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I guess I just like liking things

I’m a little under the weather today but I don’t want to leave you hanging. A conversation on Twitter this morning reminded me that Turk dancing always cheers a person up, so I’m just going to post a compilation video that has several good bits but, sadly, not all of them.

He makes it looks so effortless that I feel like I should be able to do it, and I’m a middle-aged white guy.

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Last week’s viewing of The Last Stand got me thinking about Arnold’s movie career. It’s hard to believe he was in his first movie over 40 years ago (1969’s Hercules in New York), and it’s hard to believe his career path in general. He’s made some huge movies, but if you weren’t a teen in the 80s and 90s, it’s likely you don’t enjoy his movies as much as you should. Nobody did big explodey action movies quite like Arnold.

Here are my top ten favorite Arnold movies, with series being grouped together.

10. Conan the Barbarian (1982)/Conan the Destroyer (1984) – Kind of the perfect movie to kick off Arnold’s superstar career. Sure, he’d had movies before Conan the Barbarian, but this was the first real Schwarzenegger movie. Sure, the less said about the sequel the better, but who doesn’t remember learning what is best in life from Conan? “To crush the enemy, to see them driven before you, to hear the lamentations of the women.” Sesame Street never taught better.

9. Commando (1985) – In a world full of cartoony action movies, this one just might be the cartooniest. Arnold’s character’s name is John Matrix, and it only gets better from there. Historical note: this is the movie that made every guy my age want to throw circular sawblades like ninja stars.

8. The Last Stand (2013) – I really, really liked this one.

7. Total Recall (1990) – 23 years later and I still remember the outcry over this one. “He uses a human body as a bullet shield!!!” is the one I remember the most. I still can’t figure out the ending, making this one of the most thought-provoking entries on the list, which is weird, considering this is also the only movie on this list that has a mutant Resistance leader popping out of another dude’s stomach.

6. Predator (1987) – Best arm wrestling handshake ever? I think so.

5. Eraser (1996) – I don’t know if those railgun rifles are physically possible, but they were super sweet, and James Caan was exactly the right kind of bad guy.

4. Last Action Hero (1993) – I can’t pinpoint exactly what it is I like so much about this movie, other than how it looks at the action movie genre from within an action movie. The movie is a bit overlong, but I love the way it plays with the standard action movie formula.

3. True Lies (1994) – James Cameron and Arnold should have made a lot more movies together, and who among us hasn’t wanted to dream-punch Bill Paxton in the face?

2. Kindergarten Cop (1990) – Honestly, depending on the day, this movie is #1 for me. Without Arnold’s history of action movies this one wouldn’t work so well, but taking the persona he had crafted and putting it in this movie with a bunch of kids was just about perfect.

1. The Terminator (1984)/Terminator 2: Judgment Day (1991)/Terminator 3: Rise of the Machines (2003) – I can’t even come up with something to say here, because I love the Terminators.  I even like 3, and I know that makes me less of a man in your eyes, and I’m okay with that. Some day we’ll talk more about it.

I’d love to see him keep making movies, but I know I’m probably one of the few.

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On paper it sounds great: Have Captain Kirk talk to Captains Picard, Sisko, Janeway, Archer, and nuKirk and film the results. Who better to have a unique perspective on being a Star Fleet captain, after all?  I was sold on the description alone:

In the Star Trek entertainment universe, the list of actors cast as Starfleet commanders remains short. William Shatner — the player who initiated the role — interviews a raft of other “captains” in this affable documentary, which he also directed.

I guess I should have paid more attention to the last four words of that, as that would have helped me get in the right mindset for the documentary.  To help you understand what I mean by that, please remember that William Shatner directed Star Trek V.

Honestly, there are bits that are very interesting, but overall the doc is… weird. There’s a very strange overall tone that is hard to pinpoint. It hit me about twenty minutes in that the movie was less about hearing how all the captains related to being captains in Star Trek and more about William Shatner using their comments as springboards to talk about his experiences.  If you’ve been a Star Trek fan for longer than ten minutes, you’ve no doubt heard that this seems to be standard operating procedure for this particular captain. Obviously I have no firsthand experience with him, so I can’t say for sure, I can only go by what James Doohan and George Takei have had to say about it.

Shatner’s relationship to Star Trek has been a strange one.  The famous Get a Life! skit on SNL (which still seems incredibly mean-spirited to me) is most likely an encapsulation of his feelings at the time, but he still went on to appear in three more Trek movies. As time has gone on, Shatner has seemingly embraced his time on Star Trek, though I’m sure the more cynical among us might attribute that to thing$ other the enduring power of Star Trek.

So with that base understanding of the person making the movie, and even setting that aside as much as possible, the movie becomes interesting – not so much because of the content, but because of how it’s presented. We probably all understand that the rigors of filming a weekly television show might wreak havoc on one’s family life, but seeing the look on Sir Patrick Stewart’s face when he’s asked about it will turn your stomach into knots – less because you understand the difficult time it must have been for him and more because that moment on film is just so very uncomfortable, and you have to imagine he’s thinking, “Surely this will not make the final cut of the film.”

I’m still trying to parse the sections with Avery Brooks.  I’m only 19 episodes into Deep Space 9, so I don’t know much about it yet, and I know even less about the man playing Captain Sisko. His segments in this movie were… man, I don’t know. Surreal! I got the distinct impression that he’s more musician than actor, and I tend to agree with Shatner’s summation at the end of the movie where he refers to Brooks as having a “jazz mind.” That is most likely not a direct quote, but the idea of him having a jazz-like thought process sure seems like a theory with plenty of on-screen proof to back it up.  Brooks spends a lot of his on-camera time playing the piano, which is unusual for a documentary about Starfleet captains, but is certainly fine, but it leads to William Shatner singing improvised lyrics along with the piano and it’s just so very weird.

The other captains all do a nice job of recognizing what’s happening – in the sense of “we’re all part of this Star Trek phenomenon, and here is the guy that started it.” In his defense, Shatner had no idea going into that show what would happen with it. Nothing like that had ever happened before. Any of the actors in the following series, though, had to have at least a little idea, and it was fun to hear a couple of them talk about growing up with the original series.

I don’t think the film was wasted time. If you’re a Star Trek fan at all you will find it interesting, for sure. And if you’re not, you might still want to experience the very particular oddness of it. Come for the improvised jazz lyrics, stay for the thoughts on dying.

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I think this is one of the best pilot shows I’ve ever seen, but I should probably qualify that “best.” Yes, it’s very funny, but it also sets up the show so well that you immediately get what it’s about. When you go back and watch the pilot again after watching through the show, it strikes you just how well they understood the show from the very beginning. Did they know at this point that Khandi Alexander would show up as Lem’s mom in season two when they talk about her in this episode? Probably not. But the characters and the environment are set from the get go, and I think that saved them a lot of time and let them focus on the writing.

This episode starts off with a Veridian Dynamics commercial, one of my favorite recurring bits in the show. It loses a little something without the images, but here’s a transcription of this episode’s commercial:

Veridian Dynamics. Every day something we make makes your life better. Power: we make that. Technology: we make that. Cows: well, no, we don’t make cows. Although we have made a sheep. And medicines. And airplane engines. And whatever this is, and all sorts of things. Veridian Dynamics. Every day something we make makes your life better. Usually. Veridian Dynamics. Life. Better.

I love the idea that the company is so big they feel like they should probably do some image management via commercials, but then they use those opportunities to brag about their accomplishments, insult the viewers, or outright threaten anyone who happens to cross their path. Veridian Dynamics is all corporate id.

We’re first introduced to Ted (Jay Harrington) who tells us a little about the company, and we find out he’s been working there for three years. He’s now the head of a research and development department, and we get our first taste of what we’re in for when his boss, Veronica (the generally delightful Portia de Rossi, who should always be in a sitcom), pops into his office to tell him what “they” would like to see researched.  “They” is The Company, and “they” get mentioned a lot, often in such a way that you get the feeling the “they” is an “it,” and that that “it” probably has tentacles and 42 eyes and occupies a whole floor at the top of the building and eats interns.

First project is to weaponize pumpkins, and it serves as a way to introduce another of the show’s recurring bits: the meeting room. Getting these characters around a table to talk to and at each other is funny enough that I’d probably watch a show just about that. Ted has asked Dr. Bhamba (though it’s shown as “Bamba” in the credits) to get ideas on how to do this from nature, because “nature is a fantastic killer of things.”

From there it’s out to the hallway where Veronica asks Ted what they can do with this fabric they’ve invented, which serves as a way to introduce Lem (Malcolm Barrett) and Phil (Jonathan Slavin, who you might remember from an episode of Friends but more so from Andy Richter Controls the Universe, another wonderful sitcom that didn’t get enough time). I am going to confess something to you: even though I have seen both seasons of this show multiple times, up until this week I would not have been able to tell you which one was Phil and which one was Lem. I know that makes no sense, but I just couldn’t!  I think it speaks to how great a team they make.  I now have a way to remember them, and I will share that with you in a little while.

Phil and Lem are the scientists tasked with making Ted’s ideas work, and they generally have some measure of success. We find out that they’ve been working together for ten years at this point, and the actors do a fantastic job of portraying that.

Once they’ve come up with the idea, we meet Linda (full name: Linda Katherine Zwordling, played by Andrea Anders, who none of you will remember from Joey, but that’s how I remember her). As will eventually be mentioned in the show, Linda serves as a sort of moral center for the show/company. She’s the only one who ever seems to be horrified by some the the company’s ideas, and she’d much rather be working on her children’s book ideas (“There’s a zebra and a toaster who doesn’t want to make toast anymore”), but needs the money working at Veridian supplies. She’s currently horrified that the company wants to make itchy office chairs out of the fabric they’ve made. Sure, it helps workers focus more but it also drives them insane. To Veridian this doesn’t seem like a bad trade-off, but to Linda (and most of us viewers, it is assumed) it sure does. To somehow compensate for the weird injustices she sees the company committing on its workers, Linda steals coffee creamer from the break area.

And that’s all in the first third of the episode! Now that we’ve got our main characters established, we move on to the main point. As Veronica puts it, “We wanna freeze Phil.” Why not Lem?  “Freeze the black guy? They’re not stupid.” And this is how I now will remember which scientist is which: not because she mentions who they won’t freeze, but because “Phil” and “freeze” both begin the same way, phonetically. You find your way to remember things, I’ll find mine.

Now we meet Rose (Isabella Acres), Ted’s daughter. She serves as another moral center to the show and is way less jaded than Linda is.  Her mom went off to “save the world,” which Ted tells us hasn’t been that great for the world, but Ted might not be the most reliable narrator on the topic of his ex-wife. Regardless, Rose tells Ted that “it’s wrong to freeze someone who comes to your daughter’s birthday.” She’s not incorrect.

But Veridian wants to do it anyway, and Phil eventually decides to let them. The draw of being a pioneer in the field of being frozen is too big to resist. Phil’s wife is okay with it, too, and we also find out Lem is not married, but he doesn’t like the idea of Phil being frozen for a year. “I’ll just stand perfectly still so I don’t accidentally go on living my life without you,” Lem says, a hint that he cares about Phil that Phil doesn’t pick up on.

So they freeze Phil, getting past the -20 degree point at which his eyeballs might have burst without problem, a point that seems to disappoint Dr. Bhamba (“I’ve never seen a man explode from the inside,” he says. “”A rabbit, an eel, a goat, a monkey, and a reindeer, but that’s all.”) During the procedure we see Ted and Linda hold hands, setting up a “will they or won’t they” that carries on throughout the series, but never in an annoying way. Turns out, though, that Ted has already used up the one office affair he’s allowed (that employee handbook must be a real page turner), so he’s not going to be able to pursue anything with Linda. Furthermore, we find out that he used his one office affair up on Veronica, so there’s another twist.

Phil accidentally gets thawed after only being frozen for three days, and he’s mostly okay except for the face-making and the screaming. I like to imagine that in his frozen state he got an actual look at The Company up on the top floor and this is the result, but that’s not canon so don’t latch on to that. Phil’s new habits are disrupting the workplace, so “they” want him fired, but Ted decides to stand up to them and not fire Phil, something Veronica warns will surely come back to haunt him.

Ideas/Inventions mentioned in this episode:

  • Metal as hard as steel but can bounce like rubber and is edible
  • A mouse that can withstand temperatures of up to 195 degrees (computer mouse)
  • Weaponized pumpkins
  • Strong, dark (and itchy) fabric – used in office chairs – “The Focus Master”
  • “We wanna freeze Phil”

Coworkers named/seen:

  • Dr. Bhamba
  • Cindy, whose cubicle might be wonderful, but might be horrifying, it’s hard to tell

 

Next week: S01E02 – “Heroes”

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Star Trek III: The Search for Spock was the first videotape I ever bought. In fact, I still have that copy, and any time I run across it I am surprised again by how hefty it is. As time went on, videotapes got lighter (weight-wise, not brightness-wise), but that tape was the heaviest one I ever owned.  I doubt it’s still playable, but I haven’t tried playing it because who has a VCR anymore?

Several years later, I bought Star Trek III again. It was still a videotape, but it was part of a set of all six of the original Trek movies, and they were in letterboxed widescreen. Plus, the packaging for all six, when lined up correctly, had a picture of the Enterprise  on the spines. Worth it.

A few years later, I bought Star Trek III again, this time on DVD.  The series was being released little by little in special 2-disc editions with tons of extras, and I was buying them as they came out.

Then, of course, a little over a year ago I bought Star Trek III again, this time as part of a Blu-Ray (BD) set of the six movies.

Here’s the thing: you probably don’t even like Star Trek III. I do, but I’ll admit that a big part of that is nostalgia.  It’s the 4th-best OG Trek movie (II, VI, IV, III, I, V, in case you were wondering), but it has a bunch of Vulcan stuff in it that I find (for the lack of a better word) fascinating. But that’s not even the real reason for me buying it four times.

The easiest answer is technology, of course. As I’ve mentioned, most homes don’t even have a VCR anymore, so it would be difficult to watch my VHS copies of Star Trek III. Plus, videotape degrades every time it’s played and even when it’s just sitting there, so eventually I wouldn’t be able to watch it anyway. DVD doesn’t degrade as quickly as VHS, nor is it susceptible to many of the same damagers (temperature, storage position), but it does still degrade. I can still play DVDs I’ve had for ten years, but will I be able to play them in twenty more? And that’s even assuming there’s hardware still available that can play them.

DVD is an upgrade from videotape in more than just longevity, though. The format allows for more information to be stored in less space, so better picture and sound quality account for some of the draw, but the extra features that will fit on a disc are a huge draw as well — even though many of those never get watched!

BD isn’t as huge a jump from DVD that DVD was from videotape.  I mean, to someone who knows all the ins, outs, and bitrates it might be, but to the end user it’s functionally the same. Cloverfield was the first movie I ever watched on Blu-Ray. I was expecting to blown away by the picture quality (because shakycam looks so much better in hi-def!), but what I really was blown away by was the sound.  I remember being amazed at how much clearer it was on my exact same equipment that I had been using for DVD.

When I first got a BD player, I determined I would not rebuy movies I already had on DVD unless it were something that really warranted it. “Warranted it” was defined in my head as “big action movies or things with awesome special effects.” I knew going in that I was going to rebuy the Matrix movies, for instance. And most superhero movies.  But I sure didn’t need a BD of When Harry Met Sally, because how does that help anything?  Oh, and of course anything new I’d buy would be on BD, because that just made sense.  It doesn’t sound like my system makes much sense, but it was very clear to me how it worked, and I could imagine no other way.

Until recently, anyway.  In the last several months I’ve changed my position somewhat. Now it makes sense to me that if it’s a movie I love, I should want to see it the best possible way. Again, that just makes sense, and it saddens me that I didn’t realize that until just now, but that’s how it goes sometimes.  I can still make other excuses as to why I want to buy a BD upgrade to a DVD I already have (“It’s so cheap!” being the biggest one), but I’m starting to settle on the “because I love this movie” reason without feeling bad about it.

Frankly, there are some upgrades I couldn’t wait to get because the DVD was so awful. I know there’s a name for this, but I get confused about all of that, so I’ll just explain it. Both my DVDs of 10 Things I Hate about You and Grosse Pointe Blank were formatted for a 4:3 TV, but letterboxed widescreen inside that 4:3 window. That means that I had black bars on the sides and the top, reducing the movie to less than a third of the available screen. Now, sure, there are zoom options available that will make it fill the screen, but it’s not the same and looks…not great. Neither of these movies fit the “big action” or “awesome special effects” bill. I love Grosse Pointe Blank (seriously, it’s probably in my All Time Top 5), but I only like 10 Things I Hate about You. When Grosse Pointe Blank was released in August of last year, I bought it the day of, even though it was pretty lousy as far as BDs go: NO extras at all!  But it fills the whole screen now, so that’s still an upgrade.  I didn’t like 10 Things well enough to spend a lot of money on it, but I found it at Target for $5 and that seemed about right. I haven’t watched the new copy yet, but I assume it, too, fills the whole screen.

I know everybody is all about digital only these days – I’ve gotten more than a few aghast eyerolls when I tell people I don’t like buying digital-only versions of movies. It’s not that I don’t like having digital versions, I certainly do. It’s that I don’t like having digital-only versions. “One good EMP will take out that whole collection!” I’m fond of saying.  (Yes, I know that a good EMP will wipe out anything I’d be able to play a BD on, too. Leave me alone.) There’s something about having an alphabetized collection of discs that makes a difference for me.  If it’s ones and zeroes, what do I own? If it’s a disc, I can loan it out, I can hold it, I can see it. I know that makes me old school/lame/a geezer, but that’s how it is.  I know the industry is moving towards digital, but I’m still looking forward to the next format I’ll be able to buy Star Trek III in.