The trailer for the highly anticipated second season of The Mandalorian has just dropped and, well, it’s rather good…
This first teaser doesn’t reveal any new characters known to be appearing, such as Boba Fett or Ahsoka Tano, but we do see greater involvement from the Empire and a clear sense of Din Djarin’s mission from The Armourer, to reunite The Child with his own kind.
The Mandalorian is really shaping up to be some of the best Star Wars coming out of the franchise since Disney came on board (though that’s not necessarily a high bar after The Rise of Skywalker), and I’ll be glued to Disney Plus when this begins streaming on October 30th (especially now the channel has launched here in Norway).
Will you be tuning in, or are you done with Star Wars? Drop a comment below…
Ante K. Lundberg guides you through a personal list of films that inspired and informed Stranger Things, plus some his own choices, just for fun.
So you’ve finished the latest season of Stranger Things, and you’re looking to fill that hole in your heart it’s left you? Well, you’re not alone. As a child of the 1980s, I find myself in the middle of a resurgence of film, television, video games and music made by my generation that is inspired by the 80’s. And it’s beautiful.
I was born in 1985, the year of a certain summer in the town of Hawkins, as seen in Stranger Things 3. Notable cinema releases that year included true classics such as Back to the Future, The Breakfast Club, Day of the Dead, Weird Science – and many more.
As requested by the ancient editor of Out of Dave’s Head, I’ve gathered a list of recommended films for viewing if you, like me, just can’t get enough of the ‘80s love that is happening right now. Some of the films on here have inspired the Duffer Brothers in creating and writing Stranger Things, others are just perfect examples of wonderful ‘80s cinema. These are the real deal, friends, so put on your Walkman, rewind that tape, and let’s get to it!
Stand by Me, director Rob Reiner, 1986
A group of young friends discovering who they are, the meaning of friendship, and life lessons? Check. Walking along a railway? Check. Small town thugs terrorizing our teen heroes? Check. While set in the 1950s, Stand By Me is an ‘80s film through and through, with a cast including young Wil Wheaton, River Phoenix, Corey Feldman, John Cusack and Kiefer Sutherland! Based on a novella (The Body) by legendary author Stephen King, Stand By Me is a genuine, grade A classic, full of character, fun and heart.
The Lost Boys, director Joel Schumacher, 1987
There’s hardly a more ‘80s-looking and sounding film than The Lost Boys. This is the whole package; the music, the costumes, the hair. It also has Tim Capello shaking his sweaty, muscular hips and saxophone, and a healthy dose of teenage vampires living forever, led by (there he is again) a young, menacing Kiefer Sutherland, the hilariously bad vampire hunters the Frog Brothers (featuring that other ‘80s Corey… Haim), and a cracking, fast pace. Trust me, you won’t be bored by this one.
Evil Dead 2: Dead By Dawn, director Sam Raimi, 1987
I’m not in any way saying you shouldn’t see the original Evil Dead, but the sequel not only (kinda sorta) recreated the first film in the intro, it went way beyond the original with a fantastic combination of fear, blood and laughs. If you’re looking for one of the most hilariously over-the-top splatter comedies out there, Evil Dead 2 simply set the bar. Bruce Campbell’s performance is one for the ages, with some of the most amazing physical comedy ever put on film. It’s not without reason his wonderfully awkward-yet-badass leading chin Ash Williams got more films and recently a series, Ash vs Evil Dead – which is also well worth a watch! In addition, fans of Stranger Things 3 will find the cabin-under-siege setting nicely familiar!
Aliens, director James Cameron, 1986
James Cameron has made two of the finest sequels ever in Aliens and Terminator 2 Judgment Day (and I haven’t even mentioned Stranger Things 3’s HUGE homage to The Terminator… oh wait, I just did). It’s common knowledge that in Aliens, the tight spaceship corridors first established in Ridley Scott’s masterpiece Alien are expanded to play host to some of the best action sequences put to film.
Aliens is a perfect mix made up of one part great production design, one part a superb cast of character actors playing a ragtag group of soldiers (including Bill Paxton and Michael Biehn – who would be a great addition to the Stranger Things cast!), one part body horror and huge parts action, all flavoured with a beautiful mother/adopted daughter relationship.
Add to that mix a scheming Paul Reiser (none other than Stranger Things 2’s Dr. Sam Owens), on great form as the company man more ruthless than the titular Aliens could ever hope to be, you’ll be hooked before you can say “game over”.
The Thing, director John Carpenter, 1982
I mean, really, John Carpenter in general, but in particular….
One of my favourite films is John Carpenter’s The Thing. Another claustrophobic body horror, set in an isolated location the characters can’t escape (see also Aliens, above), the mood in The Thing is unrivaled thanks to Carpenter’s direction and Rob Bottin’s incredible, practical animatronic work on the title creature.
Another great contribution from Carpenter, too often overlooked, is In the Mouth of Madness (1994 – yes, I’m cheating to include this, I know!), a horrifying Lovecraft-inspired film with lots of potential friends for Stranger Things’ Demogorgon.
In fact I would bet several films in Carpenter’s catalogue have inspired the Duffer Brothers in some way, as his body of work is chock-full of classics that I implore you to seek out and watch, including Escape from New York, Halloween, The Fog, Christine, Prince of Darkness and more.
Carpenter’s scores, often written and performed by the man himself, are also a huge inspiration for the Stranger Things soundtrack composers, Kyle Dixon and Michael Stein.
Pretty much everything John Hughes had a hand in during the 80’s
Yeah, you heard me. John Hughes had an incredibly creative output, and most of his stuff really is the beating pulse of ‘80s cinema. Writing and/or directing classics like The Breakfast Club, Sixteen Candles, Ferris Bueller’s Day Off, Weird Science and Pretty in Pink, he leaves us quite the legacy of movies that nicely illustrate the trials and tribulations of the teen years.
Although time has not been perfectly kind to all these films (especially in the female characters department), the look and feel are true ‘80s, unbeatably so. I recommended starting with The Breakfast Club, where you will at least have seen the gif of a totally ’80s tough guy raising his fist victoriously in the air, from one of the film’s many classic moments. “Don’t you forget about me” indeed…
Day of the Dead, director George A. Romero, 1985
George A. Romero pretty much invented the modern zombie (sans the running) with his slow, lumbering packs of dread in Night of the Living Dead (1968), Dawn of the Dead (1978) and Day of the Dead. All three should be considered classics in their own right and can be watched separately or as part of a saga where – not really spoiler alert – things do not bode well for mankind.
In Day of the Dead, odds are not in our favour, as the zombies outnumber us and the remaining human population hide in shelters, trying to find a way to survive. Romero’s zombie films are part visceral horror, part social commentary (stop teasing the zombies, really!) and, as usual, it seems our biggest threat is each other. Day’s opening sequence also plays a big part in the opening episode of Stranger Things 3.
The Goonies, director Richard Donner, 1985
Personally, I’m not a big fan of The Goonies but it’s considered by many as an essential watch, and certainly is a Duffer Brothers touchstone for their Netflix show. If you’re after a “kids on a mission” film filled with adventure, treasure and danger, then look no further, and it features Sean Astin, Stranger Things’ lovable Bob, years before he was a Hobbit for Peter Jackson.
E.T. – The Extra-Terrestrial, director Steven Spielberg, 1982
Tonally, Stranger Things owes a lot to Steven Spielberg’s lovable ET. The little guy is stuck somewhere he doesn’t belong, and is just trying to get home, despite the government suits doing their best to stop him. Cue the brilliant and inventive 80’s kids (see an ongoing motif here?) doing their damndest with what they have by hand. The film also includes that legendary bike sequence, glaringly referenced in the first season of Stranger Things.
The Deadly Spawn, director Douglas MacKeown, 1983
A fabulous and fun creature feature starring young Charles George Hildenbrandt (the son of one of the Hildenbrandt Brothers, who painted the legendary fantasy-style poster for Star Wars in 1977, as well as the poster for this movie).
The plot concerns a crash-landed alien that finds refuge in the basement of a house and grows to monstrous proportions, and the plucky band of teenagers who do battle with it. The many ghastly teeth of the monster here sure do look a whole lot like the ghastly teeth of the Mind Flayer from Stranger Things 3.
Altered States, director Ken Russell, 1980
All Ken Russell films are worth your time, but Altered States, Russell’s adaptation of the Paddy Chayefsky novel, will particularly resonate with fans of Stranger Things 3, as it runs with the idea that sensory deprivation tanks (as used by Eleven in the show) can activate hidden parts of the brain. But boy, Russell takes things in a totally wild direction that will blow your mind.
Ghostbusters, director Ivan Reitman, 1984
I don’t really need to over-explain this one, right…!? Bill Murray, Dan Ackroyd, Sigourney Weaver, proton packs, bustin’ makes me feel good, Zuul! Stranger Things 2 crosses them streams.
A Nightmare on Elm Street, director Wes Craven, 1984
I can only imagine the feeling of seeing this particular nightmare in a cinema in the 80’s (Editor’s Note: It was pretty darn good!). The now iconic Freddy Krueger was an inescapable foe, terrorizing the dreams of poor teens with knives-for-fingers and a serious case of bad skin day.
I was late to the Elm Street party and, seeing it at an older age, I found myself really digging the over-the-top scenery chewing performance from Robert Englund as Freddy. Definitely worth a watch, even though “you’ll never sleep again!”
I can’t really recommend Tommy Lee Wallace’s IT miniseries from 1990, which time hasn’t treated well. The acting is wooden (Tim Curry not included, he is great), the pacing is slow and the effects are completely outdated (Editor’s Note: this calls for fisticuffs in the pub later, Lundberg). But it does have the loser’s club camaraderie seen in Stranger Things and, I’m willing to bet, was a childhood watch for the Duffer Brothers.
Rather, DO give the book a read, even if it is a long one, or see Andy Muschietti’s new two-film version that is in turn set in the ’80s and inspired by the same palette as Stranger Things. You can watch the trailer for IT Chapter Two here.
Mullets, big-haired teens in pastel and neon clothes, muscle cars and BIG songs might have defined the decade, but the ‘80s have so much more going for them in terms of entertainment. And if Stranger Things has left you with a hankering to revisit those years, this list will be a good place to begin!
About the author
Ante K. Lundberg is a movie and music buff from the fjords of western Norway. Living with his wife and two small children, he longs for the day when he yet again will be able to binge watch a series.
He wrote this essay on a straight regime of pitch black coffee, Meteor and Gunship on vinyl, and several (imaginary) training montages.
New streaming service Disney Plus is developing a series based on Kamala Khan, AKA Ms. Marvel, Marvel Comics’ first Muslim super-hero, according to an exclusive report by The Hollywood Reporter.
Created by editors Sana Amanat and Stephen Wacker, writer G. Willow Wilson, and artists Adrian Alphona and Jamie McKelvie, Khan was Marvel’s first Muslim character to headline her own comic book, launched by the publisher in 2014.
In her comic book iteration, the current Ms. Marvel, Kamala Khan, is a teenage Pakistani-American from New Jersey with shapeshifting abilities who discovers that she has Inhuman genes, activated by a cloud of Terrigen mist, and assumes the mantle of Ms. Marvel from her idol Carol Danvers after Danvers becomes Captain Marvel. The series not only explores Khan’s conflicts with supervillains but also explores conflicts with Khan’s home and religious duties.
Marvel’s announcement that a Muslim character would headline a comic book was met with widespread reaction and the first volume of Ms. Marvel won the Hugo Award for best graphic story in 2015.
I’ve read the various volumes of Ms. Marvel as they’ve been released, and found them to be fresh, inventive, insightful and fun. While I may not be the comic’s target audience, I’ve come to fully appreciate what Marvel have done with the character.
According to THR, Marvel is developing a live-action series for the new streaming service, due to launch in November 2019, and they’ve hired British writer Bisha K. Ali to write and act as showrunner. Ali is a comedian, who was in the writer’s room for new Netflix comedy drama, Sex Education and is currently a staff writer on Hulu’s remake of Four Weddings and a Funeral.
The live-action Marvel shows already in development are The Falcon and the Winter Soldier, to debut in late 2020; WandaVision, to debut in spring 2021; Loki, also for early 2021; and Hawkeye, for late 2021.
Ms. Marvel has no production or transmission dates announced as yet, but be sure to stick with Out Of Dave’s Head for more information on this exciting news as we get it.
Out Of Dave’s Head is proud to publish our first article by another writer; welcome aboard Jon Harman, celebrating the release of Once Upon A Time In Hollywood with a look at the cinematic legacy of the real-life horror haunting the movie.
Charles Manson has been a defining Hollywood story for 50 years, ever since the fateful and brutal killings in August 1969. With Tarantino returning to this arena in his latest offering Once Upon a Time in Hollywood, we look at the impact and legacy of the Manson Murders in cinema.
The Manson Murders took place in the summer of 1969 and were the culmination of activities by a hippy cult lead by Charles Manson, an unemployed ex-convict who had spent more than half of his life in correctional institutions. Manson’s dreams of becoming a singer/songwriter had been snubbed by Beach Boys record producer Terry Melcher and he was suffering delusions of grandeur that he was the new messiah. He was also obsessed with the Beatles, particularly their 1968 self-titled album, and was allegedly guided by his interpretation of the band’s lyrics. He adopted their song, Helter Skelter, as the text to describe an impending apocalyptic race war.
On August 8th of that year, Manson instructed his followers, Tex Watson, Susan Atkins, Linda Kasabian and Patricia Krenwinkel to go to Melcher’s house in Cielo Drive in LA and murder the inhabitants, who were film director Roman Polanski’s pregnant actress wife, Sharon Tate, her hairdresser Jay Sebring, coffee heiress Abigail Folger and her boyfriend Voytek Frykowski. The following night he instructed them and Leslie Van Houten and Steve Grogan to perform a copycat killing of Leno and Rosemary La Bianca at their residence.
Manson occurred at a defining moment for counter-culture and Hollywood, starting a transition to a post studio system, as Peter Fonda’s Wyatt uttered the immortal words “we blew it” in Easy Rider, the love affair with hippiedom was over, but the kinetic, youthful and independent style of Easy Rider was opening a door to a new cinema. Then on August 8th-9th the brutal slaying of the Tate party in Cielo Drive ensured Hollywood and violence were fused together in a thematic way that has permeated US cinema for decades, with constant reference to the perfect boogeyman in Manson.
There are the biopic, literal tellings of the Manson story over the years, but there are also countless films that channel a Manson theme within. Very early on, numerous exploitation films captured the salacious nature of the crimes like Angel, Angel, Down We Go (1969) which was retitled as Cult of The Damned (1971) to feed off the ever growing notoriety of the case, not to mention the bizarre attempt to add two minutes of footage to Sign of Aquarius (1970) to suddenly make a Mansonesque blaxploitation flick, Ghetto Freaks (1970) which was a fusion of too many themes to comprehend).
As the investigation played out in 69 and 70, aspects were already fusing into the lexicon of cinema, such as John Waters’ Multiple Maniacs (1970), which had Divine running a circus freak show as a front for robbery and murder and convincing her husband that he killed Sharon Tate in a drug induced haze. Waters was obsessed with the case and wrote references into his film as the case unfolded, later dedicating Pink Flamingos (1972) to “Sadie, Katie & Les” (Manson’s nicknames for Susan Atkins, Linda Krenwinkel and Leslie Van Houten, the main perpetrators of the murders). Waters has spent years advocating the release of Van Houten, describing her as his friend.
The first attempt to bring the actual Manson story into cinema was The Other Side of Madness (1971) which itself was later retitled as The Helter Skelter Murders, a strange curational mix of documentary and re-enactment footage filmed in some of the actual locations whilst never actually using any of the names from the crime. The hippie noir depiction of the crime scene is both brutal and exploitative for a film of its time with strong mondo undertones leaving it a curio in the Manson legacy. At the same time, exploitation duo Michael and Roberta Findlay jetted down to Argentina to make The Slaughter (1971) about a Mansonesque death cult resulting in a film with either very limited or no distribution until independent low-budget distributor and sometime producer, Allan Shackleton picked it up and added a notorious murder scene as the finale and calling it Snuff (1976), spawning an entire urban myth strand of modern cinema about the existence of underground snuff films in its own right (which is another whole article by itself).
Likewise in 1971, fledgling writer/ director Wes Craven was typing out his script for what would become The Last House on The Left (1972). Whilst being an American retelling of Bergman’s The Virgin Spring (1960), it had a Manson Family undertone in its brutalism and striking similarities of character with it’s female villain “Sadie,” played by Jeramie Rain, cast just after playing Manson family member Sadie Mae Glutz in the off Broadway Manson musical 22 Years the same year.
The zeitgeist of the Manson Murders was permeating new cinema as much as the raging Vietnam war at the time, which conflated in a later movie. Writer Peter Biskind, in his 1998 book, Easy Riders, Raging Bulls saw Marlon Brando’s Colonel Kurtz in his compound in Apocalypse Now (1980) as:
“another incarnation of Charlie Manson, the scourge figure who had gone native and now, unchallenged, ruled over his family. The compound was his Spahn Ranch”
The sense of crime family, hippies, war and brutality also infused the zeitgeist of Tobe Hooper’s film The Texas Chainsaw Massacre (1974), in particular the opening prologue directly cites Manson prosecutor Vincent Bugliosi’s description of the crimes as “the most bizarre mass murder case in the annals of American crime” to add weight to the false claim the film is a true story.
1976 saw the release of CBS made for television film Helter Skelter, which depicted both the crimes and the trial in detail, based on Bugliosi’s book of the same name. Steve Railsback defined the persona of Manson for the viewing public (though retrospectively, this comes across as being quite histrionic and the film comes off as a weird episode of Perry Mason tonally), to the point he never really escaped its impact and stunting his fledgling acting career. The film reached an estimated 50 million Americans on release and thus defined much of the Manson story. CBS later remade Helter Skelter (2004) with Jeremy Davies playing a more subtle and realistic Manson, though not as eerie, this time the film focused more on the persuasive nature of Manson as guru and the lead up to the crime.
Always lurking in the exploitative realms of cinema, Manson re-emerged in an early found footage piece that built on the earlier legacy of Snuff (1976) and ran with an assertion from Ed Sanders book The Family (1971) that they stole an NBC film crew truck and used the equipment to make snuff films. The imagined output is surreal. Manson Family Movies (1984) which is all filmed from the perspective of the family on super 8mm film and dwells on mondo-style, exploitative gore once again to entice the salacious viewer disturbed by the ever winding myths around Manson.
In the same vein, Jim Van Bebber’s The Manson Family (2003) takes a transgressive view on the subject matter and relishes in the hyperbole of cult and barbaric murder. Famously taking 15 years to produce and finish, for many murder groupies, this is seen as the definitive film of Manson. Van Bebber firmly asserts that if you cover this story, you have to cover it warts and all in an NC-17 way. The film does successfully channel a late sixties, early 70’s aesthetic in its tone and thus has a further authenticity of Manson as cinema, rather than cinema about Manson. Van Bebber has a certain connection with the Manson psyche as a film-maker, and is somewhat reminiscent when ranting to distributors about film to DVD transfers of his work too.
From this moment on, Manson as myth and cultural icon becomes a touchstone to regurgitate in direct to DVD movies or sleight of hand references in TV series. Manson, My Name is Evil (2009), House of Manson (2014), The Wolves at the Door (2016) and The Haunting of Sharon Tate (2019) all carbon copy the salacious aspects of the case, water down the nuance and add to the myth-making of Manson, whilst never really tackling anything new and can be largely dismissed for wrapping themselves in Manson iconography with little substance. It is also difficult not to see the Family fingerprints all over most home invasion horror films of recent memory, invoking the horror of being disrupted, held hostage and murdered by some counter culture creepy crawlers, they set the narrative template for this modern American horror fable.
Manson has also continued to guest star in such shows as American Horror Story: Cult (2017) , Aquarius (2015) or Mindhunter (2019) illustrating he is still a strong cultural bogeyman in the American psyche that people want to explore and visit. Films like Martha, Marcy, May, Marlene (2011) nicely explore the phenomenon and psychology of cult radicalisation with strong nods to Manson, without getting caught up in all the salacious aspects of the case. Equally, Charlie Says (2018) explores the indoctrination psychology and less salacious aspects through the eyes of Manson’s disciples and here we see (former Doctor Who) Matt Smith play Manson in a more subtle and believable incarnation as oppressive seductor rather than histrionic mad man.
There will of course always be room for such oddities as Live Freaky, Die Freaky (2006) – a stop motion musical comedy about the Manson crimes, or Troma’s Honky Apocalypse (2014) – that imagines an alternate universe where Manson’s proclamation of a Helter Skelter race war comes true in typical Troma, independent trash cinema style.
It is inferred in the trailer for Once Upon a Time in Hollywood (2019) that we may actually only be getting more the guest star in cultural context of Manson this time around and possibly revisionist takes on the myth whilst delving into the transitioning movie business in 1969, illustrating how much Manson has become synonymous with Hollywood either as protagonist or background player. The film opens here next week, so we’ll know more then.
We’ve even seen one of the stars of Once Upon A Time In Hollywood, Brad Pitt, do his own modern day interpretation of Manson in Tyler Durden, of course. Rewatch Fight Club through the lense of cult radicalisation and guru instructed mayhem, compare Tyler’s speeches in the film to Charlie’s real-life speeches and you see much synchronicity.
Charlie changed Hollywood, Manson is a Hollywood story, myth and bogeyman that perpetuates to this day in so many aspects of our popular culture.
It was only natural for Tarantino as the pop culture maestro to visit and explore, having ditched other Hollywood arch manipulator Harvey Weinstein. Tarantino’s obsession with killers in his work, with numerous nods like having written Daisy Domergue in Hateful Eight (2015) as “a Manson girl out west, like Susan Atkins or something” was leading him here. Indeed what was Charlie if not the ultimate director manipulating and coercing players to act out his Hollywood scene like a doting Hollywood entourage, whilst he laps up all the attention? And we’re still talking about it 50 years on.
Jon Harman is a film producer, director and lecturer. Producing work from web series to feature films, documentaries and mind numbing live pop fare for Disney. Jon has the media bite mark scars on the leg that Quint and Hooper would drunkenly argue over. Jon also contributes to Cinema Under The Stairs podcast on Spotify. His trailer homage to Lucio Fulci and Man Bites Dog “Cool Clyde” (made when 16) is hidden on Youtube somewhere as a special easter egg.
Note: an earlier version of this article originally appeared in the Norwegian publication, Z Filmtidsskrift, Number 4 in 2013, editor-in-chief: Ingrid Rommetveit, guest editor: Marte Stapnes.
For those poor, deprived souls who have never encountered this most wonderful institution, Doctor Who is a weekly British sci-fi (or more accurately, fantasy) television series, produced by the BBC, which began, just a few months before I was born, in November 1963 and ran successfully until 1989. Apart from one brief revival attempted in 1996 it lay dormant until a major relaunch in 2005, which has seen it scale heights of mass popularity with the general viewing public that are genuinely surprising in an age of dumbed-down, lowest common denominator appeal programming.
At its core the show is a simple and ingenious idea, a person of mystery on the run, able to travel anywhere in time and space, through means of a machine permanently disguised as a 1960’s London Police Box (which is bigger on the inside), alongside one or more companions who act as the viewer’s eyes on the Doctor’s never ending adventures.
Rather unusually, the show was created not for children and not for adults. Instead it was a drama show intended to appeal to the entire family, broadcast in an early evening spot where it was reasoned that everyone would be together. That reasoning worked perfectly in my household; I can still feel flickering, luminous black & white images of Patrick Troughton’s Doctor imprinting on me, as he did battle with Yetis on the London Underground and evil Daleks swirling around Victorian England while my parents and grandparents sat close by, never more than the safety of a comforting lap away. Thankfully, young and imaginative minds such as mine were oblivious to the show’s paucity of production budget during its original 26 year run, reveling instead in its wild flights of fancy.
The show took a bold leap in regards to its casting. After three successful years in 1966, lead actor William Hartnell’s deteriorating health could have signaled an end to its run; instead, the producers decided to take a chance on re-casting the role with a new actor, the mercurial Patrick Troughton, by use of a plot device which saw the Doctor’s people, the Time Lords, able to physically regenerate themselves twelve times, thus gifting the character with a distinct new personality every few years and thereby ensuring a potentially limitless run for a successful TV show. It was a brave move from the producers, but one that still attracts massive amounts of publicity for the show, as seen with the recent casting of the Thirteenth Doctor, Jodie Whittaker, boldly changing the character’s gender for the first time.
Fans of the show are often asked “Who (pun no doubt intended) is your favourite Doctor?” the answer to which is usually the one you grew up watching. For me, however, that’s a tricky question, as I have brief memories of irascible First Doctor, William Hartnell and stronger memories of the playful Patrick Troughton. I suppose Jon Pertwee’s eccentric but groovy, uncle-like Third Doctor was probably where I became hooked (probably because I also had an eccentric but groovy uncle in real life), but it was with the truly off-the-wall Tom Baker that I became a die-hard fan, rubbishing rival TV channels’ attempts to lure me away with imported productions such as The Man from Atlantis and Buck Rogers in the 25th Century; glossier undoubtedly, but with far less substance.
We are regularly treated to storylines which feature the likes of shape changing robots powered and driven by miniature people, religious orders focused on bringing about the death of the main character, multiple timelines, Winston Churchill ruling the Roman Empire from a steampunk London overrun by Pteranodon, life or death chess games, heartbreaking nods to characters in the show’s past, ingenious resolutions to character relationships and infuriating solutions to questions posed in the last few years of story lines and yet more questions set up for the future.
And the show still has the ability to chill and delight, as illustrated by one of its more recent creations, the Weeping Angels; a fearsome race of aliens which disguise themselves as stone statues, unable to move so long as you watch them, but ready to ready to pounce as soon as you blink or look away. The children’s game of peek-a-boo has been craftily subverted by successive showrunners Russell T. Davies, Steven Moffat and Chris Chibnall, and is guaranteed to have children and adults alike scurrying to watch from behind the sofa.
The show’s attitude to sex and relationships has also been a delight since the relaunch, openly espousing not just a confident attitude to heterosexuality or homosexuality, but indeed to omnisexuality: just one more way in which the makers refuse to speak down to the audience, and one more reason why the BBC should be held in such high regard, for supporting such a consistently adult outlook for a family appeal show.
And above all these values, Doctor Who consistently succeeds at what its far-sighted creators set out to achieve in the dim and distant early 1960’s, to make a drama show for the whole family that educates and entertains. Almost fifty years later it’s still doing that, with a flair, creativity and an ability to stimulate the imagination that dazzles and leaves me breathless with envy and awe.
Doctor Who’s approach to creative drama is one of the reasons I pursued and have succeeded in a creative career, and it continues to inspire me as an adult as much as when I was a child. Its sheer breadth of imagination stirred, thrilled and excited me, fanning the flames of my own need to create stories, a thread which has run through my career, from my years as a comic book writer and artist into my later work as a writer and director for animation.
My love for the show also led me to bring the 50th anniversary film, The Day of the Doctor, to Norwegian cinemas in 2013 (but that’s a story for another time).
Doctor Who is a series which rewards both the casual and dedicated viewer, and in a television landscape littered with deathless reality shows and tired genre formats; it rises high above its faults (which now tend towards a surfeit of ideas rather than the dearth of budget which often plagued the original run). It is unique, charming, exciting, terrifying and thought provoking in equal measures, and I will always adore this wild and wildly eccentric show.
Dave King is the creator and editor of Out Of Dave’s Head. For his sins, which are many and varied, he also works in animation as a writer, director, producer and lecturer. He still waits to be acknowledged for his talents as a lounge singer.
Rejoice, co*%suckers, because the long-mooted Deadwood movie is on at HBO.
The series, starring Ian McShane, Timothy Olyphant, Molly Parker and John Hawkes, and set around the development of Deadwood, South Dakota in the 1870s, only lasted three seasons but has gained a devoted cult following.
Now the news that fans have been hoping for has arrived: HBO will bring the story to a conclusion in a brand-new film.
“All of these people worked hard to get this together,” said HBO Programming President, Casey Bloys, today. “It’s been a logistics nightmare getting all the cast members’ schedules together but we are there. It is greenlit.”
Further details are thin on the ground right now, but you can be sure I’ll bring you news as it develops.
Just last week DC Comics’ nascent streaming service, DC Universe, announced they would produce a Superman prequel series, Metropolis, and a Swamp Thing live-action series as part of its initial programming. Now the channel has ordered a 13 episode run of Doom Patrol.
Originally created by Arnold Drake, Bob Haney and Bruno Premiani in 1963 (with several different incarnations over the years), the series is described as a re-imagining of one of DC’s more offbeat teams, featuring Robotman, Negative Man, Elasti-Girl and Crazy Jane, led by modern-day mad scientist Dr. Niles Caulder (The Chief).
The characters come together after suffering horrible accidents, and are mobilized into action by The Chief, who gives them new purpose as they investigate weird phenomena and protect Earth. The show will be a spin-off from DC’s previously announced Titans live-action series.
Berlanti Productions will produce in association with Warner Bros. Television. Greg Berlanti’s company already produces Arrow, The Flash, Supergirl, Black Lighting, Legends of Tomorrow, Riverdale and Titans.
Doom Patrol will go into production later this year for a 2019 launch. That’s going to be a whole lot of DC related content by next year. Let’s hope the quality of the shows is as good as, or better than, The Flash and Supergirl, and that there’s a hunger from the public for so much super-hero TV…
The Handmaid’s Tale returns to television for a second season, amid much hand-wringing about the very need for a continuation and fears of over-extending the natural life of – let’s not kid ourselves – one of the finest pieces of drama ever created for the medium.
Margaret Atwood’s book is no easy read, and the television show is likewise a tough watch – which speaks to the power of its message and the power of its drama, of course, but both have much to say and the show features an embarrassment of riches across the production board, from casting to direction. Elisabeth Moss, eminently watchable in anything, is mesmerizing here, often speaking more with a sustained close-up than reams of pages of dialogue could ever articulate.
And so these worries of diluting something so perfect are not without reason, of course. The first season is a dark gem of narrative, self-sustained and as satisfying as something so horrific can be. Did we really need to see what happened to Offred after she climbed into the back of that van? Do we even want to spend more time in Atwood’s dystopian world – which, like the very best speculative fiction skews uncomfortably close to the world we live in – and suffer more with these characters?
If the first two episodes of the second season are an indicator the answer is a resounding yes. Of course two episodes is not enough to give an overview of the journey viewers will be taken on but the first episode alone contains one of the single most powerful moments of the entire run to date.
I’ll stay firmly in non-spoiler territory, but the moment is such an incredibly produced, terrible and sublime mixture of pathos, horror and humour, that you can’t help but feel we’re in safe hands. Accompanied by the ghostly wails of Kate Bush and This Woman’s Work (see? You’re sold already, right?), it was genuinely difficult to know the proper reaction – outrage, sadness, laughter…? All of the preceeding, actually.
Any piece of dramatic fiction that produces such a complex and literally breathtaking mixture of feelings, and which also engages lively conversation, lingering still two days after viewing, proves the production is still worthy of trust and gets my full support.
So far at least, the return of The Handmaid’s Tale is very welcome and the hand-wringing can pause.
In a double-whammy of Star Wars news, Disney’s CEO, Bob Iger, announced today that Lucasfilm is developing a live-action Star Wars series for their new streaming service.
Set to launch in 2019, the still-untitled service (though you’d probably be safe betting on something along the lines of Disney TV) will also see new series based on Pixar’s Monsters Inc. and the High School Musical franchise.
Today’s news comes soon after Iger confirmed that all Disney movies, including Marvel and Star Wars films, will be removed from Netflix in 2019. This will also dash the hopes of the ABC network, who have been in talks to collaborate on the Star Wars show for some time.
Nothing more is known about the series, but we can probably rest easy that it will be more successful than previous live action Star Wars TV efforts, including the two Ewok movies (Caravan of Courage and Battle for Endor) and the legendarily awful Star Wars Holiday Special.
Image c/o Pinsdaddy
While I found the last series of The X-Files to be somewhat hit and miss, I’m still happy to see David Duchovny and Gillian Anderson break out the flashlights for one more go around the FBI headquarters block, especially if, as suggested by Anderson at the New York Comic-Con today, this might be Scully’s final run.
The season eleven trailer looks like the usual mix of aliens, monsters, conspiracies and (seemingly) the end of the world as brought about by Mulder & Scully’s son. As we head into darker autumn nights and the Halloween season this all seems particularly welcome (even if the series doesn’t hit until next year).
Here’s the first trailer to whet your appetites…