Browsing Category Television

New ‘Game of Thrones’ Season 2 BTS Video

Posted on December 21, 2011 by Doug Luberts

Ned Stark and the 48 Laws of Power

Posted on June 20, 2011 by Doug Luberts

“Any man who tries to be good all the time is bound to come to ruin among the great number who are not good. Hence a Prince who wants to keep his authority must learn how not to be good, and use that knowledge, or refrain from using it, as necessity requires”. - Nicolo Machiavelli

The season one finale of George R.R. Martin’s “Game of Thrones” aired on HBO last night, ending with a handful of cliffhangers, and a clutch of baby dragons.

It is going to be a long year of anticipation until the next season airs (and hopefully Martin will have released the long-awaited next book in the “Song of Ice and Fire” saga in the meantime.)

A great number of viewers who had not read the books (yeah, shocker…I thought any nerd worth is pocket protector had read all four books at least twice by now) were shocked/dismayed/outraged by Ned Stark’s untimely beheading in the penultimate episode. Some even threatening to boycott the rest of the saga.

Okay, I’ll admit…When I got to that point in the book I was pretty much shocked. After all, Ned Stark was the hero, the main protagonist, the good guy…right? How could Martin just snuff him and continue to go on from there? Seems kind of like the ultimate reader/fan wank, no?

No. Not really.

The biggest realization I had after watching the series was just how much of a hero Ned Stark wasn’t. In fact, as Lord Varys points out in the dungeon prior to Stark’s execution, he was an utter fool, whose actions and steadfast adherence to an intractable moral code brought about civil war, chaos, and the death of thousands…Including the destruction of his own family.

Rather than rolling with the punches and, as Varys suggests, doing what is necessary to serve the peace and the greater good of the realm, Stark’s unwillingness to take, anything other than the moral high road was his complete undoing.

Sigh.

Poor old Ned just didn’t have the proper knowledge and social skills necessary to survive in the real (mythical) world of Westeros’ political machine. If he would have just been able to lay his hands on a copy of Robert Greene’s, “The 48 Laws of Power“, or even a dvd of “The Godfather” saga, he might just have been able to pull his cookies out of the fire.

Greene’s book draws upon a wealth of stategic and political theory from throughout history, including the ideas of Machiavelli, Sun Tzu, and even Casanova, to create a how-to guide for acquiring and maintaining power in your interactions with others. All of this wisdom is condensed into the 48 Laws which can only be viewed as a guiding light for courtiers, politicians, would-be dictators and despots of all kinds.

If one looks at a few of these laws, it’s easy to see just where Ned Stark went astray, and why:

Law #1 – Never Outshine the Master: Always make those above you feel comfortably superior. In your desire to please or impress them, do not go too far in displaying your talents or you might accomplish the opposite – inspire fear and insecurity. Make your masters appear more brilliant than they are and you will attain the heights of power.

Okay, so he and King Robert the Loud and Libidinous were buddies BITD…That’s no reason for Ned to presume that he could throw his own moralsuperiority in Robert’s face. So Robert wants to murder the teenage Daenerys Targaryen before she can assert her claim to the throne. He’s the King, and he can damn well murder who he likes if he thinks it will avert war and catastrophe (I think Seal Team Six would have come in handy here.)

Ned’s behaviour with Robert, not to mention all the verbal sparring with the Queen, was the beginning of his downfall.

Law #2 – Never put too Much Trust in Friends, Learn how to use Enemies: Be wary of friends-they will betray you more quickly, for they are easily aroused to envy. They also become spoiled and tyrannical. But hire a former enemy and he will be more loyal than a friend, because he has more to prove. In fact, you have more to fear from friends than from enemies. If you have no enemies, find a way to make them.

E.g., Lord Peter Baelish. You meet a guy who is a pimp, has a life-long thing for your wife, and got his ass kicked by your older brother in a duel. He tells you not to trust him, and you do. You’d think that after Baelish lured him to one of his brothels and Jaime showed up with his personal army Ned might have gotten a clue. What does a guy have to do, hold a dagger to your throat while you’re surrounded by the King’s Guard with swords drawn?

Oh, yeah…right.

Law 3 – Conceal your Intentions: Keep people off-balance and in the dark by never revealing the purpose behind your actions. If they have no clue what you are up to, they cannot prepare a defense. Guide them far enough down the wrong path, envelope them in enough smoke, and by the time they realize your intentions, it will be too late.

Ned Stark was about as subtle as a poke in the eye with a blunt stick. How about when he told Circe he knew that she and her brother, Sir Jaime, had been playing “Hide the Godswood” and had produced all of her children that way. He might as well have sliced his own throat open right then and there.

Law 14 -Pose as a Friend, Work as a Spy: Knowing about your rival is critical. Use spies to gather valuable information that will keep you a step ahead. Better still: Play the spy yourself. In polite social encounters, learn to probe. Ask indirect questions to get people to reveal their weaknesses and intentions. There is no occasion that is not an opportunity for artful spying.

Yes, indirect questions, not, “Hey Littlefinger, Circe has been banging her brother for years, and all her kids are Jaime’s bastards”.

Law 15 – Crush your Enemy Totally: All great leaders since Moses have known that a feared enemy must be crushed completely. (Sometimes they have learned this the hard way.) If one ember is left alight, no matter how dimly it smolders, a fire will eventually break out. More is lost through stopping halfway than through total annihilation: The enemy will recover, and will seek revenge. Crush him, not only in body but in spirit.

Playing his hand with Circe, and telling her to get the hell out of Dodge was stupid. He should have rallied the troops, called her on the carpet in front of forces loyal to the King (or his little brother), and gotten her and her illegitimate offspring offed.

These are just 5 out of the 48 Laws of Power that could have saved Ned’s ass…If he would have known about them.

More to the point though, as regrettable as it may be, without Ned’s death, the resulting war, with all of its twists, turns, and adventures, would never have taken place, and there wouldn’t be five books telling those stories. Ned’s fall was essential to telling the story and, in fact, George R.R. Martin’s willingness to take a perfectly viable character, endear him to the audience, and then kill them off in a shocking, and totally unexpected manner is what makes The Song of Ice and Fire such a great collection of tales.

As for “The 48 Laws of Power“, we can only assume that they were present, in some form, long ago, in a galaxy far, far, away, and they served as the basis for the Sith school of philosophy…Which would account for why the Sith were so much better equipped to run a galactic empire than the Jedi.

But that’s an entirely different story.

“Thor”, and some new Netflix watchables

Posted on May 16, 2011 by Doug Luberts

Here’s a probably too-late-to-be-useful not-review of “Thor“, but first …

Lots o’ cool stuff coming to Netflix Streaming these days. They just announced a deal with Miramax today that will have a host of new titles, including my favorite flick of the ’90s, “Pulp Fiction”, streaming to your TV.

A couple of cool items on Netflix right now:

“Kick-Ass“

If you haven’t seen it, in which case I’m wondering if you spent the last year in a coma, or being held in suspended animation in Superman’s Fortress of Solitude, it’s a great, fun, flick. A tale about the adventures of a wanna-be superhero, the film draws a lot of its win via a show-stealing performance from Chloe Moretz, as the incredibly bad-ass, and hilariously potty-mouthed, Hit Girl.

“Sherlock“, Season One

A modern re-imagining of Conan-Doyle’s detective, starring Benedict Cumberbatch as a young, brilliant, and unbelievably eccentric Holmes (“I’m not a psychopath, I’m a high-functioning sociopath; do your research”.) This 3-parter aired late last year on PBS Masterpiece. It was pretty much a universal hit, and a second series is filming now.

Studio 60 on the Sunset Strip

Sorkin’s failed, semi-autobiographical, series about a recovering coke addict/TV Producer (Bradley Whitford) getting back on his feet with a new TV show, and an old production partner (Matthew Perry.) It’s smart, it’s funny, and is a must-see for anyone who works, or wants to work, in the Entertainment Industry. It also one season before NBC pulled the plug. I totally ❤ the Christmas show, featuring a mind-bending brass version of “O, Holy Night” performed by a bunch of Katrina survivors, as well as Whitford’s running attempts at trying to ❤ Amanda Peet’s character.

Now, on to “Thor” …

I loved Thor. Thor was brilliant (mostly), and the seemingly strange decision to have Kenneth Branagh direct the film was an added bit of brilliance on the part of the studio.

Branagh seemed like an odd choice to direct a comic book adaptation like “Thor”, until you take into consideration his early efforts at adapting and directing Shakespeare for the screen, particularly his instant-classic “Henry V” … The worlds of Asgard and 15th Century England really have a lot in common, and Branagh knows how bring these worlds, and their inhabitants, to life.

The cast is great, the script well written, and Patrick Doyle’s score is regal without being over-the-top.

Doyle and Branagh’s working relationship goes back to “Henry V”, where wrote an amazing score, including the breathtaking “Non Nobis Domini”, for the epic 4-minute tracking shot that Shakespeare only WISHED he could have written. None of this has anything to do with “Thor”, exactly, but I’m a huge fan of Branagh’s “Henry V”, which is the Shakespearean equivalent of “The Godfather”, and will refer to it at the drop of a hat.

The film looks amazing, and the visualization of everything from the powers of Mjolnir to Asgaard were brilliantly executed. (I had some serious doubts about Hollywood’s ability to create a Rainbow Bridge that didn’t look like something out of Rainbow Brite or My Little Pony, but, like every other aspect of the film’s visual treatment, it was stunning.)

Visually, the only downside of the film is the crappy 3D conversion process (I wouldn’t have wasted the money, but it was the only screening available that night.) The stereo effect is barely noticeable, except in the closing credit sequence, and doesn’t make the trade off in image brightness and clarity worth it. See the 2D version instead, if you haven’t already.

There were a couple of WTF moments in the film … Such as Thor’s sudden evolution from a self-absorbed jerk to a selfless hero of the people in what amounts to a New York minute, but I guess there is only so much story you can cram into an action/adventure huge VFX summer tentpole, and the action adventure wins.

Likewise the chemistry between Natalie Portman’s character, scientist Jane Foster, and Chris Hemsworth’s Thor, developed almost instantly (well, okay … This IS Natalie Portman we’re talking about, but still…)

And then there’s Kat Dennings character, who is to Jane what Dawn was to Buffy. (“Get out!, Get Out!!, GET OUT!!!”)

The story will be a bit different from the one fans of the original comic will remember. Thor’s secret identity of “Donald Blake” evolved in a completely different way in the original telling. Likewise, the new spin of the Asgardians being an advanced race of beings, as opposed to true gods, is different, but maybe more believable to a 21st Century audience.

Marvel keeps delivering on the best comic book-inspired movies ever, and the build towards Joss Whedon’s “Avengers” promises to bring quite a payoff.

Also, stay until the credits are over … It’s worth it.

Weekend Entertainment Roundup: Movies to see and avoid.

Posted on April 16, 2011 by Doug Luberts

Finally caught up on what’s in the theaters today, and have two movie recommends and one rant:

Scream 4

The latest installment in the Kevin Williamson/Wes Craven slasher series.

Is it great? Hells no. Is it watchable? Yep.

We know the schtick … A lot of self-referential jokes about the slasher flick genre and its stereotypes in a film that goes on to break all the established rules and conventions while turning pretty girls into fillet o’ Hollywood Starlet.

The good … Emma Roberts has a break-out performance in this movie, and clearly establishes her place in the Roberts family acting heritage. She’s got massive acting chops and uses them. The film also features a list of ingenue eye-candy that will guarantee to draw guys from 14 to the grave.

The not-so-good: Phoned-in performances from David Arquette and Courteney Cox.

Look, this isn’t Truffaut … It’s a decent date-night flick that will have your honey clinging to your armpit for about 90 minutes (so please groom yourselves accordingly because, like, eew …)

Hanna

I really wanted to like this film a lot. Great cast, interesting story. Competently-enough directed, and with great production values, especially in the cinematography department.

The writing, on the other hand, is kind of bipolar. The movie takes forever to get going, and then bursts into periods of manic action before lapsing back into a coma for 10-15 minutes.

Worth seeing, but … Meh.

And now for the rant …

Arthur

The 1981 version of “Arthur” is, to my mind, a cinematic treasure. It is one of the greatest romantic comedies of all time. A movie that was certainly greater than the sum of its parts, even though its parts were pretty damn impressive.

To me, “Arthur” was to the romantic comedy in the early ’80s what “Citizen Kane” was to dramatic narratives in the ’30s … It redefined the genre, although, unlike “Kane”, it was a box office hit from day one.

The film featured an outstanding cast headed by the genius of Dudley Moore in the title role, along with Sir John Gielgud, as Arthur’s butler and surrogate father, Hobson, as well as Geraldine Page, as the iron-fisted matriarch of the Bach family, Arthur’s grandmother Martha. Every one of these actors a bona fide legend and master of their craft. All three of these performances were positively awe-inspiring.

Back that up with a brilliant script from Writer/Director Steve Gordon, and a score from Burt Bacharach, Carole Bayer-Sager, Chris Cross, and Peter Allen that, along with the cast, lifted, the entire film to a sublime level.

The film played in theaters for close to three years from its opening, and it re-defined the rom-com genre that had pretty much lost its fizzle in the late ’70s.

When I heard that the film was being remade, the only thing came to mind was, “Why?”

To borrow a quote from Neve Campbell’s character in “Scream 4″, “The first rule about making a sequel is: Don’t fuck with the original” … And there was no better illustration of this rule than when the studio decided to follow the ’81 film with the release of “Arthur 2: On the Rocks”, which was a total dud, despite the best efforts of the original cast. You can’t always trap lightening in a bottle.

There was absolutely nothing, well almost absolutely nothing, that could stand to be improved by re-making this film. It was a remake that could never, ever, hope to come close to matching the ground-breaking originality of the 1981 film. At least that was my expectation, and the new version of “Arthur” met that expectation.

“Arthur” is a complete and total travesty.

Russell Brand is an excellent comedic actor in his own right. He was absolutely brilliant in “Forgetting Sarah Marshall”, and his stand-up act is scathingly, and equally, brilliant. He is, however, no Dudley Moore, and that’s the crux of the problem in his portrayal.

Brand approaches the character with such obvious reverence for Moore’s Arthur Bach, that from the outset he appears to be attempting to channel the dead actor in what may have been envisioned as an homage, but plays out more like a bad impersonation.

The only time Brand shines is when he is playing material that is unique to the remake, such as Arthur’s sharing at an AA meeting. Without Moore’s performance looming over him, he delivers a very engaging performance … One that is unfortunately limited to about three scenes in the film.

The same could be said for Helen Mirren in the gender-bended role of Hobson, who is now Arthur’s Nanny and surrogate mother. Dame Helen is a fine actress, who showcased her considerable comedic skills in the role of a retired contract killer in last year’s “Red”. But the material she is given in this film is nowhere near the quality of the script that Sir John Gielgud had to work with in the original, nor does she have the dour attitude or capacity for droll, ironic, wit that Gielgud had … Because she isn’t an old English gentleman, and the gender switch just flat-out doesn’t work.

And this could also be said of the revamped role of Arthur’s mother, which replaced the Geraldine Page role from the original. Although the role has been made so insignificant in this version that it’s hardly worth mentioning.

The entire film is an awkward re-hash that misses its mark by miles, and just doesn’t have the level of wit, or heart, that the Moore version has.

The one shining exception to this is Greta Gerwig in the role of Naomi Quinn, the girl from the wrong side of the tracks who Arthur falls in love with, but must forsake to marry Susan Johnson (soullessly played by Jennifer Garner), or lose his inheritance and the family fortune.

Gerwig is the sweetheart of Indie Cinema, whose portrayal of the neurotic-but-lovable Florence Marr in last year’s “Greenberg” single-handedly saved the movie from being just another shitty, obtuse, Ben Stiller flick.

Gerwig is a breath of fresh air and charm in a movie that otherwise lays there like a breakfast of yesterday’s bagels and lox.

She is bright, engaging, and utterly adorable in a totally not-Hollywood sort of way. In fact, if I could get in a time machine and go back to change the 1981 movie, I would grab Greta Gerwig and replace her in the Liza Minnelli role (which is the one thing in the original film I never got to begin with … I never understood Minnelli’s charm or appeal.)

This film is another pathetic effort from the Hollywood Big-Money Machine to make a safe bet guaranteed to pay dividends. You see, according to the Hollywood Suits, there is no more sure-fire way to box office gold than to take a classic film and remake it into some gutted shadow of the original, because audiences are too damn dumb to accept and embrace an original idea.

Sorry if I forgot the <sarcasm> tags.

So … If you were at all inclined to see this film, do yourself a favor and find the original on Netflix, or the VOD source of your choice, order some Chinese, and watch it with someone you love, or would like to love. It’s the best date flick around.

</rant>

Also up for viewage this weekend:

“A Game of Thrones” – HBO, starting Sunday, 4/17 George R.R. Martin’s Swords and Sorcery saga comes to HBO
“The Borgias” – Showtime, Sundays. The story of a notorious pope, his wife, three kids, and assorted mistresses. Good, family-oriented, stuff.

V: The Final Ripoff?

Posted on March 17, 2011 by Doug Luberts

When I first heard that ABC was re-booting the “V” franchise, I got to admit the fanboy in me lit up like a Christmas tree. I loved the original series back in the ’80s, along with its guinea pig swallowing villainess, and “Twilight Zone” inspired message that “To Serve Man” was, in fact, a cookbook. I mourned the show’s untimely passing in 1984, and was totally ready to see what a new take on the Visitors would look like with modern VFX, and a different spin.

The pilot that aired in 2009 was nothing short of amazing. It was a hard-edged allegory with a pretty clear point of view on terrorism, and government fear-mongering, lingering very close to the surface. A little too close, perhaps, for ABC Executives, who fired show creator Scott Peters before the first episode even aired. Show runner Jefferey Bell was soon to follow.

The regular season commenced under the leadership of Scott Rosenbaum, who in direct contrast with Peters and Bell seemed to have absolutely no point of view for the series beyond “Humans Good, Aliens Bad”. The initial run, which was interupted by a hiatus for the Winter Olympics, was mostly bland, and kind of wandered aimlessly to a season finale which, by and large, wasn’t bad. At any rate it was good enough to suggest that another season might not be the worst idea in the history of worst ideas, and was worth a shot.

Well, after watching the season finale Tuesday … Maybe not so much.

Morena Baccarin does justice to the evil Anna, but I must admit having a preference for the softer side she displayed as Inara, the hooker with the heart of gold, on "Firefly".

The second season moved forward with the Visitor’s queen lizard, Anna, played by Morena Baccarin, advancing her plot to have her daughter, Lisa (Smallville’s Laura Vandervoort), breed with the genetically-enhanced son of FBI Agent-cum-insurgent Fifth Column Leader Erica Evans (Elizabeth Mitchell) prior to taking over the World and anihilating the Human race.

At the same time Mitchell’s character is enacting her own plans to make matching pairs of lizard-skin boots out of Anna and her fellow aliens.

But wait, there’s more.

Down in the bowels of the mothership, Anna is secretly keeping her mother, and rightful queen of the Vs, Diana, in a dank and mildewey prison where she has been rotting for the last 15 years. To make it even more confusing, Diana is played by original “V” badass reptile-girl, who was also named Diana, Jane Badler.

Not confusing at all. No.

Anna apparently overthrew her mother while still in her teens, and told all the other reptiles that she had died while, no doubt choking on a guinea pig.

Badler was brought in mid-season as a ratings stunt. Her overacting, and withered look, give her performance more of an air of the aging Norma Desmond (Gloria Swanson vintage), than a deposed monarch.

Why? One of the great mysteries of the season, as she seems little more than a feather-duster in ballroom drag.

Anna goes down to visit every now and then to exchange recriminations with her Mom and brag about how much better a job she’s doing at planning global domination than Diana ever did.

Diana, on the other hand, drones endlessly, and in a rather awe-inspiring fake quasi-British accent, about how Anna will never amount to anything.

You know, typical mother-daughter-alien-lizard crap. It’s sort of a sociopathic space alien version of “Gilmore Girls”, without all the funnies.

The mystery is, people go down there, they visit, they conspire, and by the end of the season it seems like half the damn ship should know she’s down there and done something about it already. But no. Nobody thinks to spring her until the season finale.

The mother-daughter-alien-lizard crap is complemented on the human side by Agent Evans constant struggle to keep her son out of Anna’s evil clutches, which translates into a lot of teen-angsty interchanges and an endless barrage of mother-son crap.

From Tyler’s perspective, Mom’s a total drag … He’s a teenager who just wants to go out and do all the normal teenager kind of stuff … Like flying space shuttles and sleeping with lizard girls (it is said that beauty is only skin deep, and in this case it’s quite true …). So what’s your damage, Mom?

Meanwhile, Agent Evans and the Fifth column, who have been colluding with queen-to-be Lisa, get her agree to kill her mother as part of a faux-kidnapping where Anna will be without her bodyguards. Anna conveniently see Lisa pulls the gun on her in a mirror, and turns on the waterworks while giving a heart-wrenching (not really) performance about how she loves Lisa, now understands the humans, and human emotions, and just wants to live in peace with all man-and-lizard-kind.

The insane part is that the dizzy little blonde falls for it! As she later tells Agent Evans, “My mother has really changed, I could see it in her eyes!”

Well, duh … Did she forget that all the Visitors wear special contacts to cover up their alien lizard eyes? WTF?

Meanwhile, back on the ship, Diana gets a couple of her old spawn to jailbreak her, and assembles all the Visitors to tell them she is back, and is their rightful queen and … That’s when Anna spears her through the back with her nine-foot long tail (and where do they keep those things … they never seem to have visible nine-foot-spear-tipped-tail lines showing through their skin suits), before turning to Lisa and proclaiming …

“Now that’s how you kill your Mother!”

More like, “Now that’s how you kill a franchise!” Talk about cheesy. Yikes.

Then she throws Lisa in the dungeon, but not before going down there to exchange some recriminations.

Like mother, like daughter, even in the lizard world.

The payoff to all of this is Anna, long suspecting her daughter had fallen prey to human emotion and was conspiring against her, hatched another queen egg that she had been conveniently keeping in storage, just in case, and used some new alien ageifying tech to make her hatch at full maturity. Anna has her dressed in a skin suit that looks exactly like Lisa, and sends her in to sleep with genetically-enhanced-Tyler, the son of Agent Evans, while Lisa watches, aghast, via video from her dungeon.

After they are done, Tyler barely has a chance to bask in the afterglow before Evil-Lisa-clone rips his throat out with her alien head-o’-fangs and drinks his blood.

Yeah, even aliens like a good meal after sex.

Elizabeth Mitchell's character always seems to have this bewildered look...I think she's having trouble following the plot too.

Next there is some business about, Amy, the half-human daughter of one of the lizards and her ability to stupify humanity with her brain (which is not unlike a metaphor for this show), even though only the Queen’s supposed to be able to do this on her subjects, and even she starts getting all nose-bleedy if she tries to do it on humans. The result is all of Humanity standing about staring up at the sky like a bunch of brain-dead zombies at a Grateful Dead concert, while being bathed in sunny god-rays in the middle of the night.

All of this is happening while Agent Evans, who we are led to believe has been exposed as a Fifth Column terrorist by the FBI, is taken into custody. We find out she is really being recruited by a super-secret government organization working from an underground high-tech compound somewhere under Manhattan Island. The leader of this organization is Lars Tremont, played by Mark Singer from the original series, whose shadowy organization has known about, and been tracking the visitors for years.

Sure, what the hell, let's bring back Mark Singer, after all, he did save the "Beast Master" movie from being a total ... Oh, wait. Nevermind.

So, basically, Agent Evans has been recruited by The Initiative, and if renewed, Season 3 will be Season 4 of Buffy, and where the hell is Maggie Walsh when you need her? And why does Mark Singer look like Quentin Travers? Is the Watcher’s Council somehow mixed up in this.

All of this comes at the end of a season where the plot has flowed as slowly as 30-weight oil in Antarctica during an ice storm. In short, ABC has taken a cutting-edge sci-fi thriller with a ton of potential and dumbed it down into a meandering series of encounter sessions on parent-child relations.

As much as I would have like to see this series succeed, it just doesn’t deserve to.

Here’s hoping that ABC will truly want to save Humanity, by killing the show now and sparing us from another season of “V”.

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