The film Serenity brought a fair amount of closure to fans of Firefly, but as with any great story it didn’t end there. Each character goes through events in the film that transforms them in some way, and the story is never over. The classic hero’s journey ends not with the climactic battle, but with the return. The hero comes back to where he (or she) began and, through the events, has been transformed. Indeed, often their home itself has been transformed in some way, even if only in the way they view it.
The 6-issue limited comic book limited series, now collected together in Serenity: Leaves on the Wind (Amazon) completes the “Return” aspect of the hero’s journey for our crew … and since it’s a story in its own right, it also contains a full journey within it, with a new call to action, a new conflict, a new shift under the feet of the heroes. New allies and enemies are introduced, and the crew continues to change.
The series begins in the aftermath of Serenity, where the revelations about the origins of the Reavers spark heated debate across the ‘Verse. While pundits debate the veracity of the allegations, both the Alliance and a growing New Resistance movement are looking for the man who started it all: Malcolm Reynolds.
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The FX Network is making bank giving us the creeps.
Earlier this week, IMDB reported the network responsible for the nightmare-inducing American Horror Story is developing a TV series based on Alan Moore and Eddie Campbell’s critically acclaimed graphic novel From Hell.
From Hell was published in comic form from 1989 to 1996. It totals 572 pages and I own every one, having purchased the entire series in mint condition at a flea market.
Do not underestimate the opportunities at a flea market.
The comic book series depicts a fictional account of the gory Jack the Ripper killings in Whitechapel, London as part of a conspiracy by the Freemasons and the royal family. The series also used some historical facts and actual people involved with the case to create a narrative for the story.
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It’s been a while since I posted anything here at Black Gate. There’s no one reason; a number of things have kept me busy or occupied, most recently a persistent head cold and ear infection. I mention this because being under the weather has indirectly to do with the following post. Firstly, being sick led me to watch some TV shows which I now want to write a bit about. Secondly, my mental state shaped the way I thought about what I experienced; I can only hope now to capture the sense of coherence I had then. This essay will be more shapeless than usual, I’m afraid, an attempt to explain the connections that drifted through my mind between Alan Moore, Doc Savage, and Scooby Doo, among others.
When you’re feeling sick — or at least when I’m feeling sick — it’s sometimes restful to read or watch something familiar. As it was coming up to Halloween when I caught a bad cold, I decided to watch something spooky but unchallenging. And it turned out that Canadian Netflix had both the very first Scooby-Doo TV series, 1969’s Scooby-Doo, Where Are You! (created by Joe Ruby and Ken Spears), and the most recent, 2010’s Scooby-Doo: Mystery Incorporated (created and produced by Spike Brandt, Tony Cervone, and Mitch Watson).
I’d read some very good things about the latter show, some here on this blog from Nick Ozment, so I decided I’d rewatch the series I knew from my youth and then see the modern reboot. Because curiosity takes many odd forms, I also ended up drifting around Wikipedia and the Internet Movie Database, reading up on the creation of both shows. Which touched off a few reflections on the shape of stories, generational differences, and popular culture.
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Next week will mark the release of the hardcover collection of the Serenity: Leaves on the Wind (Amazon) limited series, which marks the first official story set in the post-film Serenity ‘Verse.
However, this is actually the fourth collection of Serenity comics. I previously reviewed the Serenity: Those Left Behind comic story, which was published before the release of the film Serenity. Two additional stories have been released as comics to tell further adventures of the Serenity crew since the film came out, but these were telling stories that took place before the film.
Serenity: Better Days (Amazon)
The second limited series to get collected together, Better Days tells the story of a mission that goes surprisingly right for the Serenity crew. It sets them on a path where they all might be able to live their wildest dreams. More importantly, though, the series is set before the events of Serenity – so the series includes characters who don’t make it out of the film alive. We get yet another glimpse of some of our favorite characters all together.
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The cornerstone of the fans’ love affair with Firefly is the 13 television episodes, culminating in the film Serenity. But if you’re a fan of the show, you’ve probably watched all of the episodes numerous times – maybe even with the audio commentary from Whedon, the stars, and other show creators. For real fans, though, this may not be quite enough. Is there any way to dive into the individual episodes more deeply?
Titan Books helped out the fans by publishing a series of stunning, glossy fan-gasmic volumes that include not only images of the props and various production stills, but also full scripts of the episodes of the series. Across these three books – ultimately collected into a single volume – there’s a glimpse into nearly every aspect of the production process on the series, why it was ultimately cancelled, what the various actors felt about their characters, and even some new stories.
And so very many shiny, shiny pictures.
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In September of 2012, Elementary debuted on CBS television in America. It was a modern day Sherlock Holmes series, set in New York City. It followed closely on the heels of the BBC’s Sherlock, which had aired three episode seasons in 2010 and again in 2012.
The BBC series was a clever updating of Arthur Conan Doyle’s original stories (at least, it was until the third season) and was full of Easter eggs to please old school Holmes fans (like me), while appealing to a new generation (including females who swoon at the sight of Benedict Cumberbatch: ‘Cumberbunnies’).
Elementary sprinkles in bits from Sir Arthur Conan Doyle’s works, but it’s really a police procedural with a Holmes overlay. I think it’s inaccurate to say it’s based on Doyle’s stories.
Holmes is a recovering drug addict who sleeps with women. Watson is, well, a woman who starts as Holmes’s life coach. Mycroft is nothing like the original and his relationship with Sherlock has even less to do with the stories.
Irene Adler and Moriarty were completely transformed. Gregson (who was the best of a bad lot) is actually a competent policeman, which is a nice change. On the other hand, there are bits for Sherlockians, such as Holmes keeping bees on the roof and being an expert single stick fighter.
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A couple weeks ago, I finally read Mr. Towers of London, the posthumously published memoirs of Harry Alan Towers, the unflappable veteran British radio/TV/film writer-producer with well over a hundred works to his credit. It wasn’t Towers’s first stab at writing his memoirs, but this final work was notable as his most personal.
Anyone who actually knows major figures in the entertainment industry is likely aware of some of the salacious stories of debauchery, sometimes even criminal activity, that are never far from the surface. Towers’s memoirs are unique for being perhaps the most honest ever committed to print. If he pulls any punches or whitewashes any parts of his adventures, he can surely be forgiven for what he does dish out about himself and others.
That said, the most disappointing part of the book for me is that he tells the reader very little about his experiences as a writer. I would have loved to have understood more about the more private side of his profession as the book places all of the emphasis on his role as a producer. Today, he is unfairly remembered as the producer of genre films and exploitation fare. While that accounted for much of his output after 1960, he was also a respected writer-producer of family drama who frequently cast some of the biggest stars in Hollywood in his radio, TV, and film productions.
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Fan passion for more Firefly stories led to the rare (unprecedented?) move of turning a failed television series into a feature length film, in the form of 2005 film Serenity (Amazon). As an attempt to bridge the narrative gap between the end of the series and the start of the film, Joss Whedon collaborated with Dark Horse comics to produce the three-issue comic limited series Serenity: Those Left Behind (Amazon). This review is based on the original hardcover collection of the series, published in 2007. (They’ve since published a 2nd edition.)
Here are the major jumps between the end of Firefly and the beginning of Serenity, which the comic series seeks to explain:
- Inara is no longer on the Serenity
- Shepherd Book is no longer on the Serenity
- Instead of the mysterious blue-handed agents in the series, the film introduces the operative as the key person hunting down River Tam
Serenity: Those Left Behind covers all three of these elements, and also brings back a villain from the television series who would have been recurring had it continued. I won’t ruin it by saying which one. As a hint, though, it’s someone who feels that they were wronged in their last interaction with Malcolm Reynolds, so that should narrow it down. This individual joins forces with the blue-handed operatives to move against the folks on Serenity. In addition to the mysterious recurring villain, there’s also a nice cameo by Mal’s contact Badger, who assigns them a job that doesn’t go exactly as intended. (Or at least not as intended by Mal and the crew.)
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If you’ve been watching HBO’s Game of Thrones, then you’ve already been treated to some spectacular sights.
It seems George R.R. Martin is not content to let HBO be the final word on the visual splendor of Westeros, however. His new book The World of Ice & Fire: The Untold History of Westeros and the Game of Thrones, released this week, gives Game of Thrones fans the chance to see visions of Martin’s world that are much closer to what he intended.
In an interview at The Huffington Post, Martin explains why there are so many pictures of castles:
I wanted accurate versions of these castles. We’ve had a number of different artists draw them on covers and on the fantasy like cards and games, and some of them have been beautiful images but not necessarily accurate to what I described.
The World of Ice & Fire, co-authored with Elio M. García, Jr. and Linda Antonsson, who run the site Westeros.org, isn’t just an art book, however. It’s a comprehensive history of the Seven Kingdoms — all the battles, betrayals, and back-room deals that lead to the events of Martin’s novels. It includes full family trees for Houses Stark, Lannister, and Targaryen; detailed histories of the cultures of Westeros; and more than 170 pieces of original art and maps, many in full-color.
See five high-resolution images from the book at The Huffington Post article here. The World of Ice & Fire was published on October 28 by Bantam Books. It is 336 pages, priced at $50 in hardcover and $19.99 for the digital edition.
“Before there was Amityville, there was Harrisville.”
Whatever you think of the Warrens as real people, they do make mighty fine fictional characters.
Ed and Lorraine Warren — dark-forces-battling demonologists associated with such notoriously famous cases as the Amityville Horror — provide us with supernatural sleuths who fit comfortably in the tradition of such occult detectives as Doctor Abraham Van Helsing, Carnacki the Ghost Finder, and John Thunstone. That the Warrens are real people and the cases they have investigated are allegedly true does add another compelling dimension to the whole enterprise.
But I’m not here to debate whether the Warrens’ adventures were bona fide excursions into paranormal realms or just elaborately staged (and profitable) hoaxes. I’m here to review The Conjuring — the 2013 horror film purportedly based on the Warrens’ 1971 investigation into the Perron family’s troubled Rhode Island farmhouse. I am meeting it on its own terms, not as a docudrama, but as a fright flick.
Still, I’ll make a few observations about the “based on a true story” conceit, which is wrung for full effect in opening and closing montages. Judging from interviews, the scriptwriters — twin brothers Chad and Carey W. Hayes — certainly give the impression that they buy in to the Warrens’ whole shtick, or are at least pretty open-minded to it. However, that clearly did not constrain them only to crafting a straight-ahead historical re-enactment. To the contrary, their prime focus is to use the original case as a springboard for launching wall-to-wall scares at an audience hungry for terror of the supernatural kind. They start out eerie, sprinkling in events that may well be straight out of the case file, and then liberally follow those up with any tried-and-true horror effect that will “get” the audience. It is a film full of “gotchas.”
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