The Underworld TV series is finally moving forward.
Len Wiseman, of production company Sketch Films, has announced that the series at last has some momentum behind it, with the intent of airing on either a premium cable channel or one of the various digital services that have arisen in the last few years. Underworld will be based on the infamous horror/action movie franchise starring Kate Beckinsale.
Wiseman has had some part in each of the Underworld movies, having directed and co-written the first two, although he stepped back to produce the latter three. Wiseman will serve as an executive producer on the series, working with Gary Lucchesi, Tom Rosenberg, and Eric Reid of Lakeshore Entertainment, all of whom produced the earlier films, as well. Sony Entertainment’s TV division is also involved, although in an unspecified role. Previously, Sony handled the distribution of every Underworld installment.
Wiseman said of the series that it “will be a pretty big departure from the films. I don’t want to say it’s more adult, but it’s definitely less comic book in its tone and character.”
Underworld released its first film in 2003, with a story centered around Selene (Beckinsale), a vampire “Death Dealer” seeking revenge against the Lycans she believes to have killed her family. When she rescues a man who has served as the subject of Lycan experimentation, however, she learns a series of truths about her own family history, along with a plot to destroy the entire vampire hierarchy.
Between the five movies in the franchise, the property has collected more than half a billion dollars.
Speaking of potential casting, Wiseman did not reveal much about the process, though he did admit that “the right casting for this role is crucial. Those bare feet have some very big shoes to fill.”
Are you excited for an Underworld TV series? Or have Wiseman & Co. provided us with more than enough vampires in the last five films?
Stronger’s fantastic cinematography and tremendous performances make it one of the year’s finest films.
Summary
Stronger’s storyline focuses on how Jeff Bauman (played by Jake Gyllenhall) triumphed over the loss of his legs due to injuries sustained during the 2013 Boston Marathon Bombing. Where Stronger differs from other releases which focus on the bombing is they steer away from getting into the actual details of the event (in fact that portion of the story is primarily addressed in the first ten minutes of the film). The focus of this movie is of the devastating ripple effect (both psychologically and physically) the bombing had on everyone Bauman loves. Erin Hurley (played by Tatiana Maslany) is riddled with guilt because Jeff’s presence at the race was a way to win her heart once again.
What Worked
Director David Gordon Green and screenwriter John Pollono’s willingness to explore the evolution of Bauman’s and Hurley’s bond. Initially motivated by her immense guilt over Jeff’s injuries, it evolves into something that’s long-lasting. Maslany’s performance was raw and slightly unnerving. Her character gives up everything (a career as a hospital executive and her family) to move into a two bedroom apartment with Bauman (as well as his mother) and essentially become his caretaker. One of the best scenes in the film is a few months after the accident when Hurley meets up with one of her girlfriends to catch up. While her friend is fishing for details, she begins to unravel as the conversation veers towards Jeff’s rehabilitation. The therapy, Bauman’s emotional distance he keeps from confronting his demons, and his mother’s desire to make her son famous rather than get him help, have taken a toll on her. Maslany’s approach to the scene was perfect. She didn’t play it over the top but allowed each detail she shared to carry such emotional resonance until the moment was too much to handle.
Cinematographer Sean Bobbit’s shot selection enhanced the realism in this incredible true story. Many of his shots were from Bauman’s eye level or his perspective. An example of this was when Bauman’s bandages were changed in the hospital. Instead of shooting the scene directly from the hospital bed, the cameras were placed behind Gyllenhall and mounted at about eye-level. The camera caught the doctors explaining to Bauman how painful this procedure is and we see how his body begins to tense. In the left corner of the scene, we see Erin coming in to comfort him but then slowly backing away because she’s not sure what to do. As the doctors begin removing the bandages, the scene becomes unclear, and we see blurry images finish the procedure while screams of agony echo throughout the room. It’s the combination of camera shot, the angle of the shot, and blurring what we saw on the screen which gave the audience an all too real perspective.
The chemistry between Gyllenhaal and Maslany was incredible. One could easily see the amount of time each actor had to have spent preparing for their respective roles. Even though this film was anchored in one of the most tragic moments in our nation’s history, each actor understood that this story was more of an emotional journey for both Bauman and Hurley. My favorite moment was when they both confront each other about the emotional toll this has had on one another. Gyllenhaal’s character for two-thirds of the film had avoided blaming Hurley for his misfortune but completely loses it when his intent to get better is questioned. When he begins throwing blame, Maslany rightfully goes nuts letting him know all that she’s lost by following her heart. Both of them are mourning the loss of the reality they once knew and are not sure how best to move forward.
What Didn’t Work
Too much focus on his mother’s desire to make Bauman famous. While I agree that it needed to be a part of the narrative, but it kept coming up again and again. Would have liked seeing more about how her son’s injuries affected her emotionally.
Overall
Stronger has been hailed by some as the first Oscar contender to be released this “Awards Season.” This film lives up to these lofty statements and could easily result in Golden Globe nominations for both lead actors. I hope that people don’t’ hyper-focus on Gyllenhall’s performance, and Maslany’s performance receives the praise it deserves. While Jake’s performance as the man who embodied “Boston Strong” was certainly excellent, Maslany’s portrayal of Bauman’s one true love was magnificent. I can’t imagine a better film to check out this weekend at your local theater or on-demand, but that won’t be for quite a while.
The long-awaited return of Star Trek to TV came and went Sunday night when CBS aired the first of fifteen new episodes for a new series called Star Trek: Discovery. The series is meant to launch a new era on TV for CBS by being the first exclusive show for CBS All Access. What is All Access? It’s like Netflix except exclusively for CBS content past, present, and future. However, to bridge traditional viewers over, CBS premiered Star Trek: Discovery on Sunday night. Was the first episode of a new science fiction series enough to get viewers interested? Only time will truly tell, but for now, we break down the premiere for viewers still on the fence about watching at all.
Star Trek: Discovery tells the story of Michael Burnham (Sonequa Martin-Green of The Walking Dead) who is the first officer of a starship called the Shenzhou lead by Michelle Yeoh’s Captain Philippa Georgiou. Michael is on the verge of a promotion. But while investigating an object floating in space, Michael starts a confrontation between the United Federation of Planets and an enemy dormant for decades — the Klingons.
Full disclosure, I am a life-long fan of Star Trek. And while my geek sensibilities are usually in check, like a Vulcan holding back the tears, Star Trek is a weak spot. A sort of kryptonite. So, for the past year, while production hit delays, beloved Producers (Bryan Fuller I heart you) came and went, and leaked info left fans confused, I worried. Parts looked like the JJ Abrams remix which, was fine to a point (mostly just the first movie). However, details about the story taking place BEFORE the Original Series were disheartening. Star Trek should be about looking and moving forward yet here we are looking back to milk some juice out of the nostalgia cash cow, no doubt.
So, it should be taken as high praise when I say Star Trek Discovery was good. Not great. But good. Not sign up for CBS All Access good, but good enough to warrant watching the entire series sooner or later. My plan? Wait until it’s all out and binge-watching during a free trial period. As much as I love Star Trek, the idea of having my fandom extorted for $6 a month (with commercials!) doesn’t sit right with me. And there is zero CBS content I’m interested in revisiting.
If Star Trek Discovery were a phenomenal leap forward in the franchise, I might justify spending money on a monthly basis. But here’s where we get to my actual review, and my apologies for the long road here. Discovery isn’t that leap. It’s a healthy step in many respects and a side-step in others. It’s simultaneously an earnest creation and a shameless commercial.
As the story goes, it’s straightforward, but this is just the first episode. However, the first episode is two hours long, but CBS only gave viewers the first hour. Instead of this punch of a cliffhanger which the 90s Trek series were great at doing, Discovery feels like someone came and turned off the TV. Oh, and that person, CBS in this analogy, not only turned off the TV but they want to charge you to turn it back on. Viewers may want to continue watching, but not at a price, and maybe airing the two-hour pilot would’ve been a better move.
By the time the first half of the first episode of Star Trek Discovery ends there isn’t a lot to hold on to. Michael is a human raised by Vulcans (Spock’s Parents because … nostalgia!) who is logical but somewhat illogical too. She’s introduced as a good first officer who is getting a chance at her command but then defies orders several times. There’s an inconsistency in the character that some might take as mysterious, and others might feel is the result of poor writing and behind-the-scenes shenanigans. However off-putting, Sonequa Martin-Green gives a sense of depth to the character that might pan out as the series goes on.
Long-time creature actor Doug Jones plays Saru, an alien science officer who is a little Data and a little Spock. Jones is just a brilliant casting choice here and gets to shine even through the layers of latex. However strange the explanation of his Kelpien species is, Jones is great here, from his walk to his height which makes him feel even more alien next to the much shorter Michael. Michelle Yeoh is a no-nonsense leader. That’s about it. You don’t get much else from her.
On a visual level, Discovery is very pretty. It’s not bright like previous Trek shows (or homages like The Orville), but it’s not overly gritty either. They desaturated things a bit, gave it a Battlestar Galactica makeover of sorts. It mostly works. There’s a penchant for low, askew camera angles that look funky but don’t make much sense. Also, beware of the lens flare. They borrowed a little here and there from the Abrams-verse and lens flare is along for the ride. Also, CBS spared little expense as there is a ton of CG work.
Of stellar note are the opening credits and score, both of which add a rich layer to the product. The credits show blueprints as if Producers are reminding viewers that this is something new. The slick animated visuals move along to composer Jeff Russo’s score which is an excellent addition to the legacy of Trek music.
The Klingons, the iconic enemy from Star Trek lore, get a makeover here. Their sequences are presented only in Klingon with subtitles which makes Discovery feel a little more cinematic. Many fans objected to the redesign, and while I was not one of them, the makeup work seems excessive and leaves little room for the actors to express anything. However, the overall new look and approach to the Klingons, again, somewhere between something new and something Abrams, is fascinating.
As first episodes go in this modern age of television, Discovery was just okay. Again, showing half of the narrative hurts. And the first half isn’t compelling enough to warrant signing up for a new streaming service. Much like Star Trek: Enterprise was the flagship show for a new network that crashed and burned (eventually turning into the CW), the first episode of Discovery has that same weight to carry and only streaming viewers will help this show live long and prosper.
Okay, folks, it looks like Marvel Comics have once again spoiled one of their stories just days before it hit stands. In speaking with ComicBook.com, Marvel’s EIC Axel Alonso dropped the big reveal as to who is returning this week in Marvel Legacy #1. It’s the original Wolverine!
Alonso said:
Yes, Logan is back from the dead. After three years of a Logan-free Marvel Universe, Logan is back, claws popped and ready for action. How he came back, why he came back, and just how he came into possession of that Infinity Stone are part of a fascinating story that’s going to unveil soon, and in some unusual places.
Wolverine has been dead since Death of Wolverine miniseries by Charles Soule and Steve McNiven. He appeared to have suffocated after being encased in hardened adamantium and had his body, now in an adamantium shell, sent to a secluded cabin in the wilderness as his final resting place.
What do you guys think? Personally, as much as I love Logan/Wolverine, I was hoping for The Fantastic Four (as was rumored) or maybe a 616 Universe introduction of Marvelman. Who knows, maybe this is even the first of many happy returns? I guess time will tell. As always comment and discuss below!
Marvel Legacy #1 hits comic shops on September 27, 2017.
Spider-Man: Homecoming is officially the biggest comic book movie of 2017, passing Guardians of the Galaxy Vol. 2 at the box office.
James Gunn’s second Marvel cinematic universe entry totaled $863 Million worldwide, whereas Homecoming just recently crossed $874 Million. The third highest grossing, Wonder Woman, garnered an impressive $820 Million.
While this is great news for the Spider-Man franchise, it comes with a caveat; there are two superhero movies left to release in 2017, and they’re certainly blockbusters. Thor: Ragnarok hits cinemas on November 3, with Justice League slated to release on November 17. In my view, either of these could be the highest grossing comic book film by the end of the year and into 2018.
Spider-Man: Homecoming bringing in this much cash is a huge deal. There have been six Spidey flicks in the course of fifteen years, and that includes three franchises. Audiences don’t get tired of the web slinger, and until they do, we’ll be getting movies starring Peter Parker for years to come.
Did you enjoy Spider-Man: Homecoming? Does it deserve to be the highest grossing superhero movie of 2017? Sound off in the comments below.
Claudia Gray has done it again. In her latest Star Wars book, ‘Leia, Princess of Alderaan,’ Gray depicts a 16-year-old Leia Organa on the eve of her “Day of Demand”, a day which will kickstart her journey to the throne. Leia must complete three challenges: those of the Mind, Body, and Heart, which will simultaneously prove her worthy of the crown to both herself and her future subjects. What starts off as a series of rebellious acts against her newly-distant parents turns into a true transformation for Leia; a transformation that sets her on the path towards leading an entirely different kind of rebellion.
Spoilers ahead from here on out, so if you’d like to stop reading now, just know that this book kicks ASS and you should read it immediately.
Claudia Gray: The Queen of Character
Gray already had a reputation for outstanding Star Wars books prior to ‘Leia.’ She penned ‘Lost Stars,’ often celebrated as one of the best Star Wars books ever written, and ‘Bloodlines,’ which was an instant favorite for Leia fans. Gray continues to excel in her latest, where readers meet a much younger Leia and find out what she was doing just prior to ‘Rogue One’ and ‘A New Hope.’
Teenage Leia has already stuck her claws firmly in attack mode towards anyone who underestimates her, which gets her into trouble when she doesn’t fully understand the fight she’s picking in the first place. She knows some of what the Empire is about, and resents her parents for what she thinks is their inaction towards the obvious evil of Palpatine, Tarkin and the rest.
Some of the joy of ‘Leia’ is the dramatic irony: we, as readers, know that Bail and Breha are anything but passive Imperial subjects. If they’re off doing something other than tending to their daughter, it’s for a reason. Some of the joy also is in watching Leia peel back the curtain and find out just how involved her parents already are—and how good they’be been at hiding it from everyone, including their own daughter.
And yet some more of the joy lies in seeing Leia and Mon Motha interact. Leia picks up some habits and life lessons from the young general. Some habits are learned through admiration, others through discipline. But the seeds of their future alliance are planted and begin to grow within the book.
Leia also makes new friends in her “pathfinding class”, a requirement as she prepares for The Challenge of the Body. She learns that first impressions may be misleading, especially in a group of people both literally and philosophically just finding their footing.
Will It Spoil ‘The Last Jedi?’
The short answer is “no”.
On what she thinks is a simple exploratory trip to Crait along with her pilot Leia discovers a rebellion has already taken root—and her father is at the helm. Of course, being Leia, she wants to jump in feet first, but Bail refuses, insisting she remain ignorant of the rebellion in order to protect her from torture or worse at the hands of the Empire.
For those drawn to the book for clues to ‘The Last Jedi,’ that’s just about it. The description of Crait matches the strange planet from our teaser trailer—and the importance of the planet to the rebellion is finally revealed. Laura Dern’s character from ‘The Last Jedi’ also makes many appearances. Amily Holdo is another member of Leia’s pathfinding class, but at such a young and malleable stage in her life, she changes from the first to last page. We know she’ll be a friend and ally to Leia, as she is in the book, but how she will serve and use her particular skill sets? Those answers are yet to be seen.
The “clues”, as far as I can discern, sort of end there, leaving plenty of questions unanswered. Yes, we see many familiar faces around Leia and her new group of pathfinding friends. And of course, Bail and Breha feature rather heavily in this book. However, very little is revealed about the Jedi order. References are made frequently to the Clone Wars, but Bail won’t reveal any details about them. And while Leia most definitely taps into the force a few times, she isn’t sure exactly how she does it and has other, more pressing mysteries to investigate.
The YA Factor
Gray is a YA writer when she isn’t penning Star Wars canon, which puts her at a great advantage when writing younger characters. Leia is at once curious, petulant, exploratory, stubborn, forgiving…the list goes on. She works with her father to distribute justice on a planet that prides itself on peaceful methods. She falls in love—reluctantly at first and then with her whole heart. But the romance is not just a tacked on plot from a genre checklist. Leia falls for a boy also from Alderaan, Kier Domadi. While they agree on many topics, and their devotion to one another is tested in multiple life or death situations, ultimately their fundamental differences force Leia to make a choice about her involvement in the rebellion.
The “Empire/Anti-Empire” dichotomy is familiar for those of us that have read ‘Lost Stars,’ however, here the stakes seem somewhat higher. This may be because of ‘Rogue One,’ where we know that not everyone building the Death Star was under Palpatine’s thumb. Or maybe it’s because we know Princess Leia is destined to become General Leia, and we’re witnessing the moment that she is set on that track. Regardless of the reason, the scene is handled seamlessly with the rest of Leia’s “coming of age” tale.
There are certainly moments in the book when I could imagine Gray chuckling to herself at her desk (a politician does a double-take when Leia visits the current Queen on Naboo; her mother laments that her first crush is so “suitable”—every girl needs a scoundrel in her life…), but they are loving winks in the reader’s direction, and are spaced out enough that they don’t become distracting.
And Then… The Finale
By the end of ‘Leia,’ her relationship with her parents has entirely transformed. In fact, Leia’s relationship with the entire world around her has changed. She has formed a new alliance with a prickly race of water-dwellers, made friends with people she never thought she could trust, and begun to look at the Empire through the eyes of a Rebel, instead of a helpless teen.
The very last sentence of ‘Leia,’ if you haven’t already started crying during the read, will destroy you. I won’t repeat that sentence here, because even now I’m a little choked up, and I’m not sure it carries the same weight without everything that comes before.
But trust me on this—if for absolutely no other reason, read Leia for that final, heartbreaking string of words. Not only does it tie a bow on Leia’s childhood for good, but informs so much of her decision-making through episodes IV, V and VI. If you aren’t at least a little upset by it, you might want to get your feelings checked by a doctor.
It’s been 30 years since the cult phenomenon ‘The Princess Bride’ leaped off the page and onto the screen. We love ‘The Princess Bride’ here at MFR, as we love any successful adaptation from beloved book to instant cinematic classic. William Goldman’s 1973 fantasy novel plays a trick on readers, successfully convincing a whole generation that what he published was just the “good parts” version of a Medieval fairy tale. In fact, Goldman regularly received fan mail for a time requesting that he release the complete text and let the readers decide for themselves just what the “good parts” of the story were.
Truthfully, Goldman created this façade just as he created Buttercup, Westly, Fezzik, Inigo and the rest. But it didn’t stop readers from begging for more, and so the book was adapted for film in 1987. Since then, watching ‘The Princess Bride’ has turned into something of an event, with “quote alongs” and shadow casts mimicking the tradition of Rocky Horror screenings. And yet, a pure viewing on your ‘home theatre’ is just as (if not more, in this writer’s opinion) enjoyable. What made the adaptation so successful?
‘The Princess Bride’ is a love story, plain and simple. Well, maybe not so plain and simple upon repeat readings and viewings. There are multiple love stories at play, and Buttercup and Westly are just the most obvious of the bunch. But in the book, there is an implied love story between author and text, that Goldman would prepare something so archaic for current audiences and enhance its enjoyability for generations to come. In the film, that love translates to Grandfather and Grandson. Initially, Grandpa (Peter Falk) is willing to skip over the kissing bits to keep his Grandson’s attention and help him feel better when he’s sick. Of course, by the end, the Grandson (Fred Savage) doesn’t mind a little kissing and wants to hear the whole story again, immediately. Same, buddy.
Then there is the father-son love story between Inigo Montoya (Mandy Patinkin) and the father he dedicates his life to avenging. Another tale of love and devotion develops between Fezzik (Andre the Giant) and Inigo—a love based on platonic devotion no matter the odds.
And finally, what makes ‘The Princess Bride’ just as good on screen as it is on the page? Buttercup is kind of way more bad-ass in the movie than she is in the book! Robin Wright was awesome long before she trained a tiny Diana in ‘Wonder Woman,’ and this time she did it in floor-length gowns. Buttercup is in stereotypical damsel-in-distress danger throughout the film but hardly blinks at any one of her captors. She knows that the love between her and Westly transcends all logic, and she stands behind that even when a weirdly good-looking pirate threatens her life. She joins the fight against R.O.U.S.es and comes up with a plan to leave clues behind to better her chances of rescue. Not to mention, she JUMPS OUT OF A WINDOW before riding off into the sunset with her band of misfit heroes.
For all its fantasy elements, ‘The Princess Bride’ is more realistic than it seems at first blush. And more than that, it transcends time and setting to become a tale thick with “good parts” from beginning to end.
20th Century Fox released the first trailer for ‘Maze Runner: The Death Cure’ Sunday night.
The final film has been an incredibly grueling process to finish. Dylan O’Brien was seriously injured in a stunt accident. The actor was pulled from one vehicle and was struck by another, leaving him with a concussion, facial fracture, and brain trauma among his injuries. Production shut down for several weeks, then indefinitely. It was even rumored O’Brien might not return to finish the film. He came back and here’s the first trailer.
About the film: In the epic finale to the Maze Runner saga, Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. To save their friends, they must break into the legendary Last City, a WCKD-controlled labyrinth that may turn out to be the deadliest maze of all. Anyone who makes it out alive will get answers to the questions the Gladers have been asking since they first arrived in the maze.
‘Maze Runner: The Death Cure’ is directed by Wes Ball from T.S. Nowlin’s screenplay based on James Dashner’s novel. The film stars Dylan O’Brien, Kaya Scodelario, Walton Goggins, Nathalie Emmanuel, Katherine McNamara, Thomas Brodie-Sangster, Rosa Salazar, Giancarlo Esposito, Patricia Clarkson, and Barry Pepper.
‘Maze Runner: The Death Cure’ hits theaters on January 26, 2018.
Vince Vaughn is beginning to get out of his own way.
For years the tall drink of water, a motor-mouthed frat boy whose characters were never quite as charming as they thought they were, has been on cruise control. From one sour, ill-conceived “comedy” to the next, Vaughn has devolved from the indie-film sensation, to the curiously eccentric comedy actor, to the brilliant goofball, to a complete afterthought by the time the 2010s came calling.
But now, it appears Vince Vaughn might be trying to kickstart his very own Renaissance. If the early buzz emanating from Fantastic Fest regarding his performance in S. Craig Zahler’s hyper-violent Brawl in Cell Block 99 are any indication, Vaughn may have finally found the role to reconfigure his public persona. He’s going dark, and we should all be here for it.
He’s tried to shed the cornball schtick before, all throughout his career. It’s never quite taken. After Swingers, when he was the new indie comedy sensation, Vaughn did pop up in The Lost World, but the other films in the wake of his success were quirky dramas like A Cool, Dry Place, offbeat, forgettable late 90s thrillers like Clay Pigeons, and experimental art projects like the ill-advised Gus Van Sant Psycho remake. Which, if we’re sitting here in the trust tree… isn’t entirely without merit.
The 2000s were an up-and-down time for Vaughn, who went from the bizarro psychological thriller The Cell to the Jon Favreu-directed comedy Made, both of which I admire on different levels and for different reasons. And then, Vaughn embraced the overgrown frat/jock persona and his career found a second resurgence.
Both Old School and Wedding Crashers were huge hits. The Break-Up was half of a funny movie; and then, the bottom fell out of Vaughn’s career. Fred Claus. Four Christmases. The Dilemma. The Watch. The Internship. Unfinished Business. And in the span of a decade, Vince Vaughn turned from box-office gold, America’s favorite funny man, to a laughable parody of his former self. The problem was (one of them anyway), Vaughn had physically outgrown his manchild buffoonery bit. His eyes were tired, sadder now, his build thicker and more… well… middle aged. In those last few “comedies,” he looked tired, ready to give out on his character mid scene time and time again. Vince Vaughn wanted to reinvent himself, and you could see it in his heavy eyes.
That’s why he took on True Detective. He saw a chance to flip his own script. Like a few of those movies during his downturns, this writer will defend True Detective for its brash weirdness and dedication to just pure gonzo storytelling. Still, it wasn’t good enough. But it was enough of a taste for Vaughn to realize he had honest dramatic acting somewhere deep down inside. He was tapping into a well he had yet to mine, and Brawl in Cell Block 99 might just be the beginning of his latest, greatest chapter.
Vaughn is still going to do comedy – he has an upcoming movie on his IMDb page called Fighting With My Family, about a family of wrestlers – but he also has another S. Craig Zahler film on the horizon: Dragged Across Concrete. It may tap into Vaughn’s Hollywood outsider political views, especially since it’s the story of two white copes (he and Mel Gibson, of all people) who are suspended for their abusive tactics, but Vaughn isn’t here for your praises. He’s here to show you his dark side, his adult side. He’s not here to be your clown anymore… at least not all the time.
Last week, fans were treated to the fun, yet simplistic Rick and Morty episode Morty’s Mind Blowers. While not a game-changer that previous Season 3 episodes have been, it took the clip show format and turned it on its head the only way Rick and Morty could. This week, it’s a Rick and Beth on a whirlwind adventure in The ABCs of Beth.
In The ABCs of Beth, Rick created a very real, imaginary world named Froopyland for Beth to play around in as a child while Rick went on his interdimensional adventures. As it turns out Beth’s childhood friend Tommy has been trapped in Froopyland for decades, and procreated with the creatures of the land, claiming himself king.
There was also the side story with Morty and Summer, spending the day with Jerry before a custody hearing. He’s living with, and love with a blue-skinned, triple-breasted alien huntress. Things don’t turn out so well for the three of them when Jerry decides to call it off with her.
Froopyland turns out to be way more than a playground for Beth. Without giving anything away, Beth is way more like her father than anyone could have ever fathomed.
In the previous episode, Morty’s Mind Blowers, Morty uncovers a truth about Rick manipulating his life by erasing traumatizing memories. In The ABC’s of Beth, it’s Beth who finds out that her father has been manipulating her since she was little. The consequences of which leave her world turned completely upside-down. What she actually chooses to do with this bit of information remains to be seen.
In the end, The ABCs of Beth leaves viewers with a debate topic that may never get answered. That’s just how much Dan Harmon and Justin Roiland love to mess with the fans of the show.
The existential question this episode of Rick and Morty asks its viewers – do we embrace who we really are? Or do we run from it?
Some Random Highlights
“Whatever you say, Stone Cold Steve Austin.”
“Am I evil?”
“Worse, you’re smart.”
“A whip that forces people to like you. Invisibility cuffs. A parent trap. A lightning gun. A teddy bear with anatomically correct innards. Night vision googly-eye glasses. Sound erasing sneakers. False fingerprints. Fall asleep darts. A lie-detecting doll. An indestructible baseball bat. A taser shaped like a ladybug. A fake police badge. Location tracking stickers. Rainbow colored duct tape. Mind-controlling hair clip. Poison gum. A pink, sentient switchblade.”
Final thoughts
Did Beth do it???
Here’s a preview for the (sniff sniff) season finale of Rick and Morty, The Rickchurian Mortydate, which we completely missed the mark on in regards to the plot. Enjoy!
What did you think of The ABCs of Beth? Let us know in the comments!
