One of the strengths of JM Straczynski having planned the five year story of Babylon 5 was that he laid lots of interesting nuggets of foreshadowing into the earlier seasons. Plot devices used in one-off episodes in the early episodes could play a huge part in culminating events years later. It works so well because you likely won’t notice those hints the first time through, and when you return to the show for a second viewing, the relationships and significance of the events lets the foreshadowing impact you with even more force.

But with Dollhouse, every episode this season has me coming back to Epitaph One and finding ways it weakens this season. The remote wipe foreshadowing would have been more powerful if on first viewing this wipe was an innocuous plot device. It still has a power in this form, but it seems at this point a necessary event. There’s a certainty to it. We can’t not have foreshadowing. It feels mechanical now. Admittedly, it was mechanical with shows like Lost and Babylon 5 by virtue of their pre-planned stories, but that mechanism was masked.

Still, even without that masking, the foreshadowing packs a punch: Topher developing the remote wipe technology — though, to be pedantic, this remote wipe technology seems the same as the form used by Alpha last season which, as I stated in my initial review of Epitaph One, only worked on Dolls as the Dollification process was considerably more complex than your standard imprint — ultimately ends the world and breaks his mind. But I still don’t feel it as much as I think I should, because of that mechanic necessity. I get the feeling Epitaph One is going to be a thorn in my side the entire season (or whatever else airs of this season before Fox kills it for atrociously bad ratings, though it’s a good sign that this week’s episode recovered from last week’s all-time ratings low for the show).

I tend to focus on arc discussions in these reviews, but aside from that incredibly oblique unspoken reference to Topher’s future tragedy this episode was virtually entirely self-contained. The only additional ongoing idea was Echo’s ability to repeat catch phrases her clients and/or imprints always seem to have handy. Does every person in the Dollhouse universe have a unique identifiable catch phrase or something? It’s getting a little conspicuous at this point. Perhaps a future essay on the show can explore that avenue.

So that leaves us with a very interesting, but also very self-enclosed, one-off episode. The opening sequence was one of the more effectively chilling the show has managed to pull off, though the psycho-paralyser getting hit by a car seemed like an obvious end to that scene, I was hoping for something more inventive. That said, the events following that were all great. We got a chance to see Ballard use his FBI training, something he rarely used even when he was an FBI agent and reminds us that he’s more than just a weird pseudo-pervert. Echo’s B-plot professorial misconduct fantasy was interesting in a morbid sort of way, which I suppose is the way you should enjoy most Dollhouse episodes seeing as the protagonists of the show are glorified human traffickers. And the main storyline crossed with the B story nicely both on a story level and thematically.

And, once again, Enver Gjokaj cements himself as the most versatile actor in the cast, which is saying something given how talented this cast is. Every actor has had one or two outstanding moments, but Enver keeps delivering like no other. As creepy as he was as the serial doll maker — an interesting role for the antagonist in an episode that foreshadows the wireless doll making technology in the coming apocalypse — when he switched into Kiki he completely transformed. Odd name aside, that guy deserves more than anyone on this show a breakout career once Dollhouse comes to an end.

People have been worrying about Dollhouse’s fate quite a bit recently because of the terrible ratings, and some are wondering if the season shouldn’t have started with more stand-alone expository episodes, but looking at the season so far, it’s been doing stand-alone episodes, and they’ve done it better than they did during the first season’s early block of episodes but they’re not being hindered in the way other shows are by a blind adherence to strict episodic storytelling. It’s not afraid to let some moments of the episode impact the future. It should be braver in this respect, I think, with much more serialization and investment in the long running characters, but I feel like it will get there if given the time. Unfortunately, it probably won’t be given the time. I think both the network and the writers are to blame in this respect; the network, for trying to simplify an inherently complex intellectually rich story, and the writers for accepting the task of trying to oversimplify the show rather than fighting with the network.

That said, this season has been very good so far but what little long-term stories they’ve built in these first three episodes has been insufficient to me. They tried the best of both worlds last year and got dwindling ratings as a result. At this point, the show should be taking advantage of the second season pickup and just going wild with all the crazy five-year-plan things Joss Whedon has imagined. When the show got a second season pickup, I didn’t really expect a third. The more I look at it, the more it seems like Fox simply didn’t kill off Dollhouse after the first season so they wouldn’t burn bridges with Joss Whedon or his fanatic followers. So with the likelihood of a third season increasingly dire, the show shoud just go for broke. Let’s hope it tries that in the coming weeks.

I said I was going to meticulously go through the entirety of Star Trek Voyager and describe the many ways the show went wrong (and the few ways it didn’t), and I’ve been taking notes as I go along. But a problem has come up.

Yesterday, I downloaded a few of the Babylon 5 movies and began downloading the series proper — I already own them on DVD but AVI files are less hassle most of the time and I don’t want to rip them myself — but once I had some downloaded I made a crucial mistake: I watched one.

And another. And another.

You see, Babylon 5 is one of the best television shows I’ve ever watched. And it is unequivocally the best science fiction I’ve ever seen. So once I watched one of the movies, I couldn’t stop. The story is too good, the characters too rich, the morals too strong. And in the meantime, Voyager was busy pumping out generic episodes with generic characters and little to no character development. So, quite frankly, I can’t stand to watch that shit with the beauty that is Babylon 5 fresh in my mind.

I still plan to write up a few subsequent posts about the first half of the first season — I originally planned to write only one post for this chunk of episodes, but there’s so much wrong in there I think it deserves more than one post (I’m still not sure though) — but I’m not going to continue on my torturous little mission. I might return to it at some point — there’s too much Voyager love out there for me to just let it stand — but, for now, I’m just going to enjoy Babylon 5 all over again.

As a devout fan of Babylon 5, I’ve had more than my share of discussions about it. I’ve told endless people to watch the show, to not give up on the show before they get to the second season — when the show really begins to take shape — and, like any B5 acolyte, I’ve defended the controversial fifth season. Obviously, don’t read any further if you don’t want to be spoiled about Babylon 5.

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There’s been a lot of Heroes hate ever since the season one finale disappointed everyone. I fell out of love with the show a few episodes earlier than that but because I’m a TV junkie I kept watching. And watching. And watching.

Most recently the hate has been pushed onto Hiro, and here’s why. The show sucks. It has nothing to do with Hiro, or his current journey. At least not in particular. What’s wrong with Hiro, is what’s wrong with Heroes.

Abuse of Awesomeness

During season one, one of the recurring characters was played by Richard Roundtree. AKA Motherfucking Shaft. So obviously he was playing a badass with awesome powers. Wait, what?

Shit. Well, he’s in a coma but he can wake up and reveal his awesome superpowers and kick all sorts of ass. Wait, what?

Fuck. Well, he’s dead — and it appears the only thing his death accomplished was to get Peter laid — but Hiro is all about the time travel, so Shaft can still show up in the past and be even more awesome because we didn’t see it coming!! Wait, what?

Oh, come on! You bring the guy back so that he can tell Peter that Love Is The Answer?! And what was his power anyways? Talking to the future? That’s a retarded power, and I don’t even think it was him doing it so it’s especially crappy.

And then, following their atrocious treatment of Shaft — not to mention the purposeless character Charles Deveaux’s very existence — they pump up the awesomeness by casting Bruce Boxleitner for a recurring role during season three. Except that he’s in two fucking scenes in total and they were pretty close to useless in the long run. My point is they’ve got a huge problem with follow-through. And not just with their stunt casting. Everybody remembers that most unheinous moment early on in season one of Heroes where time stops for Peter Petrelli and Ninja Hiro From The Future shows up to deliver him a message.

Future Hiro was fucking sweet! He spoke English without the accent; he carried around a katana; and the slimming lines on that leather trench coat really worked for him. He came from five years in the future but now three years later — possibly four given the sporadic time jumps the show does — he’s still a dweeb who talks in broken English and wears the office clothes for the job he hasn’t been to in years at this point. When Lost showed Jack depressed, addicted, and bearded up three years in the future, they followed the fuck through.

Discontinuity

Retcons are a staple of the comic-book world from which Heroes steals its ideas draws inspiration, but in the comic world, retcons typically come about because of universe altering events or because the story is being reimagined for a new generation. But changing the dynamics of the foundations of your characters doesn’t make a lot of sense.

In the series premiere, Angela Petrelli is arrested for shoplifting socks because she “wants to feel alive.” Presumably because the six months she’s lived without the love of her life, Arthur Petrelli, have left her feeling alone and empty; without her better half. No wait, she poisoned him and was planning on killing him even further just to make sure he was dead before her son walked in mid-homicide. It’s these emotional discontinuities that really kill Heroes.

Does Peter ever think about Simone Deveaux? Or the Irish chick he erased from existence? Does Hiro think about Charlie? Do any of these characters think about the consequences of their actions, or the pains in their past? I don’t see any of that in the performances or in the writing.

The characters perform as the plot requires. Their emotions exist to serve the plot. Their powers shift to drive the plot. Everything about the show is hollow and meaningless. You can change the pronouns of the last four sentences to refer to Hiro and the statements would stand, but the show, and how it treats its characters is the real problem.

As you all know, I Love TV. Which is why I was neither surprised nor quite expecting a new study that says that unhappy people watch more TV. It wasn’t particularly surprising to me because when you have a series of posts dedicated to how depressed you are, it’s kind of implied you’re at least slightly unhappy. But I didn’t really expect it because TV is actually one of the things in my life that gives me happiness.

This study talks about how TV is escapism — which is true of any entertainment media, even though the same study says that happier people read more books — but in many ways, good television holds a mirror up to you and examines the various aspects of humanity. A few years ago, I was at a (cliche alert) crossroads in my life. I was around half way through a university degree which was promising but didn’t hold the appeal it did when I first applied. Beyond that, my faith was dwindling. For years, I had a constantly evolving understanding of God and religion. When I first had my religious re-awakening in high school, a lot of people thought it was because I had a crush on one of the girls that went to my church, but the fact is that I simply wanted to understand God better. I was experiencing teenage angst and wanted to figure what “all this” is about.

My faith grew over those years but ultimately I found myself having an understanding of God that differed and contradicted the one that both the Bible taught and that my church taught. Because of my growing skepticism of psychics, ESP, and other paranormal phenomenon and my growing understanding of how science explained the universe, I no longer thought that Jesus was actually the son of God. I still believed that he was a wise man likely sent by God to teach people a newer better way to live and worship, but I could no longer consider myself a Christian.

So, I was confused about life, the meaning of it all, and a few other things. Around that time, I started rewatching Babylon 5, a show that I hadn’t watched in quite some time, and I think it’s safe to say that it changed my life. I went from a mass of self-doubt and uncertainty about pretty much everything to having a very solid understanding of myself and the way I wanted to live in this world. I still consider Babylon 5 one of the best shows ever made, and almost certainly the best sci-fi show ever made.

There are a lot of times throughout my life that TV has helped me. Not because it let me forget about my sadness for a few minutes, but because I discovered new things. The long, drawn out character development that happens in television allows you to connect more intimately with their lives and in turn make discoveries about yourself.

Of course, one telling aspect of this study (what you didn’t think I’d turned this post into an opportunity to whine about personal problems did you?) is that it covers 30 years of television and television has only recently become something more than mere escapism. What was once a rare occurrence on television — serialized storytelling and complex relationships — is now a mainstay. Television, in the intervening years, has grown up. It is more than a time filler now. It can and does explore life with equal or greater depth and insight as other more respected media. And in another 30 years, after a generation of people who have grown up with intelligent and thought-provoking television, the data will tell a different tale.

Fringe looks like it could be a great show. It also looks like it could be terrible. Here’s why. Spoilers ahead.

No Passion

These people aren’t driven by a desire to uncover the truth, or to find a sister taken from them years ago. Olivia Dunham is just another agent of the government doing her job. The closest we get to her having real passion for her new position investigating “fringe science” is her interest in the fucked up cases Lance Reddick’s character lists off. Which is really more of a “wow that’s pretty fucked up” interest than a “the world deserves to know the truth and I need to try to find proof” interest.

This lack of passion can be good if you take the show in a different route, but right now the show isn’t like X-Files in that way. With the X-Files, the fantastic things Mulder investigated were, for the most part, real. Aliens were out there, Tooms really did eat peoples liver to live longer. Most of the cases had at least a smidgen of scientific basis behind them. But in the world of The X-Files, no-one believed them. In the world of Fringe, these modern-day miracles are no longer on the edge of science only accepted by wackos. People have robotic arms. Corporations resurrect people for interrogation. We are no longer in a world where science cannot explain the seemingly magical. We are in a world where science is indistinguishable from magic. Granted, the worlds of Fringe and X-Files aren’t too different in this respect, and as the world is developed in the coming episodes they may diverge or coalesce, but right now the world of Fringe is full of people who have no vested interest aside from solving the case. That might work for your basic procedural, but I’m pretty sure Fringe isn’t hoping to be your basic procedural.

No Red Tape

Olivia Dunham is described as an inter-agency liason, which basically means she’s everyone’s boss. So instead of the local sheriff busting their chops about jurisdiction, she can just pull rank and get shit done. That’s great because very often that seemed to me like an arbitrary limitation the writers introduced to elongate a story that could be told in less than an hour. But it’s also terrible because red tape and people incredulous of the truth make you empathise with the protagonists. Of course, this world seems to be filled with true believers. The closest the show got to a skeptical response in the pilot was Joshua Jackson’s character, who is really played off as comical. His doubts aren’t seen as those of a rational scientist, but those of someone blind to the obvious truth. Even when Scully was obviously fighting the truth of the situation, you could see that she wasn’t simply saying “Mulder that’s ridiculous.”

Missing Time

This is purely a complaint on my part. There is no positive side to this. Walter Bishop and William Bell worked together in the 70′s on these bizarre things. Then Bishop was put in an institution and Bell moved on to create the biggest company in the world. Now, Bishop is back helping out Dunham and his son on cases similar to things he worked on back then, and Bell seems to be related to it. So my question is this: in the intervening years, no one was able to move beyond the things Bell and Bishop were working on all those years ago? Bell himself did nothing to move the field beyond what was developed thirty years ago? It’s a leap that I’m not willing to take and I have to hope that in future episodes they’ll come upon things vastly more advanced that even Bishop cannot explain.

Kirk Acevedo is Sorely Underutilized

This is just a personal rant about the misuse of actors in general. Kirk Acevedo played Miguel Alvarez on Oz, one of the first critically acclaimed shows for HBO. On that show, he got an opportunity to play a complex disturbed character, and he played it superbly. Over the years on Oz, that character was one of the few to remain compelling and likeable despite the numerous unpleasant actions he commits over the years and that’s a testament to both the writing and the acting. And every single role I’ve seen Kirk Acevedo do since then has been painfully one dimensional. This isn’t a problem with Fringe per se but rather a problem inherent in television today. TV shows have been getting more respect in recent years, but it still has a long way to go before clearly, because most TV shows today still function with barely awake characters thrumming through dialogue meant to continue the plot rather than to drive the characters. Admittedly, this is a shallow judgement given that only one episode has aired so far, but at the moment I’m not optimistic.

Well that’s all I’ve got for now, and it’s not much. Most of my issues are primarily with the implications for the rest of the series that the pilot sets up. They could be handled well, and one of my favourite shows of all time had a very substandard first season so I’m not completely giving up on the show, but I’m not yet in the thrall of this show and they’re going to have to work to convince me.

My current url scheme means that every blog post I choose has to be very deliberate and thought out. I have to be sure that it won’t conflict with a previous post or one ruminating in my head. So I chose this title knowing that I’ve already reviewed the final episode of Angel before and most likely I won’t again. That said, it’s never easy to give up such a broad title, but this particular story is pretty freakin’ huge in my world.

Recently, JM Straczynski, (or JMS as he is known to awesome people) creator and primary writer for Babylon 5 — a show that I consider one of the best Sci-fi shows ever made, and arguably one of the best shows ever made — posted to his newsgroup a message that all Babylon 5 fans are reading with some pain in their heart:

So I’ve let everyone up here know that I’m not interested in doing any more low-budget DVDs. I’m not interested in doing any low-budget cable things or small computer games. The only thing I would be interested in doing regarding Babylon 5 from this point on is a full-featured, big-budget feature film.

I Love Babylon 5. I Love it with a capital letter and while this is a bit disappointing, I absolutely understand it, and I’m even more impressed by JMS because of it. He could have pumped out low-budget movie after low-budget movie straight to DVD for another decade and every fan would’ve bought it, but he saw that the low-budget was affecting the quality and he wasn’t willing to further sully the B5 universe with that kind of stuff. I never watched the Legend of the Rangers, but I did watch and own The Lost Tales; it was mildly entertaining but it was nowhere near as good as the show was. And the fact that JMS knows and is willing to admit that just makes me respect him more.