Alien: Covenant has gone through some wild ups and downs as it marches towards its 2017 release date. The project, a sequel to Prometheus, was in development forever, then it stared down Neil Blombkamp’s own Alien sequel/adaptation before prevailing. Then, it seemed Noomi Rapace would not be returning as Shaw. Despite the fact she and Michael Fassbender’s David (well, his head anyway), were the only survivors from Prometheus, Ridley Scott’s follow up was set to be sans Rapace.
Not so fast! Apparently, the actress has been in Australia with the Alien: Covenant crew and shooting what Deadline calls “weeks worth of scenes.” So this surprise appearance clearly isn’t for a brief cameo in the beginning.
It could mean one of two things: Either we see an extended death of Shaw early in the film, or she’s actually a part of the sequel’s plot. Scott has mentioned he will begin bringing these stories closer to the beginning of Alien, so there’s no telling as to the fate of Shaw. Or David for that matter.
Murtagh used a bit of the ultra-violence to wrap up a loose end in “Vengeance Is Mine”. Wrapping up that loose end, though, involved Murtagh doing away with one of Outlander’s best guest stars. Claire and Jamie seem to be no closer to stopping the Battle of Culloden: the other generals disagree with Jamie’s (and Claire’s) advice to push on to London rather than retreat to Scotland until spring. And, Rupert‘s in a bad way. Already mourning the death of Angus at Prestonpans, Rupert sustains a potentially fatal injury at the hands of the redcoats …
Vengeance Is Mine – My Recap
“Vengeance Is Mine” starts with the bonny prince making his case to take London rather than wait out the winter and remount their offensive once the weather improves. Lord George Murray and Sir John O’Sullivan are in a rare state of agreement on this strategy but Jamie stands with Stuart. Eventually though, not even Stuart’s patriotic entreaties can sway the two older men, and the officers agree to winter in Scotland so that they can replenish their stores and recruit more men to their cause. Jamie delivers this bad news to Claire after leaving the meeting.
“Yes, it hurts when I do everything!!”
As they make their way to the Scottish border, they run into an English patrol. All parties scatter in order to make it more difficult for the redcoats to track them. But, as Claire, Jamie, Rupert, and Dougal make their escape on horseback, a musket ball hits Rupert in the right eye. Dougal performs an impressive bit of horseback riding, jumping from his horse to Rupert’s. He grabs the unconscious Scot just before Rupert falls off his horse. They lose the redcoats and seek an appropriate place to assess and care for Rupert’s life-threatening wound. They take refuge in a church and shortly after Claire has finished patching Rupert’s eye the redcoats arrive and threaten to burn the church down unless the Scots surrender.
There is much frenzied discussion about what to do. Claire decides to again pretend that she is a captive of the Scots. The group hesitantly agrees to Claire’s plan, knowing that the English are unlikely to attack if they have an Englishwoman in their midst. After making plans for Jamie to retrieve her at the nearest English garrison once the patrol has moved on, Claire pretends she has fainted. Dougal carries Claire out of the church and presents her to the English officers. After a brief negotiation between Dougal and the commanding officer, the English agree to withdraw.
Claire’s plans to be rescued, though, hit an apparent snag when she learns that she will not be taken to the nearest English garrison but Belmont, which is closer. Claire’s concerns mount when she realizes that Belmont is the home of one of her and Jamie’s nemeses, the Duke of Sandringham. Luckily, one of Jamie’s longtime allies, ill-fated mute Hugh Munro, happens to be in the town that Claire and her English escort stops at on its way to Belmont. Recognizing Munro, she is able to covertly instruct him to tell Jamie that she is being taken to Belmont. Munro nods in understanding and the two part ways.
Arriving at Belmont, the Duke of Sandringham doesn’t blow Claire’s cover. He calls Claire “Mrs. Beauchamp” and pretends not to know her rather than outing her as “Red Jamie” Fraser’s wife. After some dinner, the duke explains his own predicament. He, much like Claire, is interested in being rescued from Belmont (he’s tired of being scrutinized by English soldiers). So, the duke requests that Claire send a letter to her husband asking Jamie to save them both. Claire writes to Jamie in Gaelic and the duke has his courier deliver it to Hugh Monroe. The courier delivers the letter to Munro and Munro nearly clobbers him for his efforts. No tip?!
Back at Belmont Claire has a reunion with Mary Hawkins who we learn is the duke’s goddaughter. He intends to marry her off to a Mr. Granger, but in private Mary begs Claire to help her avoid the wedding. In an even unhappier reunion, Claire recognizes one of the duke’s servants, by the birthmark on his hand, as the man who raped Mary. She begins to question the duke as to the rapist’s employment history and the duke scolds his servant, Danton, for being recognized. The duke admits to employing Danton to rape her and Mary in France. He assures Claire, though, that rape was a better option than what his accomplice le Comte St. Germain had demanded. The duke explains that he owed St. Germain a great deal of money. Claire looks on, sneering in the duke’s face the entire time.
The Duke of Sandringham goes on to explain to Claire that, now that “Red Jamie” is on his way to Belmont, the redcoats will be able to set a trap for him. The duke explains that his facilitation of Jamie’s capture will solidify his reputation as a true English patriot. After telling Claire of his dastardly plan, the duke orders his servant to escort Claire to her room and lock her in. We also see Munro successfully deliver Claire’s poorly translated message to Jamie and Murtagh. The two Scots, commenting on Claire’s bad Gaelic, determine that she is at Belmont with Sandringham and wants rescuing.
Claire paces by her window and sees Munro running across the lawn. She fears that the redcoats will catch Jamie and hand him over to the English. Startled by someone’s entering her room, she sees Mary. Mary asks Claire to rescue her from Belmont (a common theme around here!). Claire agrees and asks Mary to go outside and tell Munro that Jamie is walking into a trap. But, Mary’s not the bravest person around and she refuses to go outside and talk to a beggar. Claire, probably noticing a theme, realizes she’ll have to do it herself. Claire makes her way downstairs to the exit but is stopped at the door by the wig-less form of the duke.
The duke claims he needed a midnight snack: Claire lies, badly while edging away from the door, that she came down for the same reason. Over what appears to be some cold chicken, the duke presses Claire on how she killed St. Germain. Mary Hawkins’s sudden appearance interrupts their conversation and the duke orders her back to bed. As the duke and Claire resume their conversation, though, Mary makes for the front door. Luckily, Munro is right outside dealing with a redcoat and Mary is able to deliver her message. Danton drags Mary away but doesn’t notice Munro outside dragging away his redcoat victim.
Danton brings Mary back to the kitchen. Mary lies that she was trying to escape Belmont for fear of having to marry Mr. Granger. The duke again orders Mary to bed but just as she’s about to be dragged off once again Jamie and Murtagh burst in. I guess Munro didn’t deliver Mary’s message (he is mute). Danton grabs Claire and puts a dagger to her throat. The duke scrambles to get his wig on. Hoping to spur on some kind of superhuman revenge strength or something, Claire announces to the room that Danton raped Mary and that the duke hired him to do it. The duke tries to explain his dastardly behaviour and, as he does, Mary runs Danton through with Jamie’s dagger. Danton collapses and, with Claire safe from harm, Murtagh raises his axe and cleaves the duke’s head from his shoulders.
“There can be only one!”
Murtagh places the Duke of Sandringham’s dismembered head at the feet of Mary and Claire saying, “I kept my word. I lay my vengeance at your feet.” The four outlaws stand in silence for a bit until Mary quite rightly says, “I think we should go now.”
Vengeance Is Mine – My Critique
Go Mary! That’s one rapist down, uh several more to go! “Vengeance Is Mine” was a good episode that gave Simon Callow a great opportunity to go out with a bang. Callow did a great job highlighting the Duke of Sandringham’s apathy and frivolity. The duke was a villain I loved to hate so I hope that Outlander is able to provide a suitable replacement, especially since Black Jack Randall seems to have traveled back in time to the Dark Ages. Wait, that’s a different show …
It’s Frank! It’s Black Jack! No, it’s Edmure Tully!
“Vengeance Is Mine” also gave viewers another taste of why it would be logistically difficult to go back in time and influence historical events. Even armed with the knowledge that the Scots might’ve won if they’d initially taken London rather than wintering in Scotland, Jamie couldn’t change the generals’ minds. Because the officers don’t know their own futures, they must rely on their instincts that tell them to retreat.
“Vengeance Is Mine” provided viewers with a lot of character development. Both Rupert’s wistful remembrances of Angus’s vulgarity and Mary’s proactive approach to justice made “Vengeance Is Mine” worthwhile. It was a great touch that Murtagh beheaded the duke with so little pomp and circumstance. Obviously, Murtagh had been looking forward to that for a while.
Tom Holland, Zendaya, and Tony Revolori were seen in Atlanta filming Spider-Man: Homecoming in photos posted Just Jared today.
The Hollywood Reporter says Spider-Man: Homecoming has added three newcomers to the cast; Isabella Amara (The Boss), Jorge Lendeborg Jr (The Land). and J.J. Totah (Other People). Character details have not been announced.
Spider-Man: Homecoming is directed by Jon Watts and stars Tom Holland, Zendaya, Robert Downey Jr., Marisa Tomei, and Michael Keaton. It will be released on July 7, 2017.
Set photos from Spider-Man: Homecoming:
Tom HollandZendayaZendayaTony RevoloriTony RevoloriTom HollandZendayaTom HollandZendayaTom Holland
In the new world of storytelling that’s the ten-episode cable series, networks need to treat a season like a boxing match. The first episode of Outcast comes out strong with a complete story and leaves the viewer wanting more. Episode two goes into Kyle Barnes’ origin and you get a good sense of how broken he is and his fight for understanding. A slower paced episode, but needed for essential information to move the plot forward, and it has a great closing scene that excites you for the future of the series. Episode three does not add to the series and feels like a filler episode, which is disappointing because the show only has seven left.
‘All Alone Now’ starts off with a brutal opening sequence that sets the episode up for a deeper look inside the demons that crossing over to this earth. This episode falls flat and doesn’t reveal information to progress the story. With that said I was frustrated with the episode, and so were the characters. Which means that was the goal of director Howard Deutch for the episode.
What works for the show and also frustrates viewers is our point of view is from the side of ‘good.’ We can not see what the demons are up to. There are several mysteries building up and the information collected so far is not bringing them together.
Mysteries:
1. Why are the demons invading Rome, West Virgina?
2. Why do the demons want Kyle Barnes?
3. Who is the leader of the demons played by Brent Spiner?
4. What happened to Reverend Anderson’s son?
5. Is Barnes possessed by a demon?
6. What is the mystery that Chief Giles is covering up?
Lee Tergesen does an excellent job as the newest demon (Blake Morrow) introduced in the series. With these type of characters, you can see the actors let loose with their dark-side and enjoy their acting craft. The way the episode ends it will be interesting to see if the Reverend and Kyle revisit Blake in the future.
The cinematography and the score are amazing once again. This show gives me chills and puts a dark twist to my dreams after watching an episode. Even an average episode of Outcast is better than 95% of the shows on today.
In The Song of Ice and Fire and Game of Thrones, Good has been throttled at the neck ever since Ned Stark had a head on his shoulders. To be good-natured and whole-hearted is a veritable death sentence in this universe and that’s just the way things go. Until it isn’t…
The Starks are without a doubt a naive bunch who have come to learn the rules of this world in the hardest of ways. Still, that won’t change their nature and it won’t change our want to see their retribution. Fleeting or not, ‘Battle of The Bastards’ gives us a small glimpse at that redemption and rewards us and the Good people of Westeros for believing in a better future.
Today, I believe it’s impossible to separate the narratives of entertainment from the real world atrocities we see committed. We lay yet in the pool of horror that is Orlando. We have to reconcile a world where freak accidents can take away an innocent life who only wanted to bring some of his own Good into this world. We still feel pain and anger for a fictional wedding ceremony that occurred three years ago. Game of Thrones has embodied what it means to live in a merciless world right up until the dark and gruesome end. The night is indeed dark and full of terrors but that blade cuts both ways.
‘Battle of the Bastards’ is Jon Snow suffocating under a heap of death and corpses but not giving in. He went into a battle undermanned and ignorant of the atrocities another human can commit. Ramsay Snow* is no whitewalker risen from the grave with only one purpose. He doesn’t just destroy, he wants you to feel his pain. Jon doesn’t know what it’s like to fight that enemy. We don’t know what it’s like to fight an enemy who wears an American flag underneath the guise of terrorism. As Jon’s brother**, Rickon, is shot down at his feet, we all recognize the dagger twisting in our stomachs as this sort of hurt strikes deeper than a foreign evil. Ramsay is a man of the North. He is an American.
*You’ll never have a true name in my eyes, Bastard.
**Until further notice.
For a show that has become the face of deception and evil, ‘Battle of the Bastards’ illuminated the decent when we needed it most. All of our heroes, our friends — Davos, Tormund, Wun-Wun, Jon — were down to their last biting breath and chose to fight that battle. Davos charged his meager troops in from volley position. Tormund ate the face off Smalljon Umber. Wun-Wun ripped his hand through an arrow to be the savior of Winterfell. They wouldn’t give in when the battle turned and it finally turned in their favor.
No matter how small the victory may be, Game of Thrones makes it a point to show victories are to be fought for and cherished because they truly do exist. We aren’t meant to suffer in the darkness and let the Ramsay Snows of this world strike from the shadows. There is pain and there is blood and there is a moment of resignation but it doesn’t last. We won’t let it last. The Rohirrim-esque charge of the armies of the Vale aren’t a deus ex machina. They are reward for fighting the correct battle. Not everyone survives the battle but fighting it is worth more than accepting a doomed fate.
‘Battle of the Bastards’ is a visceral and emotional masterpiece. Forgive me my inability to mention the show’s politics and Dany’s reclaiming of Meereen and Tyrion’s conversation with the Greyjoys. We needed a week of proof that we can look directly into the void and create life when there is none. I’m happy for that.
“You’re going to die tomorrow, Lord Bolton. Sleep well.” – Sansa Stark
Show Notes:
The torsion catapults besieging Meereen were just plain cool.
Theon and Tyrion’s reunion highlighted a relationship with seriously old scars. This world never forgets.
Was there a little flirting going on between Yarra and Dany? I mean, how could you not flirt with the Mother of Dragons?
Rickon’s death was absolutely necessary. There just isn’t enough room in the show for him. His presence here was the perfect distillation of what that character needed to be.
Can we just allow the pure filmic beauty of this episode wash over us? Jon standing against an army. Horses galloping into battle. Jon being completely consumed by war. This episode is a living painting.
Tormund’s sweetness has become one of the show’s highlights. I want Davos/Tormund back and forth until the end of time.
Finally, Stark banners in Winterfell and it feels good.
Check out my reviews of previous episodes of ‘Game of Thrones’:
Director Tim Burton has been in a shame spiral for several years but Miss Peregrine’s Home for Peculiar Children looks like it’s right up his aesthetic if nothing else. The movie is based on the book of the same title and the summary for the movie as such:
When Jacob discovers clues to a mystery that spans different worlds and times, he finds Miss Peregrine’s Home for Peculiar Children. But the mystery and danger deepen as he gets to know the residents and learns about their special powers.
Burton is only directing this movie and left writing duties to Jane Goldman who has worked on Stardust, Kick-Ass and both of the Kingsman movies.
Miss Peregrine’s Home for Peculiar Children comes out September 30, 2016. It is directed by Tim Burton and stars Eva Green, Asa Butterfield, Ella Purnell, Allison Janney, Terence Stamp, Rupert Everett, with Judi Dench and Samuel L. Jackson.
According to Comic Book Resources, the “One More Day” story arc for Spider-Man may be retconned. This comes from issues Amazing Spider-Man #14 and Spider-Man/Deadpool #6. In the issues, the webslinger and others begin to notice oddities in his relationship with Mary Jane Watson.
“One More Day” controversially ended Peter Parker’s marriage to Mary Jane Watson. This was part of a deal with Mephisto in order to save the life of Aunt May. Fans were not keen on this story arc, thus making it one of heated debate ever since.
Iron Man, of all people, finds their animosity to be peculiar, needing Spidey, MJ, and Jarvis to convince him otherwise. Elsewhere, Peter Parker’s Aunt May begins to show signs of some ailment. Since the agreement allows May to live, undoing it will certainly end badly for her.
Finally, a teaser for Spider-Man/Deadpool shows Peter facing Mephisto himself. The preview shows Peter being told of a secret void existing in Peter’s life. Obviously this is connected directly with the events of “One More Day.”
After Comic Book Resources published an article on the potential undoing of “One More Day,” the site opened a poll to gauge audience reaction. A staggering eighty-eight percent of those polled want the couple back together.
Whether or not “One More Day” is erased from Marvel’s canon is hard to say. Especially when the company and respective creators are silent right now.
What do you guys think of the potential change? Do you want Peter Parker and Mary Jane back together?
Death Wish is a movie that’s been remade to the point where it’s damn near a subgenre to itself. Now, Eli Roth is directing Bruce Willis in a new remake, which is an honest-to-goodness remake.
According to the news at The Hollywood Reporter, Eli Roth is directing the film for MGM and Paramount, who have long wanted to redo the 1974 Charles Bronson cult classic. And Willis, who hasn’t don’t anything of note for a long, long time – mostly because of his growing reputation as a prick – will take over the Charlie B. vigilante role.
Roth’s recent films have been less than stellar as well. From the ridiculous Knock Knock to The Green Inferno, most of his work has been VOD late-night fodder. This appears to be a major release for two big studios putting a lot in this Death Wish basket.
It could work, though the time capsule nature of the original Death Wish – taking place in a New York City that was funneling down the toilet with crime and corruption – was what made Death Wish so indelible. From Death Wish spawned three (or four?) sequels, all worse than the last one, and a Kevin Bacon remake somewhere in the mid-2000s. But that one was called Death Sentence… totally different.
The Flash wrapped up its second season with some major implications about where the DC TV universe would be heading going forward and it looks like we have gotten another hint from star Grant Gustin’s twitter account.
@grantgust I'm cool with you telling them the title 🙂
In the season two finale of The Flash Barry Allen went back in time to save his mother Nora from being killed by the Reverse-Flash. It has already been seen throughout the show that these sort of changes can have major implications on the entire universe but comic fans recognized this change from another DC story. “Flashpoint” is a 2011 story in the comics where Barry Allen went back in time and saved his mother. The story was the lead in to DC’s New 52 launch and the effects are still being felt today. The episode being called “Flashpoint” could point to a variation of a ‘re-boot’ for the DC TV universe and perhaps one that will incorporate Supergirl now that that show has moved to the CW.
The Flash returns on October 4 at 8 PM ET on the CW for a third season.
During a typical “Game of Thrones” season, the second-last episode features a major battle or a shocking event that affects the political dynamics of Westeros. Fortunately, “Battle of the Bastards” succeeds in doing both of those things. Directed by Miguel Sapochnik, the penultimate episode is one of the series’ most bloodiest to date.
“Battle of the Bastards” begins with a long-awaited scene in which two favourite characters get to converse. Daenarys Targaryen (Emilia Clarke) and Tyrion Lannister (Peter Dinklage) watch as the Slaver fleet attacks Mereen from the sea. Tyrion tells her that the conflict is needed to destroy the slave trade. Daenarys plans to restore the city to its inhabitants. As the Masters and Dothroki fight, Dany and her dragons take to the skies. The end result is spectacular to behold, especially how Benioff and Weiss have been building up to it for six seasons. Special credit must be given to the VFX team, because the final result is akin to WETA’s work on Peter Jackson’s “Lord Of The Rings” trilogy.
Daenarys and Tyrion meet with Theon (Alfie Allen) and Yara Greyjoy (Gemma Whelan). Tyrion, in particular, toys with Theon and recalls how the younger man once mocked him for being a dwarf. Theon and Yara explain they want to take back control of the Iron Islands from their uncle, Euron Greyly. Yara pledges a hundred ships to support Tyrion and Daenarys’ campaign. Dany states they are going to leave the world better than how they found it. She demands they will support her claim to the Iron Throne and cease all pillaging.
Elsewhere, Jon Snow (Kit Harrington) and Sansa Stark (Sophie Turner) meet Ramsay Bolton and a detachment of his troops. Ramsay demands Jon surrender and declare him Warden of the North, insisting that he has no chance of winning. Jon offers to challenge him one-on-one. Ramsay asks if they are willing to give up their brother Rickon (Art Parkinson) by fighting for Winterfell. Sansa states there is no proof that he is telling the truth, but Ramsay responds by producing the head of Shaggydog. A furious Sansa tells him that he will die tomorrow.
Does this bring the Fellowship of the Ring’s prologue to mind?
Later, Jon, Sansa and Davos debate what course of action they should take. Tormund is worried about Ramsay’s horses, but Jon is confident they have a chance of winning. Davos reasons they should let Bolton’s forces charge at their army, so they can surround them on three sides. When Davos and his advisers leave, Sansa tells Jon he does not know the way Ramsay thinks, arguing she has insight into how he toys with people. Frustrated, Jon asks how they can rescue Rickon, to which she says they cannot. Technically, as Sansa explains, Rickon is Ned Stark’s legitimate-born son and therefore a greater threat to Ramsay. Jon is angry that they don’t have enough soldiers to retake Winterfell. Before leaving, Sansa states, “If Ramsay wins, I’m not going back there alive,” and her brother vows to never let Ramsay hurt her again.
Jon confides in Melisandre and orders her not to bring him back if he is killed in battle. She responds by saying she does not have the power to revive people but cannot explain how she brought him back. When Jon asks how this is possible, Melisandre explains the resurrection happened because the Lord of Light intended it to be. Meanwhile, Davos and Tormund talk about Stannis’ military strategy. Davos feels the people of Westeros made a mistake believing in kings, but Tormund counters by saying Jon is not a monarch. When asked how he prepares for a battle, Davos explains he likes to walk at night. As he walks through the snow, he comes upon a funeral pyre and Shireen’s wooden deer.
At the battlefield, Jon and the Wildling army watches as Ramsay’s forces stand ready to fight. Ramsay drags Rickon on a rope and turns him loose. He orders the boy to run towards Jon. As Rickon races to the other side, Jon rides to rescue his brother, but Ramsay begins firing arrows at him. Tragically, Jon is too late, as one of the arrows fatally pierces Rickon’s chest.
As Jon’s forces surge forward, Ramsay’s archers launch their arrows. Davos and his men finally head into battle as the Wildlings are surrounded on three sides. What follows is a bloody, intense sequence with heavy casualties. Sapochnik’s direction of the action feels akin to the combat scenes in “Braveheart” and “Saving Private Ryan”. It looks as though Ramsay has won the fight, but Littlefinger and Sansa ride to the rescue with an army.
Ramsay heads back to Winterfell, convinced that his forces will win the battle. He is stunned when the giant Wun Wun breaks down the gate before dying. Jon arrives to confront Ramsay, who decides to challenge him man-to-man and shoots arrows at him. However, Jon defends himself and savagely beats Ramsay to a bloody pulp.
That’s one hell of an army
As the Stark forces enter Winterfell, Jon orders Rickon to be buried in the family crypt next to their father. Sansa demands to see Ramsay, who is now locked in the dungeon. She coldly tells him all memory of the House of Bolton will disappear and that he is left with his dogs, whom he neglected to feed for days. Ramsay is torn to pieces by the hounds, and Sansa leaves with a smile on her face.
The episode delivers on spectacle and intensity. “Game Of Thrones” show runners David Benioff and D.B Weiss certainly know how to balance plot, characters, and action. Clarke and Dinklage have fine chemistry in their scenes, and this will make for an interesting seventh season. Harington proves himself to be a solid actor in projecting Jon’s strategic planning, heartbreak and desperation. Turner shows a darker side of Sansa’s personality, especially in her last scene with Ramsay.
Rickon’s fate is not as dramatic as it should have been, because the character has never received much focus. It begs the question of whether he was necessary to begin with. As the youngest Stark child, Rickon was featured in the background of the first season, but he did have substantially more material in the second and third seasons. Despite this, he never received much character growth. Nor did Parkinson receive any dialogue in his brief appearances this season. Ironically, the viewer is more likely to feel sadness for Wun Wun, who went out in a blaze of glory.
Now, all that remains is the final episode of Season Six. “The Winds of Winter” will arrive in one week. Will the Wall come down? Is Cersei going to burn down King’s Landing? Will the “R + L= J” theory be proven correct?
