Showbits

The traditional television schedule seems to be a thing of the past, with new series starting whenever in the year they please. One recent example is Defying Gravity, which ABC premiered on August 2nd. While it's common for shows like Heroes and Sarah Connor to stream its new episodes on their Web sites, I've never been satisfied with the experience of watching a television show in a Web browser. So imagine my pleasant surprise to find that the first three episodes of Defying Gravity were, for a limited time, available as a free download from iTunes, allowing me an opportunity I'd otherwise get only on DVD.

The year is 2052, eleven years before First Contact. The International Space Organziation (ISO) is set to launch a single six-year manned mission to the solar system's seven planets (discounting Earth and Pluto). Eight astronauts and their ground support are eager to confront the unknown… but before they know it, the unknown comes to them. A mysterious entity is pulling the mission's strings, which only the upper echelons of the ISO are aware of — and oddly, they seem more than willing to cooperate.

Ron Livingston of Office Space is the show's main character and narrator. In the eyes of the public, Maddux Donner is a fallen hero, ever since he abandoned two astronauts on a mission to Mars, although the movie's pilot makes clear he made the right decision and obeyed orders. He opens and closes each episode with a monologue, with other storytelling elements including the flashbacks, personal video logs, and one character whose sole purpose seems to be to document the ship's happenings for the edification of terrestrial grade school students.

More central to the plot than Donner's public image is his relationship with the rest of the crew, and them with each other. Multiple flashbacks to five years prior show us how this crew came to know each other during the application and training for the mission, at which time it seems everyone slept with each other at least once. Now spacebound, the astronauts are supposedly limited by HALOs — hormone-activated libido oppressors that impact one's physical performance but not emotional desire, thus doing nothing to prevent sexual awkwardness.

HALOs are one of the few technological developments humanity has achieved in the next 50 years. The Antares ship must have some sort of improved propulsion to make a six-year solar tour, but there's no evidence of warp drive. Further, the application of antigravity is inconsistent. It's stated early on that nanofibers in the crew uniforms keep them upright and attached, and we see tossed objects and even vomit moving laterally across a room in support of that theory. But in other scenes, baseballs sail in graceful arcs, and an exercise room's weight machine functions normally. Perhaps crew quarters rotate, offering centripetal force that isn't present elsewhere. Regardless, Defying Gravity is closer to our own level of advancement than most science fiction.

Likewise, culture and society has seen few changes, though I appreciate that the possibility for more sweeping evolution is subtle. The existence of the ISO suggests a a world unification, or at least collaboration beyond a single space station. Home pregnancy tests are now illegal. And Donner longs for "the mountains and what's left of the beaches", suggesting some consequence of global warming. But the broader environment in which this mission was launched is not the show's focus, and picking up on these clues is more a reward for the astute viewer than being hit over the head with more jarring differences would be.

If only the rest of the show was as shrewd. The macguffin of the unknown puppet master is intended to keep viewers hooked, but it's too obvious a plot device for me. I prefer hidden elements to be subtle and not critical to the show's very foundation. A particular character can have a secret, or a particular episode or story arc may need a deus ex machina — but this entire show seems driven by a creature named "Beta" who we may not be seeing for some time.

Fortunately, any problems I have with the script do not extend to the cast. Livingston seemed somewhat clueless in Office Space and has a similar air here, but at least he's earnest about it. Ty Olsson, who played Captain Aaron Kelly on BSG and Magento's guard in X-Men 2, is tough but thoughtful Rollie Crane. Among the astronauts, there is a lack of independent female role models, but mission control includes Karen LeBlanc as assistant flight director Eve Weller-Shaw and Claire Dereux as Maxim Roy, who know how to get a grip (when they're not pining for their cosmic boyfriends).

Defying Gravity, which has been described as Lost in space (har, har) or Grey's Anatomy in space, came strongly recommended from someone who said these three episodes had justified committing to the rest of the season. Such a strong first impression is rare: if I'd had to judge Star Trek: TNG or DS9 that quickly, I might not have stuck around. Defying Gravity may likewise mature into a fine show, but since I have no television service, I'm left with the decision of buying the show online or on DVD, or not at all. Given what I've seen so far, I'll save my money and leave others to boldly go. In the meantime, only the behind-the-scenes featurette remains a free download from iTunes, while full episodes can be watched on ABC.com by installing their spyware plug-in.

I'm not usually a fan of horror movies. Don't get me wrong, I like being scared; the Silent Hill franchise of video games are absolutely terrific in their ability to disturb and entertain. It's just that movies are too much a spectator sport for me to get very involved.

But when those horror films start crossing over into other genres, then I get interested. Freddy vs. Jason was a hilarious flick, while Alien vs. Predator was a decent action film. The latter had enough potential to warrant my recent viewing of its sequel, Aliens vs. Predator. (The pluralization of the Aliens apparently being too sublime, the movie earned itself a silly subtitle, Requiem, for viewers who've forgotten the nomenclature of the Ridley Scott original series.)

The sequel picks up immediately where its predecessor ends, with an Alien bursting from a Predator's chest, imbued with the qualities of both races. (I didn't realize until now that Aliens bear the traits of their hosts. Interesting.) The Predator ship crash-lands in the woods outside a remote town in Colorado. Hilarity ensues.

Well, not really — at least hilarity has a punchline. Here, we're mostly kept waiting for a payoff that never comes. Whereas the first AvP film featured a team of Predators on the hunt, this time there's only a lone hunter (who we tantalizingly see take off from his homeworld), though his motives are unclear. Is he trying to cover up the Aliens' existence? Save humanity from an Alien infestation? We never know. There was a definite sense in the first film of the Predator as the hero, but his motives don't seem as honorable here. Mostly what we see him do is use some foreign weaponry which is then damaged in battle, affording him a sequence in which he unveils yet another mysterious gadget. Repeat.

Just as unclear is the potential of the so-called Predalien. The best of both worlds and the weaknesses of none, right? Not so much. A Predator's strength comes from his training and weapons, and a newborn Predalien has neither. Except for his physical appearance (and some unjustified ability to manipulate human fetuses), the Predalien functions exactly like an Alien. The fight between the lone representatives of the two species is built up throughout the entire film, but when the climatic battle finally occurs, you realize it doesn't matter who wins.

Everything in between is the usual mayhem, screaming "What are those things?!", and firing into the darkness. The murky cinematography sometimes leaves one questioning how an Alien snuck into a particular building, or where the Predator is supposed to be now. In keeping with the rules of horror films, sluts and stoners are guaranteed to go, but there is the occasional surprise in the nature of their demise.

The film ends with a vague reference to the origin of The Company, which I suspect will be lost on most viewers. But if you have the appropriate expectations going into this film, it will prove a mildly satisfying experience. The first AvP suggested the potential for a great mash-up; it's a potential I'm still waiting to see realized. In the meantime, fans have done a great job of introducing these otherworldly invaders into other mythos, including Terminator, Robocop and Batman. Now that's a winning proposition!