Paul Levinson's Infinite Regress

reviewing Black Doves; Dark Matter; Dept. Q; Detective Hole; Dexter: Resurrection; Fauda; For All Mankind; Foundation; Hijack; Memory of a Killer; MobLand; Outlander; Paradise; Presumed Innocent; Reacher; Severance; Silo; Slow Horses; Smoke; Star City; Star Trek: Strange New Worlds; Tehran;The: Day of the Jackal, Diplomat, Night Agent; Your Friends & Neighbors +books, films, music, podcasts, politics

George Santayana had irrational faith in reason - I have irrational faith in TV.

Showing posts with label Anne Winters. Show all posts

Friday, November 25, 2022

Why the "Flowers Never Bend" Performance in The Orville 3.9 Will Last Forever

This sweet soulful rendition by Gordon (Scott Grimes) and Charly (Anne Winters) of Simon & Garfunkel's "Flowers Never Bend with the Rainfall" this past July on the 9th episode of the 3rd Season of The Orville certainly wasn't the first vocal performance in a TV drama or comedy that wasn't a musical. It's not even the first sustained singing in a Star Trek or Star Trek inspired TV show. Uhura sang "Beyond Antares" in a memorable scene with Spock (in "The Conscience of the King,” episode 1.13 of the original Star Trek series in December 1966) and a couple of other times on the USS Enterprise on television back then.

But "Beyond Antares" was an original song, from the 23rd century, when it was heard for the first time in Star Trek, and therefore couldn't evoke any of the memories and feelings that Simon & Garfunkel's "Flowers" brought forth a few months ago, rooted in the dozens of times in millions of homes and cars in which Parsley, Sage, Rosemary and Thyme (the LP which contained "Flowers") was first released, heard, and loved in October 1966, enriched by the increasing number of people who would continue to hear that song in the years ahead, as Simon & Garfunkel, both together and individually, became and continued to be musical icons.

That was the main reason Grimes and Winters' beautiful performance really struck me the first time I heard and saw their performance in July. The other reason was the assembled group from The Orville, who were fortunate to hear this rendition in person. Not only who they were -- the species and role of their characters in the series -- but their expressions as Gordon and Charly sang for them were just perfect.

But this one minute and thirty seconds has really stayed with me since the summer. I now consider it easily the best musical performance in any science fiction on the screen. And I think I know why.

[Spoilers follow ... ]

It's because we learned, as season 3 progressed and concluded with its 10th episode, that Charly singing "my life will never end" had a meaning and resonance that Paul Simon couldn't have foreseen when he wrote those lyrics way back in the 1960s. In that 10th episode, Charly's life does bravely end. Her heroic sacrifice would have been hard to forget in any case. But making that sacrifice after singing that line was a masterstroke. Surely, Seth MacFarlane (and co-writers Brannon Braga and André Bormanis) must have known what would happen to Charly in the 10th episode when they decided to have her sing that song with that line in the 9th episode.

And I'd expect the actors in The Orville would have known about Charly's fate as well. Look at Kelly's face around 30 seconds into the video. She's standing next to Ed, both really enjoying the performance, smiling, but at 30 or so seconds she momentarily almost loses that smile. And that's right around the time Charly sings, "pretend, my life will never end". Coincidence? I don't think so. Was she directed to briefly lose that smile? I have no idea -- perhaps Adrianne Palicki, who plays Kelly so well, was consciously or unconsciously in touch with what she knew was going to happen to Charly, and was hit by that awful irony.

A beautiful, haunting song, brought to life by two beautiful voices and acoustic strings, strummed and plucked, in a scene that I predict will be seen and heard in the corridors of unique science fiction forever.

Renew The Orville!

Friday, July 29, 2022

The Orville 3.9: Why It's Become Better than any Current Star Trek

Having just watched The Orville 3.9, let me explain why I think The Orville is better than any current Star Trek series, as well as in the same league with The Original Series and The Next Generation.

It's because The Orville is not beholden to any prior or current Star Trek, not burdened with being true to all that was Star Trek before, and is Star Trek now. The Orville can plot its own course, take its own chances. And now that it's on Hulu not Fox, The Orville is also free fromall the network constraints, including length of episode and language.

Spoilers ahead ... ]

Episode 3.9 makes use of, and epitomizes all of those advantages. It was unafraid to kill off a semi-major character, Admiral Perry (played by Ted Danson) and a major, vibrant new character introduced just this season, Ensign Charly (played by Anne Winters). Charly was so impressive, she even sang some great harmony and lead when she and Gordon performed Simon and Garfunkel's "Flowers Never Bend with the Rainfall" in Grayson's family cabin. And the lyrics of this song -- "I'll continue to pretend, my life will never end" -- have a special, pang-in-your-heart significance, given Charly's extraordinary sacrifice at the end of the episode. This accentuates the ethical incandescence of Charly doing this to save the Kaylon, whom she understandably hated up until the episode before last.

The story line was also top-notch, for a bunch of interlocking reasons. "The Orville" has increasingly become a continuing story this season. Episode 3.9 picks up on the Moclans leaving the Union, and they form an alliance with the Krill against the Kaylon. And by the end of the episode, the Kaylon (impressed by Charly's sacrifice) are aligned with the Union. These seismic shifts are conducted with subtlety and apt motive. For example, the Moclan at first balk at giving the Krill co-command of their military, because the Krill leader is a woman. And we see the Kaylon leader very aware of the enormity of Charly's sacrifice.

The battle scenes were also outstanding, especially the spaceship dogfights between the Union and the Kaylon vs. the Moclan and the Krill. All of this was reminiscent of an extended scene from a movie like Star Wars, and was possible because "The Orville" as been given room to the breathe on Hulu, in this case, an hour and nineteen minutes.

Next week is the season 3 finale. I'm very much looking forward to that, and to many seasons to come.

Joel McKinnon and I discuss Star Trek, The Orville and much more

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Sunday, June 5, 2022

The Orville 3.1: Life and Death

Well, I said in my review of the fifth episode of Star Trek: Strange New Worlds that its attempts at humor paled in comparison to the funny stuff in The Orville. I watched the debut episode of the long awaited third season of The Orville last night, and although there was a funny line here and there, there wasn't much occasion to laugh in this episode which was as profound and philosophically probing as any episode I've ever seen in any Star Trek series.

[Spoilers ahead ... ]

The story picks up in the aftermath of the battle with the Kaylons that lit up the last part of the second season. Although Isaac the robot came through for The Orville in the end, he facilitated the attack in the first place, and was responsible for a lot human deaths. Most of the crew hates him, including Dr. Finn's older son Marcus and an ensign we haven't seen before, Charly (well played by Anne Winters). Even Captain Mercer has his concerns about reinstating Isaac, only Finn's younger son Ty still likes him, and eventually Marcus tells Isaac he'd like to see him dead. Isaac soon implements this suggestion, and commits robotic hara kiri.

This raised a whole series of important questions: Can someone or something which was never biologically alive commit suicide? But maybe Isaac was alive, which raises the question of what does it mean to be alive? Does life have to be biological? Such questions, of course, have long been addressed in Star Trek via Data (The Orville is most based on Star Trek: TNG). Every time Data's existence was in danger, the crew and we the viewers felt the cold grip of that possible loss, and it was very deep. Maybe life is at least in part in the eye of the beholder.

And speaking of life and death, it was good and sad to hear the late Norm Macdonald's voice again as Yaphit, the intelligent slime who was one of the funniest best characters in The Orville. The episode noted his loss at the very beginning, and that set the tone for a lot of what came after.

In case you haven't seen this episode but you nonetheless have read this far, I won't tell you whether The Orville's people are able to bring Isaac back to "life". I will tell you this was one excellent episode, and I'll be here with reviews of every episode on Hulu every week.

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"challenging fun"
- Entertainment Weekly

e-mail received from a reader:
Dear Paul, I just dreamed of airships flying between raindrops. I just returned from 2042 CE, where I sold my hardcover copy of The Plot to Save Socrates for seventy million Neo-Euros, because it had your response to this e-mail from way back in 2007 scotch-taped onto the inside of the cover. A Paul Levinson collector paid top Neo-Euro, because of the authentic archaic e-mail printout from you. It turns out that not many of your e-mails from before your tenure as CEO of HBO/Cinemax and terms as United Nations Secretary General will survive that far into the future. So, please respond to this e-mail, to help found my great-grandchildren's fortune. My Will will stipulate that they must share with your great grandchildren. Thanks! Tom

I of course happily replied...

42 reviews of The Plot to Save Socrates!