Category: Entertainment

I picked up a copy of Robert Asprin’s Another Fine Myth / Myth Conceptions from Amazon.com today.

I had read three or so of the books from the series through my school’s library back in the 7th grade and found them amusing at the time. Now I’m going through the entire series starting from the beginning to make sure I didn’t miss anything.

Generally, I was never really a big fan of the fantasy genre. I always preferred science fiction, not merely because I’ve always looked forward to the technology, but because I’ve always felt that most general fantasy novels tend to involve more characters who are born into their role, compared to the possibility of the everyday man being the hero through the general science fiction tale. Sure, the sci-fi hero tends to be smarter, braver and better looking than the average person, but the role is one that can be won by self-determination, versus the amount of fate and destiny that surrounds the average fantasy protagonist.

With Robert Asprin’s Myth series, however, the heroes are relatively ordinary people for their world who are thrust into extraordinary situations in which they turn the odds in their favor through some street smarts, chutzpah and a few well-placed cons. Of course, it probably doesn’t hurt that the whole thing is written as a comedy, and therefore doesn’t take itself quite as seriously as many general fantasy novels do.

If you grew up in the 70s, you may have come across a cartoon known as “Battle of the Planets”, or alternatively as “G-Force”, about a team of five teenages dressed in bird-like combat suits fighting the outer-space terrorist forces of the evil Gallactor.

This 1972 series was originally known as “Gatchaman” in Japan, and along with Speed Racer, it was often one of the first exposures American children of that generation had to Japanese anime.

On June 16th, 2005, ADV Films will be releasing the first of their English DVDs of the popular series with the original animated content. Prior to the US release, Hanna-Barbara removed large chunks of animation and story elements they felt were too violent for American audiences. The company also changed various characters and introduced new animation of a robot mascot for the Science Ninja Team to make up for the footage removed.

The animation in the series is obviously from the early 70s, long before technology made quality animation techniques possible in a weekly series, but the show was always very original and adult in its own way, and you can see the influence the show had on other Japanese series that came afterward. This re-release will be a great piece of childhood nostalgia for those of us who grew up long before Japanese anime became common afternoon-entertainment for kids.

The Times:

“Tonight’s episode may not have the zany, off-the-wall humour associated with the ones written by Russell T. Davies, but Robert Shearman’s script -and I can’t believe that I’m about to say this -is strangely moving. It concerns the last surviving Dalek, which is being held in chains in an underground museum in Utah. Daleks, as we know from the lessons of history, are programmed to hate. But, amid all the excitement, tonight’s episode manages to sneak in a message about the redemptive power of human kindness and the way in which victims can turn into oppressors. This new Doctor Who is an unqualified triumph.”

The Guardian:

“Robert Shearman’s script bamboozles expectations, offering a fresh take on the famous metal drama queens, here both more formidable and sympathetic than we’ve ever seen them in the past. Claustrophobic and suitably melodramatic, this should hopefully show 2005’s kids what was always so wonderful about the iconic tin-rotters.”

The London Evening Standard:

“This week’s episode title- Dalek- may crush the surprise the script clearly hoped to generate around the return of the killer pepperpot, but that’s the only disappointment here. … At its best, science fiction is supposed to be a metaphor. It’s not a theory that always pans out, but here, in the conflict between a murderous intergalactic dustbin and a double-hearted time traveller, we get a powerful look at the way war- whether it’s in the Balkans, Iraq or outer space- twists even the best of people. ‘If you can’t kill, then what are you good for?’ the Doctor hisses at the imprisioned Dalek. But by the end, you’re left wondering whether it is the Dalek or the Doctor who has been damaged most by the conflict. It’s heady, surprising, spiky and occasionally pretentious stuff, but I’ll take this over ITV’s spandex celeb-grappling any Saturday night.”

According to Outpost Gallifrey, the overnight ratings gave the sixth episode of the new Doctor Who an average viewership of 7.83 million viewers, which means that 42.73% of total viewers watching television at that time were tuned in. The episode had a high point of 8.73 million viewers (45.9% share) as the episode progressed, soundly beating its time slot competition on ITV, “Celebrity Wrestling,” which only received 3.05 million viewers for a 17.73% viewer share.

“Casualty,” the Saturday night program that usually wins the entire day’s rating race received 7.3 million viewers, leaving it in second place for the evening and making Doctor Who the most watched program in the UK for all of Saturday.

During the week, the BARB will release its final viewing numbers for the night, which are often higher due to the number of people who “time shift” episodes by recording to their Tivos and VCRs on Saturday, but don’t watch until later.

Written by Robert Shearman
Directed by Joe Ahearne

The broadcast of “Dalek” marks some milestones in the new run of the long-running science fiction series. Firstly, it’s the sixth episode, making it the mid-point in the 2005 season’s thirteen episode run. More importantly, however, it’s the first return of the popular iconic metal villains who last appeared fully nearly seventeen years ago in the 1988 episode “Remembrance of the Daleks“.

This 45-minute episode goes a long way toward making the Daleks a viable villain again by showing the danger even one of the metal pepperpots can pose. The effects crew managed to create a really substantial model that looks very solid on-screen and updated radio control movements really help complete the illusion. Many of the previously perceived flaws and weaknesses of the Dalek frame, such as the often mocked plunger manipulator, have been addressed in a manner that improves upon the creatures, yet remains true to the iconic image of the Daleks.

Christopher Eccelston is given a much more substantial run at the more serious Doctor he’s better able to portray and he feels much more in tune with the darker aspects of this plot compared to the lighter fare of previous episodes. Billie Piper continues to impress as companion Rose Tyler with her ability to handle any scenes given to her. The rest of the actors are something of a mixed bag, most likely due to their being American actors (or British actors playing with American accents) in a British production.

There are some problems with the story, such as comically bad lines about the Dalek having “downloaded the Internet” and the rather confusing plot point about energy from the DNA of a time-traveler being used to rejuvenate the Dalek, but long-time fans of the series have probably learned to ignore these “reverse the polarity of the neutron flow” moments.

Overall, “Dalek” is an improvement over the last two episodes, and my particular favorite with “The Unquiet Dead” coming in closely behind. It will be interesting to see how the final half of the first year’s run plays out in comparison, but this episode will certainly be remembered as one of the strongest.