The Nevers...a review of sorts
May. 23rd, 2021 03:10 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shadowkatI've finally watched all six episodes of The Nevers. The best episode is actually the last one, which was written by Jane Espenson and directed by someone I've not heard of, and reviewed by Phillipa Gossellet.
(Whedon had on foot out the door at this point.)
I'm not crazy about the series, and its unlikely I'll continue with it - if it makes it to a second season.
Before I continue with a review? I was blown away by this article, which is an interview with Claudia Black, who guest stars in episode 6 of The Nevers.
Claudia Black on Her Surprise 'The Nevers' Role, the Joss Whedon Situation, and Breaking the Cycles of Trauma
While Black didn't witness anything untoward in regards to Whedon's behavior on the set, she states that it was clear he was under a lot of pressure, and things had begun to dissolve. And just because no one reported anything, didn't necessarily mean it wasn't there. And there was a heavy feeling that everyone had to cater to Whedon and see his vision through - which doesn't tend to lend itself to a successful work environment.
Everybody is creative, it just gets shut down. And if you're unlucky enough to be in a school system where they've defunded the arts, then I think that plays a huge role in us shutting down those essential parts of ourselves. Then those who do go onto become creative, the whole process becomes sort of mystical and mysterious. And it doesn't have to be. Too often, creative people's behaviors are enabled and allowed. Because I think people who consider themselves not to be creative, on the money side, think, "Well, we don't want to..." It's like kicking the hornet's nest, if we sort of question this and the choices they're making, do we lose the whole production? Because the story's in their head right now. And if we question them about this, do we lose everything? Is it going to turn into an ugly confrontation? Or are they going to walk off and disappear? And, are we not going to have a script, on time?
So I think we have to really dismantle the way creative people are indulged and enabled. I'm not talking about specifically The Nevers, I'm talking about the industry at large. Because people get to positions of power where their choices are not questioned, because what they've been able to create has been so great that the aspects of their behavior, and the way they go about achieving their results, have just... They're immunized against consequences because the content is king. So that's where the power is.
A lot of writers became directors because they were sick of people, in their eyes, destroying what they had written. And so there's enormous power for writers becoming directors. And a lot of those writers become directors. Again, this is not specific to any particular production I've worked on. But what I've experienced, in 30 years in the business, is often the writers do not have the skillset required for directors, in terms of communicating and the way they behave on set. So there's a lot in that mix. I think, obviously, what I'm talking about is a broader discussion about the microcosm and looking at my place in the microcosm and how I can help support a shift, at a time where this country and the culture is at a tipping point. And there seems to be the energy and the impetus to actually create change. Because there are so many people in the entertainment business who, like me, are traumatized, but a lot of them don't know. And that creates limitation, and that creates an inability to heal and move forward.
The Nevers - Review
There's aspects of this series I enjoyed, but not enough to hold my interest to continue. The problem is two-fold, too many characters, and too much focus on a somewhat trite and convoluted plot, that utilizes sci-tropes and gimmicks that tend to irritate me.
Frankly the series had some of the same problems that I had with Marvel Agents of Shield. Which I kept giving up on.
Thematically? It's fine. A little preachy in places - characters like to launch into long monologues and sermonize. I get bored and my attention wanders.
Lacks the humor of Whedon's earlier series. (Or it has jokes, but they flew over my head.)
What worked? I found the lead character of Mrs. True interesting, she's complicated and well-played by Laura Donnelly (and in a guest role - Claudia Black).
Also, the concept of people obtaining odd and often inconvenient super-powers was a nice one - if heavily borrowed from Marvel Comics.
But outside of Mrs. True, I kept losing track of the characters, and everyone mumbles. I had to use close-captioning at various points. Ben Chaplin's cop is rather interesting, and written smartly for once. But everyone else is just kind of there.
Also, Claudia Black is excellent in episode six, which is an intentional mind-fuck of an episode. I was kind of spoiled on it, because I read the article with Black. Also, I could kind of see it coming - since the series structurally reminds me a great deal of Marvel Agents of Shield and Dollhouse. But watching Black made me want to re-watch Farscape. (I adore Claudia Black.)
What doesn't work?
Everything else. But it's worth stating that there are a couple of sci-fi tropes that I've grown weary of, and this has pretty much all of them.
I'd list them, but I'd be spoiling you on the series more than I already have.
It's very busy, and when we get to the great reveal - it's not that interesting. I was disappointed, mainly because I'd seen it done elsewhere far better. (Sarah Connor Chronicles). This kind of reminds me of the Terminator franchise meets Marvel Agents of Shield.
(Whedon had on foot out the door at this point.)
I'm not crazy about the series, and its unlikely I'll continue with it - if it makes it to a second season.
Before I continue with a review? I was blown away by this article, which is an interview with Claudia Black, who guest stars in episode 6 of The Nevers.
Claudia Black on Her Surprise 'The Nevers' Role, the Joss Whedon Situation, and Breaking the Cycles of Trauma
While Black didn't witness anything untoward in regards to Whedon's behavior on the set, she states that it was clear he was under a lot of pressure, and things had begun to dissolve. And just because no one reported anything, didn't necessarily mean it wasn't there. And there was a heavy feeling that everyone had to cater to Whedon and see his vision through - which doesn't tend to lend itself to a successful work environment.
Everybody is creative, it just gets shut down. And if you're unlucky enough to be in a school system where they've defunded the arts, then I think that plays a huge role in us shutting down those essential parts of ourselves. Then those who do go onto become creative, the whole process becomes sort of mystical and mysterious. And it doesn't have to be. Too often, creative people's behaviors are enabled and allowed. Because I think people who consider themselves not to be creative, on the money side, think, "Well, we don't want to..." It's like kicking the hornet's nest, if we sort of question this and the choices they're making, do we lose the whole production? Because the story's in their head right now. And if we question them about this, do we lose everything? Is it going to turn into an ugly confrontation? Or are they going to walk off and disappear? And, are we not going to have a script, on time?
So I think we have to really dismantle the way creative people are indulged and enabled. I'm not talking about specifically The Nevers, I'm talking about the industry at large. Because people get to positions of power where their choices are not questioned, because what they've been able to create has been so great that the aspects of their behavior, and the way they go about achieving their results, have just... They're immunized against consequences because the content is king. So that's where the power is.
A lot of writers became directors because they were sick of people, in their eyes, destroying what they had written. And so there's enormous power for writers becoming directors. And a lot of those writers become directors. Again, this is not specific to any particular production I've worked on. But what I've experienced, in 30 years in the business, is often the writers do not have the skillset required for directors, in terms of communicating and the way they behave on set. So there's a lot in that mix. I think, obviously, what I'm talking about is a broader discussion about the microcosm and looking at my place in the microcosm and how I can help support a shift, at a time where this country and the culture is at a tipping point. And there seems to be the energy and the impetus to actually create change. Because there are so many people in the entertainment business who, like me, are traumatized, but a lot of them don't know. And that creates limitation, and that creates an inability to heal and move forward.
The Nevers - Review
There's aspects of this series I enjoyed, but not enough to hold my interest to continue. The problem is two-fold, too many characters, and too much focus on a somewhat trite and convoluted plot, that utilizes sci-tropes and gimmicks that tend to irritate me.
Frankly the series had some of the same problems that I had with Marvel Agents of Shield. Which I kept giving up on.
Thematically? It's fine. A little preachy in places - characters like to launch into long monologues and sermonize. I get bored and my attention wanders.
Lacks the humor of Whedon's earlier series. (Or it has jokes, but they flew over my head.)
What worked? I found the lead character of Mrs. True interesting, she's complicated and well-played by Laura Donnelly (and in a guest role - Claudia Black).
Also, the concept of people obtaining odd and often inconvenient super-powers was a nice one - if heavily borrowed from Marvel Comics.
But outside of Mrs. True, I kept losing track of the characters, and everyone mumbles. I had to use close-captioning at various points. Ben Chaplin's cop is rather interesting, and written smartly for once. But everyone else is just kind of there.
Also, Claudia Black is excellent in episode six, which is an intentional mind-fuck of an episode. I was kind of spoiled on it, because I read the article with Black. Also, I could kind of see it coming - since the series structurally reminds me a great deal of Marvel Agents of Shield and Dollhouse. But watching Black made me want to re-watch Farscape. (I adore Claudia Black.)
What doesn't work?
Everything else. But it's worth stating that there are a couple of sci-fi tropes that I've grown weary of, and this has pretty much all of them.
I'd list them, but I'd be spoiling you on the series more than I already have.
It's very busy, and when we get to the great reveal - it's not that interesting. I was disappointed, mainly because I'd seen it done elsewhere far better. (Sarah Connor Chronicles). This kind of reminds me of the Terminator franchise meets Marvel Agents of Shield.