It’s something of a classic that’s getting covered this episode as “All My Loving” falls under the spotlight. Does it deserve to be such a popular live number? Why is JG pulled up for speaking French? And how on-topic will things stay before the inevitable score?
The second song on With The Beatles goes under the JG/Andrew microscope today with All I’ve Got To Do. Does it continue the album’s run of quality after the terrific opener? How go Lennon’s vocals? And for how long can two people prevaricate over picking a score for the song while essentially working out format points on the fly?
We kick off the second Beatles album this episode with “It Won’t Be Long”. How does the song work as an opening track to the album? Does it deserve its somewhat-neglected reputation? Plus there’s a discussion of Across The Universe, a film neither JG nor Andrew have actually, at any point, seen. And as if that wasn’t enough, there’s the introduction of a new format point! But what will it be? There’s only one way to find out…
Let’s get the most obvious things out of the way first. Yes, as with the previous episodes of this series there is little here that could be called original. Yes, as with the previous episodes of this series, there’s a focus on a single character while giving the rest of the crew enough to do. Yes, as with previous episodes of this series, the question is whether the redux of familiar ingredients is enough to justify the existence of this episode. So… does it?
The whole “ban on genetic engineering” thing in the Federation has always seemed a bit… unthought out. Not in-universe, but metatextually. The logic of it is, “well, Khan was a super-evil dude, so maybe we shouldn’t do that.” And, fair enough, you can see the sense there, and for that being presented as the reason to avoid it. But also… to the point where other species can’t even be allowed in to the Federation? That seems a bit spurious — something which has been done for plot reasons rather than because anyone has sat down and gone, “well, do we really think the Federation would actually respond in this manner?”
One of the most impressive things about Nichelle Nichols — among a great list of impressive things about Nichelle Nichols — is how she managed to do a huge amount with generally very little screen time. One of the the reasons that Uhura works as an actual character is because of what she invested in the role. She always went way above and beyond what what actually on the page, and in doing so brought her to life. Uhura developed into an easy-to-like character who had her own strengths and abilities far, far away from snide, ignorant jokes about how the only woman on the bridge of the original Enterprise was apparently a receptionist.
We flip She Loves You over to cover its B-side this episode with the largely-forgotten I’ll Get You. Does the song deserve to languish in obscurity? How does it fare stylistically? And just how long can JG vamp for while Andrew desperately tries to find some statistics?
Star Trek is back for a 3rd 21st century show. But can Strange New Worlds succeed where Discovery and Picard have struggled? Welcome to an episode-by-episode review.
Star Trek, in all its various forms, has never really been away since The Motion Picture dragged the once-cancelled original TV from the syndication doldrums to the bright cinematic uplands of the silver screen. A series of six ridiculously successful movies (well, ridiculously success for a middlingly-liked but cancelled TV show at any rate) gave birth to The Next Generation. Then Deep Space Nine. Then Voyager. Then Enterprise. Alongside all that, there were the four Next Generation movies – noticeably less successful at the box-office than their TOS counterparts but keeping the flame alive nonetheless. Enterprise, ignominiously-if-deservedly cancelled in 2005, seemed to mark the end of one particular strand of the franchise, yet just four years of no-Star Trek lie between it at the show returning to the big screen with the sharp, expensive and alternative-timeline shenanigans of the 2009 movie. That’s spawned two further movies – with a third on the way – but in a very real sense Star Trek‘s home has always been the small screen, not the silver one. Anyway, you get the point – four years between Trek projects is nothing. Even if the gap between Enterprise and the franchie’s big return to television, Discovery, is twelve years they have not, in any meaningful sense, been twelve Star Trek free years.
Picard is back for a second season of time-travel, trauma and Q. But can Season Two correct the flaws of Season One while also juggling the Borg?
One of the immense frustrations of Picard‘s first season was just how much good will the show had going into it, and just how much of that good will was completely wasted on go-nowhere plots, a bunch of who-dat side characters that never really cohered into anything, and wasting Patrick Stewart in a series named after his character but which only occasionally gave him anything to actually do. The conclusion to that season, especially, was simply dreadful, with Picard apparently becoming a robot but for no good reason, and the series going out of its way to point out its own irrelevancy. Everyone flew off into the sunset at the end of the season, a crew together for plot expediency rather than any other reason, and speculation inevitably mounted as to whether Season Two would have the ability to course-correct in any meaningful way and address the issues that Season One so glaringly failed to.
It’s the mighty She Loves You this week on Stuffology, the biggest-selling Beatles single of them all. Does the song deservie its totemic reputation? How does Brian Epstein factor into this? And when discussing production, just how pretentious can JG get? (hint: fairly!)