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

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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

By

Brooke Thomas

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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

By

Kieran Freemantle

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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?

By

Robert Yaniz Jr.

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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

By

Dewey Singleton - Film Critic

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“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

By

Jose "Jody" Cardona

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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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ZOMBIELAND 2 Moving Forward With Original Cast & Director Returning

By

Jackson Hayes

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July 14, 2018

Almost a decade after the release of the sleeper hit Zombieland, a sequel to the film is finally moving forward. According to The Hollywood Reporter, the sequel will begin production in January with stars Emma Stone, Jesse Eisenberg, Woody Harrelson, and Abigail Breslin set to return.

Zombieland 2 will also see the return of director Ruben Fleischer, who is currently helming Sony’s Venom, as well as writers Paul Wernick and Rhett Reese, who wrote both Deadpool films. The studio is eyeing an October 2019 release for the film.

A sequel to Zombieland has reportedly been on the table for several years. At one point it was to become a TV series with a different cast. That idea never came to fruition which leads to the more traditional sequel moving forward.

The cast of the film has come into their own since Zombieland hit theaters all the way back in 2009. Emma Stone has become one of the most premiere actresses in Hollywood, racking up 2 Oscar nominations including a win for Best Actress for La La Land. Harrelson has also seen his name up for an Oscar, being nominated for Three Billboards Outside Ebbing, Missouri just this year. He’s also become a franchise staple appearing in Solo: A Star Wars Story and War for the Planet of the Apes.

Eisenberg has become a very high profile actor as well, earning high praise for his performance in The Social Network. He’s also appeared in many notable films including Batman V Superman: Dawn of Justice. Abagail Breslin has also kept busy with numerous film roles and a stint on Fox’s Scream Queens.

Columbia Pictures president Sanford Panitch discussed how they were able to get the gang back together for Zombieland 2 with the cast being in such high demand:

“These are some of the most in-demand actors, and I think they are making this movie because they love these characters. We are thrilled Ruben was willing to come back to direct the sequel, as his work on Venom has been truly amazing.”

Are you excited for Zombieland 2? Let us know in the comments below!

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2018 Emmy Awards: 5 Shows That Should’ve Been Nominated

By

Jon Barr - TV Editor

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July 14, 2018

The 2018 Emmy award nominations came out on Thursday. While a lot of solid shows got recognized, some spectacular shows were not. There are a few shows that are particularly strange to leave out of the “Best Series” conversation. Here are some of the best shows that most certainly deserved to be nominated for the Best Drama/Comedy categories.

THE GOOD PLACE

The brilliant high-concept comedy THE GOOD PLACE absolutely deserves an Emmy nomination. For two seasons, the show has delighted and surprised viewers. The show also comes from the team behind PARKS & RECREATION, BROOKLYN NINE-NINE, and AN EMMY FOR MEGAN. Ted Danson did get a nomination for his performance, but this show deserves even more love.

BOJACK HORSEMAN

While it may be suited more for “Best Animated Series,” there’s no doubt BOJACK HORSEMAN has earned a spot in the Best Comedy conversation. Not only is it one of the funniest shows on Netflix, but it’s also one of the most emotional and dramatic shows. It’s also probably the most consistent Netflix originals, going strong for four seasons. BOJACK HORSEMAN really hasn’t gotten its due at the Emmys, but it’s high time it got more love.

KILLING EVE

The new series from Phoebe Waller-Bridge has been a surprise smash hit. KILLING EVE has gotten a lot of acclaim since its premiere on BBC. Even only one season in, it’s clear KILLING EVE is some of the best drama of the medium. The Emmys clearly recognize the show’s quality, as star Sandra Oh was nominated for Best Actress. The series also scored a Best writing nomination for the episode ‘Nice Face.’ Why the series as a whole wasn’t nominated is confusing, and it’s a real shame.

BROOKLYN NINE-NINE

One of the strongest current sitcoms is BROOKLYN NINE-NINE. The series ran for five seasons on FOX, before being cancelled (then picked up by NBC). The cast & crew of the series includes some of the greatest voices currently in comedy. BROOKLYN NINE-NINE consistently brings big laughs and pure moments that make it a staple of network television. The hope was that its recent rescue from cancellation would draw in those that haven’t seen the show yet. It’s a shame this series hasn’t gotten its due from the Emmy awards.

INSECURE

HBO has a lot of comedies on its slate, but INSECURE has gone severely overlooked. It’s crazy that INSECURE wasn’t also nominated, especially following a stellar second season. It seems like INSECURE was partially overlooked for legacy series like SILICON VALLEY and CURB YOUR ENTHUSIASM. Those shows may not be bad, but not nearly as fresh or exciting as Issa Rae’s INSECURE.

There are plenty of other shows you could argue deserved more love – from AMERICAN VANDAL to SMILF to SEARCH PARTY. Which series did you think deserved more Emmy love? Let us know in the comments below!

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‘MY HERO ACADEMIA’ Episode 52 Review: “Create Those Ultimate Moves”

By

Jon Barr - TV Editor

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Finding signature moves makes for a weaker MY HERO ACADEMIA. It’s almost funny that the episode where heroes come up with all-powerful moves doesn’t pack a huge punch. This episode isn’t bad, of course – it’s hard to imagine an actually bad MY HERO ACADEMIA episode. However, this episode doesn’t have a lot of substance, which makes it feel a bit like filler.

“Create Those Ultimate Moves” is a lot like last week’s episode, as the heroes develop. While Class 1-A is strong, they are encouraged to come up with surefire battle-ending attacks. While most of the students try coming up with big, flashy moves, Midoriya rethinks his whole technique. Midoriya is struggling to separate himself as a hero from his idol, All Might. This episode continues the series arc of Midoriya coming into his own, and taking on the “One For All” mantle.

The development in this episode is a bit too slow and drawn out to pack a punch. There is some compelling stuff with Midoriya’s development as his own hero. However, the realization that he should also use his legs isn’t enough of a revelation. Especially since Midoriya still gets his arm braces, it’s not a game-changing shift – yet. It will be interesting to see how a leg-heavy approach will affect Midoriya’s success as a hero, but we only see one big kick this episode. Midoriya gets to advance a little, but this MY HERO ACADEMIA episode doesn’t stand strong on its own.

What makes this episode feel weak is that there isn’t a lot of meat. It’s not like last week’s “Moving Into Dorms,” where we get a clear image of what all our heroes are up to. We get glimpses of some heroes developing moves, like Bakugo and Tokoyami. However, the majority of the class are left in the background. This is especially disappointing because the lack of screen time coincides with a lack of development for the other kids. The rooms of Class 1-A students helped us learn more about them as people. “Create Those Ultimate Moves” gave no such character development.

Perhaps the strongest part of this episode is the return of Hatsume. The Support Class student returns to “help” Midoriya and friends improve their suits. Hatsume is a fun presence, as she once again uses others to test her tech. It’s funny how her experiments hurt the heroes, but it’s also sweet to see her fiery passion. The awkward Midoriya-Hatsume physical stuff is fine, but takes away from the stronger Hatsume characteristics. With that said, Hatsume helped inject some fun energy into a slower episode.

MY HERO ACADEMIA doesn’t do a lot to push its characters forward. It’s nice that Midoriya is given a small push forward, but it’s still small. This episode only has a few small morsels to stay engaging. From the original three super-friends coming back together, to All Might reading up on teaching, there is good stuff in this. Unfortunately, there isn’t enough to make “Create Those Ultimate Moves” feel like an ultimate episode.

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Joss Whedon and HBO Team Up for a New Sci-fi TV Show

By

Kieran Freemantle

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July 14, 2018

HBO is adding to their geek credentials once again, releasing a press statement about a new sci-fi TV show they are set to produce and having a big name attached to it: Joss Whedon.

The Nevers is set to be a Victorian-era sci-fi show centering on a group of powerful female characters. HBO has stated that ‘the show will be an epic science fiction drama about a gang of Victorian women who find themselves with unusual abilities, relentless enemies, and a mission that might change the world.’ Whedon has described the show as ‘the most ambitious narrative I’ve created. It’s been too long since I created an entirely new fictional world.’

The Nevers will be Whedon’s first original TV show since Dollhouse in 2009 and the first project since Avengers: Age of Ultron in 2015. Whedon’s projects have gained him a large fanbase. This is a man has Buffy the Vampire Slayer, Firefly and The Avengers to his name and HBO as a broadcaster gives its showrunners a lot of creative freedom. Whedon will serve as executive producer, showrunner, writer, and director of the series.

Game of Thrones has been a huge critical and audience success for HBO as well as a commercial hit – millions have been made from DVD, Blu-ray and merchandise and HBO clearly want more of this. The broadcaster already has Westworld that pleases genre audiences and they have a Game of Thrones spin-off and Watchmen adaptation in development. The Nevers would be a part HBO’s high concept, genre broadcasting it would interesting to see what Whedon comes up with.

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