Outlander & Extant: The Rise of Lady Sci-Fi

by Irma Arkus

There is a new generation of science fiction on television and I can think of no better way of calling it than Lady SciFi.

What is Lady SciFi? Good question indeed. I’ve been breaking my head trying to understand what Extant is, or whether Outlander even qualifies as science fiction, and indeed, they both belong in the same sub-category of shows with an appeal to primarily female audience.

On the one hand, these shows are a welcome change from the recent stabs at hard sci-fi, both in film and tv, largely oriented toward men. And lest not forget comic book films, which this year proved to be largely exceptional in storytelling, but continue to be abysmally weak (as always) in the female character development department.

Outlander is a little bit of romance, little bit of time traveling, but also mixed with a lush, period drama. This high quality production is based on a series of best selling books by Diana Gabaldon, and represents a new era of high-production value for Starz network.

My guess is that Outlander is an answer to the powerhouse that is GoT by Starz, and is going to be a relatively successful one.

The show, created and produced by Ronald D. Moore (of Battlestar Galactica), stars Caitriona Balfe as Claire Beauchamp, who while on post-war vacation in Scotland with her amateur historian husband, gets transported back in time to 1743, right in the midst of uprisings, political maneuvers and major conflicts between Scots and English.

In two blinks of an eye, savvy Claire becomes held by the “laird” whose illness forces her to show off her medicine woman skills, which the world of 1743 desperately needs.

The story itself is interesting, interspersed with lots of Scottish pride, pomp, and circumstance, tradition and incomprehensible Scottish dialects, peppered with numerous speeches that lack some much needed subtitles.

This is all very nice and dandy, but the production feels as if it is a brainchild borne of Scotland’s Ministry of Tourism, and that of Scottish nationalist party (whoever that may be). A lot of chest thumping and noble pomp, the show is a rudimentary propaganda piece with heavy separatist tones. To call them undertones would be a stretch.

These are not political messages of peace, love and understanding, but rather a call for war, honour, freedom, tradition and Scottish cultural integrity, and all that perfectly timed for the Scottish separatist referendum.

I cannot fault the show for it, but it feels somewhat burdensome to watch it. Despite the lush cinematography, and beautiful costumes, and some mighty handsome men who do what it is that Scottish men do, it feels like a beautified propaganda piece. Then again, perhaps it is time for some feistier political messaging on TV, subtlety be damned.

The other thing that bothers me is the acting. Claire is supposed to be this strong, smart, savvy, knowledgeable and even sexually provocative character, yet Caitriona Balfe appears to be incredibly waspy, cold and wooden actress who makes the likes of the queen of wasp, Andy MacDowell, look like a tropical heat pump with chortling laughter and a bubbly personality in comparison. And that is something of a concern.

Caitriona Balfe after all, is a model, considered beautiful by photographers and fashion designers alike, and she may have graced catwalks and magazine covers, but for the life of me, I fail to remember her in anything at all, despite her fair number of acting roles.

She feels wooden, she looks wooden, and while her body may represent the photographic ideal of the fashion world, I would have given my firstborn for someone more human and curvy, and with a bit more personality to have been cast for this role.

I thought it would become easier to connect with her character, that she would grow on me a bit, but as the show goes on, she is becoming mildly repellent, colder and less sympathetic.

Extant, on the other hand, is also Lady SciFi, but more of a Mommy SciFi. I’m not even sure that this is a television show, but the heavy marketing campaigns assure me that that is indeed the case.

Brought to us by Steven Spielberg, (which is strange, because the show has more in common with Ronald D. Moore’s Helix than anything else I can think of,) the show focuses on a mom, who is both a mother to an android and an alien newborn.
Extant_promo shot
Halle Berry, an accomplished actress for whom I have the utmost respect, stars in the protagonist role. Berry, as Molly Woods, is an accomplished scientist who spends some odd 13 months in orbit on a solo mission, only to come back with some interesting cargo on board.

Woods returns home to her loving husband and their solution to her barren state, a little android child, that looks and acts just like the tyke from AI.

In fact, the entire storyline feels like it has been pasted out of random, trashed pages from AI, and has been progressively getting less coherent.

Characters that were entirely in the background, such as the case with Alan Sparks or Gordon Kern, become suddenly enriched with flimsy backgrounds, and are pushed to the forefront in a matter of minutes.

Berry is mostly seen flailing, sweating, doing her best to keep up appearances. I am not sure that any of the actors know what is going on, and they get to read the scripts before they shoot the show. As for the viewers, I can assure you that we can only surmise that this show has been written by monkeys.

Extant fails to connect in terms of narrative integrity, timing, action, and is generally drowning in what I can only call an abysmal failure.

At this point, the show has hit its 11th episode, and let me assure you, things have not been getting better. Quite the opposite, in fact. At this point, the alien man-child is on the loose, and the action surrounding the chase after him is incredibly poor.

That said, the lighting is good. The costumes are great, and the future looks like it has been constructed out of catalogue pages. It’s also making me cranky, because there is a missing piece of the story that pertains to their society, aka. our future. They are either living in an era of prosperity because of some cataclysmic event, or the show is simply suffering from the fact that the peeps working on this production are entirely divorced from reality of human existence, which constitutes the extra insult to viewers, as the show is called Extant.

Those blind monkeys working on this show will most likely never see the second season, so I recommend you soak up as much Berry as possible.

These two shows represent an interesting new breed of television. They are grappling with science fiction themes while trying to connect to a less explored audience. Similar science fiction developments aimed at teen audiences also premiered this year, namely The 100, and Star-Crossed.

All of this implies is that science fiction is currently the less explored genre with a huge potential, and that there are indeed less explored audiences, which may result in that one new show to reach unprecedented heights of popularity.

With HBO raising the bar with GoT, I am hoping some of it will soon translate into not only ill-conceived Lady Sci-Fi, but excellent, high-quality science fiction television that will garner fans for generations to come.

Best Fan Artist Prize Unveiled at the Hugo Awards

by Irma Arkus

According to the latest from Alaska Dispatch, Sarah Webb, an illustrator from Fairbanks received this year’s L. Ron Hubbard Illustrators of the Future as well as the Best Fan Artist prize at the Hugo Awards ceremony this year.

Other Hugo Awards presented this year include Ann Leckie’s “Ancillary Justice” for Best Novel; “The Water That Falls on You from Nowhere” by John Chu for Best Short Story; and “Gravity” and “Game of Thrones” for Best Dramatic Presentations (long and short forms, respectively).

Her art is amazing and she is super cute too!

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Check out some of her amazing art here.

2014 Hugo Awards Nominees

Presented at:Loncon 3, London, United Kingdom, August 17, 2014

Best Novel

– Ancillary Justice, Ann Leckie (Orbit US/Orbit UK)
– Neptune’s Brood, Charles Stross (Ace / Orbit UK)
– Parasite, Mira Grant (Orbit US/Orbit UK)
– The Wheel of Time, Robert Jordan and Brandon Sanderson (Tor Books / Orbit UK)
– Warbound, Book III of the Grimnoir Chronicles, Larry Correia (Baen Books)


Best Novella

– “Equoid”, Charles Stross (Tor.com, 09-2013)
– Six-Gun Snow White, Catherynne M. Valente (Subterranean Press)
– “Wakulla Springs”, Andy Duncan and Ellen Klages (Tor.com, 10-2013)
– “The Chaplain’s Legacy”, Brad Torgersen (Analog, Jul-Aug 2013)
– The Butcher of Khardov, Dan Wells (Privateer Press)


Best Novelette

– “The Lady Astronaut of Mars”, Mary Robinette Kowal (maryrobinettekowal.com/Tor.com, 09-2013)
– “The Truth of Fact, the Truth of Feeling”, Ted Chiang (Subterranean, Fall 2013)
– “The Waiting Stars”, Aliette de Bodard (The Other Half of the Sky, Candlemark & Gleam)
– “The Exchange Officers”, Brad Torgersen (Analog, Jan-Feb 2013)
– “Opera Vita Aeterna”, Vox Day (The Last Witchking, Marcher Lord Hinterlands)

The John W. Campbell Award for Best New Writer

Sofia Samatar*
Max Gladstone*
Wesley Chu
Ramez Naam*
Benjanun Sriduangkaew

Best Short Story

– “The Water That Falls on You from Nowhere”, John Chu (Tor.com, 02-2013)
– “Selkie Stories Are for Losers”, Sofia Samatar (Strange Horizons, Jan-2013)
– “If You Were a Dinosaur, My Love”, Rachel Swirsky (Apex Magazine, Mar-2013)
– “The Ink Readers of Doi Saket”, Thomas Olde Heuvelt (Tor.com, 04-2013)

Best Related Work

– “We Have Always Fought: Challenging the Women, Cattle and Slaves Narrative”, Kameron Hurley (A Dribble of Ink)
– Wonderbook: The Illustrated Guide to Creating Imaginative Fiction, Jeff VanderMeer, with Jeremy Zerfoss (Abrams Image)
– Queers Dig Time Lords: A Celebration of Doctor Who by the LGBTQ Fans Who Love It, Edited by Sigrid Ellis & Michael Damian Thomas (Mad Norwegian Press)
– Speculative Fiction 2012: The Best Online Reviews, Essays and Commentary, Justin Landon & Jared Shurin (Jurassic London)
– Writing Excuses Season 8, Brandon Sanderson, Dan Wells, Mary Robinette Kowal, Howard Tayler, and Jordan Sanderson

Best Graphic Story

– “Time”, Randall Munroe (XKCD)
– Saga, Volume 2, written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics)
– Girl Genius, Volume 13: Agatha Heterodyne & The Sleeping City, written by Phil and Kaja Foglio; art by Phil Foglio; colors by Cheyenne Wright (Airship Entertainment)
– “The Girl Who Loved Doctor Who”, written by Paul Cornell, illustrated by Jimmy Broxton (Doctor Who Special 2013, IDW)
– The Meathouse Man, adapted from the story by George R.R. Martin and illustrated by Raya Golden (Jet City Comics)

Best Dramatic Presentation, Long Form

– Gravity, written by Alfonso Cuarón & Jonás Cuarón, directed by Alfonso Cuarón (Esperanto Filmoj; Heyday Films; Warner Bros.)
– Frozen,screenplay by Jennifer Lee, directed by Chris Buck & Jennifer Lee (Walt Disney Studios)
– Pacific Rim, screenplay by Travis Beacham & Guillermo del Toro, directed by Guillermo del Toro (Legendary Pictures, Warner Bros., Disney Double Dare You)
– Iron Man 3, screenplay by Drew Pearce & Shane Black, directed by Shane Black (Marvel Studios; DMG Entertainment; Paramount Pictures)
– The Hunger Games: Catching Fire, screenplay by Simon Beaufoy & Michael Arndt, directed by Francis Lawrence (Color Force; Lionsgate)

Best Dramatic Presentation, Short Form

– Game of Thrones: “The Rains of Castamere”, written by David Benioff & D.B. Weiss, directed by David Nutter (HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)
– Doctor Who: “The Day of the Doctor”, written by Steven Moffat, directed by Nick Hurran (BBC Television)
– Orphan Black: “Variations under Domestication” written by Will Pascoe, directed by John Fawcett (Temple Street Productions; Space/BBC America)
– An Adventure in Space and Time, written by Mark Gatiss, directed by Terry McDonough (BBC Television)
– The Five(ish) Doctors Reboot, written & directed by Peter Davison (BBC Television)
– Doctor Who: “The Name of the Doctor”, written by Steven Moffat, directed by Saul Metzstein (BBC Televison)

Best Editor, Short Form

Ellen Datlow
John Joseph Adams
Jonathan Strahan
Sheila Williams
Neil Clarke

Best Editor, Long Form

Ginjer Buchanan
Liz Gorinsky
Sheila Gilbert
Toni Weisskopf
Lee Harris

Best Semiprozine

– Lightspeed Magazine, edited by John Joseph Adams, Rich Horton, and Stefan Rudnicki
– Strange Horizons, edited by Niall Harrison, Brit Mandelo, An Owomoyela, Julia Rios, Sonya Taaffe, Abigail Nussbaum, Rebecca Cross, Anaea Lay, and Shane Gavin
– Apex Magazine, edited by Lynne M. Thomas, Jason Sizemore, and Michael Damian Thomas
– Interzone, edited by Andy Cox
– Beneath Ceaseless Skies, edited by Scott H. Andrews

Best Fan Writer

Kameron Hurley
Abigail Nussbaum
Foz Meadows
Liz Bourke
Mark Oshiro

Best Fan Artist

Sarah Webb
Brad W. Foster
Mandie Manzano
Spring Schoenhuth
Steve Stiles

Outlander Promises a Time Travelling Romp With Kilts Flying

Ronald D. Moore is working on a new production. Moore, the creative force behind Battlestar Galactica, has a new show Outlander, based on some pretty soft time travel romance novels by Diana Gabaldon that remind more of the Time Traveller’s Wife than anything else.

The casing is thus far promising some handsome men in kilts, and ample swooning ladies in some fine corsetry, with seasoned actor Simon Callow as the Duke of Sandringham, Tracy Wilkinson as some savvy housekeeper (sorry but that’s all we know as we’re a little short on deets), and according to JustPressPlay’s Randall Unger, an ample amount of angry Scots in kilts.

The premise is an unusual one, summarized as nurse flying through time only to land in midst of a Scots vs. English conflict during the Jacobi rising.

And of course, there is the romance angle, with a handsome, kilted, champion of all men.

Just when you think Ronald D. Moore went the way of J. Michael Straczynski, he comes back with not one, but two anticipated shows, as Helix is expected to premiere in January of 2014 on SyFy.

2013 Hugo Award Winners

LoneStarCon 3, the 71st World Science Fiction Convention, has announced the 2013 Hugo Award winners. 1848 valid ballots were received and counted in the final ballot.

BEST NOVEL

Redshirts: A Novel with Three Codas, John Scalzi (Tor)

BEST NOVELLA

The Emperor’s Soul, Brandon Sanderson (Tachyon Publications)

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BEST NOVELETTE

“The Girl-Thing Who Went Out for Sushi”, Pat Cadigan (Edge of Infinity, Solaris)

BEST SHORT STORY

“Mono no Aware”, Ken Liu (The Future is Japanese, VIZ Media LLC)

BEST RELATED WORK

Writing Excuses Season Seven, Brandon Sanderson, Dan Wells, Mary Robinette Kowal, Howard Tayler and Jordan Sanderson

BEST GRAPHIC STORY

Saga, Volume One, written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics)

BEST DRAMATIC PRESENTATION, LONG FORM

The Avengers, Screenplay & Directed by Joss Whedon (Marvel Studios, Disney, Paramount)

BEST DRAMATIC PRESENTATION, SHORT FORM

Game of Thrones, “Blackwater”, Written by George R.R. Martin, Directed by Neil Marshall. Created by David Benioff and D.B. Weiss (HBO)

BEST EDITOR, SHORT FORM

Stanley Schmidt

BEST EDITOR, LONG FORM

Patrick Nielsen Hayden

BEST PROFESSIONAL ARTIST

John Picacio

BEST SEMIPROZINE

Clarkesworld, edited by Neil Clarke, Jason Heller, Sean Wallace and Kate Baker

BEST FANZINE

SF Signal, edited by John DeNardo, JP Frantz, and Patrick Hester

BEST FANCAST

SF Squeecast, Elizabeth Bear, Paul Cornell, Seanan McGuire, Lynne M. Thomas, Catherynne M. Valente (Presenters) and David McHone-Chase (Technical Producer)

BEST FAN WRITER

Tansy Rayner Roberts

BEST FAN ARTIST

Galen Dara

JOHN W. CAMPBELL AWARD FOR BEST NEW WRITER

Mur Lafferty

The Thief and the Cobbler: The Best Animated Film You’ve Never Seen

600full-the-thief-and-the-cobbler-poster

by Irma Arkus

The Thief and the Cobbler is a must watch. This legendary animated film started its production in 1964 by the amazing Richard Williams. This Canadian genious is best known for his work on Who Framed Roger Rabbit, but the most animators know that his work on The Thief and the Cobbler remains as one of the most amazing, ambitious, and longest running productions in the history of cinematography and animation.

The film was in and out of production for over 20 years, and during the latter stages after his Roger Rabbit fame, he signed with Warner Brothers to finalize it, but production went over budget, and the partnership fractured, leaving Williams out of funds.

The bond company eventually hired Fred Calvert, an animator hired to finish the project, leaving Williams entirely out of loop.

While some portions of the film were released under a separate title, the original vision became a cult classic and is considered a masterpiece amongst professional animators.

The film was finally completed in 1995, 31 years after the production started. It took so long to “recobble” this film, that Vincent Price, who voiced the character, passed away without having finished all the lines.

Watch the remainder here.

2013 Hugo Awards Nominees Announced

The nominees for the 2013 Hugo Awards were announced at four conventions, via UStream, CoverItLive coverage on the Hugo Awards web site, and via Twitter at LoneStarCon 3, the 2013 Worldcon, on March 30, 2013.

Here is the exciting list:


Best Novel

– Redshirts: A Novel with Three Codas, John Scalzi (Tor)
– Captain Vorpatril’s Alliance, Lois McMaster Bujold (Baen)
– 2312, Kim Stanley Robinson (Orbit)
– Throne of the Crescent Moon, Saladin Ahmed (DAW)
– Blackout, Mira Grant (Orbit)

Best Novella

– The Emperor’s Soul, Brandon Sanderson (Tachyon Publications)
– After the Fall, Before the Fall, During the Fall, Nancy Kress (Tachyon Publications)
– “The Stars Do Not Lie”, Jay Lake (Asimov’s, Oct-Nov 2012)
– On a Red Station, Drifting, Aliette de Bodard (Immersion Press)
– San Diego 2014: The Last Stand of the California Browncoats, Mira Grant (Orbit)

Best Novelette

– “The Girl-Thing Who Went Out for Sushi”, Pat Cadigan (Edge of Infinity, Solaris)
– “In Sea-Salt Tears”, Seanan McGuire (Self-published)
– “Fade To White”, Catherynne M. Valente (Clarkesworld, August 2012)
– “Rat-Catcher”, Seanan McGuire (A Fantasy Medley 2, Subterranean)
– “The Boy Who Cast No Shadow”, Thomas Olde Heuvelt (Postscripts: Unfit For Eden, PS Publications)

The John W. Campbell Award for Best New Writer (476 nominating ballots cast)
Award for the best new professional science fiction or fantasy writer of 2011 or 2012, sponsored by Dell Magazines. (Not a Hugo Award, but administered along with the Hugo Awards.)

Mur Lafferty*
Stina Leicht*
Chuck Wendig*
Max Gladstone
Zen Cho*


Best Short Story

– “Mono no Aware”, Ken Liu (The Future is Japanese, VIZ Media LLC)
– “Immersion”, Aliette de Bodard (Clarkesworld, June 2012)
– “Mantis Wives”, Kij Johnson (Clarkesworld, August 2012)

Best Graphic Story

– Saga, Volume One, written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics)
– Locke & Key Volume 5: Clockworks, written by Joe Hill, illustrated by Gabriel Rodriguez (IDW)
– Schlock Mercenary: Random Access Memorabilia, written and illustrated by Howard Tayler, colors by Travis Walton (Hypernode Media)
– Grandville Bête Noire, written and illustrated by Bryan Talbot (Dark Horse Comics, Jonathan Cape)
– Saucer Country, Volume 1: Run, written by Paul Cornell, illustrated by Ryan Kelly, Jimmy Broxton and Goran Sudžuka (Vertigo)


Best Dramatic Presentation, Long Form

– The Avengers, Screenplay & Directed by Joss Whedon (Marvel Studios, Disney, Paramount)
– The Hobbit: An Unexpected Journey, Screenplay by Fran Walsh, Philippa Boyens, Peter Jackson and Guillermo del Toro, Directed by Peter Jackson (WingNut Films, New Line Cinema, MGM, Warner Bros)
– The Hunger Games, Screenplay by Gary Ross & Suzanne Collins, Directed by Gary Ross (Lionsgate, Color Force)
– Looper, Screenplay and Directed by Rian Johnson (FilmDistrict, EndGame Entertainment)
– The Cabin in the Woods, Screenplay by Drew Goddard & Joss Whedon; Directed by Drew Goddard (Mutant Enemy, Lionsgate)

Best Dramatic Presentation, Short Form

– Game of Thrones, “Blackwater”, Written by George R.R. Martin, Directed by Neil Marshall. Created by David Benioff and D.B. Weiss (HBO)
– Doctor Who, “The Angels Take Manhattan”, Written by Steven Moffat, Directed by Nick Hurran (BBC Wales)
– Fringe, “Letters of Transit”, Written by J.J. Abrams, Alex Kurtzman, Roberto Orci, Akiva Goldsman, J.H.Wyman, Jeff Pinkner. Directed by Joe Chappelle (Fox)
– Doctor Who, “Asylum of the Daleks”, Written by Steven Moffat; Directed by Nick Hurran (BBC Wales)
– Doctor Who, “The Snowmen”, written by Steven Moffat; directed by Saul Metzstein (BBC Wales)

Best Editor, Short Form

Stanley Schmidt
Sheila Williams
John Joseph Adams
Neil Clarke
Jonathan Strahan

Best Editor, Long Form

Patrick Nielsen Hayden
Toni Weisskopf
Sheila Gilbert
Lou Anders
Liz Gorinsky

Best Professional Artist

John Picacio
Dan dos Santos
Julie Dillon
Chris McGrath
Vincent Chong

Best Semiprozine

– Clarkesworld, edited by Neil Clarke, Jason Heller, Sean Wallace and Kate Baker
– Lightspeed, edited by John Joseph Adams and Stefan Rudnicki
– Strange Horizons, edited by Niall Harrison, Jed Hartman, Brit Mandelo, An Owomoyela, Julia Rios, Abigail Nussbaum, Sonya Taaffe, Dave Nagdeman and Rebecca Cross
– Apex Magazine, edited by Lynne M. Thomas, Jason Sizemore and Michael Damian Thomas
– Beneath Ceaseless Skies, edited by Scott H. Andrews

Best Fanzine

– SF Signal, edited by John DeNardo, JP Frantz, and Patrick Hester**
– The Drink Tank, edited by Chris Garcia and James Bacon
– Journey Planet, edited by James Bacon, Chris Garcia, Emma J. King, Helen J. Montgomery and Pete Young
– Banana Wings, edited by Claire Brialey and Mark Plummer
Elitist Book Reviews, edited by Steven Diamond

Best Fancast

– SF Squeecast, Elizabeth Bear, Paul Cornell, Seanan McGuire, Lynne M. Thomas, Catherynne M. Valente (Presenters) and David McHone-Chase (Technical Producer)**
– SF Signal Podcast, Patrick Hester, John DeNardo, and JP Frantz
– StarShipSofa, Tony C. Smith
– The Coode Street Podcast, Jonathan Strahan and Gary K. Wolfe
– Galactic Suburbia Podcast, Alisa Krasnostein, Alexandra Pierce, Tansy Rayner Roberts (Presenters) and Andrew Finch (Producer)

Best Fan Writer

Tansy Rayner Roberts
Steven H Silver
Christopher J. Garcia
Mark Oshiro
James Bacon


Best Fan Artist

Galen Dara
Brad W. Foster
Spring Schoenhuth
Maurine Starkey
Steve Stiles

Defiance Emerges: TV + MMORPG

Black History Month: Being a Black Man in SciFi

This month is Black History Month and there is no better way of looking at the past than to view visions of future. That, and we cannot figure out if Will Smith is still black…

HiSciFi: Black History Month Special LISTEN HERE

Wonder Woman Refuses To Die Gracefully, Picked Up By CW

I never had a thing for Wonder Woman and that can be easily understood. Even in the heyday of the Lynda Carter fame, which would be the peak popularity for the character, our Wonder Woman had little to offer. Despite this, attempts at resuscitation of the character for the TV or film version of the superheroine have been pursued relentlessly.

One of the problems is the fact that Wonder Woman is supposed to be a lot of things to a lot of people. To borrow a phrase from Parks and Recreation, she is supposed to be “as respected as Mother Theresa, as powerful as Joseph Stalin and as beautiful as Margaret Thatcher.” Comments aside on Thatcher’s beauty, Wonder Woman has been continuously plagued by various psychoses that many comic heroes suffered from: namely that their lame interpretations remained a steadfast in popular culture, while the comic book versions of the characters experienced vast changes.

The TV version of Wonder Woman has always been just terrible, but the recent 2011 pilot really took the cake. Adrianne Palicki in title role as the heroine that dresses in cheap vinyl chasing the “bad guys,” but is also a head of a successful empire that funds its operations by selling Wonder Woman dolls (yeah, you heard that right, merchandising!), only to go home to be single, sad, watching romantic movies and petting her cat…well, that is a marketing package worthy of Mattel and Mars Bar Quick Energy Chocobot Hour!

On this version of the “feminist icon,” engineered by David E. Kelley, you could probably build an entire academic career, peeling away at this melange of “savvy” marketing mixed in with a lot of bad choices and cliches.

Despite the failure to capture an audience with the pilot, David E. Kelley persisted in pitching the show, while admitting that it may have been “flawed.” In an interview with The Hollywood Reporter, Kelly says ” I still believe it’s viable for a television series. I think it’s ripe to do it. We made mistakes with ours. My only regret is we were never given a chance to correct them. We had a lot that was right about it and a great cast.

In time, we could have fixed what we had done wrong, we just didn’t get that chance. All my series have been a work in progress to a certain extent where you figure them out by episodes three, four or five.
We produced it at warp speed and it’s a special effects show and it took more time than we were able to give it. The genre was very different for me and I had a lot to learn; my learning curve probably would have gotten better. I’m sad we didn’t get to do it but I do believe it can work for the CW. They’re smart to try it.
I do believe in the potential of the series and I wish them well with it. I think it could be a great success.

Yes, you heard it right here. CW is picking up this disaster, but unlike the other networks, there might be something to this idea.

The CW successfully dragged the Superman origin stories through teen-land for a long enough time to not only grow a different type of Superman, but to garner a huge following among the target audience, as well as among the more discriminating comic book fans.

The Smallville success though, may not be applicable to Wonder Woman, as the character will need to be paired down, more nuanced, and revised to such an extent that it will scarcely resemble its origin. And that may be a good thing after all.

After all, who needs a magic lasso, a pair of “invincible” bracelets, a projectile tiara and an invisible plane, and what do those items have in common anyways?