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Whedon, On Avengers 2: "It’s Going To Be Awful."

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With the premier of Iron Man 3 closing in and Captain America 2 having just started filming, Joss Whedon has had the opportunity to give no specific information about Avengers 2. It will start filming in February, he told ET, which is good because his first draft of the script isn't done yet. It also leave enough room for some possible casting announcements at Comiccon this July. When asked about the possible plot, Whedon reveals that while he didn't intend of doing the sequel, he did have an idea of where to take things if he did return.

Quote, "I know what’s going to happen… it’s going to be awful." Clearly he means that the characters will find their lives more the worse for wear, which if you've sampled Whedon's past work you'll know is par for the course. There was never a happy ending that Whedon can't find a way to shank in the side and let bleed out on the floor. And that is why we love him.

In other MCU news, Michael Rooker (late of the Walking Dead) has signed on to reunited with his Slither director James Gun in the Guardians of the Galaxy. Rooker had previously expressed an interest in appearing in the film in some capacity, and it is now confirmed that he will be playing Yondu, an explanation that means as much to the general public as "I wollybanked my tuttlefiend." Yondu, as turns out, was a founding member of the Guardians, but has not to date (as far as we know) been featured in any of the concept pictures Marvel has released. In terms of casting for Gunn's film, that only leaves the primarily digital characters of Groot the Space-Ent and Rocket Raccoon, and the matter of the villain.

There is also the suggestion going around that Marvel has started looking for possible cast members for the as of yet entirely theoretical Doctor Strange movie, which I'm not putting a lot of faith in. Ant-man is confirmed to be the first Phase 3 film, with Strange still only a possibility, and Edgar Wright has given no indication that any of the Ant-man roles have been cast yet. I understand that Feige really wants to make Strange, but there is counting your eggs and there is putting the cart. I suspect Strange will remain elusive for some time yet.

Unless they are casting for the Thor post-credits sequence. In which case, there might be some hocus-pocus in our near future.

Via Collider. Twice.

R.I.P.D. Might Have Been Better Off Staying Dead

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Ryan Reynolds has had no kind of luck establishing himself as a franchisable action star. Blade 3 was meant to spin off on his character, and it went no where. Wolverine was meant to introduce Deadpool, and despite Reynolds' insistence, that spinoff hasn't moved an inch since Wolverine killed the X-Men prequel business. Green Lantern was meant to show that DC can make a non Batman related movie that is good, and proved just the opposite. And while Reynolds gets a lot of flack for being a less charming version of essentially Nathon Fillion (funny, because they both started out on the same show), I think the bigger issue is that Reynolds just keeps picking terrible films to make.

Case and point, I have no idea what to think about R.I.P.D. It is obviously a rip off of Men in Black, so much so that they don't even try to hide it. But the tone... On first viewing of this trailer, I wrote it off entirely. Bridges is playing his role less like Rooster Cogburn and more like Yosemite Sam, the jokes are hammy and groan worthy, and it has been my experience that movies that intentionally try to be so-bad-its-good are only ever just bad. On second viewing though, I wonder if Robert Schwentke (director of RED) intentionally made the movie as if it were a live action Looney Tunes cartoon. The action certainly looks that way, the performances are over the top in the way that people seem to think cartoons are (despite Roger Rabbit proving just the opposite), and the last scene in the trailer, with the bus, is straight out of the Road Runner. So, maybe I'll give it a chance.

And maybe the next trailer won't be total crap.

[List] - 16 Dinosaurs That Could Be In Jurassic Park 4

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Stop waving and run! Via Wikipedia

Jack Horner, discoverer of the Maiasaurus, author of the book How to Build a Dinosaur, and consultant to all Jurassic Park films to date (and partial inspiration for the character of Alan Grant) has said that in Jurassic Park 4 film, a new dinosaur will be introduced, saying, "I can’t actually tell you who that will be, but you’ll want to keep the lights on after you see this movie." Horner understands the potential for increasing the general knowledge of specific species through a JP film is incredible, saying, "Jurassic Park created the velociraptor." It certainly made raptor a household name, and the sequel (which isn't really a Jurassic Park film, but ask me about that later. I'm busy now) stuck with the T-rex and raptor formula.

The third film attempted to try something new, by using (and completely misrepresenting) the Spinosaurus, which to be fair is a visually interesting animal. Unfortunately, the Spinosaurus never caught on in the way the raptors did, and so in Jurassic Park 4 they're going to try it again. The question becomes, with between 300 and 700 species indentified, which terrible lizard will be making their big screen debut?

After the jump, I run through a list of possible suspects.

When developing this list, I understood that Universal is undoubtably looking for a predator to replace or add to the T-rex and raptors. And that they would probably prefer a theropod. As such, my list reflects this assumption, and the majority of choices, but not all, are theropods. I will be the first person to congratulate and celebrate Universal and Amblin' if they go in another, unexpected direction, but I doubt they will. The public are comfortable with a certain image, and the producers seem unwilling to be adventuresome with overturning that image (which also means that despite all these theropods, none of them will have feathers).

Second, I haven't included any species that share direct families or similar features to any prominent dinosaurs in the first three films. So, no other kinds of raptor, and nothing with any massive frills or crocodilian snouts, which is a shame because Suchomimus and Irritator are fantastic creatures. I've also illuminated the more well known alternatives, like Allosaurus or Albertasaurus, as while these would be the next most logical choices, they are already well known, and less likely to be surprising to the audience.

Acrocanthosaurus

Native Time: Early Cretaceous, American South
Size: 38 feet long, 6 tonnes
Why: Currently, the second largest theropod ever discovered, behind the Giganotosaurus, so from a sheer size perspective it stands a chance. The Spinosaurus, aside from the unusual appearance, was chosen specifically because it was larger then the T-rex. Acrocanthosaurus also had a hump, formed by over sized vertebra along the spine, not enough to create a frill, but enough to give the animal a distinct, Quazimodo-like appearance.

Chilantaisaurus 

Native Time: Late Cretaceous, China
Size: 25 feet long, 3 tonnes
Why: Despite possibly being an ancestor to the Spinosaurus, I've included the animal for a couple reasons. First it occupies the size range between the 40 foot T-rex and the 7 foot raptors already in the series. Second, it had long grasping arms, which would be a distinct visual change from the iconic stub arms of the T-rex.

Monolophosaurus

Native Time: Middle Jurassic, China
Size: 17 feet
Why: Another for the mid-size range, which I believe is where the new addition should fall. If the T-rex is a tank, and the raptors are infantrymen, then the ideal theropod for JP4 would be Jeep. Mono had a fore-cranial crest, which is fancy talk for a single wedge shaped growth that ran the length of it's snout, giving it a distinct look. A cousin of the infamous Dilophosaurus (who, in an ideal world, would be in contention for JP4, without all that frill and spit nonsense), it then already has a connection to the franchise's past.

Becklespinax

Native Time: Early Cretaceous, Western Europe
Size: 20 feet, 1 tonne
Why: Really, Becklespinax doesn't have anything the others don't. It's a more compact dinosaur then the rex, it might have had a slight spinal frill (though this is not conclusive), and filled in the ecological niche picking off the smaller sauropods of the time. I've included it here because the name is just fun to say, and something you could easily see on an action figure pack.

Concavenator

Native Time: Early Cretaceous, Western Europe
Size: 20 feet, 2 tonnes
Why: This thing just looks odd. A couple extremely disproportionate vertebrae results in a presumed triangular hump, making this thing the camel of the Cretaceous. A meat eating camel, with claws.

Megaraptor

Native Time: Late Cretaceous, South Africa
Size: 25 feet, 2 tonnes
Why: Technically, I'm not breaking my rule, as the Megaraptor is not a raptor, just misnamed. They won't use it because of the confusion with the names, but they should. Because, like the raptors, it had a single massive hooked killing claw. Unlike the raptors, it was on it's hand, essentially equipping the Megaraptor with a permanent machete.


Metriacanthosaurus/Yangchuanosaurus

Native Time: Middle Jurassic, England/Late Jurassic, China
Size: 25 feet, one tonne/26 feet, 3 tonnes
Why: On paper this is nothing special (aside from being, you know, a dinosaur, and therefore special anyway). But, it fits my basic criteria of being a mid-sized animal, with one important distinction: it was in the original film. Or rather, it could have been. Metriacanthosaurus was one of the names on the DNA vials stolen by Nedry, thus establishing that InGen was breeding these animals during the events of the original film. I include Yangchuanosaurus in this suggestion because, at the time of the film, the two species were incorrectly identified together (in the same way that Dienonycus was mis-merged with Velociraptor, resulting in that confusion). So it could have been either one. Something like this already happened in universe, with InGen breeding Baryonyx, and actually getting a Spinosaurus. Clearly, early nineties InGen sucked at identifying species.

Megalosaurus

Native Time: Middle Jurassic, Western Europe
Size: 30 feet, 3 tonnes
Why: I include this out of sheer respect to the field of paleontology. Megalosaurus was the first dinosaur to be discovered, via a femur in 1676 in Oxford, and initially thought to belong to a race of giant men. In 1824 it was named by William Buckland, a year before the more famous Iguanodon.


Ceratosaurus

Native Time: Late Jurassic, North America
Size: 15 feet, 1 tonne
Why: Aside from the distinctive horn on the snout, the Ceratosaurus is already established within the film universe, appearing briefly in the third film, and being repelled by the smell of Spinosaurus shit covering the characters. The similar, in build and features, duel horned Carnotaurus, was featured in the sequel novel and had a bizarre chameleon-like camouflage ability.

Elaphrosaurus

Native Time: Late Jurassic, Africa
Size: 20 feet, 500 pounds
Why: Light weight and built more like an ostrich, the Elaphrosaurus would represent a marked change to the choice of predator. Like the Spinosaurus being selected based on the difference in appearance from the T-rex, the Elaphro would represent a significant change from the raptor design. Featuring a long neck and narrow, snake like head, the Elaphro is a sprinter, and could be a terrifying new kind of threat.

Segisaurus

Native Time: Mid Jurassic, North America
Size: 3 feet, 15 pounds
Why: The use of Segisaurus will have been undercut by the extensive use of the Compys in the Lost World, of a similar shape and size, however, Segisaurus was yet another dinosaur mentioned in the original film, the name seen on a map of the island. It is possible that what was labelled as Segisaurus was actually the Compys, yet another mistake on InGen's ever growing list.

Herrerasaurus

Native Time: Middle Triassic
Size: 10 feet, 100 pounds
Why: Light weight, but built long, and with more primitive crocodilian features (along with a ridge along the snout), the human sized threat was another referred to on the map of the original park, and thus established as being present in the park despite not having been seen.

Amargasaurus


Native Time: Early Cretaceous, South America
Size: 30 feet, 2 tonnes
Why: Not a predator, but a sauropod, and therefore a herbivore. However, it was smaller then most examples of the type, and had a shorter neck. What makes it stand out however is the long sharp spines running down the length of the neck, giving the animal a threatening appearance. Outside of the Brachiosaurus in the original, little to no interest has been paid to the non aggressive animals present in the park. This needs to change.

Tanystropheus

Native Time: Middle Triassic, Europe
Size: 20 feet, 300 pounds
Why: Not a dinosaur, but an early reptile and semi aquatic, noted for its incredibly long neck, with limited flexibility, giving it the look of a snake. Aside from the boat scene in the third film, the movies haven't explored the idea of aquatic environments at all, ignoring a host of animals who lived in or near the waters of the prehistoric ear.

Kronosaurus

Native Time: Middle Cretaceous, Worldwide
Size: 33 feet, 7 tonnes
Why: Not a dinosaur, but an aquatic reptile, and the top ocean predator of its age. Essentially the T-rex of the oceans, and why wouldn't that be terrifying. As much as I love watching dinosaurs run through the jungle, the prospect of Jaws, Jurassic Park style is a tantalising thought. While neither of the establish islands have large rivers or lakes for them to inhabit, they are in fact islands, and why the animals have just swum away could be part of the plot.

Lycaenops


Native Time: Middle Permian, Africa
Size: 3 feet, 30 pounds
Why: Not a dinosaur, and from the pre-dinosaur era or the Permian, the Lycaenops is an example of convergent evolution, filling the niche (and general appearance) of a wolf in the environment. Set up an inter-species rivalry on the island, between a pack of these and a pack of raptors, and establish the sort of non Human involved conflict that was teased with the T-rex and raptors in the original, and the Spinosaurs and T-rex in the third film. Territoriality should be a factor in the film.

Final Opinion: If I had my way, I'd like to see a water-focused film, with a Kronosaurus as the main adversary. Begin the film with a family of T-rex walking by the sea, a juvenile frolicking in the surf, and have the Krono lurch out of the water to eat it, leaving the parents helpless to defend their young. It would establish the threat (like they did with the Spinosaurus in JP3), and you're set. However, I doubt they'll deviate from the established formula that heavily (consider that the last major deviation, aside from being insane, was shot down immediately).

So, if the movie will be jungle island based, I would favour picking a mid sized predator, to fill in the only gap left to them (compys in the small, raptors in the equal sized, T-rex in the large, and Spinosaurus in the extra large). From those listed above, I'd go with the Ceratosaurus, for being previously established but not utilised at all. Incorporate part of the Lost World novel story points, and you've got a terrifying new creature to ingrain on the public mind.

Or, they could surprise us.

DC And Pixar Hear Voices

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Courtesty of DC.

I cannot be counted among the fans of the DC crossover event Flashpoint. Least of all because, in the end, it gave us the New 52, a boondoggle of a relaunch that pretty much gutted my picklist. The only "thing" that was interesting about the alternate timeline was the Atlantian/Amazonian war, which as someone who has spent years studying Greek Mythology, is a fun (and not entirely unprecedented) concept.

So, when it was announced that the DC Animated Movies would be wasting an entry on Flashpoint, I was disappointed but not surprised. It was Geoff Johns brain-child, and what he says goes in the DCU nowadays. Earlier in the week, they announced the full title, Justice League: TheFlashpoint Paradox, and the voice cast for the film, and it will at least be saved by its cast. Returning, yet again, to the roles they inhabit so very well, will be Kevin Conroy as Batman, Dana Delany as Lois Lane, Nathan Fillion as Green Lantern, and Vanessa Marshall as Wonder Woman. Usual Superman Tim Daly will be replaced by his son, Sam, and Justin Chambers will be filling in for Michael Rosenbaum as the Flash (possibly justified as Rosenbaum played Wally West, and Flashpoint features Barry Allen). New to the cast will be Kevin McKidd as the alternate timeline Batman, meaning Conroy will be featured limitedly. Also new will be Michael B. Jordan as Cyborg, C. Thomas Howell as Professor Zoom, Cary Elwes as Aquaman (awesome), Danny Huston as General Sam Lane, and Ron Perlmanas Slade Wilson (also awesome).

Pixar has also announced the full cast of Monsters University. Joining returning cast members Billy Crystal, John Goodman, Bonnie Hunt (making her sixth Pixar film appearence, the most other then John Ratzenberger) and Steve Buscemi, and the previously announced Dave Foley, Helen Mirren, Julia Sweeney, Joel Murray and Peter Sohn, will be Frank Oz, Nathan Fillion, John Krasinski, Sean P. Hayes, Tyler Labine, Beth Behrs, Charlie Day, Aubrey Plaza and Alfred Molina. Kelsey Grammer will replace James Coburn (due to his death) as Henry J. Waternoose III, and as always Ratzenberger will play a role, possibly reprising the role of the Abomible Snowman from the original.

Pixar has also announced that Peter Docter's (Toy Story 3) next film, Inside Out (the previously untitled feature taking place within the human mind) will be released in the summer of 2015, nestled between the Avengers 2 and the J.J. Abrams Star Wars relaunch. A release in June also means Pixar will have two 2015 releases, with Finding Dory following along behind in November. Despite all this news, there have still not been any major announcements concerning next May's release, The Good Dinosaur.

Pixar, I'll say it to you the same as I say it to everyone else: I want my dinosaur!

Via ComicsAlliance, /Film, and The Mary Sue.

20th Century Fox Moves With The Literal Times

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Getting closer...

In 1999, Matt Groening wanted to change the 20th Century Fox logo at the end of each episode of Futurama to 30th Century Fox, to reflect the fact that the show takes place in the 30th century, and that it is a fun logo gag, and those are awesome. Fox denied this request, so Groening did it anyway. The assumption was that 20th Century was a copyright, and to alter it would be disrespectful and possibly illegal. Anyway, once they saw how harmless and funny it, was they were OK with it, and so it has been. At the turn of the millennium I remember there being some questions, with Futurama referenced, if the actual company would change their name to 21st Century Fox. The answer was no, that the name was historic and reflected the culture and achievements of the era of its birth.

Sooooo...
After much exploration, and valuable input from our executive team, we’ve chosen the name 21st Century Fox to take us into the future. 21st Century Fox is a name that draws upon the rich creative heritage of Twentieth Century Fox, while also speaking to the innovation and dynamism that must define each of our businesses through the 21st Century. Our new name is inspired by the very first company we acquired nearly thirty years ago as our initial foray into the awe-inspiring world of entertainment.
That is Rupert Murdoch, in a memo sent to all (former) 20th Century employees and shareholders, of the name change to the newly created Entertainment Division of the Murdoch empire (the Publication Division will continue under the untarnished and trustworthy name NewsCorp). The new 21st Century Fox will replace the film production company Twentieth Century Fox, and the television production company Twentieth Television.

I believe the implications of this are clear: very soon, our celebrities and admired dead presidents will have their heads preserved in jars. And I for one will welcome our denecked rulers and attractions.

Via /Film.

[Review] - Doctor Who, Series 7 Episode 10, "Hide"

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One of the reasons I enjoy Luther is, despite the procedural nature of the show, Neil Cross is able to twist the plot enough to keep the viewer on edge, without it being damaging to the narrative. The sudden surprise revelations, or unexpected right turns rarely feel out of place. His revelation that the Mummy wasn't Grandfather in the Ring of Akhenaten was meant to be such a twist, but the underwhelmingness of the sun/gas giant/space pumpkin undercut the twist. Hide, Cross' initial venture into the Whoniverse, is not only superior to Rings, but also more successful, both at establishing a tone straight away, but then turning said tone completely on its head, and it feeling completely natural for it to have done so.

Hit the jump for the review, which contains spoilers which once summoned a spirit from the other side, but later suffered from buyers remorse.


But first, the references. And like last week's episode, it was reference light. The crystal the Doctor used to open the wormhole was from Metebelis III, location of the Third Doctor's "death." The absence of the umbrella stand is a shout out to the fact that the majority of the Doctor's console room arrangements have included either umbrella stands or coat racks (and the Eleventh's tendency to just put things down in odd places). The TARDIS communicating via hologram of the companion occurred in Let's Kill Hitler (and more on that in a moment), and the Doctor caught a ride on the exterior of the craft as Jack Harkness did in Utopia. The Doctor once again wore the orange space suit he acquired in the Satan Pit. The Eye of Harmony got it's first reference since the '96 film, and the Doctor's not knowing how it works references the conflicting ways the Eye has been presented over the years.

The biggest reference in the episode wasn't to Doctor Who at all, but to The Quatermass Experiment, which Cross admits this episode was originally written as a cross over between the two franchises, which had to be rewritten due to copyright issues (which also explains the Doctor's giddy gushing over Professor Palmer). Quatermass served as a thematic progenitor of Doctor Who, and the show has affectionately called attention to it numerous times over the fifty years of the programme.

As to the episode from the past whose sins this was attempting to absolve, I think it is obvious. The 1989 Seventh Doctor serial Ghost Light, pretty uniformly regarded as the worst story the programme has ever produced, and a sure sign that the show needed to take a rest (Ghost Light was also the very last episode of the original series to be filmed). In it, the Doctor and Ace arrive in a haunted mansion and then... stuff happens. That's about as descriptive as you can get about the serial, which was plagued by rewrites and editing, resulting in an overly complex story becoming incomprehensible (even the production staff had no idea what was going on). And while certainly the idea of a haunted mansion is nothing new, Hide does succeed in washing the 24 year old bad taste out of our mouths.

What impresses straight away is how the episodes sets the tone, and keeps it. It is easy (and the tendancy in modern horror) to plague the victims with CG horrors rather then letting them frighten themselves. This episode took a very Hammer films approach, using shadows and wind and dancing candle light to build the tension, and the Doctor's uncertainty and nervousness to drive home to point. For the first half of the episode, this was a traditional horror story, crafted in traditional ways, and a perfect example of why traditional doesn't always have to mean bad. The fleeting glimpses of the Crooked Man, which the episode takes its entire length in explaining, were all the more effective considering the Doctor wasn't even aware of it. It is the unknown dangers that are the scariest.

And then, half way through, the episode shifts gears and becomes a science fiction story. But like I said, it didn't feel forced. Partially because it provided a reasonable explanation for the ghost, and partially because once the Doctor dropped into the pocket universe it was creepier then the haunted house. The point of a horror film is to keep the viewer off balance, and the sudden swings between horror and sci-fi, and back to horror certainly did that. Also, there was minimal use of CG, which meant nothing obviously fake distracted the eye.

And right up to the end, the subversions kept coming, as the Doctor left the reveal of the Crooked Man right up to the literal last minute. And like the best stories of these sort, the monster wasn't a monster, but a lost love. Which fit, considering that the rest of the episode, unusual for a ghost story, was a love story and one that ultimately worked out for everyone. Also unusual for a ghost story, not only did everyone get a happy ending (including the monster), but no one died, even the ghost.

For the second time this series (and only in episodes written by Cross), Clara mentioned the TARDIS no liking her, a fact confirmed by the TARDIS herself here, and it brings me to my biggest concern about the episode, though less about the episode and more about the series in general. The Holographic interface is a dangerous precedent. I thought so when Moffat used it the first time, and I've thought so again. The TARDIS' intentions should be made clear by her actions, not by direct communications.

Having the ability to communicate directly to the crew undermines the tragedy of the TARDIS and Doctor's relationship, and devalues the effectiveness of The Doctor's Wife, the time they talked. That moment needs to be isolated, to be mythic in the Doctor's story. If it becomes commonplace, then it's just another source of material for fanfic fetishists. It would have done what needed to happen, and been far more emotionally effective, for Clara to be standing there, begging for assistance, and for the door to swing silently shut rather then for her to be gabbing at herself. Though, I do like the twist of a companion that isn't blown entirely away by the TARDIS. Even River was never jealous of big blue.

So far this series, the best and most satisfying episodes have been the smaller, more minimalist epsiodes, that haven't tried to save the universe, just tell a story. Next week we get the episode I'm most looking forward to (beating out Gaiman by a whisker), but I worry because of the granduer of the concept the show might trip over itself, as it has had a tendency to do. Hopefully though, the next time the Doctor heading into the dark, he'll bring a torch. Or at least, that giant fish-vampire repelling UV light.

[Review] - Oblivion

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Courtesy of Universal Pictures
I haven't seen a movie in theatres since February. This is a long time for me, but nothing that has been released this spring inspired any sort of desire in me. I'm rarely enchanted by prequels and remakes, or big glossy CGI spectacles, and I'm not going to waste money on any movie that can be described as "Die Hard on/in a ..." So, it's been a dry spell. But I've been looking forward to Oblivion. Not for any reason in particular, other then I'm always on the look out for an effective science fiction film, something that I feel we haven't been treated to in quite some time. And I'm not generally one for Tom Cruise films. But something in the trailers made me pause and reflect. And now I know what it was.

Joseph Kosinski obviously loves science fiction. Like Tarentino likes B-movies, Kosinski has clearly made a life study of the classic sci-fi of the '60s and '70s. While there was nothing clearly referential in the teaser material, I must have recognised an intention on the part of the director to make a film that wasn't just meant to look good, or make money, but stand up as an example of the genre, while also being a love letter to that genre. And what a love letter it is.

Hit the jump for the review, which contains spoilers, especially for the second half of the film, so if you haven't seen it yet, don't read this. Just don't. I'm giving you fair warning here. Really, just see the film, then come back, OK? Fine, fine, hit the jump. But don't say I didn't warn you. I wash my hands of any blame from here on out.


I want to watch Oblivion again, and I feel like the legacy of the film will be it's the sort that geeks like to watch and pick apart for all the little references. Not actual references, not shout outs of anything so obvious or ham fisted. But allusions, subtle reflections, the way references should be done. It shows both an appreciation of the source material, and the talent to incorporate them into the narrative in non aggressive or distracting ways. If I had to put money on it, I'd say Kosinski's (Tron Legacy) favourite films are Planet of the Apes and Star Wars. I make that assumption based on what I felt were referenced the most. I could be wrong. I doubt that I'm wrong in guessing that Disney will be looking at Kosinski in the near future to helm one of those ridiculous annual Star Wars films they're going to run into the ground. As for references, I saw glimpses of Brave New World, Omega Man, Star Trek The Motion Picture, 2001, The Matrix, the original Star Wars, Predator, Planet of the Apes, and a dozen others that I couldn't immediately place, and many more I know I missed. 

The first half of the film is a "last man on Earth" story, an Omega Man/I Am Legend/WallE tale that is a standard trope of the genre (and not the last one we'll see this year). Earth has been destroyed, and Jack Harper (Tom Cruise) is part of a two person cleanup crew left behind to make certain the lights are off and the oven isn't on before the last of humanity packs up and leaves for Titan. The war that caused them to flee decimated Earth, and the remaining alien attackers are making life difficult for Cruise, and the massive thermonuclear vacuums sucking up Earth's oceans so it can be transported or converted into energy for the off-world settlement.

The first half of the film is a slow film, a film that builds itself up through atmosphere and character, like films used to in the seventies, before an action beat was required every twenty pages, and a movie had to have four "trailer moments." I doubt anyone but Cruise would have clout to make a "tent pole" movie as deliberately paced as this one. This is how I like films. I like it when they take their time, when they establish themselves, and when they give us a reason for caring about the characters. We're not waiting for the next explosion, we're waiting to see what Harper does next. And because the focus is on the character, we see that even before his world comes crashing down around him, he had it in himself to discover it on his own, if given enough time.

Because it's the way my mind works, I ran over the details laid out for us in the opening monologue, about the attack and the exodus and the various bits of science. I had planned on mentioning that the movie keeps the science it knows its going to get wrong vague, and what it does mention doesn't make a lot of sense. However, and points to the writers for this, that is a massive hint rather then just par for the course. To play off the audience expectation that the science in a science fiction film will be all manner of wrong, as a way of establishing that in-universe something is wrong is not only a brilliant tactic, but also one that assumes an intelligence of the audience, and again is a brave choice for a major studio picture, which tend toward the "lowest common denominator" style of storytelling. Even the standard cliches, like the memory wipe, which is mentioned in the first line of dialogue, sets your bullshit detector on "ready," ends up getting subverted.

The movie looks fantastic, and there is good reason for that: it's mostly real. I fall firmly on the practical magic side of things when it comes to film making, and would rather see an actor interacting with a prop, or watch a model built to scale then some CG digital mashup with the physics slightly wrong. And clearly, coming from the "classic" mindset, Kosinski does too. The attack drones were physically on set, the Bubble Ship was a gimble mounted functioning ship. And the scenery was mostly real Iceland, where the film was shot during the 24 hour sunlight period. The director shot footage of the clouds from atop volcanoes, and over the landscape from helicopters, and projected the images rather then add them in afterwards, so that the actors were actually immersed in the environment. It all adds up to a sense of realism, of physicality that science fiction needs in order to establish the suspension of disbelief. If the actors can reach out and touch things in this world, then so could the audience. Which isn't to say there is no CG, but what there is, is very impressively done. This is top notch stuff, and clearly was intentionally used as infrequently as possible, to reduce the chances of it distracting or obscuring from the story. The most impressive shots were those of the destroyed and haloed moon, or of the orbiting Tet.

It is a shame the trailers had to reveal Morgan Freeman's presence, as that reveal undercuts the effectiveness of the surprise. Happily, the major revelations of the film are preserved, and this is your last chance to turn back before this are given away. Still here? OK. With Jack plagued by half remembered dreams, and the sudden appearance of the women of his dreams (Olga Kurylenko), Jack is taken by Malcolm Beech (Freeman), who does his very best to be vague about the reality of their situation, because he knows this is a "show, don't tell" sort of movie (at least, at first), and wants Jack to figure it out for himself. From this point on, the action drives the plot more then the characters, and in the last half hour things get ridiculously compact and expositiony. At two hours, it is a comfortable length, but might had made use of another half hour just to give things a bit more elbow room.

The first twist is the discovery by Jack of a double, doing his job, living his life, in a so called Radiation Zone. And may I say, it is probably the best "man fighting with himself" scene I've seen on film. At no point was it blatantly obvious that Cruise was fighting with a Shemp, or talking with a composite image. Again, there was a harsh physicality to the entire scene, which made it believable. Unfortunately, the scene ends with a cliched shot to the gut, which necessitates a sojourn to Jack's cabin in the woods. The pieces all line up, and there isn't a plot thread left dangling that isn't woven back into the film by the time the credits role, but it feels as though it is at least one subplot too heavy. I just don't know which could have been cut, without everything else falling apart.

The ultimate reveal is, as the first half of the film, nothing new to sci-fi. But it approaches it from a different direction, providing if not new then at least unusual solutions to the questions. I will say this, that few movies use the Galactus, or grey goo, plot when developing their alien invasion movies, and I once again credit the writer's assumption of intelligence on the audience's part, and that a braying neon beastie wasn't necessary, nor was a fist fight at the climax to force the notion of finality. While the back half certainly isn't as cerebral as the front, it never forfeits that foundation. Even when it introduces a bunch of canon fodder characters (Nikolaj Coster-Waldau and Zoë Bell) who look as though they have motivations, it's just a shame we don't get to see much of them.

Oblivion isn't the greatest movie ever made, but it isn't trying to be. What it tries to be, and succeeds at, is being genuine. It wants to be honest about itself, and pay respects to those that came before it, and it does so wonderfully. And as proof of that, towards the end it has the most honest Bond-stlye one liner a person could ever possibly give.

Oh, and nice logo gag.

To Explore Strange New Worlds

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69c, 62e, 62f, and Earth. Courtesy of NASA

I believe that life exists in the cosmos. Statistically speaking, you pretty much have to. In the past six years, 656 confirmed exoplanets have been discovered, compared to 210 planets discovered in all the time before 2007. In the first 16 months of the Kepler mission, 2300 possible planetary candidates were identified. Really, considering that our own solar system has eight planets, four of whom are rocky, and three of whom are in the so-called Goldilocks zone, it shouldn't be a surprise that planets are plentiful in the universe. Its getting to the point where we can admit that planets are in fact very common, and that the majority of stars have at least one planet orbiting them. The current thinking suggests a hundred billion planets in our galaxy alone. If even a fraction of those support life of some kind, that is still potentially millions of planets.

I believe that life exists in the cosmos. Our planet is stupidly encumbered with life, so much so that it is ridiculous. Everywhere we turn, we discover a bit of life that really shouldn't be there. Creatures living the lowest, coldest, most pressurised depths of the ocean, life present in hot pressure and volcanic vents. Life in arid wastelands and in freezing conditions. Life, to quote my favourite movie, finds a way. And while to date our planet is the only one confirmed to have life on it, it is understandable considering that we haven't actually been to other planets to look for it, and the rovers that have successfully landed on Mars aren't equipped to look. That isn't their mission.

I believe that life exists in the cosmos. I just believe that we get hung up sometimes on our own special Arrogant Presumption. The Goldilocks zone is the area around a star where liquid water can exist, and therefore, according to everything we known about Earth, the ideal place for life to emerge. Life, as it exists on Earth. Which, as a man of science, I must admit is the only definition we have for life, and therefore must be the benchmark for it. However, I am not a scientist, I am a professional speculator, and can therefore say that this definition is constrictive. We cannot dismiss the potential that life is capable of arising in native environments and adapting to those environments, and might do so in environments so harsh, so different, so alien to us that Earth-like life would never survive. But we have to start somewhere, and the Goldilocks zones are as good a place as any.

NASA reports that two solar systems, Kepler-62 and 69, have had positive identifications of planets orbiting them. More then that, several of the planets are Earth sized and assumed to be rocky. And a handful, including multiple planets in the same solar system, are within the Goldilocks zone. Kepler-69 is roughly the same age, size and luminosity of our own star, 2700 light years away in the constellation Cygnus. Two planets orbit 69, b and c: 69c (70% larger then Earth) falls into the Goldilocks zone in a way similar to Venus, orbiting in 242 days. 69b transits the star in only 13 days.

Kepler-62 is a 7 billion year old star 1200 light years away, in the constellation of Lyra. Smaller and dimmer then our star, it has been confirmed to have 5 planets (62b-f) orbiting. The three inner planets are inhospitable, orbiting very close to the star, and in 5, 12, and 18 days respectively. There are two planets within the Goldilocks zone: 62 e orbits at the inner edge in 122 days, and is 60% larger then Earth. 62f orbits further out, in 267 days and is only 40% larger then Earth. While neither have had their compositions confirmed, they are expected (considering their size) to be rocky worlds, and could potentially have liquid water.
 
I believe that life exists in the cosmos. I don't believe that aliens have visited Earth and experimented on us (though, if you think about it, alien abductions are essentially what we do when we put dolphins in aquariums). I do believe that missions like Kepler are helping to identify the places in the galaxy where there is the greatest possibly for life to have evolved. And that where life exists, there is the potential for complex life. And where there is complex life, there is the potential for intelligent life (something that we are more and more coming to realise isn't a rarity on this planet). I believe that life exists in the cosmos, and that somewhere in the cosmos someone is looking for us as much as we are looking for them.

And I believe that we won't necessarily recognise each other then we find each other.

Via NASA.

[Review] - Game Of Thrones, Season 3 Episode 4, "And Now His Watch Is Ended"

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Courtesy of HBO.
This episode was a treat for any and all of us who want the series to expand beyond narrative established by books. Much of what happened in this episode was new material that the producers have added in, both to pad out the distance between "big" episodes, and also to fill in some characters that have never gotten their full due. In the process, Benioff and Weiss have crafted a well balanced midsized episode, where a lot of behind the scenes stuff happened, all of it necessary for what is to come.

Hit the jump for the review, which contains spoilers that once fell off a horse into a pile of shit.

Varys has always been an interesting character, in both mediums. In the books, we never learn that much about him because he's never a POV character. So, we only really ever see the facade he puts up, the public image of the fancy man, clouded in perfume. In the books he is a prim, Otho like character, and despite the insistence of those that encounter him that he is a dangerous man, he is never really presented as having any edge. In the series however, he blisters under the surface with a calm rage. He's struck me as like Hannibal Lector, in that while everyone else is fairly constant in their deception, Varys makes no effort to hide his untrustworthiness. And because everyone knows he can't be trusted, it makes him somewhat more trustworthy. I've also appreciated, over the course of the show, the little scenes establishing the relationships Varys holds with the others in King's Landing. The scene in season one between him and Littlefinger, the two sides of the same coin, a mutual respect and revulsion at how the other goes about his work. Last season they went to great lengths to establish, if not a camaraderie between Varys and Tryion, then at least an understanding that they were more alike. And now we're starting to see those relationships pay off.

Varys got three very good scenes this week, each important comments on the way things operate in King's Landing. His slow, deliberate, and revealing conversation with Tryion, where he once again is completely honest, and lays out why it is that he does things the way he does. He himself is a slow, deliberate and patient sort of person, playing the very long con. Important to note is the inclusion of his hearing a voice answer out of the darkness, one of many slight changes to the way things played out in the books that could lead the narrative down some very different paths. If nothing else, it might serve as fodder for Tryion moving forward, who long ago said he only believes things he sees with his own eyes. While he might not have heard the voice, that Varys did and honestly believes in it might be enough proof for Tryion to get scared too.

His conversation with Ros, who continues to be a character the producers can shunt into an story there happens to be a gap, builds on the seeds of their conspiracy against Littlefinger which began last season. Readers of the books know the importance of Littlefinger, and the plot regarding marrying off Sansa, but the involvement of Varys is either new, or misdirection, or a wrinkle the books simply omitted. Either way, I prefer it, if only because it means we'll get more scenes out of Diana Rigg as the Queen of Thorns. Her character is very like Varys, only more open about her intentions. That they are acting together, and possibly with Margaery as their agent, is a significant change, and I'm very interested to see how this plays out.

The scene inside the Sept of Baelor, with Joffery giving Margaery the death tour of Westeros history, while Olenna and Cersei had a moment together was fun. It began a new story path for Cersei, one that reveals what she's actually made of. The look of fear and distrust on her face when Margaery lead Joffery out to wave at the adoring public was magnificent. Cersei believes that she is the best at what she does, but her scenes so far this year, and especially in this episode, show that the edge of that image is fraying. Tryion has already told her that she's not as smart as him, and here Tywin tells her she's not as smart as she thinks. She is in control when she's surrounded by louts and drunkards and weak children she can seduce. But once she's surrounded by Lannisters and those who want the power she already has and has grown complacent in, she can't hold a candle. The scene between her and her father shows exactly how far Cersei has misjudged the situation, and how far she's got to fall.

The two major events of the episode, those that it will be remembered for because they are loud and brash and have immediate effects, were the Brother's Mutiny, and the sack of Astapor. Dany got her moment, and Emilia Clarke killed it, as she often does when Dany actually has something to do. Her consolidating forces proves she is a growing power in the world, both in terms of man power, but the growth and range of her dragons. It was well mirrored by the loss of the only constant and honourable leader the show has had, Lord Commander Mormont. With the death of the leader of the Brothers, the majority of the Wall's protectors scattered or dead, and John out gallivanting with Mance, the North has been significantly depowered. Note that as the fire rises, the cold recedes. 

The episode did a fine job of keeping on story elements, and not flitting back and forth between scenes like a hummingbird. That's not to say there wasn't obvious filler material, Bran's dream being the one that sticks out like a chin. And Theon's story didn't seem to go anywhere (literally and figuratively). I understand what they were trying to do, to establish a relationship between Theon and Iwan Rheon's character, hoping that Theon would reveal something, which he did because Theon's an idiot. But it mostly feels, and has felt, like just an excuse to keep Alfie Allen on the show through season three. His interlude did provide another small deviation, as Theon revealed that Bran and Rickon are alive, a fact that is never revealed in the novels to anyone but themselves (and one other, who I won't mention). How this changes the dynamic going forward, especially considering who has the information, and how they might use it, will be interesting to see play out. 

Good News Everyone, I've Got Some Bad News

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Comedy Central has cancelled Futurama. The final batch of 13 episodes, set to start airing on June 19th, officially part of the seventh season (or whatever volume number they'll put on the DVD release) will be its last on the network that brought the series back from the dead. However, it wasn't that much of a surprise for Matt Groening and David X. Cohen, as their contract with Comedy was on a per annum basis. Because of this, they've structured each of the revived seasons to potentially be the last. Said Groening, "We’ve been in this situation before and it’s tempting when you’re doing episodes that are as good or better than anything you’ve ever done to continue doing it."

After seven seasons (eight, if you count the films as one) is an impressive run for a smart sci-fi animated programme that was cancelled during its initial run, but Groening is hopeful that the show will find new life yet again, saying, "We would love to continue. We have many more stories to tell. But if we don’t, this is a really great way to go out… I think these episodes are the best ones we’ve ever done." The producers are apparently already shopping the series to potential new networks, though that list grows short. The only channels that would seem like a natural fit would be Adult Swim, or hilariously FOX (the network that cancelled them the first time), with their new ADHD lineup. The only other sensible option would be Netflix or another online streaming service, essentially doing what Futurama already did by taking the films direct to market.

The news makes me 40% sad. I love the show, a perfect blend of absurdity, comedy, and intelligence. While it may have began as a blend of the Simpsons and Star Trek, it has grown into a show that is as influential and culturally relevant as both of those shows. Characters like Bender and Zoidberg will continue to exist in the popular culture for years, if not permanently. If they manage to find yet another new home then good on them. But if this is finally the final end, then I won't be as disappointed. The show has had a good run, two point of fact, and nothing last forever.

All that remains would be to put its head in a jar.

Via Collider.

Thor Is Truely Desperate

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I think I've said this before, but I'm going to repeat myself: Thor was my favourite of the Phase 1 Marvel films. Not the usual choice, I know. But (and I'm even including Avengers in this), if I were to sit down and watch any of Phase 1 just on a whim, I'd more likely choose Thor then any of the others. I don't know why. Well, I do actually. Despite fantasy not being my preferred genre, I'm a big fan of classical mythology, I don't care what culture it comes from, and Tom Hiddleston is... just... neat.

So, I have a lot of high hopes for Thor: The Dark World. And this first trailer does little to diminish those hopes. It heightens them. I'm still uneasy about Loki returning, and hope that this will be his MCU swan song (and suspect the same will be true of Portman's Jane Foster), but this film, under the amazing talent of Alan Taylor, looks damned beautiful.

And I can't wait for the awkward conversation about that time Thor helped saved New York from an alien invasion, and didn't even send Jane a text.

[Review] - Continuum, Season 2 Episode 1, "Second Chance"

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Courtesy of Reunion Pictures
Last year, I felt the biggest surprise we were treated to on television was the Canadian time travel series Continuum. Surprising because it resisted all the temptations it put before itself. Despite a procedural framework, it never really conformed to the trope. Despite threatening to burn itself and its possible story directions out, it managed to find new and unexpected avenues to explore. Despite the tendency, it never tried to give a simple answer to the philosophical questions that always arise when time travel is involved, and never bogged itself down with technobabble and pseudoscience to explain complex ideas away. By the end of the first season, the show had settled into itself quite nicely, and crafted a balanced cast of complex characters for the viewer to enjoy.

Hit the jump for the review, which contains spoilers that once brought themselves back to life after being shot six times.


Where were we? Kiera Cameron (Rachel Nichols) was sent back to the modern day from 2077 (a far nicer and realistically advanced 2077 then the one Tom Cruise is currently spending time in) along with a cadre of terrorists belonging to Liber8, an anti-corporate militant group seeking to prevent the corporations from buying out the government and installing dystopian oversight on the world before they get the chance (actually, Continuum's 2077 looks quite nice, and a lot less dystopic then most "bleak futures," so obviously I wouldn't be invited for Liber8 membership).

In the finale last year, Liber8 leader Kagame (Tony Amendola, just one of the many actors of great sci-fi legacy that populate the show, little wonder considering it is filmed and based in Vancouver, the shooting location for many science fiction series over the last 25 years) blew himself up, thus closing the time loop and committing the terrorist attack that started the chain reaction that caused the corporate takeover to begin with. Kiera and her methods became the interest of CSIS agent Gardner (X-Files' Nicholas Lea), while the hopelessness of her situation settled into a nice depression, and Alec (Erik Knudsen) received a message from his future self (William B. Davis), apparently cementing the notion that Continuum follows a stable time loop theory.

Season two picks up barely a week later, with Kiera's depression apparently passed into a form of acceptance, causing her to isolate herself from the resources she gathered throughout season one. This doesn't work, or maybe she just sucks at personal management, because as the season begins she is forced to turn to Kellog, the former Liber8 member and now generally smarmy time traveller for financial assistance, and to the equally isolating Alec for information. At the same time, she is drawn back into the world of organised law enforcement when the Mayor of Vancouver is assassinated, and the police, in the wake of the terrorist attack, believe Liber8 to be involved.

One aspect of the show I've always appreciated is the continued focus on Liber8, giving them equal time and characterisation as Kiera and the cops. Equally impressive is the fact that the show, after the initial few episodes, has never painted Liber8 as the straight up villains. Terrorists, yes, but they have also gone to lengths to show that their position is a valid one, just that Liber8 goes about achieving their goals the wrong ways. Season two promises to continue this, by following the core group, increasing fragmented and lacking internal control after the death of Kagame and the ascension of Valentine (Lexa Doig) to the role of leader, and also Verta (Roger Cross), Kagame's right hand man, now in prison with Julian, a boy destined to become the founder of the Liber8 movement.

The show, which began as essentially Timecop, has really grown beyond a humble, or perhaps just a measured origin, and put down an intricate web of co-existing stories. Simultaneous, but separate, story lines are easy to write, if not balance (look at Game of Thrones). Continuum is playing at the tougher kind, the sort where plot lines merge and separate, where one has an effect on the others, and that sort of complexity creates a greater opportunity for things to get tied into knots and become unmanageable. So far, the show appears to be doing well, and I hope it stays that way. I hope the show is able to maintain and grow further, without collapsing under the weight of itself.

I am looking forward to less self contained, episodic stories, and more arcing plots. The assassination storyline has a semblance of being wrapped up, but because we the viewer have access to all side, we're aware of the machination behind the scenes. The role Liber8 has to play, and the political aspirations of Tahmoh Penikett's character, will clearly have an ongoing influence on how they move forward. However, too many new plot points, like the mysterious visions of Kiera being captured and locked up fed into her dreams, make me nervous. I'm interested to see what they mean, and where they will take her, but with all the political intrigue, the criminal investigations, and the over arcing time travel mystery, how many sub plots and story arcs can one show maintain?

Alec has taken his isolation to an even further extent then Kiera, moving out of the farm that acted as Kiera's watchtower, into dingy student housing. He cuts out his mom, in a scene that is just straight up rude, and Kiera, acquires himself a crappy job, and tries to live a mediocre life. Further more, he is resistant to using the advanced technology he's developed based on a message his elder self sent him, suggesting that he is responsible not only for sending Kiera back, but for the entire corporate culture of the future. At the end, we learn it is his desire to undo these things, but having already done them suggests that, as Adams once wrote, what happened happened.

Kiera and Alec's relationship is the backbone of the series in many ways, considering he's the voice in her ear, and the closest thing to home, but the adaptation of the uncle-niece relationship she had experienced in her time, to the almost brother-sister relationship they built up over season one was both natural and provided Kiera the emotional support she needs. The build up to, and strange but effective undercutting of the tension in their first face to face last season was one of the season's highlights, and I can only hope that the final scene of this episode, of the two of them together does not become a rarity.

I like Kiera, as a character. I appreciate that most of the characters, and Kiera especially, feel like real people. They don't, for the most part, talk in speeches, or melodramatically. The characters act and talk like real people. They tell little jokes, are sarcastic, curse freely and appropriately. The show isn't a comedy, and cannot be called funny, but Kiera has a tendency to laugh at little things she finds personally amusing, something TV characters rarely do. There are pauses in interactions, like the characters are thinking of what to say, rather then just knowing what their line is. There was a bit in this episode where Carlos is explaining which bits of security footage he needs, and this tech (SGU's Jennifer Spence) just looks at him and admits she has no idea what he wants from her. There aren't superheros in Continuum, even Kiera with her tech and suit is just reasonably good at her job, or Alec isn't instantly successful because he's a genius. The characters on Continuum are fallible and human, and that makes them feel real, and that makes the show better.

Reviews will appear every Wednesday for the duration of the second season. Enjoy.

Lionsgate's Logo Flounders Out Of The... Well, Gate

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As a cinephile, I've seen a lot of movie logos. And I'm a fan, as I've mentioned once or twice before. So, it's exciting when a company releases a new or updated version of their brand. It's even more exciting when the company does so to announce their transition into a major production studio, as Lionsgate have recently done. The previous Lionsgate logo, which consisted of pulling out of a gear works to reveal a set of literal lion gates, opening into a heavenly cloudscape, has been a favourite of mine of some time. So it is a little disappointing that they abandoned the gears entirely, in favour of a more derivative, but "larger concept" animation.

CEO Jon Feltheimer said, "our new logo reflects the limitless opportunities we see in our future." Unfortunately, it comes off as bland and uninspired. Opening on the world calls to mind the iconic Universal Studios, and the tilt of the galactic plane reminds too much of Relativity Media's own animation. A company should want to strive for unique brand recognition, and the gears gave them that. All this logo does is bring to mind other companies. They get points for including their original Leo Constellation pattern in the stars just before the words appear, but the first few times I thought it was a horse, which again brings to mind TriStar (whose 1980's spiel is inexplicably one of my all time favourites). Also, the presence of the clouds made sense in the old logo, as the gates were opening into the sky. Here, after pulling out of space, they are just confusing. And the music, while big and orchestral, is lifeless and unmemorable.

My verdict, they can do better, and the sooner they figure that out, and maybe return to the gear motif in some way, the better for them.

Via First Showing.

Warehouse 13 Collects Themselves A Watcher

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Last season of Warehouse 13, or the first half of this season, or whatever the hell they're calling it, wasn't very good. After three enjoyable seasons, the last ten episodes were easily the weakest they've done, and bordered on embarrassing at times. Hopefully the new season, which premieres this coming Monday (and which I haven't made up my mind if I'll be reviewing or not), will be an improvement over the last.

And they've gotten off to a good start. Along side the returning main cast, and recurring actors Jamie Murray and Kate Mulgrew, is yet another slew of genre and sci-fi stars, to add to the already impressive number of guests the show (which films in Toronto and Montreal) has procured. This season will feature Polly Walker, Enrico Colantoni, Missi Pyle, Joel Grey, Nora Zehetner, Kelly Hu, Steve Valentine, and former Buffy and Merlin (and most recently the best thing in Neverwhere) star Anthony Stewart Head, as the villainous Paracelsus. Head will appear in the final three episodes of the season, presumably in a role similar to the one Anthony Michael Hall played a couple seasons ago.

I was very on the fence about WH13 after last year, but Head's involvement is probably enough to push the show back into my favour. Hopefully, it lives up to that favour.

Via the Mary Sue.

Marvel News Round Up

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The Guardians of the Galaxy has found two more cast members, tapping Lee Pace, most recently glimpsed in The Hobbit, but better known as his role as the Pie Maker on Pushing Daisies, and Ophelia Lovibond (Mr. Poppers Penguins) to play potential villains in the film. Ms. Lovibond was initially described as playing "an aide to a near-immortal being called The Collector" before it was removed. Pace, who was heavily favoured for the role of Star Lord, which went to Chris Pratt, impressed Marvel so much they moved him into a primary villainous role, assumed to be that of either the Controller, or the Collector (a supposed copy error has resulted in both characters being interchanged in multiple reports). Disturbingly, this means that the heroic Guardianswill be played by Americans, while the baddies will be played by Brits. It is a sad state of affairs when casting lines can still be drawn between what sounds foreign to the majority audience, and what doesn't.

James Gunn has yet to announce anyone in the roles of Groot the Space-Ent, or Rocket Raccoon, but has said this on the furry team mate: "it’s really, really important to me that Rocket Raccoon, who is the heart of the movie, is not a cartoon character, it’s not Bugs Bunny in the middle of The Avengers, it’s a real, little, somewhat mangled beast that’s alone." It's interesting that he's insisting Rocket is the heart of the movie, and not the comedic relief or easily pushy toy-able critter, and yet the only casting rumours we've heard so far have been Jim Carrey and Adam Sandler, the sort of folks you'd cast if Rocket needed to do impressions of late 80's politicians, or make fart jokes the entire film. Hopefully, Gunn is being honest here, because I think making Rocket the comic relief is a bit obvious, and I'd be happy to see him have a bit of substance. But a lot of that substance is going to come from choosing the right voice actor to play the role, and I think they can do a lot better then they've seen thus far.

Elsewhere in the MCU, Kevin Feige has confirmed that the rights to Daredevil, Kingpin and Bullseye, have reverted to marvel, and are now available to Disney for inclusion in Phase 3. The Elektra rights remains a little more complicated, as they wouldn't naturally revert for another year (due to the release date of the Elektra spin off film), though its possible FOX returned those rights willingly when they release Matt Murdock. While I highly doubt we'll see Daredevil in any future Avengers films, or in a stand alone film of his own for some time, as I have previously suggested, if Agents of SHIELD is a success, Daredevil might be a more interesting presence on television then on film.

Via Gamma Squad, and /Film, and again. Twice.

Star Trek Finds A Whole Lot Of Vengeance

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This is the first detailed look at the big friggin' gun ship Cumberbatch threatens the Enterprise with in the most recent trailer for Star Trek Into Darkness, apparently called the U.S.S. Vengeance, and it's nice to see that Starfleet isn't big into subtly when naming their vessels. At the time, I compared it's shape and size to the Enterprise-E, though now that I get a good look at it I'd say it's more like the Galaxy-class D. A heavily weaponized, made out of mega-blocks and hate, Galaxy-class battleship.

A bunch of new character posters for the film have also been released, and can I just say how disappointed I am that none of the posters for the sequel have been as unique and visually interesting as the fantastic poster for the first film. The crashing Enterprise came close, but looses points for just copying the design used by Iron Man 3. These posters at least give everyone their due (everyone being everyone but Scotty and Chekov), though poor Alice Eve received some terribly photoshop touch ups.

Also being released are brief segments from the film, as if folk needed convincing that they wanted to go see this film. I mean, a long, all encompassing and permeating advertising campaign might have been needed for something like the Avengers, which was an untested property (and I guess it paid off), but this is Star Trek. More then that, it's the sequel to the Star Trek film that convinced people who would never see a Star Trek film to see a Star Trek film. I really don't see the point in releasing scenes like this.

I've included the clips and the posters after the jump; the clips in case some of you (like myself) are avoiding all such materials, spoilers or not, and the posters just cause there are a lot of them. Enjoy, if you are into that sort of thing.

















Via Collider, First Showing, and Gamma Squad, twice.

Jack Donaghy: So Powerful, His Influence Is Felt Backwards Through Time

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Confession time: I don't like Mad Men. I watched the first season on DVD, because I was told it was the best show since the Wire, or Deadwood, or whatever show was being used as the benchmark back then (for the record, the correct answer is Breaking Bad), and that I had to watch it. So I did, and was bored out of my skull. The plots were dull, or a tiny bit cliche, but mostly the characters were bland and incredibly unlikable, and things didn't look like they were going to change, and I had better things to do then waste my time watching something that I just didn't like, in the hopes that it would grow on me. Sorry, TV, if you haven't gotten after six episodes, you probably won't.

I understand that not liking Mad Men puts me in the minority, and I'm comfortable with that. My greatest exposure to the show has been that blog that combines screen grabs from Mad Men with quotes from Archer, and I absorb enough information about the show via random internet articles to known what I need: Pete is the worst, Peggy is kind of awesome, Don's going to die, and Fat Betty is hilarious in unintentional ways. I don't know if any of that is actually true, but it's what the internet tells me. So, when the internet told me that there was a 30 Rock reference on the most recent episode, I perked up my reading-ears, and gave it a hear-read.

Apparently, in a recent episode a character in Mad Men went into a bar and ordered a a drink invented by 30 Rock in the seventh season episode Governor Dunston, described by Alec Baldwin's Jack Donaghy as the above, and named by Matthew Broderick's Cooter Burger as:



Is the inclusion of this reference both clever and inspired? Yes. Does it cement Jack Donaghy as so influential, he's possibly a Time Lord? Very probably. Is it enough to get me to try Mad Men again? Not a frakking chance.

Via Uproxx.

[List] - Possible Marvel Siblings In Avengers 2

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“I’ve got these two characters, two of my favourite characters from the comic book, a brother-sister act. They’re in the movie.”
That was Joss Whedon at the Iron Man 3 premier earlier this week, doing his very, very best to get every detail obsessed geek on the internet (like myself) all riled up by dropping a simultaneously vague and presumably obvious hint like that. Everyone immediately jumped on the Scarlett Witch/Quicksilver band wagon, because they are the obvious choice. But Whedon isn't necessarily one for the obvious choices. So, if not the Maximoff siblings, who else might fit Whedon's description? Turns out, there aren't that many off-gender sibling pairs in the Marvel universe, at least not ones that aren't closely associated with Xavier's School for Gifted Youngsters, and therefore unavailable to the MCU.

But few doesn't mean none, and by my count there are six possibile character pairs which would both be available to Whedon and co., and fit within the universe established by Phase 1. Hit the jump to see the list.

Quicksilver and Scarlett Witch

Lets just get this out of the way right now. Aside from the Ant-man/Wasp duo, the Maximoff's are the only members of the Ultimates (where the majority influence over the MCU is coming from) not featured in the initial film. A vague mention of a cello player associated with Coulson in Avengers had the internet certain that was a subtle reference to the Witch, allowing for a seed that might grow into something in the sequel. They also fall into a grey area of rights ownership, considering these two are the children of X-Men baddie Magneto. To quote Kevin Feige, "If [FOX] want to use them for X-Men, they can use them. If we want to use them for the Avengers, we can use them." The stipulation for their use in the MCU is that no mention can be made of their heritage, or of they're being mutants.

I've been in favour of their not being included in the MCU specifically because being mutants, and the strained relationship with their father is a pretty big chunk of their motivation made inaccessible. Removing that stuff essentially makes them different characters. However, if they were de-mutated, Wanda could come off as the least effected. In the Ultimates universe, her powers were described as doing calculations to effect chance on the quantum level, an ability that could be explained away via the Thor-style "magic is advanced science." Quicksilver would be a harder thing to explain away. Back some time ago, I suggested Alexander Skarsgård and Poppy Montgomery for the roles (Montgomery replacing my preferred choice, Rebecca Hall, who had to go and ruin things by taking a role in Iron Man 3); I stand by those choices. 
Chances Of Appearing: pretty damned good.

Fenris: Andrea and Andreas von Strucker

Mutant white supremacist twins with a connection to HYDRA, and usually an enemy of the X-Men, or of SHIELD; in the Ultimates universe they were heads of an investment firm, attempting to destabilise the human economic system to achieve mutant control (utter fiction, as investment firms would never have that much sway over society and politics). What makes this pair's inclusion most unlikely is that they are villains, and it is assumed that there is already a pretty big guy lined up for that job.
Chances Of Appearing: on par with a snowball's in hell.

Black Panthers: T'Challa and Shuri

Black Panther is so outside of my wheelhouse that I didn't even know he had a sister until I put together this list. Marvel has been dancing around the idea of introducing T'Challa for a while, but is unwilling to be as forward about their intentions as they are about Doctor Strange. However, the Panther appears to be a fan favourite, and if the MCU needs anything more then female heroes is heroes that don't descend from Irish or Nordic stock. My concept for a Black Panther film would essentially have been Hamlet, set in an African dictatorship, and adding Shuri and making the persona of the Panther a team would be an interesting change to the established formula. But I doubt she's well known enough to be considered one of Joss Whedon's favourites, despite his love of warrior women.
Chances Of Appearing: better then your average bear.

Iron Fists: Danny And Miranda Rand 

Iron Fist is another property that fans seem to want to see introduced, if only to add another genre (martial arts fighting film) to the list that Marvel is already able to explore. However, I think Miranda falls into the "super obscure" category, as characters go, and while I expect we'll see Danny Rand eventually in either film or TV, I doubt it will be in an Avengers film, and I doubt it will be with his sister by his side.
Chances Of Appearing: rarer then steak tartare.

Inhumans: Medusa and Crystal

This might be interesting. The Inhumans are traditionally a Fantastic Four character set, however Crystal has served as a member of the Avengers. It would seem like introducing the slightly alien Inhumans would be enough of a plot device to carry its own film, but the existence of Guardians of the Galaxy might provide an opportunity. Marvel has insinuated that a connection will be drawn between Guardians and Avengers 2, but there has been no suggestion that it will be one of the Guardians doing that connecting. The Inhumans revealing themselves and teaming with the Avengers against Thanos might just be that connection.
Chances of Appearing: attractive, but unlikely.

Captain Britain: Brian and Betsy Braddock 

Here we go. If any sibling pair has a chance of appearing in the Avengers 2, other then the Maximoffs, it is the Braddocks. It gets a little weird though, venturing into rights conflict territory. Betsy, aka Psylocke, is a member of the X-Men. Her character has never been named in any of the films, however in X-Men 3 there was a character director Brett Ratner referred to as Psylocke in the film commentary, but which Zak Penn says was not named as such in the script. She did not demonstrate any of Psylocke's traditional powers, and fans thought she might have been a character called Kwannon. That she wasn't identified as Psylocke, and would be a substantially different character anyway, might be enough to allow her use in the MCU.

Brian Braddock, also known as Captain Britain, or the UK's attempt to recreate the super soldier serum that created Captain America, is a distinct possibility. The characters are allies, SHIELD is already established in the films as being part of the World Security Council, and perhaps tellingly, Avengers 2 will film at Pinewood Studios in London, rather then Cleveland and Pittsburgh as the original was. Does this suggest that the action will not be localised just to New York, but be more global this time? Considering that Thanos would represent a global threat, it would make sense to involve the rest of the world, and introduce the global effect that the Avenger's have had since the Battle of New York.
Chances of Appearing: a distinct and exciting possibility. And the pair that I'm putting my money on, as of now.

Monsters University Has An Extra Toe

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I really don't have anything new to say about my level of excitement over Monster University, other then said level is high. This new trailer, despite being a little chopping, doesn't do anything to diminish that.

Oh, and the demonic sorority sisters are so much funnier considering recent events.

Fan Made Man Of Steel Credits Make You Believe A Film Will Be Good

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I am willing to put money down, right now, that this fan made set of credits for Man of Steel will be better then the actual movie Man of Steel. Not a lot of money, mind, but enough to make a point. No image from this trailer was culled, copied or borrowed, but was originally shot or rendered, and constructed over three months by Will & Tale.

Apparently, the rumours are now that Zack Synder will get the job directing Justice League if Man of Steel is a success. Surely, they mean critical success, right? Because even if this thing is a pile of half separated rice pudding, it will make stupid piles of money. I doubt it will reach Dark Knight levels, and surely won't touch Avengers, but still, even Superman Returns was a "hit." Financial success is not always an indicator of quality, especially in the summer.
 
Via First Showing.
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