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325. Child’s Play (#—)

Hosted by Andrew Quinn, Darren Mooney and Charlene Lydon, this week joined by special guest Bren Murphy, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them.

This week, Tom Holland’s Child’s Play.

Young Andy Barclay just wants one thing for his birthday: a Good Guy Doll. However, the coveted toy is outside his mother’s price range. Luckily, fate brings a discount doll into her hands, but things quickly become complicated. Andy finds himself at the centre of a series of mysterious deaths and is convinced that his beloved companion has taken on a life of his own, inheriting the spirit of the serial killer Charles Lee Ray, better known as “Chucky.”

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On How the “Chucky” Franchise Is About Being Both Mass Produced and Remaining One of a Kind…

I published a new In the Frame piece at The Escapist this evening. I’ve been watching the Child’s Play and Chucky franchise, and so it seemed like a good opportunity to delve into one of the more distinctive major horror franchises.

There’s an interesting tension to the Chucky franchise, one that plays out across the various entries. This is a horror series about a mass-produced piece of children’s entertainment, controlled by the demented soul of a monstrous serial killer. Much of the franchise is about the contrast between those two ideas: the factory-assembled doll and the distinctive spirit inside of it. It works well as a metaphor for the larger Chucky franchise as a whole, which has changed form repeatedly across its various incarnations, but somehow managed to retain a unique and consistent identity.

You can read the piece here, or click the picture below.

New Podcast! The Time is Now – Season 1, Episode 13 (“Force Majeure”)

It was a delight to stop by The Time is Now podcast again, particularly so soon after my last appearance on The X-Cast.

This week, I’m joining host and showrunner Kurt North to talk about one of my favourite episodes of the first season and a definite turning point in the evolution of Millennium. Force Majeure is one of the first times in the season that Millennium really lets its freak flag fly high. It is an episode that feels very different and distinct from what came before, eschewing the conventional “serial killer of the week” format in favour of something more abstract and eschatological.

This was a fun, broad discussion. As ever, you can listen to the episode here, subscribe to the podcast here, or click the link below.

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Star Trek: Voyager – Meld (Review)

This September and October, we’re taking a look at the 1995 to 1996 season of Star Trek, including Star Trek: Deep Space Nine and Star Trek: Voyager. Check back daily for the latest review.

Meld is a masterpiece. It is the best episode of Star Trek: Voyager to date. There is perhaps a reasonable argument to be made that it is one of the best episodes that the series ever produced. It is, in many respects, one of the strongest and most compelling exploration of themes that have been bubbling around in the background since Caretaker, offering a more thoughtful and insightful exploration of the nineties culture of fear and anxiety than anything involving the Kazon. It is certainly the best use of Tuvok that the show managed in its seven year run.

Meld is an episode about violence, in its many forms. It is a story about the horrors and arbitrariness of unprovoked violence, but also about the cycles of violence that such actions can create. In many respects, Meld is a more scathing criticism of the death penalty than Repentance, the seventh season episode explicitly written as a death penalty allegory. Unlike many of the surrounding episodes, Meld actually manages to make good use of the show’s Delta Quadrant setting to heighten the dramatic stakes.

"Where's your head at?"

“Where’s your head at?”

In a way, Meld represents a collision of the franchise’s past and future. Meld may be the last truly great Star Trek script written by Michael Piller, the writer who helped to define the modern iteration of the franchise with his work on the third season of Star Trek: The Next Generation. At the same time, it is also Mike Sussman’s first story credit on the franchise; Sussman would go on to join the show’s writing staff in its final season and would be one of the few writers to serve a full four seasons on Star Trek: Enterprise.

While the script for Meld is exceptionally well-written, the episode is elevated by a combination of factors. Cliff Bole does great work in bringing a very unconventional Star Trek episode to life. Meld could be seen as a continuation of the second season’s b-movie charms. Following on from the robot wars of Prototype and the body horror of Threshold, Meld plays like a Star Trek serial killer thriller. Bole’s directorial choices are consciously stylised, with delightful little touches like the band of light across Tuvok’s eyes when the body is discovered.

"Funny. I though Braga murdered Darwin last week."

“Funny. I thought Braga murdered Darwin last week.”

The episode also benefits from two mesmerising central performances from guest star Brad Dourif and Tim Russ. Russ was always one of the more under-utilised members of the Voyager ensemble, particularly when his “obligatory emotionally detached character” role was usurped by Seven of Nine in the fourth season. It is a shame, as Russ has a great deal of fun channeling Nimoy in his portrayal of the franchise’s first full-blooded Vulcan regular. Tuvok (and Russ) deserved more attention than the show afforded him.

That said, it is Brad Dourif who steals the show here. Lon Suder is one of the most fascinating guest characters in the history of the Star Trek franchise, and perhaps the only recurring character member of the Voyager crew who made any impression. A lot of that is down to the novelty of a fundamentally violent character in a Starfleet uniform, but Dourif is absolutely brilliant in the part. Dourif might just be the best guest star ever to appear in Voyager, and one of the franchise’s all-time greats.

Beta(zoid) male.

Beta(zoid) male.

However, perhaps the most striking aspect of Meld is the way that it feels very much of its time; it is an episode that firmly engages with a cultural context around Voyager. So much of Voyager seems lost in some sort of weird science-fiction neverland where the fifties and sixties never ended that a well-produced episode that feels of its time is a rarity. Meld is an episode that would feel strange ten years earlier or ten years later, but one which aligns perfectly with the wider context of 1996.

It is a overdue triumph from the Voyager team.

Smile!

Smile!

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Millennium – Force Majeure (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

Papa?

It’s begun.

Fire and ice.

Fire and ice.

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The X-Files – Roland (Review)

Roland is an episode that works much better than it really should. On the surface, it has many of the same problems as Born Again, to the point where it seems like “angry spirits” take up a disproportionate amount of Mulder and Scully’s case load. The filming and broadcast of Born Again and Roland in rapid succession probably points to the kind of pressure that Carter and his crew were under towards the end of the first year – both episodes play a lot better spaced out, and having the room to shuffle the production order on the two stories probably would have helped them seem less derivative.

And yet, Roland is elevated by a superb guest performance. Željko Ivanek isn’t the first stellar guest star that we’ve seen this year. Doug Hutchinson was perfectly cast as Tooms, and Brad Dourif did a marvellous job as Luther Lee Boggs. However, Ivanek might be the first guest star on The X-Files to elevate an otherwise bland episode through the sheer force of his performance.

It doesn't suck or blow...

It doesn’t suck or blow…

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The X-Files – Beyond the Sea (Review)

Ah, Beyond the Sea. My favourite episode of the first season. Maybe my favourite episode of the first two seasons, although I’ll confess that my opinion is prone to change. I’m in good company. Darin Morgan points to it as his favourite episode. Chris Carter has (again and again) singled it out as the best episode of the show’s first season – a piece of television that works “on every level.”

It’s easy to point out all the exceptional stuff in Beyond the Sea. Gillian Anderson is phenomenal, as we’ve come to suspect from spending half a season with her. David Duchovny is quite happily relegated to a supporting role, willing to allow his co-star room to breathe. Brad Dourif is sensational. Glenn Morgan and James Wong’s script is phenomenal. David Nutter’s direction is absolutely top-notch.

However, what always struck me about Beyond the Sea was just how incredibly confident and casual it was. It was bold and clever and provocative, but it was also tight and controlled. It’s brilliant, but it never feels like this isn’t a level of craft the show can’t consistently hit.

We are the dead...

We are the dead…

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Non-Review: Alien Resurrection (Theatrical Cut)

To celebrate the release of Prometheus this week, we’ll be taking a look at the other movies in the Alien franchise.

I always feel a little hint of trepidation when I return to a movie that I know I didn’t like the first time. Part of me is reluctant to watch it again, even for the purposes of examining what exactly went awry during production, while some small part of me holds out hope that the film might be redeemed – that I might somehow magically get it the second time around. So, completing a marathon rewatch of Ridley Scott’s Alien and the sequels it spawned, I left Alien: Resurrection until last.

Unfortunately, it was just as flawed and messy as I remember it.

Reflecting on his behaviour…

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