Top Favorite Episodes of “THE YOUNG RIDERS” Season One (1989-1990)

Below is a list of my top favorite episodes from ABC’s 1989-1992 Western television series called “THE YOUNG RIDERS”. Created by Ed Spielman, the series starred Ty Miller, Josh Brolin, Stephen Baldwin and Anthony Zerbe:

TOP FAVORITE EPISODES OF “THE YOUNG RIDERS” SEASON ONE (1989-1990)

YR - Speak No Evil

1. (1.04) “Speak No Evil” – When Pony Express rider Ike McSwain turns in the leader of a gang responsible for a stagecoach massacre, the other gang members try to kill him in order to prevent him from testifying. Albert Salmi guest-starred.

YR - Unfinished Business

2. (1.16) “Unfinished Business” – The estranged husband of the Sweetwater Express station caretaker Emma Shannon, survives a wagon train massacre and turns to her for shelter, while the men responsible searches for him. Cliff De Young and Frederick Coffin guest-starred.

YR - Black Ulysses

3. (1.06) “Black Ulysses” – The Express riders struggle over whether to obey the Fugitive Slave Law or protect a fugitive slave from a group of militiamen, who have been tracking him from Missouri. Stan Shaw and Tim Thomerson guest-starred.

YR - Gathering Clouds

4. (1.23-1.24) “Gathering Clouds” – Virginia-born The Kid is recruited by the U.S. government to infiltrate a group of Southern guerillas, while the town of Sweetwater deal with the ruthless methods of an Army captain, who is determined to capture the group. David Soul and Cynthia Nixon guest-starred.

YR - Bull Dog

5. (1.19) “Bulldog” – When the Pony Express owners plan to move the mail route north through Sioux burial lands, they send a recent college graduate, with a case of hero worship for James Hickok, to secure the arrangement. Fisher Stevens guest-starred.

YR - Bad Blood real

Honorable Mention: (1.05) “Bad Blood” – Express rider Louise “Lou” McCloud returns to the orphanage where she had been raised to visit her younger brother and sister and discovers that her estranged father, a ruthless gunrunner, had retrieved them. Jon De Vries guest-starred.

 

“STAR TREK VOYAGER: Love on a Starship”

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“STAR TREK VOYAGER: LOVE ON A STARSHIP”

I am not going to deceive myself and pretend that the relationship between Captain Kathryn Janeway and her First Officer, Commander Chakotay, lacked any chemistry. Of course there had been chemistry. Even a blind person could have sensed the chemistry between them just by listening to their dialogue. But while I will admit the enormous dynamics between the two characters, I never could see the possibility of a “happily ever after” for them. Not while the pair served as the command team of the U.S.S. Voyager.

When many “STAR TREK VOYAGER” fans had first started speculating upon the possible futures for the main characters during the series’ early Season Seven, for some reason I had foreseen a tragic ending in the Janeway/Chakotay relationship. I figured that the Captain or the First Officer would bite the dust in the finale, leaving the others to mourn and regret their decision not to pursue a romance during Voyager’s nearly seven years in the Delta Quadrant. This feeling was reinforced in the episode, (7.11) “Shattered”, when Season Seven Chakotay not only revealed the lack of romance in their relationship to the Season One Janeway, but also expressed regret in his words . . . and tone:

JANEWAY: Mind if I ask you one last question?
CHAKOTAY: Will I have to break the Temporal Prime Directive to answer it?
JANEWAY: Maybe, just a little. For two people who started off as enemies it seems we get to know each other pretty well, so I’ve been wondering. Just how close do we get?
CHAKOTAY: Let’s just say there are some barriers we never cross.

Both Kate Mulgrew (Kathryn Janeway) and the series’ producers had expressed opposition against an affair between Janeway and Chakotay. They have repeatedly stated that it would not be appropriate for the two to get involved in a romance. At first, I had believed that she, Rick Berman, Michael Piller, Jeri Taylor and later, Brannon Braga and Kenneth Biller were being obtuse. Now that I have had a chance to think about it, I have managed to see their point of view. They were right. A romance between Janeway and Chakotay could have led to many problems.

I have never believed that a good idea for someone in a position of power to have a romance with a subordinate. If you think that it is difficult for equals to maintain a relationship, it might be doubly so for a superior and his/her subordinate. There is a great deal of potential for resentment from one partner, subjugation from the other and manipulation from both sides. Chakotay’s relationship with Voyager’s Chief Engineer, B’Elanna Torres, is a mild example of this. I had been one of those fans who had been relieved by the quiet death of B’Elanna’s infatuation with the First Officer by late Season Two. Do not get me wrong. Chakotay was a fine First Officer. Frankly, I have always felt that he was one of the best in the entire “TREK” franchise. But he had an unfortunate habit of dealing with B’Elanna’s temperament by inflicting his will upon her, using his position as her superior officer. I am not saying that Chakotay did not have the right to behave this way toward B’Elanna. After all, he was Voyager’s First Officer. But he was also supposed to be one of B’Elanna’s closest friends. If he and B’Elanna had such moments during their “friendship”, can you imagine how damaging this would have been to any romance that may have sprung between them? Remember when I had mentioned the possibility of resentment? Well, even B’Elanna eventually expressed her resentment of being chastised by Chakotay in the Season Five episode, (5.21) “Juggernaut”:

CHAKOTAY: Your concerns are noted. Get them inoculated. We’ll meet you in Transporter Room one. We’re trying to avoid explosions, remember?
TORRES: Not another lecture about my emotions.
CHAKOTAY: No, a lecture about how to treat guests aboard this ship.
TORRES: Guests? Chakotay, these people are the scourge of the quadrant.
CHAKOTAY: Agreed, but right now they’re our only hope of repairing that freighter, so I suggest you make friends.
TORRES: Diplomacy. Janeway’s answer to everything.
CHAKOTAY: This isn’t the Captain talking, it’s me, and I’m giving you an order. Keep your temper in check. Understood? Understood?
TORRES: Yeah.
CHAKOTAY: I didn’t hear you.
TORRES: Yes.
CHAKOTAY: B’Elanna, I need your expertise on this mission, not your bad mood.
TORRES: I’ll see what I can do.

Like Chakotay, Janeway was not above using her position to inflict her will upon the crew members under her command, regardless of whether she was right or wrong. And we have seen how Chakotay had reacted when he believed that she was wrong . . . especially in (3.26) “Scorpion I” and (4.01) “Scorpion II”:

CHAKOTAY: How much is our safety worth?
JANEWAY: What do you mean?
CHAKOTAY: We’d be giving an advantage to a race guilty of murdering billions. We’d be helping the Borg assimilate yet another species just to get ourselves back home. It’s wrong!
JANEWAY: Tell that to Harry Kim. He’s barely alive thanks to that species. Maybe helping to assimilate them isn’t such a bad idea. We could be doing the Delta Quadrant a favour.
CHAKOTAY: I don’t think you really believe that. I think you’re struggling to justify your plan, because your desire to get this crew home is blinding you to other options. I know you, Kathryn. Sometimes you don’t know when to step back.
JANEWAY: Do you trust me, Chakotay?
CHAKOTAY: That’s not the issue.
JANEWAY: Oh, but it is. Only yesterday you were saying that we’d face this together, that you’d be at my side.
CHAKOTAY: I still have to tell you what I believe. I’m no good to you if I don’t do that.
JANEWAY: I appreciate your insights but the time for debate is over. I’ve made my decision. Now, do I have your support?
CHAKOTAY: You’re the Captain. I’m the First Officer. I’ll follow your orders. That doesn’t change my belief that we’re making a fatal mistake.
JANEWAY: Then I guess I’m alone, after all. Dismissed.

Had there been any semblance of hope of a romance between Kathryn Janeway and Chakotay? Perhaps. If Chakotay’s Maquis ship had remained intact following the battle against the Kazon-Ogla in (1.02) “Caretaker II”. Both the Starfleet and the Maquis captains could have become allies in the Delta Quandrant. And they could have engaged in a romance as equals. They also could have begun a relationship if Voyager’s crew had never rescued them from New Earth in (2.25) “Resolutions”. To this day, I still wonder if Janeway had ever learned of Harry Kim’s role in that rescue. That would explain his inability to earn a promotion during those seven years in the Delta Quadrant. As for Janeway and Chakotay, there seemed to be a residual of flirtation between the two after their rescue from New Earth that lasted through most of Season Three. This flirtation eventually died after Chakotay’s romance with ex-Borg Riley Fraizer in (3.17) “Unity”.

In the end, Chakotay began a relationship with another former Borg drone, Voyager’s own Seven-of-Nine by late Season Seven. As for Janeway, she ended up in a relationship with Michael Sullivan, a holographic character created by Chief Helmsman Tom Paris’ for his Fair Haven program. She also had a relationship with Norvalian named Jaffen, after her memory was altered for work at a power plant on Quarren in the Season Seven episode, (7.16-7.17) “Workforce I & II”. When she regained her original memory she suggested that he join Voyager’s crew as an engineer. But she also pointed out that it would not be appropriate as they were romantically involved. Jaffen had decided to remain on Quarren.

Could Janeway and Chakotay have pursued a romance upon Voyager’s return to the Alpha Quadrant? I really do not how to answer this question. Chakotay had assumed command of Voyager, in the post-series “VOYAGER” novels and Janeway was promoted to vice-admiral. On one hand, there was a chance that he might not have found himself under her direct command. Then again . . . he probably did. But the only way I could see a romance between Janeway and Chakotay was if they had both resigned their Starfleet commissions, one of them resigned from Starfleet or if Chakotay found himself at the same rank as Janeway. Other than the above, I can never see a serious romance between the two . . . even though I believe they were emotionally suited for one another.

“THREE ACT TRAGEDY” (2010) Review

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“THREE ACT TRAGEDY” (2010) Review

When I was in my early teens, I had shifted my attention from Nancy Drew mysteries to those novels written by Agatha Christie. And I have not stopped since. I confess that this shift in reading material was the result of seeing the 1978 movie, “DEATH ON THE NILE”, for the first time. Properly hooked on Christie’s works, I focused my attention on her 1934 novel, “Murder in Three Acts”, also known as “Three Act Tragedy”.

I have seen two adaptations of Christie’s 1934 novel. The first was television adaptation in the mid 1980s, titled “MURDER IN THREE ACTS”, which starred Christie veteran Peter Ustinov as Hercule Poirot. Although I enjoyed it, I had hoped to see an adaptation of the novel in its original 1930s setting. I had to wait many years before the ITV series, “AGATHA CHRISTIE’S POIROT” granted my wish with an adaptation that not only retained the original setting, but also the original title, “THREE ACT TRAGEDY”.

The story begins on the coast of Cornwall, where Hercule Poirot attends a dinner party at the home of famed stage actor, Sir Charles Cartwright. The latter’s guests also include:

*Dr. Sir Bartholomew Strange – Sir Charles’ old childhood friend and a nerve specialist
*Lady Mary Lytton-Gore – a Cornish neighbor of Sir Charles, who is from an impoverished old family
*Hermione “Egg” Lytton-Gore – Lady Mary’s young daughter, with whom Sir Charles is in love
*Muriel Wills – a successful playwright also known as Anthony Astor
*Captain Freddie Dacres – a former Army officer and gentleman gambler
*Cynthia Dacres – Captain Dacres’ wife and a successful dressmaker
*Reverend Stephen Babbington – the local curate and Sir Charles’ Cornish neighbor
*Mrs. Babbington – Reverend Babbington’s wife near Sir Charles’s home in Cornwall.
*Oliver Manders – a young Cornish neighbor of Sir Charles’, who is interested in Egg
*Miss Milray – Sir Charles’ secretary

The guests gather in Sir Charles’ drawing-room for a round of pre-dinner cocktails. The party is marred when one of the guests, Reverend Babbington, collapses and dies after drinking his cocktail. An inquest rules his death as a result from natural causes. However, Sir Charles believes that Reverend Babbington may have been murdered, but Poirot is not convinced. About a month or so later, Poirot is vacationing in Monte Carlo, when he encounters Sir Charles. The latter reveals via a newspaper article that Dr. Strange had died from similar circumstances, while hosting a dinner party at his home in Yorkshire. Most of the guests who had attended Sir Charles’ party had also been there, with the exception of Mrs. Babbington and Miss Milray. Unlike Reverend Babbington, Sir Bartholomew’s death has been ruled as a homicide. Both Poirot and Sir Charles return to Britain to investigate the two deaths.

Although “Three Act Tragedy” was one of the first Christie novels I had read, it has never been a favorite of mine. I liked it, but I did not love it. Screenwriter Nick Dear made some changes to the story that I either found appropriate or did not bother me. Dear removed characters like society hound like Mr. Satterthwaite and stage actress Angela Sutcliffe (and one of Sir Charles’ former lovers). I did not miss them. One change really improved the story for me. One aspect of the novel that I found particularly frustrating was the minimized presence of Poirot. The lack of Poirot almost dragged the novel into a halt. Thankfully, Dear avoided this major flaw by allowing Poirot’s presence to be a lot more prominent. He achieved this change by making Poirot a friend of Sir Charles and removing the Mr. Satterthwaite. Dear also made one other major change in Christie’s story, but I will get to it later.

Visually, “THREE ACT TRAGEDY” is a gorgeous movie to watch. Peter Greenhalgh, who had passed away last year, provided the production with a colorful photography that I found particularly beautiful. My only complaint about Greenhalgh’s photography is that it struck me as a little fuzzy at times to indicate the story’s presence in the past. Another dazzling aspect of “THREE ACT TRAGEDY” were the production designs created by Jeff Tessler, who more orless served as the production designer for “AGATHA CHRISTIE’S POIROT” between 2005 and the series’ end in 2013. Judging by the admirable way he managed to re-create not only the movie’s 1930s setting, but also various locations, only tells me that he had been doing something write. I certainly had no complaints about the costumes designed by Sheena Napier. Like Tessler, she worked for “AGATHA CHRISTIE’S POIROT” for a long period of time . . . even longer than Tessler. Although I am no expert on early 20th century fashion, I thought Napier excellent job in creating costumes for the production’s setting and the different characters.

The performances featured in “THREE ACT TRAGEDY” were first-rate. I did not find anything exceptional about David Suchet’s portrayal of Hercule Poirot, but I thought he gave his usual more-than-competent performance. Martin Shaw gave a very solid performance as the charming, yet intelligent Sir Charles Cartwright, who was the first to sense something wrong about the first murder. I was also impressed by how the actor conveyed his character’s insecurity over a romance with a much younger woman. Kimberly Nixon seemed like a ball of fire, thanks to her portrayal of the vibrant and charming Egg Lytton-Gore, who found herself torn between two men. I also enjoyed Art Malik’s portrayal of the extroverted Dr. Sir Bartholomew Strange. Although there were times when his performance struck me as a touch too jovial. Ronan Vibert gave a rather insidious, yet oddly charming performance as “gentleman” gambler Captain Freddie Dacres. The one performance that really impressed me came Kate Ashfield who gave a very interesting performance as playwright Anthony Astor aka Miss Muriel Wills. Ashfield did an excellent job in recapturing Miss Wills’ secretive, yet uber observant personality. The production also featured solid performances from Anastasia Hille, Tom Wisdom, Anna Carteret, Suzanne Bertish, and Tony Maudsley.

I do have a complaint about “THREE ACT TRAGEDY”. I really wish that Nick Dear had not changed the murderer’s main motive for the killings. I have heard rumors that there are two different versions of the story’s resolution. My literary version of “THREE ACT TRAGEDY” questioned the murderer’s sanity, making the murders a lot more interesting to me. Unfortunately, Nick Dear used the other resolution, one that struck me as a lot more mundane and not very interesting. Too bad.

Aside from changing the killer’s motive for the murders, I rather enjoyed “THREE ACT TRAGEDY”. I am thankful that screenwriter Nick Dear had made Hercule Poirot’s presence in the story more prominent than it was in the novel. After all, he is the story’s main investigator. But despite excellent acting and solid direction by Ashley Pearce, I would never regard it as one of my favorite productions from “AGATHA CHRISTIE’S POIROT”. It was simply a pretty good adaptation of a solid Christie novel. There is nothing else for me to say.

“POLDARK” Series One (1975): Episodes Five to Eight

“POLDARK” SERIES ONE (1975): EPISODES FIVE TO EIGHT

Last winter, I began watching the BBC’s 1975-77 adaptation of Winston Graham’s literary series about the life of a British Army officer and American Revolutionary War veteran, following his return to his home in Cornwall. The first four episodes proved to be adaptation of the first novel in Graham’s series, 1945’s “Ross Poldark: A Novel of Cornwall, 1783-1787”. Episodes Five to Eight focused on the series’ second novel, 1946’s “Demelza: A Novel of Cornwall, 1788-1790”.

Episode Four ended with Ross Poldark, a Cornish landowner and mine owner, discovering that his young kitchen maid, the 17 year-old Demelza Carne, is pregnant with his child. Abandoning his plan to reunite with his former fiancée, Elizabeth Chynoweth Poldark, who had married his cousin Francis Polark; Ross decides to marry Demelza and take responsibility for their unborn child. Episode Five opened up six to seven months later with the birth of their daughter, Julia Poldark. Ross and Demelza decide to hold two christenings – one for his upper-crust family and neighbors and one for her working-class family. Unfortunately, fate upsets their plans when Demelza’s family crash the first christening. Episode Five also featured the introduction of new characters – a young doctor named Dwight Enys, who quickly befriends Ross; Keren Daniels, a young traveling actress who married a local miner named Mark Daniels; and George Warleggan, the scion of the Warleggan family, who became Ross’ archenemy.

The four episodes that formed the adaptation of “Demelza: A Novel of Cornwall” pretty much focused on the first two years of Ross’ marriage to Demelza. Their relationship seemed to thrive, despite the unromantic reasons why they got married in the first place. It was nice to see Ross and Demelza quickly settled into becoming an established couple. This was especially apparent in first christening for Ross and Demelza’s newborn, Julia, attended by Ross’ family and upper-class neighbors. However, this sequence also revealed that Ross and Demelza still had a long way to go, when Demelza’s religious and fanatical father and stepmother crashed the first christening. I enjoyed the sequence very much, even if it ended on an irritating note – namely Demelza and Mr. Carne’s shouting match that played merry hell on my ears. Although there were times when their relationship threatened to seem a bit too ideal, I have no other problems with it.

From a narrative point of view, the only hitch in Ross and Demelza’s relationship – so far – proved to be Demelza’s determination to help her cousin-in-law Verity Poldark’s renew the latter’s disastrous relationship with a Captain Andrew Blamey . . . behind Ross’ back. Following Blamey and Francis’ disastrous encounter in the second (or third) episode, Ross made it clear that he had no intention of helping Verity and Blamey’s romantic situation. Demelza, being young, romantic and naive; decided to intervene and help them continue their courtship. Her efforts were almost sidetracked when Francis and Elizabeth’s son, Geoffrey Charles, was stricken with Putrid Throat. Ross’ new friend, Dr. Enys, had recruited Verity to nurse Geoffrey Charles, believing that Elizabeth was incapable of serving as her son’s nurse. I must be honest . . . I found this plot line a bit contrived. One, it seemed like a theatrical way to inject tension into Verity’s romance with Captain Blamey and their plans to elope. And two, Elizabeth has never struck me as the type of woman incapable of nursing her own son, let alone anyone else. Nevertheless, Demelza’s efforts proved to be successful in the end when Verity and Captain Blamey finally eloped in Episode Seven.

Verity and Captain Blamey’s elopement also produced an ugly reaction from her brother Francis, who had been against their relationship from the beginning. That ugly reaction formed into an emotional rant against his sister that not only spoiled his wife Elizabeth and son Geoffrey Charles’ Christmas meal, but concluded with him succumbing to Putrid Throat. I will say this about Francis Poldark . . . his presence in Episodes Five to Eight proved to be a lot stronger than it was in the first four episodes. Viewers learned in the conclusion of Episode Six that he had betrayed the shareholder names of Ross’ new Carnmore Copper Company, an smelting organization formed to break the Warleggans’ monopoly on the mining industry in that part of Cornwall.

I am a little confused by why so many claim that Clive Francis had portrayed the character as less of a loser than Kyle Soller did in 2015. For example, in an article posted on the Ellen and Jim Have a Blog, Two, the writer made this description of Francis in Episode Eight of the 1975 series – “I’ve come to realize that Francis is made considerably more appealing by Wheeler’s script: Graham’s Francis is witty, but his open self-berating and guilt are from Wheeler; also his generosity of spirit now and again.”.

That was not the Francis Poldark I saw in Episode Eight. Come to think of it, that was NOT the Francis I saw between Episodes Three and Eight. Well . . . I do recall Francis engaging in self-pitying behavior. I also recall Francis being half-hearted in his attempt to reconcile with Elizabeth, his occasionally self-defensive attitude and anger at Verity for eloping. The only sign of wit I can recall was Francis’ clumsy and slightly insulting reaction at the Warleggan ball to news of prostitute Margaret’s recent wedding. And although I enjoyed Clive Francis’ performance, there were moments when he was guilty of some really histrionic acting – especially in Episode Eight, when his character went into a rant against Verity’s elopement during his family’s Christmas dinner. Either these fans and critics had failed to notice how much of a loser Francis Poldark was in the 1975 series, they remembered the actor’s performance in the episodes that followed Episode Eight, or they were blinded by nostalgia for the 1975 series. Clive Francis’ portrayal of the character struck me as much of a loser as Soller’s portrayal.

The renewal of Verity and Captain Blamey’s romance was not the only relationship shrouded in secrecy. As I had earlier pointed a traveling actress named Keren had abandoned her tawdry profession life to remain in the area and marry local miner, Mark Daniels, after meeting him at the second christening for the newborn Julia Poldark. I admire how the production went out of its way to portray Keren’s growing disenchantment with life as a miner’s wife and her marriage to Mark. In doing so, screenwriter Mark Wheeler allowed audiences to sympathize with Keren’s emotions and understand what led her to pursue an extramarital affair with the neighborhood’s new physician, the quiet and charming Dr. Dwight Enys. Although this sequence featured solid performances from Richard Morant and Martin Fisk as Dwight Enys and Mark Daniels; the one performance that really impressed me came from Sheila White, who portrayed the unfortunate Keren Daniels. However, I was not particular thrilled by how the affair ended. Mark Daniels deliberately murdered Keren, when he discovered the affair. What really riled me was that both Ross and Demelza went out of their way to help Mark evade justice. Their actions seemed to justify and approve of Mark’s violent action against his wife. The entire scenario smacked of another example of misogyny in this saga.

Episode Six of “POLDARK” not only introduced the character of George Warleggan, it also featured one of my favorite segments in the series, so far – the Warleggan ball. I thought Wheeler and Paul Annett did a solid job in this particular sequence. It was not perfect, but it proved to be an elegant affair, capped by a tense situation when Ross engaged in a gambling showdown with the Warleggans’ cousin Matthew Sanson, before exposing the latter as a cheat. One aspect of the ball sequence that really impressed me were the costumes and the music provided by Kenyon Emrys-Roberts, which helped maintained the sequence’s atmosphere. I also enjoyed both Robin Ellis and Milton Johns’ performances as Ross Poldark and Matthew Sanson in the card game sequence. Both actors did a very good job of injecting more tension in what was already a high-wired situation. By the way, both actors, along with Clive Francis, had appeared in the 1971 adaptation of “SENSE AND SENSIBILITY”.

There were other moments and sequences that I enjoyed. Aside from the Warleggan ball, I was very impressed by two other scenes. One featured Demelza’s attempt to play matchmaker for Verity and Captain Blamey in Truro. Well, the sequence began with Demelza playing matchmaker before all three became swept into a food riot that led to a violent brawl between some very hungry townsmen and local military troops trying to prevent the men from breaking into Matthew Sanson’s grain storehouse. I found the entire scene rather well shot by director Paul Annett. I was also impressed by Annett’s work in Episode Seven that featured Ross’ attempt to help Mark Daniels evade arrest for Keren’s murder. I may not approved of what happened, but I was impressed by Annett’s direction. But I feel that the director did his best work in Episode Eight, which featured the wreck of the Warleggans’ ship on Poldark land. It began on a high note when the Paynters and other locals began pillaging the ship’s cargo for much needed food, clothing and other materials. But it really got interesting when a riot broke out between the Poldark workers, miners from a nearby estate and the local troops who tried to stop them. Again, Annett really did a first-rate job in making the sequence very exciting, despite the fact that it was shot in the dark.

I noticed that Paul Wheeler, who wrote the transcripts for these four episodes and Episode Eleven, made several changes from Graham’s novel. To be honest, I can only recall one major change that did not bother me one whit. In Episode Seven, young Geoffrey Charles Poldark was stricken with Putrid’s Throat before Verity had the chance to elope with Captain Blamey. Once Verity and Elizabeth helped the boy recover, she finally took the opportunity to elope. Yes, I am aware that Verity had eloped before the Putrid fever outbreak, but I see that Wheeler was trying to create a little tension for her situation. When Francis was struck with Putrid’s Throat on Christmas, Demelza arrived at Trenwith to help Elizabeth nurse him. The two women engaged in a warm and honest conversation that showcased both Jill Townsend and Angharad Rees as talented actresses they were. However, this conversation never occurred in the novel. In fact, the literary Elizabeth Poldark also came down with Putrid’s Throat. But this change did not bother me, due to the excellent scene between Townsend and Rees.

Unfortunately, I had problems with some of Wheeler’s other changes. One change originated back in Episode Four with the “Demelza gets knocked up” storyline that led to hers and Ross’ shotgun wedding. I had assumed that the Trenwith Christmas party sequence, which followed Ross and Demelza’s wedding, would appear in Episode Five. After all, it was one of my favorite sequences from the 1945 novel. But the sequence never appeared – not in Episode Four or Episode Five. Instead, the latter opened with Julia Poldark’s birth and the christening. And I felt very disappointed.

Another change involved Ross’ former employee, Jim Carter. Back in Episode Three, Jim was tried and convicted for poaching on another landowner’s estate. In Episode Six, Ross received word that Jim was severely ill inside Bodmin Jail. With Dwight Enys’ help, the pair break the younger man out. But instead of dying during Dwight’s attempt to amputate an infected limb, Jim survived . . . until Episode Seven. This change allowed Ross to indulge in a speech on the inequities suffered by the poor and working-class in British. Personally, I had difficulty feeling sympathetic, considering that he had fired Jud and Prudie Paynter, earlier in the episode. Mind you, Jud had deserved to be fired for his drunken behavior and insults to Demelza. But Prudie did not. She tried to stop Jud and ended up fired by Ross (who found her guilty by matrimony to the perpetrator). And I ended up regarding Ross as nothing more than a first-rate hypocrite.

Because Jim Cater had survived Episode Six, Ross did not attend the Warleggan ball angry and in a drunken state. Instead, he remained a perfect and sober gentleman throughout the sequence. Which was a pity . . . at least for me. Perhaps Wheeler had decided that Prudie’s fate was sufficient enough to expose Ross’ less pleasant side of his personality, I did not. The card game between Ross and Sanson provided some tension during the ball sequence, thanks to the skillful performances of Robin Ellis, Milton Johns and Ralph Bates. But it was not enough for me. I thought a good deal of the sequence’s drama was deleted due to “our hero” not having an excuse to get drunk and surly. I suspect that Wheeler, along with producers Morris Barry and Anthony Coburn, wanted to – once again – maintain Ross’ heroic image.

The Warleggan ball also featured another change. At the end of Episode Six, George Warleggan revealed to his father, Nicholas, that he knew the names of Ross’ Carnmore Copper Company. The revelation left me feeling flabbergasted. In the novel, Francis had not exposed the shareholders’ names to George until after Verity and Blamey’s elopement. He had believed Ross was responsible for arranging it and betrayed the latter in retaliation. Since Francis had obviously betrayed Ross before Episode Six’s final scene in the 1975 series, I found myself wondering why he had betrayed his cousin’s company in the first place. Why did he do it? Someone had hinted that Francis felt jealous over Elizabeth’s feelings for Ross. Yet, the relationship between those two had been particularly frosty since the revelation of Demelza’s pregnancy back in Episode Four. If Francis had been experiencing jealousy, what happened before the end of Episode Six that led him to finally betray Ross and the Carnmore Copper Company shareholders? It could not have been for money. Although George Warleggan had paid back the money that his cousin had cheated from Francis and the other gamblers at the ball, he did not dismiss Francis’ debt to the Warleggan Bank. If only Wheeler had followed Graham’s novel and allowed Francis to betray Ross following Verity’s elopement. This would have made more sense. Instead, the screenwriter never really made clear the reason behind the betrayal. Rather sloppy, if you ask me.

Overall, Episodes Five to Eight of “POLDARK” struck me as an interesting and very entertaining set of episodes. This is not surprising, considering that they were basically an adaptation of “Demelza – A Novel of Cornwall, 1788-1790”. Director Paul Annett and Paul Wheeler did a very solid job in adapting Graham’s novel. Yes, I had some quibbles with Wheeler’s screenplay – especially his handling of the Francis Polark character. But overall, I believe the two men, along with the cast led by Robin Ellis and Angharad Rees did an first-rate job. On to Episode Nine and the adaptation of the next novel in Graham’s series.

Five Favorite Episodes of “MANHATTAN” Season One (2014)

Below is a list of my favorite episodes from Season One of the WGN’s “MANHATTAN”. Created by Sam Shaw, the series starred John Benjamin Hickey:

FIVE FAVORITE EPISODES OF “MANHATTAN” SEASON ONE (2014)

1. (1.12) “The Gun Model” – Dr. Reed Akley, lead scientist for the Thin Man bomb design of the Manhattan Project, becomes vulnerable when he tries to fix the design’s shortcomings.

2. (1.02) “The Prisoner’s Dilemma” – When Dr. Frank Winter, lead scientist for the Manhattan Project’s implosion design, attempts to save his team from being shut down, his action leads to serious consequences for team member Dr. Sid Liao.

3. (1.05) “A New Approach to Nuclear Cosmology” – When Dr. Glenn Babbit’s past comes back to haunt him, Frank clashes with newcomer Dr. Charlie Isaacs to protect his mentor and team member.

4. (1.07) “A New World” – While visiting an off-site reactor in Tennessee, Charlie and Dr. Helen Prins race to prevent a meltdown. Meanwhile, Frank and his wife, Dr. Liza Winter; help the family of their maid Paloma.

5. (1.11) “Tangier” – The death of a German-born spy for the Allies in Germany re-invigorates the hunt for a spy on The Hill. Charlie and his wife, Abby Isaacs, make a sacrifice when the plan with Frank to develop the implosion project is threatened.

 

Top Five Favorite Episodes of “BABYLON 5” (Season Four: “No Surrender, No Retreat”)

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Below is a list of my top five (5) favorite episodes from Season Four (1996-1997) of “BABYLON 5”. Created by J. Michael Straczynski, the series starred Bruce Boxleitner, Claudia Christian, Jerry Doyle and Mira Furlan:

TOP FIVE FAVORITE EPISODES OF “BABYLON 5” (SEASON FOUR: “NO SURRENDER, NO RETREAT”)

1- 4.15 No Surrender No Retreat

1. (4.15) “No Surrender, No Retreat” – Provoked by EarthForce President Clark’s latest actions, former Captain John J. Sheridan leads the White Star fleet against EarthForce to liberate Proxima 3.

2 - 4.17 The Face of the Enemy

2. (4.17) “The Face of the Enemy” – Thanks to his new employer, CEO William Edgars, former Security Chief Michael Garibaldi is faced with the decision of whether or not to betray Sheridan to EarthForce. Babylon 5’s Dr. Stephen Franklin and telepath Lyta Alexander arrive on Mars with a cargo of frozen telepaths for the final battles in the Earth Civil War.

3 - 4.05 The Long Night

3. (4.05) “The Long Night” – Sheridan make plans for the final strike against the Shadows and the Vorlons during the Shadow War. Meanwhile, Centauri Prime Ambassador Londo Mollari and his aide, Vir Cotto, make the final plans for assassinating Emperor Cartagia.

4 - 4.20 Endgame

4. (4.20) “Endgame” – Following his rescue by Garibaldi, Franklin and Lyta; Sheridan leads the final assault against President Clark’s forces with the help of his rescuers and the Mars Resistance.

5 - 4.14 Moments of Transition

5. (4.14) “Moments of Transition” – During the last days of the Minbari Civil War, the Warrior Caste demands the surrender of Ambassador Delenn and the Religious Caste. Meanwhille, Psi cop Alfred Bester makes an offer to an increasingly desperate Lyta and Sheridan receives horrible news from Ivanova.

HM - 4.06 Into the Fire

Honorable Mention: (4.06) “Into the Fire” – Sheridan stages a final showdown between the Vorlons and the Shadows at Coriana 6 toward the end of the Shadow War.

Becoming “the Dark One”

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I wrote this article during the summer of 2015 – a month or two before Season Five of “ONCE UPON A TIME” aired:

 

BECOMING “THE DARK ONE”

I have a confession to make. I was disappointed at how Emma Swan became the new “Dark One” in the ABC series, “ONCE UPON A TIME”. She did so by committing a noble act. And I found that . . . unsatisfying.

The Season One episode, (1.08) “Desperate Soul” had revealed that Rumpelstiltskin had originally become “the Dark One” when he was recruited by the title’s previous holder, Zoso, to find the dagger that would either allow the former to control him or acquire magical power by killing him. Zoso goaded Rumpelstiltskin into anger by questioning the paternity of latter’s son, Baelfire/Neal Cassidy, and the latter killed him. Rumpelstiltskin became the new “Dark One” and remained so for several centuries.

But nothing similar happened to Emma. Instead, she had become “the Dark One” in the series’ Season Four finale, (4.23) “Operation Mongoose, Part II”, by saving Regina Mills from an entity that would allow the latter to assume that title. She did so by allowing herself to become possessed by said entity. Before becoming possessed, Emma told Regina that she wanted prevent Regina’s moral progress from being disrupted. Well, I am glad that Regina was prevented from becoming “the Dark One”. But . . . pardon me for saying this, but Emma’s reasoning struck me as rather patronizing. And it seemed that Horowitz and Kitsis may have taken the whole “savior complex” a bit too far this time. At least to me.

Emma had been worried about the regression of Regina’s moral compass? She should have been worried about her own. Despite the Sorcerer Apprentice’s spell that had allegedly transferred Emma’s inner evil to the daughter of Maleficent, Lily Page, in a (4.17) “Best Laid Plans” flashback, I personally suspect that his spell went no where. After all, I had regarded Emma’s moral compass already questionable by the she first had arrived in Storybrooke back in Season One. She had spent most of her adolescent as a thief. Both she and former boyfriend, Neal, had stolen a yellow Volkswagen . . . which was never returned by Neal or Emma. When she told Regina that her car was stolen in (4.13) “Darkness on the Edge of Town”, she seemed to be lacking in any remorse over her crime. She had also committed a series of petty crimes – including destruction of private property, and breaking and entering – that should have landed her behind bars in Storybrooke or fired as the town’s sheriff back in Season One. Her rescue of son Henry Mills from the clutches of Cruella de Vil in (4.19) “Sympathy for the De Vil” nearly endangered his life. Yet . . . very few people have commented on this. While trapped in the Enchanted Forest’s past, her decision to save Maid Marian from being executed by Regina in (3.22) “There’s No Place Like Home”, literally ended in disaster. And if viewers really believed that the Apprentice had removed all signs of Emma’s inner evil before she was born; why did the Chernabog demon, which allegedly only sought out one with the heart with the greatest potential for evil in order to devour said heart, went after Emma, instead of the former Evil Queen in “Darkness on the Edge of Town”? What did that say about Emma’s true nature – spell or no spell?

Unfortunately, the series’ reluctance to openly acknowledge Emma’s unpleasant side has not done her character any credit. Sometimes, I get the feeling that Adam Horowitz and Edward Kitsis are afraid of a deep exploration how low Emma can sink on her own. Or when they are willing to do so, they are either very vague about it or sweep it under the rug. Why, I do not know. To this day, no one seems willing to criticize Emma for keeping a stolen vehicle. No one bothered to point out that her decision to act as Marian’s savior had led to disaster. No one. Not a single character on the show (aside from an angry Regina in early Season Four) or any of the series’ viewers. No one had questioned Emma’s method of killing Cruella de Vil in “Sympathy for the De Vil” . . . especially since she could have saved Henry without ending Cruella’s life and nearly endangering his. Well, I take that back. Horowitz and Kitsis claimed that Emma had “stepped over the line” by killing Cruella. The problem is that they never made the effort to clarify their comment – not to the fans or on the show. I have noticed that the only times Emma’s actions were really criticized happened during late Season Three when she was determined to upset the Charming family dynamics by returning to New York City with Henry.

Then . . . Emma has become “the Dark One”. Through an act of noble sacrifice. UGH! Kitsis and Horowitz spent most of Season Four building up to how unpleasant Emma could be . . . and ended it all in a nice bow tie with forgiveness toward her parents’ perfidy. And what did they do next? Allowed Emma to become “the Dark One” through an act of sacrifice. This whole story arc would have been more interesting if Emma’s Season Four descent into evil could have ended with her falling under “the Dark One” curse via her own emotions or acts. But noooooo! Once again, the possibility in revealing how low Emma can sink winds up being pushed aside or in this case, sugar coated.

When will “ONCE UPON A TIME” be willing to expose Emma’s true potential for evil without resorting to vague or evasive storytelling, or possession by magical entity? They managed to do so with her parents, Snow White and David, Prince Charming during late Season Four. The show finally had a big chance to explore Emma’s less than sterling qualities in early Season Five, thanks to her actions as “the Dark One”. However, by the second half of Season Five, the Charmings had blamed her actions on “the Dark One” curse and swept her acts under the table . . . as usual. Worse, many fans had decided to condemn Killian Jones aka Captain Hook’s actions after Emma had transformed him into a Dark One and ignore her own actions.

There is still a chance for Emma to become a more interesting character if Horowitz and Kitsis would allow this to eventually happen in Season Six. But I have a deep suspicion that the series will end before the two show runners would be willing to do so.