Fanboys Anonymous

Welcome to early '90s music! Thus begins a four-part series in which I will display selected musical and cultural aspects of the last decade of the twentieth century, all orbiting around a three-piece band from Seattle. As we near Nirvana's induction into the Rock and Roll Hall of Fame and a two-decade mark since the coming and going of grunge, there are important things to remember about this cultural phenomenon that came and went so fast that you had to have lived it to have noticed it at all. Who listened to the radio back then? It was quite unique.

Nirvana in Sound City studios for the recording of Nevermind

It's easy to overlook the specifics of what creates a sound for a certain generation or period in modern music history. Although one aspect is usually enough to speak for several years' span, a varied collection of circumstances and artists have made each decade sound distinct from another since recording first began. The '50s had rock 'n' roll; the '60s had its wall of sound; the '70s had raw, hard rock, disco, and funk moments; the '80s saw the advancement of electronic music and effects flood the mainstream; and the '90s—well, what did the '90s do?

REM's Losing My Religion video: perhaps the first genuinely 90's song

There are two separate halves to the 1990s. I want to speak of the first five years, 1990–1995 specifically. To make things even more accurate, I want to speak of Nirvana's influence. I won't go into the absolute cultural aspects of the grunge persuasion in that period; I'll save that for an upcoming article. Instead, I will focus solely on the music and sound.

Producer Butch Vig

One glance at the charts in the late '80s and early '90s would show that the vast majority of songs on the radio were love ballads, R&B, and the occasional odd song by rock or electronic bands. The sound was usually the reverb-heavy vocals, snare, and piano or guitar solos. Because the music industry is what it is, one-hit wonders of the time made sure to follow in the footsteps of what was "it" at the moment. Go ahead and check the songs that topped the radio in that period. Perhaps the most avant-garde is R.E.M.'s "Losing My Religion." The song was considered unconventional, and perhaps it displayed a taste of things to come for mass pop ear candy.

Nirvana's first album, Bleach, was a relative underground-debut success in 1989; it was only when they teamed up with producer Butch Vig in 1990 that they truly shaped the sound of that decade. The fortunate combination of pop-savvy songs with punk angst and a producer who put it all together into one hell of a treat brought us the 1991 album Nevermind.

The first single, "Smells Like Teen Spirit," was released on September 10th, 1991, and things began to change drastically. The success of the song was so great that all other things related to the band began to enter mainstream media popularity, including the way they dressed. The lyrics were cryptic and open to interpretation, and the band dismissed the idea of rock-star status despite standing in the spotlight. The album also revitalized the run-down studio Sound City in Van Nuys, CA, which went on to receive numerous bands who wanted to capture the feel and magic of Nevermind (this is showcased in the Dave Grohl-directed documentary Sound City).

Other Seattle-based bands also signed (through their own merit) with major labels and released milestone albums, thus creating the "grunge" era of 1992–1994. Each major band (Pearl Jam, Alice In Chains, Soundgarden) had at least one hit single in this period. Yet it was the sound of Nirvana's Nevermind that dictated what would be the next radio hit. The music industry, in that frame of time, achieved what I personally consider to be the greatest moments in the history of pop-rock music production.

Roxette's single from Crash! Boom! Bam! was a gutsy ode to hard pop-rock

Many artists entered a streak of fortunate songwriting and recording. Some were one-hit wonders, and others just happened to have a natural thick, distorted electric guitar sound that, with the right production, could carry the "pop-iness" of Nirvana and appeal to what the "suits" of the music industry considered the biggest cash-cow at the time. Looking at the radio charts from 1992 through to 1995, we see a decline of love ballads and an increase in alternative rock. The arrangements in the music became very clever and didn't demand a lot of pyrotechnics from shredders and virtuoso show-offs. Note that even though grunge was a thing of the past by 1995, many of the production values remained for a few more years until electronic manipulation of music began to take shape in the mid- to late '90s. That, however, is a different tale.

Returning to our main event, Nirvana always remained on top, including the release of their last studio album, In Utero, in 1993. The sound provided in that album was a lot more raw and punk than that of its predecessor, but it stood strong. The production was rebellious and anti-pop yet still refined, heavily contrasting other rock releases from just four years earlier and confirming the sound of the 1990s.

4 Non Blondes: typical 90s look, that phenomenal hit song, and curtains

Following the death of Nirvana's lead songwriter and singer/guitarist Kurt Cobain on April 5th, 1994 (a shady suicide that is still controversial), things took a while to switch over. Pop rock was still dominant in the charts but began to fade when boy bands, "gangsta" rap, and dominant male and female solo artists made their appearance in the mid- to late 90s. The negative side, in my opinion, was that the sound of pop music began to morph into a more heavily compressed and electronic pastiche than the come as you are (pun intended) aspect of the earlier years.

Guitar solo? Not today

Nirvana marked an era that found the most optimal sound for analog recording—not overcompressed or clipped yet big enough to catch the listener off guard. The most coherent mixes were heard in this time; even more experienced artists released albums that sounded far better than any they had ever released. Sting, Madonna, Aerosmith, The Pet Shop Boys, Tom Petty, Red Hot Chili Peppers, and many more produced singles or albums during this time that summarized the delicate balance of performance and coherence versus loudness and appeal on a record. This is a very obvious notch in music history.

Even after all this time, Nirvana is the band that I watched turn the music world on its head in more ways than just socially and sonically. It's the band that made the guitar cool using a different perspective and made questioning "the system" an outdated bore if that's what you wanted to feel. No strings attached.

If you lived the early '90s, tell me about your favorite music and the aspects surrounding it. Wasn't MTV the best thing to entertain us? Uh huh huh. Uh huh huh huh. I said anus.

Hey everyone, this is Stephen Wago back again giving you five MORE stupid things about the Pokémon anime show that weren't already covered in Tony Mango's first list. Much like Tony, I was hooked on anime during the initial craze; I fell in love with it and with the related video games as well. I remember it all so fondly—not knowing how to play the card game, yet having stacks of the cards. I truly loved Pokémon then, and I still do to this day.

I can't help but look back at the series I once loved with a passion and realize its faults. I'll give them credit where it is due—some of the newer episodes have been much better. That said, however, here is my list of the five stupid things about the TV show:

1. Dragonite's Height

Dragonite's height is 7'03" and he weighs about 463 lb, although not according to the first series in Pokémon. During an episode titled "Mystery at the Lighthouse," a huge Dragonite as tall as Bill's lighthouse emerged from the water. In a rage against Team Rocket, it rampaged at the trio before walking away as Bill cried out for it not to go. He really had a good reason to cry out: I mean, catching a Dragonite of that size would be a legendary feat. Not just that, imagine how easy it would have been to dominate Pokémon battles! It's one of the biggest blunders in the show and earns itself a spot here.

2. Nurse Joy and Officer Jenny

It has been a running gag that really makes no sense in Pokémon. In every town, village, and area of the Pokémon world, there are identical Nurse Joys and Officer Jennys. Perhaps this was a reference to the video game having the same sprites, or maybe it was just the sense of humor of the writing team. Either way, it's definitely one of the top five stupidest things in Pokémon. Either there are some damn powerful genes in both of these families, or there is a lot of cloning in the Pokémon world. So much for equal opportunity; if you're not a Jenny or a Joy, you don't get to be a cop or nurse.

3. Pokémon Using The Wrong Move

When I think of Pokémon using wrong moves, one incident always sticks out in my mind: Bulbasaur using whirlwind to blow away an attack. Apparently this was a botch on behalf of the 4Kids dubbing company, but even as a kid, I had a "WTF?" moment. This wouldn't be the only offender; if you go on to Bulbapedia there is an entire list of anime move errors ranging from Bulbasaur using dig all the way to Unown using psychic. Come on, Pokémon, you can do better.

4. Rice Balls Are Not Doughnuts!

It's become apparent that 4Kids (The worst dubbing company in the world!) hates anything Japanese being in Pokémon, so far as to blatantly (and without a single attempt to edit them) call the rice balls on screen "jelly filled doughnuts."

I wish that 4Kids' stupidity stopped there, but unfortunately that isn't the only time they are guilty of editing out something even remotely Japanese. God forbid the youth watching the show be exposed to a variety of cultures, right?

5. The Social Norm

I'm not sure what's more absurd: the fact that letting children wander the world unsupervised is sociably acceptable, or the fact that we're not following Gary Oak's story instead of Ash Ketchum's. In a world full of dangerous and destructive creatures like Pokémon, not only is it okay for kids to catch and raise them, but it's also okay for them to travel the country on their own while doing so! In the end this is anime, and we have to take it with a grain of salt.

Agree? Disagree? Let me know below.

If you enjoyed or even want to debate my thoughts on anime, then go over to Addicted to Anime on Facebook and join in the banter. Also check out the LIVE show on February 23rd as we review Full Metal Alchemist and Full Metal Alchemist Brotherhood, exclusive to Mega Powers Radio.

Be sure also to check out Unanimous Decision for all your MMA needs and the UDMMA podcast.

And y'know what… Like for Kittens… or you're a bad person.

Hello there readers, I'm back with another Top 5 list! (If you missed my previous post, click on this link.)

With another year filled with great games ending and a new one beginning, I think it's time to reflect on the games that I played and loved in 2013. Granted, we had some god-awful titles such as Gears of War Judgement (it just wasn't my cup of tea, as we Brits say), but we also had some amazing games such as Injustice. Just because your game doesn't make my list doesn't mean it's a bad game; I just either haven't played it yet or didn't like it. Remember, folks this is based entirely on my own humble opinion.

Let's begin!

#5. Injustice: Gods Among Us

What can I say about this game that hasn't already been said? The main story was amazing and gripping for the beat-'em-up genre. The Joker killing Lois Lane was awesome, and seeing Superman going batshit crazy was epic. The story alone is what put this game as my number five.

Russell Johnson, the man who played the Professor from the hit television show Gilligan's Island, died last Thursday morning, January 16th, 2013.

Russell Johnson playing the Professor in a scene from Gilligan's Island.

Johnson's agent reported his death to The Wrap, who announced that the actor "died at his home in Washington state of natural causes." According to Business Insider, Johnson died at the age of 89 and was the last surviving male from the cast of Gilligan's Island. Now, Dawn Wells and Tina Louise, who played Mary Ann and Ginger, are the only living members left from the cast.

Moreover, Johnson had been a pilot during World War II before he began acting. He even earned a Purple Heart when his B-25 bomber was hit by flak and he sustained physical injuries to both his ankles. Ten years later Johnson began acting, and his first roles were in television shows such as It Came From Outer Space, This Island Earth, Attack of the Crab Monsters, Black Saddle, and The Twilight Zone.

It was not until 1964 that Johnson took on the role that would make him famous. CBS first aired Gilligan's Island on televisions all over the United States of America on September 26th, 1964. Johnson played the character Roy Hinkley, who became widely known as the Professor. Fanboys and Fangirls who grew up in America during the 90s will know Gilligan's Island because reruns of the show were aired by Nickelodeon. If you all remember, Gilligan always made funny comments, and the Professor clarified them.

Based on Wikipedia's page about Gilligan's Island, the show ran for 98 episodes and aired for three seasons until it ended on September 4, 1967. Fans can read more about the show from the book Johnson wrote, which Business Insider describes thus:

"Johnson published his memoirs, Here on Gilligan's Isle, which offers fans behind-the-scenes anecdotes and answers the oft-asked question: how was the professor able to build a nuclear reactor and a car but never a boat?"

The cast of Gilligan's Island, with the Professor (Left) and Gilligan (right) sitting in the front side-by-side.

There are also many videos of Johnson available at Hollywood Reporter's website. In recognition of Johnson's work, The Wrap published this quote from TV Land president Larry Jones:

"We are deeply saddened to have learned of the passing of Russell Johnson, the beloved 'Professor.' We extend our deepest condolences to his family. Gilligan's Island is one of the most iconic television series in pop culture history. The news about Russell makes its return to TV Land on Monday all the more meaningful."

What are your favorite moments from Gilligan's Island? How do you feel about the passing of Russell Johnson and the memory he left behind?

Anyone who played the Xbox 360 right after the release of Borderlands in the fall of 2009 will understand my love/hate relationship with the Borderlands series. I loved the first game and expected to include it on all future lists of my favorite games of all time.

However, the unthinkable happened: a terrible ending that upset me so much that I quickly sold the game in frustration. How could this happen?

Let me explain the series a bit more in-depth.

Borderlands is an open-world RPG that is played in a first-person perspective. The graphics give off a bit of a cartoonish feel, which made me look at it differently than other games of this type. Its biggest selling point at the time was that you had a bajillion guns at your disposal throughout the game. Yes, this does seem a bit over the top; the actual number of guns is more along the lines of 3,000,000. That is, by far, a bigger number than what you see in almost all games that come out now. The game takes place on the planet Pandora, where you choose between one of four character types with different special abilities, and your goal is to go out and find the Vault. Inside this vault is supposed to be alien technology, money, and anything else you could have ever wanted. Supposedly. If you have never played the first Borderlands, you may not want to read the rest of this article.


The ending was god-awful in so many ways. The story they built up was that you would get all of this stuff once you opened the Vault. They did such a fantastic job of hyping it that I thought this could be one of the best games ever.

Then you get to the ending, and they pretty much slam the door in your face and tell you you screwed up.

At least the second installment of the series is whole lot better.

With the inclusion of Handsome Jack as the antagonist and an actual story that included playable characters from the first game as NPCs, Borderlands 2 is what the first game should have been. Its ending is miles ahead of the original game; it's still not perfect, but a huge step up. The designers increased the number of gun combinations you can have in this game, and unlike the original game, most NPCs have actual backstory and their dialogue stands out almost as well as the gameplay. In short, Borderlands 2 has the potential for another sequel that could outperform the previous installments in the series and take the spot as my favorite game of all time (currently held by Persona 4 Golden, for those who were interested in knowing).

If I were in charge of the third game in the series, how would I do it? First, I'd probably move the game to another planet. Unless I decided to find another vault on Pandora, there is no need to continue the game there; the planet is fully explored now and offers nothing new. A planet with more of a jungle feel (and maybe even a couple of dinosaurs) would make the mood feel right. I must also add Claptrap; no Borderlands would be complete without this little robot trying to conquer the planet and become the leader of civilization and the galaxy.

A disaster of a first game turned into something cute with the second installment. This can only mean that the next installment should definitely be a masterpiece from beginning to end. With the recent releases of the Xbox One and PS4, this series can only get bigger and better if Gearbox and 2k choose to continue it. With a world of possibilities, and maybe even a new line of playable characters to choose from, a new Borderlands can only mean you'd get the most fun out of a series as gory and charming as any other console RPG.

So what are you opinions on the possibility of another sequel, or just on the Borderlands series as a whole? Let those opinions fly in the comments area below this article.

The recent news posts in entertainment have included some delicately stirring news. A Friends reunion? A new season? A movie? Ten years later, could this be? This raises a plethora of questions involving the practicality in the return of cancelled series and even reboots. In this article, however, I will tell you guys why reuniting a cast that already put the final dot on the show is like giving a bad face lift to a gracefully seasoned woman. Or dude.

Cast of Friends, left to right: Matt LeBlanc, Courteney Cox, Matthew Perry, Lisa Kudrow, Jennifer Aniston, David Schwimmer

I've read through a few articles regarding the rumors and response commentaries from the "Big Six" actors (Schwimmer, Aniston, LeBlanc, Perry, Kudrow, Cox), and it took me an intensely savage level of courage to be as impartial as possible. The pang of nostalgia hit me like Houdini's last gut-punch. Friends was my generation's Laverne & Shirley, Happy Days, and Three's Company all in one for ten years, so can you really blame me?

There is a major difference between canceling a show for a few seasons and then bringing it back, like Family Guy, and reviving a passed-away, megalodon of a series such as Friends. First, the credibility is zero, and not because the actors are on par or not with the suggestion. Regardless of intent, it would be purely artificial, nay, science fiction-esque if it were to happen again. Why?

There was so much we could relate to the show during its run because the cast represented the vast generation of kids and young adults watching who had hopes for the future. Friends paralleled our need to construct something out of simple, everyday experiences and proved that true friendship was the only thing we could rely on as we grew, no matter how many bumps we hit in the road. Now, however, both the cast and the people they represent have changed.

There is a galaxy of distance between the life of a single, 25-year-old New Yorker and a near 50-year-old parent hanging out at a coffee shop with his friends. The proposed reality of a reunion just doesn't exist. There are children to care for, careers, personal health, and relationship issues. All of these things were present in the original seasons, of course, but after a certain age, an adult has to split from the herd to care for his or her family above all else. How would such a storyline progress? Joey went to L.A. and made it, according to the Joey series. Rachel and Ross ended together with a daughter to take care for. Chandler and Monica moved out of the city to raise twins. Phoebe married Mike. Four different worlds were created, and if a show were unlikely to succeed, a movie would be even less likely.

Even if they somehow managed to make the show split into different nuclei (in which one episode would revolve around the Bings and the next would be a Ross and Rachel episode) and make it work, the show would still lack the essence of them all together at the end of the day. Humans evolve throughout their lives, and the characters everyone loved would have grown and changed, no matter what brilliant writers came on board. Even if we assumed that the target audience would be the one that has grown along with the actors (and hence characters), the middle-aged adult life keeps the group's friendship at a natural, however inevitable, distance.

The show always happened in two places—Monica's apartment and Central Perk (with the exception of a few particular episodes, i.e. London, U.K.). The plausibility of uniting them all in the landmark locations that made the show in the first place is way far out. It would be better to simply make a new show called Reunion rather than Friends. That's a possibility I wouldn't necessarily frown upon. There is, of course, one huge aspect to consider: 50% of the show was the appeal of the cast that we all know and love. The other half was the theme song. It was catchy and perfectly in-trend with the post-early '90s college-rock frenzy that was going on. No one ever spoke the words "I'll be there for you" without a guitar riff going off in their heads again. I wonder if *Bass-DropBRRRpfffKLANG!Boooooom* would better suit as a theme for the second decade of 2000? I jest, of course, but this is also an open protest to Hollywood face lifts and mandatory artificial youth. I would want them to be middle-aged human beings, not plastic mannequins going with the trend.

Among all of this complaining and conservative behavior, I wouldn't mind a reunion at all. If good writing and dialogue acrobatics were performed seamlessly and with genuine intent, I would turn as many blind eyes as I could to logic and reason. When I see the Friends logo or a picture of the six together, I really just want to sit back and feel at home again, no matter where I am, as long as I can tune in for a few jokes in Greenwich Village.

See you in 10 years for the same article on Friends 2 (How I Met Your Mother)! Tell me in the comments below what you think of the Friends reunion rumors or of TV show reboots in general. Then go listen to Jefferson Airplane's Embryonic Journey!

Friends characters, left to right: Joey, Phoebe, Rachel, Ross, (Emma in stroller), Chandler, and Monica. Thanks guys!

For those of you who enjoy the off-the-wall delights as I do, there are many media for artistic work out there that are not exactly what you are used to seeing. Libertaria easily falls into this category, but I didn't choose it specifically based on its uniqueness. One of my favorite things about this story is its odd apocalyptic tone and strong sci-fi/fantasy foundation. The dark quality that comes with it is the cherry on top.


The entire hour-long special revolves around a simple idea. When things are too much too bear, when we are oppressed, we don't necessarily have to live that way. It opens with a simple statement coined by Gandhi:

It is possible for a single individual to defy an unjust empire and lay the foundation for regeneration.

This video comic book opera tells the tale of a family from a new and terrible beginning after the radioactive near-end that has torn their lives apart. The setting is a futuristic, socialist, leftover society that is all but owned by Gentech's technological and biological breakthroughs. Everyone suffers from radiation poisoning, resulting in a zombie-like appearance. Those that are less afflicted are still damaged goods, tending to live for themselves. Also, everyone is sterile—or so they think.

In order for the majority of the population to survive in this future, they drink a formula concocted from the living called Metal Ink. Its purpose is to reverse aging, hopefully until a time when reproduction can begin again, but its ingredients are not extracted with the victims' permission. This amounts to oppression felt by all, and only a rebellion will do the trick—if anything can. Check it out and, when you are finished, let me know what you think downstairs.

Hollywood just loves taking old films and trying to remake them. Increasingly frequently, it also seems to like taking old TV shows and making films out of those too. Recently it's even begun to take old TV shows and make them into new TV shows. As far I'm aware, however, it has never taken a 40-year old TV show from the UK made for children and tried to remake it for adults. Well, there's a first time for everything and the new US show The Tomorrow People is exactly that. The first episode just aired in the UK this week, so is it stuck in the past or can it look forward to a bright future?

Homo superior. 40 years on and still driving their mamas and papas insane.

Tomorrow Is Yesterday

SciFi and fantasy fans have been treated to a veritable avalanche of TV shows in recent years. It's easy to forget, therefore, that back in the early 1970s when "futuristic" still meant psychedelic decor, suits made of tinfoil, and minimalist furniture borrowed from the 1960s, TV in the UK was pretty much a SciFi-free zone. We had Doctor Who, of course, but that was already beginning to show its age, and we had repeats of Star Trek. The prevailing view in UK media land was that SciFi was very much a genre for kids.

The future is leatherette jackets and floral frocks. And glowy plastic domes. Obviously.

When the first series of The Tomorrow People was launched in 1973, therefore, that's exactly what it was designed to be: a kids' show. The premise was that the next stage of human evolution had begun and that a new species dubbed homo superior was emerging. These self-styled "tomorrow people" had three super human abilities: telekinesis, telepathy, and teleportation (the three Ts). They were biologically unable to kill but, in spite of this, a shady organisation known as Ultra perceived them as a threat and was determined to contain the problem.

The show was screened late afternoon, just in time to catch kids as they got home from school and—despite its cardboard sets and acting that wouldn't have been out of place in a high school nativity play (neither of which are uncommon in UK children's shows, even today)—it ran for six years. Well, there were no video games or social media sites to compete with back in 1973!

Of course, longevity in an undemanding daytime slot in a market with only three TV channels is hardly a reliable indicator of appeal to today's more sophisticated audiences, spoiled as we are by multi-channel TV and a glut of SciFi shows with the kind of budgets and production values that UK producers in the 1970s couldn't even dream about. So just how well has the remake of The Tomorrow People survived the leap into the Twenty-First Century?

Oh! You Pretty Things

Cara Coburn possesses the "three Ts." I think the other one's "teeth."

The first thing to note is that the new producers have resisted the temptation to tinker with the basic set-up. Our super-powered heroes are still called homo superior, they still refer to their powers as the "three Ts," and they still have a talking super-computer called TIM. Oh, and they're still hunted by the nefarious Ultra. There's a definite X-Men vibe to the show, or more accurately, Marvel's attempt to re-imagine the X-Men for TV: Mutant X.

The special effects are adequate, but will not be enough on their own to sell the show to a modern audience. After all, there are no visual effects involved in telepathy, and telekinesis doesn't really require much more than pulling objects around on a string. The teleportation effect is obviously far more impressive than its 1970s counterpart, but we've been seeing variations on that particular theme ever since Star Trek first hit our screens. Ultimately in a world in which mutants, bionic enhancements, superheroes, sentient computers, witches, and vampires are now staples of our TV viewing, we demand more than a paranormal or supernatural idea to keep us tuning in to a new SciFi show. We demand good writing, believable characters, solid acting, and clever plot lines.

Judged on those criteria, the first episode of The Tomorrow People was... not bad. Not a surefire hit by any means, but ... not bad! Being a mainstream US show, the lead characters are, predictably, all attractive and conform to certain stereotypes: the earnest "nice guy" lead character (Stephen), the best friend/rival who comes across as a bit of a jerk but is probably just a troubled good guy (John), and the sexy female interest (Cara) who spends much of her time directing operations from a secret lair. There's not much in the way of originality to be found here, but the lead actors—already veterans of numerous teen-friendly comedies and dramas—are competent, even if they don't exactly bring much in the way of individual personality to their roles. Similarly, the writing may not sparkle with Whedonesque wit but, together with the acting, it's good enough to make the characters credible.

You can tell Jedikiah's a bad guy, 'cos his name sounds all Old Testament. That and the fact he's played by Mark Pellegrino.

It's already clear that each episode's storyline is probably going to revolve around our heroes' attempts to save others of their kind and thwart the schemes of the evil Ultra. In common with most series these days, however, there's also a strong indication in this first episode that a longer, overarching plot line is going to be woven around the characters' personal lives. Stephen's runaway, schizophrenic father has predictably been revealed as the founder of the Tomorrow People, and no doubt his current whereabouts will be revealed at some point, leading to a confrontation/reunion with his son. Similarly, Stephen's uncle Jedikiah (played by the ubiquitous Mark Pellegrino) is top man at Ultra.

All in all, my overall impression of this first episode is that the show has potential. Taking a concept for a kids' show which is already 40 years old, transporting it to the other side of the Pond, and remaking it for adults (well, young adults!) was always going to be a difficult proposition. The fact that it doesn't fail completely is a testament to its typically high US production values and the care that's been taken with the source material. The fact that it doesn't completely succeed either, is testament to the fact that there's too little that's new.

Tomorrow Never Knows

With a sharper script and a few reasons to care about the characters, The Tomorrow People could still become the next Heroes. If it continues in the same formulaic, run-of-the-mill manner that it's begun, however, then it will be lucky to avoid cancellation before the end of Season 1. So what did you think? Is this show the shape of things to come, or should it have been left back with its embroidered denim flares?

To my book worms: It's far too frequent that we are unimpressed with our reading material. The very real drag that complicates our reading is hiding around the cover of eighty percent of the reading material out there. The cure? Well... we have to find books that don't blow, and I found one for us all, for sure.

Out of Nowhere, an urban fantasy from the mind of Patrick LeClerc, is about a man who is, quite simply, just trying to fit in. The more uneventful his life is, the better off he seems to be. It's all because of some simple differences between him and pretty much the rest of humanity. It seems our hero is endowed with an ability to heal others by touch, and also a body that is quick-healing and unmatched in longevity.

You'd think he would consider it a blessing—and perhaps he does—but when people find out about it, these gifts can be just as much a curse. So instead of flaunting the gift that he should be loved for, he lays low, moving from one paramedic position to the next where he can use his talent a bit more unnoticed. Eventually though, there's always the possibility of running into the wrong person. Patrick Leclerc's Out of Nowhere perfectly illustrates just how such a coincidence can occur.

Such a coincidence in this book leads to some of the best action I've read yet. Guns, knives, swords... you name it. The main character is witty, even more so than Dean Koontz's Odd Thomas, and the best part is that his wit isn't just smart sarcastic narration—the remarks sometimes require a little knowledge of history. I loved his personality, I loved his remarks, and I liked that he wasn't a burly knuckle sandwicher belly-bumping others around like Steven Segal in a bar.

During my writer exposure campaign, I've been blessed with a relatively decent lineup, with nothing too terrible and even a few that stand out. Among the adult urban fantasy I have read, I can honestly and happily say that I have been blessed with the opportunity to review possibly the most entertaining story in my possession, which I received signed from the author. The interesting part is that "The most entertaining story in my possession" sets a fantastically high bar.

My only real rule while reviewing is simple: Make sure you edit to the best of your ability and make sure you have a great piece—really make it count. These are standards that I believe Patrick LeClerc holds high in his heart, and I would stand by that statement based on Out of Nowhere if he suddenly developed a case of dyslexia and wrote with his eyes closed from this point on.

The back story, the god-like gifts, and the quick pace of the reading left me screaming for more. I remember coming to a point about seventy-five percent through and realizing where Mr. LeClerc could take the story, in a later book possibly. The amazing part is that what I hoped would come in a later installment, literally came within the last three chapters of the book. I was practically jumping out of my seat like my father during the Chicago Bulls Threepeat. I stand behind this intelligent, well-written, and difficult to put down read. In fact, I'm going to add the link to the campaigns I support.

Welcome, Fanboys, to another list that's bound to tickle your curiosity as we head into another year of highly anticipated superhero and comic book movies. Counting down the months until writer and director James Gunn's Guardians of the Galaxy hits home, we're wondering what oddities his sly and sometimes bizarre sense of humor will provide. It's not a bad thing, I'm sure. Not by a longshot!

For those of you who know his works, you know well that aside from his terrific script for Zack Snyder's remake of Dawn of the Dead, he was also responsible for the gross-out sci-fi horror comedy Slither. Frankly, it made me want to look back and hail a time when you didn't need to be a world-famous ace director to pull off a superhero or comic book movie. Boy, the past thirty-odd years did not disappoint… or did they?

"Holy Gym-slip, Batman, you've let yourself go!"

That depends on what you look for in a movie. Without further yammering from yours truly, here are seven superhero/comic movies that made me ask, "What the hell just happened?"


What Is It?

Condorman (1981) was a parody of the superhero genre and also of James Bond-styled espionage. As opposed to the lead having any superpowers, he draws knowledge from the genre to combat his enemies with occasionally hilarious results!

Cartoonist Woody Wilkins, played by English television and theater legend Michael Crawford (Some Mothers Do 'Ave 'Em, Phantom of the Opera), is unwittingly drawn into Cold War espionage when performing a simple courier job for his friend on the CIA. Taking up the name of one of his characters, Condorman, he is mistaken by the Russians for a dangerous super-spy.

Requested by the beautiful Natalia to help her defect from the Soviet State, Woody comes up against evil villain Krokov (Oliver Reed). In order to defeat him and rescue Natalia, Woody not only draws from his knowledge of spies and superheroes, he has a variety of colorful and futuristic vehicles, gadgets, and weapons left at his disposal to get the job done convincingly under his alias.


What the Hell?

Not to be taken seriously at all, Crawford's American accent is as hilarious as his comedy, but despite having a strong James Bond feel (the Roger Moore James Bond, the silly one), the movie feels torn right out of a newspaper cartoon strip. In that sense and with his gadgets and attempts at being a super-sleuth, there is a '60s Batman vibe going on. It's completely camp, and yet death and mayhem ensue with total disregard. This is what I call a Sunday afternoon movie, where you lie comatose on the couch after dinner and can't be bothered switching channels, but it's great silly fun!

What is it?

The Return of Captain Invincible (1983) is a parodical superhero musical attributed to classic comic book characters such as Captain America!

Starring Alan Arkin (Catch-22, Freebie and the Bean, Argo) as the titular superhero, Captain Invincible was a superhero of World War II until he was accused of supporting Communism. When a weapon of mass destruction is stolen by his old arch nemesis Mr. Midnight (Christopher Lee), the government wants him back, but now he's a raging alcoholic!


What the Hell?

A Broadway-styled musical, reminiscent of The Rocky Horror Picture Show and Little Shop of Horrors, about a middle-aged alcoholic being the world's last hope? This is my kind of twisted, and Alan Arkin is amazing as the bloated, weary has-been. This is the blueprint for Hancock and hits the mark wherever that movie failed. This is no musical kids can enjoy, because it's so full of adult content that you might suspect the writers and director were alcoholics as well. The icing on the cake of this sweet little movie rarity is the all-time great villain Christopher Lee singing and dancing while keeping his trademark straight face. Oh, and, unlike Superman's dislike of Kryptonite, Captain Invincible's only weakness is… you guessed it… booze!


What Is It?

Meteor Man (1993), written by, directed by, and starring television guru Robert Townsend, is a superhero movie about a school teacher from a troubled Washington, DC area who is gifted with superpowers after contact with a meteor and takes on the neighborhood gangs!


What the Hell?

Like a lot of '90s movies, whether they're about superheroes or not, you take them as they come. Are they comedies? Were they meant to be as silly as they are? If Hulk Hogan were black, this would have been one of his next to Suburban Commando and Mr. Nanny. Jefferson Reed, the Meteor Man, gains some typical superpowers from his contact with the meteor that changes him, but then the not so typical power—the ability to draw knowledge and skills from objects—goes in a bizarre and unexpected direction when he and his nemesis share a book on catwalk fashion modeling in the middle of a street fight. Looking at some of the shit we have to watch today, I'm not sure whether to hail this as comedy gold or blame it for the state of cinema today, but it's so worth watching!

What Is It?

Steel (1997) is a superhero movie adaptation of DC's comic character and crime-fighting alter ego of John Henry Irons, originally a Superman character from 1993's Reign of the Supermen. Irons, played by ex-NBA basketball star Shaquille O'Neal, is a military armaments designer who quits in disgust when his nonlethal weaponry is used by one psychotic soldier to render his friend Sparky (true story) a paraplegic.

Going home, he finds his neighborhood at the mercy of gangs who are being sold the weapons he's created. He, Sparky, and Uncle Joe (Shaft) set about building their own weaponry and armor from scratch to combat the scourge of the streets. This basically involves Shaq looking ridiculous while not being able to act!


What the Hell?

This one's on the list because rather than pay attention to what's actually happening in the plot, I'm more intrigued by the underlying suffering of the entire supporting cast. Annabeth Gish (The X-Files), Richard Roundtree (he's a complicated man, but no one understands him but his woman… John Shaft!) and Judd Nelson (The Breakfast Club) try in their own respective manners to accept that their lives are over in order to actually try to keep the film afloat or to laugh it off, whereas Shaq might actually believe that this is his big break. In comparison, he should have gotten an Academy Award for Freddy Got Fingered. I'm surprised DC didn't sue him for soiling their image!


What Is It?

Casshern (2004), one of the truly most unique movies on this list, is a Japanese sci-fi action movie featuring visuals similar to Sin City and with elements of steampunk. Only on top of that is it a superhero movie featuring the character you know better from the animated series Casshern Sins!

Known better in Japan as Neo-Human Casshern, the character was originally created for a magazine before getting his first anime series in 1973. In 2004, music video director Kazuaki Kiriya far removed the character from his origins to create an original movie that is quite baffling to many but still a remarkable piece of film.

Dr. Azuma submits his findings of neo-cells to the Asian Federation, cells that can cure all illnesses and disorders of a future world absolutely destroyed by war. His wife is falling foul of a degenerative disease, leaving him in a race against time. Mass harvesting of body parts begins so they can hope to begin healing the nation.

Meanwhile, his son Tetsuya is killed in battle. So when a freak storm activates the experiment and goes horribly wrong, several "Neo-Humans" escape into the city, and Dr. Azuma resurrects his son. Tetsuya awakens to find himself imbued with super strength but with a new war raging between the mutants and Eurasia. Gradually, he makes his journey to becoming the savior of a world tearing itself apart!


What the hell?

Not going down the route of "but Casshern is an android," the composition of Casshern is ever confusing and boasts a very long duration in which we're shunted back and forth between the narratives of some eleven characters at least. Visually, it's stunning, as a whole, it's impressive, but through all these different character perspectives we see a would-be hero as a spoiled brat of a teen who cares for nobody turn into a would-be villain—or is that a would-be teen with a hidden past that would make his nemesis look like Jesus? I thought the superheroes were supposed to be the good guys?

It's like Christopher Nolan on LSD. By the time you reach the end, you might be babbling like a child and applauding the magnitude of the story's tragedy, but you can watch this movie a hundred times, thinking there's some secret code, and never truly understanding what it's really trying to achieve. A great little film, but—what the hell—it's just so damned confusing!


What Is It?

All Superheroes Must Die (2011) is an indie horror take on the superhero hype. Better put, it's SAW meets Mortal Kombat meets Manhunt (the video game); just unfortunately not as effective as any of them!

Arch-nemesis Rickshaw (James Remar of Dexter) captures four superheroes and dumps them in a no-name town. In order to survive and save the town-folk, they must complete a series of tasks that may involve facing off against other villains and each other.


What the Hell?

Made for $20,000, this movie has a great idea that I hope to see again elsewhere, maybe even in a more competent reboot. It also tries to have a lot of heart, wherever James Remar's talents and sheer goodwill toward the filmmakers didn't seem necessary. The biggest problem is that it looks as cheap as it is, but then a filmmaker has to start somewhere, right?

The biggest problem is that these guys are meant to be superheroes—they dress like them and have the names and everything, yet they have no superpowers. They're also really bad at fighting, which makes you wonder why Rickshaw could possibly be so pissed off with them. I say what the hell to this superhero movie because it had the potential to blow my mind all over the back of my lovely black leather office chair, and yet it limps toward the end. Better luck, guys. Still, if you can borrow this from a friend, do so and see what I mean.

On to the final segment. This one I saved until last, so it's hardly in chronological order. Writer and director James Gunn, the man who will bring us Guardians of the Galaxy this summer, is known for being twisted, as I mentioned in the beginning. How twisted?


What Is It?

Super (2010) is a clever mix of indie comedy, comic book storytelling, dark psychology, and drama… oh, and did I mention that distinct James Gunn brand of twisted absurdity?

Short order cook Frank Darbo (Rainn Wilson) has everything, kind of. For instance, he's married to Liv Tyler (well, her character, but you know what I mean), with whom he is happy despite the fact she won't put out for him anymore.

When local drug kingpin Jaques enters their life, gets Tyler hooked on drugs, and quickly takes her away, Frank tries to get her back only to be beaten up by Jaques' goons. Inspired by television superhero the Holy Avenger, and very possibly mental illness, Frank is touched inappropriately by the finger of God and sets about becoming his town's very own masked vigilante, the Crimson Bolt.

As his violent and mentally unbalanced shenanigans escalate, he gains a Robin-esque sidekick in increasingly psychotic comic store assistant Boltie (Ellen Page) and plans to take his wife back by force!


What the Hell?

As if the premise isn't disturbing enough, you won't know whether to laugh or be very worried by the time the cops and criminals are all gunning for the masked crimefighters. Nathan Fillion, Michael Rooker, and Gregg Henry all chip in to make this a familiar and enjoyable Gunn feature that's so darkly funny and yet serious that it makes Slither look as though it were written for Disney!

Sure, some violence is intended make you laugh out loud as a knee-jerk reaction, but then it purposely gets more and more absurd until you realize that you're gunning (pun intended or not, I don't quite know) for a possible psychopath. Of course, we knew that Rainn's character was already a bit childish, simple, and maybe mentally and emotionally damaged; we want to see him raise hell! This town is depressing enough without crime and marital distress.

Rainn Wilson reminds me of Batman from beginning to end, with his dark inner monologue that speaks of pain, suffering, social awkwardness, and loneliness. Ellen Page is the exact right kind of wrong for which her fans appreciate her, with the additional murderous lunatic tendencies. She really loses her shit in this film.

Toward the end you may find yourself afraid of how Super is going to end, because you've never been subjected to so much crazy.


There's no saying whether Super will prepare you for Gunn's Guardians of the Galaxy this summer, but if it really is anything to go by, you should go get it on DVD and ask yourself, "What the hell?"

Sound off! What's the craziest superhero/comic book movie you've ever seen? Are they on this list? Comments below and thanks for reading!

Starting in August, twenty-four seasons of The Simpsons will legally be streamed via the FXNOW app to anyone who is an FX subscriber.

According to The Hollywood Reporter, FX Networks will begin streaming 530 episodes of the iconic longest-running American series on its FXNOW app, currently available for iOS, Xbox One, Windows 8, and on the web.

Mashable also reports that FXNOW is planning to launch additional apps for Android, Xbox 360, Roku, and Samsung this spring.

FXX acquired the rights to The Simpsons from Fox in November in "one of the biggest deals of its kind," allowing the network to stream the show's first twenty-four seasons.

The free app, which delivers content from FX, FXX, and FXM, follows the footsteps of similar network applications such as HBOGO, Showtime Anytime, and Watch ABC by streaming content anywhere to paid subscribers. FX originals, including Sons of Anarchy, Archer, and American Horror Story: Coven will be available on the app. FXX originals include It's Always Sunny in Philadelphia and Wilfred, among others. The Hollywood Reporter also noted that 165 film titles will be available this year, with 200 more expected in 2015.

Although reruns of the show can be easily caught on television, and the Internet is nothing short of an open box of (illegally) streamed content, this is the first time The Simpsons will be legally streamed in its twenty-five years.

With the popularity of the franchise, including comic books, video games, a movie, and even a ride in Universal Studios, the only surprise is that the show hasn't been streamed until now. Previously, the popular Comedy Central series South Park was streamed on Netflix, but all seventeen seasons now have been removed.

Excited? Let us know in the comment section below.

Marvel has announced that Jamie Alexander will reprise her role as Lady Sif from Marvel's Thor and Thor: The Dark World in the upcoming episode of Agents of S.H.I.E.L.D. in February.

Lady Sif will arrive on Earth to join Agent Phil Coulson and the rest of the S.H.I.E.L.D. agents for a special guest appearance on the show's fifteenth episode of its first season.

ABC president Paul Lee announced on Friday at the Television Critics Association winter press tour that Jamie Alexander is slated to make an appearance on the show. He assured that Lady Sif's role is "integral" to the episode, unlike previous cross-overs such as Samuel L. Jackson as Nick Fury.

Marvel said in its release, "Sif has come to Earth with a very specific mission. Unfortunately, we can't tell you just what brings her to our neck of the woods just yet."

The Asgardian warrior goddess will mark the first non-S.H.I.E.L.D. agent character from the movies to be introduced on S.H.I.E.L.D. We last saw her in the action-packed battle between realms in Thor: The Dark World.

Marvel also announced last Monday that S.H.I.E.L.D.'s newest recruit, Bill Paxton, will guest star in an upcoming episode as Agent John Garret, an old colleague of Coulson.

Marvel's Agents of S.H.I.E.L.D. will return in February with an episode featuring Marvel legend Stan Lee. The show airs Tuesdays at 8 p.m. on ABC.


Despite the show's plummeted ratings, are you excited to see the Asgardian heroine in Marvel's Agents of S.H.I.E.L.D.?