Tony Stark: Iron Man #1 written by Dan Slott with art by Valerio Schiti hits your local comic book store this week. Get your popcorn ready for this fun adventure.
Slott does an excellent job creating a great jumping on point for new readers, and the Marvel Cinematic Universe jokes and pace of Tony Stark: Iron Man #1 makes the comic a worthy post-Avengers: Infinity War read. Slott takes a drastic new tone with Tony Stark, and the book comes off more like a pilot for a sitcom. You can almost hear the applause track as Tony makes a dramatic entrance at Andy Bhang’s garage.
The first issue introduces you to Tony’s world and supporting cast, gives the reader an epic first mission, and plants the seeds for a deeper story.
Alexander Lozano’s fantastic cover does not emotionally prepare for the story inside. Schiti’s art and Edgar Delgado’s vibrant colors lean more towards an anime style, and that’s not even because Tony busts out a Robotech armor. Slott’s dialogue pushes the anime theme as well.
Joe Caramanga’s letters play referee, organizing the action sequences as well as keeping the dialogue on point. Again, this is a fast-paced book, and a lettering could slow the reader down if they have to search for the script.
Slott does his best trying to capture the energy of the first Iron Man film and comes close to succeeding. The last panel of Tony introducing his team is so inspired by the ending of the first movie. The character of Tony Stark always has a bit of darkness on the edge, and this is missing from the first issue. Slott is a big fan of turning the most random aspect of a character’s life upside down; give Dan time and that bit of darkness will spiral Tony’s life out of control.
Will Tony Stark: Iron Man #1 win an Eisner? No, but it’s a fun ride that will keep you wondering what armor Tony will put on next.
About the issue: TAKE FLIGHT WITH DAN SLOTT & VALERIO SCHITI!
From the cusp of tomorrow’s dreams to the forefront of imagination, one man always soars on the cutting edge of adventure! You know his name. Tony Stark is Iron Man. And Iron Man…is an idea. Always changing. Always evolving. An idea without limit! Take wing with DAN SLOTT (AMAZING SPIDER-MAN) and VALERIO SCHITI (GUARDIANS OF THE GALAXY) as they propel the ultimate Self-Made Hero to new heights of inventiveness! Tony Stark is Iron Man. The future is now. Strap in!
Did you pick up Tony Stark: Iron Man #1 this week, what did you think? Comment below.
There just doesn’t seem to be a prestige that comes with the tag team titles anymore. The RAW tag team titles aren’t being defended tonight, and the SmackDown Live tag belts are on the line during the PRESHOW. What gives, WWE?
Good Brothers Karl Anderson and Luke Gallows are also large, strong, talented men. This match really could have been main-show worthy; it was just a handful of big dudes throwing down, and it was good. The Bludgeon Brothers are as unstoppable as their former Wyatt Family brother Braun Strowman, and they retained their titles.
This is such a typical David and Goliath story: one big guy, one little guy. Does the little guy gonna come out on top? In this case, yes. YES YES YES!! Each man played well against each others’ weaknesses, and Daniel Bryan came out victorious.
(Are we getting all of the irrelevant matches done early? No, they’d never let Roman Reigns be early on a pay per view card…would they?)
In his first pay per view appearance in years, Bobby Lashley faced Sami Zayn. Perhaps another David and Goliath story? Zayn has been the annoying little gnat that Lashley couldn’t wait to swat all over the ring tonight. It was vertical suplex after vertical suplex at the hands of Lashley, and Zayn just didn’t stand a chance.
For the first time in weeks, Elias didn’t sing! Still, this match was highly entertaining. Rollins is simply fun to watch, and Elias is becoming one of the most gifted guys on the RAW roster. While Rollins tends to be a little riskier in his moves, he and Elias are evenly matched, which makes them jive in the ring. The action and energy were excellent, and still, Rollins retains his championship.
As with any large-contender match, pure chaos ensued. Becky Lynch had the right idea by keeping her competitors outside of the ring. The competition then seemed to focus on only two women at a time, which made the match a lot more watchable. The acrobatic moves of Ember Moon and Naomi were spectacular, and Lana has proven that she really can hang in any pay per view event match. After not spending much time actually competing in the match, Alexa Bliss is now Little Miss Money in the Bank.
I predicted in our Mixed Tag Mayhem podcast that this would be the match that no one cared about. As a huge Roman Reigns fan, it pained me to say this, also knowing that Mahal really is a good body-match for Reigns toss with. Crowd chants of “CM Punk,” “NXT,” and “Rusev Day” also prove that the crowd was less than interested.
Regardless of the crowd’s distaste of this match, it was still solid. Both men threw down like this match actually had a title on the line. One thing that Reigns does is brings his A game, every match, and tonight was no different. That, in and of itself, solidified that this is still his yard.
SmackDown Live Women’s Championship: Carmella (c) vs. Asuka
Asuka and Carmella Photo: Twitter @wwe
With a voice as screechingly annoying as Vickie Guerrero, Carmella has made it quite evident that ‘Mella is money. While the match had its lively moments, the highlight was the return of a former favorite valet that will send Carmella’s obnoxiousness over the edge.
AJ Styles and Shinsuke Nakamura Photo: Twitter @wwe
Please. What more can these two men do? They’ve done nothing but beat the hell out of each other since Wrestlemania, and each match has been fairly disappointing. Both of these men are simply amazing, but there’s been something off between these two.
Last Man Standing matches are nothing to sneeze at. Both men had incredible stamina. They threw each other all over the ring, through tables, against turnbuckles, over walls, and more. If this is the last of their feud, then they definitely left it all in the arena. And still, Nakamura can’t top the Phenomenal One.
Making her singles in-ring debut, I was interested to see just what Ronda Rousey could do. Her WWE debut at Wrestlemania was fun, but she had help from Kurt Angle. She’s not used to lasting longer than a few short minutes in a match, let alone competing again someone of Jax’s build and strength.
Jax flung Rousey around like a wet noodle, and Rousey climbed all over Jax like she was a piece of playground equipment. Rousey did try a few daredevil moves, especially with her crossbody jump on Jax from the top rope.
The night’s event was saved by a vindictive and newly-crowned Money in the Bank winner Alexa Bliss decided to crash their party, end the match, and cash in on Jax for the belt. The belt is the ultimate prize, not the briefcase, right?
So, what do you do when there’s a match of this size? Eliminate, or at least incapacitate the biggest threat. Everyone took to Strowman, burying him under a pile of ladders until the Monster rose. The other men rumbled in and around the ring, but when Strowman was up, all of the attention was on him. He tossed men around like rag dolls, particularly throwing Kevin Owens from a 10-foot ladder into a table below, and broke through a horizontal ladder like it was a pencil. He’s unstoppable, and he’s now Mister Monster in the Bank.
With Bliss and Strowman both winning their respective briefcases, it was really a win for their Mixed Match Challenge Team Little Big.
The WWE produced another predictable pay per view, with very few surprises. Is co-branding the pay per views a good idea? Was there just too much irrelevancy with this event?
Studio Ghibli has created many fantastic films such as My Neighbor Totoro, Castle In The Sky, and Princess Mononoke but none of them are as bizarre on a concept level as Pom Poko. Where else do you find a film about Tanukis trying to protect a forest using their, um, enchanted sacks.
Summary
A group of Tanukis find their ancestral home threatened by a new development project. Using their illusion magic, they try to thwart the humans from building and try to maintain their way of life along the way.
Writing
Pom Poko, a film by the recently deceased director Isao Takahata is probably one of the weirdest films to come out of Studio Ghibli. Weird not simply for the fantastical elements employed or the tone of the film. Instead the issues which are addressed and how they touched upon which come off as odd. The film addresses he importance of preservation of the environment. This isn’t a new concept for the studio as environmental issues were discussed in both Castle in the Sky and My Neighbor Totoro.
The angle presented in Pom Poko seems to show the a group on the losing side of the fight. The Tanuki struggle to find a way to preserve the forest and their home but all of their efforts seem futile and worthless. Near the end of the film, the Tanuki have no choice but to make changes in their way of life. Unfortunately, this deep message is buried under the characters doing funny transformation, having festivals, and using their “raccoon pouches.” The deep meaning of the film only comes from looking back at the message the film was trying to illicite.
This doesn’t make the film necessarily bad. It just makes it different. Pom Poko is a film, which despite its fantastic elements and comedy has grounding in realism. The concept of realism is what set Takahata apart from the other directors at Ghibli. The majority of the films he created had a level of realism to them even when still seemed to have a high dosage of fantasy elements. This isn’t obvious as first a while watching the film it’s easy to get blindsided by the bizarre use of the tanuki’s “raccoon pouches.”
Instead there is much more which needs to be approached by looking under the surface of what the film has to offer. As the Tanuki’s work to fight against the urban development project to preserve their way of life is presented as comical experience but disastrous consequences come from taking up this fight. It is the type of film which leaves you with much to think about when it is over. You’ll find yourself wondering if you there isn’t more which can be done to help the Tanukis and their way of life. It’s a powerful film and one which takes a few viewings to appreciate the true message it is trying to convey.
Animation
The animation also makes it more of a distinct film but in a different way when compared to other Studio Ghibli films. There is much more use of browns and earth tones. Manly because the Tanuki’s themselves come in these color palettes. There is also a large use of fluid animation with the transformation sequences which helps to make the movie feel fresh. Unfortunately the lack of as many sprawling animation scenes does make it pale in comparison to films like Princess Mononoke or Spirited Away. It’s good just not the best the studio has ever made.
Music
The soundtrack feels more down to earth compared to a standard Studio Ghibli creation. There isn’t as as much sweeping orchestral. Instead more simple pianos and loud flutes appear in the soundtrack. It almost feels like the composer was trying to give folksy country feel to the music to help tell the comfortable way of life the Tanukis enjoy.
Conclusion
Pom Poko is a different pill to swallow. Again not difficult just different. Though it is ripe with comedy and bizarre imagery, the film itself has very heavy elements under the surface which will stick with you afterward. It’s a film which will have you contemplating what can be done to help nature and to help the creatures who call the forest their home.
Pom Poko was presented in select locations through Fathom Events.
A collection of powerful performances save “Vanishing Point” from being an otherwise sad and redundant penultimate episode of the season. Much of the episode is spent showing us a flashback of William and Juliet which, while well-done, moves slowly and offers us little that we didn’t already know. On the opposite end, Bernard’s story fills us in on what’s happening in the Valley Beyond, but does it so quickly it feels like a recipe where a vital direction had been left out initially and scribbled in only after the fact. SPOILERS follow, so proceed with caution.
A Very Gloomy Father’s Day
In flashback we see that Juliet (William’s wife, played by Sela Ward) has become an alcoholic in part because she’s come to see that William has been only faking his philanthropic side while he is, at heart, evil*. She already knows this but when she is confronted with proof (William’s Westworld profile card, highlighting his malicious deeds and paranoid, delusional personality), she finds herself beyond hope and kills herself. Along the way William “realizes” what he really is and (in a form of self-fulfilling prophecy) commits to being the Man in Black. Going to Westworld and playing villain is no longer a vacation, it has become his full-time reality.
Emily/Grace may be his daughter or may be only a host used by Ford as part of a final game for William. William, believing her to be the latter, kills her when she reaches for his profile card, thinking she is reaching for a gun. Faced with the possibility that he has slain his daughter, he considers suicide, but can’t, and heads on towards the Valley Beyond.
Deathbringer Dolores continues along her own path to the Valley Beyond (aka the Forge) in her quest to conquer the human world for the hosts. She is confronted by members of the Ghost Nation, who believe that the Valley Beyond represents a world without bloodshed but (as we saw in the season opener), her gang kills them and moves on. Well, one member of her gang is unable to “move on”. Teddy, unable to cope with the conflict between his gentle nature and the increased aggression he was so hastily imbued with, kills himself. This loss is even more painful for Dolores since it was she who ordered the changes in Teddy’s programming, believing it would allow him to make it to the Valley Beyond with her.
Charlotte has a plan for the Forge, as well. Using Maeve’s power to control nearby hosts, she has Clementine programmed as a plaguebearer who will force the hosts to destroy each other.
In order to stop her, Bernard heads to the Forge with Elsie, but he is haunted by the presence of Ford’s personality. Ford tells Bernard that Elsie will betray him and encourages him to kill her, but Bernard resists and removes Ford from his mind. This happens a bit too easily for me to believe that Ford is really gone, but I guess we’ll find out in the next episode. Poor Elsie, who wanted to believe so badly that she could trust Bernard, is heartbroken when he leaves her behind. Bernard saying he is doing this to protect her mirrors Dolores and Teddy, and we saw how that turned out.
Ford monologues to an incapacitated Maeve, condemning the evils of man and saying that she was his favorite of all the hosts (a claim that is hardly borne out by the rest of the show, though it is possible that Ford believes it). He leaves her with a kiss on the forehead and presumably allows her to continue on (in her body, or perhaps by possessing another host).
“Is this real? Are you real?”
This question, asked by Juliet before she saw William’s profile and consequently killed herself, is crucial. William no longer knows what is real. He keeps looking at his arm, questioning if he is himself a host. He kills his daughter, believing her to be a host and pawn in Ford’s game.
The second season of Westworld has told some excellent individual stories while losing the overall intrigue that made the first season so great. I’m hoping the season finale next week can rectify some of that by uniting the disparate threads in a meaningful way.
Odds and Ends
Katja Herbers as Emily/Grace stands out among a number of very good performances. If this is truly the end of her character (who can tell on a show where the meaning of death is so unclear), she will be missed.
Does it seem to anyone else like the makers of Westworld are teasing us by killing off characters in their first appearances? First Giancarlo Esposito’s El Lazo and now Sela Ward’s Juliet? It feels like a waste.
The books on William and Juliet’s dresser are as follows: Herman Melville’s Moby-Dick, Thomas Hardy’s Jude the Obscure, Kurt Vonnegut’s Slaughterhouse Five, Plutarch’s Historical Methods, and Plutarch and Rome by Christopher Prestige Jones.
*While it’s true that William perceives himself as evil, one could certainly argue that the actions a person takes in a “world without consequences” do not outweigh the good the person does in the real world.
In the latest episode of Kieran’s Movie Space, Kieran delivers his spoiler-free review of Ocean’s 8. Does this female-centric spin-off offer anything new to the franchise? Is this a Summer movie you need to see? Listen to the review and find out!
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters.
Ocean’s 8 is directed by Gary Ross and stars Sandra Bullock, Cate Blanchett, Sarah Paulson, Anne Hathaway, Helena Bonham Carter, Mindy Kaling, Rihanna, Awkwafina, James Corden and Richard Armitage.
Five years, eight months, 12 days and counting — that’s how long Debbie Ocean has been devising the biggest heist of her life. She knows what it’s going to take — a team of the best people in the field, starting with her partner-in-crime Lou Miller. Together, they recruit a crew of specialists, including jeweller Amita, street con Constance, suburban mom Tammy, hacker Nine Ball, and fashion designer Rose. Their target — a necklace that’s worth more than $150 million.
Make sure you hit the like button, subscribe and review the podcast! Alternatively, you can subscribe to the Monkeys Fighting Robots newsletter to be notified when new episodes are available, plus amazing content!
The third episode of Succession reminded fans and critics worldwide that we can’t judge a series just based on the success or failure of a singular collection of moments.
While last week’s episode was incredibly slow-paced (possessing little redeeming qualities as well), last night’s menagerie of seedness and intrigue more than made up for it. Was the second episode of Succession just a setup and this week was our payoff? Could a deluge of distrust, dishonesty, disloyalty, and creative uses of available space ( those who have seen episode three know exactly what I’m talking about) be on the horizon?
If anything, Succession reminded everyone that this series is at its best when the focus is placed on a myriad of storylines rather than one singular focus.
Kieran Culkin, photo credit: Peter Kramer/HBO
Episode three’s narrative centers around the current state of the Roy family following Logan’s (Brian Cox) return home from the hospital. Kendall (Jeremy Strong) is still reeling from the news of the massive debt Waystar has incurred. As Kendall, Roman (Kiernan Culkin), and other members of the board struggle for a solution, the mystery behind their father’s condition is growing. Marcia (Hiam Abbass) has been restricting access to Logan telling all who want to see him that he needs his “rest.” Shiv (Sarah Snook) is had it with her step-mom restricting access to her father and is going to put a stop to it. Shiv even reaches out to an old boyfriend to get some dirt on Marcia as her current behavior has made Logan’s only daughter suspicious.
Tom (Matthew Mcfadyen) and Greg (Nicholas Braun) are adjusting to corporate roles and seem in over their heads. As the stock continues to plummet, Kendall is forced to reach out to an outside investor to save the company from disaster (but might have invited an enemy into their lives). Feeling pretty pumped about appearing to save Waystar, Kendall tries to reconcile with Rava (Natalie Gold), who seems conflicted about staying together.
Alan Ruck, Sarah Snook and Matthew Macfadyen, photo credit: Peter Kramer/HBO
Jonathan Glatzer’s writing made ample use of the weaknesses in each of the Roy children, which resulted in unpredictable and entertaining third episode. Kendall is driven by how others perceive him. He realizes that his ascension to temporary CEO is partially to blame for the stocks free fall and wants it to end. By bringing an outside investor into the fold, it creates the perception of the issue is resolved (even though it is not) and Kendall being able to deal with the day-to-day operations of Waystar.
Glatzer really highlighted the depth of these family members in Succession’s third episode. Some of the most appealing moments were seeing Strong’s character squirming and clearly over his head during these negotiations and seeing how frantic he was to make a deal which he will regret later on. We also get to witness how self-serving Roman is. After his trainer embarrassed him, Culkin’s character makes it his mission to tear him down just because he can. It appears the Chief Operating Officer of Waystar is more concerned about personal gratification whether it’s in his professional or private life.
It was certainly nice to see a battle brewing between Shiv and Marcia. The staging of their confrontations on the stairs was perfect and may have been a preview of what’s to come down the road. There’s more to Marcia than meets the eye and her wrath might be forthcoming.
Sarah Snook, Hiam Abbass and Matthew Macfadyen, photo credit: Peter Kramer/HBO
Perhaps, the highlight of the first three episodes of Succession came when Kendall attempted to win Shiv back with this great line –
“You Claim (of course I Don’t Believe You) that when we lived together you were unhappy , one us is going to be unhappy .. I just don’t see why it has to be me.”
Overall, Succession got back on track with an episode which seems to be the start of some explosives moments to come. Fans will continue to stay with this show provided they keep this course and the focus remains on the dysfunctional members of the Roy family.
It’s nice to see that all three original writers are back on board, meaning that the sequel will probably keep the flavor and heart of the first movie.
When initially announced in 2016, the prospect of a spin-off of Jumanji (1995) left a lot of viewers concerned. However, upon release, the quirky all-star movie quickly won over audiences and became the fifth-highest-grossing film of 2017 and 40th-highest-grossing film of all time.
Jumanji: Welcome to the Jungle – or Back to the Jungle?
Now that the sequel has been officially announced – with a set date of December 2019 – fans are wondering how the high school crew will end up back in the game. In previous interviews, the cast members have shared their ideas for possible sequels.
JB: Exactly. Who’s behind the curtain on this game.
Meanwhile, Nick Jonas wants his character to be played by…Christopher Walken? Well, alright. If any franchise could get away with it, it’s the one that cast Jack Black as a popular teenage girl and made it work unironically.
Since the sequel is still unnamed, it’s hard to guess at what it might hold. It’s relevant to note that while Jack Black, Karen Gillan, Dwayne Johnson and Kevin Hart are all slated to return, Nick Jonas (sadly) has not yet been confirmed. However, if it’s going to enter a pitched battle with the new Star Wars movie in theatres, it’ll have to be good.
What are your thoughts, hopes, and dreams for the sequel to Jumanji: Welcome to the Jungle?
Pixar – the studio that loves to make you cry over toys, grandmothers, and 30-second marriage montages.
But this Father’s Day, I ask that you wipe your tears, and instead reach out your arms.
Because Pixar has got some daddy issues.
Here are five moments when Pixar was (not so) silently pleading for a hug.
*Note: Spoilers ahead, and maybe tears, so read at your own risk.
5Finding Nemo
An obvious place to start maybe, but aside from Andy’s missing dad (and no, he’s not dead), Finding Nemo was the first real clue that Pixar had some unresolved feelings.
This one starts out nice and slow, with Marlin’s fish wife and one thousand of his fish babies eaten by a barracuda in the first ten seconds.
So now Marlin is an overprotective shut-in for his one remaining son. Nemo, said son, exhibits a deep desire to see the world and experience life, rather than be the prisoner of his father’s grief.
You know.
A kid’s movie.
4Inside Out
Inside Out was lauded by critics and psychologists for its portrayal of emotional health, especially in regards to how it treated “good” feelings vs. “bad” feelings. Riley, the girl whose mind is the setting of the film, must learn to accept both joy and sadness.
But the source of Riley’s tension can be overlooked. She’s stressed because her family moved from Minnesota to San Francisco, away from her hockey team and normal pizza.
But the emotional conflict that drives her to eventually run away is rooted in the mask she is asked to wear by her mother, on behalf of her father.
Soon after moving into the new house, there is a scene in which Riley lies on the floor of her still-unpacked room. Her mother enters, and they have the following exchange:
Riley: Where’s Dad?
Mom: On the phone. This new venture is keeping him pretty busy. Your dad’s a little stressed — you know, about getting his new company up and running. I guess all I really want to say is: thank you. You know, through all this confusion you’ve stayed… well, you’ve stayed our happy girl! Your dad’s under a lot of pressure. But if you and I can keep smiling, it would be a big help. We can do that for him, right?
That last line is key. Riley feels pressured, both by her mother and watching her parents argue about the moving truck, to put on a smile, even if she doesn’t feel like she can.
Riley has to push down her feelings, suppress the “bad,” in service of her father’s career.
3The Incredibles (1 & 2)
Bob Parr, a.k.a. Mr. Incredible is strong. Really strong.
But maybe not strong enough.
That’s the underlying conflict behind The Incredibles, and what that conflict means changes as the movie develops. Bob isn’t strong enough to retire, or to say no to such a great offer, or to beat Syndrome.
But then, at the climax of the movie, the true source of Bob’s concern is revealed.
Bob: I have to do this alone.
HELEN: What is this to you? Playtime?
BOB: No.
HELEN: So you can be Mr. lncredible again?
BOB: No!
HELEN: Then what? What is it?
BOB: I’m not…
HELEN: Not what?
BOB: I’m not strong enough.
HELEN: Strong enough. And this will make you stronger?
BOB: Yes. No!
HELEN: That’s what this is? Some sort of workout?
BOB: I can’t lose you again! I can’t. Not again. I’m not… strong enough.
Bob has conflated his masculinity, his identity as a superhero, and his very competency as a father with the only thing he knows how to do: be strong. If he’s not strong, then he could lose his family.
He can’t see the truth: the family doesn’t need him to be strong, just present.
14 years later, Incredibles 2 delivers the fantastic news that Bob has overcome his insecurities, the family is fine and all is well in the-
Just kidding.
In the sequel, Bob no longer feels that he has to be strong to keep his family together. But he does exhibit insecurities around his capability to just be the dad his kids need him to be.
Now that Helen is the breadwinner, Bob has to help with the math homework, empathize with his daughter’s personal struggles, and try to understand a baby.
And being strong doesn’t help with any of that. He learns the “new” math, tries to help his daughter (despite her wishes) and finally figures out the baby, but only by sacrificing his health and mental well-being.
Despite Bob’s best efforts, he continues to fail, in his own mind, at being the kind of father that his family needs and deserves.
2The Good Dinosaur
You forgot about The Good Dinosaur, didn’t you? Pixar’s red-headed stepchild, as it were. Or maybe that’s A Bug’s Life? Cars 2?
In any case, The Good Dinosaur laughs at Pixar’s previous daddy problems. Grief-ridden helicoptering? Emotional masking for dad’s happiness? A general sense of incapability? Child’s play.
Because you’ve no doubt forgotten the plot of this one, here’s the gist: Arlo is the runt in a family of dinosaur farmers – that is, dinosaurs that farm – and is very timid. His dad wants him to take on a little more responsibility, and generally grow up a bit, so he tasks him with guarding the farm. Arlo catches a caveboy in a trap but lets him go. Arlo’s dad is disappointed and takes Arlo with him to go find the caveboy in a canyon.
Then Arlo gets scared of the lightning, trips, and falls.
And then his dad dies in a flash flood.
Remember The Lion King, when Mufasa gets run over by wildebeest and Scar’s like “Simba, this your fault” and Simba is like “oh dang you’re right it is.”
It’s just like that, except that there’s no one lying to Arlo, it just straight up is his fault, and he watches his dad die in front him.
All because he wasn’t brave or responsible enough to do his part to help the family.
1Up
Didn’t expect this one, did you? Up is infamous for its beautiful montage scene, depicting Carl and Ellie’s life together, and her subsequent passing.
But less talked about is Russell, the 6-year old Wilderness Explorer, in search of his final “Help the Elderly” badge.
Russell isn’t just trying to get his badge so he can become a Senior Explorer. He’s doing it so his father will give him a second of notice.
RUSSELL: See these? These are my Wilderness Explorer badges. You may notice one is missing. It’s my Assisting the Elderly badge. If I get it I will become a Senior Wilderness Explorer! It’s gonna be great! There’s a big ceremony, and all the dads come, and they pin on our badges…
And later:
CARL: Well, why didn’t you ask your Dad how to build a tent?
RUSSELL: I don’t think he wants to talk about this stuff.
CARL: Why don’t you try him sometime? Maybe he’ll surprise you.
RUSSELL: Well, he’s away a lot. I don’t see him much.
CARL: He’s got to be home sometime.
RUSSELL: Well, I called, but Phyllis told me I bug him too much.
CARL: Phyllis? You call your own mother by her first name?
RUSSELL: Phyllis isn’t my mom.
Carl: Oh.
Russell: But he promised he’d come to my Explorer ceremony to pin on my Assisting the Elderly badge, so he can show me about tents then, right?
Yep. Russell’s parents are divorced, or at least very much not together.
His dad isn’t around very much, and Phyllis, his dad’s new lady friend, isn’t keen on helping Russell build a relationship with his father.
Russell thinks that by getting this final badge, he canget past Phyllis and finally sit and eat ice cream and count cars with his dad again.
So, end of the film, Russell is at his ceremony, and low and behold, who is there to pin his badge?
Not his dad.
In short, if you happen to see a Pixar this Father’s Day, go ahead and give them a hug.
They really need it.
Happy Father’s Day from everyone at Monkey’s Fighting Robots!
If you’re like us then you are impatiently waiting for the exclusive Spider-Man game on Playstation 4 to come out.
Well, not only is Spider-Man going to swing onto our consoles in September, but the character from the game will also officially become part of the Marvel canon in the same month as well.
For a few weeks now, the publisher has been teasing its upcoming event dubbed, Spidergeddon with ‘Spidergeddon is nigh!’ (see image below). Sounds intense, right? You’ll notice that, in the image, a silhouette is missing. Enter the PS4 version of Spidey. It will serve as a follow-up to 2014’s Spider-Verse event, which introduced many exciting new characters, like fan favorites, Spider-Gwen and Silk.
The event takes off with a two-part series in Edge of Spidergeddon, which both solicits revealed new characters in the fold like Spider-Punk and SP//dr.
Spider-Man hits shelves on September 7 via Insomniac Games on the PS4, while Spidergeddon #0 releases on newstands everywhere on September 26. Read more about the upcoming PS4’s Spidey’s appearance in the comics HERE.
This will be a big year for the webslinger, heading into 2019. Spider-Man: Into the Spider-Verse looks incredible and will surely introduce the Miles Morales character to a whole new audience, bringing him front-and-center. While we’re at it, how insanely awesome is it that he is rocking the Air Jordan 1’s in the movie poster?
What do you think will happen during Spidergeddon? Are you digging Spidey’s white emblem? Are we going to lose a fan-favorite during the event? What kind of new characters are you expecting? Lot of questions need answering! Let us know in the comments section below.
Not only does Batgirl have a new creative team, but Barbara Gordon is also coming back to Gotham City, as well as getting a new look.
In September, Sean Gordon Murphy, who designed the new costume, along with new writer Mairghread Scott, will add an a different spin to the character, debuting with Batgirl #27.
“This is supposed to be a version of the costume that she was working on when she still lived with her dad,” Scott explained. “She can’t get out back to Burnside, and this is like the emergency. So the version that she was working on [back in the day] that she had stashed here just in case. It helps us with the story a little bit too, because it’s a little less bright — we wanted her to be more stealthy, and we want her to be able to integrate some more tech with the belt.”
The new costume lets go of the traditional mask, as well as the modern purple-and-yellow scheme that fans are used to. It’s a touch to the classic blue-and-yellow ear of the character, while, as Scott stated, provides more of a tactical advantage as opposed to her prior gear.
The new team takes over the series with issue No. 26 in August, but keep an eye out for Batgirl #27, which will debut Batgirl’s new costume, on September 26.
What do you think of Barb’s new threads? What is your favorite Batgirl costume? Let us know your thoughts in the comments section below.
