Direct Beam Comms #88

TV

Mr. Mercedes

The AT&T Audience Network series Mr. Mercedes begins in 2009 in a surprisingly gory/disturbing scene with the mass murder of a group of people waiting in line at a job fair during the Great Recession by a killer running them down in a stolen Mercedes. Based on a novel by Stephen King with the series being created by David E. Kelley who also created shows like The Practice and Ally McBeal, Mr. Mercedes then jumps ahead two years with lead detective on the case Bill Hodges (Brendan Gleeson) having retired in the meantime unable to solve the Mercedes murder of 16 people. But Bill begins receiving mysterious messages from the killer (Harry Treadaway) who taunts Bill being unable to catch him and letting him know that the killer’s not finished.

One thing I don’t care for in cop shows like Mr. Mercedes is when it’s about “who’dun’it?” As in, each episode will deal with the hunt for an unknown murderer where a lot of people seem to be the guilty person, but aren’t. Until the final episode where the person “who’dun’it” is brought to justice. The problem with that format is that since you’re sure the murderer isn’t going to be found before the last few/final episodes you can pretty much skip everything until then since most everything in the series will be filler. I think where Mr. Mercedes gets things right is that the audience knows who the killer is, we know right from the first scene. It’s Hodges and everyone else who’s unsure. Which is very effective since we spend time with Hodges trying to get to the bottom of a case he shouldn’t even be investigating anymore along with scenes of the murderer going about his life, working at an electronics shop, dealing with a messed up home life and keeping tabs on Hodges as he slowly turns the screws trying to drive him crazy.

The Carmichael Show

It’s hard to believe, but at this point The Carmichael Show is the longest running sitcom on NBC. Or at least it was until NBC cancelled it a few weeks back. And, to be honest, I can see why they did. The Carmichael Show was never easy for NBC as it tackled weighty issues from the n-word, abuse, rape and much more through the guise of comedy and the sitcom. I can only imagine that advertisers hated the show because it wasn’t safe, read “lame,” like so many sitcoms are these days that are forgotten as soon as the episode ends. The Carmichael Show was about something — and it was funny too.

I really thought that NBC might have a hit on their hands when The Carmichael Show debuted in 2015 but I was wrong. Sure, NBC aired the series for three seasons in at least three different time slots during different times of the year. But, realistically, if The Carmichael Show was a series people were going to find, they would have found it. But like so many other series they never did.

My biggest fear is that The Carmichael Show will teach networks to not take chances with weighty comedies like this show, but let’s face it. It was a miracle a show as good as The Carmichael Show ever aired on NBC and a double miracle that it got picked up for two additional seasons after that.

The Deuce promo

https://www.youtube.com/watch?v=J7YMlL8x8GE

Movies

The Monster Squad

For a long time it was hard to see the movie The Monster Squad. To be sure in the late 1980s and early 1990s The Monster Squad was very easy to see with it being available to rent on VHS, popping up on pay cable and even appearing time to time on broadcast TV. But in the 1990s when all sorts of other movies were being released on DVD The Monster Squad was conspicuously absent. Now I’m not sure anyone but people who’d grown up with that movie noticed its absence, but it was noticed.

In fact, for a long time those of us who wanted to see The Monster Squad either had to settle for a bootleg DVD of the movie from VHS or LaserDisc. I settled on the Laserdisc to DVD version and had that copy for years until I gave it to a cousin who grew up loving The Monster Squad but hadn’t seen it since he was a kid.

Now it’s a lot easier to see The Monster Squad legally with it having an official DVD release in the mid–2000s, a Blu-ray release and it even pops up on the various streaming services from time to time.

To me, The Monster Squad is a movie that holds up 30 years after its release, if I’m not sure it holds up for audiences born after it debuted.

Here, a group of kids uncover a plot from Dracula to take over the world with the help of Frankenstein, The Wolf Man, the Mummy and the Gillman. And since parents just don’t understand, it’s up to the kids along with a “scary German guy” to stop the monsters from bringing darkness to the Earth. Essentially, The Monster Squad is the movie The Goonies by way of the Universal Monsters. So, if you like either The Goonies or the Universal Monsters there’s a chance you’ll like The Monster Squad too.

Here’s the thing, though. The way the kids of The Monster Squad talk is 100% accurate to the way kids of the late 1980s talked, myself included. They say things that today is totally un-PC like calling each other “fggot” and “rtarded” as put-downs. Which makes watching the movie today is a bit jolting. But when the movie was released language like that wasn’t given a second thought.

That’s why I think new viewers today might have a tough time with The Monster Squad. I think it’s still a great film but I also think that since those terms were used in the movie it might at as minimum pull out new viewers out of the story or at worse make them actively dislike it. Which is a shame since I think The Monster Squad is a fun ride, warts and all.

The Reading & Watch List

Rumor Control

A few weeks back I started work on my yearly fall TV preview column. Some years in the past I’ve had not a lot to write about, or what I did write about were series that I was making fun of. This year has been quite a different experience. Between new and returning series I’m covering more than 20 shows. So far I’ve written what is the equivalent of four articles and will spend the next weeks going through this material a few more times tweaking things before it prints. This year’s preview will post on September 15 just in time for the new series to start premiering on network TV.

This week in pop-culture history

  • 1952: Jonathan Frakes, Commander Riker of Star Trek: The Next Generation is born
  • 1954: James Cameron, writer/director of Terminator, Aliens and Avatar is born
  • 1984: The Adventures of Buckaroo Banzai Across the 8th Dimension opens
  • 1984: Dreamscape premiers
  • 1986: The Fly opens in theaters
  • 1987: The Monster Squad opens in theaters
  • 1997: Event Horizon premiers

Direct Beam Comms #87

TV

Manhunt: Unabomber

True-crime series are very “in” these days and now comes a Discovery Channel true-crime drama Manhunt: Unabomber which began last week. If you’re not aware, between 1978 and 1995 the “Unabomber,” a man named Ted Kaczynski, send bombs through the mail to people at universities, airlines and other organizations killing three and wounding 23. Since Kaczynski was very good at covering his tracks he was able to get away with bombings for nearly two decades before he was captured by the FBI.

The first episode of Manhunt: Unabomber deals with recently graduated FBI profiler Jim ‘Fitz’ Fitzgerald (Sam Worthington) who’s brought onto the Unabomber task force to create a profile of the killer in the late 1990s. But what the FBI really want is for Fitz to tow the company line and expand their already moldering profile to something longer and more media friendly. But Fitz full of “piss and vinegar” instead wants to start from scratch and redo a profile from the ground up. Which is met with a lot of hostility since at that point the FBI had been developing profiles on the bomber for nearly 20 years and were still no closer to catching him than they were in the late 1970s. But Fitz is firm on it either being his way or no way and when the Unabomber’s manifesto is released, giving the FBI much more material than they ever had before to create a profile, Fitz gets his way in creating a new profile to help the FBI catch the killer.

Which they do — it’s in the history books so I’m not spoiling anything but the FBI does end up catching the Unabomber and putting him in jail for life. That being said, I was interested in how the creators of Manhunt: Unabomber was handling the story of the Unabomber and they pace at which they were telling it.

For example, in the first episode we really don’t get to see the Unabomber at all. We do see him typing things and a few shadowy glimpses of a figure, but we never get to see his face which I thought was brave. With a show like Manhunt: Unabomber you just know one of the major acting roles in the series is going to be that of the bad-guy, so to not show him in the first episode, played by Paul Bettany in later episodes, took some guts. It has the effect of putting us, the audience, in the “heads” of the FBI who at that point didn’t know who the Unabomber was or even what he looked like other than from a witness sketch that was drawn years earlier.

I think Manhunt: Unabomber is closest in tone to the film Manhunter (1986). In each there are FBI agents trying to develop a profile of a serial killer, an FBI agent who walks the scene of a crime at night talking to himself to help develop a profile and the idea that the villain isn’t around for a good chunk of the start of the piece. But I mean this in a good way. If a TV series creator is going to find inspiration in something, they could do much worse than to find inspiration in something like Manhunter.

The big difference between Manhunt: Unabomber and the other true-crime series like Serial, Making a Murderer and The People v. O. J. Simpson: American Crime Story is that part of the story of those true-crime documentaries and drama is that there’s a question on whether the person arrested for the crime is guilty or not. In fact, that’s pretty much the whole theme of Making a Murderer. But that’s not going to be present in Manhunt: Unabomber since when they caught Kaczynski there was never any doubt on who did that crime. So, I’m assuming that most of the eight episodes of Manhunt: Unabomber will be to find a reason why he built bombs and killed people, rather than there being any question as to “who done it.”

The Guest Book

2017 has been a very interesting year for sitcoms. There’s been a variety of series like People of Earth about a support group for people abducted by aliens, The Santa Clarita Diet about a zombified wife/realtor and even the now cancelled The Carmichael Show that’s a sometimes twisted look at life in the 21st century from the perspective of an African American family. And now comes the new series TBS The Guest Book by Greg Garcia who also created the series My Name is Earl and Raising Hope.

This comedy series about a rental cabin at the top of a mountain has the hook that each episode features different visitors to the cabin with a different story played by different actors each week while the locals, played by the likes of Garret Dillahunt, Kellie Martin and Charles Robinson remain the same. The first episode featured Tim and Sandy (Danny Pudi and Lauren Lapkus) a young couple with a troubled marriage who rent the cabin to spend a weekend away from their baby who’s marriage gets even more troubled after Tim’s visit to a strip club is recorded with the owner threatening to show the tape to Sandy if Tim doesn’t pay $700.

I enjoyed the first episode of The Guest Book a great deal and am very interested in seeing how this series unfolds with half of a different cast each week. I think it’s a great idea for a sitcom that hasn’t been tried in a while — even if HBO recently debuted a drama series about a motel room with a rotating cast called Room 104 the other week. Mostly, I’m just happy to see Garcia having another series on TV since I’m a big fan of his style of TV show.

Mindhunter promo

https://www.youtube.com/watch?v=7gZCfRD_zWE

Narcos season three promo

https://www.youtube.com/watch?v=Ory6b2EJ3Bk

Movies

Masters of the Universe

I kind’a feel like I shouldn’t be including Masters of the Universe in my reviews of movies that came out in 1987. Whereas with every other movie on this list I either liked at the time, like now or can see some glimmer of something interesting in the film looking back on it. With Masters of the Universe I thought it was a bad movie in 1987 and I think it’s a bad movie today.

I was exactly at the right age to love the Masters of the Universe toys when they debuted in 1982 and was a huge fan of the cartoon series when it debuted a year later. I used to run off the bus each day after school to watch our local kid’s show Happy’s Place that featured that animated series. And over the years I had many He-Man toys and remember friends of mine having many more. But while I might have been exactly the right age for the Masters of the Universe toys, I was exactly the wrong age for a He-Man movie. In 1987 I was at the age of transitioning out of playing with toys and wasn’t too interested in seeing a feature film about toys.

Still, it must’ve been in either late 1987 or 1988 that we rented Masters of the Universe on VHS and I finally saw the movie. Which to say was a letdown from even my low standards at the time wouldn’t be an understatement.

With the classic Masters of the Universe toys and cartoon, much of the action takes place on an alien planet known as Eternia with He-Man and allies like Man-at-Arms and Teela doing battle with evil Skeleton and his minions like Beast Man and Mer-Man. It was simple stuff, good vs evil but it worked for the pre-teen set. But because I’m assuming budget reasons, most of the Masters of the Universe movie takes place not on far-off Eternia but on a 1987 Earth. Here, He-Man (Dolph Lundgren) and his allies accidentally arrive on the Earth after Skeletor (Frank Langella) conquers Eternia. And on the Earth He-Man teems up with two teens, one of which is played by Courtney Cox, in order to keep Skeletor from conquering the Earth next.

Masters of the Universe was another Cannon Films movie that also produced Superman IV: The Quest for Peace and much like with that one Masters of the Universe looks very cheap. Though it is ironic that the movie Aliens made a year earlier had a reported similar budget to Masters of the Universe and looks many times better than Masters of the Universe does. So when people complain that Masters of the Universe didn’t have a good enough budget I wonder if it’s more it didn’t have a good enough production team for the movie?

Masters of the Universe would mark the end of movie studios trying to turn 1980s cartoon properties into feature films — for a time anyway. With animated Transformers: The Movie having flopped in 1986 and G.I. Joe: The Movie not even getting a theatrical release in 1987 and the live-action Masters of the Universe having also flopped in late 1987.

While both Transformers and G.I. Joe saw live-action movies in the last few years with two Joe movies and five Transformers films, so far the 1987 Masters of the Universe movie is the only one from that line.

The Reading & Watch List

This week in pop-culture history

  • 1960: David Duchovny, Fox Mulder of The X-Files is born
  • 1968: Gillian Anderson, Dana Scully of The X-Files is born
  • 1981: Heavy Metal permiers
  • 1985: Real Genius premiers
  • 1985: My Science Project debuts
  • 1986: The Transformers: The Movie (1986) opens in theaters
  • 1987: Masters of the Universe opens
  • 1989: The Abyss opens in theaters
  • 1995: Escape from L.A. opens
  • 1999: The Iron Giant premiers

Direct Beam Comms #86

TV

Midnight, Texas

The new NBC series Midnight, Texas is the latest attempt at a network to bring serious horror out of cable and to broadcast TV. While I thought that Midnight, Texas was lacking, none-the-less I also felt that it’s probably the best that a network show can be right now given all the limitations of broadcast TV.

Based on the series of books of the same name by author Charlaine Harris who also wrote the novels the series True Blood were based on, the town of Midnight, Texas is a sort of safe haven for those things that go bump in the night like witches, vampires and fallen angels. But these aren’t evil witches, vampires and fallen angels, they’re everyday witches, vampires and fallen angels just trying to get along in a world out to get them.

While I thought the characters of Midnight, Texas worked well and I was intrigued in the setting what I wasn’t sure of was the overall story. It seems like much of the series will deal with an outside force attacking the weird Midnight enclave and trying to drive out these misfits. In the first episode there’s a murder by some bikers ala the Sons of Anarchy that seemed like someone decided that since horror is hot right now and TV series like Sons of Anarchy too then why not try and blend the two and make something great? But this comes off a bit overdone for my tastes, if it’s probably right in-line with what the average viewer of broadcast TV expects in terms of story.

What I wasn’t expecting was just how scary some of the moments in Midnight, Texas were.

Manfred Bernardo (François Arnaud) is a psychic who really sees dead people. Really gross looking dead people who are trying to make contact with the living world. Be it a dead husband who looks like he just rolled off the morgue table, Bernardo’s grandma who pays him a visit and looks like she crawled out of a dusty grave or a drowning victim who’s bloated and rotting but when she tries to talk it comes out like waterlogged bile.

If this and the characters were all that Midnight, Texas were about I think I’d be really excited about the show, especially since the last NBC horror series Hannibal was one of my favs. That being said, I am interested in Midnight, Texas and will keep watching the show, if it wouldn’t surprise me that at some point in the season I stop watching and head off looking for a series with the characters of Midnight, Texas if not the story.

People of Earth

The first season of the TBS comedy People of Earth wrapped up last winter with the second having launched last week. I thought the first season of People of Earth was one of the better comedies on TV in 2016 if it took a while for the series to get going.

In the first season, writer Ozzie Graham (Wyatt Cenac) travels to a small down to do a piece on a support group for people who say they’ve been abducted by aliens. And what starts out as a joke evolves into something different when Ozzie realize that he too was abducted in the past and that the entire support group’s been together for decades now since the aliens have been abducting them since they were children.

The aliens doing the abducting are a mix of creatures. One’s a traditional “grey” alien named Jeff (Ken Hall), one’s a dreamboat alien with white hair Don (Bjorn Gustafson) and there’s a reptilian one named Jonathan (Michael Cassidy) too. These are more workaday aliens than monstrous ones who have deadlines, overbearing bosses and monthly quotas to meet.

Think The Office crossed with The X-Files and you’d be close to what People of Earth is.

The second season starts right where the first left off with Wyatt, now a believer trying to find the truth, Jeff dealing with new management in the whole abducting thing breathing down his neck and group member Richard (Brian Huskey) coming to terms that his girlfriend who exploded last season was really an alien robot plant.

After having read that paragraph again I know that must make People of Earth sound like a really weird series and to be honest it is a weird one. But it’s a good kind of weird, the kind of weird we need on TV in 2017.

Movies

IT trailer

Cool Sites

The Reading List

This week in pop-culture history

  • 1947: Arnold Schwarzenegger of Terminator, Predator and Total Recall is born
  • 1956: Michael Biehn of Terminator, Aliens and The Abyss is born
  • 1966: Batman the movie premiers
  • 1966: Daleks – Invasion Earth: 2150 A.D. premiers
  • 1971: The Omega Man is released
  • 1983: The TV mini-series V premiers
  • 1985: Weird Science opens
  • 1986: Flight of the Navigator opens in theaters
  • 1986: Howard the Duck debuts
  • 1987: The Lost Boys premiers in theaters
  • 1988: The Blob premiers in theaters
  • 1991: Terminator 2: Judgement Day premiers in theaters
  • 2002: Signs premiers in theaters
  • 2011: Rise of the Planet of the Apes opens in theaters

Direct Beam Comms #85

TV

Game of Thrones

I think I’m done with Game of Thrones. I’ve spent the last six seasons watching the show but the last few years I’ve welcomed its return less and less. It’s not that I don’t like Game of Thrones anymore, it’s just that it watching it has become a chore.

The stories of the first few season of Game of Thrones were much more contained than the ones in the series are now. At first there were stories of Winterfell, Westeros and the Targaryen’s across the sea and that was about it. And even then those stories were interconnected with the likes of the people of Westeros and Winterfell meeting and coming together to the point where there were really only two story locations for a while. But with each season the stories have fragmented more and more and more, to the point where no single episode of Game of Thrones can contain everything going on at once with stories having to be spread out between multiple shows. And even then some stories only get five or ten minutes an episode and one character even went missing an entire season only to pick back up with his story a year later since there wasn’t enough room for him.

With all this story weight meant that each season Game of Thrones started moving slower and slower to the point where in its fifth season, to me at least, there wasn’t enough story progression in it to hold my interest.

While things did pick up in the sixth season of the show, I started finding myself less and less interested in certain stories. So much of what Game of Thrones was last season was of characters who used to be together being off on their own adventures and since I wasn’t into each and ever character’s adventures I found myself more and more skipping through parts of episodes to get to stories that I was interested in. I’d generally stop at Tyrion stories but skip through Arya ones. And honestly by the end of the season I was pretty much only interested in Tyrion.

When I start using my DVR to skip through episodes of any series I know that my days of watching it are numbered.

I do think that if this were the last season of Game of Thrones I wouldn’t be writing this I would instead be watching the show just to see how it all ends. But this season isn’t the last, there’s one more left, and even then HBO is examining the possibility of spinning off the show into a variety of different series. All of which is fine, but at what point is the story of Game of Thrones only about continuing the story of Game of Thrones rather than coming to some sort of ending?

Everyone likes to make fun of soap operas, but at what point do self-perpetuating TV series like Game of Thrones become more soap opera-like than what they initially set out to be like smart, fantasy dramas?

Inhumans promo

Defenders promo

https://www.youtube.com/watch?v=D_6J9BqgonU

Krypton promo

Westworld promo

https://youtu.be/phFM3V_dors

Stranger Things promo

https://www.youtube.com/watch?v=vgS2L7WPIO4

Star Trek Discovery promo

The Gifted promo

Movies

Superman IV: The Quest for Peace

One of the few movies I did see in the theater in 1987 rather than on VHS or cable was Superman IV: The Quest for Peace. That summer I was watching my younger brother at home while my parents both worked and one week they gave us a little cash to get out of the house and go to a movie. I looked through the paper to see what was playing at the theater in riding distance to our house and the choices were Superman IV and Madonna lead Who’s that Girl. Being the mega-comic book fan that I was with a closed full of Superman back issues I, of course, chose to see, you guessed it, Who’s that Girl. I have no idea why I’d want to see that movie at all — in fact I’m relatively sure I’ve never seen it. I can only guess that it was because it would be easier to explain to my friends that I went to see a movie that starred then it-girl Madonna than a Superman movie, since at the time once you were a certain age you weren’t supposed to like superheroes or comics anymore. My mom used her parent veto and nixed the idea of my eight year old brother seeing Madonna prancing around on-screen in a fancy leotard and told us we were seeing Superman IV with Christopher Reeve prancing around on screen in his fancy leotard.

So, one weekday my brother and myself rode our bikes to the theater and saw Superman IV. When you’re a pre-teen kid Superman IV isn’t a terrible movie. It’s got the humous Lenny (Jon Cryer), Lex Luthor’s nephew, and even has ol’ Lex himself (Gene Hackman) back in the role he originated after missing out on Superman III. And let’s not forget Mariel Hemingway co-stars who was one of the most beautiful women on the planet in 1987 which didn’t hurt the movie either.

Looking back on Superman IV 30 years later, it’s a mess of a movie. Produced by Cannon Films known for such gems as Invasion USA and Over the Top, Superman IV was made on the cheap and looks that way. The movie is barely an hour and a half long and that includes both beginning and end credits with the opening credits being the looooooooong credits the Superman movies were known for back then. Christopher Reeve is back as the Man of Steel and a lot of the other cast members like Margot Kidder have returned as well. But other than Reeve the rest of the recognizable faces other than Hackman are in cameo roles at best.

A lot of the movies I’ve gone back and rewatched from 1987 might not be as good as I remember but they all have some sort of weird nostalgic appeal, and Superman IV is no different. Though I would argue that it’s the one movie I’ve watched that’s actually a lot worse than I remember.

The story of Superman IV is of Superman trying to rid the world of nuclear weapons, but in a devious plans Luthor uses Superman’s tossing all of the nukes into the Sun as a way to make Nuclear Man, a character created for the movie and so-far is his only appearance, in order to destroy Superman. Essentially, Superman IV is a smaller version of everything that had come before in the previous films. It’s almost a small-budget remake of Superman II in many regards with Superman battling one superpower villain instead of three. And since IV was made on the cheap all of the seams show.

Low-budget or not, Christopher Reeve gave it his all in Superman IV in what would be his last role as the title character. After the disappointment of Superman IV it would be nearly 20 years with the release of Superman Returns in 2006 until the character returned to the big screen. However, it’s not like there weren’t attempts at a new Superman movie after IV as most of the 1990s were spent with Tim Burton trying to get his version of the character off the ground in a movie that would have been called Superman Lives and then in the early 2000s there was another attempt this time with J.J. Abrams in another dead movie that would have been called Superman: Flyby.

If you are interested in finding out what happened behind the scenes with Superman IV: The Quest for Peace it’s chronicled in the 2014 documentary Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014) as well as in Jon Cryer’s memoir So that Happened. You can also find out what happened with Tim Burton’s aborted Superman movie in the 2015 doc The Death of “Superman Lives”: What Happened?

Blade Runner 2049 trailer

Starship Troopers: Traitor Of Mars trailer

Justice League trailer

Thor: Ragnarok trailer

Books

Lead Poisoning: The Pencil Art of Geof Darrow

I first became aware of the work of Geof Darrow in his incredibly detailed drawings in the comic mini-series Hard Boiled when I was a bit too young. That comic, an acid trip through a hellish, corporatized future where robots kill scores of people turned me on to Darrow’s work. Years later I found an amazing book on his artistic contribution to the movie The Matrix that is still one of my prized possessions and now comes another Darrow art book, Lead Poisoning: The Pencil Art of Geoff Darrow.

From Dark Horse:

Geof Darrow’s slick, precise inks and stunning detail have amazed comics fans for decades, from his early work with Moebius to Hard Boiled, his first collaboration with Frank Miller, to the overwhelming success of his current series, The Shaolin Cowboy.

Now Darrow provides incredible insight into his process by sharing the pencil drawings behind his meticulous inks in a huge hardcover collection. Featuring well-known covers and never-before-seen drawings alike, Lead Poisoning is a behind-the-scenes look that reveals perfectionism at its best, showing how clean and perfect the initial drawings can be as well as the bizarre alterations that appear to happen on the fly.

Featuring commentary by Darrow and his notable peers, Lead Poisoning: The Pencil Art of Geof Darrow is a hardcover that brings you right to Darrow’s drawing board.

The Reading & Watch List

This week in pop-culture history

  • 1928: Stanley Kubrick, writer/director of 2001: A Space Odyssey and A Clockwork Orange is born
  • 1956: Kevin Spacey, Lex Luthor of Superman Returns and Moon is born
  • 1957: Nana Visitor, Kira Nerys of of Star Trek: Deep Space Nine is born
  • 1972: Wil Wheaton, Wesley Crusher of Star Trek: The Next Generation
  • 1983: Krull opens in theaters
  • 1986: Maximum Overdrive debuts
  • 1987: Superman IV: The Quest for Peace opens in theaters
  • 1990: The TV series Swamp Thing premiers
  • 1995: Waterworld premiers
  • 1999: Deep Blue Sea premiers
  • 2001: Planet of the Apes opens in theaters
  • 2013: The Wolverine opens in theaters

Direct Beam Comms #84

TV

Salvation

I am a sucker for Earth vs asteroid movies. When I first started covering movies here back in the late 1990s two films that I was most interested in were Deep Impact and Armageddon. And even just a few years ago I found myself drawn to and again writing about Deep Impact and another similar movie Meteor too. I’ve essentially been writing about Earth vs asteroid movies the last 20 years so when it was announced that CBS would begin airing the series Salvation this summer that’s a Earth vs asteroid show I was very interested in checking it out.

But still, while I might be interested in Salvation it is on CBS which doesn’t have a good track record of interesting sci-fi series with the likes of Under the Dome, Extant and Zoo all being dull and lowest-common denominator sci-fi the last few years. But regardless of what had come before I was going to check out Salvation no matter what. Unfortunately, not unexpectedly, Salvation is more Under the Dome than Deep Impact.

Much like with both Deep Impact and Armageddon, in Salvation an amateur scientist (Charlie Rowe) discovers that an asteroid in the far-off reaches of space has a 97% chance of hitting the Earth in six months. And when he reveals this fact to the government they tell him that they too have known about this fact for some time and have a contingency plan for stopping the asteroid with a space probe designed to bump the rock off course to miss the planet. But when an engine test for the rocket meant to blast this ship on its journey ends in an explosion, billionaire Darius Tanz (Santiago Cabrera) realizes that his plan to one day send a ship to Mars full of people might have to happen a lot sooner than he planned.

Salvation is interesting but it’s CBS-ness keeps getting in the way of it being a good show. All of the characters have model good looks, they all work in these super-high tech labs with holographic projectors and computers waaaaay too advanced for present day, no one has any real personality flaws and is more TV character than real person.

Basically, Salvation is CSI + Deep Impact / Tony Stark and his technology from Iron Man.

Mr. Mercedes TV spot

https://www.youtube.com/watch?v=rWSJ-1TN0Fw

Movies

RoboCop

I remember reading an article in the long far off past of the late 1990s about movies that had what has come to be called a “director’s cut.” This version of the movie was different then the one that was released in theaters, it was the director’s preferred version of this movie. And just the idea that there might be different versions of the same movies I could see excited me. While different cuts of certain movies had been available for years at that point via LaserDisc, I didn’t know anyone who had a LaserDisc, let alone had ever seen a different cut of a movie like RoboCop that I had watched on VHS.

One of the articles I read talked about Aliens that was longer and had additional scenes, The Abyss with a totally different ending than what got released in theaters and a gorier version of RoboCop.

Nowadays it’s common for R-rated movies on home media to be released with a director’s cut of the film since the ratings system that applies to movies released in theaters doesn’t apply to home media. But back in the late 1980s when RoboCop was released on VHS the best we could hope for was the version of the movie that ran in theaters cropped to fit square TVs.

In the mid–1990s there was a push from movie fans for films to be released in their original aspect ratio, not with the sides cropped away*. And with the advent of DVD and the promise that format would feature the movie in its original aspect ratio, include things like commentaries and making of documentaries… more and more movies started being released with director’s cuts as bonus features. With DVDs becoming popular and everyone buying them looking to replace their VHS tape collections, for a brief moment movie studios began looking at their back catalogs thinking what could they do to get fans to buy the same movie yet again? And one of the things they did was to release more “director’s cuts” of movies.

By the time of DVD I had bought a few director’s cuts of movies on VHS that were dubbed from LaserDisc at comic book conventions with the likes of Aliens and Independence Day. But one of the movies I didn’t have much success finding the director’s cut of was RoboCop. In fact it wasn’t until years later when the movie was out on Blu-ray that I finally saw that version of the film.

To be honest, Paul Verhoeven director’s cut of RoboCop is less about having additional scenes that add story but is instead about turning a movie that’s known for having a decent amount of gore for a sci-fi film to one that has an incredible amount of gore and violence period.

If in the theatrical cut of RoboCop someone is shot once, then in the director’s cut they’re shot twice, once more up close and always squirting blood. And if someone shoots a gun in the theatrical cut, in the director’s cut they shoot again and again and again. So much so that the director’s cut is almost verging on comedy because of the over-the-top gore.

The iconic RoboCop image

I end up watching RoboCop about once a year but honestly I can’t remember the last time I’ve seen the director’s cut. I own that on Blu-ray but for whatever reason I end up catching the theatrical version unedited on TV somewhere and end up watching that instead. So I’m honestly not sure what I think about the director’s cut since it’s been a very long time since I’ve last seen it.

What I find interesting is that for the longest time the only way to see a director’s cut of any movie was on home media. The version of the film that played on TV at best was always the theatrical cut, at worst the dreaded “edited for television” or super-dreaded “edited for television and formatted to fit your screen.” But recently I’ve noticed that starting to change with several films airing as the “director’s cut” on cable outlets and not the standard theatrical version.

It must be jolting for the casual movie fan to sit down one day to watch a favorite movie they know by heart and have watched year after year to instead see something ever so slightly different then before. Then again, maybe “the casual movie fan” doesn’t pay as much attention to their movies as I do, and maybe most people simply watch movies to be entertained rather than to examine and write about the material.

*Though slowly at first since even in the early 2000s I still remember people coming into a big-box store I was shopping at to yell at the clerk in the electronics department about those “damned black bars at the top and bottom of the movie.”

The Dark Tower trailer

The Reading & Watch List

This week in pop-culture history

  • 1967: Vin Diesel, Riddick of Pitch Black is born
  • 1984: The NeverEnding Story premiers in theaters
  • 1985: Day of the Dead premiers in theaters
  • 1986: Aliens debuts
  • 1987: RoboCop premiers
  • 1988: Akira premiers
  • 1996: The Frighteners opens in theaters
  • 2011: The TV series Falling Skies premiers