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Mulligan man

Sometimes a SCIFI show comes along on TV. You watch it and, somewhere in the messed up concept, is a good idea but the producers just missed the mark. Is there a scifi show that came to TV, you watched it, and it got axed quickly, that had you been there, had you been guiding it, it might have been better?

I think the last attempt at BIONIC WOMAN had a good concept, but they just did it all wrong. I wouldn't have gone as dark as they did, and I would have recasted the lead character. I have the show and we watched the pilot last week and, again, I don't like her. I like her sister much better (doesn't hurt that she is hot as hell). But from there the show just becomes nuBSG (dark and depressing) which made it, IMO, ultimately not fun to watch.

Rob
 
Oh goodie, I love this topic! :D I could type my fingers to a nub ranting about all the ways shows go wrong because there's some fatal flaw in the premise:

1. Bionic Woman - I don't mind dark, but the boo-hoo-I'm-a-victim routine turns me off immediately. It's meant to elicit sympathy but in me it just elicits contempt for how blatantly manipulative it is. Jamie should have been enthusiastic about her bionic enhancements at first. Later the reality of it can hit her, after we've gotten to like her. Nobody's going to like her if she's mopey right away. And I agree, recast the lead role. Katee Sackhoff would have been great.

2. My Own Worst Enemy - It made no sense at all that the gubmint would give superspies an innocuous secret identity and leave him clueless and therefore vulnerable to enemies.

3. Dollhouse - The boo-hoo problem rears its ugly head again. Presenting the dolls as poor victims of mean people - blergh. How about if the dolls were all terrible people - no PETA style cop-outs about how "they care too much," but people who would never earn our sympathy, loonies and mass murderers and such. The Dollhouse erases their memories and allows them to function in society to some degree, even if it's not much of a life. The alternative is life in prison or the death penalty for their crimes. And by erasing their memories, they don't have to feel guilty (although the level of criminal I'm thinking of would be a sociopath and therefore incapable of guilt).

4. Jericho - The flaw in the premise wasn't apparent because it was one of those "big mysteries that will be explained." So often when the explanation comes, it's idiotic. Near as I can tell, the reason America was nuked is some lefties wanted to clear out the people in authority, yet had no plan for taking authority themselves so of course someone stepped into the power vacuum - that's a given - and they happened to be right wing loonies. Yep, brilliant plan.

5. BSG - Well they still have "The Plan" left to use to try to explain what the frak exactly the Cylons' problem was. There has been some attempt at explanation already and for the sake of spoilers I won't say what, but it was so stupid that I'm really hoping there's more to it than that.

6. Harper's Island - Since the characters haven't yet figured out that they're being stalked and killed, this problem hasn't yet happened, but they're going to have to face it soon because it's not reasonable that they can go another episode not knowing when people have already started finding corpses. So when the characters realize there's a killer on the loose, what will stop them from simply fleeing for their lives? They don't need to stay on the island. I originally thought the show would somehow trap them on the island. I was going to bail on this show but I'll give it one more episode to see how they handle this.
 
Oh goodie, I love this topic! :D I could type my fingers to a nub ranting about all the ways shows go wrong because there's some fatal flaw in the premise:

1. Bionic Woman - I don't mind dark, but the boo-hoo-I'm-a-victim routine turns me off immediately. It's meant to elicit sympathy but in me it just elicits contempt for how blatantly manipulative it is. Jamie should have been enthusiastic about her bionic enhancements at first. Later the reality of it can hit her, after we've gotten to like her. Nobody's going to like her if she's mopey right away. And I agree, recast the lead role. Katee Sackhoff would have been great.

2. My Own Worst Enemy - It made no sense at all that the gubmint would give superspies an innocuous secret identity and leave him clueless and therefore vulnerable to enemies.

3. Dollhouse - The boo-hoo problem rears its ugly head again. Presenting the dolls as poor victims of mean people - blergh. How about if the dolls were all terrible people - no PETA style cop-outs about how "they care too much," but people who would never earn our sympathy, loonies and mass murderers and such. The Dollhouse erases their memories and allows them to function in society to some degree, even if it's not much of a life. The alternative is life in prison or the death penalty for their crimes. And by erasing their memories, they don't have to feel guilty (although the level of criminal I'm thinking of would be a sociopath and therefore incapable of guilt).

4. Jericho - The flaw in the premise wasn't apparent because it was one of those "big mysteries that will be explained." So often when the explanation comes, it's idiotic. Near as I can tell, the reason America was nuked is some lefties wanted to clear out the people in authority, yet had no plan for taking authority themselves so of course someone stepped into the power vacuum - that's a given - and they happened to be right wing loonies. Yep, brilliant plan.

5. BSG - Well they still have "The Plan" left to use to try to explain what the frak exactly the Cylons' problem was. There has been some attempt at explanation already and for the sake of spoilers I won't say what, but it was so stupid that I'm really hoping there's more to it than that.

6. Harper's Island - Since the characters haven't yet figured out that they're being stalked and killed, this problem hasn't yet happened, but they're going to have to face it soon because it's not reasonable that they can go another episode not knowing when people have already started finding corpses. So when the characters realize there's a killer on the loose, what will stop them from simply fleeing for their lives? They don't need to stay on the island. I originally thought the show would somehow trap them on the island. I was going to bail on this show but I'll give it one more episode to see how they handle this.

All great ideas..I havent watched HARPERS yet. I have them all on TIVO and hope to get to it next week...

Rob
 
For me, with Bionic Woman, I would have cranked the Dark up to 11. I would have taken the secret quasi-governmental agency aspect to the extreme and played it similar to the La Femme Nikita television series, with the Berkut Group subscribing to utilitarian morality that leads them to do some damned distasteful things in the name of the greater good. The girl with the natural immunity to the bioweapon, she'd be vivasceted. Eventually, Jamie finds herself compromising her own morals to keep her sister safe, and it becomes easier and easier to do as time drags on. At one point, her bionic arm is destroyed in combat and is replaced by a newer model with a modular internal weapon system, most often a submachine gun, and retractible blades are installed in her legs. At this point, her missions become much more bloody. Then, in a season finale cliff hanger, Jamie finally decides to leave the group and go on the run with her sister and Sarah Corvis, not knowing that they can send a kill command to her anthrocites and have her body eaten from the inside out. Jamie's sister tries to reprogram the anthrocites in time, but fails. She and Corvis excape just as Berkut commandos bursh in and find the puddle of good and bionics that used to be Jamie Summers. Corvis takes the gun-arm, thinking that it would be useful, but Berkut retrieve the brain implant, which is far more so.
Season 2 stars Stackhoff as Corvis as she and Jamie's little sister wage a guerilla war against Berkut, with Jamie's sister providing overwatch and technical support. Meanwhile, Michelle Ryan remains onboard as a regular cast member, a prototype fembot made using data taken from Jamie's neurological implant.
Bledsoe, still grieving his dead wife, begins an emotional affair with the fembot, who is incapable of both real emotion and free will, simply because she's safe, an immortal yet lifeless machine that can never die on him.
 
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