Showing posts with label just because. Show all posts
Showing posts with label just because. Show all posts

Monday, October 5, 2015

Characters that could have been in Fear the Walking Dead


Caveat 1: I've only been to LA once, when I was very young and didn't really know any of it, but just from watching about it on TV and reading about it in the news, there's all sorts of characters that could have been on this show and weren't.

Caveat 2: Why put a show somewhere and then not use all the options for character and setting that there could be in a huge and diverse city like LA?

I just feel like a teacher and a high school administrator could have come from anywhere and that the options for characters on this show were barely scratched and could have been far more interesting in the set up. We could have had:

  • Someone from a poor part of town who wants to make good, who is working his way out of a bad situation--and who has to make the choice when things fall apart about whether he'll fall back on the gang behavior of his old neighborhood, or keep trying to be a more fair person.
  • A tour guide who has to keep all those people from far away safe while everything goes to hell around them.
  • Actors. Like, any actors.* Someone, maybe, who wanted to be an actor and who was being a waitress, but who had done a lot of research, and come from somewhere else, and knew all sorts of useful things.
  • Conspiracy theorists! Tobias was almost one of these, but was barely there.
  • Suvivalists who can help or block help.
  • Other drug addicts who didn't get rescued by their families, who have to keep surviving on the streets the way they always had, and so will know where the safe places are, the supplies, the danger spots.
  • Cops. Any cops at all. Good or bad, they'd be different from Rick or Shane, and their absence is weird.
  • People from poor neighborhoods showing up at the gates of the middle-class Safe Zone, trying to get help or information, or just to raid for supplies.
  • Rich people with very well-defended homes having to make the decision about whether they'll take in refugees from the city, or if they'll bar their gates--and what happens either way.
  • News people still trying to get information out to the masses, who have to jury-rig their broadcasts to make sure they can even be heard when the grid goes down.
  • A librarian or museum curator who wants to document this historic event, whether because they're dedicated, or because they're delusional, either would be interesting.
  • People on vacation who just want to get home.
  • People on business trips who maybe know more about what's going on than they let on.
  • Con men! Running cons!
  • People barricading themselves in malls or in Costco, and just exactly how that can go wrong.
  • Mobsters who have such good control of their territories, that they're practically princes now, since they have peace-keeping methods already in place.
  • Surfers and hippies who try to build a floating society out off the coast.
  • Motorcycle gangs who can move around quickly, even when there's deadlocked traffic and roads clogged with abandoned cars, and set themselves up as a sort of lifeline for isolated pockets of people on rooftops and in highrises--for good or for bad.
  • Fireflighters who keep putting out fires, because if they don't, who will?
  • Medical people--doctors and nurses who aren't cold and weird, specialists who are outside their specialty, MEs who have to work on the living because they're the only medical people around, Vets who have to work on people for the same reason, people who lost their licence but who are all that's left.
  • Other people from that school who went back there because it's got supplies and is more defensible than their homes, trying to form a democracy of teachers, administrators, families, janitors, and refugees.
  • Church people who aren't insane and useless, who have been helping the poor for years, and just start helping more people now.
  • Opportunistic criminals.
  • Homeless people who can move up into all the abandoned houses, but who are now in neighborhoods that were abandoned for a reason.
  • People who were working somewhere on the other side of town from where they live, who just want to get their families back, and spend the whole season going through all these other different parts of town to get back home.
  • People who were stuck on a bus in traffic and have to band together even though they're all strangers.
  • Public servants who keep working for the public, opening up their homes or offices to people who are trapped or lost or evacuated.
  • Hookers or strippers who just want to help.
  • Groups of disadvantaged youths who don't trust anyone in control and decide to set up safety for themselves.
  • Students from a university who have to study the collapse to keep from going insane, and their professor who holds them together.
  • Girlscouts and boyscouts trying to help where there's not cops or soldiers, in a situation that's way above their age-group.
  • Criminals from the jail running lose and taking different tactics about what they'll do with this crazy new type of freedom, or trapped in the jail and trying to get out.
Basically, really, we could have had anything that brought people from different areas, social situations, races, or classes together and made them work together or bounce off each other, anything that gave people new opportunities that they had to decide whether they'd take or not and whether they think it's a good idea to, anything that made a good story out of diversity and variety. It could have been complex and complicated before everything went toward the apocalypse, but so far, all of this is hardly touched on, barely even looked at.

We've got a guaranteed next season, and there's plenty of time to shake up the cast and bring in more people from all over the city and all levels of society, but it just would have been nice if this particular one had had more scope and was more open. One family and three people, all from the same other family, they found along the way is not a very good use of the potential such a huge city has to offer. Being inundated by survivors from all over LA and the surrounding areas who were all caught in the wrong place when things went south would fix that nicely.

This is only the beginning of the end. It's been two weeks of disaster, not months and years. People will be trying to regain what they lost, trying to re-contact the outside world, trying to help their neighbors and their families. Where's all the solidarity that can happen in disaster situations? Where's the attempts to band together and make it through, even if those attempts crumble later? Where are the people trying to make sense of what's happening?


NOTES:
*They said on the Talking Dead special that they almost did that, but decided not to--it would be too easy, or something lame like that?

Wednesday, September 23, 2015

Happy Premier Day, The Jetsons!

The Jetsons is an American animated sitcom produced by Hanna-Barbera, originally airing in primetime from September 23, 1962, to March 17, 1963, then later in syndication, with new episodes in 1985 to 1987 as part of The Funtastic World of Hanna-Barbera block. It was Hanna-Barbera's Space Age counterpart to The Flintstones.[2] 
While the Flintstones live in a world with machines powered by birds and dinosaurs, the Jetsons live in a futuristic utopia of elaborate robotic contraptions, aliens, holograms, and whimsical inventions;[3][4] The original series comprised 24 episodes and aired on Sunday nights on ABC beginning September 23, 1962, with primetime reruns continuing through September 22, 1963. It debuted as the first program broadcast in color on ABC-TV.[5] (Only a handful of ABC-TV stations were capable of broadcasting in color in the early 1960s.) In contrast, The Flintstones, while always produced in color, was broadcast in black-and-white for its first two seasons.[6]
--From their Wikipedia entry

Thursday, February 26, 2015

A functional 'shipping scale for application to televised relationships


So I woke up this morning after watching Continuum and The 100 before bed, with this idea in my head of an actual scale that could be applied to 'ships inside TV shows and across various shows, for the purpose of being a nerd about them.

Here's what I came up with:

Level 1

  • No given ships, so whoever you're shipping is basically all up to you
  • Requires reading-in to be seen as a ship
  • Nobody clearly or consistently interested in anyone else (of the main cast; characters introduced specifically as love interests don't count)
  • Example: 
    • Most shows in the first three or so episodes
    • Almost all case-is-more-important-than-people crime shows
    • Continuum, sadly

Level 2

  • A ship is given / characters are clearly interested in each other but don't do anything about it
  • The show doesn't allow much development, so they are in a perpetual state of flirting and dating other people and never just being in love
  • May be caused by network interference more than writer intent
  • Example:
    • About four-ish years of Tony and Ziva
    • The first few years of Bones and X-Files
    • Every single ship on Star Trek: TNG most of the time, dammit all to hell

Level 3

  • One or multiple ships are given, and all are progressing in realistic ways, but no steady dating yet
  • Their love is cannon, and not equivocal or denied
  • Example:
    • Season 5 of X-Files
    • That stretch of Bones where Bones and Booth were inseparable but not dating, and Angela and Hodgins were not dating

Level 4

  • At least one ship is dating in a consistent and dedicated fashion
  • Example:
    • Angela and Hodgins dating before Bones and Booth stopped being weird around each other
    • Rigsby and VanPelt dating while Jane and Lisbon made moon-eyes at each other but weren't dating

Level 5

  • At least one ship is married (or equivalent) and it is not a ploy or a game or a annulled-after-one-day-because-we-were-drunk
  • Their love is so cannon they could shoot down castle walls with it
  • Example:
    • Bones and Booth! Finally! And Angela and Hodgins.
    • Jane and Lisbon! Long after Rigsby and VanPelt
    • Mr Steele and Laura Holt, in that last episode
    • Castle and Beckett!
Level 6
  • Children!
  • Possible for this to precede weddings, since they can be mutually exclusive, in which case it is called Level Alt-5
  • Also possible to be before any of the other emotional states, in which case it will be Alt-whatever they skipped was
  • Example:
    • Alt-5: X-Files, as it turned out
    • Angela and Hodgins; Bones and Booth were Alt-5
Level 7
  • Divorce or Death, not to be trifled with
  • No examples because all my ships are iron-clad and I won't jinx them

So what do you think? Should the system be tweaked or expanded or contracted? Are there other levels or Alt-Levels to add in? Or can we just put this right into practice?