Go not gently into that good fridge: R.I.P. Bonnie Richmond

OK, I take back everything bad I said about Jericho. The last to episodes have been fantastic, as a truly evil enemy has reared its head, and the citizens of our plucky, home-spun little town has started to make the beginnings of a … dare I saw it … an insurgency. So, good job Jericho (and thanks for giving Heather a bigger role after distressingly leaving her out of the 2nd episode.

The real reason for this post though was to comment on the murder of Jericho’s resident little sister, Bonnie Richmond. My first reaction was … yikes…why her. But it made perfect sense, and the way it was done was first class. While the women in refrigerators charge is often invoked when a female character meets her death, I do not believe this is a case of a fridging.

Fridging occurs when a (usually)female character is offed to have some sort of effect on a male character, usually the protagonist. It is usually brutal, as this was, and is often presented in a sexualized way (though not always). Though they may have killed off Bonnie Richmond in a spectacular and ugly manner, she was not shoved in the fridge. In fact, Bonnie was given an exit befitting most male protagonists. Girls, usually young girls, don’t usually go out this way in things that aren’t written by Joss Whedon or Gail Simone. Her gender does give us added pathos, but as much of that comes from the fact that she was deaf. And I had a feeling she was a goner when they started leaning heavily on the “I’m going to Cheyenne to become a relief worker” plotline.


Bonnie died in a hail of bullets, wielding a shotgun in defense of her new big sis Mimi, who’d uncovered some “discrepancies” in the books of the military contractors given control of the town in post-wasteland America. She was fierce and brave and protective and became a serious threat to the Blackwater contracters storming her house. Yes, I mean “Ravenwood.”

And Jericho becomes the show it could be, its metaphor perhaps a little too on the nose, but intact and important. Bonnie’s death affects everyone, not just her big brother. (I had a feeling she was a goner when they started leaning heavily on the “I’m going to Cheyenne to become a relief worker” plotline.

Jericho has three episodes left. Watch them. They’re probably won’t be more, but now I know the creators can handle this.
And goodbye Bonnie. Your friends and family are going to nail someone’s ass to the wall.

Jericho Season 2

Jericho Season 2
Tuesday, 10:00 p.m. EST
starring: Skeet Ulrich, Ashley Scott, Kenneth
Mitchell, Brad Beyer, Alicia Coppola, Michael Gaston, Sprague Grayden, Esai Morales


You know, I’m always behind a fan-led rebellion against the corporate America that cancels a TV show. And when that campaign actually works? Awesome. Fans saved Jericho by sending tons and tons of nuts to CBS corporate offices, leading them to renew the show for seven episodes to, at least, wrap up the story. Go fans! However, sometimes when this happens, the show you’ve saved is Jericho. And that’s not always a good thing.

Jericho started off weakly last season. I mean, for a show about a nuclear attack that destroys the U.S., leaving a small Kansas town to fend for itself against enemies internal and external, it was astonishingly meh. The set up was fantastic. I loves me a good apocalypse story, and by focusing on the little people just trying to survive and make their way in a brand new world … what could possibly go wrong?

Well, for starters, they cast Skeet Ulrich as the lead character. Now, it's not that he’s spectacularly bad, he’s just … kind of there. No personality. Charisma-free, if you will. But not so charisma free that, Keanu-like, it actually goes out the other side and becomes actual charisma. Then, they saddled this prodigal-son character type with a ridiculous back-story involving the middle-east, an obvious Blackwater stand-in, and a sad-sack partner he helped get killed. Yawn. And let’s not even get into Lennie James as Robert “I was a cop in St. Louis” Hawkins.

The single worst move they made, however, was framing the main character’s romantic prospects around so-charisma-free-she-comes-keanu-like-out-the-other-side-and-then-dives-back-in-to-sucking again Ashley Scott character. Instant hate by almost everyone. It was so bad that when Ulrich had more obvious chemistry with Sprague Grayden’s Heather they made a ridiculous move to take her off-screen as if we would be so desparate for romance we would accept Ulrich and Scott together at the end of the season. It’s basically Smallville’s Lana problem.

But anyway, toward the end of the season actual plot developed, and the show allowed some characters with actual personality to assume center stage (Hi, Stanley and Mimi) and killed off some of the more annoying (you are not missed, April). Unfortunately, Ashley Scott’s Emily is still alive. They all but redeemed themselves when, as one of the final images of Season One, they showed us Heather looking at a new flag of the Country, promising intrigue to come.

So, Season Two is finally here, and I still have a burning question: shouldn’t the apocalypse be more exciting than this?

What works: There are nuggets here of the potential the series has always shown. The plot is moving along as we’re getting more information about the new nation forming out of the west. The series seems to be taking on more of an epic feel. This could be both good and bad.

The addition of Esai Morales as the military leader is promising, as is the attention paid to Stanley and Mimi. And the first episode feature Heather in a prominent role which seems like it will be important later. There are a lot of pieces here that could really work.

What doesn’t: We still have Emily around. And Ulrich is still our lead. Heather is absent from the second episode, which is not promising at all. I can’t even be intrigued anymore when Hawkins talks about the bomb he has in his basement. We’re supposed to take as fact that this new government is eeeevil when we’re shown no eamples of them being, actually, evil. Misguided and heavy-handed? Sure? Shifty? You bet? They have apparently commisioned some evile tetbooks, and they are getting ready to re-write the constitution. These things are defenitely not good, but if they’re the big bad, they’re not there yet. So, once again… the apocalypse = boring. That shit is not right.

Bottom line: I’ll watch this season, and post here if it gets better, but for now … yes, the apocalypse really should be more exciting than this.

newuniversal: Everything went White

newuniversal: Everything went White

by Warren Ellis and Salvador Larocca

Marvel Comics $19.99

I was thirteen years old in 1986, when Marvel Comics decided to celebrate their twenty-fifth anniversary by creating an entire new Universe. Seriously, that’s what they called it, The New Universe, and it was designed to be the world outside you window. But a world that suddenly, had people developing super-powers (not necessarily outside your window, but you get the point). Sound like a familiar concept? It’s almost the exact concept of the tv series heroes, done twenty years (and, some would say, more creatively successfully) earlier. The New Universe was not destined for long-termed success. The first batch of titles was cancelled a year in. The rest made it another year and a half, but most people agreed there were some damn good stories in their, told by creators at the top of their game. And it was a world, refreshingly, with no reset button. When the most actual “super-heroic” of the characters accidentally blew up his home town of Pittsburg (not to mention himself), no one came along and fixed it. Instead, the event propelled the New Univers into a war between governments using civilian, super-powered, pawns. It really did see the situation to a believable (if not a very satisfying) conclusion.
So, to celebrate the twentieth anniversary of this event, in 2006 Marvel assigned brilliant, gonzo writer of conceptual and super-heroic science fiction, Warren Ellis, to reboot the property. To assist, they gave him the services of fan favorite artist Salvador LaRocca. Instead of an entire line of inter-related titles, the New Universe was reborn as one book, newuniversal, and the entire story will be told in one title. The first story arc has been collected as the hardcover Everything Went White.

Story: As he usually does, Warren Ellis has delivered in rethinking the concept of the New Universe. In the original version, there was an explosion in the sky of white light, which gave a couple of hundred people world-wide super-powers. In this new version, Ellis has re-thought what that “white event” was and come up with an explanation that has real implications for the future of the planet, tying it in with quantum mechanics and multiple-worlds theories. Ellis loves his gonzo science (as do I) and this provides a layer to the story that was absent in the original. He also culls the cast down a bit too. There are four super-humans the white event has awakened, and each has his or her own specific purpose.

As usual, Ellis creates interesting, believable characters and writes dialogue that accomplishes expositional tasks but also sounds like something that people would actually say, peppered with humor and pathos throughout. He avoids using some of his stock characters (no chain-smoking, sarcastic, bitter Brit investigator here. yet.) This first volume doesn’t delve as deeply into character as some would like, but this is clearly a story working off of the EVENT structure, and that takes precedence. There are some nice bits, though.

This is but the first volume, and as such, the ending is a little weak. It does not so much end as it does stop. This would not be so alarming except that Ellis and Marvel been coy about when and where the story will continue. It has been announced that the series will return early in 2008, but so far it has not yet appeared. I am invested enough in the story at this point that I almost want to seek out the actual issues as they come out. (Don’t worry honey, I know that’s how it all starts …)

Art: Salvador Larroca’s work is gorgeous here. In some places it is almost photo-realistic. It succeeds in being both a fantastic place and “the world outside your window.” His character work is particularly strong. But there is one thing about the piece that some people will find distracting, at that’s his obvious modeling of certain characters on famous people, at least in their appearance. Basically, we have Josh Hollaway (Sawyer from Lost) as Oklahoma football player Ken Connell; A red-haired, green-eyed Angelina Jolie as robotics expert Jenny Swann; Johnyy Depp (circa his Ninth Gate days) as historian Len Carson; James Cromwell as government agent Phillip Voight; and, bizarrely, some weird hybrid of Hillary Clinton and Dr. Laura as the president. This practice of “spot the reference” can distract a little from the story. Some people like it, others don’t. I’m on the fence.

Bottom line: A promising start to a great story. I just hope it continues. It certainly does more with the concept than Heroes ever thought of doing.

Torchwood Season 2

Torchwood

BBC America Saturdays 9:00 e.s.t.

starring: John Barrowman, Eve Miles, Burn Gorman, Naoko Mori, Gareth David-Lloyd

Whenever I saw the name Torchwood on my DVR’s now playing list last fall, it would be an immediate watch now. You know how it is, there are some shows you are excited about, but might save until a few episodes pile up to enjoy in one sitting. Lost is like that for me. Others, you give a little “ugh” and watch because you’ve already gotten involved in a series, but at a certain point it becomes a chore before you man up and just delete the damn thing for your season pass list. Others, you sit and watch immediately because you just can’t wait. Sometimes, these are the very shows you’re embarrassed to admit you watch. Such was the case with me and Torchwood.

Let me be clear, I loved this show. It’s basically a british version of the X-files, centering around a team assembled and led by a Doctor Who supporting character, the immortal time agent Captain Jack Harkness. They investigate the weird and the secret, the occult and the just plain wrong, and they think they do it with panache and style (your mileage may vary). In its first season, Torchwood worked better as an idea of a tv show that it did as an actual tv show. The episodes were wildly uneven in quality with some of them, like Small Worlds, which reimagined a fairly malevolent fairy mythology and They Keep killing Suzie, which played with the unfortunate consequences of a resurrection on the higher end of the quality spectrum and others, like Cyberwoman and Combat taking genre tropes and stringing them in Christmas lights. The season ended on a mixed note, with the team fighting a breakdown of the time/space vortex in Cardiff and a abysmally literal interpretation of the devil coming to town to make trouble.

The main problem the show had was that it thought it was groundbreaking, and kept reminding of us how groundbreaking it was, especially in the area of sexuality. It’s creators nonchalantly threw out comments like “Oh, everyone’s bi on Torchwood” and every single character had a same-sex encounter, even if it was only hinted at. All this is fine, and it would be a progressive approach to the issue is some of it didn’t come across so gimmicky, so “oh, look what we’re getting away with now,” that it actually cheapened the issue.

Still, I loved every minute of it. What can I say, some shows just push the right buttons.

Season two just started on BBC America. The first two episodes added Buffy alum James Marsters to the supporting cast as a rogue time agent who once had a relationship with Captain Jack. The second started what looked to be a season-long arc about a secret alien invasion, which could have ended up like the worst of the obtuse X-Files mysteries but actually developed the plot while leaving it open for more.

What works: These first two episodes are on par with the strongest episodes of Season one. Of the two, I preferred the second, in its paranoia-inducing concept of finding out that you are not who you think you are. The first, with Marsters, would have been a disaster if not for Marsters’ performace, as it’s basically a macguffin hunt that turns out, predictably, to have been an exercise in misdirection. The actors seem to have settled in, the writing is more assured. The show seems to have found its tone, combining camp and suspense, in a way that it rarely did in season one. The characters seem more natural too. When Captain Jack and Captain Jon hart make out while busting apart a Cardiff bar, it actually seems character driven, and not just a stunt.

What doesn’t: I’m still not a great fan of Burn Gorman’s Dr. Owen Harper, and Eve Miles’ Gwen grates at times, as does her boyfriend, who I’d really hoped was dead during the finale. The villains are stronger as well, but this is still Torchwod’s weakest aspect.

Bottom line: Better than it was, but still by no means perfect. Still, I probably love it more because of its imperfections.

Cloverfield

Cloverfield

Paramount Pictures

Directed by Matt Reeved

Written by Drew Goddard

starring: Michael Stahl-David, Mike Vogel, Odette Yustman, Lizzy Caplan, Jessica Lucas, T.J. Miller

First, a confession. I was geeked out to see this movie in a way I have not been about any movie since Joss Whedon’s Firefly follow-up, Serenity. It’s important that you know that so you know how many grains of salt with which you’ll need to take the rest of this review. This is actually the first movie I’ve ever gone to see in the theaters by myself, since my wife refuses to see horror movies and everyone else I know was busy during the time I had to go (I decided that taking my daughter out of school or subjecting my five-year-old to this was just not a good idea. I’m devoted to the idea of passing the geekery down to the next generation but even I have my limits). So, there I was, opening day, noon showing. There were a lot of people in line at the box office, including a field trip from some sort of group home, but most of them turned out to be in line to see 27 Dresses (I know!) It was just me and some older couple in theater 9 to see Cloverfield. I was in front of them, so it was almost like a private showing.

So, was it worth it? After all the online build-up, the viral marketing campaign, the title-less trailer in front of Transformers (I know!) featuring the decapitated head of the statue of liberty … did it live up to all of it in a way that other recent internet phenomena have not (looking at you … Snakes on a Plane)? For me? Absolutely. In fact, I loved this movie in a way I have not loved a movie since Serenity. It’s not perfect, by any means. In fact, its almost imperfect enough to be perfect, for the experience it provides. But I’ll get to the flaws later.

What Works: This film is shot, and presented to the audience, as if it is footage found by the military at the sight of a disaster. And it really does look like a videotape you’ve popped into your VCR. There are snippets of old footage interspersed with the new, a couple newly in love sharing one perfect day, but the bulk of the movie starts at a party being thrown for the guy in the couple who’s going away to take a job in Japan. He’s also blown it, big-time, with the girl of his dreams. This just happens to be going on the same night what can only be described as a GIANT FUCKING MONSTER attacks New York City. We follow these characters as they try to survive the attack, first attempting to get out of the city, then heading back to the disaster to save someone. It does not turn out well. Do not get attached to any of these characters.

What I really liked about this film was how it presented the events from the perspective of the normal people caught up in them. Another movie would have given us, Independence Day style, the broad picture, characters ranging from Scientists to soldiers, probably the nuke-ordering president, a couple of civilians in New York (most likely family or love interests of the other main characters) telling this story from beginning to end, finding out what the monster was as how it could be defeated, eventually someone coming in at the last minute, finding an ingenious device to kill the monster before the entire northeastern seaboard has to be destroyed. And that movie would have been fine, I guess. Depending on the writing and the performances, it could have been fantastic. It would also have been tired. If there is one that this movie isn’t, is tired.

The device, some would say conceit, of the camcorder puts the viewer right there in the middle of the action, living, dying, running, screaming. I felt like I had survived the monster attack myself (actually, survive is too strong a word). Another thing that works is the monster itself. We do eventually get a very good look at it, but for most of the movie is it glimpsed through dust, around corners, it is felt more than it is seen, which makes it scarier. It gets no less scarier when you do actually see it. And yes, as you make have heard, the camera work is a little sick-making at first. But unless you are especially prone to motion sickness, you will get used to it.

What doesn’t work: Horror movies aren’t really great at creating really compelling characters, and this one is no different. These people are fodder, and there are attempts at depth that fall flat somehow. Still, there is enough there that you do end up caring about these people and what happens to them. It’s saved by some of the performances, especially Lizzy Caplan as Marlena and Michael Stahl-David as “main character” Rob. There also some logical problems. We’re never shown that the Monster is that incredibly fast-moving, but it goes from decapitating the statue of liberty to stomping mid-town Manhattan is about twelve seconds. (I guess you could say it was just kicking it around, but still…) And whoever manufactures this video camera should use this film as an advertisement because this thing provides a great picture and extremely loooong battery life despite being kicked, dropped, rolled over, monster-stomped, and crashed in a helicopter. This product is highly recommended.

Bottom Line: People are either going to love or hate this movie. I loved it. The older couple behind me hated it. The ending is somewhat ambiguous and that’s going to make a lot of people leave the theater unsatisfied. But the ending is not the point. The experience was the point. And I had a great experience watching this movie.

Terminator: The Sarah Conner Chronicles

Terminator: The Sarah Conner Chronicles

starring: Lena Headey, Thomas Dekker, Summer Glau, Richard T. Jones

Fox Mondays 9:00 est.

I wasn’t expecting to like Terminator: The Sarah Conner Chronicles as much as I did. In fact, when I first started hearing about this project, months ago, I had almost zero interest. It felt like a step backward for the series, and in many ways it still is, but it’s a step backward that makes sense. For once.

This series takes place between the movies Terminator 2 and Terminator 3, and its events effectively wipe Terminator 3 from the record, either ignoring it completely or making it so those events never take place. This suits me just fine, as I’d never seen T3, so it significantly flattened my learning curve. It is, in short, the story of Sarah and John Conner running from killer robots, protected by a defender sent back from John’s future as the leader of humanity against the machine race. Sounds a lot like T2, and it is, but there’s a key difference. Now that the T-101 is governing California, the future needs a new defender, and here the producers make a really interesting choice.

Knowing any “buff-guy” type is going to live forever in Schwarzenegger’s shadow, they replaced him with former Ballerina and Firefly psychic commando Summer Glau. Glau’s casting is inspired. She’d already proven her action-hero chops in Joss Whedon’s Serenity, so whether or not she could handle the action sequences was never in doubt. But while her River Tam was a wreck of brilliant tics and undulations, she could summon a stiff coldness and directness of purpose that Glau brings back here in her Cameron. It works really well, and not just because “hey, it’s a pretty little girl who can kick ass” because I would hope, as a culture, that we are past that now, but because no one questions it.

With Glau and Lena Headey, as Sarah Conner, as the characters protecting a teenage boy acting as the “damsel in distress” in most situations, it could easily be a self-conscious “girl power” statement, which would be just fine. But the fact that its not presented that way, that it’s just that these two characters happen to be women and no one, absolutely no one, in at least the first two episodes, questions their credentials to do so, is completely refreshing.

I also love Headey’s Sarah Conner. She’s significantly less buffed-out than Linda Hamilton in T2, but that doesn’t make her less tough. It’s a quieter strength she brings to bear hear, born of hope and passion, a passion to make the world a better place than she knows it is otherwise going to be. The fact that she knows she’s coming off as a paranoid schizophrenic, and that any ping they make on the system of the world can bring down Armageddon, makes her more than a little bit guarded. But she’s not cold.

Thomas Dekker, center of the gay-not gay Heroes’ Zack controversy steps in for Edward Furlongas fifteen-year-old John Conner, the future savior of humanity. He and Headey have great chemistry together, and he walks a fine line between petulant teenager and heroic young man in a way that completely fits that part. There’s not much else to say about him, as Headey bears most of the first two episodes’ emotional weight.

Bottom Line: Much better than it should be, and a welcome addition to the schedule especially in the Strike Era. I have a few logistics/plot hole problems (no i.d.'s, but they have cel phones already?), but for right now, I’m in. I’ve always a sucker for a band of plucky rebels.