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Possible Pike Series?

Posted: 04/21/2019 in Uncategorized
Fans hoping for a spinoff series focused on Anson Mount’s Captain Pike fromStar Trek: Discovery have new reason to think such a project will eventually happen.

When asked by The Hollywood Reporter about a fan petition asking for a spin-off centered on Captain Pike, showrunner Alex Kurtzman responded, “The fans have been heard. Anything is possible in the world of Trek. I would love to bring back that crew more than anything. It was a huge risk for us. One of the most gratifying things is to see how deeply the fans have embraced Pike, Spock, Number One and the Enterprise. The idea of getting to tell more stories with them would be a delight for all of us.”

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Discovery was officially renewed for a third season by CBS All Access last month with series writer Michelle Paradise being promoted to co-showrunner alongside current executive producer and showrunner Alex Kurtzman. It’s one among many projects centered on the universe created by Gene Roddenberry currently airing on the network’s streaming service.

Streaming on CBS All Access, Star Trek: Discovery Season 2 stars Sonequa Martin-Green as Commander Michael Burnham, Doug Jones as Commander Saru, Anthony Rapp as Lt. Commander Paul Stamets, Mary Wiseman as Ensign Sylvia Tilly, Shazad Latif as Ash Tyler, Wilson Cruz as Dr. Hugh Culber, Anson Mount as Captain Christopher Pike, Mary Chieffo as L’Rell, Tig Notaro as Chief Engineer Reno, Ethan Peck as Spock, Rebecca Romijn as Number One and Michelle Yeoh as Philippa Georgiou. Season 2 is streaming now.


Well, this was a damned sight better than most offerings this season. We get an actual delving into Nora’s real backstory namely her connection with Thawne. Some characters came off well in this run, some exhibited recidivism while –  others made pretty solid stands. The plot course was nicely maintained without an ounce of filler. Honestly, this episode reminded me why I watched this show in the first place. My review follows below.

We open with Barry/Flash (Grant Gustin) speaking with Nora, after learning of her betrayal via Sherloque (Tom Cavanaugh), and having thrown her into the lab’s meta human containment vault. Honestly, Barry taking a stand and locking her up without hesitation was simply  refreshing. He has been betrayed. He really doesn’t know anything about this young woman other than what she has told him. He had given her ample opportunity to own up to her ‘partnership’. Hell, even Thawne (Again Cavanaugh) had pushed her toward coming clean. Still, she opted for deception, circling back to a @#$#heel move with Sherloque tricking him into a romance with another version of his one and only to distract him.

Points must be given to Sherloque who is simply unapologetic when the team…not Barry… charges him with not coming to them sooner. Most vehement is Iris (Candice Patton) who initially came at him when he began his investigation. “She’ s my daughter” defense is well standard old Iris, know it all, opinionated and irritating. Sherloque’s admission that he suspected Nora from the beginning was a little tactless but I admired him standing his ground as Cavanaugh delivers yet another good iteration of Wells. Cecile’s “feeling Nora’s pain” is deftly met by the allowance that for her to not have detected the deception, Nora’s con must have been deep indeed. Sherloque’s “your anger is misdirected” is on point.

Where the ep hits on every point is the reading of Nora’s diary via Barry’s request. The back story of Nora in the future was actually pretty darned engaging, including featuring her best friend and fellow CSI Lia (Kathryn Gallagher). We meet the daughter of the fastest man alive as a regular person. She is a kindly, if nervous, eager- to- please young CSI officer. Her friendship with Lia seemed earnest and comparisons to the Cisco/Flash dynamic can easily be made. Even the funny acknowledgement by Lia  that she needs to work on coming up with villain/hero names delivered.

The introduction of “Godspeed”(Kindle Charters) allowed for an XS origin story of sorts, with a parallel that could easily be drawn to the Spider-man mythos. The presence of a speedster who steals various compounds for an unknown reason allowed for shout outs to DC source material, namely Stagg Industries and S.T.A.R. labs. An encounter with the Central City’s latest speedster seemingly gifts Nora with super speed. Knowing the truth of her story via earlier episodes did not diminish the slow burn reveal along with the uncovering of how much Iris had withheld from her daughter. While Nora is not my favorite character, seeing her perspective as all elements converge and conspire to push her ultimately  pushes her to accessing the only resource she has regarding instruction.

Honestly, the sequences of the episode in which Thawne guides Nora to using her abilities to avoid harm were superior, hearkening to the stellar first season in which he similarly instructed Barry Allen. It seems there must always be a Wells in the world of the Flash, be it enemy or ally. All moments featuring Thawne were stellar, reminding us of how good the show can be when it retains its focus.

Barry’s final decision on the matter was jarring but understandable and will  assuredly have consequences. Flash meeting with Thawne later rekindled the aspect of the two remaining nemeses. This was just such an excellent bit of course correction. If the final few episodes can maintain this desired trajectory, Season V of the Flash will prove to be a winning one. Here’s hoping.


First ‘John Wick: Chapter 3’ Clip Says Goodbye to a Close Friend

     APRIL 19, 2019


Lionsgate has released the first John Wick: Chapter 3 – Parabellum clip. The upcoming movie has John Wick (Keanu Reeves) on the run after he’s declared excommunicado by the criminal underworld after killing a member of the High Table at the climax of John Wick: Chapter 2. Wick must rely on his wits, a few close friends, and his ability to kill everyone he meets in order to survive.

In this clip, Wick and his dog enter a taxi only to get stuck in traffic. Wick, realizing that time is of the essence, pays the driver to take the dog to the Continental where it will be safe. After all, it’s not like the dog broke the sanctuary rules. The dog is cool. Still, it’s surprisingly heart wrenching to see Wick say goodbye to his dog even if nothing bad happens to the dog (at least not in this clip).

Check out the John Wick: Chapter 3 – Parabellum clip below. The film opens May 17th and also stars Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Saïd Taghmaoui, Jerome Flynn, Jason Mantzoukas, Tobias Segal, Boban Marjanovic, with Anjelica Huston, and Ian McShane.

Here’s the official synopsis for John Wick: Chapter 3 – Parabellum:

In this third installment of the adrenaline-fueled action franchise, super-assassin John Wick (Keanu Reeves) returns with a $14 million price tag on his head and an army of bounty-hunting killers on his trail. After killing a member of the shadowy international assassin’s guild, the High Table, John Wick is excommunicado, but the world’s most ruthless hit men and women await his every turn.


Production on ‘Swamp Thing’ Abruptly Halted as Future of DC Universe Cast into Doubt

      APRIL 17, 201


The DC Universe series have been chugging along with shows like Titans and Doom Patrol, but production upheaval on the set of Swamp Thing may mean some major changes for the streaming service. A local outlet in North Carolina [via The Playlist], where the show is filming, reports that production was suddenly halted after only 10 episodes. The plan is now to re-write the final episode to provide a satisfying conclusion instead of sticking to the original plan to carry the story across thirteen episodes.

As the streaming wars heat up, it’s becoming clear that not every streaming service is going to make it. Yes, DC Universe has a large backlog of animated series and select movies, but among its original titles, you really only had Titans and Doom Patrol, and while those shows had their fans, that’s not enough to keep plugging away at original content in the hopes of building a subscriber base that’s being asked to make some tough decisions about subscriptions. DC Universe had to make the case that it was worth $8/month or $75/year (depending on your subscription option), and it looks like it’s struggling to make the argument. If Swamp Thing can’t even make it to its first full season order, what does that mean for other shows in the pipeline?

It’s possible that this could just be isolated to Swamp Thing and that higher-ups are unhappy with what they’ve seen so far and they’re cutting their losses. Either way, it’s certainly a bummer for fans of Swamp Thing, since an abbreviated first season means a second season is highly unlikely unless the show becomes a surprise sensation.

If DC Universe does fade, it will be interesting to see what Warner Bros. does with it. Will they try to fold it into a subscription with the DC Comics subscription? Will the shows end up on WB’s upcoming streaming service? The studio certainly has options, and perhaps an isolated genre channel meant just for their superhero properties was a bit of overreach.

Swamp Thing is executive produced by James Wan and stars Andy Bean, Crystal Reed, Virginia Madsen, Jennifer Beals, Will Patton, Derek Mears, Ian Ziering, Henderson Wade, and Kevin Durand.


This was kind of a filler-ish run but good writing elevated it somewhat with the welcome return of Caity Lotz’s  Sara Lance/White Canary. Funnily enough the Arrow centric aspect fell a little flat. The teaming of present day Canaries melded nicely with the 2040 flash forward arc. While the show is assuredly wrapping up and would benefit from a shorter season, the ep overall delivered. My review follows below.

We open with Laurel (Katie Cassidy-Rogers) embracing her Black Siren persona. Having been ‘outed’ by Emiko Queen (Sea Shimooka), she is now persona non grata, being branded an outlaw and killer. As such she seemingly resumes her criminal activities. This includes pairing up with Shadow Thief (Carmel Amit) who sadly is nothing like the character she is named after. In any case, villainous shenanigans ensue including some random thefts with a chaser of murder via S.T. Felicity (Emily Bett-RIckards) naturally advocates on Laurel’s behalf and attempts to reach her. DInah (Juliana Harkavy) opts to hunt and take Black Siren down. Each woman has her understandable motivation for the respective path taken.

The sub plot featuring Green Arrow/Oliver (Stephen Amell) seeking out Emiko’s mother’s killer really didn’t amount to much. He and John/Spartan (David Ramsey) find the killer pretty damn easily and even the ‘take down’ occurred with relative ease considering the man known as Kodiak’s (Michael Jonnsen) previous appearances featured him being a nearly unstoppable force. The duo capture, interrogate and learn something that was pretty simple to have figured out. The twist assuredly will be in the part Emiko will have had to play in the affair. The attempt to elevate and escalate her to super baddie has thus far been pretty piss poor. When one considers how easily Dante (Adrian Paul) effortlessly ascended as the season’s top nemesis, everything else that occurred in this plot arc’s wake seemed rather undermining…and unnecessary.

The future arc had a bit of kick to it, though Katherine MacNamara’s Mia Smoak came off as an @#$hole in this run. There is being self assured and cynically hard-assed…and then there is just being stupidly defiant. Path # 2 was freely chosen in this run. Dinah’s heartfelt speech being met with Mia’s “It’s too bad I’m not a Canary” might have made me swear a little. The presentation of a society of “Canaries” had proper traction via its set up in the present featuring Felicity, Dinah and Sara. The flash forward end sequence gave a strong payoff as well as the assurance that what appeared to be a present day’s easy fix plot resolution expanded into something more.

Seeing Sara in a more contained, standard heroic environment hearkened back to the earlier…superior seasons of Arrow. Ms. Lotz can move. Her fight sequences are seamless and she makes things look easy. No less so are Dinah’s. Harkavy has a natural fighting grace that has carried forth since her introduction season’s back. The investment made in a redemptive arc for Laurel could easily have been squandered with this run…or made overly grandiose with ham-fisted handling. Bringing in Sara as both a sounding board and tether allowed for some good moments to occur and the notion that while Arrow’s days are numbered, there may yet be more in store for the group of “birds of something or other”.

This latest run managed to allow for a side story without detracting from the main ‘Fall of Star City” story line. Arrow is still solid and so far continues to reward those who have been with the show from inception and will be there at its sunset. The show that started it all is still well worth your time.


After last week’s wild run, the idea of this latest follow up to such a superb ep wouldn’t quite be as good seemed inevitable. What followed with this foray was just underwhelming. I get that LOT is one of DC’s most bat-shit offerings and that the game of one up-man-ship is an ongoing one. With this latest offering however, I think the show runners went too far off the beaten path, bringing forth something that was zany for zany’s sake and at best…a filler episode. My review follows below.

After last week’s episode, we join the team at Hank Heywood’s (Tom Wilson) funeral. I was actually quite disappointed that this death stood as Wilson did a very good job at making his character more than a mere moustache twirling shadow ops bad guy. I had a brief hope that he was simply in a coma like state, but I guess Neron (Christian Keyes) simply doesn’t play. The chemistry between Zari (Tala Ashe) and Nate (Nick Zano) gets a stronger push with this run and the moments between the two seemed both organic and earned. Ray (Brandon Routh) fearing Nate’s anger due to it appearing that Nora Dahrk (Courtney Ford) has killed Hank is quickly diffused. Nick’s anger is reflected in a  eulogy statement  about his father before his mother Dorothy (Susan Hogan) interjects herself and gives a heartfelt eulogy which ties in nicely with an end segment reveal.

The Ray/Nora moments were fun. The two who are actually a real life couple have a genuine sense of play that translates well on screen. He is a boy scout who clearly wants her. She is damaged, powerful but at heart someone who wants a normal life. Ray is as close as she can get. The two coming together allows for some genuine fun moments…along with the notion that neither is probably a good singer….more on that point later.

Constantine’s (Matt Ryan) detecting Hank’s spirit and its desire to be heard by Nate allows for one of the funnier sequences in this ep, namely the use of Rory (Dominic Purcell) as a vessel for its communication. The magical aspect this season has generally played very well and strengthened the show. In the Constantine arcs in particular, the plot traction featuring the inevitable big bad has due oomph behind it.

The Jane Austen portion, which was the majority of the episode fell flat, very, very flat. Mona’s who I am rechristening as “Mona-ane” in lieu of the silly “Wolfy” was particularly cloying in this run. Her love of Jane Austen is at the heart of the episode which  framed a female empowerment motif that went direly off the rails. A magical ‘love’ god creature wreaks havoc which featured prim and proper Victorian society citizens behaving in a hyper sexualized manner. The source of the trouble is quickly …and easily… identified. Its connection with Zari, easily the strongest character in the series, yielded a monumental amount of silly. Though she initially resists the ‘god’s’ charms, she eventually gives in allowing for a  singing/dancing portion which did manage to escalate the level of zany to a nth degree. Zari proclaiming “you bet your ass it is..” when asked by Sara (Caity Lotz) if this was a Bollywood dance segment did earn a smile. While the fourth wall breaking was funny, the scene seemed overlong and Zari’s overcoming Kamadeva/Sanjay (Sachin Bhatt) only after indulging in his hijinx diminished the overall plot momentum.

The Mona moment with Jane Austen (Jenna Rosenow) lacked the heart that normally lies at the core of this show. Appearing in her feral form and initially menacing the famed write -r before both relax and share life lessons  – was fairly disingenuous. The ultimate reveal of Hank’s true goal regarding his association with Neron was just foolish…not goofy, not silly…just bad… Really, with a few notable exceptions, namely the plot traction toward a showdown with Neron, the latest LOT fizzled. Ep. 11 was just barely worth your time and not the least bit outstanding.


Probably the best episode this season thus far, this run offered a deep delving into the gods’ need for worship and sacrifice. The notion of how long the game or con has been going on is ably presented. Odin/Wednesday (Ian MacShane) is given a greater character exploration than he has had for some time. His connection with Shadow  with glimpses of joy and foreboding are framed in the  cautionary tale of “Donar the Great”. My review follows below.

Al Grimnir’s burlesque club sequences brings a mixture of pathos, humor and pain. Seeing Wednesday capering about as a song and dance showman was fun but belying his roguish performance is the degradation of the gods “just getting by”. Donar/Thor’s (Derek Theler) later proclamation “we do not serve the humans, they serve us…” is met by Wednesday’s “worship is worship”. The tragedy of Donar’s tale is juxtaposed with Shadow’s own compact with Wednesday. Shadow however is more cynical and worldly. Donar Odinson is powerful and lends himself to worship via his feats on stage but at heart he recognizes the price they all must pay to be sustained. “Donnie” not seeing the depth of the deception is galling, particularly as regards Wednesday’s machinations regarding his lover- Columbia (Laura Bell Bundy)- a goddess in her own right. Like Donar’s act, her song and dance segment is later met with a combination of regret and bemusement.

The reveal that the club was a hot spot for several gods, including Nancy (Orlando Jones) played exceedingly well. Nancy’s glib, profanity laden ‘management’ is nothing new but his giving a damn about Donar certainly is. He recognizes the decency with the younger god and pushes him to take a better path, namely absconding with Columbia and starting anew in California. This isn’t the kind of series that lends itself to happy endings however so we know that a ride in the sunset is not in the cards. What follows however is genuinely tragic.


The meeting between a young tech boy (Bruce Langley) intimates how long the war between the old and new pantheon has been occurring. TB’s snark “Your bubbly is flat. Your cherries are stale. And your girls? Are cheaper than your suit” opened the palaver between the two factions. Wednesday parleying his son’s future to a group of American Nazis could not possibly have played well, but the “Allfather’s” later act is far more treacherous. Working with his enemy to divide and conquer, Wednesday offers Columbia a place in the ‘war movement’ allowing her new worship. Like his offer to his son, Wednesday spins many lies to get what he wants. Donar’s standing up for himself sets up a power play that could easily have led to a rising up but per Odin’s later ‘confessional’ to Shadow yields something truly heartbreaking.

The necessary levity does keep this latest segment from being a completely heavy run. Wednesday’s meeting with the dwarves was funny, including their negotiating with him for an object of power, namely Lou Reed’s autographed leather jacket. Framed by Reed’s music (and closed off via end credits), the manner in which Wednesday obtains the jacket is pretty superior. Appearing at rock n roll memorabilia shop as a prospective buyer… as well as a trustworthy bishop, the father of the gods is gleeful and his joy translates well on screen. Shadow’s part as straight man worked equally unquestionably well as for too long he has been a passive character so seeing him playing along was a good turn. The later interrogation scene yielded gold. The eventual meeting with Dvalin (Jeremy Raymond) to restore Gungnir allowed for cool visuals and the notion that war is still coming.

Seeing the run end as it began with a musical sequence had depth and due gravitas. So much got done with this latest venture. Learning that even the cleverest of gods is seemingly trapped in a self destructive cycle gave the show the emotional resonance it has meandered away from for too long. American Gods returns to its proper path and is simply outstanding and well worth your time.


This was a truly riveting episode, featuring Jane’s descent into the previously mentioned ‘underground’. Here we meet physical manifestations of her numerous personalities, about 22 of the 64. The episode was jarring, twisted and ultimately a revelation as to the trauma that informs Crazy Jane’s routinely fractured path. My review follows below.

Above are featured some of her personalities, who rail at her Karen persona for breaking free and disrupting the tenuous balance maintained by Jane (Diane Guerrero). The errant personality is eventually locked away for ‘detention’ by Jane’s primary enforcement persona, “Hammerhead”(Stephanie Caajkowski). Casting different actors to play each character was fairly brilliant as it gave the viewer her perspective of perception and strengthened the notion of how distinct her various aspects are. The underground is her microcosm, a reality in which balance must be maintained, where everyone has a respective job, from “running away”- via Penny Farthing (Ann Lore)- to running a train via Driver # 8.  The meeting between personas allowed for some powerful moments and the push to the true reality behind Jane’s fractured psyche.

Jane’s simply wanting a “break” could be anyone’s plight on a given day. The fact that another of her aspects both sympathizes and abets her allows for how deep a strain Jane is under. The framework of memory as a source of both peace and sorrow is thematically offered throughout this run. Penny’s favorite memory holds no place in Jane’s mind which pushes further confusion. Various stopping points offer guides and deception before a final, frightening protector aspect appears as gate keeper. Most troubling were the three sisters’ (Monica Louwerens) whose Shakespearian presence was pure horror. The Black Annis (Helen Abell) presence however was the creepiest, yet most powerful line of defense revealing the ultimate source of Jane’s hurt and an equally safeguard against its recurring.

Both Cliff/Robotman (Brendan Fraser) and Larry Trainor’s (Matt Bomer) ‘negative spirit’ played integral parts in attempting to reach Jane and pull her out of her catatonic state. The idea of no one being above to pilot her body is met with the contrasting idea of most personas being too fearful to take the reins. In this declaration, the pronouncement that Karin is her most dangerous self gains credence as despite her b-shit behavior, her goal is ultimately a happy, fulfilled romantic life.


The Spirit however allows Cliff to enter Jane’s mind as his former, human self and this plot device played extremely well. Like Jane, he takes a Dantesque journey to get to the bottom of what is truly going on. Like Jane, he learns deep revelations about himself. Unlike Jane, however, he accepts that he is forever changed. The sequence with Black Annis in which she forces him to acknowledge he isn’t the man he was had due gravitas with horror flourishes  – namely his deconstruction.

The “Well” is framed as oblivion, a hole where personalities are eliminated. What inhabits the hole ties into Jane’s happy memory and defines pure tragedy as the closest thing her young self had to join was an ultimately fragmented thing. Jane’s unleashing against that which inhabits the well is a push forward for her but as with any victim of true trauma, particularly of a sexual nature, there is no absolute cure. Cliff’s proclaiming to the team that Jane will be “better now” is punctuated by a final sequence that declares the truth of her situation.

Presenting probably its most emotional and cerebral episode thus far, Doom Patrol continues to lock in its position as one of DC’s best offerings. Doom Patrol is unquestionably simply outstanding and well worth your time.


Falcon & Winter Soldier Disney Plus Series Logo Revealed

Anthony Mackie’s Falcon and Sebastian Stan’s Winter Soldier are getting their own Disney Plus series and we now have our first look at its logo.

The Disney Plus streaming service just got a bit bigger with the addition of Falcon and Winter Soldier television seres. Anthony Mackie’s Falcon and Sebastian Stan’s Winter Soldier were first seen working together in Captain America: Civil War when Tom Holland’s Spider-Man was tasked with stopping the two from getting away. It was there that Falcon and Winter Soldier utilized their skills to take down Spider-Man, but the wall-crawler overpowered the two in a hilarious scene. However, Sebastian Stan and Anthony Mackie had amazing chemistry for what was a short fight scene. Now, the two superheroes will be getting their own television show and we have a look at the logo for it. Check it out below.

Falcon Winter Soldier Disney Plus Logo

If you look closely at the Falcon and Winter Soldier series logo, there is an image of a wing on Falcon’s name and the eye-catching red star from Winter Soldier’s arm. There’s no other information about the series right now, but it appears that fans will be seeing both superheroes return from the ashes. The two heroes last appeared in Avengers: Infinity War and are expected to return for Avengers: Endgame. Perhaps, Falcon and Winter Soldier join forces to take down bad guys after the events of Avengers: Endgame


Marvel’s Vision & Scarlet Witch Disney Plus Series Gets An Official Title

Marvel’s highly-anticipated Disney plus series focusing on Paul Bettany’s Vision and Elizabeth Olsen’s Scarlet Witch now has an official title: WandaVision.

Captain Marvel and Black Widow writer Jac Schaeffer will executive produce the Vision and Scarlet Witch series for the Disney Plus streaming service. She’s also writing the pilot. Paul Bettany and Elizabeth Olsen are set to reprise their roles from the Avengersmovies. Vision and Scarlet Witch were last seen in Avengers: Infinity War.



.@Marvel fans, unite! Elizabeth Olsen and @Paul_Bettany star as Wanda Maximoff and The Vision in a new series, WandaVision.

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In addition, Marvel Studios is also producing a Loki series which will see the return of Tom Hiddleston as the villainous Prince of Asgard. The character previously met his demise at the hands of the Mad Titan Thanos in Avengers: Infinity War. Marvel Studios president Kevin Feige is expected to have a high level of involvement. Each series will reportedly have between six and eight episodes.

But that’s not all. Malcolm Spellman (Empire) is developing a team-up series featuring Falcon and the Winter Soldier for the streaming service. The duo played by Anthony Mackie and Sebastian Stan were last seen turning to dust after Thanos’ snap in Avengers: Infinity War, but they are both expected to reprise their roles in Endgame. Plus, Jeremy Renner is rumored to reprise his role as Hawkeye for another Disney Plus series that will see him pass the torch to Kate Bishop.


Source: Twitter