Archive for November, 2013

1X08 – Scarlet
Air Date: 11/29/2013
And old member of the Acolyte team returns and it’s business as usual with a predictably unpredictable twist. The holidays approach the Xavier Institute.

Special thanks to my Special Consultant on Jewish Mattersgeekgirl101

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Rogue - Eris O'ReillyAn artist friend of mine, Eris O’Reilly, is doing some artwork for me and X-Men: The (fan fic) Series.

First up is Rogue!

I have given my version of Rogue reddish-brown hair. I know she’s pretty much a brunette now in the comics but back in the 90s, her hair was more red, both the comics and X-Men: TAS, so that’s how I always envisioned her. It’s also kept short to accommodate the wigs she often wears to hide her distinctive white streak.

Being a southern gal, she’s most comfortable in a pair of boots and jeans, but her trademark green is found in her shirt. Of course she has the brown jacket. Actually, I imagine half her closet is full of coats and jackets and the like. As she is often to say, she’s from the South, she hates the cold.

No opera gloves or other fancy long gloves because, seriously, have you ever tried to take off a pair of opera gloves in a rush? Yeah, no, ain’t gonna happen.

As for Deadpool… why not?
(for those of you interested, Deadpool will eventually appear in the series, just not season one)

Next up will be Pyro!

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After watching a movie recently, I was speaking to a friend of mine and in the conversation I mentioned how I didn’t like that they killed off a certain character. His reply: “Someone had to die.”

Really? When did that become a rule? Where is it written? Who said that someone had to die for a story to be more effective?

It’s become an increasing trend that stories/movies where someone dies, for whatever reason, are given automatic praise, while films where everyone survives to the end are deemed unrealistic and trite. (This is not counting horror/disaster movies where the point of the film is that everyone is going to die.)

I do not live in a bubble, I know that people die and have seen many deaths in my lifetime, up close and personal in some unfortunate instances, and I understand that this is a part of life: people live, people die. So why such a focus at the moment on death? Why is it that a character has to die in order to prove the severity of the situation? Why do heroes only become heroes after someone dies?

Isn’t that rather… selfish?

What does it say about your hero if they will only rise up to the challenge of saving thousands of nameless strangers unless someone they know and care about is killed?

Granted, death is not always as petty as that, but increasingly this is the plot device of choice. Insert Character A and B. Kill Character B to get Character A to react thusly. Or worse, kill off Character B to prove that things are serious without actually having to do any work in building up the villain beyond ‘hey, they killed someone, they must be a bad dude’.

The common argument I hear is ‘it’s more realistic’ if a character dies.

For certain stories dealing with certain subjects, yes, I would be highly disappointed if death was just glossed over and ignored. But when you’re talking about films or stories that are meant to simply entertain, to prove life lessons, or be self-affirming… life is just as realistic as death.

People survive the unimaginable every day. Through luck. Through shear force of will. Through the work of true heroes.

Why have we forgotten this?

Why do our writers/producers/etc now believe that if they are making a movie where the genre/subject matter doesn’t automatically require everyone lives or people die, then the default should be to go ahead and kill people off cause ‘that makes it more real’?

I have theories… but I’m not really qualified to say for certain. 

All I know is that I can no longer get attached to characters because there is a better than even chance they will be killed off just to prove the story means business, instead of the writer taking the time to actually flesh out their characters and show that they are evil, demonstrous individuals, without taking a single life… which is a hell a lot scarier than any death could ever make me fear.

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thebentbullet.comFox has opened up a new viral site,, which is a gallery that discusses “JFK and the Mutant Conspiracy”.

Half a century ago, Magento was implicated in the mutant plot to assassinate President John F. Kennedy. The events of that fateful day in November have been a point of contention between humans and mutants ever since.

This comes on the eve of the 50th anniversary of JFK’s assassination and ties in with comments made after First Class came out that pretty much stated that Magneto on the grassy knoll would be an interesting way to open the sequel considering the controversy around ‘the magic bullet’ of the real assassination.

I thought that Magneto gets arrested at the Paris Peace Accords and is later broken out by Xavier to help combat Trask, but it looks like Magneto will start off in jail for the assassination. The only other option is that he’s constantly in and out of prison, which does fit with X2, it’s very hard to keep that man inside a cell, a fact that is commented on in the gallery as apparently Magneto destroyed several of his cells until Trask got involved to make the one he brakes out of in the trailer.

As for the gallery itself, Kennedy is painted as mutant sympathizer. I don’t know why Magneto would necessarily want to ensure his death as it’s inferred that Mystique, as Lee Harvey Oswald, was the actual shooter.

There are several references to make note of:

  • Friends of Humanity and the Purifiers are mentioned
  • Erik Lensherr is called “the strange, squinty man”
  • Magneto has a trial, presumably he allows this as it seems like a normal, though secret, trial, and they even let in a crow bar for him to bend… he could have killed everyone with that, didn’t they realize that?
  • Magneto’s cell has unbreakable glass… we see it get broken in the trailer
  • Azazel and Tempest are listed as ‘dead’

There are also many moments which could have been references to specific mutants being involved, such as Emma Frost, but it would all be guesses.

With still six months away until the film’s release, makes you wonder what other interesting revisionist historical stuff may be popping up in the near future.

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Aaron Taylor-Johnson and Elizabeth OlsenI’ve already commented that it was official due to other reputable sources, but now it’s official!official with Marvel itself signing off on the casting.

Aaron Taylor-Johnson and Elizabeth Olsen have officially joined the Avengers family as the brother-sister duo of Quicksilver and Scarlet Witch in Marvel’s “Avengers: Age of Ultron,” the highly-anticipated sequel to 2012’s smash-hit “Marvel’s The Avengers”! “Avengers: Age of Ultron” arrives in theaters May 1, 2015.

Taylor-Johnson broke out with his roles as Dave Lizewski in the “Kick-Ass” franchise and with his portrayal of a young John Lennon in “Nowhere Boy,” for which he won an Empire Award for Best Newcomer. Since then, Taylor Johnson has starred in 2012’s critically-acclaimed “Anna Karenina” and director Oliver Stone’s “Savages.”

Since making her big screen debut in 2011 with “Silent House” and “Martha Marcy May Marlene,” for which the actress garnered a number of awards and nominations, Olsen has gone on to star alongside the likes of Robert DeNiro and Sigourney Weaver in “Red Lights,” Josh Brolin and Samuel L. Jackson in director Spike Lee’s “Oldboy.”

Taylor-Johnson and Olsen will share the screen as leads in the highly anticipated “Godzilla” remake scheduled for a May 2014 release.

“Avengers: Age of Ultron” will bring the Marvel Universe’s biggest heroes together again to face one of their biggest villains, with “Marvel’s The Avengers” director Joss Whedon returning to write and direct the sequel. “Marvel’s The Avengers” was released in 2012 and went on to earn $1.5 billion worldwide, making it the third-largest grossing movie of all time.

In addition to “Avengers: Age of Ultron,” Marvel Studios will release a slate of films based on the Marvel characters including “Captain America: The Winter Soldier” on April 4, 2014; “Guardians of the Galaxy” on August 1, 2014; and “Ant-Man” on July 31, 2015.

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1X07 – El Chacal
Air Date: 11/22/2013
When Cecilia finds herself in the middle of a gang war, she goes to the X-Men for help, but where is the line between doing the right thing and becoming a vigilante?
Rated TV-14 for intense action/language.

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Marvel's Agent of S.H.I.E.L.D.I’m going to come out and say this is possibly the best episode yet.

I had really hoped the hype about the Thor tie-in wasn’t over-hyped, because you kinda knew it would be over-hyped, but, alas, the connection was very tenuous. In fact, they could have had this episode without the Thor 2 info-tie-in. But in a way, this was really a good thing because the show introduced its first non-canon Asgardian, a mason who got bored of breaking rocks after a few thousand years… that nearly defines perfect. 

I saw comments last week lambasting AOS because they weren’t bringing in ‘named’ characters like Arrow does. The fault in that logic is that Arrow brings in characters just to throw them away again like tissue paper. A ‘named’ character, like The Huntress, is treated as a plot device rather than a real character. Then later on when they realize their mistake, like with Deadshot, the character is haphazardly thrown around for ‘name value’ only. By AOS bringing in new characters it allows the show to be its own entity and give us a broader, much richer, environment outside the comics.

  • Pro – It’s easier for non-comic readers to enjoy the series as they don’t feel like they need a comic-encyclopedia.
  • Con – They have to make us feel invested in these new characters when we’re already invested in others.

It’s a tight rope, but if AOS can produce quality episodes like it did this time, then we’ll want to be invested in the new characters as well as the old.

A few other points, I do like the whole sequence in the beginging with Coulson wishing the Asgardians would send down the “God of Cleaning Up After One’s Self”… because, yeah, London, New York, these places got ripped up pretty bad and of course the heroes don’t help clean up (except maybe Chris EvansCaptain America). I really want to see an episode just about S.H.I.E.L.D.’s legal department after one of these events. Especially the department which deal with the outfit’s liability insurance. 

We also get a look into Ward’s tortured (of course) past, but it’s not played up like I thought they would. They avoided many of the obvious cliches, but unlike the previous episode, they didn’t seem to constantly default to the polar opposite of said cliche. He dealt with his exposure to the Berserker Staff like a S.H.I.E.L.D. agent of his caliber would… and of course May totally outdid him. And then, in something that was refreshingly realistic, Ward follows May into her room, rather than Skye, because, let’s face it, May is someone who can actually connect to him and understand his pain as a soldier. Skye, all she does it talk like a neo-hippy. 

The show still has its issues but seems to be working through its growing pains. I have a feeling we’ll see a lot more interconnection in the back half of the season, esp if they focus less on Skye and more on the team as a whole. If they can also get Jonathan Franks back directing, more the better, cause he’s a really good director and the quality of this episode compared to some previous ones definitely shows how good he is.

Next episode seems to involve poltergeists… should be fun. 

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via CinemaBlend

X-Men: Days Of Future Past Plans Reshoots In Montreal

X-Men: Days Of Future Past Plans Reshoots In Montreal image
One of the most encouraging changes I’ve seen in movie fandom over the last five years is in the way we understand news about reshoots. Just a few years ago word about additional shooting days for something like Where the Wild Things Are or Sherlock Holmes would send us and the rest of the Internet into a tizzy, with everyone assuming that something disastrous was happening, that the director had been forced off the movie and that the studio was ruining everything. Sometimes, of course, it was true– Jonah Hex‘s reshoots were only the beginning of its troubles. But most of the time, especially on hugely expensive movies, it’s just part of making sure that spending all that money was worth it.

Which brings us to X-Men: Days of Future Past, now going into reshoots in Montreal according to The Calgary Herald. The production was a huge boon for Montreal when it started there earlier this year, and will reportedly be adding several extra weeks of production– Quebec film commissioner Hans Fraikin calls it “a big reshoot” while also noting that this kind of extra production “happens all the time, especially with big pictures.” And just how big X-Men: Days of Future Past is may be more than any of us were expecting– according to Fraikin it’s the second-biggest production in 20th Century Fox history, just below Avatar. That probably means a final budget way, way bigger than the $160 million it cost to make X-Men: First Class— and if you remember just how cheap the Emma Frost diamond effects looked in that first one, you know why the extra cash is such a good thing.

Not that we were relying on budget to get us excited about Days of Future Past— with everything from Peter Dinklage as a mustache-wearing villain to two versions each of bothProfessor X and Magneto, the movie has enough going on that I’d probably watch a version of it made for 15 bucks and the promise of free popcorn for the entire crew. Most of the expensive effects on the movie aren’t yet finished– and neither is the filming, apparently– but we finally got our first look at the superhero sequel when the teaser trailer emerged online a few weeks ago. Check it out below, and share your speculation about what’s happening in the reshoots in the comments.

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via BleedingCool

Plans For The CW’s Flash Are Changing – He’s Getting His Own Pilot Instead Of Arrow Episode

The Flash

While Barry Allen will still be introduced in the upcoming eight and ninth episodes of Arrow season two, his full-on Flash-suited debut won’t now happen in episode twenty but in a standalone pilot.

“Standalone” is Deadline’s choice of word. They don’t mean that the links with Arrow will be severed – the CW and their showrunners are keeping the two series as sharing the same universe – but that the pilot won’t be an Arrow episode but the first Flash episode proper.

This seems to be a result of episodes eight and nine working very well. We’ll see for ourselves in just a couple of weeks.

I guess we’re to assume that this pilot, unless it’s a washout, will herald the beginnings of a Flash series come next Autumn.

Now back to wondering about Nightwing coming into the show too. Or… you don’t think CW could be planning a series for him too, do you? The trademarks are in place…

…nah. Those registrations were almost certainly made in preparation for Zack Snyder’s new Superman-Batman movie; that’s the reason why we’ll be getting Nightwing lunchboxes, pyjamas and ice skates, not a spin-off show on a minority channel.

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1X06 – The Trask At Hand
Air Date: 11/15/2013
The X-Men are tasked with protecting Sentinel and Nimrod when Mystique makes herself known. Bobby and Kitty go to a local meeting of a group with ties to the mysterious Colonel Trask.
Rated TV-14 for intense action/violence.

Apologies for this one being a day late, please see my previous post for explanation why.

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