Review: SUCCESSION Episode Seven Is All About Hitting Rock Bottom

“Everybody Fucking Hates You”

Stewie’s (Arian Moayed) resounding statement of the obvious was the first hint at how twisted last nights episode of Succession was going to be. Add in a protester throwing a balloon of urine at Logan (Brian Cox), and we have ourselves the start of a feast full debauchery, which would delight even the most casual fan of HBO’s hit series.

No one tunes into Succession in hopes of getting business tips. Audiences want to see how low will America’s most loathed fictional family sink to get what they want. No one is trustworthy, but everyone in the family has questionable judgment. Writer Lucy Prebble and director Miguel Arteta understood that which is what made Sunday’s episode such an enjoyable experience. Succession was able to highlight these moral failings with a tightly constructed narrative and staging pivotal moments in the combustible way possible.

After the incident in front of Logan’s (Cox) office building and the berating Stewie (Moayed) gave him about the sinking stock prices, the old man agrees to a family counseling session at Connor’s (Alan Ruck) ranch in New Mexico. Logan sees this as a way to the most loyal members of the family and as a publicity stunt to boost the stock price. Kendall (Jeremy Strong) is invited to the session but resoundingly turns them down in favor of hanging out with some of New Mexico’s most exceptional meth addicts. Kendall’s sobriety is in peril. Shiv (Sarah Snook) agrees to a meeting with Nate’s (Ashley Zuckerman) candidate who happens to have his eyes set on destroying her father. The family goes through with the family therapy session with “interesting” results. Connor’s “girlfriend” Willa (Justine Lupe) is made an offer that she can’t refuse.

Prebble’s narrative relied strongly on the personality traits that Logan’s children inherited from him. Shiv (Snook) inherited Logan’s desire for what he doesn’t have. While she’s happy with Tom (Matthew MacFadyen), Shiv can’t help but want the powerful job being offered to her in politics and the man proposing it.

Let’s say she’s sent out some clear signals indicating her intentions in the parking lot. Roman (Kiernan Culkin) is exceptionally self-centered. It didn’t matter to him that it was his vote which doomed Kendall (Jeremy Strong), he’s always looking out for himself above all else. Connor (Alan Ruck) is delusional. While he’s more of a free spirit than his father, both of them feel they should get what they want. Logan (Cox) wants to own everything, and Connor (Ruck) wants to own Willa (Lupe). Each man uses their wealth as a means of imposing their will. Kendall (Strong) has an addictive personality just like his father. While Logan (Cox) is addicted to acquisitions, Kendall (Strong) craves drugs and alcohol. The events of the last week have sent the former CEO in a tailspin which ends with him lighting up a meth pipe.

Director Miguel Arteta made great use of the set design of Connor’s (Ruck) ranch as a means of exacerbating the interactions between family members. Tom (Matthew Macfadyen) and Marcia (Hiam Abbass) quickly make Willa (Lupe) feel incredibly uncomfortable not only due to their proximity to one another but the constant pelting of questions about the future. The therapy scene with Logan and the children was amazingly staged. It was hard not to laugh at each of them sitting at the furthest point of the couch staring away from one another disgusted over going through this. Arteta and Prebble understood how emotionally stunted this family is and used it to their advantage.

Overall, Succession’s seventh episode was one of the more enjoyable ones of the season. Much was revealed at the end of the episode and it seems there will be consequences for this family who has lived above reproach for far too long. They are all too caught up in their own idiosyncrasies to realize that Stewie and Marcia seem to have their ulterior motives which should be revealed in the episodes ahead.

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Exclusive Preview: GREEN LANTERNS #51

Matthew Sardo

July 16, 2018

Green Lanterns #51 hits your local comic book store on July 18, but thanks to DC Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.

The book is written by Dan Jurgens, with art by Mike Perkins, colors by HI-FI, and letters by Dave Sharpe. The cover by Perkins and Wil Quintana, and the variant cover is by Chris Stevens.

Perkins shared this splash-page from the issue on his Facebook wall.

The issue is just the second chapter of Jurgens’ run, following stints by Tim Seeley and Sam Humphries. Shockingly, it’s the legend’s first time writing a Lantern title, though he has used the Corps before in the many, many DC Comics he’s written. Jurgens is fresh off of a run on Action Comics that led into issue #1000.

Perkins is best known for his work at Marvel. He adapted Stephen King’s The Stand with writer Roberto Aguirre-Sacasa, and was part of the art team on Ed Brubaker’s seminal Captain America run. The artist worked on the Lanterns in 2000 for Green Lantern Versus Aliens, a DC Comics/Dark Horse crossover.

About Green Lanterns #51:
A murderer stands within the GLC’s ranks as tension rises between Simon and Jessica. Their rings seem to say the other committed the crime…

Check out the preview here:

Do you have Green Lanterns on your pull-list? Comment below and tell us your favorite Lantern of all-time!

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Review: LEAVE NO TRACE A Stirring Look At How Trauma Can Reshape A Family

Dewey Singleton - Film Critic

Leave No Trace’s mesmerizing narrative, sublime cinematography, and powerful performances are brilliantly woven into a haunting tale of a veteran’s struggle with PTSD.

Director/writer Debra Granik (Winter Bone) and Oscar Nominee Anne Rosellini (Winter Bone) have partnered once more to adapt their film’s story-line from Peter Rock’s Novel “My Abandonment.” What stood out immediately from the movie wasn’t how the narrative was constructed, but it’s use of silence. Silence can both comfort, allow for emotional healing, or it can reflect someones internal turmoil. Granik deftly uses silence to reflect the precise tone of the moment being captured.

Thomasin Harcourt McKenzie stars as Tom in Debra Granik’s LEAVE NO TRACE, a Bleecker Street release.

Leave No Trace centers on the relationship of Tom (a teenage girl played by Thomasin Harcourt Mckenzie) and her father played by Will (Ben Foster). These two have lived undetected for a number of years in Forest Park (the woods outside of Portland, Oregon). Eventually, someone happens to spot them and contacts the authorities who put them in social services. Will is told he has to provide an actual home for Tom and they are forced to move into temporary housing. Just as they begin to assimilate with their new community, it becomes just too much for Tom’s father to deal with and he wants to go back into the wilderness, but does his daughter want that as well?

The storyline is phenomenally constructed and entirely reflective of how pain (no matter what kind) can stay with someone long after it actually occurred. Will wants to be far away from the world which drove itself to war which leads to his inevitable psychological trauma. What is fascinating was how Leave No Trace effortlessly showed the impact trauma has on a family. Tom only knows this life of camping and catching their food but is old enough to understand the way behind it all. She doesn’t have some melodramatic breakdown about their living conditions, but one has to wonder if Will is doing more harm than good for his daughter? Mckenzie’s character hangs her dad’s every word and at any moment they aren’t together is at first incredibly jarring for her.

Granik’s direction is the perfect balance of pace vs. pause. There were times in the film where a slightly elevated pace reflected what was taking place in the movie (i.e. escaping the park authorities). Other instances just pausing and allowing the actors or the surroundings reflect their pain or beauty was incredibly impactful. Michael McDonough’s Cinematography made use of several sweeping shots to capture the splendor of the wilderness and holding the camera a split second longer during those profoundly emotional moments. McDonough’s piece de resistance was how he shot the final scene in Leave No Trace. He started with just a two-shot capturing that moment of separation between father and daughter which quickly pivoted into closeup shots (held for seconds longer than usual) capturing the moment when they knew it was time to go their separate ways.

McDonough will likely receive his second Oscar nomination this year for his brilliant work in this film. Dickon Hinchliffe’s score wasn’t overpowering but was the perfect accent for the film.

Mckenzie and Foster’s performances were each a masterclass of raw emotion reflecting how families would cope given these set of circumstances. Will’s (Foster) own thoughts are his worst enemy. He knows subconciously that bringing his daughter out into the wild isn’t a long-term solution. Foster’s character rationalizes this as being the only way at first with little regard for Tom’s (Mckenzie) social development.

Mckenzie’s performance conjures up memories of Jennifer Lawrence in Winter Bone, and it wouldn’t surprise if her career took the same path. Her tour de force portrayal of Tom is a gut-wrenching menagerie of conflict and heartache. She knows the only way her dad can function is out in the woods (because he’s not well) but Tom longs for social interaction with others.

Overall, Leave No Trace is a sensational tale of understanding, acceptance, love, and letting go. It also highlights why mental health services are a necessity for all our veterans.

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PREACHER Feature: “The Tombs”

Joshua Versalle

July 15, 2018

Between a deal with the devil, underground fighting, and a lovelife-altering decision, a lot of souls are on the line in “The Tombs”.

Preacher Feature is a weekly look into the AMC show Preacher based on the comic book of the same name by Garth Ennis and Steve Dillon. In this column, Josh Versalle gives a breakdown of the events from the show, including how they relate to the comics, and speculates as to what’s going on and what might be coming up. So take heed, as SPOILERS follow.

Need to catch up on last week’s action? Look no further.

“Are you not entertained?”

In the Tombs, men fight for their lives and their pawned souls while others watch like spectators at the Colosseum (in the flashback, Gladiator is in theaters and very much on Jesse’s mind). “The Tombs show us more of the events that shaped Jesse’s life. He is pulled between the merciless, bloodthirsty, soul-stealing world of Angelville and the compassion taught to him by his parents. Neither side has won out yet, as Jesse is thrilled to be announcing the fights, but warns one potential victim away when he thinks no one is watching. It seems Jody is always watching, though.

In the present, the battle for Jesse’s soul is still not resolved. He is once again presiding over the fights, this time as Cassidy triumphs over Hal. In between fights, Jesse helps Cassidy escape, though not in the most pleasant fashion. Jesse chops Cass up with a machete and tries to mail him away from Angelville. After a hilarious discussion between Jesse and Cassidy on the various other methods of escape that could have been employed, Jesse leaves Cassidy to be shipped off. Of course, Cassidy escapes the escape, leaving a bloody mess for the unfortunate employee of the combination shipping depot/froyo store.

“The worst person I ever loved”

Tulip, who has taken Madame Sabina Boyd hostage after a shootout in last episode, hears the reason why the Boyds hate Jesse so much. When Jesse was younger, he and Sabina were a couple. This is problematic, since the Boyds and L’Angelles are rivals in the fortune-telling game. During a pause in a make-out session, Jesse remembers TC’s warning that if Grand’ma finds out about Sabina, Sabina will end up a prisoner of the Tombs. Unable to tell her the truth, but not wanting her to be damned, Jesse calls her (and the rest of the Boyds) trash and leaves. Later Sabina’s brother Kenny comes to the Tombs to fight Jesse for his sister’s honor. Jesse chokes him to death, creating an irreparable rift between the two clans.

“The Tombs are closed.”…Or Are They?

Thinking he has sent Cass away and ruined the fight, Jesse tells off the crowd, saying “The Tombs are closed. Get out!”. It is at just this moment that Cassidy returns, walking down the stairs with an improvised paper-cutter hand and looking for a fight. Jody steps up but Jesse waves him off, thinking the only way to save Cass is to fight his one-time friend himself. A ferocious battle ensues, with Cass refusing to stay down when Jesse asks him. Tulip, fresh from hearing Sabina’s tale of Jesse having killed her brother, enters in time to see Jesse put a stake through Cass’s heart and declare himself a L’Angelle. He yells in her face for them to leave him and Angelville.

Tulip drives Cassidy to the bus stop. Cassidy thinks they are leaving together, but Tulip won’t leave Jesse. Cassidy tells her he loves her, but she replies she doesn’t love him. Cass seems about to use the love potion he got from Gran’ma, but at the last moment thinks the better of it and heads off to New Orleans.

Tulip knows Jesse isn’t as mean as he has been acting and returns to call him out on it. She doesn’t need anyone to keep her safe and she gets the truth out of him: he didn’t want to fight Kenny at all and his death was an accident. Jesse knows that that being around Angelville is like being around Chernobyl: The more time you spend there, the more your insides are gonna rot.

Sabina, after spending the night in Tulip’s trunk, tells Tulip that in order to break the spell that binds Jesse to Angelville, she just has to kill the only person Sabina hates more than Jesse: his gran’ma, the evil witch Marie. Whether doing so will actually free Jesse, or help Sabina get revenge on two L’Angelles at once, is still to be determined.

“It’s time”

I was excited to see Graham McTavish’s return as the Saint of Killers, even if it was only a brief one. Even Satan himself can’t make the Saint flinch as he is called into the Fallen One’s office to be punished for his previous escape. After having the Saint flayed to the bone, Satan sends him off (albeit without his guns) to retrieve two lost souls, presumably Eugene and Hitler.

From Panels to Screen:

The visual effects and makeup artists on the show did a great job of recreating Carlos Ezquerra’s vision of Hell and Satan from the Saint of Killers comic.

Satan, shirtless and with a huge rack of horns, looks just like the books, although his personality seems to have been enlarged for the show. Jason Douglas (The Walking Dead) portrays him as a wheeler-dealer, a slick agent-type who revels in evil.

You May Have Missed:

Satan is on the phone with the (as yet unseen) Allfather of the Grail when the Saint walks into his office.

A temporarily limbless Cassidy tries to sternly wag his finger at Jesse, but has only a stump to do it with.

Jesse tries to send Cass to 3927 St. Anne Street, New Orleans LA 70119.

Boarding the bus after Cassidy is none other than Grail agent Featherstone.

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Review: HOTEL TRANSYLVANIA 3: SUMMER VACATION Is A Complete Waste

Dewey Singleton - Film Critic

Hotel Transylvania 3: Summer Vacation is a poorly written follow up devoid of any humor and offers an extremely predictable tale which seeks to capitalize on name recognition and nothing more.

Sony’s objective in releasing this towards the tail end of most summer vacations is merely a cash grab. There’s nothing about this animated feature that even approaches being redeemable. Perhaps if your objective is to drag the kids to a film that will bring on mind-numbing boredom then seeing Hotel Transylvania 3: Summer Vacation is the way to go.

Hotel Transylvania 3: Summer Vacation is about Dracula’s (voiced terribly by Adam Sandler) family deciding that they need a vacation from the hustle and bustle of running a hotel. They take off on a cruise ship destined for the Bermuda Triangle. The boat has everything from Monster Volleyball to moonlight excursions that are let’s say unique. Dracula is still very lonely since his wife has passed away and longs to find love but apparently, monsters can only “zing”(be in love) once in their lives (Gee … I wonder what’s going to happen next?). Then in indeed a shocking twist (eye roll), he falls head over heels in love with the ship’s captain Ericka (Kathryn Hahn). Could Dracula find happiness a second time? Mavis (voiced by Selena Gomez) isn’t pleased when she finds out Erika has a bigger agenda than just dating her dad.

Sony Pictures Animation should be ashamed of the quality of its images in Hotel Transylvania 3: Summer Vacation. Their animation doesn’t nearly match how bright and crisp the first two films were. The images showed little complexity and lacked any amount of depth. Michelle Murdocca’s narrative for the third film is incredibly predictable and full to the brim with cinematic tropes. How do you go from two films about acceptance and inclusiveness to a movie with a worn out narrative seen done hundreds of times? No one thinks that these movies geared toward children should be “Oscar” quality stories but at least come up with a way to further along what’s already been built by the franchise!

Sandler’s voice work in the third installment of this franchise is on par his work on the 1996 comedy album “What The Hell Happened To Me”. If anyone reading this review would love to sit for an hour and a half becoming annoyed with each line uttered by Dracula, then, by all means, see this film. David Spade is in this as well playing the invisible man offering up voice work absent any creativity and filled with levels of apathy seen in any number of Joe Dirt sequels currently found on Netflix. Maybe Sandler has it in his contract that in every project he signs on they have to cast Spade as well? My question is how come he didn’t include Rob Schneider in on that deal?

Overall, it’s tough not to acknowledge that even if this unnecessary sequel gets a drubbing from critics, parents will take their kids to it. I’m guilty of doing that very thing. My two children (one is two and the other five and 1/2) went with my wife and I to the press screening and didn’t laugh once. In fact, most of the kids in the theater didn’t laugh either. While it may have won the box-office this weekend, Hotel Transylvania 3: Summer Vacation is destined to slip back into the rote shadows of Sony Animation only to be called on once more if the studio wants to dupe audiences again. Kids deserve better!

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Webtoon Launches Fourth Creator Contest With $80K Prize

Brooke Thomas

July 15, 2018

Webtoon, the digital comic giant, launched its latest creator contest offering a cumulative $80,000 grand prize.

The everlasting hours of staring at a tablet, the days of callouses and stiff wrists, and the small fortune invested in whichever form of caffeine gets one through the process of creating a comic should be the hardest part for an aspiring creator. But getting a story out to the world can be a rather challenging undertaking in itself. Luckily, there are now platforms such as Webtoon that offer creators the opportunity to publish their works on a regular basis, while also offering the occasional contest to discover new and upcoming talents.

This summer, Webtoon launched its latest contest for new creators to get their work noticed and earn some coin.

The stories must be submitted by September 13, 2018.

The genres (thriller, comedy, fantasy, etc.) will fall under four larger categories for judgement: Most Gripping, Most Laughs, Most Epic, and Most Feels.

“There will be TWO stories selected from each Genre [to move on to round two]. Categories include Thriller/Horror, Comedy/Slice, Fantasy/Sci-fi/Action, and Drama/Romance, and each genre has specific panel and episode requirements which can be found under the official rules.”

The eight selected contestants from Round One will each get $5,000 and move on to battle it out in their respective genres in Round Two (Sept. 22nd – Oct. 8th).

In Round Two, each contestant must publish 2 or more episodes. The four selected contestants remaining will each receive $25,000 and will then advance to the battle royal Final Round (Nov. 6th – 14th).

The contestants must publish at least one story in the Final Round. The judges will select a “Best Story” on November 16th, and the winner will receive the Grand Prize of $50,000 and a Featured spot on Webtoon.

In addition to the cash prizes, contestants can win perks like “an offer to become Featured Creator on Webtoon” and “Invitation to Webtoon Green Room Party at NYCC”.

Jugement Criteria:

Learn more about the contest
and submit your own entry by clicking here.

Or to support the creators go to the Line Webtoon app, go to Discover, and click the banner to see the contest entries.

Are you entering the contest? Comment below and share the link to your comic!

Webtoon has had incredible success with finding new creators in the past— “Discover Creator” marks the fourth creator contest. Past winners include 2014’s “Challenge League” Grand Prize Winner Space Boy by Stephen McCranie (Mal and Chad, Penguin), currently on episode #163 with more than 31 million views of his weekly story about an alien artifact, a mysterious murder, and a love that crosses light years. Additionally, the fourth-place winner in the 2016 Superhero Comics Contest presented by Stan Lee’s POW. Entertainment, uru-chan and her hit series, unOrdinary – currently on episode #95 with more than 1.6 million subscribers and almost 200,000,000 views of the title. unOrdinary has a devoted following that have spent more than 400,000 minutes, or 7000 hours, reading the imperfect adventures of John and Sera.

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DOWNTON ABBEY Movie has been Confirmed

Kieran Freemantle

July 14, 2018

Downton Abbey ending in 2015 after a six-year run, winning numerous awards including six Emmys, three Golden Globes, and three BAFTAs and in 2011 the Guinness Book of Records declared it the most critically acclaimed English Language TV show. An announcement of a film adaptation has been made on the Downton Abbey Twitter account.

Downton Abbey is one of the most popular British shows, with the series being shown in over 220 countries and territories. The show helped turn Hugh Bonneville into a star and gave actors like Lily James and Dan Stevens early major roles.

Show creator Julian Fellows is writing the screenplay and Brian Percival is set to direct. Percival has directed six episodes of the show, including the pilot and outside the show his filmography ranges from gritty kitchen sink dramas (A Boy Called Dad) to lavish historical dramas (The Book Thief). Series regulars Bonneville, Maggie Smith, Joanna Froggatt and Michelle Dockery are all expected to return and Bonneville tweeted ‘2019 #DowntonAbbey’.

Downton Abbey is following in a long tradition of British shows being adapted to film but the results are mixed. The Inbetweeners Movie was a huge hit and many shows have tried to follow in its success, leading to a lot of terrible films. However, Downton Abbey does have some advantages compared to other TV adaptations: it’s setting allowed the show to be cinematic, there are big-name actors already in the cast and the show is popular internationally, especially America and China.

Universal and Focus Features are set to distribute the film.

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Franchise Opportunities: Is More BLADE RUNNER Really What This Series Needs?

Robert Yaniz Jr.

July 14, 2018

After 35 years, fans of Ridley Scott’s pioneering Blade Runner were sufficiently hyped for last year’s much-anticipated sequel. Yet, despite the fact that its predecessor is among the most famous examples of a box office flop going on to achieve cult classic status, director Denis Villeneuve’s (Arrival, Sicario) Blade Runner 2049 ultimately underperformed at the box office, earning only $92 million domestically against a $150 million production budget. Still, its worldwide cume of $259 million must have convinced the rights holders to at least pursue some continuation of the franchise because here we are.

This week, Alcon Media Group — one of the companies which produced 2049 — and Titan Publishing announced that they have joined forces for a new partnership, one which is kicking off with a series of publications tied to the Blade Runner brand. While part of their plans include non-fiction books tied to the production of the films, the more intriguing aspect is news that we’re getting a selection of comics and graphic novels designed to fit within established canon. While there’s no denying that the world of Blade Runner is a rich one ripe for further exploration, is the franchise itself a good fit for the ever-popular shared universe model?

Of course, supplementary material built off of a hit film is nothing new. However, ever since the Marvel Cinematic Universe hit pay dirt with its “it’s all connected” approach to storytelling, the concept of keeping a unified vision consistent through all different forms of media has really gone mainstream. To a lesser extent, the Wachowskis were instrumental in building The Matrix (one of many sci-fi films influenced by Blade Runner) from a single-film phenomenon into a full big-screen trilogy buoyed by anime, video games and other content, to mixed results. But Blade Runner itself has never tapped into the potential of its unique dystopian landscape.

In fact, all fans had to tide them over in the 30+ years between films were novelizations of the original film and a pair of video games. Yet, even those projects were intended to spin off of the first film’s growing reputation, not directly sync up with its narrative. One could argue that the shared universe model allows a franchise to foster a larger audience, in this case offering multiple access point for lovers of the genre to discover the world of Blade Runner. With comics and other content keeping the series alive, perhaps the chances of a third film — a project which Scott is eager to develop — might even increase as a result.

But to play devil’s advocate for a moment, flooding the marketplace with Blade Runner tales might actually do more harm than good. Take, for instance, the recent backlash among some elements of the Star Wars fan community, as the Disney-owned Lucasfilm has embraced an ongoing spate of films, animated series, comics and novels. Bearing in mind that the “galaxy far, far away” is also as ubiquitous and mainstream as a genre property can get, it’s far more untested how a brand as inherently niche as the dour, philosophically rich Blade Runner would be affected by such a sudden expansion of its universe.

Whereas the Star Wars fanbase has been segmented into casual fans who only watch the films and those who remain more well-versed in the various canonical adventures, the world of Blade Runner — as evidenced by the disappointing box office returns for 2049, despite a pair of Oscar wins and much critical love — thus far apparently has no such levels to it. You’re either invested in Rick Deckard’s (Harrison Ford) and K’s (Ryan Gosling) stories, or you’re not. Feeding devoted fans more of what they love could work as far as perpetuating the series’ appreciation for existing loyalists, but it very likely will fail to rein in newcomers who haven’t come aboard the franchise over the course of the last 36 years.

Plus, if the development of a third film did ever pick up steam, it would then have to contend with the stories that had been told in comic book form, accommodating any new elements that had been added to the mythos. Part of what made 2049 such a thrilling vision is the rediscovery of where the first film’s universe had gone in the past 30 years. The film’s release was only preceded by a trio of short films, and even those only served to elaborate on the very recent past of the status quo depicted in 2049. Villeneuve and his team were, for the most part, given free rein to imagine where Deckard and the replicant technology would have developed across the three decades.

Of course, at this point, we’re in full-on speculation territory here. There’s no telling which stories Alcon and Titan have their heart set on, how they will play into the two films or what role they may play in the future of the Blade Runner franchise. For all we know, the upcoming comics might have precisely the desired effect and help the fanbase explode into the mainstream (fingers crossed!), but considering that Blade Runner is among the most revered sci-fi landmarks to not really receive the expanded universe treatment, it will certainly be interesting to see if this little experiment will work or fade away in a crowded marketplace like tears in rain.

Agree or disagree with my thoughts? Comment below to let me know or chat movies with me on Twitter @crookedtable!

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Review: ROBIN WILLIAMS: COME INSIDE MY MIND Indeed Does Just That

Dewey Singleton - Film Critic

“Ladies and gentleman …. it’s time to pump neurons … we are about to enter the domain of the human mind”

With those eloquent words from the late comedian, Marina Zenovich’s Robin Williams: Come Inside My Mind (a deep dive into what made the iconic comedian tick) was off at speed reminiscent of Williams’s razor-sharp wit. The idea of delving into the mind of the late comedian seems daunting, but Zenovich’s most significant success is she’s able to piece together (using his own words) his inner torment. What’s crazy is the clues were right in front of all us.

However, Williams didn’t want to burden anyone with what ails him and instead wanted to leave a lasting impression everywhere. Robin Williams: Come Inside My Mind is a perfect balance of first and third person accounts creating a compelling look into a man, who spread love wherever he went but didn’t know how to love himself.

Zenovich surprisingly dedicated the first quarter of the documentary (which premieres Monday, July 16th on HBO) on Williams’s childhood. We learn (using Robin’s own words) just how lonely it was for him going to an all-boys school. He goes through school never making a suitable connection with others. As the years passed and his interests changed, we learn that those moments never really left him. At home, he never felt that close with his half-siblings (his mother had kids before marrying Robin’s father) so that seed of emptiness that began as a young child began to grow.

Robin Williams: Come Inside My Mind quickly transitions to his college years where initially he studied political science (classes he rarely attended) and took some acting courses as well. His grades slipped, prompting his father to demand he come home and go to the junior college. Zenovich shines during this portion of the documentary because she lays out meticulously just how Williams was drawn to performing. By using footage from his performances on stage and accounts from some of his close friends, she makes the case that Williams craved these roles so he could hide in them yet soak up any praise that may come his way.

However, it wasn’t until he went to Julliard that he discovered his rapid-fire brain craved improvisational comedy. Robin’s career began to take off, and he was able to push those demons further down. His talent allowed him to be anything people craved, yet Williams could keep his anonymity. The late comedian even said as much while on a USO tour with Lewis Black –

“Very Rarely Do People talk to me”

Robin Williams: Come Inside My Mind doesn’t gloss over the numerous potholes the late comedian hit during his life. Zenovich is able to take accounts from Valerie Velardi (his first wife), Pam Dawber (Mindy from Mork and Mindy), and the late comedian himself to paint a picture of a tortured comedian, who never felt worthy.

The drugs and booze were fuel used to quiet his mind. If Williams didn’t think about his pain, it didn’t exist. No one in the documentary excuses his philandering. They did, however, highlight the moments in his life which brought on sobriety. The late comedian took Belushi’s death exceptionally hard (as he was one of three people to see him alive the night before he died) and that cleaned him up for a time. Zenovich paints a portrait of an imperfect man striving for perfection, who only thought he was average at best.

The documentary doesn’t spend a great deal of time on his rise to superstardom but does dedicate time in the last half discussing his health scare and eventual diagnosis.

While Williams was touring in Miami, he found out that he needed a heart procedure (which would be incredibly scary for anyone), but still felt the need to be funny for anyone who attended to him in the hospital. His elder half-brother Robert commented, “He internalized or held onto everything.”

So throughout his life filled with substance abuse, broken relationships, a significant health scare, and crippling doubt, Williams didn’t share any of his mental burdens with the world. Even in the darkest moment of his life (when he was diagnosed with Parkinson’s disease), he was reluctant to share the news with his good friend Billy Crystal.

In the end, his inability to seek help was his downfall. The disease then began to rob Williams of his gifts (which good friend Bobcat Goldthwait states in the documentary) which had to wreck the man. Perhaps foreshadowed to us all how his story was going to end –

“You got to be crazy .. it’s too late to be sane…. too late. you have to go full tilt bozo. You are only given a little spark of madness because if you lose that … you are nothing. So don’t ever lose that cause it keeps you alive.”

It was the perfect way to end Robin Williams: Come Inside My Mind, a documentary about an imperfect comedic genius, whose demons overcame him.

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Review: WONDER WOMAN #50 Sees The End of The Dark Gods and SPOILER

Jose "Jody" Cardona

The finale of Robinson’s Wonder Woman run fails to impress, despite the circumstances.

Since the beginning of Robinson’s run, there has been one priority in Wonder Woman’s mind. That priority is to find and keep her brother safe. The first arc found Jason and readers watched him grow over the story arcs. He soon became a confident hero in his own right, with powers to match. When the Dark Gods arrived, he was ready to stand against them alone as his sister vanishes. During their fights with the Gods, however, Jason is brainwashed by them. With the League out of commission and Jason under Dark God control, Wonder Woman faces this evil alone. Can she save them all from the madness?

**Some Spoilers Below**

Story:

Despite her valiant efforts, Wonder Woman is unable to take down the Dark Gods and her brother. When they are alone, however, Jason reveals he is actually on her side. The brainwashing was a ruse to get close to the Dark Gods. Together the Amazonian twins create a plan to trick the Gods into taking them to the location of the Justice League. The plan works, and while Diana takes on the three lesser Gods, Jason speaks to King Best. Jason offers a deal to the leader: Leave Earth and release the League and he will go with the Dark Gods as a slave.

Despite the many flaws this issue has, this goodbye between siblings was a sad one. Despite them not knowing each other for very long, watching Jason say goodbye in this way is painful. It’s possible for another writer to bring him back in a future storyline, but it could be a while. Despite the rocky arcs of Robinson’s Wonder Woman run, I am glad Jason was introduced to this world.

There are still a ton of missteps throughout this issue that brings the book down. The first page reveals what happened to Jason, removing any chance for actual tension. From there, it continues to go downhill as every exchange ends up being boring. From the reveal of Jason’s trick to the deal with King Best, the dialogue feels dull. The only other positive is that the action is pretty cool, but only because of the excellent art team. This should have been a Wonder Woman event of epic proportions, but instead, it fails to impress at every chapter.

Art:

While the story may have fallen flat, the art continues to impress. Jesus Merino gives us one last amazing looking issue, especially with the fight scenes. The Dark Gods continue to look menacing and fitting of the universe Dark Nights Metal introduced us to. What else can I say that I haven’t mentioned in past reviews? This art team deserved a much better story to illustrate.

Conclusion:

While there are some good parts lightly sprinkled throughout, this finale wasn’t great. It felt more like a chore to read, with the fights being small breaks from the dull dialogue. This was the finale of Robinson’s run, and I can only hope Steve Orlando has a great arc up his sleeve. This series needs something exciting to liven it up again.

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