One of television’s most ambitious & successful productions to date

Back in 1982, Jim Henson & Frank Oz set out to create a fantasy world full of strange wondrous creatures – some good, others evil. After a great war between the evil Skeksis and the peaceful Gelflings – virtually eliminating the Gelfling civilization in the process – two Gelfling survivors team up to solve the riddle of the Dark Crystal.

The film itself was a masterpiece of fantasy filmmaking, utilising puppetry for the denizens of Thra. Jim Henson and his Creature Shop threw every technique they had at the film to realise the designs of Brian Froud. Hand puppets, animatronics, full-size costumes, marionettes, you name it – they used it. And with some decent matte paintings, optical effects and elaborate sets, the world of Thra was a wonderful, but somewhat limiting place.

Much has been discussed regarding the sequel to The Dark Crystal: The Power of the Dark Crystal, but ultimately a decision was made to tell a story prior to the events of the 1982 film.

What’s even more extraordinary is that Netflix was able to commission a major special and visual effects spectacular which spans nearly 10 hours of television. HBO and Game of Thrones – eat your heart out. This piece of work is the very best that Jim Henson’s Creature Shop has ever produced. It’s certainly their biggest. More so than Labyrinth. And it also marks an (albeit temporary) welcome return for the JHCS to London – they left back in 2003 after we at MPC had finished on Tomb Raider 2: The Cradle of Life.

That said, Netflix has not spared the pennies making this show. The sets are extraordinary. The vistas of Thra are enthralling. The camera work is now decidedly less static – with sweeping movements and handheld close-ups. We have more inserts of character legs running, jumping and picking up/dropping things which gives the characters a more organic feel. Some characters have a bit of digital augmentation to provide more expression, though the Gelflings still feel as if they’ve been Botoxed up to the hilt:

Guess the mood: happy, sad, angry or as high as a skunk?

But it’s the extremely talented puppeteers’ skill that brings through the physical emotion of the characters, backed up by the excellent voice actors – many of whom are big-name stars. Much praise goes to Mark “Luke Skywalker” Hamil as the voice of The Scientist Skeksis and Simon Pegg as The Chamberlain. And Awkwafina as the hideous Collector (so much mucus for a single Skeksis). There are far too many names to mention here (both voice actor and puppeteer, and sometimes both) as they are so good – all bloody wonderful. The casting people deserve an Emmy.

The story is a slow burner. But that’s absolutely fine. It provides a wonderful orientation to the world of Thra and its inhabitants – considerably more so than the movie which had 1 and a half hours to cram in a beginning, middle and an end. Sometimes the level of detail is so good – especially when watching in UHD/4K, that you could just reach out and grab what’s on the screen. Excellent cinematography and production design (by Jane Goldman/Matthew Vaughn’s Stardust‘s Gavin Bocquet) make everything just pop.

Stand out moments include the Podling bathing scene – in which a bare bummed Podling escapes from Gelflings charged in overseeing their annual bathtime. A Podling named Hup – a paladin with a wooden spoon for a sword – starting a “bar” fight. The Skeksis bathtime. The Heretic and his other-self (especially the opera (a bit of Tuvan throat singing, anybody?) and puppet show). And anything featuring The Hunter. You’ll never see any other Skeksis move so fast.

Having read the earlier graphic novels – The Dark Crystal: Creation Myths (as opposed to Creation Meths) – I was a bit disappointed that they hadn’t included Aughura’s son, Raunip. But having read an interview with co-creators Jeff Addiss and Will Matthews, and co-executive producer Javier Grillo-Marxuach, there wasn’t any space for him in this story. But there is hope he may be present in a future series. Yay!

The Dark Crystal: Age of Resistance is a beautiful, beautiful tribute to Jim Henson for whom I am certain would have loved every single minute of this. I was blown away at the level of detail and care that’s gone into the making of the show. From the scripts through to the puppets, puppet special effects, sets, special effects, visual effects, cinematography, direction – and not forgetting Daniel Pemberton and Samuel Sim’s wonderful score.

The original series soundtrack, now available on Apple Music
Vol. 2 of the soundtrack – even more Gelfling goodness

Netflix MUST renew the show. It took years to get to this point, so renewing now means that the next trip to Thra wouldn’t be for at least another 2 years (2021/2022 at the latest). I’d say that both this and Amazon’s Good Omens have been the TV highlights of this year. Expect the awards season to reflect this – I see many wins for both shows.

11/10 – An absolute blast – best thing on TV for *ages*

The Art of The Dark Crystal: Age of Resistance Exhibition, BFI Southbank

I’ve had a very pleasant day out in South London along the Southbank visiting the BFI Southbank for the Netflix exhibition of The Art of The Dark Crystal: Age of Resistance. It was a chance to get up close and personal with the puppets (or at least sculptures/poseable versions) and learn a bit more about the production.

I’m hoping to attend a screening of the first episode along with a Q&A with Louise Gold on Monday.

It really was quite extraordinary to see the attention to detail that’s gone into these puppets, and as you can see from the many photos, the world of Thra is an incredible place. Even if it has phallic mushrooms/plants. With teeth. Ooer-missus.

Everything above was shot on an iPhone XS Max.

Netflix has confirmed that it is removing AirPlay support from its iOS application due to ‘technical limitations’.

My concern with this is that it’s taking away one very useful feature – the ability to stream Netflix shows on TVs that have built-in AirPlay (and subsequently AirPlay 2) support. If you’re doing a lot of travelling – whether for business or pleasure – this can be extremely useful.

You could argue that a lot of TVs have a built-in Netflix app already? Yes, this is true. But many hotel TVs don’t. Will Netflix look to make up for potential connectivity problems by attempting to sell dongles or TVs with Netflix built to hoteliers?

I don’t want to have to provide credentials for my Netflix account to completely strange TV setups. AirPlay ensures that my credentials stay secure on my phone (though I’d use a VPN if I was on a hotel Wi-Fi – which could cause problems with Netflix’s policy of using VPNs – another problem Netflix has got to sort out because using a VPN has legitimate uses).

What next, Netflix? The ability to output content from Netflix via Lightning/USB-C to HDMI (which would enable you to hook up Netflix from an iPhone or iPad to a TV or monitor)?

Netflix is becoming awkward on the iOS platform because its app doesn’t support the interactive features that are present in the Black Mirror special, Bandersnatch. And this means other planned titles are unlikely to work either.

The Netflix app on Sky Q is becoming a big problem too. I frequently find that the app on the Sky Q box keeps crapping out, forcing me to switch over to the Apple TV 4K. The Netflix app on the Sky Q can handle interactive features but given that I consider the Sky Q app to be unstable, it’s not

Is the once durable and available everywhere Netflix app becoming a liability and non-consumer friendly? It certainly looks like it. And if Netflix continues on this path, and increases the subscription price, it will be a streaming/cable service like any other and I’m going to stop subscribing.