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Untimely Resurrection – Outlander Season 2 Recap and Critique

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Last Saturday’s episode of Outlander, “Untimely Resurrection,” was jam-packed with plot development, making up lost time in a season that had a slow start. “Untimely Resurrection” featured the return of Black Jack Randall, smarmy as ever, and Claire finally telling Jamie her last juicy secret. Claire and Jamie both suspect St. Germain to be responsible for Mary Hawkins‘s rape but, as a whim of Charles Stuart‘s demanded, Jamie and St. Germain are now the most begrudging of business partners. Mark you?! Mark me!

“Untimely Resurrection” – The Recap

Sword fights and mass arrests have a way of killing a party and the Frasers‘ proved no exception. Jamie, having been released from the Bastille, returns home to find Claire sitting awake next to a dozing Fergus. Jamie explains that Duverney ordered the Captain of the Guard to release them. Unfortunately, Alex Randall is still being held since Mary’s uncle claims to have seen Alex raping her. Alex’s release will require a statement from Mary exonerating him. Claire demands that Jamie help clear Alex’s name and asks if the Duke of Sandringham could help. Jamie explains that the Duke is unlikely to vouch for Alex, having already dismissed him from service in order to avoid having any association with a suspected rapist.

Although Jamie spent the night in jail and his party devolved into a brawl, he’s certain that the Duke of Sandringham must have realized what a weasel Charles Stuart is, and must now be unlikely to fund Stuart’s campaign to claim the British throne. Jamie’s face falls, though, when Claire tells him that during the brawl Stuart left with le Comte St. Germain. Jamie orders Murtagh to investigate the nature of St. Germain’s relationship with Stuart and whether or not St. Germain was involved in the attack on Claire and Mary.

When Jamie asks Claire if she remembers anything from the attack, she describes the attackers as well dressed and having been frightened off by her. She tells Jamie that they apparently confused her for “La Dame Blanche,” whom Murtagh explained to her was some kind of sorceress. Jamie admits his responsibility, telling Claire that he claimed to be married to “La Dame Blanche” one night at the brothel Maison Elise in order to retain his manly reputation in front of Stuart while still turning down the services of one of many prostitutes Stuart had procured. Claire questions Jamie’s wisdom in claiming to be married to a witch, considering what happened to her friend Geillis Duncan, but realizes that her and Mary’s attackers likely frequent Maison Elise. Jamie swears vengeance on whomever was responsible for the attack, suspecting St. Germain.

On what appears to be the next day, Jamie is hard at work looking over a shipment of wine, and Murtagh reports that though it was easy to find St. Germain he hasn’t seen him do anything that could be described as suspicious. Following up on the attackers’ potential connection to Maison Elise, Murtagh has found that several of the brothel’s clients are members of a gang of masked aristocrats calling themselves “Les Disciples.” Murtagh further explains that the initiation into the gang involves raping a virgin, and he apologizes to Jamie for being unable to protect Claire and Mary. Jamie tells Murtagh it wasn’t his fault and orders him to focus on proving St. Germain’s involvement rather than feeling guilty.

Claire checks in on Mary Hawkins who has written a statement about her attack. She is intent upon Alex being released and describes him as a good man. Mary says she feels like a different person and ashamed. Claire ensures Mary she has nothing to be ashamed of and explains to a confused Mary that she’s unlikely to become pregnant since her attacker was pulled off in time. Mary is relieved that she won’t have to wed the wart-faced Vicomte she was betrothed to: he would never accept a “soiled bride.” In fact, she is nearly excited. Now, she says, she and Alex can marry.

Claire’s concerned. If Alex and Mary wed, what will happen to Frank, the eventual offspring of a union between Mary and Black Jack Randall? Claire considers destroying Mary’s statement that exonerates Alex but decides she shouldn’t since keeping Alex in prison can’t guarantee that Mary will wed Black Jack.

Jamie gets a visit at his wine warehouse from Charles Stuart. A typically theatrical Stuart tells Jamie that his mind is clear of its previous “feminine shackles,” and describes his new plan for funding the Jacobite rebellion. His old financiers, he says, have “shown their true colours” but he has another backer offering £10,000 sterling. Confirming Jamie’s suspicions, Stuart says his new backer is le Comte St. Germain. St. Germain wants to purchase a shipment of Spanish wine but is low on funds and in need of a business partner. Stuart will provide half the funds for the purchase of the product and earn £10,000 in profits from the retail of the wine. Stuart admits that £10,000 is not enough to raise an army but expects that it will be enough to start procuring ships, men, and other necessities. Then, after Duverney reports Stuart’s rebellion’s strength to King Louis XV, the King will see that the rebellion is a worthy investment and lend the substantial wealth of his own coffers to the cause.

Stuart goes on to say that he understands that St. Germain doesn’t support the Jacobite uprising but that he is a businessman seeking a good return on his investment. And, to safeguard against any betrayal from St. Germain, Stuart appoints Jamie to be the one in charge of arranging a buyer for the wine shipment; St. Germain and and Jamie will meet at Maison Elise to discuss particulars of the deal, what Stuart describes as “work-men’s concerns.”

In a bit of timeline management from Claire, she convinces Alex that though his engagement to Mary is based on love it is not a sensible thing for either he or Mary to go through with. Alex is freshly unemployed and as sick as ever with whatever horrible 18th-century pulmonary disorder causes him to periodically come close to coughing up both lungs. He is heartbroken but agrees with Claire that Mary deserves better than a sickly husband that may not be able to provide for her. As Claire’s voice-over explains, though, she’s not breaking the young couple up for the sake of either of their happiness, she’s doing it to ensure Frank’s future existence.

At the Maison Elise, Jamie and St. Germain’s meeting goes about the way one would expect. The two make thinly veiled threats to each other, St. Germain tells Jamie to contact him once he has a buyer. Le Comte leaves his unfinished glass of wine and tosses some coins on the table … nice guy!

Back at Chez Fraser, Claire and Jamie cook up a scheme to use certain herbs to make it look like St. Germain’s ship is again infected with smallpox. St. Germain’s shipment of Spanish wine, which Stuart plans to have Jamie sell for £10,000, will have to be destroyed along with his ship. This way Stuart will lose money on his business venture. No money, no rebellion, no Battle of Culloden, no death to Highland culture.

During a short lull in the scheming, Jamie presents Claire with an heirloom set of Apostle spoons for the baby. Claire wonders if she’ll be a good mother having no real firsthand experience of her own. Jamie reassures her that she’ll learn what she needs to in time.

The next day Claire and Jamie are at the Royal stables holding court with King Louis XV. Jamie has come to help the Duke of Sandringham check out a team of horses he is thinking of purchasing. The Duke tells Jamie he was sad to hear of Jamie’s brief imprisonment but says that the dinner party gave him a chance to evaluate Charles Stuart. Describing him as an “utter ass,” the Duke wonders how Jamie could be such a bad judge of character. Jamie brushes the Duke’s comment off by saying that he agrees with the Duke’s assessment of Stuart but believes that Charles Stuart’s father, James III, is the true King of Britain. The Duke, under the pretense of discussing horses with Jamie, describes himself as a man who likes options.

While Jamie and Sandringham discuss “horses,” Claire and Annalise walk through the gardens. Annalise comments that Claire has made Jamie into a man and then notices a different man staring at Claire. When Claire turns around she’s greeted by a very familiar face … it’s Frank and he’s traveled back in time to the 18th centu–oh sh*t, that’s not Frank, it’s Black Jack Randall! After a tense greeting, Claire tells Annalise that she isn’t feeling well and, before Claire can stop her, Annalise runs off to get Jamie. Claire tells Black Jack he should leave lest Jamie cut his throat but Randall reminds Claire that drawing a sword in the presence of the King is punishable by death.

Randall waxes poetic, remarking on the unbelievable chain of disconnected events that have brought them together at King Louis XV’s court. As Claire makes an attempt to leave, Randall grabs her arm and says, “The King, ” Claire replies, “F*ck the King,” realizing her mistake when Randall performs a very respectful bow to someone behind her, the King. Luckily, King Louis doesn’t appear to have noticed Claire’s treasonous words and, instead of upbraiding her he makes a few Royal jabs at Randall’s expense.

Jamie arrives at Claire’s side and, after a Jamie and Randall exchange some very tense banter, the King, happy to embarrass a Redcoat, convinces Randall to beg on his knees for his brother Alex’s reappointment to the Duke of Sandringham’s service. At Claire’s request, she and Jamie are excused from His Royal company but after the King has left Jamie returns to Randall and challenges him to a duel.

Jamie seems pretty pleased with himself while he and Claire ride home in their carriage. As soon as they arrive at their destination and Jamie is inside, Claire has the driver take her to the Bastille. Later we see Jamie and Murtagh discussing the particulars of the duel when Claire walks in. She tells the two Scots that Randall is in the Bastille, having sworn an accusation against Randall for the attack on her and Mary. She reminds Jamie and Murtagh that dueling is illegal in France but when Murtagh says they won’t be caught Claire orders him out of the room.

With Murtagh gone, Claire lays all of her cards on the table: Frank, she tells Jamie, is the great-great-great-great grandson of Black Jack Randall and Mary Hawkins. If Jamie kills Black Jack, Frank will never be born. Claire begs Jamie to let Randall live for a year in hopes that Black Jack will assure his line in that time. Jamie refuses, though, saying Claire is asking too much. He tells her to choose, either allow him to kill Randall now or kill him on the spot. Out of options, Claire demands that Jamie repay his life-debt to her by sparing Black Jack. Jamie, a man of honour, cannot refuse and agrees to spare Randall for a year. Claire tries to comfort Jamie but he demands not to be touched. These time flings are complicated!

“Untimely Resurrection” – My Critique

Things are moving along now! After a very slow start to Season 2 that seemed only concerned with repeatedly showing the audience that Outlander is now set in France, plot developments were flying off the shelves in “Untimely Resurrection.” Since any story is only as good as its villain, I was happy to see that the untimely resurrection referred to in this episode’s title was Black Jack Randall’s. And, since I was so wrapped up in determining St. Germain’s guilt for Claire and Mary’s attack, I didn’t consider that Randall would be returning so quickly. “Untimely Resurrection” played up the idea of St. Germain as the new villain so much that I figured Black Jack might not make a return appearance for a while.

It was also interesting to watch Claire take a more active role in manipulating the timeline in “Untimely Resurrection.” Her insistence on ensuring Frank’s future existence has already led her to make a couple of morally questionable decisions. “Untimely Resurrection” showed Claire, claiming she was acting out of concern for Mary’s well-being, insist that Alex break off his engagement to Mary. Since it’s doubtful that marrying a serial rapist like Black Jack will work out well for Mary, it’s pretty obvious that Claire is only concerned with preserving Frank’s place in history. The same is true of the deal Claire makes with Jamie in “Untimely Resurrection.” Preserving Black Jack’s life serves no other purpose than to keep Frank alive. Beyond “Untimely Resurrection,” I look forward to seeing how many lives Claire is willing to endanger in the 18th century in order to ensure Frank’s existence in the 20th.

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Review: X-Men: Apocalypse Feels Anti-Climatic But The Performances Make Up For It

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Title: X-Men: Apocalypse
Director: Bryan Singer
Summary: With the emergence of the world’s first mutant, Apocalypse, the X-Men must unite to defeat his extinction level plan. — via imdb

The X-Men movies are a strange set of movies. It was the one-two-three combination of the first movie, Blade and Spider-Man that pulled the superhero genre back into the forefront of the popular culture. However, whenever I go back and watch the movie again it just doesn’t hold up by modern standards. For the time it was about as good as it could have been and X2 was better, so we got to call it great. Then X-Men: The Last Stand and X-Men Origins: Wolverine buried the entire franchise. I believe that Matthew Vaughn’s X-Men: First Class was the best of the movies thus far but replacing Vaughn with Bryan Singer for X-Men: Days of Future Past was not a good idea. I thought Days of Future Past was good but not great, and I was curious to see how Singer would do with this latest installment in the franchise.

X-Men: Apocalypse continues the series tradition of having great actors portraying their characters to a T, but lackluster action scenes and a general feeling of everything being anti-climactic brings down the entire movie.

X-Men: Apocalypse

A lot of people were worried about how Apocalypse (Oscar Isaac) looked from the various pictures that have been coming out over the last year. I don’t blame anyone for that but I’m pleased to tell you that he looks much better in motion. Isaac does a great job moving around in that crazy costume, and despite how silly he might look the way he talks and moves immediately makes him feel dangerous. I’m not sure how comic accurate the explanation for his powers are but they make sense within the universe. The three unknown Horsemen are pretty good even if they don’t get a lot of development. Storm / Ororo Munroe (Alexandra Shipp) looks fantastic and the little bit of her character we get to know makes sense. Angel (Ben Hardy) and Psylocke (Olivia Munn) don’t fair as well. We don’t know much about who they are or what their motivations are which is is a shame because they could be interesting characters.

As far as the good guys go the new cast are all great. We get a great version of Jean Grey (Sophie Turner) who promises great things in the future. Scott Summers / Cyclops (Ty Sheridan) and Nightcrawler/ Kurt Wagner (Kodi Smit-McPhee) are both great additions to the new cast. The returning members are all comfortable in their roles by this point with the highlights still being Professor Xavier (James McAvoy) and Magneto / Erik Lehnsherr (Michael Fassbender). The two of them bring such interesting dynamics to these two characters that most people think of “all good” and “all bad.” Much like the previous movies we know that Magneto isn’t doing anything right but we can see where he is coming from. We know that the Professor’s heart is in the right place but he’s still fantastically arrogant and naive. Peter Maximoff / Quicksilver (Evan Peters) once again has the best scene in the movie, and while I’m not sure making Mystique / Raven (Jennifer Lawrence) into a good guy entirely works her motivations make sense within the character.

All of this should add up to a great movie but it all fell a little flat for me. The main problem I believe comes down to director Bryan Singer and that he really can’t direct action. The movie felt like it spent a lot time working its way down to the big showdown between the X-Men and Apocalypse, but by the time it rolled around it didn’t feel like the stakes were as high as they should have been. There was a large death toll in this movie but it never felt like the world was really in any danger of ending the way the movie kept telling us it was. There were a few good moments but it didn’t feel like everyone got to shine the way everyone did in the airport fight in Captain America: Civil War. The tone of the movie also felt very similar to the previous movies. The X-Men movies feel like they are in a holding pattern that they can’t seem to get out of. I’m not sure if a reboot is what’s needed but perhaps a new creative team could give this franchise the shake up it needs.

X-Men: Apocalypse is yet another good entry into the X-Men franchise. I still feel like the movies are holding back in some ways, as if they are reluctant to embrace their comic book counterparts. This cast, however, is too good to disband in a full reboot so perhaps a change in writers and director would be best. Perhaps someone else has a vision for the X-Men outside of Simon Kindberg and Bryan Singer and I think it’s time we saw that instead.

Also, no edit credits stinger during my screening.

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36 Years Since ‘Friday The 13th’: Importance To The Horror Genre

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Friday The 13th Revolutionized Not Only Slashers But Horror As A Whole!

The slasher genre started with ‘Peeping Tom‘ in 1960. The film introduced a sub-genre in horror that evolved over time. There was a major turning point for slashers in 1980: the bloody ‘Friday The 13th‘.

horror

Hitting cinemas on May 9th, 1980; the movie was unlike anything mainstream audiences had seen before. Director Sean S. Cunningham took elements from slasher forefathers like ‘Halloween‘ and ‘Psycho‘ as well as a grindhouse picture that Cunningham worked on titled ‘Last House On The Left‘ to create something fresh.

Before there was even a script, a full-page print advertisement was published in Variety Magazine in which ‘Friday The 13th‘ was hailed “The Most Terrifying Movie Ever Made”. The genius marketing move was a way to see if they can attract interest to the project and see if there will be any copyright issues with the film’s title.

Bringing in writer Victor Miller and make-up master Tom Savini, Sean S. Cunningham started crafting together the events that would make Camp Crystal Lake such a memorable horror destination. From there, we got the story of a mother seeking revenge for the senseless killing of her young son. In the 1950’s, Pamela Voorhees lost her child Jason when he drowned in the lake because the camp consolers were having sex and ignoring him. Since that day, the summer camp where Jason died has been known to have a “death curse”. Ignoring that, someone attempts to re-open the camp under a new name. Mrs. Voorhees did not like that.

While ‘Halloween‘ strayed away from showing a lot of the gore, ‘Friday The 13th‘ rubbed your nose in their excessive violence. The camera rarely cuts away from one of the brutal murders of the teens; the iconic scene where Kevin Bacon gets an arrow through his throughout is proudly shown.

Horror

Facing harsh criticism from conservative critics, critic Gene Siskel famously called the film’s director “one of the most despicable creatures ever to infest the movie business”. What an amazing compliment for any shock-loving horror filmmaker. It always shocked me that critics and politicians seemed to put down the message of ‘Friday The 13th‘ when in reality, the film was condemning the exact same people they had issues with. If you smoked pot or had pre-marital sex, you’re dead!

Gore isn’t the only thing ‘Friday The 13th‘ brought to the horror genre. Since and after, most slashers are usually men. This movie gave me something totally unheard of at the time. The major twist in the 1980 film is that elderly women Pamela Voorhees has been behind all the gruesome murders. While her hockey masked son would later take over after her untimely beheading, Pamela being the killer shook horror to its core. The twist infiltrated horror and pop culture as a whole. You can even find this mentioned a few times in fellow horror franchise ‘Scream‘.

The importance & success of this film can be found in the numbers alone. The cult classic grossed over $50 million dollars on a $550,000 budget and has spawned 12 sequels/crossovers/reboots. It even spun-off to a brilliant graphic novel where Jason Voorhees fought Freddy Kruger and Ash from ‘Evil Dead‘. The franchise shows no signs of stopping as there is a crowd-funded video game and new film coming to us sometime soon.

Just like Jason, you can’t keep this franchise dead even after 36 years.

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Review: ‘X-Men: Apocalypse’ Lacks The Heart Of ‘Days of Future Past’

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We live in the Golden Age of the superhero film. In a span of five months you can see Deadpool, Batman v Superman: Dawn of Justice, Captain America: Civil War, and now X-Men: Apocalypse. This is a blessing and a curse because not all superhero films are created equal. The road is even tougher for X-Men: Apocalypse as it follows Marvel’s big-budget tentpole. The Russo Bros. did a fantastic job balancing a huge cast with new introductions, all in the framework of an extremely tight, well-paced film. Bryan Singer has the same task with X-Men: Apocalypse, but the cleverness of the first two films gets lost in the scope of this third movie; the final product feels like short skits tied together to equal two hours and 24 minutes.

Apocalypse is released from his ancient tomb, and he quickly goes to work building his army to destroy and rebuild the world. This plot on paper sounds like a great film, but unfortunately, Simon Kinberg does not fill in the blank spaces and create rich characters. Also, the time periods in the first two films was such a wonderful aesthetic; it feels like an afterthought in this movie. The eighties was such a great era to portray visually on screen and Singer doesn’t take advantage of this the way he did in Days of Future Past. There are a few songs and some big hair, but the sets and the production design felt like 2016. Although Angel listening to ‘The Four Horsemen’ by Metallica was pretty sweet.

The biggest flaw in the script is no one is memorable; Kurt Wagner (Nightcrawler) is the only one that remotely stood out and with a better script Kodi Smit-McPhee might have stolen the show. Oscar Isaac, Jennifer Lawrence, Michael Fassbender are amazing actors, yet their characters never come to life. The times Fassbender does get screen time his skill level dominates the other actors. Singer should have unleashed Isaac and Fassbender to create two villainous heavyweights for the X-Men franchise. The X-Men villains are where Fox can be superior over the Marvel Cinematic Universe, but they miss their chance here.

There will be spoilers after the jump as we break cinematography of the film. There two insanely awesome scenes.

Thor: Ragnarok Jessica Jones Star Wars The Walking Dead

This wasn’t Singer’s best job tying a film together; there are great skits but not a cohesive product. The two best moments in the film are the visualisation of Quicksilver rescuing the student at Xavier’s mansion and Wolverine’s cameo destroying Col. William Stryker’s base. Evan Peters is brilliant again as Peter Maximoff, and the way Singer translates his speed on camera is so original and inspiring. The Flash is on the CW, so we see a speedster every week, but Singer takes the Flash to school with Quicksilver.

Weapon X

When you finally get to see Wolverine in X-Men: Apocalypse, if you are a fan of Weapon X in the comics, you’re going to jump out of your seat. Singer’s literal translation is perfect and Hugh Jackman’s five minutes of screentime gets you pumped for the third act of the film. The only problem with this cameo is it is a gratuitous attempt to shove Wolverine in the movie. These five minutes could have been used to develop Jean Grey, Scott Summers, and Nightcrawler.

The character development of the new X-Men introduced in the film may have been left on the cutting room floor as the mall scene was cut out of the final product. Which means no Taylor Swift Dazzler magic or screen time for Jubilee. There are no explosive energy “fireworks” from Lana Condor, and that is what every fan of 90s X-Men cartoon wanted to see.

The hope of the X-Men film franchise lies with Sophie Turner as the film has a big reveal in the final battle against Apocalypse. But no one character is able to break out of a weak script and flawed direction to give a memorable performance. X-Men: Apocalypse comes off flat which is a disappointment because of the great cast of characters and 80s potential. Adding insult to injury, there is no end credits scene. If there is a Rogue Cut of X-Men: Apocalypse hopefully Singer can put the heart back into the film that is missing from the theatrical version.

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Todd McFarlane Writes a Spawn Movie Script

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Comic book writer and artist, Todd McFarlane, has told his fans and news media, that he has written a hundred and thirty-two page treatment with the demonic anti-hero, Spawn. This would translate to a roughly two hour film if produced.

Spawn
Credit: Image Comics

One of the biggest and iconic comic book characters to  come out of the 90’s was Image’s Spawn. Spawn was a former member of the special forces who, after being murdered by his own unit, is sent to hell until making a pact with the Devil to return to earth to return to his wife, Wanda.

Back on earth, Spawn begins cutting his own path to redemption, defending those who cannot defend themselves. And he has an infinite amount of chains with extremely unfriendly hooks on them.

As the mascot for Image Comics and with a massive fan base, it was not long before Hollywood came knocking to make a major feature film. Of course, it also wasn’t long before the result of that endeavor began bearing unsavory fruits to the general public.

Spawn
Credit: Image Comics

Not a complete failure as other comic book adaptations (and I personally felt some of the visual elements were amazing for the time), it did leave many wanting. Since then comic book movies have become a staple of summer and holiday blockbusters and with it many failed attempts are beginning to get another chance to enjoy some time in the limelight.

As such, McFarlane feels it is time to give Spawn another chance to make his mark on the silver screen. Added with recent successful reboots of comic book IP’s, this is not an unreasonable thought for McFarlane.

Whether or not this will be a better take on the hero remains to be seen. However, if a film is made, hopefully will avoid the potholes that doomed the previous production.

We hope.

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‘Inferno’ Trailer: Okay, Who Asked for This One?

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Breaking news: Ron Howard and Tom Hanks have made another Dan Brown adaptation, Inferno, to complete a trilogy of Catholic-Based Thrillers surrounding the exploits of the incredibly bland Robert Langdon (Hanks). If you’re thinking “wait, trilogy? There was a second one?” Yes, there was, it was called Angels & Demons. It came out some time in 2009. And somehow it made $133 million domestically.

Here’s the Inferno trailer:

Was there some burning desire from passionate fans of The Da Vinci Code to revisit this world? The Da Vinci Code was a worldwide success as a book and as a film, I get that. But tell me one thing that happened in The Da Vinci Code that you can remember aside from Hanks’ strange hairstyle. It was long, dull, un-engaging, and forgettable on a profound level. As for Angels & Demons, well, let me know if you find anyone who contributed to its $133 million.

Robert Langdon is quite possibly the most uninteresting, milquetoast character to anchor a chase/thriller/mystery movie, and Inferno looks like more of the same. This truly feels like a waste of time for Hanks, Howard (a filmmaker I’m genuinely concerned about these days), and the audience. Not to mention the fact that Angels & Demons made half the money of The Da Vinci Code, and it’s been seven years since the sequel. Haven’t audiences moved on?

But this one is about the end of the world! Finally, a fresh storyline…

Anyway, Inferno will hit theaters October 28, so by the time November rolls around hopefully we can collectively forget about the misadventures of Robert Langdon.

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Why it’s Good if Negan killed Carl on ‘The Walking Dead’

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The Walking Dead - Negan (Jeffrey Dean Morgan)

It’s hard to say exactly who was killed in The Walking Dead’s season six finale. The show runners purposefully made it an ambiguous ending, giving fans ample time to argue and debate about who’s head just had a violent encounter with villainous Negan and his trusty bat Lucille. And out of the 11 main characters that could have been taken out, what would it mean for the show moving forward?

Since the first episode, Rick Grimes has had one specific thing to fight for – his family. He’s had three love interests, an infant daughter, and a host of village people by his side, but above all of that, he has always had his son Carl. For a show that’s prided itself on spontaneous deaths and emotional blows, Rick has always been able to protect his son, even as he gets shot in the face. But The Walking Dead can’t coast off killing side-characters forever, hence Negan’s bloody arrival. If someone has to be dead, there’s one death that will crush Rick more than anything, changing the feel and dynamic of all the characters. And that’s the death of Carl.

If we’re being honest, Carl’s gotten away with a lot. He was shot back in season 2, bringing the gang to the barn, and in this past season he’s lost an eye. Both elements are taken from the comics, and it’s not that his survival is totally unbelievable. But it is two instances of him defying the odds and staying alive. Being a main character, especially the son of the show’s protagonist, gives him some understandable immunity from the death that’s stricken a lot of characters. But it’s not out of the realm of possibility – we’ve seen leads die before, including deaths of younger people like Beth, Sophia, and the two Samuels Sisters.

Those latter three also provide evidence as to what hits hardest about the show – the death, and how no one is immune, not even children. As gut-wrenching as many of the deaths on The Walking Dead have been, the death of a child is almost always going to have more gravity to it. Carl has grown up a lot over the course of the show, but he is still very much a kid. While the gang has lost many adults in war or walker herds, losing a boy to a bat-swinging maniac is its own kettle of fish. Think back to the death of Sophia in season two – she wasn’t stabbed, shot, or skewered. She ran away, and she was found as a zombie. It was a surreal moment of hopelessness, that their search was pointless, and that none of them could really be counted as safe. Imagine if they had to watch Carl died, while tied up and helpless. It would be horrifying. Maybe not “good” in the way of something fun to watch, but good narrative format and emotion.

The Walking Dead Rick Carl

And then there’s how the death would effect Rick. While The Walking Dead has embraced more of an ensemble cast since its beginning, the show is still centered around Rick, leading a group of survivors. One of Rick’s primary goals has been to protect his family, which is now limited to Carl and Judith. While the death of any of the captured characters would be huge (aside from maybe Rosita) Rick’s grief would be taken to a whole new level. If Carl were killed, Rick wouldn’t have just failed as a leader – he would have failed as a father. He couldn’t keep Lori alive, he had to let Jessie & the whole Anderson family die to protect Carl, the person he cares about the most. It’s possible he’d let anyone die to save Carl. If Carl were dead, then that primary objective would be gone, forcing Rick to struggle with a true familial loss, and the show runners to reshape his character, which could help galvanize the show even more.

The Walking Dead Carl Pudding

Now based off what we did see in the season six finale, it seems very likely it wasn’t Carl. As Negan began swinging, he warned that if anyone stopped him, he’d have his boys rip out Carl’s other eye and feed it to Rick. It wouldn’t make sense for him to ask them to fish out Carl’s eye from the bloody puddle of Carl that would be left from Lucille’s rampage. But if it were to be Carl, it would cause the kind of despair and gravity The Walking Dead prided itself on in the beginning, and help reground the show for what is sure to be a bloody seventh season, once we find out who the smashed head really belongs to.

This article is part of a ‘The Walking Dead’ series. Read also about the benefits of the deaths of Daryl and Maggie.

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Paul Thomas Anderson Bringing His Radiohead Video to 35MM Theaters

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If you’ve always wanted to see Thom Yorke walk through dozens of rooms on the big screen, you may have your chance soon. Paul Thomas Anderson’s hypnotic video for Radiohead’s test single, Daydreaming, is sending a 35MM copy of the video to theaters with appropriate projectors.

Here is the video, which works for me on a meditative level. Despite the fact literally nothing happens as Yorke walks from room to room, t’s a great way to clear your head on a Monday morning:

Radiohead has released their new album, A Moon Shaped Pool, and “Daydreaming” is already he second single from the album following Burn the Witch and it’s Wicker Man animated video.

Plus, this is new work from Paul Thomas Anderson, which I’ll take in any way, shape, or form. PTA has worked with Radiohead guitarist Johnny Greenwood, who did the brilliant scores for There Will Be Blood and The Master. Hopefully you’re near a theater with 35MM so you can take this in before a movie. And hopefully this will spur more theaters to start showing more original, interesting content ahead of their movies to create an experience again.

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‘Independence Day: Resurgence’ Promo Asks You to Join the ESD

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The viral campaign for Independence Day: Resurgence has been more interesting than any footage we’ve seen from the actual movie, and the new promo is pretty clever. Set up like a military propaganda ad (I almost expected “The Few, The Strong” at the end), this new promo asks you to join the Earth Space Defense team (ESD).

Here’s the promo:

Here’s the synopsis:

We always knew they were coming back. After INDEPENDENCE DAY redefined the event movie genre, the next epic chapter delivers global spectacle on an unimaginable scale. Using recovered alien technology, the nations of Earth have collaborated on an immense defense program to protect the planet. But nothing can prepare us for the aliens’ advanced and unprecedented force. Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.

It’s a convincing promo for sure, and it gives you hope that Independence Day: Resurgence could surprise audiences. And it’s always a good idea to promote William Fitchner if he’s in your film. We will see when it hits theaters June 24.

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Top 6 Actresses To Play Captain Marvel (Carol Danvers)

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When the Russo Brothers let it slip that Captain Marvel will make her MCU debut in Avengers: Infinity War Part One, the internet was once again set ablaze with casting theories.

In response, we scoured social media and have compiled this list of the top six actresses most requested by fans to play Carol Danvers. Unfortunately, Ronda Rousey did not make the cut, despite the fact that she was vying for the role several months ago.

Sound off in the comments to let us know what you think, and to tell us who you would cast as “Earth’s Mightiest Hero.”

Natalie Dormer

Captain Marvel Natalie Dormer

Age: 34
Notable Work(s): Margaery Tyrell in Game of Thrones, Anne Boleyn in The Tudors, Cressida in The Hunger Games: Mockingjay Parts 1 & 2

Emily Blunt

Captain Marvel Emily Blunt
There is currently no customized picture of Emily Blunt as Captain Marvel. Someone should fix that.

Age: 33
Notable Work(s): Rita Vrataski in Edge of Tomorrow, Emily Charlton in The Devil Wears Prada, Kate Macer in Sicario, The Baker’s Wife in Into the Woods

Yvonne Strahovski

Captain Marvel Yvonne Strahovski

Age: 33
Notable Work(s): Sarah Walker in Chuck, Hannah McKay in Dexter, Batwoman in Batman: Bad Blood

Charlize Theron

Captain Marvel Charlize Theron

Age: 40
Most Notable Work(s): Aileen Wuornos in Monster, Imperator Furiosa in Mad Max: Fury Road, Josey Aimes in North Country

Katee Sackoff

Captain Marvel Katee Sackhoff

Age: 36
Most Notable Work(s): Kara Thrace in Battlestar Galactica, Victoria Moretti in Longmire, Kimberly in the short fan film Power/Rangers

Kathryn Winnick

Captain Marvel Winnick

Age: 38
Most Notable Work(s): Lagertha in Vikings, Tabitha in Amusement, Hannah Burley in Bones

Avengers: Infinity War Part One will be released in 2018, while Captain Marvel is scheduled for 2019.

We take no credit for the custom images used in this article. Each custom image was found via Google Images.

[Author’s note: I am only supplying the actresses’ ages because they would be playing this role for years to come, and Marvel may not want someone who “ages out” too soon.]

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