YELLOWJACKETS Season 1 (November 2021)

YELLOWJACKETS Season 1

(November 2021)

“Something's coming.”

Now here’s a recipe:

 
Take a couple of chunks of Lost; the first, a plane crash; the second, a narrative timeline sliced into two, where we toggle back and forth between the crash and the mysteries and horrors of its direct aftermath, and 25 years later, where we see the survivors still dealing with all their shared, secret trauma.
Oh, and maybe grab some handsful of possibly supernatural craziness from Lost as well, and sprinkle that all over.
 
Then take a chunk of Lord of the Flies, and gender-reverse it, as we witness the trials and terrors of a girls’ high school soccer team who spend over a year and a half(!) out there in the wilderness doing shuddery, unimaginable things in order to survive.
 
Take a number of stand-out established actresses (Tawny Cypress, Melanie Lynskey, Juliette Lewis, and Christina Ricci) and cast them as the adult survivors, then take a number of young and very capable up-and-comers--among them Jasmin Savoy Brown (The Leftovers and the current Scream) and Liv Hewson (Santa Clarita Diet)--to fill out the teen roles, some of which are of course, the younger versions of the aforementioned established actresses.
 
Then take a whole bunch of suh-weet needle drops and sprinkle those around too, and what you get, is Yellowjackets.
 
“Of course that’s how it ends. That’s all we are the whole time. It doesn’t matter; we’re just shells with nothing inside.”
 
The feeling has gone, only you and I
It means nothing to me
This means nothing to me
Oh, Vienna
--“Vienna”
     Ultravox
 
So yeah, on the way to Nationals, the Wiskayok Yellowjackets’ plane crashes in the depths of the Canadian wilderness, the inciting incident of this compelling and compulsive series, which, thanks to that dual timeline, is both a brutal and twisted coming-of-age tale, and an examination of women creeping up on middle age whose lives’ trajectories were forever altered all those years ago, out in those deep, dark woods.
 
And, just to assure you, lest you start to think this is all doom and gloom, let the records show that Yellowjackets has a sense of humor.
Sometimes dark and bleak and black, other times absurd yet somehow still emotionally resonant.
So yes, there are laughs, in betwixt the secrets and the mysteries, the blackmail and the blood and the… ummm… disturbing diet these girls may have had to resort to in order to survive.
And, speaking of surviving, that’s one of the key mysteries that drives the narrative: who exactly survived long enough to get rescued, and what exactly did they have to do to make it out of there.
 
“We won’t be hungry much longer.”
 
And if you bore me,
You lose your soul to me…
--“Gepetto”
     Belly
 
And did I mention the needle drops?
Aside from the ones that get quoted here, you can also savor tracks by Liz Phair, Kim Wilde, The Prodigy, Portishead, and Dinosaur Jr.
Yum!
 
And that theme song!
“No Return” indeed!
Brought to us by Craig Wedren and Anna Waronker (who also score the show), and wedded to that disturbo found footage credits sequence!
Chef’s kiss!
 
“I know what I saw. I don’t know what it meant… but I know I saw something. Something was out there with us.”
 
I think it’s strange you never knew…
--“Fade into You”
    Mazzy Star
 
So if all that smells enticing, then hey, you’re cordially invited to this scrumptious mystery box feast, with the Pilot episode directed by Karyn Kusama, and the season finale by Eduardo Sánchez, both names that have graced the ¡Qué Horror! Archives.
Kusama gave us The Invitation, while Sánchez was at the helm of ¡Qué horror! 2010 title Seventh Moon, 2012’s Lovely Molly, and the pre-online ¡Qué horror! Altered.
 
And don’t worry, ‘cause the show’s been renewed for a second season, so we’re at least assured of still more hijinx beyond the kookoo bananas craziness of this wondrously glorious first season.
Goooooo, Yellowjackets!
 
“What? There’s no book club?!”
 
Oh help me Jesus,
get through the storm.
I had to lose her –
to do her harm.
I heard her holler.
I heard her moan.
My lovely daughter –
I took her home.
--“Down by the Water”
     PJ Harvey
 
Parting Shot:
Yellowjackets has just received two nominations at this year’s Writers’ Guild Awards, for Drama Series and New Series.
Competition is stiff in both categories, so we’ll just have to see how things turn out on March 20, when the winners are announced.
 
Yellowjackets also gobbled up two nominations at this year’s Critics Choice Awards, one for Best Drama Series, and the second for Best Drama Actress (Lynskey).
Competition is likewise stiff over there, so we shall see on March 14 how the Critics Choice Association vote…
 
For what it’s worth, once more: Goooooooo, Yellowjackets!
 
“What if the truth is just that we’re all f*cked in the head from what happened to us?”
 
(Yellowjackets key art courtesy of amazon.com.)

¡Qué horror! 2014

Candidate #3

STATIC

(November 2012)

It's a familiar set-up: the Dades (Milo Ventimiglia, also serving as an Executive Producer, and Person of Interest’s Sarah Shahi) are living out in the country. Their marriage isn’t in the best of places. Meanwhile, the arrival of a stranger (Sara Paxton, no stranger to ¡Qué horror! territory due to Dennis Iliadis’ The Last House on the Left remake and Ti West’s The Innkeepers) throws things even more of out of whack, and Static’s tale begins in earnest.

Though this is largely an entry in the home invasion sub-genre, there’s more that goes on here, courtesy of director Todd Levin, working from a story and screenplay credited to himself and three other individuals (Gabriel Cowan, Andrew Orci, and John Suits).

And while a home invasion entry is certainly nothing new these days, not to mention that where Static ends up also isn’t particularly new, the execution is nonetheless commendable. Also, there’s a certain slant that’s given to the proceedings that is admittedly an uncommon angle.

We also get to briefly see Lost’s William Mapother, so that’s always a plus.

To say more would unduly spoil things, so the best I can say is, stay alert and observant; you may, after all, get an inkling of where the film is going before the climax.

Parting Shot: A review of The Last House on the Left remake (incidentally a ¡Qué horror! 2009 title) lurks in the Archive.

(Static OS courtesy of upcoming-movies.com; DVD cover art courtesy of bloody-disgusting.com.)

LOST
Season 4 Episodes 13 & 14
“There’s No Place Like Home” (Parts Two and Three)
Written by Damon Lindelof & Carlton Cuse
Directed by Jack Bender
(WARNING: SPOILERS)

Given the density of events (and resultant chaotic emotions left in those events’ wakes) in this season’s 2-hour finale, I opted to break this into 2 parts, if only to make it a more manageable read.

[2 of 2]


Meanwhile, back at the Orchid, with Keamy now good and croaked, Ben triggers the Vault, which has its own minor ka-blooey moment.
Ben then puts on that fleece-lined parka we saw him in in the Sahara (quadruple hmmmm…) and tells Locke to go back to the Others and to lead them.
In another brilliant moment that made me actually care for poor, manipulative Ben, it turns out that Jacob told Locke to move the Island, but not how, because he wanted Ben to do the dirty work, because it seems that whosoever moves the Island, can’t ever come back to it.
Ever. (Or so poor, manipulative Ben claims.)


So Locke leaves, and we see him later on being welcomed by Richard and the Others.
Jacob’s b!tch, Ben, on the other hand, goes through the ruptured Vault into some sort of frozen rocky area, where there’s a large wheel (the Frozen Donkey Wheel, I assume), which he then struggles to turn.
And here, Ben, the disgraced and out-of-favour son, looks broken and he’s actually crying, even as he turns the wheel…


… and there’s a sound in the air…

… and there’s a light in the sky…


… and even as the people on the helicopter watch (Frank intending to land on the Island again before the fuel runs out)…


… and even as Ju-Ju and Sawyer on the Beach watch…


… and even as Idiot Zodiac Daniel and his second group of sock puppets watch…


… and even as the Others and their newly anointed leader, Locke, watch…


… the…


… Island…


… disappears…


It’s just gone, and apparently, so is the other smaller island where Jack, Kate, and Sawyer were imprisoned in the first part of Season 3.
So, without any Island to land on, the helicopter finally runs out of fuel, and goes ker-plash.
All the Oceanic Six survive, of course, as does Frank, and there’s a moment or two when they make it look like Des took too much seawater in the lungs, but Doc Obsesso does mouth-to-mouth, and Des sputters, coughs up salt water, and keeps on breathing. (Unlike poor Charlie, Des, who you sent down to a watery grave on the strength of a vision involving, oh, what was it again? Oh yeah! Claire and Aaron. On a helicopter!!!)


So the Oceanic Six plus two are floating on the helicopter’s life raft, when they spot a ship out in the night, and even as they’re shouting for it, I have a nasty flashback to Season One’s finale, and Mr. Friendly asking for Walt…
Jack though, is more concerned about something else, so he tells the others about the Great Lie.
Well, not the details, not yet, but rather, that they just have to lie, about everything, to keep those they left behind safe, from whoever sent that freighter.
But when the Searcher comes close enough, it turns out to be… Penny’s boat!
So Des and Penny get their happy, happy moment, and yes, I am moved by it, but I must ask, Where’s Claire’s semi-happy moment? Damn you, Desmond! Damn you, Lindelof and Cuse!


So the next week is spent off-screen, hatching the details of the Great Lie, and even as the Oceanic Six gather to get on a raft and make it to Membata, it looks like Sun’s still in deep, deep shock.
Frank stays on board the Searcher, of course, as does Des, who says he’ll be okay, so long as he’s with Penny. (What about Claaaaiiire?!?)
And the Oceanic Six make it to Membata…

Now, let’s spin our own Frozen Donkey Wheel, and check out those flashforwards…


Kate has a dream where she sees Claire in Aaron’s room, and Claire tells Kate not to bring Aaron back (to the Island, I believe we can safely assume).
And I think, Oh great, Claire’s really dead, isn’t she? (Damn you, Desmond!)
If she is dead though, why is her ghost (for lack of a better term) telling Kate not to bring Aaron back to the Island, when, normally, the “ghosts” exist to do the Island’s bidding, and as we’ll find out later, everyone has to go back to the Island?


Hurley gets a visit at the loonybin, from… Walt!!!
Walt, who, all growed-up now, tells Hurley he was paid a visit by “Jeremy Bentham,” the fellow in that Season 3 finale coffin.
Walt, who asks Hurley why are they lying about what happened, and Hurley answers, To keep the people we left behind safe.
Like my Dad, poor, hideously naïve Walt asks.
Yeah, Hurley lies, like your Dad…


Hurley then later gets another visit, from… Sayid, a.k.a. Ben’s Crying Freeman.
Sayid tells Hurley about Bentham’s “suicide,” and that he’s breaking Hurley out of the loonybin, to take him someplace safe.
Hurley makes certain, You’re not taking me back there, are you?
No, I’m not, Crying Freeman lies.
And Sayid’s arrival breaks up a chess game Hurley’s apparently having with an unseen Mr. Eko…


And in a shocking flashforward, Sun is in London, and has a chat with… Da Widmore!
From the conversation, it’s clear that Sun’s corporate take-over has successfully placed her in charge.
It also becomes apparent (or so they’re making us think), that Sun is willing to help Da W. find the Island again. (Is this truly Dark Sun, or is she playing along with Ben’s puppetry, to take down the other man she feels is responsible for Jin’s death? But who does Sun hold ultimately responsible, along with her father? Da W.? Or Ben? Or (gasp!) Jack?


And in another shocking flashforward, and a return to that night that began in Season 3’s finale and continued in this finale’s opening moments, Jack returns to that damned anagrammatical funeral parlour. He breaks in, and stands before the closed casket of “Jeremy Bentham.”
But who should also arrive to pay his respects, but… Ben! (Effectively taking him off the Casket Candidate List… Oh. No.)
It turns out that “Bentham” (Oh. No.) not only visited Walt, he also contacted Jack and Kate, and apparently told Jack that after they left the Island, bad, bad things happened, and that they happened because Jack and the others were never meant to leave, and thus, the bad, bad things were all Jack’s fault.
“Bentham” (Oh. No.) was trying to convince them that they all had to go back to the Island, and Ben agrees. And of course, at this point, so does Beardo Jack. Ben’s even aware of Jack’s scarily pathetic flights on Oceanic, just hoping for another crash.
Ben points out though, this is only going to work if you all go back.
Jack then says (oh the poor, depressed, guilt-ridden guy), Hurley’s nuts, and Sun blames me for Jin’s death, and I don’t know where Sayid is, and Kate won’t even talk to me…
Ben then says, I think I can help you with that.
Then, in a morbid turn that ranks right up there with Locke carrying his dead conman da’s body on his back, Ben says, You all have to go back, even him, and we all then get to see the man in the casket, and it’s (Oh. No.) John Locke…

COUNTDOWN: 34.

Parting shot: So the Season 4 2-hour finale originally aired May 29, and I had had this post written and ready a few days afterwards.
It’s suddenly late-November and Season 5 is less than two months away, and only now do I actually get this recap on the Iguana.
Which just goes to prove it isn’t only on the Island where time goes all wonky…

(Lost OS courtesy of impawards.com.)

LOST
Season 4 Episodes 13 & 14
“There’s No Place Like Home” (Parts Two and Three)
Written by Damon Lindelof & Carlton Cuse
Directed by Jack Bender
(WARNING: SPOILERS)

Given the density of events (and resultant chaotic emotions left in those events’ wakes) in this season’s 2-hour finale, I opted to break this into 2 parts, if only to make it a more manageable read.

[1 of 2]

Okay. So the “Frozen Donkey Wheel” has been revealed to the world, and we now know who emerged on the top of the Casket Candidate List (my top three: Michael, Ben, or Locke).
Given the density of events in this season’s 2-hour finale, you’ll perhaps understand if I may inadvertently leave some bit or other out.
Hopefully though, senility won’t get too much of an upper hand…
Into the breach then…


Wondrously, majestically, that spectacular final moment from last season’s finale, comes all the way around the past dozen episodes, and segues into the opening moments of this season’s finale, as Kate actually stops the car in response to Beardo Jack’s plea of returning to the Island.
They have another heart-wrenching conversation, which firmly establishes that it’s been three years since they got off the Island, and that, no way is Kate ever going back there.
Ever.

Now, I’ll have to break protocol and leave off from the flashforward for the moment, and take on the Island goings-on first.

Zodiac Daniel returns to the Beach for the second group to be ferried to the Kahana, and he tells Miles and Charlotte that they should both be on the Zodiac when this trip leaves.
Miles though, opts to stay on the Island (hmmmm…), and is actually surprised that Charlotte seems to be willing to leave the Island as well, considering how hard she’s worked to “get back here” (double hmmmm…).
True enough, when Daniel asks Charlotte again, she says she’s staying, and says something about not yet having found the place where she was born (triple hmmmm…).
So Daniel reluctantly leaves Charlotte, and when Juliet says she’s staying too, since she promised she wouldn’t leave till everyone was safe (did she? I can’t recall that… Go, Ju-Ju! Go!! Can’t you see that look Daniel has? And Daniel, you moron! Tell her!!! Graaarrr!!!!)
So Idiot Zodiac Daniel zooms off…


Meanwhile, Richard and the Others finding Kate and Sayid last episode turns out to be a gambit to rescue Ben.
Even as Keamy is bringing Ben back to the helicopter, where they find Frank still trying to break out of the handcuffs, Kate runs into the clearing, supposedly escaping the Others’ clutches.
The mercenaries fan out into the jungle, but it’s a trap, of course, and they’re picked off one by one, as Kate and Ben scamper off into the jungle, Keamy in hot pursuit. Keamy’s then tackled by Sayid, and a brutal tussle kicks in. It looks like Keamy’s gonna break Sayid’s neck, when Keamy’s shot in the back (by Richard, if I recall correctly).
He’s apparently dead. (Riiiiiighhhht.)
Ben asks what the arrangement was, and Richard says, They help us, and we let them get off the Island.
Ben says, Fair enough. Take the helicopter.


Meanwhile, Jack and Sawyer find Hurley (relieving himself, if I’m not mistaken).
Locke (who can’t find the damned flower Ben mentioned) then attempts to draw Jack into a conversation, to try and convince him that he’s not supposed to leave the Island.
Doc Obsesso doesn’t listen, of course.
Locke, seeing that he can’t change Jack’s mind, makes the plea for the Great Lie, so as to protect the Island. Doc Obsesso scoffs, It’s an island. It doesn’t need to be protected.
Locke says, It’s not an Island. It’s a place where miracles happen.
Naturally, Doc Obsesso claims there are no such things as miracles (despite having gotten his future ex-wife-to-be to walk again, when all indications pointed to the fact that he’d failed to help her)…
Jack is just leaving, when Ben returns. Ben then tells Jack about Kate and Sayid being at the helicopter, and that he should leave if he still intends to.
Jack watches as Ben and Locke get into an elevator and descend into the real Orchid Station.


Jack, Sawyer, and Hurley reach the helicopter, and even as they’re all getting aboard, I’m thinking, So what’s gonna happen to Sawyer (since he isn’t part of the Oceanic Six)?!
And when Hurley asks Jack if they’re coming back to look for Claire, and Jack says, Sure, I’m also thinking, Damn you, Desmond! Where’s your Claire and Aaron getting on a helicopter flash?! Damn you, Lindelof and Cuse! Where’s that flaaaassssshhhh?!?
The answer to the Sawyer question comes soon enough though, as it appears a bullet hit the helicopter and they’re leaking fuel, so if they don’t land soon, they go ker-splash.
Needing to lighten the load, so they can get to the freighter faster, everything that isn’t bolted down gets tossed into the ocean, including… Sawyer!
Actually, when Frank says he’ll be happier if they lose another 200 pounds, there’s a sad shot of Hurley (who’s probably having a traumatic flashback to the whole “dock collapse-due-to-my-weight” thing), before Sawyer whispers something in Kate’s ear (presumably the favour she attends to later on, presumably involving Cassidy and Sawyer’s daughter), liplocks with Kate (which Jack sees with his own Obsesso eyes), then jumps out of the helicopter!
Jack promises they’ll send the helicopter back to look for Sawyer once they’re safely on the freighter. (Riiiiiighhhht.)


Meanwhile, back on the freighter, where it’s supposed to be safe (damn you, Lindelof and Cuse!), Des, Michael, and Jin try and figure out how to stop the C4 from going ka-blooey.
Even as Des (who had some six months’ experience with explosives during his military stint) determines that the C4 will go ka-blooey when some device or other receives a radio signal, Michael figures they can freeze the battery with liquid nitrogen to prevent—or at the very least, slow—the chemical reaction that will trigger the ka-blooey-ness.
(Guessing though that that thingy on Keamy’s arm is what’s supposed to trigger the ka-blooey-ness, why hasn’t the freighter blown sky high yet? Because Sun and Aaron are still on it! Which also means that Keamy’s still alive, despite those bullets to the back…)


And, true enough, who should take the down elevator to the Orchid, but Keamy and his body armor!
But first, Locke is shown the initial portion of the Orchid Orientation video, which seems to indicate that, as Ben succinctly puts it, “time-traveling bunnies” are indeed possible! (Thus, we have confirmation that there is actual physical time-traveling going on in the Lost-verse.)
According to the video, “The Vault” (built adjacent to a “pocket of negatively-charged exotic matter,” where the subject meant to do the time-traveling is to be placed) is also supposed to be kept clear of any metallic objects, but even as Locke is learning this, Ben the Busy Bug-Eyed Bee is placing everything metallic that he can find in the station, into the Vault!
Which is when Keamy arrives.
There’s a conversation, and a scuffle, and when Keamy unwisely goads Ben about Alex’s death, Ben goes postal and stabs the baddie… despite Keamy already having explained about the dead man’s trigger on his arm, and the freighter’s instant ka-blooey-ness, should his heart stop beating.
Locke tries to save the schmuck’s life (so as to prevent the freighter instantly going ka-blooey), but he fails…

… Keamy croaks…


… and back at the Kahana, the light goes red, giving them all about 5 minutes to get off it before the impending ka-blooey.
So Michael valiantly stays to continue freezing the battery to slow the chemical reaction. He tells Des and Jin to go, though Jin stays by Michael’s side.
Even as Des gets to the upper deck, the helicopter comes in, needing to land badly, to refuel.
In the few short minutes of the helicopter actually being on the freighter’s deck, they do their best to plug the bullet hole, pump as much fuel in as they can, and scramble back on board the helicopter.
Below deck, Michael runs out of insta-freeze, and tells Jin, Go, you’re a father now. Take care of your wife and baby, so Jin takes off for the upper deck.
Meanwhile, Sun wants to go below deck to get Jin, but Kate tells her, I’ll go, you take Aaron to the helicopter.
But Jack grabs Kate and says, I’m not leaving without you, and drags her back to the helicopter.
Frank takes off, the Oceanic Six and Des on-board (and I’m thinking, Oh no, what happens to Des?), even as Jin makes it onto the deck, and Sun’s screaming to go back for Jin, and Christian appears to Michael and dismisses him (“You can go now, Michael”), and the Kahana goes ka-blooey.
And poor Sun just keeps on screaming, till Jack tells her, He’s gone, and I’m thinking, Oh no, Sun’ll never forgive him…


So the freighter goes ka-blooey, taking Michael with it (he was right next to the C4, right? This also effectively takes him off the Casket Candidate List…), along with all the poor sock puppets ferried there to their doom by Idiot Zodiac Daniel.
As for Jin, he could have conceivably been blown off the freighter by the explosion, or am I being hideously naïve here?

Back on the beach, Sawyer rises from the sea, shirtless now (and a host of female Lost fans shriek with mad glee), to find Ju-Ju getting sloshed on Dharma rum.
So what are we celebrating? he asks.
I’m not celebrating, Ju-Ju replies, pointing to the column of smoke out at sea.
Our boat? Sawyer asks.
It was, says poor, poor Ju-Ju, who has, yet again missed her chance to get off the Island…

COUNTDOWN: 35.

(Lost OS courtesy of impawards.com.)

THE MIDDLEMAN
Season 1 Episode 6
“The Boy-Band Superfan Interrogation”
Written by Jordan Rosenberg
Directed by Norman Buckley


“Wow, there really is a hole in space.”
“With a duck caught inside.”

Ah, now this is my favourite episode thus far.
Yes, the Dub Dub personal life subplot (Pip copies Wendy’s paintings and passes them off as his own) doesn’t mesh very well with the main MiddlePlot, but this one’s got some killer lines, hilarious moments, the fate of the world—and Ida—in the balance, and, oh yes, boy bands…


“How could you be alive and not know Varsity Fanclub, Dub Dub?”
“How can you know Varsity Fanclub and not want to end it all?”

Varsity Fanclub (“… only the most popular boy band in the world!”), comprised of “Jake the crooner, Thomas the heartthrob, Bobby the street tough, Drew the charmer, and the requisite man of mystery, David,” are at the heart of this episode’s MiddlePlot, and it’s a hoot and a half.
I won’t get into the deets (as Pip would put it), but suffice it to say that not only does the episode maybe-reference SF TV series V, it also most definitely references A New Hope and George Lucas.


“But I’ve always been fascinated by the ability of pre-assembled sets of sub-masculine archetypes to tug at the heartstrings of a 12- to 17-year-old fan base.”
“Funny, I’ve always been fascinated by their ability to bring up my lunch.”

Granted, the subplot does seem rather removed from the MiddlePlot, but it does contain some thoughts on art and artists, which racks up some more points for this one.
Still and all, the star here is Jordan Rosenberg’s sinisterly laughable take on pre-packaged popular music, and how the fate of the world may very well lie in the hands of the tween set.
Be afraid.
Be very afraid.

“Only tween-age screams of ecstasy have the strength to cut a hole in space itself! How could I not see it before?”

Parting shot: Just as Ali Damji owned his scene in “The Flying Fish Zombification,” Alan Smyth’s High Aldwin, Supreme Commander of the Clotharian Rebel Fleet just slays…


Parting shot 2: Jordan Rosenberg is, like the mighty monster that is Gree-Joe Marks-Watch, also a Lost alum; Rosenberg co-wrote Season 3’s “Par Avion” with Christina M. Kim.

(Images courtesy of abcfamily.go.com and themiddleblog.livejournal.com.)

A Rundown of the 13 Best, Most Recent Horror Movies I’ve Seen
[10 of 13]
CLOVERFIELD (January 2008)


… following in the wake of Bong Joon-ho’s Gwoemul and Frank Darabont’s The Mist, Cloverfield is clearly another towering entry in the annals of creature features, a pulse-pounding monster movie for our post-9/11, YouTube world of instant documentation, upload, and access, where creatures can exist and wreak havoc on both the silver screen and the World Wide Web.

Read the entire review here.

(Cloverfield OS courtesy of bloody-disgusting.com.)

FRINGE
Season 1 Episode 1
Pilot
Written by J.J. Abrams & Alex Kurtzman & Roberto Orci
Directed by Alex Graves
(WARNING: SPOILERS)

When Fringe was first announced by the trades, I had a number of reservations:
One: though J.J. Abrams’ name was attached, I can’t say I love everything he’s worked on.
If you’ve visited the Iguana before, you may know that I’m a big Lost fan, and I was also a fan of Felicity. And Cloverfield was brilliant.
But I never got into Alias, and I wasn’t that thrilled with Mission: Impossible III either.
Two: the other writer/producers announced were Roberto Orci and Alex Kurtzman, whose scripts for M:i:III and Transformers didn’t inspire much confidence.
Three: the supreme hurdle for the show, as far as I was concerned—the premise sounded terribly X-Files-ish.

So how could the show get out from under that daunting shadow? And could the Pilot, at the very least, win this X-phile over?
I think I’d have to say the answer is a qualified “Yes.”


First off, the Pilot has a very effective pace, keeping the narrative engine going at a fast clip, while allowing time for involving character bits.
We have FBI Special Agent Olivia Dunham (Australian actress Anna Torv), whose very personal stake in the preliminary case is telegraphed well, her desperation and anxiety palpable without being overpowering.
Then there are the father and son issues between underachieving genius (IQ 190) Peter Bishop (Dawson’s Creek’s Joshua Jackson) and his mentally unstable father Walter (played most excellently by mad King Denethor himself, John Noble, incidentally also Australian).
Oh, and the case—which will require the expertise of the elder Bishop, institutionalized nearly two decades ago, and the younger Bishop, who must serve as his father’s guardian—involves the very messy deaths of all the passengers and crew on an international flight which lands at Boston’s Logan Airport on auto pilot. (I was hoping it would be an Oceanic flight, but alas, no such luck…)

Is there, perhaps, a smidgen of convenience in the speed at which matters are expedited on the Pilot? Maybe.
But I’ll let it slide, as it is, quite literally, a life-or-death situation, and the fact remains that the Pilot never drags, and it’s a great opener that’s got the thrills, the laughs, and the requisite Abrams air of mystery to make it eminently watchable.


Clearly, this is the first Orci-Kurtzman script that’s kept me attentive and absorbed, and all involved lucked out with their casting of Noble as the certified (and certifiable) genius.
Noble delivers a portrait of tragic intelligence, laced with an unnerving air of potential lunacy, the kind of brilliance fueled by an unfettered mind. And what is more freeing, after all, than insanity?
Plus, Walter gets the best lines, and Noble delivers them with a grand, understated flourish. (The LSD bit is priceless.)

If there’s anyone in the cast who still hasn’t completely won me over by the Pilot’s end, it’s Jackson, who, unlike Noble, doesn’t quite emanate “genius” (unstable or otherwise) from his acting pores. Sorry, but at the moment, Peter just doesn’t seem to scream “190 IQ.”
We’ll see though. Still early in the game…


Getting back to the pluses, the mystery throughline for the show—“the Pattern”—is introduced effectively in the Pilot, a hook which is central to Fringe’s viral marketing, complete with the show’s catchphrase: Find the Pattern.
There’s also a megacorporation—Massive Dynamic (“Your World Is Our World.”)—that figures into the narrative goings-on, has a connection to the elder Bishop’s past, and whose motivations are, to say the least, shadowy.
Oh, and their equivalent of the on-screen text to establish setting (ala X-Files) is a neat visual which takes a page from Heroes’ chapter titles. (I particularly love the bit in Iraq.)

Now, all indications seem to point to the show being more episodic, as opposed to the heavily serialized nature of Lost.
Given though that there is “the Pattern” to contend with, I imagine Fringe may follow the lead of—and yet again, the comparison arises—The X-Files, which was largely episodic in nature, with the mythology episodes popping up over the course of its run.
Or, perhaps the template here will be more akin to Alias, as I can’t imagine Fringe will have out-and-out comedic episodes as The X-Files did.


Regardless, the show owes much to Chris Carter’s pioneering work, as well as all the test driving the post-X-Files shows of this stripe managed over the intervening years.
While it understandably took stretches of The X-Files’ freshman season for all involved to work the kinks out of the show (after all, there wasn’t really any precedent as far as the kind of series it was aiming to be), the Fringe Pilot is pretty much a fully-formed, ably constructed entity.
Not as audaciously slap-in-the-face as, say, the Lost Pilot, or, going back further, Twin Peaks’ opening salvo, mind, but effective and involving nonetheless.

So consider me hopeful and strapped in for the ride, though I will admit to still having some reservations about the upcoming experience.
Colour me cautiously optimistic over this one.


(Images courtesy of impawards.com [Fringe OS, design by FOX IN], latimes.com, tvweek.com, fringetv.blogspot.com, and fringetelevision.com.)

AFTERTHOUGHTS (103)
SCREAM, BABY, SCREAM 2008

The nominees for this year’s Scream Awards have just been announced, and those that have got me jazzed are:


30 Days of Night
Best Horror Movie
Best Comic Book Movie


Battlestar Galactica
Best TV Show
Best Actor in a Science Fiction Movie or TV Show (Edward James Olmos)
Best Actress in a Science Fiction Movie or TV Show (Tricia Helfer)
Best Scream To Comic Adaptation


Cloverfield
The Ultimate Scream
Best Science Fiction Movie
Best Screamplay (Drew Goddard)
Best Actress in a Science Fiction Movie or TV Show (Odette Yustman)
Breakout Performance (Jessica Lucas)
Breakout Performance (T.J. Miller)
Breakout Performance (Odette Yustman)
The Holy Sh!t Scene of the Year (The Statue of Liberty/Empire State Building Attack)
Best F/X


The Dark Knight
The Ultimate Scream
Best Fantasy Movie
Best Sequel
Best Comic Book Movie
Best Director (Christopher Nolan)
Best Screamplay (Christopher Nolan, Jonathan Nolan, & David S. Goyer)
Best Superhero (Christian Bale as Batman)
Best Villain (Aaron Eckhart as Harvey Dent/Two-Face)
Best Villain (Heath Ledger as The Joker)
Best Actor in a Fantasy Movie or TV Show (Christian Bale)
Best Actor in a Fantasy Movie or TV Show (Heath Ledger)
Best Actress in a Fantasy Movie or TV Show (Maggie Gyllenhaal)
Best Supporting Performance (Michael Caine)
Best Supporting Performance (Gary Oldman)
The Holy Sh!t Scene of the Year (The Batmobile/Batpod Chase)
The Holy Sh!t Scene of the Year (The Big Rig Flips Over)
Most Memorable Mutilation (The Pencil Trick)
Best F/X
Best Line (“I believe whatever doesn’t kill you makes you stranger.”: The Joker)
Best Line (“I will now make this pencil disappear.”: The Joker)
Best Line (“Why so serious?”: The Joker)


Dexter
Best TV Show
Best Actor in a Horror Movie or TV Show (Michael C. Hall)
Best Actress in a Horror Movie or TV Show (Julie Benz)


Funny Games US
Best Remake
Best Actress in a Horror Movie or TV Show (Naomi Watts)


Hancock
Best Fantasy Movie
Best Superhero (Will Smith as John Hancock)
Best Actress in a Fantasy Movie or TV Show (Charlize Theron)
Best Supporting Performance (Jason Bateman)


Hellboy II: The Golden Army
The Ultimate Scream
Best Fantasy Movie
Best Sequel
Best Director (Guillermo del Toro)
Best Superhero (Ron Perlman as Hellboy)
Best Actor in a Fantasy Movie or TV Show (Ron Perlman)
Best Actress in a Fantasy Movie or TV Show (Selma Blair)
Best Supporting Performance (Doug Jones)
Breakout Performance (Anna Walton)
Most Memorable Mutilation (Attacked By The Flesh-Eating Tooth Fairies)
Best F/X
Best Line (“I’m not a baby… I’m a tumor.”: The Tumor)


Heroes
Best TV Show
Best Superhero (Masi Oka as Hiro Nakamura)
Best Villain (Zachary Quinto as Sylar)
Best Actress in a Fantasy Movie or TV Show (Hayden Panettiere)


Iron Man
The Ultimate Scream
Best Science Fiction Movie
Best Comic Book Movie
Best Director (Jon Favreau)
Best Screamplay (Mark Fergus, Hawk Ostby, Arthur Marcum, & Matthew Hollaway)
Best Superhero (Robert Downey, Jr. as Iron Man)
Best Villain (Jeff Bridges as Obadiah Stane)
Best Actor in a Science Fiction Movie or TV Show (Robert Downey, Jr.)
Best Actress in a Science Fiction Movie or TV Show (Gwyneth Paltrow)
Best Supporting Performance (Terrence Howard)
The Holy Sh!t Scene of the Year (Escape From Ten Rings Hideout)
The Holy Sh!t Scene of the Year (Iron Man’s First Flight)
Best F/X
Best Line (“I am Iron Man!”: Tony Stark)


Lost
The Ultimate Scream
Best TV Show
Best Actor in a Fantasy Movie or TV Show (Terry O’Quinn)


The Mist
The Ultimate Scream
Best Horror Movie
Best Director (Frank Darabont)
Best Screamplay (Frank Darabont)
Best Actor in a Horror Movie or TV Show (Thomas Jane)


El Orfanato (The Orphanage)
Best Horror Movie
Best Screamplay (Sergio G. Sanchez)
Best Actor in a Horror Movie or TV Show (Fernando Cayo)
Best Actress in a Horror Movie or TV Show (Belen Rueda)


Pushing Daisies
Breakout Performance (Anna Friel)


The Ruins
Best Horror Movie
Best Actor in a Horror Movie or TV Show (Jonathan Tucker)
Best Actress in a Horror Movie or TV Show (Jena Malone)
Most Memorable Mutilation (The Leg Amputation)


Saw IV
Best Sequel
Best Villain (Tobin Bell as Jigsaw)
Most Memorable Mutilation (The Autopsy)


Southland Tales
Best Science Fiction Movie
Best Actor in a Science Fiction Movie or TV Show (Dwayne Johnson)


The Strangers
Best Horror Movie
Best Actress in a Horror Movie or TV Show (Liv Tyler)


Sweeney Todd: The Demon Barber of Fleet Street
Best Horror Movie
Best Director (Tim Burton)
Best Actor in a Horror Movie or TV Show (Johnny Depp)
Best Actress in a Horror Movie or TV Show (Helena Bonham Carter)
Best Villain (Alan Rickman as Judge Turpin)


Teeth
Most Memorable Mutilation (Bitten By Vagina With Teeth)


Wanted
Best Fantasy Movie
Best Comic Book Movie
Best Actor in a Fantasy Movie or TV Show (James McAvoy)
Best Actress in a Fantasy Movie or TV Show (Angelina Jolie)
The Holy Sh!t Scene of the Year (The Reverse Kill Shot)
Best F/X

Congratulations, one and all.
Reviews of all the above films and television shows can be found in the Archive.

Other nominated films also reviewed here at the Iguana are:
Beowulf (Best Fantasy Movie; Best F/X);
The Eye (Best Remake);
Halloween (Best Remake; Best Director [Rob Zombie]);
I Am Legend (Best Science Fiction Movie; Best Actor in a Science Fiction Movie or TV Show [Will Smith]; Most Memorable Mutilation [Attacked By The Infected]);
The Incredible Hulk (Best Fantasy Movie; Best Comic Book Movie; Best Remake; Best Superhero [Edward Norton as The Hulk]; Best Actor in a Fantasy Movie or TV Show [Edward Norton]; Best Line [“Hulk Smash!”: The Hulk]); and
Indiana Jones and the Kingdom of the Crystal Skull (Best Science Fiction Movie; Best Sequel; Best Actor in a Science Fiction Movie or TV Show [Harrison Ford]; Best Supporting Performance [Shia LaBeouf]).

Among this year’s board (who advised on categories and determined nominees in each category) are: Wes Craven, Neil Gaiman, Tim Kring, Eli Roth, Guillermo del Toro, Kevin Smith, and Stephen King.
Beginning September 12 (Friday) through October 17, voting will be open at scream.spike.com.
The awards will take place on October 18, Saturday, at The Greek Theater in Los Angeles, CA, and will premiere on Spike TV on October 21, Tuesday (9:00-11:00 PM ET/PT).

(Images courtesy of aintitcool.com, bloody-disgusting.com, empireonline.com, impawards.com, rickbrotherton.com, scifi.com, shocktillyoudrop.com, spike.com, and yahoo.com.)