Imagine a universe where the scattered remains of god-spawn are strewn about the cosmos, laying in wait for any foolhardy, space-faring soul to stumble upon them, simply for our amusement.
Welcome then to ODY-C, the bold retelling of the classic Homeric tale, the Odyssey, by Matt Fraction and Christian Ward.
We see issue #4 take up the story on Kylos, the dreaded home of the daughter of Poseidon, the Cyclops. It is here the Odyssia and her crew of home-weary, yet battle-hardened warriors must make good their escape before they end up as a culinary snack of the voluminous giant. The epic nature of the tale is played out in momentous events each issue, focusing on a new stop along the way home for the survivors of the great war.
ODY-C #4 is the grittiest issue so far. We get a gore-filled issue that seemed more akin to some of the early Peter Jackson splatter films. It is the beautiful art from Ward that makes this gruesomely possible. It is great to see this rendition, and the actions of the Odyssia here arouse a faculty of masculinity in the pages that further challenges Fraction's gender reversal in the characters.
Fraction waxes lyrical in his narrative, bringing to life a sweet cadence of words that are matched in ability by the art of Ward. Both combine, and only in such a balance is the full meaning of the story related, to share the tale of yore that has been so painstakingly refreshed for a modern audience. This is an investment for both the creators and the readers, who need to participate monthly for the utmost benefit of the transaction taking place. This isn't a one-time, drop-in, and fly-by comic, but a grand narrative told over time (and space) that requires patience to reach the end goal.
A lot is being asked of the audience, but so much is being given in return.
The Cyclops devours the crew of the ODY-C
As witnessed in this issue, particularly in the glimpses of background material at the end of the comic proper, we can begin to form an understanding of the blood, sweat, and tears being poured out into the work of the creative team. I certainly do not imagine this is a straightforward script passed to the artist; rather, I imagine a great deal of back and forth must occur between writer and artist to reach a satisfactory representation of the issue's content.
We still get to see the great character work; the gender inversion and fantastic art were well established in the earliest issues, and now I feel a sense of confidence and maturity of story developing with issue #4 that will only serve to strengthen the work going forward.
Fear fills the women of ODY-C with dread
The deep complexity of the characters and the modern take on their situations provide Fraction and Ward with textual layers of meaning. The real gift of this is the re-reading of each issue to find some hidden gem missed on the last pass through the psychedelic pages. I feel like a smart person for pretending to understand at least half of what is going on in the pages of this comic, but I also get a strong sense of nostalgic feeling as I become reacquainted with characters that were a mainstay in high school Latin and classical studies classes.
As we close of once more, we want to hear what you think about ODY-C #4. How did you find the major challenge before the crew of the ODY-Cthis time around? Does the art by Ward continue to hold the same sway as previous issues? Leave a comment below or on the Fanboys Anonymous Facebook or Twitter, and come back next time for issue #5 of ODY-C.
Don't dream it, be it, and if you're FOX, remake it. Transcending through generations, The Rocky Horror Picture Show is marking its 40th anniversary this year, and FOX has plans on developing a TV version of the cult classic that paid homage to science fiction and B-horror. Dammit, Janet. This will probably be the only time something Rocky Horror-related doesn't make me shiver with antici……pation (sorry, couldn't resist).
I'll admit that I'm going into this pretty biased. I made Rocky Horror my entire life in college when I played "Columbia" in a shadow cast, and like many others from the RHPS community, the news was met with mixed feelings—mostly bad ones.
According to EW.com, the 2-hour TV musical, titled The Rocky Horror Picture Show Event, will be a modern reimagining of the 1975 film, which has formed a life of its own in theaters around the world, with shadow casts acting out scenes in front of the screen while the audience shouts callbacks.
Though not the first presence of Rocky Horror on FOX—Glee did a tribute episode in Season 2, titled "The Rocky Horror Glee Show"—the remake is expected to stick to the original 1973 play written by Richard O'Brien and will be directed, produced, and choreographed by Kenny Ortega (High School Musical). Lou Adler, the original film producer, is also on board alongside executive producer Gail Berman who has been working on bringing a remake to television since 2002.
Now as much as I get excited for anything Rocky Horror—and that included the 21-piece Mac Cosmetics line released last year—I'm not convinced this is a good idea. Firstly, while no cast has been set yet, no one can replace Tim Curry. Those are some really big platform heels to fill and not all that sparkles, shines. Secondly, the progressive trend toward remakes has become tiresome and dry, and rarely are any of them as good. Rocky Horror has stood the test of time, making it the longest-running theatrical distribution in film history. To redo it to make it more modern for television just seems redundant. There are also levels of transgressive themes that could very well be refined for television, and c'mon…it's FOX.
Also, unlike the televised adaptation of Peter Pan on NBC, the event will not be broadcast live—a missed opportunity for live-tweeting that could easily take form of the audience participation found at shadow cast performances around the world, a phenomenon that has developed into as much part of the show experience as the film itself and is majorly responsible for the film's success.
On the other hand, it will expose the cult classic to a new audience, potentially encouraging more fans to watch the original and see a live show, growing both the audience and the RHPS community. Whether it flops or surprisingly turns out really good, the best way to look at this is the added attention to Frank-n-Furter and the the denizens of Transexual, Transylvania. We're all just really looking to give ourselves over to absolute pleasure, anyway.
What do you think about Rocky Horror being remade for television? Who would you cast as Frank-n-Furter, Brad, Janet, Riff Raff, Magenta, and Columbia? Let us know in the comments below!
Produced by Blumhouse Productions (the guys who brought you the Paranormal Activity series, The Purge, The Purge: Anarchy,Dark Skies, and Insidious, to name a few), 2012's micro-budget Sinister grossed over $87 million worldwide. With a story centering around snuff films, child disappearances, and a pagan deity who looks ready to attend a black metal concert, Sinister is a pretty fun horror movie with some nice acting and a killer soundtrack.
Sequel, anyone?
The official movie poster for the sequel
Sossamon plays a mother in Sinister 2.
Written by the same people responsible for the first movie, Scott Derrickson and C. Robert Cargill, Sinister 2 takes place in the aftermath of the shocking events of Sinister. This time around, a protective mother (played by Shannyn Sossamon) and her nine-year-old twin sons (Robert and Dartanian Sloan) move to a rural house marked by death, where the dreadful Buhguul awaits for his next victims.
Haven't seen Sinister yet? SPOILERS follow.
Where did the children go?
The original movie tells the story of true-crime writer Ellison Oswalt (a cardigan-wearing Ethan Hawke) who finds a cache of 8mm homemade films and uncovers a pagan deity, Buhguul, who has been taking lives since the 1960s.
Shot in real 8mm film stock, each movie shows a seemingly innocent activity (fishing, having a fun day at the pool, playing in the yard, a barbecue) and ends with the family being murdered in extremely violent ways:
In the reel entitled "Pool Party '66" a family is drowned in their pool.
In "BBQ '79" the victims are burnt to death in a car.
In "Lawn Work '86" a lawn mower does the deed.
"Sleepy Time '98" shows a family having their throats slit in bed.
Finally, in "Family Hanging Out '11," the family Oswalt is researching for his newest crime book is seen hanging from a tree.
Ransone as Deputy So-and-So.
Oswalt, who becomes obsessed with the films and determined to uncover what truly happened to the victims, realizes all too late that his family might be next.
As one might have guessed, Mr. Hawke will not be back for the sequel. However, James Ransone is back to carry on with his investigation (and possibly figure out what happened to the Oswalts) as the awkwardly inexperienced Deputy So-and-So.
Sinister 2 opens in U.S. theaters on August 21.
What do you think about Sinister 2? Are you going to watch it? Let me know by leaving your comments below!
Welcome to the latest edition of Making the Grade—a review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.
The next report card is for the series premiere of Marvel's Netflix Daredevil show entitled "Into the Ring."
Daredevil Season 1 Episode 1—directed by Phil Abraham; written by Drew Goddard as well as those credited for creating the characters including Stan Lee, Bill Everett, Gene Colan, Frank Miller, Johnny Romita, and Roger McKenzie; starring Charlie Cox (Matt Murdock), Deborah Ann Woll (Karen Page), Elden Henson (Foggy Nelson), and Bob Gunton (Leslan Owlsley).
WARNING - SPOILERS BELOW
NOTE: This is only for episode 1. The following review only covers that single episode and of course, things may change for the better or worse with the rest of this season.
CHARACTERS: A–
So far, we've only really met Matt Murdock, Foggy Nelson, Karen Page, and a smattering of some other people like The Owl and Kingpin. However, in that short time frame, a lot has been established. We know pretty much all we need to know about our titular hero and his Sancho Panza sidekick, who is definitely a solid comic relief member of the cast. Karen is a little bit bland right now, but she's shown signs of growing out of that shell very quickly, and I have faith that even by the next episode, I'll enjoy her character a lot more than I would have expected. I'm interested to see what this series does with someone like Ben Urich down the line, but actually, my favorite character so far out of the supporting cast has been Wesley (Toby Leonard Moore). He seems like a very cold villain that I hope doesn't end up being killed sometime this season. All in all, the characters are interesting so far. There's room for improvement, but I feel as though they'll get there.
ACTING: B
I buy everyone as the characters they are portraying. Cox is making Murdock a likable guy who still has a bit of a creepy side to him, which is good. Henson's Foggy is an asshole but still lovable in a way. I don't think the true person to be wowed by has shown up yet, as I'm expecting Vincent D'Onofrio to be the standout performance as Wilson Fisk, possibly with Rosario Dawson's Claire Temple getting second place.
VISUALS (FX, MAKEUP, COSTUMES, SETS): C+
I'm not entirely sold on the visual look of this series yet. I'll admit that it is an improvement from what I thought going into this, as the footage we were shown at New York Comic Con put me in a very disappointed mood. Seeing a full episode like this made it easier to get used to it by the time that same scene happened, but I would prefer something a little more polished. While I understand that they are going for more of a gritty look, it just doesn't sit too well with me right now. That may change—and I hope it does—but if it doesn't, it will be one of my negatives about the series as a whole.
As far as costumes, sets, and makeup go, those are all perfectly fine. Obviously, it isn't as difficult to pull off a costume as generic as what Daredevil uses in this episode compared to the red suit we're all familiar with, or even the yellow suit for that matter. Most things in general are tame with some basic sets that don't have all that much going on to worry about, but I'm fine with this. It's Hell's Kitchen, after all, not the grandiose stage we'd see The Avengers fighting on.
MUSIC & SOUND: C–
I'm trying to remain optimistic about this, but there's nothing memorable so far. There's no theme song that I can hum, and I'm not craving the score like I do with some films like Captain America: The Winter Soldier or The Avengers. Now, I would have been foolish to equate this to something like Guardians of the Galaxy in terms of music, but something a little more than what I refer to as "drums and hums"—the most basic of mood music to supplement the visuals—would be nice.
The sound is something that I have no real thoughts on yet. It doesn't stand out in a positive or negative way in any sort of fashion, so a middle of the road score sounds justified to me.
TONE (ACTION, ROMANCE, COMEDY): A–
Daredevil is a darker comic in a lot of ways than what we've seen so far in the Marvel Cinematic Universe. Because of that, there's a different balance of these tonal pieces than what you would see in something like Thor.
ACTION: The action is rough and you feel it. The "street level" aspect shines very well here to show the audience that people aren't going to be punched through walls and getting right back up. Matt Murdock and his enemies are normal people. When they get kicked in the face, it's going to hurt like a son of a bitch.
COMEDY: A little more comedy couldn't hurt, but I understand why there was so little in this first episode. Once they've firmly established that this is not on the same level as Iron Man, they can throw some more jokes in there to break the tension.
ROMANCE: I'm assuming Karen Page is going to be the sole love interest for Matt this season, and I'm okay with that. There's some flirtation there that I wouldn't mind seeing develop into a stronger bond down the line. It isn't overboard and hopefully it doesn't become that way, but I would miss it if there wasn't at least some kind of a romantic subplot.
FINAL GRADE: B
I'm not blown away just yet, but I have a feeling I will be once I'm done this season. There's room for improvement in multiple different ways, including the visuals and the character development. For a premiere episode, though, I'm impressed much more than I had thought I would be, as my reaction to the sneak peek was on the pessimistic side. There's plenty of time to fully win me over with the rest of the episodes, and if I can enjoy them all as much as I enjoyed this one, then you should look out for a solid endorsement on my part for Marvel's latest venture.
Greetings, Fanboys and Fangirls! This is Sam Lascio, bringing you some of the latest news about Stephen Amell's role as Casey Jones in the upcoming Teenage Mutant Ninja Turtles 2 (2016)!
During Fan Expo Vancouver 2015, Arrow star Stephen Amell was asked about his role in the Ninja Turtles sequel. Amell said the following:
I'm just glad I get to play a vigilante on the big screen. Obviously, the similarities are right there on the surface, he's a vigilante, but if the audition process and the script are any indication, the character is going to be fundamentally different [from Arrow]. As a matter of fact, it is almost like the character of Casey Jones, at least from this iteration of Ninja Turtles, is almost like the Oliver Queen people know from the older comic books.
These comments seem to indicate that fans who feel Jones and Queen are too similar should be ok with Amell playing both, as their personalities are vastly different. Also, whereas Oliver Queen in Arrow takes his job as a vigilante very seriously, the Oliver Queen from the comics (at least a few versions of the character) enjoyed what he did and had fun while doing it. Casey Jones loves to beat the crap out of the bad guys, so I think Amell is saying that they're staying true to the character and that Jones will enjoy busting some skulls. Amell went on to say:
As much as I enjoy playing Oliver Queen, it is very important to me to stretch out a little bit. And believe me, I know I'm playing another vigilante. I know this! You're going to have to trust me when I say that not only is Casey Jones different from Oliver Queen, but filming a big feature film is really different than filming a television show.
I trust you, Stephen. I trust you.
Do you trust Stephen Amell taking on the role of Casey Jones? Are you looking forward to seeing Teenage Mutant Ninja Turtles 2? Did you love the first one? Did you hate it? Let us know what you think in the comments section! Teenage Mutant Ninja Turtles 2 will hit theaters June 3, 2016. Thanks for reading, everyone! My name is Sam Lascio, and I am a Fanboy!
Death Cab for Cutie released their last album, Codes and Keys, in 2011. It was an album very different from the group's previous discography; it sounded happy. It was less guitar-centric, more ambient—"less photograph, more impressionism," as lead guitarist and producer Chris Walla put it at the time. Frontman and vocalist Ben Gibbard had married his longtime sweetheart Zooey Deschanel, maybe putting an end to the soulful heartbreak that dripped from prior albums and had defined part of DCFC's sound. The band's latest album, Kintsugi, newly released at the end of March, deals with the separation from both parties.
Though Walla remained on board for recording, he has since parted ways with the group to produce solo work and didn't produce/mix/engineer this album as he had every Death Cab album before this one. And sadly for Gibbard and indie romantics everywhere, he and his wife separated, finalizing their divorce in 2012.
It's easy to think that this record could have been a glorious dive back into the dark human depths of DCFC's yesteryear, and it's easy to see why. Gibbard, as a lyricist, has long been dogged by the stories about which he sings, often mistaken for the main character in any given song. Every interview about this album has touched on the fact of his divorce and how much it has informed the content of the songs. To quote his interview with Billboard: "I'm not going to change the way I've always written for fear of people correctly or incorrectly assigning a name and face to these songs... I've always written about my life and the lives of people around me, and how everything intersects."
While some of the songs undeniably deal with Gibbard's personal life, it doesn't matter. Gibbard's central talent of making every song personal, to him or the listener, is still on full display on Kintsugi, and the sonic landscape is no less rich or intriguing minus Walla's hands-on involvement. After the harshness of 2008's Narrow Stairs and the interesting meanderings of Codes and Keys, Kintsugi is an important step and statement from a veteran band that still wants to explore.
First, that title: "kintsugi" refers to a Japanese practice of mending broken ceramics using lacquer mixed with precious metals, often gold. It translates as "golden repair," the idea being to celebrate the history of an object, breaks or cracks notwithstanding. As many have pointed out, it's an apt title for an album created by rents and rifts. Pair this with the first line of the opening track, "No Room in Frame," as Gibbard sings "I don't know where to begin…" It's like looking at the pieces left behind without an idea of the shape they will eventually take.
That said, "No Room in Frame" is one of the more obviously Zooey-inspired tracks on the album. "Was I in your way, when the cameras turned to face you? / No room in frame for two," he laments. It's a relatively sparse song, relying mostly on Gibbard's thoughtful tones as he travels familiar territories and muses about, well, love and loss. What else is there? A more layered sound builds through the song, rhythm guitar giving way to out-of-focus keyboard textures and ending on a more traditional Death Cab guitar piece courtesy of Walla. "We'll both go on to be lonely with someone else," Gibbard concludes.
"Black Sun," the second song and first single from the album, opens with a measured two-note guitar riff paced like a pensive stride. This song is the yin to the opening yang, rougher and angrier than the lighter "No Room in Frame." "How could something so fair be so cruel?" is the crux of the song, asked repeatedly before Walla opens up a hard fuzzed-out guitar that ends abruptly, like a changing mood. Whiskey in the water, death on the vine, fear in the eyes, beauty in a failure, depths beyond compare—the lyrics brood above the steady rhythm and electronic textures backing the track. This is the kind of thing Death Cab does extremely well. If Ben Gibbard had never even met Zooey Deschanel, the song would still retain power because of Death Cab's talent to infuse deceptively simple thoughts with emotional truth and power. Perhaps even better is the ending verse: "There is grace within forgiveness / but it's so hard for me to find." Admitting to your struggles despite knowing the road is quintessentially Gibbard.
"Ghosts of Beverly Drive," track three, highlights another Death Cab talent: fun and bright music obscuring the painful story told by the lyrics (see: "Crooked Teeth," "The Sound of Settling," "Long Division," etc.). As indicated by the title, this is the first of a few songs on the album that deal with another perennial Gibbard topic, celebrity and the culture that comes with it. He speaks of not knowing why he returns to "the scenes of these crimes, where the hedgerows slowly wind / Through the ghosts of Beverly Drive / I don't know what I expect to find / Where all the news is second hand / And everything just goes on as planned." The emptiness of L.A. and its celebrity denizens makes a few appearances on this album, but this track includes a kind of mea culpa in the shape of a central conundrum that exists for any working artist, but particularly in this time and place. "You wanna teach but not be taught / and I wanna sell, but not be bought / so let us not be lonesome, lost in between our needs and wants."
"Little Wanderer" opens with a riff reminiscent of The Cure filtered through The Police, the first hint of the '80s-fest to come later in the album. It speaks to long-distance relationships in the age of instant communication. Gibbard casts himself in the left-behind role, acting as a lighthouse for his returning partner, or the tree on which her bird can land, standing tall "guiding you home to me." Though a song off of 2001's The Photo Album was titled "A Movie Script Ending" and played on the irony of that phrase, this song actually has one, a kiss and "embrace in the baggage claim" at the wanderer's return.
The fifth and sixth tracks, "You've Haunted Me All My Life" and "Hold No Guns" are gentler interludes that feature mostly Gibbard and a guitar, palate cleansers for the musical shift to come. "You've Haunted Me" could have been a B-side from the earliest DCFC works, simple emotion and simple arrangement adding to a greater whole, though it certainly employs some subtle sonic tricks picked up in the intervening years. "Hold No Guns" is even simpler and shorter, a series of questions asked of a retreating lover. "My love, why do you run? / For my hands hold no guns."
Remember that '80s-fest I mentioned? Track seven, "Everything's a Ceiling," takes that and runs with it, opening on pure synth over knocking and clapping percussion. "Way, way down in a hole / There's no feeling / 'Cause when you're so far beneath the floor / Everything's a ceiling," Gibbard sings, again happy to lay sharply depressing lyrics over happier music. That's the thing: though odd, the synth conceit is owned totally, and an unmistakable Death Cab riff emerges through the chorus as Gibbard sings about being left in his hole, calling out for his love while she's "miles away, digging with someone new." Then the band turns the '80s up a notch, ushering in a tap-tap rhythm reminiscent of the start of "(I've Had) The Time of My Life." It's a crazy mashup, '80s pop rhythms combined with vintage Death Cab for Cutie, but it works. It's a seamless transition, too, around the 2:30 mark, when the two influences blend easily into one song, and you'd never guess that opening connects to this ending. This dovetails nicely with the imagery in the lyrics, as Gibbard resolves himself to simply keep digging, since "if the Earth is as round as they say / Then I won't find another place / From where I break back through / That's farther away from you."
"Good Help (Is So Hard To Find)" puts another log on the celebrity-burning fire. "You'll never have to hear the word "no" / If you keep all your friends on the payroll," Gibbard begins. This too is an upbeat tune, of course accompanied by further warnings about the realities, or perhaps unrealities, of living life insulated from challenges to one's artistry or development. The guitar chugs, slides, and shimmers beneath the vocal, supported in turn by an enthusiastic if traditional rhythm. It's one of the more polished tracks on the album and provides a nice lead-in to the fascinating "El Dorado."
Another retro intro, with plenty of reverb creating an echoing guitar soundscape, gives way to a more propulsive rhythm section that drives the track. Set at a gig "over in Culver City, shining bright, name in lights," Gibbard sings not as the musician, but as an audience member in attendance to support... someone. Given the nature of the album, I'll leave it to you to decide whether or not this is another Zooey song. "I tried to be hyped for you," he repeats. "Seems you finally found, finally found El Dorado / So why does it feel underwhelming, barely real?" The song is a showcase for a number of major Death Cab themes, and not just from this album. Sure, there's the maybe-sorta Zooey Deschanel influence, but again there's Gibbard's own mixed feelings over whether or not to even attend the event, the difficulties he has in trying to be excited for his friend, and the trouble he has in general with the idea of fame, of a name in lights.
Death Cab for Cutie performs on Letterman.
"Ingenue," track ten, would seemingly be another song directed to or written about Gibbard's ex-wife, but it's not so easily classified. As in older Death Cab work, Gibbard's voice is filtered here for the first time on several Death Cab albums, and to great effect. "What have we done to you?" he asks of the titular ingenue in the opening lines. He speaks of the "currency of being twenty-three" and advises her to "take what you can" and then to "escape from this town / Before your sand runs out." Though "framed like a cartoon / The borders clear and defined / the colors bold and bright," eventually she'll want to be "taken more seriously / But they just play a cue / And it's such a hard thing to do." It's not long until he asks instead, "What will become of you?," questioning what will happen when "age's glacial pace / Cuts valleys into your face." While I'm sure some of Zooey leaked into the song, it feels more like a critique of how celebrity uses people, or uses them up. It's a warning, but perhaps a fruitless one, given the powerful lure of fame and its potentially brief offerings.
"Binary Sea" closes out the album, wrapping everything up with a kind of parable about modern life and our interaction with each other. Lyrically, it's among the strongest tunes on the album, and the arrangement reflects this, backing Gibbard's front-and-center vocals with a light piano and more atmospheric, electronic textures (all of which appear on this album courtesy of new producer Rich Costey, presumably). It would have been right at home on 2005's Plans.
Gibbard introduces Atlas, the mythical Titan who bears the world on his shoulders. Despite, as Gibbard says, the world being "so much smaller than the one he used to hold before," the weight "brought him to the floor." And what do we do in response to this apocalyptian scenario, of the world dropping from its support? "As you watched him struggle to his feet / You took photos capturing his defeat / And messaged them to all your friends / And we all laughed at his expense." I could reprint every line here, because it's quite incisive in the prettiest way, in true Death Cab fashion. As the song goes on, he asks the listener to swim out in that vast binary sea, where "zeroes and ones, patterns appear / They'll prove to all that we were here / For if there is no document / We cannot build our monument." Our obsession with documenting every facet of our lives distracts us from what is meaningful, he says. We're so determined to make memories and capture everlasting moments that living falls by the wayside. The same happens to Atlas by song's end.
Death Cab for Cutie is now a group of elder statesmen for the indie-darling scene of which it used to be a central part. Like any band of their longevity, they've had to evolve to survive, but for the best reasons. Gibbard has spoken of wanting to distance the band from becoming too self-referential, from retreading ground just because it was an easy path to walk. Without Walla, we'll see where the path leads from here on out, but Kinsugi is a terrific first step. While they're well past spending the currency of being 23, they have stuff of greater value to trade on. Gibbard's trademark brand of rueful wisdom, his ability to give personal voice to difficult feelings and stories, has aged well and should continue to.
This is music we're talking about here, however, and everyone has an opinion. Let us hear yours in the comments below! Hipsters, was Death Cab soooooooo much better before they were championed by The O.C.? Lovers of The New Girl, is Ben Gibbard being too mean on this album? Normal people, how does the music sound to you? Chime in!
Posted by
Anthony Mango
- Wednesday, April 8, 2015
One of our readers, Jessica Chan, sent this in to us to check out as she knew we would find it interesting, and she was right! New York Magazine on YouTube has a new video up entitled "If Avengers: Age of Ultron Came Out in 1995," which is an edited movie trailer created to give you the look and feel of TV spots from 20 years ago.
Do you remember Hollywood's fascination with bold, blue text? What about the sounds of steel, bells, and folks like Don LaFontaine? If so, you'll love this, so check it out below!
What do you think of this video? Does it give you that nostalgic feeling? Would the Marvel Cinematic Universe have been awful back in the 1990s? Tell us your thoughts in the comments below!
In 2016, Star Trek celebrates its 50th anniversary. Paramount hopes to have the third installment in the modern Trek franchise ready for release by then. They've been quietly building their new production in the wake of former director J.J. Abrams' departure, hiring Fast & Furious and Community alum Justin Lin to direct and Scotty himself, Simon Pegg, to script with writing partner Doug Jung (working from a screenplay from former director Roberto Orci and Patrick McKay and J.D. Payne).
But while all eyes are focused on the big screen, there are murmurs that CBS wants to bring Star Trek back to where it all began.
For almost 20 years, from 1987 to 2005, there was always a Star Trek show on the air. Twenty-one years after the end of the original series, Gene Roddenberry created Star Trek: The Next Generation, arguably the central series in the canon. That show overlapped with the next, Deep Space Nine, which in turn overlapped with Voyager, which overlapped with Enterprise, which ended in 2005. For 10 years now there has been no Trek TV to speak of, just the films.
That wasn't always going to be the case. After the end of Enterprise, Bryan Singer loosely assembled a team to develop a project called Star Trek: Federation. Much like The Next Generation leapfrogged far past the original series' timeline, Federation was going to be set near the end of the Federation's lifespan. In this story, the Federation had become increasingly corrupt, losing allies and becoming little more than border police, trying to keep their few systems peaceful with a decaying fleet of starships. It took a new enemy called the Scourge to invigorate the decrepit Federation. They built the first ship, called Enterprise, in 300 years. By this point, the Cardassians and Klingons had become less warlike and more mystic, the Bajorans had sequestered themselves on their planet and sought only spiritual enlightenment, the Romulans and Vulcans had reunified, and the Ferengi had become the dominant power in the galaxy.
Yeah. Imagine a galaxy ruled by THESE guys.
Work progressed on this story until word reached the team of J.J. Abrams' film production. Their pitch was never rejected; it just never made it to the studio. Star Trek: Federation was over before it began.
Despite all that work, there's no telling what a potential new show would look like. We live in a time where there are two Trek universes, both apparently viable thanks to the "parallel timeline" cheat the films employ. It's likelier, however, that a new Trek show would take after the current Pine-Quinto version, rather than the Shatner-Nimoy-Stewart-Brooks-Mulgrew-Bakula version. Why muddle a successful brand? As much as setting a show like Federation in the farther future of original Trek could be great, there's no reason for CBS/Paramount to confuse audiences with two versions of Star Trek.
That's not to say a show set in the nu-Trek universe would be inferior. Quite the opposite. Increasingly, Hollywood today tells stories across the broadest possible spectrum. We have the Avengers franchise, and we also have Agents of S.H.I.E.L.D, as well as new, canonical Marvel shows on Netflix like the upcoming Daredevil. All of these stories are loosely connected, telling a sprawling but internally consistent mega-story. Star Trek was made for this type of storytelling.
It's been said that Trek works best on TV, and this accounts for the issues some have with the new Trek films. The scope is too small, and the scale too big, on film. Both films tell stories about singular, renegade missions, essentially. In Star Trek, it's an untested Kirk trying to bring down a time-traveling madman. It's the story of how the Enterprise crew became the Enterprise crew. Into Darkness touches briefly on the idea of typical Starfleet missions, but quickly shifts gear and follows the Enterprise crew pursuing another time-shifted madman with an agenda. Both stories climax on or around Earth. The films aren't concerned with the Federation or the operation of a galactic society; there's no time for that.
These are film stories, certainly more exciting than a tale about, say, a creature on a mining planet hampering production of a mineral desperately needed by other planets, but that's the beauty of the TV show. There, the scope can be larger and the scale smaller. We become a part of the 5-year mission to seek out new worlds and new civilizations instead of spending 2 hours with Kirk and Spock: action heroes. It was the humanity of Star Trek that made it what it was. "This is clearly a military operation," Scotty says to Kirk in Into Darkness, speaking of their mission to find and kill Khan. "Is that what we are now? Because I thought we were explorers."
Amen to that, Scotty. ('Cause right now, you totally aren't.)
Although original Trek is often lampooned for its occasionally heavy-handed allegories and social commentary, that was the beauty of it. The best sci-fi stories tell us who we are now and who we could be someday. They allow us to ask questions and play with answers in exciting and inventive ways. A new Star Trek TV show, set within the confines of the Abramsverse but apart from the Enterprise, could tell fresh sci-fi stories that speak to our time through the lens of an imagined future.
What was that? Apart from the Enterprise crew, you say? Oh, yeah. That's gotta happen. Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, John Cho, Simon Pegg, Anton Yelchin—they're all movie stars now. That isn't to say they're too good for TV, or would never do a guest spot on a Trek show (in fact, that's all but guaranteed if CBS greenlights a new show), but they certainly wouldn't be available for a TV production schedule.
To me, that's fantastic. While I dearly love the first two Trek TV series, dramatically speaking they often are edged out by the terrific conceits of the subsequent Deep Space Nine and Voyager. The former wasn't even set on a Starfleet vessel; it was set on a broken-down space station in hotly contested space, the equivalent of setting a show on a foreign army base in the Gaza Strip. Voyager, the latter, saw the titular ship flung tens of thousands of light years from home, setting up a simple premise (get home) while supplying a fresh setting for new and weird stories. It was fun to see Trek stories told without the familiar comforts of the best ship and crew in the fleet.
Stay tuned for Star Trek: The Retirement Years.
This is what a new Trek TV show could do. Build the structure of the future, set up Starfleet and its missions, allies, and enemies. Provide a context that the current Trek films don't have. Don't forget: the original Trek movies, even (or especially) the best ones, were buoyed by the TV show. Star Trek II: The Wrath of Khan lifted a great villain from a good episode. The next two movies built on plot threads from this film. Star Trek: First Contact, far and away the best of the Next Gen films, derived its premise from a classic TV two-parter, "The Best of Both Worlds."
Simply put, Star Trek is what it is today because of the television shows, and it could rise again thanks to a new one. Maybe it will be put on network television, but it's equally if not more likely that it will find its way to a streaming service like Netflix. The studio and filmmakers have been quiet in the lead-up to 2016's 50th anniversary and the third Star Trek film. My guess is that quietude will not last for much longer, as the third film is slated to start shooting in about a week.
Are you in favor of Star Trek once again going boldly where no one has gone before? (Except for, like, the 5 shows and 12 movies preceding this hypothetical new show?) All hailing frequencies are open in the comments below. Let's start some subspace chatter.
Greetings, Fanboys and Fangirls! This is Sam Lascio, bringing you the latest rumors surrounding the 2016 film Suicide Squad! We have several casting/character rumors to discuss, so let's jump right into it, shall we?
Adewale Akinnuoye-Agbaje as Killer Croc
His name may be a mouthful, but Akinnuoye-Agbaje is rumored to make an appearance in the film as none other than Waylon Jones, aka Killer Croc! Akinnuoye-Agbaje portrayed Kurse in the Marvel film Thor: The Dark World, so fans should expect a very powerful enemy in Croc if this rumor holds true. I imagine we'll see the character in a prison cell, whether it's Blackgate or Arkham Asylum (or Belle Reve?), while Amanda Waller seeks out the Joker. Although there's always the chance that the Suicide Squad will be sent against another team of supervillains that includes Killer Croc. How do you think Killer Croc will appear in the film?
Raymond Olubowale as Amanda Waller Agent/King Shark
This character is probably far less familiar to the average Joe than even Killer Croc. Before the New 52, King Shark was born Nanaue in Hawaii. His father was a Shark God, known as the "King of the Sharks." The character has been a member of the Suicide Squad, and in the New 52 continuity is one of the original members. This could mean that we see some of the members die and get replaced during the course of the film. This might go without saying, but just in case, King Shark has faced off against Aquaman in the past, so this MIGHT nod to rumors that Amanda Waller is in possession of Arthur's trident. It should be noted that the rumors are saying that Olubowale will play one of Amanda Waller's agents (most likely of A.R.G.U.S.) and only do the motion capture for King Shark. Another actor could be providing the voice. Do you think we'll see King Shark join the Suicide Squad? Or will he be in a prison cell like Killer Croc? Let us know!
Karen Fukuhara as Plastique
Okay, I'll come right out and say it. This one is probably the least likely of the rumors to have come out surrounding the movie. Granted, all of these rumors could be totally bogus, but I don't know that the studio would waste time on such a minor character, especially when the rumor says her role will be very small. Plus, a lot of what I'm reporting has come from Umberto Gonzalez (@elmayimbe), so take what I say with a grain of salt. But she was seen recently with Enchantress actress Cara Delevingne and co-producer Andy Horwitz via Delevingne's Instagram, so this at least confirms that we'll see Fukuhara in the film in some capacity. DC fans will remember the character of Plastique, aka Bette Sans Souci, appearing in an episode of CW's The Flash played by Kelly Frye.
Scott Eastwood as Steve Trevor
The son of actor-director Clint Eastwood is rumored to be playing Colonel Steve Trevor in Suicide Squad. Some of you might be asking who Steve Trevor is. Well, his character has taken up far more prominence in the New 52, where he acts as a liaison between the Justice League and, well, the rest of the world, as well as heading A.R.G.U.S. with Amanda Waller. Although it isn't explicitly stated that Warner Bros is going with the New 52 as inspiration for the DCCU, I'd be shocked if we don't see Steve Trevor along side Amanda Waller in Suicide Squad, as well as pining for Wonder Woman. Yeah, in case you didn't know, Steve is in love with Diana. I guess we'll have to wait and see if that will play out in the DCCU.
It seems like new rumors about the movie are coming out every other day, and we already know that Jared Leto has arrived in Toronto for filming. As more rumors come out or become confirmed/denied, you can count on us to keep you informed! Do your theories about the film differ from mine? Do you agree? We'd love to hear from you in the comments section! Thanks for reading, everybody. My name is Sam Lascio, and I am a Fanboy!
Posted by
Eddie Siqueira
- Saturday, April 4, 2015
I don't usually read sci-fi books with any hope of discovering a great piece of literature. Even though I flirt with the genre, I've had many letdowns (with a few exceptions) in terms of fluidity, linguistic interest, and literary credibility. Ender's Game was no exception, but the story was so bizarre that maybe it was a good thing I was reading at a high school level.
I happened upon this novel at a bookstore 1 year after the movie was released. Apart from starring Harrison Ford, who is lucky enough to share his birthday with me, the movie didn't catch enough of my interest to watch it. The book, however, was mentioned to me a few times as one of the best in the category, so that in itself was enough to get me going. I warn you of a few possible spoilers as you read on.
This may sound pretentious, but I really felt the sting of obsolescence in the behavioral traits of most of the antagonistic characters. The bullying and some of the language in the beginning seemed very retro and remained so throughout the book. I really felt as though I were reading a text from the '70s and imagined a world of CRT screens and L.A.S.E.R. guns—although fortunately that did not turn out to be the case. The novel made a good comeback once some technology (quite advanced for 1985 when it was first published) found its way into the story and made it all easier to relate to—setting aside the painfully dusty term "Buggers" to describe the alien enemy force (called "Formics" in the movie).
It's no easy task to transcend the filters of time—to write a classic that shall be enjoyed for generations—but Ender's Game did it. There are references to items such as your everyday tablet (referred to only as "desk"), an intranet system with e-mail and chat, touchscreen technology, and even a highly developed video game AI that puts our generation of PS4s and X-Box Ones to shame. Since my copy is the final revision from 1991, there could have been some updates by the author since the first run.
This is all very secondary, of course. The story's protagonist is Ender Wiggin, a child prodigy in a not-too-distant future where the world finds itself in a dystopian society, suffering waves of attacks from the insect-like aliens, who function as a hive. Children are trained to be the best, the smartest, the quickest, and the bravest in this society, and Ender, an unlikely candidate, is chosen based on his behavior dealing with bullying at school.
A lot of psychology is involved in the introspection of each character, such as Ender and his two siblings who have flashes of brilliance and maturity in resolving intrapersonal issues. There is a prodigious growth and self-taught intelligence in the children, as opposed to the more strict and condescending attitude of the adults, who are mostly military in nature. This, however, is lost in the movie, where narration is gone and only the stern, determined attitude of the kids is portrayed, which can easily be interpreted as arrogant.
I have a theory that any story ever told is either a love story or a social experiment, and Ender's Game is the latter. A 12-year-old child is sent to the finest military academy to potentially become a commander to lead armies and fight the Buggers (wince). He does so, but what is interesting is the sheer openness in emotions and feelings that are contemplated. This isn't a book where it's just action and backstabbing. It's all about being human throughout the most analytical of situations.
In fact—major spoiler—the only way Ender defeats the Formics in the end is thinking that he is controlling an army in a simulation, when in truth it was the real thing all along. The instructors at the academy staged a "final test" so that Ender would not have any resentments at any point (which brings about my theory of Call of Duty and Battlefield never having been the subject of any censor or true restriction). If it's all a game, it's no harm, but in truth, it's a deadly training tool that could turn lethal when need be. This particular detail was well documented in the movie as it stayed true to the book.
The true merit of the story lies in the aftermath, which was respected in the movie as well. Ender discovers that a Formic queen has been communicating with him through his dreams, and she is the last survivor of an entire species. The whole time, the Formics simply couldn't communicate, hence the war. Ender was the first to establish proper contact, and he promises that he will take the queen to a world where they may flourish again—a debt that he must pay for destroying their world.
I have to say this is one of the more bizarre books I've read. Many things about it were oddball, but somehow, that made it really good. The story doesn't seem go anywhere for a while as it all takes place in academies and military schools, but it gets the message across. As for the movie, the loss of the narration has a heavy toll on the pace, but it's a good companion for the book. I understand perfectly if someone puts the film down if they haven't read the book; the richness of the written words is lost in adaptation, as there is nothing remarkable in the film. However, I found nothing wrong on behalf of the actors or director (aside from perhaps some haste in the pacing of the story).
The Internet certainly has its set of stars that are world renowned. Of
those stars, we've seen a rise of talented, witty, and beautiful women
who have taken the Internet by storm. Join me, Chris "The Dace Man" Dace
over the course of the next few weeks as we crown the 2015 Internet Goddess.
From April 3rd until April 17th, brackets I–P of the tournament will be open for voting. In this round, we have newcomers Rebecca Black squaring off with Chloe Schneider. Check out their spotlighted profiles below and vote. Voting for this and the other brackets on the right side of the board ends on April 17th, 2015!
ROUND 1 (BRACKET P)
Rebecca Black
[Singer, Vlogger]
The girl that was super excited for it being Friday has made her way to the 2015 Internet Goddess Tournament. At a very young age, this girl took the Internet by storm with her hit single "Friday." At the age of 17 she's still going strong and has no signs of slowing down. Will Rebecca Black be the youngest Internet Goddess?
Chloe Schneider
[Comedian, Actress]
Better known for her work on Daily You YouTube Channel, Chloe is a newcomer to the 2015 Internet Goddess Tournament. With over 2 million subscribers on her channel and an awesome acting resume, Chloe brings some tough competition to the tournament. Every Friday, Chloe will share her version of fairy tales with you! Will Chloe advance to take on her partner in crime Amanda Chronicles?
CAST YOUR VOTE BELOW
Don't forget to tweet @ your favorite and spread the word on her message boards, forums, fan pages and so forth to show your support and rally the troops!
Check back to find out the results of this poll as well as the other matches that we have coming your way.
Also, don't forget to come back to find out what else Chris "The Dace Man" Dace is looking at (and no, not just porn) along with the other bloggers here at Fanboys Anonymous. Until next time, for the few, the proud, and of course the Dacetacular, grab a beer—and in this case, an Internet browser—and return to the Dace-Sphere soon. See ya next time, keyboard warriors!
The Internet certainly has its set of stars that are world renowned. Of
those stars, we've seen a rise of talented, witty, and beautiful women
who have taken the Internet by storm. Join me, Chris "The Dace Man" Dace
over the course of the next few weeks as we crown the 2015 Internet Goddess.
From April 3rd until April 17th, brackets I–P of the tournament will be open for voting. In this round, we have newcomers Natalie Tran squaring off with Amanda Chronicles. Check out their spotlighted profiles below and vote. Voting for this and the other brackets on the right side of the board ends on April 17th, 2015!
ROUND 1 (BRACKET O)
Natalie Tran
[Vlogger, Comedian]
This beauty hails from Australia and brings a comedic flare from down under to YouTube. With 1.6 million subscribers and hundreds of videos with thousands of views on her community channel, Natalie entertains the Internet masses on the regular. It's no surprise that this Australian beauty has found her way to the Internet Goddess Tournament.
Amanda Chronicles
[Vlogger, Comedian]
Yet another newcomer to the 2015 Internet Goddess Tournament, this young beauty brings even more comedy to the world of YouTube. This up and comer has over 32,000 subscribers, which is 3,200 times better than yours truly. Keep an eye on this bright and hilarious talent as she takes on some tough competition in this round of the tournament.
CAST YOUR VOTE BELOW
Don't forget to tweet @ your favorite and spread the word on her message boards, forums, fan pages and so forth to show your support and rally the troops!
Check back to find out the results of this poll as well as the other matches that we have coming your way.
Also, don't forget to come back to find out what else Chris "The Dace Man" Dace is looking at (and no, not just porn) along with the other bloggers here at Fanboys Anonymous. Until next time, for the few, the proud, and of course the Dacetacular, grab a beer—and in this case, an Internet browser—and return to the Dace-Sphere soon. See ya next time, keyboard warriors!
The Internet certainly has its set of stars that are world renowned. Of
those stars, we've seen a rise of talented, witty, and beautiful women
who have taken the Internet by storm. Join me, Chris "The Dace Man" Dace
over the course of the next few weeks as we crown the 2015 Internet Goddess.
From April 3rd until April 17th, brackets I–P of the tournament will be open for voting. In this round, we have the returning iJustine squaring off with Brittany Furlan. Check out their spotlighted profiles below and vote. Voting for this and the other brackets on the right side of the board ends on April 17th, 2015!
ROUND 1 (BRACKET N)
iJustine
[Vlogger, Actress]
On May 29, 2007, live on Justin.tv, a new Internet queen was born. Justine took to the airwaves in a nonprofit stream that followed her everyday life known as iJustine. Since then, she has had five YouTube channels with more than 2,500 videos. She has made the transition over the years from the Internet to television and had guest roles on shows such as Law & Order: Special Victims Unit, Criminal Minds, and Vampire Diaries. Still going strong on YouTube today, she has more than 1.5 million subscribers and still pumps out fresh new content even as she dabbles in Hollywood. She was one of the first broadcasters to hit the airwaves on Justin.tv and for that, we welcome Justine to the 2015 Internet Goddess Tournament!
Brittany Furlan
[Comedian, Vine Artist]
Brittany debuted with the popular app Vine. Since then, the queen of pranking has skyrocketed to becoming one of the most popular Vine stars of all time and many even dub her the Queen of Vine. She compiles her collection of Vines on YouTube as well as fresh new content as well that exceeds the Vine limits. Due to her pranks and hilarious torturing of strangers, Brittany has earned herself a lifetime ban at Target. She is one of the few Viners that yours truly can watch for hours, so it is no surprise she landed herself a spot in the 2015 Internet Goddess Tournament.
CAST YOUR VOTE BELOW
Don't forget to tweet @ your favorite and spread the word on her message boards, forums, fan pages and so forth to show your support and rally the troops!
Check back to find out the results of this poll as well as the other matches that we have coming your way.
Also, don't forget to come back to find out what else Chris "The Dace Man" Dace is looking at (and no, not just porn) along with the other bloggers here at Fanboys Anonymous. Until next time, for the few, the proud, and of course the Dacetacular, grab a beer—and in this case, an Internet browser—and return to the Dace-Sphere soon. See ya next time, keyboard warriors!
The Internet certainly has its set of stars that are world renowned. Of those stars, we've seen a rise of talented, witty, and beautiful women who have taken the Internet by storm. Join me, Chris "The Dace Man" Dace over the course of the next few weeks as we crown the 2015 Internet Goddess.
From April 3rd until April 17th, brackets I–P of the tournament will be open for voting. In this round, we have the returning Melonie Mac squaring off with newcomer Brittani Louise Taylor. Check out their spotlighted profiles below and vote. Voting for this and the other brackets on the right side of the board ends on April 17th, 2015!
ROUND 1 (BRACKET M)
Melonie Mac
[Gamer, Vlogger]
Who doesn't love the adorable Melonie Mac? This cutie partnered up with YouTube and showed us that gaming isn't just for the overweight nerds hanging in the basement talking their raids and zerg rushes. (Wow, I just said that!) She helps make gaming cool again and reviews several nerdy things we geeks have come to love. You can catch her playing League of Legends in the YouTube world live as well as in archive sessions!! The Mac Attack has definitely earned herself a return spot on the 2015 Internet Goddess Tournament.
Brittani Louise Taylor
[Singer, Comedian]
Welcome to the 2015 Internet Goddess Tournament, Brittani Louise Taylor. Another newcomer to this year's tournament, Brittani is a talented young singer and comedian. Raking in over 1.2 million subscribers with hundreds of videos with a million hits a piece. Brittani brings her touch of comedy to singing as well as mesmerizing the masses who cruise through the world of YouTube.
CAST YOUR VOTE BELOW
Don't forget to tweet @ your favorite and spread the word on her message boards, forums, fan pages and so forth to show your support and rally the troops!
Check back to find out the results of this poll as well as the other matches that we have coming your way.
Also, don't forget to come back to find out what else Chris "The Dace Man" Dace is looking at (and no, not just porn) along with the other bloggers here at Fanboys Anonymous. Until next time, for the few, the proud, and of course the Dacetacular, grab a beer—and in this case, an Internet browser—and return to the Dace-Sphere soon. See ya next time, keyboard warriors!
