Saturday, August 29, 2009

"Somebody save me"

When did "Smallville" go from being one of the most enjoyable shows on tv to one of the most ridiculous? Admittedly, it's never been great drama, but it's gone from being a guilty pleasure to just plain guilty.

Let's backtrack for a minute, and talk about what made the show so great:














If you're not familiar with "Smallville", the basic premise of the show is it is a "no tights, no flights" story about the early days of Clark Kent living in Smallville, Kansas before he becomes Superman. As the series begins, Clark is an awkward and slightly geeky farm boy who is dealing with the typical adolescent problems (unrequited crush on the girl next door, high school bullies, etc.) when he starts discovering that he's "different" -- actually, he seems to be superhuman. As he explores his powers he confronts his parents and gradually learns of his mysterious origins. According to this interpretation, baby Clark was an alien who landed on earth, bringing with him a "meteor shower" that ravaged the little farm town in Kansas and changed the lives of everyone there. It eventually becomes apparent that a side effect of the "meteor rocks" (kryptonite) is it can mutate anyone who has been exposed to them, so the little town of Smallville has a disproportionate number of freaks. Naturally this all gives Clark an enormous guilt complex, intense feelings of alienation (no pun intended!), a sense of responsibility and of course a new mutant powered villain to fight every week.


The early seasons of the show were, frankly, beautiful. Just as Clark was in the full bloom of youth, every location in Smallville was bursting with lush colourful flowers, cozy pastoral farm scenes, small town life right out of Norman Rockwell and of course attractive young people. Well, plus meteor freaks. Still, there was something so compelling about those early years of the show, regardless of whether you're a comic book geek or not. And if you were familiar with the comic, watching the drama unfold was all the more delicious: how did Clark and Lex Luthor become enemies? How did his romance with Lana Lang start, and why did they break up? When is Clark going to start wearing glasses...?

Of course, "Smallville" was always the type of show that required a HUGE suspension of disbelief. Sometimes it was extremely far-fetched and absurd (the Kent family must own that room in the hospital because one of them was admitted every week!). Sometimes the acting or the writing was bad (whenever the story involved "red kryptonite" it got cringe-worthy!) and the occasional episode could be embarrassing to watch (remember Lana in the vampire sorority?) Again, I admit it was never high drama, but it was great escapist fun. And in it's own way it could be dramatic and touching. Try watching Jonathan Kent's funeral and not feel sad. Perhaps the greatest strength of "Smallville" was in its character development. "Smallville" was the first time I ever considered Superman to be an interesting character: a person with actual flaws, feelings and emotional baggage. And watching Lex Luthor was the "nature VS nurture" debate in motion: was he just born with evil genes, or did years of no one believing in him turn him into a monster? Pretty interesting stuff to attempt in a fluffy teen drama.

As with all shows that drag on long past their "best before" date, "Smallville" changed, and evolved into something very different from how it started. Every season had it's gold and it's dogs. I'm not sure I can exactly pinpoint where the show began to unravel for me. The developers/creative force behind the show, Alfred Gough and Miles Millar, left the series in 2008, hinting around at a struggle to maintain their creative vision of the show. Add to it, both Lex Luthor and his father Lionel (to me, the most interesting characters) were killed off. Clark and friends are all grown up now and working in Metropolis (begging the question, how is it really "Smallville" anymore?). The "no tights, no flights" rule has gone out the window with the introduction of a myriad of DC characters (Green Arrow --in costume-- is now a series regular, and there have been appearances by various others from the long-johns set). Generally, the show seems to have less & less basis in reality every time I see it, and as much I enjoy fantasy I do need some shred of credibility.

"Smallville" season 8 is out on DVD and for the first time in the entire series run I'm not in a great hurry to run out & buy it. (DVD has been my only access to the show, apart from sporadic episodes I've seen at other people's houses). Based on the few snippets I saw of season 8 the show has become more "soap opera" than drama. Still, the nostalgic part of me is ready to plunk down $40 for it because I'd love to recapture that old feeling the series used to give me. Right now, I'm torn... my heart says "yes" but my head knows better!


Perfect!


Thursday, August 20, 2009

Yes, We Have No Brains!

I realize that I seem to end up talking about vampires quite frequently on this blog and I'm not really sure why... so let's give some equal time to the current horror flavour of the month: zombies.

Why are zombies so popular? Well, for one thing, they are probably the most "sex, drugs and rock n roll" of all the standard horror monsters. If you don't believe me, just take a close look at some of the legendary guitar gods and you'll see what I mean. Unlike vampires, zombies aren't sexy. They have hard living (and hard dying) written all over them. Their existence is completely from the gut, instinctual and "do as you please". Zombies just do not give a fuck about anything except for one thing: their addiction. Their whole motivation is getting their next fix. And they don't care what kind of abuse they have to suffer to get it. As for the "sex" part, well they're totally into "flesh"... only in their case, they just happen to feed on it.
On the flip side, every zombie story has its hero. The few, or the one, who wades through the mindless mob; the lone fighter in the sea of rotting humanity. Natural selection has given them the uncanny mix of brains, brawn and good luck and they manage to survive. Perhaps we identify with these characters, our feelings of alienation or individualism: "us against them", the age old conflict of man versus society. Or maybe we want to be them. Who doesn't want to be a survivor?


Beyond all that though, I think the real appeal is that at the heart of every zombie story lies a conspiracy theory. For every Raccoon City there has to be an Umbrella Corporation. Who doesn't love a juicy conspiracy theory? Every zombie outbreak can be blamed on the two most obvious perpetrators: big business or science. And who better to blame? It only confirms our suspicions that both are too rich, too powerful, and too secretive. While they play God our lives hang in the balance. Now, wouldn't a zombie outbreak be the ultimate "I told you so!"

Personally, my favourite zombie flick is "28 Days Later". For one thing, the idea of a "rage virus" strikes me as being plausible (in fact, some days I'm convinced I suffer from it myself!). Well, more plausible than waking the dead at any rate! Probably my favourite scene in the movie is when Jim, our survivor, first leaves the hospital and walks through the completely deserted London. The mood is strange and chilling, and probably one of the most effective I've ever seen in a horror film. According to my husband, the scene represents a utopia because there are no people. (He's a misanthropic sort!).

Over the past year or so I've been enjoying a variety of titles in "The Mammoth Book of..." series. These are thick anthologies on specific genres, the ones I get are different genres of comics but they make other titles as well. Admittedly, some of the stories collected therein aren't necessarily the "best" but they do cover a broad, international spectrum. The thing I enjoy most about the Mammoth Book series is that you get a nice sample of writers and artists that you might not have otherwise heard of and some of them are quite good.

In "The Mammoth Book of Zombie Comics" the gem for me was the multi-part "Dead Eyes Open" by Matthew Shepheard and Roy Boney Jr. Apparently the story came out of a failed internet project called DEADIES. This is a zombie story with a twist. Here, the zombies are rational, sentient, multi-faceted characters and the story is rather complex. Without giving away too much, the story creates a society where zombies have become a "race" and like any other minority group must the struggle for their rights and freedoms, rebel against the system and deal with prejudice. And Wil Wheaton is a character in it. Seriously. Check it out sometime.

In closing, a prediction: The next big thing will be werewolves. You've heard it here first.