A new Alfred Hitchcock anthology series, similar to the show the late, great director hosted back in the day, is coming to television.
According to the report over at The Wrap, the Hitchcock Estate is teaming up with Universal Cable Productions to create this new anthology series “in the spirit of the classic Hitchcock style and legacy.” The series will bring in fresh new thriller filmmakers to riff on Alfred Hitchcock, like the Hitchcock Presents did back in the day.
“Our grandfather always collaborated with the best and the brightest to help shape his vision,” Hitchcock Estate Trust member Katie O’Connell-Fiala said. “We’re confident that Universal Cable Productions will take great care in helping us to continue preserving his legacy.”
This is still very obtuse sounding. Are we getting famous filmmakers or up-and-coming fresh visionaries? Either way, I have blind faith in the Hitchcock Estate being involved in this project, and that should make it worth checking out whenever it gets a channel and release schedule. It still won’t have the same punch as the original series did, since Hitchcock won’t be there to introduce the episode.
I just sort of halfway wish Brian De Palma could get involved in this project, in one capacity or another.
Most fans attribute the current flourish of superhero TV to the ground work laid down by CW’s iconic show, Smallville. A show that owes its great success in no small part to Michael Rosenbaum’s Lex Luthor. Rosenbaum brought much depth and nuance to the character and fans were very disappointed to see him leave the show after the seventh season. The character had finally evolved into the classic Superman villain, only to be written out of the show. A good number of fans believed it was due to bad writing but in a recent interview with Empire Online, Rosenbaum tells a different story.
“He (WBTV President Peter Roth) tried to get me to do two more seasons of Smallville. I was very polite and respectful. I said, ‘Peter, my grandma thinks I’m funny and I’ve always wanted to do comedy, and I started out in comedy, and I was doing tons of comedy, and then I was catapulted into this role that I love and it’s been great, but I was contracted for six years to play Lex Luthor, I did seven, and I’m just ready to move on and I’m just ready to take a new step.’ He looked at me and says, ‘You know, Julianna Margulies, she turned down millions of dollars to stay with ER and look where she is now.’ It wasn’t two or three years later where she just made a fortune with The Good Wife and all of that, and her career just took off. I said, ‘I’m going to bank on my talent. I’m just going to take a chance on me. I think I’ve done this long enough, I did this character for seven years and I just don’t feel like shaving my head for two more years.’ I came back for the finale, but at the time I just wanted to take a chance.”
Rosenbaum’s decision to leave Smallville may have seemed like career suicide at the time but the success of Impastor (which stars Michael Rosenbaum) proves that he made the right call for his career. Rosenbaum wasn’t completely done with the show though, as he returned for the two-hour finale in 2011.
About his return, he said, “I finally called them up and said, ‘Hey, look, it’s the last episode ever. I’ll do it, you’ve got me for one day next week.’ When I got there I was, like, ‘What’s happened since I left?’ I had no idea what was going on. There were moments where I just didn’t know what the f— I was doing. I liked my scenes with Tom Welling, but I felt like the show was, for me, done when I left in season seven. Then I sort of did it for the fans and did it for me for closure and to say, ‘Hey, I did come back.’ I did do it, and that’s ultimately why.”
Most fans still see his version of Lex Luthor as the best live action rendition of the character. Michael Rosenbaum currently stars as Buddy Dobbs in TV Land’s Impastor.
Deepwater Horizon as a film seems to strive above all for realism. In that regard, it succeeds spectacularly.
Forget any of this year’s horror films in terms of “scary.” This depiction of the 2010 man-made oil disaster in the Gulf of Mexico is more terrifying to behold than any found-footage walks in the woods or paranormal investigations.
Director Peter Berg’s effort to immerse audiences in the experience of being on the rig with its crew during its final hours succeeds thanks to incredible attention to detail and solid, “every-man” performances from the film’s star-studded cast. Nothing audiences see or hear in Deepwater Horizon rings false, and that’s why the film works so well.
What’s it about?
Of course, the story behind Deepwater Horizon should be familiar to most people, at least in the broad strokes.
On April 20, 2010, the Macondo well, an oil well located 40 miles off the Lousiana coast and three miles below the surface of the Gulf of Mexico, experienced a massive “blowout.” The Deepwater Horizon, the sophisticated oil rig working the Macondo site for BP, suffered catastrophic damage in the resulting explosions.
11 members of the Horizon’s crew lost their lives that night, either trying to save the rig or in the ensuing evacuation.
The film depicts events that took place on the rig hours before the blowout. Installation manager “Mr. Jimmy” Harrell (Kurt Russell) and chief electronics tech Mike Williams (Mark Wahlberg) tangle with BP “company men” on board the Horizon concerned about why the operation was 43 days behind schedule. One of those BP managers, Donald Vidrine (John Malkovich), clashes with the veteran rig crew, challenging their conclusions about safety tests and their concerns about the well’s stability.
Meanwhile, other rig workers like bridge crew member Andrea Fleytas (Gina Rodriguez, TV’s “Jane the Virgin“) and floorhand Caleb Holloway (Dylan O’Brien) go about their duties. Work on “the well from hell,” as Macondo was known, was almost done, and the crew was eager to get home.
Within hours, the crew’s worst fears are realized. The blowout begins, and all of the Horizon’s sophisticated defenses and redundancy systems fail to save the rig. Survival and escape become the only options for those still alive, but to do that they’ll have to go through the flames and combustible gas that turned their workplace into a deathtrap.
As “real” as it gets
Deepwater Horizon marks the second “real-life heroes” collaboration between star Mark Wahlberg and director Peter Berg. The first was 2013’s Lone Survivor, which also immersed audiences the experience of the people at the center of the story.
In this film, the sense of realism comes in great part from astounding production design, photography, and special effects that bring both the rig and the disaster to life. If there’s CGI in Deepwater Horizon, it’s hard to spot. The sets all look practical, and the fireballs and explosions as “real” as they get in films.
All together, it’s an awesome spectacle, one that may earn Deepwater Horizon Oscar attention this year.
Characters stay “life-sized”
Along with overwhelming CGI, thinly written characters surrounded by needless melodrama usually sink weaker disaster films. Thankfully, Deepwater Horizon avoids those traps.
Rather, Berg and the scriptwriters deliver characters whose stories are genuinely relatable in order to draw audiences in. Is that part of the disaster film formula? Sure, but lesser films with weaker scripts incorporate subplots that invariably get discarded once things start blowing up.
In this film, the emotional ties that bind the characters get just enough weight to provide gravitas when lives are endangered. As such, Russell, Wahlberg, and Kate Hudson, playing Williams’s wife Felicia, all give solid, if understated, performances.
Jargon, dialect hamper understanding
All the attention to detail in Deepwater Horizon does present some challenges that film doesn’t quite overcome, however.
For one, all the specialized language and jargon in the script makes understanding exactly what’s happening difficult at times. It adds to the realism, but it also threatens to take audiences who struggle to comprehend it all out of the story entirely.
Regional dialect among some of the characters presents another cumbersome hurdle. Some of the performers handle the Cajun better than others, but it’s undeniably tough to get used to.
Worth seeing?
If you enjoy “real-life heroism” stories like Sully from earlier this year, then Deepwater Horizon is a must. It’s a well done and heartfelt effort to honor the courage displayed by the people whose experiences the film depicts.
Some may be critical of the film’s lack of attention to the environmental and economic impact of the disaster. Arguably, that’s another story entirely, one that continues to get attention in other media as litigation against BP continues.
Rather, Berg and the people behind this film focus instead on the stories of those who were there that day. Those stories are worth telling and worth remembering. If you give Deepwater Horizon a chance, you’ll most likely agree.
Deepwater Horizon
Starring Mark Wahlberg, Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O’Brien and Kate Hudson. Directed by Peter Berg.
Running Time: 107 minutes
Rated PG-13 for prolonged intense disaster sequences and related disturbing images, and brief strong language.
During an interview with Comicbook.com on the set of Doctor Strange, Marvel Studios President Kevin Feige was asked what difference was between Doctor Strange and Scarlet Witch, considering they are both wielders of other worldly magic.
Feige answered saying, “Her powers, she’s never had any training, I’m talking about Scarlet Witch. She never had any training; she’s figuring it out. Arguably, you could say that that’s why her powers are much more chaotic and much more loose in the way that we showcased those light effects. In [Doctor Strange], some of what you might see today, even the cover of Entertainment Weekly, it’s much tighter. It’s all about focus. It’s all about pulling energies from other dimensions in an organized and purposeful fashion, which is why they can do a lot more than she can in, at least, a much more precise way.”
Fans continue to speculate if this is an indication that she may be drawing her powers from another dimension and tapping into “Chaos Magic”. In the comics, Doctor Strange was surprised to learn that Scarlet Witch used this specific form of magic as he and other Masters of the Mystic Arts believed that form of magic to be mythical and not real. Wanda rewrote reality in the 2005 limited series, House of M, using this ability.
Asgardians such as Loki, Odin and Frigga have also showcased the use of magic in the MCU being explained away in The first Thor film as simply very advanced science.
Dr. Stephen Strange (Benedict Cumberbatch), a young, arrogant surgeon with a promising career, loses his ability to operate after a terrible accident. Despondent and suicidal, Dr. Strange seeks advice from a mystical being known as the Ancient One and learns that he is the newly designated Sorcerer Supreme, responsible for protecting the planet from evil. With his girlfriend Clea and his loyal assistant Wong in tow, Strange sets out to fulfill his destiny.
Disney is in the middle of remaking all their animated classics into live-action films, and they must have loved what Jon Favreau did with The Jungle Book. The director/actor is now on board to direct their live-action take on The Lion King.
Favreau tweeted a not-so-cryptic tweet earlier this morning, and Disney has now confirmed it:
The Jungle Book was a massive global winner earlier this year, bringing in over $363 million domestically and almost a billion worldwide. Even though it has a similar setting as The Jungle Book, The Lion King is a whole new ball of wax for Favreau. It’s still one of the highest-grossing and most critically successful animated films in Disney’s never-ending catalogue of commercial successes and crowdpleasers. It also has one of the longest-running and most successful Broadway shows in the history of theater.
We don’t have a release date or a shooting schedule for The Lion King, but it should be coming fairly soon. Disney is loving these successful reimagining of their cartoon hits, and they haven’t had a real misfire yet.
The Marvel Cinematic Universe will begin filming its biggest blockbuster to date in November when back-to-back production starts for ‘Avengers: Infinity War’ and Avengers 4.
While promoting ‘Miss Peregrine’s Home for Peculiar Children,’ Samuel L. Jackson confirmed that you would see Nick Fury sooner than later, according to Coming Soon.
‘There’s some way of fixing what they created, and hopefully somebody has that going on, or Nick Fury is out there – wherever he is, probably hanging out with Jules and walking the world – figuring out what happened and how it got to that particular place,’ said Jackson.
‘Maybe they’ll find out that all that was part of a ruse to get to something else also. That would be great. They’ll bring me back somehow, some way, for some reason. I mean, they didn’t have me around to referee the kids when they didn’t go to their rooms and got in this big old fight. We’ll see what happens,’ said Jackson.
It will be interesting how S.H.I.E.L.D. is reintroduced in the MCU as there are five films before ‘Avengers: Infinity War’s’ May 4, 2018, release date. Could Fury return before then, and in which film?
MCU FILM SCHEDULE
‘Doctor Strange’ – November 4, 2016
‘Guardians of the Galaxy Vol. 2’ – May 5, 2017
‘Spider-Man: Homecoming’ – July 7, 2017
‘Thor: Ragnarok’ – November 3, 2017
‘Black Panther’ – February 16, 2018
‘Avengers: Infinity War’ – May 4, 2018
‘Ant-Man and the Wasp’ – July 6, 2018
‘Captain Marvel’ – March 8, 2019
Untitled Avengers – May 3, 2019
The origin of M.A.S.K.! Miles Mayhem’s decades long plans are finally coming to fruition, but will the revealed secrets he has hidden from Matt Trakker create a new enemy bent on Mayhem’s undoing? A special story tying directly into REVOLUTION!
Writing
Crossover events usually establish a new group of characters after the storyline comes to an end. In an effort to try and flip the idea on its head, IDW has instead used their new crossover event, Revolution, to introduce the classic team of individuals with transforming vehicles known as M.A.S.K.. Using all the mythologies the IDW universe has to offer, the group is formed as a sub organization of G.I. Joe and their weapons and vehicles are specifically designed to be used to stop the Transformers. Writer Brandon Easton is taking full advantage of what is happening with the crossover and is using it spectacularly. This issue offers great world building but also captures the spirit and feel of the original characters. Compared to other issues which serve to reintroduce a classic franchise to a new audience, this one accomplishes its goal in the first issue.
Artwork
Artists Tony Vargas and Jordi Escuin, really bring a great look to the issue. The characters are crisp and detailed but many still have the look of the original characters. They did manage to keep the vehicles looking the same, but it’s the only detail they really needed to cling to as they decided to update the series.
Conclusion
Fans of M.A.S.K. rejoice. The Team is off to a great start with their introduction to the IDW universe. With the option of dealing with characters from other IDW properties (G.I. Joe, Action Man) on top of reintroducing characters from their own franchise, this series has a long and entertaining road ahead of it.
Terry Gilliam has given us a handful of terrific, eclectic films throughout his decades-long career, but none with as much emotional depth and love as The Fisher King. It is a story of personal peaks and valleys, of redemption driven by ego and, ultimately, a desire to help one another. And while Gilliam’s personal aesthetic and his magic realism play heavy here, The Fisher King is his most human tale. The themes here resonate now more than ever, in a country and a planet divided, that perhaps our best road to redemption is selflessness and charity and seeking a connection in unexpected places, with unexpected people.
It tells the story of Jack (Jeff Bridges, doing some of his best early work), an AM talk show host who spends his days shouting into a spittle-soaked microphone, airing ego-fueled criticisms of society over the airwaves – 1991 was a hot time for these sorts of shock jock talk show hosts. It was the era of Stern and Limbaugh, and all manner of narcissistic assholes like Jack. But Gilliam makes it clear to us that these words are the prison of Jack’s own self-obsession; the lighting on the walls doesn’t mimic prison bars for no reason.
So consumed with the sound of his own voice is Jack, he doesn’t even realize when he tells one of his truly disturbed callers that all these “yuppie scum” need to be “taken out.” This caller does just that, in a scene all-too-familiar these days – but truly outlandish in 1991. He shotguns a nightclub full of rich Manhattanites. Jack sees this on his television, perched high in the Manhattan sky in a corner penthouse… and the heavy dose of reality is too much for him to handle. He falls, and falls hard, all the way from a smooth-skinned slick Manhattan socialite, to a whiskey-swigging loser living in a dilapidated apartment above the video store where he now works. All fame and fortune has disappeared at the bottom of a bottle.
This is when Gilliam flexes his stylistic muscles. The early scenes of Jack as King of The World are glossy and sharp, and the camera floats above and away from him. After the fall, however, Gilliam’s camera pushes in on Jack’s grizzled, greasy exterior. The angles are low, and the grit and soggy sadness of this “real” New York is noticeably more dour and unforgiving. And so Jack must wallow in his own self pity, pulling his girlfriend down into the muck alongside him.
His girlfriend, Anne, is played by Mercedes Ruehl, and her Best Supporting Actress Oscar is one of the more justifiable wins in the Academy’s history. Ruehl is captivating as this woman, a streetwise New Yorker whose clearly spent her life propping up burnouts and losers in the hopes of finding love. She’s been through this sort of piss-poor excuse for an emotional relationship before, but what else is she supposed to do? She accepts it. Ruehl does it all in her appearance – a little too bronze, a little too cheetah-print and hair product – and her far off gazes at Jack, who barely bothers to notice her while spiraling deeper into the hole of his own misery.
One night, Jack’s bender takes him to the bay where he plans on killing himself. But he is interrupted by a couple of kids in a jeep who are busy hunting homeless people (the homeless problem in New York was at its peak in the late 80s and early 90s). He is rescued by Parry, a knight of the lonely, a crazed underground adventurer played by Robin Williams. It’s here where Gilliam pivots yet again, and the mythological elements begin to creep in. Jack owes Parry a debt of gratitude, one he finds out runs deeper than he could have ever imagined, and The Fisher King then becomes a push and pull for Jack, who wants to help Parry meet the woman of his dreams while – more importantly to him early on – finding his own redemption. This is Williams at his most balanced manic energy and sadness, and he hits all the right notes.
Gilliam finds beauty in this world, thanks in part to his own creative flourishes, and thanks in no small part to the predictably energetic but deeply affected performance from Williams. We discover Parry’s wife was one of the victims in the Manhattan nightclub, and it sent Parry into his own spiral of sadness and eventual insanity. He has a quest, as knights are want to do, and it involves stealing “The Holy Grail” from a rich dude’s house in uptown. He pulls Jack along on this quest, and Jack simultaneously sets him up with Lydia, the clumsy oddball he’s smitten with played by Amanda Plummer.
The most beautiful moment takes place in Grand Central Station, when Parry follows Lydia though the bustling midday crowd. Out of nowhere, the clock in the center of the station transforms into a disco ball, and music plays, and everyone dances with one another while Parry and Lydia glide through their movements. It’s a beautiful moment; a flourish, but a flourish that taps into the spirit of the entire film. There is love to be found between everyone, even between the two people in this moment who are not embraced in dance. They just don’t know it yet.
The Fisher King gradually evolves as Jack finds success again, but is sick to his stomach after leaving Anne and his life of sadness behind. It was a life of misery and near poverty, but it was full of love, and Jack only understands this once he is momentarily pushed back into the Manhattan high rise. By the time he figures this out, however, Pary has had another run in with “The Red Knight,” a monstrous demon knight of his imagination who resembles the blood spatter of his wife form the nightclub. He has a breakdown, and is left to die after an attack. The only thing that seems to have the power to pull him out of his coma is that Holy Grail.
Only it isn’t the Holy Grail, it’s the fact Jack has to retrieve it. The selflessness of the act is the important thing here, not the artifact itself. And that is what’s at the core of The Fisher King. No matter the different lives we all lead, or the despair we suffer, someone else exists on the opposite end of the spectrum, and their pain an suffering is just as palpable, maybe even more so, than ours. This is a film about understanding the other side, and what it means to truly care about another individual. It’s a powerful theme, a heavy and clear theme, and one defined to near perfection by Gilliam, screenwriter Richard LaGravenese, and the wonderful performances.
“Event Note: This Footage Event will showcase a total of 15 minutes of the film in IMAX 3D! It is NOT a full advance screening of the film. Fans who attend this exclusive sneak peek will also receive a limited-edition, collectible “Doctor Strange” IMAX poster! While supplies last.”
Are you planning on seeing this 15 minute sneak peak in an IMAX theater near you? Let us know in the comments down below.
“From Marvel comes “Doctor Strange,” the story of world-famous neurosurgeon Dr. Stephen Strange whose life changes forever after a horrific car accident robs him of the use of his hands. When traditional medicine fails him, he is forced to look for healing, and hope, in an unlikely place—a mysterious enclave known as Kamar-Taj. He quickly learns that this is not just a center for healing but also the front line of a battle against unseen dark forces bent on destroying our reality. Before long Strange—armed with newly acquired magical powers—is forced to choose whether to return to his life of fortune and status or leave it all behind to defend the world as the most powerful sorcerer in existence.”
Sweetness and Lightning should instead be called Flavor and Lightning. For while watching I tasted sweetness, sourness, spiciness and sadly a heaping helping of blandness. Sweetness and Lightning is a prime example of how to plant an already live tree in your yard and when it dies you look at your dry watering can in regret. However I enjoyed the show regardless for its dry nature during its progression and I think it may be for the most part due to my backlash towards Otaku culture.
A fresh idea is sometimes really dangerous. To a person who’s sole job it is to analyze media, a fresh idea is seen as on opportunity to delve into fresh “ideas”. Idea’s as in things to think about. Sweetness and Lightning certainly deals with an idea that is still pretty fresh in the anime world. Even though there have been single dad shows before, I find the presence of such a realistic child and a father who is so tired that he looks like he’s always on the verge of collapse refreshing. Sweetness and Lightning is a sweet idea. Father (Kouhei) needs to learn how to cook for his daughter(Tsumugi). High school girl (Kotori) who’s mom is too busy to cook provides a place to cook. They all three learn to cook, and life happens. Each episode it set up in this formula. Life happens, and then its fixed by cooking. Now I like the idea that eating food can heal the heart. But I don’t need to see it twelve times in a row with the same characters, especially if none of these characters really change because of the healing food. Kouhei more or less just decides to start doing right by Tsumugi and learn to cook. It’s not something that happens because of the magic of good food. Honestly I watch the cooking scenes at double speed after episode six because it was so boring. Which was a catch 22 because usually the only time Kotori shows up is at these parts, and she’s such wife material it hurts. Honestly the only thing that didn’t get old was her and the way she would always eat to quell her emotions and her love for food. Would have been cool if they had slightly touched on that, like at all. I mean come the fuck on! But she’s just used as a plot device to get the Kouhei and Tsumugi cooking and fix their problems. Who really care’s about her problems, right? The show brings them up so you know (to make you feel bad) but it’s not explored or relevant.
Most of the drama has to do with their dead wife/mother. For the most part this is handled very well. The show has a tendency to play the “replacement” card multiple times. Whether it’s getting a new bag, or making her signature dish, or just cooking again. Sweetness and Lightning doesn’t really explore all the facets that people who lose someone go through. There wasn’t enough emotions or instances where they related the feeling of loss because she wasn’t around anymore. Which is weird because it’s a show about a single dad raising his daughter, and not once did the dad break down because he couldn’t handle raising her now that his wife was gone. I’m not talking feeding. I mean the things a mother teaches her daughter or children in general and things a father is ill-equipped to deal with. Or the emotional comfort that comes from the partnership of a married couple. Also the dad is like the perfect dad for the most part and so is the kid to some extent. I mean Kouhei never really does anything out of line or feels unequipped to handle things. He’s busy but always find’s a way. And Tsumugi never acts like an actual brat. They even go so far as to show how cute she is compared to the other kids in her daycare. There are moments where she is doing legit cute things and being adorable but the show doesn’t let it happen naturally enough and it gets eye-roily, the moment it stops becoming nostalgic of childhood. Walking along street lines while singing a song, cute. Dancing spontaneously, cute. Being superior and having a better sense than other kids in your class while still maintaining your eccentricities, nope sorry. This is a minor point since it doesn’t happen too often, but it’s enough.
I mean having a story where your main character is a child thats so young is difficult in its own right. Most of the time kids aren’t that interesting. This girl could have had a five minute Youtube video and I would get everything I needed to know about her. It’s not her fault, kids are newer and don’t have as much baggage to unpack as adults and to some extent, young adults. So to keep her relevant and make her feel natural in the story everything has to be really boiled down and lukewarm so Tsumugi can stomach it. Not many people want to watch a show about a kid breaking down over things she doesn’t understand. Also so it can have a “lesson of the week” formula. And maybe the show isn’t trying to be some dramatic rollercoaster of two people getting their shit together after a tragic life event. But if not what is it doing. Is it setting up a relationship between the high school girl and dad together to help fill in the void in their lives. It plays with it, but more in a comedic way, not the same way it deals with its dead mom emotions. I mean there are just so much of the same dead mom emotion that it gets tiring after a while, and like I said they’re not complex enough to warrant any thought other than, “I understand” and then maybe a little sniff.
The tone of the show is uplifting for sure but it always starts by punching us down into some sort of slight depression where it can raise us back up. I’m not down for this kind of entertainment. It’s not worth it. The pay off isn’t good enough. The little girls smile isn’t enough for me to sit through twenty minutes of cooking and mostly functional family having a slight problem. I could even exaggerate that other than the mom stuff, this is a classic first world problems story. It’s something people who’ve been well off their whole life can look at and be shocked by how sad it is and feel for the characters. That sounds pretentious as hell. Who am I to judged how severe someones problems are on an individual level, right? Just because I don’t think their problems are relevant doesn’t mean that they aren’t relevant to someone else, or even helpful. That’s why I’m torn of Sweetness and Lightning. At times I almost feel like it’s grabbing my heart, but its episodic structure and reluctance to actually give its characters real problems is an annoyance. But I feel that someone else could find it helpful and I just want something more raw. There is something great about seeing two rather normal people deal with an out of the blue life incident and deal with it fine, for the most part. It’s just not what I want to see. Which is weird since I went into this show excited for this concept. What I’m saying is that I don’t value the way that this show is presenting its ideas very highly. And all the things I initially did enjoy never got developed or got to repetitive for me to care anymore. I find it even hard to talk about this show because everything it’s saying is so basic it really doesn’t mean anything other than what its presenting. And those things are so personal it’s too subjective to review but don’t last long enough to actually develop and think about. Sweetness and Lightning was fun for the first few episodes but got old fast and wouldn’t hurt as something to put on in the background. Like lighting the appeal of this show struck intently and then was gone.
Rosenbaum’s decision to leave Smallville may have seemed like career suicide at the time but the success of Impastor (which stars Michael Rosenbaum) proves that he made the right call for his career. Rosenbaum wasn’t completely done with the show though, as he returned for the two-hour finale in 2011.
