Tag Archives: SciFi

Why I Hate FlashForward: A Dissenter's Opinion

FlashForward: Illogicalifragilisticexpialidocious

FlashForward logo ©2009 ABC Productions, all rights reserved

It goes without saying that pretty much every work of fiction begins with the “what if” question. “What if I knew the world was ending tomorrow?” “What if my wife was secretly plotting to kill me?” “What if this article wins me the Pulitzer?” What separates the great (or simply enjoyable) work from that which cannot be accepted is a second level of consideration: actually thinking about the “what if” and seeing if it has any real value, any weight, beyond that first fleeting thrill that comes with the High Concept. FlashForward, the ABC TV series or the 1999 novel by Robert J. Sawyer upon which it is loosely, loosely based, is a perfect example of exactly that: the cool but ultimately unsatisfying idea that really can’t stand the stress of storytelling. Because hiding behind the spotty acting and cliché characters—on screen or in print—the whole concept has a serious problem: it just doesn’t make a lick of sense. Under the “continue reading” jump, an analysis of the logic and science flaws of FlashForward.
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REVIEW: Avatar (Editor’s Selection)

Avatar poster and all images ©2009 20th Century Fox. All rights reserved.
Avatar poster and all images ©2009 20th Century Fox. All rights reserved.

There are certain films that outlive their theatrical releases to become evolutionary stepping stones of filmmaking. Long after the popcorn has been munched and the Oscars handed out, these movies stand the test of time and usher in the cinematic equivalents of geologic Eras. D.W. Griffith’s The Birth of a Nation redefined the beauty of silent imagery. Alan Crosland’s The Jazz Singer integrated sound and heralded the rise of “the talkie.” Orson Welles’s Citizen Kane became a hallmark of big-budget studio genius. And every sci-fi film of the last forty years owes debt to the standard set by Stanley Kubrick’s 2001: A Space Odyssey. And then there is Avatar. That this film, with fifteen years of creative development, four years of full-time work, and endless hype, was bound to be good seems like manifest destiny. But it doesn’t just live up to its hype—it exceeds it. James Cameron has reinvented visual possibilities, perfected multi-layered storytelling and provided a service to audiences and filmmakers. He has transitioned us into the next big cinematic Era: 3D. Avatar is a ScriptPhD.com Editor’s Selection. For a full review, please click “continue reading”.

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Behind Avatar: Science, Technology, Art and Design

Avatar ©2009 20th Century Fox. All rights reserved.
Avatar ©2009 20th Century Fox. All rights reserved.

This weekend, millions of people will flock to IMAX theaters and cinemas around the world, 3-D glasses eagerly perched, in anticipation of James Cameron’s masterpiece Avatar, a cinematic œuvre fifteen years in the making. Underscoring this two and a half our epic lie unparalleled technological, scientific and artistic achievements, including the invention of a novel 3-D film camera, the complete biological and linguistic realization of a virtual world, and flawlessly integrated art direction and conceptual renderings. Many people’s post-viewing reaction will be, “How did they do that?!” ScriptPhD.com is proud to present a special Avatar preview that includes behind-the-scenes secrets and a review of the must-own companion design book The Art of Avatar. Before you see the movie, get to know it.

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Fall Science TV Preview, Part III

Our Fall Science Television preview concludes with our last installment. ScriptPhD.com give you a sneak peek of the conclusion of Warehouse 13, the hit reality show Destination Truth, and new series V and the delectable, highly-recommended ScriptPhD.com pick for best new fall show, Stargate Universe. I sincerely hope that our three-part guide to some (though not all) of the vast and rising science and technology content on television was a helpful guide and provided you a variety of options from shows returning and launching as you embark on your Fall TV seasons. Wishing you all full TiVos and busy remotes!
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Fall Science TV Preview Part II

Following up on Part I of our Fall Science Television preview, we continue with some of our picks for best bets in comedy, drama, and even reality covering the scope of medicine, physics, forensics, fantasy and pure old-fashioned science fiction. Tonight, in Part II, ScriptPhD.com give you a sneak peek of the return of Dexter, House, MD, Grey’s Anatomy, MythBusters, The Big Bang Theory and the highly anticipated television adaptation FlashForward. Tomorrow night, our coverage concludes with a review of the V pilot and previews of programming from the holy grail of science fiction television, the SyFy Channel. Our reviews, under the jump.
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Fall Science TV Preview(let) Part I

Well, it’s that time of the year again, folks! Summer is fading, the leaves are starting to change color, the last of the barbecue coals has been extinguished, and you know what that means. The return of fall television. And we here at ScriptPhD.com are committed to previewing the best of science and science-fiction that the boob tube has to offer. From educational, to informational, to just downright fun, over the next two weeks, we will preview our picks of can’t-miss fall shows. While the majority of the season’s lineup is set to debut towards the end of September and beginning of October (coverage of which we’ll bring you next week), this week sees the return of Bones, Fringe and a Jim Henson favorite for the kiddies, Sid the Science Kid. Our exclusive sneak previews, under the jump.
Continue reading Fall Science TV Preview(let) Part I

MOVIE REVIEW: District 9

Science fiction has served as fertile ground for exploring sociopolitical issues through allegory: war, oppression, prejudice, and even, on occasion, the human condition. Bet every so often, a sci-fi project comes along—Blade Runner, Children of Men, Terminator, Battlestar Galactica—that so compels and provokes, it transcends its own genre in the process. District 9 is such a film. When humans become responsible for the well-being of a population of aliens stranded over Johannesburg, South Africa, they must confront their full capacity for fear, cruelty and self-identity. With an unknown cast, a newcomer in writer/director Neill Blomkamp, and a low-profile movie locale, District 9 manages to outshine all releases thus far as the best film of 2009, and one of the best of its generation. For the full ScriptPhD.com review, please click “continue reading”.
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Review: To the Moon, Alice! To the Moon!

What is it with Hollywood releasing movies that coincide with NASA missions to outer space? Remember when Star Trek came out during the Hubble Telescope repair mission [read ScriptPhD coverage]? Moon, a thoughtful new science fiction indie feature from Liberty Films and Sony Pictures, featuring a near-solo bravura performance by Sam Rockwell, comes on the auspicious heels of NASA’s Lunar Reconnaisance Orbiter mission to remap and fortify our knowledge of Earth’s Moon and surrounding solar system that got off to a spectacular start on June 18th. ScriptPhD.com reviews Moon and discusses the LRO mission, along with some of the first days-old high-resolution topographical beamed moon images and their implications for further lunar missions. To read the article, click “continue reading”.
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TV REVIEW: Virtuality

The cast of Virtuality.  Image © 20th Century Fox 2009.
The cast of Virtuality. Image © 20th Century Fox 2009.

From Battlestar Galactica creator Ronald D. Moore and writer Michael Taylor comes an exciting new science fiction thriller, the two-hour special TV movie event Virtuality. “Our goal was to tell a story outwardly very different from Battlestar Galactica,” Moore explains, “but similar in its intent to explore the human character in an extreme setting.” In this case, the extreme setting is the outer border of previously explored space aboard the modern, self-sustaining spacecraft Phaeton. Helmed by intrepid, determined Captain Frank Pike (Nikolaj Coster-Waldau), the original goal was a 5 year exploratory mission to look for intelligent life beyond Earth. Early into their mission, however, the 12-person crew learns that due to the catastrophic effects of environmental ravages and global warming, Earth will become completely uninhabitable in 100 years. They are humanity’s last hope to seek out another planet deep in the cosmos capable of supporting life. A perilous slingshot around Neptune will lengthen the mission to 10 years, and propel Phaeton towards the distant star Epsilon Eridani in search of a new home. But as the ship nears the point of no return, the crew must decide whether to retreat home to Earth or thrust deeper into outer space, and the unknown, to answer the ultimate question: go or no go?

Psychological impacts of long-term missions in constrained environments have been limited to two years or less. To assuage the crew emotionally during their extended mission, and to provide the only source of privacy aboard Phaeton, they are provided with virtual reality head modules, with which they may realize any fantasy or simulated environment. Some people become rock stars, climb the Himalayas, enact Civil War battles; others recreate the family they left behind on Earth. But the technology remains imperfect, unexplored, especially in relation to the human mind. Present throughout the virtual worlds is a malfeasant, mysterious green eyed man (Jimmi Simpson), whose existence and motivations remain unclear. Does the avatar represent a virus, the inner conflict of each individual’s sublimated psyche, or a sabotage of the mission by a larger force? No one is certain. The presence of this escapist alternative universe, and the turmoil experienced therein by the crew of 12, raises important psychological and technological quandaries. What is real? A virtual “affair” between Captain Pike and a married crew botanist (Sienna Guillory)? A virtual rape? Virtual mental torture, whether self-imposed or at the hands of the green-eyed man? Says Moore, “It’s in this nexus of reality and “virtuality” where our characters’ shared and private worlds collide that we intended to find the drama of the show.”

Indeed, Virtuality bears several trademark Ronald D. Moore stamps: great science, terrific characters, and humanity-driven conflict and desperation. While Battlestar Galactica’s primary science angle focused on Cylon artificial intelligence, in Virtuality, astrophysics, geology and astrobiology take center stage. Especially pertinent amidst NASA’s recent exploratory missions, the Phaeton module employs top of the line physics to propel itself to far reaches of outer space, while self-contained greenhouses and laboratories analyze evolutionary life origins and biological compositions of space. Colorful characters abound on the Phaeton crew, including lead navigator/designer with a painful past Jules Braun (Erik Jensen), aggressive, self-destructive pilot Sue Parsons (Clea DuVall), paraplegic, self-doubting co-pilot Jimmy Johnson (Richie Coster), gay couple Val Orlovsky (Gene Farber) and Manny Rodriguez (Jose Pablo Cantillo) providing an infusion of hope and optimism, and married astrobiologists Kenji Yamamoto (Nelson Lee) and Alice Thibadeau (Joy Bryant) debating the pros and cons of raising a child aboard the confined ship. Compounding the stress and importance of Phaeton’s mission are your basic everyday problems: the ship’s only doctor (Omar Metwally) has Parkinson’s Disease, there aren’t enough medical supplies to sustain a ten-year mission, an escalating conflict of personalities and strategies between Captain Pike and his co-pilot, and the rampant obliteration of Earth by natural disasters. As he did in Battlestar, Moore does an exemplary job of using the scientific questions of our time as a platform to probe deeper into the meaning of life, humanity, and the ethical limits of an imminent fight for survival.

The most attractive aspect of Virtuality is how hip, modern and current it feels. With sleek, bright sets, fast-paced camera action from director Pete Berg, and gorgeous computer generated imaging of outer space and the virtual reality scenes, the show departs visually from the austerity that is often a sci-fi staple. It is also a shrewd, tongue-in-cheek satire about our obsession with “celebrity” against the backdrop of an all too plausible environmental reality here on Earth. The action aboard the Phaeton is being broadcast back on Earth as the most popular reality show of all time, “The Edge of Never,” being seen by billions every week. Orchestrated by Dr. Roger Fallon (James D’Arcy), whose simultaneous roles as reality show producer and on-board psychologist come into conflict, the show combines the drama of Earth’s impending doom and the search for other habitable planets with our modern televised voyeurism. Hosted by the well-meaning but invasive Billie Kashmiri (Kerry Bishé), the show meticulously follows every facet of the crew’s quotidian existence, complete with ubiquitous cameras throughout the ship, Big Brother-style confessional rooms, and manufactured conflict to entertain the masses. Combining Star Trek and The Hills, Virtuality adds yet another layer to the confounding question of what is real, what is virtual, and where the twain shall meet. All of this action and philosophy culminates in a shocking surprise twist that you will never see coming. It will test the sense of trust and camaraderie aboard the vessel, raise questions about the boundaries of escapism in a virtual world, and put in danger the crew’s psychological capacity for their ten-year mission in outer space.

As wonderful and suspenseful of a setup as the Virtuality pilotTV movie is, it does not necessarily augur well for its prospects of a series pick-up. It was not announced as a part of Fox’s upcoming fall schedule (a schedule brimming with scientific content such as Fringe, Dollhouse, Bones, House and Lie to Me), but Ronald D. Moore has not ruled out the possibility, saying that “Fox executives have never said “It’s over”” and that the two-hour movie had always been designed as a pilot. Nevertheless, despite their long history of fascination with science fiction, FOX has also managed to prematurely cancel some of its brightest gems in the genre, including Space Above and Beyond, Wonderfalls, and Firefly. So if you are passionate about Ronald D. Moore’s shows, and the presence of sophisticated, complex sci-fi that explores important existential questions, watch Virtuality on Friday night, and then get vociferious and get involved. Never underestimate the power of bloggers and fans to effect change. At last year’s Comic-Con, I personally witnessed the inception of pre-emptive petitions to rescue Dollhouse, which had not even aired a single episode. The result? It’s been renewed for a second season. If you like the show, write to FOX. Who knows? You could help turn Virtuality into a reality.

The Virtuality 2-hour movie premieres this Friday night, June 26th, at 8 PM ET/PT on FOX.

Incidentally, coming in July, we will be interviewing Dr. Kevin Grazier, the brilliant physicist who has acted as science advisor on Virtuality, Battlestar Galactica, and Eureka as a part of our celebration of the release of the BSG series box set and Comic-Con 2009. Stay tuned!