Last week was a rough week for science fiction fans as we lost the legendary Leonard Nimoy and ALMOST lost Harrison Ford a few days later. I don’t think I’m the only one that breathed a huge sigh of relief on that one. I don’t have much to say to start out this column that isn’t somewhat off-topic, so I’ll just go for it.
Go See Chappie!
I know the critics hated it, and want the movie to bomb (One wonders if it’s because Neil Blomkamp is going to work on an Alien Sequel and critics are using this film to “prove” he’s a failure and not worthy?), but we (my wife and I) walked out with smiles on our faces. If you were a fan of Blomkamp’s other films (District 9 or Elysium), you’ll enjoy it. The general disdain for the film seems to follow these three rules:
1) “It’s too bloody, I thought it was a kid’s movie” which is an incredibly stupid reason to give a movie a bad review. It reminds me of when Pan’s Labyrinth came out.
2) “Die Antwoord play horrible people” – that’s one of the main points of the movie – Chappie’s parents are horrible, but he overcomes their influence to become a hero.
3) “it has a political message” where did all of these people come from that forgot that sci-fi used to be all about political messages? Do they think everything is going to be Star Wars? Did they forget about things like Day the Earth Stood Still, Twilight Zone etc…I honestly think that some folks were mad because this movie is largely about transhumanism and that’s a no-no for religious types. This happened with Elysium, a movie Fox news even tried to sabotage.
Note these are the same folks that are hailing American Sniper as the greatest film ever made for reasons that definitely are not related to politics or anything….sigh
It wasn’t perfect, but I have to wonder if we saw the same film the critics did. Blomkamp is like the new Ridley Scott – a genius when it comes to ideas and visuals, that the critics all loathe for some reason. If you want me to rant more about people not understanding Neil Blomkamp’s films check out my defense of Elysium.
anyway, here’s your headlines for the week!
‘Doctor Who‘ class notes: Free, open lecture at Palace Theater draws 200 students
“For the first time this semester, Anthony Rotolo opened up his ‘Doctor Who’ in the Digital Age class to the public Monday night. Anyone could come out to the Palace Theater and join the class for free.
About 200 people came out and Rotolo estimated about half the crowd consisted of registered students, while the other half was new.”
Official Doctor Who Umbrellas on Sale
“Our best-selling Fourth Doctor Scarf keeps the winds at bay. Our Fifth Doctor Jumper will make sure you’re toasty. And now, our new Doctor Who umbrellas will keep you dry whether you’re on Marinus, sheltering from the siege of Trenzalore, or under the Earth’s overcast skies. All of time and space; everywhere and anywhere; every star that ever was… Where do you want to start?”
‘Doctor Who’ participating in Red Nose Day 2015
“Red Nose Day comes along every two years and combines two very British things: having a laugh and helping others. Specifically, the event looks to raise money for in need in the U.K. and in Africa. As part of Red Nose Day, a program called Comic Relief begins its marathon broadcast on BBC1 next Friday March 13, starting at 7:00 p.m. GMT. The Doctor Who team has done a sketch or made an appearance on the show since 2009.”
Jenna Coleman DID plan to leave Doctor Who, Steven Moffat confirms
“Series eight closing episode, Death In Heaven, had been due to be the 28-year-old’s last episode as companion Clara to current Doctor, Peter Capaldi, however, here’s what happened in Moffat’s words.”
Scottish sci-fi drama Outlander finally makes it to the UK
“The award-winning period fantasy series, starring Caitriona Balfe, Sam Heughan, Tobias Menzies and Simon Callow, will launch on Amazon Prime Instant Video next month”
Blade Runner: Harrison Ford to reprise replicant hunter role in sci-fi sequel
“The new story takes place several decades after the conclusion of the 1982 film, which was based on the Philip K. Dick novel Do Androids Dream Of Electric Sheep?
British director Ridley Scott, who was behind the camera for the 1982 dystopian neo-noir movie, will serve as an executive producer on the sequel.”
As part of my new posting initiative (posting every day in March!), I hope to do more comic reviews on Sundays, so make sure to check back every weekend to see a review of the next chapter. If you have something you think I should check out for this, feel free to drop a comment. Now that introductions are out of the way, it’s time for the task at hand – It’s been a while since I took a look at this crossover to end all crossovers brought to us by IDW Comics. Fans have speculated for years as to which cybernetic villain would prevail in a hypothetical battle between Doctor Who’s cybermen or Star Trek’s Borg, and Doctor Who / Star Trek: Assimilation Squared is just what the doctor ordered. Sadly both armies of zombie androids are still on the same side as of issue three, we’ll see how long that lasts!
To recap the story so far, a Star Fleet outpost on Delta IV has been ransacked by The Borg, only they seem to have new upgrades or another race entirely helping them. This is of course The Cybermen from the Doctor Who universe, and for some reason these seemingly parallel dimensions have crossed allowing both villains to team up. It all starts when The Doctor and Amy Pond find their way into what they think is the past, only for it to be revealed as the Holo-deck on the U.S.S. Enterprise. Shenanigans ensue, and just when everyone is starting to get used to each other, The Enterprise itself gets attacked.
We finally get to see the new Cyber-controller, a vague term given to a myriad of different high-ranking Doctor Who villains that control the Cybermen. This time it is a Cyberman that has Borg implants. One only assumes that this new leader has assumed the roles of both Cyber-Controller and The Hive Queen, which is a terrifying thought! Captain Jean Luc Picard and crew scour their Star Fleet archives to see if there is any record of so called “Cyber Men” and come up with a few sparse records of contact with the NCC-1701 Enterprise commanded by none other than Captain James T. Kirk.
This scene made me chuckle a bit because it was sort of like Commander Data ran a Google Image Search for “Cybermen” and read off of a Wikipedia page or something. I guess the internet doesn’t change too much in the next few hundred years! This old-school crossover should be no surprise if you saw the awesome cover that this book is sporting. The Doctor collapses in pain as if he is just remembering something – his first encounter with the Star Trek crew!
The next few pages of flash-backs are pretty fun, and the entire tone of the comic shifts with the new setting. Gone are the painted panels by J.K. Woodward, replaced by vaguely “retro” ones depicting Kirk and Co. battling 1970’s Cybermen alongside The Doctor as portrayed by Tom Baker. I really enjoyed all of the tropes like Kirk trying to fight the Cybermen with his patented “double axe-handle” punch we’ve seen so much in the show. Also quite humorous was Mr. Spock finding out what Jelly babies are.
At the end of this issue, were still not sure what has exactly brought these two world together, but one can assume that some sort of time travel is happening considering The Doctor both remembers his time with Kirk and remembers not remembering it. Perhaps a cyberman slipped dimensions and ended up in Star trek? Who knows right now, but hopefully we’ll find out soon. Perhaps that is the most refreshing thing about Doctor Who / Star Trek: Assimilation Squared – unlike most crossover events, the tone of the book doesn’t seem to be preoccupied with a lead up to some massive battle, but a mystery of how exactly the cross-over even happened.
The next issue should be pretty awesome considering Guinan knows pretty much everything, it’ll be interesting to see if she knows about Time Lords and Cybermen.
Ever wanted to compare a Star Destroyer‘s size to that of the Independence Day UFOs? How about The Super Dimensional Fortress Macross and The Planet Spaceball? Well, look no further than this crazy chart! It’s a work in progress, but the sheer amount of stuff on here already is crazy. a High Res version can be found HERE.
I’ve seen many criticize skin tight uniforms in many science fiction shows as being pure titillation and not much else, but it seems there may be some sound science to back it up. It seems that once again Star Trek has predicted the future!
“Space scientists at King’s College London have fashioned a skin-tight spacesuit that they hope will help prevent astronauts’ spines from expanding while on missions away from Earth. As astronauts float in space, without the force of gravity pushing down on their bodies, their spines begin to lengthen. Some astronauts have been known to grow as much as 7cm (2.76 inches) during spaceflights.”
Being a huge fan of Nick Frost and Kevin Eldon, I really like their show Hyperdrive, but sometimes I feel like I want to enjoy it more than I do. I mean, let’s face the facts – Hyperdrive is the “poor man’s Red Dwarf” essentially. It’s pretty funny in parts, but it sometimes seems a tad forced and somewhat generic. I fell of the wagon back in 2011 trying to get through the relatively small amount of episodes, and here we are almost three years later. It was one of the very first things I started reviewing for this blog, but this was the bleak primordial era of 2011 when I wasn’t taking this blog very seriously and the quality of those older reviews shows that. Rather than going back and re-writing those old reviews, I’m just going to pick up where I left off and review Hyperdrive’s penultimate series one offering “Clare”. Hopefully before the year 2045 I’ll have all twelve episodes written up!
For those new to the game, I’d like to quickly sum what the show is all about. The story of Hyperdrive follows a crew of inept space voyagers trying to expand the re-birthed British Empire in the year 2151. The show stars Nick Frost, Kevin Eldon, Miranda Hart, Stephen Evans, Dan Antopolski, and Petra Massey as the crew of the HMS Camden Lock.
Frost plays pace Commander Michael Henderson, a misguided man who admires the idealism of space travel (ala cheesy science fiction shows), but has no real credentials to back it up. Imagine every bad thing that Star Trek’s Captain James T. Kirk ever did and add a bit of sincere stupidity, and you basically have Henderson in a nutshell. His first officer (Eldon) Eduardo York, is a nice contrast to Henderson in that he seems to secretly want to be an evil galactic overlord like Ming the Merciless, but is held down by federation guidelines and other forms of “red tape”. Add in a slacker technical officer named Jeffers (Antopolski), a quiet navigation officer named Vine (Evans), and the straight man, or lady for that matter, in the whole ordeal Diplomatic Officer Chloe Teal (Hart), and you have Hyperdrive in a nutshell.
The story of “Clare” follows the crew on a routine drug busting mission from their higher ups. As they scan the galaxy for drug smugglers, the HMS Camden Lock encounters the ship of the famous adventuress, Clare Winchester. Clare is traveling solo in a small craft around the clock in a similar vein to all of those people that attempt to circumnavigate the Earth in leaky boats every year. One can immediately see that the stresses and solitude involved with such a trip have got to Ms. Winchester. Concerned for her mental well-being, Henderson decides to put the mission on hold to do a little bonding. Granted, he’s always trying to “get his rocks off” with any female he runs across, so any real concern is quite suspect. Clare has fallen into a dark mass of neuroses and paranoia, capped off by the fact that she is talking to inanimate objects like ‘Mr. Cup’, someone that is coincidentally also a coffee cup.
The actress that plays Clare, Sally Phillips, does a fine job of acting ten shades of crazy in this episode. Her mannerisms, appearance, and nervous ticks all point to the fact that she has been alone for far too long. Phillips is best known for a handful of film roles like The Bridget Jones films, and a few big network TV shows such as Veep and Miranda. Unless one counts Mr. Cup as a guest character, there really aren’t too many other guest stars to speak of.
One of the constant problems I have with Hyperdrive is the fact that it tries to use way too many “special effects” shots despite the miniscule budget. This makes the show come across as very cheap and somewhat dated in appearance. When the action is confined to small areas, such as Clare’s ship, it looks very good. But the moment you see something in space using CGI effects it looks questionable. I hate to draw the comparison to Red Dwarf, but I commend them for model shots for their new episodes last year, because they look sooooo much better than non-Hollywood computer graphics.
There were some missed opportunities with the script, especially the side-plot involving Sandstrom catching a virus that made her foul-mouthed and irritable. Not only did the dirty words stop being funny pretty fast (perhaps teenagers would love it), it should have never been a prolonged plot device for the whole episode. There is also a tendency in this show to basically do the same thing with her character each episode making her feel one-dimensional. In an earlier one she eats chocolate and goes crazy, this time it’s the language virus. One hopes the character gets more time to shine.
All in all, this was a decent episode of Hyperdrive, but it was really nothing special. bad CGI was kept to a minimum, and Sally Phillips was entertaining – two things that make this a competent episode. For me, I wish this show would step out of the “Star Trek parody” bubble and show some real character, I’m not expecting much but my fingers are crossed for the season finale.
Or: Why did I limit myself on topics when I created this blog?
I have a confession to make. Like Benedict Arnold, Tokyo Rose, and Jane Fonda before me, I am a traitor to my own country. I haven’t spied on anyone, I haven’t sold state secrets to anyone, nor have I taken up arms against anyone. What I have done, however, can be seen as just as bad by some in the geek culture – I’ve sided with The United Kingdom when it comes to entertainment, most notably with my science fiction tastes. For years now, I haven’t really cared about Battlestar Galactica, Star Wars, or Firefly The latter of the three even got me in a bit of trouble. So the question is: Is there a tangible difference between American and British science fiction, or have I become some sort of anglophile “weeaboo*” that pretends everything form the UK is better? In this article I hope to explain why I like what I like and show that these two types of science fiction couldn’t be more different.
*Note: “Weeaboo” is a pejorative term applied to fans of Japanese animation that apply fetishism to the country of origin and appropriate cultural references in a perverse way. Watch the SNL skit “American Jpop Funtime Now” for an example of this mentality.
When I first started this blog, I did a similar concept in an article called “Bristish Science Fiction VS American Science Fiction – Why all the Fuss”, this was sadly an article that pretty much devolved into me whining about the remake of Life on Mars and lost all momentum. I should learn that ranting right after watching something is a bad idea! I was going to simply re-write that article, but figured a new take on it would be a better idea – perhaps actually explaining my stance would be a great idea. What I did lay out then was a general thesis of why I liked stuff from the UK more – “I think the main difference can all be chalked up to the argument of mood vs spectacle with the British productions geared heavily towards atmosphere, mood, and concepts and most American-helmed productions relying mostly on spectacle, visuals, and special effects. ” As one can see here, I was really vague and applied my theory to only the visual media. If we step back a bit and look at all mediums including books, audio, and TV/film this is still salvageable. I think the main difference can be simplified to “humility vs pride”.
What could I possibly mean by this? When I originally talked about my dislike for needless “spectacle” in American science fiction I was talking about the way in which much of the media I’ve seen turns into vapid feel-good schlock with little substance. Something like James Cameron’s Avatar is a prime example of this as it has some of the best special effects, but little story to back it up. It’s one of those movies that tricks you into thinking that you’ve seen something amazing, then you realize you just saw another re-make of the tired John Smith meets Pocahontas storyline, just with blue cat-people. It truly is the story of the noble savage for a modern generation.
These age-old nationalist themes run deep in most American science fiction productions. If you look at a show like Star Trek and boil it down to it’s essence, The travels of the Starship Enterprise can seem almost exactly like that of a frontiersman venturing into the American wilderness. Gene Roddenberry even famously said that his past experience on the show Wagon Train essentially meant that Star Trek was “Wagon Train in space.” So Star Trek is based on American Expansionism, surely not all American Science Fiction is based on that? Well,no. But most stories are about some sort of space adventuring, space colonization, and optimistic futurist fluff. I think this all goes back to World War II, and America’s status as the world’s premier mega-power from then on. American exceptionalism has tainted us with a false sense that “everything is okay, because we live in America” at all times, and to me that really isn’t true.
On a sharp contrast, The United Kingdom was faced with decades of hardship after the war, even long after the scars of the Blitz healed. Their empire crumbled, and the economy slowed to a crawl not too long after. Internal strife, terrorism, and even labor unrest lead to many calling the once mighty nation the “sick man of Europe“. America had it’s problems, most notably with civil rights, but while most American suburbanites pretended to live in the realm of the fictionalized Leave it to Beaver TV show, many in England were miserable. This lead to a creative path of social commentary in most British science fiction. The book British Science Fiction Television: A Hitchhiker’s Guide by John R. Cook and Peter Wright lays this theory out pretty well:
“British [science fiction] TV was different. While America was assured of its leadership role in the emerging space race and could look with confidence to the stars as an extension of the utopian frontier possibilities of the American Dream, Britain was having to cope anxiously in the same period with the loss of empire and general decline as a world power. Thus the notion of the British in space was not only a depressing impossibility but an outright absurdity. Some of the basic differences in character between British and US science fiction TV may be traceable to this: where archetypal US series like Star Trek often confronted the future with a sense of gung-ho optimism. British equivalents were more prone to view it with pessimism, anxiety or, especially later with such shows as The Hitchhiker’s Guide to the Galaxy (BBC TV, 1981) and Red Dwarf (BBC TV, 1988-99), an alternative response of absurdist humour […]”
The above quote really struck a chord with me, and got me thinking about shows like Quatermass. When you first meet the titular character Bernard Quatermass, he is thrilled to have sent the first human, even better a human from Britain, into space. In a classic fashion, It all goes downhill from there and every subsequent series shows that he is slowly becoming disillusioned with the government, world space programs, the dangers of science, and finally life itself. That’s heavy stuff for a space adventure, in America Bruce Willis just rides in and saves the day. Even the “safest” UK science fiction, material geared towards families, follows this mindset. While quite a few episodes of Doctor Who can be seen as family friendly fun, there is a hidden darkness in there as well. iconic alien races such as the Cybermen are a commentary on cosmetic surgery and how long you can alter yourself and still be a human. Daleks are fascists in space, and episodes like The Green Death are taking a jab at industrial eco-hazards. Doctor Who has even tackled subjects such as religion and homosexuality, a huge “no-no” over here.
This tendency towards social commentary and pessimism isn’t without it’s critics. In the 1960’s the BBC produced a drama called The War Game that depicted the aftermath of a nuclear strike on the UK. As I pointed out in my review, establishment types were not happy: “The War Game didn’t actually get shown on any TV network until the mid-1980’s, and I’m thankful it didn’t meet the same fate as other 1960’s BBC productions –wiped and junked. It was deemed too dark, it made the British infrastructure look bad, it belittled civil servants, and it stood in the face of over-zealous national pride –things that weren’t cool forty years ago. At least now we can watch it, and enjoy it without any censorship involved.” A lot of fans don’t like this either and label British science fiction as too dark or depressing. For me this is a case of “to each their own, as I’d rather have emotional attachment to something in a show than just watch eye candy all day.
So there we have it, American science fiction is far too optimistic for my taste and does little to talk about social commentary. Instead, much of it tries to further idealistic post-war American values that many Americans no longer value – such as new imperialism. American productions seem whitewashed and fake in this climate, while UK productions still have teeth, even to this day. Not everything has to be bleak – being witty, satirical, or even mocking is fine as long as the subject has substance. I just want something more than “YES WE CAN!” because I’m too cynical for that garbage. Maybe Bruce Willis Won’t save the day, Aerosmith won’t play a cool song, and maybe the rock hits the Earth, let’s make the most out of it! Lately there has been an uprising of US based shows with a UK slant directly coinciding with the rough times we are having as of late, so there is hope that they are trending to a common end. Not everyone is happy about this though, as I leave you with a quote from a Time Magazine article that pines for the long-gone days of “happy science fiction”:
“There was a stretch of time — from the early 20th century through the beginning of comic books — when science fiction was an exercise in optimism and what is these days referred to as a “can-do” attitude. There appeared to be no problem that couldn’t be dealt with either by the one-two punch of positive thinking and, well, punching— or by intellect and inspiration: new inventions were dreamed up that automated everyday tasks and made the impossible not only possible but also commonplace.”
This view annoys me to death.
- Science Fiction, Aliens, and Suspension of Disbelief (jtdavidson.wordpress.com)
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Since there is a new Star Trek film just on the horizon and a new season of Doctor Who hitting the airwaves, I figured that now would be a great time to read some more of the recent comic crossover Assimilation Squared. For those that didn’t catch my last review, this story centers on an alliance between The Borg and The Cybermen – two similar alien races from both franchises. Their first action as a unified front was the sacking of Delta IV, an attack that was very surprising considering the way The Borg usually make themselves known prior to any offensive actions. In the final panel in the previous issue the crew of the U.S.S. Enterprise and the crew of the Tradis were just about to meet in what The Doctor assumes is prohibition era San Francisco.
While the first issue dealt mostly with setting up the shocking alliance between both armies of zombie androids and their attack on Delta IV, issue two is a little deeper, a bit more “talky”. Tipton does a great job writing convincing Star Trek: The Next Generation dialog. For example, I really enjoyed the conversations between Commander Geordi LaForge and Commander Data since their “bromance” was often times my favorite part of the show itself. Usually Data would misunderstand a human trait of some sort whether it be laughter or anger, and Geordi would have to set him straight. Take this snippet for example:
Geordi has pointed out that Data was created more than thirty years ago, and that he could benefit a lot from some of the more “modern” android technology being worked on currently. Data, in the most supreme example of foreshadowing ever, ponders on whether that could get out of hand, and if he’d lose himself in the process.
I was surprised that the beginning of the issue shifted back, in a non-linear manner, to before the meeting between TCommander Worf humorously undercuts with “they sound delicious!” In order to make quotas and keep the flow of the minerals steady, the folks in charge of the operation have had to cut corners leading to accidents and losses of life. Geordi asks why they are mining so frantically, a question Picard replies to with “The Borg”. It seems that Starfleet was nearly decimated at the battle of Wolf 359, a Star Trek battle depicted in the fan favorite episodes The Best of Both Worlds: parts 1 and 2.and The Doctor. This makes sense because we only saw Picard and Co. for like half a panel at the end of the last issue, so it’s good to see what they were doing during the Delta IV attack. Starfleet has set up a mining operation on a remote aquatic planet populated by “fish people” a fact that
Speaking of those episodes, and derailing any sort of flow here: that two-parter is soon to be re-released with HD special effects next week on Blu-Ray, you should all pre-order it below if you like the series:
You may be asking yourself: “Where is this Doctor fellow that is supposed to be in the book, I think there is an image of him on the cover?” Well, much like the previous issue, the interactions between the two sets of characters is kept to a minimum until the very end where we finally see them interact. This scene is pretty funny as The Doctor basically ignores everyone and bee-line’s it directly to Commander Data. There is a misunderstanding where the Enterprise crew thinks that the holodeck has gained sentience and that the Doctor is merely a “bug” in the system, and The Doctor simultaneously thinks that Data is some sort of anachronistic robot that shouldn’t be in the past. And just when everyone is having fun, the Borg and Cybermen arrive…..bummer
I really enjoyed issue one of this series, but issue two tops it in every way. The first issue almost seemed like two unrelated stories jammed together, and this one flows so much better overall. I definitely love the art style by J.K. Woodward, he uses life-like painted interiors that one seldom sees in comics these days. It really adds to the realism that makes one think this could have been a real episode of either show. Now that the cast is all together, and the villains have appeared, I think we are in for a real treat in the next issue. Maybe Commander Worf will smack the Doctor for talking too much or maybe we’ll find out what’s going on!
- Star Trek: The Best of Both Worlds (weheartmusic.typepad.com)
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A few days ago I decided to watch a purposely bad B-Grade Nazi exploitation film called Iron Sky. In the movie, modern astronauts go to the moon to mine hydrogen 3, only to find a fully built factory of the same purpose already there. The astronauts soon discover that they weren’t supposed to find this facility, and are taken down by a group of jack-booted and gas mask wearing S.S. troops. It seems that a handful of fully operational Nazi soldiers fled to the moon during the death throes World War II, and set up shop where nobody would find them.
Iron Sky is a fun movie based on the fact that it is so over the top, in bad taste, and well….bad that it has that same vibe one gets from something like Snakes on a Plane. It also stands as a parody of all the SERIOUS works of science fiction and alternate history that revolve around the discovery of a fully formed group of Nazi remnants in full operational capacity (and ready for blood) in a cartoonish fashion. This really got me thinking – should Nazis really be the “be all and end all” bad guys from here on out? Or are they just lazy writing in all fiction – simply designed to shock and bring back a sense of patriotism that hasn’t been there for seventy years? What about “space Nazis”? That’s even worse…
I can handle a hypothetical situation where a crew of sci-fi guys travel to a planet and a totalitarian regime is in place that may or may not be similar to the Nazis. They can have flags, even red flags, skull based insignia, and even labor camps for that added shock value. The Daleks in Doctor Who might as well be space Nazis, but they are nicely changed in many ways as to be more inconspicuous in that regard. But when you have honest to god, born in Berlin, but somehow ended up in space, Nazis I want to kill people. The worst offender is Star Trek, a show that has dabbled in the Space Nazi theme so many times that every series seems to have a contractual clause to include at least one episode based on it. Here is the plot from a classic episode:
“When the Enterprise approaches the inner planet Ekos to investigate the cessation of communication with researcher John Gill, it is attacked with a rocket carrying a nuclear weapon. This is puzzling as well as dangerous, since neither the outer planet Zeon nor the inner planet Ekos is technologically advanced enough to possess rockets or nuclear warheads. The Enterprise retreats to maximum orbital distance and Kirk and Spock beam down (after having position-broadcasting transponders surgically implanted in case of mishaps).
Kirk and Spock discover that a Nazi movement has swept the planet, complete with genocide of the “Zeon pigs” residing on Ekos. They view a public newscast in which the Iron Cross second class is presented to Daras, hero of the Fatherland. Kirk and Spock are also shocked to learn that Gill appears to be the leader of the planet’s Nazi movement.”
I could just chalk it up to goofy 1960’s TV, and the fact that WWII had just ended less than twenty years prior, but this still goes on today. It was fresh When Edgar Rice Burroughs created the concept of Space Nazis way back in 1938, but it’s 2013. Don’t we have any modern socio-political issues that can be satirized in this way? Are we so worried as a society that we might offend someone that we can’t have space North Korea, Space Al Qaeda, or Space class warfare?
If you have any ideas for what can take the place of space Nazis, please sound off!
I saw an article on the Huffington Post, of all places, that signified a collective wave of nerd ecstasy this week. It seems that IDW, the guys that do the monthly U.S. Doctor Who comics, have teamed up with some folks that do Star Trek comics to produce this:
from the article: “The 32-page “Star Trek: The Next Generation/Doctor Who: Assimilation2” will be written by Scott and David Tipton, authors of “Star Trek: Infestation.” The authors will have “a helping hand from longtime ‘Doctor Who’ writer Tony Lee,” the comic “will feature fully painted artwork from J.K. Woodward,” there will be a “rare” wrap-around photo cover and artist Joe Corroney will create a variant cover “featuring the Doctor and friends aboard the U.S.S. Enterprise,” according to IDW.”
Netflix recently added all of Top Gear (minus the James May-free first season) so I am now just discovering little gems like this:
The second episode of Hyperdrive shows great improvement over the first, as we see a better presented storyline, some better jokes, and better use of special effects. The show as a whole seems to be a typical BBC low budget sitcom affair, but as we see our first alien world in this episode it all seems to come together. The story follows a trip to the planet Queppu for an attempt at diplomatic relations, but as Mike Henderson always seems to guarantee, the trip goes awry. Against the better judgment of Mike, Jeffers is placed in charge of the ship while the top brass is gone, which spells disaster.
I was impressed by the costume designs of the Queppu, as they did not suffer from the typical Star Trek “different foreheads” syndrome. This race actually looked like a bizarre pre-industrialized race that happens to wear gaudy latex hats, and pretentious jewelry. Most of the other costumes in this show are pretty bland, so anything like this stands out a lot. Mike falls in love with the daughter of the crazed ruler of the planet, much to the chagrin of Teal, who harbors feelings for Mike. We get to see York at his sleazy finest in this episode, as he attempts to nuke the planet before they even visit, and nearly ends up killing the crew in a knife fight.
Jeffers uses his new found power to get the ship into a drag race, almost destroying the ship in the process.
With all the good of the episode, there is still some bad things going on here that leave it average at best. The jokes are usually good, but not always consistent, making certain scenes seem dragged out. There are also a few characters like Vine and the ship’s android computer that really seem to serve no purpose to the story other than exist to be an analogue of a Star trek character. I’ll rate this episode better than the last, but only so much.
May Rating 3.1 out of 5
- A Scientist Explains Why The Enterprise Can’t Go Underwater (badassdigest.com)
- STAR TREK, The Motion Behind the Picture (mrmovietimes.com)
- Wacky Product of the Week: Star Trek USB Communicator (savings.com)
- Re-Learning Confidence in Tomorrow’s ‘Trek’ (mrmovietimes.com)
- ‘Star Trek Into Darkness’: Cumberbatch’s Identity, Carol Marcus, And A New ‘Trek’ Villain Theory (movieline.com)
- Essential Star Trek Novels That Even Non-Trekkers Should Read (io9.com)
- ‘Star Trek Into Darkness’ Official Plot Synopsis – Has the Villain Been Revealed? (screenrant.com)
- ‘Star Trek: Into Darkness’ Teaser Trailer (screenphiles.com)
- Enter Colonel Philip Green or… Gary Mitchell? — STAR TREK: INTO DARKNESS (advanceddungeonsandparenting.com)
- Is The Villain For The New ‘Star Trek’ Khan or Gary Mitchell? Yes. (geek-news.mtv.com)
I actually downloaded Hyperdrive around the time it originally aired due to a piqued interest in movies and television shows by Simon Pegg, Nick Frost, and Edgar Wright. For some reason that I honestly can’t recall, I never watched it, and it sat on my hard drive collecting digital dust. Going through my files this week, I stumbled upon it, and decided to finally check it out.
The HMS Camden Lock is basically a ship shaped like London’s BT Tower
Hyperdrive is a science fiction based sitcom, a genre hybrid that I can only think of a handful of instances of. The story follows a crew of inept space voyagers trying to expand the British Empire in the year 2151. I was drawn to the show due to Nick Frost’s starring role to be quite honest, but was pleasantly surprised to see a few actors I really like such as Patterson Joseph (Survivors, Mitchell and Webb Look) and Kevin Eldon (Big Train, Hot Fuzz) and even guest appearances by notable actors and acresses including Montserrat Lombard of Ashes to Ashes fame.
Frost plays pace Commander Michael Henderson, a misguided man who admires the idealism of space travel ala cheesy science fiction shows, but has no real credentials to back it up. Imagine every bad thing that Star Trek’s Captain James T. Kirk ever did and add a bit of sincere stupidity, and you basically have Henderson in a nutshell. His first officer (Eldon) Eduardo York, is a nice contrast to Henderson in that he seems to secretly want to be an evil galactic overlord like Ming the Merciless, but is held down by federation guidelines and other forms of “red tape”. Add in a slacker technical officer named Jeffers, a quiet navigations officer named Vine, and the straight man, or lady for that matter, in the whole ordeal Diplomatic Officer Chloe Teal, and you have the principal cast in a nutshell.
Hyperdrive has its pros and cons that I can even see based solely on this first episode. The show is a total farce in the style of Star Trek, but that almost leads it to try too hard to be like its “big brother” rather than stand on its own. While this works most of the time, some of the goofy gags fall flat, and this isn’t helped by a lack of a laugh track. The jokes are generally pretty funny when they are original, and rely more on gross out humor and dry wit than anything else. One running gag that I really liked is when Henderson tries to relay his “knowledge” of historical facts to his crewmates, which always come out as a mishandled jumble of nonsense.
One episode in, and I enjoy Hyperdrive, but hope that the story takes off in future episodes, stay tuned for my opinion on the rest of the show!
May rating: 3 out of 5
- Eta-2 Actis with Hyperdrive Ring (eurobricksstarwarsforum.com)
- This Is The End (chapwithacap.wordpress.com)
- Hollywood a Bit Behind on “The World’s End” Movies, But… (lezgetreal.com)
- First Image from Edgar Wright’s THE WORLD’S END Starring Simon Pegg and Nick Frost (collider.com)
- ‘The World’s End’ image: The next Edgar Wright/Simon Pegg film! – PICTURE (insidemovies.ew.com)
- The Best Disney Star Wars Mashups & Memes (firewireblog.com)
- Get Your HYPERDRIVE On Tour! (devblog.blackberry.com)
- J.J. Abrams drops major hints about the ending of Star Trek Into Darkness! (io9.com)
- Black Books Season 1 (garth.typepad.com)
- Miranda Hart can’t believe her sitcom is on our TV screens as she looks back on a busy year (dailyrecord.co.uk)