While busy ‘working’ I came across this article which contains some fairly depressing stats for a mathematics student.
Not only do you have to make your brilliant discoveries before the age of 30 or 40 but it takes much longer to get to state of the art than it used to because of all these people making discoveries. I’d like to be more like Evariste Galois.
Anyway I should get back to work.
I haven’t been sure where to start with this review. I guess I was hoping for something better, despite what I’d seen this season. I can take some consolation in it being an appropriate end to this season. It’s been very Buffy centric and fittingly the character issues at the end are all about Buffy. The whole Buffy/Spike crap was finally wrapped up and Spike got the heroic death that he wanted. I should probably mention more about this since so much time was spent on it but I’m sick of Buffy’s issues by now.
While I’m trying to focus on the good things I’ll mention that the dialog’s better than it has been recently. There’s some nice work with overlapping lines and it was a touching scene with the scooby gang together again before the battle. It’s good that they finally decided to talk about the plan without the potentials for once. It makes things much easier to discuss without the cannon fodder interrupting.
Unfortunately the whole thing is riddled with plot holes. Why is the First’s plan consisting only of this vampire army? How can the potentials and the other non slayer people kill ubervamps? Why did Buffy think they can? Why did anyone think they had a chance against thousands of ubervamps? Why are most of the potentials unarmed? Wasn’t Buffy’s wound mortal? Why didn’t Willow cast the empowerment spell before going in? Why not make more holes in the roof? What was the First doing all this time? Did it not view them as a threat and so ignored them? Is it tyring to take over the world or destroy the slayer line? Doesn’t it count as cheating if the little girl playing baseball has super powers?
If Buffy was so worried about her friends dying, why didn’t she put sacrificial potentials with them? Why does Buffy keep saying hold the line when they’re all scattered? Why didn’t they station someone on the stairs up to the basement to stop the ubervamps escaping? Had everyone else left town? Why did the bus skid to a stop? Can you get insurance cover for apocalypses? Why turn Angel away when he’s a much better fighter than everyone else? Didn’t Buffy think they needed more power earlier on? So Wolfram and Hart saved the world? Are Wolfram and Hart really all that evil? What are Wolfram and Hart up to?
Tomorrow is September 11. And we all know what that means…
PIRATES! (of the Caribbean)
I’m quite looking forward to it. In other news, I’m getting teased for having the iPod strapped to me 24/7. They’re all just jealous of my precious. We hates them.
I’m particularly enjoying reading on the train currently, as in order to get Harry Potter and the Order of the Phoenix out of my bag, I have to first remove American Psycho. I’m sure it’s confusing people. Well, no, they probably don’t care. They’re both probably interesting enough to warrant a review, but why would you believe me when I promise a book review? I’m obviously a liar.
I’ve set up a grapefruit forum as well with one of the free features that came with the webhosting. I hope everyone tries it out, I’d love to see some lively critical discussion there. But I accept it’ll probably just be me lamely attempting to start half-arsed conversations all the time… sob.
Due to an unfortunate series of coincidences, the Charman household has ended up with a copy of Daredevil. With 5 HOURS of extras! Yay! I don’t think I’ll be bothering with the Director’s Commentary on that one. I also got Monty Python and the Holy Grail the other day which is considerably more entertaining.
I’m currently reading American Psycho for uni – the excitingly titled subject ‘Art/Pornography/Blasphemy/Propaganda’. Of course, I really should have finished — or at least started — it last week, but I’ve found I’m just a little disorganised this semester, in stark contrast to previous semesters of course, in which I have been a pillar of virtue.
I intend to write a review today, but you never know. In all truth I should really be doing some uni work. But what are the odds of that happening?
Dear James Cameron,
I know what you’ve been thinking. You’ve seen lots of tv series being made into movies recently and have been wondering if you can milk Dark Angel for more money by producing a movie. However you’re too lazy and are unsure if your investment will pay off.
Well then I have an offer you can’t refuse. I have a fanscript already prepared and I’ll personally make the movie pro bono. You’ll get the chance to advise in the editing of the film. All stunts and special effects will be handled by the team at NTGF, who are extremely professional and work for pizza.
There’ll be little to no risk on your part. If things go wrong you can just claim that I am a crazy fan and that it was all done without your authorisation.
All I need is for you to send Jessica Alba over to my house so we can get busy filming.
Yours sincerely,
Andy.
I’ve had to pinch myself to make sure I’m not dreaming. The tv guide had an episode of Stargate on today so naturally it’s a good day no matter how long I’m at uni.
But then I heard on some ads that it was a movie length episode of Stargate so I was ready for the double episode. A double episode of Stargate I hear you say, what could be better than that?
Well get this: They put on a Dark Angel repeat afterwards! It’s just like the good old Thursdays when they had Mutant X on as well. Now that was a ground breaking show.
So it’s been an exciting day all round.
Sorry about the downtime today, folks, server issues. Well, obviously it wasn’t banana issues. Silly thing to say really.
iPods are awesome. So much smaller than I expected. I’ve got all sorts of music, news and assorted guff on there now, and my calendar, and all sorts. I’m excited :)
And bizarrely, it looks like we might get the grunt-side of that website contract after all. I’m so confused…
From 1, that is.
Tomorrow is iPod day!
First of all, I like Vaughn’s sunglasses. And I liked his tattoo when we see it later in the episode too. But that ‘drink named after you’ joke is old. It’s nearly as bad as one of Matt’s jokes. While the moment between the two leads was cute, it seems a little odd putting cutsiness in the midst of a ‘your mother is being executed in the morning’ conversation. But then, he was wearing those snazzy shades so I will let that one pass.
Now the episode had a good flow to it, and like most Alias episodes, an awful lot happened in one hour. Almost too much though. First there was Sydney writing that letter about her Dad’s treason, and then they went on that Geneva hospital mission. Are there really people in this world who are so rich they have private hospitals for people who should so desire to handcuff their briefcase to themselves while mid-surgery? The world is rooted. Where were we? Oh yes, Geneva. If that sickly haemorrhaging dude worked with Irina Derevko so long, how did he mistake Sydney for her? I don’t care how doped up you are, one is in her 20’s, one is in her 50’s, and they don’t even look that alike. Cough crappy plot device cough.
OK, then what happened? Ah yes, there was further development on the project Christmas storyline and nice guy Vaughn offering nice guy Will a job. Lots of nice guys around. Anyway, then Sloane has a guilt spaz attack and starts seeing his wife all over the place. Oh, here’s an idea, lets cram more plot in with you digging up her coffin. I don’t care what kind of sadistic evil man you are, no one is that creepy. Ew. Oh and lets not forget the PUT VAUGHN IN PERIL section. Vital, that. No, really. Heartstrings a-yanking. Oh did I forget the bit about Sydney kidnapping a US senator and bribing him with made up info to secure the release of her father and mother? Such a sweet, sweet girl.
So now having summarised all that, and completely spoiled the episode for potential viewers, who may or may not be employees of NTGF, how do I go about reviewing it all? I think its safe to say too much happened. Just as I was thinking of one thing I could mention in a review, there was something else going on. And lets face it, if I sat and analysed every scene as I did the opening minute between Sydney and sexy-sunnies we would be here until they invented a time machine which you could use to go back in time and convince yourself not to ever begin reading this review, for it shall never end. So, it is with care for my readers, and not at all out of laziness, that I say, The End.
… continued from Part One.
‘Tom!’, you say. ‘That was far far more than a week! How could you leave us hanging, desperately attempting to discern your top ten via such unscientific means as divination and internet research?’
Well, firstly, calm down. And secondly, I’m sorry. I was busy. And at least now I’ve seen all of this next batch of five episodes recently. So sit back, relax, but keep looking at the screen, as I present numbers 10 through 6 of my insanely exciting ‘Top Ten Angel Episodes’. I’m only considering episodes up to and including Season 3, but frankly I don’t think season 4 particularly challenges any of these, so I shouldn’t have to revise my opinions for another year at least. Hopefully this time around my Wesley obsession shan’t be as noticeable.
Written and Directed by Tim Minear
I’ve been told many a time that flashbacks are cool. This episode is a fine example. Originally transmitted alongside the Buffy episode ‘Fool for Love’, it tells the story of Darla, as well as her relationship with Angel(us). And it’s damn good. All the scenes between Julie Benz and David Boreanaz are great, and Boreanaz does some of his best work here, but the real sizzlers are those between Benz and Christian Kane as Lindsey McDonald. Women have informed me that he’s hot, but luckily he’s also a very intense actor, and on recent viewing his moment by the window with Darla was the high point of the episode. If there’s anything holding this back from greatness, it’s that the whole show is a little po-faced. But this is good stuff.
ANGELUS: A real kill, a good kill, it takes pure artistry. Without that, we are just animals.
SPIKE: Poofter.
Written by Howard Gordon and Tim Minear, Directed by Tucker Gates
Doyle died in this episode. Sadly, I knew before viewing that he would, thanks to an american friend who shall remain nameless. But even after Jess Lonchas spoiled the ending for me, I still enjoyed it. While in some ways it’s probably not as stylish as ‘Darla’ or some other episodes beneath it, it portrays Doyle’s sacrifice brilliantly, reveals what he had to ‘atone for’, and allows him one final brilliant speech to a demon runaway that ranks amongst the finest moments in the series. The late Glenn Quinn did his best work on the series here. Let us not forget Cordy giving him one of the cutest smiles ever near the end, and the final, tearless viewing of his Angel Investigations advertisment.
Also of note in this and surrounding episodes is the discussion of Angel’s heroic nature. Generally well handled through the grudging respect of Doyle and Cordy, at no point does anyone feel the need to start flinging the word ‘champion’ around and not bothering with subtlety at all. It’s a minor beef with later seasons that we’re told what a champion Angel is quite often but rarely have it demonstrated as clearly as back in good old season 1.
CORDY: Maybe if we get him a costume?
DOYLE: A costume?
CORDY: Well, the guy’s a bonafide hero. Would it kill him to put on some tights and a cape and garner us a little free publicity?
DOYLE: I don’t see Angel pulling on tights and… Oh, now I do and it’s really disturbing.
Written and Directed by David Greenwalt
Still in Season the First, now seeing the exciting finale. At the beginning of the season (which I’ll come to later, just to confuse you) we were shown an Angel cut off from the world, unconnected and solitary. By this stage, the incapacitation of his friends and home almost decimates him. Is this compassion a weakness? You ask Lindsey’s hand. I’m a sucker for setting up complete terribleness and then allowing the hero to find the only way out and save the day, and it’s done here brilliantly, with only half an episode of nastiness so as not to over-egg the pudding. One can look at the entire run of 24 to see how to go overboard with the stacking of odds against protagonists.
Angel ended his first season with two friends he trusted and loved, renewed self-confidence and the first promise of redemption he’d ever seen. And it was fantastic to watch.
KATE: I’m glad we’re not playing friends any more. I’m sick and tired of your attitude. There’s a thing called the law …
ANGEL: This isn’t about the law. It’s about a little thing called life. Now, I’m sorry about your father. But, I didn’t kill your father, and I’m sick and tired of you blaming me for everything you can’t handle. You want to be enemies, try me.
Written by David Greenwalt and Joss Whedon, Directed by Joss Whedon
Jeez, Tom, how come you like Season One so much? Are you just one of those fans who always pines for the ‘good old days’, before they ‘sold out’ and got ‘writers’ burnout’? Well, I don’t know. I suppose I like focus on individual stories better than those on arcs. And I like beginnings more than endings and middles. In any case — this was one of the best beginnings ever.
Last seen walking gloomily away from Sunnydale into a convenient patch of fog, Angel is now hanging around LA, killing vamps and running away before he scoffs their prey instead. But Doyle offers redemption…
In one episode, ‘City of…’ showed viewers exactly what they could expect from Angel. Cool fight scenes and action. A soulful, introspective tone. Angel getting shot and bandaged a lot. Amusingly tortured yet human British characters. Shock twists. It’s not often a show hits the ground running this hard. While in itself it’s probably not as good an episode as some I’ve put underneath, it gets bonus points for being the first thing they ever did, and being made under pressure.
Although it must be said that some of Joss’ direction in this is shameful. At least two nifty locations are completely wasted, to the point where you can’t see that the scenes weren’t shot in a studio. But then, I only know this because his DVD commentary told me, so full marks to Mr Whedon for his honesty…
CORDELIA: So, are you still…GRRR?
ANGEL: There’s not actually a cure for that.
Written by Tim Minear, Directed by James Whitmore, Jr
Things are difficult for everyone in LA. Wes, Cordy and Gunn aren’t getting paid for perfectly good demon-eye-banishing, Kate’s getting suspended from duty for stopping an evil zombie cop plague, Lindsey’s gorgeous demon lover isn’t being entirely honest with him, and Angel remains rather too obsessed on trying to annihilate every last piece of Wolfram and Hart he can find.
I talked earlier about stacking the odds up against our heroes. This episode is more subtle with it than ‘To Shanshu in LA’, but then it has a bit more time to do it in, ending as it does with everything gone to hell in a handbasket. Or on Earth. Whichever. A lot of the pleasure of this episode is generated through the excellent story arc that surrounded it, and in a way it’s standing in for a whole bunch of episodes, but it also contains some very nice touches…
The return of Denver. Kate’s discovery of Angel’s part in the Wolfram & Hart massacre. Wesley’s touching break-up, and the subsequent phone call between him and Cordelia. Angel’s demolition of the Senior Partner. The return of Holland Manners, and the subsequent deliciously evil conversation.
Yes, this was truly one of the best. But we’re not at the cream of the crop yet…
THE HOST: Almost anything that can manifest, in order to move in this dimension, can be killed. Kinda the down side to being here. That, and the so called “musicals” of Andrew Lloyd Webber.
Concluded in Part Three…