Tag Archives: Warehouse 13

“Y: The Last Man” gets new writers. Now make the damn movie, already.

My favourite comic book series of all time? Oh yes...

Now that our long global nightmare has ended and the prospect of idiot man-child Shia LaBeouf starring in an adaptation of “Y: The Last Man” is no more than a horrible notion best forgotten, we can focus on some good news for a change – the existing script has been chucked and “Warehouse 13” scribes Matthew Federman and Stephen Scaia are booting up their MacBooks in an effort to tame this beast once and for all.

It’s really a great read that you should check out if you can – if you like your science fiction adult and dark and funny and expansive, it’s really a fine series to let into your heart.  Mrs Rolling Eyeballs loves it too – it’s one of the few comics series that she’s ever gotten into.

If truth be told, I’m somewhat nervous about this being made into a movie, as Hollywood’s previous efforts to adapt DC/Vertigo titles have resulted in films like “Constantine” (in its own way, a fine little supernatural thriller rather doomed to disapproval by fans as it bore only passing resemblance to the character and comic), which suggests that comics are better at telling adult genre stories than their big screen equivalent.

There’s too much edge-smoothing, toning down and mainstream audience courting going on in the adaptation process for some of these titles to ever properly work in the multiplex.  Do moviegoers want more comfort and less ambiguity from their genre fare than comic geeks do?  Or is that what producers want to believe, so we end up with a film which appeals to nobody?

In that spirit of positivity, let’s look forward to this bleak tale of planet-scorching gendercide, viral horror and crap escapology being brought to the screen as a PG-13 romantic comedy with Zac Efron and somebody blonde from the CW showing up in a cinema near you in 2014.

In 3D, obviously.



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“Inspector Spacetime” web spin-off exterminated by NBC Daleks

Viewers of “Community” will hopefully be familiar with that show’s meta-tastic spoof cult sci-fi show within a show, “Inspector Spacetime”.

In no way connected with the parody segment within the NBC series "Community".

It’s a loving piss-take of wobbly-set and rubber-monster era “Doctor Who” and has somehow spawned a cult following within the small but devoted fan base of it’s parent show.

Actor Travis Richey, who plays the eponymous time ‘tec, recently announced plans to seek crowd-sourced funding for a web series based on the character and bemused some observers, who wondered when “Community” makers NBC were going to notice his Kickstarter page and shut down any direct connection to the ‘Spacetime’ character.

That day has come.

It’s kind of a bummer but wholly expected – I don’t think SyFy and NBC Universal would be delighted, for example,  with my wholly unsanctioned “Warehouse 13” web series where Claudia gets to be cute for ten minutes and steampunk shenanigans ensue, hence that show currently existing only in the fevered parameters of my own head.

Alison Scagliotti, as Claudia, in "Warehouse 13". Steampunk spin-off, please, SyFy...

Of course, a seasoned observer might wonder why the BBC haven’t been parachuting lawyers into NBC’s corporate HQ to query just how much “Inspector Spacetime” adheres to the notion of fair use and parody which allows some TV shows and movies to get away with outright copyright violation with no more defence than ‘It’s kind of funny and an affectionate homage”.

Richey still intends to go ahead with his project – with some crucial but helpful addenda to his initial pitch…

Is this an illustration of the essential difference between US and UK corporate bodies or just evidence that NBC have a massive stick lodged somewhere painful and can’t even begin to see the absurd irony of their actions?

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Warehouse 13, Season 3, episode 6 – “Don’t Hate The Player”

“Warehouse 13” is one of those shows. Whilst you enjoy it as a fan of TV science fiction because it isn’t afraid to embrace being camp, knowingly silly fun, there is this slight, nagging concern as you view it that the uninitiated will take it at face value and ascribe a value to it which asserts that, you know, ‘all sci-fi is like this’.

Just as there’s room amongst the Normals to have a show like “Burn Notice” tread the fine line between being a spy action series and making a meta-commentary on the in-built conceits and tropes of the genre I’m calling Spy-Fi, you would hope that anybody who came to watch episode 6 of Warehouse 13’s third season, “Don’t Hate The Player” would twig the fact that it was intended to be a chuckle-fest.

SPOILERS herein for the episode if you haven’t watched it yet.

screencaps via gallery.demon-cry.net

Eureka’s calamity magnet, Douglas Fargo, guested in an episode which was lighter on arc plot – who is that guy in the wheelchair and why does that Southern FBI agent keep showing up? – and heavy on the ‘WTF?’ factor.

The Warehouse agents get summoned to California by an employee of the video games start-up that Fargo has invested in – Fargo’s jacked into their experimental virtual reality video games rig with other games developers and all concerned are playing through a fantasy RPG with the unfortunate side-effect of killing anybody in real life who dies inside the game world.

Yep, this is *totally* going to take down "Modern Warware 3"...

(All of which, it goes without saying, would kill the trade-in market for second-hand video games overnight – I didn’t see any EA or Ubisoft logos on the games hardware, but that doesn’t mean that they weren’t there…).

With blissful inevitability, Pete and Claudia ended up going into the game world to try to get Fargo out safely and go on the kind of RPG adventure dreamt up by folks who haven’t played a video game since “King’s Quest” in the DOS era.


If your Warehouse fan fetish runs to seeing Claudia succumb to the inevitable and sport Elven ears and Pete get all bare-chested and skirted-up as a gladiator, this was the ep for you – and Claud’s elf alter-ego actually served the plot, as this episode’s character arc revolved around the Warehouse’s youngest agent doing something about that nagging confidence problem that she so clearly suffers from, both in the game scenario and out in the real world (well, the real world that Warehouse operates in: the two are quite distinct, I think you’ll agree).

Nerds, fire up your fan-fic engines...

As you can tell from demon-cry.net’s fine screen cap, the game action in the episode was rendered using a curious kind of half-rotoscope technique, which made it look like a first-pass take on the imagery used so effectively in Richard Linklater’s Philip K. Dick adaptation, “A Scanner Darkly”.

I can understand that the director needed to establish the difference between the game world and the real world – did nobody involved think about adding health metres or some kind of elementary UI aspect on-screen to make that distinction.  I ask because the rotoscope technique was, for me, rather of a distraction and didn’t really do the job that it was supposed to do.

Elven Chaotic Good?

The B-plot, meanwhile, saw Artie and new boy Steve in New York to try to acquire an artefact Van Gogh painting only to run into that mysterious FBI agent again. She’s still southern, by the way.  I had begun to think that this would be an episode light on the arc side of things but for the ending, where hundreds of miniature nano-bugs streamed out of the painting once it was in situ at Warehouse 13 –   Does somebody on the writing staff have an issue, perchance?

The artefact causing the shenanigans in the A-plot, meanwhile?  ‘Twas only Beatrix Potter’s bloody tea set, which induced anybody who drank tea from it to unfetter their imaginations fully, all the better to embrace the VR world inside Fargo’s game system.

So, quests were had, a song was sung (Alison Scagliotti doing right by the Pixies’ “Where Is My Mind?” with an excellent acoustic rendition, as Claudia worked on her comfort zone problems by rocking out in front of complete strangers) and a fluffy 45 minutes or so of entertainment was had.

Seriously, dude - put it AWAY...

Not sure if this was an amazing episode – too many misgivings regarding treatment of teh VideoGamez on my part – but it rattled by well enough and had character moments to distract me from the troubling, nay terrifying sight of Eddie McLintock’s manly chest being on display for much of the episode (seriously – I demand more HG Wells, clad in anachronistic Victorian men’s suiting, solving crimes, by way of recompense).

If I scored episodes out of ten, I’d give this episode a 6.5.

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