Tag Archives: Jurassic World

GDP: “They want to see their expectation”

In case you haven’t seen it, a few seconds of Jurassic World: Fallen Kingdom footage has hit the Interwebs, and it’s got us dino aficionados in quite a titter.  It shows Owen Grady communing with a baby raptor, perhaps the offspring of Blue from the first JW.

Among dinosaur buffs, reaction to “Baby Blue” has been mixed.  Some fans think it’s adorable, while others are still bummed that the series’ raptors are missing their feathers.  (Click here to see a more accurate depiction of a baby Velociraptor.)  It’s been the subject of heated debate ever since Colin Trevorrow tweeted the news that JW‘s dinosaurs would take their bows sans plumage.

Me?  I’d prefer to see the raptors get a scientific upgrade.  It took me a while to get used to seeing fluffy dromaeosaurs, but now it’s the featherless reconstructions that look odd to me.  They seem unnaturally denuded, sort of like Persian cats with buzz cuts.

Of course, the films’ super-sized raptors have never exactly embodied scientific accuracy anyway.  But there’s already some precedent for a makeover in the movies’ fictional universe.  The makers of JPIII added bold new colors to that installment’s raptors and topped off the pack’s leader with a crown of filaments.  Some of the JP comic books have been even more progressive.  The raptors in the spin-off miniseries Dangerous Games are decked out with wicked plumes and long, pennaceous feathers on their forearms.  I’d love to see future installments use a design along the lines of the wonderful Beasts of the Mesozoic figures.

Jurassic Park: Dangerous Games #2, cover by Jeff Zornow. Image via comicbookrealm.com

What I find ironic about the JW feather brouhaha is that the filmmakers have put themselves in the same position as the people behind the park in Crichton’s original novel.  In one scene, geneticist Henry Wu tries to persuade park founder John Hammond to let him tweak the animals’ genetic code so that the dinos will conform more to visitor expectations.

“The dinosaurs we have now are real,” Wu said, pointing to the screens around the room, “but in certain ways they are unsatisfactory.  Unconvincing.  I could make them better.”

“Better in what way?”

“For one thing, they move too fast,” Henry Wu said.  “People aren’t accustomed to seeing large animals that are so quick.  I’m afraid visitors will think the dinosaurs look speeded up, like film running too fast.”

“But, Henry, these are real dinosaurs.  You said so yourself.”

“I know,” Wu said.  “But we could easily breed slower, more domesticated dinosaurs.”

Domesticated dinosaurs?”  Hammond snorted.  “Nobody wants domesticated dinosaurs, They want the real thing.”

“But that’s my point,” Wu said.  “I don’t think they do.  They want to see their expectation, which is quite different.”

Hammond was frowning.

“You said yourself, John, this park is entertainment,” Wu said.  “And entertainment has nothing to do with reality.  Entertainment is antithetical to reality.”

Wu understands that InGen is in the entertainment business, just as filmmakers are.  And entertainers always run a risk when they don’t give the audience what they’re expecting to see.

When Jurassic Park came out, Velociraptor wasn’t yet a superstar dino along the lines of Tyrannosaurus, Triceratops, and Stegosaurus.  Thus the movie spends a considerable amount of time setting up the raptors as formidable villains, from Grant’s impromptu lecture at the dig site to the feeding scene before the tour.  And the film’s raptors made such an impression that Velociraptor became a bona fide celebrity.

The movie also popularized a more modern view of dinosaurs as birdlike, bringing pop culture more in line with the state of paleontology at the time.  In the two decades after its release, however, the science has kept moving.  We’ve witnessed a new dinosaur renaissance, as dramatic in some ways as the one that resulted in the image of dinos as warm-blooded and birdlike that the original movie helped propagate.  Much of what scientists have found has been surprising and unexpected.  It turns out that raptors and their dromaeosaur kin were even more birdlike than anyone suspected.  As a paleontology buff, I’d love to see the film series disseminate some of these new discoveries, just as the first installment changed people’s image of dinosaurs.  I’d like to see a movie that catches people off-guard with all the weirdness and wonder of what scientists have uncovered.

But as Wu says, people want their expectations met.  And when it comes to raptors, their expectations conform to the indelible image the first movie burned into the popular consciousness back in 1993.  So when Universal decided to revisit Jurassic Park, Trevorrow and company basically adopted the same plan Wu proposes to Hammond in the novel.  They gave people dinosaurs that are “better than real,” and it seems they’re going to do the same thing in Fallen Kingdom.

In other words, the people making the sequels are more or less captive to a set of popular expectations about what dinosaurs should be like—expectations created by the original film itself.  And their dilemma is summed up perfectly by a character in the novel that started the whole franchise.  How meta is that?

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The park is open

Abraham Lincoln was such a Shakespeare aficionado that the quality of a production didn’t affect his enjoyment of it.  “It matters not to me whether Shakespeare be well or ill acted; with him the thought suffices,” he reportedly said.

With Jurassic Park films, the thought generally suffices for me, too.  My attitude is that any Jurassic Park film is better than none at all.  I liked The Lost World; I even liked the much-maligned JPIII, although it didn’t “bookend” the franchise in the way that the first films complemented one another in scale and scope.  I just love the franchise and delight in seeing dinosaurs on the big screen.

The question for me going into Jurassic World, then, wasn’t whether I’d enjoy the film.  I was pretty sure I’d get a kick out of it.  The only question is whether the movie would “suffice,” or whether it would be the follow-up we’ve all wanted it to be.

I got my answer Thursday night.  “Awesome” is a word that suffers from overuse, but in this case it’s warranted.  It’s Hammond’s dream realized on a massive scale, followed by a well-oiled thrill ride that bounces along from one high-adrenaline scene to the next, and it comes as close to capturing the original movie’s sense of wonder as any film I’ve seen in the last fifteen or twenty years.  It’s got enough of that sense of nostalgia to gratify longtime fans of the franchise, but it’s not so captive to its own history that it fails to carve out a place of its own.

Indeed, where it harmonizes with the other installments in the series is not in self-conscious references with a wink and a nudge at the audience—although there are a few of those moments, and they work—but in a more general congruence of structure and theme.  The franchise has always been about two things: the paradox of mankind’s powerlessness to cope with the consequences of his own power, and families, whether the creation of surrogate families (as in the first film) or the strengthening and reconstitution of biological ones (as in the second and third installments).  Jurassic World plays on both themes in a way that’s consistent with the other three films, but with enough innovation to put a new spin on things.

Of course, it isn’t the thematic issues that draw most people to these films.  Ask most moviegoers what Jurassic Park is all about, and they’ll tell you that it comes down to the dinosaurs.  Ironically, it’s with regard to the animals that most of my fellow dinosaur buffs have criticized Jurassic World.  Whereas the original film made headlines for tapping into the spirit of the “dinosaur renaissance” that reinterpreted the terrible lizards as active, warm-blooded, and birdlike, the fourth installment is a little behind the times.  We now know that many theropod dinosaurs—including Velociraptor—were feathered, which only underscores how correct many of the interpretations reflected in the first movies really were.  Jurassic World, however, adheres to the franchise’s internal canon rather than the scientific one.  Indeed, with regard to Velociraptor, it represents a step backward, since one of the raptors in JPIII sported a set of quills on its head in a nod to recent discoveries of feathered dinosaurs.

Normally I’m a stickler for accuracy in movies, and I would’ve preferred a little fluff on the raptors just for science’s sake.  In fact, the original novel provided the perfect rationale for such an adjustment; Wu points out that his lab produces the dinosaurs in “versions” along the line of new software releases to correct for defects in the cloning process.  Still, I’m not nearly as bothered by Jurassic World‘s leathery raptors as I probably should be.  For one thing, the franchise’s raptors were never accurate to begin with.  Velociraptor was a tiny animal; if you ran into a live one, its head would barely reach your thighs, although those teeth could still deliver a nasty bite.  (The raptors in the movies are closer in size to a close relative named Utahraptor, the largest member of the dromaeosaur family.)  And while I agree that feathery raptors in a major motion picture would’ve made for a good public education opportunity, I suspect that the hubbub over the film’s non-feathered dinos has gotten the word out to many of the people who would’ve been surprised had Jurassic World stuck to the science.

But the main reason I’m willing to give Colin Trevorrow and the other filmmakers a pass is simply because I can overlook a great many historical and scientific inaccuracies if a story is told well, and Jurassic World is a great ride.  It’s not a flawless film; it doesn’t have the same flair for deftly handling the scientific and moral aspects of the story with the same wit as the original.  But it’s a return to the franchise’s glory days—a big, bold, breathless adventure story that made me feel like the kid I was back in 1993.  My absolute favorite moment in the film came near the very end, a moment that rectified what I thought would be my biggest complaint about something that had been lacking, a scene perfectly engineered to have fans of the series leaping out of their seats and shouting for joy.  Up until that moment the film had been a home run, but that scene absolutely knocked it out of the park.  That’s as specific as I can get without giving the whole thing away, so suffice to say that Jurassic World saves the best for last, and when the credits rolled, all I wanted to do was go back and take the whole ride over again.

 

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Take the Jurassic World Challenge and support paleontology

A couple of days ago I finished reading An Agenda for Antiquity, Ronald Rainger’s book on the eminent naturalist Henry Fairfield Osborn and his career at the American Museum of Natural History.  It was Osborn who turned the AMNH into one of the world’s leading institutions for vertebrate paleontology.

He was never a field man, he delegated much of the nitty-gritty work of research to his subordinates, and many of his ideas about evolution were off the mark.  But as an administrator, a museum showman, and an intellectual who grappled with big questions, he left behind a tremendous legacy, the magnitude of which is apparent when you walk through those magnificent fossil galleries on the AMNH’s fourth floor.  (Incidentally, Osborn was also a master at coming up with awesome dinosaur names; he’s the guy who christened Tyrannosaurus and Velociraptor, probably the two coolest scientific monikers in the history of zoology.)

Osborn’s background was critical to his success at the AMNH.  He came from a wealthy New York family, and he was connected to some of the richest and most influential Americans of the late nineteenth and early twentieth centuries.  These connections enabled him to raise the money needed to mount expeditions, prepare specimens, build galleries, and publish research.  In Osborn’s day, vertebrate paleontology depended heavily on private donors.

It’s dependent on them still.  A lot of people assume that paleontology must be a lucrative business, since dinosaurs are so wildly popular.  Unfortunately, that’s not the case.  Compared to scientific fields with more immediately practical applications, paleontological research is woefully underfunded.

That’s one of the reasons why I heartily endorse David Orr’s idea over at the paleoblog Love in the Time of Chasmosaurs.  Check it out:

I call it the Jurassic World Challenge. If you’re buying a ticket for the movie, it’s a fair bet that you also have that much money to give to the people who bring prehistory to life in the real world. Think of it as a matching fund, crowdsourced. See the movie, do some good. The official rules:

  • Donate the equivalent of your Jurassic World ticket price to paleontological research
    or
  • Spend the equivalent of your ticket price on the wares of an independent paleoartist

Of course, you don’t have to pick one or the other. Buy some art, give some money to a research effort, enjoy the movie. I also put together a graphic to help spread the word, in before and after flavors. You are free to disseminate these far and wide! Take it and post it on your blog or other social media channels.

If you plan on seeing Jurassic World—or if you’re like me and plan on seeing it many, many times—consider a donation to paleontological research and the production of paleoart.  If you’re unsure about exactly where to send your money, Orr’s blog post has a list of some current research projects and independent paleoartists.  You might also check with your local natural history museum or university to see what dino-related things they’ve got going on that could use your support.

The folks who study and reconstruct ancient animals have made my life exponentially more joyful.  If you’re as excited as I am about Jurassic World, they’ve probably made your life more joyful, too.  Let’s show them a little gratitude.

By Ben Townsend from Blacksburg, Virginia (File:Velociraptor Wyoming Dinosaur Center.jpg) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

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The new Jurassic World trailer is AWESOME, you guys!

Raptors running around and mass pandemonium and ankylosaurs bashing things with their tail clubs and a mosasaur chomping and carnivores grabbing people left and right and explosions and machine guns and pterosaurs snatching tourists right off the ground and whole herds of sauropods and stegosaurs and I think that was the T. rex munching on a goat and HOLY COW I FEEL LIKE I’M TWELVE AGAIN AND IT’S JUST FANTASTIC AND I CAN’T WAIT!

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Just in time for Thanksgiving, it’s the Jurassic World trailer

Aaannnnd here it is…

First impressions?  What excites me most is the scale.  A fully operational park full of crowds means interesting opportunities for some serious mayhem on a wide canvas, very different from the more intimate, tightly focused approach of the third installment.

Looks like an interesting balance of new stuff (mosasaurs, nifty ride systems, new characters) alongside old stuff that we’ve come to expect from the franchise (wonder, terror, kids in peril, raptors, and scientists making reeeaaaallllly bad decisions).

Would’ve been nice to see some T. rex, but there’s still plenty in that two-and-a-half minutes to take in.

I wish next summer would hurry up and get here already.

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In Rev War and dino entertainment news

Today‘s Jenna Bush Hager visited the Jurassic World set and talked to the cast.  Mostly they discussed Chris Pratt’s abs, but there were also some tantalizing glimpses of what the park is going to look like.

Meanwhile, it looks like AMC has renewed Turn for a second season.  As much as I like having some Rev War fare on TV, I’m not a fan of putting a fictional love triangle at the center of the story.  I’d much rather see the plot unfold from the circumstances of what the Culper Ring was actually doing.  You’d think there would be drama enough involved without manufacturing all these romantic interests for the characters.

And they really need to stop teasing us with the prospect of showing iconic battles without following through.  That stunt where one of the main characters was unconscious during Trenton?  That was just mean.

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Count me in

Director Colin Trevorrow has responded to the recent Jurassic World leaks, and I’m feeling a lot better.  I really think this guy has tremendous respect for the franchise and wants to contribute to it in a way that develops organically out of what’s come before.

Here’s a sample of the interview:

Jurassic World takes place in a fully functional park on Isla Nublar.…And there are dinosaurs. Real ones. You can get closer to them than you ever imagined possible. It’s the realization of John Hammond’s dream, and I think you’ll want to go there.…

This film picks up twenty-two years after Jurassic Park. When Derek [Connolly] and I sat down to find the movie, we looked at the past two decades and talked about what we’ve seen. Two things came to the surface.

One was that money has been the gasoline in the engine of our biggest mistakes. If there are billions to be made, no one can resist them, even if they know things could end horribly.

The other was that our relationship with technology has become so woven into our daily lives, we’ve become numb to the scientific miracles around us. We take so much for granted.

Those two ideas felt like they could work together. What if, despite previous disasters, they built a new biological preserve where you could see dinosaurs walk the earth…and what if people were already kind of over it? We imagined a teenager texting his girlfriend with his back to a T-Rex behind protective glass. For us, that image captured the way much of the audience feels about the movies themselves. “We’ve seen CG dinosaurs. What else you got?” Next year, you’ll see our answer.

In hindsight, it’s highly unfortunate that we didn’t get to see the “super dino” within the context of a story. Instead, it came as an isolated revelation in the form of an Internet leak, and a lot of us JP aficionados (including me) freaked out. Let’s see how it plays out as part of an entire film. Let the filmmakers tell us the story, and then we’ll judge that story as a whole.

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