Posts tagged ‘SyFy’

12 Monkeys

Y’know, originally I never had any intention of watching this show.  As much as I like Bruce Willis and adore Terry Gilliam, I always thought the original 12 Monkeys film was one of Gilliam’s lesser works.  Friends of mine at the time raved about what a beautiful mindfuck it was, but I guess growing up watching Doctor Who made me consider its paradoxical storytelling pedestrian and mundane.

I just happened to be channel surfing last night and noticed a rerun of the pilot would be airing in ten minutes.  That led me to think what the heck, at least it’ll give me something to rant about here.

Imagine my surprise when I started enjoying it, almost from the outset.  Imagine my surprise when I discovered Željko Ivanek (Danvers!) was in it.  Imagine my surprise when I caught myself getting caught up in it, nodding my head and muttering out loud, “Y’know … this is pretty good.”

It entertained me, and that’s what is important.  The pilot episode entertained me far more than the original film did.  Now there’s no guarantee that the rest of the scripts for this season will keep up this level of quality, but the pilot was good enough to encourage me to give the show a chance.  So I think I probably will.

 

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Ascension

I can’t remember the last time a SyFy Original actually attempted something resembling hard sci-fi.  Ascension is very pretty on the surface, and the production design of the ship’s interior is extremely well done.  The opening ten minutes were spectacular and sucked me right into the story.  Unfortunately, as much as I wanted to love it, based largely on the concept of a generation ship launched back in 1963, I can only like it.  And even then, I can only like it when I check my brain at the door.  The more I think about it, the more questions I have, and few of these questions have answers.

The big twist at the end of the first night/second episode simultaneously intrigued and annoyed me.  Intrigued in that it literally pulled me immediately into watching the next part and threw the entire concept for a loop.  Annoyed because I was looking forward to seeing the originally stated concept explored in much further depth.

I can’t help feeling that the entire miniseries is one big wannabe.  It wanted to be something big, intelligent and groundbreaking.  It ended up striving for those heights rather than reaching them.  A good example of this is the cast.  Whenever I saw Brian Van Holt on screen, I wanted him to be a Stargate-era Kurt Russell.  Whenever I saw Gil Bellows on screen, I wanted him to be Mark Sheppard.  It strives for a level of quality that it cannot quite achieve.

My biggest problem is that the big twist damaged my suspension of disbelief regarding the ship’s crew’s suspension of disbelief.  On one hand it answers a number of my questions about the science behind the ship.  On the other, it opens several other questions regarding how nobody on board has ever figured it out.  That’s pretty dim considering they supposedly packed 600 of the brightest minds in the country in that ship back in ’63.

Finally, there’s the last section of the finale, where it jumps from science fiction into science fantasy.  I really would’ve rather seen them stick to a straightforward sci-fi story.  I also really would’ve rather seen them wrap things up from a storytelling perspective instead of leaving so many threads dangling in a wannabe cliffhanger for a second season that has no guarantee of being produced.

 

High Moon

Another day, another SyFy original.

I have to admit, I saw the opening few minutes of High Moon earlier this summer and was not impressed.  I had never read the source material (John Christopher’s The Lotus Caves), so I didn’t really know what to expect.  But because it is a SyFy original, I kept my expectations low.

For the first 20 to 30 minutes, I was wincing a bit.  Too much exposition packed into too little time, and too many pieces of real science thrown out the window.  Good example: Eve is wearing a special force field that automagically replenishes her oxygen.  That’s all fine and dandy, but what about protecting her from lunar heat/cold differentials?  Radiation?  Cosmic rays?  And (as dramatically cool as it might have been) are you REALLY going to wear those shoes out in the regolith?  The last thing you want to do is track regolith back into your ship.

Also, was it just me, or were there gobs of stalactites and stalagmites in the lunar caves?  The stalactites and stalagmites that we’re so used to in terrestrial caves are formed by water action.  There’s no water on the moon.  Okay, clarify: there may be water ice deep in dark lunar polar craters, but there is no amount of liquid water on the moon that we are aware of that could create stalactites/stalagmites.  So then why are there any stalactites and stalagmites in the lunar caves?  Especially in the tunnel where we first see the Russians – according to the dialog there, that is a tunnel that they built/mined/dug out themselves, however the ceiling is far higher than it should be and there are obvious stalactites in the long shots.  In digging tunnels or mines, the diggers only dig out what is necessary for them to function.  There’s no reason (at least none identified by the dialog) that they would’ve tunneled out a huge room with a 30 foot ceiling.

However, in spite of my quibbles, I actually ended up liking this.  Quite a bit more than I expected.  It’s not great, but it’s certainly not bad, and after I finally stopped wincing it really did keep me entertained.  A few random thoughts:

I love that the Russians speak Russian, and I absolutely love how they displayed the subtitles.

“Leak detected” … “leak contained.”  Very nice touch.

“Sergeant, he asked you a question.”  POP!  Very very nice touch.

So moonchick gives up her access card, but in the very next scene she still has an access card.  Eh?

Mechagodzilla roaring – um yeah – there ain’t no atmosphere to propagate sound on the moon, so his roar won’t make anything vibrate.  And we’re not going to hear him stomp on the moon buggy.  That we’d probably feel, but we certainly would not hear it.

“Lunar Japan welcomes you.”  I’m lovin’ it!

“You seem pretty cool with the fact that your liver might be choking on lunar hemlock right now.”  Absolutely love that line!

Overall, it’s not bad check-your-brain-at-the-door sci-fi, almost a throwback to old pulp sci-fi.  The dialog got snarkier as the show went on, and I have to say I’m kinda disappointed it wasn’t picked up for more episodes.  I rather doubt it would’ve worked as a long term series, but I certainly would not mind watching a little more of it (maybe one or two follow-up movies or a six episode miniseries to finish off the storylines that they left hanging).

 

Z Nation

I’ve said it before several times – I’m a sucker for a zombie apocalypse.  Considering that Z Nation is a SyFy original produced by The Asylum, I had extremely low expectations for it.  But I can also watch Harold Perrineau in almost anything.  So when I hear Augustus Hill is leading a group of survivors cross-country in a mashup of The Last Of Us and The Walking Dead, I’m obligated to check it out.

But, as you can see by the length of this post, there are problems.

If your story starts two years after the beginning of the zombie apocalypse, why have the opening narration say it is has been three years?  Yes, we do eventually jump “one year later” to tell the rest of the story three years after the first infection, but within 15 seconds of the narrator saying “three years after the first infection” we see a caption identifying the date as “May 5th 02 A.Z.”  Why run the risk of confusing your dim-witted audience whilst you’re still in the process of introducing your audience to the world you’ve built?

If these special forces guys really have been dealing with this situation for two years already, don’t you think they would’ve modified their behavior?  If you know you can only drop your enemy with shots to the head, why blindly shoot at them with bursts as you’re running away from them?

“This gate won’t hold” – okay, if that’s the case, shouldn’t mister “hold them as long as you can” start picking the zombies off with single shots to the head to try and slow them down?  This one poor guy is left standing there and he continues to just stand there.  And it’s not because he’s short on ammo – as they show the gate start to fail, they also show him holding at least two extra clips for his assault rifle.

Why exactly does Camp Northern Light need to shut down and bug out?  The way they were acting when they told Cruller to shut down and evac, it seemed like the camp was on the verge of being overrun by zombies.  But that’s not the case – later on we still see it active and we still see Cruller there, so if it is secure enough for one man to run it on his own for a year, why where they so hot to trot to bug out?  And why does the evac plane crash right after takeoff?  Bad writing, as Jonathan Frakes would say.

Now … after an entire year (the aforementioned “one year later” jump), they’ve only made it as far as upstate New York?!?  WTF, is that even in the direction of California?  Actually, this is somewhat due to another potential captioning issue bundled up alongside dim-witted audience geographical knowledge.  I had to jump online and look up the location of the Portsmouth Naval Prison.  Silly me, I figured a naval facility that is THAT important (our last best hope for researching possible zombie plague vaccines) would be in the DC/Arlington/Baltimore area.  Nope, Portsmouth Naval Prison is in Maine, which makes a bit more sense.  And I’m guessing Ellie … er, Murphy … would’ve needed some time to heal up before he could travel, so that makes a bit more sense.  But even so, an entire year and they’ve only made it as far as upstate New York?  That’s what, about 200 miles maybe?

“How’d you find out about this place?”  “An ex-cop and some others taking shelter in a prison 20 clicks up the road.”  NICE!

“Well, if we keep it moving we can get (to the Tappen Zee bridge) and back before nightfall.”  Curiosity overwhelms me again and I’m back on Google Maps.  Up until this point, they don’t say exactly where they are in upstate New York.  But the Portsmouth Naval Prison is in Kittery, Maine.  For the sake of argument, let’s just put them smack dab in the middle of upstate New York.  That puts them vaguely as far away from the Tappen Zee bridge as they are from Kittery.  So it took these two guys one year and the lives of “eight of the best men I’ve ever served with” to get that far, and now two ex-National Guard are proposing to take them an equivalent distance and get back before nightfall.  And Augustus Hill doesn’t even seem surprised?  Bad writing.

I do like them showing an aspect of a barter economy, with the guys offering to trade for weapons and ammo that they’ve produced.  And there’s a nice one-line exposition about the zombies themselves – apparently the fresher they are, the faster they are.

“I was thinking something more silent” – another nice touch.  We have at least one character who has actually learned something in the three years since the zombie apocalypse started.  But it’s a damned shame I have no idea what her name is.

Here’s where my head starts to hurt … the pickup truck has been on the road for a while, long enough for them to check in with Camp Blue Sky by radio.  And they hear that there’s a problem with the camp, because that other group of three people is close enough to the camp to watch it explode.  The two ex-Guards want to go all the way back to the camp to help, but Augustus Hill won’t let them.  So now we’re following the other group of three as they’re running from a zombie horde and all of a sudden <POOF!> the pickup truck is magically there to save them.  WTF?!?  Because it is convenient to the plot.  In other words, bad writing.

“How long you in this cage for?”  “Two days.”  Really?  You don’t look like it.  You don’t act like it either.  Ever spent two days completely exposed to the elements with no water source?  I doubt you can and still come out looking and acting as healthy as she does.  And what’s her name?  As a matter of fact, what’s anybody’s name?

Finally, after we get her inside, Augustus Hill is the only one thinks to offer her water.  And she takes a moment before she grabs it from him and gulps it down.  Nope.  I would expect her to be practically begging for water as soon as she realized she was free of the zombies.

Okay, so now it sounds like we’re in a The Walking Dead situation here, where you don’t need to have been bitten by a zombie in order to become one after you die.  Does that baby look like it’s near death to you?  Nope, thought not.  Then why does it suddenly up and die?  Because it is convenient to the plot.  In other words, bad writing.  But … waitaminute … going back to the opening narration … “three years after the first infection” … implies that you’ve identified the first infection and patient zero and all that … but I’m going to set that point aside because the more I think about it, the more my head is hurting.

Just thought of something else – if we assume all this happened two days ago … and our baby has been sitting in a carseat for two whole days … and our beloved main characters KNOW that … why aren’t they offering the kid water?  Why aren’t they digging through the car looking for formula for the kid?  No wonder he died – they killed him through their own neglect!

“What about the baby … thing?  We can’t leave it like that.”  Yes.  Yes, you can.  Sigh.  Lt. Augustus Hill, up until this point in the episode, your mission (getting Murphy to California) has been your NUMBER ONE PRIORITY and EVERYTHING ELSE has been secondary.  That is how you have behaved up until this point.  Zombies were identified as being 200 yards away.  Zombies got into the building where our Rick Grimes lookalike beat them all with his hammer.  The baby is confined inside the building and is not a direct threat to anyone, especially Murphy.  If hotpants chickadee really did lock herself into that cage two days ago, then any surviving members of the group you were supposed to meet up with would not have gotten all that far away, especially if they were on foot.  So in the process of checking this facility out, they scrounged for food, weapons and vehicles.  Why didn’t anyone look for radio equipment to try to contact any surviving forces?!?  And why for the love of George Romero would you bother going in to whack that baby zombie WHEN IT IS COMPLETELY IRRELEVANT TO THE ORDERS THAT YOU HAVE EMBRACED?  Bad bad bad writing.

Oh great.  He does end up going in there and what happens?  The baby zombie is now playing hide and seek with him.  WHY?!?  ALL of the other zombies we have seen thus far have immediately launched themselves towards living humans as soon as they saw the living humans.  Why does this specific zombie act differently?  Because it is convenient to the plot.  In other words, bad writing.  The creators of the show wanted to pull a Suzie Costello here, pretending he’s part of the cast only to have a “shocking” death right in the first episode.  No.  Not shocking, stoopid.  1) By going in after the baby zombie, he’s acting completely out of character because taking out the baby zombie has nothing to do with his mission.  2) Considering how long he has survived (three years) dealing with zombies, he should know how they behave.  He shouldn’t have to wander through the building, he should only need to stand in the open area and make noises until the zombie baby comes running to him wanting to eat him.  Does that happen?  No.  Bad fucking writing.

“If we wanted to ditch these two, take the truck and run, now would be the time.  Just sayin’.”  NICE!  This older guy has rapidly become my favorite character.  Shame I don’t know his name.

Is the chickadee zombie who jumps Augustus Hill supposed to be the driver of the car?  The one that was already identified as “looks like she took a blow to the skull, brain dead on impact?”  It seems like that’s the only place she could’ve come from given the way that scene played out, and it also seems like she’s wearing the same shirt that the driver was wearing.  If that’s the case, why does that particular zombie wait that long before finally going after someone?  Because it is convenient to the plot.  In other words, bad writing.  And how does she actually get out of the car?  Rewinding that scene, the windshield is intact and the driver & passenger side doors look like they’d be pinned shut due to the way the car is jammed into the side of the building.  And … waitaminute … the headlights are on?!?  If all this mess actually did happen two days ago, I would expect that car’s battery to be dead by now if the headlights were on when it crashed.  Damn, this has given me a headache.

When the others finally come in to see what the commotion is (don’t you think they would’ve heard him yelling and opened the door a minute or two earlier?), why does everyone open fire?  After living in this environment for three years, you would think they would’ve trained themselves to save ammo.  Three shots is all they needed to fire.  Not an entire Rorke’s Drift style volley.

“You know, none of this would’ve happened if you’d just left that damned baby.”  Bravo!  Well said.  I’m starting to like Murphy almost as much as the old guy.  It’s good to have a character that says what I’m thinking.  And at least I know his name.

“How does anyone know anything anymore?”  And on a bad writing cue, Augustus Hill’s radio immediately fires up.  Which again begs the question, why didn’t anyone try contacting anyone on radio equipment?  Or even talk about looking for radio equipment?  Which leads to a follow up question: his radio is charged, or at least somewhat charged – they imply the battery is drained but it could potentially be something else interfering with Cruller’s transmission – but in this day and age, how was he keeping it charged?  Likewise with his li’l GPS thingy.  I doubt military equipment is going to run on commercial batteries.  So how has he been able to keep them charged during his year-long 200 mile trip?

Finally, Cruller sets himself up as “Citizen Z,” broadcasting across everything that he can broadcast across.  I think that’s actually a pretty cool aspect to the show … but why in tarnation did it take him a year before he thought to set that up?  And he’s damned lucky that his facility is easy enough to run that he can do it all on his own.  Again, I have to ask, if it is that maintenance free and that secure, why did the rest of the base feel it necessary to totally bug out in the opening minutes?  Because it was convenient to the plot.  In other words, bad writing.

As you can see, I’ve got a lot of mixed feelings here.  Based on the pilot alone, this show looks like it has a fair amount of potential.  My biggest problem with it is the wasted potential, and this first episode wastes more potential than it shows.  Let’s amp up the quality of the writing a bit, and I’m pleased to see John Hyams is staying on to direct more episodes.

 

Programs Vs. Programmes

Two things inspired this far-too-long post. The first is a comment that a friend of mine made in response to my comments about The Cape. He said (and I’m paraphrasing here) that he’s pleased by how little stupidity comes out of his television because he never turns it on. The second is a question that my son asked me, which I’ll get to further below.

A little background first. My kids watch a lot of British television programmes. And it all started with Doctor Who.

I grew up watching a lot of British television. Thank you, PBS. Back in the ’70s, PBS was my main source of edutainment — Sesame Street, The Electric Company, ZOOM, etc. And then two things blew open the doors of my TV-viewing mind.

The Doctor and Jo Grant walked in on the Doctor and Jo Grant …

“This won’t do at all! We can’t have two of us running about.”

… and a dissatisfied Mr. Praline tried to return a parrot to a pet shop:

“I’ll tell you what’s wrong with it, my lad. ‘E’s dead, that’s what’s wrong with it!”

PBS introduced me to Doctor Who and Monty Python’s Flying Circus, and I’ve never been quite the same since. Those were my gateway drugs for British drama and comedy. Doctor Who led to Upstairs Downstairs, I Claudius, Danger UXB and other BBC dramas repackaged under the Masterpiece Theatre banner. Monty Python’s Flying Circus led to Ripping Yarns, Fawlty Towers, The Two Ronnies, and Dave Allen At Large.

I ended up watching so much British television as a kid that one of the first things my first dorm roommate in college asked me was, “Are you British?” Nope, born and bred in the Windy City. But then again, he got into college on a wrestling scholarship, so he wasn’t exactly the sharpest knife in the drawer.

Even in my childhood viewing habits, I started to notice a difference. Episode by episode, I enjoyed the British series a whole lot more than what I was seeing produced by American studios. There appeared to be an ephemerally higher level of quality running through the majority of the British programmes I watched that was lacking from most (but, to be fair, not all) of the American programs I watched. The occasional American episode would hit that level of quality, but they were fewer and further between compared to what I was seeing on PBS.

This was really driven home by failed attempts to adapt British programmes for the mainstream American viewing audience. My father was a big fan of All In The Family. Thus, I got to know and appreciate Bea Arthur as a comedienne through her work on Maude. When I heard she had a new series called Amanda’s, I eagerly tuned in. Imagine my surprise when I realized I was watching an adaptation of a Fawlty Towers episode, with some dialog sections lifted literally word-for-word out of the original script. Only … it was exceedingly poorly done. The characterizations weren’t there. The comic timing wasn’t there. It was godawfully painful to watch. Which is rather appropriate considering CBS tried again with John Larroquette in the ’90s in the aptly-titled Payne. That didn’t last either, for many of the same reasons.

Some more recent failures? The BBC’s amazingly engaging Space Odyssey: Voyage To The Planets became ABC’s amazingly dismal Defying Gravity. But I think I’ve ranted enough about that one already. And we can also blame ABC for having the gall to try to produce an American version of the BBC’s brilliant Life On Mars. The less said about that, the better. And nobody in our family holds out any hope for SyFy’s new version of the BBC’s Being Human.

All In The Family, however, is an example of a British adaptation that actually worked. All In The Family was a groundbreaking American sitcom that worked so well I never knew it was an American version of Till Death Do Us Part until many many years later. But this level of success in crossing the pond seems to be a rarity.

Another comparison that comes to mind is how our different entertainment sources treat the same subject matter. Let’s take, for example, a disaster story involving a volcanic eruption. In 1997, Hollywood produced Volcano and Dante’s Peak. (Yes, I know, these are movies, not television programs, but bear with me here.) Volcano was just plain stoopid. Dante’s Peak was somewhat more accurate scientifically, but was still full of dippy characters and unrealistic action sequences. Eight years later, the BBC airs Supervolcano, which was well-written, well-acted, scientifically down-to-earth, and (as my boys both admitted) downright scary.

Or nuclear war. ABC hyped The Day After as something nobody should watch alone, so I did. In a darkened dorm room. I thought it alternated between being dead boring and unintentionally hilarious. The single moment that came close to getting under my skin was the few minutes they spent depicting the bombs going off. That, and Reagan’s Secretary of State George Shultz saying to the other talking heads (Carl Sagan, Henry Kissinger, Robert McNamara, William F. Buckley) in the post-miniseries discussion, “The only reason we have for keeping nuclear weapons is to see to it that they are not used.” The very next year, the BBC unleashed Threads on the world. Threads scared the hell out of me. Just thinking about it still gives me a shiver up and down my spine as I type this. And recently, I finally saw The War Game, which the BBC essentially shelved for 20 years. Shivers, again.

In 2005, Doctor Who came back on the air. I had tried to get my kids interested in that programme for years. My daughter never could stomach the low (compared to today) production values of the old classic Doctor Who episodes. As much as my boys liked Daleks, they could take it or leave it. The programme’s 2005 regeneration, however, sucked all of them in. By the time the third episode ended, they were die-hard fans. I still remember how angry my daughter was when Christopher Eccleston left the programme; she absolutely hated David Tennant. As Tennant’s first season progressed, she started to adore him as the Doctor. Then when Tennant left the programme, she was angry again and absolutely hated Matt Smith. Now, after having seen Smith’s first season, she adores him. It’s so refreshing to see her experience what I experienced decades ago with Jon Pertwee, Tom Baker, and Peter Davison.

In 2009, in anticipation of David Tennant ending his reign as the Doctor, we had our own BBCish Christmas. Doctor Who: The End Of Time, Nan’s Christmas Carol, The Gruffalo, The Turn Of The Screw, and Doctor Who-based episodes of QI and Never Mind The Buzzcocks. I also sat the kids down to show them Ghostwatch, which is a style of program that I haven’t seen done well since NBC’s Special Bulletin in 1983.

Around this time, my son asked me a question that I couldn’t answer: “Dada, why is British television so much better than American television?”

In addition to the titles I’ve already mentioned, my kids love Red Dwarf and Primeval. My boys love Sapphire & Steel. My daughter loves Coupling. My wife loves Blackadder. I love Blake’s 7. Shoutouts to Occupation, The Stone Tape, Karaoke/Cold Lazarus, Jekyll, Edge Of Darkness (Bob Peck can kick Mel Gibson’s ass any day of the week), Dead Set, and Sherlock.

That’s not to say that I think 100% of British programmes are 100% fantastic. I was less than impressed with the recent BBC adaptations of The Day Of The Triffids and The First Men In The Moon. I never could really see why people thought Benny Hill was funny. As fun as Space: 1999 was, it had more than its fair share of dumb moments, as has my beloved Doctor Who. The new Survivors was an unnecessary remake, but it was engaging enough to be watchable. The Hitch-Hiker’s Guide To The Galaxy loses a lot in its translation from radio serial to television, but it’s still funny (and significantly better than the big-budget film adaptation). I can’t help thinking the average level of quality of British programmes appears to be significantly higher than the average level of quality of American programs.

So I’m going to open this up … why is British television so much better than American television? Or is that just a fallacy on my part? Does it have to do with the the BBC being funded by license fees and American television being funded by blatant consumerism? Does it have to do with cultural differences relating to how the viewing public expects to be entertained? Are British producers shooting for a higher lowest common denominator than American producers? Or is it some sort of cultural or perceptual filter, where only the better British programmes are making their way across the pond? (That may have been true in the ’70s & ’80s, but given how ubiquitous the internet and torrents are today, I see that as being unlikely.)

How should I answer my son’s question?

Shit, Revisited

Caprica

So … the final five eps of Craprica have aired in Canada (and are available online as torrents). And the best thing about them were the final few minutes of the final episode. We got an all-too-brief glimpse of what would have happened through the rest of the series. I really want to know if that was intended from the very beginning or if that was added after the fact when the producers realized that SyFy was going to can the series. As I said before, “very mixed feelings here.” The STO storyline is pure hokum. The Tauron mafia storyline, as much as it originally intrigued me, ended up being far too clichéd. The Greystone Industries storyline, as much as I want Amanda Greystone to be brutally disemboweled (I still find it amazing how much I liked Paula Malcomson in Deadwood compared to how much I despise her here), could actually sustain an entire second season. But no. Denied.

No Ordinary Family

Oh dear God … this show could’ve been fantastic … but it ended up as complete and utter crap … why the hell do I continue to waste my time with this?!? Oh yeah … Julie Benz … that’s why …..

The Walking Dead

The greatest piece of news I’ve heard regarding this series was that Frank Darabont fired the entire writing staff for season two. Again, this show should’ve been fantastic, but the first season ended up mediocre at best. It’s still stretching my suspension of disbelief (can you *REALLY* outrun a thermobaric weapon on foot in four minutes and thirty-one seconds?!?) Yeah, as I mentioned before, the source material ain’t all that great to start with, but I can’t help drawing analogies between the first season of The Walking Dead and the first season of Babylon 5. Babylon 5‘s first season had just a few bare hints of what the show would eventually become. Hopefully The Walking Dead will do the same. Bring on Michonne and the prison.

Caprica

(While we’re on the subject of Ron Moore ….)

One word: Craprica.

Very mixed feelings here. While I liked the (extended) pilot, the show does not seem to be living up to what I expected. I desperately wanted to like it. My two biggest problems with it are 1) it just seems to be draaaaaaggggging along, and 2) I cannot find a single likable or sympathetic character in the entire frakking ensemble. The only two reasons I’ve stuck with it are 1) I recall reading somewhere online that Ron Moore was going to use Caprica to cover some of the virtual ground that Fox prevented him from covering in Virtuality, and 2) Alessandra Torresani is smokin’ hot.

So on one hand, I’m glad Sci-Fi (er … ‘cuse me … SyFy) canceled it. On the other, I wish they had let the final five eps play through to the finish. Most of the show’s subplots can go scratch as far as I’m concerned (frak the STO, in spite of how much I adore Polly Walker), but I actually would like to see how the Greystone Industries/Tauron mafia stories turn out.

Luckily, the Space channel in Canada is still broadcasting them, so torrents are available for snagging.