What is Farscape? "Farscape'' which ran for 88 episodes on the Sci Fi Channel from 1999 to 2003, is blasting off into rerun syndication for the first time.
Debmar Studios, headed by Mort Marcus and his partner Ira Bernstein, has bought the domestic rights to ``Farscape'' and is offering the series to TV stations for weekend play in fall 2005. Stations won't pay cash but will set aside seven minutes within each hour for Debmar to sell to national advertisers.
``Farscape'' was one of the most expensive cable-original series ever mounted, filmed in New Zealand by Jim Henson Prods. and Hallmark Entertainment at a cost about $2 million an episode.
Debmar calculated the release date of September 2005 carefully, counting on lots of openings in stations' weekend schedules because Tribune Entertainment, the most active producer of syndicated sci-fi series (``Gene Roddenberry's Andromeda,'' ``Mutant X''), has no new ones on the drawing board, and three Twentieth TV off-network shows - ``Buffy the Vampire Slayer,'' ``Angel'' and ``The X-Files'' - are slated to disappear from weekend syndication following the 2004-05 season.
"Farscape'' generated a strong following on the Sci Fi Channel,'' said Bill Carroll, VP and director of programming for Katz TV, the rep firm. "That usually translates into lots of male viewers when the show goes into syndication.''
Debmar was energized by the average of 1.9 million viewers who tuned in to the four-hour concluding ``Farscape'' movie on the Sci Fi Channel over two nights last month (Oct. 17 and 18). But Debmar's contract with Henson and Hallmark covers only the 88 episodes, not the four-hour finale.
Friday, March 29, 2013
Friday, March 15, 2013
Excel starts slow
Truthfully, Excel starts off a little slow, with lots of exposition and
Ben wrapping his tongue around foreign words like Apears and
Chartu, to name just a few. But it doesn’t take long before you are
wrapping your brain around them too. The story begins with our hero, Carol
Westeps, in Peru on an archeological dig. Returning to the United
States he makes a discovery that terrifies him. The world as he knows it
has changed and he finds that the Interlopers are everywhere. Carol is the
only one who can see them and they don’t like it. Along with some very
colorful friends, he’s in for the fight of his life to save his wife
and rest of humanity from an evil older than time.
I have to say that Ben is good with the descriptions and main body of
the text, with a great speaking voice and clear diction, but it’s the
dialogue where he really shines. He literally becomes the person and
infuses each character with their own personality. You can see his real
talent come to the fore when he breathes life into the voices of the
people on the page. And he’s a marvel with accents from countries all over
the world. Once you start listening it’s almost impossible to stop.
There's one thing I wanted to cover still yest, but it is well prezented here. In case you need to know how to stop the macro recorder. This is our statement of intent. It gives our purpose and goals, and shows to what use funds donated to us would be put.
Ben wrapping his tongue around foreign words like Apears and
Chartu, to name just a few. But it doesn’t take long before you are
wrapping your brain around them too. The story begins with our hero, Carol
Westeps, in Peru on an archeological dig. Returning to the United
States he makes a discovery that terrifies him. The world as he knows it
has changed and he finds that the Interlopers are everywhere. Carol is the
only one who can see them and they don’t like it. Along with some very
colorful friends, he’s in for the fight of his life to save his wife
and rest of humanity from an evil older than time.
I have to say that Ben is good with the descriptions and main body of
the text, with a great speaking voice and clear diction, but it’s the
dialogue where he really shines. He literally becomes the person and
infuses each character with their own personality. You can see his real
talent come to the fore when he breathes life into the voices of the
people on the page. And he’s a marvel with accents from countries all over
the world. Once you start listening it’s almost impossible to stop.
There's one thing I wanted to cover still yest, but it is well prezented here. In case you need to know how to stop the macro recorder. This is our statement of intent. It gives our purpose and goals, and shows to what use funds donated to us would be put.
Wednesday, February 27, 2013
Hasta la vista, baby Jesus
No computer still, but I managed to appropriate one, and downloaded The Lost City Part I & II. Plot aside (S7 is easier to watch "plot aside") I quite enjoyed both episodes. The "teamness" of the temple scene was a breath of fresh air, a most welcome, most nostalgic throw-back to seasons one-four. I felt the love and that was good. I've dearly missed what Tripoli dubs the "OT4".
The winning 'ship this time around, for those who care about such things, must be Jack/Teal'c. The great loser is Jack/Sam, because their characterizations relative to each other get more obscure and convoluted by the minute. "Where's the boyfriend who got told all the secrets of the Stargate?" is the only mystery I've cared about since Chimera. That, and where the hell's Sarah? You'd think when Anubis comes a-calling, she'd be number one tactical expert on site.
Moving on.
Daniel and Jack felt like friends again; more than colleagues who shared a past, or former lovers held together by a common space long after the fire's burned out. I never thought those two disliked each other, were personally antagonistic (as opposed to professionally antagonistic, which is a rather appealing feature of their relationship), but I haven't felt the friendship, the intimacy, the 'chumminess' in a long while; until TLC (what an appropriate acronym), where the positive awareness of--and empathy for--each other was back. The fact that Jack was so much more present factors prominently in this relief from the distance and overall disengagement perceived thus far.
"What is good characterization? In the context of Stargate. Of particular interest is Salieri's answer. Have a look. I ended up talking myself into another question: Must any complex, realistic, psychologically sound fic characterization of a character extracted from a canon which is neither complex, realistic nor psychologically sound be, by necessity, AU?
Hasta la vista, baby Jesus.
The winning 'ship this time around, for those who care about such things, must be Jack/Teal'c. The great loser is Jack/Sam, because their characterizations relative to each other get more obscure and convoluted by the minute. "Where's the boyfriend who got told all the secrets of the Stargate?" is the only mystery I've cared about since Chimera. That, and where the hell's Sarah? You'd think when Anubis comes a-calling, she'd be number one tactical expert on site.
Moving on.
Daniel and Jack felt like friends again; more than colleagues who shared a past, or former lovers held together by a common space long after the fire's burned out. I never thought those two disliked each other, were personally antagonistic (as opposed to professionally antagonistic, which is a rather appealing feature of their relationship), but I haven't felt the friendship, the intimacy, the 'chumminess' in a long while; until TLC (what an appropriate acronym), where the positive awareness of--and empathy for--each other was back. The fact that Jack was so much more present factors prominently in this relief from the distance and overall disengagement perceived thus far.
"What is good characterization? In the context of Stargate. Of particular interest is Salieri's answer. Have a look. I ended up talking myself into another question: Must any complex, realistic, psychologically sound fic characterization of a character extracted from a canon which is neither complex, realistic nor psychologically sound be, by necessity, AU?
Hasta la vista, baby Jesus.
Sunday, February 17, 2013
Bruce Willis saves the world
Scorpius brings him back the last time. In retrospect, S. has been doing a lot of that. John doesn't remember most of the details. Before leaving, D. says something about small mercies, or the Luxan equivalent.
There are weeks in a vat and after that months in a Peacekeeper infirmary and after that he's lucid enough for S. to explain why his ashes aren't collecting dust in an urn on S.'s mantelpiece. There are flashes--some nights and some days too--of waking up naked and chilled in a big aquarium, drifting weightless in green gloop with a tube down his throat; snapshots of overwhelming panic and sedation and the absence of a voice to call for A. He died with the taste of his lover in his mouth. This wasn't how he pictured the afterlife.
John and A. were disintegrated by parties unknown in a nameless boat on an anonymous sea. Their shipmates witnessed their death, shocked with grief. One night C. woke up convinced that John was still alive. D. didn't question the comeback of her errant gift and the search began.
After a mad and desperate weeken they went to S. who didn't make them beg. Within an arn they had identified the markings on the ship in M. They found a lot of labs, full of vats and scientists, equipment and consoles and vials. When S. recounts the O. unique approach to exobiology, her eyes light up with something like greed.
"They do not need to retrieve live specimens for analysis." She sits on the edge of John's bed, hands joined on her knees primly, like a schoolgirl. "Neutralization is a safer and more efficient method to transport and store life forms for later study. I have known researchers who operate by miniaturization, but the O.' technology is much more advanced. They require but a sample of the individual's life code to recreate an undamaged, live specimen."
I've seen that movie, John thinks in a safe, detached part of his brain. Bruce Willis saves the world, again.
S. hasn't seen the movie and she doesn't know which part of John's brain she's talking to. "When you were found, you were dying. Perhaps the O. used a basal template when they reengineered your organism. Your body was breaking down on the cellular level. You should be thankful--that S. preserved a sample of your life code. Your D-N-A." Her lips wrap around the foreign acronym with delight, hiccupped syntax and all. "Gene therapy restored you to--health."
The detached part of John counts fingers and toes. By then, he's stopped actively listening.
There are weeks in a vat and after that months in a Peacekeeper infirmary and after that he's lucid enough for S. to explain why his ashes aren't collecting dust in an urn on S.'s mantelpiece. There are flashes--some nights and some days too--of waking up naked and chilled in a big aquarium, drifting weightless in green gloop with a tube down his throat; snapshots of overwhelming panic and sedation and the absence of a voice to call for A. He died with the taste of his lover in his mouth. This wasn't how he pictured the afterlife.
John and A. were disintegrated by parties unknown in a nameless boat on an anonymous sea. Their shipmates witnessed their death, shocked with grief. One night C. woke up convinced that John was still alive. D. didn't question the comeback of her errant gift and the search began.
After a mad and desperate weeken they went to S. who didn't make them beg. Within an arn they had identified the markings on the ship in M. They found a lot of labs, full of vats and scientists, equipment and consoles and vials. When S. recounts the O. unique approach to exobiology, her eyes light up with something like greed.
"They do not need to retrieve live specimens for analysis." She sits on the edge of John's bed, hands joined on her knees primly, like a schoolgirl. "Neutralization is a safer and more efficient method to transport and store life forms for later study. I have known researchers who operate by miniaturization, but the O.' technology is much more advanced. They require but a sample of the individual's life code to recreate an undamaged, live specimen."
I've seen that movie, John thinks in a safe, detached part of his brain. Bruce Willis saves the world, again.
S. hasn't seen the movie and she doesn't know which part of John's brain she's talking to. "When you were found, you were dying. Perhaps the O. used a basal template when they reengineered your organism. Your body was breaking down on the cellular level. You should be thankful--that S. preserved a sample of your life code. Your D-N-A." Her lips wrap around the foreign acronym with delight, hiccupped syntax and all. "Gene therapy restored you to--health."
The detached part of John counts fingers and toes. By then, he's stopped actively listening.
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