Teaser: STAR TREK – INTO DARKNESS (2013)

The long-awaited teaser trailer for JJ Abrams' new Star Trek Into Darkness movie has finally been released, and I'm disappointed by it. The marketing of this rebooted franchise really frustrates me, because they're still so reticent to trumpet the STAR TREK-ness of the whole endeavour! And why is that, considering mass audiences responded so positively to the first movie? I found 2009's Star Trek invigorating, lively and great fun. It serviced the Trekkies, while drawing in a fresh audience thanks to its more aggressive Star Wars-y visuals and scale. I don't think there's any reason to be concerned about marketing this sequel as a Star Trek movie now, so why is the Into Darkness trailer wary about showing us the franchise's iconic imagery and sounds?

BUFFY THE VAMPIRE SLAYER, 3.1 & 3.2 – 'Anne' & 'Dead Man's Party'

Buffy: This'll probably go faster if we split up.
Lily: Can I come with you?
Buffy: Okay, where did I lose you on the whole splitting up thing?

There's a confidence that coats a television show in its third season, now the writers are certain they have an established audience of sufficient numbers to keep a network happy. You can't ever rest on your laurels in this biz, but it's only natural that a show will start taking risks in a third year... you just hope they pay off. Buffy the Vampire Slayer's season 3 premiere "ANNE" felt like a brave change of direction, with a heartbroken Buffy (Sarah Michelle Gellar) now living under an assumed name in a bad Los Angeles neighbourhood, employed as a diner waitress pestered by morons, although Joss Whedon knew he couldn't keep this going forever. In 1998, genre TV was less experimental than it is today, because the notion of Buffy separated from her friends would have formed a four or five episode arc in 2012!

HOMELAND, 2.10 – 'Broken Hearts'

written by Henry Bromell / directed by Guy Ferland

This is a tricky one. I think "Broken Hearts" will appeal to the section of the audience who are happy for Homeland to become a variation of 24 that eschews the real-time format; whereas people who enjoy it for the semi-plausible scenarios and intelligence may feel very cheated. There's no getting around the fact this episode asked the audience to swallow unrealistic ideas and situations, but I still found it enjoyable and a welcome injection of thrills after an awkward mid-season.

Dan's donations drive for December!

Picking up from this recent comment thread, it occurred to me I haven't asked for donations in a very long time. As you know, like most things on the internet DMD is free and, while it does directly lead to paid work sometimes, it's mostly done to scratch a creative itch as a long-time TV viewer. I have no problem with this state of affairs, but seeing as many other blogs ask their readerships for donations I see no reason why I shouldn't.

MISFITS, 4.6 - episode six

written by Jon Brown (story by Jon Brown & Howard Overman)
directed by Jonathan Van Tulleken

I've missed the sense of insanity Misfits once had in abundance, even if it sometimes resulted in misfires like a love story involving a gorilla, so ultimately found episode 6 a very enjoyable watch. It could have been much more, but write Jon Brown didn't manage to elevate his potent idea into anything much beyond what it was: a giant killer rabbit on the loose at a party. This was a shame, but the group dynamic's getting stronger every week as the characters of Finn (Nathan McMullen) and Jess (Karl Crome) sink their hooks, and I'm glad we've been given a replacement for Curtis in pensive Abby (Natasha O'Keeffe)...

DEXTER, 7.10 – 'The Dark... Whatever'

written by Lauren Gussis, Jace Richdale & Scott Reynolds
directed by Michael Lehmann

I'm naturally suspicious when an inordinate amount of writers are credited for an episode, despite knowing that technically every episode of a US drama is "broken" by the entire writing staff. In my opinion, it tends to mean a particular episode was difficult or problematic, requiring more people's script-level input than usual. "The Dark... Whatever" certainly felt like it had three hands in the mix, as there were aspects of this episode I really wasn't happy with, but also developments I thought were very interesting. Together, it resulted in a decent enough story that took a few wrong turns, but has ultimately made me anticipate what comes next...

TV Picks: 3-9 December 2012 (The Fear, Royal Variety Performance, The Town, Young Doctor's Notebook, etc.)

My weekly picks of the most notable TV shows debuting in the UK this week is below, covering 3-9 December 2012...

MERLIN, 5.9 – 'With All My Heart'

written by Richard McBrien / directed by Alice Troughton

The transformation of Queen Gwen (Angel Coulby) from loyal wife to treacherous villain has been a weak spot for this final series, so while I was happy it came to a conclusion during "With All My Heart", it was handled so poorly that I think I'd advise future generations just skip the two episodes between this and "The Dark Tower". Things didn't start well, with King Arthur (Bradley James) simply being told Gwen's in league with Morgana (Katie McGrath) without any sufficient build-up to this revelation. There was simply no drama in how this was done; more a feeling that the writers couldn't think of a more interesting way for Arthur to realise his wife's been brainwashed. It must rank as one of Merlin's most disappointing pay-offs ever.

MSN TV: Sky1's AN IDIOT ABROAD 3

Over at MSN TV today: I've reviewed the third series premiere of Sky1's smash-hit AN IDIOT ABROAD, where Ricky Gervais sends Karl Pilkington from Venice to China with dwarf actor Warwick Davis in tow.

The first series of An Idiot Abroad had novelty on its side, bolstered by widespread interest in seeing cult hero Karl Pilkington encounter foreigners and strange cultural traditions first-hand. But it still only really managed two completely entertaining episodes (the trips to China and Egypt). The Bucket List sequel was more activity orientated, with Karl sent to do random things many people wish they could do before they die. However, the signs of fatigue were clearer to see - and it didn't help that Karl refused to do a great many of the stunts. This third series attempts to revitalise the concept by partnering Karl with Warwick Davis (Star Wars, Willow), whose diminutive height instantly lends the series more visual comedy (he was introduced sat in the basket of a bicycle like E.T).

Continue reading at MSN TV...

THE KILLING wasn't killed

In shock news, AMC are expected to announce that their remake of Denmark's crime drama The Killing is coming back for a third season, despite being axed in the summer. This is partly because Netflix have decided to help with the licensing costs, but perhaps encouraged by the fact AMC's Hell on Wheels is in limbo because the Western lost its producers.