TV REVIEW : Netflix’s LUKE CAGE Season 1 Episode 1-13 by Cheo Hodari Coker

serveimage-1

serveimage

 

Well I’ve just finished watching the 13th episode of Netflix/Marvel Studios LUKE CAGE, and I have to say… I loved it. Full stop. Show runner Cheo Hodari Coker manages to in many ways do the impossible, and take a character already spotlighted in the JESSICA JONES series, and whose origins are the milieu of the Black Action or Black Agency film of the late 60s and 70s (mislabeled under the derogatory misnomer of Blaxploitation) and with him tell a rich, evocative, exciting, deeply layered cultural and historical and prescient love letter, to a place, Harlem, New York, and to an idea of local determination, and local agency, and self love, and colored love, and Black love in the age of Ferguson.

 

 

Or you can just look at it as a great action/drama series, set in the wonderfully expansive universe of Marvel shared superhero universe.πŸ™‚.

 

 

But what has exemplified the Netflix/Marvel collaborations to date is how grounded they are in a world not so dissimilar from our own. The gritty street level nature of DAREDEVIL’s 1st season, and ground breaking fight choreography, and fantastic writing made for a justifiably lauded 13 hours of television. (lost a bit in its less cohesive and interesting 2nd season)

 

luke-cage-mike-colter-3-600x401

LUKE CAGE takes that to another level, in being a show that is as much about cultural signposts and idioms that define us, as it is the ‘A’ story of conflict and resolution. The literary and historical and musical references are not just littered throughout the story, they help define the scope of the character and the scope of the neighborhood that this story takes place in. A man is the things he loves, the things he reads, the things he listens to, the heroes that inspired, the places that mattered, and immediately in one episode Coker defines LUKE CAGE the character and the series in broad strokes, that for me reverberate deeply.

 

 

The first two episodes floored me in how good and rich and beautiful, they are. Coker here hitting, for me, the conversations I have in my soul and my head, Chester Himes, Walter Mosley, Denis LeHane, George Pelecanos, Donald Goines??? Come’ on Son!!! Kenyatta??? Those few strokes and I knew this was a writer with a deep love and understanding of genre fiction, and those who make it.

 

Β luke-cage-alfre-woodard-600x438

 

But it’s more than name dropping, our influences define us, and define our world, and define who we care for, so immediately they make us part and parcel of this story that Coker and his team of writers tell. It’s a beautifully structured 13 hours of television, in that the first 6 episodes are very much their own chapter. You could bundle those 6 episodes up and have a great season.

 

Episode 7 feels like a swerve, very much like a start over, so if you rush into it, not recognizing that peak at the end of 6, that culmination, it’s going to feel stretched out. One of the possible dangers of binge TV… you have to pace yourself.

luke-cage-mahershala-ali-600x406

Take a break after episode 6, let that sink in. It is very much, in comic book terms, the end of the first trade paperback or story arc. Episode 7 begins the 2nd story arc, so you have to go into it not rushing to a conclusion, but gearing up for the start, because start it does. As everything from the first arc gets turned on its head, and new major players break on the scene. It’s a jarring ride, but once it hits episode 9 its has picked up steam and by 10 is on a full sprint to the finish. Episodes 11, 12 and 13 are Brilliant.

 

There is a saying out there that ‘it’s not how you begin, but how you end that matters’; that saying is wrong. All of it matters. It is about how you begin, how you endure, and how you end. Cheo Hodari Coker’s LUKE CAGE does the extremely unlikely, in doing all three exceptionally well.

 

 

I want a Blu-Ray of this show, complete with Director’s and cast commentary, like yesterday. It is that good, and replete with episodes you want to go back to and know more about.

 

 

And I have to say it’s wonderful to see here in 2016, that TV is making great strides to not be exploitative, and to have shows where you can have more than a token number of characters of color.

 

Β luke-cage-poster-claire-temple luke-cage-poster-misty-knight

 

One thing I love about LUKE CAGE, particularly about the 2nd half (I love the first half as well) is it is so wonderful to see 6 beautiful women of color in major speaking parts, taking center stage in moments of strength and weakness, and owning the stage. It’s so rare to see a three shot of powerful, beautiful Black women in uplifting, exciting, dramatic, heroic material. It’s non-existent in Hollywood but thankfully, through great show-runners of color, and the success of shows such as BEING MARY JANE and EMPIRE is becoming finally available on the small screen. And the same love extends to being able to see multiple men of color in powerful, uplifting, heroic roles.

 

 

And the appearance of Method Man, and that song… Amazing. This series in addition to a DVD/Blu-Ray, must release a sound track, because in addition to the songs, the score for some of the episodes… is stunning.

 

 

I’ve recently become addicted to listening and purchasing scores, and LUKE CAGE has a world class score.

 

 

Now, is the series perfect ? No. I thought episode 3, they had a real opportunity to do an action sequence as talked about as DAREDEVIL’s hallway fight, but the director/fight coordinator wasn’t up to it. You’ll know the scene when you see it, it’s perfectly fine, but never rises above fine, when it should have been spectacular. And it’s a different show from DAREDEVIL , so the action will be different, I get that, but you can still do different and STUNNING.

 

Also, my problem with a character like Luke Cage, is the same one I have with a character like Wolverine, just because you can stand there and take being shot by a hail of bullets, doesn’t mean you want to or have to.

 

 

Luke Cage’s character (minor spoiler ahead) is revealed as a former police officer, former Recon soldier, former Prison MMA Fighting champ, former Boxer, all this to say… HE CAN FIGHT. So speed the dude up! Rather than standing there and waiting for someone to unload a clip on you, he should be disarming them and wrapping the gun around their necks before they can get off a shot. Especially since ricochets can kill just as well as any other bullet. I understand visually it’s an exciting thing to depict, but it should be the exception for talented filmmakers, not the rule. When he is shielding people from gunfire, sure… let the bullets fly. But in combat mode he should be disarming these guys before they get a shot off. Particularly later in the season that attitude would have made for exciting sequences.

 

mahershala-ali-alfre-woodard-and-theo-rossi-in-luke-cage

So that was another issue I had. However, the sequences do improve as the series progresses. Plus it’s not a show that is about fisticuffs like DAREDEVIL, as much as it is about the fight for a soul of a neighborhood. And that tale it tells expertly.

 

 

It is a superlative 13 hours of television, and all involved should take a bow. Cheo Hodari Coker has made not just a great Netflix series, but a great television show, and the one to beat as my favorite show of 2016.

 

Marvel's Luke Cage

Marvel’s Luke Cage

And among the Netflix shows so far where do I rank it? It’s much better than DAREDEVIL Season 2, which was good, but not great, it edges out JESSICA JONES, which was great, and it battles it out with DAREDEVIL Season 1 for the top spot. DAREDEVIL Season 1 which was clearly the best show of 2015, outdoes it in terms of action, a definite A of a show.

 

 

However I have minor quibbles with it, like I didn’t like the loss of Ben Urich, I found the character of Karen page annoying through most of it, the character of Matt Murdock was a bit unlikable, and the last episode it failed to stick the landing with an unimpressive looking costume, and just a bit of a dour ending. So those nitpicks, are the reason LUKE CAGE edges it out, and gets a big A+ grade from me. It possesses a story and characters that I want to revisit… often.

 

serveimage-5

Final Verdict: Seminal, Must Watch TV! Will appeal to fans of mystery novels, especially fans of Chester Himes or Walter Mosley, or fans of movies such as TROUBLE MAN.

 

If you are not a fan or are made uncomfortable or nervous or have unexamined issues with women of color, you probably will have an issue with the later episodes.

 

‘The fault lies not in our stars, but in ourselves.’ Brother, it always does.πŸ™‚.

 

But for the rest of us who watch the series, LUKE CAGE is phenomenal television at its best.

 

Short Film of the Day : THE SHARPEST FINGERS IN CLAYBURN COUNTY!

sharpest_fingers_in_clayburn_county


THE SHARPEST FINGERS IN CLAYBURN COUNTY – An intriguing poster, and a beguiling, inventive, witty, and fun short film by Zodiak Films, written and directed by Glen Schroeder, and starring in wordless but captivating performances Mike Dopud, Aaron Pearl and Danielle Stott-Roy, and showcasing the talents and creations of origami master Joseph Wu.

A must watch short film! Catch it on Vimeo, via Roku, or online here.

THEATER REVIEW: CSC’s Movable Shakespeare’s RICHARD III

β€œNo beast so fierce but knows some touch of pity. But I know none, and therefore am no beast.”
― William Shakespeare, Richard III

There is no shortage of villains in the oeuvre of the writer known as William Shakespeare. From the machinations of Hamlet’s Uncle-cum-Father who puts Hamlet ‘too much in the Sun’, to the deviousness of Othello’s ‘trusted’ Iago, to the bloody, eye-plucking Cornwall in King Lear, but none are so ever quotable, and perhaps as eminently watchable as Richard III, who is of such expanse in his villainy that he is the star of his own self-titled play, rather than just a player in another character’s tale.

And this comes to life in florid detail in the Chesapeake Shakespeare Company’s unique production of RICHARD III. Directed by Ian Gallanar, one of the CSC’s founders, RICHARD III is presented in a ‘movable’ style that puts the audience, truly in the heart of the action and makes them mute(and not so mute) chorus to this tale of treachery and tragedy.

Taking place in the ‘haunted’ ruins at the Patapsco Female Institute Historic Park in Ellicott City, Maryland, beneath the stars and the eyes of God, it is truly a presentation to remember. Particularly on a good, clear fall night (which we were blessed to see it on) with the wind picking up just a little, and showering Richard III with leaves, almost on queue, as he woos a man’s widow over his corpse. Ay, it’s a great thing, when the heavens provide your special effects.

And the whole play went thus, as a crowd of over 100, moved from picturesque room or steps or courtyard, moved from scene to scene, and watched actors of talent and temper… a tale unfold.

And before getting into the actors, a bit more on the setting.

Ellicott City is a 30 square mile area, more loose community than incorporated sub-division, that traces its history back to its founding as a Flour Mill back in 1772 by Quaker Brothers named Ellicott. Nestled in the Baltimore-Washington bosom, the area is rumored to, like Rome, be built on seven hills.

So this is no concrete jungle or ‘great white way’ for your theatrical experience, it is a beautiful and languid tree-lined drive, followed by a pretty spooky uphill walk to make the (typically) 8pm showing, that takes place in the Grecian tinged ruins of the Patapsco Female Institute.

So that is the stage, not New York, or Charlotte, or DC or LA, but the woodlands of Ellicott City; and the PFI Historic Park is a stage worth traveling to see.

Now for those who prance upon that stage.

While there are many strengths to an outdoor production, there are also obvious weaknesses. There are minor moments of congestion and confusion inherent in herding a hundred people to and fro, and that very act of going in and out of the ‘reality’ of the play, perhaps can limit how engrossed the viewer can get into the play.

However I think the immediacy of being ‘in’ the play, and viewing that closely the actors and interacting in their space, compensates for any loss of concentrated immersion in the piece.

However one other weakness of an outdoor production, is the sound. Without the acoustics and sound system of a real theater the actors have to project to be heard, particularly should the weather pick up. Some actors were better at doing this than others. Some actors needed to project better. And some actors were stellar.

The word stellar has to be kept close to the name Vince Eisenson who stars as the titular Richard the IIIrd. He has, as expected, to carry much of the play, much of the language, much of the energy. It is a ponderous role to undertake, and Eisenson manages not just to suffer the weight of the role, but to carry it as if he was born to it.

Part of this may have to do with his youth, but more than that Eisenson’s Richard is a far more vibrant and lively Richard, no less tortured than other actors who have portrayed the character, but there is a sophistication there, a deft touch to his portrayal, that eschews mustache twirling, that makes the character’s ability to charm and deceive, more believable here.

Also of note is the performance of Associate Director Scott Allan Small, as he makes the role of Buckingham, that I think can often come off as no more than a yes man, into one of the formidable figures of the play. He particularly just shines in the scene where he mixes with the audience as he ‘attempts’ to get Richard to accept the crown.

Also the scene where Buckingham draws the line at the slaying of children, and demands his due of Richard, I thought was just played beautifully between the two actors of Eisenson and Small. The physicality of how they played that role, with Buckingham played as the brick wall in that scene (like Marvel Comics’ Kingpin transplanted to Shakespeare), against Richard’s flowing water, that seeps into the brick… and breaks it all to pieces.

And the CSC performance is filled with such capable actors, among them Dave Gamble, Greg Burgess, and Jamie Jager in a passionate performance as Richmond. Another highlight scene is with Ron Heneghan delivering a very captivating performance as the imprisoned Clarence; it takes place in a fireplace dominated prison opposite equally entertaining performances by Bart Debicki as Brackenbury (the lieutenant of the tower) and the actors playing his assassins (Rebecca Dreyfuss and Jared Murray).

All in all, a thoroughly enjoyable and recommended production, by a theater company I do not think you would be wrong, in calling world class. And this is typified by the fact that the last few performances of their RICHARD III (ending the weekend of this writing) are all sold out.

But don’t mourn too much, if moved by this review to sample the Chesapeake Shakespeare Company in the future and will be visiting the East Coast, 2013 brings new CSC productions of Shakespeare’s classic plays, among them ANTONY AND CLEOPATRA and THE TAMING OF THE SHREW.

And If RICHARD III is a gauge, both shows will be much labored over in their construction, and much loved in their delivery.

Accolades go out to communications Director Sandra Maddox Barton for all her assistance, in making this review possible.

MOVIE REVIEW: DREDD vs JUDGE DREDD???!!!!

Mostly on the impetus of some strongly positive reviews from podcasts I’ve listened to, I managed to catch the film DREDD, at one of the last theaters it was still playing at in my area. Left to my own impetus, I would have waited to rent it free at the library.

Having just seen it I can say that would have been the right decision. I didn’t like the film, and perhaps more accurately I didn’t enjoy the film.

The dictionary defines vile as morally debased, depraved or despicable; and that’s the word that came to mind while watching DREDD.

I understand violence and action, I am very much a child of the cinema of Sam Peckinpah and John Woo. But Action and violence must always be rooted in some moral underpinning, some moral compass, it must be part of a larger tapestry of a story to have some resonance or meaning or point. It must have heroes.

A violent film devoid of any of that, for me has always been the true definition of pornography. It is NATURAL BORN KILLERS or SIN CITY or insert garbage film here. It is an ugly video game.

That’s what DREDD was to me in the summation, an ugly, rudderless video game. Part of this wave of movies that is about Police launching paramilitary style raids in civilian centers and killing indiscriminately.

I like JUDGE DREDD in the comic book format, his stories are short and pithy, and the world and violence he dispenses more cartoony and satiric. He is something not to take too seriously, and is often slightly buffoonish. However, this film is a very ugly and graphic portrayal, and none of it sat well with me.

In many ways our fictional heroes and films define us, I know they certainly defined me growing up. We are socialized into what is acceptable by the codes of our heroes. DREDD is a film where the title character engages in police brutality/torture, mass murder and maiming, and all of it done with a seeming arbitrariness and lack of reflection, that makes both character and film… soulless.

And also because so much of the history of film has to do with reinforcing and creating stereotypes, I’m also very aware of color coded films. Films where any substantive male Black characters are presented villainized and when possible denigrated. Films with Black faces, but White messages. ‘Police Brutality against Blacks is acceptable and humorous’ to go by the giggling in some parts of the audience during scenes in DREDD, and the emasculation of the only substantive Black Man in the film by having him get beat up by the White men and women around him.

If his treatment was counterpointed by actively, strong Black Male characters in the film that would have made his treatment a story point, but devoid of any strong positive Black male images in the film, the treatment of the sole substantive Black Male character becomes a focal point. It becomes a message.

It becomes a new age Minstrel show. Black faces and White messages. And it is sad that there are always actors of color hungry enough to take such roles and debase themselves to make certain people through their fiction feel less threatened in the facts of their lives.

We are socialized by these messages. There is no stronger socialization tool for our young (and if you don’t think the young will be seeing this movie on DVD and TV you are mistaken). Movies make a billion dollars worldwide because they speak to people. They can move and shape people.

But we must always be wary of the language they speak to us in, and what they shape us to be.

So for that reason, and the lack of a hero, the lack of any real story, the indiscriminate meat grinder killing of bystanders, and the general seamy atmosphere, DREDD is a movie I did not hate, but I did not like. It was an unsatisfying meal, and one I will not be trying again.

I much prefer the Stallone JUDGE DREDD to be honest, yes it has the awful Rob Schneider in it, but him aside, I like Stallone’s Dredd, and I like some of the scenes in that movie a lot. My favorite being the Judge’s walk into the cursed Earth. There’s a heart to the goofy Stallone JUDGE DREDD movie that I will take over the heartless nature of this new DREDD movie.

So, final grade: C-. A technically well done movie, but a morally bankrupt one. Rent it if you’re curious and can get it from your local library for free, but not worth buying.

THE TOP 3 Actor Ad-Libs of All Time!!!

To paraphrase Rodney Dangerfield, Actors, their salaries aside, tend to have to put up with more than their share of disrespect. Generally from people that don’t have anything close to talent, and their only joy is pushing people from pedestals. The unwashed masses that have nothing but venom to spout about the personal lives of the Cruises or the Woods or the Gibsons.

As long as someone’s personal life isn’t affecting my life, or is not changing the laws or policy I have to endure, I don’t give a good darn. Someone wants to be a Scientologist or Mormon or the last Scion of Zion… more power to em.

I tend to give people more leeway than most. Mostly because though I don’t believe in much, I do believe that ‘let him without sin, cast the first stone’. So Romney needs to shut the eff up.πŸ™‚.

And getting back to actors, in particular, they are often seen as primadonnas, who get paid much and bring little. And no doubt there are the ones for whom that belief is completely accurate. But on the whole I think it’s something of an impressive calling.

To give everything, your hurt and your joy, to crowd and stage and screen.

Writers particularly tend to view Actors adversarially, ‘Don’t you dare change my line!’.

But when you have a committed actor, feeling the part, living the role, being the moment…their ad-libs, their additions…. can be priceless. Can be in certain cases, the most memorable lines of a film.

Three standout cases come to mind.

And counting down….

#3!!

PAT GARRETT AND BILLY THE KID- I’ve mentioned this before, but can never get enough PAT GARRET & BILLY THE KID.πŸ™‚

R.C. Armstrong, born in 1917, (95 years ago, and by all reports still going strong) delivered one of the quintessential lines in Pekinpah’s PAT GARRETT & BILLY THE KID. As is well documented, Pekinpah had a way of riling up actors to get a performance out of them, he did that with the 6’3″ mean as a rattlesnake R.C. Armstrong and Kris Kristofferson had the bad luck of being the object of that realism.πŸ™‚. R.C. bringing his fundamental upbringing into the crafting of this line…

“Your problem is you don’t know about Jesus! I’ll show you! I’ll take you for a walk across Hell, on a Spider Web!”

What an awesome line, next up….

#2!!!!

THEY LIVE- Roddy Piper’s biggest step from the squared circle, into the lights of Hollywood came with this John Carpenter film, and the wrestler turned actor attacked it. Giving a great performance in a great film, opposite the always impressive Keith David. But even more than his performance, it’s probably this line he added, that stood out for a whole generation of people seeing the film—

“I have come here to chew bubblegum and kick ass… and I’m all out of bubblegum.”

heh, heh, heh, I never get tired of that line (A really close followup to that, from the same movie is..“Life’s a b*tch… and she’s back in heat!”. Aww that roddy Roddy Piper!πŸ™‚ And the number #1 Actor Added Line of ALL Time IS!!!!!

Rutger Hauer in Blade Runner!!!!!

BLADE RUNNER- Rutger Hauer seeing the climatic scene of Ridley Scott’s chaotic production needed something, came up with this, my favorite bit of ‘not in the script or the book’ writing, that anyone has brought to the table—

“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I’ve watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die.”

Well all three actors take a bow. Your Awards are being kept safe for you, until you ask me for themπŸ™‚.

As far as you writers, you can all stand suitably chastised. And all you film fans… go out there and treat yourself to a classic flick!!

Enjoy!!! And remember (leaving you with one more Actor Added line)…

Who Loves Ya Baby?πŸ™‚

WARNER BROTHERS, CASABLANCA, PIRATES, and The Rights of MAN?!

You know, after a hellacious week of giving people what for, nothing relaxes me more than curling up with a nice nature DVD. Attenborough’s LIFE, or in this case the documentary SHARKWATER.

So here I go, I put in this DVD to relax, while planning the latest update for the blog, and more mundane things like bills, when what the heck should come on the screen than one of those pirate warnings. You’ve seen these idiotic videos, that if anything only makes me want to do the exact opposite just to give it to them for interrupting my damn movie.

However I had not seen this one before.

This one used scenes from CASABLANCA to make an anti-pirating commercial. Excuse me? WTF?

You’re going to use one of the greatest movies ever made like a 2bit whore to sell your political or corporate viewpoint?!!

(And it is worth noting that the FBI warning on these DVDs, having very little to do with any sane legal system. A sane system would say to the studios “It’s not our business to ensure your corporate profits or protect your corporate losses. That’s a civil case… at best.”. Instead in the corrupt America we live in, the FBI warning is a product of studios making their commercial and corporate whims into laws. Using a system, not designed for corporations, to pass corporate whims and lunacy as Federal laws. Such a thing can not be looked at, by anyone rationally, and not see it as something… obscene)

You want to show violating rights is wrong, by using a commercial where you violate artistic rights?

Is the paradox lost on the studios?

Where do we draw the line? Next we use Humphrey Bogart and Ingrid Bergman’s images to praise one candidate for President and put down another? Where do we draw the line?

Both Bogart and Berman were deeply humanistic and activistic people, Bogart stood up against the McCarthy Witch-hunts. Bergman spent her days, after the lights of Hollywood, feeding and fighting for the poor.

I don’t think either one would have signed on in life to do a commercial for some companies new generation witch-hunt. And I don’t think they sign over those rights in death.

Because they did a popular movie, and you own the movie, should not then translate into you re-purposing their images to sell either your political agenda, your new vacuum cleaner, or your poorly made or counter-productive pirating campaign.

Those actors didn’t sign off on that, and weren’t paid for that. And this push to extend ownership beyond the exact product they created… to ownership of their likenesses… reeks. It is immoral. That, if anything, is true pirating.

They purpose not this end, when they purpose their services.

It sets an ugly an abhorrent precedent, an argument that flies in the face of Warner Brothers Anti-Piracy message. Warner violating with impunity the artistic integrity of their own film, and the rights of the actors.

Unless you’re paying them, their images, not their likenesses but their actual images, should not be re-purposed to create a new item, inherently different from the item they signed on to produce.

In many ways it’s like rewriting someone’s autobiography or a writer’s novel. For an actor all they have is the work, the images they leave behind. So to then insert them convincingly in a commercial, is just as wrong as inserting them into a porno.

It’s a violation.

And to not understand that, is to be very young, or very stupid. Or an executive.

Is piracy wrong? First I think it is an idiotic term, unless you’re at sea. Now if you’re talking about the copying of copyrighted DVDs, I think it’s a tempest in a teapot. If Warner Bros and other studios embraced their customers rather than criminalizing them all in advance (which is what me having to sit through an FBI warning or one of those stupid commercials on a DVD I just bought or rented… is doing. It’s saying to the consumer we’re going to treat you all as guilty until proven innocent) they would realize most people are happy to pay and own, a quality and reasonably priced product.

But there’s the rub, quality and reasonable prices. All companies want to do today is give you the least they can, for the most they can.

I’ll tell you what is wrong… Warner Brothers and all the studios like them are wrong, they are dinosaurs trying to survive in a changing technological society where big studios are increasingly superfluous. Rather than try and survive by being better and winning customers through innovation and great products, they instead want to survive by removing from you… choice. By scaring, suing, legislating, themselves as a law that we must fear, and bow down to, and pay tribute to because they are using the FBI and the courts like their personal thugs,

Warner Brothers should be glad people think enough of their work to desire it. Because the alternative is… people stop wanting… ANYTHING from them.

The consumer may start saying “You know what, there’s a lot of choice out there, despite Warner Brothers attempt to eradicate choice, why don’t we just stop buying or supporting anything Warner Brothers?”

Can you imagine that. People just get fed up of being treated like dogs by Warner Brothers, and just say to them, ‘you’re that worried about your intellectual property? Well you keep it then. You keep it all. We already have the memories of all the decent movies, keep anything new. Keep your DVDs, keep your games, keep your movies, keep your books.’

And after a few months of them not having to worry about patron or pirate, I’d love to see how their effing tune changes. They’d be crying for someone to think enough of their movies to sell bootlegs on the streets of Nepal.

It’s about perspective. And the perspective the studios and record companies and media oligarchies must come to, is that of earning customer business and customer goodwill… rather than attempting to lock in customers through terror.

Because here from these subtle fights, do great things grow.

And they are things the studios will not like at all.

As simple a thing, seemingly insignificant a thing as a tax on tea changed the face of the world, Today’s corporate atmosphere of pushing and prodding, with every move a crime, and in every hand a club… cannot do less.

There is a war of terror coming, that much the media ‘talking heads’ have right. But it’s not one of religions. It’s one between the mindless stupidity and greed of corporations… and the very rights of man.

And it is a war, that in the waging the rich will lose. And the poor, who have only lives to lose…and pushed to it… can only win.

So a wise man would say to the rich… ‘now may be a good time to stop pushing’.

Something to think about.πŸ™‚.

CLASSIC TV reviews: DOCTOR WHO! STORY 13 – THE WEB PLANET !!!

This installment of IT WILL NOT BE TELEVISED we take the way back machine to the swinging and bloody early days of 1965, and look at a serial from season 2 of a little known (at the time) Brit show called Doctor Who! And the serial, the 13th Who Serial, is called THE WEB PLANET.

Onto the review:

SERIAL 13 THE WEB PLANET
Original Airdate Weekly from 13 Feb 1965- 20 Mar 1965
Doctor Who: The Web Planet (Story 13) (See all Sci-Fi & Fantasy Cult Movies)


First let’s start with a bit of back-story. What was happening in the world over the six weeks, six Fridays, this serial went out on? Well The News during this Time is… all too human:

-The first US combat troops arrive in Vietnam. By the end of the year, 190,000 American soldiers are in Vietnam.

-In the Audubon Ballroom in New york City on 21 Feb 1965 El-Hajj Malik El-Shabazz (perhaps better known as Malcolm X) was assassinated before a crowd of hundreds including his pregnant wife, and 3 of his 4 children.

-18th March, 1965: A Soviet cosmonaut known as Lt. Col. Alexei Leonov exited the spacecraft Voskshod II for a short β€œspin”. He completed a somersault, and then proceeded to take pictures of space. This took place just days before the U.S. planned to launch its first two-man spaceship and becomes the first man to walk in space.

-18th February, 1965 : An avalanche and Glacial Slide caused the deaths of 26 miners who were removing copper ore from underneath a glacier in British Columbia.

-15th February, 1965 : It was proclaimed by Queen Elizabeth II of England that the Maple leaf would become Canada’s new national flag symbol.

-20th February, 1965 : The Ranger 8 spacecraft crashed on the moon after sending back thousands of pictures of the lunar surface

-2nd March : The Sound of Music Premier 1965

-7th March, 1965 : Troopers with night sticks, shotguns and tear-gas grenades violently confronted 600 civil rights marchers during an attempted 50-mile march from Selma to the Alabama state capitol Montgomery.

-Optical Disk —– 1965 USA by James Russell – now Compact Disk CD / DVD

-The Supremes, “Stop! In The Name Of Love” rises to the top of the charts

So that’s a look at the world 46 years ago. And for a bigger kick to put that world in perspective, here are what things cost then (US prices):

Cost of a new home: $21,500.00
Cost of a first-class stamp: $0.05
Cost of a gallon of regular gas: $0.31
Cost of a dozen eggs: $0.53
Cost of a gallon of Milk: $0.95
Federal debt: $322.3 billion

Average Income per year $6,450.00 (Needless to say this average income bought you a lot more more back then, than today’s average income of $39,423.00 is going to buy you. For one thing far more of today’s money is eaten up in taxes upon taxes, and most things have multiplied faster than income… ie stamps and petrol and the price of a house are nearly 10 times 1965 levels, while income is barely 6 times 1965 levels. So income is trailing inflation by nearly 50% overtime, and that’s not even accounting for various new forms of taxation. And just think, you thought this was just a Doctor Who review!πŸ™‚ )

While the Brits may have been watching Doctor Who (and let’s be honest, very few of them were doing that), In the States the airwaves were packed with shows eating up the ratings from THE FUGITIVE to BEWITCHED to MAN FROM UNCLE to VOYAGE TO THE BOTTOM OF THE SEA to BONANZA to ED SULLIVAN to JONNY QUEST to popular music shows such as SHINGDIG. And 1965 would only provide more programs to keep Americans occupied.

It wouldn’t be till the late 70s, and Public Broadcasting’s increased efforts going across the pond for programming… that would introduce the States to this thing called Doctor Who. And indeed give the show the added funding to keep it running, when other BBC shows of the period had given up the ghost.

And being one of the few shows of the fantastic, Doctor Who offered a cross cultural appeal that continues to… stand the test of time. So to speak.πŸ™‚

So without further ado the review of the 13th Doctor Who story, starring William Hartnell and written by Bill Strutton, produced by Verity Lambert, and directed by Richard Martin:

    EPISODE 1 OF 6

THE WEB PLANET- by Bill Strutton. More shockingly bad alien costumes. Dennis Spooner graduates to script editor. This is a mysterious but not particularly satisfying series opener. Unimpressively directed by Richard Martin. C.

    EPISODE 2 OF 6

THE ZARBI- Strange premise with more shockingly inept alien costumes. Here’s the thing, if you don’t have the budget to do something convincingly… then don’t do it. Not without interest, but those sets and costumes… uggh. C-.

    EPISODE 3 OF 6

ESCAPE TO DANGER- I do like how the Menoptra move. Very elegant. It was Richard Martin’s idea to have dancers play the Menoptra, and a great idea it was. Lacking their… grace, and performances, and strangeness I would not be writing this review. Roslyn de Winter, an Australian mime, was hired to choreograph the Menoptra’s movements and speech, and also plays the central Menoptra… Vrestin. For the actress to act through all that makeup is impressive… for all the actors actually. With this episode I became interested in the serial, in spite of its constraints. B-.

    EPISODE 4 OF 6

CRATER OF NEEDLES- You have to give this serial points for sheer imagination. So much creativity. If I was a kid, the target audience, I would have loved this serial. It is very well written, and passionately performed. And the flying scenes, and battles are quite lovingly staged. While as an adult I could ask for better costumes, effects, sets, what they pull off is still quite impressive. The strength of Doctor Who, being the same strength of The Simpsons or any good Pixar movie, it is layered, smart writing to appeal to both adults and kids. B+.

    EPISODE 5 OF 6

INVASION- From a serial I almost did not finish, when I saw the first one, this has really grown on me. Beyond the questionable budget it is quite a lovely fable, and also at times quite touching, and quite dire.

    EPISODE 6 OF 6


THE CENTRE- All routes lead to the center, as the Doctor and his Crew and the butterfly like Menoptra battle the Animus, an eater of worlds, at the center of all things. A strong denouement, for a surprisingly good serial. B/B+.

So in summation this six part series is not, when recalled, fondly remembered by most. That said its first episode, THE WEB PLANET, originally brought in 13.5 million viewers, the most of any Doctor Who broadcast of the 60s.

Doctor Who never brought in great numbers, but it managed to be consistent, and have a passionate fan-base. Which accounts for the longevity of both the original series, and the success of the new series. If you can get past the questionable first couple episodes, and go along with the conceits, I think you’ll find a serial that is surprisingly… fun. Overall grade: B/B+.

You can pick up the DVD using the link below AND support this blog at the same time! Say it ain’t so, Joe!πŸ™‚ ! But seriously I only recommend things I myself own, and I appreciate any purchasing you do via this blog. Thanks!

Doctor Who: The Web Planet (Story 13) (See all Sci-Fi & Fantasy Cult Movies)

Sources:

http://www.shannonsullivan.com/- Offers background info on this episode
http://www.listzblog.com- Nice overview of popular shows by period
http://www.tvparty.com/- More great overview of what’s hot in tv by year
http://oldies.about.com/od/60srockers/tp/topten1965.htm- A great overview of popular music by year
http://www.1960sflashback.com/- Helped with research on prices in 1965
http://www.ssa.gov/oact/cola/AWI.html- more prices over time data
http://www.thepeoplehistory.com/- another great tool for prices over time
http://doctorwhoreviews.co.uk/N.htm- for a helpful scan, plus see it for another take on this serial. Good stuff.