[ed. There seems to be quite a stark divide among viewers of Netflix's recent tv special 3-Body Problem (and also those who've read all three volumes of the book vs. those who haven't) - FWIW: I *have* read all three and enjoyed No. 2 The Dark Forest the best. Here's my general take on the tv show: yes, they took some massive liberties with the story (like splitting one character into multiple versions, ie. the "Oxford Five". The obvious DEI involvement in casting. The unexplained shadowy government agency/entity overseeing and controlling events. The over-the-top destruction of a container ship with microscopic, indestructable nanowires, etc. You can read more below. But! I also found the show to be pretty faithful to the general theme of the books, and mostly coherent (I imagine) to anyone who hadn't read them and absorbed all the various complexities (and there are many, many complexities). In other words, I found the tv show enjoyable despite it's numerous liberties and inconsistencies. So anyway, here are a couple reviews - for and against. If you haven't seen the show and are planning to, just move along and come back later if you're still interested. This'll all make more sense then.]
For:
Against:
Someone please explain to me how its RottenTomatoes approval stats (77% with the pro critics, 81% audience) are possible, because holy hot damn, is it wildly incompetent at storytelling.
First, my background: I went to technical film school, and, between the ages of 19 to 26 or so, I made it a personal mission to see *every* movie that came out in every theater in my region (first Phoenix, then L.A.). I made an exception for The Barney Movie (although I never quite felt right about deliberately breaking that streak), and certain special-interest releases (Christian propaganda, etc). After seeing a movie, I'd read professional reviewers, like Ebert, for further education. I usually wrote my own reviews on Livejournal.
In other words, while I am not a professional critic, I certainly had the viewing-and-reflection habits of a professional critic, and thus I tend to have broadly similar standards and tastes of a professional, not-ideologically-captured critic.
Which is why I'm so bewildered that *any* professional critic could give 3 Body Problem a positive review. The choice to relocate the story from China to England had dire consequences on the believablity of a story which requires draconian government control, a China-sized government infrastructure and resources, and a culture of isolationism.
The show attempts to recreate the CCP's draconian power by imagining an unnamed British shadow agency to whom all other agencies and government officials unquestioningly defer. They are fully empowered to do CCP-esque things like send a heavily armed strike force to arrest everyone at a peaceful semi-religious gathering of 100+ people with no probable cause, to commandeer military personnel and equipment at whim, to detain people indefinitely with no probable cause, to access and monitor people's home security cameras, internet and phone communication, to straightforwardly murder 1000+ people *including children* living on a retrofitted container ship in pursuit of a MacGuffin, and do it *IN THE PANAMA CANAL*, in broad daylight, like *TEN MINUTES AFTER A CRUISE SHIP GOES BY* and surely like *TEN MINUTES BEFORE THE NEXT SHIP IS SCHEDULED TO COME ALONG,* without said large-scale murder and extremely visible carnage being noticed and investigated by the Panamanian, American, or any other government.
The issue of scale and isolationism is likewise just as absurd; I routinely laughed out loud at the scenes of a dozen British scientists formulating an elaborate nuclear powered space probe plan to gain intelligence about a coming alien invasion without any seeming awareness of, or intention to, consult with NASA, Elon Musk, the European Space Agency, the Chinese National Space Administration, etc about said plan. There is even a speech about how these people in the room are so very critical to future, and the show certainly seems to want the audience to believe that the future of the species depends on these people in this room, particularly our protagonist, and and no one else executing their plan.
Not until said plan was fully formed, anyway, at which point Shadow Government Guy picks up the phone and tells an American, "Hey, we have a plan and you're going to go along with it, we gotta borrow Cape Canaveral and your nuclear bombs."
There are almost as many other problems with the script as there are scenes across all the episodes. In one scene, a human who's been having phone calls with the aliens (or the aliens' AI) for decades reads the story of Little Red Riding Hood, at which point it the alien starts asking questions like, "why did Little Red Riding Hood want to get eaten by the wolf" and eventually asks enough questions that the human realizes that the aliens *don't understand the basic concept of deception,* lying, fiction, and presumably metaphor, exaggeration, figures of speech, etc. due to their form of instant psychic communication.
First, how did this not come up sooner after decades of chats? This is the very first time the human is reading the alien a work of fiction which prompts the alien to ask a couple of illuminating questions?
Second, bullshit, because the aliens (or their AI, which would of course be a reflection of their knowledge) have built an advanced video game for humans, which would require the aliens/alien AI to be capable of imagining and envisioning things that aren't real and didn't happen, and thus capable of fiction.
Third, bullshit again, because in the very first communication with the aliens, an alien tells a human, "don't try to reach out to us again, our civilization sucks," and when the human does it anyway, the next aliens are like, "hey, we're great and come in peace."
Fourth, bullshit again-again, the aliens/AI later take control of every screen on the planet to tell all humans, "YOU ARE BUGS," which stands in stark contrast to Shadow Government Guy definitively stating in one of the strategy meetings *after* this event, "we know the aliens can't lie" as an expository rule of this particular universe.
Then there are the hundreds of little details which are just wrong, like a 40 million dollar estate which includes a business and homes being liquidated and distributed into the bank account of one of its heirs within two days; the existence of a somewhat dilapidated bungalow perched in perfect isolation over a deserted beach by what sure looks like the White Cliffs of Dover, an inability to track a helicopter and a general lack of awareness about a retrofitted container ship with a 150ft satellite dish perched on its deck (is that even seaworthy for a transatlantic crossing?), an extremely high-value target in tremendous danger of assassination being escorted into the UN building through the front door and then getting shot in a bullet-proof jacket by a sniper who doesn't bother to reload and try again, despite said character being very obviously unharmed and with an unprotected head, and on and on and on.
And then there are all the other more ephemeral problems of the series; disastrously awful casting choices, laughably inept visual effects sequences, flat cinematography, a score which is somehow intrusive *and* boring at the same time, and on and on and on.
With the exception of perhaps one or two well-acted scenes and one well-written scene, the entire show is just...utter...clownshoes.
So I ask...*how?* How can anybody watch this show and not notice these glaring, unforgivable errors?
Errors which purportedly cost $20 million dollars an episode to produce?
And no, critics are not supposed to "shut their brains off and just enjoy" a given work of art; their whole job is to analyze it for people who don't want to invest any time in a work which might disappoint them.
"It doesn't have to be good" is never an excuse.
First, my background: I went to technical film school, and, between the ages of 19 to 26 or so, I made it a personal mission to see *every* movie that came out in every theater in my region (first Phoenix, then L.A.). I made an exception for The Barney Movie (although I never quite felt right about deliberately breaking that streak), and certain special-interest releases (Christian propaganda, etc). After seeing a movie, I'd read professional reviewers, like Ebert, for further education. I usually wrote my own reviews on Livejournal.
In other words, while I am not a professional critic, I certainly had the viewing-and-reflection habits of a professional critic, and thus I tend to have broadly similar standards and tastes of a professional, not-ideologically-captured critic.
Which is why I'm so bewildered that *any* professional critic could give 3 Body Problem a positive review. The choice to relocate the story from China to England had dire consequences on the believablity of a story which requires draconian government control, a China-sized government infrastructure and resources, and a culture of isolationism.
The show attempts to recreate the CCP's draconian power by imagining an unnamed British shadow agency to whom all other agencies and government officials unquestioningly defer. They are fully empowered to do CCP-esque things like send a heavily armed strike force to arrest everyone at a peaceful semi-religious gathering of 100+ people with no probable cause, to commandeer military personnel and equipment at whim, to detain people indefinitely with no probable cause, to access and monitor people's home security cameras, internet and phone communication, to straightforwardly murder 1000+ people *including children* living on a retrofitted container ship in pursuit of a MacGuffin, and do it *IN THE PANAMA CANAL*, in broad daylight, like *TEN MINUTES AFTER A CRUISE SHIP GOES BY* and surely like *TEN MINUTES BEFORE THE NEXT SHIP IS SCHEDULED TO COME ALONG,* without said large-scale murder and extremely visible carnage being noticed and investigated by the Panamanian, American, or any other government.
The issue of scale and isolationism is likewise just as absurd; I routinely laughed out loud at the scenes of a dozen British scientists formulating an elaborate nuclear powered space probe plan to gain intelligence about a coming alien invasion without any seeming awareness of, or intention to, consult with NASA, Elon Musk, the European Space Agency, the Chinese National Space Administration, etc about said plan. There is even a speech about how these people in the room are so very critical to future, and the show certainly seems to want the audience to believe that the future of the species depends on these people in this room, particularly our protagonist, and and no one else executing their plan.
Not until said plan was fully formed, anyway, at which point Shadow Government Guy picks up the phone and tells an American, "Hey, we have a plan and you're going to go along with it, we gotta borrow Cape Canaveral and your nuclear bombs."
There are almost as many other problems with the script as there are scenes across all the episodes. In one scene, a human who's been having phone calls with the aliens (or the aliens' AI) for decades reads the story of Little Red Riding Hood, at which point it the alien starts asking questions like, "why did Little Red Riding Hood want to get eaten by the wolf" and eventually asks enough questions that the human realizes that the aliens *don't understand the basic concept of deception,* lying, fiction, and presumably metaphor, exaggeration, figures of speech, etc. due to their form of instant psychic communication.
First, how did this not come up sooner after decades of chats? This is the very first time the human is reading the alien a work of fiction which prompts the alien to ask a couple of illuminating questions?
Second, bullshit, because the aliens (or their AI, which would of course be a reflection of their knowledge) have built an advanced video game for humans, which would require the aliens/alien AI to be capable of imagining and envisioning things that aren't real and didn't happen, and thus capable of fiction.
Third, bullshit again, because in the very first communication with the aliens, an alien tells a human, "don't try to reach out to us again, our civilization sucks," and when the human does it anyway, the next aliens are like, "hey, we're great and come in peace."
Fourth, bullshit again-again, the aliens/AI later take control of every screen on the planet to tell all humans, "YOU ARE BUGS," which stands in stark contrast to Shadow Government Guy definitively stating in one of the strategy meetings *after* this event, "we know the aliens can't lie" as an expository rule of this particular universe.
Then there are the hundreds of little details which are just wrong, like a 40 million dollar estate which includes a business and homes being liquidated and distributed into the bank account of one of its heirs within two days; the existence of a somewhat dilapidated bungalow perched in perfect isolation over a deserted beach by what sure looks like the White Cliffs of Dover, an inability to track a helicopter and a general lack of awareness about a retrofitted container ship with a 150ft satellite dish perched on its deck (is that even seaworthy for a transatlantic crossing?), an extremely high-value target in tremendous danger of assassination being escorted into the UN building through the front door and then getting shot in a bullet-proof jacket by a sniper who doesn't bother to reload and try again, despite said character being very obviously unharmed and with an unprotected head, and on and on and on.
And then there are all the other more ephemeral problems of the series; disastrously awful casting choices, laughably inept visual effects sequences, flat cinematography, a score which is somehow intrusive *and* boring at the same time, and on and on and on.
With the exception of perhaps one or two well-acted scenes and one well-written scene, the entire show is just...utter...clownshoes.
So I ask...*how?* How can anybody watch this show and not notice these glaring, unforgivable errors?
Errors which purportedly cost $20 million dollars an episode to produce?
And no, critics are not supposed to "shut their brains off and just enjoy" a given work of art; their whole job is to analyze it for people who don't want to invest any time in a work which might disappoint them.
"It doesn't have to be good" is never an excuse.
via: Christina the StoryGirl (ACX)
