Lights Out isa sleek 80-minute horror film directed by David Sandberg. This is his feature film debut, but that certainly isn’t evident when audiences see this movie. The director understands that playing on our deepest personal fears can result in the biggest scares. This film masterfully manipulates the audience through the darkest depths of the subconscious, scares the living hell out of you, and will have fans smiling on the way out because they survived.
The story centers around the murder of Martin’s (Gabriel Bateman) father and how he’s haunted by a shadowy figure who appears to have natty knitted hair, long finger nails, and desire to harm people. This specter, named Diana, has an unexpected connection to his family. It seems she’s besties with his mother, Sophie (Maria Bello), who just happens to have spent some time in a psychiatric ward when she was a child. Martin’s sister, Rebecca (Teresa Palmer) is no longer in the house, but she’s also had her run-ins with Diana. When she gets wind that her brother is in trouble, she comes to her brother’s aid and winds up in a showdown.
While some might look at this and think there is not much to the narrative of this film. Let me ask this question, who says that scary films have to include an elaborate narrative? It’s safe to say that the object of the film is to scare the holy hell out of the audience and hopefully do it in a way that doesn’t bore. This film doesn’t rely on any cinematic parlor tricks, no CGI Monster, no excessive amounts of blood, just good old fashioned horror.
Watching Lights Out reminded me of the feeling we all got when we saw campers milling about at night in Friday The 13th. We would sit, transfixed to the screen as a dimwitted camper would slowly creep into that poorly lit cabin unaware of their impending doom. There was an element of predictability in both films, but that served as a hook to engage us.
The highlight of this movie is the direction of David Sandberg. There are eight locations where the film primarily takes place. That doesn’t seem like much but in this case, it’s where the film flourishes. Sandberg utilizes every nook and cranny in every locationto maximize the amount of terror he exacts on his unsuspecting audience. For example, there is a scene where Sophie is trying to introduce Martin to Diana. Martin is already aware of her, and just the name sends him into a state of hysteria. While this scene is unfolding the audience can hear Sophie trying to sell how great Diana is, and Sandberg keeps the shot directly on Martin’s face to get his reaction, distracting the audience from his surroundings. Then just as Sophie say “You just have to give her a chance,” the shot opens up, and we see that Diana has been perched on the back of the sofa this whole time. Not only is it a nice jump scare, it certainly shows that Sandberg is willing to use every inch of the set.
Bello, Palmer, and Bateman are all integral elements to this film’s success. Maria Bello’s depiction of Sophie, the mentally ill mother who wants her family to friends with Diana, isn’t over the top. Teresa Palmer’s Rebecca, the sister who just want to protect her brother from harm, is explosive. However, the most significant performance has to be Gabriel Bateman’s Martin. If Bateman can’t convince us that he’s haunted to his core by Diana, then the movie doesn’t quite work. Bateman not only succeeds in conveying this terror to moviegoers, but his performance is also the best of this film.
Overall, Lights Out is one of the most entertaining trips that anyone will have at the movies this summer. Just don’t be shocked if after seeing this film, someone in your family doesn’t want to leave a few lights on at night.
Last night, I attended the Irish Premiere of Star Trek Beyond, the latest feature film entry in the franchise, which celebrates its 50 anniversary this year. None of the big stars were in attendance, but instead a number of Irish TV and radio personalities, all Trekkies in their own right. Additionally, a number of fans were lucky enough to secure tickets to fill out the packed theatre. If you’ve attended one of these premieres, you’ll understand it can be easy to get caught up in the moment. You are in a room full of people who want to love the movie, whose very passion is palpable. Yet even in isolation, Star Trek Beyond proves itself to be one of the summer’s finer action movies and perhaps the most faithful movie in the franchise in a number of years.
In his opening Captain’s log, James T. Kirk (Chris Pine) admits that three years into the Entreprise’s five year mission, their lives are getting a bit “episodic”, but what begins as a nice meta-joke comes to define the rest of the movie. Star Trek Beyond, in the most positive sense, feels like an episode of the original series. It marks the first of the new timeline films to truly embrace the spirit of adventure that characterised the series in the past. With an original villain and without having the burden of an origin movie, it is free to do it’s own thing and come up with creative scenarios. The film presents Spock (Zachary Quinto) struggling to come to terms with his own mortality as Kirk questions his commitment to Starfleet. In this time of internal re-examination, the Enterprise is sent to assist a ship in distress only to be ambushed by a veritable swarm of fighters . While stranded on an unknown world, the crew team up with Jayla (Sofia Boutella) who assists them in rescuing their comrades. Thankfully, this brilliant and energetic warrior does not become a love interest, instead forming a crucial part of the fight against Krall (Idris Elba).
The film is as much about how the crew of the Enterprise act as a dysfunctional family as it is about the threat posed by Krall. Much of the film’s best comedic moments come not from Scotty (Simon Pegg), but from Spock and McCoy (Karl Urban) learning to work together, in spite of their differences. Furthermore, the bud-cop team of Kirk and Chekov (Anton Yelchin) act as a tragic reminder of the talent that was lost. Rest assured the overall threat does what all good Star Trek plot-lines does and uses Sci-Fi to examine the challenge our modern society faces. Krall challenges the Federation’s commitment to peaceful co-existence and prosperity, instead believing the value of an isolationist struggle for superiority. If that sounds familiar, then you may have been following the news the last couple of years. Most of us have grown up in an era where unification for peace was the standard. We grew up in the shadow of the EU or the United Nations truly becoming forces to be reckoned with. We grew up at a time where acceptance, tolerance and friendship towards those who were different from you was the norm, rather than the exception. Gene Roddenberry grew up in a very different world and his vision of the future was seen by many as Utopian in nature. The Federation had moved beyond capitalist structures, poverty all but erased. Gender, racial and sexual equality were embraced (uniforms aside). Diplomacy, not war, was the greatest tool at our disposal. It was an ideal to strive for, but in recent years, as we’ve pushed to go beyond that final frontier,the more the frontier has pushed back. Within this is an all too real reminder of those who get left behind when peace is found. When you’ve spent years fighting, when war is all you know, is it realistic to expect a solider to simply stop? If that isn’t a condemnation of the state of our current peacekeeping efforts, then it is at least a call to action.
Star Trek Beyond, though not has fleshed out as one might like, is about that conflict between unification and isolationism. The clash between keeping what we have or daring to aim for something greater. It is film that aims to defend that original vision that Roddenberry had so long ago, in a time where it looks to be more further away than ever. It’s a reminder that, despite all that has happened over the last number of years, we can overcome indifference and intolerance. It remains hopeful in spite of all that was lost. It may not be the best Star Trek movie, but on the fiftieth anniversary of the franchise they could be no more fitting a tribute to all that has come before.
Star Trek Beyond hits theatres worldwide on July 22nd.
One of the more interesting and batshit insane conspiracies in American history is the claim that Stanley Kubrick helped NASA fake the Apollo 11 moon landing. Operation Avalanche, the new documentary-style drama from VICE Studios, sends a team of CIA agents posing as a film crew into NASA headquarters, where they discover Kubrick working on that very thing.
In 1967, four undercover CIA agents were sent to NASA posing as a documentary film crew. What they discovered led to one of the biggest conspiracies in American history.
Not only is it documentary style, but it’s fashioned like a documentary from the late 60s. The aesthetic is brilliant. First time features director Matt Johnson, who also stars, looks to have a very succinct vision for his story.
Operation Avalanche premiered at Sundance this past January, and has been making the festival rounds ever since. There’s a November 17 release date in Germany, but no stateside release yet. Keep your eyes peeled.
Jacob Tremblay’s follow up to Room is Before I Wake, a creepy new horror film about a little boy whose dreams manage to become reality. Here’s the trailer:
And the official synopsis:
In this intense and heart pounding supernatural thriller, Jessie (Kate Bosworth) and Mark (Thomas Jane) decide to take in a sweet and loving 8-year-old boy, Cody. Unbeknownst to them, Cody is terrified of falling asleep. At first, they assume his previous unstable homes caused his aversion to sleep, but soon discover why: Cody’s dreams manifest in reality as he sleeps. In one moment they experience the incredible wonder of Cody’s imagination, and in the next, the horrific nature of his night terrors. To save their new family, Jessie and Mark embark on a dangerous hunt to uncover the truth behind Cody’s nightmares.
Kate Bosworth and Thomas Jane as the parents don’t necessarily invoke confidence, especially with Jane’s hair. Try and ignore that. Before I Wake does look to have some creative visuals and a creepy premise, but we’ll see how the execution works. It’s set for a September 9 release, so there’s that to think about as well.
Steven visits Funland with Amethyst but runs into trouble when their friend is too short to ride the rollercoasters.
Peridot returns from the barn to hang with Steven and Amethyst. She also gets a new piece of technology from Greg. It’s good to see he still was able to keep some of the money from the previous episode so he can help to pay for incidentals and other unexpected costs later in the series.
There are a lot of good themes which are addressed in this episode. The first is the importance of believing in yourself and understanding people want to be around you because of who you are, and not what you aren’t. Too many people beat themselves up because they feel they aren’t what people expect them to be. Society focuses way too much on image these days and not enough on who is a person is on the inside.
The second great theme in this episode was the reliance on technology. Peridot insists she has to have some manner of technology to feel comfortable. While it is true some people need it to express themselves there are others who have gone too far and need to take a timeout from tech every once in awhile. In other words, close social media and engage with the person who is talking right beside you.
There also is a bit more world building as it’s revealed the Gem homeworld isn’t able to produce gems like they used to. As Peridot continues to beat herself up over her inability to shapeshift, Steven and Amethyst help her discover she had a power she didn’t know about. It’s nice to see her have a few more abilities. Peridot always had technology skills but compared with the other gems she was lacking a bit in the offensive department. Hopefully now she will be able to add them in battle in the future.
This episode was pleasant and had a lot of good moments in it. There is one major question which is left to the watcher. Why hasn’t Sinbad come back to voice Mr. Smiley? His voice really added personality to the character and it’s a shame not to see him continue the role. It’s a minor complaint but still, the fans want to know why he hasn’t returned.
Each week here on Monkeys Fighting Robots, we are looking at every DC Rebirth title and tracking its progress. Books will be rated on a scale of “Buy It”, “Borrow It” or “Bin It”. Spoilers ahead.
Batgirl & the Birds of Prey: Rebirth #1 (Shawna Benson, Julie Benson and Claire Roe)
The Birds of Prey have been sorely missed during the years of the New 52. Oh, there was a book called the Birds of Prey launched as part of the New 52, but that book failed to comprehend what made Gail Simone’s legendary run on the book work. It’s about more than just the concept of an all-female squad of super-heroines. The team is, at its heart, about characters learning to trust each other and growing as individuals because of their relationships with one another. Simone’s run had drama, comedy and a passion that managed to simultaneously warm and break hearts. This series aims for the past glory by re-uniting the team’s most iconic members, as Barabara Gordan, Dinah Lance and Helena Bertinelli are thrust into the centre of a mystery involving a usurper to the mantle of Oracle. This is our first real look at Helena as Huntress following her retirement from Spyral, and it’s pretty standard fair. We’ve come to expect Huntress to be brooding, and to demonstrate a viciousness that often shocks her team-mates, but one can’t help but feel that this was a regression of the character. Perhaps a necessary regression given the limits of the New 52 and the history of this version of Helena, but the points stands. At least she has a fantastic new costume. Babara Gordon will also be feeling deja vu as a mysterious villain has begun operating under her old alias, Oracle. If that sounds familiar, then look to the first story-arc of the Batgirl of Burnside run because she faced a very similar identity crisis in those issues. Dinah is too doing what she does best, i.e. hanging out in music venues and kicking ass. This gives us a great opportunity to reference the actual EP that add released for Black Canary a few months back, and for some great character beats between Dinah and Barbara. This is where the books emotional core has always been, one radically changed by the fact that Dinah no longer feels like she is needed in Barbara’s life. Overall, it’s a serviceable first issue, but it needs to do something new if it hopes to hold our attention.
Recommendation: Borrow It.
The Hellblazer: Rebirth #1 (Simon Oliver and Moritat)
DC has got to stop messing with its naming conventions. Trying to follow the ongoing adventure of urban mystic John Constantine can be a struggle at times. DC’s sorcerer-in-chief jumps books more often than Scott Baluka in an episode of Quantum Leap. First appearing in Swamp-Thing, Constantine has since starred in titles as varied as Hellblazer, Justice League Dark,Constantine, Constantine: the Hellblazer and now, simply The Hellblazer. No doubt his current title will soon be replaced by “The Comic Formerly Known As Hellblazer.” This story sees our protagonist return to his home city of London because of the rise of an unnamed, unscrupulous presidential candidate, who, for argument’s sake, we will call Donald Drumpf. Constantine is forced to challenge the demonic entity that led him to flee London in the first place, all in his typical “who gives a crap?” demeanor. It’s clear that the other magical character don’t trust Constantine, seeing him as reckless. What’s fascinating about him is that he’s an outsider in a community of outsiders. This series pitches the comic’s premise to the reader through a subtle fourth wall break. It may not fit the character’s previous adventures, but the content of his speech and the attitude it demonstrates is pure Constantine. Fans of The Dresden Files will instantly see a bit of what inspired their favourite wizard-PI in John Constantine. With charming cartoonish artwork that allows for DC’s supernatural world to come to life, The Hellblazer is a fine introduction to Constantine and demonstrates that a comic does not need to be a comedy to be humourous.
Recommendation: Buy It.
Green Lanterns #3 (Sam Humphries, Jay Leisten and Robson Rocha)
Rage may be central theme of Green Lanterns’ opening story-arc, but it has until now struggled to elicit any emotion other than mediocrity. Thankfully, it has begun to focus on our characters’ core emotional struggles and what it means to let willpower overcome fear and hatred. Simon Baz’s struggle as an American Muslim and what that feels like in a post 9-11 world is gut-wrenching. In ways few other books have, it captures the frustration that comes with such a label in modern America – the mistrust, the fear and the rage. This storyline isn’t subtle in commenting on humanity’s capacity to fear and hate that which it doesn’t understand. Indeed, it’s very much a reaction to the politics of our time which has become more visceral and partisan than ever. If the Red Lanterns are looking for a world from which to harvest pure rage, then they have found the right planet. To them such rage is a thing of beauty. The point at the centre of this issue becomes even more clear when Simon manages to cure a Red Lantern of her rage. Although we may sometimes become consumed by our rage it doesn’t have to be what defines us as a people. The challenge we face is how to overcome the emotions that would see us turn on one another and move towards a better future. If a Red Lantern can learn to let go, then can’t we all?
Recommendation: Borrow It.
Green Arrow #3 (Benjamin Percy and Juan Ferreyra)
Given Oliver Queen’s socialist leanings, we should have seen it coming. Is the reveal that the Ninth Circle is a group of bankers willing to back super-villain and terrorist organizations particular clever? No. Yet the idea that the root of all evil is the financial services industry is wonderfully charming. Indeed, the Ninth Circle and its leader Dante act as an interesting foil for the Green Arrow. Oliver is a man who has spent his fortune attempting to make the world a better place, yet his opponents are those who would spend that same money creating social injustice. People may decry this book as a piece of liberal propaganda, but Green Arrow and never been a book to shy away from the more difficult social problems of our time. The degree to which banks control our lives is a pressing concern for the average person. That their solvency is often seen as an end in and of itself, whereas the plight of the homeless is ignored, eats away our society’s moral conscience. True, there isn’t a particularly nuanced discussion going on here, but in the wake of the traction that the Bernie Sanders got, it is unsurprising that a book like Green Arrow would return to its old haunting ground. With some of the best artwork on the shelves and a storyline that is at least willing to ask us questions on our dependency on the markets, Green Arrow is a worthy addition to your pull-list.
Recommendation: Buy It.
Batman #3 (Tom King, Matt Banning and David Finch)
We’ve talked a lot about legacy during our coverage of DC Rebirth, and Batman has always been a character who has struggled with this concept. He entire MO is centered around creating a symbol for some to rally behind and others to fear. Although he has had apprentices in the past, few characters have been inspired by him to strike out in their own right. This is what makes the secret origin of Gotham and Gotham Girl so compelling. It’s clear they were inspired by the Dark Knight, but their choice of costume and their history of humanitarian work indicates a very different kind of hero. Yet, this isn’t something that bothers the Cape Crusader. Indeed, he is fascinated by what others do with the very fear that drove him to dawn the cowl. The coming issues will be quite telling as to the longevity of these characters and their role beyond the confines of the city that inspired their named. Batman is one of DC’s most consistent books in terms of its quality of writing and artwork. Indeed, it has been so for the last five years. The creative team is clearly taking inspiration from Batman: the Animated Series in approach to story-telling. At times somber, at others light-hearted, this is the mix that creates a commonality in what it means to be a Batman book. This issue sees the return of some old villains that should make long-time fans rejoice. All that is left to say is, “can we please get Duke Thomas’ codename now?”
Recommendation: Buy It.
Superman #3 (Peter J. Tomasi, Patrick Gleason and Mick Gray)
“Hey Dan, you know what would be a great idea? Even more Death of Superman references. I know it’s a bit of overkill to have yet another Superman show up, but you know what they say, ‘in for a penny, in for a pound.’ What do you mean nobody cares about the Eradicator? Fine, we will give him a new origin, some vague eugenic motivations and have him assimilate Krypto. Dan, are you there? Hello? Hello?”
I’m sorry if my Superman reviews seem to be repeating themselves, but it’s clear that DC editorial doesn’t have a problem with rehashing old content with a slight tweaks, so why should I? It wouldn’t be such a problem if it wasn’t such a dull story. What should have been an existing and heartwarming tale of Clark and his son, Jonathan, coming to know and understand each other, is merely an excuse for inserting the worst of the 90s into the current continuity. The Eradicator’s big plan involves cleansing the “unpure” half of Jonathan’s genome so that only the Kryptonian elements remain. This way Krypton can be rebuilt upon the purity that General Zod envisaged. If only someone would eradicate this comic and replace it with something interesting. How many of these stories do we have to endure?
Recommendation: Bin It. Justice League #1 (Bryan Hitch and Tony S. Daniel)
The biggest mistake you can make with a Justice League book is to sacrifice character for the sake of spectacle. The temptation is great when you’ve a team made up of the mightiest forces of the DCU. Yet it is a trap that, when avoided, allows us to explore their dynamics through their never-ending struggles. Writers such have Grant Morrison have treaded this path before and to great effect. Bryan Hitch, however, is unable to handle the cursed chalice that is Justice League. It is the title with the most potential for growth and mediocrity at the same time. The argument that growth should happen in solo titles, whereas popcorn entertainment should be reserved for the team-up books, is flawed as it fails to recognize that the team dynamics present unique avenues for character development, particularly for traditionally loner heroes. In the present series, we have an opportunity to explore the once and future Superman’s relationships with the rest of the League, but they spend the entire issue apart, fighting a demonic entity. The secret of a flagship team book such as Justice League is understanding that the readership knows that, even when faced with existential threats, our heroes will prevail. To hold our interest – and to make it worthwhile – there has to be something deeper beneath the surface. This was something the DC Animated Universe was able to appreciate, but its comic counterpart has often lacked. Until it can find that balance, despite its fine artwork, Justice League simply isn’t worth your time or money.
Recommendation: Bin It.
Aquaman #3 (Dan Abnett and Philippe Briones)
This is the book that I didn’t know I was longing for until it came along. Light on action, but high on drama, Aquaman is a story that understands what it means to say that Arthur Curry is King of Atlantis. The political twists and turns of the diplomatic world may not be to everyone’s taste, but in retrospect it’s difficult to see how Aquaman has managed to tip-toe around it for so long. This story is all about Atlantis trying to re-establish a foot-hold in the international community of nations. The world is understandably skeptical of Arthur’s efforts given the mass flooding that occurred during the Throne of Atlantis story-arc. Atlantis, until quite recently, was a rogue-state that did what it wanted and was highly suspicious of outsiders. That history is hard to erase. Goodwill through humanitarian work with the Justice League only gets one so far. This is one of the most interesting books that DC is publishing, because it reads very much like an episode of The West Wing rather than superhero fiction. It does raise one key question though: shouldn’t Aquaman have diplomatic immunity?
Recommendation: Buy It.
This was a good week for DC Rebirth which saw the much welcomed return of the Birds of Prey, even if the story let it down somewhat. It was also perhaps one of DC’s busiest weeks with eight separate DC Rebirth titles. Book of the Week goes to The Hellblazer, because everybody needs a bit of John Constantine in their lives. The Dishonorable Mention goes to Justice League, because not even Lovecraftian horror can save you from bland writing. If you still haven’t checked out what DC has going on and you are able to pull yourselves away from Pokémon Go, this week has some great offerings. What did you think? Have you had enough of Superman? Are we being unfair to Green Lanterns? Let us know in the comments below and make sure you stay up to date with us here at Monkeys Fighting Robots.
Review copies were kindly provided by the publisher.
“RAGE PLANET” Chapter Three: In issue #3, Green Lanterns Jessica Cruz and Simon Baz are trapped in the bloody and monstrous Rage Tower with their rings drained. Now, they must work together if they’re going to escape. Can the new protectors of Earth find common ground—or are they doomed to give in to the anger that’s growing between them?
Writing
As the Red Lanterns continue their advance, Bleez is momentarily cured of her rage by Simon, who achieves something with the ring that no other Green Lantern has. It would have been nice to see Bleez finally find some kind of peace – her backstory is a lot to carry – and she could have deserved some more time away from being a supervillain. Unfortunately things get messed up and she’s back on the side of red by the end of the issue. It would a great story if she actually was able to leave the Red Lantern Corps for a while, and maybe even find another ring to use.
Writer Sam Humphries focuses a lot of this issue on showing Simon being able to properly control his rage and not let it get the better of him. Simon has had a lot of anger in his life because of what he has experienced, but he doesn’t give in when the red ring tries to overwhelm him. It’s a great example of why he deserves to wear the emerald ring of willpower.
Artwork
The artwork is a bit inconsistent in this issue. There are some great details when the panel is zooming in on the character, but wider shots seem to have less details behind them. The art is actually done by two people, Jay Leisten and Robson Rocha, so it’s hard to tell who is doing which pages in this issue. They need to find a balance between the right amount of details they put into the book. It’s a bit hard to critique, as the parts which are really good are great, but the parts which don’t have this insane detail are just kinda bland.
Conclusion
This series is all about Simon and Jessica trying to be the best pair of Green Lanterns they can be. A little more focus on Jessica would be better, but showing Simon seemed more appropriate for this issue. It’s an entertaining series with a lot of potential to it.
Marty and Doc have outwitted the Tannen family, but at what cost? When the DeLorean speeds back to 1986, our heroes discover that Hill Valley is now a walled-in city held under the sway of the mysterious CITIZEN BROWN. And Marty’s going to have to solve things on his own–because Doc has just faded from existence!
Writing
After all the hype, Marty has arrived in a very different future. The titular future of Citizen Brown is here, but it is not the bright and shining world you would think it to be. Instead, it’s a dystopia where citizens are under constant surveillance and under the belief that they will only receive rewards for being as obedient as possible.
This is where things get good. Marty has to work on setting things right in a future where his best friend is out to get him. Writing team Bob Gale and Erick Burnham are telling a very great story and are no doubt causing many to go and play the original game the series was based on. It’s half tempting to run out now and buy the game and beat it to see how Marty is going to find a way to set everything right.
Artwork
The artwork continues to be a faithful mixture of the game and movie that this series was based on. A special shout out to Alan Robinson for making the last page be a great homage to A Clockwork Orange. It even has the character’s eyes pried open so they have to take in what is happening to them. It’s detail work like this fans can really appreciate.
Conclusion
This story has finally become a bit of essential reading. It took a few issues to build it up but from here the story has become a miniseries fans will be eagerly waiting for the release of the next issue.
Can’t make it to San Diego this weekend? Never fear, celebs with awesome online presence are here to keep you updated on the convention and beyond.
Rebecca Sugar
Sugar’s Twitter Icon
What She Shares:
The creator of Steven Universe frequently shares times and places for her panels, which may just give you a vague feeling of FOMO. Fear no more! Not only has Sugar shared previews of her rehearsing* for said panels, but in the past she has also shared links to full videos once the panel is over. When Sugar isn’t at a convention, she shares plenty of art-in-progress, storyboard screenshots, and songs under development. Definitely worth following even when the convention doors slam shut.
*We know–this isn’t her instagram account. But we found the link on her Twitter.
Where To Find It:
Sugar is active on her Twitter account (@RebeccaSugar), Tumblr (RebeccaSugar), and Instagram (RebeccaSugar). Follow all three for full access to songs, art, and other secrets behind the scenes at Steven Universe.
Stephen Amell
Amell’s Twitter Icon
What He Shares:
Let’s start with the fact that, next to Brett Dalton, Stephen Amell has one of the best pun games on the internet. Amell, star of the CW’s Arrow, gets personal on his twitter account, sharing his thoughts about conventions, fan encounters, and what it’s like to be a Dad. That is, when he’s not making fun of it all. This year at SDCC he’s working alongside Zachary Levi’s The Nerd Machine for part of the con. Follow their accounts, too, for bonus bts info.
Where to Find it:
Amell is punning all over. You can follow him on Twitter (@StephenAmell) and Instagram (StephenAmell) as well as Facebook (/StephenAmell), where he sometimes runs live broadcasts.
Ann Foley
Foley’s Twitter Icon
What She Shares:
If, like yours truly, you are an Agents of S.H.I.E.L.D. fan, you may have already discovered ABC’s gift to the fandom in costume designer Ann Foley. Not only does Foley provide her own commentary from the convention, but she answers fan questions from time to time about costuming choices, shopping excursions, and general design ideas. While at SDCC this year (and frequently at cons around the country), Foley will feature on the “Women in Marvel” panel. Foley also shares behind the scenes photos and videos with stars, and works exclusively with Covet TV to help you add the style of your favorite Agents to your closet at home.
To get all the designer’s secrets, follow Foley on her social media accounts: Twitter (@Afoley24), Tumblr (Ann-Foley), and Instagram (Ann.Foley). Not only will you get behind the scenes info from the convention floor, but Foley shares photos and info all year round. She is truly a great source for everyone from casual fans to aspiring costume designers to those of us with an itch for the most exclusive access.
Jared Padalecki
Padalecki’s Facebook Profile Photo
What He Shares:
Half of the reason Supernatural keeps getting renewed, Padalecki is the king of live broadcasts on facebook. Since he went public with his depression and anxiety several years ago, Padalecki has become much more candid with fans and forthcoming about his daily struggles. That includes photos and updates from convention adventures, largely full of gratitude for the love and understanding he receives from attendees. When he isn’t on the show circuit, he shares links to his fundraising campaigns, photos of his home and family, and news updates about his career.
Where to Find It:
Like others on the list, Padalecki is plenty active on his Twitter (Jarpad), Instagram (JaredPadalecki) and Facebook (/JaredPadalecki) pages. However, if you’re into his fundraising campaigns, it’s worth checking out his Represent.com page, as well. According to the page, his current campaign is doing more than ever: “In addition to funding charities that support the fight against depression, self harm and suicide a portion of the proceeds of the Rainbow tee will be donated to OneOrlando and Equality Florida’s Pulse Victims Fund. –Jared” Click the “follow” button on facebook to get notifications every time he goes live, you may find behind the scenes gems in real time!
Elizabeth Henstridge
Henstridge has fanart as all her profile images
What She Shares:
The better question to ask about S.H.I.E.L.D. star Henstridge is ‘what DOESN’T she share’? Before discovering Snapchat, Henstridge was already all over the internet, with her thoughts on SHIELD’s storylines, livetweeting during the show, and photos from the set with her curmudgeonly co-star Iain DeCaestecker. Whether Henstridge is having as much fun as she reports she is…well that’s almost irrelevant when you can follow her from convention halls to treasured landmarks and back again. The way she talks about SHIELD characters frequently makes us question whether she’s not writing fanfiction of her own.
Where to Find It:
Henstridge keeps herself busy updating Twitter (@Lil_Henstridge) and Instagram (Lil_Henstridge) as well as playing with filters on Snapchat (Lil_Henstridge). You’re sure to get a few giggles along with your Backstage Pass.
The day has finally come. After NBCUniversal acquired DreamWorks Animation earlier this year, it was foretold that, one day, Shrek would grace his presence on the big screen once again, and such a joyous day has been bestowed. Well, it has at least been promised by the powers above to come in 2019, based on a recent report bequeathed upon us today. What a joyous announcement. What a wondrous day to behold. Shrek 5 is now officially confirmed.
Details are limited about the upcoming sequel, first reported by THR. Literally everything we know about the film was stated in the paragraph above, but Mike Myers, Eddie Murphy and Cameron Diaz, among others, are expected to reprise their roles in the fourth sequel to the popular animated series.
Additionally, Shadows, an original feature from David Walliams and Edgar Wright, is also now slated to come out the same year, which falls in line with the studio’s plan for two new films a year. Shadows, presumably, will be a reworked version of Me and My Shadow, a DreamWorks property put on hold some years back. It’s unclear what role the prolific Shaun of the Dead filmmaker will have on the upcoming animated feature, whether he’s simply producing the film, co-writing it or actually having a hand directing it. More details are expected to come.
This announcement falls in line with DreamsWorks Animation mix of original properties and sequels. This year saw Kung Fu Panda 3 released in January, while Trolls is set to open in November. Boss Baby, Captain Underpants, The Croods 2, Larrikins, How to Train Your Dragons 3, Puss in Boots 2: Nine Lives & 40 Thieves, Madagascar 4 and B.O.O.: Bureau of Otherworldly Operations, meanwhile, are expected to come out within the next few years.
But let’s not get away from the main point here: we have 5hrek coming out within the next three years! What will Shrek get into this time? Wasn’t the last film called Shrek Forever After? Will the Shrek series ever end? It ain’t ogre ’til it’s ogre, as they say. But these are questions to ask on another day.
While some might look at this and think there is not much to the narrative of this film. Let me ask this question, who says that scary films have to include an elaborate narrative? It’s safe to say that the object of the film is to scare the holy hell out of the audience and hopefully do it in a way that doesn’t bore. This film doesn’t rely on any cinematic parlor tricks, no CGI Monster, no excessive amounts of blood, just good old fashioned horror.
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