Reviving a franchise steeped in childhood nostalgia, such as the 1980s cartoon series “He-Man and the Masters of the Universe,” requires a delicate balance between taking the fans’ love of the characters and setting seriously while not being so rooted in the past that the new product feels like a rehash.
Showrunner Kevin Smith and his crew walk that line well with “Masters of the Universe: Revelations,” a five-episode animated series streaming on Netflix, taking the best of the original characters’ spirit, while leaving out the irritating and repeated scenes of people laughing with their hands on their hips and canned morality lessons at the end of the story.
This more violent, better animated version of He-Man is clearly targeted at the adults who watch the original series and played with the toys it supported, though younger fans could hook on if they are able to hold attention on a video that lasts a whole 25 minutes.
The new stuff is the good stuff with “Revelations” asking questions the audience never thought to answer —such as how would it feel for Teela to find out her mother, father, the court jester, and a talking tiger knew He-Man’s true identity — while also sending the characters on a quest that honors the lore of both comics and the original series.
Daniel P. Finney writes columns for ParagraphStacker.com, a free, reader-supported website. Please consider donating to help me cover personal expenses as I continue writing while I pursue my master’s degree and teacher certification. Post: 1217 24th St., Apt. 36, Des Moines, 50311. Zelle: email@example.com. Venmo: @newsmanone. PayPal: paypal.me/paragraphstacker.
From the desk of friendly neighborhood Paragraph Stacker Daniel P. Finney of Des Moines, Iowa.
My brief career as a TV journalist ended shortly before 5 p.m. Thursday, March 4, 2021.
Failure is a hard thing to admit, but I failed and failed badly in the role of assignment editor at Local 5 Iowa. Maybe that’s not the sort of thing a freshly unemployed person is supposed to admit, but it’s the truth.
The news director hired me because when he worked at a different station, he’d had a good experience with an old newspaper guy in an assignment editor’s role. I hoped to repeat that model for him at WOI-DT, but I fell flat the first week and never caught up.
They tried to teach me. I tried to learn. But in the end, I couldn’t keep up.
So many feeds of information swirled around through so many different mediums of communication that I always felt in the wrong place at the wrong time and constantly in fear that I had forgotten something.
I think the biggest problem was this was primarily a scheduling job. I thought I could handle that. I was wrong.
The work was more than keeping the book straight on where and when reporters and photographers are supposed to be. The job included finding sources and booking interview times, generating ideas at a frenetic pace and helping people decide how and when their stories should air.
I sometimes updated the website, tried to lead meetings – which was a fumbling mess – and make sense of the screeches from a dozen or more police scanners while I monitored social media feeds and text messages.
I had no idea what I was doing, and I was doing it all – or more accurately failing to do it all – at a dead sprint.
My bosses tried their best with weekly coaching sessions, but we all grew frustrated. They needed more out of me and deep down I knew I didn’t have what they wanted.
In the end, the problem was I’m a writer, and assignment editor at a TV station isn’t a writer’s job. The skill that I spent nearly three decades developing from high school sports stories to a city columnist just didn’t translate the way the station needed.
I felt like a relic of a different time, a Neanderthal banging at the keyboard with jawbone of an ass.
I leave with no bitterness. I met some excellent journalists. I made one or two friends. I learned a lot.
The biggest thing I learned was what a dummy I had been about TV news my whole life.
The creation of a single TV story takes a tremendous amount of technical acumen and rigor. WOI produced six news shows a day filled with stories created by a small, hard-working staff.
I used to describe TV reporters as “the hairspray mafia” when I worked for the local newspaper. Only my ignorance surpassed my arrogance.
I meant it as a friendly jibe against the competition; but it was more than that. I worked for a newspaper and felt superior. I thought print news possessed a more direct and intellectual connection to its audience.
Maybe that was true once, about 25 years or more before I was born. But TV ruled the house all 45 years I’ve lived. I know from my own mother’s talk about various anchors that she feels closer to local TV journalists than any writer in the newspaper, hopefully excluding me.
TV and print both face the same fade in audience today, as people choose news and information delivered through social media and darker recesses of the internet.
The most important thing about internet news seems to be that it’s free. The second most important thing is that it tells you want you already believe even if it ignores the truth.
Nobody likes a job to end, not really. Jobs mean regular pay, benefits and a certain kind of security.
But this job taught me not only to respect the trades I don’t know but that sometimes even money and insurance are not enough to make a job worth it.
My primary feeling throughout my more than three months at WOI was anxiety. I worried I was failing, that I was letting people down and that I was making a fool out of myself.
To what degree each of those things was true versus the degree to which my own never-ending struggle with mental health exacerbated probably is impossible to measure.
What I know is I had a job at a TV station. I was really bad at it. And when it ended, it felt as if a steel girder had been lifted off my chest.
I don’t know what happens next. I guess that’s what it’s like when your show is canceled.
I’m still in graduate school at Drake University. I plan to earn my teaching certificate and be licensed to teach middle school and high school. I might even teach college when I earn that master’s degree.
If any angel investors want to put me on “scholarship,” I’m not too proud to accept the help. (Seriously, your gifts and donations help not only with this website, but with a struggling newsman trying to make his way in the universe.)
I’ll be blogging more. I may delve into more controversial topics.
This adventure has ended.
A new one awaits.
ParagraphStacker.com is free, reader-supported media. Please consider donating to help me cover personal expenses as I continue writing while I pursue my master’s degree and teacher certification. I’m freshly unemployed and have a big tax bill to pay. All donations are greatly appreciated and needed. Visit paypal.me/paragraphstacker.
From the mind of friendly neighborhood paragraph stacker Daniel P. Finney of Des Moines, Iowa.
Let’s be honest: The first two episodes of “WandaVision” make no damn sense.
The new Marvel TV series on Disney+ begins in black and white like an old episode of “Bewitched” with our heroes Wanda (Elizabeth Olsen) and Vision (Paul Bettany) apparently living a zany early 1960s sitcom lifestyle — complete with laugh track.
Vision supposedly died in “Avengers: Infinity War.” He died twice, actually. Wanda killed him once to save the universe. Thanos hit reset on the game and killed Vision to take the stone from his skull and snap half the universe out of existence.
The next time we saw Wanda, she used her powers of deus ex machina to put the smackdown on Thanos.
Thanos rolls his 1D20 and has his spaceship blow stuff up for a few minutes. After that, Wanda shares sniffles by a pond with Hawkeye over the dead, which included Vision.
Vision is back looking like a red-faced baboon in a green hoodie. Wanda is performing witchy tricks that would make Elizabeth Montgomery jealous in an effort to hide their collective weirdness from the nosy neighbor, oppressive boss and a collection of TV tropes so old you’d think you fell asleep during a MeTV marathon.
How did we get here? TBD.
Maybe there’s a clue in the title: “WandaVision,” like television.
There seems to be people trying to reach Wanda from the outside world. It blew up a radio at the neighborhood bully’s house.
The whole thing could be in Wanda’s head. That’s happened in the comics.
If it feels as if I’m not making things any clearer, that’s exactly right.
Wanda, known as the Scarlet Witch in comics, and Vision have some of the most complicated backstories in Marvel Comics history.
I tried to explain their comics’ origins to a non-comics friend and less than halfway through she said, “I’m to the point where all I can hear is angry bees buzzing in my head.”
The movie universe summed up Wanda and her dead brother, Pietro, as “He’s fast and she’s weird.”
Her powers are making red gooey things and doing whatever the writer needs in that scene.
The writer of “WandaVision” needed her to contour whole objects out of the air, teleport people into magic boxes and make lobster thermidor with copious amounts of levitation.
Vision can alter his density to make himself intangible or diamond-hard. He can shoot lasers out of the gem in his head. And he’s an android.
He’s technically a synthetic human, but let’s not get those Isaac Asimov “I, Robot” people into this.
The point is, Wanda and Vision have never made sense. Not in comics. Not in film. Not in this streaming show.
So just go with it. Right now, they’re doing schtick and it’s at least as amusing as an actual episode of “Bewitched.”
And Elizabeth Montgomery never looked as good as Elizabeth Olsen in a magician’s assistant costume.
Yeah, I know. I’m not supposed to say that.
Don’t tell me how to enjoy things.
And don’t try to figure out “WandaVision.”
Just watch. See what happens. But don’t expect it to ever make sense.
ParagraphStacker.com is free, reader-supported media. Please consider donating to help me cover personal expenses as I continue writing while I pursue my master’s degree and teacher certification. The new semester starts soon. All donations are greatly appreciated. Visit paypal.me/paragraphstacker.