Forget the Past: MEN IN BLACK and Neutralising History

If we are great at one thing as a collective human species, it is forgetting our own history, often by choice.

It is easy to forget how Men in Black, one of the breeziest, cheeriest examples of B-movie science-fiction updated for a big-budget late-1990’s audience is built on one of the darkest and more sinister aspects of American folklore, urban myth and conspiracy theory. If you’re over 35, chances are you fondly recall the days when Will Smith was at his jaunty, Fresh Prince-coasting heyday as one of Hollywood’s biggest action stars, laying down hugely popular and catchy rap tunes to fun, explosive tentpole movies or, as in Independence Day, greeting an alien invader with a right hook and a pithy “Welcome to Earth!”. Building a franchise around Smith as the hip, young, cool streetwise guy who becomes a ‘galaxy defending’, super slick government agent made a world of sense, and serves as the perfect way to cloak how disturbing the legend and myth behind it all is.

In reality, the legend of the ‘men in black’ is one of the most pervasive and ongoing representations of an oppressive, repressive American underbelly which wants us to forget the sins of their forefathers.

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New Podcast: The Time Is Now – ‘Pilot’

Introducing The Time Is Now: A Millennium Podcast!

A brand new, spin-off show to The X-Cast: An X-Files Podcast, The Time Is Now has been in the making for over two years and will delve weekly into each episode of Chris Carter’s 1990’s esoteric horror series Millennium, with myself & other fans and podcasters discussing the series, alongside interviews with cast and crew and other special events.

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ALIAS – ‘Q&A’ (1×17 – Review)

While on the surface, Q&A may be Alias falling back on a tried and tested televisual trope, this epilogue of an episode is remarkably concentrated around testing philosophical concepts of fate, destiny and free will.

Alias has experienced a succession of earth-shattering revelations since the climax of The Confession that Sydney Bristow has been increasingly struggling to digest. She pulled back from quitting her life as a double agent in The Box, only for the stakes to infinitely rise as ‘The Man’ aka Alexander Khasinau emerged on the scene as a direct challenger to the Alliance and SD-6, before Page 47 and The Prophecy personalised the central Rambaldi mythology for her in a way which added a further reason why escaping this life in the short term would be impossible. Q&A may appear to be a time out from these escalating narratives but in real terms it serves more as a point to pause and take stock of where we have ended up over the last sixteen episodes.

It dispenses with Alias’ uncommon ‘double previously’ sequence, which for the entire season has reminded viewers of the complicated central concept of the series before segueing into a more immediate reminder of recent events. Q&A throws us straight into the action using the tried and tested J J. Abrams trope of ‘in media res’ storytelling, which he used to fine strategic effect in pilot episode Truth Be Told, as we see a bewigged Sydney—in full Thelma & Louise-mode—on the run from a flotilla of cops before barrelling into dockside water in either an apparent escape or suicide attempt. Q&A doesn’t need a contextual reminder because the entire episode is structured as one big ‘previously’.

Welcome to Alias’ first, and indeed last, ‘bottle episode’.

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A Slayer Reborn: Buffy and the Reboot Question

Every July weekend at San Diego Comic Con, the biggest geek showcase on the planet where all the major studios and productions roll up to drop exclusives and surprises, you always get one announcement which courts a level of controversy and/or deep analysis. This year it wasn’t even the debut of a trailer for the Jodie Whittaker-fronted, Chris Chibnall-era new series of Doctor Who—which is going to almost certainly lead to a Star Wars-esque online tirade from grown man children at the idea of a woman playing the Doctor. 2018 had another major female figure from popular culture waiting in the wings get people talking: Buffy, she of the vampire slaying.

More specifically, the fact that Joss Whedon is overseeing, though likely not directly show running, a modern reboot of his legendary 20th Century Fox series which remains one of the bastions of 90’s pop culture, female empowerment, and genre storytelling. Note the word here that is crucial: reboot. Not revival. Not continuation. A reboot.

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Marvel, Gatekeeping and the ‘Problem’ with Avengers: Infinity War

There has been an interesting response to the dominant Avengers: Infinity War this weekend as it romped home to a record-beating opening weekend in the States, and a remarkable $600 million plus global take home. Aside from the legion of critics, professional and amateur, who have all lined up on either side of whether the film is good or bad (and most reactions seem positive), the issue again seems to concern fandom. In this instance, whether Infinity War is for anyone who isn’t already a fan of the Marvel Cinematic Universe.

A piece in The New Yorker has been widely circulated, with people criticising and defending an article which suggests Infinity War suffers for the fact it does nothing to ‘introduce’ the myriad amount of Marvel players to new audiences. Some are suggesting that it doesn’t have to, given its place as the first part of a finale to an ongoing saga—which I discuss more in my review—but some have on the other side of the fence suggested this kind of storytelling by Marvel Studios, and how the fandom have responded to it, is yet another form of ‘gatekeeping’.

That fandom are, once again, erecting a big ‘KEEP OUT’ sign and planting it firmly in the entrance of every cinema from Middlesbrough to Manhattan.

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Avengers: Infinity War (2018)

Say what you like about Avengers: Infinity War but nobody can deny one thing: it is breaking new cinematic ground. For decades there have been sequels. For decades there have been franchises. For decades we have seen continuing universes on both the big and small screens, sometimes overlapping, develop characters and storylines. Marvel Studios differ in their approach. This is the first time anyone has, over a ten-year period, created and structured a cinematic franchise in the narrative style of a ‘season’ of television.

This is something I have discussed when talking about the Marvel Cinematic Universe before because it has cast a shadow over the mainstream cinematic landscape which is likely to stay for years, perhaps even decades, to come. Kevin Feige, producer supremo, has been the constant here; ever since 2008’s Iron Man turned Robert Downey. Jr from disgraced character actor into the biggest movie star in the world, Infinity War has been the goal. While undoubtedly tides have changed, production realities have emerged, and details have altered, Marvel have been working to a decade-long plan to unite the Avengers against Thanos, the Mad Titan, and his plan to wipe out half the universe with the combined Infinity Stones.

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The X-Files: Case Files #1 – ‘Florida Man pt 1’

For 25 years, FBI agents Fox Mulder and Dana Scully have been shining their flashlights into the shadows, searching for the truth. To celebrate this anniversary, IDW Publishing is launching a new series of The X-Files: Case Files!

Under this banner, faithful fans will see the release of numerous micro-series, featuring stories that explore X-Files of the past and present by top talent from comics and prose!

In “Florida Man…” Scully and Mulder are sent to a small Florida town to investigate a rash of bizarre crimes only to find themselves in the clutches of an alligator-worshipping cult…

The recent history of The X-Files in comic form has been an interesting one, informed in many respects by the revival of the show on FOX over the last three years. The first part of ‘Florida Man’ begins a new phase for IDW’s license of Chris Carter’s series called Case Files – an anthological approach to the adventures of Agents Mulder & Scully investigating the paranormal across America.

Joe Harris until last year had been carrying the torch for The X-Files under IDW, firstly with his originally-canonical ‘Seasons 10 and 11’, which picked up roughly from where second movie I Want to Believe left off, and later his own tie-in ongoing issue set within the continuity of the revival. His approach to The X-Files was frequently arcane, mythic and certainly in the ongoing issues set roughly during Season 10, highly political – indeed this caused his run on the series to draw criticism in certain quarters given how unashamedly anti-President Trump and the alt-right he was in his writing. While politics and The X-Files have always been key bedfellows, many wanted more of a streamlined take on Carter’s show. Case Files may well end up being what they wished for.

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ALIAS – ‘Recruited’ (Book Prequel #1 – Review)

Though written after Alias aired, ABC launched a 12-book series of tie-in novels set before the pilot episode, ‘Truth Be Told’, which explore Sydney Bristow’s life before the series. I’ll be looking at them one by one as we move through exploring the series itself…

There are several reasons why developing a tie-in book series for Alias aimed at the young adult market makes a lot of sense. For a start, with Sydney Bristow, you have a defined heroine for, specifically, a female market who will find the struggles of a nineteen year old girl on the one hand being a dork around boys, and on the other obsessing whether she is capable enough to become a CIA super-spy, fairly relatable – which is precisely what author Lynn Mason puts her through in Recruited. Secondly, there is a very clear narrative black spot in the Alias backstory open for further exploration.

When we first meet Syd, in the Alias pilot episode ‘Truth Be Told’, she is a fully-fledged super-spy. She is still young, around her early-mid twenties, but we get the impression of a woman who has been working for SD-6 for quite some time. She’s travelled the world, fought bad guys. She has friends, a fiancee and is thinking of marriage. She has grown into a persona where she can become someone else at the drop of a hat. We will see the origin story of that on screen with the Rachel Gibson character in Season 5 much much later on, but Alias’ tale begins with Syd already there. The conflict that drives her in the series, which the pilot establishes, is in learning SD-6 is, in reality, a sinister crime syndicate pretending to *be* the CIA. The show, therefore, skips Syd’s origin story.

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Alias (Series Overview + Reviews)

Alias arrived at a fascinating point when it came to television.

The year was 2001 and a lot was changing in the ether around it. JJ Abrams, at this point best known as the writer of Harrison Ford weepie Regarding Henry, Michael Bay blockbuster Armageddon and show-runner of late 90’s teen hit drama Felicity, was nowhere near the producing and directing Hollywood totem he would become. His production house, Bad Robot, had not yet become the nascent Amblin of its generation. And, just nineteen days before the pilot, ‘Truth Be Told’, aired… 9/11 happened.

Abrams’ spy series already had some interesting cache behind it. Alias was a show that emerged on ABC with the intention of riding into the 21st century with a fresh storytelling model. The most successful and important TV shows of the 1990’s had almost all built their success on an episodic, network model of storytelling; 22-26 episode seasons with plenty of stand-alone stories which would serve the show well in syndication. In everything from Quantum Leap through to The X-Files, show-runners moving from the 1980’s into more of a Golden Age of television, in which some of the most key writers in both TV and cinema of the next few decades would emerge, had cleaved to the way it had been done for years.

Not Alias.

It would immediately strive for an aesthetic which would tap into a deep reservoir of retro-futurism, both aesthetically and in terms of production. Abrams and his staff came out of the gate leaning heavily into the kind of serialisation most shows in the 1990’s just didn’t do, bar a few trend-setting exception we’ll return to. The concept was both high and complex – female super-spy Sydney Bristow would find herself learning the covert CIA branch she had been working for, SD-6, was in truth the arm of a worldwide crime syndicate, and would work as a double-agent to bring down the enemy from within. Episodes would end on a cliffhanger every week and fold into each other. A surfeit of character and narrative mysteries would propel Syd’s journey along, not to mention a curious central, underlying occult and arcane mythology which tipped the show away from action-thriller and more toward science-fiction.

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