thor the dark world posterThe long/short review: an enjoyable romp with very little substance.

One can definitely tell the change in director between these films as in the first Thor there was a Shakespeare undertone, dry humor and smirking wit along with some masterful turns at character development and story telling. Thor 2 is put together more like an action flick where it’s all about the explosions and one-liners.

Do I like action flicks all about explosions and one-liners? Yes, I enjoyed Avengers, didn’t I. But that was the purpose of that film, to bring together characters who were already individually explored and see them work together. In Avengers, character development, save a few key scenes, is pretty much left to be explored in their individual movies where a more direct focus would serve the characters better. We see this in Iron Man 3 where not only does Tony get his own villain but he battles his personal demons and fears as well. That’s what Thor 2 should have been about, continuing to grow Thor as a character through an actual plot arc rather than the typical action style of laying it all down at the end for a quick wrap up.

This really is an example of how bad it can be to ‘just give the audience more of what they want’ rather than ‘making a movie that their audience will love’.

Here is my breakdown, spoilers ahead.

Thor – I always thought that he got the shorter end of the stick in the first film when it came to character development. His motivations were just a bit more petty and his sudden shift to not being such a douche was too quick and unearned. There isn’t so much of a problem like that in Thor 2 because there is no character development, at all. From the beginning he’s just this guy who is trying to be a good son while pining over the woman he loves. At the end of the film, he’s still trying to be the good son while pining over a woman. The only thing that changes is that he has the guts to tell his dad that he doesn’t want to be king and instead continue to hit things with hammers and love a Midgardian. While the argument can be made that this is indeed character development in that he chooses to accept that he doesn’t want to be king, etc, it feels very lazy and simple. After losing his mother and brother, there isn’t any true thought to how this personally effected him or his decisions. As stated before, there is a quick wrap up at the end to say ‘yep, I haven’t changed, this is what I want to do’ and that’s it.

Jane – I didn’t care much for her in the first film because I thought Portman, who is a great actress, just kinda walked through the role and there was no chemistry between her and Hemsworth. As a character though, she was pretty cool. She was this super smart scientist who was trying to awesome things because she was a scientist trying to do awesome things. In Thor 2, she’s reduced to a woman who has apparently been moping around because Thor never called her back. Sure, she was doing sciencey things, but not because “hey, science!” but because she was looking for Thor. Then when Thor snubbed her, she stopped with the science. Huh? I’m sure it hurt to see him come to Earth in Avengers and not bother to call her or even drop a note, but why the hell did she decide to stop doing science because of this? She was a scientist before Thor, she can continue to be a scientist now. Hell, if she was that mad that he never called her, why isn’t she trying harder to find a way to Asgard just so she can slap him? But nope, her entire reason for doing anything worthwhile in life (or I would assume seeing how dedicated she was in the first film) ceased to be because Thor never called her back. Even at the end of the film, she’s moping because he hasn’t come back in two days. And for a lot of the film, she’s just standing there doing nothing because the focus is on Thor/Loki (which I’ll get to in a minute) and she’s almost forgotten about in many scenes. She does have a few moments of her being a freaking scientist and thinking as such, but it’s all framed by the fact that she now exists solely as a love interest to Thor. (But at least we were spared any horrible cat-fighting between her and Sif.)

Loki – He stole the show in the first movie where he got some perfected paced and designed character development,  and in Thor 2, pretty much every awesome moment can be attributed to him. He was much more jokey in this film, spilling out one-liners like the class clown who is hiding just how sad he is in. He also had a stronger reaction to Frigga’s death. It puts him in a lot of pain, pain he even tries to hide from Thor through illusions. But, much like Thor, there is no development. Loki is stuck, he’s played his hand as the ‘would be king’ who is rightly pissed about his parentage issue… and he continues to do so because he believes he needs to save face. Then he fakes his death (which, let’s be honest, we all saw coming) and somehow takes Odin’s place (which, okay, that was an awesome twist). There is no development, he’s still the same person he was at the beginning of the film, just in a different place. Throughout the film, though it is very hilarious, he’s just there to crack one-liners and play off Thor. It’s the few moments he’s not doing this that he truly saves this film.

Thor/Loki – The Thor/Loki dynamic is an interesting one and there are a lot of fans both of this as a non-romantic pairing and as a romantic pairing. Loki is also a fan favorite with a movement to get him his own movie. This is where the ‘giving fans more of what they want’ turns sour because this film is pretty much just two hours of Loki and Thor banter, sometimes serious, often for laughs. You know that moment in Avengers where Thor says “listen well brother,” gets knocked down by Iron Man, and Loki goes “I’m listening”… yeah, imagine that for two hours. While yes, it’s really funny and I laughed a lot, I did often find myself going “where is Jane?” or “what about the Elves?” Literally, Jane disappears from view for a good ten minutes at two different times just so that Thor and Loki can banter with each other. It’s not like she’s not around, she’s literally in the same ten square feet radius, but is removed from frame and nearly forgotten about. As much as the Thor/Loki stuff can be fun or even emotionally dramatic, here is was played not like Shakespeare, but like Michael Bay.

Frigga – What the heck? Thor takes repeated poundings from the Hulk. Loki gets stabbed in the chest (maybe, sorta, not sure where the illusion started there). But Frigga gets a dagger in her and dies almost instantly? Gah! I know she was going to die but did they have to make it so easy? Esp after she put the smack down on the Dark Elf? This part pissed me off the most… but mostly cause Frigga is awesome and played by an underrated but also awesome actress. I really hope a future movie is Loki going to Valhalla to get her back… I really do… I any case, she was both soft mother and badass warrior and all in a very small space of time. Writers, take note.

Odin – Worst. Father. Ever. But what else is new? The fact that he was actually being reasonable there at the end should have been our first clue that he wasn’t actually himself.

Darcy – Almost makes up for Jane. She’s sassy, knows her level of intelligence in comparison to Jane, and where she falls in the hierarchy of the film, and she owns it.

Erik – The only character that truly seemed to have any kind of real development from the Avengers film. Basically, after what Loki did to him, and with him being just a person and not a trained S.H.I.E.L.D. agent, he’s pretty much off his rocker. This is totally legit and I applaud that they actually went there and showed that everything is not all happy smiles after events like what happened in Avengers.

Malekith – Our villain of the weekmovie. Eccelston is a great actor but he, like many others in this film, has little to work with. Again, he’s just a device to allow for the Thor/Loki banter.

Overall – It was a fun romp of a film but it was more of a filler episode than a film in its own right. I laughed, I smiled, I got pissed at a character death, but in the end I felt like I hadn’t actually gained anything from the experience regarding the characters. I’ve heard that a good 20-ish minutes where cut and that truely could have made all the difference in giving us more of the depth we needed rather than the silly one-liners.

In conclusion: Was it enjoyable? Yes. Was it disappointing? Yes

Funny how that works out sometimes.

For those of you don’t know, NaNoWriMo is awesome. It’s a personal challenge to write 50,000 words in one month. It’s a great motivator and so much fun! Check out their website at nanowrimo.org.

Personally… I am sssoooooooooooo behind. But that’s okay, I still have plenty of time to catch up.

I’m taking this weekend off from XMTFFS to give myself some time to work on it. The Series will be back next Friday with a brand new episode: 1X06 The Trask at Hand. I’ll see you then!

via Newsarama

If you’re a comics fan with a television, you’ve been having a pretty good year. Television has long been a home for comic book heroes, from early shows like Adventures of Superman on to more recent successes like Smallville, but 2013 has been a bumper crop of new programming running the gamut from zombie drama with AMC’s The Walking Dead, street-level superheroics with WB’s Arrow and ABC’s spy-shop procedural Agents of S.H.I.E.L.D.

And 2014 looks to be even better. You might want to add some space to your DVR’s storage capacity, as DC has four television series in development (Hourman, Flash, Constantine and Gotham), and Marvel has one upped them with four unnamed shows as well as a miniseries in the works. That’s all in addition to the aforementioned Arrow, Agents of S.H.I.E.L.D. and The Walking Dead. And that’s not counting AMC and Robert Kirkman’s partnership to develop his comic series Thief of Thieves and Outcast, and everyone else working outside the Big Two.

So as we enter what looks to be a golden age for comics on TV, we’re taking stock of what’s already made its way to the small screen. There’s a lot of ground to cover and it’s more than just superheroes, so we’re narrowing our focus to American television programs.

We’re holding off on including Agents of S.H.I.E.L.D. just yet – it’s not Level 7 security, it’s just that they haven’t even completed their first season yet; Nick Fury wouldn’t want us to be trigger happy.

 

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10. WONDER WOMAN
Although some joke about the show’s costume changes and formulaic nature, this primetime series starring Lynda Carter in the title role made a definite impact. Over four years and a mild reboot at the end of season one, the Wonder Woman TV series cemented the character’s place as the most popular female comic book hero and, in some ways, a feminist icon.The Carter Wonder Woman series was preceded by two earlier attempts to make the character work on the small screen. First came a ’60s era comedy in the vein of the Adam West Batman series, followed by an early ’70s attempt that downplayed the superhuman abilities in favor of spy gadgets akin to James Bond. It wasn’t until a third pilot, one more faithful to the source material, that a full-length TV series was commissioned, and found success at ABC and later CBS.

Lynda Carter’s portrayal of Wonder Woman proved so popular that it defined the actor going forward, leading Carter to reprise the role in everything from The Muppet Show to a reference in the film Sky High. In a way, Carter’s portrayal of Diana Prince casts a shadow on the character not unlike Christopher Reeve’s Superman or the more recent star turn of Robert Downey Jr.’s Iron Man.

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09. DENNIS THE MENACE
Although it’s the sole entry on this list that originated from comic strips, not books though the character has certainly appeared in a considerable amount of comic books over the decades Dennis The Menace made a big impact when it debuted on the small screen in the late ’50s. This story of a precocious kid that cuts a “menacing” but lovable path through his neighborhood became an instant hit when adapted to black-and-white live-action.Child actor Jay North excelled in this star-making role, and under the guidance of TV impresario Harry Ackerman it became one of the highest ranking series on CBS at the time. The series ran for four years and was only canceled because North was growing out of the young role literally and the network didn’t want to recast the part.

Later generations discovered the show through frequent reruns in the dawn of cable television, and the popularity of the series both on screen and in newspapers led to several other adaptations in films and television, though they never matched up to the original show’s early success.

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08. THE ADVENTURES OF SUPERMAN
Superman has become one of the most filmed comic book characters of all time, but one of his earliest appearances the 1950s era Adventures of Superman continues to leap and bound over its counterparts.Despite its first two seasons being filmed in black and white, the George Reeves-led show brought a feature-budget feel to television and gave the mainstream public the best portrayal of DC’s flagship character it had seen at that point.

Looking back on the series now, it has a lot in common with Grant Morrison’s recent take on the character in Action Comics gone are the cartoonish array of supervillains like Brainiac, in favor of the more classic villains like evil scientists, maligned businessmen, gangsters, thugs and spies. The closest thing to a superhuman you’ll see facing Superman in this is a midget Martian similar to Mr. Mxyzptlk named “Mr. Zero.”

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07. THE FLASH
Although it only ran for one season, 1990’s The Flash stands out to this day as a major accomplishment in the world of live-action superheroes on the small screen. Developed for TV by the future screenwriters of The Rocketeer, the series showed a modernized Flash with soap actor John Wesley Shipp playing Barry Allen.Influenced by Tim Burton’s Batman movie released one year earlier, the short-lived The Flash had a darker tone than one might expect, but it became catnip for devoted comics fans at the time. The television series was cut short due to the high costs of filming a live-action superhero series and had stiff competition in its time slot from then-new series The Simpsons and The Cosby Show.

One long-term positive that the series did was the introduction of Star Wars star Mark Hamill to DC’s roster of characters. Hamill made his DC debut as The Trickster on The Flash series, and went on to become the definitive voice for the Joker in DC’s animated works and video games for two decades.

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06. THE MIDDLEMAN
The Middleman is the most unknown of our entries, but that doesn’t mean it wasn’t great. The short-lived ABC Family show took the indie comic series and made one of the truest comic book to small-screen adaptations thanks in part to series co-creator/writer Javier Grillo-Marxuach (Lost,Medium) being an accomplished television writer/producer that stayed on to helm the show.It received high marks from TV Guide and other industry magazines, but Variety‘s review of the pilot gave what would become fateful praise by calling it “almost too smart” for the network.

Borrowing some of its tongue-in-cheek tone from earlier genre success story Buffy the Vampire SlayerThe Middleman featured guns, spy action and witty banter on par with modern critical darlings like 30 Rock and Community. Ultimately the show was done in after one 2008 season by the oversized budget compared to its audience, especially among ABC Family’s comedies and low-budget high school dramedies.

DC October 2013 solicitations - Beyond New 52
05. ARROW
They may have made some missteps with the scripting of the Green Lantern movie, but writing duo Greg Berlanti and Marc Guggenheim (along with Andrew Kreisberg) have been making up for it (and then some) with the WB series Arrow. They’ve taken DC’s archer hero the Green Arrow and made him a man with a purpose – and a bow & arrow – in the streets of Starling City. Season One exceeded everyone’s expectations, and so far Season 2 has continued on that upward trajectory.Between Arrow, Deathstroke and Paul Blackthorne’s great portrayal of Quentin Lance, the series has been jumping from high point to high point. With the recent reveal of the Canary (Black Canary, for you comics fans) and Sin, it’s opened to door to even greater stories. And the rest of the season promises some more debuts (cough BARRY FREAKING ALLEN cough) as well as more surprises, giving fans and some Newsarama staffers something to look forward to every week.

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04. BATMAN
If there’s one show that defined comics for the mainstream public, then the ’60s-era Batman series starring Adam West is it. This campy send-up of DC’s Dark Knight was anything but dark, but for its time period it worked, becoming an unprecedented success. Despite only being on air for two years, it was a massive hit, airing twice a week on ABC and producing more than 100 episodes.Far removed from the dark crusader we’ve seen in movies, Adam West’s Batman was a more jovial and lighthearted adventurer, starring alongside guest stars hamming it up for the camera. The series became so popular that it gave some of its stars short-lived careers in music, with West even recording a country song that he performed in costume at some live appearances.

The series was ultimately cut short when ABC attempted to slash the budget by eliminating a number of characters including Robin, bringing a close to the series. It’s also one of the most prominent television series never to be officially released on VHS or DVD due to complicated rights issues, with bootleg copies of the show becoming mainstays at comic conventions large and small.

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03. THE INCREDIBLE HULK
Although DC has proved more successful in adapting its characters to live-action TV in sheer number, Marvel’s late ’70s The Incredible Hulk showed just how different a superhero show could be. The long-running series saw TV veteran Bill Bixby sharing screen time with bodybuilder Lou Ferrigno as they played Bruce Banner and alter-ego the Hulk, turning them both into massive stars on the small screen. Although created 15 years before, it was this seminal series that brought Marvel’s Green Goliath into the minds of the mainstream public and went on to influence the comic books for years to come.The journeyman nature of the show allowed for an ever-rotating cast of guest stars to play opposite Bixby and Ferrigno, including cameo appearances by the character’s creators, Stan Lee and Jack Kirby, at one point. The series ultimately ended in 1981, but found new life with a series of made for TV movies that continued for several years before Bixby’s death in 1993.

The Incredible Hulk show became an integral part of the Hulk mythos, influencing the character’s comic series to varying degrees over the years. The 2008 film The Incredible Hulk was heavily influenced by the TV series, with lead actor Edward Norton basing much of his performance on Bixby’s original portrayal.

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02. SMALLVILLE
The only entry in our list not specifically tied to one comics title, the long-running Smallville series borrowed liberally from the entire breadth of the Superman and DCU catalog to become the hit it is today.Over the course of 10 years and two networks, the show covered the early years of the man who would one day become Superman in a bare bones approach. As the series went on, it became a showcase of the diversity of the DCU with guest stars ranging from future Justice League members to the time-traveling Legion of Super-Heroes.

On its debut in 2001, Smallville became the highest rated show in the WB’s history and landed on the cover of TV Guide. The endorsement by former Superman Christopher Reeve (who guest starred on the series) gave the then-budding show a burst of enthusiasm amongst hardcore comics fans, paving the way for the show and its unique dynamic of Clark Kent and Lex Luthor being childhood friends who are slowly torn apart.

As the series went on it explored the early life of Superman in more detail than any of its comic adventures, leading Geoff Johns to fold in some of the show’s elements in his later revision of Superman’s origin in the comic series Superman: Secret Origin.

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01. THE WALKING DEAD
AMC’s The Walking Dead has gone from being a pleasant surprise to a sure thing if you’re looking for riveting television. Robert Kirkman’s zombie drama became a cult hit in comics and bucked sales trends with ever-increasing sales, and once cable channel AMC put its adaptation on screen seven years later starting on Halloween 2010, the whole world got to see just how big the zombie phenomenon could be. And it only looks to getting bigger, with the recently debuted fourth season earning over 16 million viewers – over three times it’s series premiere in 2010, up nearly 5 million from its season 3 premiere just a year ago.Despite some shaky staffing issues behind-the-scenes, The Walking Dead has had a steady upward climb with no signs of stopping under new showrunner Scott M. Gimple. They’ve already announced a season 5 for 2014 (with Gimple signed on for another year, too), and have a wealth of stories to draw from in the comic series or if the series decides to take its own path into the zombie apocalypse. 2014 should also see a spin-of series debut, with Kirkman teasing a whole new location in the world of The Walking Dead. One more thing: Man of Steel screenwriter and defacto DC Movies’ head writer David S. Goyer is coming to direct the penultimate episode – the shows fiftieth – early next year.

Although previous zombie films were often pigeon-holed as simply genre material, the critical acclaim for the Frank Darabont-led show went all the way to The Wall Street Journal and Salon.com.

Based on the long-running Image series of the same name, the Walking Dead television adaptation was further strengthened by the feature-quality direction of Darabont combined with the expert hand of producer Gale Ann Hurd (TerminatorArmageddon). The show got on the good side of hardcore fans by the inclusion of Kirkman and series artist Charlie Adlard in the production, with Kirkman going so far as to write several episodes of the show and serve as a very hands-on executive producer.

There is little about this show that hasn’t gone right, making it the hands-down best comic book live-action TV series of all-time.

Marvel logoDisney’s Marvel and Netflix Join Forces to Develop Historic Four Series Epic plus a Mini-Series Event Based on Renowned Marvel Characters

Landmark Deal Brings Marvel’s Flawed Heroes of Hell’s Kitchen, led by “Daredevil,” to the World’s Leading Internet TV Network in 2015
 

Burbank, Calif. – Nov 7, 2013—The Walt Disney Co. (NYSE: DIS) and Netflix Inc. (NASDAQ: NFLX) today announced an unprecedented deal for Marvel TV to bring multiple original series of live-action adventures of four of Marvel’s most popular characters exclusively to the world’s leading Internet TV Network beginning in 2015. This pioneering agreement calls for Marvel to develop four serialized programs leading to a mini-series programming event.

Led by a series focused on “Daredevil,” followed by “Jessica Jones,” “Iron Fist” and “Luke Cage,” the epic will unfold over multiple years of original programming, taking Netflix members deep into the gritty world of heroes and villains of Hell’s Kitchen, New York.  Netflix has committed to a minimum of four, thirteen episodes series and a culminating Marvel’s “The Defenders” mini-series event that reimagines a dream team of self-sacrificing, heroic characters.

Produced by Marvel Television in association with ABC Television Studios, this groundbreaking deal is Marvel’s most ambitious foray yet into live-action TV storytelling.

“This deal is unparalleled in its scope and size, and reinforces our commitment to deliver Marvel’s brand, content and characters across all platforms of storytelling. Netflix offers an incredible platform for the kind of rich storytelling that is Marvel’s specialty,” said Alan Fine, President of Marvel Entertainment. “This serialized epic expands the narrative possibilities of on-demand television and gives fans the flexibility to immerse themselves how and when they want in what’s sure to be a thrilling and engaging adventure.”
“Marvel’s movies, such as ‘Iron Man’ and ‘Marvel’s The Avengers,’ are huge favorites on our service around the world. Like Disney, Marvel is a known and loved brand that travels,” said Netflix Chief Content Officer Ted Sarandos. “With ‘House of Cards’ and our other original series, we have pioneered new approaches to storytelling and to global distribution and we’re thrilled to be working with Disney and Marvel to take our brand of television to new levels with a creative project of this magnitude.”

This new original TV deal follows last year’s landmark movie distribution deal through which, beginning with 2016 theatrically released feature films, Netflix will be the exclusive U.S. subscription television service for first-run, live-action and animated movies from the Walt Disney Studios, including titles from Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Disneynature and Lucasfilm.  Netflix members can currently enjoy a wide range of Disney, ABC TV and Disney Channel films and shows across the 41 countries where Netflix operates.

About The Walt Disney Company

The Walt Disney Company, together with its subsidiaries and affiliates, is a leading diversified international entertainment and media enterprise with five business segments: media networks, parks and resorts, studio entertainment, consumer products and interactive media. Disney is a Dow 30 company and had annual revenues of $42.3 billion in its Fiscal Year 2012.

About Netflix

Netflix is the world’s leading Internet television network with over 40 million members in more than 40 countries enjoying more than one billion hours of TV shows and movies per month, including original series. For one low monthly price, Netflix members can watch as much as they want, anytime, anywhere, on nearly any Internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

Agents of S.H.I.E.L.D. - Fitz SimmonsWith this latest episode, AOS takes great strides towards getting there.

One of the banes of the last five episodes is that they where pretty much about Skye and we got no character development from the rest of the group. In FZZT we get some much needed time with Fitz and Simmons, the resident geeks. We learn more about their back story and their strange relationship. There is a lot of love there, and you almost want to ship them as a couple, but they play very well as siblings. I’m honestly not sure if ‘sibling’ was supposed to be the vibe or if they are just that clueless about each other. They definitely have more chemistry than Ward and Skye.

There were some problems with the episode and a lot of that had to do with the speechifying. Ward is especially bad at just stating his emotions/thoughts rather than showing us. Also, as powerful as the scene was with Coulson comforting the dying man, I felt that there was too much inaction. Usually in shows/comics like this, there is more “we have to do something” and less “so yeah, let’s just stand out of the blast zone”. It’s like no one cared that this man was going to die other than “we should comfort him” when they should have been “hey, maybe we should try to save him”.

Then there was the jarring  cut scene between Ward’s rescue and Coulson’s rant. On a technical spectrum, it wasn’t the best put together episode and I have a feeling a lot was cut.

But what FZZT did right, it did exceptionally well. Once I got past the ‘why isn’t anyone doing anything’ when Coulson spoke to the dying man, it was a fairly powerful moment. Coulson died, he knows something isn’t right about that, and it’s slowly eating at him. The show is seriously trolling us, but so far it hasn’t reached LOST level trolling. It’s still the delicious level of trolling. Then we have Coulson’s discussion with May at the end… there is a lot of pain there, and you can feel it.

Also, in contrast to what I said earlier, I loved the level of inaction in this episode when it came to the team dynamics. Most often in these situations, the non-scientist gets sick and the scientist has to save them, this way everyone is doing something. The non-scientist is ‘being sick’ while the scientist goes around solving the problem. But here, the scientist is the one who is sick and is trying to find the cure. All anyone else can do is literally stand around. It’s a painful situation to be in (and Ward got a little speechy about that) but it was extremely accurate. You can identify with the team moreso here than at any other time I would wager.

And the moment Coulson realizes that Simmons is infected, your heart literally sinks.

This is the kind of emotional jockeying that we’ve been expecting and it paid out in spades here. Let’s hope that Skye’s plot line has been shelves for now and move on to some of these more juicier bits.

It’s very typical of television shows to take a week or two off, usually because either of a holiday or special event preempted them. Well, this weekend I will be at a steampunk convention and next weekend is Thor: The Dark World… not to mention NaNoWriMo starts today! So I thought this would be a good time to take off for a bit, let people catch up, and give me some time to work on future episodes.

I won’t leave you with nothing though, here is a sneak peak at the upcoming episode 1X06 – The Trask at Hand

“Call up your X-Men friends,” Val gave him a conspiratorial smile, “odds are they’re going to stick their noses into this anyway, Sentinel is too dangerous to them not to get involved.”

“They gave Nimrod back,” Fred pointed out.

“After they broke it,” she returned wryly.

“To keep Magneto from getting it,” he frowned.

“So they say,” she wasn’t entirely convinced, “but regardless, I want them where I can see them,” she crossed her arms and left no room to debate, “if they want to ‘be the better person’, then they can prove it.”

Fred considered her for a second, then he gave her a scoffing laugh, “And it’s a move the Acolytes won’t see coming, us actually working together.”

“Got it in one,” she grinned, then gestured to his phone that was lying out on the desk. “Trask wants the Council’s help in moving Sentinel. We move it in two days, Thursday to be exact,” she almost laughed, “I know it’s a school day but they better be ready.”

“They’re not stupid,” he wanted to shake his head at her, “even if I don’t tell them, they’ll know there’s nothing altruistic about this, that you’re using them.”

“I’m not trying to hide it,” she shrugged, then sighed, “I know, they claim to be the good guys, but they’re just as much capable as the Brotherhood of doing untold damage if left unchecked. Now, I’ve seen our government give weapons to the ‘good guys’ to fight other ‘bad guys’,” she exaggerated the words, “then only a decade or so down the line find those weapons turned back on us. I’m not making that mistake here, especially since mutants are weapons.”

“They’re not weapons,” Fred said sternly, sitting up straight in his chair to look her dead in the eye, “they’re people.”

“So is a suicide bomber,” she replied coldly, leaning forward, “only when a mutant blows up, odds are it can walk away and do it again.”

Arrow - Season 2aka the “how many tropes can we cross off our list” episode…

Laurel, whose father is a recovering alcoholic, is turning into one herself over the death of her boyfriend and of course won’t listen to anyone.

Surprise, Sarah is alive but won’t tell her family cause ‘things’ and she is having something of the same existential crisis as Oliver did so of course he has to mentor her.

Felicity isn’t even dating Oliver but seems to feel the need to be jealous at everything because her character is being reduced to a love interest.

Oliver saves the life of the man he’s at odds at making them friendly.

Said man being the good guy who wants to help the people but, surprise, is actually the bad guy, go figure.

Oliver does surgery on himself to remove a bullet and despite having no medical training manages not to cause massive internal bleeding or rupture a vital organ.

But hey, “the Mayor” having his “city hall” in the strip club… now that is classy.

On the heels of the release of fellow comic book movie, Thor: The Dark World, FOX has released its first trailer for X-Men: Days of Future Past… or as it’s already been called, Wolverine III… though technically it would be Wolverine VI.

Long ago when it was announced that Hugh Jackman would be joining an all-star cast of mutants, old and young, I said that this meant he would be the time traveler. Partly because it didn’t make sense to send Kitty since she wasn’t even born yet (unless they did a physical time travel) but mostly because Singer has the man crush on Wolverine and all movies except First Class have been “Woverine… And These Other Guys”. I was right, Logan, as confirmed in the trailer (though it was sorta confirmed earlier), will be the time traveler… and this trailer wants to make sure you know that.

Half of the trailer is basically telling everyone what’s going down. The future is pretty crappy and we’re going to send someone back in time to try to stop a war before it happens. Since Logan is the traveler it makes sense that he would have a pretty big roll in showing that in the trailer… only underscoring the fact that this movie is likely going to have a healthy dose of Wolvie. That’s pretty much all the plot we get although we can read between the frames for other stuff.

The rest of the trailer is bits and pieces of the film cut in a generic non-linear fashion to try to give us the sweeping scope of the film. Here is what I see, and warning, speculative spoilers ahead:

  • The temple looks Mediterranean due to the papyrus motif on the pillars. Could this have something to do with En Sabah Nur aka Apocalypse? Possibly, it was first speculated he might be involved when Blink, a descendant of Apocalypse, was revealed to be in the movie. However, Storm seems to be standing on a high cliff with snow capped mountains in the not-so-distance, so I’m not sure where exactly they’re supposed to be.
  • We get a scene of Kitty and Iceman just staring at each other in what looks to be the Amazing Technicolor Backdrop. Seriously, pause the trailer and look at the background, it looks like the 70’s threw up in the ancient temple. Anyway, this scene likely takes place right before Kitty sends Logan back. So this is probably a “I may never see you again cause I might die” stare-down.

    dofp_kitty_iceman_rogue

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  • Immediately we go into a flash of Rogue which tells us nothing about what’s going on with her, even the background is blank, though it’s possible she’s looking down on the above mentioned Kitty/Iceman stuff because of the common orange hue (but it’s kinda a requirement that post-apocalyptic stuff has to have an orange hue so she could be anywhere). Just the fact that they chose to cut these scenes together means we’ll be subjected to more of this tiresome love triangle. (All I want is for Rogue to be found in New Orleans, I can fill in the blanks.)
  • Then there’s some flashes of the school and Xavier before we get a shot of Magneto and Iceman standing in a blue-lit grimy hallway. These are usual a maintenance hallway of some sort. It’s not Cerebro’s hallway as one of the walls is just brick plus there is too much stuff hanging from the ceiling. It’s also not the temple because of the new stuff. I’m guessing Magneto is getting something and Bobby is babysitting. Rogue could be there with them, see comment below, or she could be who they are after.
  • Now we get the obligatory line-up showing us all the new mutants. Bishop is first, no qualms there, but we don’t get to see anything more than him just standing there looking like a bad-a. I’m not sure who the second guy is, Colossus maybe? Warpath is up next and I’m not digging the outfit (it’s the shoulder pads, why are they back in style?). Then Blink who I don’t know a lot about but she looks cool.
    dofp_temple

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  • We get better looks at this temple which seems to be a plethora of motifs just threw up on each other. It’s a little Asian, Indian (as in India), as well as Middle Eastern. Are they in the Himalayas? I’m so confused… esp as there seems to be a lot of blocky colored glass insets which is probably what is creating the technicolor backdrop mentioned above. Non of this makes sense from an architectural standpoint. Nobody built like this! But obviously this is where the magic of time travel will happen so… yeah… can we use “it was the 70s” as an excuse since that is when they are time travelling to?
  • Notice how they put from “the Director of The Unusual Suspects and X-Men” in that order? Like… what are you trying to say here?
  • Now we get to the past and see glimpses of Xavier and Erik as they talk about how they were different back then, trying to be existential in the moment. They both basically admit that they were kinda douches when they were young… hey, who wasn’t?
  • Mystique is seen crying, over what, we don’t know (Kurt maybe? Nah, the filmmakers aren’t that awesome). She also later doesn’t seem to be all that interested in Magneto saving her as she looks to be struggling against him when he’s dragging her towards him. Trouble in paradise… which totally doesn’t track with the X-Men movies but who knows…
  • Quick shots of Kitty (presumably from the rings on her hands) doing the mind bend on Logan to travel him back. The temple is attacked, stuff blowing up. There is havok at the Paris Peace Accords, thanks to Magneto.
  • The President is being hidden in a bunker, I guess they think something major is going to go down. Trask is with him, so likely going to see some Sentinel bashing. This could be promising.
  • Logan is being shot by some red shirts, just some guys who thought they could kill him for either money, revenge, what have you. By the non-streak in his hair, I wonder if this is when Logan pops back into his old body. Talk about a wake-up call.
  • Xavier breaks Cerebro, could this be why he needs Erik’s help?
  • Beast is not looking Beastly, so I’m guessing he developed the image inducer, or some kind of “i’m always angry” Hulk way to keep his beast side at bay?
  • A white room with a glass ceiling breaks over someone, I believe Magneto since stills show him in a prison jumpsuit of the same color later on. Who exactly breaks him out, and why? Was he caught at the Paris Peace Accords but now the X-Men have to break him out so he can help them? A least we know it’s not Quicksilver, cause hey silvered up his hair according to Evan Peters and this guy was definitely a brunette.

    dofp_rogue_iceman_magneto

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  • Back to that blue hallway from before, definitely some kind of maintenance shaft, and now Iceman is dragging along a hurt Rogue. She’s not wearing a uniform like everyone else, so is she no longer part of the X-Men? What is the story here? And will it fix Rogue’s horrible mis-characterization in X3? Probably not…
  • More random shots of violence at the Paris Peace Accords. Beast takes on Magneto and tries to drown him. Makes me think this is how Magneto is imprisoned. It would be fun if it’s a “we caught Magneto, finally! oh wait, now we have to break him out, doh!”
  • young!Xavier shouting “I don’t want your suffering. I don’t’ want your future.” He does realize he’s in an X-Men movie, right?

What I don’t see…

  • Quicksilver, not even a hint at him existing let alone what kind of part he will play in the movie. However, it does look like they haven’t really shown us anything past the opening gambit of the film so there is plenty left he could be doing. Could this be why they need Erik, not cause of Cerebro but to get his son to help?
  • The Misty Knight look-alike, was that really Misty?
  • What exactly has happened to make the future so crappy. And what exactly do they have to do to fix it? There is little mission statement here other than “fix the future”… which is cool, I mean, we don’t want to be too spoiled… but still… maybe spoiled a little?

Overall, it’s a very neutral trailer. There isn’t a lot here we haven’t really already seen or guessed. There isn’t anything here that’s a game changer for the good or bad.

They could still do something really great with this… or really really really bad… and we now have seven months to think about that…

Arrow - Season 2Have the writers ever even read a detective novel? Or even watched an episode of Law & Order?

There are almost a dozen victims and two… TWO… use the same hand cream. “That can’t be a coincidence!” Really? That’s how you going to have him break the case, with a huge freaking leap in logic instead of actual detective work which may lead to discovering several of the women to have purchased said hand cream. Why do the writers continue to ignore basic logistics? Because yes, it can totally be a coincidence, especially when you haven’t looked at anything else yet and just pluck that out of the air.

And OMG Laurel, it’s not all about you, you freaking whiny diva. Your father nearly lost you cause of that crazy serial killer, he has this wonderful emotional moment, then Arrow comes in and saves the day, and all you can think about is yourself and your bloody guilt for being the biggest idiot by deciding that exiting a burning building was more of a guideline than a legitimate strategy. I guess they were trying to go with a ‘near death life changing experience’ for her but it played out horribly.

Though, that said, this is one of the better episodes because, amazingly enough, Oliver didn’t have the lead in it. It was mostly about Dresden and the serial killer, and also Harper and Black Canary (or whoever that is).

I amend my earlier statement, can this show be about Diggle, Fecility, and Dresden (Officer Lance, whoever, he will always be Dresden to me).

Seriously, there was more emotion and real gravitas in this episode with Dresden than seen all through last season with Olivier. Paul Blackthorne is an under-appreciated actor and really sold this episode. When he was there thinking he was going to watch his daughter die, the man freaking brought it and you felt for him… moreso than any of the blank-slate or overly whiny/angsty stuff seen by the rest of the cast.

Then whiny Laurel had to ruin it.

But hey, Doc Fraiser, always good to see her.

On my latest post on FanFiction.net, I got asked this question:

When you transfer it from your blog to here, do you do any kind of editting or is it just copy and paste?

That’s a good question.

The way I write the series is that season one has a folder for every episode, and inside that folder is six word docs as I write each act in its own document. I do this because it’s easier for me to visualize each act as its own separate section with ‘commercial breaks’ in-between.  It’s also easier to move sections around if I decide to put a particular scene earlier or later in the story.

Then when I go to make the pages here on my blog, I copy/paste everything after I have done one last edit. Then I create a new word file and that becomes the world doc for use on FF.net. I copy everything over to the one document and upload that to FF.net to be posted as the next chapter/episode.

Long story short, no, I don’t do any editing between them, at least nothing significant. If I do catch the odd misspelled word (cause I know I don’t catch them all as hard as I try) then I will go back and edit it on the blog, but nothing of significance is changed. If I did decide to change something significant, I would edit on both sites and post on my blog to that effect. So far though, I haven’t had to do that.

Anyway, this was probably more than you wanted to know, but I wanted to share.