Let’s Talk About Consistency in Fiction

Just the other day I watched the fall finale of “Star Trek: Discovery” season one.  I thought it was a good end for the mid-season and does a great job of bringing things to an epic climax while also teasing what’s to come.  And “Discovery” itself I feel is a great modern take on the “Star Trek” franchise: with more nuanced characters, a darker tone, and updated special effects.

 

I mean DAMN…that’s a nice view.

 

But not everyone on the internet is happy with the show.  A decent amount of long-time “Star Trek” fans (or “Trekkies”, if you will) have been complaining about the show since day one.  In all fairness, “Discovery” has a lot to live up to.  It’s the first “Star Trek” show since “Enterprise” wrapped up back in 2005.  But I noticed something about a lot of the complaints I saw: they seemed downright nitpicky.

After I watched the two-part pilot episode, I noticed a lot of people complaining about things like the technology the ship was using, the look of the Klingons in the show, and other things like that.  There was even someone who complained about the fact that the ship had a ready room (basically the captain’s office).  Apparently it was a problem because ready rooms weren’t introduced until “Star Trek: The Next Generation” (“Discovery” takes place roughly a decade before the original series).

All of this got me thinking about the idea of consistency in fiction.  My internal rule for this has been that a show or book or whatever should be consistent with itself.  It should follow its own rules that it sets or makes up.  I don’t really care about whether or not something is scientifically accurate (fiction is called “fiction” for a reason after all).  But it has to be within reason.   And this is where, in my opinion, the complaints about “Discovery” go too far.  I mean think about it…this is a franchise that has been around since the 1960’s.  Something had to change in all that time.  “Discovery” shouldn’t be bound by a sixty-year-old television show that was subsequently bound by the special effects of its day.  Sure, some things look different now, but do we really want to go back to the way things looked in the ’60s?

 

I mean this guy looks totally believable and not at all cheesy, right?

 

 

But if, for example, “Discovery” suddenly decided to say that the transporter can now beam people through time, I’d be crying foul with the rest of the Trekkies because that literally makes no sense and fundamentally changes the established rules of “Star Trek”.  A ship having a ready room or hologram communicators doesn’t really change the nature of the show.  It’s just a minor detail that got caught up in overzealous continuity policing.  It’s similar to when people complained about the film “Gravity” and how paper doesn’t float in space the way it did in the movie.

It’s like yeah great…thanks for pointing out that important detail.  You must be fun at parties.

I think what it comes down to is that, while consistency is nice, as time passes things eventually need to change.  Another big complaint I heard when “Discovery” first debuted had to do with the captain of the ship, Lorca.  People complained that he wasn’t like a regular Starfleet captain.  Most likely, they were comparing him to Kirk and Picard, the two fan favorites.  But much like the special effects, these characters were a product of their time.  Especially in the case of Kirk, who existed in a time when television was full of larger-than-life heroes who were impossibly good at everything they did.  Sure, those characters were great.  Kirk and Picard were great.  But in an era post “Game of Thrones”, “Breaking Bad”, and “House of Cards”…shows which were full of flawed, nuanced, and often downright evil characters…men like Kirk and Picard don’t fit in.  Lorca, with all his ambiguity, still manages to come across as a well-meaning guy.  But he does has his flaws, and I think that’s what “Star Trek” needs in a modern television landscape: flawed characters with occasionally ambiguous intentions.

Besides, I’m glad we’ve moved on from having a first officer who looks like he wants to sex everything that moves.

 

Yeah I’m looking at YOU, Riker.

 

Thanks for reading!  Check back next Wednesday for another post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

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Spotlight: Stranger Things Season 2

 

Warning: minor spoilers for “Stranger Things” follow.  Read at your own risk.

Ain’t no hype train like the “Stranger Things” hype train.

If shows like “Daredevil” and “House of Cards” put Netflix on the map when it came to the push for original programming from streaming services, “Stranger Things” is the one that put them over the top, as if to say “dude…this is serious business”.  The stellar first season was a massive hit.  And ever since the teaser trailer for season two dropped during the Super Bowl, the hype train has been steadily chugging along.  So the question becomes, does the second season live up to the first?

 

Spoiler alert: bad things happen to Will this season.

 

The first thing many people will likely notice is the difference in pacing.  Compared to season one, season two does a lot more building up and creating tension before anything really happens.  In fact, it’s not until the third episode when things start to get moving.  And this was a common theme I noticed in reviews: the slower pacing.

There seems to be this weird assumption in critic-land that having slower pacing than before is somehow a bad thing.  I don’t think that’s necessarily the case.  In many ways, it’s a good thing for this season.  It gives us some room to breathe, especially when compared to the breakneck pace things moved at in season one.  It also allows us to view these characters when they’re not under constant threat.  We get to watch them live their lives.  And it’s refreshing to just see some of these characters on a normal day, before everything inevitably goes crazy once again.  This season definitely has a larger focus on inter-personal relationships and conflict.

 

It’s especially refreshing to see Joyce Byers under normal circumstances, as she spent pretty much the entire first season as a nervous wreck on the verge of collapse.

 

Now, this does mean that each episode doesn’t necessarily have that cliffhanger hook that makes you want to keep watching, but that’s fine.  This is the second season.  At this point, we should be tuning in because we’re invested in the characters themselves, not because we have to see what comes next.  That’s something I’ve noticed a lot in modern television, and is particularly evident in broadcast television (i.e. not cable or satellite).  Advertisements for new episodes often are built around teasing a “shocking twist” that you’ll “never see coming” and will “blow your mind”.  Cliffhangers aren’t bad by nature, but if they’re used as the primary hook for a show without any substance behind them (such as complex characters), it just feels cheap and soulless to me.

But I digress.  “Stranger Things” season two introduces us to some new characters as well.  First off, we have new kid Maxine (Max for short) and her step-brother Billy, who basically spends the entire season being a massive a-hole.  Because of her step-brother and her family situation, which we learn a bit about later in the season, Max is a more hard-edged character than the other kids, although she does eventually end up following along with them.  And this is one of my only real gripes with this season.  While I appreciate the injection of new blood into the dynamic of the kids, Max and her step-brother don’t really seem to serve much purpose aside from causing tension within the group (although Max does have a pretty badass moment at the end of the season).

 

Sean Astin also stars in this season as Joyce’s new boyfriend. You’ll likely remember him as Sam from “Lord of the Rings” or from “The Goonies”, one of the movies “Stranger Things” took inspiration from.

 

 

Speaking of gripes, the various plot lines in this season may become a point of contention for some, as certain plots end up more fleshed out than others.  There was one in particular for me that fel underdeveloped.  As season two opens, we’re treated to an action scene with an unknown group of people fleeing the police.  It turns out one of them has psychic powers and a connection with Eleven.  It’s a great opener that entices us in with a bit of action.  My problem comes from the fact that this thread isn’t explored until near the end of the season.  There’s only one episode that centers around these people, and its only purpose seems to be to push Eleven in the right direction.

Oh yeah…Eleven’s back.  Spoilers I guess…although if you saw any of the trailers you already knew that.

Despite the complaints I or others may have, no one can doubt that the magic that permeated “Stranger Things” season one is still here.  Even if the beginning’s slower pacing rubs some people the wrong way, the season ends on a very strong note with some great character moments.  I’m always impressed by just how well-written and acted this show is, especially when it comes to the kid characters.  It’s funny too, because apparently when the Duffer brothers were shopping the show around to different studios, the studios wanted to cut the kids characters out entirely.  And now it’s hard to imagine the show without them.  It’s hard to imagine the show without any of the characters we’ve come to know and love.

And that’s the key thing: characters.  The characters are why we’ll return to Hawkins for season three.

Well…that and the spooks.  Everybody loves the spooks.

 

SPOOOOOOOOOOOOKS

 

Thanks for reading!  Check back next Wednesday for another post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Spotlight: Star Trek Discovery (first three episodes)

It’s been a long time coming.

“Star Trek: Discovery” is the first Star Trek television series to air since the end of “Star Trek: Enterprise”, which ended its run twelve years ago back in 2005.  In terms of its place within the Star Trek universe, “Discovery” is set between “Enterprise” and the original “Star Trek” television show.  And it has nothing to do with the reboot movies.

But the question is, was the wait worth it?

 

The USS Discovery.

 

I must admit…I was initially skeptical of the show when I saw previews of it.  I was afraid it was going to go too far into the dark, gritty realm of things.  But after watching the first three episodes, I can safely say that while the tone is a bit more grim than the usual Star Trek fare, it works for the time period of the show.

When the show starts, we find ourselves not actually on board the Discovery, but rather a ship known as the USS Shenzhou.  The first two episodes can basically be considered one as they form a two-part pilot which serves as a prologue to the series.  In the first two episodes, we meet Michael Burnham (played by Sonequa Martin-Green) the first officer of the Shenzhou, who is quickly established as the main character and the lens through which we view most of the events.

The two-part prologue does a good job of setting the backdrop for the rest of the series.  We see the Shenzhou encounter the Klingons, an encounter which sets into motion the war between the Klingons and the Federation (something fans will remember being part of the original series as well).  To be fair, the first two episodes are a bit uneven.  There’s a little too much witty quipping at the beginning for my liking, and some moments feel a bit rushed for time’s sake.  An example of this would be from the second episode when the Vulcan character Sarek, who from what I can tell was Burnham’s mentor as a child, telepathically speaks to her over thousands of light-years because they once melded minds a long time ago.  It’s a scene that just feels out of place and weird, not to mention its only purpose is so that Sarek can essentially tell Burnham not to give up.

Speaking of Burnham’s childhood, that’s something the pilot episodes handle really well.  We get snippets of Burnham’s past which fleshes out her character as someone who has experienced tragedy and hardship, as well as dealing with differences between cultures (Burnham ends up living with Vulcans for some years).  It helps set her up as a conflicted and nuanced character, one who will make drastic decisions whose consequences impact the arc of the show.  I would have liked a little more time spent on these however, as most of the flashbacks last less than a minute.

 

Michael Burnham

 

I don’t want to say too much more about the first two episodes so as not to spoil it for people who haven’t watched it yet, so let’s move on to the third episode.  While the first two episodes feel more similar to the recent Star Trek movies, the third episode introduces us to the meat of the show.  It picks up six months after the events of the pilot.  Burnham’s circumstances have changed a lot, and against her will she finds herself suddenly on board the USS Discovery.  There, she meets Captain Gabriel Lorca, who is immediately mysterious about his motivations.  In fact, Discovery’s whole mission is shrouded in mystery.  In the third episode we do get a decent bit of information about what Discovery is trying to do, but even so at the end of the episode it’s hinted that there might be more going on.

In terms of quality, the third episode is definitely the best.  It’s the most consistent and engaging of the three I’ve seen, and it sets up a nice, enticing mystery for us to get invested in.  Some might object to the whole “science co-opted by military” theme going on, but I think it makes sense considering the time period.  Starfleet is desperate for an edge in the war against the Klingons, so it makes sense that they might resort to more drastic measures.  And I like the idea that no one is perfect.  Sure, everyone loves Captain Kirk and Captain Picard, but they were men for a different time.  Television is much different than it was back in their eras, so it wouldn’t make sense to just replicate their shows but with higher quality effects.  Hardcore Trek fans may nitpick on a lot of things, but Star Trek needs to show that it has a place in a more nuanced storytelling landscape.

My only major concern with the series is that, due to it being a prequel to the older Trek Shows (aside from “Enterprise), everything they do might turn out to be moot.  For example, that big information reveal in the third episode revolves around the Discovery’s main experiment, something that would give them a drastic edge in the war against the Klingons.  Only we know that it can’t work out because it’s never used at all in any of the other shows.  My fear is that this will become a recurring trend with “Discovery”.  They’ll build up these new, awesome experiments Discovery is doing, only they’ll all fail because the continuity of the Star Trek universe demands it.

That being said, one of the small things I enjoyed was that “Discovery” has elements of wonder in it, something that I missed from the recent movies (which are basically just sci-fi action flicks with a Star Trek skin).  There’s a scene in the first episode where Burnham is struck with awe at the majesty of space, and it’s something that stuck out to me.  Hopefully, that sense of wonder doesn’t get completely lost in the mix, because it was a crucial element to why I liked Star Trek in the first place.

I have been impressed with what I’ve seen so far, so I highly recommend it to any sci-fi fans looking for a new show.  Sure, you have to subscribe to CBS’s All Access program to watch it, but if there was one show that would make it worth it, it’s “Discovery”.

Although there are…other ways you could watch the show.  Don’t worry, I won’t tell.

 

Thanks for reading.  Check back next Wednesday for another post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Spotlight: The Defenders

Warning: spoilers for “The Defenders” and some of the other Netflix shows will follow.  Read at your own risk.

So it’s finally here…the event we’ve been waiting for.  “The Defenders” brings all four of the Netflix superheroes together so they can kick some butt.  And maybe throw bad guys through a building or two (I really gotta stop making that joke).  But the real question is, was it worth it?  Is “The Defenders” everything we hoped for?  Is it everything we wanted…nay…deserved?!

Well…yes and no.

But before we get into the nitty-gritty of the show, I wanted to point out a couple small details I appreciated.  After “Iron Fist” and its bland title sequence, I was glad to see they brought back the nuance for “The Defenders”.  During the title sequence, we see each of the four characters forms overlaid over aerial maps of New York.  Now, I can’t be certain considering I know basically nothing about New York, but I believe that each character is overlaid over the particular part of the city where they live and operate.

 

 

So Daredevil would have a part of Hell’s Kitchen while Luke Cage would be laid over Harlem.  But the detail in the title sequence goes beyond that even.  I didn’t really pick up on this until near the end of the first episode, but each character has a particular color associated with them, a color that you can see during the title sequence itself.  During the show, scenes that particular character dominates are color corrected to have an abundance of that character’s color.

 

So Luke Cage’s scenes have a yellow glow to them…

 

…while Matt Murdock/Daredevil’s scenes are full of vibrant red.

 

Jessica Jones has a deep blue, while Danny Rand is green.  This little detail takes to the sidelines once the characters finally start to meet up with each other, but it’s still a cool aspect of the show.  It’s not essential, but it’s these little things that fans love.

But anyway, on to the main event.  Like I said before, the answer to the question “was it worth the wait” is a little bit of a mixed bag.  The breakdown (at least for me) seemed to go like this: the first half of “The Defenders” is great while the second half gets a little sloppy.  I thoroughly enjoyed the first four episodes, watching as each of the heroes runs into their own problem to solve.  It was nice checking back in with these characters and seeing what they had been up to, although the first episode does spend more time on Luke Cage than anyone else.  Which makes sense, considering he was being carted off to jail at the end of the first season of his show, so they have to deal with that to get him back into place.

It was fun watching each of these characters do the thing they do best, with a slow buildup towards the inevitable meeting of the heroes.  The problem is that after these four characters meet and begrudgingly agree to work together, the show seems to lose a bit of momentum, as the next few episodes mostly feature the characters sitting around and debating their next move before the final showdown begins.

And it’s at this point that you realize just how weak Danny Rand is as a character when compared to the other three.

 

 

 

Now, to give some credit to the writers, they at least tried to give Danny a more interesting arc than just “I’m the Iron Fist…it is my destiny to destroy The Hand…blah blah blah”.  In the first episode, Danny has a nightmare about the apparent massacre of the people of K’un-Lun, showing that he feels guilty over leaving them.  The problem is that, after the first episode, this is never mentioned or referenced again.  In fact, Danny is played as more of a laughingstock than anything else, especially in the second half of the season.  Any time someone mentions that he’s the Iron Fist, everyone else in the room seems to have the same reaction of “the hell are you talking about?”  A good example of this would be when Murdock tells his friend Foggy that Danny’s the Iron Fist and Foggy remarks “I’m not even going to pretend I know what that means.”

I didn’t mind this approach at first, but the more I thought about it the more it bothered me.  You see, instead of trying to fix the flaws in Danny’s character they turned him into a literal joke.  The other characters pretty much just make fun of everything he says.  They took the lazy route and played Danny up for laughs instead of trying to make him feel deserving of a place on the team.  This is made all the more insulting once you realize that Danny is integral to the entire plot of the show.  The Hand needs him to complete their master plan.  Without him, their whole scheme falls apart.  In this sense, Danny feels less like a character and more like a maguffin, existing only to move the plot forward toward the inevitable battle against The Hand.

And speaking of The Hand, their big leader in this show is revealed to be a woman named Alexandra, played by none other than Sigourney Weaver.  Initially, I was excited to see her in this show, because Sigourney Weaver is a total badass.  Remember “Alien”?  Remember “Aliens”?  Yeah…total badass right?  But here she’s given very little to do aside from look imposing and make not so subtle references to the fact that she’s older than she appears, like when she calls Istanbul Constantinople.  She also has some very cringe worthy dialogue later on, even breaking out the “we’re the same, you and I” speech at one point.

 

Alexandra (Sigourney Weaver)

 

 

She is given a motivation though.  At the beginning of the show we are shown that she’s dying…all of her organs are systematically shutting down one by one.  This encourages her to push The Hand’s plan into fast-forward mode, despite the objections.  Because as it turns out, The Hand’s immortality revolves around a mysterious substance that they have run out of.  This bit didn’t make much sense to me, considering that we’ve seen people resurrect in the other shows without the help of this substance.  So why now do they suddenly need more of it?  Seems to me like another maguffin to get the plot where it needs to go.  Because, as it turns out, they used the last of this substance on Elektra.

Speaking of Elektra, what the hell is her motivation here anyways?  After her death at the end of the second season of “Daredevil”, Elektra is brought back to life by The Hand.  But her memory is erased so she can be turned into The Hand’s ultimate weapon.  Through some more not so subtle moments, we realize that this conditioning isn’t going to last forever, and that Elektra is starting to remember who she was.  But the thing is, once she remembers who she is, she still serves as an antagonist for no apparent reason.  If she remembers who she is, then why the hell would she be fighting against the man she supposedly loves?  It makes no sense.

And what’s so important about her being the “Black Sky” anyways?  Everyone goes on and on about it, but it’s never clearly explained what it actually means.

However, despite the flaws, “The Defenders” is a fun time.  The best scene is definitely the fight at the end of the third episode, where all four of the heroes come together for the first time and battle a bunch of The Hand’s henchmen.  But after that, the show starts going downhill.  It never gets to the point of being unwatchable, but through some strange plot choices and sloppy pacing, the second half definitely isn’t as strong.  I especially didn’t like the shenanigans they tried to pull in the last episode.  I won’t say much out of fear of spoiling it for those who haven’t watched it, but I will say this: they try to make you think that one thing happened, only to turn it around in the last thirty seconds of the show and be all like “ha we tricked you” even though most people will probably see it coming from a mile away.

At the very least, there isn’t any pointless filler.  Each episode moves things along the main plot.  So while it might not be everything we hoped for, it’s still well worth a watch, especially if you’ve gotten invested in the characters.

And now, if you’ll indulge me, I’m going to go on a more personal rant…

I really wish The Hand hadn’t been the villains for “The Defenders”.  It takes things to such a cheesy, comic book level that it’s hard to take seriously sometimes.  It’s a group of frickin’ immortal ninjas for crying out loud!  Part of the reason I really enjoyed these Netflix shows at first was because of how different they felt from the standard superhero fare.  The first season of “Daredevil” hardly feels like a superhero show at all.  It plays like a gritty crime drama but with a superhero twist.  But as time went on The Hand became more and more apparent as Marvel rushed things out the door in order to get them into place for “The Defenders”.

I would have liked to see the four heroes fight against a crime syndicate for their first outing together.  Now I know someone is going to say it…”but…The Hand is a crime syndicate”.  It is, but it’s still a crime syndicate of immortal ninjas.  I would have wanted to see them face off against regular criminals, not a bunch of silly mystical types who, despite all the hype over being super secretive, take some really obvious actions.

A whole army of ninjas clad in black rappelling up the side of a hospital?  Sure seems stealthy to me!

I think it would have been more interesting if, for example, Wilson Fisk had been exposed but not captured at the end of “Daredevil” season one.  He could then escape to run things from the shadows and give the heroes a threat to deal with when they finally came together.  And with the addition of Danny Rand, they could have started teasing the existence of a mysterious organization known as The Hand.  Then, after the four heroes came together and defeated Fisk once and for all, The Hand could step out of the shadows and reveal that they were manipulating Fisk the entire time.  That would then give The Defenders another threat looming over them as they go about their own business.  Because, with The Hand gone, there’s no bigger threat anymore, not to mention that Danny Rand’s character has no purpose anymore, since his whole thing revolved around The Hand’s defeat.  I can’t really see their next big villains standing up to a bunch of supernatural martial artists.

And with that, I’m off.  Blog writer AWAAAAAY!

 

Thanks for reading.  Check back next Wednesday for another post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Spotlight: “Iron Fist” Season One

Warning: spoilers for season one of “Iron Fist” follow.

…Oh boy……

Ever since “Iron Fist” premiered on Netflix back in March, it’s been panned by many critics.  It’s easily considered the worst of the Marvel Netflix shows and possibly even one of the worst shows on Netflix period.  The reception to it was so bad that Finn Jones, the actor who plays the main character in the show, blamed Donald Trump for the negative perception of the show.  According to him, because of the wide distrust of the president people can’t root for Danny Rand because he’s a white billionaire superhero.

 

This is the appropriate reaction to what you just heard.

 

But I digress.  “Iron Fist” is currently sitting at a 37 on Metacritic and a 17% on Rotten Tomatoes.  Why?  Were critics just being unfair?  Was the show really made more for the fans like Finn Jones also suggested?  Or was there something else, a reason that the show was so negatively received?

Well, as it turns out, there was a reason.  You see, “Iron Fist” season one is boring.  Like, really boring.  I have to admit that I struggled watching through the entire thing.  That’s not to say that there aren’t good points to the show, but they’re faint pinpricks of light in an otherwise gloomy sea of tedium.

And the problem starts with Danny Rand himself.

Now, to be fair to Finn Jones, I don’t think he’s a bad actor.  He does a serviceable job here.  The main problem is the character.  But before we get into that, we have to give some backstory.  As a kid, Danny Rand was in a plane crash with his parents in the Himalayan mountains and was the only survivor.  After being rescued by a pair of mysterious monks, Danny spends his formative years in a place called K’un-Lun, a mystical monastery that is only accessible every fifteen years.  There he learns martial arts and gains the power of the Iron Fist, turning him into a mystical living weapon.  He returns to New York fifteen years after his supposed death and tries to reclaim the life he once had.

The thing is, Danny Rand is perfect…too perfect.  In fact, he’s so perfect he’s boring.  He spouts off Zen sayings left and right.  He’s in total control of his emotions (at least in the beginning).  And he’s practically unbeatable in a fight.  I mean he walks into the dojo of Colleen Wing (one of the side characters) and almost immediately schools her in martial arts.  It’s ridiculous.  And then later on, any time his company runs into a scandal, he always does the morally righteous thing.  And I mean always.  There’s nothing interesting about his character because there’s no flaws to his character.  At least, not until like three-quarters through the season when the writers suddenly decide that his guilt over the death of his parents clouds his judgement and renders him unable to summon the Iron Fist most of the time.  If this was implemented from the beginning of the season, that would be one thing.  But the way it just shows up later is jarring.

 

The impeccable Danny Rand.

 

Danny Rand reminds me of that stereotypical rich guy who constantly shares pictures of his vacations on Facebook or Instagram.  You know the type: you constantly see them posing in sun-bathed tropical locales or other exotic locations.   And they’re always spouting off life wisdom like they know that’s best for everyone else.

But enough about Danny.  What about all the side charac-

They’re boring.  Just…boring.  Aside from Colleen, the dojo teacher that becomes his love interest, none of the characters really have anything important or interesting going on (except for maybe Joy…I found some of her scenes to be kind of interesting).  I don’t care about the day-to-day business of the Rand corporation.  I don’t care about corporate backstabbing.  And I certainly don’t care about a boring subplot dealing with painkiller addiction.  Seriously, screw that noise.  It’s like the show is caught between being a bad superhero show and a bad soap opera.

And the pacing…oh god the pacing.  It’s so off.  Like I said before, the main problem with “Iron Fist” is that it’s just boring.  I hope you like martial arts poses because I swear that at least sixty percent of this show is people striking martial arts poses and talking about what they’re going to do next instead of, you know, actually doing it.

 

Who cares about plot when you can strike some sick poses brah?

 

Even the title sequence is boring.  “Daredevil”, “Jessica Jones”, and “Luke Cage” all had nuance in their title sequences that hinted at certain aspects of their characters or overall themes for the show.  What does “Iron Fist” have?  A silhouette of a man leaving inky trails all over the place as he strikes a bunch of poses.

 

Whoo…it’s so good guys. I’m not even being sarcastic…

 

And speaking of pacing, my god the show has no idea how to build or sustain momentum.  When the show isn’t being dull and full of people talking or striking poses, things seem to happen way too quickly.  For example, the end of the first episode has Danny being drugged by his former friends Joy and Ward Meachum, then being placed in a mental hospital.  And then he breaks out of the mental hospital at the end of the second episode.  Like…what?  This is the kind of stuff you do in the middle of the season, not at the beginning.  Not only that, but the show spends the first four episodes or so dealing with Danny trying to prove his identity.  And there isn’t even a real payoff to it.  The conflict is abruptly resolved and the people trying to keep Danny from getting back into the company are suddenly like “hey Danny we’re your friends again…we can just forget about that whole mental hospital thing right?”

There are so many little things with this show that I could complain about.  A villain becomes a not-villain only to suddenly become a villain again later on in the season.  The characters spend way too much time talking about duty and honor.  The last episode feels like it belongs in an entirely different season.  Certain things just happen without any real explanation (I still don’t understand how Danny suddenly winds up in a freaking penthouse after being kicked out of Colleen’s dojo).  Characters make decisions that don’t make any sense.

It’s a mess.  But if I keep going, this review will go on forever.

In the end, I feel like if the show had been done with a lighthearted tone, things probably would have worked out better.  The silly nature of Danny’s character and all the overemphasized martial arts combat doesn’t really blend well with the show’s dead serious tone.  But even if they did go for a lighter tone, then it just wouldn’t fit with the other shows.  Any way you slice it, “Iron Fist” just fails to deliver.

And yet, it was still Netflix’s most binge-watched drama.  Kinda sad when you think about it, but that’s the power of Marvel.  People will watch it regardless, especially because of how the stories are interconnected.

All I can say is that I hope “The Defenders” was worth it.  Because Marvel has seemed to be in a hurry to get that out the door for the past couple of years, and that has led to a decrease in quality for the Netflix shows.  The second season of “Daredevil” felt disjointed at times, with two major arcing plots that didn’t seem to mesh together well.  The second half of “Luke Cage” season one saw a complicated villain being swapped out for one that had very little depth and whose only motivation is revenge against Cage.  But clearly, “Iron Fist” was hit the worst.  There’s so much unnecessary subplot that could have been left out in favor of focusing on making Danny not suck as a character and giving him an origin story that’s actually enjoyable to watch.  But as it stands, “Iron Fist” season one is only worth watching for the connection to “The Defenders”.

If you watch it on its own hoping for a good standalone story, you’ll most likely end up disappointed.

 

But hey, at least there’s martial arts poses…right?

 

Thanks for reading.  Check back next Wednesday for a new post, and as always, have a wonderful week.

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Procedural Gains? The Value of “Case of the Week” Television Shows

A long time ago, television was different.  Shows mainly focused on the weekly adventures of its characters, very rarely (if at all) connecting them in any meaningful way beyond the initial premise (i.e. “Gilligan’s Island”).  But nowadays we have shows like “Breaking Bad” or “The Walking Dead” which have a single, continuous story going on throughout their episodes.  Television has changed quite a bit.  I wrote a bit about serialized storytelling in television shows a while back, where I basically said that it’s becoming more and more the standard for television shows.  But what about those “case of the week” shows?  You know, all those shows like the “Law and Order”s and the “NCIS”s and even that “CSI” show where it’s imperative that David Caruso put his sunglasses on at the end of each episode.

 

We have sunglasses! Repeat. we have sunglasses! ROLL CREDITS!

 

Well, these type of shows are still around.  “But,” you might be asking, “how are these shows surviving if serialized storytelling is becoming the norm?”  Well, some of them aren’t.  “CSI: Miami” has been off the air for about five years now.  But even so, “CSI: Maimi” went on for ten seasons and the original “NCIS” is still going (they’re on season fourteen as of this writing).  So how did they make it?  How are they still drawing an audience in the age of serialized storytelling?

Part of it has to do with the nature of broadcast television itself.  Since each episode airs at a specific time on a specific night, it’s sometimes difficult for viewers to keep up with an overarching story.  You can watch recent episodes of shows on digital streaming services like Hulu, but a lot of those require a monthly fee.  It’s just simpler to watch a show where each episode is its own story that doesn’t connect the other episodes.  And they’re sort of relaxing in a way.  I’ll admit that I watch some of them back to back when I go back to my parent’s house for a weekend, partially because I don’t have television at my apartment (I do have a handful of broadcast channels, but nothing on them interests me).

But even with this simpler nature, the streaming age is still marching on.  As more and more people gain access to these services and as the internet infrastructure in the United States and other countries gets stronger and stronger, these shows will lose that edge.  If you can watch a show anytime you want, that pressure to sit down and watch at a specific time disappears entirely.  And it seems that broadcast television is aware of that in some way.  More procedural shows have started injecting serialized elements into their DNA.  Lots of crime shows will have arcs that take place over multiple episodes.  A good example of this would be a main character suffering an injury in an episode and then the following episodes dealing with the fallout and limitations of that, all while they go about solving the crime of the week.

And this is something that procedural shows are very good at.  In serialized shows, we see characters always under pressure, always struggling against great odds.  But rarely do we get to see how they’d react to what they’d consider a normal situation.  Procedural shows are actually good at giving us glimpses into the normal lives of their characters, rather than using broad strokes like most serialized shows do.  It actually tells you a lot about a person when you see how they respond to a normal, everyday problem rather than an extreme one.

On the flip side, when serialized shows try something like this it often ends up feeling forced or it messes with the pacing.  A good example of this would be in season three of “Breaking Bad”.  There’s a segment that deals almost exclusively with domestic drama between Walter and Skyler.  And it’s just…boring.  There’s a lot of tension, but very little release.  It doesn’t really go anywhere and it just feels as though the writers were looking for a way to eat up time.  I mean the best moment from that section of the show is Walter bringing his family a pizza.

 

Incidentally, this scene was so popular that the show creator had to make a statement asking fans to stop throwing pizza on the roof of the Walter White house.

 

The strength of procedural shows lies in the myriad ways they can examine their characters.  “Star Trek: The Next Generation” did a wonderful job with the episodes focusing on Data, the resident android.  In a way, we got to know Data far better than any of the other characters on the Enterprise. which made him a fan-favorite from the series.  It would be a shame if we lost that power because television is growing more and more serialized.  That being said, it appears broadcast television has a ways to go before they can compete with the likes of “Breaking Bad”.  In particular, ABC seems to go through new shows like a hot knife through better.  Remember “Time After Time”, the show about H.G. Wells chasing Jack the Ripper?  If you don’t, that’s okay.  It was cancelled after five episodes.  And this happens a lot with broadcast.  I mentioned once that I thought broadcast television was too focused on the plot twists instead of the characters.  And the advertising seems indicate that, with commercials focusing on “that twist you’ll never see coming”.

But progress inevitably continues.  And eventually, they’ll have to catch up…sooner or later.

 

Thanks for reading!  Check back next Wednesday for my next short story!

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.

Contrived Destiny: Prophecies in Storytelling

So lately, I’ve been thinking about prophecies.  And I’m not talking about prophecies as in biblical prophecies or any of that Nostradamus stuff.  That’s a story for another time.  What I’m talking about are prophecies in fiction.  You know what I mean: in a story a prophecy will say this or that, and then the characters end up stressing about the prophecy instead of doing anything about it even though they have adequate time to take care of things and then their laziness actually makes the prophecy come true and MY GOD WHY AREN’T YOU PEOPLE DOING ANYTHING?!

No?  Just me?

When I was younger, I didn’t really have an issue with prophecies when it came to fiction.  To me, it was just a thing, especially in fantasy.  You know, some great evil would return to the world and only the chosen hero or heroes could defeat it, that sort of thing.  But more and more, I’ve come to the realization that prophecies can be really lazy.  And indeed it seems like some stories rely on them heavily, like a sort of crutch.

This is kind of an oblique example, but here goes:

You’ve probably heard of the reboot Star Trek movies directed by J.J. Abrams.  Now, I don’t really have an issue with them.  They’re mindless, action movies that kind of miss the point of what Star Trek was about, but they’re still fun to watch.  However, once I had this particular thing pointed out to me, I couldn’t un-see it.

In the first reboot movie, time is re-written when the villain is sucked through a black hole type thing and ends up in the past.  He attacks a Federation ship and destroys it, which kills Kirk’s father.  Fast-forward into the future, and Kirk is an edgy, dark young man who gets into bar fights and has a problem with authority.  Later on in the movie, he ends up marooned on an ice planet after he pisses off Spock.  Being chased by what might as well be a Yeti, Kirk finds himself in an ice cave.  And there he meets…Old Spock, played by Leonard Nimoy (rest in peace).  Old Spock tells him that in the timeline he comes from, Spock and Kirk are best friends.  Therefore, because of that, they are sort of destined to work together.  With that knowledge, Kirk and Spock inevitably put aside their differences and work together.

But that’s kind of lazy storytelling when you think about it, isn’t it?

Instead of Kirk and Spock naturally becoming friends, they end up as friends because they’re supposed to to be friends.  History has been changed.  Events occurred differently, shaping Kirk and Spock into different people than they would have been originally.  But instead of figuring out a clever way to use Kirk’s brashness and Spock’s logical thinking to save the day, they just force the two together because Old Spock said it was meant to be.

Their characters don’t really develop.  They’re just fated to be together…apparently.

 

Old Spock (Leonard Nimoy)

 

And this is something you can see in a lot of stories with prophecies in them.  Why does the hero become the hero?  Does he work hard?  Is he of admirable character?  Does he train and get stronger over time?  Or does he become the hero because some obscure, ancient writing said he was going to be the hero?

Now, prophecies can be used in interesting ways.  Take the video game “Final Fantasy X” for example.  In the game, there is this giant monster that returns to devastate the world and only a summoner can defeat it.  But to do so, they must sacrifice themselves to summon a being powerful enough to defeat it.  Later on, the main characters come to the realization that this is all a bunch of nonsense, because the monster will just keep coming back over and over again.  It’s at that point where the heroes basically say “screw prophecies” and forge their own path.  In that way, it uses prophecy to expose the flawed nature of the religion that the game’s world is based on.

So you see, you could do that.  Or you could do what “Snow White and the Huntsman” did: kill off Kristen Stewart, only to have her magically come back to life and suddenly be a badass warrior.

Why?  Because prophecy baby!

By insisting that a character be a hero according to prophecy, a writer can get past all sorts of pesky things like character growth, development, training, and so on.  The hero can just have god damn magical powers if they want.  And why not?  It’s a prophecy!  Anything goes!  Even “The Matrix” pulled something like that, although in that case it actually worked because it served to highlight the movie’s theme of rebirth.

 

Wait…Neo is an anagram for “one”? My god it’s ALL COMING TOGETHER!

 

Like I said, prophecy isn’t necessarily a bad thing.  It’s just too easy to use as a lazy crutch.  Why bother coming up with experiences for the character to justify their growth into a hero when you can just predestine that from the very beginning?  No one’s going to question it, because it has to be so if the prophecy said it.

The problem with prophecies is that they often become too binding.  They force things to play out in a certain way, whether it fits in line with the prophecy or not.  There are two basic outcomes to a prophecy in fiction:

  1. The prophecy comes true.  Heroes deal with the fallout and try to fix things.
  2. The prophecy doesn’t come true.  Cue preachy message about the future not being written in stone.

As you can see, there’s not a lot of wiggle room between these two outcomes.  At best, prophecies are usually a convenient way to foreshadow a major, future event.

At worst, they’re just lazy writing.

 

Thanks for reading!  Check back next Wednesday for my next short story, and as always, have a wonderful week!

You can like the Rumination on the Lake Facebook page here or follow me on Twitter here.