Lee Cushing's Blog - Posts Tagged "sci-fi"
War Of The Worlds 1988 tv series
In the late 80s, CBS brought a new version of HG Wells’ classic alien invasion tale to the small screen. Set over three decades after the 1953 film version, this take on War of the Worlds starts with the revelation that the aliens weren’t killed by the microscopic bacteria, but merely placed into a forced hibernation. In a pleasing nod to Return of the Living Dead, the aliens are held in tiny drums until a terrorist cell attempts to take over a military satellite to broadcast their demands and inadvertently end up releasing some of the extra-terrestrials.
The aliens have a adopted new tactic: rather than straightforward annihilation of the human race, they are now able to take over human bodies – à la Invasion of the Body Snatchers – but find that they decompose quickly from radiation. When an attempt to liberate three remaining ships held in storage fails, three aliens (called the Advocacy) are left to contact their own world and begin a fresh invasion. A small band of scientists and military personnel, led by Dr Harrison Blackwood (Martin), whose parents were killed in the 1953 invasion, are the first line of resistance and defence.
Considering that this was a television series, there’s an impressive level of gore, with eye-gouging, melting bodies and enough violence to put The A-Team to shame. That these levels were achieved in spite of a meagre budget and the special effects abilities of the time makes it even more impressive. The acting is, mostly, purely diabolical and at times hilariously bad but this is perfect 80s cheese and the whole package becomes endearing. There are numerous winks to genre fans, with the production pilfering from other successful franchises – an alien trapped in a human body called Quinn whose character sounds decidedly like Willie from V and the Advocacy looking a lot like the zombies in Night of the Comet and Night of the Creeps, just being a couple of examples.
The only major downside to the package is that the episodes are only available in their original 1.33:1 aspect ratio, rather than the widescreen productions that we are used to today – but then be thankful that they weren’t panned and scanned. Extras are pretty much non-existent, with only episode synopses available. This is not an opportunity to relive classic horror genre television, but more a chance to embrace a time of excess where syndicated programmes like this were rare and given little time to grow. If you missed it when it was first broadcast, or even if you did manage to view any of the episodes, there’s enough of interest here to whet your appetites. Just don’t go expecting anything on the same level as The Walking Dead. Sit back, grab a six-pack and enjoy.
The aliens have a adopted new tactic: rather than straightforward annihilation of the human race, they are now able to take over human bodies – à la Invasion of the Body Snatchers – but find that they decompose quickly from radiation. When an attempt to liberate three remaining ships held in storage fails, three aliens (called the Advocacy) are left to contact their own world and begin a fresh invasion. A small band of scientists and military personnel, led by Dr Harrison Blackwood (Martin), whose parents were killed in the 1953 invasion, are the first line of resistance and defence.
Considering that this was a television series, there’s an impressive level of gore, with eye-gouging, melting bodies and enough violence to put The A-Team to shame. That these levels were achieved in spite of a meagre budget and the special effects abilities of the time makes it even more impressive. The acting is, mostly, purely diabolical and at times hilariously bad but this is perfect 80s cheese and the whole package becomes endearing. There are numerous winks to genre fans, with the production pilfering from other successful franchises – an alien trapped in a human body called Quinn whose character sounds decidedly like Willie from V and the Advocacy looking a lot like the zombies in Night of the Comet and Night of the Creeps, just being a couple of examples.
The only major downside to the package is that the episodes are only available in their original 1.33:1 aspect ratio, rather than the widescreen productions that we are used to today – but then be thankful that they weren’t panned and scanned. Extras are pretty much non-existent, with only episode synopses available. This is not an opportunity to relive classic horror genre television, but more a chance to embrace a time of excess where syndicated programmes like this were rare and given little time to grow. If you missed it when it was first broadcast, or even if you did manage to view any of the episodes, there’s enough of interest here to whet your appetites. Just don’t go expecting anything on the same level as The Walking Dead. Sit back, grab a six-pack and enjoy.
Doctor Who - The Ark In Space Review
It has been quite some time since I read it, but my recollection is that Noah's transformation was depicted in a much more vivid manner.
I'm fond of these new editions, particularly this one since it's authored by Ian Marter, (Harry Sullivan). It includes a new foreword by Steven Moffat, the departing producer of Doctor Who. They are excellently crafted. Although I miss the original cover design, I believe certain elements have been enhanced.
I'm fond of these new editions, particularly this one since it's authored by Ian Marter, (Harry Sullivan). It includes a new foreword by Steven Moffat, the departing producer of Doctor Who. They are excellently crafted. Although I miss the original cover design, I believe certain elements have been enhanced.
Goth Opera Review
Goth Opera a fascinating work. Published years ago it was the first of the "Missing Adventures," introducing the now-standard technique of inserting new stories into previous era. Nowadays, this is Big Finish's, and indeed, this book is connected to Finish's current projects in several ways.
For a start, it explores Gallifrey in an intriguing. The Seventh Doctor " Harvest (a prequel to this in timey-wimey) was the book brought Romana back Gallifrey; this is the one that really has her interacting with it satisfyingly The Romana Presidency extends from this, and there references to Deca and a Gallifreyan that Rassilon infected with the Vampire from "State of Decay." Furthermore, is an early echo of Time War here. The renegade Time Lord who drives the plot believes that Gallifrey, as we know it in the distant past the present, the Time Lords no longer exist. She believes that Time Lords are an evolutionary dead end and must become vampires survive. When she confronts the Doctor, the Time flips through hisations including his "final" one in the future.
, the main drive of such a story cannot merely rely on continuity. It must have an emotional core, and this one has a strong one, taking the character interactions of the Davison era and enhancing them, providing the characters with complexity, and them to interact dynamically Tegan is more sympathetic, Nyssa is more active, and Five is both. The secondary characters each with their own and short stories.
This story does have its flaws, including a couple of scenes that resemble a poorblazer ripoff and a character with a Deep Dark Secret that manages to be a predictable cliché.
For a start, it explores Gallifrey in an intriguing. The Seventh Doctor " Harvest (a prequel to this in timey-wimey) was the book brought Romana back Gallifrey; this is the one that really has her interacting with it satisfyingly The Romana Presidency extends from this, and there references to Deca and a Gallifreyan that Rassilon infected with the Vampire from "State of Decay." Furthermore, is an early echo of Time War here. The renegade Time Lord who drives the plot believes that Gallifrey, as we know it in the distant past the present, the Time Lords no longer exist. She believes that Time Lords are an evolutionary dead end and must become vampires survive. When she confronts the Doctor, the Time flips through hisations including his "final" one in the future.
, the main drive of such a story cannot merely rely on continuity. It must have an emotional core, and this one has a strong one, taking the character interactions of the Davison era and enhancing them, providing the characters with complexity, and them to interact dynamically Tegan is more sympathetic, Nyssa is more active, and Five is both. The secondary characters each with their own and short stories.
This story does have its flaws, including a couple of scenes that resemble a poorblazer ripoff and a character with a Deep Dark Secret that manages to be a predictable cliché.
