Rewatchable Sci-Fi/Fantasy TV Series
Based on the first seven seasons.
Game of Thrones
An epic fantasy series finally makes it to the small screen, produced by HBO to somehow make it look like a huge-budgeted blockbuster movie, only with a continuous
storyline spanning several seasons. The story also spans hundreds of characters, and involves several continents full of various races, cities, politics, wars
and parallel story-lines, and it is a very dark story indeed, as written and imagined by George R. R. Martin. The result? A show that has rapidly surpassed even the
popular phenomenon that was Breaking Bad. The story itself is too complex, huge and epic to summarize. But it involves several houses competing for supremacy in a world
similar in many ways to the medieval period on Earth. A king and his fragile alliance dies, which triggers a series of murders, wars and political games, both personal between
the various people in power as well as political between races and houses. Alliances shift quickly, pivotal characters are murdered often, battles often end surprisingly, and
men are pushed to their limits and beyond, usually bringing out the worst in them. Despite the religions in this world, this is a godless place, and the religious are just
as cruel and godless, and the morally corrupt frequently emerge on top amidst the chaos. A doomsday-esque upcoming winter with awakening hordes of the dead, as well as dragons
and other forms of re-emerging dark magic complicate the chaos even further, often forcing enemies to work together.
Let's start with the books (which is where I started): I found them overrated, with too many overwhelming problems in the writing, except that they had a good story at their core.
One big problem is the desperate need for an editor. The books are bloated with many, many tedious chapters and pages that don't do much for the story or characters,
describing endless banal conversations and encounters, useless details, and tedious flashbacks or 'historical' back-stories in every other page. To make matters worse, the story
gets told by more and more characters as the books progress, reducing the pacing of each individual story down to a crawl. Reading the books became an endurance test regardless
of the quality of the story. The other huge problem is that most of the characters are very flat. Sure, interesting things happened to them, but the writer obviously has
no skills in bringing characters to life, with the exception of a couple of characters like Tyrion and Arya. Another problem is the intelligence is at a minimum. There are
some moderately clever political machinations, but otherwise, there is no brilliance from either the writer nor the characters, and no wise characters, only people led by
basic instincts, blind honor or simple motivations. The imagination of the novels is grand in scope and full of details to a fault, but the world is modeled largely after
the medieval period, with cultures and people copied from instantly obvious parallels on our planet, and only their names and costumes were changed. Even the fantasy aspects
are minimized in order to keep it more realistic, and the religions are mostly modeled after Christianity, Roman gods or Paganism. Which means that the imagination did not
impress either. But, like I said, there was a potent epic story at its core, and a screen adaptation could theoretically fix at least some of the flaws in the books.
And the series did exactly that with flying colors: It trimmed tons of fat off the core story, and the story emerged all the stronger for it. It re-edited the story, fixing
the pacing. It even adjusted the timeline here and there to avoid neglecting some story-lines that were left to rot all too often. And finally, it did a brilliant casting job
in every single role: And the actors did what the writer could not: Bring the characters to life, which, in turn, brought the story to life. This show did such a good job
surpassing the books, I stopped reading the books after book 3, and focused only on the show (and I can't recall this ever happening before). This is not a perfect show however,
and took a while to win me over. Flaws include the tiresome HBO habit of injecting gratuitous graphic sex and homosexuality into the show that wasn't even in the books.
Every time they stage a completely pointless orgy scene (or the like) obviously engineered only to titillate like some cheap pulp fiction, the show takes a while to recover
until I can take it seriously again. Another thing HBO often does is to emphasize the female roles and make them even more pivotal than in the books. Political correctness has
no place in a planet modeled after the Middle Ages. Also, the show cannot recover from all of the flaws of the books. For example, the darkness constantly skirts the border
between realistically brutal, and misanthropic sadism which reveals more about the author than about the world. The problem is not that bad things happen to good people, or that
bad people gain control, but the fact that, in this imaginary world, almost everyone can constantly be relied on to behave their worst and react in the worst possible way. Even
the honorable people seem to behave blindly out of training, without a proper moral sense. And all religions in this world are only about doom and gloom and mindless asceticism.
It doesn't take talent to be misanthropic. Anyone can write a story that kills each of its characters one by one in brutal ways and make drama out of it. But, as mentioned, these
are flaws in what is otherwise a powerful and epic show.
The first three seasons follow the first 2.5 books rather closely, except for the aforementioned tons of fat that have been thankfully sliced off. The story is at its strongest
and leanest in the first season, but the payoffs really start to become powerful during the third and fourth seasons. In the fourth season, the writers of the show start showing
more independence, re-arranging the story-lines and even filming scenes that were only hinted at in the books, and even the stupidly forced sex scenes have been reduced,
resulting in what is probably the strongest season. An interestingly unique dilemma then comes up: They run out of books. However, novels four and five were poorly accepted
and contained too much filler material, that and the fact that the rest of the story still hasn't been written, forces the writers of the show to use what they can for the
weaker fifth season, and then take over the writing for the sixth season. But this is not a catastrophe; Quite the opposite: The writers have proven to be superb at improving
on the source material, and as long as they use the writer's consistent vision for the story, there is no reason the show couldn't soar as it has done already in previous seasons.
And this is exactly what happens: Seasons six and seven push the many stories and hundreds of characters forward in epic fashion. The many machinations become more complicated and
interesting, the characters exponentially more vested in their roles and fates, many of them getting broken and reformed by the constant failures and loses, becoming more introspective
and human as a result. And the mounting tensions and dangers build up constantly throughout the world and explode often with surprising but realistic results, with more and more story-lines
slowly converging or closing. It's not perfect. There are some puzzlingly stupid decisions by some protagonists, a too-heavy reliance by the writers on constant deaths, as well as the
opposite: people that survive certain death repeatedly, and the masses are too fickle, following the numerous all-too-quickly replaced leaders one after another. But overall this is
a superb and powerfully epic show. The characters really soar thanks to the combination of great actors, casting, screen-writers and story-teller, a combination that thankfully
transcended the limitations of the books. And, as opposed to the hordes of fans that rate the battle scenes the highest, I think that they are mere strong punctuation for this
show's real strength which breathes between its many deaths.
Based on all four seasons.
A horror series created by Guillermo del Toro and released by FX is something to get excited about, and my expectations were high. The first season is a masterpiece
of horror. It is a combination of old-school vampire horror where vampires are monsters and not romantic emo-teenagers, with the unique touch of treating them as a virus
by the CDC, and their details are altered slightly in del Toro style to make them modern, unsettling and truly scary. Elements from the classic Dracula and Nosferatu stories
appear here with unique touches, and they are done very well. This is also combined with the apocalypse genre, except this is a vampire virus and not zombies, and the
apocalypse is much more interesting and scary here since it is gradual and occurs in stages with a group of people trying to fight the Master's plan every step of the way.
The cast is rich, colorful and well cast, presenting a rich story with lots of character development. This includes a CDC scientist and his family torn apart by an infection,
a rich and influential man who is desperate to stay alive via any means, various criminals that become involved in the Master vampire's plans only to have misgivings when they
realize what they were involved in, an old dark-soul Holocaust survivor that has dedicated his life to fighting the Master, vampire-ancients with their own agendas, a truly evil
Nazi vampire lackey, an effective rat exterminator that shifts his expertise to vampires, and many more. There are plots and counter-plots, lots of desperate survivalist action,
very effective horror that gets under your skin, and intense drama as the worst and best of people is brought out by the horrifying spread of monstrous vampiricism. The writing
is mostly solid and continuous with multi-season story arcs and complex character development.
The first season is definitely amongst the top three seasons of any horror series, with complex developments, a scary monster, a gripping unfolding story and best of all, fleshy
and colorful characters and actors. The only minor misstep is the use of that Hollywood myth of a female super-hacker, but her story is a minor sub-plot. The second season is
still quite good, albeit the Master becomes less scary and effective, and the writing sometimes feels like it is stretching things out a touch, but these complaints are minor
and the season is still quite solid and interesting. Some cracks appear in the writing that seems to forget the super-speed of the stronger vampires when it isn't convenient,
and the vampires constantly skip chances to kill their enemies, except this isn't really a valid complaint given that the vampires have repeatedly shown their motivations to
be driven by sadism and the need to make their enemies suffer by taking away everything they care for or by breaking their will systematically, rather than going for simple murder,
as we have seen with the Nazis. A lot happens in the third season, making it much more action-packed and intense than the second, although it now feels more like a strong,
conventional, slicker show as opposed to the superb unsettling horror vibe from the first season. There is a story arc involving a brat kid going very very bad that may turn
off many viewers, sometimes feeling too far-fetched, but it's not altogether implausible given that kids are often amoral and swayed by their misguided parents, and given that
his devotion is to a mother who has been turned into a hybrid vampire-human. This development is quite dark and risky, but not beyond reason, and I found it unusual and interesting.
The final fourth season follows a very dark climax, continuing the story as the characters grow increasingly more desperate in a new hellish world that threatens to take control.
All this leads to a satisfying and intense finale.
In summary, one of the best horror series ever made with only minor flaws, and it's sad to see that mass audiences don't appreciate shows of this calibre while rating other,
poorly written, but superficially thrilling shows higher. It brought something new to the vampire genre which is no minor feat, took risks and mostly succeeded, features a
truly horrifying first season and a strong finale, and told its story, then ended without any padding. The mass of bad reviews only prove that audiences today have no taste.
This is a superb show.
Kingdom, The (Riget)
A TV series that is often described as a mix of ER and Twin Peaks filmed in Dogme '95 style. But while the ER-style gripping hospital drama and the Twin Peaks-like quirky
characters and strange, spooky events keep the viewer fascinated, it is the humor and dense sub-plotting that are the clinchers. Highlights are the constant hilarious
clashes between a formal Swede and Danish frivolity, the spiritual sleuthing of an old woman who tries to help the ghosts of the hospital while the administration tries
to stand firmly with its belief in science, students play with body parts, doctors initiate each other with a surgical blade, a doctor that collects blackmail and discarded
material in the cellar, and a pair of dishwashers with Down's syndrome that serve as the Greek chorus. This soon turns into chaos and over-the-top scenes of bizarre shock
and hilarity that become more and more bizarre to the point of parody. Comedy and surrealism take the forefront instead of spookiness and gripping drama, with sub-plots
involving a twelve-foot deformed baby with the mind of a grown man, Satanic rituals and demons, zombies, doctors with an addiction to splatter films, a madman in charge
of group therapy, an ambulance driver that drives against the traffic while the staff bet on him, etc. A wild and gripping ride but unfortunately unfinished due to the
deaths of some main actors.
Based on all seventeen episodes.
A cult classic series that lasted for only a few episodes but that's all it needed and it had the grace to quit while it was ahead. A government agent finds himself in
a strange village where the people are either brainwashed sheep or part of the system and all are attempting to extract information from him using any means possible.
The Prisoner repeatedly attempts to escape and fool his captors and intense cat-and-mouse games ensue. Psychological games, strange behaviour, bizarre other-worldly
sci-fi technology that keeps the villagers in line, and nightmarish symbolism behind it all. This is thoroughly intelligent with fast-moving plots, and endlessly
inventive to the point of being surreal. It only loses its way in the last 3 overly abstract episodes, but otherwise is superb and essential.
Based on the first three seasons.
Quality over quantity is definitely the motto of this anthology series that brings to mind The Twilight Zone at its best, except this one almost has no filler episodes and even
the lesser ones are entertaining and provocative. The theme is the dark side of technology, and each episode takes place in a different present or future, where a seemingly fascinating
and useful technology turns out to have a dark side and an unexpected trap. This is no Luddite series however, or a cheesy horror show about technology gone evil. It is a very
smartly written and observed show that takes a technology (usually future sci-fi technology but often close to the current technologies), and demonstrates where humans could
easily take it in very realistic and carefully observed scenarios. In each episode, it tells a compelling tale with superb actors, constantly winds the tension tighter, then
always provides a finale that leaves one thinking for a quite a while afterwards. And the writing is not only carefully written, it is smart and insightful. When was the last
time you could say that about any show? It contains horror which can be a little disturbing, but in a good way, and without the excess of modern horror, and it is also sci-fi
at its best, using imagination to explore humanity, and it contains a healthy dose of satire as well. The third season contains two weaker entries in the middle (with one puzzlingly
silly lesbian love story) but the other four are superb. The technologies explored range from youtube abuse, to programs that try to copy human beings, to virtual politicians,
or Idol-type shows that find entertainment in everything, Existenz-esque reality games, computer malware, and even the evil behind Facebook 'Likes' or internet comments. From
the mind behind Dead Set.
Based on all four seasons and the concluding mini-series.
For once, the praises are valid and this happens to be one of the most entertaining old-school sci-fi shows ever made. But there's a caveat: This is a character-driven show
a la Buffy. Those looking for geeky Star-Trek or Babylon 5 plots or highly original science fiction may be disappointed. There is also an abundance of snappish
comedy, alien cultures and creatures that embarrass the silly humanoid aliens of other shows (the alien puppets were made by the Henson workshop), and great
special effects. Another of the great advantages to this show is that it is basically one very long movie, with complex story lines continuing even between
seasons, and characters developing and changing drastically as the show progresses. There are some stand-alone episodes that serve as sci-fi interludes
but the character development is always continuous.
The main story arc is about an Earth astronaut from the 20th century who gets lost in a wormhole and finds himself brutally pulled into an intergalactic conflict while
allying himself with various alien renegades fleeing from a cruel military species. Crichton tries to harness the power of wormholes to find his way back, falls in love
with the incredible Claudia Black (an aggressive outcast from the military Peacekeeper race), and manages to make enemies out of increasingly more evil and powerful
beings who are also out to control wormhole technology. The renegades include a selfish but royal mud-dwelling creature, a warrior, an annoying new-age spiritual
'witch', and a strange, sexually manipulative alien. Claudia Black and the evil Scorpius and Crais are by far the strongest characters, and the rest range from
tolerable to good.
The first season isn't the strongest but it's fresh and entertaining, it introduces the story and characters and pulls you in. The poor second season suffers
from sophomore effort syndrome: No freshness and inspired fun of the first season, and messy story-lines. Some ideas seem forced here and Zhaan, the blue 'spiritual'
character, reaches her peak of annoyance. The best and third season boasts great drama and character development, a solid, consistent, and interesting story, and best of all:
no new-age witch. The fourth season is interesting, fun and still great but is relatively weaker (the writers experiment with interesting plots but don't seem as inspired).
Based on the first ten seasons.
Doctor Who (2005)
BBC brings back the classic series (see below) with a bang and an upgrade, featuring modernized characters, more emotion and exploration of characters, and good CGI special
effects. The Time Lord is back, saving worlds and people and encountering dangers, invasions, aliens and monsters in different periods in time. Even the Daleks and Cybermen are
brought back with some scary upgrades. This is fun and imaginative sci-fi with colorful characters that shows the overly stiff Trek shows how to make science fiction imaginative
and entertaining. Although the show emphasizes enthusiastic sci-fi fun, it also adds a healthy balance of pathos to elevate the show even beyond the original, as well as just
enough silliness, interesting ideas, and comedy. This is also a show for Doctor Who fans that aren't afraid to revisit elements from the old show with more depth, emotion and
humanity. This flamboyant, populist and emotive new approach comes to us courtesy of Russell Davies from Queer as Folk, the more disciplined writing I expect from a good sci-fi
show gradually and increasingly suffering as a result. The show (with the exception of Moffat episodes) under Davies quickly deteriorated to overblown nonsense, sentimental
undisciplined writing with not only plot-holes, but completely nonsensical writing that constantly breaks its own rules and often makes use of deus-ex-machinas. Somehow, Moffat
taking over the show after a few years didn't fix these problems for long. In short, it started amazingly well with a perfect approach to a comeback, then quickly deteriorated.
Christopher Eccleston (05): Each of the old generations changed radically and revolved around the character of the latest regeneration of the Doctor and the ninth is no exception.
Which is to say, it is yet another fascinating exception. The first season features a dynamic, modern, quirky, cheery, fun Doctor in a leather jacket with some complexities and
dark moods but overall an adventure-seeking, life-loving, brilliant, technical wizard who enlists the capable Rose from Earth as his side-kick. Episodes are usually very good
with only a couple of exceptions, strong highlights being the return of the Dalek, and the surprisingly emotional Father's Day. Brings back the humorous fun of the old days,
a magnificent version of the theme music, and the imaginative sci-fi we expect from Doctor Who. This season is flawed by occasional lazy writing and deus-ex-machina solutions
however, including the horrible season ending. But these flaws are minor (especially compared to what is to come), and the season is a great one.
David Tennant (06-09): As soon as we settled down to really like the new Doctor, he is replaced. Tennant at first seems too young, immature and too much of an action-hero, but
within a couple of episodes he wins us over with his contagious enthusiasm, energy, and multi-faceted character, and thanks to the writers, he is given a lot to do. The
Torchwood institute for fighting aliens is introduced, the Cybermen are resurrected with great care to make them scary instead of cheesy, and a few two or three part episodes
bring back the longer stories we were used to in the past. But once again, the highlights are provided through the human angle by the writers, exploring the lonely life of the
hero Doctor, the effect of constant dangers and adventures, the tragedy of Cybermen, the emotional roller coaster of time-travel (e.g. the incredible Girl in the Fireplace), etc.
Flaws include increasingly lazy and dumb sci-fi exemplified by the Sonic Screwdriver that seems to be able to do anything with the same simple press of a button. The second
season is rich, superb and sees the (over) emotional exit of Rose. But, overall, the ending is a good one, especially compared to all the other awfully overblown season
endings. The weak third season takes a big step down in the writing featuring only a handful of good episodes, and otherwise indulges in way too many lazy deus-ex-machina endings,
sloppy sci-fi, and a truly horrible last episode. The obvious stand-out is the instant classic horror episode by Moffat: 'Blink'. This season introduces the clear-headed but
uninteresting Martha Jones, and resurrects The Master in a three parter that starts superbly then falls apart for a ridiculously nonsensical ending that fails on many levels.
While season three is a mixed bag and still offers a few good episodes, with the fourth season and 2009 specials, the writing becomes pedestrian sci-fi entertainment at best,
and cheating, contradictory, nonsensical or sloppy rubbish at worst. They wreck the opening theme, Russell injects the show more and more with his openly-stated gay agenda,
the new companion is annoying, the endings are overblown absolute idiotic nonsense, and although the show is somewhat irresistible, it is constantly disappointing, except for
the couple of superb Steven Moffat episodes. In summary, a rapid and gradual deterioration over five years with a superb first two years and a mixed third.
Matt Smith (10-13): The show is thankfully rebooted in the hands of Moffat and a new Doctor. I was sure that Moffat would deliver something amazing but was apprehensive about
the too-young Matt Smith. To my surprise, it turned out to be the opposite: Smith lacks a bit of depth and personality, but he performs rather well after a few episodes even
though he seems to be copying Tennant, and has a strange alien ageless face on a young body, which is appropriate. The first two episodes sees more fascinatingly unusual writing
from Moffat with some flaws, then, with the exception of the deeply touching "Vincent and the Doctor" we get a series of terrible episodes with deus ex machinas, sloppy details
and sentimental rubbish galore, leading to yet another overblown, brainless and nonsensical finale straight out of a Davies season. Bombs are defused with emotion, unstoppable
scary monsters stop doing what they do at the writer's whim, nonsensical metaphysics and gobbledygook save the day over and over, Amy walks around in a tiny miniskirt in the 50s
or 1700s and nobody even notices, etc. etc. How can a show 'change hands' only to deliver the same rubbish? Moffat finally makes his mark in season six with a complex, interesting
story arc that just barely holds together if you think about it really hard, and for once the finale isn't complete nonsense. Unfortunately it's still mixed with a sprinkling of
some emotionally-driven nonsense, showboating and spectacle, pandering to wide-eyed fans rather than to level-headed audiences. The above-average seventh season is a similar mixed
bag with more good than bad, featuring a rich variety of episodes as well as some lazy plot holes and details that don't work, some sentimental or humanist deus-ex-machinas, and
a half-interesting half-impossible finale. In summary, season five is a bad Davies left-over, but seasons six and seven are fun, interesting and addictive, albeit very flawed. The show
seems to have an ongoing problem with spectacle and emotion overriding consistency and logic and it often makes me miss the geekier and simpler approach of old Who.
Then came the fascinating movie-length 50th Anniversary Special 'The Day of the Doctor', which, in an old Who tradition, thrillingly combines several Doctors in a single episode in
addition to introducing the next Doctor. However, it also adds yet another complication in terms of the Doctor's number of actual regenerations. Given that Tennant flippantly makes
reference to two other weird regenerations and now we have a mysterious 'War Doctor', the next number can be anything from 12 to 15. Basically, it's time to throw the numbering system
out the window.
Peter Capaldi (14-17): Capaldi brings with him a welcome maturity, colorful personality and a more complex character after all of the youngsters recently. Unfortunately, Moffat is now
completely lacking in focus and discipline, making seasons eight through ten very poor ones. Barring a couple of stronger episodes, the writing is all over the place. For one thing, it
is unable to decide what to do with Capaldi's character who is sometimes a silly guitar-wielding clown for kids, a smart and complex Time Lord, or a second fiddle and reckless adventurer
there only to support his smarter female companions and friends. Also the writers throw even the most basic plausibility, consistency, science and logic out of the window, assuming that
anything goes with sci-fi. The writing keeps making up new complex things without bothering to check their consistency, and uses deus-ex-machinas for almost every situation now. Based
on Moffat's other good shows, it seems Moffat can't handle sci-fi/fantasy, and doesn't seem to realize that good sci-fi makes up new rules, then sticks to them. I suppose this is what
happens when a writer that likes to stretch the boundaries is given a boundless show to play with. He works so much better with limits. In addition, the emotional content of the show
has become like a self-aware caricature of itself, always pushing every act of its characters to mythical status with endless annoying grandstanding. There is also a cringe-inducing
stunt of not only casting The Master as a woman during this period but also into a strange warped Mary Poppins-esque character with a good heart. On top of everything, several story
lines feel cloned, and the mindless liberal preaching and agenda grows to an intolerable level. Ironically, the first handful of episodes from season 10 go back to basics while a new
companion is being broken in, and it reminds one of how much fun Who used to be when things were simpler, but then it's back to over-engineered emotional nonsense. Capaldi reminds me
of the Colin Baker period: A darker and much more interesting personality wasted on a period of bad writing.
Jodie Whittaker (18-): Moffat is out and the show is under new management, bringing hope of a much needed reboot. Except that in a yet another misguided stunt, the new Doctor is a
woman. Although the sci-fi rules of the show allow it and the Doctor has always drastically changed personality between regenerations, allowing, strictly speaking, for a female
personality, given that we have had twelve strictly male personalities in the past 55 years, such a stunt in this day and age is obviously a politically motivated move during a period
where the brainless masses pressure to hide the boundaries between genders, and it therefore reeks. Casting a pretty young face over personality only makes it much worse, and I had
difficulty accepting Davison and Tennant for this reason as well.
Based on all three seasons.
Star Trek: The Original Series
So many ideas in subsequent sci-fi shows (like the new Treks, Babylon, Farscape and X-Files) have been stolen from this original, creative and risk-taking show
that based on that alone this show needs to be watched. It's true that the effects were cheesy and cheap looking, it's also true that some ideas are dated or
silly, but there are plenty of great episodes as well amongst the bad ones, and the sci-fi is adventurous and often fascinating. What sets this show head
and shoulders above any of the new Star Treks however are the warm and colorful characters of Spock, Kirk, McCoy and Scotty who interact beautifully and
entertainingly in many scenes, giving the show the humor, humanity and warmth that the new generations sorely lack.
The first season only has a handful of really great episodes, but more than half of the second season is great and is therefore recommended as a whole. The
third is the weakest, the changes in direction showing themselves sorely in the writing and acting, most of it uninspired and lackluster with barely a handful
of good episodes.
After the interesting failure of Lynch's Dune movie that never fulfilled its promise, this series based on the challenging classic sci-fi novel was met with apprehension
but was accepted by many as a surprisingly good and faithful adaptation. The writer/director remained mostly faithful to the book with minimal changes that are either
necessary or inconsequential, and he seems to have had some vision and good sense of the book's character, breathing a bit of life into this complex alien world. The casting
choices are mixed, with the many European actors lending character and color, moderately interesting choices for most of the main characters that range from good to
mediocre, and although Hurt as Leto is a great casting choice, his performance is disappointingly disconnected. The story is too complex to summarize here. The special effects
are somewhat weak and TV-quality, but the sets and many costumes are well done and since the book is mostly about alien cultures and technology, mysticism, politics,
philosophy and complex machinations, this will only be a hindrance to those seeking Hollywood sci-fi action. In short, it's nothing extraordinary, but overall it's
nicely done, and with such a difficult and fascinating story, that's praise enough. A fairly good production of exceptionally great science fiction, until a better
adaptation comes along that really knows what it's doing. Don't hold your breath.
Based on all seven seasons.
Buffy the Vampire Slayer
While in high-school, Buffy discovers she is the legendary vampire and demon Slayer of lore, and is guided by Giles the Watcher and librarian who tries to train this otherwise regular
high-school girl into acquiring a more serious attitude towards her destiny as a Slayer. But she only wants to have a normal life with her high-school (and college) buddies. Life
becomes more and more complicated, her personal life completely controlled by numerous and various forces of evil, and her romantic life made impossible by a complex, repentant, brooding
and cursed vampire. This series starts with a silly premise of a blonde girl with super-powers kicking evil's ass for a change, but grows into incredibly involving, funny and dramatic
story arcs, with a fine balance of witty comedy and well-acted drama. This show is a unique phenomenon and a pioneer, as well as the show that made Joss Whedon an instant name in the
industry. The really young actors and high-school setting, as well as the touches of camp, can be a hurdle. But it never fails to win over watchers of all ages with its superb acting
and timing, strong story arcs, smart writing, very three-dimensional characters, constant witty banter, and intense drama.
The first season is much weaker than subsequent seasons, with a relatively more silly and campy attitude and approach, but there are hints of future greatness and most of the episodes
are fun (with a couple of really silly but entertaining duds as well). This season also sets up the characters, but they only really take off in season two. The second season not only
makes the show something to take seriously, it is one of the best seasons of any show, period. The show becomes a very entertaining mix of humor, strong character-driven drama, Greek
tragedy, horror and camp which makes fun of itself and is aware of its silliness yet somehow also explores serious and touching drama and dark subject matter. Perhaps it's the
self-deprecating humor that makes their pain more sympathetic but it works. It also helps that there are adults like Giles to counterpart the teenage feel and a variety of unique
and colorful characters that interact wonderfully. This show takes risks and succeeds. The third season is also quite good, albeit it doesn't fly as high as the second, though even the
weaker or sillier episodes are lots of fun due to the sharp banter and dialogue.
The fourth contains some excellent scattered episodes, continuing entertaining banter and chemistry, but it also starts showing cracks. Willow's character is the first to go and starts
becoming annoying, the new love interest is a little on the bland side, as is the story arc in the second half. But some individual episodes can still surprise with their excellence,
and there's even some new fascinating and bold experimentation. After the fourth however, it falls apart. There is too much forced drama and melodrama, characters become overly serious
or behave inconsistently, new annoying characters are introduced, and it loses its charm. Willow turns into an annoying lesbian witch, Giles becomes unnecessary, Buffy's love
interests become unrealistic, Cordelia and Angel leave the show, Dawn is an annoying child, some villains are overly silly, and Spike, the enjoyably evil wise-cracking character,
turns into a softie and contradicts the show's own rules about vampires (if any vampire can turn good, how can they justify killing them indiscriminately?). Seasons five to seven
still deliver some good scattered episodes and the dialogue can be fun, but the character and story arcs go too far and constantly lose their characters and balance. It's like
someone took control of the wheel who keeps swerving off the road and hitting things down.
Based on all five seasons.
A Buffy spin-off with several characters from that show either moving between the two shows, or sharing time with this one. This is also much darker and no longer has traces of the
'teenagers in school' aspect. This is a good thing. On the other hand, it is also lacking a lot of the superb chemistry, banter and timing between the many characters in Buffy, that
makes that show more fun. Angel, the repentant ex-evil vampire moves to a different city and starts a kind of supernatural rescue agency, while killing vampires and demons, and
battling his inner demons and dark past. Given that the protagonist of this one is a brooding, guilt-ridden vampire with a soul who is constantly threatened by his dark past, it makes
sense that the show reflects this very different tone. But that doesn't stop the writers from injecting moments of much needed comedy and banter, especially in the beginning and end
of each episode when the latest crisis isn't taking over their lives, or when characters from Buffy come for a visit. The approach to demons in this show is often too unimaginative or
silly, simply replacing a race or gang of humans with a 'demonic race' and giving them all-too-human traits. But the rest of the villains fare better, especially the vampire family and
an evil corporation of lawyers. Cordelia isn't as compelling a character as the others, but she lends much needed lightness, torn between her superficial drives to become a popular
actress in L.A. and her newfound conscience and need to help fight the evil that has taken over her life. As with Buffy however, the writers eventually develop her character too far
to ridiculous places. In short, this show has several flaws and is somewhat weaker than Buffy, but it's still good enough to serve a couple of great seasons and many amazingly
As with Buffy, the first season is weaker, but for different reasons: The majority of the episodes are stand-alone involving a monster-of-the-week, the initial friends and support actors
in the first half are bland, and the comedy and timing is shaky until the writers figure out how to adjust these elements to the new tone of the show. A handful of episodes are overly poor
and clunky or silly. But there is plenty of superb character development in the first season even in many of the stand-alone episodes, as well as a handful of powerful and superb episodes,
all of which make the first season a must-see. The magnificent second season is not quite as brilliant and darkly dramatic as Buffy's second but it's close and sees much inspired and
dark character-development as Angel's colorful vampire 'family' comes back to complicate things (Drusilla is an inspiredly insane character).
As with Buffy's fifth, the third season falls to pieces and jumps the shark with too much far-fetched writing and annoying new character development and characters. There are unrealistic
or dumb romances, an uninteresting pregnancy, an annoying kid, a never-believable new member of the gang (Fred), Cordelia changes from the funny superficial bitch she was in Buffy to a
Saint with supernatural powers (huh?), etc. After that, the fourth doesn't and can't recover what with all the broken characters. And the fifth and final season, despite taking a risk
with new interesting plot-twists and featuring Spike, simply doesn't work anymore.
Based on all nine seasons of the original series.
X-Files is both a classic, pioneering show, as well as a fascinating TV phenomenon with enduring popularity, thanks to several elements: First of all, the writing, although highly
inconsistent in terms of quality and which varied in many ways from episode to episode, delivered an overall experience of quality, fascinating stories and ideas with a layer of plausible
realism that was lacking in other supernatural and sci-fi shows. It also was a pioneer when it came to not only season-long story arcs, but multi-season, complex, ongoing, constantly
developing plot-lines (as opposed to general character arcs). Not only does its complexity rival or leave behind shows made a decade later, it also has pretty good quality control, and
the plot, although convoluted, doesn't just fall apart eventually like so many other shows that attempted this. Another important element is its passionate embrace of any and all
conspiracies, paranoia, government plots, and so on, and the show has practically become a synonym for this sub-genre. It is also the definitive treatment on the topic of alien abductions
and conspiracies. Perhaps one additional reason is its penchant for going against conventions or adding its own twists to staples of the genre, perhaps the most prominent example being its
switching of wrong-headed gender stereotypes, with the male FBI agent being the intuitive one. And finally, it is a very unique show in how it managed to blend every genre possible: Sci-fi,
horror, supernatural, thriller, comedy, drama and action, and even occasional forays into mysticism and experimental strangeness. It's the only show I know of that can explore deeply
disturbing body horror in one episode, then skip to silly light comedy in the next, and get away with it. However, some of its strengths are also weaknesses: One is the aforementioned
mythology that grows in complexity, but which eventually just becomes convoluted as the writers keep adding more and more elements, until they blow it up and start over. The pace of the
mythology is also a challenge, each season only offering a handful of episodes that move it forward, often asking more questions than it answers. Another example is the openness and
willingness to experiment with a variety of writers which is what makes the episodes so varied in quality.
The show revolves around two FBI agents that work on unexplained phenomena and strange unsolved cases. 'Spooky' Mulder is an intuitive believer in all things strange and supernatural
and he has a personal stake when it comes to aliens, and his partner Scully is the scientific skeptic. However, the show plays around with variations on this setup several times.
Episodes either belong to the staggeringly complex and eventually convoluted alien-conspiracy arc (or mythology as its called), or to the monster-of-the-week, supernatural cases
that keep popping up out of nowhere. The mythology is fascinating at first but gets a little too complicated later on, and the stand-alone episodes range from brilliant to boring. The
X-Files as a whole is an interesting idea show, a show for thought and sci-fi/horror/conspiracy enthusiasts, as opposed to dramatic or character-driven shows. In other words, although
the show does attempt character development often, its two main actors are a touch too wooden or superficial to bring this aspect to life, and it's the writing and ideas that are
the real star of the show. Mulder shows charm and humor, but hardly any real passion or depth when it comes to the heavy stuff, and Scully is mediocre as well with a character
that doesn't evoke much sympathy. However, while the two primary protagonists are merely passable, it's their supporting actors and wide variety of villains that usually contribute
most of the color to the show. Mulder's and Scully's contrasting personalities often adds to the fun as well via banter and chemistry.
The first season consists of mostly solo episodes, only a third of which are really recommended. At best, half of the episodes can be considered good. The second has way too many duds
in the first half, but contains a couple of brilliant episodes and the start of the mythology arc within a stronger second half. So, once again, it is a season of which only half is good.
The third is possibly the only complete season definitely worth watching in full. It's much more confident and interesting with only a few duds, plenty of mythology episodes and the three
superb solo comedy episodes by Morgan. You may even get away with starting with this one, as the mythology only got its footing here and the plotting seems a tad whimsical anyways. The
fourth is much darker and polished, and they actually start acting. It gets a little weaker mid-season but is interesting overall as a whole, and is strongly recommended as well. The fifth
is a weaker shadow of previous seasons with less interesting mythology and only a few scattered fun episodes. Most of mythology is not even crucial for the very interesting movie which was
released at the end of the fifth season ('Fight the Future'), once again expanding the mythology and developing it further, answering many questions while asking new ones. The fifth
is wildly varied in quality, stories and tone, is weaker than even the first and second seasons, and barely half of the episodes can be considered good.
The sixth season is probably the most underrated season of the show and contains a majority of superb episodes. On the other hand, it is like a different show, with two thirds of the
episodes just having light fun: Dark comedy, light comedy, silly spoofs, horror-comedy, the writers poking fun at their own protagonists and deconstructing their characters, adding
constant flirts and romantic pulls between them, and so on. So it's understandably a difficult season to accept for fans. But it is very well done nevertheless and is strongly recommended.
Another very important element in the sixth season that makes it a must watch is that this is where the alien mythology arc finally came to a close, or at least something as close to
closure as the show will ever allow, with almost all previous elements explained and made clear, and a major group that was causing most of the trouble finds its violent end.
The seventh season is where the show completely loses its steam. The new mythology developments are no longer interesting as they try a few outlandish ideas or weak variations, some of
them even weighed down by tired cliches which is disappointing for X-Files. And the stand-alone episodes are almost all weak as well except for a couple of exceptions. The eighth season
sees Mulder/Duchovny replaced for most of the next two seasons by Doggett/Patrick, and along with this big change there is also a kind of reboot, reverting back to basic horror and the
start of a new story-arc. The overall result is distinctly below average, but there is also some good mixed with the bad: Doggett is a good character, and the writers do a pretty good
job bringing this new skeptical, practical but honest and efficient character into the bizarre world of X-Files. They wreck Scully's character however, both forcing her to replace Mulder
as the intuitive believer in a too-extreme character-change, and giving her a lot of soapy drama to do with pregnancies, conspiracies, experiments and the missing Mulder. There is also
a new fourth FBI agent who is just a bunch of lazy psychic cliches and who undermines the strength of the plotting with 'psychic' visions. The mythology never feels inspired or fascinatingly
mysterious as before and just rehashes old elements in lazy ways or over-extends the repeated tiresome plot device of Scully's baby's genetics, then starts a brand new sci-fi mythology about
super-humans that is too far-fetched to be believable. The stand-alone episodes range from very good to weak. But what really makes this eighth season stand-out is the more extreme approach
to horror, graphic body-horror and intense darkness without the typical lighter episodes to balance them out. This balance is sorely lacking, despite a handful of good & intense stand-alone
episodes. As expected after two such weak seasons, the final ninth season is completely washed out, with highly disappointing amounts of gloss, bland characters, a lazy approach to the
supernatural and the bizarre, way too many sloppy and far-fetched plot elements without the subtlety of previous seasons, and more tired baby drama and super-human nonsense. The episodes
once again vary in tone and quality, but the show seems lost, also in terms of writing and vision, and also in terms of what to do with its many protagonists that keep coming and going.
Not the best way to end the show. 15 years later this show gets a revival, but chances for failure are too high and the show doesn't need it except for nostalgic reasons.
A classic sci-fi mini-series in two parts about the invasion of Earth by aliens. Considering it's TV and 1983, this one is surprisingly interesting and entertaining
as the humans discover that the seemingly peaceful aliens are not what they seem to be and start a resistance movement. The discovery of the truth behind the aliens
diplomatic front and control of the media is classic material, and often draws visual and behavioural parallels to the rise of Nazis in the 1930s. The resistance
grows gradually and realistically, especially in the second part as they become more organized. Flawed by a very stupid deus-ex-machina ending but very entertaining
and tense otherwise. Followed by a weak episodic TV series.
Surprisingly good zombie mini-series worthy of Romero, even though the zombies are the modern fast and angry kind. The first to deal with gory zombies in a TV format,
but seeing as its total length is only 145 minutes, it's more like a long movie than a series. The setting is the Big Brother reality show and the zombies come out of
nowhere. At first, when the contestants seem to be the only survivors, this induces groans and depressing thoughts of the Big Brother hordes joining the far more
interesting cockroaches as the only survivors of an apocalypse. But as soon as they realize what is happening, they start acting more human-like and the satire
also rears its amusing head. What better target is there for zombie satire than Big Brother? An ultimately selfish jerk of a producer treats everyone like
pieces of meat in his quest for survival, and his trapped stay with an ultimately dumb contestant is an inspirational source of amusement. But this kind of black
comedy, for the most part, takes a back seat to the horror, which maintains a 28 Days Later type of zombie survival intensity and gore throughout its running time.
Legend, The (Tae Wang Sa Shin Gi)
A Korean series that is basically a 24-hour-long fantasy/mythology/history action-drama. The events revolve around real historical characters from 2000 and 4000 years
ago, but the story employs fantastical mythology about supernatural powers, four Heavenly symbols that wield powers to their guardians, and the destined second coming
of a king that will unite the people using these symbols, with a possible dangerous re-awakening of a black phoenix that may burn up the world in a fit of deep
emotional upheaval. After the first few cheesier episodes, the story picks up with constant deepening of characters, complex and superb writing that gives
strong, viable motives to all the characters as they chase their various goals or shift to the dark side. The structure is not episodic, making this one long
movie with a constantly developing story, with the writers never dropping the ball or becoming predictable. This is quite a feat. The ending annoyed many viewers
who were probably expecting a Hollywood romantic solution, but instead it ends on a great, thoughtful and serious note regarding humankind and the intervention
of supernatural forces. One flaw is the sometimes heavier, overwrought drama that borders on the soapy and which should have used more subtlety. Other minor
flaws are some of the hairdos and faces that seem more appropriate to mangas than history, and the overuse of the same musical compositions.
Two-part mini based on a book by Terry Pratchett, popular writer of many irreverent, comedic fantasy books. This adaptation is very successful, balancing the magic,
the satire, the silliness, puns and Douglas Adams-esque wit much better than in the recent Hitchhiker's Guide movie. During Hogswatch (Christmas), someone is plotting to
do away with the Hogfather, hiring a guild of assassins to come up with a way to kill such pesky magic and the world's belief therein. Death, Death's granddaughter,
some incompetent wizards, and an anthill computer are on the job to save the world from such bureaucratic notions. Nicely whimsical and charming, great acting,
and superb production, the only minor flaw being that the approach can't seem to decide whether to make this a children-friendly movie or more adult oriented.
Based on all five seasons.
British entry into the vampire trend that is a completely different beast, opting for the human angle over special-effect action extravaganzas. A vampire, a werewolf and
a ghost become flatmates after they discover they have something in common: They all yearn to have a life as normal and human as possible despite their special
afflictions. George is a smart Jewish werewolf who suffers from the inability to live a normal life even between his painful and dangerous monthly transformations.
Mitchell is a very old but young-looking Irish vampire on the wagon, constantly fighting his bestial urges, and Annie is the mostly bubbly and naive ghost unable
to move on. The writing and acting are very good and warm, bringing this scenario to life with attention to detail, using comedy to balance the angst in a good
blend that brings Buffy to mind. Personal hangups, tragedy, funny situations, romantic complications, neighbours, and entanglements with their more evil-inclined
same-species all help make this character-driven show grow and develop with every episode. A good watch with lots of heart, and a potential replacement for Buffy fans.
The show was not compelling at first and had some writing flaws, but gradually improved with each season. Of course, the Americans picked this up for their own
The first short season is very good but the last episode dropped the ball with several illogical and inconsistent developments to allow for the ending they wanted.
The second season takes its time and seems like a slight step down in terms of compelling drama, but it takes a risk and develops multiple longer story arcs that
are engineered for maximum character development. This is combined with well-used flashbacks to give the developments more depth. I wasn't too excited about the
thread involving vampires making their hated enemy into their leader, some characters go through too many radical changes throughout a single season, and the demons
that try to kidnap ghosts made no sense as well, but the character drama is mostly very good, and the interesting developments keep coming for a fascinating finale. The
third season is where this show becomes as good as Buffy, balancing comedy, character, and pathos very well, and bringing all of the buildup and multiple story
lines to a powerful climax. The fourth season falls apart for several reasons. Three of the main characters are gone, including George who was the backbone, and are
replaced with weak new versions and a lack of chemistry, and the new naive OCD vampire is particularly unconvincing. Also the writing resorts to meaningless prophecies
for the story arc, and otherwise repeats the same story-lines with the new characters, like a reboot with inferior versions. The fifth season is more of the same with minimally
entertaining but never compelling material, featuring a mix of rehashed ideas and weak new ones acted by a forgettable new cast, this time involving the devil himself
for a somewhat satisfying ending. They should have stopped after the third.
Based on all three seasons.
Named after the pulp serial stories sold for a pennies in the 19th century, often of a lurid, gothic or other sensational nature, this US-UK collaboration certainly lives up to
its title. On the other hand, it also manages to deliver much more than just lurid pulp, namely strong intelligent dialogue, superb acting, and beautifully artistic gothic horror
with many creepy and atmospheric moments. The acting is delivered by the always intense Eva Green who finally finds herself in a good role that gives her unique personality plenty to
work with, as well as by Timothy Dalton, and a handful of superb supporting actors. The look of the show is mesmerizingly gothic, Victorian, carefully lit and detailed.
The writing mashes together a handful of horror icons such as Frankenstein, vampires, werewolves, witches, Van Helsing, Dorian Gray, and some original creations, and gets away with it.
As opposed to the terrible American Horror Story, this one has a vision and a few proper stories to tell. Along with a strong retelling of the classic Frankenstein story with some
interesting deviations, there are several other plot-lines, the primary one involving Vanessa Ives who is a medium to all things evil and is always on the verge of being overwhelmed
and controlled by it. This is a dark, heavy, melodramatic, romantic and gothic series, often involving people doomed to their own evil sins or creations, and features a group of
fighters that gather together just because they never forgive themselves. That said, it also dives into sensationally lurid murders or sex flings, and allows free reign to its
melodrama, so it's not for everyone.
The first season at first seems to be trying too hard to shock, but the artistry is instantly undeniable. Then it grows much more confident with its characters and stories and
gradually focuses more on that instead, becoming a very strong show, thanks to its superb casting and writing. The second season once again starts with a bit too much over-the-top
witchy evil that borders on camp, then finds its footing with an instantly classic back-story episode with Vanessa in training at the hand of a witch with an unforgettable personality.
It also does interesting things with Frankenstein's monster who tries to hold onto his humanity where humans cannot, and it bravely and amusingly explores another monster and her
adoption of radical feminism. It doesn't stray too far from its lurid roots however, and tellingly, the most graphic sex scene is a very out-of-place self-indulgent homosexual scene,
and there's also some necrophilia. The story and characters remain intensely interesting to the end however. The third and last season is unfortunately quite weak. It repeats some
of its story-lines, especially the thing where characters give in to their evil over and over just because someone tells them to be themselves, and they sway back and forth between
extreme moods and the way they view themselves and the world, like manic depressives. And finally, the finale is quite disappointing and not too satisfying, the characters' arcs all
ending on weak notes. In short, the third season is skippable, unless you can't contain your curiosity. Still, the show was superb for two seasons and should also receive praise
for ending when the story was done, instead of padding it out endlessly for a long and horrible death.
The first live-action mini-series that covers the complete satirical classic book, from the tiny Lilliput, to giants, to the flying island of Laputa, to talking, civilized
horses. Gulliver finds his views on society and humanity constantly challenged and ridiculed as tiny people fight over petty absurdities but monstrous giants are more
reasonable and gentle, intellectuals turn out to be impractical world-wreckers and man more beastly than horses. Some of the details and satirical subtleties don't
emerge in this three hour well-produced special-effect extravaganza, but the writing is mostly loyal and well done, and the cast is full of good actors and stars.
The one big difference is the way the movie weaves together the adventures with a new story about Gulliver in an insane asylum, giving the satire an extra,
personal dimension as it deftly and visually overlaps the two plots.
A mini-series that covers the epic Stephen King horror book and does so surprisingly well (considering King's dismal cinematic history). Earth is plunged into a post-apocalyptic
existence after a virus wipes out all but a few survivors and the last struggle becomes an epic supernatural one between good and evil. The best and worst of humanity is brought out
by the extreme circumstances as they try to survive, and they gradually split into two camps, guided by supernatural forces. Features many rich characters back from the time when King
wrote superbly real three-dimensional characters, but flawed by the same weak deus-ex-machina ending as the book.
Based on the single season.
An action thriller that uses 'Groundhog Day' for its premise and '24'-like continuous intense thrills. It's also very well written and acted. Detective Brett Hopper wakes up
to a very bad day that does not end well to say the least, only to find it repeats itself over and over. Every day he makes new findings, gathers new information, improves his
actions and decisions. At first, the day is so convoluted and dangerous, that every thing he does seems to result in a very bad outcome. But eventually he starts improving, and
we learn that not everything is reset every day, and some actions, especially ones that involve a cathartic moment with humans, can change the day. The writers also add superb
touches that keep things interesting: little details, realistic human behaviour, smart and fast-moving detective work, the various ways the repetition affects the detective as well
as the people around him, etc. He keeps fine-tuning the day, developing a system where he finds and locks on to a sequence of the right decisions that can avert many disasters, so
that he can progress with the case. And what a complicated case it turns out to be. So much so, that after 10 episodes, it starts becoming ridiculous, like a season of 24 where too
many things are piled on top of each other. Which is why this show gets even higher marks for stopping after 13 episodes. A very good one.
The third of the Terry Pratchett TV adaptations, this one ranked higher than the messy Colour of Magic but slightly lower than the magical Hogfather. It improves on Hogfather
slightly in pacing, writing and acting however. The story is entertaining and fun, and the characters are colorful and well acted, but it isn't as clever as I had hoped.
A con-man is coerced into taking over the defunct post-office under the watchful eyes of a Golem. He soon finds himself in the middle of a business war, having to use his
wits to avoid ruin, banshees, ghosts from his past, and death, to bring the post-office back to life while competing with the Clacks (a telegraphic business based on lights),
and all the while trying to win over a very difficult woman. The writing, instead of creating a pure fantasy world, transports a conventional corporate thriller and internet
hacking concepts into a fantasy world without changing the rules of the game, and this is done cleverly but it may also feel like a flaw in a fantasy film. Otherwise, this
is a colorful, above-average work of entertainment, and great fun.
Based on many scattered episodes from all twenty-six seasons.
Running for twenty-six years and featuring eight different Doctors in the lead role, this monster of a cult TV show is a daunting series to explore. There are also scores of books
and radio series that are part of the Whovian lore. The Doctor is an intelligent alien (Time Lord) who travels in a time machine called the TARDIS that can change its outer
shape and size (!) as camouflage to blend in with whatever scenery it appears in. Trouble is, this mechanism broke down and it's been stuck in the shape of a police phone
booth ever since. The destination of the TARDIS was never an exact science either. The Doctor collects various side-kicks, friends, and companions while saving the Earth,
various people and other planets from alien invasions and monsters at different periods in time. His chief enemies that appear in different locations with new evil schemes
are the intelligent, exterminating, mutated-flesh-inside-robots, master-race Daleks, the soulless cybernetic Cybermen (these suffered the most from cheesy costumes),
a nemesis, intelligent but psychotic Time Lord, The Master, the military-minded Sontarans, the artificial/plastic Autons animated by the disembodied Nestene Consciousness
to replace humans, the reptilian Silurians who are the previous tenants of the Earth, and the mysterious 'Great Intelligence'. But new and varied dangers, aliens and monsters
pop up all the time. When the Doctor's body encounters a fatal end, he regenerates into a new body. Episodes were typically part of a longer story spanning 4 or 6 episodes.
Each of the eight Doctors and production eras bring a completely different personality and approach, making each season change from children's show (during the first few
years) to serious sci-fi, camp, action, horror or just plain fun & imaginative sci-fi. The writing varies in quality as well, sometimes juvenile or dated, other times
inventive, scary, dramatic or imaginative. The special effects, too, relatively improved over the years, but mostly remained cheap-looking and distracting, especially
the painfully obvious costumes and masks. Because of all this, a sampling of each season is recommended.
William Hartnell (63-66), the first Doctor, was a wise, commanding but kind, gentlemanly, grandfatherly figure with a tendency to get irritated. The show was in black and white,
the acting was stiff and the stories were typically cheesy, involving somewhat dull and childish sci-fi as well as unique explorations of history as part of the adventures.
But it had a sense of mystery and the Doctor was a strong character. Many of the episodes were lost due to a strange BBC archive purge, and some were partially reconstructed.
The Daleks were introduced and were featured several times during this period, and the Cybermen make their first appearance in the last episode of this tenure right before
a surprising 'regeneration' that passes the first baton.
Patrick Troughton (66-69), the second Doctor, brought eccentricity, mischievousness and light-heartedness to the show. Nicknamed the 'cosmic hobo' or scarecrow, he used a facade
of weakness and harmlessness to get his way, was light on his feet, lacked authority and confidence but made up for it with energy, looked scruffy, was quite a scaredy-cat, and
was accompanied by frivolous youngsters. The stories were looser, lighter and slightly more thrilling with more emphasis on action but were still weighed down by dated sci-fi
cheesiness, home-made 'special-effect' props, and slow pacing. Troughton's characterization, although unusual, energetic and pioneering, was not very authoritative or winning
to some, and the whole approach was still quite juvenile. The Cybermen were really developed during Troughton's tenure, and this era also gave us the classic 'War Games'
10-episode arc that establishes the Doctor's past, species and status as a renegade Time Lord. Many of Troughton's episodes were lost in the purge.
Jon Pertwee (70-74) was a dandy, dressing in ridiculously fancy clothes, sporting charm and wit, with a laid-back, confident, but minimally interesting and simple character.
He was strongly into gadgets, technicalities, science and mysteries. The show switched to color, and the stories became more interesting and complex, with more professional
acting and guest stars, the slightly better special effects held back only by the small budget. Most of the episodes took place on Earth as the Doctor was banished there by the
Time Lords, and the nemesis Time Lord, The Master, was featured often. The show improved and was relatively more interesting to older audiences thanks to the more mature
and serious-minded Doctor, and this is where many old-school fans started getting hooked, but the special effects were still often distracting, and the settings, pacing
and personality were not as exciting, interesting or colorful as in subsequent eras.
Tom Baker (74-81) was by far the most popular Doctor for most fans but even more so for international audiences. He brought with him a well-balanced blend of charm,
light-heartedness, wit, strength of personality, eccentricity and mystery as well as a huge scarf. The first few years delivered interesting horror in addition to sci-fi and are
considered to be the classic seasons of the show, followed by a decline where new producers incorporated sci-fi gimmickry, camp and reverted to child-friendly humor (exemplified
by the arrival of K-9 as a permanent companion, a mechanical dog). The effects were still cheap but some were passably good enough to be non-distracting, and the rest were
slightly easier to overlook due to the stronger characters and the solid, imaginative writing during 74-77. These 4 years are where the show got really good, focusing mostly
on horror reminiscent of Hammer movies with a sci-fi twist. Recommended: 'Genesis of the Daleks', 'Pyramid of Mars', 'Seeds of Doom', 'City of Death'.
Peter Davison (82-84) had the daunting task to follow-up after Baker. Although the writers did a pretty good job, the stories and direction were weaker, and Davison in his
twenties was viewed as too young for the role (although he got better every season). Davison was a gentle, chummy, young personality with not much depth of character, and his
typically young companions didn't lend much of a contrast anymore, sometimes even lost without the hand of a strong doctor. The show entered the 80s complete with a newly
synthesized score, 80s hairdos, bright color, plastic, synthetics and starch. The format of the episodes remained the same however, complete with clunkers, some entertaining
episodes, some interesting sci-fi, imaginative writing, and even more terribly dated costumes and special effects than before, thanks to the 80s look. A relatively weaker
period for the show. Recommended: 'Resurrection of the Daleks' and perhaps 'Caves of Androzani'.
Colin Baker (85-86), my favorite along with Tom, was a very interesting and drastic change for the show, switching from the gentlest Doctor ever to a very unstable and eccentric
personality. Colin personified an arrogant, whimsical, energetic, impatient, even sadistic, but still a cheery and good-hearted Doctor. This brave interpretation didn't go well
with some people and serious instabilities with the writers and management (including an 18 month cancellation) made things much worse. During the first season, the show somehow
deteriorated to camp and awful cheesiness, but it was inconsistent, and some of the episodes weren't bad, plus Colin's characterization elevated these average episodes to something
colorful, fun and energetic. In fact, I often think of him as the best Doctor, personality wise. It's just a pity that his performance was wasted on a period of disarray, as
well as on an annoying companion with an awkwardly fake and grating American accent who was hired to show off her physical assets. The last season featured a convoluted
fourteen part story that dealt with a Time Lord 'Matrix' introduced during Tom Baker's era, which is a digital reality that can be hacked and played with while inside it. Hmm...
Recommended: 'Vengeance on Varos', 'Mark of the Rani', 'The Two Doctors'.
Sylvester McCoy (87-89), the seventh Doctor, started with a clownish performance similar in some ways to Troughton using light-hearted mischievousness, but quickly transformed
into an extremely clever, manipulative, resourceful, secretive, quick-witted and mysterious man that sometimes seemed to have supernatural powers and knowledge, but all without
losing his light and playful approach. I can't say that his 'theatrical' character ever became 'real' to me though. Other important changes during this period included
the upgrade in special effects, giving even the Daleks new weapons, and the writing moved several steps forward as well. This trend started with Colin Baker (probably due
to fans writing for the show), and the stories became increasingly more complex, obscure, strange, allegorical and imaginative, which at first made the show quality adult
sci-fi and horror, but then became less and less audience-friendly, and more pretentious, unwatchable and obscure with a tendency to completely unravel once you think
of the big picture. This along with the problems in management finally killed the show. Recommended: 'Remembrance of the Daleks' and perhaps 'The Curse of Fenric'.
Paul McGann (96) appeared in a very misguided Hollywoodized movie as the eighth Doctor, complete with bad writing, endless abuse of Doctor Who personality and rules, misplaced
action set-pieces, and forced romance, with The Master as some kind of body-snatching-horror-creature-cum-Terminator, and the TARDIS as some kind of gothic sci-fi palace. This
didn't help renew much interest and it's the sort of thing you'd rather pretend didn't exist. He also acted in many Doctor Who audio-dramas.
Based on both seasons.
Whedon's first series after a 5 year hiatus from TV, and after collecting a horde of rabid fans from both Buffy and Firefly. Expectations were probably too high, and he seems
to be fighting with the TV network once again on this one, but the result is very good nevertheless. The concept behind the show is the sci-fi ability to store, manipulate,
download and upload personalities, abilities and memories. Not a new idea, and most writers would take it into the thriller/action genres, but Whedon concludes where
humanity would put this to good use: A whorehouse. A futuristic one, where people at the end of their rope are given an offer to donate their bodies for a period of time
in exchange for peace of mind and money, as their personalities are stored away, and replaced with custom-made personalities and memories in order to satisfy various
rich clients' fantasies and needs. That's just the base. On top of this we get conspiracies, rogue dolls gone violent, warped or unusual fantasies, plenty of action-oriented
episodes and fighting, a variety of special circumstances that require foolproof custom-made 'dolls' to solve tricky problems, evil power-hungry management with secret agendas,
an obsessive FBI agent who seems to be only one that believes the Dollhouse exists, and so on. And, being Whedon, he doesn't shy away from the pathos and humanity, the moral
dilemmas, treacherous people, complex motivations, damaged psyches of both dolls and regular people, and plenty of fascinating and entertaining complications and variations
involving this limitless technology. The sci-fi is not always 100% convincing, but I liked that the dolls develop abilities that seem to go beyond the simple brains-as-computers
approach. There are also two superb 'epitaph' episodes that explore the consequences of this technology after ten years time when the world becomes complete chaos.
Some episodes, especially the first handful, feel like watered-down-Whedon in order to conform with a drawn-out, TV network's cookie-cutter idea of an action/thriller,
and mostly episodic sci-fi show. But the show improves with every episode, the themes, arcs and character development are always there, and some later episodes are so densely
packed with plot developments and surprises that they feel like several seasons worth. The casting, relative to Firefly, is much better this time. Dushku is given too
much to do relative to the rest of the cast and has to carry the show. This, together with the fact that she is a doll, means she has to take on dozens of roles
as well as complex psychological complications and breakdowns, a job that would challenge any actor. She does well for the most part, but also gives the feeling
that she is in over her head at times, or isn't as focused in some episodes. The rest of the cast do well and add plenty of color, with only one character serving
comic relief this time. I found myself missing Whedon's usually more snappy and witty dialogue, but it does make appearances occasionally to make the show more fun.
In short, definitely much better than Firefly, not Whedon's best, but still very good, and a good Whedon is better than most shows, especially during the superb second season.
Based on the first five seasons.
Agents of S.H.I.E.L.D.
It's good to have the Whedons back in TV, this time in charge of a Marvel superhero series, except it involves human agents fighting superhuman and alien threats and protecting
the planet. Super-powers and alien technology are also put to good use by SHIELD as well in their fight to put the world back in order. In addition, the plot developments
work in parallel to the many Marvel movies as they are released, strongly affected by the developments in the 'Marvel universe'. The show starts in typical superb Whedon
fashion: Snappy dialogue and youthful energetic characters led by older management, facing supernatural upheavals, mixing humor with pathos and rich character-development.
After a few stand-alone episodes, the story arcs emerge, and the characters continuously develop, with episodic guest characters and developments sometimes having long-term
effects later on. It's all great fun, and continues this way for the whole first season despite having an old-school 22 episodes per season, towards a gradually-building
climactic finale with plenty of intense twists.
Unfortunately, seasons two & three falter even though they are entertaining. The writing even ups the ante and pacing, constantly adding more developments and twists. If you are looking
for a fast-paced show with lots of action and constant plot developments, then you'll love this one. However, one can almost say that the pacing is too fast and there is too much
plot twisting and development, while the big picture and plausible character work suffers. Also, most of the humor seems to have been lost. Joss Whedon barely writes any episodes
and it shows in the lack of snappy dialogue, and the humor mostly disappears for very long stretches. But it's the lack of realism that got me. For example, with Buffy, audiences
could chalk off her almost undefeatable fighting skills to the supernatural, whereas other characters remained true within their character limitations with realistic and slow
character development. Here, not only do regular human petite female agents consistently beat trained assassins twice their size, they seem to heal and recover supernaturally fast,
and survive many blows from supervillains that should kill them. In addition, agents that never fought, train for a couple of months and suddenly can fight and beat the best of them.
Characters also constantly make strangely bad decisions that don't make any sense, just to feed the constant crises and melodrama. People hide secrets from others that they have no
reason to distrust, or turn to evil in drastic measures for too-flimsy reasons, or even make decisions that conflict with previous ones. It also doesn't help that this show has the
silly Hollywood fantasy characters of 'hot female super-hacker' that can hack into anything in seconds without ever seeming to study or work, and the 'super-geeks' that know
everything about anything and that can solve almost any scientific technical problem within a day on any topic under the planet. So, what with the constant feed of ridiculously
unbelievable fighting action scenes, and the contrived character development, plausibility flies permanently out the window and what's left is just the intense entertainment value.
The emphasis seems to be on constant developments rather than on working with what they have so far, and there are no breathers to explore consequences and the characters deeper, or
to make them fit into a solid character arc. Thus, these seasons can be described as: Things keep happening, and then more things keep happening, then even more things happen. It
also doesn't help that the story arc becomes a clone of X-Men, complete with the recruiting of bad vs good 'inhumans', and a fearful government and society that wants them controlled
or put down.
After the closure of all the story arcs at the end of season three, I was hoping for a comeback in season four, and to my surprise, they pretty much delivered one. There is more focus
on interesting story and character arcs, and fewer ridiculously implausible fighting scenes. The first third is interesting with a new character, and solid character work for the rest.
The middle sags a bit with an evil robot, but the last third is absolutely superb and intense, pulling everything together for a powerful climax. Season four definitely comes strongly
recommended. The fifth season starts with an unusual step of diving into a plot with Roman-style aliens that seems better suited to a space-sci-fi show rather than a super-hero show,
but the writing is quite solid and serves a pretty good action-packed continuous story arc. The writers also make their characters a bit more vulnerable and limited at times, which
is good. Unfortunately, after the first episode, the humor is mostly forgotten again for very long stretches. Also, the writers are back to cramming season-long developments into
every couple of episodes, and they forget once again to breathe, to introspect, to allow for a little more humanity between the twists and turns and endless action and thrills.
The pace is simply too damn fast, and the writers pull everyone to five different directions at once. And, once again, the characters keep taking impossible hits, recovering
impossibly fast, and even coming back from death over and over again, making the dangers that much less threatening. Except, this time, for some reason, it's all not as tiresome
as seasons two & three, and the fifth season keeps one interested with just enough strong character development, interesting twists and a strong finale. Overall, the fifth is not
as strong as the fourth, but it's way above-average.
So, although seasons two and three seem to be the most popular, I seem to be going against the trend here and can only recommend seasons one, four and five.
Based on all three seasons.
Twilight Zone, The (1985)
An 80s version of the original classic with a few remakes of episodes, but featuring mostly new stories. Once again, many genres are covered, featuring people in
scary, strange, horrific, supernatural or sci-fi situations, but comedy makes a more frequent appearance and even romance is explored at times. The quality, once
again, ranges from silly to amazingly gripping. The structure is looser and doesn't always follow the mystery setup and twist ending of the original. This can be
both good and bad, allowing for more range and color, but also delivering more predictable developments and weaker payoffs. There are plenty of morality tales and
provocative ideas, but with a relatively stronger sentimentality and even some liberal, simplistic preaching. The production is superb, but replaces the occasional
60s cheese with 80s cheese. The vast assembly of quality celebrities involved in this show is astounding however, featuring writers like Bradbury, Silverberg, Stephen King,
directors like Wes Craven and William Friedkin, and actors like Bruce Willis, Danny Kaye, etc.
Overall, and this will easily be considered blasphemy, I found myself enjoying the first season of this show more than the original for several reasons: The quality
and range of writing and ideas, the sheer variety making a very enjoyable anthology, a sense of fun that wasn't present in the heavier original, and the approach of
combining two or three short stories in one 45 minute episode, allowing each episode to be just the right length appropriate for the story instead of padding it.
After this, the show reverts to single stories per episode. The second season still has some very good episodes, but the ratio of bad to good is nowhere like the first,
and when it gets bad, it really gets sentimental and cheesy. The third season is a slight improvement mostly in the second half, but overall, the ratio is, once again,
quite low, and there are too many weak and sentimental episodes with a poor payoff. Great first season though.
Based on both seasons.
The setup is a small American town dealing with post-apocalyptic crises after nuclear bombs go off in nearby cities. The population reacts in different ways,
at first trying to continue with life as if nothing has happened, sometimes to ridiculous extents. But then the problems force them to re-evaluate many things,
including survival tactics, having to work hard for bare essentials, panic, radically new lifestyles and viewpoints, and daily moral crises and decisions that
forge character, bringing out either the worst or the best in everyone. It's an ensemble cast, from the sensible mayor and his political opponent, to the greedy
shop-keepers turning into tradesmen, a son of the mayor who is in the middle of a dissolving marriage and an affair, another rebel son of the mayor with a dark
complicated past and army training, a tough survivalist thief and his gang, a farmer forced into a bizarre relationship with an IRS auditor, a mysterious newcomer that
seems to know a lot, neighbouring townspeople with conflicting interests, etc.
The first season starts off so weakly and disappointingly that it's a wonder anyone kept watching and this would explain why the show got low ratings. Drama is
made out of petty things and family spats instead of real problems, crises are small or solved in every episode, the fallout radiation problem is over and forgotten
ridiculously fast, and characters behave too stupidly (like deciding to cook all the meat instead of curing it), all giving the impression of very weak imaginations
and a show that is way too soft and banal for such a setup. The grand mystery of the bombs moves so slowly, it feels like it's trying to copy the annoying audience
manipulation from Lost. Then something happens during episode 12 as if a new manager grabbed the reigns: Real issues appear, details from the first half serve as
a setup as the show grows momentum and improves with every episode, the drama becomes real and heartfelt, characters grow and develop intensely, and the scope
of the show keeps growing to include complex 24-like spy vs terrorist thrills, wars with neighbouring towns trying to survive, governments, companies and army
remnants trying to rebuild the country but weighed by corrupting power, all drawing parallels in history to the birth of America and exploring increasingly
interesting issues. The second 7-episode season commissioned after fans were left with a cliffhanger is so concise, complex and intense that it makes me wish
all shows were similarly restrained and focused. In summary: A mixed bag because of the weak first half, but it's definitely worth it as a setup to get to the
superb developments afterwards. The second season closes most of the important threads, but built the scope into something that may be too big for a TV show.
Based on the single season.
This show surprised me by redeeming itself midway through the season. It starts off like a very cliched and disjointed rip-off of Close Encounters of the Third Kind.
Sea-monsters are discovered that threaten to bring about some ecological disasters, and suddenly there is a government conspiracy to cover things up (why? why would
a new creature and ecological crises need to be covered up, and how would this even be possible?). Additionally, a man who had a close encounter seems to think it
was some mystical experience (which Close Encounters only got away with because it involved aliens). But, despite this poor beginning, the writers grab onto their audience
with constant momentum, a continuous story line, fast-moving developments, and thrilling action, like with a season of 24. Two main story-lines emerge: A kid and his
escalating adventures with his secret pet baby sea-monster, and a marine-biologist and insurance-agent out to uncover the secrets with low-tech creativity and a lot
of commitment. Although these stories are full of really annoying parents, sisters and spouses, both are very entertaining. The writers keep piling on the surprises,
too many in fact, dangerously toying with the border between entertaining switch-off-your-brain sci-fi, and groaningly implausible contrivance. Some terrible examples
include the impossibility of a carbon based life-form surviving in magma, and shooting up 5000 feet through the ocean without dying of the bends. But if you can ignore
flaws like these, it's a rollicking ride, as long as you can take an ending that only answers some of the many questions and mysteries. This is a pretty good one,
but you have been warned.
Based on the single season.
The Tick is a blue, indestructible superhero (with emoting antennae) that seems to have come from nowhere to fight evil in all shapes and forms, including misbehaving
toilets and vending machines. His naive, immature, child-like personality is matched by his delusions of grandeur, and his large vocabulary is used to painfully
mix metaphors, spit out cheesy superhero speeches, and utter drop-dead eccentric dialogue. In the city he encounters bureaucracy in the form of superhero
licenses, ridiculous legal systems, psychiatrists bent on curing superheros, and superheroism and sidekicks as metaphors for homosexuality, chauvinism and marriage.
The Tick is performed brilliantly by Warburton and gets the vast majority of the laughs in this silly, entertaining spoof. It's everything else that falters:
Characters that are weakly funny at best, and silly plots that entertain, but keep the show from greatness. The show started finding its footing after a few episodes
and started becoming really funny, then was brutally cancelled.
Based on both seasons.
Dead Like Me
18 year old apathetic Georgia dies by a flying toilet seat and becomes a grim reaper, discovering that soul-reaping is an annoying job with rules, bureaucracy and management.
She tries to tweak the system, come to terms with her death, spy on her ex-family, and generally start a life she never had before she died. This show starts off
very well with colorful characters, an irreverent take on death, quirky comedy, and interesting developments, but mid-season, two things cause a quick death: A new character
(Daisy) grinds the show to a halt with her annoying and unrealistic arrogant-bitch-slut character, and the writing loses its edge, wandering too often to feel-good and overly
safe territory. Three of the characters devolve into one-dimensional comical characters, and there is only so much quality comedy you can get out of that. The second
season continues its downward slope into uninteresting sullen drama and weak writing. Great first quarter though.
Based on all five seasons.
You know how superheroes are always about responsibility, special effects, glamorous super-powers, and heroism? Well this is the British, low-budget, punkish, teenage antithesis
to all that. The protagonists are misfit, foul-mouthed, oversexed, irresponsible, petty-criminal teenagers that got their super-powers while doing community service. The super-powers
distributed to them and various other people are often either downright silly (the power to inflict baldness?), useless, or very useful but full of downsides. Glamorous heroism
is even the character trait of a villain in one episode. But what's funny is the devil-may-care attitude that causes the powers to be misused or experimented with, with realistic
and chaotic results. Of course, there are plenty of people that completely abuse what they got, turning into villains, and our wild bunch find themselves defending themselves
or others despite themselves. A lot is sex-driven, and the show is often shockingly full of crassness and outrageous situations caused by superpowers, such as sex with a grandmother,
a gorilla, or a penis falling off, and the teenagers, especially Nathan, hold nothing back when it comes to commenting on everything that happens, making fun of each other, or
making it worse. Deaths occur often, and these either cause some drama, or are shrugged off in line with the show's attitude, leading to a running joke about repeatedly killing
probation officers. All this wild humor and fantasy is balanced nicely by just the right amount of pathos and character development, and the actors are all very good and colorful.
If you know what you are getting into, and enjoy crass, silly and highly irreverent humor (think Red Dwarf), this may prove compelling for you as well. It's like a more
teenage-sex-oriented Being Human, except I usually hate teenage shows and found this one fun.
The first season is weaker than the next two, and a bit rough, and the characters can get quite annoying, but it's still fun. The balance improves, and the characters grow in
the good second season but there are also flaws such as the overly convenient use of the rewinding-time mechanism only when the writers feel like using it. The third season
replaces the foul-mouthed Nathan, but he was getting tiresome and his replacement is also fun. The good third season has relatively more serious episodes and developments, the
writers keep things fresh by switching their powers around, and it completes a few arcs that started in the first season. The fourth season is by far the weakest, not only because
most of the original cast dies or leaves, but also because the writing is all over the place and the new characters are mostly uninteresting, over-the-top and not as funny, even
neglecting the supernatural aspect of the show. The final season recovers partially with better character dynamics and story arcs, and it has fun with a wide range of crazy powers,
but the series just seems to want to top itself with every episode involving outrageous sexual hijinks ranging from swapped genitalia to imaginary sexual partners, tortoise sex, and
forced gay sex in order to remove a super-power. In short, only the first three seasons come recommended for those that like their supernatural shows wild, raunchy, silly, immoral and
funny, with an attitude.
Based on the single season.
The British have really taken over the horror-fantasy genre on TV lately. Being Human, Misfits, Apparitions and now this. This one has an original take on ghosts, where they
cannot 'ascend' and are instead becoming more corporeal and strong through a horrifying mechanism. The Angelics (human warriors with psychic powers) are there to wage war on
these malignant spirits, but lack the power to take on these new forces. Enter Paul, a nerd with emerging psychic powers, and his friend Mac, an even bigger nerd who provides
the humor of the show and practically steals it as well. The plot develops as the Fades become stronger and the Angelics more desperate, while Paul and Mac have yet to get laid
and figure out detailed technicalities and flaws of their favorite sci-fi films. Yes, it's another Buffy-esque teenage horror-comedy series, only more intense and fast-paced,
especially since the show was cancelled after only six episodes and they tried to wrap up as much as possible for the ending. As with Buffy and Being Human, the friendship,
characters and humor make the show. The horror and special effects are quite good, but the writing takes the lazy option of developing more and more supernatural abilities
every few minutes rather than work on what they already built, and this is one bothersome flaw. Another flaw is that it should have been longer. But it's still quite enjoyable
Based on both seasons.
A deeply flawed but still strong remake of the classic 70s BBC post-apocalyptic show, both based on a book by Terry Nation. The setup is a virus outbreak that kills 99.99%
of the world's population, leaving only individuals to try to survive the aftermath with all the horrors and desperate survival tactics that ensue. The original focused
on human drama, clash of personalities and survival tactics, and raised interesting and scary questions, but it was flawed by flat characters and some heavy-handed writing.
This remake fixes this flaw with superbly colorful and damaged characters and actors, and intense dynamics between the personalities, but it breaks most of the rest.
Specifically, it 'Hollywoodizes' the show, injecting unnecessary thrills, action and conspiracies to the point of breaking the realism, and this is very disappointing from
the BBC. However, it still offers very interesting crises and interactions with various pockets of humanity that attempt to build new radical forms of society now that all the old
laws are dead. This, together with the aforementioned colorful characters which, at least for me, can make or break a show, make this remake compelling.
At first, the handful of survivors are so damaged that it only adds depression on top of the catastrophe. But the show uses this combination to force them to live together
and grow as people, the circumstances forcing them to gradually but radically alter their behaviour and ways of seeing the world. At the same time, the other groups that
gradually form are often quite extreme, and the writers don't sugar coat the fact that some people simply turn into animals as soon as all restrictions are lifted. The first
season is very good; the second season shifts too much to action and conspiracy, but the characters grow nicely. Although the second season ends on a cliffhanger, it is
only a conspiracy and action cliffhanger, which was the least interesting aspect of the show. Now, if only there was a way to merge the best aspects of both shows into
a single great one...
Based on the first season and most of the second season.
3rd Rock from the Sun
A guilty pleasure, but only for the first season. Four aliens come to Earth to study humans while assuming human form. The wide range of human experiences hits them like
a confusing ton of bricks, from emotions, to puberty, lust, food, disease, strange social customs, dating, relationships, family, crime, etc. They experience human feelings
but don't know what to do with them, they panic at every bodily function, and so on. They approach everything with uninhibited childlike wonder, confusion and energy because
it's all new, allowing the writers to create some really entertaining humor and satire. The best comparison for this show would be The Addams Family, except this one has
aliens instead of ghouls and witches, and the silly & satirical humor is much more raunchy. Lithgow is hilarious, as are his three companions, all cast for slightly off
personality and looks, and they all ham it up and have great fun with it. The leader takes the job of a physics professor and spends all his time working on an impossible
relationship with an anthropology professor, thanks to a complete lack of skills with anything resembling normal human behaviour. A military expert becomes a woman allowing
the writers to have fun with gender issues, and the oldest of the group becomes a teenage boy. The last weird young man... well there was an extra seat.
The first season is somehow both very silly and sharp, but the over-the-top acting and silliness keeps growing, wearing out its welcome already in the second season.