The Dark Crystal scene-by-scene, part 3

I freakin’ love The Dark Crystal! Let’s watch it! Time for our first real dialogue exchange between characters, 6:26-9:43 on the Blu-ray.

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Dark clouds are shown in the sky, and wind rustles tall grass. This shows a storm is coming, literally and metaphorically. In the foreground of the next shot, we see a nest full of goofy-looking birds as Jen (now fully clothed, thankfully) runs by in the background. That’s right, Jen runs. This is the first of many shots in the movie where Jen is portrayed not with a puppet, but with a stuntman. On the Blu-ray’s commentary, Brian Froud says this is not cheating, and that the goal was never to make an all-puppet movie, but an immersive experience. As such, the filmmakers did everything they could to immerse viewers in this world, and that included several shots of this stuntman as Jen.

We get our first close-up of Jen as he rounds a corner, wind blowing in his face as he pulls his shirt and vest tightly to him. He runs past a stone with round symbols carved all over it, which the camera holds on for a few seconds. These circular patterns and symbols are everywhere in the valley of the Mystics. Speaking of, Jen then runs up a ramp along the side of the valley wall, passing several of the Mystics. On the valley floor, we can see a Stonehenge-like circle of stones. Brian Froud’s book The World of the Dark Crystal states that these are the “Standing Stones,” which generate energy to protect the valley from outsiders. The walls all around the valley floor appear to be stones precariously balanced on top of one another. This image is later referenced in the manga Legends of the Dark Crystal, in which a Mystic builds a small tower of stones in this same style, to make a point about everything being in balance.

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It’s very windy as Jen runs past, and this helps further establish the reality of this alien world. Jen and the Mystics’ hair and clothes blow in the wind, along with curtains and wind chimes in the background. This helps “place” them in the scene. The wind is really hitting them, so it feels real to the audience.

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Jen enters his master’s home. The canon tells us the Master’s name is urSu, but the movie just calls him “the Master,” so I’ll call him that here (try not to confuse him with Lee Van Cleef).  There are gourds and what looks like a bunch of handmade necklaces hanging all over the place, and the walls are carved with more circular symbols. Jen has some of the circular symbols on his vest as well. The Master’s blanket prominently features a circle-in-a-triangle-in-a-circle symbol, which is foreshadowing the Great Conjunction to come.

Jen asks the Master what’s wrong, but the Master is not one for small talk, launching right into a speech about this big prophecy and how the three suns will meet. “You are in danger, Gelfling,” he says. This guy is closest thing Jen’s ever had to a parent, yet he addresses Jen as “Gelfling?” Maybe he means it as an honorific, like a father saying to his kid, “Son, get in the car.” Of course, we’re still in the first few minutes of the movie, so the filmmakers have to reinforce to first-time viewers that Jen is, in fact, a Gelfling.

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The Master says “I must leave you,” and with his weary demeanor and heavy breathing, we in the audience can tell he’s about to die, but Jen doesn’t get it. There’s a subtle-but-nifty piece of puppeteering here where Jen kneels before his Master. It’s so simple and natural-looking, we don’t even question it. Then there’s some “As you know, Bob,” dialogue where Jen and the Master remind each other about the Skeksis, and how the Skeksis killed Jen’s parents. The Master says the story “runs deeper than you know,” and the Skeksis will vow to destroy Jen.

Look closely: There’s a huge bowl full of rolls in the background, so they’ve learned to bake bread in this world. The canon tells us that one of the Mystics is UrAmaj the Cook, so I’ll assume the rolls are his handiwork.

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The Master waves his hand over a bowl of green liquid at his side. (No idea what this goop is. The screenplay just calls it “liquid.”) He says Jen must find the crystal shard, and an image of the shard appears, rising out of the liquid. Cool effect, and it’s a way of letting the audience know that this is shard something really important. Exactly how does the image of the shard appear? Remember, magic is a real thing in this world, and somehow the Mystics command it. There’s only fleeting references to this magic and how it’s supposed to work, but here we see it in action. The Master repeats “You must find the shard” a second time, further reinforcing its importance. The Master says Jen must do this before the three suns meet, or else the Skeksis will “rule forever.” Jen asks where the shard is, and the Master says Aughra has the shard (that was easy!) and that Jen must follow the Greater Sun for a day to get to her home. One day’s travel doesn’t seem like much, but I have a lot of ideas about the passage of time in this movie. We’ll get to that later. An image of Aughra’s home appears in the liquid, looking like a big lump.

You can tell this is the tried and true hero’s journey thing, with this scene being the big call to action. Some have called this scene out as a plot hole, asking why Jen is learning all this just now, and why wasn’t he taught this for years? The Master answers these criticisms in his next line, “I should’ve told you these things long ago.” Remember what the narrator told us in the previous scenes, that the Mystics are numb and forgetful. We like to think of the Mystics as being genuinely good in comparison to how nasty the Skeksis are, but the Mystics are in fact deeply flawed, so wrapped up in their humble daily routines that they rarely take any action. Knowing that change is upon them seems to take a lot of out of them, as we’re about to see.

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The Master says, “Remember me, Jen.” See, now he says “Jen,” instead of the more formal “Gelfling,” as we’ve gone from talk of prophecies and quests to a more personal goodbye. His final words are, “We may meet in another life, but not again in this one.” This is one of a few references we have in the movie of characters who believe in an afterlife. Whether communicating with the dead is part of the reality of this world, however, remains to be seen. The Master then rests his head on this chair/bed he’s sitting on, and I love that the film’s creators have actually developed furniture adapted to the body types of these strange creatures. It really does look like something they’d rest on. The Master closes his eyes, and Jen meekly states, “Master, don’t leave me.”

At this point, the movie cuts back to the Skeksis’ castle (fun stuff coming up!), but remember this moment between Jen and the Master, because we’ll be coming right back to it.

Next: hmmmMMMMMmmmm….

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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21 Jump Street rewatch: “Honor Bound”

21 Jump Street rewatch! Stereotypes are (mildly) confronted in season two, episode eight, “Honor Bound.”

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What’s goin’ down: A bunch of teens are running around at night beating up homosexual men, sending them to the hospital. Evidence shows that the culprits are from “over the wall” at a prestigious military academy.

Officers and no gentlemen.

Officers and no gentlemen.

Here’s Hanson: Johnny Depp shows some of the mimicry he was once famous for as he adopts a Southern drawl as Hanson buddies up with the school’s bad boys.

Penhall’s prerogatives: Penhall doesn’t fit in at all in military school, as following orders were never his strong suit. He eventually gets booted out for breaking and entering, even if it was for the case.

Hair today...

Hair today…

Undercover blues: There’s a running gag about all the lengths Penhall goes through to prevent his precious hair from getting cut while in military school.

Goin’ to the chapel: While the others are at the academy, Ioki has to go undercover as “bait,” disguised as a gay man. He’s told there’s no special way he has to dress, and that he can wear anything he wants. So he wears this:

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Torn from today’s headlines: The show’s depictions of ‘80s-era gay culture are fleeting, choosing instead to have fun with our heroes goofing around in the military setting.

Trivia time: Look for an appearance by super-young David Cubitt, who would later go on to have all kinds of “cop show” adventures as Detective Scanlon on Medium.

Jumpin’ or not? The episode introduces serious subject matter, and then sweeps it under the rug in favor of comedy hijinks. There are a lot of laughs, but it could have been much more. Not jumpin’.

Next week: Fame or shame!

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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The Dark Crystal scene-by-scene, part 2

I freakin’ love The Dark Crystal! Let’s watch it! Today, we meet the Mystics and our hero Jen as the movie’s opening exposition-a-rama continues on. Today we’re watching 4:09-6:25 on the Blu-ray.

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After leaving the Skeksis’ castle, we get a shot of all three suns in the sky. Thanks to the canon, we know that the big white sun is the Great Sun, the medium-sized red sun is the Rose Sun, and the teeny purple one is the Dying Sun.

Before going further, I guess I should explain what I mean by “canon.” The entire continuity of The Dark Crystal is contained in the following sources:

1: The movie (duh)

2: The book The World of the Dark Crystal by Brian Froud

3: The graphic novel The Dark Crystal: Creation Myths volumes one and two

4: The manga Legend of the Dark Crystal volumes one and two

5: The reference material on the website DarkCrystal.com, which is more or less an abridged version of Froud’s book.

Sources not considered canon are the official novelization (even though that’s where we got the name “Thra”), the Marvel Comics adaptation, and the various kids’ books and making-of books that Universal’s marketing dept. churned out back in the day.

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Back to the movie. The narrator repeats information we heard in the first scene, that a thousand years ago, the Crystal cracked. That’s when the Mystics retreated to their valley to “dream of peace.” The next shot is a painting, over sand, of a spiral pattern. In Froud’s World of the Dark Crystal, there’s a close-up detail of this pattern, where it’s explained that this is the history of Thra, with the beginning of time depicted in the center and events spiraling outward from it, with the most recent events at the outer edges of the spiral. There’s a lot of symbology in the book I won’t go into here, but this one I thought was particularly interesting.

The narrator says, “Their ways were the gentle ways of natural wizards.” OK, how are we to interpret that? The Mystics are also wizards? Or the Mystics are not wizards, but they lived like wizards? Also, wizards are a thing on this world? Then the narrator tells us the Mystics are a dying race, that there are only ten left, and they are lost in their ways, numb and forgetful. The narrator further says their rituals give no comfort and the wisest of the Mystics lies dying. This dialogue intentionally mirrors the narrator’s description of the Skeksis in the previous scene, reinforcing to viewers that these creatures are connected to each other.

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The Mystics then “summon the one who must save them,” we’re told. They do this by… how do I describe this? They sing a single note, an “Uhhhh…” in a deep bass. This is their magic (yes, magic is a thing in this world) and we’ll later see it used in other ways. The movie’s screenplay calls this “chanting,” so I guess I’ll call it that too. Like the Skeksis with the light shooting into their eyes, we’re not really meant to understand how or why this deep chant of theirs works, just that it does. As they do this, we get glimpses of each Mystic wandering about the valley. The Mystics don’t get as much screen time as the Skeksis, so sorting out which Mystic is which is nigh improbable. It’d take a lot more freeze-framing and internet searching than I’m already doing – and I’m doing a lot!

Cut to a waterfall, and the sound of a flute. The camera pans down, and the narrator introduces us to Jen, a Gelfling who lives in the valley of the Mystics. This is our hero, and… he’s NUDE! Calm down, everyone. He’s bathing at the base of the waterfall, relaxing and playing his flute. It’s all very “one with nature.” Why nude? Well, for one thing, it’s to convince us that these are living, breathing creatures. Throughout the rest of the movie, the audience knows that there’s a person’s body under those clothes, so of course it’s not a puppet. Also, it again reinforces that this is an alien world, different from our own. Remember that we’re only five and half minutes into the movie at this point, so everything is an establishing shot during this sequence.

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Anecdote: The first time I saw The Dark Crystal when I was a kid, I actually didn’t know it was a puppets-only movie. I just assumed it’d be just another Star Wars ripoff. When I saw nude Jen, I remember thinking, “That’s not human!” (End anecdote.)

The narrator says the Skeksis killed Jen’s family and destroyed his clan (DarkCrystal.com has tons of info on the various Gelfling clans) and that only Jen survived. There’s a little clever wordplay going on here. Equivocation, even. We’re meant to think that Jen is the last Gelfling, but, because we’re going to meet Kira later, we now know that the phrase “only Jen survived” really refers to him being the last of his clan, and not all of Gelfling-kind. Well played, Dark Crystal.

Jen plays his flute (not a euphemism) as the narrator unleashes a huge info-dump on us. Jen was raised by the wisest and oldest of the Mystics. There is a prophecy. A thousand years have passed, and the world must now undergo a “time of testing.” The world must be healed. If it is not healed, it will fall forever into evil. Jen is (ugh) the “chosen one.” Chosen ones have quickly become my least favorite fantasy cliché. How is Jen “chosen,” exactly? Who chose him? It’s never specified. We get more info on this prophecy in a later scene, but it certainly doesn’t mention Jen by name.

Look closely: In the background, there’s a big wheel in the waterfall, presumably part of some machine built by/for the Mystics. This is probably where they get all their water from. I thought I’d be all clever by pointing out that wheels were never invented on this world (there are no wheeled carts or wagons anywhere) but no – here is existence of a constructed wheel.

A little rat-looking thing with antennae watches Jen from the bushes. This mammal-insect hybrid shows that nature in this world doesn’t play by the rules we’re used to. More on this in future posts. Then, dark clouds appear in the sky. That’s where we’ll leave things for now.

Next: Meet the Mystic Master.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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The Dark Crystal scene-by-scene, part 1

I freakin’ love The Dark Crystal! Let’s watch it! The first post in this series will examine the first scene and the opening credits, 0:00-4:08 on the Blu-ray.

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There’s a lot to go over in this first scene, so I’ll try to be succinct as I can. The score, by Trevor Jones, begins over the Universal logo. Then, we get the first shot of the movie, the Skeksis’ castle. The castle is in the distance, surrounded by a rocky, dry terrain, and dark blue storm clouds. Lightning-like electrical flashes come from the cracks in the ground surrounding the castle. (What are those flashes, anyway? Something weather-related, or part of the castle’s energy, or some kind of subterranean machinery?)

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The narrator begins his voiceover, saying, “Another world… another time… in the Age of Wonder.” Thanks to the canonical Dark Crystal tie-in fiction, we know that the world is the planet Thra. As for the time, this line is the only reference I can find to the “Age of Wonder.” The canon more accurately describes this as “the Age of Division,” the third thousand-year cycle this world has undergone. I hereby speculate that the “Age of Wonder” refers to all 3,000 years combined.

We hold on the shot of the castle as the narrator tells that a thousand years ago, the Crystal cracked, and a piece of the Crystal, the shard, was lost. Interesting that the movie skips over telling you that there is an all-important Crystal, and instead goes right into its history. I guess the filmmakers realized you already know the movie is called The Dark Crystal, so you can already guess there’s a Crystal of some importance.

Look closely: You can see a couple of mouse-like critters scurrying in the foreground as the narrator speaks.

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The narrator continues, saying that when the Crystal cracked, two new races were formed, the cruel Skeksis and the gentle Mystics. (The canon prefers the term “urRu,” but the film for the most part sticks to calling them “Mystics.”)

We move inside the castle, where the narrator tells us, “the Skeksis took control.” The canon has occasional fleeting mentions of the Skeksis of hundreds of years earlier inviting the creatures of Thra into the castle for grand balls and such, but we don’t see anything like that in the movie. Instead, the castle is dark and gloomy on the inside rather than truly grand. This establishes the Skeksis as the villains of the piece, but also demonstrates how the world has fallen into strife.

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The next shot reveals the Skeksis standing around a giant purple gem that could only be the Dark Crystal. Despite its name, the Dark Crystal the brightest thing on screen, standing out so we really notice it. The narrator calls this the “sacred chamber.” We can see symbols painted on the tiles around the crystal as it floats in the center.

Look closely: One of the Skeksis’ henchmen, a Garthim, can be spotted hanging out in the background.

More exposition, as the narrator tells us that both the Skeksis bodies and wills are hard and twisted. They’ve ruled for a thousand years, and there only ten of them left alive. (The canon is sketchy on this, but it’s generally believed that they started with eighteen.) The narrator describes them as a “dying race,” and says they gather at the Crystal as the first sun climbs to its peak. That’s right, first sun. This planet has three suns, and we’ll soon learn why that’s important. The narrator’s words are ambiguous here, saying that the Skeksis are using the power of the sun to cheat death, here in this ravaged land.

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We get our first close-up of one of the Skeksis. It’s the “Schwarzenegger shot,” with the camera at a low angle looking up at him, so he can appear all giant and imposing. Playing the which-Skeksis-is-which game can be maddening, but I believe this first one we see up close is SkekZok the Ritual Master, with his Ed Grimly-style upward pointy hair spike. The narrator says the ritual of the sun “provides no comfort,” and that “an emperor lies dying.” (Remember these two phrases, we’re going to come back to them.)

Look closely: A bunch of hooded figures can be seen at the top of the screen, watching. These are the Skeksis’ slaves, who will be revealed proper in a later scene.

There’s a triangle-shaped hole in the ceiling. As the sun moves into position over the hole, a beam of light shoots down and then splits, prism-like, into purple beams shooting out from the Dark Crystal and into the Skeksis’ eyes. They stand motionless as this happens. What’s going on here? Well, the narrator already said they do this to cheat death, so there’s that. Later scenes will give us more detail on the Skeksis’ desire for eternal youth. It’s also the filmmaker’s shorthand to say right up front to the audience that this is a whole other world, with rules and customs and creatures all its own. We don’t have to understand these rules and customs, just understand that they exist.

The opening credits run over this part:

A film by Jim Henson: Co-creator of the Muppets and Fraggle Rock, Henson was a puppeteer, filmmaker, writer, songwriter, artist, and all-around Renaissance dude.

Conceptual designer Brian Froud: An artist and painter, Froud has published several art books featuring his paintings of mythological creatures such as trolls and fairies. He created the “look” of most of the creatures and environments in the film.

Director of photography Oswald Morris: Cinematographer who had worked with Stanley Kubrick and Sidney Lumet, and who lensed classic films such as The Guns of Navarone, Moby Dick, and Goodbye Mr. Chips. The Dark Crystal was the last film he worked on.

Film editor Ralph Kemplen: An editor since 1932, Kemplen has a huge list of credits, editing classics like The African Queen, Oliver! and A Man for All Seasons. Like Morris, The Dark Crystal was the last film he worked on.

Production designer Harry Lange: He brings serious geek cred to the movie, having worked on The Empire Strikes Back, 2001: A Space Odyssey and even Hyper Sapien!

Music by Trevor Jones: He’s scored dozens of films and TV programs from the start of the ‘80s to today, in all kinds of genres, from Excalibur to Arachnophobia to Notting Hill and many more.

Executive producer David Lazer: My pick for coolest-sounding name in the credits, he’s part of the Henson organization, coming to this film from his work on The Muppet Show.

Screenplay by David Odell, story by Jim Henson: Odell was another veteran of The Muppet Show, where he wrote the famous Star Wars episode, among others. He also wrote the screenplays for Supergirl and Masters of the Universe, and went on to work on cult TV shows Monsters and Tales from the Darkside.

Produced by Jim Henson and Gary Kurtz: Kurtz hit it big producing Star Wars and The Empire Strikes Back alongside George Lucas. After Kurtz and Lucas parted ways, Kurtz spent the rest of his career trying to recapture the sci-fi blockbuster success of Star Wars, with mixed results. The Dark Crystal is the better of those efforts, followed by Return to Oz and the disastrous Slipstream, which nearly bankrupted him. IMDB shows Kurtz has two films in the works for 2015 and 2016 releases, so maybe he can still make his big comeback.

Directed by Jim Henson and Frank Oz: Another Muppets co-founder, Frank Oz went on to have a successful career as a director, crafting such films as Little Shop of Horrors, Dirty Rotten Scoundrels and Bowfinger. He also portrayed Yoda in the Star Wars films and he originated the roles of Bert, Grover, and Cookie Monster on Sesame Street.

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Back to the movie. The sun moves past the triangle-shaped window, and the screen goes dark. It then cuts to an outside shot where we can see all three suns in the sky. That takes us to the next scene, which we’ll get to… next time!

Next: We meet our hero, the Mystics, and get a lot more exposition. But no more credits, I promise.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Accusations

Re-reading the Fantastic Four comics from the start. In the last issue, we were introduced to mysterious aliens called the Kree. This week, in issue #65, they’re already back.

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Things begin strangely, with the FF floating in space somehow, being spoken to by a big green floating head. He claims to be the Kree Supreme Intelligence. He says he knows the FF destroyed the Sentry last issue. (He actually destroyed himself last issue. So much for “supreme intelligence.”) The Kree warns the FF that the Accuser is coming for them. Then, everyone wakes up. We get a lot of “roommates comedy” shtick as everyone wakes up from what they think is a dream. Not only are Johnny and Ben sharing the same room, but the same bed! How big is this skyscraper they all live in? Maybe this is just temporary because of how the building got trashed by Blastaar and the Sandman in issues 61-63. Anyone, our heroes share notes and realize they’ve all had the same dream.

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Reed opines that their lives might be in danger from an evil somewhere out in the stars (taking a moment to exposit that Triton has left to rejoin the Inhumans), but Sue won’t have it. We get some uncomfortable battle-of-the-sexes stuff where Sue said she’s had it with fighting villains and wants a normal life instead. “I’m a woman!” she says. “I want feminine dresses and foolish hairdos!” Make of that statement what you will. Reed calms her down and promises to buy her a whole new wardrobe (!) and take her out for a night on the town.

Out in space, we meet Ronan the Accuser, a Kree, who has been sent to Earth by the Kree Supreme Intelligence. He teleports from his ship down to Earth, where he’s invisible thanks to his “negative aura.” He opines about how primitive and simple-minded we humans are. Then, there’s more comedy as Johnny is bugging Ben as Ben reads the newspaper, and Ben accidentally trashes the place while trying to snuff out Johnny’s flame. From there, we join Sue and Crystal out shopping. Crystal, an Inhuman, doesn’t know what to make of normal human clothes, and Sue bafflingly says “That brother of mine would like you in a barrel, Crystal!” Johnny shows up in his hot rod and takes Crystal for a ride, while Reed arrives and he and Sue lovingly discuss love at first sight.

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Reed and Sue enjoy dinner at the most expensive restaurant in New York. (I looked it up, and the most expensive restaurant in NYC is Masa, located at 10 Columbus Circle.) Just as they sit down to eat, Reed and Sue vanish in a puff of smoke. Out in the countryside, a motorcycle cop pulls Johnny over for speeding, only for Johnny to vanish as well. At the Baxter Building, Ben receives a suspicious package from those pranksters in the Yancy Street Gang, but he vanishes before it can be opened. (The mailman is not Willlie Lumpkin, a missed opportunity.)

The FF reappear inside an “uncanny cone of invulnerability,” where they are confronted by Ronan the Accuser. True to his name, he accuses them of destroying the Sentry. They don’t sit there take it, and everybody fights. Ronan has a Thor-like hammer he smacks Ben with, and he absorbs Johnny’s flame. He further proves his superiority by hitting our heroes with a stun blast. Ben finds himself weakened to the point where he can barely crawl, but crawl he does in some hope of defeating Ronan.

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We then cut to Alicia, who we haven’t seen since issue #65. She’s thinking of Ben, wondering where he is, when she hears a mysterious voice, one she says she’s been hearing a lot lately. A shadowy figure appears in her room and promises not to hurt her. We don’t see who this is, but we can see he’s got a cool red wristband. He and Alicia walk through the wall, as he tells her, “As long as my arm is around you, no harm can come to us!” he says.

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Outside the “cone of invulnerability,” the police have arrived and are trying to blast a hole in it. “Not even Tony Stark has an answer!” one cop says. Inside, Ronan has found the FF guilty and is about to carry out his sentence. Then, Ben grabs him from behind, with help from Sue, who had turned Ben invisible while Ronan was distracted. More fighting! Ronan knocks Johnny unconscious, and then attacks Reed with a “whirl-ray.” Reed tells Ben to use “Stratagem 32.” Ben flattens Ronan, pinning him on his hammer (not a euphemism). This causes the weapon to discharge against Ronan. This defeats him and destroys the dome. The police move in to help our heroes. Reed theorizes that Ronan is not dead, but teleported back to his ship, and he hopes the Kree learned their lesson and will never return.

Unstable molecule: Reed gets thrown around real good by Ronan. The cops use a big laser-blaster thing that they say was built by Reed himself.

Fade out: Sue’s whining at the start of the issue isn’t exactly feminist, but she does a good job in the fight, tricking Ronan, protecting her teammates, and then knocking Ronan back with her force fields.

Clobberin’ time: Ben gets a big hero moment in this issue, fighting back against Ronan even after being driven to a weakened state. We never get to see what prank the Yancy Street Gang sent him.

Flame on: Johnny’s new hot rod is a stripped-down number with an exposed engine. He says it sounds “like a sonnet.”

Trivia time: Ronan the Accuser shows up from time to time in the Marvel Universe, most notably in the Kree/Skrull War arc and the Annihilation crossover. He’s recently made the leap from “villain” to “tortured anti-hero.” He’s played by Lee Pace in the 2014 Guardians of the Galaxy movie.

Commercial break: Not only does this ad promise kids they can master multiple martial arts disciplines in a single week, but what is going on in the illustration? Is one guy on the ceiling attacking the second guy with his butt? What kind of martial arts is that?

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Fantastic or frightful? This is basically a romantic comedy issue that happens to have a superhero fight in it. That’s all right, though, because it’s character development. It shows these folks have other interests beyond punching alien invaders.

Next week: What’s happened to Alicia?

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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21 Jump Street rewatch: ‘Don’t Stretch the Rainbow’

Rewatching 21 Jump Street! This week it’s season two, episode seven, “Don’t Stretch the Rainbow,” in which we learn that racism is a bad thing.

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What’s goin’ down: At the ironically-named Lincoln High School, racial tensions are on the rise, as cops fear a full-blown riot could break out at any minute. Caught in the middle are a white kid and a black girl – the principal’s daughter, no less – who have fallen in love.

Just like Romeo and Juliet.

Just like Romeo and Juliet.

Here’s Hanson: Hanson tries to talk some sense into his racist classmates as he befriends his lab partner, a black kid.

Penhall’s prerogatives: Penhall decides to try his hand at being a stand-up comedian, which doesn’t go well. He spends the rest of the episode asking everyone, “Am I funny?”

What, no mullet jokes?

What, no mullet jokes?

Undercover blues: While Hanson and Ioki stake out the principal’s house, shots are fired, forcing Hanson to confront the chase the shooter and confront him in a boiler room. Why, yes, I was hoping Depp would reunite with Freddy Krueger.

"I'm your boyfriend now, Nancy!"

“I’m your boyfriend now, Nancy!”

Goin’ to the chapel: The racially diverse characters all get a chance to opine on race issues, one by one, during a meeting in the captain’s office. Later, Blowfish, Jump Street’s janitor, gives Penhall advice on what is and isn’t comedy.

Evil Dennis the Menace?

Evil Dennis the Menace?

Trivia time: We learn more about the characters’ back stories. Hoffs was raised in a well-to-do family with a dentist father, while Fuller grew up on the wrong side of the tracks.

Jumpin’ or not? This is a real Jekyll and Hyde episode, with some of the racial content being forced and unintentionally uncomfortable, but in other cases handled well, most notably a powerful speech delivered by the principal. Jumpin’ but just barely.

Next week: Honor society.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: The Sentry

Re-reading the Fantastic Four comics from the start. Issue #64 promises a new start, and an intriguing new villain.  sentry6

We begin in Reed’s lab, of course, where he and Ben are dismantling the Negative Zone viewer so that no more bad guys will escape from the Negative Zone and attack Earth (that’ll be the day). Sue is upset, though, because this is supposed to be their vacation and she wants to enjoy the spring weather. Reed apologizes, sort of, and agrees that it’s time for a vacation. Ben, Johnny and Crystal are invited, as is the inhuman Triton, who is still hanging around after last issue.

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Elsewhere in a remote jungle, a professor leads a two-man expedition, saying he’s searching for the ruins of an alien civilization that once ruled the Earth “before the dawn of history.” They discover an opening in the ground, leading to underground ruins containing ancient alien machines. The professor deduces that this was once a spaceport operated by a race of aliens called the Kree. The explorers are then attacked by a metallic blue and purple fellow calling himself the Sentry.

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Back at HQ, there’s some comedy shtick in which Ben chooses the team’s vacation spot by throwing a dart at a map while blindfolded. The dart lands on an island in the South Pacific. There’s some talk about whether they’ll fly by commercial airline or by their own Pogo Plane (if you owned your own plane, would you ever fly commercial?), and then Johnny, Crystal and Triton say they’d rather stay in New York. Ben, although briefly referencing Alicia, decides to come along.

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Back in the jungle, which we know see was on an island, the Sentry sets up a “vibro-screen” to prevent any other outsiders from finding the place. Wouldn’t you know it, the FF’s Pogo Plane happens to be flying overhead as he does this. The plane is in danger of crashing, but Sue helps right it by surrounding it with a force field. It’s revealed that the Sentry is a giant. He grabs a hold of the plane, our heroes fall out, and… fighting! The Sentry insists that he not a robot (he does not like being called a robot), and that his strength is able to increase until it matches and/or surpasses any opponent. He proves this by giving Ben a pounding and then threatening to drown him.

Reed says he wants to get back to the plane and call Johnny for backup. Then he does that thing where he stretches into a slingshot shape and flings himself through the air. After struggling with the Sentry, Reed is flung into the ocean, where he hopes to rescue the drowning Ben.

Back in New York, Triton is taking the FF’s jet cycle for a spin, giving Johnny and Crystal some alone time. Before anything steamy can happen, their lovin’ is interrupted by Lockjaw, who teleports into the room. That’s when Sue contacts them on the “vidio [sic] scanner” and fills them in. Crystal suggests using Lockjaw to teleport to the island, but the big dog doesn’t seem in the mood anymore.

At the island, Reed succeeds in pulling Ben out of the ocean, but both are vulnerable from attack by the Sentry. Sue helps by turning them invisible, but the Sentry responds by creating a tidal wave that threatens to destroy everything on the beach. Johnny shows up just in time, burning a trench in the beach that traps all the water (guess it wasn’t that huge of a tidal wave). The Sentry tries burying Johnny in the sand, but Johnny’s too skilled to let that happen, saying he’s learned from all the times he’s fought the Sandman.

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As the fight intensifies, the entire island starts to fall apart. Reed and Sue find the explorers from earlier and rescue them. Everybody gathers around Lockjaw, who teleports them away. Then, we get a strangely downbeat ending. The Sentry admits his defeat, and, acknowledging that he hasn’t heard from the Kree in ages, he destroys the island, calling this his “final report.”

Unstable molecule: In his big hero moment, Reed says that “headline writers from coast to coast” gave him the name Mr. Fantastic. But, no. He gave himself that name way back in the first issue. Here we see Reed’s ego getting out of control, something a lot of readers have accused him of over the years.

Fade out: Sue starts out the issue in “nagging wife” mode, but she later twice saves Reed and Ben with her powers.

Clobberin’ time: This isn’t Ben’s finest hour, as the Sentry pretty much beats the crap out of him. There’s a mention of Alicia, who we haven’t seen in almost ten issues, bringing up the question as to whether they’re still a couple or not. We’ll get more of this in the next issue.

Flame on: Johnny shows some real growth by not allowing his fire to be put out so easily by sand. He’s no longer the “kid,” but has a real newfound confidence with his powers. You don’t suppose we could pin this change on Crystal’s presence in his life, do you?

Trivia time: This Sentry is not related the current Marvel character by the same name, who had a short-lived run among the Avengers and who was controversially retconned into Marvel history in his origin mini-series.

The big deal with this issue is that it’s our first mention of the Kree. Although established as a dead race in this story, that’s not the case. The Kree’s ongoing rivalry with the alien Skrulls has led to some of the most famous tales in Marvel history.

Commercial break: This nightmare fuel:

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Fantastic or frightful? Basically a generic fight scene, the issue succeeds in its smaller, character-based moments. Not many comics can get away with lengthy scenes of vacation planning, but it works in Fantastic Four, because this group really does feel like family by now.

Next week: Girl trouble.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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21 Jump Street rewatch: “Higher Education”

Rewatching 21 Jump Street! Season two, episode six, “Higher Education.” I’m surprised it took them this long to do a teen pregnancy episode.

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 What’s goin’ down: A teen girl is pregnant, and she insists that Ioki is the father, not knowing he was an undercover cop. Ioki denies it, but no one believes him. He could lose his badge over this, so the Jump Street crew investigates in the hopes of finding the real father.

It's no day at the beach.

It’s no day at the beach.

Here’s Hanson: Hanson serves a “supportive best friend” role for Ioki, keeping Ioki out of trouble while our heroes try to sort out the truth.

Penhall’s prerogatives: He’s on comic relief duties this week while tailing the pregnant girl. (Hoffs: “She’s returning library books?” Penhall: “She must be overdue!”)

Undercover blues: In keeping with the episode’s theme, Hoffs gets a school assignment where she has to take care of an egg as if it’s a baby for a few days. Penhall then ends up on egg-sitting duties.

I am the egg man.

I am the egg man.

Goin’ to the chapel: A reporter has taken an interest in the Jump Street program. She argues that an interview with Fuller could help smooth things out with the mayor’s office, which is still threatening to pull the plug on Jump Street. This foreshadows the upcoming season finale.

Torn from today’s headlines: Teen pregnancy, and all the drama that goes with it. Once the real father is revealed, then statutory rape becomes an issue as well. Heavy stuff. Also, not that I’m an expert on these things, but the ‘80s-era home pregnancy test looks unnecessarily complicated, with glass vials hooked up to a big plastic doo-hickey.

She blinded me with science.

She blinded me with science.

Trivia time: There’s a reference to “the zoologist on The Tonight Show.” That would Joan Embery of the San Diego Zoo, who was a regular on Johnny Carson’s Tonight Show, bringing out all kinds of exotic animals for Johnny Carson to mess around with.

Showdown.

Showdown.

Jumpin’ or not? All the tears and hand-wringing give way to an action finale in which the girl’s dad goes nuts with a baseball in the school hallways and Ioki must stop him. So this is kind of a quintessential 21 Jump Street episode, which has both the cheesy morality and the action/comedy goodness the show is famous for. It’s jumpin’!

Next week: Taste the rainbow!

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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21 Jump Street rewatch: “After School Special”

Rewatching 21 Jump Street! It’s season two, episode five: “After School Special.” With a title like that, I think we know what we’re in for.

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What’s goin’ down: After a teacher is shot by a student, Captain Fuller gets in on the undercover fun by taking over the man’s class, with Hoffs as one of his students.

Chalkboard jungle.

Chalkboard jungle.

Here’s Hanson: Hanson gets to know his mom’s new boyfriend, a car salesman named Bob, and then learns Mom’s moving in with him. Drama!

Penhall’s prerogatives: Penhall gets roped into helping Hanson’s mom move into her boyfriend’s place, for some comedy shtick. He also wears some truly epic Hawaiian shirts.

Undercover blues: We get a look at a different aspect of high school life, this time from the teachers’ perspectives. Fuller’s sense of justice conflicts with the faculty’s cynical apathy. When the teachers start packing heat as well as the students, Fuller and Hoffs make arrests on both sides in order to keep the peace.

Guns don't kill people, Hoffs kills people.

Guns don’t kill people, Hoffs kills people.

Goin’ to the chapel: Hanson has a pet guinea pig for some reason, which he’s training to race against the janitor Blowfish’s guinea pig. The other cops are placing bets on which little rodent will win. Sadly, we never get to see the race.

Torn from today’s headlines: This one’s somewhat prescient, sadly, with its theme of weapons in school, as there’s a lot of paranoia about students roaming the hallways with guns. A later scene has the school installing a (phony-looking) metal detector. Then things get tear-jerky when it’s revealed that one of the tough kids never learned how to read.

Is that metal detector made of wood?

Is that metal detector made of wood?

Trivia time: Hanson’s love of bowling, established in last season’s “The Worst Night of Your Life,” is heavily referenced in this episode. Bowling is something he and his new stepdad-to-be has in common, giving them a chance to talk things out.

Meet the parent.

Meet the parent.

Jumpin’ or not? We’ve finally reached the point where we have to stop and ask, “How big is Jump Street’s jurisdiction?” By my count, this is the fourth time our heroes have gone undercover at the really bad school, only it’s a different school each time. Suspension of disbelief notwithstanding, this is a good episode, with some nice twists and turns, and a great turn by Fuller doing the teacher thing. It’s jumpin’!

Next week: She’s having a baby!

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: The living bomb-burst

Re-reading the Fantastic Four comics from the start. At the end of the last issue, Johnny and Crystal were reunited, while the evil Blastaar came out of the Negative Zone and teamed up with the Sandman. Now, in issue #63, they make their move.

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The caption on the splash page tells us that only two seconds have passed between this previous issue and this one. An unseen force smashed a hole in the roof of the Baxter Building. Reed immediately deduces that someone else came back through the Negative Zone portal when he did. Reed tries to look through the hole and gets blasted. The Inhuman Triton, still hanging around after last issue, flies through the hole with his trusty “air gun,” and shows how awesome he is by fighting Blastaar. Then Sandman distracts Triton, allowing Blastaar to knock him out.

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Blastaar calms down just long enough to explain his deal: He’s a power hungry conqueror, and now that he’s discovered Earth, of course he wants to rule it. He describes Sandman as his guide to this new world, but Sandman keeps calling Blastaar his partner. The two of them descend from the roof into the Baxter Building.

Out in the city, Johnny and Crystal are leaving a restaurant (they got pretty far in those two seconds), where they see a bunch of cops on the move. Blastaar and Sandman are now casually walking down the street, duking it out with the cops (How they got from the Baxter Building to here I have no idea). The police have a special “cement gun” that traps Sandman, only to have Blastaar set him free. Johnny flames on and joins the fight. In a full-page spread, Blastaar brags about how powerful he is (he’s rather boastful, this Blastaar). While the bad guys concentrate their attacks on Johnny, they’re attacked from behind by the Thing. Sandman escapes into the sewer, but Blastaar fights on, spending the next couple of pages duking it out with Ben.

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Back in HQ, Reed tends to Triton’s injuries, and then checks in on the battle with one of remote viewing devices. He says it’s up to him to whip up some science to stop Blastaar. Outside, Sandman bursts from under the street and attacks Ben, while Blastaar, er, blasts at Johnny, only to have him absorb the heat of the blast and send it back to Blastaar. At one point, Blastaar tries to grab a hold of Crystal, only to have her summon a tornado out of nowhere (!) in defense. OK, what are her powers?

Sandman and Ben end up by the ocean, where Sandy hurls Ben off of a dock. (I see this a lot in movies and comics, where New Yorkers can access the ocean just by going to “the docks.” Is this a real thing?) Sandman thinks he’s defeated Ben, but Ben smashes the pier and pulls Sandman into the water with him. With one all-powerful punch, Ben dissipates Sandman’s sand, spreading it out among the tide. (So if you were reading this for the first time in 1967, you’d think Ben just murdered Sandman, correct?)

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Reed and Sue show up, as Reed has invented a helmet that can stop Blastaar, if only they can get it on his head. It’s another few pages of fighting before he, Sue and Johnny manage this. Once the helmet is on Blastaar, he loses all his powers, making him as vulnerable as an ordinary human, so Reed’s the one who takes him out with a single punch. Reed says they’ll put Blastaar back into the Negative Zone where he belongs, and Ben shows up to make a joke about how hard it is to find a cab in New York. No cliffhangers this time, just a happy ending for all.

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Unstable molecule: It takes Reed several tries before he gets his new gizmo to work, at one point proclaiming, “I’ve failed!” But then he delivers the final blow.

Fade out: Sue helps out here and there with her force fields, but mostly sits this issue out.

Clobberin’ time: Ben’s fight against Sandman is a highlight, showing his resourcefulness as equal to his strength.

Flame on: The caption tells us that while Johnny and Crystal were at that restaurant, they were “talking about the things that all young lovers have talked about since time immemorial…”

Trivia time: By this point, we still have no real explanation of what Crystal’s powers are. In her first appearance, she ran over some flames without being burned. Many issues later, she controlled a campfire with her mind as some random soldier declared, “She can control the elements!” Then, in this issue, she summons a tornado out of nowhere with the power of her mind. Will they ever take a second to stop and tell us what her powers are? (Yes, I know I could just look her up on the Marvel wiki, but I’m more interested in how and when this will be handled in the stories themselves.)

Commercial break: A lot of comics of this era ran this ad for a male baldness cure. Because comics are for kids!

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Fantastic or frightful? Blastaar is kind of like a professional wrestler, spending more time talking about how much he kicks butt than actually kicking butt. There’s some nice action beats, but overall, this issue doesn’t bring anything new to the table.

Next week: Standing watch.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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