The Venture Bros. remains one of the most narratively dense half-hours in television (and definitely the one that takes the longest between seasons). Starting with this second Season 6 installment, Elle Collins is joined by Betty Felon, to share the workload of making this show make sense.
This week, Pete White and Billy Quizboy face an arch enemy of their own, Doc feels overwhelmed by his new responsibilities, and we meet the saddest supervillain. 'Maybe No Go' was directed by Jackson Publick and written by Doc Hammer.
With the Deadpool movie arriving in cinemas this week, media attention has turned to the character's co-creator Rob Liefeld, and it’s already caused a fair share of controversy. As part of an interview with the New York Times, Liefeld stated that he did “all the heavy lifting” in the creation of Deadpool, and even more bluntly, “I chose Fabian [Nicieza], and he got the benefit of the Rob Liefeld lottery ticket. Those are good coattails to ride.” Liefeld has called the article a "hit piece," but has made similar assertions on Twitter.
Liefeld’s words raise interesting questions about who gets to call themself the true creator of a character. Is it just the initial concept, idea, or design that warrants a creator credit, and does time spent defining a character count for anything?
Most comic book movies are meant to appeal to 12-year-olds. Deadpool is the first one feel like it was actually written by one. Gleefully puerile and deeply immature, it has plenty of what the MPAA calls “adult content,” but no actual content for adults; it’s just non-stop dick jokes (and ball jokes), bloody violence, and fourth wall breaks. In other words, it will be the favorite movie of 2016 of every underage boy who sneaks into it next weekend.
After a half-season of set-up in both Arrow and The Flash, it’s finally here: the CW’s latest super-show, Legends of Tomorrow, featuring Arrow’s Atom and White Canary, as well as both halves of Firestorm, the Hawkpersons, and rogues Captain Cold and Heat Wave from The Flash, the show follows Rip Hunter and his team of misfits across time.
Our longest-serving Arrow and Flash recappers, Matt Wilson and Dylan Todd, have joined forces for Stuff of Legends, our Legends of Tomorrow post-show analysis. This week in “Blood Ties,” cults are revealed, heists are pulled off, and voyages are fantastic. The episode was directed by Dermott Downs, and written by Chris Fedak and Marc Guggenheim.
Rumors have circulated over the last few weeks that a Punisher show on Netflix may be on the cards, spinning out of Jon Bernthal's performance in the upcoming second season of Daredevil, while previous rumors suggested that the platform might deliver a Moon Knight show. The first raft of Marvel Netlix shows is less than halfway through launching, and Netflix boss Ted Sarandon has said that further shows are possible, but there are no current plans to do more than a couple of shows a year. 'Phase Two' of Marvel's Netflix plans may be a few years away.
But that won't stop us speculating wildly on the shows we'd like to see if the platform does pursue a more aggressive Marvel strategy and move beyond the current line up of Daredevil, Jessica Jones, Luke Cage, and Iron Fist. So in the spirit of wishful thinking, we asked our contributors the question; Which Marvel property would you like to see turned into a Netflix show?
Welcome to Cast Party, the feature that imagines a world with even more live action comic book adaptations than we currently have, and comes up with arguably the best casting suggestions you’re ever going to find for the movies and shows we wish could exist. This week we're going back to the '90s, to imagine a film based on a comic that's mocked almost as much as it's revered, Marvel's New Warriors, written by Fabian Nicieza, with art by Mark Bagley, Darick Robertson, and others.
Q: Why is the Justice Society of America of such fundamental importance to the DC Universe? -- @M_Morse
A: I've been doing this column for a pretty long time, and almost every week, I get a question like this one, where the question itself assumes a pretty specific premise. Sometimes, they go as far as actually answering the question before the end of the sentence, making my part in the whole thing pretty irrelevant --- like, say, "who is the dreamiest guy and why is it Batman?" --- but sometimes, it's that premise that grabs my attention more than what's actually being asked.
All of which is just a longwinded way to say that I'm not sure I can really explain why the JSA is a fundamental part of the DC Universe, because I'm not actually sure that they are.
It’s time for another installment of Pointed Commentary, the feature where grizzledArrow watcher Matt D. Wilson and newcomer Chris Haley dig into the details of Team Arrow cleaning up the filthy, crime-ridden streets of Star City.
In this week’s episode, “Unchained,” Felicity finds herself in a keyboard battle with a surprising villain, Thea deals with some serious health issues, an old friend returns, and literally four other plots occur. Kevin Fair directed the episode and the script was by our old friend Speed Weed, and Beth Schwartz.
With Agents of SHIELD taking a much-needed winter break, Marvel’s other spy adventure series, Agent Carter, is back for a two-month engagement, with Hayley Atwell reprising her role as Peggy. Our AoS recappers Agent Ziah Grace and Agent Chris Haley are on hand to review the highs and lows as Agent Carter relocates to Los Angeles to bring down new foes.
Felonies, forced confessions, fading scientists, and flashbacks are all afoot this week! 'Smoke & Mirrors' was directed by David Platt and written by Sue Chung.
Kieron Gillen and Jamie McKelvie are probably now best known for their Image series The Wicked + The Divine, set in a world where popstars are gods. Their other Image sieres, Phonogram, is set in a world where music is magic. The two books have a similar premise, and deal with some of the same ideas and themes, but they attack them from completely different angles.
While The Wicked + The Divine is about making art, Phonogram is about consuming it. The former is about being young and deciding to give up your life to music, but Phonogram – and The Immaterial Girl in particular – is about living with the consequences of that deal. Not burning out in your early twenties, but fading away into middle age, with a great record collection instead of a family.
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