I feel like Robert Downey Jr. is done with Marvel contractually... but even then, I feel like at some point, we'll get Corey Fogelmanis playing out the teen Tony from the past storyline at some point. Onscreen, Black Widow is defined by the fact that she's played by Scarlet Johannson who is a performer of rare talent and charisma. She's great in WINTER SOLDIER, but she's primarily a chameleonic blank slate.

I did have this joke I was going to make where you, Slider_Quinn21, were grousing about David Mamouz being too short to play Batman and I was going to ask why Batman brings out the worst in you: first your hatred for old people by raging about how Ben Affleck is too old to play the character, now your hatred for short people over Mamouz. But then your wife had that miscarriage and I felt I needed to take it easy on you and also, to say you have ever raged about anything is quite an overstatement.

Black Widow is not the hill I want anyone to die on.

**

People love the first AVENGERS. I thought it sucked when I saw it and the thing I hated most about AVENGERS was the ridiculous ending where destroying the Chitauri mothership inexplicably incapacitates all the foot soldiers, a bizarre and nonsensical design flaw that Joss Whedon apologizes for in the AVENGERS audio commentary, explaining that he was extremely tired.

I also thought CAPTAIN AMERICA: THE FIRST AVENGER was absurd in that Steve is nonsensically determined to commit suicide by piloting the bomb-equipped plane away from its target and never considers bailing out before it blows.

Spoilers for the deleted scenes here: https://www.youtube.com/watch?v=gViSJitqG4k








Naturally, I enjoyed some of the ENDGAME deleted scenes released a little while ago. There's one where Rhodey and Steve are reviewing Steve's final WWII mission and Rhodey point-blank asks Steve why he didn't parachute out of the soon-to-explode jet. Steve reacts with a blank stare, grimly realizing that his decades-long hibernation and time-displaced situation are because he got caught up in the moment and missed the obvious.

I also liked the scene where Rocket Raccoon expresses astonishment that the Avengers spent two to three hours fighting the Chitauri, an invading force Rocket describes as "the suckiest army" in the galaxy as everyone knows they're easily beaten by taking out the mothership. Steve explains that the Avengers weren't aware, Rocket laughs in their faces and Tony, who experienced post-traumatic stress after blowing up the mothership, grabs an electric razor and shaves a chunk of fur off Rocket.

2,968

(1,683 replies, posted in Sliders Bboard)

I love Brandon Routh, but I don't know if I can wrap my head around him playing Superman when we have Tyler Hoechlin doing a great job.

Jared Padelecki would, of course, be a splendid Dick Grayson.

**

I really loved the last 3 - 4 episodes of SUPERGIRL in its fourth season. It was a spectacular, heartfelt fantasy with truly troubling threats: a criminal presidency using racial tensions and false threats of border security to consolidate power and engage in tyranny with impunity. A deranged fearmonger who injects himself with a what's essentially a steroid form of chemical hatred.

Then we have a Supergirl who discovers that her cape and tights are a liability, her superstrength and superspeed are useless against prejudice and bigotry masquerading as safety and protection, her values a political self-destruct in this climate of human-first activisms. Supergirl takes on everything we're facing and ends up (mostly) dead.

And then it turns around. Supergirl is powerless. Kara Danvers isn't; her journalism powers turn the tide and she exposes the president and sees him marched out of the White House in handcuffs. Ben Lockwood's life as a social justice activist is exposed too: he is a pawn whose paranoia and fear have been exploited to create a figurehead to prop up Lex Luthor and Lockwood ends up overdosing on chemicalized hate and explodes.

The world of SUPERGIRL was so vivid and true and beautiful and comforting that I didn't want to write about it for so long afterwards because it broke my heart to think that it was all make believe and our world doesn't have a Kara Danvers.

2,969

(686 replies, posted in Sliders Bboard)

I'd welcome being corrected if I'm wrong, but from glancing over the Wikipedia entries and fan sites, saying that Sci-Fi saved ANDROMEDA, POLTERGEIST, OUTER LIMITS and STARGATE seems like saying I saved a drowning man by tossing him an inflatable liferaft even though my next move was to shoot a hole in the side. ANDROMEDA, POLTERGEIST and OUTER LIMITS only lasted one season on Sci-Fi. Sci-Fi only 'saved' SLIDERS in that they commissioned an additional 40 episodes of a show with the same title. ("We think SLIDERS works better with three men, one woman. We don't care which one you keep and we're not taking into consideration the fact that one of those three men was Shakespearean actor John Rhys-Davies.")

MYSTERY SCIENCE FICTION THEATRE 3000 spent its Sci-Fi Channel years being subject to absurd network interference from Sci-Fi's parent company and eventually cancelled over it. However, there was a proper finale and three seasons is pretty solid.

ANDROMEDA, I know slightly more of than the others because I watched the first season (very good) and couldn't even finish the second due to the change in writers. I attended a panel after the show's cancellation that described the budget-strapped, lifeless fifth season that was missing most of the actors for a good chunk of the year and the ship grounded; that doesn't sound like a save to me.

SG-1, Sci-Fi not only cancelled but also barred from finding a new broadcaster in Apple -- which is the equivalent of giving a drowning person a lifeboat, waiting a bit before shooting a hole in the boat, then shooting Steve Jobs when he throws out a lifeline.

So, Sci-Fi as a show-saver -- well, they saved MST3K. I'll give them that. But it seems to me that MGM saved SG-1, not Sci-Fi; Sci-Fi just happened to be in the neighbourhood at the time. And as for ANDROMEDA, OUTER LIMITS, POLTERGEIST and SLIDERS -- did Sci-Fi save them? Or did Sci-Fi prop up four corpses on some sticks and parade them around for a bit? While claiming credit for bringing back the dead? While drumming up a little (low-investment) publicity for their niche network? And while offering a poor copy standing in for the real thing?

(No idea about OUTER LIMITS and POLTERGEIST.)

2,970

(686 replies, posted in Sliders Bboard)

I don't know a ton about Syfy/Sci-Fi's era for saving shows except in the cases of STARGATE SG-1 and SLIDERS. With SLIDERS, Temporal Flux has been clear: the Sci-Fi Channel regime that had been asking to buy FOX out of SLIDERS for awhile left the company after the deal was struck. A new team was at the helm when SLIDERS arrived into the Sci-Fi Channel's hands, and this team was not interested in SLIDERS, not engaged with it and considered Season 4 a contractual obligation to be executed and forgotten. Sci-Fi planned for SLIDERS to fail for both the seasons that it had the show.

They didn't bother to ensure retaining the cast or creators needed to make the fourth season worth watching (and Pete, I beg that you spare me your usual schtick about how Season 4 was always going to be Quinn as Kal-El of Kromagg Prime or I swear to God that I will kill myself and make it look like Executive did it). Sci-Fi planned to cancel it after Season 4 with no concern for its ratings.

With subsequent projects like FLASH GORDON, ALPHAS, DEFIANCE, SINBAD, HELIX, DARK MATTER and HAPPY, Syfy continually cancelled because financially, they didn't want to invest anything but the lowest license fee in their projects. They just wanted to license and air; they would buy first seasons knowing full well that shows get more expensive each year with raises and expansions and would plan to cancel as early as possible. They would plan for failure.

How did STARGATE SG-1 evade the Sci-Fi Channel always planning for their shows to fail? It looks to me like MGM was extremely aggressive in financing the production of the show, putting no weight on Sci-Fi to pay for anything but a license to broadcast it from Seasons 6 - 10. But when Sci-Fi broke up their Friday night block of STARGATE SG-1, STARGATE ATLANTIS and BATTLESTAR GALACTICA, Sci-Fi didn't want to pay any longer. Sci-Fi didn't support SG-1. MGM, however, was completely behind their show and started talks with Apple to create an eleventh season.

Sci-Fi then blocked the eleventh season by enforcing a non-compete clause in their agreement with MGM. While they were within their rights to do so, it says a lot that they kicked SG-1 out of their house and then made sure it stayed homeless, not wanting their hold on STARGATE content to seem diluted, but also not wanting to pay for SG-1 to continue when the studio was willing to do all the work.

Studios working with Syfy these days tend to license shows to Syfy almost as syndicated dramas. IDW owns WYNONNA EARP. Syfy licenses WYNONNA EARP. IDW also sells WYNONNA EARP to international broadcasters. To Netflix. It merchandises WYNONNA EARP. IDW didn't grant Syfy exclusivity. Syfy is merely one of IDW's customers for WYNONNA EARP and if Syfy didn't renew WYNONNA EARP, this model would theoretically allowed IDW to keep making it so long as IDW could continue to pay for it and find someone else to air or stream or sell it.

However, it also meant that when IDW ran into financial troubles (debts, investments, overhead, lack of return on investment), Syfy's Season 4 & 5 renewal became meaningless. Syfy's licensing fee covered a mere 50 per cent of production costs. In this situation, Syfy could have cut their (lack of) losses on a show that they do not own, a show that gives them nothing of its international sales and merchandising profits. Syfy's business practices are designed precisely for them to give up, for their content to fail and be cancelled. All they cared about was the commercials and the ad revenue.

Syfy cancelled WAREHOUSE 13 and EUREKA but because they owned those shows, they gave W13 a short finale season and EUREKA an extra episode. They are not so gracious with outside purchases. My prediction was that as with SLIDERS and STARGATE and DARK MATTER and any show Syfy didn't in-house, Syfy would forget WYNONNA EARP ever existed.

But this time, Syfy stepped up and saved WYNONNA EARP. And this isn't just commissioning one extra episode; Syfy has agreed to a higher licensing fee for Season 4 and the already ordered Season 5 so that IDW's troubles will not impede production. Their investment is astonishing and it doesn't look like the ownership or exclusivity situation has changed significantly. Syfy is unlikely to earn less money from this deal, but it's unlikely that they'll earn that much more. They simply want to continue what has been a profitable business relationship with the studio and the viewers whereas in the past, they've generally given up before they started.

(TRANSMODIAR: "Don't confuse giving up with never trying.")

I hope this is the start of a change where Syfy can be a channel that treats its material and audience with respect and invests in their content and viewers... and at least gives its cancelled shows one or two episodes to wrap up its arcs whether Syfy owns the show or not.

Slider_Quinn21 wrote:

I am interested in how both Voyager and Enterprise seemed to go out of their way to not take advantage of their distinguishing characteristics.  Voyager too-rarely focused on the fact that the ship was trying to get home - the fact that they're stranded in the Delta Quadrant comes up in dialogue but there's never really a sense that it's any more of a problem than the Enterprise was ever in on their weekly missions.  Enterprise, despite being set on a series a couple hundred years before Voyager, did a lot of the same things from the episodes I saw.

All of this is from the two-volume oral history of STAR TREK, called THE FIFTY YEAR MISSION. Braga's pretty frank and some of this is my criticism of his own remarks about himself.

Braga was an intern when he got his first writing job on STAR TREK THE NEXT GENERATION. It was his first professional sale, his first staff position. He became a producer and a showrunner, but the problem, from my perspective: he never learned how to write ANYTHING other than the idiosyncratically structured scripts that would fall within Gene Roddenberry's bizarre content restrictions (no drama, no conflict), restrictions that were largely maintained even after Roddenberry died.

Also, Braga's writing skills: he wrote brilliant high concept episodes of mental confusion and temporal dissonance. What he did not write were character arcs, ruminations on society and human nature, reflections on the world around him. There's a place for that in STAR TREK, but STAR TREK also has to offer thought provoking social commentary and satirical introspection. Braga's stories, when they're not about his high concepts, are about STAR TREK and that in itself isn't really meaningful.

Braga only knew STAR TREK and when he moved to VOYAGER, he ran the show so as to keep telling the extremely limited palette of stories he knew how to tell -- shipbound adventures contained within an episode. As he took over more responsibility for all scripts, his limitations in shepherding other writers became clear: too many ENTERPRISE episodes feature pointless escape-capture chase scenes to stretch out the length.

Braga's organizational skills were also suspect. Writers have described how he would tell them to throw forward their ideas, he'd disappear into privacy, and then come out with assignments. When the first drafts came in, he would personally rewrite all of them into what he viewed as an appropriate template for TREK and fell within Roddenberry's restrictions. Not only were Braga's skills unable to rewrite scripts into effective pieces of drama, the process was exhausting for him and he was not producing his best work in these circumstances. He didn't know how else to work. No one had ever taught him.

One writer, Michael Piller, had a very similar approach to screenwriting. However, Piller thrived on rewriting people's scripts, he had an open submission policy for ideas on his show THE DEAD ZONE and would then personally redraft every episode's screenplay with his themes and character arcs of choice. When Piller got sick and couldn't rewrite anymore, THE DEAD ZONE's third, fourth and fifth seasons featured what were seemed to be first draft scripts unrefined by any showrunner.

Braga was no Piller. At the end of the day, Braga's rewrites were to move scenes to standing sets, to pad out length with repetitive action and dialogue or to remove anything that might offend the deceased Roddenberry's sensibilities. He never learned how to do anything else. Why didn't he leave? I think it's hard for someone to come from nowhere and nothing to running STAR TREK THE NEXT GENERATION and STAR TREK VOYAGER and think you'll ever find another job as good as that. I guess he stayed for the money and because he fell in love with Jeri Ryan.

Braga was also a little spineless. He plotted out a grand origin story for ENTERPRISE, half a season of building the first Earth starship ever -- and folded the second Paramount pushed for the ship to leave spacedock in the Pilot. Now, it seems to me that setting THIRTEEN EPISODES on Earth trying to build a starship is something you need to fight for or your show is just empty product filling a timeslot. And if Paramount fired him for his refusal, SO WHAT? What show wouldn't be happy to hire Brannon Braga? (As a staff writer. Let's not go nuts.)

Around the time INSURRECTION came out, Leonard Nimoy was asked why the response was so tepid, if STAR TREK was dated and tired and irrelevant and should be laid to rest. Nimoy shrugged. My response would be: it was RICK BERMAN AND BRANNON BRAGA'S STAR TREK that was dated and tired and irrelevant. For too long, the franchise was entirely too synonymous with two men who were excellent for the syndicated market of THE NEXT GENERATION. Berman let Ira Steven Behr do his thing on DS9, but when Berman was personally involved in a show and had Braga working with him, their results were tired and staid. Braga didn't know how to run a show. Braga's excellence on THE ORVILLE, I think, speaks for itself. He's a brilliant writer. A great talent. His apologies for his past behaviour and his writing are also revealing. He has a great heart and he was a very crappy and troubled and insecure man who has become a better one.

Showrunning is not for everyone and it was not for Brannon Braga. Or David Peckinpah. Or Bill Dial.

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(686 replies, posted in Sliders Bboard)

So, for years, I've been quietly waging war on the Syfy Channel for its betrayal of SLIDERS, leading a campaign of attrition that has slowly but surely brought it to its knees. (Just play along with me here.)

Uhhhh... but recently, an internationally syndicated show, WYNONNA EARP, was experiencing financial problems. The parent company could not assemble the funds to film the fourth season that they were contractually obligated to deliver. Production stalled. The company engaged in massive stock sales and some liquidation and other restructuring, but despite stability, their debts made it impossible for them to fund WYNONNA EARP's fourth season.

Syfy stepped in and raised their investment in the series so that the fourth season could be made.

After some thought, I have decided to end the war. Syfy need not fear me anymore. They have redeemed themselves for the cancellation of SLIDERS, a psychologically and cosmically devastating event that has rocked our world and the very nature of reality, a terrible misdeed -- but one for which we must offer forgiveness should the perpetrator not only seek to mend their ways but put a MASSIVE amount of money towards supporting the shows they air and caring about their viewers.

The war is over. Everybody won.

(Just play along. Come on.)

sliders5125 wrote:

I like enterprise season 1 and 2, yes boring television but most episodes can be watched with the kids, Xindi season was mainly awful, season 4 was an improvement, but 3 to 4 part episodes are apain to watch.

Please don't watch shows you find boring. You deserve better.

I recall Temporal Flux and I enjoying the ENTERPRISE pilot and then neither of us being able to keep watching the show. It wasn't holding our interest. Can't speak to whether or not TF ever came back to ENTERPRISE.

When I heard that Season 3 had improved halfway through with the coming of Manny Coto, I got caught up by reading Wikipedia entries and watching only the episodes that didn't seem like another rote runthrough of the TREK fast food formula. Season 3 in the second half is a quantum leap forward for the series. Season 4 is also really good except for the finale which Braga describes as being so awful that the usually mild-mannered Scott Bakula lost it on Braga.

Braga, in interviews, described how he had wanted ENTERPRISE to spend half a season on Earth building the ship and for the ship to be primitive, but Paramount wanted a TNG situation ASAP. Chris Black, however, remarked that Black had been on enough shows to see that it's up to a showrunner to FIGHT for the series they want (and he's plainly speaking of Bill Dial and Keith Damron). In Black's opinion, Braga didn't really fight for his show and viewed himself as middle management.

TemporalFlux wrote:
ireactions wrote:

Why is Jerry on the PICARD panel in Hall H?
https://m.youtube.com/watch?v=zdJN3XjJ_4I

They combined all Trek into one panel this year.  Jerry is a voice actor on the Lower Decks animated comedy coming to the CBS app - he’ll be voicing Commander Ransom

https://io9.gizmodo.com/there-was-almos … 1836392106

Response #1: That's cool!

Response #2: Jerry O'Connell is screwing with me. He knew that Picard and Data's return could allow me to finally let go of the Professor and Quinn, so naturally, he makes sure that the face of Quinn Mallory is the FIRST THING I see when I open up the Hall H video.

Response #3: That's cool and Jerry O'Connell doesn't know I exist and we should keep it that way.

Why is Jerry on the PICARD panel in Hall H?
https://m.youtube.com/watch?v=zdJN3XjJ_4I

I am reasonably sure that STAR TREK was referred to as the McDonalds of science fiction long before VOYAGER, but with VOYAGER, it became true. My issue with VOYAGER is that despite numerous fine episodes, on the whole, it's executing the TREK formula without much spirit or innovation or personality from its creators.

VOYAGER tells its stories functionally, but for a story to be good, it has to have something to say. A point about human nature or the futility of war or fears of machine automation or obsession or military conflict. The original series and TNG often said incredibly stupid things about these subjects, but they said something.

VOYAGER is largely following the fast food recipe and I think that TREK as mass-produced fast food hamburger rubs the audience the wrong way. TOS was vivid pop-art. TNG had Shakespearean level actors with humour and humanity. DS9 was dark and politically challenging. VOYAGER is a McDonalds hamburger and not even a Big Mac. It's the junior cheeseburger from the kids menu and ENTERPRISE for three seasons was like a half-microwaved White Castle.

I'm not knocking the role that fast food burgers have in our lives; sometimes, you need a junior cheeseburger or a White Castle. But I don't think you need 45 of them, one per minute, every week, for ten years. And I think it's offensive when creativity is reduced to executing a formula and nothing else.

Whatever DISCOVERY's faults, it has a perspective, it has values, it has meaning. The first season is about questioning Starfleet's ideals during a time of war. The second is about reconciling with the inevitable whether those inevitabilities are a doomsday prophecy or making DISCOVERY sync up with TOS. There's plenty to criticize, but I couldn't and wouldn't try to sum up DISCOVERY by looking at the McDonalds menu.

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(3,520 replies, posted in Sliders Bboard)

Yeah. I figure that anyone saying such things is clearly predisposed to dislike content without bothering to see it.

And the sad truth is, the world is not split into Republicans and Democrats and while Republicans tend to be of the "BATWOMAN will suck even though I've never seen a frame" persuasion, Democrats are just as likely to jump on a bandwagon and sometimes, those bandwagons are headed to good places and just as often, they're headed for a brick wall.

Grizzlor wrote:

playing Data at his age making no sense, as Androids don't age or gain weight.  Yet there he is.  I have to assume he's in a flashback only.

None of that is necessarily true. Spiner might have aged, but Data in the trailer looks young (through the magic of CGI). I think it's pretty clear that Data is going to be a computer generated character. The only uncertainty is the degree to which Data will be CGI.

Is Spiner only doing the voice and some motion capture? Is Spiner performing on-set and receiving digital makeup and body modification to make him look young and slim? Is a different actor playing Data on set with Spiner performing the same scenes in a VFX bay for his face and voice to be added on top?

The thing about Data is that the character as we know him was not really based in technical trickery or special effects. You could tell it was a man in makeup; you could see the lines in Spiner's face, the bags under his eyes. It was the body language and demeanor that made Data seem artificial.

Spiner had a peculiar movement system that subtly implied mechanical calculation. He had a crisp, abrupt, machinelike approach to human mannerisms and behaviours from eye contact to speech. His voice was an extremely pleasant exercise in perfect neutrality, neither happy nor sad but certainly curious and innocent. Data was one of the first depictions of artificial intelligence where the intelligence was an accommodating, endearing personality. Every child wanted their own Data to play with them, to explore the world with them, to protect them. There is something bizarre and sweet about how Picard, who is Data's boss, spent a lot of time having boyish and innocent adventures with Data, going fishing and playing detectives.

A lot of what made Data so special was unique to Spiner; at times, body doubles were hired for episodes where Spiner played multiple roles. These body doubles often walked stiffly or moved with harsh intensity, completely missing Spiner's subtle indicators. Jonathan Frakes once remarked, "You don't realize how subtle and brilliant Brent Spiner's performance is until you see someone else doing it -- badly."

I wouldn't want Data to be the product of CG artists. He should start with Spiner and the CG team should go from there.

It's at this point that I am forced to confess something that I feel may be a betrayal. I miss Quinn Mallory. I need Quinn Mallory. But I could probably carry on if Data came back.

I think the simplest explanation for Data's return if they're not bringing him back to life: he's a holodeck program. And if the show is about Picard dealing with old age, it's very important that Data look young.

Slider_Quinn21 wrote:
Grizzlor wrote:

Seven was a terrible character, poorly written, but Jeri was dating a producer so you know how that goes.  I have to say, the one line in the trailer she had was actually GOOD.  I would love a non-Borgish Seven, who you would assume after 20 years almost would have figured out how to act more human.

Ugh, here I go again.

I don't think Seven was a terrible character or poorly written.  I also think that Jeri, while she might've been hired for, ahem, other reasons, is a very solid actress.  I've seen her in a number of things and don't think this is a Danielle Panabaker situation.

The problem with Seven wasn't so much that she was poorly written.  It was that the show, itself, wasn't very well written, and essentially every season that she was on was *very* Seven-heavy.

I think she's actually a pretty great character, following the great Trek tradition of trying to understand what it is to be human.  That archetype (previously used with Data and Spock) was probably supposed to be used on the Doctor (another character I really like), but obviously, they decided to go another way with that.  Seven is an interesting character because instead of searching for her humanity, she often runs from it.  I think she feels that her Borg side protects her, and she's afraid of her frail, human side.

If Seven was poorly written, it was because she ended up being the main character on a show that's supposed to be an ensemble.  She was Michael Burnham before Michael Burnham, and she was overexposed by writers that, for the most part, didn't know what they were doing.  But I think she's one of the best ideas for a character in Trek history.  And even considering the Voyager writing staff, I think she's one of the most interesting characters in Trek.

I am prepared to accept this opinion on Seven as it comes from the primary, premier (and only) fan of VOYAGER. I'm assuming. I have literally never heard anyone else speak fondly of the show. Let's trust him.

While I have a lot of issues with Brannon Braga, he seems like a decent guy these days. I feel safe to assume that Braga and Ryan dated each other and kept their love and professional lives separate. Ryan was hired before she and Braga dated. Seven was going to be a major character even if Braga were a eunuch, so dating Braga had no impact whatsoever on Seven's role. If Braga were predatory towards her or abused his position, I think it would have come out when Ryan also detailed Kate Mulgrew being harassing and abusive.

I've heard horrible things about Braga being unprofessional during script meetings and interviews. I've also heard Braga immediately confess all of these things and apologize to the people involved, admitting that he was arrogant and also didn't understand that his job and his attitude could hurt people's feelings. His work on VOYAGER and ENTERPRISE has been trashed by fans and Braga has appeared in the comments to apologize to them as well. Braga and Paramount TV mutually agreed to demote him for Season 4 of ENTERPRISE, but when the Season 4 team needed a script urgently rewritten to be filmable, Braga accepted the job graciously, happy to be basically be an intern on the show he used to run.

His stewardship of STAR TREK was poor, but he seems to have come into his own with THE ORVILLE as a staff writer where instead of the organizational and administrative work that clearly sapped his creativity, he's part of the team. He wishes he hadn't been a Jerry O'Connell level jerk and that he'd done a better job and he's taken a another massive demotion and will try to do better now. I can identify with that.

Danielle Panabaker is an actress I grew up with and I really liked her on THE FLASH. However, Slider_Quinn21 mentioned a movie she'd been in, TIME LAPSE, where she wasn't very good. I watched it and realized that Danielle Panabaker:

(a) has been performing with the same empty-headed, blank stare since I was in grade school
(b) performs the majority of her scenes in SKY HIGH, READ IT AND WEEP and THE FLASH with a scene partner
(c) lacks the ability to carry or lead a scene on her own

She was playing a traumatized woman on THE FLASH, so her vacant gaze worked there, but basically, Slider_Quinn21 ruined Panabaker for me and now, every time I say I think an actress is good when I don't personally know them or haven't recently reviewed their work, I get nervous.

Well, Jeri Ryan is a great actress. I think? I’m hoping this isn’t another Danielle Panabaker situation where I’ve vastly overestimated someone based on a fond memory that’s wrong. Although I have no fond memories of Seven, but the actress seemed good.

2,980

(3,520 replies, posted in Sliders Bboard)

This is why I like to wait. Just wait. Let the information come. Reflect upon it. Otherwise, you end up being one of those people ranting about how BATWOMAN is a disaster when it hasn’t even aired.

I don't remember VOYAGER. Was Seven acting human and being casual and pleasant by the end?

**

My read on Spiner: he loves Data. He loves playing him. However, over the course of seven seasons, he aged. It's not noticeable if you're watching the show week to week because Spiner fills out gradually. The lines in his face deepen over the course of a year. The human memory always takes the present day face and puts it on top of your memories unless the changes are sudden like David Boreanaz suddenly thirty pounds heavier on ANGEL (because he was having knee problems and couldn't exercise) or Jerry O'Connell suddenly having a sun-tan and very short hair. This bothered Spiner because even though he was a healthy man, he viewed Data as a childlike figure. He didn't like how he was playing a very innocent, naive character when physically, he was clearly a middle-aged adult. He felt he couldn't sell the character anymore.

Onscreen, Data looks like a man in makeup with very subtle but narrative body language to indicate his artificiality and it's really the performance that makes him seem like an android instead of an actor with an altered skin tone and contact lenses. The performance can always be maintained, but the character benefits from a youthful appearance that Spiner couldn't offer anymore. He felt he couldn't do his job properly and that was why he didn't want to be onscreen as Data anymore.

It looks like PICARD has solved the problem. I have guesses: one is that Data is a CG creation and Spiner is providing the voice in post. My second and more plausible guess is that Spiner is on-set in some form of the makeup with tracking dots all over his face. Then in post, his body is slimmed. His skin is buffed to remove any signs of aging. My third guess is that Spiner's on set so that Stewart can perform with him, and then he's performing the scene again in a special effects bay with a tracking suit and dots to map his expressions and movements to a CG model. My fourth guess is that a body double is playing Data on set with his face and voice replaced afterwards with Spiner's face recorded separately, edited to remove his age and weight and grafted onto the double. My fifth guess is that it's some combination of all of the above depending on the scene.

Data doesn't look realistic, but given that Data is an artificial being, it works for Data to look synthetic.

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(686 replies, posted in Sliders Bboard)

I would have gotten a pretzel and thought of the taste test. I would have visited the Presidio which isn't quite like the version we saw in "As Time Goes By." I would have admired the Bridge and made sure the colours were right while making sure that no action sequences happened there because Slider_Quinn21 thinks it's a cliche. I would have passed the San Mateo-Hayward Bridge where Quinn and Smarter Quinn were fighting with empty cars.

I would have also visited the Castro District and gone to the corner of 20th and Castro as that's where the primary access point to the Sliders Incorporated headquarters is located.

Awhile ago, I posted about how our world has gone crazy and we desperately need the sliders back. We need Quinn's cool under fire. We need the Professor's wisdom and perspective.

When watching the STAR TREK: PICARD trailer, I realized that while I will always want Professor Arturo to come back, I suppose I could settle for Jean Luc Picard and his diplomacy in the face of savagery, his steadiness when faced with madness, his diligence in response to threat and his ability to find common ground and offer understanding, negotiation and enlightenment that turns enemies into friends and danger into unity and teamwork.

I need the Professor. But I could be alright if our Captain came back.

**

THE ORVILLE is moving to Hulu! Makes sense. It's an niche product.

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(686 replies, posted in Sliders Bboard)

One of my actress friends is in this comedy short involving parallel universes.

(We had coffee twice. I don't want to oversell our association.)

https://m.youtube.com/watch?v=7byHEJxyj … e=youtu.be

2,985

(74 replies, posted in Sliders Bboard)

Slider_Quinn21 wrote:

This is my number one problem with politics and the worst thing that social media has done for the world.

With social media, you can find a water cooler with people who think exactly like you.  Not only that, you can find a water cooler for any opinion.  You can wish people who don't agree with you into the water cooler cornfield.  So you can start conversations with your second level opinion and get to third/fourth/fifth/Nth level opinions.

When that happens, you start to forget about the guy you wished into the cornfield who disagreed with you.  You also forget about the guy you wished into the cornfield that agreed with you but not all the way.  You didn't need his 99% agreement in your conversation because it made you question your beliefs and that felt weird and uncomfortable.  Only 100% agreement at this water cooler..

Recently, Joss Whedon expressed anger towards Donald Trump's corruption, love affair for fascism and criminality. Informant responded to Whedon and told Whedon to seek psychiatric help and get medication, equating criticism of the US president with mental illness.

Speaking only for myself and as someone whose opinions in no way represent the views this community, I am exiting the Informant business and his list of contributions to SLIDERS can stop at six items.

Whedon should absolutely get psychiatric help: he is a serial cheater and liar who gave his wife post-traumatic stress with his numerous affairs with actresses and fans with no concern for what his wife might have to face medically when having intercourse with a husband who was hiding his extramarital relationships. He has serious issues with power and women, describing how he viewed his cast, his employees, as powerful and needy women with whom he could have sex. He presented himself as a feminist in a monogamous marriage when he was using power imbalances in sexual relationships and cheating on his wife.

However, it is not a symptom of mental illness to observe that Trump hires business partners and family members into government positions. Nor is it an indication of psychological impairment for anyone to note that Trump engaged in obvious obstruction of justice, willfully delivers falsehoods to the American public, wrought havoc with America's diplomatic and economic relationships via random threats and sanctions and seeks support from white supremacists, Nazis and dictators. That is simply observation of obvious facts.

Observing facts that do not serve a flatteringly right-wing conservative narrative is not mental illness.

To equate not being conservative with mental illness is rhetoric designed to intimidate. To take a stigma for mental illness and extend that stigma towards not being part of Informant's preferred water cooler circle. To allow Informant to dismiss information that runs against his biases as mental illness. To favour Informant's biases of choice and present his personal politics as the societal default, the community consensus, and the perfect picture of mental health.

It's one thing to have conservative views, but something else entirely to claim that anyone who holds different views is suffering from a mental disorder. That is abuse and harassment.

Informant was not permitted to make such claims here without being contradicted at every turn and warned off doing so again. That's clearly why he left and I've decided that I'm glad he left.

I don't miss Informant. I am glad that he's gone. And I am finished with my list of his contributions. I've highlighted six, I'm not giving him anymore. Unless I change my mind, but right now, I have simply had enough. Sliders.TV may disagree. Sliders.TV may welcome him back. That's absolutely fine. This is NOT my message board. I am not the ruler of this community, I am its servant. Any nominal response I posted to Informant's political screeds was strictly to serve and not to debate.

I can only speak for myself and speaking for myself, I am done with Informant.

ireactions OUT.

2,986

(934 replies, posted in Sliders Bboard)

I'd like to see it... but I just can't justify the economics and logistics of going to movie theatres anywhere when I have Netflix and a big TV and a season and a half of ONCE UPON A TIME left and I have pepperoni sticks in the fridge and yummy orange sparkling water and the theatre is like an EIGHT MINUTE walk away. Eight minutes of OUTDOOR walking. And you have to go up an escalator to get there! And not even a normal sized escalator, you have to take one that goes up TWO floors! And they expect you to show up when the movie is playing on their schedule instead of watching it when it suits you! And you have to sit! Honestly, join the twenty first century, you dinosaurs. I'm better off exercising on my treadmill while watching AGENTS OF SHIELD and rolling up socks and steam cleaning shirts and trousers while thrilling to JESSICA JONES.

There was a time, once -- when I would have seen any Marvel movie in theatres because I expected AGENTS OF SHIELD to refer to it in a strictly one-way attempt from a TV show tying into a film franchise that would at best not contradict the TV episodes. That day is over; AGENTS OF SHIELD has no idea what will happen in a Marvel movie until AGENT OF SHIELD writers see it in a theatre, so a new SPIDER-MAN movie can wait for home release (which I assume is any time in the next two hours).

2,987

(74 replies, posted in Sliders Bboard)

I always thought it was hilarious that any time a black man is shot to death by a police officer, Informant is always staunchly in the police officer's corner and firmly declares that no examples of racism raised by anyone were actually racist and also, the person raising the issue is racist or in some way hypocritical and therefore not entitled to protest mistreatment -- but if a traditionally redheaded character is suddenly black, Informant feels stigmatized and threatened. Oh God, now I'm still typing as though he's actually here.

I do think it is absurd to act as though redheads are the victims of systemic discrimination and oppression ingrained into the very fabric of Western society as a white-centric construct. Redheads are not targeted by law enforcement as immediately guilty criminals, are not incarcerated in greater percentages than other demographics, are not stereotyped as criminals or illiterates, are not legislated against to deny them voting rights, and generally enjoy all the privileges of being Caucasian. People with red hair are not facing institutional injustice at every level of society.

ireactions cannot stress enough in the name of the whisper, the vortex roar and the electric hiss of the timer that his opinions do not represent the consensus of Sliders.TV.

2,988

(686 replies, posted in Sliders Bboard)

This isn't the first time I've said this, but every time I read a particularly bleak period of superhero comics, I keep coming back to the sliders. GREEN LANTERN saw 99 per cent of its cast killed off and its storytelling engine destroyed when the title character became a psychotic mass murderer due to the mid-90s team wanting to shake up the book and not considering the loyalty readers felt towards Hal Jordan as Green Lantern.

BATMAN saw Bruce Wayne becoming an emotionless weirdo with a completely deadened, inhuman persona that made him unlikable to the vast majority of his readers, a trend sparked when superstar writer Mark Waid told one story -- one -- where it's revealed that Batman keeps secret files on all his friends with tactics to kill any of them should they turn against humanity, a story so influential that every subsequent writer wrote Batman as coldly plotting every friend's demise until Waid apologized and begged his fellow writers to stop doing that.

GREEN ARROW was blown up in a massive explosion.

All of the above has happened to the sliders too, but the sliders have the most commonalities with Spider-Man. Since Spidey's publishing career began in 1962, Spider-Man has faced dinosaurs, Dream Masters, deadly amusement parks, tornados, desert wastelands with water witches, dragons, intelligent flames, killer robots, Victorian era murder mysteries, giant bugs, radioactive worms. underground predators, planet-destroying pulses, zombies, hallucinogenic fogs, symbiotic parasites desperate to reproduce, vampires, super-intelligent snakes and animal human hybrids. I'm not entirely sure why he's constantly fighting symbiotic parasites desperate to reproduce and vampires -- Spider-Man writers seem inordinately fond of Venom and Morbius the Living Vampire, but there it is. As if desperate to complete the list, in 2013, Spider-Man was merged with another person and then his personality was 'lost.'

And then they all came back. GREEN LANTERN revealed that Hal Jordan had been infected by a raw manifestation of psychic fear and was healed, and the people he killed were shown to have been kept in stasis and he revived them. Batman acknowledged that he'd had a mental breakdown and went on a year-long trip with Dick Grayson and Tim Drake to revisit all the people and places he'd trained with to become Batman and healed. Green Arrow turned out to be alive after all. Spider-Man got his body and his life back although he still had to keep fighting symbiotes and vampires.

There is something fundamentally comforting and reassuring about the Marvel and DC Universes as crazy, genre-conflicting worlds where terrible things happen, but heroes generally make it through and no matter how lost or damaged a character might be, they always come back.

2,989

(1,683 replies, posted in Sliders Bboard)

There was a report that Tom Welling had announced he'd appear on ARROW in Season 8 ("I will be on ARROW next season") immediately followed by a report where Tom seemed confused and thought ARROW had ended with Season 7. Bizarre. Now there are clickbait articles claiming Welling will play Batman but merely show fan art of Welland in Ben Affleck's suit.

Still, it seems worth getting into. I'd love to see Tom Welling in anything! I can't really see him playing Superman as Tyler Hoechlin has that job, but I could see him playing a police officer or a friend. I can't see him playing Batman. The role calls for a certain cultured, moderately elitist, sharp intelligence and that's just not in Welling's wheelhouse. Welling is best playing characters of humble, earnest decency who give freely and without thought; he convinces you of his superhuman goodness. Welling's characters are not characters of calculating thought or defined by brainpower. Instead, Welling gives the sense that doing the right at personal cost is his natural instinct, his default setting, an immediate reflex that requires no thought whatsoever.

I guess I'd have him play Apollo. Apollo is from the Wildstorm comics, a company that presented analogue versions of DC characters in their comics WILDCATS, STORMWATCH and THE AUTHORITY. They had multiple variations on Superman: Mr. Majestic was a regal, royal Superman; Spartan was a robot and an AI Superman and Apollo was Superman as a social justice activist (freeing children from shoe factories) and he was gay and dating Wildstorm's gay version of Batman (the Midnighter). Yeah! I'd have Tom Welling play his best role, Superman -- but gay. It'd be a wonderful step forward for representation. Not as awesome as actually hiring a gay actor, but it's Tom Welling and Tom Welling is only slightly less awesome.

My niece wishes to inform me that it'd preferable for gay actors to play gay roles so that when young people who are gay look up the actors playing gay characters, they feel the actors represent the fans who need them. Oh, alright. Matt Dallas can play Apollo. Tom Welling should play Dick Grayson. My niece informs me that this is acceptable.

2,990

(74 replies, posted in Sliders Bboard)

As a child, I had nightmares that the vortex would materialize in an aquarium tank at a zoo and the sliders would drown or be eaten by hostile marine life.

2,991

(74 replies, posted in Sliders Bboard)

Day Six: Informant on Reasoning and Metaphor. ("29.7" will have to wait.)
 
Informant was a huge fan of FRINGE, an X-FILES-esque paranormal procedural where the bizarre events were revealed to be the result of a SLIDERS-esque machine that opened a gateway between parallel worlds. Informant is also a fan of SUPERNATURAL, an X-FILES-esque procedural that determinedly renders its reality in terms of magic. And Informant watched THE X-FILES revival and expressed dismay at how from week to week, Mulder and Scully seemed to ricochet between a science fiction universe of alien technology and a magical universe of ghosts and demons. The former presented technology that was beyond human creation but not beyond understanding; the latter declared that humans were at the mercy of otherworldly forces that defied all rationality.

I remarked that THE X-FILES' showrunner, Chris Carter, should be admired for letting each writer write their own version of the show and Informant rebuked Carter for this, saying it led to a schizophrenic, incoherent series. Informant conceded that all the writers Carter permitted free rein had gone on to become successful showrunners themselves (Tim Minear, Vince Gilligan, Glen Morgan, James Wong, Darin Morgan, John Shiban, Frank Spotnitz, Howard Gordon, Jeffrey Bell and more), but that Carter's job had been to find a coherent and consistent vision for THE X-FILES, not to running a training camp for the writers of the future.

Interestingly, this is also a problem in SLIDERS. Seasons 1 - 2 featured parallel Earth settings created by choosing a specific point in history and choosing a different outcome, then extrapolating what the present day would be as a result. Season 3 featured Dream Masters, man-made twisters, dragons, radioactive slugs, mutants, pancake parasites, super-intelligent snakes, vampires and animal-human hybrids and humans flying with angelic wings -- none of which were in any way justified by an alternate history and the supposed scientific rigour of SLIDERS.

At one point, I was rewatching FRINGE with a friend, Val, and Val remarked that the 'science' of FRINGE was essentially magic presented in technobabble terms. She seized upon the episode where in one universe, a widow's grief for her dead husband rips apart reality to reach a parallel universe where the husband lives and mourns the death of his wife. 

Val pointed out that there was no rationale, even within the show, for how human emotions could affect gravimetric or vibrational constants to alter the underlying fabric of reality; that there had to be some physical catalyst and feeling sad over a dead spouse didn't count. She said it wasn't science fiction; it was magical-realism masquerading as sci-fi through inadequate technobabble.

And Informant had a very interesting response. Informant pointed out that all reality is perceptual and fundamentally subjective, and that until we open gateways to parallel worlds in our world, we don't actually know whether or not our emotional states can affect reality. That FRINGE with that episode had featured a "soft spot" where reality was malleable and that the subjective perception of reality could potentially determine reality. Was that likely? Informant didn't know. But was it impossible? We could hardly rule it out.

It's at this point that I began pondering the Season 3 monsters and how they could be explained within the SLIDERS reality of Seasons 1 - 2. I had some thoughts about how the monsters were Kromagg experiments in genetic engineering, but when writing the SLIDERS REBORN scripts, I decided to go with Informant's idea of a damaged, 'softened' reality becoming subject to alteration based on perception and brought the Season 3 monsters in for the sixth scripts as representations of mental illness with the monsters originating from realities where the laws of science had been twisted and mutilated.

... I don't feel I really captured Informant's mentality, however. In the novella that offers a broad explanation for all the oddities of Seasons 1 - 5, Quinn explains that when the Geiger experiment ripped him out of reality, it removed every double and caused what the Doctor would call a "total event collapse" in spacetime due to so many of Quinn's doubles being entangled with the histories of parallel Earths. Reality cracked and began to manifest anomalies such as monsters and magic, the symptoms of a dying multiverse. 

Despite Quinn being in a mental asylum to deliver this exposition, I don't feel the monsters really represented mental health problems. And in the SLIDERS REBORN finale, I again didn't feel the monsters represented perceptual subjectivity; they were supervillains for the sliders to trounce in superhero action sequences and it was just absurd. I decided to turn into the swerve by playing it all for laughs by having the sliders use everyday items in bulk and delivered via vortex to defeat the robots and the dinosaurs and what-not, but I felt that I had wandered very far from Informant's original point and I never found a way to get back.

But anyway. I still think that the Season 3 monster sequences are a lot of fun and I really appreciate Informant's thinking in this area.

2,992

(45 replies, posted in Sliders Bboard)

One thing Matthew Vaughn said that confused me: he said he would have cast Tom Hardy as a younger Wolverine for a FIRST CLASS sequel. Except Hugh Jackman was in FIRST CLASS as Wolverine -- so what's that about? 

Aesthetically, X-MEN (2000) came out in the post-BATMAN AND ROBIN era when, fairly or unfairly, live action superheroes were thought to be silly. BATMAN AND ROBIN looked like a MAD TV spoof of an actual film. X-MEN and SMALLVILLE (2001) were part of the era of 'superhero-realism' (much like magical-realism), presenting a realistic environment with superhumans existing in isolation and in opposition to the mundane world around them.

Productions didn't have the technology to make skintight clothes look like anything but Halloween costumes, so this was the "No flights, no tights" period of superhero media that was ashamed of superheroes. Eight years later, IRON MAN (2008) came out and showed that technology had advanced to allow multi-coloured superheroes to look convincing in live action. Both IRON MAN and CAPTAIN AMERICA demonstrated how movie and TV costumes could add texture and weight to bring a 2D design into live action while retaining the lines, colours and recognizability of the comic characters.

SMALLVILLE joined IRON MAN in 2008 and its eighth to tenth seasons embraced superheroes as an exaggerated, hyperstylized reality. HEROES (2010) was the last gasp of superhero-realism and then AVENGERS made it clear that superheroes could indeed wear their costumes and be successful. At this point, it looks like superhero-realism is no longer dominant, but the low budgeted Netflix shows still use it.

Slider_Quinn21 wrote:

I don't know what the legacy of the X-Men films is.

The legacy of the X-MEN films is that FOX tethered their X-MEN ship to a talented but crazy, violent, unreliable, unprofessional filmmaker. When they fired him, he dragged the franchise down with him on his way out; when they re-hired him, he righted the ship but then crashed it again on the rocks of APOCALYPSE. 

According to two performers who worked on APOCALYPSE and spoke with me off the record, the director was having daily temper tantrums at cast and crew as the press reported his victims accusing him of rape and pedophilia. Eventually, he stopped showing up to set, leaving second unit and producers to try to wrap up the movie – which explains why APOCALYPSE was so thematically incoherent and unfinished. Xavier's message of protecting the weak never comes together; the teen mutants had all their scenes cut; they never use their powers in tandem to defeat Apocalypse -- in hindsight, it looks like the director jumped ship without finishing his own movie.

But, to be fair, every movie franchise finds a sword to fall on. 

JEFF: "I treat my body like a temple!"

NURSE: "I can't be the first person to tell you this, but the temple doesn't last forever. This is a Temple of Doom, and you know what? Like the real Temple of Doom, it represents the fact that all good things -- be it people or movie franchises-- eventually collapse into sagging, sloppy, rotten piles of hard-to-follow nonsense."

(I haven't seen DARK PHOENIX and I'm sure it's fine; Kinberg is nothing if not competent, but I think we can all agree that the continuity is nothing if not hard to follow.)

2,993

(74 replies, posted in Sliders Bboard)

I don't know if we're really off topic. I won't have my essay on Informant's "29.7" ready until the end of the weekend.

Impeachment does not strike me as something you can run in the background. Once the Democratic Party rings that bell, it's going to be all impeachment at all hours on all days and I don't know how practical or worthwhile that is for a foregone conclusion of defeat. It could be a course of action from which there is no retreat, no shifting attention. And I recently made a terrible mistake in that area.

I'm flailing a bit, desperately trying to think of THREE MORE THINGS that could count as one of Informant's top ten contributions to SLIDERS. But I'm in too deep to turn back now. And I'll probably end up folding this thread into Informant's political thread. And reposting Informant's top ten contributions in a separate thread. If I can think of ten. Currently, I've only been able to think of six. I don't know why I said ten. A person who is never wrong would have said five things. Damn it.

2,994

(74 replies, posted in Sliders Bboard)

As much as I would like Trump out of office, I have to ask: what exactly can he be charged with to oust him? Collusion with Russia? If this loudmouth worked with Russia, he'd never shut up about it. Obstruction of justice? He failed at every turn.

Numerous experts say that Trump's intent to obstruct is established through ordering subordinates to shut down the Mueller investigation only for his staff to ignore him or refuse. And that it's solid grounds for impeachment. To me (and to Pelosi, I think), it would be very easy for the Trump administration to spin that as Trump expressing wishes that he knew would not be carried out. To me, impeachment is currently a dead end.

But, to go back to Informant, there's something about Informant that always deeply disappointed me: the way he presented himself as an expert on Superman (even though he hadn't read much of his comic), an expert on race relations (based on Google Maps), an expert on the concept of toxic feminism (based on watching one men's rights activist documentary), an expert on electoral fraud (based on some videos made by a scam artist filmmaker), an expert on box office earnings and profits (his fixation on the DCEU's supposed success) and any subject that came up.

The truth is: that attitude is best reserved for writing fiction. When Informant put it to use for SLIDERS (2013) and his novels and his "29.7," it presented a version of Informant who had concerns and worries and an overarching view of how the world worked, but laid out as theory rather than objective reality that could not be questioned or debunked. I like to think that the Informant who wrote fiction was the real Informant. That the arrogant lecturer was an outer shell of insecurity obscuring the man within.

Therefore: I must note that I never went to law school (to the great disappointment of my parents). I am only a speculating bystander and am in no way qualified to dissect the legal challenges.

I once wrote a lengthy psychoanalysis of Jerry O'Connell based on one article in MEN'S FITNESS and another on Brandon Routh based on one podcast interview. I could be wrong about Jerry and Routh and impeachment. As wrong as the time I thought Robert Floyd would enjoy reading a screenplay in which Quinn is suffering smoke inhalation and hallucinates Mallory. As wrong as the time I thought Transmodiar would let me post a SLIDERS REBORN script on EarthPrime.com where Quinn confronts Trump. As wrong as the time I accidentally uploaded nude photos of Kari Wuhrer to the Sci-Fi Channel server.

TRANSMODIAR: "Why the fuck did you do that?"

IREACTIONS: "It was an accident. One of their links to publicity photos was broken. I thought I could fix it, but I dragged and dropped the wrong file to their FTP server."

TRANSMODIAR: "So they sued the shit out of you, naturally?"

IREACTIONS: "No. Temporal Flux gave me the contact information for the web design firm."

TRANSMODIAR: "Of course he did."

IREACTIONS: "And I got in touch and they fixed it."

TRANSMODIAR: "What were you doing with naked pictures of Kari anyway?"

IREACTIONS: "They were for art."

TRANSMODIAR: "Surrrrrrrrrrrrrrrrrrrrrre they were."

IREACTIONS: "I was making graphics for the Infinite Slides website and adding Kari to photos of the original four. And in the movie VIVID, Kari had the same red hair as Maggie in Season 3 and there were shots where she was looking at the camera with a neutral expression to pose for her painter boyfriend."

TRANSMODIAR: "You made those banners? Those sucked."

IREACTIONS: "I was 13."

TRANSMODIAR: "You know, when I asked you why you had naked photos of Kari, all you had to say is that you were 13."

IREACTIONS: "They. Were. For. Art."

I'm getting off track. My point is that I could be wrong wrong wrong and they really were for art.

2,995

(45 replies, posted in Sliders Bboard)

I haven't seen DARK PHOENIX and I'm not eager to see it. I have nothing against it. But in a world of Netflix and Google Play and widescreen home TVs, I don't feel driven to dive down the street to the cineplex. I'd rather watch movies and TV shows on my tablet with Bluetooth eadbuds while on the treadmill in the gym.

Still, DARK PHOENIX is shaping up to be an interesting failure, a $100 million loss for FOX and the franchise leading up to DARK PHOENIX has been bizarre. X-MEN and X-MEN II were terrific, depicting a realistic world with mutants as a hidden subculture only beginning to receive global awareness. The world of these movies was a plausible, grounded reality with any advanced technology or superhuman phenomenon linked specifically to mutants.

X-MEN: THE LAST STAND and X-MEN ORIGINS: WOLVERINE, however, changed this. The world became extremely exaggerated and the new directors didn't have a strong sense of physical reality; there was no sense of terror from civillians when Pyro and Iceman started shooting off fire and ice; only muted reactions to Magneto moving bridges. Everyone in the ORIGINS film was a superpowered assassin or soldier. It's a bit like Bryan Fuller's criticism of Season 2 of HEROES: the powers no longer represented internal conflict and characterization.

X-MEN: FIRST CLASS attempted a reboot with easter egg references to the previous films via Hugh Jackman's cameo as Wolverine and refilming the original X-MEN's opening scenes. FIRST CLASS was plainly a reboot set in the 60s, blatantly contradicting the original films with Xavier and Magneto meeting as adults rather than teenagers. FIRST CLASS was to kick off a new series of X-MEN films with the 60s cast. Meanwhile, there was another WOLVERINE film that continued the grounded aesthetic.

But then FOX made some strange decisions; they rehired the original director of the first two films to do the sequel, and rather than continue the 60s cast's adventures, the DAYS OF FUTURE PAST sequel killed the majority of the FIRST CLASS characters off camera and featured the 2000s-era Xavier and Magneto. It served as a finale story for the franchise. Director Matthew Vaughn would later express dismay that his sequel to his reboot became a conclusion to the original films.

With DAYS OF FUTURE PAST, the X-MEN franchise had come to a logical end and yet sought to make more films after having wrapped up their series. LOGAN offered what can only be an out of continuity finale for the Wolverine character that doesn't sync with DAYS OF FUTURE PAST's conclusion. I didn't see it, but I did read the script and the movie was, it seems, so well-made that viewers didn't care about the continuity. And then we came to APOCALYPSE which was simply peculiar.

DAYS OF FUTURE PAST declared that FIRST CLASS and the original films are set in the same timeline. The original films featured Cyclops and Jean Grey in their 30s in 2000. APOCALYPSE introduces the teen versions of Cyclops, Jean Grey, Angel, Storm and Nightcrawler in the 80s. Cyclops, Jean and Storm should have been around 10, Angel shouldn't have even been born yet.

Worse, APOCALYPSE largely cut down the scenes with these incoming characters, focusing entirely on the FIRST CLASS versions of Xavier and Magneto re-enacting their tired conflict for yet another round when DAYS OF FUTURE had situationally and thematically laid it to rest. APOCALYPSE featured lavish action sequences that were completely divorced from reality and were reminiscent of the video game aesthetic that marred X-MEN: THE LAST STAND and X-MEN ORIGINS: WOLVERINE.

And now we come to DARK PHOENIX. The Dark Phoenix storyline depends on an audience invested in Jean Grey and Scott Summers -- who were barely present in APOCALYPSE. The Dark Phoenix storyline depends on having fully established the X-Men team and seen them in numerous adventures together before they find themselves having to fight Jean, the compassionate center of this group. We've barely seen these characters together.

I just don't think this series is capable of telling this story in this format with these versions of the characters who have been underserved, underwritten and underfeatured. APOCALYPSE was a painfully mediocre, uninteresting film with nothing meaningful or important to say and I don't see how DARK PHOENIX can offer a climax to a series about Scott Summers and Jean Grey that never really started. If the X-MEN films formed any kind of a series, that series ended in DAYS OF FUTURE PAST. APOCALYPSE made me feel like the X-MEN movies had ended one film previous.

Which is probably why I stayed home and watched ONCE UPON A TIME in the gym instead.

2,996

(74 replies, posted in Sliders Bboard)

There are currently two problems with impeachment. The first: the Trump campaign didn't collude with Russia, only benefited from it passively. It's difficult to present Trump as a traitor to his country when he wasn't coordinating with Russia and when Russian intelligence likely saw how foolish it would be to attempt any covert coordination with a man notorious for being indiscreet. Charging Trump with being in league with a foreign power is a non-starter.

The second problem is that Trump was not successful in obstructing the investigation into his electoral ties to Russia. He most definitely attempted to impede the probe, but because his orders were refused and because the investigation was completed, it would be extremely difficult to charge him with a crime that he didn't actually succeed in committing to any particular degree. Attempted obstruction is still a crime but a capable defense could argue that it's entirely a matter of perspective and easily muddy the waters.

There is no slam-dunk argument here that wins impeachment proceedings or the court of public opinion, and Pelosi has said that pursuing impeachment in these subjective terms makes it entirely too easy to beat the case down while making the Democratic Party so focused on impeachment that they can't campaign for the White House.

Strategically, unless Jack wants to cast his truth spell on Trump to get him to spill the beans about his demon deal with Crowley, impeachment is a bumpy road that conceivably leads nowhere while draining all the gas in the Democratic Party tank.

Still working on my essay for Informant's 29.7. I wonder how it will all shake out.

2,997

(74 replies, posted in Sliders Bboard)

Slider_Quinn21 wrote:

If he's gone, it's going to be less interesting around here.

As much as my blood pressure has relaxed ever since he stopped posting, it is going to be a lot less interesting around here.

Slider_Quinn21 wrote:

I think it's probably hard to feel like you're on a side by yourself on everything.

Due to SLIDERS, I have developed a fixation on what my niece calls "interesting failures" where I really like movies and TV shows that don't quite work. I'm fascinated by the box office bombs that were TOMORROWLAND and TITAN A.E., enthralled by two Asa Butterfield movies (THE SPACE BETWEEN US and THEN CAME YOU which are both awkwardly misfiring romcoms).

The world at large just thinks these movies are terrible much in the same way the DCEU movies are reviled and... I don't feel that diminishes my interest in these projects. I don't feel insulted or offended when people don't share my subjective opinions. If I wrote angry letters screeching at people for not liking TOMORROWLAND, TITAN A.E., THE SPACE BETWEEN US and THEN CAME YOU and raging about how there's a left-wing mass media conspiracy to demonize excellent films in order to jump upon a fake bandwagon of wokeness --

Well, that would suggest that I am deeply insecure in myself, so insecure that I desperately need every stray thought or taste to be affirmed and echoed or I will not feel validated. And that I need to construct elaborate conspiracy theories to assure myself that you all actually agree with me, you've just been programmed not to, you gullible fools.

Grizzlor wrote:

I have largely stopped discussing politics on-line over the last many years.  I find it's a total waste of time.

As a liberal, I spend more time criticizing liberals than conservatives because I'm more concerned about the failures of my side and what my side can do to correct them and how my side is constantly falling short of the values we espouse. If I were conservative, I imagine I'd be the same, just on a different side. And, quite frankly, I don't even think the politics were the problem as much as the means by which they were expressed.

slider5125 wrote:

I'll add that my views may not represent everyone on the bboard, but maybe they do.

My views are too bizarre to represent anyone else on this forum.  I have this joke that to this community, Transmodiar is Public Enemy Number One and I am the village mental patient. The weirdo. The eccentric mad scientist who produces unworkable, unusable creations.

Slider_Quinn21 wrote:

It is sometimes easier to log onto a site and see a view that supports your own.

I feel that you are all supportive of my love for SLIDERS, but you are not necessarily supportive of the means by which I love it or the opinions I express regarding it. Nor do I expect any of you to be.

This isn't something that Informant brought to SLIDERS, but it's something he taught me -- he pointed out a lot of the hypocrisy and failures of (neo)liberalism and how many who claim to be Democrats are undemocratic and sociopathic.

Harvey Weinstein supported the Democratic Party and Bryan Singer advocated for gay rights and Andrew Kreisberg made SUPERGIRL a champion of progressive values and all three are sexual abusers. Aziz Ansari, someone I once quoted for his words on feminism, was exposed for sexual abuse. Informant made me realize that democratic values are not necessarily the values of those who champion the cause.

Branding vs. Beliefs: Informant taught me to separate the branding from the person and I loved him for that. But I don't allow my love for him to blind me to how it's something Informant didn't do himself. Despite Trump caught on tape bragging about sexual assault and numerous women coming forward, Informant dismissed all the accusations.

It's not hard to imagine a Democratic double of Informant insisting that Weinstein and Singer and Kreisberg and Ansari couldn't possibly be abusers. I find looking at Informant's politics less enlightening than the behaviour itself where anyone he designated as his standard bearer or champion, he would refuse to see culpable or criminal even when their actions were abusive (Trump), self-admitted on audio recordings (Trump again), deceitful (James O'Keefe) or when their claims were misogynistic hate speech (Paul Elam) or in stark contradiction to facts (Midnight's Edge).

Rather than concede that he'd invested in people who hadn't deserved it (which I have too, see above) and that he should find someone else, Informant would deny their crimes to maintain some sort of ideological purity.

For me, I know that some of the people I once saw as representatives of my values have in truth betrayed them in ways great or small. Even my fitness idol, Brandon Routh, has failed to correctly explain the benefits of medium chain triglycerides and demonstrated confusion over the human circulatory system. But I like to think that my values are not mine alone (even if my expression of them is largely mine). I'd like to think that my values are greater than any one person and don't cease to exist just because people make mistakes or commit terrible wrongs.

Tours of Crazytown: I've learned to enjoy it when people think I'm weird. It's the entire basis of my friendship with Transmodiar. I live to hear him tell me that I'm crazy. ("You bought a steam cleaner -- for your stuffed animal collection? Hahah!") I didn't always do that. I used to yell at people for SLIDERS revival ideas that didn't clear the slate or for liking Lana Lang in SMALLVILLE or for calling Rey a Mary Sue or for thinking Ben Affleck was too old to play Batman.

Informant's behaviour rankled and made me realize: I should just express my views rather than trying to alter someone else's. I shouldn't have told pilight his reboot ideas were 'wrong,' I should have presented my own reboot ideas without commenting on pilight's at all. Instead, my argumentative attitude made an enemy for no good reason whatsoever. I hope I have turned a corner on that.

It was delusional of me to present my views of SLIDERS as being synonymous with SLIDERS. The opinions of ireactions are that of a troubled manchild recovering from an abusive boyhood during which the sliders felt like his only friends which in turn led to a horrific trauma where ireactions watched his father figure, the Professor, get shot and exploded after his brain was sucked out. I come from a peculiar place with peculiar opinions. And I expect all of you to pick away at my opinions and I will enjoy that.

Do I wish more people shared my views? Well, to have these views, you would have had to watch "The Exodus Part II" at age 12 with a black eye that your mother inflicted upon you while screaming at you that it was your fault your father left her. You would have had to watch Arturo die and not be able to distinguish the pain of seeing your father figure shot dead and the pounding in your head from the impact you took when your mother threw you down the stairs an hour previous.

I wouldn't wish that upon any of you. My perspective can only ever be my own and I would actually prefer it if you'd share your own views while still permitting me to think what I think and never behaving as though my opinion somehow trespasses on yours. That'd be awesome.

("Recasting John Rhys-Davies with some teen idol flavour of the month? That's disrespectful to Arturo and you STOLE that from LEGENDS OF TOMORROW!" "Do you REALLY think TV would let Quinn become transgender in the 90s?")

I would love that. I think it's funny. Try getting that deal from Informant.

But even so, I think we all know what Informant brought to this community and how very much we have lost with his departure. I am sorry that he's gone. I couldn't stop it. I couldn't change it. I couldn't save Informant. But I saved pilight and I'm very glad pilight is here.

Coming next: Day Six of Informant - 29.7

2,998

(74 replies, posted in Sliders Bboard)

Grizzlor wrote:

Well, for one, most of the non-Sliders TV/movies he would discuss here have largely ended or have fallen apart.

It's possible.

But it's also possible that Informant could no longer function in a discussion forum due to:

  • An attitude to discourse where he presents his opinions as the default

  • A view that anyone who does not share his beliefs or champion conservatism is mentally ill or lying or a hypocrite

  • A standing accusation that any non-conservative who protests abuse is themselves an abuser

  • A protest that calling anyone a Nazi is inappropriate (although having no complaints towards specific Nazis, just disliking 'Nazi' being a pejorative and objecting to identifying Nazis as Nazis)

  • A habit of putting anyone who identifies as conservative to be above questioning or reproach

  • A need to declare that any wronged party deserved their fate to be maimed, harassed or killed

  • A dependency upon experts who are considered by the world at large to be frauds (Sarah Palin), scam artists (James O'Keefe), misogynists and rape advocates (Paul Elam) and outright liars (Midnight's Edge)

  • A denial that white male centricism is a thing and a contempt for women-oriented projects or spaces or events that found no support here

  • A hatred of Marvel movies that was also not reflected by other posters which led to various deranged rants over how angry he was that people didn't enjoy BATMAN VS. SUPERMAN (because his own viewing pleasure was not enough)

  • An entitled outrage that Sliders.TV wouldn't affirm his tastes in media or his personal politics or the news sources he uses to reinforce those politics

  • An insistence that any sane, sensible person agrees with him

  • A frustration that his politics, by the end of his time here, were met with a near-total lack of response and what was either a lack of interest or a lack of interest in discussions done in Informant's preferred style (see above)

It's really sad to me. Because you can like DC movies and be conservative and be put off by women-only eventswithout being supportive of misogynists and false conspiracy theories and neo-Nazis. It's easy: you just focus on presenting your views as yours and yours alone instead of presenting your views with argumentative sentiments and language designed to present any opposition regardless of what it might be as illegitimate, insincere, ignorant and delusional.

If Slider_Quinn21 didn't like BATMAN VS. SUPERMAN but liked CIVIL WAR, who are we to tell him that he's somehow 'wrong' for liking what he likes or believing what he believes? And if we get angry when people don't agree with us over politics or superhero movies, if we have to go to crazy, abusive liars to back us up demand the other side view personal opinions as objectively true, doesn't that ultimately undermine our opinions as hollow foundations of insecurity and anxiety?

I was never angry with Informant and I didn't want to curtail his views -- by the end, I was posting disclaimers to remind everyone that his views were his own and not representative of a forum consensus -- to which he replied with a post saying he did represent the forum. I edited his post to say that he was probably joking about that. Then I responded to say that Informant didn't represent Sliders.TV and if he kept saying he did, he wouldn't be saying it on Sliders.TV. Shortly after this, he quit the board.

If he quit over that, then he quit because he could not stand for it to be said that his views were not the consensus and not the default. That he was not our spokesperson and would not be permitted to claim otherwise. Aside from that, I preferred then to say nothing else in response to his politics. I didn't want to silence him about his politics, I just didn't want to talk to him about them anymore because when it came to politics, Informant was abrasive, aggressive and I didn't want to commit any energy to these conversations with him.

But I am talking about them now because if he is gone, then I need to come to terms with that loss. It is a loss. But it is also a lesson to always welcome and consider opposing views and search for new information to update, refine and revise our own opinions.

And yet -- wherever Informant may be, whatever he did or said, whatever false credentials he may have rolled out wherever he may have tried to run for mayor, he is our friend. We should try to think the best of him.

I would prefer to think that Informant left because of a long-simmering grief over the conclusion of FRINGE.

2,999

(74 replies, posted in Sliders Bboard)

Day Five: Informant's SLIDERS Reboot

In 2013, Informant rebooted SLIDERS and he achieved something fascinating: he engaged with the politics of the era and managed to make SLIDERS both politically relevant AND apolitical.

Yes, technically, I produced the screenplay for SLIDERS (2013): "You Can't Go Home Again," a pilot script for a SLIDERS reboot set in the twenty-first century with the script asking: what would SLIDERS be like if launched with all the advantages of a major network show like LOST and HEROES?

Fully financed production values, recurring characters, ongoing arcs, flawed characters getting to know each other over time, complex backstories for Quinn, Wade, Rembrandt and Arturo that would be revealed gradually and, above all, keeping the sliders completely recognizable as the originals but in a reboot for 2013.

http://freepdfhosting.com/ab3f9e4b78.pdf

However, I really just wrote the dialogue. Slider_Quinn21 wrote half of an outline and plotted everything up to the sliders landing on their first parallel Earth together. Informant wrote the second half of the outline, crafting a world where the War on Terror never ended.

The 1994 Pilot had presented a Cold War inspired story; Informant presented a terrorism inspired story to similar ends as a first outing for the sliders. His plot added in post-9-11 paranoia and detailed thoughts on how suspicion and fear could warp government agencies to creating just as much terror as terrorists themselves.

He created a stirring backstory in a fictional attack on San Francisco for an alt-world that stirred the emotions of 9-11 without crassly reproducing it, instead tapping into the anxieties and issues of a real-life situation but making sure that the story was about the story's situation and leaving it up to the reader to decide how it applied outside the fiction.

And, most interestingly, Informant created the concept of the Bio-D -- a surgically implanted chip placed beneath the skin of every American citizen -- for contact payments, for identification, for health care -- with legislation never specifically making it mandatory but making it impossible to work or find food and housing and education without it with children obligated to bring permission slips home to parents as little more than a formality.

The Bio-D, marketed by America as a means of health care, protection and convenience, is ultimately easily misused in times of fear as a tool of oppression by finding various reasons to criminalize individuals trying to live without Bio-D chips. The government-run Bio-D program is later revealed to be financially unfeasible without creating a massive American slave labour force of those who decline to be chipped.

It's curious -- when reading the outline and knowing Informant's values and politics, Informant's Bio-D was very obviously:

(a) An accusation that the Affordable Health Care Act was an invasion into American lives and a pointless, overblown, expensive promise of health care that couldn't be delivered (and something or other about how poor people shouldn't have health care and how Informant once nobly tried to save a doctor from being sued for letting a baby go blind).

(b) An anti-vaccination argument that requiring children be immunized to attend school or be around other children to avoid spreading preventable and deadly diseases is somehow unjust and undemocratic.

As the screenwriter seeking to convert the outline into dialogue and scene descriptions, I ignored that and looked at the story itself and plot was an exploration of how well-intentioned efforts to manage society in the midst of a terrorism-stricken nation had created safeguards that were very easily reworked into tools of tyranny with an inhuman establishment now assailing a noble revolution.

If you weren't aware of Informant's politics, his story, intended as a critique of the Obama administration (which Informant despised) could just as easily have been viewed as a parody of the post-9-11 Bush administration. Informant didn't attempt to create one-to-one correlations with real-world debates to present his side; he created a story that explored issues of government oversight becoming tyranny through public relations friendly measures of offering free health care and protection and safety becoming insidious and beneath your very skin.

And even more effectively, Informant left it ambiguous as to whether the government was malevolent or if their good intentions had been corrupted by fear of terrorism and the wish for security.

I don't really consider myself the writer of the SLIDERS (2013) script as much as a contractor executing Informant's blueprints. Slider_Quinn21, Temporal Flux and Chaser 9 were interior decorators.

Slider_Quinn21 suggested that Quinn and Bennish be partners in trying to create sliding and that Quinn and Wade be flirting online; Temporal Flux created the new backstories for why Wade was an introverted hacker/adventurer/escapologist and why Arturo was an underappreciated genius; Chaser9 crafted Rembrandt's backstory as a once serious R&B singer who went onstage crying after a breakup and achieved fame as "The Crying Man" which he perceived as an insult to the detriment of his career. The characters were almost unchanged from their 1994 selves, but had different pasts that created their presents.

But the key takeaway for me was simply how SLIDERS was a very interesting sociological lab. Informant's internet posts had the attitude that anyone with any perspective save his own should be banished to the cornfield, as Slider_Quinn21 put it. But when Informant's ideas were transplanted from actual reality into a parallel universe, they became thoughtful ruminations on where the world might be going, raising questions without presuming to have any answers.

Informant's SLIDERS reboot was a politically charged vision of SLIDERS that could speak to anyone on any end of the political spectrum. His work is unquestionably one of the most important pieces of SLIDERS fiction ever created and it was an honour to be part of it.

http://freepdfhosting.com/ab3f9e4b78.pdf

3,000

(74 replies, posted in Sliders Bboard)

Not sure 'budget' has anything to do with hiring acting talent. Many of my friends are super-talented actresses whose earnings are well below what Kari Wuhrer was making on erotic thrillers. The rest is... a matter of perspective, I guess.

Anyway. Coming for Day Five: Informant's SLIDERS Reboot