Guns and girls.

This is going to be a very nerdy post: Three reviews of things, the first of…

The Miserable, and the wretched.

Saw Les Misérables yesterday.

Honestly, a musical is not my cup of tea, but the movie was just fine. I have familiarity and appreciation for the story, and the musical, from my youth, so I was curious to see how it would be adapted, and like everyone else, I had heard good things about the performances of Anne Hathaway and Hugh Jackman. I suspect they’ll both get Oscar nominations, but Anne Hathway is the one with the real shot here. She does a lot of heavy lifting with the relatively limited role of Fantine and even in her short time here no one hits the strides and the heights and depths that she can plumbs so easily. Jackman is good, but not as good as her. Plus, he’s got the unfortunate timing of potentially being nominated for Best Actor in the same award season as Daniel Day Lewis in Lincoln.

I dreamed a dream.

Tom Hooper, however, is as boring in his direction as he was in The King’s Speech, and possibly less so. Somehow that film was both nominated and managed to win the big awards, but I don’t think that will be the case here. Especially not in a year that produced a Lincoln, a Zero Dark Thirty, and a Life Of Pi.

Anyway, minor flaws of the film that aren’t so minor: Way too fucking long and not interesting enough to sustain that length. The stuff towards the end with the June Rebellion was dreadfully boring, and anytime Jackman, Hathaway, or even Russell Crowe as Javert weren’t on screen, you found yourself checking your watch. I did enjoy Sasha Baron Cohen and Helena Bonham Carter (she’s just doomed to always play the gothic clown now, isn’t she?) as the Thénardiers, and they did provide some much needed comic relief to the film, but their rendition of the film’s second most memorable song was pretty boring.

Anyway, my second review is of…

Mad hilarity, merciless action, dark cynicism, and incorruptible bravery.

Gun Machine, the new novel by Warren Ellis.

This is a fun, slightly nuts book, which is the usual from Ellis. His first novel, Crooked Little Vein, was a silly but interesting little pulp travelogue through America, and Gun Machine comes from a similar place, but it’s more of a harder crime novel. This is Warren Ellis sodomizing writers like James Patterson and Ed McBain with his ideas, sort of.

The premise is simple: A cop stumbles upon an apartment filled with guns, hundreds of them and nothing else, and each crime can be traced to a different unsolved crime. Somebody has been keeping these guns all this time as trophies.

I believe I read somewhere the book has already been optioned to be developed into a TV show, which is… exciting, I guess. Granted, they’ll take the premise, and they’ll tone it down. They’ll have to. This book is a little nuts, and filled with a lot of little minutiae that’s probably closer to the harsh reality of crime in a big insane urban cityscape, but not the kind of thing that the flyover states are ready to tune into from their local affiliate. The first scene of the book, for example, involves the main character’s partner getting half of his face blown off by a shotgun blast delivered by a ranting naked man.

Gun

That said, there are lots of little ideas and the basic premise that could easily translate into a very interesting serial procedural. That, and I would like to see the type of characters that Ellis writes on either the small screen or the big screen, as they’re usually broken, mouthy creatures who are incorruptibly brave (a nice way of putting it from the Wired review quoted as a blurb on the cover) and very good at what they do.

Half of this book is written in the parlance of the internet, almost as if Ellis got tired of scanning the internet landscape and fueled some of that excitement and anger into a writing frenzy. At the same time, as a fan of his comic books and ideas shared in various places online, I am excited to see him evolving in a new medium, but I can’t say that it feels like he’s challenging himself here. But I have to say that I would secretly like to see Ellis tackle one of his nonfiction books that have more than one foot inside music theory and hauntological futures (which he is working on, thankfully), or maybe some kind of insane sci fi novel – I would love to see Warren Ellis become the new Harlan Ellison – or really get into TV, writing for Doctor Who or resurrecting Quatermass, something like that.

The second review being of…

Victorian values.

“The Snowmen,” the recent Doctor Who Christmas special.

I miss talking about Doctor Who, here or anywhere else. I really need to develop a venue for that, but as far as this episode goes, in short: This was a merely so so episode with great characters in it. Matt Smith is always good and shining with the Doctor, and only improves as he continues to play the character, and Vastra, Jenny, and Strax are welcome ongoing returns to the series, and I can’t say enough nice things about Jenna-Louise Coleman’s Clara, who is mysterious and a serious breath of fresh air. If I’m being honest, I may be doing this post solely to post pictures of her.

That said, this episode was not great. The webisode prequels were more interesting than a good deal of the regular plot of the episode, and I thought it was brave that the threat that the characters were facing down was given an extreme back seat to the character moments.

More guns.

Steven Moffat’s writing is always great, but if I had one major criticism of his tenure on Doctor Who as the showrunner it would be that everything feels too rushed. I assume that the fickle nature of television and the constant need to up the ante is what causes that, but as much as I enjoyed season 5 as the shakedown cruise for a new Doctor, companion, and way of looking at the show, season 6 seemed very rushed, big on set up and small on payoff, possibly because the payoff had to be pushed forward, forward, forward. Part of me wonders if a lot of that was necessitated by the upcoming 50th anniversary special.

That special lead to a lot of new additions in the Christmas special, including the introduction of Smith’s face in the main credit sequence (which I’m positive they’ve been threatening since he took over the role) and a redesigned TARDIS console room that brought back a lot of the blandness of the poorly executed production design from the show’s earlier regenerations in video with rubber monsters back in the 60s, 70s, and 80s.

Cosby sweaters and scripts

And I’m as curious as the next person about some of the big things to come, like the presumed payoff of the First Question, but eventually it could get tiring to constantly finding situations for characters to say, “Doctor… Who?”

Anyway. That said, I’m looking forward to the second half of the current season and the (re)introduction of Clara, Mark 3. I suspect that she’ll be everything that we had assumed and hoped that Amy Pond will be, and I’m really looking forward it. The show regenerates each time a new Doctor steps out of the ashes of the previous one, but as they keep rightfully so telling us, the show is about the companions and the view they provide, and it really feels like the show could come to life again with the addition of Clara. I’m excited.

Remember.

“Melody Williams, that’s a geography teacher. Melody Pond’s a superhero.”

Last week was a hell of a cliffhanger and the start of a massive call to arms. This week we discover that the answer to the question “Where is the worst place in the universe to be standing?” is easily found out when you kidnap Amy Pond. A baby is born, a baby is kidnapped, a trap is sprung, some old friends return for the first time, we finally discover who River Song is, and this week on Doctor Who we discover that a battle can be lost and won simultaneously and that demons run when “A Good Man Goes To War.”

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“Shenangians” is a beautiful word.

Last time it was a spooky castle and Frankenstein motifs and doppelgangers going to war with their human originals, but this week on Doctor Who, the war comes to end, in which “The Rebel Flesh” become “The Almost People” and we’re left hanging from quite the narrative cliff…

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“The only water in the forest is the river.”

Last week it was the third three episodes of the current season of Doctor Who, with a planet called America and the moon landing and Richard Nixon and aliens you completely forget about once you turn your back and then pirates and alien medical Sirens and this week it’s dead spaceship graveyards and the creepy disembodied voice of Michael Sheen and a mad woman who’s bigger on the inside and who might just be “The Doctor’s Wife” and also the guy who brought you The Sandman is writing the words…

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The legs, the nose, and Mrs. Robinson.

This is a Doctor Who post.

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Binary day.

from here.

Today is 10-10-10!

Mad linkage:

Douglas Adams and the answer to the ultimate question.

Susannah Breslin on This Recording.

John McTiernan is going to jail.

Paul Thomas Anderson’s The Master delayed indefinitely.

Remembering David Bowie’s Station To Station.

Anthony Bourdain is writing a graphic novel “about ultraviolent food nerds.”

Great new albums coming out of the Milwaukee music scene.

David Foster Wallace’s The Pale King gets a release date.

This is some ridiculous bullshit.

John Gabriel’s G.I.F. theory.

from here and here.

More actors added to David Fincher’s version of The Girl With The Dragon Tattoo.

Bob Woodward on President Barack Obama.

Are tests biased against students who don’t give a shit?

Michelle Williams as Marilyn Monroe.

Al Pacino to play Phil Spector.

Shia LeBeowulf wants to play Karl Rove. Suck it, Frankie Muniz!

Doctor Who is coming to America next season (and is going to face Nixon).

Scientists explain the parting of the red sea.

Rob Liefeld is writing a script about the founding of Image comics/the comics boom of the 90s. Ha ha ha ha ha ha ha ha!!

Yoda’s cousin: Night Eyes.

Something old, something new, something borrowed, something blue.

So, a very, very, very long time ago, there was this massive explosion. It’s just a cosmological theory, but it’s also been accepted as fact. Our universe was so incredibly hot and dense for a finite time, and it just exploded and expanded and it was bigger than anything ever, because it is everything and it’s always expanding and cooling…

…and it happened. How do we know? Because you’re sitting there, right there, right now, in your comfy chair, or on your couch, or perhaps laying in bed, or wherever or however you read your friendly neighborhood Counterforce. Well, or so we think. It sounds nice. Exploding into being, from essence to existence by way of KA-BOOM! That sounds good, right? But this thing, which we can call “Event One,” it happened, and because of it, the universe as we know it was created.

And then something happened. A serious of events that lead to the total and utter collapse of the universe and all reality. Well, they didn’t just collapse, but they began a severe process of collapsing. But the universe is big and vast and this took a little bit of time. How long? Well, roughly 2,000 years in theoretical time, but in subjective time, about 45 minutes or so.

And all of that happened, and then happened again in tonight’s season finale of Doctor Who’s fifth series, “The Big Bang.” Following last week’s ridiculously intense episode, the universe collapsed, or rather, began the process of collapsing until there was a second big bang, and everything was re-created again.

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