Kelson Reviews Stuff - Page 64

Yeah, I was watching Star Trek during the earthquake. Right at the point that they open a huge, loud, grinding door to a remote outpost. Fortunately it was small, the movie kept playing, and we all kept watching.

Judging by audience reaction (to the movie, not the quake), there were definitely lots of people seeing it for the first time today, so I’ll keep this non-spoilery as much as possible.

What I Liked

• The film manages to recapture the Kirk, Spock and McCoy dynamic that gave the original show its heart.
• Each character gets at least something to do, even if it does focus heavily on Kirk and Spock.
• The actors really manage to convey the same characters, rather than new characters with the same names. Especially McCoy and Spock. Karl Urban in particular seems to be channeling DeForest Kelley the way Ewan MacGregor channeled Alec Guinness in the Star Wars prequels. (And yes, Kirk is different, but there’s a reason for it, and that reason is critical to the story and his character’s journey.)
• The plot moves and holds together (mostly).
• The effects of course are incredible.
• They remembered that Trek can have humor – something that ST: TNG and later shows seemed to avoid as if it would somehow taint their artistic value (except when Q was around).
• The nods to established elements of the series, from character quirks to design elements to music cues, that are there if you know what to look for, but don’t bog down the story if you don’t.

What I Didn’t

I had no problems with the obvious canon changes, and thought that the huge event 1/3 of the way in was probably the best way they could recapture dramatic suspense and establish the idea that anything can happen.

In fact, the things that bothered me have very little to do with other versions of Star Trek. Again, trying to be as non-spoilery as I can for the people who haven’t seen it.

• Supernovas are not that dangerous unless you’re in the same solar system. For planet X to be destroyed, it would have to have been that planet’s sun that went supernova.
• Another planet, to provide the view that it offered of a significant event, would have to have been a moon of the planet on which that event took place.
• Engineering doesn’t look like a spaceship. It looks like a brewery.
• It relies heavily on the same dead-relative-as-motivation trope that’s bothering me so much in Flash: Rebirth. But I can see what they were going for and why they did it.
• A piece of miracle technology is invented which would revolutionize space travel to the point that it would make any further voyages irrelevant, and will most likely be ignored because of this. (Of course, the TV series did the same thing all the time.)

Music

Also, while I liked Michael Giacchino’s music in context, it’s very repetitive. The theater was playing the score while we waited for the film to start, and an awful lot of it is the same theme, over and over, in different arrangements.

My favorite Star Trek music is a toss-up between James Horner’s scores for The Wrath of Khan and The Search for Spock, and Cliff Eidelman’s score for The Undiscovered Country. We were talking about the music before the movie, and neither of us could think of anything else Eidelman had done, so I looked him up on IMDB. It turns out that he’s written music for about 20 films since Star Trek VI, and I recognized almost all of them…I just hadn’t actually seen any of them.

I haven’t seen the movie yet, but the stage version is very good. Oddly enough, while it’s narrated by one of the journalists working with Frost, and is largely told from David Frost’s point of view, it’s really Richard Nixon who ends up being the main character. Frost himself is mainly in it for the ratings (if it does well, it’ll jump-start his career), but Nixon is really in it to rehabilitate his reputation – which, of course, doesn’t end up happening. (“Well, when the president does it, that means that it is not illegal.”)

The larger-than-life presence of TV is a huge factor as well, with a bank of TV screens frequently upstaging or highlighting the interactions on stage. (For the interview sequences, they actually bring out a pair of TV cameras as if they were filming, and put that picture live onto the screen above the stage.) I’m especially curious to see how well that aspect translates to the film version.

Quite nice, although the rooms are extremely small by modern standards – small enough that instead of an actual desk, there’s a fold-out desk on the armchair. There’s also a flatscreen TV with both pay-per-view and video game rentals, and an AT&T wireless hotspot accessible from the room. The staff is nice, and the location was perfect. A decent area of town, near restaurants, 5 minutes from the Moscone Convention Center one way, 5 minutes from a BART, MUNI and cable car station the other way, and right across the street from the official (WonderCon) convention hotel.

We watched an episode of Star Trek: Deep Space Nine from Netflix this evening, called “Paradise.” Sisko and O’Brien investigate signs of human life on a planet with no charted settlements, and find a village of people who have been marooned for ten years in an area where no modern technology works. “Fortunately” they had someone who was an expert in low-tech living, and so they’ve built a small community there.

And they keep coming back to that word, “community,” even though by “community” they basically mean “what Alixus wants us to do.” It becomes clear that they follow her with cult-like devotion, such that if she merely suggests something — say, that one of the villagers seduce Sisko to make him feel more welcome — they’ll do it. Eventually it turns out that she not only caused their emergency landing, but created and still maintains the field that keeps anything technological shut down.

In the end, O’Brien shuts down the field and exposes the fact that their “community” only exists because Alixus wanted to prove a philosophical point. The Starfleet officers take her into custody to answer for the fact that she let people die because she blocked access to modern medicine. By this time it’s amply clear that she doesn’t actually care about the people in the community, just that it follows a form that proves her right.

But aside from one person saying “You lied to us!” no one objects. And they all stay, because this is their home, and they’ve formed a community, and because, Alixus claims, they’ve discovered their “true identities” instead of being stuck in a high-tech society’s pre-defined roles.

Of course, it would have been more effective if they’d shown some of this self-discovery, rather than that they’d simply exchanged a technological pigeonhole for an agrarian one. Or that the villagers were actually connected to one another, rather than simply that they all were willing to follow their leader.

If the episode was trying to make the point that even though their society was established under false pretenses, they actually gained something from the experience, it failed utterly. It doesn’t show a tight-knit, thriving community, but a bunch of followers who have just lost their leader. “Fortunately” they seem to have gained a new one.

Well, it took 2½ months during which I took breaks to read at least three other books, but this weekend I finally finished the first book of George R.R. Martin’s fantasy epic, A Song of Ice and Fire: A Game of Thrones.

By all rights I should have liked this book. I frequently like big epic fantasy: J.R.R. Tolkien’s Lord of the Rings, Greg Keyes’ Kingdoms of Thorn and Bone, Robert Jordan’s Wheel of Time. Actually, Wheel of Time is probably the best comparison, given the sweeping scope of the series, the number of viewpoint characters, the emphasis on political intrigue, and the length of the books.

On the other hand, no Robert Jordan book has taken me longer than a month to read.

About a year ago, a friend recommended the books to Katie, and gave her the series so far (4 books) for Christmas. It took a while before she got to them, but when she did, she tore through them in about a week. (It helped that she had the free time.) She recommended them to me, but I didn’t pick up the first book until sometime last November.

And I just couldn’t get into it. The characters I found most interesting seemed to get the least attention. Of those, one character’s chapters were difficult to read because she’s in the wrong genre: a girl of 10(?) who wants to grow up to be a warrior princess in a world that would casually kill her before she had the chance. And while I’m sure it’s a matter of morally gray=interesting, it’s basically “Kingdom of A—holes” (maybe not as poetic as “The Knights Who Say F—” but more accurate, at least for the first book). The only adult character who isn’t morally gray or worse is so stuck on honor that he can’t handle the compromises necessary in politics. So it’s not so much a question of who’s the best choice to be in charge, as who’s the least bad.

The first book is about 95% straight medieval-setting political/military drama, with hints at supernatural elements here and there. The prologue sets up an otherworldly menace that is subsequently ignored for most of the book, there’s the occasional sword described as magic, it gradually becomes clear that the dragons are a historical fact, rather than legends (the previous king had dragon skulls mounted along the walls of the throne room) and that seasons frequently last years. “Winter is coming” is a key phrase, and the motto of the family that provides all but two of the viewpoint characters.

After 400 pages of tedious setup establishing just how brutish, brattish, or manipulative everyone is, things start going off the rails. And boy, do they go off the rails. You know how, when reading a book, you get to a point where you figure it can’t get worse? It does. Repeatedly.

About 200 pages from the end I decided I was going to make an effort to finish the book and get it out of the way. So I had a marathon reading session one Sunday, then made an effort to read during lunch over the next week, and then finally finished it over this past weekend. (For contrast, with each of the first two or three Wheel of Time books, when I got within 150 or 200 pages of the end I had to finish, even if it meant staying up until 2am on a work night.)

Actually I guess it’s kind of like some of the later Wheel of Time books in terms of sheer detail and trudgery. Except those have the advantage that you’ve probably read the earlier ones, which were quite good. (I’ve often described the WoT series as 5 novels of one book each followed by one novel that spans 7 books.)

The last 50 pages or so, particularly the final chapter, are considerably more interesting. If it had stopped at 750 pages, I’d probably be inclined to just leave it there, but I might actually pick up the second book at this point.

Just not now.