Ben Affleck has dropped directing The Batman, reports Varietyin an exclusive story. Affleck will still be playing the role and executive producing the project. In speaking to Variety, Affleck has this to say:
There are certain characters who hold a special place in the hearts of millions. Performing this role demands focus, passion and the very best performance I can give. It has become clear that I cannot do both jobs to the level they require. Together with the studio, I have decided to find a partner in a director who will collaborate with me on this massive film. I am still in this, and we are making it, but we are currently looking for a director. I remain extremely committed to this project and look forward to bringing this to life for fans around the world.
This is not the first DC Extended Universe movie to have problems keeping a director. Most recently The Flash had the same issue, with director Rick Famuyiwa (Dope) exiting that project.
Rumor has it a shortlist already exists for The Batman with War for the Planet of the Apes director Matt Reeves high on the list.
Monkeys Fighting Robots will continue to cover this still developing story.
What do you think of this breaking news? And who else could take over now that Affleck is no longer behind the camera? Comment below!
After the events of the last episode, the Crystal Gems have to into blast space on a rescue mission to find Steven’s Dad. Its revealed Pink Diamond kept a zoo for humans as a trophies which quickly becomes the team’s intended destination. This really helps to show just how callous the Diamonds can be if this is the view they have of humanity. Of course, given the way Gems never evolve and are set in their ways, a species which is so random in its behavior probably is bizarre for them to witness.
Unfortunately the episode offers a mixed bag of themes and is a bit all over the place. First it tries comedy by manipulating the ship’s gravity and changing the shape of the Crystal Gems in the process. Then it tries to switch back to being a more dramatic character centric episode. This would good except it comes from guilt which emerges as Steven starts to blame himself for events leading to this point. This almost feels counterproductive compared to the previous episode where he tried to hunt for answers. He shouldn’t be punished just for trying to figure out who what is going on in his world. Sure the team went off a little haphazardly but Steven has enough guilt and anxiety in him already. The show doesn’t have the layer it on for him any thicker.
This episode is good but seems more off balanced compared to everything which happened in the previous one. There is a distinct bit of foreshadowing here as Connie, Peridot, and Lapis Lazuli are instructed to protect Beach City as the regular team is off planet. This will result in a very entertaining episode in the future as the trio will no doubt have to fight for the first time as a team. Hopefully it will be a bit more balanced than this one.
The start of a what essentially can be a miniseries within Steven Universe begins in this episode. The episode moves fast as Steven has questions brought up by a strange dream. This leads him to show some maturity and frustration as he pushes for answers and becomes upsets when no one tells him the truth. The poor kid really has been kept in the dark about things for far too long. He deserves to know everything going on in his life as it usually pertains to him or his mother in some way. Sure it’s impossible to expect every issue with be a massive dump of information for him but it still would be nice if when he asked the other Crystal Gems for answers they were truthful with him.
It feels like this is what the previous episodes have been have been building to thanks to subtle hints and brief moments of story exposition. Plot points introduced in Buddy’s Book and during the season three finale finally come into play. Also, the appearance of Uncle Andy from Gem Harvest helps to reinforce the character is meant to be a part of the overall plot and not just a simple one time only appearance. Little hints and moments from other non crucial episodes really help to prove their worth. The series often seems to forget it has set up an impending alien invasion which most should think be the center point but often been has been pushed to the side.
The ending is a cliffhanger and helps to leave the audience wanting more. Luckily they don’t have to wait long as the next new episodes comes immediately after this one. This episode pulls you in and doesn’t let you go for a moment. Also it features a very funny meta joke about Steve and Greg visiting an animation studio..
‘Powerless’ Is Totally Campy But Provides Much-Need Genre Levity
I can’t name a DC/Warner Bros. project quite like this! Shows like CW’s ‘The Flash‘ and ‘Supergirl‘ aren’t too dark but ‘Powerless‘ is cheerier than those. This reminds me of that signature NBC style of humor, which is always extremely hit or miss. By the time the pilot ends, all the DC references intrigue me and I find myself rooting for this team!
The show opens with an introduction to Emily Lock (Vanessa Hudgens) arriving in Charm City, where she begins work at Wayne Security. As the new director of research and development, her department finds ways to keep people safe. Emily also gets the task of having to provide a big idea to save this branch as well. It isn’t easy with boss Van Wayne (Alan Tudyk) being eager to leave for Gotham City or a team with no motivation.
Emily is the perfect character for the infamously bleak DC world. She’s filled with hope and comes off almost annoyingly positive to the negative workers of Wayne Security. Her interactions with Van Wanye’s secretary (Christina Kirk) have to be some of the best moments in this pilot. The show needs to provide more team-building with Vanessa Hudgens’ Emily and her crew. It would be a shame to see the talents of the hilarious Danny Pudi and scene-stealer Jennie Pierson go to waste.
I can see the show having a bad guy each week with the team making something to stop him and keep the people of Charm City safe but what’s the over-arching storyline? The pilot dives into Bruce Wayne, who finds this department irrelevant, wanting to shut Van’s branch but that gets a resolution by the end of the episode. I don’t see that carrying an entire season so let’s see where episode 2 takes the story.
“Now it’s all just super villains trying to destroy the earth or superheroes fighting each other for vaguely defined reasons”
-Van Wayne (Alan Tudyk)
Digging deeper into ‘Powerless‘, this is an exercise on scaling back the world of superheroes. We are getting a more grounded view of problems too small to see in huge Hollywood films. The day-to-day lives of people living in Metropolis or Gotham would be different if there was constant battles of good and evil. Having to see people deal with disaster that’s not on a massive global scale is relatable. Not only is it relatable but it’s fresh as this comes before Marvel’s version called ‘Damage Control‘ leaves development!
It surprises me on how deep this show gets into the DC lore. The comic book references are plentiful ranging from Van Wayne being Bruce Wayne’s cousin to LexCorp being a rival company. I would love to see one famous hero make it onto the show but I understand the rights to these characters can get wonky. Including DC’s Crimson Fox is a good start but let’s see if we can at least some B-List superheroes by season’s end.
What really wins me over is the stylized intro credits. Using classic DC comics is a good touch but it goes further with finding ways to put the cast into the frames. It’s awesome to see for comic fans and lets you know what ‘Powerless‘ is about.
Final Thoughts:
This is NBC’s version of ‘Must-See” superhero TV!
The superhero genre hasn’t seemed this cheerful in years! The comedy writing can use work; some jokes fall flat or seem dated already. I’m also curious to see how far the premise will work for an extended time but I know it has potential to shine. If ‘Powerless‘ can improve on a serviceable pilot, this will be a hit!
The ‘Powerless‘ Series Premiere – “Wayne or Lose” aires Feb. 2 at 8:30pm on NBC!
As the first part of The Mega Review is the Justice League vs. Suicide Squad event, what about the tie-ins? In any event, tie-ins are usually either useful or they don’t matter at all. In this event, the tie-ins add a lot to it. Most people would actually skip the tie-ins for these events but for Justice League vs. Suicide Squad, you want to read these. In this piece, I’m going to show you why these are all worth reading. Now as per the event review, there may be mild to moderate spoilers, but they will be minimal at best. So sit back and relax as I take you through these tie-ins and show you why these are worth reading.
Seriously, the spoilers for Justice League vs. Suicide Squad tie-ins will be mild for the most part, but if you don’t like spoilers, here’s an extra warning.
Justice League #12
(Special Note: You can read this at any point in the Justice League vs. Suicide Squad Event.)
Wow, Justice League #12 blew my mind in my first read through of it. I actually read through this a couple times to make sure I caught everything. If any tie-in you read for Justice League vs. Suicide Squad, you need this one in your life. If you want to know more of Max Lord’s motivations in the event, this is a necessary read. It’s not essential you read it for your enjoyment but it adds so much to the main story. Tim Seeley captures Max Lord in such a way that you can’t help but be captivated by each page. It’s gripping and bracing storytelling in each page of this comic. It’s sympathetic and at the same time shows that Max Lord despite his upbringing, he’s still a fairly terrible yet fascinating person.
A big part of the issue is Max Lord in an interrogation room with Amanda Waller. The flashbacks give you details to of how he got to this point in between the interrogation. The flashbacks are great but it’s in the interactions with Waller that this issue shines. Seeley shows Waller at her best and Lord at supposedly his weakest point. It also helps that Christian Duce’s art is adept at showing this intense conversation. The anger on Waller’s face mixed in with a slight, “Yes I have you just where I want you.” and Lord’s look showing the same expression, it’s powerful stuff. It’s also in the coloring, Rob Lopez’s coloring in that dimly lit room add to the atmosphere with dull colors with just enough light to illuminate the faces. You get that full focus on the expressions and that’s exactly what you need for this.
It is amazing how well this issue works, it’s what helped to get me sucked into this event even more than I already was.
Now you wonder why I say it’s ultimately a sympathetic portrayal of Lord. With one particular flashback to his childhood, it all pays off in a powerful ending. If you ever wanted more of an understanding as to why Lord is doing what he’s doing, the ending explains it. I remember having to step away for a second because it does take you back a minute. That final page alone sets a somber and telling tone for the darkness to come in Justice League vs. Suicide Squad.
Suicide Squad #9
(Special Note: Read this one after Justice League vs. Suicide Squad #3)
If you are even remotely curious about what happened with The First Suicide Squad, this issue is an absolute necessity. As you see them you know they’re working with Max Lord and they were in The Catacombs, but why? What in the world happened that got them there? This is the issue you need in your life. For starters for a tie-in book, Rob Williams and Si Spurrier go off the wall with it and it’s a blast. They’re invading a country called Jangsun who now have new super-powered characters called, “Gods” and it gets crazier from there.
If you ever want a full blown geek out on rocking artwork, this is the issue for you. Williams and Spurrier come up with so many clever characters and Rossmo’s designs are a joy to see. The invasion into Jangsun and their “Gods” give so many storytelling possibilities, and due to the nature of the story gives the creative team a chance to cut loose. That’s what makes this issue so special, it’s a chance for Riley Rossmo to cut loose and Williams and Spurrier are creating the madness. The coloring on this comic is gorgeous, Ivan Plascencia is cutting loose just as much. The colors are bright and bold, yet a touch muted to match the overwhelming darkness of this story. I can’t help but love it.
If anything, you need to see this comic not just for the story but the beautiful and jaw dropping artwork within, it’s so good.
You get a more detailed look into Rustam for starters, Lobo is Lobo but Rustam, he was the leader and you feel for him by the end. It’s great character building and builds to a point that pays off later in the Epilogue of the event. The story of the First Suicide Squad is a fascinating one and Williams and Spurrier unleash a ton of ideas in one issue. You’ll feel especially bad for one character at the end. Put it this way, it’s why it is called “The First and Last Mission of Suicide Zero”, it’s a fitting title. It feels like a true one and done book that builds overall Justice League vs. Suicide Squad event further. Make sure to keep a mental note on Rustam for later, you’ll need it for the Epilogue.
Justice League #13
(Special Note: Read this one after Justice League vs. Suicide Squad #5)
I hate to say it, this is the one tie-in that doesn’t do as much for the actual Justice League vs. Suicide Squad story. If you had to skip one of the tie-ins, this would be it. If anything I would say this one is under, if you miss Steve Trevor and if you wonder what it is like for the normal people in dealing with the effects of the Heart of Darkness. The idea is sound but it’s in the execution where things go a bit haywire. At the end of the day, I wanted to like this more.
It is sad this didn’t work more as Tim Seeley sets up a good hook for this. Picture it, Steve Trevor is trying to make sure his sister and his niece and nephew are okay. It’s simple and perfect, yet way too familiar to anyone who’s seen any zombie film. Sadly, it is pretty weak and I hate saying that as I like Steve Trevor, but this is lukewarm at best. Seeley does write a good Steve Trevor, but the actual story falls flat, which is a shame.
This is one I had to think on, I wasn’t sure what I thought about it but I realized I was cold on it by the end.
I have no real complaints about the art as Scot Eaton, Wayne Faucher, and Gabe Eltaeb are amazing here. Eltaeb’s color palette is dark and grim, perfect for the occasion and that works. Scot Eaton’s pencils unleash Seeley’s dark vision of this side of the universe as the world has gone mad, with Wayne Faucher’s inks keeping things strong with a bold line. It looks fine art wise if only the story was just a bit stronger to match the art.
Suicide Squad #10
(Special Note: Read this one after Justice League vs. Suicide Squad #6)
Did I mention I’m keeping this one spoiler free? Seriously you all need to experience this one to believe it.
Remember when I said make a note with Rustam with Suicide Squad #9, this issue is where it comes into play. Note the title, Epilogue: The Cost, it is the ultimate aftermath of Justice League vs. Suicide Squad. It’s a powerful issue, Rob Williams and Si Spurrier are at the top of their game here. You get a taste of the family life of Amanda Waller and it is amazing to read. Rustam’s involvement in this isn’t what you’d think, he’s not the ultimate villain. Take note of Suicide Squad #9 and keep that entire issue in your mind as he’s dealing with Waller.
It’s an interesting issue to dive into because Amanda is making all these preparations to protect her family. She’s getting the Suicide Squad to protect them and making all these preparations for Rustam. Then it takes a turn, oh does it ever take a turn. This is one twist I won’t dare spoil but trust me, it is amazing and puts Justice League vs. Suicide Squad in a new light. It’s well crafted and shocking, it’s beautiful work. This is the sort of issue that as people discover it will be talking about, in my eyes this is the true ending of the event.
Put it this way, you get a new look at Amanda Waller that may surprise you.
It is weird though at first I didn’t dig the art on this book but by the end, I found myself liking it. Giuseppe Cafaro’s art is hyper-expressive and it works well for this story. Cafaro’s storytelling is excellent for this story, it’s in the eyes, the expressions, and the body language. There is a lot of action but ultimately, it’s a story of emotion and Cafaro nailed it. Williams and Spurrier got a strong artist for this story and it would be hard to picture it drawn by anyone else. The coloring by Hi-Fi works well here, it is a notch brighter at points than I would have liked but it hit the right notes when it counted. The ending page alone is haunting. A cool tie-in that should not be missed.
Seriously, even I’m amazed at how well these tie-ins turned out. Nicely done.
Outside of one tie-in that left me cold, overall this is a success. When even the tie-in stories add something to the overarching narrative, that’s a great thing to see. This event was kept nice and tight and it worked to the benefit of the story itself. If you skipped tie-ins and only bought the main six issues of Justice League vs. Suicide Squad, you are missing some cool stories.
Wow, I really did have a great time with this event. This was fun.
Now that the great Mega Review of Justice League vs. Suicide Squad is over, what did you all think about it? Feel free to let me know in the comment section below. It’s been a blast covering an event like this and I plan on doing more of this in the future. Thanks for reading and thanks for joining me in this adventure.
Premiering this Thursday on NBC, Powerless is an aptly named show full of cringe-worthy humor that is well intended but ultimately falls flat.
Summary:
The show takes place in Charm City which, according to Bruce Wayne’s cousin Van (Alan Tudyk) is a “Taint” in comparison to Gotham City. Mayhem and destruction are so commonplace that the citizenry rarely looks up from their phones as half of their city is torn to shreds. Emily Locke (Vanessa Hudgens) plays the new head of Wayne Security’s lackluster research and development department. Wayne Security’s mission is to create products that help Charm City and their citizens escape from the perils of living in a world full of superheroes and villains.
Van Wayne challenges his new employee, Emily Locke to create the next great product so he can impress his cousin Bruce (which will lead to his promotion to the Gotham office). Locke sets off to create a brand new product that will blow people away with the help of her new employees, Teddy (Danny Pudi) and Ron (Ron Funches).
What I liked:
The premise of the show is compelling. The idea of there being an R&D team whose mission is to create products to help ordinary citizens survive in a world of superheroes and villains is certainly original. Christina Kirk plays Van Wayne’s assistant Jackie, and her blunt dialogue provides most of the laughs during the 30-minute pilot. However, it seems her time on the show will be short, which makes me both sad and worried about the longevity of the show.
Powerless also had some compelling moments where Locke was interacting with people living in Charm City who were clearly indifferent to the chaos that ravages their world. The biggest laugh out loud moment for me was when Emily was on the train to work and asked her fellow passengers “Isn’t this amazing” (while their train was plunging off the track) to which a man replied, “What’s amazing is that this is the third meeting that I have to reschedule this week.” Of course, they are saved by a Superhero but the citizens act as if this happens routinely.
What I didn’t like:
Vanessa Hudgens is grossly miscast as the lead in this series. In the pilot, she wavers between playing Emily as this “humble” character to one that wants to be a “leader.” Neither adds much and only highlights how little Locke adds to the show. She would have been better-suited cast as a member of Wayne’s R&D department than the female lead.
Justin Halpern (The guy who wrote S&*t My Dad Says) wrote the pilot and placed the focus entirely too much on cringe-worthy punchlines and gags rather than the superhero universe this show is trying to create. No one is tuning into Powerless to hear crafty one-liners; they are hoping to see a fun superhero themed show that’s written well. Do I need to here Alan Tudyk take a tiny swipe at Batman V Superman at the expense of establishing a strong narrative? They needed to focus on world building in the pilot but alas they did not.
Review:
Powerless is a feeble attempt by NBC to join the likes of Netflix, CW, and ABC in making superhero television content. This show intends on eliciting laughter but is so poorly written that it will leave audiences dumbfounded. What’s aggravating is the premise for the show is a strong one. How ordinary citizens adapt to living in a world of superheroes is a show that most people would tune in for. However, that isn’t this show. Perhaps, the show would have been better suited on another network and in the hands of more experienced writers. Can you imagine if this show was in the hands of Greg Berlanti? As this point, Powerless won’t last long unless massive changes occur which I don’t envision happening.
It’s like you could hear 100,000 nerds scream out at the same as Christopher Miller hit send on his tweet.
We quickly learn three things about the untitled Han Solo film, production has begun, the ‘Blue Harvest’ name is ‘Red Cup,’ and Han Solo is going to be a scoundrel. Check out the tweet below.
Back in December, Lucasfilm President Kathleen Kennedy announce the Han Solo spinoff would begin filming in February and they look to be ahead of schedule.
The film will involve Solo’s early navy career, Lando Calrissian, and a certain Wookie.
‘Red Cup’ is directed by Phil Lord and Christopher Miller and stars Alden Ehrenreich, Donald Glover, Emilia Clarke, and Woodly Harrelson.
The untitled Han Solo movie is set for release in 2018.
Warner Bros. Pictures released the first image from ‘Ocean’s 8’ Monday morning.
The tide has turned and it’s a whole new “Ocean’s” when eight women plan and execute a heist in New York. Oscar winner Sandra Bullock stars in the title role, alongside Oscar winners Cate Blanchett and Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, with Rihanna and Oscar nominee Helena Bonham Carter.
Gary Ross is directing from a screenplay he wrote with Olivia Milch.
Last night, the SAG Awards on TNT brought a brief, however small, respite to a chaotic week of strife and tension in this country. In the end, the SAG Awards don’t amount to anything when it comes to our current state of affairs, but for a couple of hours Sunday night, it offered a little heartfelt commentary, a few surprises, and quite a bit of humor.
Things got off on an awkward foot with Ashton Kutcher’s weird, teleprompter-read delivery about people being welcome in “his country.” His heart was in the right place, but perhaps nerves got the better of him. Almost immediately, however, Julia Louis-Dreyfuss, who won for Veep, steadied this ship with an emotional speech about her immigrant father and what she values as an actor. It was measured and honest, and it set the tone well. That tone was followed up by Mahershala Ali’s quiet, emotional speech following his Supporting Actor win for Moonlight:
Later in the ceremony, the cast of Stranger Things won best cast in a TV drama – one of a handful of pleasant surprises. David Harbour was the spokesperson for the cast on stage, and he delivered a stirring, fiery speech that stirred the crowd into a unified frenzy and brought the house down. It was incredible.
Check it out here, and try not to focus on Winona Ryder’s weird facial expressions:
https://youtu.be/kfdjFNZ3FeI
But the night wasn’t all political rabble rousing. Thankfully, the SAG Awards brought something perhaps even more cathartic four a lean couple of hours: comedy. Goofy comedy, like Dolly Parton’s candid discussion about here “Double D’s” or her plastic surgery. Or sharp comedy, like Lily Tomlin’s Lifetime Achievement speech:
This should all be taken with the smallest grain of sand as our airports and streets are flooded with protestors fighting for what is right in a new America where things are bleak for so many. But the ceremony was one of the most balanced, emotionally resonant, entertaining awards shows I have seen in years.
Say what you will about celebrities speaking out (actually, if what you wanna say is they need to keep their mouth shut, don’t say what you will. Your opinion is garbage.), last night’s SAG Awards were a breath of fresh air at just the right time. However fleeting it may have been.
20th Century Fox is green-lighting the X-Men television series with Bryan Singer directing the pilot.
Variety reports Bryan Singer is going to direct the first episode. This marks his return to the franchise after directing 2016’s X-Men: Apocalypse. He has also helmed X-Men, X2, and X-Men: Days Of Future Past.
Matt Nix is writing the pilot. He’ll be the show runner and executive producer. Singer will also serve as a producer for the series.
The show focuses on two parents who discover their children have mutant powers. Fearful of the government, the family goes on the run and teams up with an underground network of mutants. From there, survival is the family’s main goal.
Lauren Shuler Donner, Simon Kinberg, Jeph Loeb and Jim Chory will also be producers on the series. This is a collaborative effort between Marvel TV and Fox, because both sides have a deal about television rights.
Fox’s X-Men show is the second of two comic adaptations with mutants for tv. The first will be Legion, which airs on FX in February.
