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Peter & Fred Become BFFs In AMAZING SPIDER-MAN #7

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Peter Parker’s supervillain roommate from hell earns himself a bit of trust and friendship. Amazing Spider-Man #7 continues the comedic chaos from last issue and develops Boomerang even further.

Amazing Spider-Man 7 cvr

***SPOILERS LIE AHEAD***

 

Already in this young run of Amazing Spider-Man, Nick Spencer has us eating out of his hand. The man was born to write Spidey and it’s so exciting to be reading what is hopefully a very long run. We’ve done so much in just seven issues without really touching any major villains or dramatic arcs.

Spencer isn’t reinventing the medium or blazing a new trail for comics. He’s just writing really great superhero comics without overdoing anything. He barely taps into cliches or tropes and when he does it’s a fresh take on a stale storytelling device.

Amazing Spider-Man #6 was an all-time great comedic Spidey issue, the Spider-Man trivia night at The Bar With No Name is a moment we’ll not soon forget. Issue #7 carries on the light tone early on and pushes our glorious Boomerang further into the spotlight.

After a selfless act by Fred to absorb an incoming projectile, Peter is guilted into opening up his social circle to his least favorite roommate. Take away all the ridiculous superhero elements and this is a highly relatable situation for any reader. It’s also a very Peter Parker social situation. Spencer reminds us why Spidey is our favorite hero, because Pete is us.

The development of Fred Myers has been highly enjoyable. We all knew it was coming when Spencer was announced as writer (thanks to Superior Foes Of Spider-Man), but not to this extent. At this point, it’s almost impossible not to love Boomerang.

Revealing his Superior Foes hangout to be a sad use of Tinkerer’s LMDs was an unexpected and effective turn. By the end of the issue, Pete sees a lot of himself in this reformed supervillain jackass. I think it’s safe to say that a lot of readers can see themselves in him too.

Artist Humberto Ramos also deserves a lot of credit for turning up the charm on Boomerang. The emotional and comedic beats land heavily thanks to his brilliant expressions and body language.

Fred is an adorable and damaged, self-inflicted tragedy that both readers and Peter can’t help but have a soft spot for. The eight-panel grid of Fred sobbing on the LMD of Speed Demon, only to get pissed off that he really was cheating is such a strong character moment.

The third act of Amazing Spider-Man #7 shifts our attention fully onto the conductor of Pete and Fred’s rough night, Wilson Fisk. Nick Spencer has done as much as Charles Soule, if not more, in making sure Fisk’s tenure as Mayor of NYC matters in the grand scheme. He’s utilizing the current continuity in a fun way that works for Spider-Man.

Our mysterious villain operating in the shadows appears to let us know that he’s really the one calling the shots and not Kingpin. We still don’t know who this character is, but he’s got cool death-centipedes! When there was a reaction panel with an orange background I expected to see Hobgoblin standing there, but that’s just the desire of my heart over my head.

The design of this character is perfectly molded for Humberto Ramos to draw. The hood, tattered straight-jacket, jagged teeth, death-centipedes, and the vacant eye sockets all give Ramos plenty to play with and he doesn’t disappoint. He’s effectively creepy, which isn’t something you often say about a Spider-Man villain.

Amazing Spider-Man #7’s final scene is one of the instances I spoke about earlier, with Spencer delivering something familiar but making it feel fresh. This time I would credit Ramos more with the effectiveness of the scene, but it’s great nonetheless. Slowly showing this mystery villain bit-by-bit in the background of the previous issues pays off here and will likely continue to payoff when he finally takes center stage.

Inker Victor Olazaba also plays a large part in the creepy atmosphere and shift that this final scene takes. There’s a palpable wave of dread that washes over the reader thanks to tastefully heavy inks. Colorist Edgar Delgado does a brilliant job once again bringing the Bar With No Name brawl to life. If that orange background was purposely meant to throw us off, Delgado is on another level.

Amazing Spider-Man #7 is another fantastic issue by Nick Spencer and company. This series can soon sit next to Tom King’s Batman as the only comics to perfect the double-shipping schedule. Spencer’s run will one to revisit often once it’s collected.

This is the best superhero comic book on the planet. It’s a revelation for Spider-Man fans.

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Review: FIRST MAN Fails To Lift Off

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Houston, we have a problem…

First Man is the newest film from Damien Chazelle, director of such acclaimed films as La La Land and Whiplash. It is the story of Neil Armstrong, the captain of the Apollo 11 mission and the first man to walk on the moon.

Unfortunately, it shows that Chazelle would have been better off sticking to his indie roots, as his first major studio project is significantly underwhelming. Many people think that this film is out-of-this-world, but it actually shows that he is starting to come back down to Earth.

That being said, not all of the blame can be placed on Chazelle. Also a first, he directed from a script he had no part in writing. Instead, Josh Singer, the mind behind films such as Spotlight and The Post (two great films as well) penned the screenplay for this film.

first man explosion

With such an abundance of talent responsible for this film, it should be amazing. Honestly, it isn’t a horrible film. However, because the film had so much potential, the fact that the result is simply mediocre makes it one of the biggest disappointments of the year.

The biggest issue with the film’s writing is that it is too straightforward. The moon landing is arguably one of the biggest moments in human history. So many people put great effort into its success. Why is a film about it this uninteresting? Instead of opting to tell the story in a cinematic and thrilling way, the film is very paint-by-numbers. It simply jumps from one incident to the next, barely taking time to allow the characters to react to these events.

Additionally, the film doesn’t do a good job of developing the characters. Armstrong is far too flat. In fact, he is made to look like a total jerk, and it doesn’t seem to be the film’s intention to do so. He isn’t particularly likable in the film, with the little sympathy the audience has for him coming from the relationship with his family. In fact, some of the supporting characters, like Edward Higgins White, are better-developed than Armstrong himself. Armstrong’s wife is also a disappointingly shallow character. Although she does have many of the best scenes in the film, she still could have done more.

first man walk

The acting of the film is one of its strongest elements, but the ensemble is stuck with a lackluster script. Ryan Gosling is average as the lead. He is just too emotionless in the role. He does a much better job of being witty. Claire Foy, on the other hand, is impressive. She steals every scene she can with a performance that makes the most out of what she is given. The actors in the supporting cast, including Corey Stoll, Jason Clarke, and Kyle Chandler give strong turns, too.

The execution of the film is also of frustratingly mediocre quality. Multiple directorial decisions made in the film are inexplicable. In many regards, the film just doesn’t work. This is partially due to the fact that a few parts of the film were counterintuitive and/or anticlimactic.

The cinematography of the film is horrid. There’s no reason for a film to be shot this poorly. The framing is weird, with many heads being cut off. The camera is constantly wobbling, and in some sections is unbearably shaky. There is one scene in the film that may aggravate people with motion sickness and possibly even sensitivity to flashing lights. It’s hard to believe that the same DP that did La La Land did this film, too.

first man gosling close-up

The score by Justin Hurwitz is absolutely beautiful. It is easy to see the ways in which Hurwitz’s themes have transferred between films. That being said, the wonderful music is put to waste because it is incorporated into the film oddly. The score either starts a few seconds before or a few seconds after what seems to be natural. This creates a jarring effect.

However, the film’s set design is undeniably impressive. The sets that were created for the film are truly magnificent. The scale of the shuttles is impressive, and the level of detail put into them is surprising. The costumes are extreme, too.

Overall, First Man is not even close to what it should have been. The underwhelming story and aggravating cinematography combine to create a viewing experience that isn’t too pleasurable. It is far from the worst film of the year, but it is perhaps one of the biggest let downs.

First Man opens in theaters everywhere October 12.

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Episode 157: Todd McFarlane Interview • NYCC Recap

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Welcome back my friends, Episode 157 is ready for your consumption. This week Monkeys Fighting Robots reporter Roger Riddell interviews Todd McFarlane and we recap the best moments from New York Comic Con 2018.

Did you go to NYCC? Let me know how your experience was.

Thanks for taking the time to listen to the podcast.


Do you have a question for the show? Email robotsfightingmonkeys@gmail.com

Never heard of Matt Sardo?
For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.

Places you can find the show:
iTunes
Blog Talk Radio
Stitcher

Reviews are greatly appreciated – How to Rate and Review a Podcast in iTunes

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‘THE FLASH’ S5 Ep. 1 Review: “Nora”

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CW’s The Flash returns with a solid season premiere. Following the show’s arguably best seasonThe Flash kicks off season five with a new West-Allen. Most of “Nora” revolves around… Nora, the time-traveling daughter of Barry and Iris. This episode provides a fun one-off conflict that integrates Nora into Team Flash. It’s a pleasant adventure that sets up The Flash’s fifth year.

“Nora” picks right up from the season four finale, with Nora coming home. She reveals that she’s time-traveled, but can’t return to her time. The majority of this episode deals with Barry and Iris reckoning with meeting their not-yet-born daughter. The Flash has done time travel many, MANY times, so nothing in “Nora” is particularly groundbreaking. However, it is nice that it’s not Barry messing up the timeline for a change. And considering it’s such a common plot point, the fact the episode isn’t head-bashingly boring is an accomplishment on its own.

The Flash
Jessica Parker Kennedy and Grant Gustin, CW’S THE FLASH

The episode also features some solid performances to keep it moving. The star is Jessica Parker Kennedy as Nora, a.k.a. XS (so her meta name is extra small?) Not only is she the spitting image of what a Barry-Iris child would look like, but she’s got fantastic energy. The way she plays the overwhelmed time-traveling child really centers the episode well. Grant Gustin and Candice Patton also play the confused, caring parents well. None of the other regulars get much shine in “Nora,” aside from some goofy Hartley Sawyer-Ralph Dibny moments. But as the episode is called “Nora,” the fact Nora is the standout works perfectly well.

The plot of Flash’s various suits was pretty amusing, but had a somewhat bummer ending. As with every season, Barry gets a new suit… but this new one is bad. Obviously, the problem isn’t with the body-shaming some fans got into with Grant Gustin. The fact that The Flash is moving away from all the leather is also a smart move. However, this new suit is a little flappy, like it wasn’t made for Gustin. Also, the neck flaps don’t match the rest of the suit, and it’s super distracting. Considering this suit will probably stick around all season, the fact it’s so unnerving doesn’t bode well.

[embedyt] https://www.youtube.com/watch?v=8oOTUP-Hpx4[/embedyt]

One thing that makes the weaker moments forgivable is the fact this is a season premiere. There’s so much table-setting that needs to happen when a show kicks off new storylines. Those new storylines are the strongest elements of “Nora,” so the episode is an overall success. From the strong debut of Kennedy’s Nora, to the peculiar cliffhanger introducing a new villain, “Nora” will please fans who have been waiting for The Flash’s return.

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DOCTOR WHO Returns: A Companion’s Guide to 55 Years of DOCTOR WHO

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October 7th, 2018 was a special day. In addition to being Thanksgiving Sunday in Canada and the day before Columbus Day in the States, it also featured the premiere of what is essentially the 37th season of the British science-fiction juggernaut DOCTOR WHO. For longtime fans of the show, it will come as no surprise that the show has been completely re-tooled, featuring all-new companions, an all-new show runner in Chris Chibnall, and an all-new Doctor — with a freshly made sonic screwdriver to boot. Unlike previous incarnations of the functionally immortal space-bound swashbuckler, though, the Thirteenth Doctor is a woman.

Although there are likely some factions who dislike the Doctor’s change in gender, preferring instead an all-male roster, talk of a female Doctor goes back at least as far as the ’80s when John Nathan-Turner, DOCTOR WHO’s producer at the time, discussed Peter Davison’s replacement.

Back then Turner quickly shut down the suggestion that the Sixth Doctor might be female, saying instead that he planned to replace Davison with an older man. Turner was somewhat true to his word. He eventually chose Colin Baker, eight years Davison’s senior, as Davison’s replacement, but sensibilities have changed a lot since the ’80s.

DOCTOR WHO Returns: A Companion’s Guide to 55 Years of DOCTOR WHO – Finding The Doctor

Thirteen actors have now portrayed The Doctor’s bumbling but always-amazing first steps. And from Patrick Troughton, the first actor to portray The Doctor’s regeneration, to Jodie Whittaker, each actor has built off of previous incarnations of the character to form their interpretation. From an acting point of view, the process of defining a new Doctor must be an increasingly tricky one with every regeneration: fans of a specific version of The Doctor might not feel that their particular favourite has been given enough of a nod. Or, going the other way, fans may feel that the new iteration is too derivative.

As a true Whovian, having now watched thirteen regenerations — the 10th Doctor actually regenerated twice — I’d say I’m familiar with the traditions of the process. Disorientation bordering on dementia is a must for a regenerating Doctor. Whittaker pulled this trait off well: in addition to not being able to remember the word “tongue” or her own name, at one point she jammed her finger in her nose, exclaiming that she loved it, before fainting.

So far I’m seeing a lot of Peter Davison, a bit of Patrick Troughton, and a bit of David Tennant in Whittaker’s portrayal, but as more episodes air and she deals with old and new threats alike, I’m sure viewers will catch glimpses of other Doctors as well — I’m always happy to see hints of the Second and Fourth Doctors.

In its high energy level, Whittaker’s performance is similar to almost all portrayals of the character, except for the First Doctor, but Whittaker’s determined goofiness — kind of a focused innocence — reminds this Whovian the most of the celery-wearing Fifth Doctor.

DOCTOR WHO Returns: A Companion’s Guide to 55 Years of DOCTOR WHO – “For The Doctor’s New Companions, The Chase Is On”

Getting a new Doctor is exciting, but getting all-new companions is also a treat. The Doctor has had a few of them, starting with Ian Chesterton (William Russell), Barbara Wright (Jacqueline Hill), and the Doctor’s granddaughter, Susan (Carole Ann Ford).

Then, the Second Doctor introduced viewers to his swashbuckling Highlander companion Jamie McCrimmon (Frazer Hines), perpetual damsel in distress Victoria Waterfield (Deborah Watling), and fan-favourite Brigadier Lethbridge-Stewart (Nicholas Courtney).

The Third Doctor welcomed one of the most popular DOCTOR WHO cast members, Elisabeth Sladen, as Sarah Jane Smith. Sarah Jane’s time in the TARDIS had her working along both the Third and Fourth Doctors, Jon Pertwee and Tom Baker respectively. Sarah Jane made such an impression on the franchise that she made return cameos during the Tenth Doctor’s tenure and starred in two DOCTOR WHO spin-offs, the somewhat unworthy K-9 AND COMPANY (1981) and, much more well-rounded, THE SARAH JANE ADVENTURES (2007–2011), which ended prematurely when Sladen, to the dismay of friends, family, and fans, died suddenly of cancer.

Other memorable companions include the robotic dog K-9 (John Leeson and David Brierly), Adric (Matthew Waterhouse), Ace (Sophie Aldred), Rose Tyler (Billie Piper), Jack Harkness (Jon Barrowman) — featured in the well-liked spin-off TORCHWOOD — Donna Noble (Catherine Tate), Martha Jones (Freema Agyeman), Amy Pond (Karen Gillan), Rory Williams (Arthur Darvill), River Song (Alex Kingston), Clara Oswald (Jenna Coleman), and Bill Potts (Pearl Mackie). All of these characters and the actors who portrayed them have left their indelible marks, for better or worse, on The Doctor and on the history of the show.

The new cast of companions seems typically unready for their dangerous adventure. The dyspraxic Ryan Sinclair (Tosin Cole), Sheffield cop Yasmin Khan (Mandip Gill), and the hardworking if somewhat out-of-touch Graham O’Brien (Bradley Walsh) will have to learn to work with the scatterbrained Thirteenth Doctor to stay alive, having been inadvertently teleported to the upper atmosphere of an alien planet.

Let’s hope they know what to do when The Doctor turns to them and yells “Run!” Of course, running should be easy for Bradley Walsh, who, when he’s not helping The Doctor right intergalactic wrongs, puts his talents to work as the host of the popular British game show THE CHASE.

DOCTOR WHO Returns: A Companion’s Guide to 55 Years of DOCTOR WHO – Going Forward

I’m excited to see how The Doctor and her cast of companions get along. Although every regeneration and re-tooling of the show always involves the end of something I enjoy, each one also starts something new that I grow to enjoy in its own right. I’ll miss the lovable crustiness of Peter Capaldi’s interpretation of The Doctor just as I missed Patrick Troughton’s goofy exuberance when the businesslike Jon Pertwee replaced him. And even though I never came to prefer Jon Pertwee’s interpretation to that of Patrick Troughton, I did come to like how Pertwee’s portrayal darkened the character: Pertwee’s slightly darker interpretation provided Tom Baker the opportunity to really explore The Doctor’s real emotional potential.

We’ve only seen one episode of the refit DOCTOR WHO so it’s difficult to judge, but I think that Chibnall and Whittaker’s vision for the show will provide unique opportunities to expand on DOCTOR WHO’s well-established themes of beneficence in the face of adversity, the benefits of diversity, and the problems of moral ambiguity. I also predict that there will be Daleks…lots of Daleks.

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Eric Powell Announces GOON Relaunch At Albatross Funnybooks

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Eric Powell will be relaunching his iconic The Goon comic in 2019, bringing the title back to his own publishing company, Albatross Funnybooks. The relaunch comes in time for the Goon’s 20th anniversary.

The Goon is a cult classic created, written, and drawn by Powell. The series launched in 1999 at Albatross and went three issues before finding a home at Dark Horse. It wrapped in 2015 with a cliffhanger and the promise of more. Goon blends comedy, horror, and noir, and is one of the most unique and beautiful comics you could have the pleasure of reading.

Nerdist got the exclusive from Powell:

“The relaunch of the Goon, it’s return to Albatross Funnybooks, and all in time for the book’s 20th anniversary… it couldn’t get more meaningful for me. Turning Albatross into a full fledged publisher instead of a side imprint was a big experiment with a lot of risks. The fact that we feel confident bringing the full library of my flagship title over going into our third year of expansion fills me with excitement and a new enthusiastic energy for what’s to come.

As it’s obvious to see with the Albatross lineup of Hillbilly, Spook House, ‘Namwolf, Galaktikon, Grumble, and Megaghost, we focus on making fun, eclectic comics that stand out for their individuality and creative quality. It’s with this idea of keeping the fun in our Funny Books that we are steering this new Goon series. I’m returning to the roots of the series with a heavy emphasis on the weird, twisted humor the book has been known for. The world around us is dark enough right now. I want to make readers laugh and forget their troubles for a little bit. It definitely feels like it’s time for the Goon.”

goon

“And as I now am not just the creator of the Goon but also the publisher, I need to make sure our readers get their Goon fix on a regular basis. To that end, we’ll be bringing new creators on to the regular series for first time ever! You’ll not only be getting Goon books written and drawn by me, but some written and drawn by some of the best talent in the industry! We will be making announcements in the months to come, but, boy, I can’t wait to show off some of the art we have in the works!!! I think this artist might draw Goon and Franky better than me! And just wait until you hear who’s writing a script for me to draw! It’s one of the best daggum creators in the business, ya’ll!

So hang onto your butts! 2019 is gonna be the year of the Goon! And we’ll be seeing you at the Goon 20th Anniversary Party in Nashville! We know you like to party.”

goon

When The Goon ended in 2015, it came with an epilogue that promised the return of an ancient evil, one that only the “Lords of Misery” could vanquish. Powell has since talked about this Lords of Misery series, as well as another Goon spinoff. It’s unclear what this new announcement means for these series.


Are you excited for more Goon? Comment below with your thoughts!

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First Look: Ruby Rose Suits Up As Batwoman

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Tuesday morning Warner Bros. released the first image of Ruby Rose in the Batwoman suit as part of the Arrow-verse crossover event on the CW.

According to The Hollywood Reporter, the costume was designed by award-winning designer Colleen Atwood, who was also behind the spandex creations for Arrow, The Flash, and Supergirl.

The crossover event titled ‘Elseworlds’ will debut on the CW December 9.

‘Elseworlds’ will see Green Arrow, The Flash, and Supergirl heading to Gotham City and teaming up with Batwoman after some good, old-fashioned mad science at Arkham Asylum captures the attention of heroes from throughout the multiverse.

A Batwoman pilot is in development.

First Look: Ruby Rose Suits Up As Batwoman
Pictured: Ruby Rose as Batwoman — Photo: JSquared Photography/The CW — © 2018 The CW Network, LLC. All rights reserved
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TRAILER: HIGH LIFE Super-Teases Robert Pattinson In A Space Suit

High Life trailer unveils roughly 15-seconds of a film from famed French director Claire Denis that stars everyone’s favorite shimmery vampire Robert Pattinson. The science fiction film is set on a spaceship heading towards a black hole but that’s the least of the problems for the ship full of prisoners. High-Life is set for wide release on November 7, 2018.

 

About High Life

Official Description: Monte is one of several death row inmates given the opportunity to forgo their sentence in exchange for manning a suicide space mission to harvest energy from near a black hole. The ship’s doctor is also conducting an experiment of her own, obsessively testing human’s ability to reproduce in space. The ragtag crew’s close quarters and grim fate breed dissent and ultimately brutal violence.

High Life premiered at the Toronto International Film Festival and blew people away. However, it’s not a film remotely intended to make tons of box office cash or even win Oscars. It’s on a pretentious level (not hating, I love her) all its own. Director Claire Denis tells singular stories with a focused voice that’s more reminiscent of a Kubrick or Jodorowsky which makes fantastic, but also inaccessible to a large part of the viewing audience. The story for High Life looks like more of the same from the legendary French filmmaker.

 

High Life features a cast that includes …

Robert Pattinson as Monte
Juliette Binoche as Dr. Dibs
Mia Goth as Boyse
Lars Eidinger as Chandra
André Benjamin as Tchemy
Agata Buzek as Nansen
Ewan Mitchell as Ettore
Jessie Ross as Willow (Teenager)
Scarlett Lindsey as Willow (Baby)
Claire Tran as Mink
Gloria Obianyo as Elektra

 

Both Robert Pattinson and Kristin Stewart parlayed shimmery vampire melodrama into big paydays that have afforded them the luxury of making movies they really want to make. Pattinson has a string of fantastic films under his belt, and while they don’t get the attention of Twilight, people should be paying attention. The actor knocks out role after role. Partnered with Denis and co-starring the equally fantastic Juliette Binoche is a match made for a bit of bizarre but brilliant cinematic heaven.

 

Did this trailer get you excited for High Life?
Leave your comments below!

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Review: DOCTOR WHO “The Woman Who Fell to Earth” – First steps into a new direction

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Doctor Who is back with arguably the most contentious move – the casting of Jodie Whittaker as the Thirteenth Doctor. The controversial new Doctor premiered with her first episode on Sunday night.

On the outskirts of Sheffield, Ryan Sinclair (Tosin Cole) discovers a strange alien pod. Ryan calls the police, leading to a reunion with his old friend Yaz (Mandip Gill). However, by making contact with the pod, aliens come to the city and target these ordinary people. Fortunately, they have an ally in the form of a mysterious woman who happened to be a white-haired Scotsman 30 minutes beforehand. This is the introduction of our newest, female Doctor.

Doctor Who

Since Whittaker’s reveal, a vocal minority of fans called the move ‘a disgrace.’ Several threatened to boycott Doctor Who over the choice of a female doctor. I will admit, I had some reservations, as casting a woman could be seen as agenda-pushing if mishandled. Along with that, the new showrunner Chris Chinhall’s previous Doctor Who episodes are far from the best. But Whittaker knocked it out of the park, and is already winning over doubters. She shows The Doctor’s eccentricities and energy in a stronger debut than Peter Capaldi’s Doctor. Plus, the show handles Whittaker’s reveal simply, basically saying “I’m a lady now, okay?” It launches right in, and doesn’t dwell on the swap.

“The Woman Who Fell to Earth” bears some resemblance to Matt Smith’s first episode – “The Eleventh Hour.” Both episodes see The Doctor land on Earth, disoriented after regenerating. They have to stop an alien threat without their tools, and meet new companions. Both have a stripped down, back-to-basics approach that make a good jumping off point for new viewers. But “The Woman Who Fell to Earth” and “The Eleventh Hour” definitely have differences. Whittaker’s version of The Doctor was already shown as a tinkerer, being able to turn everyday objects into advance sci-fi items. Along with that, “The Woman Who Fell to Earth” has a more straightforward narrative with smaller stakes.
Doctor Who
Chibnall and director Jamie Childs give Doctor Who a light for a breezy hour of television. It aptly reintroduces The Doctor, sets up new characters with their struggles. Yaz and Grace are a police officer and a nurse who are smart and skilled while Ryan is reasonably intelligent and Graham is personable and resourceful.

There are some changes I didn’t like, the biggest being music. Previous composer Murray Gold has left the show. Gone is his cinematic orchestra and bombard sound. Segun Akinola took over scoring Doctor Who, and he goes for a more minimalistic, modern sound. This is a case of personal preference, and it might be a case that I need to get used to the new direction.
Doctor Who
Previous showrunners of the modern Doctor Who series have put their own local stamp on the show. Chibnall is doing the same with the historic county of Yorkshire. The two leading ladies are from the county, and everyone in the episode had a Yorkshire dialect. There are reports that American audiences couldn’t understand Whittaker’s accent, which is baffling. The Yorkshire accent is far from the thickest regional accent from the British Isles. Setting the first episode in Sheffield does make for a welcome change because it moves the show from its usual settings.

“The Woman Who Fell to Earth” is a strong start for a show that continually reinvents itself. Whittaker shows a lot of promise, and it will be interesting to see where the show goes from here. Doctor Who has proven it knows how to introduce Whittaker’s Doctor, and it will be fun to see what she does next.

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Five TWILIGHT ZONE Episodes Jordan Peele Should Revisit

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Few details regarding Jordan Peele’s upcoming revival of the classic sci-fi anthology The Twilight Zone are available (although CBS All Access did tweet that production has officially started!), so we don’t know yet if the series will be all original stories or a mix of originals and remakes.  Having been a fan of the original show since I was a child, I hope they remake some of the classics as well as creating their own.  Here are 5 episodes they could reboot:

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1. Eye of the Beholder

Considered by among the best episodes of the original series, “Eye of the Beholder” is a masterpiece of “shadow and substance”.  Director Douglas Heyes and Director of Photography George T. Clemens led the audience on an intriguing and scary voyage through misdirection and inventive camera angles.  If you somehow aren’t familiar with the episode, I won’t spoil it for you – seek it out and watch it for yourself.

My favorite aspect of The Twilight Zone is that it encourages the viewer to think.  This episode deals with topics such as the absurdity of beauty standards and the danger of authoritarianism.

There are dangers in attempting to remake classics, but if done correctly, this tale could prove a chance to do the original proud.

 

 

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