So finally the still-unnamed planet has more people on it, than just the Robinsons and their dubious guests.
The other survivors of the various Jupiter spaceships crashing are of course banding together to maximize their survivability, and the people leader that no-one voted for is giving the various groups their assignments. The main objective right now is to build a light tower and signal the Resolute, still out there in space and still looking for them all.
Mama Bear, also known as Maureen Robinson, has some really awful suspicions about the unnamed planet and consequently just has to go off on her own to get some high-altitude weather and planet-wide readings. The problem is, if you’re trying to do all this stuff alone, no-one’s there to help you when/if the unexpected happens, like a giant gust of wind that decides to steal your high-altitude weather balloon and latch it onto your leg on its way out, whee!
Smith is smarming her way around and through the camps, mostly focusing on the Robinsons and Will in particular, because as she’s learned, Will controls the Robot and Smith has decided she needs the Robot too. Given what previous episodes revealed about Lady Smith’s history, it makes sense that she wouldn’t want the Resolute to have any part of rescuing the crashed folks on the planet, but the lengths to which she goes to stop it are pretty cruel.
In fact, Smith goes far beyond attempting to undermine things by coercing the Robinsons into various actions by talking to them, to deliberate sabotage of the entire survivor encampment. The light tower is pretty, attracts curious moths, can be seen for miles in any direction and should be clearly visible to the Resolute out there in space. Matter of fact, the light tower attracts a rather large dinosaur-like predator, and since Smith disabled the perimeter fence, well it can feel free to just rampage through the camp.
Like so many other things Lady Smith does, the subtle multiple calculations she made in disabling the perimeter fence has more than one purpose, made abundantly clear when Smith goes to convince Will to call the Robot back from his cave and save them all. Convincing a small person to abandon their silly notions of all life being sacred is much easier when the lives of those he cares about is at stake, and a bright red multi-armed weapon of massive destruction is right there, willing and able to obey orders. There is definitely no getting rid of the Robot now.
Which might actually be a foregone conclusion, because what Maureen discovered up there in the atmosphere is going to kill all the survivors, sooner rather than later. And as she remembers being willing to do literally anything to make sure she and all her children, even the ones who can’t pass the tests, would be going on this trip to Alpha Centauri, the irony is not lost on her. Because the Robinsons and everyone else need to get off the unnamed planet as soon as fracking possible!
Get ‘Lost in Space’ with the Robinsons and their cohorts on Netflix now!
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‘Mufasa: The Lion King’ Will Leave You Breathless
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
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Is ‘Kraven the Hunter’ a Total Letdown?
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
Movie
A Brief Review and History of A Year Without a Santa Claus
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.