It’s been a while since my last Agents of SHIELD review, which could be interpreted as a lack of enthusiasm. This is true, to an extent. I haven’t been wowed. I’ve been entertained enough to give it a viewing when I need a break, but not so entertained that I feel like talking about it afterwards. I did catch up this Thanksgiving, though, so I figured I’d write a review. Spoilers ahead if you care about that, mainly for the episode “The Well.” Continue reading
Category: Reviews
In my last post, I mentioned how I have not been impressed with Steven Moffat as a showrunner, and that perhaps his talents are best suited to doing single episodes. I’ll also add that taking direction from someone else and making their work better might also be in his talents, because in this special episode he takes a lot of inconsistencies from RTD’s run as head writer and explains them into one coherent whole (or at least as coherent as a time-travel show is likely to get, no matter who is writing it). Continue reading
Well, dear readers, it’s the weekend to talk about Doctor Who. I thought I’d share a little bit about my own personal experiences with the show.
Once upon a time in the United States, a man could walk down the street in a brown coat, floppy hat, and a ridiculously long multicolored scarf, and fully expect that no one would recognize who he was supposed to be. Today . . . well, most people wouldn’t recognize him, but that’s only because he’s not wearing a bowtie.
I’m an old-school fan. I started in the 90s, during the sixteen-year hiatus, when getting Doctor Who back on the air seemed less likely than getting new episodes of Firefly today. Yes, dear readers, there was such a dark age of television. Back then, Doctor Who was nearly unheard-of in the United States, and even today plenty of people here will refer to Christopher Eccleston as “the first Doctor.” They certainly wouldn’t get the Doctor Who reference slipped into the finale of the first season of Star Trek: The Next Generation. Continue reading
“Superpower” is a technical term used by some writers and editors, myself included. It’s awkward when used in superhero fiction, but generally speaking it’s a great term packed with a lot of information.
Your protagonist must have a superpower. Your secondary characters usually need them too. Your villain always has a superpower, but an antagonist doesn’t always need it. (Yes, there’s a difference between a villain and an antagonist. There’s also a difference between main characters, protagonists, heroes, and viewpoint characters, but that’s another blog post.) It’s advisable to have a kryptonite as well, but that’s not as important as long as you’ve practiced.
So what is this superpower thing? Flight? Super-strength? The ability to leap tall buildings faster than a speeding bullet while running alongside a train?
It can be, but it’s not necessarily supernatural. A character’s superpower is defined as anything they can do better than anyone else in the story. Similarly, a character’s kryptonite is that which forms an obstacle they cannot overcome. Continue reading
I’m not usually one for rom-coms. Of course, I have nothing against them per se — and I’m a complete romantic sap in real life. But your average romantic comedy usually doesn’t appeal to me because they’re generally quite predictable and need to be based around some central element that makes them stand apart. Continue reading
Imagine, if you will, an alternate world of the near future. A world where video games have become more popular than any other form of entertainment. A world where high school varsity teams revolve not around physical sports but instead around computer-generated scenarios. A world where every teen dreams of being accepted to . . . Video Game High School.
Okay, so that’s enough of me channeling Rod Serling. Continue reading
I’ve had this blog for more than seven months. I’ve averaged about three or four posts per month. That’s bad enough, but in all that time, I’ve kept putting off telling you about Writing Excuses.
Writing Excuses is an award-winning weekly podcast (two time Parsec, two time Hugo nominee, also nominated for a Podcast Award) that covers creative writing. It’s a bit over five years old now, and its archives are nearly 100 hours deep. If you listened to an episode every day starting now, you’d finish in just under one year (counting the new episodes that will be released weekly over that time).
Does that sound daunting? Don’t worry. Each episode is only fifteen minutes (well, okay, sometimes they run over) long — because, as they say, “you’re in a hurry, and we’re not that smart.”
The “in a hurry” part is correct. It’s hard to make time when focusing on writing, because you really have to treat it as a full-time job. Most of us already have full-time jobs, or in many cases two or more part-time jobs. Some of you are in college, which is more than a full-time job. (Hint to you college students: if you’re not devoting about sixty hours a week to school, you’re either not a full-time student or you’re in some really easy classes.) The podcast format makes it very easy to listen to a full episode, maybe two, during your commute, while you’re on your lunch break, or while you’re cooking or doing your dishes or vacuuming the house. (Though you might need earbuds for that last one.)
The “not that smart” part is . . . debatable. These guys are good. The podcast hosts are New York Times bestselling fantasy novelist Brandon Sanderson (yes, that guy who finished The Wheel of Time and wrote the Mistborn series), supernatural horror novelist Dan Wells (author of the seriously wonderful John Cleaver novels, starting with I Am Not a Serial Killer, which deserves a review from me sometime), professional puppeteer and historical fantasy/alternate history novelist Mary Robinette Kowal (author of The Glamourist Histories; she joins the podcast full-time in Season Six), and science fiction cartoonist and humorist Howard Tayler (who writes and draws the award-winning and record-breaking Schlock Mercenary).
I’ve met all four in one way or another (the first two in real life, the other two via webcams, Facebook, and email). They know their stuff and they’re great to talk to. I’m not saying I agree with everything they say, mind you; just 99%.
Well, okay. 98%. That’s my final offer.
Give them a listen. Even if you don’t write fantasy, horror, or science fiction, you’ll find plenty to learn from them.
While looking for something to watch, I found a short-lived (one season) mystery show called The Finder. It’s a quirky sort of show — the sort of quirky I associate with Doctor Who (particularly the Tom Baker years) — about a former Army officer who suffered a brain injury in the Middle East that has given him extreme paranoia, a lack of social inhibition, and an uncanny ability to find anything from just a few clues.
The show was (loosely) based on The Locator series by Richard Greener, but was presented as a spinoff of the TV show Bones (also based on a book series). I didn’t realize that until I saw the second episode and one of the Bones characters shows up (Dr. Sweets, evaluating whether or not the title character, Walter “the Finder” Sherman is insane and therefore able to still consult for the FBI and other federal agencies).
Now, I make no secret of the fact that I’m not much of a Bones fan. The title character for that show, Dr. Temperance “Bones” Brennan,” is presented as a scientist devoted to rationality and empirical study and cites logic more often than a Vulcan, but the writers obviously don’t know any more about logic than Gene Roddenberry. I happen to be very good at that, and I spot logical errors faster than a crooked lawyer finds loopholes. When a character is presented as logical and completely fails at it, I get frustrated. Since the whole show revolves around Bones and her ability to look at things rationally, the whole show is tainted for me. I just can’t stand it. Cheese grater to the skin.
The Finder is pretty much the exact opposite. Where Bones takes itself seriously, The Finder is the relaxed guy on vacation constantly insulting himself over mojitos. Where Dr. Brennan approaches things rigidly, Walter thinks nothing of doing things that other people would find crazy. Sometimes it’s deliberate; sometimes it’s because he really is crazy. He’s exactly as presented, and he acts completely in character. (I’d say I wish the creators of Bones had paid attention, but really I just want them to take a logic class.)
As a mystery show, it’s presented a bit differently. Each mystery revolves around finding something — an object, a person, or even an idea. There’s usually a crime involved, but that gets solved only incidentally as part of the finding. Because of that, while it uses the traditional mystery structure, the presentation makes it very fresh.
As much as I like the title character, though, he isn’t my favorite. He’s actually my third-favorite character. The best is Leo, his partner, legal advisor, and the owner of the bar The Ends of the Earth where clients can find the Finder. Leo is a lawyer, mostly muscle, and constantly quoting philosophy and legal codes. The actor (who unfortunately died of complications from a heart attack) has a perfect deadpan delivery that exactly counterbalances Walter’s Time Lord-style zaniness without making him seem stodgy or humorless.
The second-best is Willa, a Gypsy delinquent working at The Ends of the Earth to serve out the terms of her probation. Her Romani “family” serves as a sub-plot for the series, culminating in one-half of a cliffhanger that you can see coming a mile away and still has an emotional impact. She’s simultaneously more and less mature than Walter, impatient as only a teenager can be, and grows to be an important member of the loose “team.” I expected her to be a pretty flat character at first, but the show gives her a surprising depth that really makes you sympathize with her and realize how torn she is about her life.
The fourth main character is Isabel Zambada, a Deputy U.S. Marshal who serves as the law enforcement contact and Walter’s love interest. She wound up being the weakest character; not boring by far, but still not as good as the other three. Plus I kept noticing mistakes she’d make with her gun (including one error that I’ll place on the shoulders of the costume department but have no clue how they were so blind — namely, they put her small-of-the-back holster facing the wrong direction in one episode, as if she were left-handed).
The show is only thirteen episodes long, and ends on a two-tiered cliffhanger. I won’t spoil it, but all four characters’ lives are shaken, possibly permanently. The problem is that you’ll never find out what happens next.
If you’re looking for a different kind of mystery show, and particularly if you’re a Whovian who wants that zaniness on the off-season, head over to Amazon or Netflix and give it a try. Just remember, I warned you about that last episode. If you wind up watching the first twelve, you’ll want to watch the finale, and you’ll find the lack of a “next episode” button to be cruel and unusual punishment. Apparently, not even the Finder can locate the next season.
The show has mixed reviews, though. I’m obviously an instant fan, but let me know what you think in the comments below, or over on Facebook.



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