moonvoice: (wczuciki - shoebilled stork is angry)
I've noticed this increasing trend to declare a show good without caveat, or bad without caveat, and while that's fine because people have subjective standpoints, I do think there are significant issues with Dark Crystal: Age of Resistance around concepts of heteronormativity, slavery and fridging, that are all not insignificant.

The artistic merits of the show alone are staggering and stunning, and I think it's very easy to get snowed by them. Even Glen and I want an art book for the series, though we doubt we'll watch the series again. It is transcendent art, helped along by incredible character and set design, and a lighting team that has used just about every trick in the book to create amazing ambiance in every scene. The puppetry is well done, and after an initial period of adjustment for me, I generally forget I'm watching puppetry except in the moments where I'm like 'wow this must have been really hard to film how did they achieve this.'

The voice actors are generally well chosen, though I think Taron Egerton was a huge mistake. He sounds non-committal and apathetic for the most part, which doesn't really suit a Jesus-style prophet knight-type character. And he seems to fill out that voice acting with a lot of passive 'ahh' 'uhh' sounds that actually make him sound forced and non-organic (the use of these noises are literally designed to do the opposite in voice acting). He just honestly sounds like he's sighing all the time, and over it. About the only time this isn't true concerns a spoiler I'll go into under the cut.

The Skeksis are incredible villains, though for me, aside from two or three, they all do tend to blend into one another with similar tones, voice acting choices, character design and names. But as gross, increasingly corrupt (which is saying something given where they started), gluttonous, irredeemable assholes, they're great.

Tonally, this show is imho, veering very close to grimdark as a genre (although I think it's outright grimdark). It makes sense, given it's a prequel to the movie. But I'm not sure how I feel about several perilously and generally nihilistic seasons of something sumptuously beautiful, but desperately amoral and grim.

The script does have its genuinely light moments, few and far between as they are. Also, some of the voice acting is remarkably organic. The characters Hup, Deet and Brea in particular, along with Celadon and Aughra, are probably the most well-realised and empathetic because of it.

I would give the show about a 6/10, with a good 3 of those points going to visuals alone, and about another 3 going to the story.

Spoilery thoughts. )
moonvoice: (tv - true blood - LOL)
Well, aside from a few clumsy lines (both written and delivered) in the pilot episode, I am quite intrigued by new fantasy/sci fi television drama entrant Lost Girl, made by Canadian producers Showcase. I found it endearing, interesting, and one more show in a long line of 2010 shows to feature supes. It had some great, immediate accessibility in character Kenzi, and some very cute lines.

Considering I turned off Hellcats in less than 10 minutes (hey, Gale Harold is going to be in it later, I still might download those episodes just for him), it's nice to find a new show which looks interesting (though this season's line up? There's some others I'm looking forward to as well). Also, Dark Fae? Light Fae? A main character who's a succubus? Two female leads? Bring it on, bitches. Works for me.

*

Geez, Australian media sucks when compared even to Canada's media, and that's just sad, since we get similar funding and support in both nations for our film and television production units. Also, Australia has the tech - has always had the tech, especially since the first Matrix - to really do wild things with supernatural themes. Even more so than Canada. Does it? Pfft. No.

We are like the most unimaginative country ever. You couldn't even pitch a supe-drama here, even though they are selling like hot-cakes everywhere else. It just disappoints me, after all this time. It's hard to support a lacklustre industry. And a lot of it isn't lack of funding. Some of it is just lack of imagination, Australia's culture of media insecurity seeping into film-making in particular (it works well in literature, if you can handle the similarities in tone between writers like Carey and Winton). But then, it's unsurprising. We have one of the worst rates of media censorship in the Western world ever. We still ban films like Salo (unbanned it, changed our minds, too sensitive for our sheltered viewers, sorry!).

It is a deeply, deeply oppressive environment for any media show to get made (yes, there are more oppressive environments, but not many to be found in the Western world). Those who do stick to fairly basic (but not always bad) affair, usually involving some kind of formulaic procedural (Blue Heelers, McCleod's Daughters (which did crazy insane in the ratings when it was shipped off to North Asia), White Collar Blue, All Saints, Water Rats, Wildside immediately come to mind). Maybe it's just me, but I want something way more imaginative. Or at least the choice.

Anyway, didn't expect to be writing about this at 9.00am!
moonvoice: (Default)
Gift of the Dreamtime: Awakening to the Divinity of Trauma
by S. Kelley Harrell

publisher: Spilled Candy Books
year: 2004

within... )
moonvoice: (Default)
Title: The City of Lost Children (or La Cité des enfants perdus)
Director: Jean-Pierre Jeunet (and Marc Caro)
Released: 1995
Rating: R

The City of Lost Children )

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