AROOGA-THUMP

I realise this is not the right time of year for posting this, but I came across this yesterday and the notion of Javier Grillo-Marxuach bringing The Middleman and the Doctor together was just too delicious to keep to myself just because it’s not Xmas again just yet:

[…] By the time The Middleman fired his grappling gun and was halfway through his arc over the ball of light and dread where the salt-and-pepper-shaker dudes had once stood – hoping to make the final, desperate act of his life the simultaneous rescue of his sidekick and dropping of a Hydrogen Atomizing, Incendiary Load, Multi-Armament-Radiating Ypsillon (so named for it’s Y-shaped form-factor) into the opening maw of the Cinderellica, the fate of the world had already been signed, sealed and delivered.

The Middleman’s final desperate act of self-sacrifice was to have been in vain.

Had he not heard – over the clamor of exploding cyborgs and henchmen – an aural phenomenon he had many years ago vowed to never forget… an echoing, pulsating mechanical howl best described as the animal husbanding of the arooga-horn from a Ford Model-A and a 1930’s Parisian hotel elevator inside one of the vacuum tubes of the BBC Radiophonic Workshop circa 1963.

AROOGA-THUMP…AROOGA-THUMP…AROOGA-THUMP!

By the time The Middleman’s swashbuckling trajectory had taken him to the spot where Wendy Watson hanged unconscious – but before he was able to flip the switch arming the Hydrogen Atomizing, Incendiary Load, Multi-Armament-Radiating Ypsillon – both he and his sidekick were in a different place altogether.

Inside the cobalt blue police call box which had inexplicably materialized over the late Kanimang Kang’s Coliseum-like lair and briefly hovered in space before vanishing with a final echoing AROOGA-THUMP!

Say what you will about the Doctor, s/he knows how to make an entrance.

[Via Grillo-Marxuach Design Bureau, via somewhere else I forgot to keep a note of at the time]

Of Interest

It’d be marvellous if writers about TV could spend a few years never mentioning Lost at the drop of a hat,1 but otherwise Person Of Interest Was Anti-Prestige TV And Too Smart For Primetime is a pretty great tribute to a genuinely great show that never got the credit it deserved.

Reese and Shaw are brute-force objects, fighting for what they believe is right. Root and Finch argue over letting the machine free, with Finch understanding that his Machine is just another interpretation of Samaritan, with Root’s belief that Samaritan is simply a badly taught God. Fusco, even when he knows the full scale of the stakes, acts as moral anchor. Faced with two giant computers fighting a global war, he mostly says things like “What the fuck?” and “All right, I’ll shoot at the bad men, but there better be a hot dog in it for me.”

And that’s the beautiful thing: You view the whole struggle from varied but understandable perspectives. That’s just sharp TV writing. You see the plot for what it is, you know who dies or survives, you know why things happen and who everyone is, and you are never thrown into the quagmire of Lost. I’ve deliberately left out the fact that J.J. Abrams was an executive producer of Person of Interest as it feels so distinctly not like the J.J. Abrams of Lost. It certainly feels more like Alias, with an ensemble cast, a shadowy enemy, a truly shitty bad guy (Arvin Sloane is a top-10 television shithead) – but it corrects many of that show’s mistakes. Person of Interest rarely leads you astray, avoids red herrings and rewards you for watching flashbacks. It’s a show with little filler, few eye-rolling twists, and yet deals with some absolutely batshit science-fiction elements.

It’s a crying shame that Peter Watts never got to release his tie-in novel for the show.

[Via Extenuating Circumstances]