Brianna Hildebrand talked to Screen Rant as SXSW, and commented on Negasonic Teenage Warehead’s character in Deadpool 2.
“I’ve not yet actually read the script, but I do think she will be a lot cooler, based on the wardrobe ideas and stuff. I’m very excited.”
Hildebrand then explained that, although she hasn’t read the script, she did see some character concept art.
“Just some ideas, nothing that’s concrete or anything. But I think it’s cool that she’s grown and matured and she still has so much of this essence of a punk kid.”
Are you looking forward to Deadpool 2? Why or why not? Comment below!
This series will be a brief, semi-comedic review of the CW superhero shows. You can check out last week’s review post here, or see the tally of winners below. The only shows discussed will be ‘Arrow’, ‘Flash’, and ‘Supergirl’. There WILL be some spoilers discussed, so only look at the reviews you’re up to date on!
Supergirl, “Exodus” (Mar 6)
The fact Snapper can’t tell Supergirl is Kara makes me question his journalistic skills
While the two CW shows got dark this week, Supergirl doesn’t lean too hard into its angst. Therefore, “Exodus” works as a dramatic conclusion (of sorts) to the CADMUS plot line. Kara’s dark turn mostly involves independent journalism, but putting her double-life in conflict works well for side plots. Alex’s “bad cop” turn, on the other hand, is legitimately dark and exciting. J’onn’s Dad-Test may have been unnecessary, but the way it motivated Alex was incredible. Jeremiah’s true loyalties still aren’t clear, but perhaps his capture – or demise – will clear it up. Winn falling too madly in love is actually pretty sweet. It’s also exciting to see Kevin Sorbo and Teri Hatcher show up. James has mostly disappeared from Supergirl, which is a shame, as he’s more interesting than Mon-El. But the work “Exodus” does with the other Supergirl stars is phenomenal.
SCORE: 8.5/10 Flash Grenade Things
The Flash, “The Wrath of Savitar” (Mar 7)
And we’re supposed to jump from all this brooding to a musical?
Holy Gosh Darn, this episode is DARK. It’s a confusing choice, coming from a show often praised for its levity. While it’s commendable that CW took a risk on this darkness, it did not pay off. Barry is barely visible this episode, as if the CW knew he couldn’t be convincingly brooding. The proposal twist is interesting, but under-done. It would’ve been intriguing to see Barry sit more on the decision before it gets tossed out like that. Instead, it comes out of the blue to make Wally leave, and Iris calling off the engagement feels unearned. Savitar’s speech becomes far more casual, and makes him feel more like the human evil speedsters of seasons past. The Julian/Caitlin relationship falls more into melodrama, making it hard to watch them onscreen together. But Wally’s an interesting character, and the transformation he MAY be going through is exciting to watch unfurl.
SCORE: 5/10 Acolytes
Arrow did not have an episode this week. Seems like all its dark mojo & rejected proposals got absorbed by The Flash. So perhaps someone in Starling City is gonna get married for real? Maybe Quentin and Felicity’s mom? Talia and Arsenal, perhaps? It doesn’t look like Oliver and Susan will stay together for long.
WEEKLY WIN TALLY:
Arrow: 6 Weeks
Supergirl: 5.5 Weeks
The Flash: 3.5 Week
What show did you think won the week? Does Legends of Tomorrow take your vote? Do you think A.o.S. or Gotham outshines all the CW shows? Let us know in the comments below!
Edgar Wright is back, and he’s ready to attack the action genre head on with Baby Driver.
Wright, whose given us one of the greatest comedy trilogies of all time with Shaun of The Dead, Hot Fuzz, and The World’s End, strays from his Simon Pegg/Nick Frost comfort zone to tell another familiar story with what looks to be terrific flair. Check out this trailer:
After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.
There are echoes of a dozen different films here, most obviously Drive from 2011. It’s certainly a familiar story, but Wright’s confidence with the action/comedy genre mashup is on full display.
And how about that cast?! Baby Driver stars Ansel Elgort as the titular driver, Lily James, Jon Hamm, Jaime Foxx, Jon Bernthal, and Kevin Spacey, who seems to have aged a decade the last year or so.
Baby Driver will hit theaters August 11. Let’s hope it’s not another American Ultra.
Buffy the Vampire Slayer celebrated its 20th anniversary this past week. The cult series featured a phenomenal blend of drama, comedy, and non-stop supernatural action. It’s been off the air for years now, but there are still plenty of shows that carry Buffy’s spirit on. Here’s a list of great series on the air right now that Buffy fans can enjoy!
The CW’s latest acquisition, Supergirl, may be one of the network’s strongest shows. The series follows the exploits of Superman’s cousin, as she fights alongside her secret agent sister, Martian Manhunter, and whatever Mon-El is. Much like The Flash, Supergirl is praised for its levity, not allowing too much melodrama into the action-packed show. It hasn’t had the advantage of starting as a CW tie-in, but it’s flourished. Now that its on the CW, it’s only getting better, with no signs of slowing down. Catch S1 on Netflix, then watch S2 as it comes out Mondays on the CW!
That may seem like a thoughtless, uncritical statement, but I mean it in the way Gus and Mickey say it to each other at the end of episode five. I like this show. I don’t love it, and there’s a good chance I never actually will, but I enjoy spending time with it. There are moments where I find myself disliking certain characters (Gus in particular) more than I dislike, say, Tony Soprano, who is an actual murderer, but I keep coming back to them. There are so many riveting series that I adore, and yet when many of them release a season in bulk, I don’t breeze through them as quickly as I breeze through a season of Love. (I’ve watched the first six episodes of Season Two.)
I’m not building up to some brilliant insight as the reason I feel this way, either. Love is a strange, awkward show that often places its characters in uncomfortable or outright humiliating situations. And I don’t know why, but somehow it’s still a lot of fun to watch.
Except Randy. Anything with Randy pretty much sucks. As I mentioned above, there are plenty of moments where I find Gus annoying, and Mickey is certainly more obviously troubled. But these characters are flawed by design, and when the show is at its best, the two of them improve each other. Randy the unemployed barbarian, however, isn’t improved by Bertie, his scenes aren’t funny, his existence as a character feels unrealistic, and yet the show devotes an absurd amount of screen time to him. Maybe later in the season the reasons will for this will become apparent, but as things stand, when Randy comes on, my attention starts to wander. I get that he’s supposed to be sort of a mirror of Mickey, but for whatever reason, something just isn’t clicking there.
That being said, this season is a large improvement over the previous one. Many Netflix or other streaming service original series tend to consist of episodes that are meant to be watched in a clump. This causes most of the episodes to exist to serve the larger narrative rather than form individual memorable installments. In other words, to draw on The Sopranos yet again, we’ll never get a “Pine Barrens” type of episode from many of these series, in which the content is self-contained and more in service of the theme than the overarching story. While more serialized storytelling is currently the norm, there’s a good reason “Pine Barrens” is my favorite episode of The Sopranos. Shows like Jessica Jones or The Man in the High Castle tend to miss opportunities for this type of storytelling.
This season, Love is an exception to that. In almost all of the six episodes I’ve seen, there is a mini-story that furthers the plot. Episode one is all about escaping the apartment complex while it’s on lockdown, and episode four is about the experience the characters have on shrooms. Aside from the magic episode in the first season, I don’t recall the show ever having done this before. As a result, the storytelling feels less like a mess of information being dropped on the audience, and more like a series of coherent chapters in an evolving story. It’s also a lot more fun this way.
The biggest reason I started watching Love is Gillian Jacobs, because Community is one of my all-time favorite shows. But even as a fan of her earlier work, I’ve been consistently impressed with her versatility and vulnerability in this role. Paul Rust is pretty great, but I get the sense he’s more or less playing himself, as one of the creators of the show. Jacobs, on the other hand, takes a difficult, troubled character, and plays her so earnestly that even when Mickey is at her worst, she’s relatable. Instead of hating the character for her flaws, I find myself rooting for her to overcome them. This is quite an accomplishment, because for most audiences, frustrating characters can ruin a show. In this case, Mickey improves it.
Also, I would like to state for the record that I think a series about Calista Flockhart as a park ranger detective sounds hilarious and amazing.
I’ll probably check in with this one again when I’ve finished the season, but what did everyone else think of Love? Does anyone actually like Randy? Am I totally off-base about Mickey and she’s actually the worst?
The history with Oliver Queen and the Al Guhl family is a long, messy one. Executive Producer Marc Guggenheim stepped up to talk about the long awaited return of one of our favorite villains.
“We will see her in the present day,” Guggenheim teased to Entertainment Weekly. “What she wants from Oliver in the past is very different from what she wants from him in the present.”
For the time being, Oliver is unaware of Talia’s distinguished lineage because Oliver never learned Talia’s last name. “Oliver couldn’t have heard it, because if he had, when Ra’s talked about his daughter he’d be like, ‘Yeah, the other daughter, I met her back in Russia,’” Guggenheim says. “We were very cognizant not to retcon anything. So yes, she is Talia al Ghul, but Oliver obviously doesn’t know that.”
Synopsis:
After a violent shipwreck, billionaire playboy Oliver Queen (Stephen Amell) was missing and presumed dead for five years. Before being discovered alive on a remote island in the North China Sea. Oliver returned home to Star City, bent on righting the wrongs of his family and fighting injustice. As the Green Arrow, he protects his city with the help of former soldier John Diggle (David Ramsey), computer science expert Felicity Smoak (Emily Bett Rickards), his vigilante-trained sister Thea Queen (Willa Holland), former police captain Quentin Lance (Paul Blackthorne) and brilliant inventor Curtis Holt (Echo Kellum).
Newly appointed Mayor Oliver Queen finds himself challenged as he fights on two fronts for the future of Star City. With Diggle back in the military and Thea adamant about hanging up her hood as Speedy, Team Green Arrow is down to just Oliver and Felicity. But they’re no longer the only vigilantes in town. Green Arrow’s public defeat of Damien Darhk at the end of Season Four has inspired a new crop of masked heroes to step up and defend the city. Their painful inexperience makes them obstacles, rather than allies, in the field. The arrival of a deadly new adversary will force Oliver to confront questions about his own legacy, both as mayor and as the Green Arrow
‘The Flash’ and ‘Supergirl’ cross over musical event is just weeks away!
Good news for the fans, we get new and exciting details about the singing characters we love so much! Flash and Supergirl take on a musical villain, which means musical action!
A recent interview from Entertainment weekly gave us, “In a nod to Kara’s favorite film, Wizard of Oz. Everyone else in the vocally impressive cast is playing a character within this movie, from Jesse L. Martin, Victor Garber, and John Barrowman as rival mob bosses to Jeremy Jordan’s club pianist and Carlos Valdes’ aspiring artist busboy.”
The amount of musical talent in this episode is going to be bananas. Almost everyone involved has some sort of history in the musical world, including Rent star Jesse L. Martin, who plays Detective West. Most surprisingly, Grant Gustin, Flash himself even sings!
According to my source, inspiration pulled from Guys and Dolls, Singing in the Rain, and West Side Story.
We have to wait until March 21st for this epic musical, but until then we get all the insider details.
DARREN CRISS (“GLEE”) GUEST STARS AS THE MUSIC MEISTER IN THE FLASH AND SUPERGIRL MUSICAL CROSSOVER – Barry (Grant Gustin) and team are surprised when Mon-El (guest star Chris Wood) and Hank Henshaw (guest star David Harewood) arrive on their Earth carrying a comatose Supergirl (guest star Melissa Benoist) who was whammied by the Music Meister (guest star Darren Criss). Unable to wake her up, they turn to Team Flash to save her.
However, the Music Meister surprises The Flash and puts him in a similar coma, one that Team Flash can’t cure. Kara and Barry wake up without their powers in an alternate reality where life is like a musical and the only way to escape is by following the script, complete with singing and dancing, to the end.
Unless you’ve been living under (or on) the Hellmouth, you’re probably aware that this week marks the 20th anniversary of Buffy the Vampire Slayer. This little TV show that could, born from an ill-received flop of a movie, reemerged as an expected to fail mid-season replacement. What followed, though, was seven seasons of some of the best storytelling that ever graced the small screen. And although not every season was equally beloved, each one still had more than a handful of standout episodes that, like Buffy herself, were destined to become legend.
Read on to find out what I think were the single best episodes from every season of Buffy the Vampire Slayer.
I mentioned before how one of Buffy’s strengths was giving each character a moment. Like “The Zeppo”, “Storyteller” uses humor to add incredible dimension to a supporting player, in this case, redemption-seeking supervillain nerd Andrew. Filled with great moments of self-reference and also very honest pathos, “Storyteller” was a welcome break in pace for the very dour and urgent final season. It was almost like a calm before the storm, and it made Andrew, already a fan-favorite, a truly tragic and flawed human permanently taking his place as a true member of the “Scooby Gang” family. You’ll laugh, you’ll cringe, and you may even cry.
A new Wonder Woman trailer has hit the web. Watch it below, courtesy of Warner Bros. Pictures on Youtube.
What are your thoughts on the action-packed new trailer? Are you looking forward to the film? Comment below!
“Before she was Wonder Woman, she was Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when an American pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers…and her true destiny.”
Wonder Woman stars Gal Gadot as the title character, Chris Pine, Robin Wright as Antiope, David Thewlis, Danny Huston, Elena Anaya, Connie Nielsen, Ewen Bremner, and Lucy Davis.
The Kickstarter for Namesake: Book 3 has been funded almost three times over, in a tremendous success for independent comic artists Isabella Melançon and Megan Lavey-Heaton. Namesake has been running since 2010, and updates Tuesdays, Thursdays and Saturdays.
“Namesake is the story of Emma Crewe, a woman who discovers she is a Namesake, a person with the power to travel to other worlds, places we know on Earth as fantasy and fairy tale lands. This power has rules, Alices always go to Wonderland, Wendies always go to Neverland. Each Namesake has a specific destination and mission, in order to keep the multiverse balanced. But Emma goes to Oz in the stead of the expected Dorothy, unveiling a magical conspiracy plot that’s more than 100 years in the making, with Emma and her unique powers at it’s core.” (Kickstarter)
The first and second Namesake books were also funded by Kickstarter. Namesake: Book 1 was funded by 432 backers in 2012. Namesake: Book 2 was funded by 664 backers in 2013. In sharp contrast, Book 3 has 904 backers, four days before the campaign closes. Not only that, but the campaign has surpassed its final stretch goal of $50,000, which unlocks a secret reward. The previous stretch goals were 20,000 (a bookmark added to all tiers), and 40,000 (reprints of the first two books in both softcover and hardcover).
It’s likely the wait has something to do with it. It’s been four years since their last Kickstarter, and the comic’s readership has been rising with the story’s stakes. The sheer amount of new readers is also obvious when looking at the Kickstarter pledges. An amazing 229 backers pledged to receive all three current print books in softcover, which is probably the most efficient way to get caught up!
Namesake deserves its success, too. It’s a beautifully crafted comic, and the books have just as much love poured into them as the digital art.
