theradicalchild: (Avatar Aang and Appa)


I watched the Nickelodeon television channel religiously when I was growing up but eventually outgrew it and moved on to other things as I transitioned into adulthood and started college. As such, I was in the dark about the network’s new programming throughout the first decade after the turn of the millennium, but I eventually heard of Avatar: The Last Airbender as one of their more contemporary cartoons a few years after it premiered on the channel and concluded after three seasons. It wouldn’t be until well into the following decade that I watched the animated series proper.

My first exposure to the Nickelodeon franchise was its first live-action adaptation, The Last Airbender, directed by M. Night Shyamalan, previously affiliated with many a supernatural film with surprise twists. I thought it was a decent film, albeit certainly not perfect, even though critics and audiences widely deemed it a cinematic turkey, not solely the fault of Shyamalan, who genuinely liked the cartoon series and wanted to make several films out of the first season, before executive meddling watered down the final product and crammed everything into a single two-hour movie.

Like Disney had been doing the previous decades with their animated film classics, Netflix announced a live-action streaming series adaptation, in the producers’ words, “reimagining.” However, the first season largely follows that of the original series to the letter, albeit with some expansion, focusing on the background before the titular last airbender, Avatar Aang, awakens after a century of frozen slumber. Afterward, he joins others as he attempts to master the four elements while waging war against the adversarial Fire Nation, whose exiled Prince Zuko is especially interested in apprehending Aang.

While I enjoyed the original Nickelodeon cartoon and its respective sequel series, I had a fun time watching the live-action reimagining, which retains the aesthetics of the original and has fitting cast choices, none mercifully nepotistic like in the 2010 film, and stands well on its own. The backstory and mythos are intricate, and there’s plenty of action to keep one from boredom. It’s easily preferable to the live-action adaptation from the last decade, does the animated series justice, and is worth a watch. I will continue to watch it as future seasons are released.
theradicalchild: (Balok Puppet)


When I first started watching this live-action science-fiction dramedy on Fox the last decade, I assumed it would be a knockoff of the Star Trek series, but given the repertoire of showrunner Seth MacFarlane, responsible for animated series such as Family Guy, American Dad!, and The Cleveland Show, I knew it would be a more lighthearted take on the sci-fi genre. The series opens with up-and-coming Planetary Union officer Ed Mercer, portrayed by MacFarlane, catching his wife, Kelly Grayson, having an affair with an alien, which leads to their divorce. A year later, Mercer receives command of the eponymous spaceship, with Grayson, to his shock, becoming his first officer.

The Orville isn’t shy about its Star Trek inspirations, beginning with its music. The opening credits theme takes inspiration from “Life Is a Dream,” Jerry Goldsmith’s central composition of the first and the fifth Star Trek Original Series films as well as The Next Generation, a similarity more so apparent in the season three remix. The Planetary Union is a nod to the United Federation of Planets from Trek, along with the various alien races, with sundry conflicts erupting throughout the series, chiefly with the Krill, a vampiric and ultrareligious society. The robotic Kaylons, with one of its members, Isaac, serving as a neutral ambassador aboard the Orville, also come into play later.

Other notable crew members include Bortus, a member of the Moclan race with deadpan speech patterns that make for some occasional humor, who mates with Klyden and has a child named Topa, born female, which is rare among their species in their male-dominant society. The episode “About a Girl” focuses on the couple’s decision to change Topa’s gender to male to conform to Moclan society, which hit home to me as an autistic and receives a follow-up in the third season. Another first-season episode, “Majority Rule,” focuses on a twenty-first-century society reigned by upvotes and downvotes, touching upon themes such as the role of social media and public shaming, which parallels modern cancel culture.

The Orville has a pretty good selection of stars, both guest and recurring, aside from Seth MacFarlane. Brian George, who played the Pakistani restauranteur Babu Bhatt in Seinfeld, and various other Indian or Pakistani characters in other media (despite being Israeli), plays a researcher in the first episode. The late Norm Macdonald plays Yaphit, an amorphous blob with a crush on Doctor Claire Finn, and briefly appears in human form thanks to the ship’s Environmental Simulator (which Isaac also uses when he tries to woo Finn). Patrick Warburton plays a long-nosed alien in a few episodes, and Ted Danson recurs as an Admiral in the Planetary Union throughout the entire series.

Overall, I had a great time watching The Orville, which largely avoids the pitfalls of MacFarlane’s animated shows, such as the drawn-out gags and topical references (but there is some sound sociopolitical commentary that never becomes ham-fisted) and strikes a balance between being humorousness and seriousness. I found it an excellent homage and even rival to the various Star Trek series (and it did semi-compete with Discovery upon its original release), which evokes Trek’s feel (musically and aesthetically) while standing well in its own right. I would happily watch future seasons should the series continue and consider it a capstone among Seth MacFarlane's television productions.
theradicalchild: (T'Ana)
Star Trek LD logo.svg

The second Star Trek animated series since The Animated Series and the franchise's first comedic series, Lower Decks follows the lower-deck crew members of the U.S.S. Cerritos during the Next Generation era as they and the vessel's crew get into a series of misadventures across the galaxy, with no overreaching plot in initial episodes. However, season two ends with a cliffhanger the following season concludes. The overall aim of the show was to get audiences to laugh "with" Star Trek rather than "at" Star Trek, and I think it did a pretty good job in that regard and will continue watching it as future seasons release.
theradicalchild: (Legoshi)
Beastars, Vol. 1 (Beastars, #1)Beastars, Vol. 1 by Paru Itagaki
My rating: 5 of 5 stars

Ever since I watched the original Fullmetal Alchemist, Japanimation, colloquially called anime, has fascinated me, although I wouldn't realize that most Japanese animated series derived from manga, Japan's equivalent of comic books, with the Land of the Rising Sun, in fact, the origin point for what would ultimately become contemporary comics. One particular modern anime that would catch my attention is mangaka Paru Itagaki's Beastars, with my first exposure being the anime adaptation, of which I have a positive impression, and, upon the official English release of all volumes, make it the honor of being my first manga.

The first volume occurs in a world inhabited by anthropomorphic animals, divided based on whether they’re herbivores or carnivores, starting with the brutal devouring by one of the latter beasts of an alpaca student at Cherryton Academy named Tem, with even more hostility consequentially arising between meat-eaters and vegetarians. Legoshi the wolf, active in the school's drama club as a crewmember, hears news of this and gives Els the alpaca a love letter that Tem wrote before his demise, although naturally, she is wary of the lupine and fears he will devour her.

The actors in the drama club are rehearsing for a school performance of a play focused on a grim reaper named Adler, with Tem initially having a role in it. Further active in the acting troupe is the red deer Louis, who admires Legoshi’s ferocity and wants him to be a lookout for Zoe the goat, Tem's replacement in the play. Legoshi soon has a run-in with a rabbit named Haru, with whom he seems to share a special connection, with the lapine fearing the wolf will devour her. Haru herself faces ostracization from other herbivores such as a harlequin rabbit.

That night, Legoshi fitfully sleeps, and has conflicted feelings about Haru, with his instincts insisting he devours her, although in the animanga's world, eating meat is a crime, with school cafeterias attempting to compensate for the nutritional shortcomings carnivores consequentially face; baring fangs is also taboo for meat-eaters. Animals exemplifying the best characteristics of society receive the eponymous title of Beastar, with Louis wanting the play to send a message to the polarized society. The first manga volume ends with Legoshi meeting Haru in the school garden, and it was for me a solid experience, with some quirky extra content after the main comic.

View all my reviews
theradicalchild: (Japanese Self-Defense Forces Flag)
Samurai Rabbit The Usagi Chronicles poster.jpg

Follows a descendant of the lapine Miyamoto Usagi from the Usagi Yojimbo comic book series in a semi-futuristic setting as he deals with various spiritual entities along with his friends. Fairly enjoyable, and I'd be interested in reading the comics.
theradicalchild: (Signal Corps Thumper)
 

The latest adaptation of Richard Adams' novel comprising of four Netflix episodes, the series opens with the author's lapine mythology, and involves a rabbit tribe fighting for survival against antagonistic animals and humans. Fairly enjoyable, and has some major celebrities in its voice cast.

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