"This was on the radio today
Aimee Mann - One"
Decades of X: 90s vs. post-2001 (2012)
"Aliens are fun and all but over the last 12 years, the whole alien thing has died down." - Anrkist
Would you agree with that?
Do you see a change in film industry there? Has that topic died down/became less interesting?
So I guess in the 90s we still had more COLD WAR while now CLIMATE CHANGE and financial crisis, water and food CRISIS are more pending.***
I wonder how XF will apply to that 90s /2000 change, dont you?
IWTB was a pretty timeless movie, right? A Classic. Apart from the "6 years passed. Mulder and Scully have changed..." and the Bush picture at the FBI.
But if XF3 goes back to myth, how do they make that change?
Is the Supersoldier storyline that started after 2000 the key to make it 2012-style?
I guess its always the best to stick with the original idea (like in the music industry) than trying to appeal to the general public.
I mean the themes of HOPE and FAITH will stay right? Action and Mulder and Scully risking their lives.
so basically my question for the discussion would be: IWTB sent a timeless message.
What messages CAN XF3 send out?
You know, like when your grabbing an old book ( here: the myth arc dating from the 90s on to 2000) from your shelve years later and ask yourself: "What does this tell me NOW?".
I am not good writing coherent texts. But I'd really love some replies *sad face*.
***edit: I forgot to list Terrorism as "fear of our times". You know, problems that make us deal with humans rather than outer space.
Would you agree with that?
Do you see a change in film industry there? Has that topic died down/became less interesting?
So I guess in the 90s we still had more COLD WAR while now CLIMATE CHANGE and financial crisis, water and food CRISIS are more pending.***
I wonder how XF will apply to that 90s /2000 change, dont you?
IWTB was a pretty timeless movie, right? A Classic. Apart from the "6 years passed. Mulder and Scully have changed..." and the Bush picture at the FBI.
But if XF3 goes back to myth, how do they make that change?
Is the Supersoldier storyline that started after 2000 the key to make it 2012-style?
I guess its always the best to stick with the original idea (like in the music industry) than trying to appeal to the general public.
I mean the themes of HOPE and FAITH will stay right? Action and Mulder and Scully risking their lives.
so basically my question for the discussion would be: IWTB sent a timeless message.
What messages CAN XF3 send out?
You know, like when your grabbing an old book ( here: the myth arc dating from the 90s on to 2000) from your shelve years later and ask yourself: "What does this tell me NOW?".
I am not good writing coherent texts. But I'd really love some replies *sad face*.
***edit: I forgot to list Terrorism as "fear of our times". You know, problems that make us deal with humans rather than outer space.
Tags: 00s, 2002, 2012, 90s, XF3, aliens, era, message, myth
Views: 125
Replies to This Discussion
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Permalink Reply by orodromeus on -
You're right about science fiction often being able to tackle "larger" themes more easily than "conventional" drama, also if it's clever enough it can go quite far on social commentary.
Otherwise, no, not much. Fringe does seem to be what's good out there, and that's scary. Terra Nova looks like a salad of Lost, Avatar and Jurassic Park. Even South Park, which used to be really good on social commentary, rarely has any good episodes any more. At least Futurama still is really good!
Frankly, I've rather given up on TV lately, I'm occupied enough as it is by books and (old) films and real life. Plenty out there! So I'll stop whining.
traumcave said:
Thanks for this article! It was really interesting. I still use with friends a quote from another article on the state of remakes in cinema lately: "Hollywood endless desire to eat itself"!...Vince Gilligan on Hollywood Movies
Vince Gilligan is mentioned in a new GQ column by Mark Harris called The Day the Movies Died. Vince says of movies now, "It's like a chicken-versus-egg thing. The studios say, well no one else is coming to movies reliably these days except for young males, so we'll make our movies for them. And yet if you make movies simply for young males, nobody else is going to want to go. So Hollywood has become like Logan's Run: You turn 30, and they kill you." For more head over to GQ.com
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Permalink Reply by Joan Crow Cimyotte on -
Movies suck. Especially science fiction. Television get science fiction way better, it always has. But they seem to rehash the same old crap in comedy and romantic comedy. Nothing new. Boring. I still have hope for XF3. If they make it I will go see it.
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Permalink Reply by traumcave on -
Hehe. How about "The television devours its own children" ?
yeah. That's what I was doing. whining. Ah, but I just love when art allows a discussion beyond politics, you know?
And I have at least 9 books on my shelf- can't wait to get around to that! But ... I guess there are other forms how society reflects about meaning, life etc. . It just happened that TXF did it in the 90s.
Maybe it's just that everyone *does* go into politics (these days) to really change things. That's cool. But I am missing the parallel thing to that line, you know.
Maybe it's just the slow death of journalism that wakes some hunger for other forms of reflection. And I mean about the present. Of course in the past people have been thinking about the(ir) present time too, and their future. But
-and I think there is a quote about that to somewhere- television somhow has the chance to (if you will) "commentate" very close to what's going on.
It seems that there is so much going on that the interest in commentating should be high.
Not that that is all that TV does, commentating. ;p
Maybe for someone who grew up in the 90s it's just very convenient to take TV as a basis (...).
After all, didn't Chris Carter get to know Spotnitz in a book club?
I guess it's just this communal thing that is missing (?).
LOL, .....says the girl from Germany [which has a delicate connection to "communal things"].
I could quote Musil
"Someone comes up with a splendid new gesture, an outward or inward- how shall we translate it?-vital pose?
A form into which inner meaning streams like helium into a balloon?
An Expression of impression "orodromeus said:
Thanks for this article! It was really interesting. I still use with friends a quote from another article on the state of remakes in cinema lately: "Hollywood endless desire to eat itself"!...
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Permalink Reply by Joan Crow Cimyotte on
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XFiles was one of those unusual events that was fresh, intriguing, with the right chemistry& great writing. The writers used elements from previous geniuses like Alfred Hitchcock and Rod Serling and were able to make it fresh and new. Now after the ten years the show has been gone there has been a lot of imitations. I'll watch the real thing over any "Lost" or "Fringe" or "The Event" or "Warehouse 13." They pale to the XFiles.
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Permalink Reply by traumcave on
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Chris Carter made an interesting comment last weekend at the IBG event:
"The network was not going to kill the show. It only ended in Season 9 because the mood of the country had changed. No one was interested in conspiracy theories anymore. I think it ended when it needed to end."Why did Fox really cancel the show? Bad ratings or "mood of the cou...
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Permalink Reply by Joan Crow Cimyotte on
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Yes that was very true. After 9-11 things changed. I think the mood of the country has a renewed feel and paranoia is back. XF3 would be quite timely now.
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Permalink Reply by traumcave on
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http://www.nytimes.com/2011/09/18/arts/television/viewing-like-its-...
September 16, 2011
New Fantasy: Viewing Like It’s 1979By GINIA BELLAFANTE
IN advance of the debt-ceiling debate in Congress this summer, morning-show pundits repeatedly compared the moment with 1979 both in terms of specific economic realities and the bleak, broader cultural mood. In 1979 the country similarly faced the danger of defaulting on its financial obligations; growth lagged; the Iranian revolution sparked turmoil in the Middle East. Catastrophists found validation for their unease in the disaster at the Three Mile Island nuclear plant in Pennsylvania just as bizarre shifts in weather patterns today seem to confirm our darkest worries about global warming.
Historical analogies that serve political pundits occasionally aid observers of television trends just as concisely. As it happens, there is much to remind us of the 1979 television season in the one now beginning, and I refer here to more than the obvious example of “Charlie’s Angels,” begun in 1976 and resuscitated as a network series on ABC. Glancing at the schedule one is struck by the number of new series set in fantastical or futuristic worlds: places where certain citrus fruits attain the status of precious commodity (“Terra Nova” on Fox); where the darkest dimensions of fairy tales animate otherwise anodyne suburban existences (“Once Upon a Time” on ABC and “Grimm” on NBC); where the development of a brainy and mysterious machine assists in the pre-emption of violent crimes (“Person of Interest” on CBS).
Although by the late ’70s the social realist comedies of Norman Lear and Larry Gelbart were still very much dominating the consciousness — “The Jeffersons” and “M*A*S*H” — an interest in the world not as we know it had begun to take expression in a decisive way for the first time since the original “Star Trek” series went off the air a decade earlier.
Spurred on by the popularity of “Star Wars” the networks invested in science fiction and fantasy, delivering the first iteration of “Battlestar Galactica” in 1978 and “Buck Rogers in the 25th Century” a year later. “Buck Rogers” imagined that a nuclear holocaust had taken out Earth, but that the human race had ultimately been recreated and put under the protection of the Earth Defense Directorate, a kind of more ambitious Department of Homeland Security. In 1979 it was also possible to watch the earthling-alien romance “Mork & Mindy” as well as “Out of the Blue,” a comedy about an apprentice angel working as a schoolteacher, presuming you caught one of the show’s nine episodes.
None of the current offerings are meant to be funny, though some share the campier aspects of their forebears and the obvious wish to reproduce both the aura and popular kitsch of the current culture’s vampire production mill. Chief among the culprits in this regard is “Grimm,” a series about an Oregon homicide detective who suddenly starts to see monstrous imagery on the faces of ordinary people. Why? Because he is a descendant of some kind of demon-chasing aristocracy. On “Grimm” people speak with great urgency to one another and make ominous pronouncements like: “There are things you don’t know — things about your family.”
If there is a larger point to the series beyond the notion that the world is scary and things are rarely what they seem, it is not evident from the initial episode. Cheekier in disposition but guided by the same sense of airy, soft-core paranoia is “Once Upon a Time,” which gives us a bail bondswoman, played by Jennifer Morrison (last seen as Cameron on “House”) inadvertently reunited with the little boy she’d given up years earlier, a child who is convinced that they are fairy-tale characters trapped, by cruel chance, in the mundane world.
Unfortunately for the boy, the woman raising him is the evil queen of “Snow White” and the mayor of a bizarre, “Witches of Eastwick”-like New England hamlet called Storybrooke. “Once Upon a Time” seems, in one sense, to aspire to speak to fantasies of an easier, more enchanted life and in another to serve as caution against giving babies up for adoption.
Both “Terra Nova,” which has Steven Spielberg as a producer, and “Person of Interest” are rooted in more palpable collective anxieties. Set in the 22nd century “Terra Nova” fashions a world whose resources have been overexploited and which is at the brink of extinction. Very little can grow; oranges are a rarity. The series opens with a family being investigated for violations of population-control ordinances. Before long, though, its members are transported back to a primeval time where an experiment is looming to rebuild civilization, this time more in accordance with the dictates of Greenpeace.
The dream of prevention is also at play in “Person of Interest,” a series set in the very real world of present-day New York, where a remnant device of a post-9/11 counterintelligence effort is being deployed to stop murders from happening as they are being planned. Behind the initiative is a mysterious billionaire, played by Michael Emerson, who gave us the mysterious islander Benjamin Linus on “Lost.” (J. J. Abrams, a creator of “Lost” is one of the new show’s executive producers.) That casting choice alone would have put the series in the territory of the surreal. And yet despite the grimly earnest tone there is something almost sunny eyed about an enterprise that imagines violent crime as the greatest threat to the city at a time when crime rates have plummeted. In its own way “Person of Interest” is also a fairy tale.
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Permalink Reply by traumcave on
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Is Showtime's Homeland the first post-post-9/11 TV show?
http://us.rd.yahoo.com/dailynews/rss/entertainment/*http://us.rd.yahoo.com/dailynews/external/omg_rss/rss_omg_en/http__...*http://omg.yahoo.com/news/is-showtimes-homeland-tvs-first-post-post...
In a word, yes, according to Howard Gordon and Alex Gansa, the former 24 producers who developed the show.
Fall TV: Get the lowdown on this season's must-see new shows
"If you look at 24, it was a response to the towers coming down. It was about America taking action against enemies," Gansa tells TVGuide.com. "This is very much a response to Osama bin Laden's death. It's a psychological exploration of what this war on terror has meant to the United States and meant to the individuals that are involved in it. ...
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Permalink Reply by Elizabeth on -
Sorry if I'm copying anyone. I don't have time to read everybody's posts tonight. I have to get up early tomorrow.
Anyway's there are so many possibilities that could happen. I see Mulder and Scully knowing exactly where their children
are. I say children because there is no way that Mulder would leave Scully's side after she gave birth to his son, unless he had something really important to do. The only thing that would tear him from her side at that moment, was if someone who he loved truly and deeply was in serious danger. He would not leave her side. Unless of course it was a child. We
know hat Gibson was back in hiding. He blew his freedom for a minute, threw his exisistence into the face of the alien in their midst at Mulder's trial. Remember he sent an emissary to Scully. That Gibson was willing to sacrifice all for Mulder.
Now what child could possibly exist anywhere in the world, more precious to him then the one in Scully's arms.
My conclusion there is a twin.
How many episodes did we watch where either one is in a hospital bed with the other right their? In The Ghost's Who Stole Christmas, In Field Trip; they always knew the other was there. They knew they hadn't shot each other. In Pusher
and it's follow up Kitsunegari. They were able to connect on a higher level and break the spell cast on them.
I propose that twin was a girl. Think about it.
Samantha was abducted by aliens.
Scully was abducted and experimented on twice. She carries a chip in her neck.
She was able to conceive after she came into contact with an alien craft.
Mulder was kidnapped because of what happened to him after he had seen an artifact from the craft.
Okay now what would make he and Scully decided to put this twin in hiding? It would have to be a female child. What
could gaurentee a satisfying box office run, as well as the fans?
It would have to be a perfect balance of romance, action, and ALL of the mythology.
Yes it will have the aliens. Wether out in the open or covert.
It will have William (and his twin I hope). After all how is it he alone survived the blast that killed the cult?
Why were all factions interested in him?
Why the super soldiers, the alien replicants, the goverment, the cults?
Didn't Krychek tell us one of them must die?
Why did we not see a single reaction from Mulder about William's having been put up for adoption?
Look how he reacted after finding out through official channels that Scully had spent the night ALONE with another man.
A man that feels that depply for a woman feels that deeply for a child they have created together.
Because that child is an extension of themselves, of their love for each other.
Look at the constraint they showed from day one.
Look at the flirty body language from episode one.
Listen to the things Mulder has said over the years. They've been sleeping together since case one.
Mulder told the Judge in Emily that he had suspected that Agent Scully had been infertile since her return.
Now the only time I'm that intimate with a man, is when I'm sleeping him.
How else would he know when I could possibly get pregnant unless we were havng sex. Not even best friends
are that intimate.
Now that is where the romance lies. It's those looks, that body language, watching him escort her down the hall with
his hand on the small of her back.
We will see it again, if we're lucky they'll give us a glance at their intimate. The soft scene that shows us just how truly they really love one another.
We will see the adventure as they rush off to save William, (and twin I hope.) As well as the world. Wether it's out right
war fare, or covert. The adrenalin rush will be there it's guarenteed.
Then the culmination, will leave us exhuberant and joyus.
Knowing they are together this time ending with them as family, reunified.
We will have angst, the angst of seeing them seperated. I believe this time by choice.
I don't think Scully will be with him at first. I think it will revolve around William,( and twin I hope.)
We will have gratification as Mulder and Scully reunify with their offspring and collectively kick some alien butt.
We will watch perched on our seats as the great mystery of it all is explained in a monologe.
I bet it it'll be CGB Spender. The Smoking man. He'll tell us how the one we saw blow up was a clone.
We'll shout with glee when finally Mulder and Scully defeat the man and his consortium.
We'll sigh blissfully when they finally walk off into the sunset, with no more shadows.
We will walk out of the theaters animated, bubbling, satisfied, Having our closure.
Regardless of how it starts we know it will grab us.
No matter what's in the middle we will keep watching.
As we feel it draw to a close we will try and anticipate.
Anyway it will be good, it will be satisfying, it will take us on the last leg of the journey we know as.....
"The X-Files."
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