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borg’s Best of 2019–The Best on TV

Filed under: Fantasy Realms, Retro Fix, Sci-Fi Café, Superheroes, TV — Leave a comment

December 28, 2019

This year we found one series that could easily sweep most of the categories–a single television series that had everything: compelling story, a full range of emotions, great characters, tremendous action, a sharp use of humor, all kinds of genre elements that were satisfying and left viewers feeling inspired. Richly detailed sets and costumes. An impossible feat to replicate. No drama came close. No other visual effects spectacle could touch it. And its audience is everyone. A truly epic addition to television viewing, that series is The Dark Crystal: Age of Resistance, the greatest television series to come along in years. If you love genre like we do, this was as good as it gets. And like icing on the cake, along came The Mandalorian at year end.

But we’re not going to ignore the other good things that happened on the small screen this year.

Our borg Best of 2019 list continues today with the best in television. If you missed it, check out our review of the Best Movies of 2019 here and the best Kick-Ass Heroines of 2019 here.

Without further ado, this year’s Best in Television:

Best Borg Series – Doom Patrol (DC Universe). With this year’s series Doom Patrol we got a look at two borgs, DC Comics’ Cyborg, an update to Martin Caidin’s original Bionic Man from the 1970s, and an older borg created before the word was even coined in the 1960s, Robotman. Both characters revealed a glimpse at what life might be like with significant cybernetic enhancements (when brought together by a modern Dr. Frankenstein). For 2019, it was the way to get your borg fix on the small screen.

Best TV Series, Best New Limited TV Series, Best TV Fantasy, Best Writing for TV, Best TV Costumes/Makeup, Best TV Soundtrack – The Dark Crystal: Age of Resistance (Netflix). It was worth the wait. Jim Henson’s seemingly impossible to replicate artistic vision was successfully achieved thanks to his daughters and the company he founded. The kindest heroes, the darkest evil, a truly epic, legendary story for the ages. Everybody is cranking out CGI extravaganzas, but how many are creating artistry so fundamentally real, with so many individual artists and artisans contributing and achieving so much? Even that wouldn’t be enough if not for the layered mythology and epic adventure story. Add great humor, high stakes, emotional impact, an all-star voice cast, Daniel Pemberton and Samuel Sim’s imaginative musical score, and those puppets and all that go into them–it adds up to a rare thing–a Henson masterpiece.

Best TV Sci-fi Series, Best TV Drama – The Man in the High Castle (Amazon). Amazon Studios could not have adapted a series more faithfully, making changes for the medium and the times, than its take on Philip K. Dick’s most celebrated novel. The use of science fiction to tell a deep and twisty level of subplots and unique setting all came to a perfect conclusion in the series finale. Exciting, intelligent, frightening, and the most thought-provoking series this year, it was also different from its sci-fi competition. Honorable mention: The Mandalorian (Disney+)–but only if we allow space fantasy since the series is not true science fiction, The Orville (Fox)–for its two-part epic movie-worthy space story, “Identity.”

Best New Ongoing TV Series, Runner-up: Best TV Soundtrack, Runner-up: Best TV Costumes/Makeup – The Mandalorian (Disney+). Not a lot needs explaining with this series, which in only its first two hours we rated it closer to the original Star Wars and The Empire Strikes Back than anything with the Star Wars label on it since. The Western motif is still alive, not all that hidden here in space fantasy garb. And we won’t get started on the impact of The Child (aka Baby Yoda) on the genre-loving world and beyond. Credit Jon Favreau’s visible enthusiasm and love for the original movies for the success of this surprisingly awesome arrival–the series is proof Star Wars is far from over.

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Tags: "All's Well That Ends Well" episode, "Fire From the Gods" episode, "Le Reve Impossible" episode, "Legacy" episode, ABC, Alex Høgh Andersen, Alexander Ludwig, Amazon Studios, Amber Rose Revah, Baby Yoda, Baskets TV series, Best Genre TV 2019, Best of 2019, Best Tv 2019, Best TV episodes 2019, Best Tv shows 2019, borg, borg.com Best of 2019, Brent Jennings, Byron Mann, CBS, Christian Yelich, Cobie Smulders, Crystal Reed, Cyborg, DC Comics, DC Universe, Doom Patrol, Genea Charpentier, Halston Sage, Iko Uwais, iZombie, Jordana Brewster, Karl Urban, Katheryn Winnick, Ken Jeong, Kingdom, Knightfall, Larry Manetti, Lee Majors, Lodge 49, Magnum PI, Mark Hamill, Maya Hawke, Natasha Lyonne, Netflix, Pat Monahan, Paul Giamatti, Rachel Nichols, Ragga Ragnars, Rob Thomas, Robert Childan, Robotman, Roger E. Mosley, Rufus Sewell, Russian Doll, Shetland, South Korea television, Stranger Things, Stumptown, Swamp Thing, The Dark Crystal: Age of Resistance, The Man in the High Castle, The Mandalorian, The Orville, The Orville Identity episodes, The Skekses, Tim Kang, Time to Make... My Move episode, Train band, Uncle Six, William Forsythe, Wu Assassins

The Man in the High Castle wraps four seasons as TV’s best science fiction drama

Filed under: Retro Fix, Sci-Fi Café, TV — Leave a comment

November 21, 2019

Review by C.J. Bunce

How often does a television series stay powerfully compelling for the entirety of its run? Most series, especially science fiction series, have a freshman and sophomore season full of bad episodes and clunky storylines. With a fourth season now one for the books, Amazon Studios’ The Man in the High Castle is the exception, and nothing short of cinema magic that the final season of the series didn’t miss a beat in its final ten episodes. The series has been a slow burn from the first season, but if you enjoy the idea of an alternate universe that doubles as an alternate history story–and nobody made them better than author Philip K. Dick–then this is the series for you, waiting for you to stream its 40 episodes right now. It all began with a first-rate pilot (first previewed here at borg) set in a gut-wrenching world where the Axis beat the Allies in World War II, created five years ago for Amazon’s first run at a series format. From the meticulously re-created sets, buildings, landscapes, costumes, props, and vehicles, to a script that may very well reflect the smartest and most tense science fiction ever to hit television sets, The Man in the High Castle proves Amazon Studios can match (and beat) the quality of programming of any of its competitors.

The themes are unfortunately current, grand and weighty like the best science fiction should be, and Santayana’s warning was probably never better illustrated in fiction form, asking the question: Could Nazi leadership of the homegrown American variety be worse than a threat from foreign invaders? The show also explores other big ideas, like the idea that you may not be the very best possible version of yourself (and what you could do about it). Most series are top-heavy, relying too much on the lead characters to drive the story. The writers of The Man in the High Castle took the time to completely flesh out dozens of key supporting characters, each one critical to the story, and all an example of world-building detail that every writer should take notes on. Every thread they created gets nicely tied up by the final episode. The very best, most complex and creative character arcs on any series this decade happened here. And the series’ climactic scene is simply goosebump-inducing. The pool of candidates for anyone’s best TV actor and actress this year? They should begin with this series.

Back again is Alexa Davalos as the world-bending, judo teacher-turned resistance strategist. She was joined by last year’s new suave, rogue soldier, played by Jason O’Mara. They have the knowledge to potentially save their world and infinite others, but how do they decide what is the right way to do it? Leading the bad guys on the American front again is Rufus Sewell′s Reichsmarshall John Smith, whose performance as the rising Nazi leader is so convincing viewers will never see what’s coming next, and his wife Helen, played by Chelah Horsdal, gets to step into the spotlight in nerve-wracking ways this season. Joel de la Fuerte, as Japan’s Emperor’s leader in San Francisco, is so versatile he should be the most sought-after actor on the planet. This year they are joined by new good guys played by Frances Turner and Clé Bennett, who bring a welcome, late-breaking twist to the outcome of the world, plus the return of Quinn Lord as the alt world’s Thomas Smith. Even the kids playing the daughters–Genea Charpentier and Gracyn Shinyei–are scary good (meriting inclusion on our ever-growing horror film “creepy little girls” list).

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Now streaming–Liam Neeson’s Cold Pursuit makes the cut as satisfying revenge flick

Filed under: Movies, TV — Leave a comment

September 8, 2019

Review by C.J. Bunce

This is what I was hoping for in Jonas Åkerlund’s movie Polar, the brutal Mads Mikkelsen dark action movie that was more wannabe Zack Snyder than anything interesting, fun, or thought-provoking. Cold Pursuit is something like Polar. You’ll feel the cold, sure. But director Hans Petter Molland′s take on dark comedy is a little more subtle, less “look at me and all the carnage I can fit on a screen and have my characters laugh about.” But Cold Pursuit is also not the Coen Brothers’ Fargo. And that’s a good thing if you don’t worship Coen Brothers movies. It’s also a good thing if you like Fargo only a little bit.

What the heck am I talking about? Unlike a lot of films that go direct to streaming services, this was a theatrical release. You can tell the difference. So it beats out most direct-to-Netflix, Amazon, etc. fare. But Cold Pursuit was marketed and billed more like a dark comedy. Only it’s not very funny. But it’s an enjoyable, satisfying revenge flick. So blame the marketing. Cold Pursuit is a steady, measured drama about a resourceful snowplow driver near Denver, played by Liam Neeson (sporting a Han Solo at Hoth parka), who is successful at his job, but less successful with his family relationships, including communicating with his wife, played rather blandly by Laura Dern (it’s the part, not the performer). When their son is murdered by a low-level member of the local drug community, Neeson’s character, Nels Coxman, first tries to kill himself. When he learns his kid wasn’t really involved in drugs he begins relentlessly pursuing everyone involved in the world that killed his son, aiming for the top, which reaches back to an anal-retentive, self-absorbed, young, wealthy kingpin called Viking back in the city, played expertly vile by Tom Bateman (Murder on the Orient Express). This is when the movie takes the action turn. Bateman plays that villain you love to hate and really want to see get a comeuppance.

Dozens of named characters get killed in different ways throughout the picture (I thought about counting the bodies but didn’t). Each cleverly gets their own pre-sound era cinema “tombstone” as they are marked off the list (including their religion–oddly irrelevant but humorous). Even if it’s a little spoliery (yes, that’s the correct spelling) to know it, if it helps get people to see the movie then it’s worth knowing that Neeson’s character is not a criminal type or tough guy, but calls forth that familiar guy from the Taken movies to open ample six-packs (several) of whoop-ass on the bad guys.

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