Xena Media Review #19 (12/08/96) - Part 4 of 4





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   7. THE TITANS


   The mythology notes discussed the background of the


Titans.  He also mentioned that Hyperion eventually


married Thea.


   The commentary praised the special effects of the


Titans and was surprised over how Gabrielle acted in


the episode.


   8. PROMETHEUS


   The mythology notes covered Prometheus. 


   The commentary covered the cleverness of using a


Hercules cross-over episode to include Xena in the myth


of Hercules freeing Prometheus. The reviewer found the


episode had a HTLJ feel although it had some of the


characteristic violence found usually only in XWP. He


also hated the bird that captured Xena. Furthermore,


the reviewer stated that after 7 episodes, a non-wimpy


("If not for Xena to come to the rescue, these guys


would be useful only as flower arrangers") good guy,


a.k.a. Hercules, appeared in the series. But then he


quickly changed his mind to except Marcus from THE PATH


NOT TAKEN (#05), the town leader in THE RECKONING


(#06), and Talus in DEATH IN CHAINS (#09).


   I disagree. I think Talus fit into the cute


sensitive pubescent male that Gabrielle attracted like


flies in the first season. The town leader was not a


potential romantic figure for either Xena or Gabrielle


(he was like the blind mystic in DREAMWORKER). However,


I do agree that Marcus did represent a male who was not


wimpy or evil. 


   9. DEATH IN CHAINS


   The mythology notes told us that Sisyphus was the


King of Corinth and the brother of Salmoneus. This


episode was based upon an actual myth, "when Death (a


male) comes for Sisyphus, the king chains him up. 


Nobody dies until Ares comes to Death's assistance."


   The reviewer also noted that Death was the twin


brother of Hypnos, the god of sleep NOT Hades sister.


   In the commentary the writer picked up on the


Kevorkian "MICHIGAN" connection. I am working on


unraveling the GREAT MICHIGAN conspiracy which XWP


seems to be a critical part of.


   After criticizing some perceived plot-elements, the


writer obsessed on Kate Hodge, who played Death.


   10. HOOVES & HARLOTS


   In the synopsis, "right of caste" was misspelled.


   In the mythology notes, the writer repeated the


"myth" that Amazon meant breastless woman and that the


Amazons cut off their right breast so they could use


the bow better. That is ridiculous. Just ask any female


archer. 


   The reviewer also stated, "Consistent with Xena (and


Hercules, for that matter) standards, this episode


features Amazons as buxom as are ever likely to be


portrayed. Centaurs, of course, are half-man, half-


horse creatures that on the whole are savage, wild, and


lawless."


   Thinking back on AS DARKNESS FALLS (HTLJ #06) and


the Hercules movie where a bad, bad centaur absconds


with Hercules' wife, the centaurs were portrayed in a


not so nice a way. But, in HOOVES AND HARLOTS (#10),


THE OUTCAST (HTLJ #18), and ORPHAN OF WAR (#25), the


centaurs were presented as noble and honorable


creatures. Perhaps Centaurs come in all moral flavors?


   In the comments section, the writer lauded (1) the


special effects as to the centaurs; (2) Renee


O'Connor's performance; and (3) the great scene where


Xena tried to get Gabrielle to make the royal challenge


without speaking to her directly. The writer poo-pooed


(1) how quickly Gabrielle learned the art of the staff


over the next few episodes; and (2) the Amazon justice


system. The writer was obviously a male!


   Transcription by Stacy Van Stipdonk.


   EXCERPT:


   1. SINS OF THE PAST...


   ...COMMENTS: The series premiere is entertaining,


but the tone is more like an episode of Hercules than


the Xenas to come.  Gabrielle's patter, her encounter


with a Cyclops on the way to Amphipolis, and the goofy


final battle all combine to overpower any of the


grimmer aspects of Xena's attempt at absolution.


   Nevertheless, those underlying darker elements


permeate the show.  Xena's homecoming and reunion with


her mother lack the fanfare viewers generally expect


with scenes featuring the protagonist.  The uneasiness


of the towns people allow new viewers to know that


something is amiss, even without the background of


having watched the Hercules episodes.


   All in all, an adequate beginning....


(Picture of Xena and Gabrielle from "Sins of the Past".


Caption: Xena is reluctant to allow Gabrielle to


accompany her on her travels. Picture of Draco pointing


a sword at Xena's neck while she reclines. Caption:


Draco challenges Xena to team up with him in "Sins of


the Past.")


   ...2. CHARIOTS OF WAR...


   COMMENTS: This episode contains one of the most


gruesome scenes of the series.  Xena has been shot in


her side with an arrow, but it did not go all the way


through.  Darius has to push the arrow through to the


other side, then break the shaft in two and pull out


each end.  Lawless's effective grimaces of pain makes


the scene difficult to watch (even though the viewer


doesn't really see  anything gruesome).


   The episode seems to argue for a "peace through


strength" ideology (as such thinking used to be called


years ago).  The villagers were taking a pacifist


stance and getting annihilated.  They may have been


offended at Xena's war-like nature, but she saved them


from a life of servitude.


   On a related note, the two prominent sensitive-male


types (Darius and Sphaerus) are okay for about the


first five minutes.  Then it's time to shoot them both


-- especially Sphaerus, who overplays his "sensitivity"


excessively.  How did he ever become feared in the


first place?


   On the other hand, this is one of O'Connor's better


performances as Gabrielle, aided by some wonderful


dialogue.  Her attempt to avoid being hassled by a


"swarthy stranger" by jumping into Sphaerus's lap


("Pretend you know me."  "No problem," he responds) is


amusing, as is her glance up at Xena during her comment


about becoming some "lonely, pathetic woman" without a


husband.  (See "Gabrielle the Grammarian," page 10.)


   ...3. DREAMWORKER...


   ...COMMENTS: "Dreamworker" is a quintessential Xena


episode, combining mythology, Gabrielle's silliness,


lots of action, and a rather dark, grim undercurrent. 


Xena's Dream Passage sequences are creepy and


effective, and two scenes stand out -- when she meets


her first victim with his throat slashed, and earlier,


her confrontation with many of her victims who begin


telling her their names.  It becomes an extraordinary


multi-layered incident, not only telling the viewer


about Xena's ruthless past history but about her past


psychology: her victims were merely nameless, faceless


masses.  Xena is distressed to have those victims


personalized.  (Of course, she's already renounced


those activities.)  Xena's past is what gives the


series its edge and separates it from a fairly


straight-forward adventure series (such as in the


Hercules vein).  Many later episodes downplay this


aspect, substituting violence as the "edge." 


Psychological intrigue, however, is much more


interesting (though undoubtedly more difficult to


write).


   ...4. CRADLE OF HOPE...


   ... COMMENTS: Moses meets Pandora?!?  Only in the


world of Xena.  The placement of the baby in a basket


in the river, and the subsequent attempt to kill that


child, is obviously inspired by the events recorded in


Exodus 2.


   In Gregor we're presented with yet another wimpy,


"sensitive" male leader, although he's not as bad as


what we saw in the second episode.


   What's with Xena's hands of steel??  How can she


grab a sharp sword with her hand?  (During her battle


with Nemos at the end, she stops his lunging sword with


her bare hands,) She does this again later in the


series (see "The Black Wolf," for instance).


   This episode introduces a series of weird


disclaimers that often appear during the end credits. 


The one for this episode reads, "No Babies were harmed


during the production of this motion picture."


   ...5. THE PATH NOT TAKEN...


   ... COMMENTS: Although Xena is an episodic, rather


than serial, series, "The Path Not Taken" makes


numerous references to "Cradle of Hope."  In fact,


conflicting accounts of the central element of that


episode's story play a critical role in "Path."  In


order to work her way into Mezentius's trust, Xena


dismisses reports of her renounced warrior status and


claims that she ransomed Gregor's child.  Later, it's


learned that she rescued the baby, and that's the


beginning of the end of her deception.


   That aside, there's nothing that particularly


distinguishes this episode.  It's an average, though


solid, hour of fun.


   This episode did make us wonder about one thing in


particular.  Xena refuses to accept payment for her


rescue.  In fact, she always refuses payment, and


Gabrielle doesn't bring in any money.  Since neither


have employment, how are they able to buy food and


supplies?


   Marcus also appears in the episode "Mortal Beloved"


later in the season....


   ...6. THE RECKONING...


   ...COMMENTS: This is an interesting episode in that


Xena's immediate conflict is not with a group of evil


men, but (for the most part) a well-meaning community


of farmers who legitimately believe that she has


murdered their friends.  And the town leader, for a


change, breaks the mold that the male characters in the


series were beginning to fall into, either (1) the bad


guys, who are always irrational, aggressive, and


downright nasty, or (2) the good guys, who are passive,


unwilling to take a stand, and generally not too


intelligent.


   Just as "Cradle of Hope" seems partially inspired by


the story of Moses in the Old Testament, "The


Reckoning" brings to mind the incident in the New


Testament where Satan tempts a weakened Christ.  This


parallel might seem like a bit of a stretch, although


Robert Tapert told Sci-Fi Entertainment, "For both


shows [Hercules and Xena], we'll start to raise a few


stories from the Bible."  On the other hand, this


parallel (and others) should not be over-emphasized or


over-analyzed.  Xena is certainly not an allegory, and


we doubt that it employs, or even attempts, symbolism. 


The writers simply pull story elements from a wide


variety of sources for whatever occasion suits their


needs....


   ...7. THE TITANS...


   ...COMMENTS: This moderately -- enjoyable episode


features some of the best special effects of the


series.  Actually, much of the effects on the Titans


are created through careful use of camera angles. 


These combine with slow character movements and


pounding sound effects as they walk to create a


convincing illusion of great size.  The shots in which


the Titans and mortals are in the same frame also look


good.  Finally, one amusing, well done scene has Xena


and Gabrielle standing beside a large brick wall. 


Suddenly, a giant foot comes smashing through from the


other side, throwing them several yards!


   Perhaps the weirdest aspect of this show occurs when


Gabrielle discovers she has three Titans to do her


bidding.  Suddenly she becomes abrupt and rude --


completely out of character for her....


   ...8. PROMETHEUS...


   GRAPHIC: (1) Picture of Hercules and Xena, caption:


Xena rejoins an old friend -- although their roles are


more adversarial in "Prometheus."; (2) Picture of


Hercules and Xena smiling, caption: Xena and Hercules


watch as Prometheus frees himself.


   ...COMMENTS: This is a clever use of Hercules's


guest appearance, reworking the Prometheus legend to


include Xena!  Overall, the episode has more of a


Hercules-ish feel, such as a souvenir shop near Vulcan


Mountain.  On the other hand, the episode also contains


perhaps the most gruesome scene of the series (topping


even Xena's arrow injury in "Chariots of War").  A


man's throat gets slashed, cutting his windpipe.  Xena


inserts a straw that will allow him to breathe until


the injury heals.


   Vulcan Mountain contains some great traps that


recall the first Indiana Jones movie.  Unfortunately,


the effects of the bird carrying Xena are not so


special.


   Finally the world of Xena has a strong, masculine


male character who is on the side of good -- Hercules. 


(Two men, if we include Iolaus.)  As we mentioned


before, the males generally fall into only two


categories.  There are the "masculine," strong,


assertive men, usually in positions of authority.  And


they're almost always evil.  They're the villains. 


Then there are the "good guys": passive, sensitive, and


weak.  If not for Xena to come to the rescue, these


guys would be useful only as flower arrangers. 


Fortunately, Hercules and Iolaus break this tendency in


the show (along with, to a lesser extent, Marcus in


"The Path Not Taken" and "Mortal Beloved," the town


leader in "The Reckoning," and Talus in "Death in


Chains").


   This episode has the second weird disclaimer during


the end credits: "Iolaus was harmed during the


production of this motion picture.  However, the Green


Egg Men went on to live long and prosperous lives."...


   ...9. DEATH IN CHAINS...


   GRAPHIC: Caption: Kate Hodge plays the ghostly


Celesta in "Death in Chains."


   ...COMMENTS: Is "Death in Chains" a weird, pro-death


episode?  Where else can someone find so many examples


of people looking forward to death for various reasons? 


(However, J.E. Zimmerman notes in his dictionary of


mythology that "in many literary allusions [Death] is


presented as a healer and remover of pain.")  This must


be Dr. Kevorkian's favorite episode.


   That aside, the idea of imprisoning death is an


interesting one, and this episode explores some of the


consequences.  Unfortunately, many of the plot elements


aren't given much explanation.  (Why does Celesta "die"


when her candle is extinguished?  What does it mean for


her to die, anyway?  How is it so easy for her to be


bound?  How secure is a castle in which Talus and


Gabriel can gain easy access through a "hidden back


entrance"?)  Nevertheless, it's an effective, moody


episode.  Kate Hodge is good as the more-or-less


ethereal Celesta.  (The actress might be remembered by


some viewers as the co-star of the X-Files-ish British


show She-Wolf of London a few years ago.  She currently


plays Gretchen on Louie.)...


   ...10. HOOVES & HARLOTS...


   ...COMMENTS: This is quite a fun episode, and, for a


change, the special effects are pretty good -- the


centaurs actually come off as more-or-less believable.


   The real stand-out here, though, is Renee O'Connor


in one of her best episodes.  Her portrayal of


Gabrielle in the role of Amazon princess is perfect --


a combination of awe, surprise, fun, awkwardness, good


effort, and seriousness.  Perhaps the best line is when


Xena questions Gabrielle about her activities, and she


responds, "I'm an Amazon princess?"  Actually, the way


O'Connor delivers the line, it's half a question, half


a statement exactly the way a somewhat -- confused


Gabrielle would deliver the answer.


   Another wonderful scene comes near the end with some


great interaction between Lawless and O'Connor. 


Gabrielle must fight the Queen -- unless Gabrielle's


champion fights in her place.  Xena understands the


procedure for accepting the battle; Gabrielle doesn't. 


Xena manages to convey the plan through subtle hints


and raised eyebrows.  O'Connor does a good job of


portraying Gabrielle's slight confusion that, following


Xena's lead, gradually moves to understanding.


   The Amazons train Gabrielle to fight with a staff --


a skill she utilizes in many later episodes.  Before


this, Gabrielle adhered to Xena's instruction to talk


her way out of a conflict or to run.  Hereafter, when


Gabrielle would inject herself into the fights, Xena


would not complain.  In fact, to look at the


choreography on some of the battle scenes to follow,


Gabrielle became very good very quickly (almost too


quickly).


   One final note.  The Amazons obviously have a low


regard for justice in this episode.  They're ready to


execute a centaur without any evidence to connect him


to the killing.  Even the circumstantial evidence is


slight.


   The end-credits disclaimer: "No Males, Centaurs or


Amazons were harmed during the production of this


motion picture "


   GRAPHIC: Posed picture of Xena holding her sword.








[264] 05-01-96


   SPECTRUM. Vol. 1 No. 5. Page 10. 474 words.


"Gabrielle the Grammarian"


   COMMENTARY:  As XWP progressed through the first


season, the character of Gabrielle emerged. She went


from comedy relief and second banana, to full helpmeet


and companion to the Warrior Princess. 


   This sidebar article listed SPECTRUM's favorite


Gabrielle "one-liners".


   Transcription by Stacy Van Stipdonk.


   REPRINT:


   Xena's sidekick is certainly appropriately named. 


Gabrielle can, if nothing else, gab.  She has proven an


ability to talk her way out of anything, plus an


ability to chatter endlessly about nothing at all. 


Here are some of our favorite lines from the first half


of the season:


   Gabrielle wants to go with Xena and be taught by


her.  Xena says she travels alone.


   Gabrielle: "You can't leave me here."


   Xena: "Why?"


   Gabrielle: "Did you see the guy they want me to


marry?"


   Xena: "He looks like a gentle soul.  That's rare in


a man."


   Gabrielle: "It's not the gentle part I have a


problem with -- it's the dull, stupid part."  


["Sins of the Past"]


   Gabrielle prepares to sneak out at night to join


Xena.


   Gabrielle: "I'm going to join up with Xena."


   Lila, her sister (laughs): "Are you serious?"


   Gabrielle: "Absolutely.  I'm going to be a warrior,


like her."


   Sister: "A warrior?  Gabrielle, I can beat you up."


   Gabrielle: "Yeah, but you're very strong for your


age.  Lila, you know I'm different from everybody else


in this town."


   Sister: "I know you're crazy."


   Gabrielle: "Well, call it whatever you like."  


["Sins of the Past"]


   Gabrielle is interested in buying a small sword.


   The salesman picks up a small dagger: "It's a breast


dagger."


   Gabrielle: "You mean it's designed to pierce the


breast into the heart of your enemy!"


   Salesman: "No, not quite."


   Later, Xena confiscates Gabrielle's breast dagger.


   Gabrielle: "Ha!  It's not like your breasts aren't


dangerous enough.  That was a joke!  You can laugh!"  


["Dreamworker"]


   Gabrielle tells Xena about the man (unbeknown to


her, a warlord) she has a crush on:


   Gabrielle: "I have no way of finding this guy.  What


if I'm supposed to intertwine with him and have kids? 


Now I'll wind up some lonely, pathetic woman like


[looks at Xena] -- never mind."  ["Chariots of War"]


   Gabrielle has been selected to be the bride of


Morpheus.


   Gabrielle: "Bride?  Morpheus?  No, you've got the


wrong girl.  Take my word for it -- I'm not the wifey


type.  Well I sleep late, I don't know a lick about


housework, and children -- I mean, look at these hip


bones!  No way!"


   Mystic: "None of that matters to Morpheus."


   Gabrielle: "Really?  Well what does matter?  I've


got lots of faults." 


["Dreamworker"]


   Gabrielle and Xena talk:


   Xena: "I'm not sure how [Iolaus] feels about me


now."


   Gabrielle: "And what about Hercules?"


   Xena: What about him?"


   Gabrielle: "You're not much for girl talk, are you? 


Of course, you're not like most girls."  


["Prometheus"]


  Xena challenges the Amazon Queen to the death.


  Gabrielle: "Don't you think she [Xena] knows what


she's doing?  You haven't seen her fight.  Now I have


seen her fight a lot!"


   Amazon (to Xena): "She's annoying.  How do you put


up with her?"


   Gabrielle: "Hey!  She puts up with me fine!"  


["Hooves and Harlots"]








[265] 05-01-96


   SCI-FI UNIVERSE. Vol 2. No. 15. Page 37. --- words.


"Babes in Boyland. When it comes to science fiction,


why does ERA stand for 'Exploitation Roles Always'?" By


Amanda Finch.


   COMMENTARY: XWP was mentioned in passing as an


example of the exploitation of women ("For every


appropriately attired Agent Scully on The X-Files (who,


lacking the traditional attributes of the TV sexpot,


has watched as her co-star has gotten the lion's share


of publicity), female science fiction fans face seven


or eight leather-thonged 'warrior princesses' (Xena) or


Pamela Anderson's cleavage fighting crime in black


leather (Barb Wire).").     


   Some issues raised in this article were discussed


specifically in the XWP context in the Ms. Magazine


(July/August 1996) article "Xena: She's Big, Tall,


Strong--and Popular" [tentative XMR322].    


   The author may have been referring to the episode


"Hooves and Harlots." 


   This article was discussed in relative detail in my


introduction to XMR #03 [with emphasis on Xena: Warrior


Princess] and RIF (Resistance is Futile Netzine) #55


[with emphasis on Star Trek]. I have rewritten in part


the XMR #03 version below.


   XWP: A PRE-MYCENAEAN BAYWATCH?


   SCI-FI UNIVERSE magazine, trying to be the bad-boy


periodical on the science fiction periodical world, was


created several years ago as the SF version of FILM


THREAT.  


   FILM THREAT was an uneven but horribly fun attempt


at movie criticism.  What set FILM THREAT apart from


the other film magazines was the uncontrolled


exuberance of the critics.  You knew that these people


loved every minute of what they were doing.  They loved


being social critics and taking the essence of some


grade Z schlock and painfully extracting both the


microcosm and microcosm of human existence from it. It


was good stuff, especially if you were a college


student, away from home, trying to create a cool


environment for your life.  


   Chris Gore was behind FILM THREAT at that time and


he started to concentrate more and more on science


fiction.  Finally the publishers said, cut the SF stuff


and put it in another magazine.  Thus SCI-FI UNIVERSE


was born.  SCI-FI UNIVERSE immediately carved itself


out as the Anti-STARLOG.  In fact, if both magazines


were ever touch, they would surely destroy each other.


Good college fun.


   After awhile, Mark Altman took over the editorial


control, Chris Gore went back to FILM THREAT, and SCI-


FI UNIVERSE changed. But that is another story...my


story concerns the most recent issue May 1996.  


   The SCI-FI UNIVERSE of May 1996 sported a "Play it


Again PAM" cover with Ms. Pamela Lee nee Anderson


busting out all over.


   On page 37, the article "Babes in Boyland" appeared.


It was a scathing (and I mean scathing for SF media)


indictment of how SF TV and movies treated women.  The


article made a passing reference to XWP.  On page 37,


column one, Amanda Finch wrote, "Compared with most


sci-fi offerings, however, the women of Trek are


dressed like spinster librarians. For every


appropriately attired Agent Scully on The X-Files (who,


lacking the traditional attributes of the TV sexpot,


has watched as her co-star has gotten the lion's share


of publicity), female science fiction fans face seven


or eight leather-thonged 'warrior princesses' (Xena) or


Pamela Anderson's cleavage fighting crime in black


leather (Barb Wire)."


   I wish to make three comments.  


   First, the writer has thrown XWP into the "bad"


column.  One of the problems of generalization is that


it...um...generalizes.  I have seen this complaint


about XWP from other reviewers and writers.  The most


recent assault being the insipid observation that being


able to take the armor off of the Xena action figure


somehow promotes prurience. Such critics categorically


state that Xena is sexist and exploitative.  Well, it


is.  But (there's always a but!) Xena is a satire of


the genre.  The "saving graces" of Xena are the twists


that the producers and writers have added to Xena: the


women are self-sufficient (no regular male character


who rescues them; no regular love interest); Xena


competes equally and usually wins against her foes,


male or female, just as Gabrielle does in her more


idealized intellectual way; relationships between women


are explored; and so on.  If XWP was meant to be a Pre-


Mycenaean Baywatch, it is not playing to the logical


adolescent male audience.  It may be getting his


interest, but it is clearly not focusing on it.  


   Second, I was struck by the irony of finding this


article in SCI-FI UNIVERSE.  A simple leaf-through of


any of the issues show that SCI-FI  UNIVERSE strongly


subscribes to exhibiting women in various stages of


undress (usually concentrating on the bust area - thus


giving us more insight into Mr. Altman's tastes?  For


some reason it reminds me of David Letterman...). 


However, this is an epidemic affliction with most


popular media Science Fiction magazines.  Compared to


many others, SCI-FI UNIVERSE is like a "spinster


librarian" (but, whoa, watch out if she gets married


and is exposed to the manly virtues).  If we point the


finger at one, we must point it to all.  It would be


facile to blame it on the fact that 99% of all


publishers and editors are men.  But would it be any


more realistic to accept that this type of "journalism"


sells magazines like hotcakes?  This blames the


consumer, who is merely buying what is offered...which


is offered because that's what the consumer supposedly


only will buy.  Catch-22.


   Third, I have come to the conclusion that any type


of self-reflection is better than none at all.  SCI-FI


UNIVERSE must be applauded for running the article. 


Social change fumbles along at a snail's pace.  At some


point a society reaches critical mass and suddenly can


no longer accept what was done without question in the


past.  We see this happening today in respect to race


relations and the balance between men and women in


society, to name two.  


   I like to think that XWP, mired with one foot in the


old and one foot in the new, is merely one of many


reflections of a society in transition.  I like the


show, so I think of it as an advancement, not a step


backwards.  Art reflects the society from which it was


made, but art also can transcend the very same society. 


XWP promotes a world where a woman can successfully


make her way depending upon her skills and intellect


and she can compete without being subjected to sexual


violence, archaic social limitations, and arbitrary


social codes.  If she has to walk around in leather and


in next to nothing, well, I can live with that. For


now.


   EXCERPT:


[sent out for transcription]            








-------------


THE BACK PAGE


-------------





Issue #20 will contain annotations #266 through #285,


dated from 05-02-96 to 05-14-96.  It is scheduled to be


released 12-13-96.





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and the influence of mass media.  XMR exercises its


right to quote, excerpt or reprint as allowed under the


law in order to review and discuss the media reports


cited and annotated herein. XMR is distributed free of


charge. Only national/international major media


released in electronic form are considered for


inclusion. Banner graphic by Colleen Stephan. This is


an All Talk No Action Publication. Copyright 1996 by


Kym Masera Taborn.











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newsletter which is issued every 19 days and has been


published since 1992 (the Borg jokes just keep on


coming!).  Request a free subscription at


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