Stargate SG-1 S1 Ep8: Thor's Hammer

"The First One is dead."

 

-Teal'c believing the First One may in fact be the last one
(that's meant to be funny, come on this is Stargate SG-1)-

You would be hard-pressed to find a sci-fi concept that has grabbed a foothold or stranglehold in science fiction outside of Star Trek in the same manner in which Stargate SG-1 (1997-2007) managed. Yes, Stargate has essentially, quietly, outsmarted the competition and as such placed a solid second in the running (as North American properties go). It managed to out-star Star Trek and establish its own lasting legacy, mythology and thriving franchise. Despite the failure of Stargate Universe (SGU), like Star Trek, it too will one day return. Stargate may be what the MAC is to PC. That's no easy feat. Major credit goes to the creators behind this series taking a concept and idea born of Dean Devlin and Roland Emmerich's original 1994 film and turning it into so much more. There were moments this writer thought the Stargate franchise might never go on hiatus but alas things fell silent following SGU (2009-2011). For now.




Writer David Gerrold once annotated a host of franchise similarities in an article titled Stargate: Trek in the book Stepping Through The Stargate: Science, Archaeology And The Military.

Both shows have: a homebase, a hero that's macho but understands limitations, brilliant but hot babes with great cheekbones, a disregard for authority (at times), a core that works like family, freedom from court-martialing, homogeneous alien planets, human aliens, tame aliens, English-speaking aliens with stilted language and the adventure of the week concept. Gerrold spends much more detail on these things and the article, like the book, is a worthy investment.



Where the two shows decidedly differ is in humor, according to Gerrold, or a lack thereof when it comes to Star Trek. Also, Star Trek has fabulous technology. Stargate SG-1 not so much. In fact, the series primary directive seems to be seek out fabulous technology to make Stargate SG-1 more fabulous. As a result SG-1 does discover its fair share of nifty stuff.

But yes, Stargate SG-1 and its creative team really tapped into something. Perhaps it benefits structurally from some of the formula that worked so well for Star Trek, while making its core science fiction directives unique in their own right. You would hardly make the association. Who knew?



How many franchises, or science fiction arrivals boast the kind of competitive strength and power of the Star Trek franchise? Right. Only Stargate comes close and continues to offer the greatest potential for storytelling.

Both have wonderful mechanisms for discovery, the Enterprise and the Stargate, allowing for an endless bounty of possibilities.

Stargate SG-1, Season One, Episode 8, Thor's Hammer is your standard early era adventuring out of the stargate with the SG-1 team complete with sometimes overly melodramatic acting and dialogue, but things are getting there.



Most impressive about Thor's Hammer is the effort by its writers to push the mythology of the series. Utilizing Norse mythology, the Vikings and, of course, the Asgard, Stargate SG-1 pushes to introduce new allies and new aliens to its universe.

We may not see the Asgard for awhile, but this is where their story begins. It would continue with Stargate SG-1, S2, Ep6, Thor's Chariot and so on. The Asgard would also, of course, look less like Vikings and more like extras from Dark Skies (1996-1997) or The X-Files (1993-2002) proving this advanced, intelligent race had clearly perfected the art of public relations via image, appearance and presentation in what amounts essentially to extraterrestrial politics 101.



Marvel's Thor has no competition from the Thor represented here either. But speaking of comic book characters, SG-1 fictional Thor hologram comes off slightly cartoonish like a visit to a Disney World ride of course it's an illusion by The Asgard and they have done their very best here.

The story begins on Cimmeria, the name of Conan The Barbarian's homeland as penned by Texan Robert E. Howard. The minions of the sword and sorcery world appear to come to life through the appearance of the primitive peoples encountered on Cimmeria by the SG-1 team.

In Thor's Hammer, fittingly like that legendary weapon, the Asgard is introduced as a potential ally to the human race and equally an enemy to the conquering Goa'uld.



Also notable in fleshing out and exploring this franchise universe is the introduction of Unas, also referred to as the First Ones. Unas (the name of an Egyptian king 2323 BC) were alleged to be the first species to be utilized as a host by the Goa'uld even before the Jaffa. The large creature here, voiced by Darth Vader's James Earl Jones but performed by Vincent Hammond (do you think he knew Jones would be doing the voice?), seemed physically more impressive and imposing than those that would inhabit the later Stargate SG-1, S4, Ep8, The First Ones episode. Nevertheless, it stands to reason, like humans, these creatures would vary in shapes and size.

The Unas were believed to be a myth by the Jaffa, slaves of the Goa'uld, through childhood stories and even Teal'c's surprised reaction upon meeting the creature demonstrates this profound realization of its existence.



The prosthetic, costume design and creature effects' work are top notch particularly when so many science fiction series resort to the generally lazy use of CGI. Stargate Universe has also deferred to the use of CGI though to generally good effect. These are the kinds of creature effects that infuse a science fiction with a sense of realism and weight. Guillermo del Toro's creature work comes to mind in such instances.

The parasitic race that is the Goa'uld is discussed including Teal'c's own challenges with the Goa'uld symbiot within him. Symbiot's inevitably establish themselves as a humanoid's immune system. The same holds true for Teal'c.



One of the least impressive components of Thor's Hammer is the melodramatic exposition. The back story and details surrounding character Kendra are positively yawn worthy. It's just not good. Not to mention Daniel Jackson and Samantha Carter appear almost too gullible in their willingness to go along with everything they seem to know little about. Jackson comes off like a weenie pining away for Sha're, waxing poetic on theory and going along with Kendra's belief in the wind and other ramblings. As a result the two operate completely on feeling and hunches. This is unacceptable for Earth's military warriors at least in the case of Carter.



Other notable oddities include why on Cimmeria the SG-1 team would randomly come tumbling through the stargate. Huh? Someone thought that would be amusing. The humor on Stargate SG-1 works most of the time.

Also, in a rare instance, Stargate SG-1 seems to quickly violate established rules within the mythology. Kendra's Goa'uld is removed and she survives, but Teal'c cannot?

So Thor's Hammer is an Asgard device for extricating the Goa'uld parasite and freeing the host. It sits for all arrivals at the stargate. In the end a decision is made to destroy the device so that Teal'c may walk free of the labyrinthine prison-like maze as extrication of the symbiot might kill him. Daniel's romantic hopes and dreams for Sha're are dashed and the overly dramatic overtures ring just a little too much in Thor's Hammer.




What exactly the Unas was doing in the maze is another story. Perhaps it decided to live and dine there with no way out itself.

The episode is not without its virtues as there is moral subtlety. Jack O'Neill makes a stand for his friend. O'Neill hands Jackson Tealc's staff to demonstrate his loyalty to the team, especially as a newly acquired civilian outsider. Jackson is forced to make a difficult decision that ultimately impacts his lost love. A demonstration of loyalty and family is established here early in the series. The move toward this dynamic is presented quite firmly within the generally entertaining Thor's Hammer.



The lovely melodies of Joel Goldsmith are indeed a delight to the ear, and likely ramp up and elevate the drama even more since Goldsmith was that good.

Nor do I miss Teal'c's character affects and facial gestures which play to the extreme in the early going. Either Christopher Judge improves in the role, which he does, or this writer somehow softened to the sometimes cartoonish displays. Perhaps it's a bit of both.



Thor's Hammer is a generally straightforward exploration piece for the upstart series and one that isn't particularly interesting visually but still entertains. It leaves loads of room for improvement for the series and the series takes that and does indeed build upon it markedly.

In the end Daniel Jackson bids farewell and expresses an interest in friendship with the Asgard. They also bid Kendra a fond goodbye and good riddance.

Writer: Katharyn Powers. Director: Brad Turner.

I know, not feeling it right?

 

 And of course The World According To Jack O'Neill selection of the episode which also includes a good bit of Stargate mythology.

 

George, What Happened To Listen Without Prejudice Vol. II? Or What Was The Point Of Vol.I?

... Mr. Michael some of us are still waiting for that day, because Listen Without Prejudice Vol. I (1990) was arguably the finest recording of your esteemed career.

And your last, best proper recording was Older (1996) and to a lesser degree Patience (2004). Let's get that monkey off your back sir and all the best.

Ghost In The Shell: A Major Motoko Kusanaki Controversy (Part V)

Stop! Stop! Stop! I can't take it anymore. It's not your film! Get your own funding and make your own damn movie with Asian actors! Stop it already people!



Pilou Asbaek (Lucy, Game Of Thrones) was cast as Batou, Major Matoko Kusanagi's right hand man, for Dreamworks' Ghost In The Shell. He's European. He's not American. He's not Asian and gosh darn it he's white. Get over it!

Steve Wright at SciFiNow had this to say, "While it is a decent bit of casting---we're sure Asbaek will be great---it does however represent the second case of a white actor being cast in the film based on such a classic Japanese story." Racism will never die.

What these writers with agendas basically say is: Well, he's talented. He'll be great, but he's white. What!



Don't give me Ghost In The Shell is a Japanese film. Batou is a hulking, strapping white fellow with blonde/white hair in the Oshii animated classic.

Days later when it was reported Sam Riley (Maleficent) would be set to play The Laughing Man, a faceless cyber enemy, which never came to pass by the way, SciFiNow concluded its reporting with "yet to see any non-white actors cast. Hmm." Laughable alright!

Ultimately, it turned out Michael Pitt (Hannibal) was cast to play The Laughing Man. Unfortunately Pitt is white too! Damn these white people! The fact he is an excellent performer is actually meaningless when it comes to perceived racial requirements.



In a refreshing turn Otaku USA, via Deadline, via Crunchyroll, reported the casting news sans racial commentary. Imagine a world where journalists reported news without injecting their own racial biases? Now that would be quality journalism and a marked move forward rather than the backward of recent years.

Can we stop with racism? I don't think so. Too many people turn to it to power an argument. Can DreamWorks cast and make its film to be judged on its own merits? Media bias and betrayal of news reporting with an agenda has been a harmful development in the 21st Century.

Is Ghost In The Shell, given Asbaek and Johansson's involvement together previously in Lucy, going to be nothing more than Lucy reimagined? Maybe. Or will we get something much more (with white people)? Maybe.



The racial trends are troubling. And reassurance by the film's producer, Steven Paul, on July 3rd 2016, that the film is shooting for an "international" flavor are hardly enough. Steven don't you know International and Asian are hardly the same thing. Gosh already. So yes, cries of whitewashing continue. To offer an example: "And how exactly is this whole global approach suppose to change anything? The main character is still white, you're still whitewashing. This doesn't change anything. This movie is still going to be a clusterfuck and I am going to boycot it." Now that's a perfectly rational approach to a film you haven't seen. Oh and by the way, Boycott is with two "t"s.

And in case you didn't know, and you may not, because it was not widely reported or whined about, but Tokyo born "Beat" Takeshi Kitano (Outrage) was cast as Daisuke Aramaki. He's Asian! Where is the outrage there? That's right there wasn't any. But where is the celebration? Truthfully it doesn't matter. And he'll be great. He'll be Asian and we don't need to hear about race on these films anymore. It's not about the right race, but the right casting. It's just just another disturbing trend.



Meanwhile, Mamoru Oshii himself has visited the film set of Ghost In The Shell either with a full endorsement, approval or to ensure monies are allocated to the correct accounts. Composer Kenji Kawai was in tow as well. Excitement is certainly building with the Japanese and others despite cries of whitewashing. Apparently Oshii and Kawai didn't get the memo or aren't the least bit offended themselves.

But I mean it, you don't like something, go make your own movie. I see fan films all the time and they are excellent.



Ishiro Honda made Gojira in 1954. Honda is dead. Adaptations on that character and Honda's initial ideas have flourished over decades by different directors and different countries. Some good. Some bad. You always have the originals. You always have some of the greats alongside some of the stinkers, but Godzilla endures.

Would it be too much to ask for the allowance of artistic interpretations on a property like Ghost In The Shell? Would that original property not survive and endure anyway? Of course it could and it will.