Category Archives: Television

MLP and the Element of Characters: The “Mane” Characters

(Well, it happened. My three-part review of My Little Pony: Friendship Is Magic has become a four-part review. If I tried to discuss the primary and secondary characters in one article, it would end up being a book. So we’re splitting this thing up.)

In my previous article, I outlined what I saw as the major reasons for the success of My Little Pony: Friendship Is Magic. Taking a cue from the show’s “Elements of Harmony,” I called these the Elements of Production. One of these was the Element of Characters, which I will be discussing today.

In the very first episode of the series (“Friendship Is Magic” parts 1 and 2), we are introduced to Twilight Sparkle, brightest pupil of Princess Celestia. Although My Little Pony: Friendship Is Magic is very much an ensemble affair, it would be fair to say that Twilight is the closest thing to a “main character” the show has.

Twilight is sent away from Canterlot to learn about the magic of friendship in a smaller town called Ponyville. In a move likely to endear her to much of the show’s audience, Twilight is initially much more interested in books than friends. However, the very first lesson she learns is how valuable the aid of a few close friends can be, and the format of the series finds her learning lessons about friendship in each successive episode and writing to Princess Celestia about her experiences.

As I alluded to in my previous article, one of the distinct strengths of My Little Pony: Friendship Is Magic is that it features well-rounded characters. Our primary protagonist is no exception. Twilight’s strengths are pretty immediately apparent. She is studious and dedicated, incredibly intelligent, and very gifted when it comes to magical power. It initially seems that her biggest opportunity for growth is going to be a somewhat reclusive nature, but she actually overcomes this fairly quickly.

As we get to know Twilight better, we find one source of conflict in her character in the double-edged nature of one of her biggest strengths: how organized she is. This trait is first made explicit in “Winter Wrap Up.” Twilight’s new friends are all busy preparing for a really important event, and Twilight finds herself with nothing to do. But when preparations begin to break down, Twilight is able to step in and use her organizational skills to help keep everything going smoothly.

On the other hand, in the second season episodes “Lesson Zero” and “It’s About Time,” Twilight’s mastery of and dedication to organization shows its other side: extreme anxiety. In “Lesson Zero,” Twilight finds that she has nothing to write a letter to Princess Celestia about and becomes more and more anxious until she reaches a breaking point. In “It’s About Time,” Twilight forgets to schedule time for scheduling (yes, you actually just read that) and, after receiving a visit from her future self in what appears to be a post-apocalyptic scenario, starts a chain reaction of events that leads to her going back in time to give herself the message in the first place.

In both cases, it’s Twilight’s extreme need to have everything “just right” that causes the episode’s conflict. There are definitely smaller examples throughout the series, but these are the two episodes that showcase this part of her personality.

In other areas, however, Twilight ends up being much more level-headed than her friends. she’s the only pony who gives Princess Luna a chance in “Luna Eclipsed,” and similarly is the only one not irrationally afraid of Zecora in “Bridle Gossip.”

While Twilight ends up becoming great friends with the other five ponies who will form what’s popularly referred to as the “Mane Six,” the friend she starts the series with is a young dragon servant/sidekick named Spike. Spike’s most immediately-apparent strength is his loyalty to Twilight, and later to all of the Mane Six. He also has a massive crush on Rarity, which is especially apparent in episodes like “A Dog and Pony Show” and “Secret of My Excess.”

This quality of Spike’s serves as the conflict in the season three episode “Spike at Your Service,” when Spike feels he owes his life to Applejack and insists on “helping” her whenever possible. The problem comes when Spike actually lacks the practical skills to help Applejack with many of her tasks, and consequently his “help” ends up causing more harm than good.

Another strong aspect of Spike’s character is his dragon nature. This manifests itself in two main ways. One is in a strong desire to learn more about what it means to be a dragon, as demonstrated in the second season episode “Dragon Quest.” In this episode Spike is peer pressured by several teenage dragons into doing things that aren’t in his nature, until he finally stands up for himself and refuses to smash phoenix eggs.

The other manner in which this aspect of Spike’s character manifests itself is in his main flaw: greed. In the second season episode “Secret of My Excess,” Spike begins to grow larger as he grows more greedy, eventually becoming an out-of-control adult dragon. But it’s his relationship with Rarity (take that as you will) that shakes him out of it. He remembers his generosity toward her, and his heart is softened.

But Twilight Sparkle wasn’t sent to Ponyville to hole up in her library with Spike and her books and schedules (even if that’s what she wants to do most of the time). She was sent to learn about a new form of magic called friendship. To that end, she meets five ponies who quickly become her friends and trusted allies. Collectively, these ponies are known by fans of the show as the “Mane Six.”

She meets Applejack, who within one short scene quickly gives us a great deal of insight into her character. Applejack, definitely one of the most simultaneously industrious and “rough and tumble” characters in the show, personifies the idea of “work hard, play hard.” Twilight finds Applejack hard at work preparing food for the Summer Sun Celebration, but still very enthusiastically welcoming. She also summons her massive family (who will be a fixture of the show) to sample the food.

Applejack’s gruff, no-nonsense nature is one of her greatest strength, but it also puts her at odds with others more than once. In the season one episode “Look Before You Sleep,” Applejack and Rarity’s clashing personalities lead the two to have a rather significant quarrel. And in “Fall Weather Friends,” Applejack and Rainbow Dash have a feud due to the overcompetitive nature of both ponies. Furthermore, Applejack’s industriousness and self-reliance, though certainly often an asset, make it difficult for her to ask for help when she needs it in “Applebuck Season.”

Family is very important to Applejack, as she is often depicted interacting with her enormous family. One notable example is in the season 3 episode “Apple Family Reunion,” where Applejack finds herself put in charge of the eponymous reunion. Realizing how important the event is to Granny Smith, and the family in general, Applejack ends up going a bit overboard and has to calm down for everyone (including her) to actually have a good time.

Twilight Sparkle’s first encounter with Rainbow Dash finds the latter boastful and speedy as always. She also isn’t on screen for more than thirty seconds before she mentions her ambition to join the Wonderbolts. In the process, however, a series of mishaps end up badly messing up Twilight’s hair. Immediately, we find that Rainbow Dash is both impressive and perhaps a bit overly impressed with herself (which has never really bothered me because I’m at least as impressed with her, due to my rather obvious enormous crush on her). Also we find that though she’s very adept (as evidenced by her clearing the sky in “ten seconds flat” as promised), she’s also a bit of a klutz.

Rainbow Dash’s confident nature leads to the dual challenges of occasionally being a tad overly boastful and the tendency to occasionally “bite off more than she can chew.” The latter certainly happens in “Sonic Rainboom” when Dash needs to duplicate her eponymous feat and finds herself unable to do so until given the added motivation of saving her friend Rarity. In “The Mysterious Mare Do Well,” Dash lets hero worship go to her head to the point that her friends team up to knock her down a peg. (I should note that I’m not a huge fan of this episode because I think they could’ve gone about it in a less mean-spirited way and not let Dash become totally dejected, but I’m also an admitted fangirl so it’s quite possible I’m overreacting.)

This is going to sound paradoxical, but one of Dash’s other biggest surprising obstacles is that she is often quite insecure. Although her skills often impress others, she sometimes seems to go “overboard” to try to win their favor (especially in the case of the Wonderbolts). This also leads to her hiding things about herself–like her newly acquired taste for reading in the season 2 episode “Read It and Weep,” or the fact that she used to get scared very easily which she confides only to Scootaloo in the season 3 episode “Sleepless in Ponyville.” It also leads to her not always seeing the value of things that are not demonstrably “awesome,” such as in “May the Best Pet Win!” when she initially dismisses the turtle who will eventually become her pet.

The biggest lingering storyline with Rainbow Dash is her fierce desire to join the Wonderbolts. After a lot of buildup in previous season, this desire comes to fruition in “Wonderbolts Academy.” However, in what is easily the biggest example of her personal growth, Rainbow Dash is actually prepared to walk away from her dream for the sake of her principles. Naturally, this ends up being unnecessary and Dash is actually rewarded for her bravery, becoming the leader of the Wonderbolts cadets.

Twilight meets Rarity as the other unicorn is preparing decorations for the celebration, but the other unicorn quickly becomes distressed at Twilight’s hair problems which occurred in the previous scene with Rainbow Dash. With dazzling speed, she tries pretty much every conceivable mane style on Twilight, showing off both her generosity and her artistic flair.

As demonstrated in her previously-mentioned conflict with Applejack in “Look Before You Sleep,” Rarity abhors getting dirty in any way (but she’s able to get over it to an extent in that episode to help her friends). Perhaps the most important early episode for Rarity is “Suited for Success,” where we see both her serious dedication to her art (including during the exceptional song “Art of the Dress”). However, we also see Rarity fail to stand up for herself (and her art) when she allows her friends to pressure her into making dresses she isn’t satisfied with.

Rarity seems to have learned her lesson from this episode well, because by the time “A Dog and Pony Show” rolls around, Rarity is much more ready to stand up for herself in a much more dire situation when she’s kidnapped by Diamond Dogs. By the time her friends rescue her she’s actually managed to convince the Diamond Dogs into treating her like royalty.

The last pony Twilight meets up with Fluttershy (don’t worry: we haven’t forgotten about Pinkie; you’ll see), who is directing a songbird choir in her very softspoken way. She has trouble introducing herself to Twilight because of her very quiet voice and shy nature. When she sees Spike she suddenly becomes much more talkative and animated.

We quickly find out that Fluttershy’s interest in Spike does not hold true when it comes to adult dragons in the season one episode “Dragonshy.” Standing up for herself is an even bigger challenge for Fluttershy than it was for Rarity, however, and she finds herself dragged into dealing with the dragon whether she wants to or not. Fortunately, when the dragon threatens her friends Fluttershy finds her strength and actually manages to intimidate the dragon into leaving her friends alone.

Her difficulty standing up for herself doesn’t go away overnight, however, as she and Rarity have an enormous misunderstanding in “Green Isn’t Your Color.” Rarity becomes jealous of Fluttershy’s success as a model, while Fluttershy is actually only going along with it because she’s worried about disappointing Rarity.

This element of Fluttershy’s personality is explored most fully in “Putting Your Hoof Down,” when Fluttershy is encouraged to be less of a “doormat” by her friends and ends up enrolling in a self-help program taught by a minotaur named Iron Will. Fluttershy’s personality changes for the worse, going from shy to actually mean. When Fluttershy realizes she doesn’t like the way she’s changed, she shows a more positive form of assertiveness in refusing to pay for Iron Will’s lessons because she isn’t satisfied with them.

Two other huge episodes for Fluttershy are “Hurricane Fluttershy,” in which she overcomes her fear of flight and is cheered as a hero, and “Keep Calm and Flutter On,” in which she displays her assertiveness in dealing with the former villain Discord.

Pinkie Pie is actually technically the first pony Twilight Sparkle meets in Ponyville, but she doesn’t learn much from that encounter as Pinkie rather characteristically “spazzes out” and takes off for no apparent reason. We see her again after the other ponies have been introduced, however, when she throws a surprise party to celebrate Twilight’s arrival to Ponyville.

Pinkie’s episodes have been rather appropriately random, and out of all the characters she’s probably the one that has a least coherent character arc. In “Swarm of the Century” she seems to have rather nonsensical reactions to the crisis facing Ponyville. While the others try to figure out a way to drive off or capture the swarm, Pinkie insists she must collect musical instruments. Her friends write this off as her being incredibly random and unhelpful, but Pinkie ends up saving the town by leading the swarm away with her “one-man band” performance.

In “Feeling Pinkie Keen” we learn that Pinkie has a “Pinkie Sense” that many ponies in Ponyville rely upon, which confounds Twilight as it lacks any scientific or magical explanation. And in “Too Many Pinkie Pies,” Pinkie’s desire to have fun goes overboard when she finds a way to clone herself so she can spend time with all of her friends at once.

But by far Pinkie’s best episode is “A Friend in Deed.” When a new resident of Ponyville named Cranky Doodle Donkey arrives, Pinkie takes it upon herself to find a way to become his friend. She sings what’s essentially her character-defining song (“Smile”). I’m not going to spoil the ending of this one on the off chance that anyone hasn’t seen it (it’s a very important episode, and the clear direct cause of my grudging admiration for Pinkie Pie), but Pinkie ends up doing something really amazing for her new friend.

So, as you can see, the main characters each have a distinct enough personality that we were able to learn the core elements of their characters in their very first appearances. However, they are also realistic enough that they are constantly growing and we are likewise constantly learning new things about them.

Perhaps the biggest asset to this cast of main characters is its diversity. While I get positively giddy at a Rainbow Dash-centric (or Scootaloo-centric, as we’ll discuss next time) episode, there are probably others who groan and ask, “Another one?” Conversely, while I might huff in exasperation about a Pinkie Pie- or Spike-centric episode, there are probably other fans out there who are positively ecstatic about it. There’s something for everyone here.

And that’s just the main characters! Tune in next time for a discussion of the show’s enormous cast of secondary characters.

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My Little Pony and the Elements of Production

As the third season of My Little Pony: Friendship Is Magic draws to a close, it feels like the right time to reflect on what really surprised me by being one of the most well-crafted shows I’ve ever seen on television. Now, I’m going to be honest about something right off the bat: I am a huge fan of the show. The vast majority of these articles (yes, there will be more than one; more on that later) will be critical evaluation that aims to be fairly objective, but I’m not going to entirely resist “fangirling out” as that is an authentic part of my experience with this show. Rather, I am going to include this aspect of my experience with the show, but I am going to limit it to parenthetical asides.

Like the Elements of Harmony from which the show’s “Mane Six” derive their ultimate power, the elements that make this series as great as it is are actually fairly easy to identify. Let’s call them the Elements of Production. Now, although I’m going to recognize the contributions of the more “technical” aspects of the show’s production, I am not an animator or an artist of any kind. So as integral as these parts are to the show’s success, I’m simply not going to have as much to say about them as I am about the plot, characters, pacing, and other aspects that come primarily from the show’s writing.

Anyway, without further ado, the key to My Little Pony: Friendship Is Magic‘s wild success (if you ask me): the Elements of Production.

The first Element of Production is the Element of Animation. This is perhaps the most immediately-apparent Element to new viewers of the series. Although I am not an animator and thus not really familiar with the process that goes into animation, I can recognize when the end product of this process is absolutely stunning as My Little Pony: Friendship Is Magic is. The series has a very distinct style which is both immediately identifiable and pleasing to the eye. And it’s not just the style, it’s the composition of each individual shot, the fluidity of the action, and the great effects used for things like Twilight Sparkle’s magic spells and Rainbow Dash’s Sonic Rainboom.

The second Element of Production is the Element of Sound. Whether it’s skilled voice actors like Tara Strong, exceptional sound effects, or the well-composed music that accompanies each episode, My Little Pony: Friendship Is Magic certainly does not forget the “audio” in their audio-visual medium. The show has also been noted for having some fantastic in-story songs sung by the characters. (Some of the voice actors even do their own singing, while the other characters have singers paired with their voice actors who manage to sound uncannily like the characters’ voices.)

Although both of these Elements are vital to the show’s success, because of my lack of expertise I am not going to devote separate articles to either of them like I will with the others. Rest assured I am well aware of their importance and how much time, effort, skill, and dedication goes into each of them. But as I have previously mentioned, I am just not well-educated enough in the technical details of these two Elements to provide any more insightful analysis into either.

The third Element of Production is the Element of Characters. Though each Element is important to the show’s exceptional quality, this is quite possibly the most indispensable part of the show’s wild success. Whether it’s the exceptionally well-rounded ensemble cast of main characters or the colorful cast of secondary characters, it’s a lot easier to write great material when you start with either great characters or a distinctive setting. (Or, you know, both.)

The show’s main characters, the “Mane Six,” are of course where most of the stories are going to come from. Although they each have very distinct, core strengths to their personalities, those strengths are often undermined by surprisingly strong anxieties that don’t seem to “fit” the formula of their characters. However, these apparent contradictions make a great deal more sense when you consider these characters are being written as though they’re real people, meaning they’re much more complex than “Rainbow Dash is brave, Twilight Sparkle is smart,” etc.

I’m going to devote a separate article to explore this Element in greater depth, as there is a great deal more to say about both the show’s main characters and supporting characters. And yes: the supporting characters, and oftentimes even the background characters, are another tremendous strength of the show.

The fourth Element of Production is the Element of Story. One of the show’s biggest strengths, which was already evident in the previous Element, is brilliant writing. It’s all well and good to have this massive cast of wonderful characters to work with, but that isn’t worth much if the show is just them standing around saying, “Look how awesome I am!” (Unless it’s Rainbow Dash. Then that’s perfectly acceptable and I would have no problem with half an hour of television that was literally just that. I know it sounds like I’m joking… I’m not.)

I’m going to devote an entirely separate article to the show’s approach to story structure, as well as analysis of specific episodes and arcs, but suffice it to say the show’s story writing is top notch both on macro and micro levels (and we’ll get into what that means in the story-specific article). Story is given the same nuanced approach as characterization. There’s subtlety, there’s character development, there’s diversity… that last part is actually a very crucial element. I might groan every time there’s a Spike-centric episode, but it’s very likely that plenty of other people jump up and down with glee at the same. (But really… did there have to be two in a row this season?)

The fifth and final Element of Production is the Element of Maturity. Now, this may sound out of place when discussing a children’s show, but allow me to explain. It has frequently been noted that one of the things this series does brilliantly well is provide exceptional role models for young girls. One of the many great things about the show is that it depicts strong, confident female characters. This is actually true even of, say, Fluttershy, whose defining attribute is (as one might expect given her name) a soft-spoken nature.

Where someone might not expect to derive a basically feminist message from a show about talking ponies with names that include words like “rainbow” and “sparkle,” My Little Pony: Friendship Is Magic is actually able to accomplish this without being remotely “preachy.” All it has to do to get this point across is to focus primarily on female main characters living their lives, fostering relationships, solving problems, confronting great challenges, succeeding, failing (often temporarily or with a larger lesson involved in failure)… in essence, just being. The episodes where they learn something important about themselves and how to be better friends are just as important as the episodes where they save the world. No one has to look at the camera and say, “And that’s why girls are just as good as boys!” but that message is definitely not absent.

Although I will not be writing a separate entry on this fifth Element, you’ll see its hoofprints all over my entries on the Elements of Character and Story. But this last Element is, if you will, the “payoff” of all the others. The net result of these elements is a well-produced show an uncombative but unapologetic message of empowerment.

I found the show charming and pleasant when I first started watching it, but the more I watched it the more I realized something much more serious was going on. In the 1990s, Warner Bros. Animation produced an animated series targeted at young boys that took the unprecedented step of taking its audience seriously. I am referring, of course, to Batman: The Animated Series. It was absolutely one of the best shows in television history, with no special qualification needed for its animated medium.

It took a while, but Hasbro has taken the equally unprecedented step of creating a show targeted at young girls and taking that audience just as seriously. The result, predictably enough, has so far been one of the best shows in the history of television, with no special qualification needed for its medium or for its target demographic.

This is not a fad, this is not going away, and this is not a small deal. And I am loving every second of it.

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Christmas at the Movies Part I: Star Trek Into Darkness

As part of my annual tradition of being sick on Christmas despite not really ever getting sick for the rest of the year, I’ve been fighting a really nasty cold all week. So please forgive me if I am less eloquent than usual. However, as my boyfriend and I decided to take in an IMAX showing of The Hobbit: An Unexpected Journey last night, I find myself unwilling to leave the experience without comment.

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As I may have mentioned previously in this venue, I absolutely abhor 3D films. I know I sound like I’ve grown prematurely old and am yelling at these kids to get off my 2D lawn, but when I get to the film proper I hope it will become apparent that that isn’t what’s going on. The reason I mention this is because there is a very distinct reason I saw this film in IMAX 3D, which was of course to see the first ten minutes of Star Trek Into Darkness.

I realize now that I have not commented here on my so far guarded feelings on Star Trek Into Darkness. Before I get into how I felt about the first ten minutes, let me be clear that I am going to spoil what happened in the first ten minutes of Star Trek Into Darkness, and use that to engage in wild speculation. So if you’re religiously avoiding spoilers please just hang tight until my next article, which will cover The Hobbit: An Unexpected Journey. (And if you’re worried about spoilers for The Hobbit, what on earth are you doing going to see a film like that without reading the extremely-readable book first?)

My history with this film is roughly as follows. A few months back,the obligatory rumors that the villain in the second film would be none other than Khan Noonien Singh began to circulate. This was not unexpected as the second film of the original Star Trek film series is still such a prominent part of modern parlance that Bryan Singer described his intended Superman Returns sequel as “going all Wrath of Khan on it” nearly twenty-five years later. (Yes, it really has been that long.)

The precedent was there, to be sure. When it became clear that Christopher Nolan was planning on reintroducing the Joker, there was a fierce public outcry. No one could replace Jack Nicholson. His performance had just been far too iconic. (I didn’t agree with this at all, incidentally, as I have never been overly fond of his take on the Joker, or Burton’s fan fiction-like approach in general other than the surprisingly-pronounced S&M vibes between Batman and Catwoman, but let’s move on.) And what happened? As everyone knows by now, Heath Ledger completely blew Nicholson out of the water, and delivered perhaps the greatest villain performance of all time.

I still had no problem ignoring those rumors. They were too lazy and obvious and unlikely to be based on anything other than it being an obvious next step. And a short time later a second set of rumors started to circulate: that the villain in the second film would be Gary Mitchell.

If you’re a non-Trekkie, it’s very possible that your immediate reaction was, “Who?” As someone who had seen every single episode of every single Star Trek series by the time the last episode of Enterprise aired (and have been rewatching them in order with my boyfriend for over a year–we’re in season six of Deep Space Nine, if you were wondering), I was very familiar with the character and plot line in question. And couldn’t possibly be less excited.

For those unfamiliar with the story, basically what happened is this. Star Trek was unique amongst television programs inasmuch as it had two pilot episodes. One with Captain Pike (whom most of you probably best remember from Abrams’ first film), one with the more studio-friendly James T. Kirk (though he was named James R. Kirk in that episode… whatever). The studio executives passed on Pike because he seemed too cerebral. And yes, The Next Generation (arguably the best Trek series) used exactly that approach to great effect, but it probably wouldn’t have been as effective without Patrick Stewart playing him. The studio liked Kirk because he was more action-oriented and all-American (despite ironically being a Canadian). A few additional concessions (choosing between having a female first officer as in the first pilot or having a half-alien officer, and we all know how that went), and viola. We had a greenlit series.

One… small problem. If you haven’t seen the second pilot, titled “Where No Man Has Gone Before,” let me just say that in my opinion it is quite possibly the most monotone and most irredeemably depressing Star Trek episode of all time. And Gary Mitchell was quite possibly the least interesting villain in the long, long, long history of the ongoing franchise.

Okay. Obviously all is not lost here. Perhaps they were going to thoroughly rewrite the character to make him more interesting. Like the way they empowered Uhura in the first film. While we’re here, let me at least briefly mention that some of the commentary about that aspect has been downright insulting to how difficult it was for Roddenberry to do even as much as he did with her character at the time. Please keep in mind that Nichelle Nichols frequently tells the story of her meeting with Dr. Martin Luther King, Jr. Yes, Martin Luther King. Because he was still alive when she was doing this. So hopefully that provides some context for what Roddenberry was able to accomplish, okay? (Of course, there is some “equal and opposite” disgusting commentary about how Uhura shouldn’t be a more empowered character when her only job is to “answer the phones,” but it goes without saying that anyone who thinks that is probably a few neurons short of a synapse.)

Or perhaps the rumors were completely wrong, and the villain was actually going to be Kahn (an idea many people understandably recoiled at), or someone else entirely. In a last bit of misdirection, the studio released a teaser trailer that made it absolutely clear (or so I thought) who the villain was going to be. Of course, most of the confused fans who saw the trailer with little outside context screamed, “It’s Kahn!” But I saw something different. I saw Benedict Cumberbatch in a Starfleet uniform. And, perhaps more tellingly, I saw a blonde officer in a blue uniform, whom I considered a dead ringer for Dr. Elizabeth Dehner, an integral part of the Gary Mitchell storyline.

And then, nearly simultaneously, Abrams’ crew finally released the name of the villain, and it was… neither of them. It was someone named John Harrison, whom aside from having a virtually identical name to John Harriman, captain of the Enterprise-B (did I mention I have an encyclopedic knowledge of Star Trek?), is not a character who has appeared in any previous iteration of Star Trek, despite the earlier announcement that Abrams would be using a character who had previously appeared in the original series.

Many skeptical fans (including myself) saw this as a clear case of misdirection. It was “obviously” Kahn or Mitchell, depending on whom you asked. There had been so many conflicting reports for so long (perhaps deliberately on Abrams’ part) that at this point he could stand at a podium on top of the Empire State Building and announce who the villain is and no one would believe him. And perhaps that’s the way it should be. But I remained convinced (and not in a happy way) that it was Mitchell.

Worse, the combination of the writers’ comments that they had “taken cues” from Nolan’s The Dark Knight and the trailer’s obviously intentionally similar tone had me ready to rip my hair out. For crying out loud, can we please not have all of pop culture have to fit Chris Nolan’s aesthetic? Especially when we’re talking about Star Trek, the franchise that’s supposed to be about optimism and humanism and diversity and ethics and violence as a last resort? Please?

I sank into a funk about this upcoming film. I recoiled every time it was mentioned. I tried not to think about it. And then, like a prodigal daughter, I dutifully marched into a packed stadium-style IMAX movie theater last night to see a 3D film, something I pretty much only do if there’s an exclusive trailer for a film I’m very curious about or if there aren’t any convenient 2D showings. (Again, please withhold your judgments until the next article.)

And then something strange happened. I saw a few minutes of thoroughly confusing exposition that revealed Benedict Cumberbatch as… someone. It really isn’t made clear. Worse, there are elements of all three potential villains on display in this teaser, and also some pretty solid arguments against all three (perhaps intentionally on Abrams’ part?). He promises to save a couple’s child after doctors say they can do nothing for her. The maddening thing about this is that that fits both Mitchell and Kahn.

In Kahn’s case, perhaps the child’s disorder is genetic and he can cure her through the genetic engineering that created him in the first place. But that wouldn’t make sense, because Kahn was alive in the 1990s and should be in deep space right now on the Botany Bay, and there’s no reason the Kelvin‘s destruction (which caused the split in the timelines) would cause that to change. In Mitchell’s case, he could obviously use his godlike powers to heal their child. But that doesn’t make sense because Mitchell acquires his godlike powers while serving on the Enterprise, and they would’ve been noticed long before he ever got back to earth.

So now all signs seem to point to this “John Harrison” fellow. Or do they? There has been so many conflicting reports, so much speculation, that it’s difficult to keep track of at this point. After giving the matter some thought, I suppose this previously unheard of character is the most likely answer… but what about the alternate timeline causes him to exist when he didn’t in the original timeline? Or does Abrams even care about that? And if he doesn’t, doesn’t that make the other two villains a distinct possibility?

It’s entirely likely at this point that I am completely overthinking this, and maybe I am… but that’s what I do, okay? If I’m going to try to try my best to look at this franchise both as a fan and as something as close to an objective observer as I possibly can (something I strive for in every arena in which I engage in analysis, be it athletic contest or literature or film), I hope that’s a pretty understandable occupational risk.

Now, aside from the burning villain question keeping everyone up at night (and with three pretty substantial camps all equally convinced they know for certain who it is), a lot more happened in that ten-minute prologue. There was a strong spirit of adventure, which I loved. Captain Kirk still came off like a bumbling fool, which I did not. And there is no way I’m seeing this film in 3D unless they smartly attach the trailer for something else I want to see to it. Before I get into this in greater detail, let me just say that The Hobbit was perhaps the best use of 3D filming that I’ve ever seen (yes, better than Avatar, but I understand it’s quite debatable)… what I saw in this Star Trek Into Darkness trailer was not. It was not even close. At times, it confused the viewer’s eyes as to what was actually going on, especially when Kirk and McCoy were running through the dense foilage. The underwater scene with the Enterprise and the volcano scene were both dramatically more effective, but still probably not worth the price of admission (again, in the opinion of someone who is admittedly far from an apologist for 3D films.)

But what I loved about the first ten minutes was the aforementioned spirit of adventure, and the way Kirk and Spock’s relationship was placed front and center, where it has been since the original series really (mostly) hit its stride. Where it belongs.

… except for all that foreshadowing about that other thing that happened in The Wrath of Kahn. You know (half-hearted spoiler alert for a 1982 film), the part where Spock died. It was there in the actual prologue (with Spock repeating his famous phrase “The needs of the many outweigh the needs of the one”) which, despite its strong association with the character, was actually introduced in The Wrath of Kahh. (Don’t ask me for a source. Trust me. I know these things, as I hope I’ve already demonstrated.) And the scene used in both the teaser trailer and the mini-trailer after the prologue that prominently shows Spock’s hand touching a glass wall, reminiscent of the iconic scene in The Wrath of Kahn that makes me cry every time no matter how many years pass, no matter how many times I see the film.

If they are indeed killing Spock, as has been widely rumored, when Zachary Quinto has proved himself capable of pulling off the impossible, of owning the character in a way that might even match Leonard Nimoy’s performance… I will “go all Wrath of Kahn” on them.

Lastly, can I get a concrete ruling on whether it’s Star Trek Into Darkness (as IMDb and Rotten Tomatoes say), or Star Trek into Darkness (as Wikipedia and Google say)? The textbook rule would be Star Trek into Darkness, as “into” is a preposition, but it somehow looks “wrong” and two of the most widely-regarded film websites disagree with it. Thanks.

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In Honor of Christmas

Aaron Sorkin is the unparalleled master of several elements of his craft, and two of them in particular were on display during the fourth season’s Christmas episode, “Holy Night.”

One is his ability to juggle multiple plotlines. This episode had something “going on” with pretty much every character. You have the President’s and Leo’s guilt and indecision over whether they did the right thing by assassinating a foreign dignitary with ties to terrorists, you have Danny hot on the trail of that story, you have C.J. realizing that Danny’s onto something and emotionally conflicted as she begins to realize he may be right, you have Charlie’s desire to get back together with the President’s daughter, you have Josh disgusted that he can’t help fix the roof of a church on Christmas night because it’s in disputed territory between Israel and Palestine, and you have a highly emotionally-charged subplot with Toby and his father. Wow. Sorry for the borderline run-on sentence, but as you can see there sure is a lot going on.

The second, which is most evident around three-and-a-half minutes into this clip is his absolute mastery of montages that communicate emotional momentum without actually giving away anything about future events. Without words, just music and images, this montage “checks in” with nearly every character (with perhaps the most poignant being the first image, of Danny furiously typing and, we have to imagine, getting closer and closer to his story). As Sorkin often favors jarring juxtapositions, we here have one of the most hopeful songs ever written actually used in a montage whose overriding emotional tone is one that seems to be on the tipping point between hope and a sense of impending doom. Sorkin’s montages were always one of the most phenomenal aspects of the roundly superb program, but this may well be one of his best, as he was at the height of his maturity as a writer.

And on that note, merry Christmas, very belated happy Hanukkah, happy early Kwanzaa, happy other holiday of your choice, or just have a really nice day if you don’t observe any particular holiday.

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I cannot react rationally to this.

So, the news just broke that Joss Whedon has been signed to return to write/direct Avengers 2 (which was pretty much a foregone conclusion) and develop a Marvel live-action television series (which was not.)

If you’ll allow me a moment of uncritical reaction: YESSSSSSSSSSSSSS!!!

Seriously, this is like the nerd equivalent of your favorite team winning the Super Bowl, only you’re the real winner because you get to watch a Joss Whedon-developed Marvel telvision show! And it’s on ABC, so Fox can’t cancel it. (Too soon?)

(Disclaimer: what I am about to say is never going to happen in a million years.) Now, my dream scenario is still Marvel and Fox working out some kind of deal to allow X-Men/Avengers crossovers. “But Marvel crossovers usually suck!” a discerning reader might protest.

… yeah, but imagine if those crossovers were produced by Joss Whedon and Bryan Singer.

Hey, there’s a thought! Why can’t Bryan Singer produce a live-action X-Men television series? Yeah, okay, I’m clearly getting greedy now, but it’s in his pedigree! A lot of people don’t realize he produced House. Yeah, that’s a thing. Look it up.

… okay, I’m getting dizzy. Where am I, again? What was I talking about? Oh, right, Joss Whedon is returning for Avengers 2 and developing a live-action Marvel television series!

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Doctor WHO?

A number of years ago, a very good friend of mine insisted that I watch Doctor Who. She had me watch several episodes of series 1 (2005.) What I had been promised (rather aggressively) was a show that was “better than Star Trek and Star Wars combined!” Although I had little doubt I would find this claim to be wild exaggeration, I did imagine that the show would be at least passably good.

Instead, I saw several episodes of what seemed to be a pretty terrible show. The writing unwisely made the show’s cheesy special effects more or less the centerpiece of the show, but you could hardly blame them as the alternative was focusing on the incredibly awkward actors. I also never quite got over the fact that the music sounded like a bad porn groove. Defenders of the show describe all of this as “cheesy.”

Yeah, no. “Cheesy” I can handle. This wasn’t cheesy. It was bad. There’s a huge difference. So, of course, I figured my experience with Doctor Who was over, and I could relegate it to the realm of things that other people liked and I didn’t. (Note: I don’t spend a lot of time complaining or caring about what other people like and I don’t. What’s the point?)

That was indeed the case until quite recently. A very good friend of mine insisted that I watch Doctor Who. He had me watch the first episode of series 5 (2010.) After doing so, I find myself with a very simple question.

Is this the same show?

The first, most immediately apparent difference was the music. I’m not going to try to argue that it’s great by any general standard, but it’s definitely at least reasonably good. It goes from being a major distraction to being exactly what a television soundtrack is supposed to be if it’s not spectacular: something in the background that enhances the overall viewing experience.

But the real difference was the writing and acting. I was absolutely astonished by how much better the acting is here than in what I saw of series 1. The special effects are still (pardon the pun) nothing special, but that’s not a huge concern when the writing wisely focuses its attention on the characters.

Obviously I have a long way to go with this series, and series 6, and 7 when it comes out if it continues with its current cast. (I am obviously avoiding spoilers, so I have no idea.) In any case, this is a very promising start that I really didn’t anticipate.

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Everyone’s Least Favorite Star Trek: The Next Generation Film

If you asked Star Trek fans what their least favorite Star Trek: The Next Generation film was, odds are the vast majority of them would say it was Star Trek Generations. If you went so far as to ask why, I suspect the most common answer would be that it’s “boring.”

Frankly, Star Trek Generations is pretty easily my favorite Star Trek: The Next Generation film. My reasoning is simple: it’s the one that really “feels” like a longer episode of The Next Generation, except without “Everything Goes Back to Normal Syndrome.” The episodic nature of the Star Trek television series has often prevented them from taking risks or making significant changes to characters. Oftentimes, they would have characters go through life-changing experiences only to have them somehow retconned by the end of the episode so someone who missed that episode wouldn’t be confused by their behavior or circumstances in the next one.

At this point, many will complain that a Star Trek: The Next Generation film shouldn’t feel like a longer episode with higher stakes, but that raises a very important question: who are you making this film for? Fans of Star Trek: The Next Generation, or people who haven’t ever seen the show? Obviously Hollywood will pick the second option. After all, they’re in this to make money, not continue the Star Trek series in a faithful way. While I don’t think it would’ve been impossible to do both, the later films didn’t, they merely chose to err in the opposite direction. So while Star Trek Generations is pretty clearly not the right formula for success with a general audience, given my choice between the style of Generations (seeming “too much” like the show) and First ContactInsurrection, and Nemesis (seeming loosely based on the show), as a Next Generation fan I’ll take the former.

Unlike its sequels, which seem like action films with the Star Trek slapped onto the title, Generations is a gleeful combination of legitimately interesting plot and unapologetic fan service. Let’s ignore the parts with Captain Kirk (yes, I know that’s difficult for a lot of people to do), because as you’ll recall I’m talking about this as a Next Generation film. The film introduces us to the crew at Worf’s promotion ceremony, giving several characters (notably Worf, Riker, and Data) a chance to shine. At the ceremony, Picard receives shocking personal news which will lead to a deep conversation with Counselor Troi later in the film. After Picard’s departure, the ceremony is interrupted by a distress call, and Riker calls for red alert and battle stations, and we’re off to the main plot of the film!

As the main plot of the film (and the ensuing investigation) continues, we get the aforementioned emotional conversation with Picard and Troi, and see the realization of one of the most important unresolved subplots of the series (Data’s emotion chip), which will continue to effect his character arc throughout the film before culminating in a highly charged argument with Captain Picard. The pace continues much like a Star Trek: The Next Generation episode… until Dr. Soran blows up a star, and a Klingon Bird of Prey shows up.

During the ensuing pursuit, Data must come to terms with all of the consequences of having emotions, and the final battle between the Bird of Prey and the Enterpise (with Riker in command) is unique among Star Trek movie action scenes because it actually seems to follow the “rules” of the show. It isn’t on a dramatically larger scale than any action scene we’ve seen on the show, but again, because of the “raised stakes” of the film, the outcome and consequences (the Enterpise-D‘s evacuation and destruction) are able to be dramatically different.

Star Trek: First Contact did at least continue the theme of picking up on somewhat unresolved plots (Picard’s experiences with the Borg)  and shows us a profoundly important historical event (the titular First Contact with the Vulcans, which was a pleasant surprise even though it seems pretty obvious in retrospect). But Picard’s experiences with the Borg aren’t really explained so much as they are used as a thinly-veiled excuse to make an action film and call it Star Trek. Like the next two films, First Contact jumps at any chance to transform Captain Picard into “Jean Luc Picard, Action Hero!” (though, it seems somewhat less farfetched here.) While I enjoyed Star Trek: Insurrection and Star Trek: Nemesis purely from an entertainment standpoint, they seem to be action films that bear little relation to the Star Trek franchise as a whole, and don’t even try to hide behind a storyline from the television series like First Contact did.

But if you’re a fan of Star Trek: The Next Generation, I assume that means you’re a fan of the characters, pacing, tone, and themes of the show, so it honestly blows my mind that you can be a fan of the show and have Generations not be your favorite of the four.

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Big Bang (Queer) Theory: I’ll still pass.

You can tell a lot more celebrities are out now, because I no longer feel that dumb compulsion to automatically respect their work because of their identity. The Big Bang Theory is lowest common denominator trash that relies on stereotypes for cheap laughs, and I won’t suddenly like it just because its star came out as gay. If you want a less sexist version of the same concept, the British show The IT Crowd is much more self-conscious about the sexist overtones of its subject matter and portrays women as normal people who don’t look like supermodels, and male geeks as normal people who didn’t just barely escape being locked permanently in the dungeon of their parents’ basement.

I think the difference between The Big Bang Theory and IT Crowd is really the difference between British comedy and American comedy: subtlety. Moss and Roy don’t know more about computers than Jen because she’s a woman: they know more about computers than her because they’re the only people on the show who know anything about computers. The show is basically about the frustration of an IT department in a professional setting. Furthermore, Jen is depicted as a fairly down-to-earth, intelligent person. She is perhaps nearly as quirky as her male subordinates, but she’s hardly brainless. If you want an unintelligent character in the show, you’re going to have to look at the company’s (male) bosses.

The Big Bang Theory is a show that, in order to show the “great divide” between geeks and non-geeks, falls back on the age old wisdom that men and women live on completely different planets, and seldom visit each other on equal terms. We’ve seen this formula in many popular American sitcoms in dramatically different contexts (Everybody Loves RaymondHome ImprovementModern Family). Though the formula is generally for a bumbling husband and an intelligent wife, obviously the “nerdcore” version calls for a technically inept but socially proficient female and technically proficient but socially inept male (or males.)

Or you could go the British/It Crowd approach and recognize that men and women are essentially people, recognize that your concept has some sexist overtones, be self-conscious about it, and just keep that in mind while writing great comedy that doesn’t require its audiences to leave their brains at the door.

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Dear people who have a problem with adults liking My Little Pony,

I’m certain you have 20 minutes to spend finding out why you’re wrong.

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My Little Blogger: Politics Is Bullshit

Ill-content with their party’s War on Women, and broader War on Common Sense, conservative bloggers have decided to jump in and talk about something that really matters… My Little Pony: Friendship is Magic?

Yes, apparently one of the most disturbing trends facing America today is that young adult and adult men watch a television show that Mr. Schlichter does not approve of, despite likely not having seen a single episode. In an article that is quite academically interesting if you want a fine example of the way conservatives see gender, Schlichter delivers such gems as:

“All the while, as these pathetic sissies giggle like school girls over magic unicorns that spray rainbows from their horns, real men – and women – who have put aside the temptation to retreat into a frivolous fantasy world are tromping through the wilds of Afghanistan. Such young adults, some younger (in years) than the “bronies,” are protecting all of us – including these pathetic weirdoes.”

“Pathetic weirdos”? Right. What’s pathetic, Mr. Schlichter, is your archaic attitude about gender. What’s pathetic is that you would dedicate such vitriolic rhetoric to the fact that some people enjoy things that are different than what you enjoy. And yes, though you mock the idea later in your article, what’s pathetic is that you (and others like you) think you get to decide what boys (and girls) should and shouldn’t like.

What’s pathetic is the fact that you (and others like you) ignore any inconvenient fact that doesn’t fit the narrative you’re trying to construct. This is a small point, but My Little Pony: Friendship Is Magic is filmed in Vancouver, a good 2,000 kilometers away from Hollywood. But that doesn’t fit your traditional conservative narrative that “Hollywood” is ruining America, so naturally it doesn’t stop you from insisting the show comes from “Hollywood” no less than five times in your one-page article. A bigger example is that you manage to completely miss the point of Star Trek by insisting that it shows what boys and men “should” be like, when in fact Star Trek was always quite exceptional at portraying a culture that prized diversity. Furthermore, you suggest Star Trek embraces violence when, in fact, it treats it as a last resort.

What’s pathetic is that you, Mr. Schlichter, are something that this country as a whole is finally starting to realize is not okay: a bully.

Bronies aren’t pathetic, Mr. Schlichter. You are.

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