Interesting Torchwood news to break up a lazy Friday afternoon. Among the list of writers developing at least one script for the 10-episode Season Four is one of my favorite scriptwriters--Jane Espenson.
Whether you're a Torchwood fan who loves or loathes Russell T. Davies, you might be impressed with the other inhabitants of this year's writers' room. Among them are John Shiban, Doris Egan, and John Fay. If you're not familiar with these names, think of a few of the many series for which they've written at least one episode: Battlestar Galactica, Caprica, House, Supernatural, Buffy, and Torchwood.
I'll get back to Torchwood writer John Fay in just a moment.
One of the reasons I'm so impressed with Jane Espenson (beyond the fact that she was a great interview for the BSG book David Lavery, Hilary Robson, and I wrote a few years back, and I was so pleased she agreed to our request) is that she writes fantastic character-driven episodes. She also pays attention to detail. Although she still may be best known for her Buffy episodes, she wrote some of my favorite BSG episodes before moving on to Caprica (which is another reason why I wanted to include that series in my most recent book about SF TV heroes and villains).
In my research for the latter book, I came across an interesting quote from Espenson, who was discussing her love of Torchwood and the way that it compared with Caprica: "The way they own Jack's sexuality is very admirable and very much like what we're trying to do. The people around him have to be comfortable with it because he's comfortable with it. It's fantastic. Love Torchwood. Love it, love it, love it." That Espenson is part of Caprica, with its open and accepting take on same-sex marriage, bodes well for Captain Jack. It's a much more positive indicator than the "Starz' Spartacus" connection that his character may not fundamentally change.
It's also an indication that the dark nature of Torchwood will continue, as supported by Davies' recent comments about the story arc of Season Four being as dark as Children of Earth's. Espenson is a fan of darkness, as shown in Buffy and BSG, among others. However, her definition of drama is closer to mine. Bodies may indeed fall, but there's a good story reason for death and destruction.
Which brings me back to John Fay. When Torchwood Series One and Two or Janto fans realize he was a writer of Day Four, they may not be so happy with today's news. Fay's only Torchwood episodes are, indeed, two of CoE's five days. However, he also is the only current U.K. resident listed on the writers' room roster. With fan concerns that Season Four will be too Americanized, Fay's inclusion is especially important because he adds another British presence to the writers' room.
What struck me most from the list made public today is the combined strength of the writers' credits. I've liked much of these writers' previous work, and they create a highly experienced team. They seem to know their way around SF, especially dramatic, controversial plots and have helped flesh out some of the best SF characters on recent TV. I'm hopeful that they'll make the return of Captain Jack plausible, and while he may remain a very dark character, also might become even more layered and memorable, not merely more angst-ridden.
Friday, August 6, 2010
Thursday, July 8, 2010
Emmy 2010: Forward Thinking with a Fond Look Back
Not a lot of surprises in many categories this morning with the Emmy announcements, but yet I see a hopeful trend for anyone who’s ever been Other (and I’m not just referring to Lost’s Juliet). The Gleeks and Geeks got their due, too (although I’m sad that David Tennant’s Hamlet wasn’t recognized--too over the top for the Academy?). Still, Glee and Modern Family did extremely well for new series, and Lost received enough attention to satisfy my six-season love affair. Everyone nominated should be congratulated, of course, but here are the nods that had me smiling the widest.
(So) Long Lost Loves
If only Michael Emerson and Terry O’Quinn wouldn’t have to continue to face off now that they’re away from the island. Just give them each an Emmy and be done with it. I couldn’t choose between them, and I’m afraid voters won’t be able to, either—resulting in neither taking home a well-deserved award for this season’s weirdest buddy TV.
In “The End,” it was all about Jack. He began and ended our story, and Matthew Fox ended what may be his stint of network TV acting with a nomination. As a leader who was sometimes difficult to follow but nevertheless redeemed my faith in network TV, Jack should be an award-winning role.
Director Jack Bender and composer Michael Giacchino also received nominations, but theirs shouldn’t be buried in the “also” category or relegated to those awards given while people head to the kitchen. Their stellar work enhanced my enjoyment of Lost to the point where I’ll never look at another TV series the same way. Their work taught me the importance of how the story is told, where the camera takes me—and when, and which emotions are being plucked like Lost’s harp.
Perhaps I’m not with the majority of Lost fans, but I loved “The End.” I cried—and I’m not a crier (and I didn’t shed tears over those Lost six years because the story didn’t end as I anticipated). Thank you, Darlton—and congrats on a well-deserved Emmy nomination for having the last word.
Lost did well in many categories, from the technical to the biggie—Outstanding Drama. How fitting that a series relying on details and diversity ended up receiving nominations for direction, editing, sound, music, writing, and acting—and I’m probably leaving out a few categories. Well done.
All the Others
It’s cool to like musicals. To keep using a word like “cool.” To buck stereotypes. To get mainstream recognition in a positive way. And maybe to get a few more viewers to pay attention to characters and actors who haven’t been in the spotlight quite so much, but should be.
I’m pleased that Modern Family received so many nominations, even if it and Glee will also face off in several categories. I’m especially happy that Jesse Tyler Ferguson was nominated. I adore Mitchell, even as I want to see him unwind a bit more next season.
Neil Patrick Harris got (only?) two.
What would an awards show be without a nomination for Ian McKellen?
Maybe Emmy will be singing a new tune after Glee gets more recognition for its first season. The odds are good, with so many nominations: Leah Michelle (lead actress), Matthew Morrison (lead actor), Chris Colfer (supporting actress—unfortunately in a category along with Neil Patrick Harris and Jesse Tyler Ferguson), Jane Lynch (supporting actress), and plenty of noms for writers, designers, directors, creators, and guests (an especially big Yay for Kristin Chenoweth). The series also has been nominated as Outstanding Comedy.
Some people may grouse that these nominations are for comedy, a lighter category than Drama with a capital D. I disagree, in light of memorable poignant moments, many by Colfer. Glee is making Main Street grudgingly agree that it’s OK to be who we are (and now “Single Ladies” is stuck in my head for the rest of the day, thank you very much).
Awards shows come and go, and today’s trend is tomorrow’s quaint flashback. Still, maybe this September’s statues will recognize the stature of those who, like Lost, Modern Family, and Glee, pave the way in so many diverse directions for the storytellers of seasons to come.
(So) Long Lost Loves
If only Michael Emerson and Terry O’Quinn wouldn’t have to continue to face off now that they’re away from the island. Just give them each an Emmy and be done with it. I couldn’t choose between them, and I’m afraid voters won’t be able to, either—resulting in neither taking home a well-deserved award for this season’s weirdest buddy TV.
In “The End,” it was all about Jack. He began and ended our story, and Matthew Fox ended what may be his stint of network TV acting with a nomination. As a leader who was sometimes difficult to follow but nevertheless redeemed my faith in network TV, Jack should be an award-winning role.
Director Jack Bender and composer Michael Giacchino also received nominations, but theirs shouldn’t be buried in the “also” category or relegated to those awards given while people head to the kitchen. Their stellar work enhanced my enjoyment of Lost to the point where I’ll never look at another TV series the same way. Their work taught me the importance of how the story is told, where the camera takes me—and when, and which emotions are being plucked like Lost’s harp.
Perhaps I’m not with the majority of Lost fans, but I loved “The End.” I cried—and I’m not a crier (and I didn’t shed tears over those Lost six years because the story didn’t end as I anticipated). Thank you, Darlton—and congrats on a well-deserved Emmy nomination for having the last word.
Lost did well in many categories, from the technical to the biggie—Outstanding Drama. How fitting that a series relying on details and diversity ended up receiving nominations for direction, editing, sound, music, writing, and acting—and I’m probably leaving out a few categories. Well done.
All the Others
It’s cool to like musicals. To keep using a word like “cool.” To buck stereotypes. To get mainstream recognition in a positive way. And maybe to get a few more viewers to pay attention to characters and actors who haven’t been in the spotlight quite so much, but should be.
I’m pleased that Modern Family received so many nominations, even if it and Glee will also face off in several categories. I’m especially happy that Jesse Tyler Ferguson was nominated. I adore Mitchell, even as I want to see him unwind a bit more next season.
Neil Patrick Harris got (only?) two.
What would an awards show be without a nomination for Ian McKellen?
Maybe Emmy will be singing a new tune after Glee gets more recognition for its first season. The odds are good, with so many nominations: Leah Michelle (lead actress), Matthew Morrison (lead actor), Chris Colfer (supporting actress—unfortunately in a category along with Neil Patrick Harris and Jesse Tyler Ferguson), Jane Lynch (supporting actress), and plenty of noms for writers, designers, directors, creators, and guests (an especially big Yay for Kristin Chenoweth). The series also has been nominated as Outstanding Comedy.
Some people may grouse that these nominations are for comedy, a lighter category than Drama with a capital D. I disagree, in light of memorable poignant moments, many by Colfer. Glee is making Main Street grudgingly agree that it’s OK to be who we are (and now “Single Ladies” is stuck in my head for the rest of the day, thank you very much).
Awards shows come and go, and today’s trend is tomorrow’s quaint flashback. Still, maybe this September’s statues will recognize the stature of those who, like Lost, Modern Family, and Glee, pave the way in so many diverse directions for the storytellers of seasons to come.
Friday, June 25, 2010
Summer Reading 2011: More Barrowman Books
The Barrowman sibs are at it again. According to today's announcement from book publisher, Buster Books (an imprint of Michael O’Mara), the first of a hoped-for series of children’s books will be published next summer. Embedded in the announcement is notice of an upcoming Torchwood tie-in penned (probably more accurately Skyped and word processed) by, you guessed it, the Barrowmans.
I’ve been waiting for this announcement for more than a year, ever since I asked John Barrowman at Torchsong about any future writing projects the duo might have in the works. At that time (and apparently to his sister’s surprise), he described the series of children’s books they planned to write, as well as a possible Torchwood novel that might, as Carole later hinted, include a love interest (or two) for Captain Jack.
The timing of today’s announcement makes the most of recent announcements about Torchwood’s new season as a Starz/BBC/BBC Worldwide collaboration and the Barrowmans’ Q&A session with follow-up book signing yesterday in London. Generating excitement about future projects—as well as expanding the family entertainment franchise—is certainly one of John Barrowman’s strengths. Carole Barrowman’s ardent Facebook following and fan-friendly presence at conventions and signings bring even more prospective readers to the forthcoming books, so much so that the sibs are likely to continue their collaborative writing success long after a single project (even one as notorious as Torchwood) eventually ends.
As an English professor, I take special pride that “one of us” is gaining international attention for writing. Too many well-qualified fiction writers don’t get the opportunity to reach a widespread audience, especially amid the wildly fluctuating fortunes of today’s publishing industry. I also suspect that, if Carole Barrowman weren’t such a talented writer, her brother’s multidirectional career might not include so many books. For those of us who would perish without writing, even if it means limited or no publication, Carole’s success is invigorating and refreshing (not to mention well deserved). You go, girl!
As a Torchwood fan, I’m intrigued by the notion of John Barrowman directing Captain Jack’s fate. He’s mentioned that he’s an actor who follows what the script demands of his character (even if he might personally question it, as a “Children of Earth” Torchwood magazine interview heavily implied). During Torchsong last year, he suggested he’d like to see more of Captain Jack’s backstory, even within his time at Torchwood. Here’s the actor’s chance to tell us how he sees this character and what he would do if given the chance to tell a story. Although to a certain extent that happened with the comic “Selkie,” a novel gives a lot more time and space for character development. I suspect that the children’s novels will be published first and take precedence, but I hope that the publisher knows there’s a waiting adult audience for the Barrowmans’ Torchwood tie-in, too.
Congratulations to the Barrowmans. Even if I’m just a kid at heart, I know what’s on my summer reading list for 2011.
I’ve been waiting for this announcement for more than a year, ever since I asked John Barrowman at Torchsong about any future writing projects the duo might have in the works. At that time (and apparently to his sister’s surprise), he described the series of children’s books they planned to write, as well as a possible Torchwood novel that might, as Carole later hinted, include a love interest (or two) for Captain Jack.
The timing of today’s announcement makes the most of recent announcements about Torchwood’s new season as a Starz/BBC/BBC Worldwide collaboration and the Barrowmans’ Q&A session with follow-up book signing yesterday in London. Generating excitement about future projects—as well as expanding the family entertainment franchise—is certainly one of John Barrowman’s strengths. Carole Barrowman’s ardent Facebook following and fan-friendly presence at conventions and signings bring even more prospective readers to the forthcoming books, so much so that the sibs are likely to continue their collaborative writing success long after a single project (even one as notorious as Torchwood) eventually ends.
As an English professor, I take special pride that “one of us” is gaining international attention for writing. Too many well-qualified fiction writers don’t get the opportunity to reach a widespread audience, especially amid the wildly fluctuating fortunes of today’s publishing industry. I also suspect that, if Carole Barrowman weren’t such a talented writer, her brother’s multidirectional career might not include so many books. For those of us who would perish without writing, even if it means limited or no publication, Carole’s success is invigorating and refreshing (not to mention well deserved). You go, girl!
As a Torchwood fan, I’m intrigued by the notion of John Barrowman directing Captain Jack’s fate. He’s mentioned that he’s an actor who follows what the script demands of his character (even if he might personally question it, as a “Children of Earth” Torchwood magazine interview heavily implied). During Torchsong last year, he suggested he’d like to see more of Captain Jack’s backstory, even within his time at Torchwood. Here’s the actor’s chance to tell us how he sees this character and what he would do if given the chance to tell a story. Although to a certain extent that happened with the comic “Selkie,” a novel gives a lot more time and space for character development. I suspect that the children’s novels will be published first and take precedence, but I hope that the publisher knows there’s a waiting adult audience for the Barrowmans’ Torchwood tie-in, too.
Congratulations to the Barrowmans. Even if I’m just a kid at heart, I know what’s on my summer reading list for 2011.
Friday, June 18, 2010
Captain Jack Gets a Tan
While surfing several news sites this morning in the name of "research" for a couple of new projects, I happened upon two interesting tidbits about Torchwood's upcoming season. Both indicate that the new production will be based much more in the U.S. than anywhere else, whether LA is one of several international locations or simply dressed as global destinations.
EW's Ausiello reported on the 16th that "the show will shoot a chunk of the season in Los Angeles. Captain Jack's going Hollywood!"
John Barrowman reportedly told a U.K. magazine that "...I'm now going to do Torchwood in the States. I'll have to spend six months there."
Six months does indeed sound like a "chunk," given that the new season has 10 episodes. The series seems to be an LA-based production, although I, and undoubtedly lots of other fans, still hope that Cardiff makes at least a guest appearance. One of the reasons I loved Torchwood was its Welshness. I feel worse, however, that the lovely and talented crew in Cardiff have one less series to provide them work, even as I envy the U.S. crew who now will get their shot at the series.
I'm also going to miss the coat, but I don't want Captain Jack to die of sunstroke, even if he'll come back. Good thing he can tan to his heart's content without worrying about permanent skin damage. I wonder if he'll have tan lines.
So the recent news is gradually filling in the blanks of the initial announcement, but it is sure to disappoint long-time fans who want Torchwood Made in Wales.
My next assumption is that filming will start post-panto early in 2011 and the series have a June premiere. Perhaps, while Captain Jack's alter-ego is in the U.S., he'll schedule a concert date or two--or a fan convention somewhere midcountry where his fans can hear him sing.
Just a thought. If I find anything else Torchworthy, I'll be sure to post it here.
EW's Ausiello reported on the 16th that "the show will shoot a chunk of the season in Los Angeles. Captain Jack's going Hollywood!"
John Barrowman reportedly told a U.K. magazine that "...I'm now going to do Torchwood in the States. I'll have to spend six months there."
Six months does indeed sound like a "chunk," given that the new season has 10 episodes. The series seems to be an LA-based production, although I, and undoubtedly lots of other fans, still hope that Cardiff makes at least a guest appearance. One of the reasons I loved Torchwood was its Welshness. I feel worse, however, that the lovely and talented crew in Cardiff have one less series to provide them work, even as I envy the U.S. crew who now will get their shot at the series.
I'm also going to miss the coat, but I don't want Captain Jack to die of sunstroke, even if he'll come back. Good thing he can tan to his heart's content without worrying about permanent skin damage. I wonder if he'll have tan lines.
So the recent news is gradually filling in the blanks of the initial announcement, but it is sure to disappoint long-time fans who want Torchwood Made in Wales.
My next assumption is that filming will start post-panto early in 2011 and the series have a June premiere. Perhaps, while Captain Jack's alter-ego is in the U.S., he'll schedule a concert date or two--or a fan convention somewhere midcountry where his fans can hear him sing.
Just a thought. If I find anything else Torchworthy, I'll be sure to post it here.
Monday, June 7, 2010
The Return of 'Torchwood': The Good, The Bad, and the Snuggly
Torchwood is returning. Captain Jack will be back. My TV-loving heart swells with happiness at the announcement, but I also have lots of questions now that I've read maybe 15 of the more than 100 articles crowding cyberspace with the news. In short, here's my "oh, joy!--hey, wait a minute" response to what's been reported thus far. [My responses to articles published later this evening are in brackets.]
The Good
Torchwood will be back with 10 new episodes to be broadcast in the U.S. and U.K. in summer 2011.
Jack and Gwen will be "appearing" in the new series. (Also see Q1 in The Bad.)
Starz set its most recent broadcast standards for nudity, sex, and violence with Spartacus. I take it that a little naked hide and seek won't be out of bounds, and Jack's lovely derriere won't need to be filmed in long shot or require anything to be pixilated.
A stable of writers with 10 episodes to develop suggests more stand-alone stories instead of one massive event, a la "Children of Earth."
[The Hollywood Reporter and Variety interviews/quotations indicate that one massive story will be the focus of the 10 episodes. Nevertheless, as Lost fans know, you can have an overarching story while still having individually themed episodes. Even with a singular main story, 10 hours provides ample time for character development and those little "quiet moments" that make Torchwood--or any good series--worth watching.]
BBC Wales is listed as one of the partners (BBC Worldwide and Starz being the other two). Even if the "global" stories and reported "filming in the U.S. and around the world" (according to The Guardian) indicate that Torchwood won't be exclusively a Welsh series, the continuing presence of Eve Myles and BBC Wales indicates that Cardiff may be at least a potential filming location.
[The latest U.S. reports, again from The Hollywood Reporter and Variety, clearly state that the story will mostly take place in the U.S. Here's the part I'd love to have explained ad nauseum--let's just call me a stickler for detail--"A lot of this story takes place in the U.S. as well with several characters that are in the U.S. intelligence forces and end up teaming up with Gwen and Captain Jack to deal with the situation at hand." (Starz chief, Chris Albrecht, in The Hollywood Reporter). Will the story mostly revolve around those U.S. intelligence forces--presumably the new roles to be cast--with sporadic appearances by Jack and Gwen from Cardiff? Will Jack be a liaison with those special forces--presumably to have a bigger role in the U.S.-based series--while Gwen stays at home with Torchwood and the baby? In a post-CoE world, having Jack be absent from Cardiff most of the time would make sense, or at least as much sense as his feeling comfortable returning to Earth after that moving farewell speech.]
A U.S.-U.K. partnership can be an innovative collaboration that keeps our favorite SF series on the air without the creation of separate (but unlikely to be equal) series. (Have I mentioned that I'm nervous about a U.S. Being Human?)
[Still thinking that Torchwood back on BBC One (not Two or Three) is a good thing.]
Dark drama that surpasses Cardiff's Rift as the major source of conflict or action opens Torchwood to a multitude of adult stories that can allow characters to grow. Captain Jack traveled millenia of years and miles to get to Cardiff. I won't be upset if his road trips are expanded beyond London.
[Whatever you think of CoE, Torchwood really did need to be expanded beyond "alien/monster of the week" or "aliens come to Earth for sex" stories. I agree with RTD on that. Presumably writers can create compelling new stories that expand or create depth to lead characters' roles without killing off 60% of the regular cast.]
A few days ago Amazon listed two new Torchwood audio stories (new radio dramas?) with a 2011 release date, backed up almost a year from the original date. Possibly these stories will provide "filler" before the new TV episodes begin, much as the radio dramas leading up to CoE did in 2009. (Also see Q8 in The Bad.)
Did I mention that Torchwood is returning in a year?
The Bad
Let my fan paranoia come out to play for a few minutes. I withhold judgment until after the first episode is broadcast next summer, but I have a few questions which might not yet be able to be answered (pending casting and script development). I don't know that anything will be "Bad," but these are my concerns.
1. I worry about the word "appearing" that so far has been listed in lots of articles. Does that mean "starring"--or is it more along the lines of "getting the new series started and then disappearing for several episodes"?
[In light of more recent articles this evening, I'm not too sure how much we'll be seeing of Eve Myles. At least it seems like John Barrowman will have a potentially larger role in the new episodes--which, RTD insisted in The Hollywood Reporter--is not a reboot or a new version. So...it's not a Battlestar Galactica (or, shudder, a Bionic Woman) or a Caprica, but is it more of a CSI: Miami? After all, RTD's also quoted as saying "We're just moving countries." Still confused. Sorry.]
2. Where will Torchwood be based--in the U.S. or U.K.?
[U.S.]
Is Torchwood still a Welsh series with a broader story base (and more money) to allow those international destinations?
[Maybe Cardiff can be one of the many international locations? Still holding on to that BBC Wales-as-partner concept.]
3. Just how many new cast members are we talking?
[Two regulars and some recurring supporting roles.]
Granted, after the last team's slaughter, Torchwood needs to do some serious recruitment, but I still hope that Captain Jack gets lots of air time. Convince me that I can get my Barrowman fix, Starz.
[Still waiting to be convinced.]
4. How much Earth time has elapsed since "Children of Earth"? A returning Torchwood might need to be set in a different time frame. (After all, filming of the latest season ended in late 2008, and it would seem that a summer 2011 target date indicates an early 2011 start date. I'm not suggesting that anyone is looking any older, but none of us is any younger, either.)
5. Starz brings more cash to the BBC table, but will it Americanize a British TV series or allow the returning creators to carry on as before?
[Perhaps the answer is "both."]
6. Are we saying goodbye to Torchwood's link, however peripheral in the Age of Moffat, to Doctor Who?
7. Do international filming locales indicate more than one new Hub, or in a post-CoE world, will Torchwood's higher profile simply allow its team to get involved in global events?
[Again, possibly both--or at least one major new "hub" of operations with all those American intelligence agents.]
8. Will the new audio stories involve only those actors who survived CoE? I'm selfish. I want more Ianto, and Gareth David-Lloyd has a fantastic radio/audio book voice.
The Snuggly
Sex doesn't seem to be a problem for Starz. Let's see how omnisexual Jack can really be.
[Still seems to be an emphasis in all the newer articles. "Adult" and "omnisexual" come up a lot. Unless other new characters are also omnisexual--always a possibility--it sounds like the good Captain won't have to say bi bye.]
I loved the relationships among Torchwood's original team. Here's hoping that a core group of characters we can care about are given the chance to develop friendships and romances. I vote for character development in addition to (not in lieu of) global plots with higher stakes. The people who createth and initially giveth also proved they can quite happily taketh away. I'm still hoping for snuggly and characters I'd like to snuggle with.
All in all, I'll have to say Good is winning
[but I'm still curious how much we'll see of Jack and Gwen, in or out of Cardiff].
I'm still a Torchwood fan,* and once I expand my cable to include Starz, I'll be watching in summer 2011. I just hope someone spoils us a little more about the direction the series will take. [Silly me. That didn't take long. But I still want more.] Like the Hub, I was gutted by CoE, but I'm glad Captain Jack's and Torchwood's story doesn't end there.
(*I was and always will be a Janto lover, too. I don't think those categories have to be mutually exclusive. I'm all for bringing the dead back to life, and SF can be a wonderfully mysterious place full of possibilities. After all, until an hour ago, I thought Torchwood was all but buried. My fondness for Jack doesn't exclude that for Janto or Ianto. I'm going to tune in for that first episode and go from there.)
The Good
Torchwood will be back with 10 new episodes to be broadcast in the U.S. and U.K. in summer 2011.
Jack and Gwen will be "appearing" in the new series. (Also see Q1 in The Bad.)
Starz set its most recent broadcast standards for nudity, sex, and violence with Spartacus. I take it that a little naked hide and seek won't be out of bounds, and Jack's lovely derriere won't need to be filmed in long shot or require anything to be pixilated.
A stable of writers with 10 episodes to develop suggests more stand-alone stories instead of one massive event, a la "Children of Earth."
[The Hollywood Reporter and Variety interviews/quotations indicate that one massive story will be the focus of the 10 episodes. Nevertheless, as Lost fans know, you can have an overarching story while still having individually themed episodes. Even with a singular main story, 10 hours provides ample time for character development and those little "quiet moments" that make Torchwood--or any good series--worth watching.]
BBC Wales is listed as one of the partners (BBC Worldwide and Starz being the other two). Even if the "global" stories and reported "filming in the U.S. and around the world" (according to The Guardian) indicate that Torchwood won't be exclusively a Welsh series, the continuing presence of Eve Myles and BBC Wales indicates that Cardiff may be at least a potential filming location.
[The latest U.S. reports, again from The Hollywood Reporter and Variety, clearly state that the story will mostly take place in the U.S. Here's the part I'd love to have explained ad nauseum--let's just call me a stickler for detail--"A lot of this story takes place in the U.S. as well with several characters that are in the U.S. intelligence forces and end up teaming up with Gwen and Captain Jack to deal with the situation at hand." (Starz chief, Chris Albrecht, in The Hollywood Reporter). Will the story mostly revolve around those U.S. intelligence forces--presumably the new roles to be cast--with sporadic appearances by Jack and Gwen from Cardiff? Will Jack be a liaison with those special forces--presumably to have a bigger role in the U.S.-based series--while Gwen stays at home with Torchwood and the baby? In a post-CoE world, having Jack be absent from Cardiff most of the time would make sense, or at least as much sense as his feeling comfortable returning to Earth after that moving farewell speech.]
A U.S.-U.K. partnership can be an innovative collaboration that keeps our favorite SF series on the air without the creation of separate (but unlikely to be equal) series. (Have I mentioned that I'm nervous about a U.S. Being Human?)
[Still thinking that Torchwood back on BBC One (not Two or Three) is a good thing.]
Dark drama that surpasses Cardiff's Rift as the major source of conflict or action opens Torchwood to a multitude of adult stories that can allow characters to grow. Captain Jack traveled millenia of years and miles to get to Cardiff. I won't be upset if his road trips are expanded beyond London.
[Whatever you think of CoE, Torchwood really did need to be expanded beyond "alien/monster of the week" or "aliens come to Earth for sex" stories. I agree with RTD on that. Presumably writers can create compelling new stories that expand or create depth to lead characters' roles without killing off 60% of the regular cast.]
A few days ago Amazon listed two new Torchwood audio stories (new radio dramas?) with a 2011 release date, backed up almost a year from the original date. Possibly these stories will provide "filler" before the new TV episodes begin, much as the radio dramas leading up to CoE did in 2009. (Also see Q8 in The Bad.)
Did I mention that Torchwood is returning in a year?
The Bad
Let my fan paranoia come out to play for a few minutes. I withhold judgment until after the first episode is broadcast next summer, but I have a few questions which might not yet be able to be answered (pending casting and script development). I don't know that anything will be "Bad," but these are my concerns.
1. I worry about the word "appearing" that so far has been listed in lots of articles. Does that mean "starring"--or is it more along the lines of "getting the new series started and then disappearing for several episodes"?
[In light of more recent articles this evening, I'm not too sure how much we'll be seeing of Eve Myles. At least it seems like John Barrowman will have a potentially larger role in the new episodes--which, RTD insisted in The Hollywood Reporter--is not a reboot or a new version. So...it's not a Battlestar Galactica (or, shudder, a Bionic Woman) or a Caprica, but is it more of a CSI: Miami? After all, RTD's also quoted as saying "We're just moving countries." Still confused. Sorry.]
2. Where will Torchwood be based--in the U.S. or U.K.?
[U.S.]
Is Torchwood still a Welsh series with a broader story base (and more money) to allow those international destinations?
[Maybe Cardiff can be one of the many international locations? Still holding on to that BBC Wales-as-partner concept.]
3. Just how many new cast members are we talking?
[Two regulars and some recurring supporting roles.]
Granted, after the last team's slaughter, Torchwood needs to do some serious recruitment, but I still hope that Captain Jack gets lots of air time. Convince me that I can get my Barrowman fix, Starz.
[Still waiting to be convinced.]
4. How much Earth time has elapsed since "Children of Earth"? A returning Torchwood might need to be set in a different time frame. (After all, filming of the latest season ended in late 2008, and it would seem that a summer 2011 target date indicates an early 2011 start date. I'm not suggesting that anyone is looking any older, but none of us is any younger, either.)
5. Starz brings more cash to the BBC table, but will it Americanize a British TV series or allow the returning creators to carry on as before?
[Perhaps the answer is "both."]
6. Are we saying goodbye to Torchwood's link, however peripheral in the Age of Moffat, to Doctor Who?
7. Do international filming locales indicate more than one new Hub, or in a post-CoE world, will Torchwood's higher profile simply allow its team to get involved in global events?
[Again, possibly both--or at least one major new "hub" of operations with all those American intelligence agents.]
8. Will the new audio stories involve only those actors who survived CoE? I'm selfish. I want more Ianto, and Gareth David-Lloyd has a fantastic radio/audio book voice.
The Snuggly
Sex doesn't seem to be a problem for Starz. Let's see how omnisexual Jack can really be.
[Still seems to be an emphasis in all the newer articles. "Adult" and "omnisexual" come up a lot. Unless other new characters are also omnisexual--always a possibility--it sounds like the good Captain won't have to say bi bye.]
I loved the relationships among Torchwood's original team. Here's hoping that a core group of characters we can care about are given the chance to develop friendships and romances. I vote for character development in addition to (not in lieu of) global plots with higher stakes. The people who createth and initially giveth also proved they can quite happily taketh away. I'm still hoping for snuggly and characters I'd like to snuggle with.
All in all, I'll have to say Good is winning
[but I'm still curious how much we'll see of Jack and Gwen, in or out of Cardiff].
I'm still a Torchwood fan,* and once I expand my cable to include Starz, I'll be watching in summer 2011. I just hope someone spoils us a little more about the direction the series will take. [Silly me. That didn't take long. But I still want more.] Like the Hub, I was gutted by CoE, but I'm glad Captain Jack's and Torchwood's story doesn't end there.
(*I was and always will be a Janto lover, too. I don't think those categories have to be mutually exclusive. I'm all for bringing the dead back to life, and SF can be a wonderfully mysterious place full of possibilities. After all, until an hour ago, I thought Torchwood was all but buried. My fondness for Jack doesn't exclude that for Janto or Ianto. I'm going to tune in for that first episode and go from there.)
Friday, May 14, 2010
In the Wake of LOST
Several months ago, at the beginning of ABC’s fall season, I truly liked what I saw of FlashForward. Even the title promised that the new series learned something from old favorite LOST’s flashes forward, backward, and sideways. The pilot episode intrigued me, and if the lead character was more protagonist than true hero, I could live with that. An Oceanic airline advert even popped up on screen, and I started comparing kangaroos with polar bears.
Unfortunately, I should’ve been equating Oceanic 815’s crash to the new series; it would’ve been a more apt predictor of FlashForward’s fate. Today came the announcement that FlashForward is dead. I wonder what the actors in that pilot episode saw in their flashforwards six months ago.
One of the highlights of FlashForward has been Dominic Monaghan’s Simon, a decidedly uncuddly character, unlike the actor’s previously high-profile roles. Simon is calculating, cold brilliance. If ratings-conscious networks and producers learn anything from FlashForward, may it be that Dominic Monaghan is an actor to watch.
FlashForward dived into TV’s murky waters at a time when ABC began seriously fishing for a successor to LOST, whose May 23 “The End”-ing follows FlashForward’s funeral by a few days. LOST’s finale is a wake for the no-longer-flashing-anywhere series but also a celebration of its transcendence into another elevated dimension of television. It now becomes one of those great, often-lamented series that changed TV.
With the loss of LOST and FlashForward, ABC steps back from the ledge that is original science fiction programming. It still has V, a far better remake of a 1980s miniseries, but that’s not a risk-taking series like LOST (such as inserting a mythology episode with only a handful of hours left) or an innovative story, again like LOST or its struggling wannabe FlashForward. Fans often joke that the dead can come back to life because anything is possible in science fiction. I don’t want to see LOST zombies or clones clogging the networks, but I truly hope that thought-provoking, character-driven, action-laced SF can rise from the dead on network TV.
Unfortunately, I should’ve been equating Oceanic 815’s crash to the new series; it would’ve been a more apt predictor of FlashForward’s fate. Today came the announcement that FlashForward is dead. I wonder what the actors in that pilot episode saw in their flashforwards six months ago.
One of the highlights of FlashForward has been Dominic Monaghan’s Simon, a decidedly uncuddly character, unlike the actor’s previously high-profile roles. Simon is calculating, cold brilliance. If ratings-conscious networks and producers learn anything from FlashForward, may it be that Dominic Monaghan is an actor to watch.
FlashForward dived into TV’s murky waters at a time when ABC began seriously fishing for a successor to LOST, whose May 23 “The End”-ing follows FlashForward’s funeral by a few days. LOST’s finale is a wake for the no-longer-flashing-anywhere series but also a celebration of its transcendence into another elevated dimension of television. It now becomes one of those great, often-lamented series that changed TV.
With the loss of LOST and FlashForward, ABC steps back from the ledge that is original science fiction programming. It still has V, a far better remake of a 1980s miniseries, but that’s not a risk-taking series like LOST (such as inserting a mythology episode with only a handful of hours left) or an innovative story, again like LOST or its struggling wannabe FlashForward. Fans often joke that the dead can come back to life because anything is possible in science fiction. I don’t want to see LOST zombies or clones clogging the networks, but I truly hope that thought-provoking, character-driven, action-laced SF can rise from the dead on network TV.
Friday, April 23, 2010
Finding a New Home for Torchwood's Captain Jack
Is Fox’s loss ultimately viewers’ gain? Within the past 24 hours, BBC Worldwide announced that plans for 13 episodes of Torchwood on Fox have been scrapped. According to the press release, other networks may still pick up the series for production in the U.S.
So, Torchwood fans, should we rejoice that the Big Bad Americanized TW may be dead? Fans feared that the Fox version would strip Captain Jack of, well, stripping, or having sex, or making sexual innuendo inappropriate for conservative audiences. Is it good news that this network now won’t get their claws into our beloved Captain Jack? Or should we mourn the loss of a series that’s made the news as much for its controversy as its intriguing characters?
As a cynic reading the news this morning, I believe the U.S. version is deader than Ianto. Although a new (or re-imagined) series technically can be pitched, piloted, and produced at any time of the year, the reality is that U.S. mainstream networks still tend to follow the old mindset of a spring pilot season leading to autumn premieres, with January as a backup plan against fall misfires. That’s not a good mindset for a U.S. Torchwood series looking for a new home in 2010. By the time another network can pick up the series, the momentum created by “Children of Earth” will be even longer gone.
Of course, maybe this latest announcement will quickly lead to a follow-up by another network that has already agreed to produce the series—or would be willing to do so. Perhaps. But was Fox really BBC Worldwide’s first choice if there was a queue?
Fans who still want the series to go on, even with a new cast, worry that BBC Wales has teased forthcoming plans for Torchwood but then left the series off its roster of big-name programming planned for continuing production in Cardiff. Let’s face it—if BBC really loved Torchwood as much as we do, they likely would have commissioned more episodes sooner after last summer’s miniseries. Budget issues, Russell T Davies’ cross-planet move, and probably many other factors we’ll never know compound the conundrum about when or if Torchwood should return.
As a long-time Torchwood fan, yes, I would love to see the series return, but I want at least 50 percent of the original cast. (Considering that only two original characters survive, that shouldn’t be too much of a challenge.) I want to see Cardiff, even if it masquerades as London sometimes. I want to see Captain Jack in action, every way imaginable, and if writers want to broaden my imagination, that’s OK with me.
Sadly, I doubt if a new Torchwood will provide all that on screen in the next year. I haven’t given up hope yet for a series, but I’m becoming more cynical (realistic?) that it may not happen.
Torchwood is still an interesting premise for a series, but I hope it doesn’t take nearly 30 years to re-imagine it in a viable on-screen format (think BSG). If it doesn’t go to series, here’s hoping that others will rescue Captain Jack and convince him to revisit Earth by 2011. As fanfiction and conventions have shown, there’s an international Torchwood fandom waiting for new stories—in print or on screen. Perhaps someone will realize that and creatively find an answer to the question of what to do with Torchwood.
So, Torchwood fans, should we rejoice that the Big Bad Americanized TW may be dead? Fans feared that the Fox version would strip Captain Jack of, well, stripping, or having sex, or making sexual innuendo inappropriate for conservative audiences. Is it good news that this network now won’t get their claws into our beloved Captain Jack? Or should we mourn the loss of a series that’s made the news as much for its controversy as its intriguing characters?
As a cynic reading the news this morning, I believe the U.S. version is deader than Ianto. Although a new (or re-imagined) series technically can be pitched, piloted, and produced at any time of the year, the reality is that U.S. mainstream networks still tend to follow the old mindset of a spring pilot season leading to autumn premieres, with January as a backup plan against fall misfires. That’s not a good mindset for a U.S. Torchwood series looking for a new home in 2010. By the time another network can pick up the series, the momentum created by “Children of Earth” will be even longer gone.
Of course, maybe this latest announcement will quickly lead to a follow-up by another network that has already agreed to produce the series—or would be willing to do so. Perhaps. But was Fox really BBC Worldwide’s first choice if there was a queue?
Fans who still want the series to go on, even with a new cast, worry that BBC Wales has teased forthcoming plans for Torchwood but then left the series off its roster of big-name programming planned for continuing production in Cardiff. Let’s face it—if BBC really loved Torchwood as much as we do, they likely would have commissioned more episodes sooner after last summer’s miniseries. Budget issues, Russell T Davies’ cross-planet move, and probably many other factors we’ll never know compound the conundrum about when or if Torchwood should return.
As a long-time Torchwood fan, yes, I would love to see the series return, but I want at least 50 percent of the original cast. (Considering that only two original characters survive, that shouldn’t be too much of a challenge.) I want to see Cardiff, even if it masquerades as London sometimes. I want to see Captain Jack in action, every way imaginable, and if writers want to broaden my imagination, that’s OK with me.
Sadly, I doubt if a new Torchwood will provide all that on screen in the next year. I haven’t given up hope yet for a series, but I’m becoming more cynical (realistic?) that it may not happen.
Torchwood is still an interesting premise for a series, but I hope it doesn’t take nearly 30 years to re-imagine it in a viable on-screen format (think BSG). If it doesn’t go to series, here’s hoping that others will rescue Captain Jack and convince him to revisit Earth by 2011. As fanfiction and conventions have shown, there’s an international Torchwood fandom waiting for new stories—in print or on screen. Perhaps someone will realize that and creatively find an answer to the question of what to do with Torchwood.
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