Tuesday, May 1, 2018

What You Need to See Before AVENGERS: INFINITY WAR

Since everyone’s been asking me, here’s a guide to what you should see before watching Avengers: Infinity War. The simple answer is “everything”, since this is the movie Marvel Studios’ has been building towards for 10 years and it all pays off here, but that’s a LOT of movies, so here’s a guide to what’s Essential, what’s Optional, and what’s Skippable. I’ll be working backwards through the movies, from newest to oldest.  
 
BLACK PANTHER 
This is a fantastic movie that you should really just see anyways, but it’s not really necessary for understanding Infinity War. The main things established in this movie that play into Infinity War are equally established in Captain America: Civil War, a movie that’s also much more vital in the overall saga. If you have seen Black Panther, you’ll see a lot of those characters and settings return and get a big role in Infinity War, but if you haven’t, you can get by so long as you’ve seen Civil War
STATUS: Optional  
 
THOR: RAGNAROK  
Infinity War literally starts right where Ragnarok ends, and the third Thor film changes Thor’s status quo so significantly, that if you haven’t seen it you’ll be pretty lost when it comes to what’s going on with the God of Thunder in this one. It helps that Ragnarok is also a pretty rad movie on its own, so it should be a pleasure to catch up with it. 
Corollary: To understand what’s going on in Thor: Ragnarok, you’ll need to have seen Avengers: Age of Ultron, Thor: The Dark World, The Avengers, and Thor, so those all become essential to Infinity War by extension. 
STATUS: Essential
 
SPIDER-MAN: HOMECOMING 
Spider-Man’s in Infinity War, but there’s nothing you really need to know about him in that flick that you don’t know either from cultural osmosis or by seeing how he was introduced in Civil War. If you have seen Homecoming, there’s some stuff from there that shows up in Infinity War and there’s one character from Homecoming who shows up in a minor supporting role, but if you haven’t seen it you’ll be all right, again so long as you’ve seen Civil War
STATUS: Optional
 
GUARDIANS OF THE GALAXY VOL. 2 
The Guardians play a huge part in Infinity War. By the end of this sequel their status quo has been a bit shaken up, particularly with the introduction of a new member who’s quite prominent in Infinity War. The main plotline of the sequel, which centres on Star-Lord, isn’t relevant at all to Infinity War, but the subplot about sisters Gamora and Nebula is essential for understanding where those characters are at in the new movie. 
Corollary: You should probably see the original Guardians of the Galaxy before seeing the second one, if you haven’t already. 
STATUS: Essential
 
DOCTOR STRANGE 
The Sorcerer Supreme and Master of the Mystic Arts is a major player in Infinity War, as is his arcane talisman, the Eye of Agamotto. The Eye plays a big role in the plotline of the new movie, and this introductory Doctor Strange film is a good primer on what it is and what it can do. 
STATUS: Essential
 
CAPTAIN AMERICA: CIVIL WAR 
This movie was a major turning point in the arcs of several of the Avengers characters. While its plot doesn’t directly tie into Infinity War, it’s a crucial film for understanding where most of the characters in the film are at and what their emotional stakes are. 
Corollary: To understand Civil War, you need to have seen Ant-Man, Age of Ultron, Captain America: The Winter Soldier, The Avengers, Captain America: The First Avenger, Iron Man 2, The Incredible Hulk, and Iron Man
STATUS: Essential
 
ANT-MAN 
You don’t need to have seen this movie to see Infinity War, but you do need to have seen it to see Civil War, and you need to see Civil War before seeing Infinity War. So it’s either totally skippable, or it’s essential, depending on your point of view. 
STATUS: Skippable (but essential to other Essential viewing)
 
AVENGERS: AGE OF ULTRON 
Yes, you need to have seen the second Avengers movie to understand what’s up in the third one. Several prominent characters and concepts are introduced in it that are key to Infinity War’s plot. 
Corollary: Essential to understanding Age of Ultron are The Winter Soldier and The Avengers
STATUS: Essential  
 
GUARDIANS OF THE GALAXY 
Several key concepts and characters to Infinity War are introduced and explained in this movie. Additionally, it contains the most prior screen time for Infinity War’s villain. 
STATUS: Essential
 
CAPTAIN AMERICA: THE WINTER SOLDIER 
Not much from this movie’s plot is directly related to Infinity War, however the plotlines, character arcs, and consequences from it do directly inform later movies that are essential to Infinity War
Corollary: If you’re seeing Winter Soldier for the first time, then The Avengers and The First Avenger are essential to understanding it. 
STATUS: Skippable (but essential to other Essential viewing) 
 
THOR: THE DARK WORLD 
This entry introduced a key concept to Infinity War, but everything you need to know about it is re-introduced in the new movie, so if you haven’t seen The Dark World it’s not a big deal, though it does form the connective tissue between other essential entries. 
Corollary: The Dark World’s plot depends on The Avengers and Thor
STATUS: Optional (but essential to other Essential viewing) 
 
IRON MAN 3 
While nothing from this movie directly connects to Infinity War, or even many other Marvel movies for that matter, it does delve into Tony Stark’s PTSD following the attack in The Avengers, and its this trauma that drives much of Stark’s interaction with Infinity War’s villain. 
STATUS: Optional
 
THE AVENGERS 
The main villain of Infinity War, Thanos, is introduced for the first time here, and the events of this movie are referenced multiple times. The movie introduces many other key concepts to Infinity War
Corollary: If you haven’t seen The Avengers, somehow, you might want to see The First Avenger, Thor, Iron Man 2, The Incredible Hulk, and Iron Man before doing so. 
STATUS: Essential
 
CAPTAIN AMERICA: THE FIRST AVENGER 
This movie was the first to really lay the seeds for the events we see in Infinity War. Many key characters and concepts from this movie are paid off in the latest one. 
STATUS: Essential  
 
THOR 
While a fairly major Infinity War character is introduced in this movie, it’s not directly related to the new movie in terms of plot. That said, it’s pretty essential to other essential movies in Infinity War’s backstory. 
STATUS: Skippable (but essential to other Essential viewing) 
 
IRON MAN 2
Very little from this movie is relevant to Infinity War, but much of it is relevant to movies that are relevant to Infinity War
Corollary: You’ll probably want to see Iron Man before seeing Iron Man 2
STATUS: Skippable (but essential to other Essential viewing) 
 
THE INCREDIBLE HULK
Do you know who the Hulk is? Great.
Corollary: The Incredible Hulk is kind of a sequel to the non-MCU movie Hulk.
STATUS: Skippable (but essential to other Essential viewing) 
 
IRON MAN
The foundation for all that follows. Not directly related to Infinity War at all, but everything else is ultimately is built atop this movie. 
STATUS: Skippable (but essential to other Essential viewing)

Friday, May 26, 2017

"Star Trek" Review: "The Tholian Web" (November 15, 1968)

"The Tholian Web"
Writer: Judy Burns & Chet Richards
Director: Herb Wallerstein
Producer: Fred Freiberger


When it comes to lists of "actually good" episodes of third season Trek, "The Tholian Web" usually comes near the top of the list, usually under "The Enterprise Incident". And it does have a ton of stuff that makes it fodder for Trekkies: new alien races, new technology, alternate dimensions, a strong Kirk/Spock/McCoy focus, and even a good showcase for the "junior officers" due to Shatner's reduced screentime.

But "The Tholian Web" is also fascinating for the way in which it examplifies an odd trend of the entire third season, which is namely the change in genre focus of the entire series. Season three is significantly more pulpy than the show was previously. There's more of the kind of sensationalist content you'd expect from the lead cover stories of old sci-fi magazines, all with a kind of bizarre horror tinge. Previously, the Enterprise explored a galaxy full of challenges and moral questions, yes, but a galaxy that makes sense. But in season three, the bizarre and unknowable rears its head for stories that are more dedicated to be unnerving and strange than to posing intellectual or philisophical dilemmas.

In this case, "The Tholian Web" is above all a ghost story. While it's heart may be the dilemmas Spock faces while in command, and learning to turn to and appreciate the advice of McCoy, the "weird" that drives the story is that Captain Kirk (and the entire abandoned starship he was on at the time) has disappeared and is presumed dead, but then begins appearing in a spectral form around the ship to several crewmen, including Uhura initially.

The complications to recovering the captain prove equally memorable, with the introduction of one of the series most unique and memorable aliens, the titular Tholians. That it took almost forty years for another one to show up in a Trek production made them ever more mysterious and noted in the minds of fandom. And ultimately the episode's true heart, the scene where Spock and McCoy view Kirk's recorded "last orders", cuts right to the kind of character interaction that ultimately made the series so beloved and remembered over the years. 


If the episode has an issue, it's the one that many of the episodes this season share. Namely that it doesn't have enough content to really fill it's hour, and ends up feeling slow and repetitive through a large portion of its runtime.

Rating: 3.5 out of 4

Next Voyage:

Friday, May 5, 2017

"Star Trek" Review: "The Empath" (December 6, 1968)

"The Empath"
Writer: Joyce Muskat
Director: John Erman
Producer: Fred Freiberger

"The Empath" is a fascinating episode of Star Trek and I've been struggling with how to talk about it. Certainly it's the episode that leans the hardest into the budgetary confinements of season, producing a surreal, stage play atmosphere that might seem familiar to anyone who sat through the third season of the 1960s Batman TV show.

Kirk, Spock and McCoy are trapped by aliens with a mysterious fourth prisoner, a woman Bones dubs "Gem". She can't speak, but she is empathic, to a sci-fi degree where in addition to feeling a person's emotional states she can also touch them and absorb their pain and injuries. She literally can cure people but only by hurting herself.

The aliens who've captured them have placed them underground in a seemingly endless black void with occasional props or furniture or devices scattered about, all designed to "test" their subjects, primarily by causing them pain and then seeing how Gem responds. They particularly want to know how far she'll go in harming herself to save others, and if she can be taught to sacrifice herself for the good of strangers.

In terms of the presence of aliens in silver robes with enlarged skulls testing captive humans for an unknown purpose, this episode definitely feels like a bizarre theatrical stage play reworking of the original pilot, "The Cage", updated from 1964 to 1968. But the focus is different. The pilot was about "can we trick this depressed human into being horny enough to mate a slave class for us?", this episode is about "Is a species of empaths worth saving from annihilation, if we can discover if they can use their powers for good?"

But ultimately the minimalist sets and sparse nature of the plot means the episode becomes focused in on the show's characters, particularly it's lead trio, and showing how Kirk, Spock and McCoy all react to the situation they've been placed in, and how they feel towards Gem and towards their captors. DeForrest Kelley cited this episode as his favourite of the series and maybe it's because its budgetary limitations meant the focus needed to be on the actors, their emotions and their performances, more than the trappings of gadgets, monsters and effects.

The actress playing Gem, Kathryn Hays, was trained first and foremost as a dancer. Her performance is extremely effective. It has perhaps it's broad moments, but given that her character is mute and must carry the episode and serve as its lynchpin without dialogue, her expressions and movements must be understood to be occuring in a mime/dance tradition, furthering the "modern theatre" atmosphere of the episode as a whole.

It's an abnormal episode of Trek, but its a standout entry in the beleagured third season.

Rating: 3.5 out of 4

Next Voyage:

Monday, April 17, 2017

"Star Trek" Gold Key Comics Review, Issue #3 (December 1968)

"Invasion of the City Builders"
Writer: Dick Wood
Artist: Alberto Giolitti


The third issue of Gold Key's irregularly published Star Trek comics came midway through season three -- but the photo collage cover for this issue still uses a pre-series publicity photo of Spock paired with a still from season one's "Charlie X". The issue itself takes another tentative step towards feeling more like Trek and less like a generic pulp space adventure, and also features the debut of a new series artist. Alberto Giolitti, like his predecessor, was an Italian artist with no knowledge of the show working solely off of publicity photos. His style is very similar to Zaccara's, with very good likenesses all around, but he's not quite as good. His rendition of the Enterprise in particular isn't as gorgeous, and famously features fiery exhaust trailing behind the warp nacelles (because it's a rocket ship, right?).


In this issue, the Enterprise is journeying to planet Alpha Z-21, which is believed to be highly advanced technologically but no contact has been made with before. And I don't recall how bad it was in previous issues, but Dick Wood goes overboard on bad sci-fi terminology in this issue. Y'know the kind -- that sort of pulp sensibility of referring to money as "space dollars" and so on. In this case, a crewman tells Kirk that the ship's ETA at the planet is "two lunar hours, one galaxy minute"! What the hell is a lunar hour? Is it a 24th of a lunar day? Because just say "two days" then, man! And what the heck is a galaxy minute? If we're on lunar time (why?), why would you switch measuring scales? That's like saying I'm five feet and 12.7 centimeters tall. Why??

Ther
e's a lot of that kind of dialogue in this comic. Real haphazard half-ass stuff. Anyways whenever they manage to arrive at the planet, the Enterprise does a flyby of the planet, fiery exhaust trails and all, at an extremely low altitude. Like it's buzzing the tops of buildings. Dramatic? Yes. How the ship works on the show? Nope.

Anyways a landing party of Kirk, Spock and two nobodies beams down (still referred to as "teleporting" in this comic), and we learn what this planet's deal is -- the society became super automated with machines doing everything to the point where the machines also built the machines and those machines built the cities. Until finally the machines built more city than there were people for and now there's just a tiny bit of natural planet left and a tiny amount of inhabitants and soon the city building machines will pave over that paradise and put up a parking lot too.

Kirk & Spock meet with a local leader named Krill and pledge to help destroy the machines, teach the people agriculture, help them rebuild the planet, etc. At first Krill is skeptical, he even tries to sabotage them at one point when he feels his authority is being usurped by these newcomers, but when Spock discovers a chemical weakness in the metal the machines are made of, Krill volunteers for the risky mission to destroy them and win back his people.The comic ends with a civilization saved, quite a stark contrast to the apocalyptic ending of the previous two issues.


This is the first issue of Gold Key's Star Trek to try and do one of the series classic "social problem as sci-fi story" tales, in this case a story about over building, destruction of natural resources, and overreliance on machines. It handles it very simplistically, but then this is a comic book for children, and the fact that it tried at all raises it above the level of the previous two issues.

My question continues to be why Trek comics were coming out seemingly just once or twice a year when the show was on, and why the creative team behind the comics was only so passingly aware of what the show was like, even this far in the television run.

Rating
3 out of 4

Next Voyage: "An alien form invades the Enterprise through Spock's mind!" in The Peril of Planet Quick Change.

Wednesday, April 12, 2017

"Star Trek" Review: "Is There in Truth No Beauty?" (October 18, 1968)

"Is There in Truth No Beauty?" 
Writer: Jean Lisette Aroeste
Director: Ralph Senensky
Producer: Fred Freiberger

This episode is always tough for me to judge, because it's got some excellent sci-fi concepts and some really nice character exploration, but the execution stumbles and falls due to writing that doesn't trust the audience to figure things out for themselves.

The premise is there is an alien race called the Medusans, who are extremely civilized, culturally advanced, intellectually gifted, etc and who take to problems of navigation like a fish to water. Unfortunately their race is a non-corporeal shapeless mass of light who's form is so alien to human comprehension the sight of them drives people mad, HP Lovecraft style.

The Medusan ambassador is brought aboard the Enterprise accompanied by a telepath, Dr Miranda Jones -- played by Diana Muldaur in a rare example of a returning guest star in a different role. It kinda irks me that the series just decides to say "Oh yeah, human telepaths are a thing" out of the blue, but I guess the second pilot established ESP was legit, so that's fine I suppose. It at least established that she had to study with the Vulcans to learn to control her abilities. Anyway, she's supposed to communicate the ambassador's wishes to the humans around -- turns out she can interact with him fine because she's blind, which is played like a big reveal way down the episode's runtime (she can "see" with the aid of a sensor net she wears as part of her ensembles).

Most of the episode is given over to a few things - one is that all the men on the ship keep remarking on how beautiful Miranda is and trying to make it with her (except Spock of course). The other is that Spock can potentially meld with the ambassador due to his mental abilities but Miranda is fiercely jealous. Basically, y'know, the super "ugly" ambassador is a real chill dude, but the super "beautiful" telepath is all jealous and bitter and full of hate. Do you get the theme? Get it?


Things get out of hand, and the climax of the episode is the Medusan ambassador entering Spock's body so as to interact with the crew to save the ship when it's lost in space due to a spell of madness having fallen on a character who saw the ambassador's true form.

The character study of Miranda Jones is very well rendered, an excellent portrayal of jealousy and bitterness and self-loathing. But the continual use of the words "beauty" and "ugly" to describe the various characters not only as rendering the episode's theme extremely obvious (why isn't this episode called "Eye of the Beholder"?), but also makes the Enterprise characters seem very crude. The Medusans are ugly? They're incomprehensible to the human psyche and madness inducing, but I don't know if that really qualifies as "ugly". Generally you need some kind of standard of beauty to compare to, don't you? The fact that the crew also find it, like, hard to believe that Miranda is kind of an awful person just because they're so attracted to her? I get that the message is all about like, surface level appearance versus inner character, but making the lead characters super shallow is a kind of shitty way to go about that. Seeing them all trip over themselves trying to get with Miranda isn't much fun.

The episode's pacing is occasionally sluggish, but it's balanced by the fact that this is a very creative episode in terms of its cinematic style. The relatively lightweight script is ably reinforced by inventive visual techniques, including the light patterns created for the Medusans, the fish-eye lens POV shots to indicate the induced madness, and various other novel experimentations from the usual Star Trek shooting style. 


Ultimately, though, this can't save the episode, which often has a meandering feeling, creating different character dilemmas to pad out its running time, because its central idea doesn't have enough depth in it to sustain the entire hour. A bit ironic in an episode about being shallow.

Rating: 2 out of 4

Next Voyage: