Posts Tagged ‘TV show’

Twin Peaks Movie PosterThe David Lynch and Mark Frost revival brings back the show without the restrictions of network television as a single 18-hour movie split into chunks and (I’m currently 4 episodes in) all end with a different band performance. Yes, composer Angelo Badalamenti has returned and the nostalgic Twin Peaks theme is intact with a slightly different credit sequence, the mill replaced with the Red Room’s curtains.

Doppelganger Cooper (Kyle MacLachlan), must return to the Black Lodge in order for the real FBI agent Dale Cooper to be freed from his 25 year slumber. But things are completed with a third Cooper (also MacLachlan) throw into the mix. While all of this is going on, other events are transpiring in New York guarded building where a mysterious large glass box has sprung to life and killed its watcher. In South Dakota, a severed head and a headless body have been found and all the various narrative threads have yet to come together in any fully coherent matter.

Off the top of my head the majority of the cast return, those actors who have since passed on even show up as manipulated archive footage, notably Major Garland Briggs (Don S. Davis) floating head, David Bowie’s Philip Jeffries’ character is mentioned. Who knows who else will turn up. Some have passed on since filming the latest series and are acknowledged in the credits including the posthumous appearance of Catherine Coulson’s The Log Lady and Miguel Ferrer, who played Albert Rosenfeld. Those who don’t return have simply fallen out with Lynch and their reasons are well documented in the press.

Lynch has created something just as fascinating as the various directed predecessor and what is most striking is that quirky tone of the old series is recreated without merely forcefully copying it (as the recent X-files tried too hard to do). Lynch is on form here and it’s just as weird as ever. The mix of crime thriller with elements of surrealism, odd humour, soap opera outlandish off beat acting and supernatural horror is as effective as ever. If you’re left flummoxed – that’s the fun, because you’re probably meant to be.

Twin Peaks helped shape much of the modern television landscape and this latest addition is great looking with surprises, thrills and chills – season 3 is an artsy must see.

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 An interesting story was brought to my attention this morning, Shock Till You Drop talks about what Frank Darabont envisioned in Season 2 Walking Dead, this originated from a communication to Aint it Cool News.
 
‘Darabont’s’ idea mirrors my zombie horror Dead Pulse. Granted Dead Pulse is a homage to Romero, but Dead Pulse is an original piece of work. I should also mention I’ve never read the Walking Dead Comics.
Before I go on here’s a little background to what happened last year. After the Comic Con in 2011 Ben Davis, AMC vice-president of scripted programming, gathered the cast together for a meeting. In this meeting, he told that Darabont had been fired. Saying “This isn’t working.” And Darabont was ‘let go’.
 
Part of Darabont’s concept explained to Ain’t It Cool News is a follows:
 
“We’d start with a squad of maybe seven or eight soldiers being dropped into the city by chopper. They have map coordinates they need to get to; they’ve been told to report to a certain place to provide reinforcement. It’s not a special mission, it’s basically a housekeeping measure putting more boots on the ground to reinforce key intersections and installations throughout the city. And we follow this group from the moment the copter sets them down. All they have to do is travel maybe a dozen blocks, a simple journey, but what starts as a no-brainer scenario goes from “the city is being secured” to “holy shit, we’ve lost control, the world is ending.”
 
Our squad gets blocked at every turn and are soon just trying to survive. I wanted to do a really tense, character-driven ensemble story as communications break down, supply lines are lost, escape routes are cut off, morale falls apart, leadership unravels, mutinies heat up, etc.” and goes on to say,
 
“So the story follows these soldiers through hell as the city falls apart and the squad implodes, with Sam’s soldier being the main character and the moral center of the group. He becomes the last survivor of the squad, and he finally gets to the map coordinates they’ve been trying to get to from the start.”
This raises some questions given that my story was banded around ‘Tinsel Town’. Prior to the zombie boom!
It’s odd that through a series of unfortunate events that my story (written in 2007) that contains the above was erroneously published in 2009, I would mention the book because I wouldn’t want any one to purchase it in that state, it’s unedited and incomplete (and goes for around $156 – Do not buy this!)
 
In March 2011 Dead Pulse was published on paperback and on a variety of e-book platforms and contains the very same segments from the 2007 albeit expanded, edited correctly and this time authorised. Anyone who has read Dead Pulse will immediately realise that Frank’s description bares an uncanny  striking similarity to the Ravenswood massacre chapter where a small group of the soldiers are sent  to the city on what should be a simple mission to retrieve information and goes terribly wrong.
 
The cast of The Walking Dead were told Frank was fired by ‘scripted programming’ section. By default see why ‘his’ wild card’ didn’t make it into Season 2.
 
To get a feel of Dead Pulse’s tone and to see some of the similarities here’s the trailer or for curiosity get the book free with Amazon prime here:
 
 
Rather than start 2012 on a horror note I thought I’d keep things light with my thoughts on Wonder Woman’s doomed TV outing that I was lucky enough to view – certainly from a visual perspective… No matter what I’ll always have the 70’s theme:

Wonder Woman, Wonder Woman.
All the world’s waiting for you,
and the power you possess… Sorry, here is my low down on the 2011 pilot…

Wonder Woman must stop the head of a pharmaceutical company’s illegal experiments for financial gain.

Opening with the horror-stricken images of a boy with bleeding eyes, Wonder Woman quickly moves to a foot chase though the streets. There’s no origin story which some have highly criticised. Personally I’m a exasperated with origin stories, these superhero characters have become a part of pop culture and a back story can seem somewhat unnecessary.

The pilot establishes Wonder Woman as a known face in the real world, a vigilant of sorts, with a reputation for knocking down doors, invading privacy, assaulting people and the videos uploaded to YouTube.

Adrianne Palicki is surprising good as Diana Prince / Wonder Woman, and oddly the promotional pictures for the show didn’t do her justice. She’s tough, rough, sexy and sulky. The plot features a standard Cary Elwes performance as her marketing CEO and Elizabeth Hurley plays the antagonist head of a pharmaceutical company.

It’s quite amusing that (in the world of the pilot) she has become marketable merchandise property and makes a remark that the comic version of her is incorrect with Diana stating that the Wonder Woman doll is insulting and she want’s it redesigned. “These breast are ridiculous.” “Wonder Woman isn’t vulgar.” “Wonder Woman is perfect, perfect t*ts, perfect ass, perfect teeth.” It is apparent that Diana’s/Wonder’s crime fighting technology is funded by Wonder Woman’s merchandising success which is an interesting titbit (no pun intended).

There’s establishing flashback for Diana’s love interest and some good camera work and effects from director Jeffrey Reiner, the contemporary music is dramatic and adds to the tension in the dialogue scenes. David E. Kelley’s story explores briefly the problem of superheroes heavy handiness being unlawful and forever under legal scrutiny.

Wonder Woman is reminiscent of ‘The New Adventures of Superman’ (1993- 1997) although it does have a darker tone and sleeker look. It moves away from Superman’s studio feel and while not particularly true to the comic, Wonder Woman’s shot on location look and Kelley relevant poignant dialogue adds to its allure as much as Palicki’s costume.

The only big action scene is at the 30 minute mark and is the highlight of the pilot with Palicki’s physical prowess and wire-work being most impressive.

Overall, Adrianne Palicki equals Lynda Carter’s incarnation and while not spectacular or highly engrossing it’s no lesser than other mediocre TV productions that have been given a chance and a longer run.
It may have evolved and brought a live action Wonder Woman to another generation but I suppose we may never know –  that is until some else has a stab at bringing DC’s female flag character to life.