Alias

Alias – ‘The Box – Pt 1’ (1×12)

If The Confession was the point of no return, The Box is the tale which catapults Alias into what is, barring one or two exceptions, a season and a half of dynamic, top drawer storytelling.

Alias was a high concept TV series from the outset. The ‘high concept’ in Hollywood vernacular defines an idea which can be distilled into a pure, accessible, often blockbuster form. ‘What if we could clone dinosaurs?’ for example with Jurassic Park, or to use another Michael Crichton example, ‘What if theme park robots became sentient and took control?’. Alias itself flaunts the high concept in its DNA, pitched essentially as ‘What if a spy found out she was working for the enemy?’. Even from Truth Be Told, Alias perhaps throws a few extras caveats into that pitch but in basic terms, that’s the point JJ Abrams’ show starts from. The Box, however, is the first episode to truly deliver on a high concept idea.

If you look at Alias across the first half of its first season, we haven’t seen an episode anything like The Box. Right from the get go, Alias engaged in a level of serialised storytelling through which it broke the 90’s mould of stand-alone, easy to syndicate episodes of television to depict a compelling, ongoing narrative journey for Sydney Bristow as she becomes more embroiled in her double-agent life with SD-6 and the CIA. Each episode, even those which carried heavily over to each other such as Reckoning and Color-Blind, tells an espionage tale on a scale which never overwhelms the broader character and narrative arcs in play: Syd & Jack’s relationship, Syd & Vaughn’s relationship, the Rambaldi mythology etc… Thus far, the spy stories have been fairly incidental and the weekly bad guys relatively disposable.

All of that changes, immediately, with The Box. The first genuine two-part story in Alias’ lifespan, labelled indeed as such, it delivers on the high concept idea with the pitch: ‘What if terrorists seize control of SD-6?’. Alias does Die Hard, basically, and without a shred of embarrassment. Writers John Eisendrath and Jesse Alexander immediately understand their reference point and the fact they are riffing, broadly, off one of the greatest examples of a high concept in Hollywood history. It only adds to the joy of The Box which exemplifies the remarkable level of confidence Alias had in its storytelling from the very beginning. Many other series wouldn’t have the balls to make The Box until maybe its third, even fourth, seasons. Alias gets it out the way as a midpoint to its debut year.

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Essays, Movie Reviews, Movie Reviews - 1993

Last Action Hero (1993)

Last Action Hero is both ahead of its time and perfectly positioned *within* the era it was made, such is the paradox of a forgotten curiosity of 1990’s action cinema and the stratospheric career of Arnold Schwartzenegger.

Here’s my story and why I’m writing about Last Action Hero some twenty five years on from its release. I was 11 years old when Last Action Hero was released in cinemas, in the US one week after Steven Spielberg’s decade-defining Jurassic Park. In theory, I was the perfect age to consume a film which is entirely about the youthful obsession of a similarly-aged child, Austin O’Brien’s Danny Madigan, with action adventure cinema. Jurassic Park I badgered my parents to take me to see three times yet I didn’t go anywhere near Last Action Hero. It didn’t even register with me. It has taken me until age 36 to actually sit down and watch it, and this is after spending at least the last twenty years being an enormous fan of Schwarzenegger’s movies and career. Last Action Hero was always the Arnie film I missed.

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Books, Star Trek: The Original Series

Star Trek: The Original Series – ‘First Frontier’

In an attempt to try and tackle the onerous job of looking into the Star Trek book universe, thanks to the help of Memory Beta’s chronology section, I am intending to look at the saga in book form from stories which take place earliest in the franchise’s timeline onwards. This hopefully should provide an illuminating and unusual way of examining the extended Star Trek universe.

Part of this story takes place 64 million years ago.

Sometimes you just click with a novel and sometimes, as in the case of First Frontier, you just don’t. For an indefinable reason, Diane Carey’s novel co-written with scientist Dr. James Kirkland was easily my most arduous reading experience of the Star Trek tie-in universe yet. This could well be a level of personal preference and, as always with my pieces on Cultural Conversation, I’ll be looking conceptually at First Frontier and what it does as a novel. I would, however, be lying if I said it was an enjoyable read.

First Frontier is an interesting tie-in novel, the seventy-fifth in the line of The Original Series books, for several reasons. For a start, there is the inclusion of Kirkland in the writing process. Carey is someone who will be well known to many who read Star Trek tie-in fiction, given how she was one of the most prolific novelists in the franchise, particularly throughout the 1990’s. Kirkland, however, is a scientist first and writer second, at least in terms of fiction, and came to co-write First Frontier, as a self-confessed major Star Trek fan since the 1960’s, after Carey read an article in Discover magazine about Kirkland’s discovery of the ‘Utahraptor’, one of the biggest dinosaurs ever found.

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Essays, Movies

The Last Jedi: from Space Fantasy to Space Equality

Only a week old and Star Wars: The Last Jedi already feels like it’s been dripped dry of critique and analysis. The much-anticipated follow up to The Force Awakens, 2015’s bombastic revival of the Star Wars saga, has been polarising to say the least. For every fan who loved it, you’ll find another two who feel it has destroyed, in one picture, the entire legacy of the tale long long ago, in a galaxy far, far away.

As well as my initial analysis of the film, I wrote about the toxicity of this level of fandom who seek to target The Last Jedi for daring to experiment with the established tropes and concepts that have existed for forty years, and have made Star Wars what it is. Whether you liked or disliked The Last Jedi no longer seems to be the point – it’s the consequences of Rian Johnson’s film that have stoked the most controversy. Star Wars, surely, will never be quite the same after this movie? That’s the ultimate question cascading across Star Wars fandom as The Last Jedi settles in their mind. Too much has changed. Yet few seem to be talking about what this change directly is, or ultimately what it means.

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Movie Reviews - 1995

Waterworld (1995)

Excess is probably the word to best associate with Waterworld. The excess of Hollywood in the 1990’s. After the blockbuster formed at the tail end of the 1970’s thanks to the efforts primarily of Steven Spielberg and George Lucas, the 1980’s saw the phenomenon largely dominated by Olympian action heroes or stars whose names towered on the poster above the title – Schwarzenegger, Ford, Willis, Stallone, Snipes. Alternatively, sequels and franchises began to form and dominate – Bond continued making money, joined by Indiana Jones, Star Wars of course, Star Trek back from the dead, and a whole surfeit of sequels which evolved into trilogies, and continued the trend into the 1990’s. That decade, nonetheless, added an extra dimension.

Waterworld is indicative of the mega-budget ‘high concept’ which had crept in over the last decade and really bore fruit during the 90’s. A high concept movie, essentially, was a picture you could boil down in one, easy for a movie studio executive to understand soundbite. Waterworld’s, without question, would be ‘Mad Max on water’. Simple, clear, readable. Everyone had heard of Mad Max, a successful trilogy itself early in the 80’s. The idea of trying to replicate the success of George Miller’s desert-based post-apocalyptic action series would have seen the bean counter’s eyes kerching with dollar signs. Waterworld smacks of a high-concept, money-making exercise, taking this one-line idea and bulking it out into an event blockbuster.

The irony, of course, was how expensive Waterworld ended up being. A year later, Independence Day revitalised the alien invasion B-movie with a high-concept, simple idea which, schlocky as it may have been, reaped the rewards in dividends. Though chock-full of CGI, some of which at the time was stunning to audiences, it wasn’t nearly as expensive as Kevin Reynolds’ fourth collaboration with star Kevin Costner, given the amount of water-based sets which needed to be constructed in order to adequately sell the idea of a futuristic world where the polar ice caps have melted, consigning the ‘ancient’ world we live in now to the sea bed. Though a picture designed to make big bucks, Waterworld ultimately became one of the biggest critical and financial disasters of its decade, or indeed any decade.

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