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Happy Pi day!

Great day to teach your kids, grandkids, nieces or nephews about pi. Challenge them to measure things and see how close they can get to the constant. My challenge to one particular little girl ended up in a flurry of 6 measurements with a tape measure, the closest of which was 3.1416. Not bad!

For more on Pi and Pi Day, as well as Pi to one million digits, see here.

And, Scientific American is offering yearlong digital subscriptions today for, appropriately, $3.14.


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Prosecution: The Web Planet–Early Who’s Weakest Hour

Last week and during my vacation, my good pal Mith and I got together for gaming, good company, and something we’d been planning for some time: we sat down for a Whoathon of epic proportions. We watched a good 24 episodes of consecutive Hartnell Who plus sundry special features, including some lost episodes and recons. We’d recommitted to watching “it all.” And “all” included, problematically for my sanity, The Web Planet. Even worse, our Whoathon started with The Web Planet. But having watched it one and a half times before (once interrupted by sheer boredom), I was well prepared for what lay ahead. My opinion didn’t change. And so, I represent the Prosecution–this one’s bad. Really bad.

So what do you need to know about Who’s 13th serial, The Web Planet? Well, primarily the three reasons it’s so bad. It’s well worth a watch if you’re a completionist as I am–there are interesting concepts explored, and some pushing of technical boundaries in making a 1965 BBC sci-fi serial. But these interesting concepts ultimately, as you’ll see, fail. In any case, watch it or no, you’ll be well suited knowing these three things about Web Planet, and moving on to the far superior 14th serial, The Crusade. And in no particular order, here are the three things you need to know.

1. An enemy needs periodic anthropomorphizing to hold the audience’s interest. Peter Jackson, in his masterful Lord of the Rings trilogy, made the risky choice to not represent the Big Bad Sauron with any human form throughout his series except in the brief prologue, showing the Big Bad fighting the alliance of Men and Elves. Rather, through the three movies Sauron was represented as a flaming eye, seated atop a large, and faraway tower in Morder. This worked so well in Lord of the Rings since there were proxy enemies aplenty: the Nazgul, Saruman, the orcs in Moria, as well as Gandalf’s (channeling Tolkien’s own words) masterful prose describing the all-too-humanlike enemy and threat Sauran once had been.

In contrast, The Web Planet’s Zarbi, the heroes’ threat through much of the serial, are actors wearing clunky, if impressively bulky, ant suits, who issue streams of repetitive (guaranteed to drive you nuts) electronic chirps that convey nothing of notable complexity. Not so much as an R2-D2-style humanizing with baleful chirrups and whirrs. Nope, these Zarbi are essentially mute drones. The Menoptera, in fact, say as much, telling us the Zarbi are little more than “cows.” How’s that for a thriller–rampaging, mind-controlled cows threaten the heroes for over two hours. And that’s what The Web Planet essentially is.

The Animus, who is revealed as the “real enemy” as the serial wears on, should be built-up so that the viewer will care. But the Animus is never given the full Sauron-treatment. That amazing scene of Tom Baker and Lalla Ward, inside the rocket-ship in Episode Three of State of Decay and waxing nostalgic over childhood tales from Gallifrey of the Great Vampires, is a wonderful example of how such a disembodied enemy can be built-up simply through compelling dialog. It’s much like the scene early in Fellowship of the Ring where Gandalf finally gives Frodo the full story of Sauron the Deceiver. The original crew members in State of Decay serve as chilling stand-ins and reminders of the omnipresent threat of the Great Vampire itself, just like the numerous smart, and Machiavellian, minions of Sauron. That gradual development of the “lore” of the enemy, and the notion that the minions are either zealous believers in some greater evil, or tragic and unwilling servants, gave me frissons of excitement. But there’s no such buildup here, either properly villifying the Animus, or giving us any buy-in to care about the enslaved Zarbis’ plight.

In fact, our Zarbi lack anything more than mute worker-drone “cow status.” The Animus is given little air time until the final minutes of The Web Planet. The Animus appears briefly merely as a disembodied voice in Web Planet Episode 2; only suddenly, in the final moments of The Web Planet, do we actually see the Animus. Small wonder we don’t care about the Animus, except to be thrilled that its destruction means we can finally leave the godforsaken planet Vortis.

2. Ballet moves in a sci-fi serial, generally, look like trash. I actually liked the bee-like Menoptera. After the nonsense Zarbi, the fact that the Menoptera could talk with the TARDIS crew, and had dreams and goals, was refreshing. Sadly, and tragically, given the amount of time spent developing and rehearsing their ballet-like “unique” movements, they’re mesmerizingly preposterous-looking. Their three-beat, ascending lilting sentences, with accompanying elbow waves and closing paws, are so distracting as to both sound like giant Swedish insects with speech impediments, and drown-out any substantive content in the Menopteras’ lines. The effect is all the more distracting when it’s clear that not all the Menopotera actors care enough to complete the effect: the upstart “invasion force” Menoptera that appears later in the serial does none of the bobbing or vocalizing–he merely waves his elbows and hands. His apparent recalcitrance to engage in the “Menoptera dance” jars us out of any suspension of disbelief (or catatonic state) that the serial managed to eke out of us.

So too their underground cousins the Optera: they sound and look like gruff, gutteral guys hopping around in felt outfits with big eyes and felt tentacles attached to their heads. But they don’t always hop: sometimes the actors decide to walk. And it jars us back to how spotty The Web Planet is. And the subpar triumvirate is complete with the Larvae Guns: they’re often mounted on small carts, rolling smoothly across the landscape–except when they aren’t, and the actors decide to crawl, again breaking the Vaseline-smeared ambiance.

Credit is due, though, to The Web Planet’s semi-thrilling invasion sequences: the scenes of Menoptera gliding through space down to landings on the Vortis surface are fantastic. Suspension wires are nowhere to be seen. And the fight scenes are among the best in the six-part serial. Much time was obviously spent getting these fight and landing scenes right, and it shows.

3. From there to here, from here to there, gaffes on Vortis everywhere. If Hartnell is known for “Hartnell fluffs” or line flubs when the rest of the serials sailed relatively smoothly about him, The Web Planet is famous for how nothing quite seems to work. The actors’ performances are lackluster: one scene where Ian sits on an Vortis bluff, William Russell looks almost detached and impassive while talking with the Menoptera Vrestin about his hopes for retaking its homeworld–a scene that should be filled with trademark William Russell enthusiasm. In that same scene, and all the scenes on the surface of Vortis, Vaseline is smeared on the camera’s lens filter so the scenes look “otherworldly.” Instead, it simply makes the serial look annoyingly smudged and blurry. Multiple times, the plot device of hanging a golden yoke on characters necks–including the necks of the Zarbi–fails simply because the yoke keeps falling off the characters’ necks.

Bill Hartnell sums it up:

Best quote of The Web Planet goes to the Doctor, speaking to the Animus as a creaky plastic shell descends and the disembodied voice booms at him, inviting him to step inside the shell: he dismissively gestures towards the prop, calling it a hairdryer. It sums up the entire creaky Web Planet mess for the viewer.

I, for one, was so irritated by so many of the Web Planet’s failings that I couldn’t wait to get the hell out of the Isop Galaxy.



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Prosecution: Edge of Destruction

My colleague has already penned his defense of Edge of Destruction, so I felt it incumbent upon me to take up the solemn duty of the prosecution. While he mentions several notable qualities of the episode, I feel there are several flaws that did not receive sufficient attention in his review.

The first consists of the episode’s existence in the first place. When one has a new series, it is inopportune to have a “filler” episode as your third installment. The commentary to the episode describes the circumstances: It was normal practice to make the decision whether or not to continue a series after the thirteenth show of the first season. The producers of Dr. Who felt that their product was of sufficient quality that this review was merely pro forma and that they could expect a continuance even before the thirteenth show. Thus, they planned to have the first two episodes stretch over 11 parts, and the third episode would extend past show #13. Well, that plan turned out to be based on false hopes, so the third episode had to be written in only two parts, and with almost no budget (apparently the money had been blown on The Daleks — this inability to manage the show’s finances will continue to plague the first season).

The knife is a metaphor! For stabbing!

The second flaw is the way the episode is structured. While watching, the various strange happenings work successfully to create an impression of confusion and inculcate the idea that the world inside the spaceship is off-kilter. However, in hindsight there are a number of significant inconsistencies. Why does Susan go crazy inside her bedroom? Why does she brandish a pair of scissors, and later rip up her bed with them? Why does she threaten Barbara?

The TARDIS is making me overreact to this melting clock!

Later, the TARDIS apparently melts a large ornamental clock inside the control room, and damages the watches of the crew. How does it do this? Are there microwave emitters throughout the ship, in case the Doctor happens to desire a hot cup of tea and doesn’t wish to walk to the food console? (My colleage also points out that the water dispenser lights work inconsistently in this episode).

Finally, Ian is possessed by the TARDIS, by means unknown, and he attacks the Doctor at the control panel. In order, apparently, to warn the Doctor that the Fast Return switch is stuck. A switch which is on the control panel. Where the Doctor was just looking. The control panel which sent out an electric shock whenever somebody approached it. You’re kind of sending mixed messages, aren’t you, TARDIS old pal?

I wonder how much the magic marker label guy in the TARDIS factory gets paid.

Nevertheless, the character development in the episode and the fact that this is one of the first true sci-fi mindfuck episodes in television history (if you omit the Twilight Zone) spare this episode from the hoosegow. Verdict: Acquittal (just barely).

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Bioshock non-spoiler review (Verdict: Great game – buy it used)

“Why should the righteous suffer at the hands of the ignorant?” Because society usually ends up freaky-deeky, that’s why. Thus speaks the lessons of Bioshock.

Bioshock is a first-person shooter game with a great story. No, make that fantastic story. But ultimately with all stories, it ends, and you end up with little replay value as the developers failed to include a multi-player component. So if you like good shooters with good stories, please read on… Continue reading

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Deep student discount for Microsoft Office Ultimate

Do you know a student (can be graduate) and want Microsoft Office Ultimate? For all students, Microsoft is offering a really sweat deal: Microsoft Ultimate Office for just $59.95. It normally retails for $679.00.  Runs on both XP and Vista, FYI.

Also, Ultimate includes Word, Excel, Powerpoint, Outlook, and a whole bunch of stuff you don’t need as shown here.

Details of this great deal are found here. Promotion lasts until April 30th, 2008.


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iPhone free unlock finally achieved

If you have (or want) an iPhone, you used to be locked into AT&T’s 2 year contract. However, hackers have released a free unlock which allows you to use T-Mobile as a carrier. Actually, you can use any carrier that is using CDMA, but in America, that is only T-Mobile and AT&T.

Verizon is a no go, because it uses a different technology. But the rest of the world (that use CDMA) is now a very happy place. So if you like T-Mobile and want to buy a nice gadget, go nuts. Oh, and make sure it’s free. Other hackers were trying to charge for it, but the free project released before they were able to effectively mass-market it.

Details (from Gizmodo) are here.

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Babylon 5: The Lost Tales non-spoiler Review (Worth the HD download on XBL)

Did you ever go to a reunion and see old friends that you haven’t talked to in years? People who you just generally lost touch with and who you immediately start to catch-up with? You start remembering all the good times you both had? And then it’s time to go?

That sadness is pretty much how I felt after watching this movie in HD. If you were even remotely a Babylon 5 fan, download this movie in HD. Continue reading

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