Wednesday, June 8, 2011

"I Seek But One Thing" : Redemption, Forgiveness, and Ambiguous Endings in "On Stranger Tides"

[A couple of warnings: First, yes, I think waaaay too much about these things. I couldn't get this out of my head, so I figured I'd just write it down instead. Second, HERE BE SPOILERS. Proceed at your own risk.]





Today's Special: Neatly sliced green apples. Sorry, no rum (and don't ask why it's gone).



A young man lies in a jungle clearing beside a deep pool. His life blood is pouring out of him from a wound in his abdomen, a souvenir of a battle he wanted no part of. Desperate for some relief – any relief – he drags himself to the pool’s edge and splashes water over the wound. Suddenly, a mermaid appears in the pool below. She is the mermaid he helped capture (to his everlasting regret) and with whom he has fallen in love, and now she appears like an angel in his final hour. She sees his pain and promises that she can save him, but the young man wants only one thing: forgiveness. With a kiss, the mermaid draws the young man into the pool and guides them both along the dark passageways beneath the water.



And… then what?



The story seems unfinished. What becomes of the young man and his mermaid love? Does she truly save his life, or does she return to the man-eating ways of the rest of her kind? Does she grant him a quicker, more merciful death by drowning, or does she turn him into a merman so she he may live with her happily ever after?



The ending to the romance of Philip and Syrena in On Stranger Tides leaves a lot of questions unanswered. How you choose to answer those questions depends on how you interpret the rest of the movie – and there is more than one way to do that.


Redemption and Forgiveness



Redemption is a recurring theme throughout On Stranger Tides, and more than one character is in need of it. The main focus, though, is on two cases that play out side by side over the course of the film.


The first man in need of redemption is Blackbeard himself, the pirate that even other pirates fear. Given the enormity of his crimes, no one really seems to believe that this terrifying man is capable of redemption – no one except his daughter, Angelica. Having once been on the road to becoming a nun, Angelica was brought up to believe that anyone can be saved, no matter how sinful they once might have been. She also has personal reasons for believing that her father can be redeemed. While we don’t know a great deal about her life, we can assume that a child who grew up without a father likely had a difficult life full of disappointments and unkindness from others. Angelica desperately wants to believe that her father can be redeemed, and that he is, at heart, a better man than the others she has met in her life. She even convinces her father to keep Philip alive, as she believes the missionary might be able to lead Blackbeard onto the path of righteousness. Blackbeard, for his part, seems to have little interest in redemption, and only plays along with Angelica’s notions about his soul because his daughter is a powerful and motivated ally, and it is in his best interest to keep her happy. In the end, Blackbeard’s true nature is revealed: when he is given a chance to redeem himself by giving his life to spare his daughter’s, he chooses to kill her and save his own life instead. Were it not for Jack’s switching the chalices, Blackbeard would have allowed his own daughter to die for him.


The story of Philip and Syrena’s romance is also a story of redemption, and whether it contrasts Blackbeard’s journey or runs parallel to it depends on whether one believes that it is Philip or Syrena who is presented as in need of redemption.


Philip is a missionary, and, from what we see of his character, he not only preaches the Word but lives it as well. He refuses to take sides in the mutiny about The Queen Anne’s Revenge, despite the abuse he’s received from Blackbeard; he stands up for the rights of the oppressed and the imprisoned; and he faces death without fear, valuing forgiveness over his own life. However, even Philip has done something that he regrets: in the mermaid battle at Whitecap Bay, he stabs Syrena in the tail, effectively trapping her and making it easy for the pirates to capture her. The difference between Philip and Blackbeard, however, is that Philip actively seeks redemption, and he spends the rest of the film trying to atone for his sin by becoming Syrena’s champion and protector. When she is gasping for air in the glass coffin, Philip defies Blackbeard to save her life, even stealing a sword from the zombie henchmen to open the coffin lid. When Syrena gains legs and Blackbeard declares that she will “walk or die,” Philip takes a third option and carries her the rest of the way. And when Syrena is tied up to die, he tries not once but twice to free her, the second attempt (this one successful) happening while he was bleeding profusely from a mortal wound to his abdomen.

This contrast between Blackbeard’s indifference toward redemption and Philip’s active pursuit would seem to lend itself to the moral that redemption is not easily attained, and the one who is worthy of forgiveness is the one who has worked to deserve it. Blackbeard did nothing to deserve redemption, and therefore did not receive it. It stands to reason, then, that Philip, who has done everything in his power to atone for his sin, should be rewarded with forgiveness from Syrena and whatever healing powers she has at her disposal. One hopes that the film is not so cynical that it would put forth the message that no one can be redeemed, no matter how hard they try.



There is, as I said, another way to interpret the story of Philip and Syrena. If one believes that the focus of their tale lies in Philip’s belief that Syrena can be redeemed of the deadly nature of her kind, then their story forms a parallel to Angelica’s belief that Blackbeard can change his own nature. We saw how Angelica and Blackbeard’s story ended: despite her unwavering devotion to him, Blackbeard was never anything but a self-interested, selfish man, willing to destroy anyone in pursuit of his own interests. Perhaps Philip’s belief that Syrena is different than her kin is similarly misplaced, and the moral of both stories is that no one can fight against their own nature. Philip lets himself believe that she can be good because she is beautiful and because he is in love with her, but in the end, she is a mermaid, and nothing, not even the love of a good and honorable man, can change her nature. In the end, she acts as all mermaids act, and she kills Philip because that is what mermaids do, just as Blackbeard tries to sacrifice his daughter's life for his own because it is in his nature to serve only his own interests.


Death or Life

In weighing these two possible interpretations of Philip and Syrena’s story and how it contrasts or parallels Blackbeard’s story, I believe that the first interpretation is better supported by the film. Several scenes in the movie are dedicated to Philip’s pursuit of redemption: he saves her from suffocating in the glass coffin; he saves her again in the “Walk or Die” scene; he stands up in her defense when Blackbeard tries to harvest her tear the first time; and he tries twice to free her from her bonds, the second time while suffering from a mortal wound. In fact, half of Philip’s final scene is devoted to his quest for forgiveness. In contrast, comparatively little time is spent on the question of Syrena’s nature and Philip’s mission to save her soul. In one scene, he comments that she is beautiful but deadly, and then learns that she was trying to save him in the battle at Whitecap Bay, not attack him. Later, when he tries to free her the first time, Philip tells Syrena that she is different – an echo of the very same reasons Syrena gave for saving him. These are the only scenes that deal with the notion of Syrena’s redemption; when compared to the large number of scenes devoted to Philip’s redemption, I believe it is clear that the focus is on Philip’s quest for forgiveness rather than on a mission to save Syrena’s soul.


So what does this mean for the ending? I believe it means that Philip, having fought so hard to undo the damage he did when he used violence in the Battle of Whitecap Bay and helped capture Syrena, will receive the forgiveness he worked toward and asked for. Knowing that the man she loves is truly different from others of his kind that she has known, Syrena will do what she can to save his life. What exactly that entails remains a mystery. Hopefully, we’ll get our answers in the fifth installment of Pirates of the Caribbean.

Saturday, November 20, 2010

"We're alone" : Thoughts on the darkest chapter yet in the Harry Potter film series

Today's Special: A shot of firewhiskey and a plate of whatever Hermione managed to forage today (we're on the run, after all).

It's always darkest before dawn.

That phrase is a cliche for a reason, and it can be applied not only to the daily cycle of light and dark but also to war: the darkest, most desperate moments come just before the climactic final showdown.

That darkness is given full reign in this, the tense and emotional penultimate film set in the months leading up to the Harry Potter's final battle. Having come of age, Harry and his friends are no longer children, and they soon realize exactly what that means. Hogwarts is no longer their bright, magical haven. Monsters of both the human and magical creature variety lurk everywhere, and they are doling out death, not the loss of house points. Friends and family are in danger, and the one thing that can save everyone - finding the Horcruxes and killing Voldemort - seems more out of reach than ever. And the worst part is that, for the first time, our intrepid Trio has no one to turn to. That isolation is brought home in one particularly effective scene early in the film. After Harry, Ron, and Hermione have been chased by Death Eaters and have taken refuge in 12 Grimmauld Place, Hermione casts a spell to determine that no one else is in the house. Her verdict - "We're alone" - resonates all the greater against the chilling blackness that surrounds the three teens on all sides. They are, indeed, alone - in more ways than one.

The focus of this film lies very much on the now-isolated Trio. We watch as the hopelessness of the dark and dangerous times takes it's toll on each member, from withdrawn, brooding Harry to anxious, take-charge Hermione to moody and increasingly jealous Ron. It's little wonder, then, that the friendships that have formed the bedrock of the series find themselves strained until they finally reach a breaking point: an intense and emotional scene in which Ron angrily leaves a heartbroken Hermione and a seething Harry to continue the Horcrux hunt without him. The three actors, for their part, portray the emotional interplay among the three teens flawlessly, allowing us to feel the heartbreak when the Trio's bonds are broken as well as the joy when the three are finally reunited. The series lives and dies with the relationship between these three, and in this film, the emotional power of the Trio is alive and well.

Not all of the story, however, is as clear as the emotional ups and downs of the three teens at its center. Rather like the Trio's frustrating and aimless camping trip itself, much of the film feels jumpy and unfocused. The story wanders a bit, throwing in lots of information without quite enough structure for us to see how the pieces fit together toward the ultimate resolution. Maybe this is a consequence of the choice to split the book into two films; perhaps it's simply the price we pay for trying to fit such a dense, detail-laden story into the more streamlined medium of film. As one who has read all the books numerous times, I have to wonder if fans who have only seen the movies would find this one difficult to understand. They'd no doubt be wondering who that Gregorovitch fellow is that Harry mentioned, or why Harry keeps looking at a broken fragment of glass. This continuity lockout may lessen the dramatic effect of the film for the more casual viewer.

The scenes that do work (and there are many of them) do so because they transcend the plot details and go straight to the heart. When Ron is taunted mercilessly by the locket Horcrux, we are right there with him as his feelings of inadequacy, worthlessness, and jealousy come to the surface. When Hermione all but shuts down following Ron's departure, we feel the heartbreak right along with her. And when a certain character dies in the final moments of the film... well, you may find yourself shedding tears you hadn't expected.

While the film does have some flaws when it comes to flow and continuity, the emotional truths of the story come through beautifully thanks to solid performances and the deft hand of director David Yates. In the end, this dark, intense film does what it sets out to do: it forms a stable foundation for what promises to be an epic final chapter.

Friday, May 14, 2010

Taking down the "Gone Fishing" sign...

Wow, I've been gone a long time, huh? Sorry 'bout that...

I have been busy the last few months, but that's no excuse... it's not like the world of geeky awesomeness is going to wait for me to have time to blog, is it?

Never fear: I'm back to serve up my own take on the weird and wonderful things going on. And I'm sure all, what, maybe two of you who are actually reading this will be very relieved.

Let the geekiness commence!

Tuesday, February 2, 2010

"Epitaph Two: Return"

SPOILERS AHEAD. YOU HAVE BEEN WARNED.

Today's Special: Tongue soup (no, not really... or is it?) and berries from the Safe Haven garden.


Ask just about any Whedonite, and they'll tell you that when a Whedon show gets the chance to have a REAL, honest-to-God finale, it is going to be an incredible piece of television (or film, in the case of Serenity). In that vein, "Epitaph Two: Return" did not disappoint. Here are my thoughts on the finale, in no particular order:
  • Of the two deaths that I predicted, I was right about one of them. I TOTALLY called Topher's death, even the fact that he would die performing an act of heroic sacrifice. It is both sad and beautiful that the man whose tech brought about the thoughtpocalypse died returning everyone's minds to their rightful bodies.
  • I was wrong about the other death, though. I predicted that either Victor/Tony or Sierra/Priya would die, falling in line with the usual Whedon practice of splitting up couples. As it turns out, neither one of them died, and I couldn't be happier to be proven wrong. Apparently even Joss wasn't willing to tear apart such a sweet couple, because Tony and Priya are together at the end of the series, making them members of perhaps the smallest club in the Whedonverse: the Happily Ever After Club. A side note: As much as I love Tony/Priya, if I had a time machine and super bargaining/intimidation skills, I would gladly trade their happily ever after for a Wash/Zoe happy ending. True story.
  • Of course, the Whedon Curse had to claim a member of one couple on the show, and Paul was the unlucky one this time. In true Whedon fashion, the death was quick, sudden, and unexpected. BOOM - headshot - and Paul is dead. This being Dollhouse, however, dead doesn't necessarily mean all dead, and Echo and Paul are reunited in an unusual but strangely perfect way: Echo uses Topher's chair to upload Paul's consciousness into her mind, meaning they will (literally) be together forever. The person who left behind the wedge with Paul's consciousness on it? Well, that leads me to my next point:
  • You know that slight resentment I've been feeling toward the Dollhouse writers since the revelation re: Big Bad Boyd? Well, they are forgiven. Why? Because they gave me a gift in the form of Sane!Alpha showing up as an ally (a beloved and trusted ally, no less) in the finale. Evil!Alpha was awesome (in a "Holy crap, he's frickin' scary" kind of way), and I love Alan Tudyk no matter who he's playing, but getting the chance to watch Alan Tudyk without having to hate his character? That totally made this fangirl's day. Come to think of it, I would just be deliriously happy if Joss Whedon's next project was some version of "The Alan Tudyk Show." Who's with me?
  • As much as I love the fact that Whedon and Co. got a chance to actually end the series, wrap up the story lines and show at least a bit of where they were planning to go, this finale makes me lament all the wonderful stories that DIDN'T get told - at least not in full. If the series had lasted the 5 seasons that were originally planned, then we might have had a chance to see the development of a great many things that were shown in the finale. For example, Alpha's rehabilitation and redemption would have made for a fascinating story arc, along with the rise of the Tech Heads, the estrangement of Priya and Tony, the birth of T, the kidnapping and mental unravelling of Topher, etc., etc. Oh well. I guess that's what fan fiction is for...

Friday, January 22, 2010

Gleeking out

Today's Special: A round of slushies for all!

Lots of great Glee news lately. First, the show wins the Golden Globe for Best Television Show - Comedy or Musical. Then, we get the sweet, sweet news that NPH will likely appear in an episode (directed by Joss Whedon, no less). What could possibly top any of that?

Three words: Glee. Concert. Tour.

Only a few of the locations have been released so far, but more are sure to come. Here's hoping there's a show planned within driving distance of every Gleek out there!

Tuesday, January 19, 2010

When Fandoms Collide

Today's Specials: Slushies, frozen yogurt (spork included), and all the pig's blood you want (or not, if you aren't of the "creature of the night" persuasion)

People, I fear I may actually pass out from all this awesome.

Here's the scoop: Dr. Horrible star Neil Patrick Harris (NPH) may appear on the episode of Glee directed by - wait for it - Joss Whedon.

Back when I heard the news that Joss was directing a Glee episode, I had an idle notion - a fleeting, hopeful wish - that Joss might use his considerable pull among members of the Whedonverse (a.k.a. actors who have appeared in Whedon shows) to get one or more of them to appear in the episode. I even thought, fleetingly, that NPH might be the guy to do it. But I sure didn't think it would actually happen.

But now, barring some Grinch-like CBS executive stealing all the joy from the hearts of Whedonites and Gleeks everywhere, NPH WILL reunite with Joss this spring and treat Glee to his particular brand of awesome.

I. CANNOT. WAIT.

Saturday, January 16, 2010

Geek Find of the Day

So there I was, strolling through Borders, drooling over the books as usual, when I wandered over to a display of science fiction books. And there, waiting for me, was a small box labeled "Pon Farr." Intrigued, I read further and discovered that it was a Star Trek-based PERFUME.

That's right, ladies and gentlemen: Star Trek fragrances have arrived.

This find sent me into such geek-gasms, I could barely stand. And Pon Farr is just the start. Genki Wear, a company that has already made a name for itself with its line of decidedly geeky jewelry and accessories, has two other Trek fragrances. The first, which I also saw at Borders, is a cologne called "Tiberius" with the tagline "Boldly Go." But the best and funniest is a cologne called "Red Shirt," which bears the tagline, "Because Tomorrow May Never Come."

Really, I'm just glad I live in a world where things like this exist.

Friday, January 15, 2010

"The Hollow Men"

THE USUAL SPOILER ALERT HERE: IF YOU HAVEN'T SEEN THE EPISODE, STOP READING NOW.

This time, I'm just going to jot down the various things that occurred to me during this episode, in no particular order:

  • Can you say "poetic justice"? I mean, I can't think of a more fitting end for the man responsible for the thought-pocalypse (I don't care what you think, Topher, it's really Boyd's fault in the end) than to turn him into a Doll and then blow him up while simultaneously destroying his headquarters? And yet, at the same time, I couldn't help feeling sorry for him. I mean, he was good ol' Boyd for so long, it's hard not to still feel a twinge of friendly feeling for him. And on that note...
  • Thank you Topher for articulating exactly what I felt after learning of Boyd's true identity! "I mean, what an actor! I don't know whether to hate him or ask for his autograph!"
  • And one more thing on Boyd: anyone else get really creeped out with his "I love you guys"? This is one creepy, twisted, sociopathic S.O.B. if he thinks that they're a "family" after all the manipulation he's subjected them to.
  • Mellie! Oh God, Mellie! I loved her and Ballard together from the beginning, so I should have known, given Joss's history with couples (he hates them, apparently, and therefore continues to tear them apart) that one of them would die. But oh, poor Mellie! At least she died nobly, saving Paul's life and all. But still...
  • One of my favorite lines of the episode came from Paul after Echo pulled a gun on Boyd and Boyd put a gun to Paul's head. Paul: "What did I miss?"
  • A big thank you to the writers for giving us one last glimpse of Victor-as-Topher. Pure awesome, again.
  • And am I the only one who found herself screaming at the screen several times. First: "No, Topher, don't trust him!" And later: "No, Paul, don't give Mellie the gun!" I call it a good piece of television if I'm so invested in the story that I'm yelling at people who clearly can't hear me.

Sunday, January 10, 2010

My head's still spinning...

HERE BE SPOILERS. IF YOU HAVE NOT ALREADY SEEN THE DOLLHOUSE EPISODE "GETTING CLOSER," READ NO FURTHER. NO, REALLY. YOU DON'T WANT TO KEEP READING. JUST TRUST ME ON THIS.

I don't know how to feel about the Dollhouse writers right now: angry, betrayed, or just really, really impressed.

I mean really, I EXPECT Dollhouse to be full to the brim of plot twists. Of all the shows I've watched (except maybe for Lost), Dollhouse is the very best at being able to send my mind spinning and my jaw dropping week after week. It started with the "Alan Tudyk is ALPHA?!?" revelation, then the "Whoa, Dr. Saunders is a DOLL?!?" and it just kept going from there. And even though I know the twists are probably coming, I'm still thrown for a loop.

But this one? Oh, it takes the cake. Big time.

Boyd. I thought I knew him. I liked him - hell, I TRUSTED him! Even though we knew very little about him, he had that protector/father-figure vibe that just made you believe in him. To reference another Whedon show, he was the Giles to Echo's Buffy.

And now? It's like finding out that Giles was the Big Bad all along.

I feel like the character died, and in a way, he did: Boyd, as we knew him, is gone, and the evil, mysterious Rossum head is in his place. And like any good fan faced with a character death, I'm scrambling to find ways in which he's not really dead - or rather, not really evil and slimy.

Just go with me for a second: If there's something we learned about the Dollhouse verse, it's that memories can be changed and manipulated. Perhaps the REAL head of Rossum changed Caroline's memories?

I know, I'm grasping at straws. I'll probably just have to accept the fact that one of my favorite characters never REALLY existed, and was just the Big Bad in disguise all along. And if that's the case, there are a LOT of questions. Here are just a couple:
  • What is "Boyd's" agenda in facilitating Echo's development into a real personality? More to the point, what is his endgame? Why is Caroline/Echo so important, and what does he think she'll be able to help him achieve?
  • Why has helped fight Rossum in the past? Just two episodes ago, he helped get Victor out of the Rossum hive mind soldier facility. And in this episode, he mowed down a bunch of Rossum agents in Adelle's office. Was it all just part of the deception?
Seriously, this show just keeps getting better and better. And I do believe that the sprint to the finish (only 2 episodes left!) is going to be EPIC television, friends. EPIC.

Monday, December 21, 2009

Another day, another "Best Of" list

I just had to post something about this list, because it a)includes three of my favorite characters and b) speaks up in defense of my favorite pilot, who, I find, is sometimes unfairly maligned by those who don't know better.

The list in question names the Best Characters of the Decade, and on at least three counts, the makers of the list were spot on. Here are the ones I totally agreed with and what the list writer had to say about them:
  • #3. Luna Lovegood from Harry Potter. Loony Lovegood arrived late in the Potterverse: she made her first real appearance in 2003 in Order of the Phoenix. What makes her work as a character is that she's mad the way Hamlet is: merely north-north-west. There are things about the world, and about Harry, that only she can understand.
  • #4. Wash from Firefly. In a show full of vivid characters, Wash was perhaps the vivid-est. He wasn't conventionally heroic -- he was never slow to point out the imminence and inevitability of the entire crew's destruction -- but when the chips were down, he was as brave as any man, or woman, on board. Except maybe his wife.
  • #8. Dr. Horrible from Dr. Horrible's Sing-Along Blog. The great thing about Dr. Horrible is that in a comic book world, he defies the conventional categories. He's neither a hero nor a villain. He's just a human being who wants to be loved. And who wears goggles and carries a freeze ray. And who periodically breaks into song.

Sunday, December 20, 2009

And the treats just keep on coming!

The Pixar people are on a roll, because here we are with yet another little treat from Toy Story 3!

This time, the teaser is an actual clip from the movie, introduced by director Lee Unkrich. The clip is from near the beginning of the film when Andy is deciding what to do with his childhood toys.

Honestly, I'm rather surprised that Pixar is leaking so many pics and sneak peeks so early. I'm ecstatic too, of course, but still surprised. I guess they want the anticipation as high as possible by the time June 18 rolls around.

I, for one, will be in the front of the line!

Friday, December 18, 2009

Toy Story 3 updates

Just thought I'd share a little treat from the people at Pixar. Remember, just six more months til Toy Story 3!

Behold:


And:
Now, obviously, these pics are staged and not from real scenes. However, they do give us a bit of info.

For one thing, they tell us which of the characters we've known and loved will return. Notice that Bo Peep (among others) is missing. If they include a scene showing her departure and Woody's reaction, that could be some pretty heartbreaking stuff.

For another thing, the pics give us a bit more insight into the feelings of the character. In both pics, Woody seems to be the only toy who is concerned/worried about the daycare. I would have thought they'd all be a bit upset about being discarded by Andy and sent off to daycare. Hmmm...

Oh, and we also know the name of the daycare: Sunnyside.

All in all, it's not much, but it's something.

I CANNOT WAIT FOR THIS MOVIE.

UPDATE: One more! Here it is:


We already saw this scene in the trailer, but it's nice to see the still anyway. I mean what's not to love about this? The return of the "Astro Nut," the Jessie/Buzz cuteness, the "oh no, what is WRONG with him?" look on Woody's face - it's all classic.

Thursday, December 17, 2009

Celebrate the Nerdery

I made a fantastic discovery today, and I'm still geeking out about it!

Singer Marian Call is, as it turns out, the voice for geeky/nerdy people everywhere. She's made some really well-done fan music for the sci fi genre, particularly Battlestar Galactica and Firefly / Serenity. But my favorite song of hers is the non-fandom-specific "The Nerd Anthem." Enjoy:

Wednesday, December 16, 2009

Let the awards season begin!

The Golden Globes nominations came out recently and brought with them a few surprises and several squee-able moments. A few of the highlights:

  • I was a bit disappointed that Up wasn't nominated for Best Motion Picture, Comedy or Musical. Yes, it was nominated for Best Animated Feature, but I find that category somewhat limiting. Animation is a method, not a genre; animated films can be both comedies and dramas, and they should be allowed to compete in those categories.
  • Speaking of Best Animated Feature, I think the field is pretty good. Of course I'm rooting for Up, but it might get some heavy competition from the critically-acclaimed The Fantastic Mr. Fox, the new Disney classic The Princess and the Frog, and the beautifully animated Coraline. The only film I wouldn't call much of a threat is Cloudy with a Chance of Meatballs, which was visually wonderful but light on story.
  • Glee love! Glee was nominated not only for Best Television Series, Comedy or Musical, but also Best Actor (the AWESOME Matthew Morrison - I love him), Best Actress (the talented and pitch-perfect Lea Michele), and Best Supporting Actress (the hilarious and incredible Jane Lynch). I call this revenge of the Gleeks!
  • Meryl Streep was nominated TWICE for Best Actress in a Motion Picture, Comedy or Musical. The nods were for Julie and Julia and It's Complicated. I haven't seen It's Complicated, but I'd say Meryl is a shoe-in for her joyous and chameleon-like turn as Julia Child.
  • Stanley Tucci was nominated for his role as a serial killer in The Lovely Bones. I haven't seen the film yet, but I've read the book, and if anyone can make that character as creepy and complicated as he's supposed to be, it's the talented Mr. Tucci, whom I've loved ever since I saw him play Puck in A Midsummer Night's Dream.
UPDATE: Can't believe I forgot this the first time:
  • Um, a question for the Golden Globes people: Where's the love for The Big Bang Theory? Seriously, the show is awesome, with great characters, great writing, and the beyond amazing Jim Parsons. Which brings me to the next question: why the **** didn't he get a nomination? What, he's good enough for the Emmys but not for you? Fail, Golden Globes people. Epic, epic fail.

Sunday, December 13, 2009

The Princess and the Frog


Let me start off with a disclaimer: I am a child of the Disney Renaissance. When I was growing up, nearly every year brought a new masterpiece from the House of Mouse: The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King, Hercules, Mulan. These movies are classics, and for good reason. So it's probably a bit of an understatement to say that I have HIGH STANDARDS for my Disney movies.

So what did I think of The Princess and the Frog, the film that marks Disney's return to the hand-drawn animated musical format (which, in my opinion, it never should have left)?

Bottom line, I call it a major win. Not perfect, but a great return for the good, old-fashioned Disney musical.

First of all, the film is BEAUTIFUL. If anyone thought that hand-drawn animation was passe in the age of computer animation, they were wrong. The settings were absolutely amazing - so amazing, in fact, that they seemed to glow.

Next, the characters. I have to begin with Tiana, the newest member of Disney's most exclusive sisterhood: the Disney Princess club. I thought the writers did a fantastic job of creating a princess for the 21st century. Tiana is smart, driven, and concerned about more than her looks or finding her Prince Charming. In short, she's a great role model for the girl of today.

Of course, she does find her Prince Charming in the end - or, more precisely, her Prince Naveen, the spoiled but charming prince of Maldonia who learns a lesson about hard work and dedication from Tiana. I must say, I might have a new favorite Disney prince. Well, no, that's not true; Beast is still my first love, but Naveen is a close second. This prince is hilarious, sweet, and pretty darn handsome, I must say.

I also really loved the chemistry Naveen and Tiana had. They had a really fun, sweet, honest vibe between them, which really made me believe it when they fell in love. And unlike a lot of Disney couples, Tiana and Naveen actually had a chance to get to know each other before they fell in love. In fact, they hated each other at first, and it was only after they saw each others true colors that hate gave way to friendship and, eventually, to love. It reminded me a bit of Beauty and the Beast, actually, and that's a high compliment.

As the villian, Dr. Facilier was downright creepy. The best part was his minions: the oh-so-creepy shadow creatures that snaked across surfaces and did his evil bidding. Dr. Facilier wasn't quite as deliciously snarky as Scar or Ursula, and he didn't have the hilarity of Hades, but his evil scowl was enough to make him a worthy member of the Disney villians club.

As for the music, I enjoyed it for the most part. The score definitely gave a fun, bouncy, New Orleans vibe, even if the songs themselves were rather "meh"-worthy. I love Randy Newman as much as the next person - I'll never forget that he's the man who brought us "You've Got a Friend in Me" and the tear-jerking "When She Loved Me" - but I found myself longing for the musical genius of Alan Menken. Luckily for us, Menken will be doing the score for Rapunzel, coming out in 2010. To me, that man IS Disney musicals. Period.

One element that really shocked me: Disney actually KILLED A CHARACTER. And the character I'm talking about is NOT THE VILLAIN (who always seems to die in Disney movies, so that death wouldn't be a surprise). I won't reveal here who exactly shuffles of the mortal coil, but I will tell you that I was very surprised. True, Disney has killed characters before - Bambi's mother and Mufasa, to name two - but they rarely kill anyone in the climax of the film (Megara doesn't count - she was only mostly dead). I wasn't sure exactly WHY they killed the character, though I did think the death scene was effective: it was handled very sweetly and got me all teary-eyed. Honestly, I'm torn: I don't know whether I should be horrified that Disney offed a major character or appreciative that Disney is gutsy enought to trust that kids can handle something as emotionally heavy as death. I'm leaning toward the latter.

Well, those are my thoughts. Please, share your own in the comments! I'd love to hear what others thought.

Saturday, December 12, 2009

Alpha Love

SPOILER ALERT. READ ON AT YOUR OWN RISK.


Oh, Alpha, I love you. Deep, deep fan love.

Yes, you're a psychotic, murderous compilation of forty-plus unstable imprints. You sliced Whiskey's face, killed Dr. Saunders 1.0, cut up Victor, killed nearly everyone who'd ever loved Echo, left Paul Ballard brain dead, and committed all kinds of other monstrous acts along the way. In short, you're evil, ruthless, and scary as all hell.

But you're also incredibly smart and wildly unpredictable, and that's what makes you so fascinating. Really, once you set your mind to some new act of evil, it's all the Dollhouse staff can do to scramble six or seven steps behind, trying to stop you. I mean, let's take a look at the list of people you've outsmarted so far: a tech genius; an ex-FBI agent; a who-the-hell-knows-what-he-did-before-but-he's-got-some-scary-skills head of Dollhouse security; and an anal control freak of a Dollhouse manager. That's pretty impressive.

So, Alpha, I just want to say that I LOVE it whenever you appear on an episode, and not just because you're played by the awesome Alan Tudyk (though, seriously, that's a big part of it). You're easily the scariest villain I've seen on TV in a while, and you turn every episode in which you appear into a wild, wild ride. We never know what you're going to do or how you're going to do it. And on top of it all, you're so damn funny!

So thanks, Alpha, and I can't wait to see you again.

Wednesday, December 2, 2009

And now, a bit of news from the "Bad Idea" bin...

Buffy fans, I want you all to try something with me. Close your eyes and think about the show. Imagine your favorite scenes, characters, lines, story arcs, etc. - whatever it was that kept you watching. Now, try to imagine any of that without Joss Whedon.

Can't do it? That's what I thought. Without Joss, there would be no Buffy - at least, not as we knew it. But apparently, someone has decided that the time is right to resurrect our favorite Slayer in a movie - one WITHOUT any involvement from Joss.

Can anyone else see a disaster waiting to happen?

I don't even get why they think anyone would go SEE this movie. I mean, maybe some people who only have a vague notion of what the show was might go out of curiosity, but any true fans would stay far, far away from a Joss-less Buffy. Such movie would be like resurrecting a body without a soul: It looks the same, but the actual person, the essence, is gone. And since several of the stars of the series - including Alyson Hannigan (Willow) and Anthony Stewart Head (Giles) - have already said they won't participate in a movie without Joss, the film seems like a no-go from the get-go.

If you want to make a Joss-written, Joss-directed Buffy film, then bring it on. But otherwise? Forget it. Please.

Thursday, November 12, 2009

Fox sends Dollhouse to the attic

That's right, Whedonites. The sad but not totally unexpected day has arrived:

Dollhouse
has officially been canceled.

As I said, sad, but not unexpected. Dollhouse has been low in the ratings for a while, and reviews have been mixed. However, the show has been getting steadily better since the middle of the first season, and it's one of the few shows on TV right now that tackles real issues of humanity and ethics in interesting, mind-bending ways.

Point of Interest: Though I never mind pointing out Fox's various sudden but inevitable betrayals (I will NEVER forgive them for killing Firefly), I really find it hard to blame them this time. True, they put Dollhouse in a terrible time slot (Friday night? For a Whedon show? Really?), but they gave the show a second chance when the ratings didn't necessarily warrant it, and they didn't screw up the episode order the way they did with Firefly.

Anyway, now that we know that a finale is imminent, how about some predictions?

First of all, we all know of Joss' penchant for killing off main characters at the end of his shows (Spike, Anya, Wash, Book, Penny... I haven't watched much of Angel, or I'd probably have more). Often, the character is a fan favorite and/or someone with a significant other.

We also know that Joss apparently hates happy couples, since most of the couples in his shows end up torn apart in tragic or angsty ways. Observe:
  • Buffy/Angel = angst
  • Buffy/Spike = tragedy (though he did come back somehow, apparently)
  • Giles/Jenny = tragedy
  • Willow/Oz = angst
  • Willow/Tara = tragedy
  • Xander/Everyone = angst
  • Wash/Zoe = tragedy
  • Dr. Horrible/Penny = tragedy
In fact, the only happy couples I can think of are Willow/Kennedy and Kaylee/Simon, and those couples only ended happily because their respective shows ended before angst or tragedy could ensue.

So what do I predict? Well, since the only real couple on the show is Victor/Sierra (and I LOVE them!), I predict we'll be seeing one of them meet an untimely end in the finale (it has to be ONE of them, or it won't fit the Whedon pattern). In the fan favorite category, I imagine that Topher might be the one to die. Nearly everyone I talk to LOVES Topher, morally absent though he might be. Actually, I can imagine him pulling an Anya, in the sense that he would show how much he's changed by dying in defense of something or someone that he previously wouldn't have been concerned about.

So what do you all think? Post your predictions and your thoughts about the cancellation in the comments!

Saturday, November 7, 2009

To all those who lost loved ones in the Fort Hood shooting


I am truly sorry for your loss. I can't imagine what it must be like to lose someone you love in such a tragic, senseless way. I pray that peace will find a place in your hearts. Please remember that our thoughts and prayers are with you all. You are not alone.

Tuesday, November 3, 2009

Evil again? Why?

SPOILER ALERT - READ ON AT YOUR OWN RISK

I'll be honest. The only reason I watched the first episode of "V" tonight was because Alan Tudyk was a guest star. The show itself is, in my opinion, a rather lame retread of the whole alien invasion concept. However, there was no way I was going to miss a chance to see my current celebrity crush on TV again, no matter what show.

But do they let me enjoy it? NO! Because, once again, Alan had to pull an Alpha and turn out to be working for the Dark Side!

Don't get me wrong: Alan Tudyk plays evil and creepifying REALLY well. We saw it on Dollhouse, and we get to see it again here. I'm sure he'll be awesome as an evil, lizard-y sleeper cell agent.

But we also know he can play the funny good guy just as well, the obvious example being Wash. The good guy is what I thought I was getting at the beginning of this episode; unfortunately, that guy was just a cover for his true, evil V identity, so we won't get to see nice guy Alan anymore. Bummer. :(

Also: Did we REALLY need to see his character stabbed through the chest? That moment brought on a VERY depressing "leaf on the wind" flashback (R.I.P., Wash).