Atlantis - The Earth Bull and A Girl By Any Other Name

So, this weekend I got caught up on a couple of shows. More on Episode 2 of Agents of SHIELD later; first, Atlantis.

Taste the cheese!

Merlin was a bit of a surprise hit for the BBC, I think. They obviously had some hopes for it, but I suspect that they never really envisaged it lasting five series. Remarkable then that the makers seem to have chosen when to end it, with their final season of ever-increasing doom (which I still need to catch the end of, IPlayer desktop having failed me on that and Being Human, but it is doubtless that which positioned them to pitch the replacement series Atlantis.

In short, a young man named Jason is searching for his missing father, lost while exploring the ocean depths in a submarine. During a dive, he is draw helplessly into a bright light and awakens on the shores of an island, dominated by the mighty - if slightly underwhelming - city of Atlantis, which he of course believed was a myth. The city stirs memories, even as he encounters names he knows well - Pythagoras and Hercules, as well as the Minos family - in a world out of step with history, yet filled with mythology.

The opening episode sees Jason face off against the Minotaur, after taking Pythagoras' place as sacrifice (I was, I should say, deeply disappointed at his failure to leap forward and declare 'I volunteer as tribute'), only to learn that the cursed monster was once a man who knew his father, and that his true identity is a source of deadly danger to him. In the second episode, A Girl by Any Other Name, a rescue mission takes an unexpected turn as Jason and co rescue a girl named Medusa from the clutches of the bloodthirsty Maenads.

Where I always viewed Merlin as a story taking place in a post-Apocalyptic recreation of Camelot, Atlantis is openly crossworlds, with the Oracle (Juliet Stevenson, bringing some serious thespian muscle to the proceedings) telling Jason that his old world (the modern day) and the world of Atlantis are but two of many. Of course, it could just be a form of purgatory, where a disheveled and unreconstructed Hercules helps dying archaeologists to 'go to the tavern' and so pass on, but currently I'm not putting money on that.

So, it's not Greek mythology, just something very like it. Okay; I'll buy it. Thousands wouldn't.

As hard as I try to avoid comparisons, there are a number of similarities to Merlin in the basic set up. A hard, unforgiving monarch (although currently Alexander 'Genre Credibility' Siddig's Minos is looking positively fluffy next to Sarah Parish as Queen Pasiphae), and a bromance (apparently already known as Python) between an awkward, brilliant geek and a natural warrior. The decision to change up and make Jason the outsider-hero, with the adorkable Pythagoras as the deuteragonist, is the big shift. Jason also has access to secrets, as Merlin did, with the Oracle as his thespian Dragon and the pervy clothes-removing gateway between the worlds in place of magic, although the latter at least has not yet been given much relevance, besides his familiarity with the square on the hypotenuse and an ability to weird out satyrs. I hope to see more of it later, and if he hasn't built a tank by the end of the series, I will be very sad.

Now, unfortunately, Jason brings a lot of Arthur's traits to the series: he's tough, he's manly, he's a bit of a dish, and he's about as interesting as woodchip. Jack Donnelly isn't a bad actor, so much as an actor with not much to work with. I am also unconvinced by his supposedly incredible physical abilities, so far shown with a less-than-superlative bit of jumping, a little parkour-lite and an arrow dodge. On the plus side, there is a convincing natural chemistry with Ariadne (Aiysha Hart), if only because she is equally dull. Bereft of the spotlight, Robert Emms' Pythagoras is lovely, but so far a bit of a cypher, leaving the star turn - at least among the central group - to Mark Addy's drunken has-been Hercules.

Overall, the series has been a bit of a sausage fest so far, and it remains to be seen if any of the other female roles - Pasiphae, Ariadne, Medusa - will ever manage to be as interesting as the Oracle.

I am sold enough to keep watching, for a while at least, but I can't really say more than that, and I am less inclined to give it the leeway of a new series than I am with, say, Agents of SHIELD, by which token I suppose I can say that it has won my interest, but not my indulgence.

But seriously...

One line of narration...

...or two episodes of stock cartoon romance...

...it's still a more convincing romance than Twilight.

Avatar: The Last Airbender - Water

We've had some disagreements about M. Night Shyamalan's Avatar: The Last Airbender in our household. Hannah thinks it's great, and that the anime bores unfairly dismiss it as different to the series; I think it is a beautiful film with some very real problems, especially in terms of pacing and failure to 'show, not tell'. I also point out that Avatar: The Last Airbender is actually not technically an anime, but a western 'anime style' animation, but that just gets me glowered at, and rightly so.

Anyway, that's not why we decided to watch through the series on Lovefilm, but it's something to bear in mind.

Avatar is set on the world of Pandora, where the peaceful Na'avi...

No, wait; I'll start again.

Avatar is set in a fantasy world (and it is the entire world, Book 1: Water takes us from the South Pole to the North in 20 episodes), divided between four great cultures, the Earth Kingdom, the Water Tribes, the Fire Nation and the Air Nomads. Each culture has its own signature mystical elemental martial art, or bending art, allowing them to control their nation's element. For centuries, the four were in balance, watched over by the Avatar, who mastered all four elements, and was reborn - like the Dalai Lama - into each culture in turn in a never-ending cycle: Water, Earth, Fire and Air.

A century before the start of the series, the Fire Nation mobilised its vast military and set out to conquer the world. The Avatar vanished, only to be found by a brother and sister of the Southern Water Tribe in episode 1. Book 1, like the film, then charts the journey of the Avatar - Aang, lone survivor of the exterminated Air Nomads and titular Last Airbender - and his comrades, Katara and Saako, from the South Pole to the North, in order for Aang and Katara to learn Waterbending.

In some places, the series is much better than the film; in particular, it tends to be more willing to think big, especially when it comes to Earthbending. Moreover, the Earthbender prison makes more, which is to say any sense in the series. Far more time is devoted - because it is available - to Aang's growth as a character, and the same goes for Katara and Saaka. My biggest complaint - the condensing of the key relationship between Saaka and Princess Yue to a single line of narration - stands, although the series still only gives it a few establishing scenes.

The arc story is compelling, although the quality of the individual episodes varies, with a few employing pretty blatant straw man aesops, but when it is good it is good. Certainly, I am looking forward to moving on to Book 2: Earth.

The one thing I feel that the film did noticeably better than the series is the final siege at the North Pole. While not perfect, I found that the great wave in the film worked better for me than the series' giant glowing aqueous carp man. Your mileage may vary.

Downton Abbey - Series 1

This past weekend, we've been watching Season 1 of Downton Abbey, which is kind of new to us. It's actually quite an interesting series, running from the sinking of the Titanic in episode 1 to the outbreak of World War I in episode 7, and interleaving social and political issues - one of the daughters of the house campaigns for women's suffrage and the chauffeur is an Irish republican; the loss of the heir apparent on the Titanic leaves the future of estate and title in question and in the hands of an unknown Manchester solicitor; the approach of war increasingly colours everything the last three episodes - with domestic storylines - the ambitious lady's maid O'Brien and her cohort Thomas, the gay footman, scheme to ruin the new valet, Bates; the cook is going blind; the three daughters of the family need to be married off; the Dowager Countess spars constantly with the mother of the new heir - to create compelling characters and narratives.

I've not much more to say, as I haven't the time to go into the details of the thing, although I will say that, as with any TV catch-up, do not look at the Wiki page for it, as it will spoil you up good.

Agents of S.H.I.E.L.D.

The Spoiler Free Bit

I really enjoyed this. It's not perfect, but for an introductory episode it shows great potential. The leads are likeable and sufficiently complex to catch my interest, the support is likeable. Clark Gregg's Agent Phil Coulson is of course the centrepiece and for my money dispels any fears as to whether he can headline a show. The weakest links are Agents Ward and May, the abrasive operator and the Black Widow with the serial numbers filed off, neither of whom is given a great deal to do besides being abrasive.

The opening episode introduces the characters, and sets up the arc plots while still having a self-contained story, which is what you hope for. It's no Buffy the Vampire Slayer but, at its pilot episode, neither was Buffy the Vampire Slayer.

Specifics follow in the spoilerific section.

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The Spoilerific Bit Where I Ramble Rather

At the centre of everything here is the supposedly deceased Phil Coulson. His return is quickly explained as the result of a deception by Nick Fury, but soon after it is hinted that there is far more to it than a near death experience and a nine month convalescence in Tahiti. I would not be surprised if the repeated phrase 'it's a magical place' turned out to be meaningful, nor if there was a link to Extremis, given its appearance here. I like his placement as the people person; the one who, after all of his encounters with the superhuman, most views them as equals. The love of the past shown in his reverence for Captain America is retained, embodied here in his classic S.H.I.E.L.D. car, Lola, and his affection for the aircraft-based mobile command over the Helicarrier.

Agent Ward (Brett Dalton) is done a bit of a disservice. Introduced as a highly capable agent, he is placed in Coulson's mobile command, quite specifically an oddball outifit, against his wishes, and then from about halfway through the episode gets sidelined as Chloe Bennett's Skye comes in and replaces him as the PoV new bug. Thereafter, he is mostly there to be a counterpoint to Coulson's gentle approach. similarly, Agent May (Ming-Na Wen) gets to stand around while the techs chatter, then kick some guy a few times; hopefully we'll get more from both of them later.

Those techs are the adorkable, Atlantically displaced pairing of Fitz and Simmons, (Ian De Caestecker and Elizabeth Henstridge), who provide hard and soft (respectively) technical wizardry and nerdy banter with a slight Britannic slant. If this was a pilot, rather than an opening episode, I would expect to see them gone by the series start, and I would miss them. Again, I hope that they get more focus in some episodes.

Skye is a cliche waiting to implode, but hints of vulnerability beneath the confident exterior (an uncertainty when she recalls that she has previously wiped an identity, presumably her own; the admission that she once dressed up to cosplay outside Stark Towers) give the character some depth which I hope to see play out.

J. August Richards, guest starring as plot of the week and arc introduction, gets to do his tortured man of principle act again; it's still pretty good.

In terms of continuity to the main Marvel movieverse, there was plenty, from Centipede's mix of superpower causes - supersoldier serum, gamma radiation, Extremis and alien metal; and I may be missing the obvious, but I'm assuming the last is a forward link of some sort - to Lola's flight tech, which owes more than a nod or two to Howard Stark's World's Fair exhibit.

On Riddick

I want to talk about Riddick; not the new movie, Riddick, or not only, but the character, and more to the point the characters around him.

Pitch Black was an indie SF movie, in which Richard B Riddick (Vin Diesel) first appeared, but despite its later re-branding as The Chronicles of Riddick: Pitch Black, he wasn't the main character. That was Carolyn Fry (Radha Mitchell), a young commercial pilot who struggles to keep the survivors of a crash alive against the elements and the attention of psychopath Riddick, in order to atone for her own weakness in a moment of crisis.

Carolyn Fry was something rare in science fiction, in movies of any kind; a genuinely strong female character. She was deeply flawed, uncertain yet determined; she fought to the bitter end and, in giving her own life, managed to make a genuine impact on Riddick, who was implied to be changed forever by his encounter with this incredible, extraordinary ordinary woman.

The film also featured a tough - if ultimately doomed - prospector, played by Claudia Black, an imam whose faith - which remained strong, despite the deaths of his family - was a counterpoint to Riddick's nihilism, and Jack, a young girl in disguise as a boy, who idolised the killer, all of them strong, interesting characters quite distinct from the run of the mill.

But then he got big; he forgot the little people, as it were, and so did director David Twohy. The Chronicles of Riddick took Pitch Black's antihero and cast him into a a grandiose space opera as an interplanetary Conan the Barbarian, battling the planet-ravaging Necromongers (straight up, yeah; Necromongers) to reclaim his heritage as the last of the Furians and the champion prophecied by kung-fu elemental Judi Dench. In the course of this fight, the imam from Pitch Black is gunned down by Necromonger stormtroopers and Jack, now Kira, a sultry wannabe Riddick, also buys the farm.

Kung-fu elemental Judi Dench is pretty much the pick of the characters replacing them, although Lady Vaarko (Thandie Newton), although largely a one-note Lady Macbeth character, has some chops to her. The whole Necromonger thing is a bit silly, however, and the whole thing doesn't stand up as well with Riddick in the midst of epic conflict.

Which brings us to Riddick, a back to basics film which basically does Pitch Black with a bigger budget and fewer likable characters. In particular, Riddick's big emotional relationship this time is with a CGI dog, and the female characters in play... Oh, dear me.

The first one is a female prisoner, implied to have been repeatedly raped, and then murdered after about five lines of dialogue as a means of proving that the really bad guys are worse than any of the other psychopaths in the film. She is never even given a name, but dies within five feet of Riddick as if she is supposed to have an emotional impact equivalent to that of Carolyn Fry.

The second is Dahl (Katee Sackhoff), who is tough. And that's about it. She gets to punch the rapist guy a few times to prove it, and shoot Riddick with tranquilisers. At worst, she's a lesbian who turns straight for Riddick; at best, she's an asexual loon who is turned on by extreme psychopathy. I tend towards the latter interpretation, but it's still not very good.

And it makes me wonder... How did this happen? How did the same core team make Pitch Black, a film with some of the best female characters in movie SF, and Riddick, an outright offence to feminism?

About Time

So, cards on the table; I am a sap for Richard Curtis's particular brand of minimal social commentary, middle-class romantic comedies, even while I do recognise their failings. About Time is also a very soft SF film about time travel; like The Butterfly Effect without the butterfly effect.

As ever, this will not be a spoiler free review.

Tim (Domhnall Gleeson as Hugh Grant as Richard Curtis) is a charmingly awkward youth who lives in a Cornish idyll with his eccentric father (Bill Nighy), stubbornly practical mother (Lindsay Duncan), mental-but-gentle sister Kit Kat (Lydia Wilson) and sweetly dim uncle (Richard Corderay). In his 21st year, his father tells him that the men in his family can travel within their own lifetime to revisit any point in their past and change their own actions.

Moving on, he gets his heart broken and learns that sometimes there is no right moment, just the wrong girl, and moves to London to practise law. Here he meets Mary (Rachel McAdams), the woman of his dreams, but loses her when a well-meaning piece of time travel helps out a friend, but leads to him erasing their meeting. We then follow his attempts to find her, their budding relationship, and very occasionally see Tim use his powers to improve his life.

This is a Richard Curtis movie, so overall it is light, fluffy and very sweet, with occasional darker moments which are all about humanity, rather than society. It has a fair amount in common with Four Weddings and a Funeral, but uses time travel instead of social format for its repetitions and has Rachel McAdams instead of Andie McDowell, which may qualify as the most pleasing replacement of one American actress with a celtic patronymic surname for another in the history of cinema. It is also, on occasions, deeply affecting, as when Tim is forced to choose between the future and the past, or his sister's happiness and the very existence of his first child.

And, as noted, it does have some problems - I would love to see someone produce a companion piece with a family in which the women can travel into the future, and once more London is depicted as very, very white - but as I often find with Richard Curtis movies, I find it hard to care that much. It also avoids some obvious traps: Tim never uses time travel to cheat Mary, their connection is immediate in the first instance; he also, given an opportunity, does not cheat on her and then 'undo' it, which I was worried might happen at one point. The film also never uses the conceit to allow Tim to wallow in revenge fantasies or do anything mean-spirited which only he will then recall.

About Time: It's not going to set the world on fire, but it's a lovely little film which it really is hard to dislike.

And now I'm pondering writing that story about women who can travel into the future.