Monday, February 23, 2009

BSG Sitrep

I admit it. I finally gave in and did it. I started watching Battlestar Galactica.

“What took so long?” you’re probably wondering. “You like sci-fi and will watch any kind of quality TV, so why are you just starting BSG now? Every critic and film media creator can do nothing but sing its praises, and the fanboys think it’s the second coming!” Well, up to this point I’d deliberately avoided the show. Living in Canada, I don’t receive the US Sci-Fi channel and its Canadian equivalent, Space, didn’t start airing it until much later. Even then I wasn’t enthused. My knowledge of the property was based primarily on the ‘70s original: a cheesy, low budget Star Wars knockoff. By the time I’d heard enough good things about the new version to make me think it might be worth my time, it was already too far into the series and I didn’t feel like investing the time it would take to get caught up. So I avoided it. Until two weeks ago.

I’ve been working in Louisiana, and there’s not a lot to do here. After the first five weeks here, I ran out of things to do. So, desperate for something to do, I went down to Blockbuster and rented the miniseries. After that, I was hooked.

At this point, I’ve completed the first two seasons, and decided to record my thoughts on the series so far. This is mostly because, again, I’m bored. I’m out of rented discs and I’m not going back to the store until tomorrow. So here it is.

My first comment has to do with the reaction to the series. When it first came out there was a lot of talk about how it was redefining the sci-fi genre. I have to say that statement is completely wrong. It’s not the next evolution of sci-fi, it’s actually a step back to classic sci-fi. It’s sci-fi that is a metaphor, allowing the viewer to examine themselves through the filter of the story. Yes, it’s different from most sci-fi we see now, the dumbed down action movie in space/the future, but it’s not a new concept, just one that had gone out of style, and it's return is certainly welcome. BSG is also routinely hailed as one of the greatest television series ever. This is something that I can’t yet agree with. I will definitely agree that there have been some fantastic hours of TV, but I think that more is required for a great series. The show has to have an engaging, ongoing arc, and it needs have something to say about us as a society. At this point, BSG doesn’t have that. Again, remember, I’m only at the end of season 2 and there’s certainly the potential for that arc to develop in the seasons I haven’t made it to, we just haven’t really seen it yet.

What do I like about the show? As I said , it has a lot of truly great episodes. It also raises a lot of intriguing moral and ethical questions and challenges a lot of “truths” a lot of us take for granted. It’s shot with a grit and intensity that make it very easy to become engaged in the stories. Finally, it has very well-developed, believable characters.

My reactions to those characters are something that I find a little puzzling. There is no other show, film, or book that I have ever experienced where my engagement with the characters was so highly gendered. In most other instances, the characters I react most strongly to, whether positively or negatively, are fairly evenly balanced between male and female. In Battlestar, that’s not the case. In this show, the characters I react to are exclusively female. This is even stranger given the fact that I am male and, typically, viewers react most strongly to those of their own gender.

My favourite character is Cassie, the mechanic. She hasn’t had a lot to do so far, but I find her to be a really interesting, strong character. The same can be said of Dee, the communications officer. Finally, I also really like Starbuck. This one is less surprising, since she’s more or less the primary character of the series, so all viewers have to be able to connect to her. What’s interesting here, though, is that although I’m interested in her character I know for a fact that, were she real, I would not be able to get along with her, probably not even for an hour. But I still care about and am interested in her character. That’s the mark of great character writing.

The characters that I hate the most are also all female. It’s important to define “hate” here. I don’t mean that I dislike the fact that the character exists within the universe, but that I dislike the characters themselves. President Laura Rosland is self-involved and short-sighted, even though she thinks she’s looking to the future. Everything about the Viper pilot "Kat" bothers me. Colonel Tigh’s wife is manipulative and power hungry, the epitome of the gold digging trophy wife. Sharron has a superiority complex so great she is blinded to even the possibility that she might be wrong. My dislike of her character may also be slightly fuelled by my feelings about the actress who portrays her. I think she’s about the only weak link in BSG’s cast. She really doesn’t seem to be able to act at all, delivering flat performances every time. Again, though, the fact that I have such strong reactions to these characters means that they are being very well written.

Are the male characters, then, written more poorly? No, I don’t think so. I really can’t explain why I don’t react as strongly in this case. It’s something that I’ll be working through in the coming weeks as I continue catching up with the series. What I can say, at this point, is that Battlestar Galactica is a very strong series and one which I would recommend to any fan of good TV. I’ll be sure to write a follow-up to this piece when I finish the series. Hopefully by then I’ll have some more insight into my reactions to these characters.

Sleep well,

DTE

____________________

Songs of the Moment:

Metric – Help, I’m Alive Acoustic; The Main Drag – Love During Wartime; Treble Charger – Red

Music while I wrote:

Paramore – All We Know Is Falling

Wednesday, February 11, 2009

Prognosticating Oscar

To the under informed, that title likely sounds like an invasive, thoroughly unpleasant surgical procedure.  Either that, or the title of a gay porn film.  In fact, it is neither, as those with a slightly larger than average vocabulary will know (see all the extra effort I go to for you, I don’t even make you look it up yourself).

There are really only three Unwritten Laws of blogging.  You must conclude the year with some form of Top Ten list, you must give your predictions for an awards show, and you must spew obnoxious and uninformed opinions whenever possible.  I took care of the first one a little over a month ago, and, of course, I expel my opinions constantly.  So now I will fulfill the final law by presenting my predictions for the 2008 Oscar Awards.

I’ve listed the nominees in each category, with my prediction for the winner in red.  In those categories where I think a film deserves to win, but will instead lose to another, the film that deserves to win is marked in blue.

So now, without further ado, my predictions:

- NOMINATIONS BY CATEGORY - 81ST AWARDS -

Performance by an actor in a leading role

Richard Jenkins in "The Visitor" (Overture Films)

Frank Langella in "Frost/Nixon" (Universal)

Sean Penn in "Milk" (Focus Features)

Brad Pitt in "The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Mickey Rourke in "The Wrestler" (Fox Searchlight)

Performance by an actor in a supporting role

Josh Brolin in "Milk" (Focus Features)

Robert Downey Jr. in "Tropic Thunder" (DreamWorks, Distributed by DreamWorks/Paramount)

Philip Seymour Hoffman in "Doubt" (Miramax)

Heath Ledger in "The Dark Knight" (Warner Bros.)

Michael Shannon in "Revolutionary Road" (DreamWorks, Distributed by Paramount Vantage)

Performance by an actress in a leading role

Anne Hathaway in "Rachel Getting Married" (Sony Pictures Classics)

Angelina Jolie in "Changeling" (Universal)

Melissa Leo in "Frozen River" (Sony Pictures Classics)

Meryl Streep in "Doubt" (Miramax)

Kate Winslet in "The Reader" (The Weinstein Company)

Performance by an actress in a supporting role

Amy Adams in "Doubt" (Miramax)

Penélope Cruz in "Vicky Cristina Barcelona" (The Weinstein Company)

Viola Davis in "Doubt" (Miramax)

Taraji P. Henson in "The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Marisa Tomei in "The Wrestler" (Fox Searchlight)

Best animated feature film of the year

"Bolt" (Walt Disney)

Chris Williams and Byron Howard

"Kung Fu Panda" (DreamWorks Animation, Distributed by Paramount)

John Stevenson and Mark Osborne·

"WALL-E" (Walt Disney)

Andrew Stanton

Achievement in art direction

"Changeling" (Universal)

Art Direction: James J. Murakami
Set Decoration: Gary Fettis

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Art Direction: Donald Graham Burt
Set Decoration: Victor J. Zolfo

"The Dark Knight" (Warner Bros.)

Art Direction: Nathan Crowley
Set Decoration: Peter Lando

"The Duchess" (Paramount Vantage, Pathé and BBC Films)

Art Direction: Michael Carlin
Set Decoration: Rebecca Alleway

"Revolutionary Road" (DreamWorks, Distributed by Paramount Vantage)

Art Direction: Kristi Zea
Set Decoration: Debra Schutt

Achievement in cinematography

"Changeling" (Universal)

Tom Stern

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Claudio Miranda

"The Dark Knight" (Warner Bros.)

Wally Pfister

"The Reader" (The Weinstein Company)

Chris Menges and Roger Deakins

"Slumdog Millionaire" (Fox Searchlight)

Anthony Dod Mantle

Achievement in costume design

"Australia" (20th Century Fox)

Catherine Martin

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Jacqueline West

"The Duchess" (Paramount Vantage, Pathé and BBC Films)

Michael O'Connor

"Milk" (Focus Features)

Danny Glicker

"Revolutionary Road" (DreamWorks, Distributed by Paramount Vantage)

Albert Wolsky

Achievement in directing

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

David Fincher

"Frost/Nixon" (Universal)

Ron Howard

"Milk" (Focus Features)

Gus Van Sant

"The Reader" (The Weinstein Company)

Stephen Daldry

"Slumdog Millionaire" (Fox Searchlight)

Danny Boyle

Best documentary feature

"The Betrayal (Nerakhoon)" (Cinema Guild)
A Pandinlao Films Production

Ellen Kuras and Thavisouk Phrasavath

"Encounters at the End of the World" (THINKFilm and Image Entertainment)
A Creative Differences Production

Werner Herzog and Henry Kaiser

"The Garden"
A Black Valley Films Production

Scott Hamilton Kennedy

"Man on Wire" (Magnolia Pictures)
A Wall to Wall Production

James Marsh and Simon Chinn

"Trouble the Water" (Zeitgeist Films)
An Elsewhere Films Production

Tia Lessin and Carl Deal

Best documentary short subject

"The Conscience of Nhem En"
A Farallon Films Production

Steven Okazaki

"The Final Inch"
A Vermilion Films Production

Irene Taylor Brodsky and Tom Grant

"Smile Pinki"
A Principe Production

Megan Mylan

"The Witness - From the Balcony of Room 306"
A Rock Paper Scissors Production

Adam Pertofsky and Margaret Hyde

Achievement in film editing

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Kirk Baxter and Angus Wall

"The Dark Knight" (Warner Bros.)

Lee Smith

"Frost/Nixon" (Universal)

Mike Hill and Dan Hanley

"Milk" (Focus Features)

Elliot Graham

"Slumdog Millionaire" (Fox Searchlight)

Chris Dickens

Best foreign language film of the year

"The Baader Meinhof Complex" A Constantin Film Production - Germany

"The Class" (Sony Pictures Classics) A Haut et Court Production - France

"Departures" (Regent Releasing) A Departures Film Partners Production - Japan

"Revanche" (Janus Films) A Prisma Film/Fernseh Production - Austria

"Waltz with Bashir" (Sony Pictures Classics) A Bridgit Folman Film Gang Production - Israel

Achievement in makeup

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Greg Cannom

"The Dark Knight" (Warner Bros.)

John Caglione, Jr. and Conor O'Sullivan

"Hellboy II: The Golden Army" (Universal)

Mike Elizalde and Thom Floutz

Achievement in music written for motion pictures (Original score)

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Alexandre Desplat

"Defiance" (Paramount Vantage)

James Newton Howard

"Milk" (Focus Features)

Danny Elfman

"Slumdog Millionaire" (Fox Searchlight)

A.R. Rahman

"WALL-E" (Walt Disney)

Thomas Newman

Achievement in music written for motion pictures (Original song)

"Down to Earth" from "WALL-E" (Walt Disney)

Music by Peter Gabriel and Thomas Newman
Lyric by Peter Gabriel

"Jai Ho" from "Slumdog Millionaire" (Fox Searchlight)

Music by A.R. Rahman
Lyric by Gulzar

"O Saya" from "Slumdog Millionaire" (Fox Searchlight)

Music and Lyric by A.R. Rahman and Maya Arulpragasam

Best motion picture of the year

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)
A Kennedy/Marshall Production

Kathleen Kennedy, Frank Marshall and Ceán Chaffin, Producers

"Frost/Nixon" (Universal)
A Universal Pictures, Imagine Entertainment and Working Title Production

Brian Grazer, Ron Howard and Eric Fellner, Producers

"Milk" (Focus Features)
A Groundswell and Jinks/Cohen Company Production

Dan Jinks and Bruce Cohen, Producers

"The Reader" (The Weinstein Company)
A Mirage Enterprises and Neunte Babelsberg Film GmbH Production

Nominees to be determined

"Slumdog Millionaire" (Fox Searchlight)
A Celador Films Production

Christian Colson, Producer

Best animated short film

"La Maison en Petits Cubes"
A Robot Communications Production

Kunio Kato

"Lavatory - Lovestory"
A Melnitsa Animation Studio and CTB Film Company Production

Konstantin Bronzit

"Oktapodi" (Talantis Films)
A Gobelins, L'école de l'image Production

Emud Mokhberi and Thierry Marchand

"Presto" (Walt Disney)
A Pixar Animation Studios Production

Doug Sweetland

"This Way Up"
A Nexus Production

Alan Smith and Adam Foulkes

Best live action short film

"Auf der Strecke (On the Line)" (Hamburg Shortfilmagency)
An Academy of Media Arts Cologne Production

Reto Caffi

"Manon on the Asphalt" (La Luna Productions)
A La Luna Production

Elizabeth Marre and Olivier Pont

"New Boy" (Network Ireland Television)
A Zanzibar Films Production

Steph Green and Tamara Anghie

"The Pig"
An M & M Production

Tivi Magnusson and Dorte Høgh

"Spielzeugland (Toyland)"
A Mephisto Film Production

Jochen Alexander Freydank

Achievement in sound editing

"The Dark Knight" (Warner Bros.)

Richard King

"Iron Man" (Paramount and Marvel Entertainment)

Frank Eulner and Christopher Boyes

"Slumdog Millionaire" (Fox Searchlight)

Tom Sayers

"WALL-E" (Walt Disney)

Ben Burtt and Matthew Wood

"Wanted" (Universal)

Wylie Stateman

Achievement in sound mixing

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

David Parker, Michael Semanick, Ren Klyce and Mark Weingarten

"The Dark Knight" (Warner Bros.)

Lora Hirschberg, Gary Rizzo and Ed Novick

"Slumdog Millionaire" (Fox Searchlight)

Ian Tapp, Richard Pryke and Resul Pookutty

"WALL-E" (Walt Disney)

Tom Myers, Michael Semanick and Ben Burtt

"Wanted" (Universal)

Chris Jenkins, Frank A. Montaño and Petr Forejt

Achievement in visual effects

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Eric Barba, Steve Preeg, Burt Dalton and Craig Barron

"The Dark Knight" (Warner Bros.)

Nick Davis, Chris Corbould, Tim Webber and Paul Franklin

"Iron Man" (Paramount and Marvel Entertainment)

John Nelson, Ben Snow, Dan Sudick and Shane Mahan

Adapted screenplay

"The Curious Case of Benjamin Button" (Paramount and Warner Bros.)

Screenplay by Eric Roth
Screen story by Eric Roth and Robin Swicord

"Doubt" (Miramax)

Written by John Patrick Shanley

"Frost/Nixon" (Universal)

Screenplay by Peter Morgan

"The Reader" (The Weinstein Company)

Screenplay by David Hare

"Slumdog Millionaire" (Fox Searchlight)

Screenplay by Simon Beaufoy

Original screenplay

"Frozen River" (Sony Pictures Classics)

Written by Courtney Hunt

"Happy-Go-Lucky" (Miramax)

Written by Mike Leigh

"In Bruges" (Focus Features)

Written by Martin McDonagh

"Milk" (Focus Features)

Written by Dustin Lance Black

"WALL-E" (Walt Disney)

Screenplay by Andrew Stanton, Jim Reardon
Original story by Andrew Stanton, Pete Docter

So, there you have it.  The Oscars air February 22, at 8 ET/5 PT on ABC.  Be sure to tune in and see how it all turns out.

Sleep Well,

DTE

____________________

Songs of the Moment:

Metric – Help, I’m Alive; The Decemberists – 16 Military Wives; Dandy Warhols – We Used To Be Friends

Music while I wrote:

Stephen Schwartz – Wicked soundtrack