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Mudd In Your Eye!

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Last week CBS announced that actor Rainn Wilson, aka Dwight Shrute of The Office fame, would be playing Harry Mudd in their upcoming Star Trek: Discovery TV series (the one Sonequa Martin-Green left The Walking Dead to star in). A few things here.

First of all, it's gonna take a long time for me to get used to the idea of CBS owning Star Trek. The franchise was owned by Paramount for nearly half a century, until they were bought by CBS a couple years ago.

Secondly, I will be astonished if this series actually airs. It was supposed to come out in 2016, which of course was the 50th Anniversary of the Star Trek franchise. Obviously that didn't happen. It's been mysteriously and inexplicably delayed about twelve more times since then. Right now CBS officials claim it'll debut "this summer, or perhaps fall." Wow, way to precisely narrow it down there.

Thirdly... Harry Mudd? Really? Of all the characters to dredge up, did it have to be that one? Mudd, who was played by character actor Roger C. Carmel, was a space pirate/smuggler/con man who popped up twice in the Original Series to bedevil the straight-laced Captain Kirk. He was also an unrepentant sexist pig, who came dangerously close to owning female slaves. That sh*t don't fly here in our touchy-feely enlightened 2017. I'm honestly amazed anyone would even think of bringing back such a outdated character. 

Fourthly, is this new series gonna be filled with constant winks, nods and fan service like this? If so, they can count me out. Hey, remember Harry Mudd? Here he is again! 

The producers have already cast actor James Frain as Sarek of Vulcan, and there're rumors they may try and include a CGI Spock! At this point I fully expect the crew of the Discovery to beam down to a planet and literally bump into Doctor Evazan and Ponda Boba.

As for casting Rainn Wilson... eh, I'm not seeing it. If he absolutely has to be in the show, I think someone like Nick Frost would make a much better approximation of Mudd. 

I was also going to comment that Wilson is way too young to play Harry Mudd. But then I did a little googling, and was gobsmacked to find out just the opposite is true. Rainn Wilson is currently fifty one years old. Roger C. Carmel was only THIRTY FOUR when he first starred as Mudd in 1966.

Are you frakin' kidding me? That is a hard-looking thirty four indeed. I know people didn't take care of themselves in the 1960s like they do now, but Jesus Christ! I'd have guessed Carmel was close to fifty, if not older. Surely he must have lied about his date of birth in his official bio...

Suddenly I'm wondering if Rainn Wilson is too OLD to play Mudd!

The Walking Dead Season 7, Episode 16: The First Day Of The Rest Of Your Life

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It's the Season 7 finale of The Walking Dead!

Now that was a finale! Finally, something actually happened on this show. If only the writers could learn to space out the action a bit more evenly during the year, and stop treading water until the dreaded season ending breaks.

SPOILERS FROM THIS POINT ON!

This week we get the tragic and not the least bit surprising sendoff of Sasha Williams, who first appeared way back in Season 3 in Made To Suffer. Unfortunately her departure wasn't exactly a surprise, especially if you're a reader of the comic or you read entertainment news.


Since the writers could never think of anything to do with Sasha, they slowly turned her into Holly from the comic— a character who met a shocking and grisly end. Additionally, Sonequa Martin-Green, who plays Sasha, recently announced she'd been cast in CBS' doomed new Star Trek: Discovery series. 

Showrunner Scott Gimple claimed this wouldn't be a problem, claiming in interviews that he was willing to work with her schedule so she could film both shows. Fans didn't buy that for a minute, as we all know Gimple is a lying liar who lies. Plus that's exactly the sort of thing you'd say if you didn't want the public to know one of your stars was jumping ship. 

And the fans were right. Gimple lied, Green left the show and Sasha assumed Holly's fate.

Well, sort of. Once again, Gimple took a simple and memorable scene from the comic and utterly ruined it by trying to add one of his trademarked "twists" to it. The Sasha/Holly scene was a very iconic moment in the comic, one that readers remember years later. 

Instead of following the scene as written in the comic, Gimple muddied it with weird flashbacks and fantasy sequences. And even odder, he topped it off with the bizarre concept of transporting Sasha in a goddamned coffin! Jesus wept. Just follow the goddamned comic for once, wouldja Gimple?

This episode made a YUGE deal out of Sasha's death, which seems puzzling to me. Despite the fact that she had no depth or dimension, she was positively revered in this send-off episode. But why all the hoopla? 
She's always been a second-tier character at best, one we never really knew much about. Everything about her was informed by her various relationships to men. She was Tyreese's sister. She hooked up with Bob Stookey. She became Abraham's lover. But who the hell was SHE as a person? Don't look at a the writers, they dunno either!

As for my predictions for how the rest of the season would play out— eh, I got a couple right.

I called the fact that Sasha was inheriting the Holly storyline. Well, more or less. I knew Negan would bring her back to Rick as a peace offering and she'd be a walker, but I didn't foresee the whole ridiculous coffin theme. Who would have?

I also said we'd see Gregory arrive at the Sanctuary, asking Simon for help in eliminating Maggie. I also predicted that Negan would then gut Gregory like a fish for being such a little bitch, like he did when Spencer tattled to him. That didn't happen in this episode, but I'm betting we'll see the scene early in Season 8. 

And I predicted that Dwight was planning on switching sides, or would at least ask Rick's help in killing Negan, and that's just what happened this week. Of course that wasn't really a prediction per se, since it happens in the comic. But whatever. I'm still counting it.

SPOILERS!


The Plot:

We open with Sasha in her Iron Man helmet, er, I mean inside some dark, enclosed space, listening to music on an iPod. This is one of those "non-linear, twisted timeline" episodes The Walking Dead writers love so much, which makes writing these recaps a pure joy. That was, I say that was sarcasm, son.

Cut to what is apparently a few hours earlier, as Negan enters Sasha cell, saying, "Welcome to the first day of the rest of your life, Sasha!" Houston, we have a title! He tells her she's going to help him get Rick and Alexandria back on track. He also says that in order to do that, his bat Lucille's gonna have to take out three more of Rick's people. She tells him no one has to die, but he insists punishment is necessary. She finally bargains him down to just one. Gosh, I wonder which one that'll be?


In Alexandria, Rick and the others question Dwight (who showed up at the end of last week's episode), asking him why he's there. He says he wants the same thing they do— to see Negan dead. Daryl doesn't believe him and shoves him against the wall, holding a knife inches from his eye. Tara (who's angry with Dwight for killing Dr. Cloyd last season) urges Daryl to just do it and kill him. Dwight tells Daryl that he should know from bitter experience that he doesn't lie. Daryl stares intently at him and slowly lowers the knife.


Dwight then warns Rick that Negan knows he's planning something, and is coming for Alexandria. He says he can slow down Negan, but it's up to Rick to kill him. He says if Rick does so, the Sanctuary will follow him. Rick trusts Daryl's judgement, and says he believes Dwight. He lets him go back to the Sanctuary.


At the Hilltop, Jesus tells Maggie that Gregory's left for the Sanctuary. She immediately takes charge, and tells Jesus the Hilltop's going to join Rick's fight.


Meanwhile King Ezekiel, Carol and several knights march toward Alexandria to help. Along the way they meet Morgan, who's planning to storm the Sanctuary along. Ezekiel talks him into joining them.


We then see Sasha listening to music in the dark place again, as she experiences a series of annoying flashbacks and fantasies. These are actually peppered throughout the episode, but I'm gonna round 'em all up right here. 


Sasha fantasizes about Abraham, who tells her he's going to help Rick escort Maggie to the Hilltop, where Dr. Carson can treat her. Sasha asks him not to go, as she senses danger. She says she had a dream that he died, but he deflects her concerns, saying they're going to triumph over the Saviors.


She tells him they're due to sit out a mission, but he insists he's going. She gives in and says she's coming with him.


Sasha then has a flashback to the Season 6 episode Them, when she and Maggie sat on a log watching the sun rise after a storm. Symbolism Alert!


OK, back to the regularly scheduled linear episode.


At the Sanctuary, Eugene and Sasha chat before Negan's convoy leaves for Alexandria. She tells him she still hasn't give up on him. He tells her she can ride up front with him and the other Saviors, but incredibly she insists on riding inside a coffin on the back of a truck (!!!). Even Negan himself tells her she doesn't have to ride in it, as he thinks it's odd. Negan! Sasha tells him she "needs the rest."

Seriously, The Walking Dead writers? You really just made a character willingly lie in a coffin, and yet you expect us to be surprised later when we find out this is her last episode? Well done

Eugene gives Sasha an iPod to listen to while she's inside the coffin, and tells her the trip will take about two hours. Sasha listens to her music and enjoys her flashbacks for a bit, then pops Eugene's poison pill (that he gave her last week) into her mouth.

In Alexandria, we get a montage of Rick and the others preparing for Negan's assault. Rosita sets a bunch of explosive charges, with the help of Jesus and Aaron. The weirdo Scavengers, led by Jadis, arrive and join the Alexandrians. They set up defensive positions around the wall. Michonne sits in a bell tower with her sniper rifle, joined by Tamiel, a Savior woman. Rick and Jadis stand on a platform next to the gate.

Negan's convoy arrives, and Eugene appears, trying to talk Rick into standing down. Rick says he'll only talk to Negan, but Eugene replies, "I'm Negan." Rick nods to Rosita, who pushes the button on her detonator. Unfortunately, nothing happens. Suddenly Jadis pulls a gun on Rick, as all the other Scavengers turn on the Alexandrians! Up in the bell tower, Tamiel turns on Michonne as well. Rick tells Jadis they had a deal. She calmly says that Negan made her a better one.

The gate opens, and Negan saunters in. He tells Rick he knew all about his little plan all along and had his people defuse the bombs (just how that was accomplished is left to our imaginations). He says it's all over and there's nothing he can do about it, yadda yadda. Rick tells his people not to drop their weapons.


Negan has Dwight and Simon bring out the coffin and set it upright on the back of the truck. Negan tells Rick that he brought Sasha back to him, all safe and sound. He says he'll let her go if Rick gives him everything— all the additional weapons he scraped up, all their supplies and even his pool table. Oh, and he wants Daryl back too. And Rick will have to choose another victim for Lucille.


Rick says he wants to see Sasha before he makes a decision. Negan opens the coffin, and Zombie Sasha lunges toward him, knocking him to the ground. Boy. I sure didn't see THAT coming down Main St. like a Thanksgiving Day float! Carl uses the shocking moment to shoot several of the Scavengers, as war breaks out. Rosita's wounded, and Tara drags her off. In the bell tower, Michonne and Tamiel begin battling with one another. Unfortunately Michonne gets the worst of it, taking an epic beating.


A redshirt Savior pulls Sasha off of Negan, and she attacks him instead. Simon grabs Negan and rushes him to cover like he's the President or something. Jadis shoots Rick in the gut and pushes him off the platform. She jumps down and forces him to walk. He sees dozens of dead Alexandrians lying in the streets.


Jadis takes Rick to a clearing, where the Saviors are holding several kneeling Alexandrians, including Carl, hostage. Yawn, this again? She forces Rick to his knees. Suddenly he hears a woman scream, as someone falls from the bell tower. Gasp! Could it have been Michonne? That's sure what the writers want us to think!


Negan enters and does a replay of the Season premiere, saying Rick's going to have to pay and needs to be taught a lesson, and on and on. He tells Rick he's going to kill Carl in front of him, and then Lucille's going to "take his hands," which I guess means he's going to beat them till they come off? Rick also repeats what he said in the season opener, saying he's going to kill Negan, and his Saviors are all already dead.


Negan smiles and lifts his bat. Just as he's about to bring it down on Carl's head, Shiva the tiger leaps into frame. For some reason she jumps on a redshirt Savior behind Negan instead of him, which doesn't make any sense, but let's just move on. Suddenly King Ezekiel and his knights appear, along with Maggie and the Hilltopians. They attack the Saviors and the Scavengers, quickly turning the tide in the battle. Negan sees Maggie and is furious, realizing that Rick lied to him about her death. Really? That's the most important thing to him at a time like this?


Negan orders a retreat, and he and the Saviors, along with the few remaining Scavengers, hightail it out of Alexandria. As Daryl shuts the gate, he finds a little carved wooden soldier. On the back is a message that reads, "Didn't Know." This is obviously from Dwight, meaning he was unaware of the Scavenger's betrayal.


Rick runs toward the bell tower and sees Tamiel lying dead on the ground. He realizes Michonne's OK (sort of) and flies up the steps to find her. She's not in very good shape, as she looks not unlike Stallone at the end of Rocky, but she's alive.


Back at the Sanctuary, Negan asks Eugene how Sasha could have possibly died while sealed inside an airtight coffin. Eugene says it's probably because she was sealed inside an airtight coffin. Negan eyes him suspiciously and says, "Maybe." He then addresses the Sanctuary and tells them, "We're going to war!"


Back in Alexandria, Rick, Maggie and Ezekiel, the leaders of the three united communities, give a speech to the survivors. Maggie monologues and says that this all started when Glenn decided to help Rick, which all lead to this moment.


Thoughts:
• Sigh... why must nearly every episode of this series feature some kind of twisted timeline? Flashbacks, flash forwards, flash sideways— you name it, The Walking Dead's tried it. Jesus Christ, if I want a convoluted time shenanigans I'll  watch Doctor Who! Just show the goddamned events in real time already.

It reminds me of the Deadpool movie. Despite the fact that I like that film quite a bit, even I have to admit it used a flashbacks to mask the fact that it only contained about thirty actual minutes of story. I have a feeling that's what's happening on The Walking Dead. Your script's only twenty minutes long? Tell it in flashback format! Guaranteed to stretch it out to a smooth forty five minutes!


• Dwight tells Rick he wants to help him take down Negan. He says, "I can slow them down, bring some trees down in the road, buy a little time for you guys to get ready. If you can take them out, that's where we start. You kill them, I'll radio back to the Sanctuary." Rick then says, "The Sanctuary?" Dwight replies, "Where Negan lives. That's what they call it."


Seriously? Rick doesn't know Negan's colony is called "The Sanctuary?" In all this time he's never heard anyone mention it before? Not even Carl or Daryl, both of whom actually spent time there?


• When Maggie's discussing strategy at the Hilltop with Jesus, we see Enid pick up a baby and take it out of the room. Was that Baby Judith? What's she doing at the Hilltop? Did Rick pawn her off on Maggie to keep her out of harm's way? Honestly it doesn't seem like the Hilltop's much safer than Alexandria these days.


• I wonder if Michael Cudlitz, aka Abraham, came back just to film this episode, or they had the season planned out in advance and he shot his farewell scenes months ago? He's sporting his Abraham crew cut and walrus mustache, so I'm betting they probably filmed his scenes way back when. I can't believe he walks around like that in his everyday life!


• When the weirdo Scavengers first arrive at Alexandria, most of them are carrying the guns Rick stole from Oceanside. However, one gangly-looking Scavenger has apparently armed himself with a large red umbrella! Wow, I bet that'll have Negan quaking in his boots!

• I have to admit I laughed when Jadis offered to "lay with" Rick after the war was over. 


That said, I still say that three and a half years (which is how long most sources say have passed in the world of the show since the zombie outbreak) is nowhere near long enough for such a society of bizarre weirdos to have evolved.


• This episode is actually combines and condenses several issues of the comic, specifically Issues #113 through #119. That's actually a good thing, as the conflict between Rick and Negan was drawn out a little too long on the printed page. Negan comes to Alexandria and threatens Rick, Rick goes to the Sanctuary and threatens Negan, Negan brings Holly back to Alexandria and attacks, lather, rinse, repeat.

• As Negan's convoy arrives, Eugene appears and uses a bullhorn to try and talk Rick into standing down. Well, at least I think that's what he's doing. His actual words are: 
"All points are covered. Every contingency is already met. I come armed with two barrels of the truth. A test is upon you, and I'm giving out the cheat sheet. H-Hello. I come salved with the hope that it is my dropped knowledge that you heed. Options are zero to none. Compliance and fealty are your only escape. Bottom-lining it— you may thrive, or you may die. I sincerely wish for the former for everyone's sake. The jig is up and in full effect. Will you comply, Rick?
After that tortured, convoluted opening statement, I was hoping Rick would say, "What the hell are you even talking about?"

Since he first appeared, Eugene's seemed like he was somewhere "on the spectrum," as his speech pattern has always been stilted and overly verbose. But this season the writers have gone way overboard with him, as they seem determined to twist his speech into ever more impenetrable knots. It was mildly amusing at first, but now it's just annoying.


It reminds me of how Yoda's speech has evolved over the years. When he first appeared in The Empire Strikes Back, he spoke fairly normally, only twisting his syntax when he was trying to act like a crazy little hermit. By the time the Prequels came out, he was saying stuff like, "Around the survivors, a perimeter create!"


It's time to dial Eugene's syntax back a notch or twelve.


• OK, I did NOT see the Scavengers' betrayal coming, so that was a nice surprise. They don't appear in the comic and were created just for the show, so I had no idea what was going on with them. Well done, writers!


So what was up with the Scavenger's betrayal? It's kind of vague, due to their bizarre, impenetrable and ridiculous way of speaking, but as near as I can tell, Negan made them a better deal. When Rick tells Jadis, "We had a deal," she says, "Tamiel came for the boat things. Followed ones who took. Made a better deal."

From that I gather that "Tamiel" is one of the Saviors, who I guess found the Saviors and took the supplies they stole from the houseboat earlier in the season. Jadis apparently followed Tamiel back to the Sanctuary and for some reason told Negan about her deal with Rick. I guess he then made her a better offer, instead of bashing her head in with Lucille. As I said, it's all pretty vague.

• A while back I noted while Andrea's long dead on the show, she's still alive and well in the comic, and it appears that the writers are merging her character with that of Michonne.

Nowhere was that more evident than in the bell tower scene in this episode, in which Michonne battled one of the Saviors and darned near got killed. The exact same scene happened in the comic in Issue #113. There Andrea battled a male Savior in the bell tower, and was practically beaten to death before finally overcoming him. In the comic Rick even hears a scream and thinks Andrea's been thrown from the tower to her death!


• I'm struggling to understand why Negan was trying to use Sasha as a bargaining chip with Rick. Nothing about it makes any sense.

See, in the comic, Negan knew Rick was planning to strike back at him, so he went to Alexandria on the pretense of trying to talk things out. He even seemingly brought Holly back safe and sound as a peace offering. Holly's then unmasked, we see she's a zombie, she bites Dr. Cloyd and in the confusion Negan orders his men to attack. Negan had Alexandria surrounded, but used Holly as a diversion.


In this episode, Negan comes to Alexandria on the pretense of trying to talk things out, and then gives the signal for the Scavengers to turn on Rick and his crew. The Alexandrians are all now completely screwed, with no possible way out. Negan has the complete and total upper hand. Yet for some reason he gives Sasha (who he thinks is still alive) to Rick as a peace offering, and not as a diversion. But why? Why offer an olive branch to Rick AFTER he's sprung his trap on him? 


As I said, it just doesn't make any sense. It's like Gimple wanted to change up the comic storyline a bit, but didn't stop to think how his alterations would effect the scene.


• All through the "Negan Returning Sasha" scene, I sat there scratching my head trying to figure out what the hell Gimple was thinking when he (co) wrote this episode. Seriously? Negan brings Sasha back to Rick... in a goddamned coffin? 

When this scene appeared in the comic, it was elegant in its simplicity. Negan brings back Holly, she's wearing a bag on her head but appears to be fine, the bag's removed, she's a zombie and she starts attacking Rick's people. All very straightforward.


For some reason, Gimple thought it this simple scene would be vastly improved by stuffing Sasha in a coffin and having Negan drag it all the way from the Sanctuary. It's just so... nonsensical.


And talk about telegraphing a scene! Is there anyone out there, even the densest viewer, who didn't figure out that she was dead in there? Jesus, they might as well have painted "Don't Dead, Open Inside" on the outside of the coffin! 


Was this coffin scene another one of Gimple's ham-handed attempts at symbolism, like Carol literally seeing a storm cloud on the horizon in Bury Me Here? I can just imagine it. Gimple was writing this script and paused, thinking to himself, "Well, it's OK, but it needs something more. Something really clever, to inform the audience about what's going to happen. Something that represents death. Like a grave. No, a cross. No, I've got it! A coffin! I'll have Sasha travel back to Alexandria inside a coffin!" And then I've no doubt he leaned back in his chair, took a sip of coffee and congratulated himself on another award-winning script.


Once again, Gimple takes a simple scene from the comic and completely ruins it, muddying it almost beyond recognition. If Gimple's not careful, his name's gonna become a new verb, meaning "to needlessly complicate or destroy something." As in, "The factory was running smoothly until Steve came along and Gimpled it."


For the sake of comparison, here's the superior way the Holly scene played out in the Issue #119 of the comic (WARNING! Naughty language ahead!):


Negan shows up at the gates of Alexandria with Holly, as a "peace offering"to Rick. In true hostage fashion, she's got a bag over her head.

Rick calls to Holly, telling her to follow the sound of his voice.

Dr. Cloyd, who was still alive at this point in the comic, runs out to intercept Holly.

She pulls the bag off her head, and hijinx ensue, as Negan gives the order to attack.

See? It was much simpler and made much more sense in the comic. No clumsy coffins anywhere to be seen.


• After being absent for most of the season, Negan's stylish red cravat makes its return in this episode. I guess this must be his "Head Beatin' Scarf," that he only gets out when Lucille's hungry.

By the way, Negan really needs to get a new schtick. His "Line "Em Up And Beat "Em In The Head" act is getting old fast.


• Negan threatens Rick (again) by saying he's gonna kill Carl in front of him, and then Lucille's gonna "take his hands."


It's no secret by now that in the comic, Rick lost his right hand years ago (courtesy of the Governor). Gimple says it's never gonna happen on the show though, as it would require tons of green screen effects and be prohibitively expensive. Still, they manage to stick in a "missing hand" reference at least once per season.

• The Shiva Attack was awesome! Easily the best moment of the entire season. Hopelessly contrived of course, as she appeared at jusssst the right moment, but still pretty damned cool. Kudos to the producers! Best of all, Shiva looked completely real to me. Hundreds of times better than some of the wonky effects we've seen this season.

That said, why the hell did she attack that redshirt behind Negan? Why not go after the guy swinging the baseball bat? I know the real world answer— because Jeffrey Dean Morgan has a two year contract with the show. But I can't think of a good in-universe reason why she didn't pounce on him.


It's also fortunate for the Alexandrians and the Hilltopians that Shiva could instinctively tell they were good guys, and only went after the Saviors.

Shiva actually does attack the Saviors in the comic (under slightly different circumstances though) in Issue #114 of the comic.

• After Negan and the Saviors retreat, Daryl closes the gate and spots a little wooden figure with the words, "DIDN'T KNOW" scrawled on the back.

This is obviously a message from Dwight, telling the Alexandrians he wasn't aware the Scavengers were going to betray them. We've seen Dwight carving figures in the past, and in fact Daryl saw this particular one in Dwight's room when he escaped the Sanctuary.


This is proof that Dwight's telling the truth, and really does want to take down Negan.


• All season long I've been going on about how the writers deliberately keep the locations of the various communities vague, for storytelling purposes. It's a cheap bit of plot trickery, but I can understand why they do it. If they establish that Alexandria is a two day walk from the Hilltop, that'll cause problems someday if they ever need Rick to get there in an hour. So I get all the ambiguity.


This week though we finally get a tiny location clue. When Sasha's preparing to leave the Sanctuary in her coffin, she asks Eugene, "A couple hours to get there, right?" He replies, "At least. Might be a circuitous and janky route. With what they're planning, they could be watching the roads."

So we now know that the Sanctuary is at least two hours away from Alexandria by car. It's not much of a clue, but hey, it's something. And it could helps a bit to explain why it took the Saviors so long to discover Alexandria.

Anyway, so much for this episode. It's time for The Sixth Annual The Walking Dead Season End Awards, Even Though This Is Season 7! On with the Awards!

Fastest Fall From Grace Award
For the second year in a row, Scott Gimple, come on down!

Last year I note that Gimple took over as showrunner in Season 4, and immediately solved a lot of the show's problems, as well as writing some of its best ever episodes. Sadly that all changed in Season 6. He stretched six episodes worth of story into sixteen, gave numerous characters drastic personality changes (many of which happened offscreen), turned most of the characters into poor decision making imbeciles, and completely botched the most famous moment from the comic.


Welp, he did the same exact thing in Season 7. He had the opportunity to redeem himself with the season premiere, but he STILL insisted on twisting the timeline with flashbacks and fantasy sequences, forcing the audience to piece together the events, which once again, completely ruined the impact of the storyline.

He did the same damned thing with the Sasha storyline in the season finale, diluting another powerful moment from the comic. And of course there was all the obvious padding and foot-dragging, as he continued stretching a handful of episodes into a full season's worth.

He's lost any and all goodwill he ever scored with me, and the sooner AMC boots him off the show, the better.

Bad To Worse Award
Once again, this award goes to showrunner Scott Gimple!

I spent quite a bit of time last year ranting about the terrible, horrible, no good, very bad Season 6 finale, in which showrunner Scott Gimple inexplicably decided to obscure the identity of Negan's victim, spoiling his introduction for all time and pissing off fans of both the series and the comic.

Gimple could have redeemed himself with the Season 7 premiere, but instead he did the same goddamned thing! The episode opens AFTER the infamous head-bashing scene, and we're then treated to a confusing series of flashbacks, flash forwards and flash sideways as Gimple jealously doles out information, leaving it to the audience to piece everything together into a coherent narrative. 

Whatever happened to just telling a story from point A to B?

As proof of Gimple's disdain for the audience, you need look no further than the way this Season 7 premiere is structured. Incredibly, the episode doesn't pick up exactly where Season 6 left off, but begins after Negan has already killed two of Rick's crew. Just who he killed though is none of our business. We don't find out who was murdered until halfway through the goddamned episode, when Rick takes the time to lie down and have a flashback. Are you f*cking kidding me?

For a horrifying moment, I honestly thought we weren't going to find out who died in the premiere. If that had actually happened, I was fully prepared to drive to Scott Gimple's home and punch him in the dick. And then I'd get mad!

Where's My Fainting Couch Award?
This award goes to select viewers of The Walking Dead, who complained that Glenn and Abraham's deaths traumatized them so much they decided to stop watching the series.

So let me get this straight— you stopped watching a show in which people routinely shoot, decapitate and dismember zombies because it's suddenly too violent. Got it.

Reddest Redshirt Award
Goes to Ben, one of King Ezekiel's knights from the Kingdom. Ben first appeared in The Well, and the second I saw him, I knew he was doomed. He was just too young, eager and decent to survive in the world of the show.

Does Negan Better Than Negan Award
And the award goes to Steven Ogg!

When Negan first appeared back in Last Day On Earth, I praised Jeffrey Dean Morgan's terrifying performance, saying he was perfectly cast. 

I meant what I said at the time. Unfortunately after that initial appearance, Negan has inexplicably devolved into a bizarre, quippy, semi-buffoon. 

Steven Ogg began appearing on the show this season as Simon, Negan's right-hand man. In my opinion, Ogg would make a much, MUCH better Negan than Morgan. I kind of wish they'd cast him in the role instead.

Vague Geography Award
Goes to the Post Apocalyptic Settlements of Virginia.

This has been going on for a couple seasons now, but it's only getting worse. There are now at least six thriving communities on the show— the Sanctuary, Alexandria, the Kingdom, the Hilltop, Oceanside and the Scavenger's dump. Every one of these communities have been going on supply runs for years, yet only recently became aware of one another.

Isn't it amazing that in all those trips of ever-increasing distance, the various groups never once ran into one another? What are the odds?

Earworm Award
Goes to Easy Street! C'mon down and get your trophy!

In The Cell, Daryl's being held captive in a tiny darkened room in the Sanctuary. Dwight psychologically tortures him by playing the song Easy Street, but the Collapsable Hearts Club (and yes, they either knowingly or mistakenly spelled "collapsible" wrong), twenty four hours a day.

It's a relentlessly upbeat and peppy little ditty, and you'll never hear a more insidious ear worm in your life. It was stuck in my head for two or three days after the episode aired.

Unfortunately, since the song is only a few months old, technically it shouldn't exist in The Walking Dead universe. In the world of the show, the zombie apocalypse started three or four years ago, meaning there probably aren't too many bands out there writing new material.

Shallow Grave Award
Goes to Negan, for his inexplicable obsession with Maggie.

In the episode Service, Negan strolls into Alexandria and wonders what happened to the "sick girl," aka Maggie. Rick tells him Maggie died, even going so far as to dig a fake grave (which he filled with supplies) for her in the Alexandria cemetery. Negan is disappointed, as he wanted to take her back to the Sanctuary with him.

Then in the Season 7 finale, Negan spots Maggie during the big shoot out at the end and roars with rage at being lied to. I have no idea why the fact that she's actually alive is so important to him, but apparently it is.

Fat-Shaming Award
Goes to Negan.

In Service, Negan tours Alexandria and sees Olivia, the rather, um, voluptuous gal who's in charge of inventory. He says, "...I can't be the only one to notice that you got a fat lady in charge of keeping track of rations, can I?"

#fatshaming!

Prolonging The Agony Award
Goes to Season 7, the first half of which featured FIVE episodes that were supersized, lasting between fifty and sixty two minutes, as opposed to the usual forty five.

Unfortunately there was barely fifteen minutes worth of story in these episodes, resulting in LOTS of padding and wheel-spinning.

Worst Waste Of A Character Award
And the winner is Heath! 

He was a major character in the comic for many years, so it was fun to see him finally introduced on the show in First Time Again. Then POOF! He completely disappeared. He showed up briefly once or twice afterward, but so far his non-presence on the show has been a big disappointment.

Then to make matters even worse, he was seemingly killed OFF CAMERA in Swear!

Why the hell did they bother to add him to the show if they were never planning to use him?

What A Long, Strange Trip It's Been Award
Goes to The Walking Dead's timeline, which for the past two seasons has seemed impossibly compressed.

For example: Heath and Tara went on their epic supply run in Not Tomorrow Yet, which aired on March 6, 2016. We don't see them again until Swear, which aired November 27, 2016. That's almost nine months between the two episodes out here in the real world. Yet in the universe of the show, only two weeks passed between those episodes!

That means that in just fourteen short days Rick & Co. killed the Saviors in the satellite station. Dwight killed Dr. Cloyd. Maggie began having complications with her pregnancy, and they tried to get her to the Hilltop. Everyone was captured by Negan and his Saviors. Negan killed Abraham and Glenn. Carol woke up in The Kingdom and met King Ezekiel. Daryl was taken to the Sanctuary, where Dwight began his program of psychological torture. And Maggie made it to the Hilltop and decided to stay. Whew!

Most Comic Book Accurate Episode
There were so many this season, it's hard to choose. The season opener featured tons of dialogue from Negan that was taken directly off the page. Something They Need featured a near rape scene that was very comic accurate (other than the fact they substituted Sasha for Holly). There were many other episodes that featured moments taken straight out of the comic.

In the end I'm gonna have to give the award to Sing Me A Song (the one where Carl infiltrates the Sanctuary and Negan takes a shine to him). Most of the plot, nearly all the dialogue and even the stage directions in this episode were ripped straight off the page.

Interminable Pregnancy Award
This one's easy, as it has to go to Maggie Green-Rhee!

She first announced she was pregnant in the Season 6 episode Now, which aired on November 8, 2015. It's now April 2017, and somehow she's STILL pregnant. Even more puzzling, she's not even showing yet!

The point at which pregnant women start to show varies wildly from person to person of course, but it's generally accepted that it happens at the beginning of the second trimester,  which is around the four month mark. That means that approximately four months have passed on the show since November of 2015!

Worst Shot Award
Rosita Espinosa, come on down!

In Hearts Still Beating, Negan wanders into Alexandria and Rosita decides it's the absolute best time to use her one and only bullet (made by Eugene) to kill him. Despite the fact that she's standing literally five feet away from him, her magic bullet somehow manages to miss his head and lodge in Lucille. Groan!

Either Rosita is the world's worst shot or Negan is secretly a Jedi, and used Lucille like a light saber to stop the bullet.

Most Contrived Zombie Killing Method
Goes to Rick & Michonne, for their cool, yet absolutely ridiculous "Zombie Clotheslining" trick in Rock In The Road.


See, Rick and Michonne just happen to find two cars with a taut steel cable stretched between them, that just happen to be fully gassed, just happen to be facing the same way on opposite sides of the road, and just happen to be positioned on a curiously empty stretch of highway. It's like the entire situation was set up specifically so they could mow down a herd of walkers. Amazing!

I could see something like this happening in a comedy/horror film like Zombieland, Scout's Guide To The Zombie Apocalypse or even Z Nation, but it seemed wildly out of place on The Walking Dead.

Pox-Eclipse Award
Goes to Jadis the Scavenger in New Best Friends!

The Scavengers all pepper their speech with weird, incomprehensible slang, like they live in some futuristic post apocalyptic movie like The Hunger Games or Mad Max Beyond Thunderdome.

According to some Walking Dead websites, the zombie outbreak started less than three years ago. That's hardly enough time for such drastic changes to develop in any community's language, no matter how isolated they may be. Such deviation would take hundreds of years. She speaks like she's from a society that's forgotten the old ways of her ancestors, who lived inside towers made of glass and rode metal birds in the sky.

Any second I expected her to start talking about the "Pox-eclipse" and say, "Time after time I've done the Tell. But this ain't one body's Tell. It's the Tell of us all." 

Worst Special Effect Award

It's a tie! The Award goes to the Rick Garbage Dump Vista in New Best Friends and the Bambi Shot in Say Yes.

The Walking Dead has always had pretty impressive effects for TV. That all changed this season. I don't know if AMC switched to a cheaper effects house, or they had no money left in the budget after paying for all the Shiva shots, but this season featured some of the worst CGI I've ever seen.

Coolest Walker Award
Goes to Winslow, the Armored Zombie in New Best Friends.

Dumbest Idea Award
Goes to Eugene Porter!

When Negan complains that his perimeter walkers decompose too quickly in the hot Virginia climate, Eugene comes up with a doozy of a suggestion to preserve them. This involves coating them with molten metal to both armor and protect them.

Ehhhhh... I don't see any way this could work. Tin has one of the lowest melting points for a metal at 400º F. That's still hot enough to burn through a walker's skull or cook its brain into mush, rendering it useless.

Plus it seems like it would be hard for a walker to even lift its limbs if they were coated with heavy metal. And the sun beating down on all that metal is gonna turn the armor into an oven, effectively cooking the walker inside.

No Kids Allowed
Goes to Negan and the Sanctuary!

After Eugene starts living in the Sanctuary, he finds a stuffed animal and takes to carrying it around. This brings up an interesting question: Are there kids in the Sanctuary? If so, we've yet to see any. You'd think there'd have to be at least one or two running around somewhere. Does Negan not like kids, and so outlawed them in his little kingdom? 

Actually there don't seem to be kids in ANY of the communities, except for the Kingdom

Architectural Award
Goes to Whoever Fixed Alexandria's Walls!

The first time we saw Alexandria back in Season 5, the wall surrounding the community was held up by supports struts on the OUTSIDE. I pointed out that this seemed like a very bad idea, as a large enough horde of walkers could simply push the wall inward. Or someone like Negan could knock out the supports and bring down the wall that way. In Say Yes, it appears the walls have finally been fixed, as the supports have been moved to the INSIDE.

Least Efficient Way To Kill Walkers Award
Goes to Carol Peletier.

In Bury Me Here, Carol sees five paltry zombies milling around. Instead of just shooting them or dispatching them quickly with her knife, she grabs an old traffic sign, somehow hauls it up into a tree, sits on a platform and then uses the jagged end of the sign to stab the walkers as they lurch toward her.

Diversity Award
Goes to The Kingdom.

In Bury Me Here we see one of the residents is Nabila, a hijab-clad Muslim character.

I am 99% convinced that her inclusion is meant as a big "F*ck You" to Donald Trump and his ridiculous, ineffective and unconstitutional Muslim Travel Ban. Her appearance is too perfect to be coincidental.

Much Ado About Nothing Award
Goes to both The Kingdom and the Sanctuary.

In Bury Me Here, Simon brings a squad of Saviors all the way to The Kingdom (which we now know is about a two hour drive) to pick up a dozen melons. That's it! Twelve melons. When he sees they're one short, he actually comes back the next day to pick up the twelfth.

Those must be some damned good melons!

Symbolism, Thy Name Is The Walking Dead Award
Goes to the episode Bury Me Here.

The Walking Dead has never been particularly subtle when it comes to symbolism. Remember last year's Start To Finish, in which a horde of hungry ants swarms all over a plate of food in Sam's room, shortly before Alexandria's overrun by zombies? This week's episode takes the visual metaphors to hilariously obvious heights.

Nibila informs King Ezekiel that there are weevils infesting the Royal Garden. Hmmm... some kind of pest infesting the place. I wonder what that could possibly mean?

At one point Carol's working in her garden, and literally sees a storm looming on the horizon! I honest to god laughed when I saw that one.

After Benjamin's killed, Morgan inadvertently refers to him as Duane, which was his late son's name. Do... do you think it's possible Morgan might have thought of Ben as a son?

Later Ezekiel and Henry plant a new garden, one without pests. Could it be that this represents King Ezekiel's decision to finally fight back and rid themselves of the Saviors once and for all?


Whew! That's it for the Annual Awards! See you next season!

Now THAT'S Irony!

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Earlier this week on Jimmy Kimmel Live!, Kimmel opened his show with a touching and heartfelt tribute to his good friend and colleague, the late Don Rickles (who died April 6, 2017 at age ninety). 

Kimmel told the story of how the two of them met, how Rickles would give him useful career and life advice and how they would visit one another's homes and families. 

He finished up his tribute to Rickles by saying that ninety years was far too little time to have him around. Kimmel stated that Don Rickles was a true comedy legend, and we'd never see the like of him again.

Kimmel then said, "Thank you, Don. We'll be right back with Adam Sandler!"

Wow. Way to drive home your point there, Jimmy!




Legends Of Tomorrow Season 2, Episode 17: Aruba

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It's the season finale of Legends Of Tomorrow!

Overall I enjoyed the show quite a bit this season, and am amazed at just how much its improved. Season 1 was pretty dire at times, and a hard slog at times. It was hampered by a lame villain played by the most uncharismatic actor possible, and the less said about the wooden Hawkman and the dull as dishwater Hawkgirl, the better.


To their credit, the producers recognized these problems (even humorously calling them out in Raiders Of The Lost Art!) and took steps to improve the series. They dumped the Hawks and replaced them with the much more likable Citizen Steel and Vixen (well, more likable until they decided to ditch their responsibilities and screw in the middle of a mission).

Best of all, they replaced last season's mediocre Big Bad with the Legion Of Doom, consisting of four, count 'em 4 previously introduced fan-favorite villains. It was a good move, and improved the series exponentially. 

In fact Legends has now become the best of the Arrowverse shows, and possibly my favorite current series period! It's a heck of a lot of fun, and isn't ashamed of the fact that it's a comic book show. It's literally a Silver Age comic book come to life, with all the insanity, outlandish characters and ridiculous plots that entails. That's a good thing, by the way!

The writers also stepped up their game this season, subverting the audience's expectations at every turn. When Rip Hunter disappeared, White Canary took over as Captain of the Waverider. When he returned, most viewers (myself included) figured she'd hand the reigns back over to him. I wasn't looking forward to this, as Canary was a more capable Captain than Rip ever was, and the show improved greatly in his absence (sorry, Arthur Darvill!). Amazingly the writers realized this, and decided to keep Canary as Captain!

The season finale contained its share of unexpected events as well. Based on her story arc, I assumed Vixen would leave at the end of this episode, return to her proper time and fulfill her destiny. And I figured Steel would follow her as well. I was very surprised when that didn't happen, and they both decided to stay.


Even more surprising, Rip Hunter left the ship at the end of the episode, and seemingly the series. I don't for a minute believe he's gone for good, but it was still an unexpected turn of events. It's nice to watch a show which doesn't feature plot lines so obvious you can see them coming down the street from a mile away.

I'm definitely going to miss the Legion Of Doom, as they were the highlight of the entire season. Matt Letscher, Neal McDonough, John Barrowman and Wentworth Miller seemed to be having a ball playing their characters, and made sure not one ounce of scenery was left unchewed.

Best of all, The CW announced that Legends has been renewed for a third season! Awesome! Here's hoping Season 3 is even better! The writers definitely have their work cut out for them!

SEASON ENDING SPOILERS AHEAD!

The Plot:
There's a lot of time travel shenanigans to try and wrap your head around this episode, so I'll try and keep it as simple as I can.

Rip Hunter and Gideon finally get the Waverider up and running, and set off to find the other Legends. As the ship takes off, Rip realizes that it (and he as well) have been miniaturized to the size of a desktop model! He figures out that he's in Thawne's office inside STAR Labs. He engages the cloak and flies the ship out the nearest window.

Meanwhile, Atom and Jackson (in Steel's mother's basement?) try to build a radio to contact Rip, while Steel mopes over Vixen's death. Suddenly the radio picks up Rip's signal, as they realize he & the ship are actually in the same room with them. Heat Wave grabs the ship and shakes it, much to Rip's dismay.

The Legends figure out that Thawne used Atom's suit technology to shrink the ship. White Canary comes up with a plan— sneak into STAR Labs, steal Atom's suit, use it to restore the Waverider to normal size, then fly back to 1916 and steal the Spear Of Destiny before their previous selves can get ahold of it so they can undo Thawne's Doomworld and fix reality. Whew! Got all that?

Cut to Atom and Jackson inside STAR Labs. They find the Atom suit, but are interrupted by Damien Darhk. He levitates them with his magic, and is about to kill them when the still-tiny Waverider shows up and begins firing on him. Darhk laughs at the miniaturized ship's ineffectual blasters, saying, "Awww, isn't that adorable?" Suddenly Heat Wave knocks him out from behind.

Atom returns the Waverider back to normal size and it crashes through the roof of STAR Labs and blasts off into the sky. Onboard the ship, Canary orders Gideon to take them back to 1916. Once again Rip cautions against this, saying returning to a time they've already visited and possibly running into their past selves could have disastrous effects on the time stream. Canary understands the risks, but says they have to try.

These versions of the Legends also realize that by preventing Thawne from getting the Spear and creating Doomworld, they'll effectively erase themselves from existence. They decide to do so anyway, for the good of the world.

The Doomworld Legends arrive in 1916, on the same WWI battlefield from Fellowship Of The Spear. Atom flies out and finds the spot where the Blood Of Christ (the only known substance that can destroy the Spear Of Destiny) is buried. He blasts open the ground, finds a wooden box and recovers the vial containing the Blood.

Unfortunately Thawne figures out the Legends' plan, and uses his superspeed to yoink the vial out of Atom's hand. He crushes the vial, eliminating the only way to destroy the Spear. He then uses his power to pull Atom's heart out of his chest and show it to him before he dies! Holy crap! Fortunately for the rest of the team Thawne flits away instead of doing the same to them. The Doomworld Legends mourn Atom, but vow to complete their mission.

Meanwhile, Doomworld Heat Wave knocks out his past (or Prime) version, and infiltrates the Legion Of Doom in a battlefield tent. Doomworld Thawne enters the tent, and explains to the Prime Darhk and Captain Cold that he's from the future, and is there to warn them that there're now two sets of Legends trying to find the Spear Of Destiny (confusing!) He then zips away to get "backup."

The Doomworld Legends decide their best shot is to wait until their past selves leave the Prime Waverider, then sneak inside and steal the Spear from them. The Prime versions eventually leave, and Doomworld Rip, Steel and Heat Wave enter the ship. They run into Prime Canary and have an awkward exchange with her. Doomworld Steel goes to the library to grab the Spear, but finds Prime Professor Stein, Jackson and Vixen there. They ask why he's back so soon, since he just left the ship. He makes up an excuse, saying the Blood Of Christ isn't on the battlefield after all, but in the Galapagos Islands in 1984. Prime Stein and Jackson leave, and Doomworld Steel embraces Prime Vixen, who's dead in his timeline.


Doomworld Heat Wave grabs the Spear, and he and Doomworld Rip wait for Doomworld Steel to return. He finally joins them and they start to leave, but they see their Prime selves (plus J.R.R. Tolkien!) coming back to the ship! They can't leave or their past selves will see them and time will be destroyed!

Doomworld Canary and Jackson intercept the Prime group and try to prevent them from getting on the ship. Prime Canary calls Prime Steel on his comm, asking what's going on. He says, "I'm uh... talking to you." The Prime Legends then believe that the Doomworld Legends are the Legion Of Doom in disguise!

There's a big battle between the two teams, and the Doomworld Legends finally convince their Prime versions they're who they say they are. They all meet on the bridge of the Prime Waverider to discuss what to do next. The ship shudders, and the Rips both say it's a time quake, caused by all this ill-advised interaction between the teams. Prime Atom and Vixen notice there're no Doomworld versions of them present, and realize their future selves are dead. Doomworld Steel tells Prime Steel to stop dicking around and tell Vixen how he feels about her, or he'll regret it for the rest of his life. Prime Canary asks Doomworld Canary if she's sorry she didn't use the Spear when she had the chance. She says no, as its power is too much for one person to handle, and she'd only make things worse.

Suddenly the Waverider's attacked by the Legion, who are firing futuristic blasters at it. The Canaries order Gideon to take them back to the present, but both Rips warn against trying it with the two teams onboard. The Canaries attempt the jump anyway. The ship takes off, but is instantly engulfed in a "time storm," whatever that is. It crashes to the ground, sustaining permanent damage.

Doomworld Canary tells the Prime Legends to make it to the Doomworld Waverider while they hold off the Legion. They all storm out of the ship, as the Prime Team dodges the Legion while the Doomworld team attacks them. Malcolm Merlyn and Cold fire at Prime Firestorm and Atom, knocking them out of the sky. Firestorm separates, and Merlyn shoots Jackson with an arrow. Doomworld Heat Wave attacks Darhk, but Cold sneaks up behind him and stabs him through the chest with a large icicle (!). Prime Heat Wave shoots Cold.

Darhk kills Doomworld Steel, and then has an epic swordfight with Prime Canary. She finally gets the best of him, and Darhk urges her to kill him. She gives him the old, "Killing's too good for you" line, and knocks him out instead. The remaining Legends, who I think are all the Prime versions, are about to board the Waverider with the Spear, when they're surrounded by an army of Thawnes. Apparently he plucked dozens of versions of himself from the timeline to help him (why's he get to interact with himself, but the Legends are told not to?).

The Main Thawne says he'll spare the Legends' lives if they give him the Spear. Again. With no other way out, Prime Canary reluctantly activates the Spear.

She finds herself in her late sister Laurel's apartment. Canary realizes it's not real, but Laurel says it can be if she alters reality with the Spear. Canary says she's too damaged and dark to use the Spear. Laurel tells her she knows she'll do the right thing.

Canary finds herself back on the battlefield. Thawne takes the Spear from her hand and tries to use it, but nothing happens. He realizes she used the Spear to de-power itself, which I guess is something it can do. Thawne attempts to kill Canary, but the Black Flash appears and vibrates its fist into his chest. He looks around in horror as he slowly fades from existence. Black Flash eliminates all the other Thawnes as well, they roars in Canary's face before disappearing.

The Doomworld Legends fade away as the Prime versions, who were all 
killed by Thawne, come back to life and get up. Doomworld Canary nods to Prime Canary as she's erased from existence as well.

The Legends then erase Merlyn's memory and take him back to his dingy apartment in 2017. Heat Wave takes Cold to Central City in 2014, the date he first joined the Legends. He tells Cold he's about to become a better man, then erases his memory and leaves. Canary takes Darhk to 1987, wipes his memory and leaves him there as well.

Vixen tells Steel that she's ready to go back to her fate in 1942. He offers to go with her, and for some reason she immediately changes her mind, saying she'd rather stay on the ship with him, and her destiny, which she's read up on, be damned. Canary finds Rip sneaking off the ship and asks him what the hell. He tells her again that she's a better captain than he ever was (true), and there's no place for him on the team anymore (also true). He leaves the ship, but we don't get to see where or when.

To celebrate their victory, Canary orders Gideon to take them to Heat Wave's favorite place— Aruba. Their celebration is short lived of course, as a time storm envelops the ship. The Waverider crashes in 2017 Los Angeles, one that's filled with dinosaurs as well as futuristic buildings. Canary says, "Uh guys? I think we broke time!"

Thoughts:
• There's no opening narration this week, as instead we get a "Previously On..." montage of the whole season to get everyone up to speed.

• When Rip finally gets the Waverider up and running, he's stunned to discover that the ship's been miniaturized and has been sitting on a desk in Thawne's office for months.

OK, we have no idea how long Rip's been trapped inside the ship, or even how long Doomworld has existed at this point. We can make a guess though. As we saw in the previous episode, Rip has taken to baking cakes with elaborate fondant icing decorations. 


That means it's reasonable to assume he's been in the Waverider long enough to try to escape, realize it's hopeless, give up, wander aimlessly through the corridors, eventually develop an interest in cake decorating and practice until he becomes an expert at it. I could easily see all that taking six to nine months. Possibly even a year.


And yet in all that time he never realized he was inside a shrunken ship, sitting on Thawne's desk. That means in a year's time he never once so much as glanced out the large window in the middle of the bridge. Never saw or heard Thawne or the other Legionnaires walking around the office. That seems... unlikely.


• My favorite part of the episode was when Rip, in the miniaturized Waverider, attacks Darhk with tiny, ineffective laser blasts— complete with little "pew pew" sound effects!

• Once Heat Wave knocks out Darhk, Atom uses his suit to restore the Waverider— and Rip— to normal size. A few things here...

First of all, Jackson radios a warning to Canary, saying, "Sara! Reinforcements will be on their way!" Listen very closely, and it sounds like actor Franz Drameh momentarily slips into his normal London accent!

Canary then easily dispatches Darhk's goons and says, "We're headed to you Ray. Let's blow the roof off this place!" Atom then fires up his shrink ray...

... points it at the ship and says, "OK, Rip, keep the Waverider steady." By the way, note how Heat Wave's standing literally a foot away from the ship. Hope Atom's got good aim!

We then see an exterior shot of STAR Labs as it begins to shake. Cut to the roof, as the now fully-restored Waverider blasts through.

So apparently Atom chose to enbiggen the ship right there inside Thawne's office! While he and Heat Wave were standing next to it, yet! Yikes! 

The interior walls of STAR Labs appear to be solid concrete. The Waverider no doubt destroyed several of them when it grew to normal size. Apparently it's pretty solidly built, as no important components were damaged when the ship smashed through the walls. And luckily none of the Legends were killed when the ship caused several floors of the building to collapse into rubble.

Wouldn't it have made infinitely more sense to have Rip fly the ship out of the building and into the empty parking lot and enlarge it there? Then the Legends could have simply boarded it and it and blasted off into the sky.

Obviously the only reason they did it their way was because the shot of the ship crashingthrough the roof looked kewl.

• In Fellowship Of The Spear I pointed out a whopper of a plot hole, one that came close to destroying the entire episode. The Legends needed to locate the Blood Of Christ in order to destroy the Spear Of Destiny. The only person who knew where to find the Blood was author J.R.R. Tolkien himself. 

For some insane reason, the Legends time-traveled to the middle of WWI to track down Tolkien in the middle of a huge, bloody battle. But Tolkien lived another fifty seven years after that battle. Fifty seven peace-filled, quiet years. Why the hell did they risk their lives going to the most dangerous point of Tolkien's life, when they could have approached him in 1950?

The answer of course is because the writers wanted to feature an exciting battle on the show. But logically it made no damned sense.


Even worse, they do the same damned thing in this episode! Once again they need to recover the Blood Of Christ to destroy the Spear. This time around though, they already know where it is— on the battlefield in Somme, France. So they go right back to WWI AGAIN! Why not simply go back a few more years to 1900 and dig up the vial while nothing's going on in Somme?

• When the Legends arrive back in 1916 again, Atom flies out of the ship and across the battlefield. He then blasts open the ground to uncover the box containing the Blood Of Christ. Fortunately his blasters don't destroy the fragile, two thousand year old box it's in!

• Seconds after Atom recovers the vial containing the Blood, Thawne appears, grabs it from him and destroys it. The Doomworld Legends are all horrified, as that was their only chance of ever destroying the Spear.


Once again, they're overlooking the easiest and most obvious solution— toss it into the Sun! Even if the nuclear furnace of the Sun isn't hot enough to destroy the Spear, it's unlikely the Legion would ever be able to reach inside & grab it!


• Once the Doomworld Legends decide to steal the Spear from their Prime selves, Steel and Rip have the following exchange:

Steel: "All right, if we're gonna go impersonating ourselves..."
Rip: "You're gonna need a haircut."

Yeah. I would be interested to see how even the world's most skillful stylist could turn that dead raccoon pelt on top of Doomworld Steel's head (as seen at left in the above photo) into the perfect coif of his Prime self!

Also apparently in addition to a medbay, cafeteria, brig and armory, the Waverider also contains a styling salon!

• Day-yum! I was NOT expecting to see Thawne do the old "Rip Your Heart Out Of Your Chest And Show It To You" kung fu move on Atom! This was probably the most violent moment so far on this series.

It was a shocking and cool moment, but it also highlighted just how powerful Thawne is. As a speedster, he could have done this to EVERY ONE of the Legends while they were blinking, any time he wanted. The writers know this, which is why all season long they were constantly making excuses for him NOT to simply kill them in the space of a nanosecond.

• What's better than one Heat Wave? Why, TWO Heat Waves, of course!

By the way, you may have noticed that in my reviews of this show, I always call the Legends by their code names (Heat Wave, Atom, White Canary, etc.) despite the fact that the characters all use their real names on the show. 

That's because it bugs me no end when superheroes do this in movies and TV shows. They do it constantly here, and they did over at Marvel in The Avengers as well. It's like the writers are ashamed of the code names, and think it'll sound silly if they have have a character say "Iron Man" instead of "Tony."

It's a superhero show. There's nothing to be ashamed of. It's an incredibly popular and financially lucrative genre. Use the goddamned superhero name already!

• When the Doomworld and Prime Legends team up and strap themselves in, I would swear the Waverider's bridge suddenly sprouted a few extra chairs. I went back and checked previous episodes, and it didn't. There've always been nine, counting the captain's chair.

• We get a rare Firestorm appearance this week (hey, those flaming head effects ain't cheap!). Unfortunately he makes a pretty week showing, lobbing a couple tiny fireballs at the Legion Of Doom, that cause little or no damage.

You're Firestorm! The Nuclear Man! Quit bothering with the little fire pellets! Surround the Legion with a wall of flame! Or better yet, use your transmuting powers! Turn the ground beneath their feet into glue! Form an impenetrable dome over them! Turn their clothes into granite! Something! Anything except little "pew pew" fire balls!

• All through the episode perpetual wet blanket Rip Hunter warns the Legends not to revisit a time period or interact with their past selves, or time itself will be destroyed. Turns out he's right— once they meet their past selves, a series of time quakes begins rocking the ship.

So why then is Thawne able to pluck fifty or so previous versions of himself from the timeline and freely interact with them, with no apparent side effects?

• Canary's finally forced to use the Spear Of Destiny, against her better judgement. Amazingly she resists the temptation to remake the world in her own image, and simply puts things back the way they were.

Once she's done that, she also comes up with the brilliant idea to make the Spear de-power itself! I have to say that was a pretty cool idea.

It also reminds me a bit of the age-old philosophy question: "Could God create a boulder so heavy that even He couldn't lift it?"


• Thawne's demise at the hands of the Black Flash reminded me a lot of Gollum's death in The Return Of The King. Just like Gollum, Thawne's head and face disappears last!

I have to say, I'm gonna miss Thawne. And the entire Legion Of Doom as well.

• After everything's wrapped up, Canary catches Rip sneaking out of the ship and off the show. I wonder where, or I guess that should be when, he went? We never find out in the episode.


I wouldn't mourn too long for Rip. There's no way in hell he's gone for good, and I have no doubt he'll be back in one form or another in Season 3.

• I'm sure if you charted and graphed the events of this episode, the time travel wouldn't make any sense. That's pretty much par for the course in ANY time travel story. But even if all the causality loops and altered timelines in this episode don't make any logical sense or line up properly, they SEEMED to. 

The Doomworld Legends went back in time to help their Prime selves, and disappeared once they succeeded. Makes sense to me! The Legends then wrapped up everything by wiping the minds of the Legion Of Doom and placing them back in their proper eras, moments after Thawne originally plucked them from the timeline. Again, that seems about right.

These plot points probably break down if you think about them too hard, but as I said, they feel logical, and that's good enough for me.

• At the very end of the episode, the Waverider crashes in 2017 Los Angeles. Unfortunately the Legends discover that all their time travel shenanigans has broken time, as the past, present and future have seemingly merged. It's a cool visual, and a very fun and comic booky way to wrap up the season.

It's also very similar to the premise of the Doctor Who episode The Wedding Of River Song. In that story, the Doctor discovers he's going to die soon, and his death is a "fixed point in time"— an event that cannot possibly be altered.

Of course he goes ahead and alters it anyway, which results in disaster. The world is permanently stuck at 5:02 pm, as all of time— past, present and future— exists simultaneously.

Since it began, Legends Of Tomorrow has always had a lot in common with Doctor Who, so I guess it's inevitable that it'll occasionally borrow plot points and ideas.

• This Week's Best Lines:
Rip: (preparing to escape from STAR Labs) "Can you pinpoint our location, Gideon?"
Gideon: "Central City, 2017."
Rip: "That's odd. We must be in some sort of hangar. One large enough to accommodate the Waverider. Gideon, what is that? Is that another ship?"
Gideon: "Negative. It appears to be a desk lamp."
Rip: "Oh, bollocks. Right. Engage our cloak and plot a course."
Gideon:"Heading, Captain?"
Rip:"The nearest open window."

Heat Wave: (peering into the miniaturized Waverider) "Look, it's the teeny, weenie Englishman!"

Doomworld Atom: (after hearing the plan to help their Prime versions) "So all we have to do is help us I mean, them destroy the Spear without them knowing that we're helping. Kinda like Secret Santa."

Doomworld Heat Wave: (after hearing they're going to steal the Spear from the earlier versions of themselves) "Never stolen anything from myself before. Could be interesting."

Stein:"How could a relic from the Crusades wind up in the Galapagos during the Reagan Administration?"

Jackson: (as the ship shakes) "What the hell was that?"
Rip: "It's a timequake. The result of us interacting with ourselves."
Steel:"Well, that wasn't so bad."
Rip:"Yeah, give it time."

Doomworld Heat Wave (staring at Prime Heat Wave) "What the hell are you staring at?"
Prime Heat Wave: "Just imagining what you'd look like without teeth."
Doomworld and Prime Canaries: (in unison) "Knock it off, Rory!"

Atom: "Uh, I can't help but notice..."
Vixen:"Not all of us came back with you."
Steel:"What happens to us in the future?"
Heat Wave: (pointing at Atom) "Well dead, (pointing at Vixen) dead, (pointing at Stein) good as dead."

Doomworld Canary: "Look, the Spear ended up in the Legion's hands. Bad things happened and it sucked."
(what an odd line, even for this show!)

Atom: (seeing Heat Wave after thinking he was killed) "You're you're alive!"
Heat Wave:"You hug me, I'll kill you."
Atom: "OK. Later."

Doomworld Steel: (giving advice to his other self before he dies) "Don't be a douche..."

Thawne: (to the Legends, as he surrounds them with dozens of past versions of himself) "You know, it's true what they say. If you want something done right, you really have to do it yourself."

Doomworld Canary: (as she's erased from existence) "Remember, Legends never die."
Steel:"Really? Goonies?"
Vixen: (who's from 1942) "What's a goonie?"
Steel:"Ehh..."

Marvel's Agents Of S.H.I.E.L.D. Season 4, Episode 16: What If...

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Yes, I know, this review is horribly late. An entire week late, in fact. Sometimes these things happen.

Agents Of S.H.I.E.L.D. is back, for the last of the season's story "pods!"

So far this season we've had a Ghost Rider story arc (which worked out much better than I expected), a Life Model Decoy plot, and now The Matrix, er, I mean one in which the S.H.I.E.L.D. agents find themselves trapped inside the artificial reality of The Framework.

It's interesting that Legends Of Tomorrow just finished up a similar "alternate world" storyline, in which the Legion Of Doom got ahold of the all-powerful Spear Of Destiny and used it to remake reality in their own image.

Oddly enough, the Legion apparently didn't think things through very well, as their "new and improved" world looked amazingly like our own! It was definitely a low budget alternate reality.

Luckily Agents Of S.H.I.E.L.D.'s Framework reality seems much more well thought out. There're all kinds of cool little touches in the background, like the ever-present propaganda posters and the fact that the public isn't allowed to have smartphones. See, Legends? Writing an alternate world isn't that hard!

This episode also brings back Grant Ward for the third time. His return from the dead yet again should have been groan-inducing, but it made perfect sense in the reality of the episode, and was handled very well. Way to go, writers!

Sadly, this storyline may well be Agents Of S.H.I.E.L.D.'s swan song. So far there's no word on whether the series will be renewed for a fifth season. I hope so, as the show continues to improve with every passing year. It'd be a shame if it got canceled. Fingers crossed, everyone!


SPOILERS!:

The Plot:
Picking up where we left off in the previous episode, Daisy and Simmons enter The Framework— a Matrix-like virtual reality created by Dr. Radcliffe and perfected by his robotic assistant AIDA— to rescue their fellow agents who are trapped there.

Daisy finds herself in a strange bedroom. She gets a text saying, "Wake up your boyfriend. We're being called in." She sees a man in the bed, and for some reason assumes it's her old beau Lincoln. She's shocked when she sees it's really former S.H.I.E.L.D. traitor Grant Ward! She reaches out and tries to quake him, but realizes she doesn't have any superpowers inside the Framework.

She shakily tells Ward they've been ordered in, and he begins getting ready. He comments on how hard they've been working lately, rounding up Inhumans. She's also thrown when he calls her "Skye" instead of Daisy.

As they drive to work, Daisy hears a talk radio show urging people around the world to be on the lookout for Inhumans. She gasps when she sees where they're going— the Triskelion, which is branded with the Hydra logo. Inside, Daisy figures out which is her desk and does an online search for Lincoln. She sees he died during some kind of testing. She searches for Simmons and sees she's dead as well, killed in a horrific lab accident!

Cut to Simmons as she wakes up in a mass shallow grave in a wooded area near the S.H.I.E.L.D. Academy. She notices two bullet holes in her top, and realizes her Framework avatar was murdered. She wanders out of the woods and onto a road, where she hitches a ride with a woman named Julia who agrees to take her to Washington D.C.

They come to a roadblock, where armed soldiers are checking for pre-Terrigeneis Inhumans. Julia says it's no problem, as this particular checkpoint only looks at I.D.s, and doesn't do DNA scans. When Simmons says she doesn't have any identification (being "dead" and all), Julia becomes alarmed, saying they'll both be arrested. Simmons checks her pockets again and finds her S.H.I.E.L.D. I.D. When Julia sees it she freaks and throws Simmons out of the car. She sneaks back into the woods.

Back at Hydra Headquarters, Daisy and Ward attend a briefing lead by May. She orders the two of them to interrogate an Inhuman prisoner and find out who's been smuggling Terrrigen. Daisy recognizes the prisoner as Vijay Nadeer, brother of the late Senator Ellen Nadeer. During questioning, Daisy finds out he has a fake I.D. card. While the I.D. is fake, the card itself it authentic, meaning someone inside HYDRA made it. She asks Vijay where he got the card, but Ward becomes angry and knocks him out.


Simmons enters a diner and notices no one present has a smartphone. She steals a man's car keys and a trench coat and starts to leave the diner. She's stopped by two Hydra goons. They search their database for her, and discover she's listed as dead. Simmons somehow knocks out both the massive agents and steals their car.

Cut to Coulson teaching a high school history class. He talks about the "Cambridge Incident," in which an Inhuman caused a huge number of fatalities, which lead to the rise of Hydra and the importance of the State over the individual. A student named Burnell says he heard Hydra was formed by the Nazis, but Coulson deflects the accusation, saying they've been around for thousands of years.


Suddenly two Hydra agents enter the room and pull one of Coulson's students out of class, "just to run a few tests." Obviously they suspect the kid is an Inhuman, and he'll never be seen again.

Back at Hydra, May enters the interrogation room and wakes Vijay. He recognizes her and says the rise of Hydra is all her fault. She fumes and orders him to be taken to "The Doctor." Vijay's terrified at this, and Daisy offers to take him.


In a corridor, Daisy asks Vijay what he meant about May. He says that years ago, May allowed an Inhuman girl in Bahrain to live. That girl went on to kill everyone in the S.H.I.E.L.D. Academy in Cambridge. This allowed Hydra to rise to power unopposed. Vijay then tries to run, but is stopped by "The Doctor" himself, who's none other than Fitz (!).

Meanwhile, Simmons waits for Daisy in a park at their preset rendezvous point. She lifts up a rock and pulls out the "Panic Button" that was hidden there, which will allow both her and Daisy to exit The Framework. She scratches an "X" on the park bench and leaves.


She uses the computer in her stolen Hydra car to search for Daisy, but nothing comes up (because her name has reverted to "Skye" in The Framework). She searches for Fitz, but all info on him is classified. She then searches for Coulson and sees he's a teacher.

Simmons sneaks into Coulson's classroom after school as he's grading papers. Unfortunately he doesn't recognize her, since he was conditioned or brain washed when Radcliffe and AIDA hooked him into The Framework. Simmons sees a hula girl figure on his shelf and says, "Tahiti is a magical place." Coulson's taken aback by the phrase, as it feels familiar to him, but he doesn't know why. He tells Simmons to leave immediately. As soon as she does, he calls the authorities and reports her.

Simmons walks to her stolen Hydra car and sees Burnell spray painting swastikas on the side. He accuses her of being Hydra, but she somehow convinces him he's wrong. She gives him the keys to the Hydra car and tells him it's all hers. Amazingly, he says since he trashed "her" car, she can borrow his!

Back at Hydra, Daisy watches in horror as Vijay's tortured by one of The Doctor's, aka Fitz's, machines. May enters and hands Coulson's report to Fitz. He gives it a long, hard look and orders May to assign all assets to finding Simmons. Does a part of his subconscious recognize her?

Coulson sits in his office and looks through a folder of newspaper clippings. Every one of them pertains to his real life in some way, indicating his true self is trying to break through the brainwashing.

Daisy goes to the rendezvous, and Simmons meets her. As they compare notes, suddenly Ward appears. Simmons is gobsmacked to see him "alive." 


They're then surrounded by Hydra agents. Daisy and Simmons are shocked when Ward starts firing on them! He explains that he's with the resistance, because of course he is— leave it to Ward to be a double agent in ANY reality!

The three of them drive off in Burnell's car. Ward explains that he knows Daisy's an Inhuman, and altered her records so Hydra wouldn't find out. He's also the one who made Vijay's fake I.D., and knocked him out during the interrogation to shut him up. Unknown to them, a Hydra drone buzzes above them, recording their every move.

May reports to Fitz, saying there's a mole inside Hydra. He tells her to find out who it is and eliminate them. May says she will, and then tells him that the drone footage was sent straight to the Director Of Hydra. Fitz looks concerned at this.

Back at Daisy's place, she and Simmons discuss why Radcliffe would construct a nightmare world like this. They realize The Framework became this way after Radcliffe removed May's biggest regret— the incident in Bahrain. They decide to get out of The Framework to figure out a new plan. They push their Panic Button, but nothing happens.

Cut to the office of the 
Director Of Hydra, aka Madame Hydra, aka AIDA (!). She looks at the drone footage, which clearly shows Simmons' face. Fitz enters, and asks to see the footage, but AIDA refuses. She pulls him closer and they kiss. Apparently AIDA's afraid that if Fitz sees Simmons' face in the footage, his memory could return.

Meanwhile, Coulson leaves his classroom and gets in his car. Daisy's sitting in the back seat, and does her best to jog his memory. He tells her to get out before he calls the authorities, but she refuses, telling him he's the closest thing she has to family. He takes a good look at her and says, "Daisy?"

Thoughts: 

• It's kind of hard to nitpick this episode, as it has a built in defense mechanism. Any time something really stupid happens in it, all the writers have to do is say, "Welp, that's just the way things are inside The Framework!"

• So who sent Daisy the "Wake up your boyfriend. We're being called in" text? It definitely wasn't May or Fitz, as they're both very high up in the Hydra chain of command, and wouldn't be likely to be "called in."

Was it this guy? When Daisy walks into the briefing, he says, "I told you not to be late!" Daisy replies, "Shut up, Pinsky!"

I dunno who the hell Pinsky is (have we ever seen him in S.H.I.E.L.D. Headquarters before?), but so far he's the most likely texting suspect.

By the way, when Simmons goes to the diner, she notes that not one single person there has a smartphone. Daisy receives her text on an older smart-ish type of phone though. I assume that means only Hydra agents are allowed to have them?

• For some reason, Daisy's back to being called "Skye" in The Framework. Supposedly one of the features of this virtual world is that it reverses a person's greatest regret. Does it think Daisy regrets changing her name?

By the way, back when Daisy was going by "Skye," that was apparently her full name. Kind of like "Cher," or "Adele." If she had a last name, we never learned it.

At the beginning of the episode, Ward hands her her Hydra I.D. If you look closely you'll see she apparently has a last name here inside The Framework, but her thumb is strategically placed over it so we can't see it! Those sneaky, sneaky writers!

• Once again, everything inside The Framework has a distinctive greenish tint. Just like in The Matrix!

• When Daisy gets to her desk at Hydra Headquarters, she immediately does a search for both Lincoln and Simmons. Um... surely a computer hacker like Daisy would realize such activity is likely to be monitored, and is going to look suspicious to her superiors? 


Of course if she didn't do the search, then this whole plot would never be able to get off the ground, so... I'm willing to give the writers this one.

• I admit I naturally assumed "The Doctor" would turn out to be Radcliffe. I definitely wasn't expecting such a cold, ruthless character to turn out to be the normally mild-mannered Fitz!

And then Ward turns out to be the good guy, fighting for the Resistance inside The Framework! Well done, writers! Way to subvert our expectations!


Note to aspiring writers out there if you're going to bring back a long-dead character, this is definitely the way to do it!

• At the very end of Self Control, we got a glimpse of life inside The Framework, and actually saw a shot of Simmons' grave (!). At that time I said, 
"I'm hoping this is a fake grave, and that Simmons' Framework avatar is still alive and well and living in secret. It'd better be, otherwise she's going to spend the next six or seven episodes in the body of a dead avatar, buried six feet underground!"
It appears the writers realized this too, and quickly retconned thise scene. Instead of waking up inside a coffin, Simmons comes to in a shallow grave in the woods, after she was apparently executed!

So does this mean Simmons is now inhabiting the avatar of a dead woman? She has to be right? She literally just crawled from the grave! She definitely looks like a corpse all through the episode, what with her pale (well, paler) skin and dark circles around her eyes. Daisy even asks her if she's dead and she brushes off her concerns, saying she's fine. 

I don't see how her avatar can be anything but dead though. Am I missing something here?

• What's up with Simmons' croaky voice in this episode? Was Elizabeth Henstridge getting over a cold, or was the voice an acting choice on her part, to drive home the point that she may be dead?

• Coulson's student Burnell feels bad after he vandalizes Simmons' stolen Hydra car. To make up for it, he straight up gives her his own car!

Sure, sounds reasonable to me. I gave my car to complete strangers all the time when I was in high school! 


"Welp, that's just the way things are inside The Framework!"

• Speaking of Burnell... The Framework and everything inside it was created by Dr. Radcliffe, and perfected by AIDA). Apparently one or both of them is a big fan of Kid & Play!

• It's interesting that this entire Hydra-dominated world sprang from one small incident. Radcliffe removes Agent May's biggest regret— killing Katia, the Inhuman girl in Bahrain. After Katia was spared, she wiped out the S.H.I.E.L.D. Academy, which allowed Hydra to rise to power, turning the U.S. (and the world as well?) into a totalitarian state, complete with checkpoints, propaganda and random testing for the Inhuman gene.

• In the real world, Fitz helped Radcliffe create AIDA. Later he developed an unhealthy obsession with AIDA 1.0, going so far as to save her head ("for further study") after she'd been "killed." 


And now in The Framework he's AIDA's secret boy toy. I'm betting a Freudian would have a field day with that relationship!

• So inside The Framework, AIDA is Madame Hydra, leader of the organization.

There've been a couple of versions of Madame Hydra in the comics over the years. The first  first appeared in Captain America #110 in 1969, and was also known as Viper. She clashed often with Captain America, Nick Fury and S.H.I.E.L.D. and even Wolverine.

She had no actual superpowers in the comics, instead being an expert in weaponry and martial arts. As you would expect from a femme fatale character like her, she often wore poisonous green lipstick, and could literally kill with a kiss!

AIDA actually looks pretty good here as Madame Hydra, as she's all decked out in green and they even added emerald highlights to her hair! I just have one complaint— her lips! Would it have killed them to have smeared some green on her lips? Look at how much better (and supervillain-y!) she looks above with the simple addition of green lipstick!

• The title of this episode (What If...) is likely an homage to the long-running Marvel comic of the same name. Each month What If would feature stories set in alternate timelines, such as What If Spider-Man Had Joined The Fantastic Four? or What If Loki Found The Hammer Of Thor?

A very appropriate title, considering this episode's set in an alternate world, much like the ones in the comic.

The Shrink-O-Tron Strikes Again: Pringles

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So a few days ago I'm lying on the couch snacking, which these days is pretty much my favorite activity. I was eating Cheddar Cheese Pringles potato chips, er, I mean potato crisps, and noticed something odd.

After just a couple handfuls of delicious crisps, the can was already half empty! What gives?

I took a long, hard look at the orangish can, and something about it didn't seem quite right to my eyes...

I dug the previous can of crisps out of the trash and compared it to the new one. Sure enough, my instincts were right the dreaded Shink-O-Tron has struck my beloved Pringles Cheddar Cheese (and presumably all their other flavors as well!) potato crisps! The new can is a good one half to three quarters of an inch shorter than the old one!

Further investigation revealed that not only has the size of the can shrunk, but so have the contents from 5.96 ounces down to 5.5. 

Now I will admit that mathematically the loss of .46 ounces may not seem like a huge amount, but remember Pringles are really, really light. It takes quite a few of them to make up an ounce! I wouldn't be surprised to find out there were twenty fewer chips in these new smaller cans.

Naturally even though the bastards at Pringles used the Shrink-O-Tron on the contents of the can, the price remains firmly the same. Hey, who doesn't love paying the same price for less?
Pringles currently sells this comically small, novelty-sized 2.5 ounce "snack size" can of crisps. At the rate they're going, it won't be long before this becomes the regular size for their entire snack line!

When is this crap going to end? When will companies stop with this sneaky, underhanded tactic and just raise the price of the goddamned can? Why can't they just level with us and say, "Look guys, we're very sorry but due to increased production costs we're going to have to raise the price of our potato crisps by a few cents. We'll try not to do it again for a year or so." If they did that then consumers nationwide would understand and say, "Well that sounds just fine."

But no. Instead of raising the price like normal human beings, they surreptitiously roll out a smaller box that holds less product, and then they hope we're all too horrified by the antics of our new "president" that we'll be too rattled to notice. It's sneaky, sleazy and underhanded. It's something Communists would do. Are you all Commies, Pringles Corporation?

As I was writing this post, I remembered something similar happening a few years ago involving Kellogg's and their Crunchy Nut Golden Honey Nut Flakes cereal. In 2013, Kellogg's sneakily reduced the contents of Crunchy Nut cereal from 14.1 ounces down to 13.2, and of course left the price unchanged.

Hmmm... I did a little googling just now, and guess who owns Pringles brand potato crisps? You guessed it, our old friends up in Battle Creek, none other than Kellogg's themselves! I should have known! They just can't stop themselves from shrinking their products, but not their prices.

Well screw you, Kellogg's. Screw you and the horse your batch*t insane, enema-loving founder rode in on!

Marvel's Agents Of S.H.I.E.L.D. Season 4, Episode 17: Identity And Change

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This week on Agents Of S.H.I.E.L.D., AIDA reveals the truth about the Other Side to Fitz, we catch up with Mack and Mace, and May sees through Daisy's cover.

I don't know exactly when this week's episode was actually filmed, but I'd bet my house that it was sometime after Glorious Leader Trump took office. The version of America inside The Framework is a brutal police state that regularly rounds up illegal Inhumans and other undesirables. There's no way that wasn't intentional, and meant as a big middle finger to the current Washington regime.

Last week I noted that it seemed more than a bit kinky that Fitz was obsessed with AIDA inside The Framework, a virtual realm that reverses your greatest regret. Welp, it turns out I had that backwards! This week we find out that it's actually AIDA that's lusting after Fitz, keeping him close and filling his head with lies about Simmons and the "Other Side."

Unfortunately, I'm just not into this Framework storyline so far. There's nothing wrong with it per se
— it's well written and all, but for some reason it's
 just not engaging me like the Ghost Rider and LMD story arcs did. 

Maybe part of the problem is I'm kind of alt-universed out right now. Legends Of Tomorrow just did an alternate world two parter a couple weeks ago, and over on The Flash they've been visiting Earth-2 and other parallel worlds off and on all season. As much as I like such stories, there seem to be too many of them lately.

As I watched this episode I started thinking that if the writers can dredge up Grant Ward in The Framework, then Mockingbird and Hunter could return as well! Hey, why not? They probably weren't "discommendated" in the virtual world, so I don't see any reason why they couldn't come back. Unless of course Adrianne Palicki and Nick Blood are still pissed at ABC for promising them their own show and then canceling it before it even began filming (twice!). Honestly I wouldn't blame them if that were the case.

So far there's still no word as to whether Agents Of S.H.I.E.L.D. will be renewed for a fifth season. There're only five episodes left in the season, so the fact that they haven't made an announcement yet is worrisome. Let's hope they renew it, because I don't want this Framework storyline to be the last.

SPOILERS!

The Plot:
Picking up where we left off last week, Daisy explains to Coulson that he's been brainwashed and his mind is currently living inside the virtual world of The Framework. As an avid conspiracy theorist, he easily accepts this as fact. He says he's long suspected Hydra of putting mind control chemicals in his soap, which is why he now makes his own. Get used to these soap comments, because it becomes a running theme throughout the episode. 


Coulson's still not his old self though, as only parts of his memory have returned. Ward calls Daisy and warns her that Hydra suspects something's up with Coulson, and will be coming for him soon.

Meanwhile we catch up with Mack and see what he's doing in The Framework. He lives in his old house with his daughter Hope, who, in the real world, died just four days after she was born. Hope proudly shows Mack a drone she made. He's proud at first, then horrified when he sees she cannibalized an official Hydra drone for parts. He scolds her and says she needs to be more careful.

Later Mack takes Hope to her bus stop. A Hydra van arrives and begins checking I.D.s. Mack worries they're looking for Hope, due to the drone incident. He's relieved when an Inhuman in the crowd makes a run for it and is captured instead. Hooray! Someone else will be tortured instead of his daughter!

Daisy takes Coulson back to her apartment. Simmons is there as well, and they discuss whether they can trust Ward, and how to approach Fitz and restore his memory. Simmons mentions Radcliffe, which causes Coulson to perk up. He says Radcliffe's a famous scientist in The Framework, who's working on a way to cure Inhumanism. Unfortunately he disappeared several months ago (I guess time flows more quickly inside the virtual world?).

At Hydra Headquarters, Fitz visits Madame Hydra, aka AIDA. He's puzzled as to why she won't let him help track down the "Subversive," aka Simmons. AIDA's afraid if Fitz sees Simmons, the sight of her will cause his true personality to resurface. Oh, and she's also in love with Fitz and is batsh*t insane jealous. 


For some reason AIDA decides to show FIrz the surveillance footage of Simmons anyway. He gives the image of Simmons a long, hard look, but his personality remains unchanged. He tells AIDA that he'd "cross the universe for her," which of course is what he told Simmons back in the real world. He says the Subversive is as good as dead.

Daisy goes to the Triskelion to gather intel on Radcliffe (I guess computers only exist inside Hydra Headquarters?). She meets Ward there, who tells her she's crazy for coming back. As the two of them leave, Agent May appears and tells Daisy to come with her. She gives Ward a paper containing Radcliffe's coordinates, and tells him to give it to Simmons.

Simmons and Coulson meet up with a Resistance member and give him the proper password (which I guess Ward gave them?). He places hoods over their heads and takes them to the secret Resistance base, which of course is the abandoned underground S.H.I.E.L.D. Headquarters. There they meet Jeffrey Mace, aka the Patriot, aka the leader of the Resistance. He gives Simmons and Coulson a tour of the base, showing them a room full of Inhuman refugees they're sheltering from Hydra.

Ward arrives and gives Radcliffe's coordinates to Simmons. She notes that they're east of Bermuda, in an empty area of the ocean. Mace says he can't spare a team to find Radcliffe, so Simmons, Coulson and Ward volunteer. They board the Resistance's one and only Quinjet and head out to locate Radcliffe. Coulson begins having second thoughts, saying he's a teacher, not a spy. Simmons tells him he's exactly where he should be.

May takes Daisy (along with a squad of Hydra goons) and raids Mack's home. They take him and hope into custody.

Meanwhile, Fitz researches Simmons, and discovers she was executed at the S.H.I.E.L.D. Academy and shouldn't be alive. He questions AIDA about it. She tells him about the Other Side, the evil realm from which she escaped. She says Simmons came from the Other Side to destroy their way of life. That's why she ordered Fitz to begin working on "Project Looking Glass," a portal device (I guess?) that'll allow them to go to the Other Side and destroy S.H.I.E.L.D.

Back at Hydra, Daisy questions Hope, telling her not to worry. Hope makes Daisy promise not to let anything happen to her dad. May questions Mack, who says he and his daughter have done nothing wrong. He says he'd do anything to protect Hope, which causes May to smile evilly...

May exits the interrogation room, and asks Daisy if she got anything out of Hope. May leaves, and Daisy sneaks into Mack's
 room. He seems to recognize her, calling her Daisy Johnson and saying he knows they're both S.H.I.E.L.D. agents. She's relieved at first, but then realizes it's a trick— May forced him to pretend to know her so she'd let down her guard. Daisy runs out of the room and battles several Hydra grunts as she tries to escape. She almost makes it, but is eventually surrounded by an army of soldiers, led by May. They beat her into submission, in a pretty shocking scene.


Mack is reunited with Hope. He sees a beaten and bruised Daisy being dragged into the interrogation room. May thanks him for his service to Hydra. Mack shoots her a weak, "Hail Hydra," and hangs his head in shame.

Ward, Simmons & Coulson land on a small island. They find Radcliffe there playing croquet. He recognizes them, and says they shouldn't be here. He says AIDA killed him in the real world, and his consciousness now only exists in the Framework. He tells them they need to leave, but Simmons says they can't, as their "panic button" won't work. This worries Radcliffe, as he says that means AIDA's figured out their escape route, and there's now no way out of The Framework.

Suddenly the Hydra version of Zephyr One lands, and AIDA, Fitz and a squad of Hyrda soldiers exit. Radcliffe tells Ward and the others to hide. Radcliffe is angry with AIDA for turning The Framework, which was supposed to be a paradise, into a nightmare. She tells him never to call her AIDA, and rants about how in the real world he created her and then treated her like an object, turning her off when it was convenient for him and stuffing her in a closet. Yeah, that's... kind of what you do with a robot, right?

One of the Hydra grunts finds Agnes, the real-life woman who was the model for AIDA, and now exists only in The Framework. Fitz is amazed to see that Agnes looks just like AIDA. AIDA tells Fitz that Radcliffe's from the Other Side, and how he enslaved her there and plans to replace her with Agnes. When he hears this, Fitz coldly pulls out a gun and points it at Agnes' head.

Meanwhile, Ward has Fitz in his sniper rifle's sight. Simmons pleads with Ward not to kill Fitz, as she's in love with him in the real world, and if he's killed here, he'll be gone forever (wouldn't he just wake up like May did in the LMD storyline?).

Radcliffe tries to explain to Fitz that in the real world they're colleagues, and he considers him a son. He says Fitz is one of the good guys in the real world, and that AIDA's just a machine that's messing with his head
. Fitz says he knows exactly who he is and dispassionately shoots Agnes in the head. Simmons screams out in anguish at Fitz's actions, blowing their cover. There's a big shootout between Hydra and the Resistance, but Ward, Coulson & Simmons escape in their Quinjet.


Back at S.H.I.E.L.D., Ward and the others brief Mace and explain what happened on the island. A couple of Resistance agents bring Mack to see Mace. Mack says for the first time in his life, he couldn't look his daughter in the face, and wants to help the Resistance any way he can.

Daisy sits in the corner of the interrogation room. She can hear Radcliffe being tortured next door. Fitz enters, and she weakly tries to get him to remember who he is. He tells her he's discovered she's a potential Inhuman, and prepares to torture her next.


Thoughts: 

• When Fitz says, "And believe me, we will defeat these terrorists, and we will make our society great again," it's hard not to think of a certain orange world leader. I'm sure that was the intent.

• Simmons and Coulson are taken to the Resistance base, which of course turns out to be S.H.I.E.L.D. HQ. When Coulson asks about the base, Mace, the leader of the Resistance, says, "For about 70 years after World War II, nothing. No one even knew it was here. But then, a couple years back, a brave agent named Billy Koenig gave his life getting me the location. It's taken all that time just to get it operational again."


Apparently at least one of the Koenig brothers is "alive" in The Framework!

• When Coulson meets Mace, aka The Patriot, aka the Resistance leader, he becomes nervous and flustered, as he's meeting one of his personal heroes. Coulson says, "
Wow. I can't believe it's really you. The Patriot! The Inhuman leader of the Resistance. He's kind of a big deal!" He goes on to say, "Man, I dreamed about what your suit would look like. I made a few sketches, but this is actually way cooler!"


Note that this is all very similar to what he said to Captain America, when he first met him in The Avengers. I guess Coulson has a thing for patriotic superheroes.


• Does Mace have super strength inside The Framework? He's wearing his Patriot costume, so I'm assuming yes. If so, why would AIDA let him keep his powers? Daisy doesn't have hers.


• Agent Burrows is back as Mace's assistant in the Resistance. If you'll recall, in the real world Burrows constantly followed Mace around with a metal briefcase. The case of course contained the serum which gave Mace his powers. 


Burrows was killed when the Watchdogs detonated a bomb in Mace's Quinjet in The Patriot.


• At one point Fitz calls AIDA "Ophelia," which is apparently her preferred name inside The Framework. I'm assuming she named herself after Ophelia from Hamlet? If so, she must not have just skimmed the story, because things don't turn out so well for poor old Ophelia in Shakespeare's play.


Ophelia starts out OK, but she's constantly ordered around by her father, brother and boyfriend. Eventually this drives her nuts and she ends up drowning. Note that she doesn't kill herself, she just falls in the water and doesn't do anything to survive.


This actually fits fairly well with AIDA, as she makes several comments during the episode about how in the real world, Radcliffe "abused" her by keeping her in a closet and shutting her off when he didn't have need for her. Is this name some not-so-subtle foreshadowing on the part of the writers? I doubt AIDA's gonna drown, but I can definitely see her going mad (if she ain't already!).


"Get thee to a nunnery, AIDA!"(by the way, today I learned that the word "nunnery," which means "a building or convent where nuns live and work," used to mean "brothel" in Shakespearean times! Don't ask me how THAT change happened!)


• Here's a thought: Is AIDA, aka Madame Hydra, aka Ophelia, a living, breathing human here inside The Framework, or is she still an android? Does she still have the super strength she had in the real world? Could she still effortlessly snap someone's neck like she did to Agent Nathanson in the real world?


So far it's unclear, as all she's done so far in The Framework is stand around and look menacing. I'm assuming that since she longs to be human (as all androids do, dontcha know) and she can manipulate The Framework any way she wants, that she probably is a real person here. No doubt we'll find out for sure before the end of the season though.

• More evidence that AIDA might actually be real in The Framework: During her confrontaion with Radcliffe, he calls her "AIDA." She angrily replies, "Do not call me that here! "Aida" is an acronym. The "A" stands for "artificial!"


That sounds like something a person who's real and proud of it would say!

By the way, "AIDA" stands for Artificial Intelligence Data Analyzer. I can't remember if they've ever mentioned that on the show before or not.

• AIDA's talk of "another world" and sinister agents who live on "The Other Side" is very reminiscent of Fringe and its parallel world storyline from a few years back.


It's interesting that AIDA's not hiding the idea of another world from Fitz, and even tasked him with creating "Project Looking Glass" in order to travel there. She does distort the facts about the real world though, saying it's filled with people who want to destroy their way of life.


Also, now that AIDA's deactivated Daisy and Simmons' panic button, that would allow them to return to the real world, we now know how they'll manage to get back— by using Project Looking Glass! AIDA just inadvertently gave them a way home!


• At one point Daisy sneaks into Mack's interrogation room and is relieved when he seemingly knows she's really Daisy Johnson, and not Skye Nolastname. She's horrified though when she realizes Mack was just saying what May told him to say in order to save his daughter. 


I don't get this scene at all. If May already knows who Daisy really is, why force Mack into his little performance? Why trick her into admitting who she is? Why doesn't she just arrest her and be done with it?


• Speaking of Mack, when this storyline's over, will he want to return to the real world? His daughter Hope died just four days after she was born. He could experience an entire lifetime with her inside The Framework.


• Someone on the writing staff really, really likes Chopping Mall. This is the second time the 1986 movie's been mentioned this season.


By the way, does Mack really let Hope watch the movie? It's rated R, and contains lots of over the top violence and glorious 1980s female nudity. When Hope says she wants to watch Chopping Mall"again," he does say, "Okay, okay. But I'm still fast-forwarding through the bad parts." Still, it's probably not something I'd let a ten year old watch.


• I'm still trying to figure out if Simmons' Framework avatar is really dead or not. She definitely looks better in this episode than she did last week, but... she was shot twice in the chest and crawled out of a shallow mass grave, and in this episode Fitz tells AIDA, "Turns out your new subversive was executed at the Academy."


I really don't see any way that virtual Simmons can be anything but dead, and Jemma's really walking around inside an artificial corpse.


• So what's Yo-yo doing out in the real world while all this is going on? In Self Control, Simmons told her that they couldn't stay inside The Framework for long or their bodies would die, but she told her not to pull them out "without warning" or it could fry their minds. I guess she's just sitting beside Simmons and Daisy's motionless bodies, reading a book to pass the time?


• At the end of the episode, Mack's brought into S.H.I.E.L.D. Headquarters and tells Mace he wants to help take down Hydra.


How the hell did Mack know where to find the Resistance base? Burrows does tell Mace that, "A recon team found a civilian  (Mack) sniffing around one of our dead drops. He's got quite the story." OK, so how does he know about the "dead drops" then?


• This Week's Best Lines:

Daisy: (after telling Coulson he's living inside a virtual world) "I knew if anyone would understand, it'd be you."
Coulson:"I would've figured it out a long time ago if it wasn't for the mind-control soap."
Daisy: "Yeah. Wait. What?"

Coulson:"That blue soap everyone uses? Hydra loads it up with chemicals. It seeps into our bloodstream. Implants false memories into our brains. They want us to believe this is a magical place. But don't worry, I'm clear. I make my own soap now."

Coulson: (to Simmons) "Oh, hi. It's me again Phil Coulson. I called Hydra on you. My bad."

Simmons:"Water under the proverbial bridge. I'm so glad to see you, sir."
Coulson:"Apparently, in the real world, I have a robot hand. Pretty cool, right? "
Daisy:"And here, he makes his own soap."
Simmons: "How about that."
Coulson:"I do. You should too."

Coulson:"For the longest time, I just wanted someone to believe me and tell me I wasn't crazy."

Simmons:"You are not crazy."
Coulson:"I live alone and make my own soap."
Simmons:"Uh, It's quaint. Hipster, even."
(this concludes the episode's many soap jokes)

AIDA: "You'd really do anything for me, wouldn't you?"
Fitz: "I'd cross the universe for you."

(this of course echoes what Fitz told Simmons in Season 3, after literally traveling across the universe to rescue her on the planet Maveth)

Radcliffe:"Oh, Jemma, if only you knew the trials and tribulations I've endured."

Simmons: "I am fresh out of sympathy for liars who kidnap my friends and replace them with killer androids."

Radcliffe:
"The Fitz I knew nearly drowned for Jemma. He crossed the bloody universe to rescue her!"

(Radcliffe wasn't actually around when Fitz sort of drowned. I suppose Fitz could have told him about it though when they were "raising a pint" together)

It Came From The Cineplex: Life

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Life was written by Rhett Reese and Paul Wernick, and directed by Daniel Espinosa

Reese and Wernick are working partners with very checkered careers. In addition to working on several TV series and reality shows, they previously wrote Clifford's Really Big Movie (!), Zombieland, G.I. Joe: Retaliation and Deadpool (!!!).

Espinosa previously directed Babylonsjukan (?), Outside Love, Easy Money, Safe House and Child 44. Of those, the only one I've ever heard of is Safe House, which coincidentally also starred Ryan Reynolds.


When Ridley Scott's ALIEN premiered in 1979, many critics called it "A B-movie with an A-movie cast and budget." They weren't wrong. Not that there's anything wrong with that, mind you! It was interesting to see such a cliched and schlock concept like "People Trapped Inside Spaceship With Alien Monster" given such red carpet treatment.

Well, here we are in 2017 and history's repeating itself all over again. Life is most definitely a B-Movie with an A-Movie cast and budget. It's a modern day remake of ALIEN, which was a remake of It: The Terror From Beyond Space!, which was probably a remake of an even earlier film. 


Life follows ALIEN's template beat for beat, going so far as to recreate entire scenes, right down to the stage directions! Life definitely looks great, and features a cast of top-notch performers, but it's all in service of a derivative and highly predictable script.

Heck, even the poster does its best to ape ALIEN, what with the dark background, the circular central element and even the wide-spaced typography!

Life isn't content just to copy from ALIEN. It also cribs scenes wholesale from Gravity, along with elements from The Martian and even Avatar! It just can't help itself!

Say... an expensive, unoriginal and disappointing sci-fi film that was dumped into theaters near the beginning of the year... You don't suppose... Could it be? What studio produced this fiasco anyway?

Oh dear... 

"Dere's yer problem right there, lady! You gotcha self a Sony pitcher on yer hands!"

HA! I knew it! Life is brought to us by the fine people at Sony, the gold standard of movie studios (and my former employers!). Why, in just the past three years, Sony's produced such wonderful films as:

The Monuments Men • Robocop (2014)
The Amazing Spider-Man 2 • 22 Jump Street • Think Like A Man Too
Sex Tape • The Equalizer • Fury • The Interview • Chappie
Paul Blart: Mall Cop 2 • Aloha • Pixels • Ricki and the Flash 
Hotel Transylvania 2 • The Walk • Goosebumps • Freaks of Nature 
Spectre • The Night Before • The 5th Wave The Brothers Grimsby
Money Monster • Angry Birds • The Shallows • Ghostbusters 2016
Sausage Party • The Magnificent Seven • Inferno • Passengers
Resident Evil: The Final Chapter • Underworld: Blood Wars

With a track record like that, Sony's Life couldn't possibly be anything but a hit, right? Right?

Life's startling similarity to ALIEN even affected its release date! Life was originally scheduled to slither into theaters this coming Memorial Day weekend, but it was moved up to March at the last minute. Why? No doubt to avoid competition with ALIEN: Covenant,  Ridley Scott's latest remake of ALIEN, er, I mean prequel to ALIEN, which also comes out in May.

Sony obviously didn't want the two films in theaters at the same time, since they're basically the same goddamned movie.

Also, I'm assuming the trailer means "Memorial Day WEEKEND," as Memorial Day is always on a Monday, and it seems unlikely a film would premiere at the beginning of the week.

By the way, if you insist on seeing this film despite my warnings, do yourself a favor and DO NOT watch the trailer beforehand. It is literally a two minute version of the film, spelling out every single plot point except for the ending (although it actually includes a couple quick shots from the final scene!). 

Unfortunately for my former employers, Life looks to be DOA at the box office. After four weeks it's only managed to gross an anemic $28 million against its modest $58 million budget. It's done a bit better overseas, where it raked in $39 million, for a worldwide total of $68 million. Movies these days need to gross about twice their production budget just to break even though, so it looks like Life's a flop.


Sorry, Sony, but that's Life! Get it? That's "life?" Eh? EH?

SPOILERS AHEAD, UNLESS YOU'VE EVER SEEN "ALIEN!"

The Plot:
It's the year 2017, and six astronauts are manning the International Space Station. The crew consists of Dr. David Jordan (played by Jake Gyllenhaal), who's the Senior Medical Officer, Dr. Miranda North, the Quarantine Officer, Rory Adams (played by Ryan Reynolds), the engineer, Sho Kendo, the pilot of the station (um... a space station needs a pilot?), Hugh Derry, a biologist and Katerina Golovkina, the Mission Commander.

As the film opens, the crew's preparing to capture a space probe returning from Mars, in one long, continuous and impressive shot that I'm sure wasn't meant to remind us of Gravity. Rory uses the station's robotic arm to capture the approaching probe and bring it inside. The probe contains a Martian soil sample, which Hugh immediately begins examining. He soon discovers the sample contains a single celled alien organism. It's humanity's first ever confirmation of life on another planet.

Hugh begins playing around with the seemingly dead cell, adjusting the atmosphere inside its sealed chamber and flooding it with an organic growth medium (bad idea). Amazingly, he manages to revive the long-dormant cell (uh-oh). It quickly begins growing into a multi-celled organism, and even responds to stimuli. (not good). Hugh notes that the organism's cells can act as muscle, brain and eye tissue, all at the same time (definitely bad).

The public is informed of the discovery, and a contest is held to name the new life form. A young girl wins the contest and names it Calvin, after her school, Calvin Coolidge Elementary.

Calvin begins growing at an alarming rate (oh, no), as the organism now resembles a translucent starfish. Unfortunately Hugh forgets to close a valve or something, and all the oxygen is vented from the lab, seemingly killing Calvin (good!). Hugh attempts to revive him by administering mild electric shocks with a probe (why?). Calvin is brought back to life, and Hugh continues playing around with him inside his sealed chamber.

Suddenly Calvin wraps himself around Hugh's hand and grips it tightly. Hugh tries to slip his hand out of the quarantine glove built into the side of the chamber, but Calvin won't let go. He eventually crushes the bones in Hugh's hand (in one of the film's most gruesome scenes), allowing him to slip free of the glove.

Amazingly, Calvin then picks up a sharp probe and uses it as a knife to cut through the glove and escape the sealed chamber. That is one smart starfish! He zips over to a table and absorbs a lab rat inside a cage (holy crap!), and then disappears somewhere in the room.

Rory wants to enter the lab and rescue the now unconscious Hugh, but Miranda, who's the Quarantine Office, forbids it, fearing Calvin will escape into the ship. Rory ignores her and enters the room anyway, because he's an idiot and the plot needs to happen
. He manages to push Hugh out of the lab, but before he can exit, Calvin latches onto his leg. David seals the lab, locking Rory inside. Rory attacks Calvin with a small flame thrower, but the creature's evidently immune to fire. Calvin slowly slithers up Rory's body, squeezes into his mouth, and kills him from the inside. I guess they couldn't afford Ryan Reynolds for the whole movie?

The flame thrower causes the fire suppression system to activate. Calvin then emerges from Rory's mouth and escapes through the suppression vents, meaning he's now loose on the ship. Katerina sends out an SOS to Earth.

The script continues to check off items on its list of shipboard calamities, as the communication system suddenly goes down, meaning the crew can no longer contact Earth. Whether this was a random occurrence or caused by Calvin is left to our imaginations. Katerina suits up and exits the station to try and fix the antenna. For some reason, Calvin exits the station as well and attacks Katerina in space, wrapping himself around her and squeezing hard. He ruptures her suit's coolant system, which causes liquid to leak into her suit as she becomes the first person to ever drown in outer space!

Calvin then attempts to re-enter the station through its thrusters. Sho activates the rockets, which keep the creature from getting back in. Unfortunately all this thruster-using knocks the ISS into a decaying orbit, meaning it'll burn up in Earth's atmosphere. Sho says their only hope is to use their remaining fuel to restore their orbit, but once that's done Calvin will be able to get back inside.

The crew comes up with a plan to seal themselves into their futuristic sleep chambers and vent the air from the station, which will cause Calvin to become dormant again. Suddenly Hugh enters cardiac arrest, as David uses a defibrillator (the wrong way, of course) to save him. They then see his uniform is pulsating, and realize Calvin's wrapped himself around Hugh's leg and has been secretly feeding on him. He leaps off of Hugh and attacks the crew.


Sho flies through the ship and seals himself in his sleep chamber. Calvin violently tries to break through the glass. David and Miranda lure Calvin away from Sho with Hugh's blood, and trap it inside one of the station's modules. They vent the oxygen from the module to hopefully kill Calvin.

Earth apparently received Katerina's SOS, and sends a Soyuz capsule to the station. This is of course impossible for a numnber of reasons, but let's just move on or we'll be here all day. David assumes the capsule is there to rescue them, but Miranda says it's a final quarantine precaution— it's actually there to shove the station out into deep space, thereby protecting Earth.

The capsule just happens to dock with the module in which Calvin is trapped (of course). Sho exits his chamber and rushes to the module, trying to get into the capsule. He opens the hatch and Calvin kills both him and the Soyuz crew. The capsule then detaches and spins wildly, destroying part of the station.

Damaged beyond repair, the station begins plummeting toward Earth. David realizes that Calvin could possibly survive re-entry and destroy all life on the planet. He comes up with a final, desperate plan. He'll lure Calvin into one of the two escape pods, then fly it off into deep space, while Miranda uses the other pod to return to Earth.

David successfully lures Calvin into his escape pod and blasts off, while Miranda launches hers. Miranda's pod is struck by debris from the station and spins off course. David struggles to control his pod, as Calvin grips the joystick and tries to alter course. The two pods divert and go their separate ways.

Back on Earth, two Asian fisherman see a pod land in the ocean. They paddle over to it and peer into the pod's window. Inside they see David, almost completely covered by Calvin's now giant body, warning. He frantically warns them not to open the capsule, but they don't understand. As the camera pulls back, we see more boats sailing toward the downed capsule. Cut to Miranda shrieking inside her pod as it spins helplessly into deep space.

Thoughts:
• There seems to be great confusion as to just when this film takes place. Many people online are convinced it's set fifteen to thirty years from now. It most certainly is not.


One glance at the beginning of the trailer is all you need to prove that Life takes place here and now in good ol' 2017.

If you're still not convinced, there's further evidence in the film. At one point David says he remembers seeing the Challenger disaster on TV as a child, and how his school sent all the students home afterwards.

The Challenger exploded in 1986. That was thirty one years ago. If David was in first grade (six years old) when it happened, that would make him thirty seven in 2017. Since David looks like he's thirty seven, that means the movie has to take place in the present day.

I suppose you could argue that David's a young-looking forty and the movie takes place in 2020, but because of his Challenger story it can't possibly take place any later than that.

• I can understand the confusion over the film's time period though. Life apparently takes place in a parallel dimension in which space technology is much more advanced than it is in our world. The International Space Station seen in Life is nothing like the one we have now.


Here's the real ISS. See those white tubes in the center? Those are the habitable parts! Not a lot of living space in there. Ninety percent of it appears to be solar panels!

Here's the ISS that appears in the film. Yeah, that's definitely a movie space station.

Everything about this movie ISS is futuristic, and looks like it was designed by a special effects crew. For example, this control room is very cinematic, and much more advanced than the real thing.

Same goes for these very roomy and design-y sci-fi corridors the crew floats around in.

And then there's this! There is no way in hell the real 2017 ISS features a room full of ALIEN-esque sleeping pods!

And I'm for goddamned sure there's no gigantic window like this one anywhere on the real ISS. Space is full of radiation and cosmic rays, guys. Typically the designers of outer space habitats tend to want to minimize the windows, not build gigantic twenty foot wide viewing walls like this.

• The film begins with what appears to be one continuous five minute long shot. That seems to be the new trend in "realistic" space films like Gravity and The Martian. I'm not really sure why this happens. Is a continuous shot with 360 degree movement supposed to trick our minds into thinking the actors are in a real environment, not a set?

• Speaking of Gravity, the filmmakers are seemingly in love with it almost as much as they are with ALIEN, as there are numerous nods to it as well.

In addition to the continuous opening shot, the ISS astronauts fly around the interior of the weightless station, just like Sandra Bullock did in Gravity. There's also a lengthy space walk sequence in Life that's very reminiscent of the ones in Gravity as well.

And of course Life features a space capsule colliding with the ISS, just like in Gravity. Seriously, it looks like they took footage from Gravity and just spliced it directly into this film! It's shockingly identical.

• I wasn't kidding when I said Life is basically a remake of ALIEN. In addition to lifting the entire plot from that earlier film, it recreates entire scenes, right down to the dialogue and set direction!

For example, early in the film, Hugh locks himself in the lab and examines Calvin. Unfortunately Calvin attacks Hugh, seriously wounding him. When Rory sees this, he immediately tries to open the lab and rescue Hugh. Miranda, the station's Quarantine Officer, forbids it. Rory ignores her and enters the lab anyway, which leads to Calvin's escape.

This entire scene is lifted practically word for word from ALIEN. When Dallas and Lambert bring the injured Kane (who has a face hugger attached to his head) back to the Nostromo, Ripley refuses to let them back in. The crew members argue back and forth for a bit, until Ash overrides Ripley and lets them in.

Later on David's floating through a cramped corridor on the ISS, as the alien Calvin zips past the camera in the foreground. The exact same scene, right down to the blocking, happens in ALIEN, when Dallas is trying to flush the xenomorph from the air ducts.

And at one point one of the crew members is standing in the foreground, as Calvin drops out of an overhead vent, then slowly rises up behind them. Again, this is a precise reenactment of a scene in ALIEN.

About the only thing missing from Life was a pet cat and a crew member who was secretly an android!

Life was written by Rhett Reese and Paul Wernick, who also wrote Deadpool. It features Ryan Reynolds (well for a little while at least), who was of course the star of Deadpool

It should be noted that Reynolds is pretty much playing Deadpool here (minus the facial scars and red suit), as he spends every second of his screen time tossing out quips and sarcastic remarks. 

And by "playing Deadpool" I really mean "playing himself." Reynolds is fast becoming the new Jack Nicholson or Liam Neeson, playing the same character— i.e himself— in every film he's in.

By the way, Reynold's was originally cast as David, the main character (or the closest thing to one in the film). Scheduling conflicts with the upcoming The Hitman's Bodyguard forced him to take the role of Rory instead, so he could bow out of the movie early.

 This is the second time Hiroyuki Sanada plays an astronaut in a sci-fi film. He played Kaneda in 2007's Sunshine.

• Credit where credits's due
 there's exactly one clever idea in this film. Hugh, the ISS' resident biologist, is paralyzed from the waist down, and has shriveled little legs just like Jake Sully in Avatar (hey, yet another influence!).

This isn't a problem for Hugh in the weightless environment of outer space though, as he doesn't need legs to float and fly around the station. In fact he's probably more agile than the unafflicted members of the crew. Hugh even comments that he's never felt as free as he does inside the confines of the ISS. Well done, writers!

• Speaking of zero-G, the weightless effects in Life are all very well done, as the actors look like they're effortlessly floating around the station. They even realistically push themselves off of walls and fly from compartment to compartment.

Eh, with one big exception. There's a scene in which the entire cast is gathered around a large table. I dunno why they're all there, as they don't appear to be eating or discussing anything. I guess they're just supposed to be hanging out. 

Anyway, the cast all "floats" as they huddle around this table. Unfortunately it's patently obvious that no one's on wires or anything in this scene, and the director just told them all to bob up and down slightly in a flailing effort to simulate weightlessness (!). It looks about as convincing as you'd imagine something like that would.

• One last thing about weightlessness before I shut up about it. Wondering why all the women in the movie have short hair, or constantly have it pulled back into a bun? Because short and/or restrained hair doesn't move around! If the women all had long, flowing hairstyles, the effects team would have had to simulate it floating in zero-G!

• More credit where it's due the Calvin effects were all completely realistic and absolutely believable. I'm sure it's not easy creating a convincing translucent CGI creature.

Not so much the case with Calvin's later iteration, which looked very much the wadded-up Kleenexes my mom would always stuff into her sleeve.

The best part of Calvin's alien starfish look was that he had no discernible head or face. This was unsettling and very effective, as you're never quite sure whether he can actually see or is sensing his prey some other way. This lends an eerie, alien quality to Calvin. 

Unfortunately, in the third act Calvin starts to develop a rudimentary head. I can't find any photos of it online, but this head looks at best like an artichoke heart, and at worst like an angry cabbage. They should have left well enough alone.

• Apparently Calvin thrives on oxygen, and craves it so much David can even use it to lure him into an escape pod.

But why? Calvin came from Mars, right? So how much oxygen is there in the thin atmosphere of the Red Planet? According to Google, the answer's 0.1%. That doesn't sound like much. It certainly doesn't sound like enough to cause Calvin to develop a taste for it.

• At one point Hugh comments that Mars is a dead and barren world because a whole herd of Calvins decimated all life there. So were the Calvins native to Mars then? Doubtful, as they'd likely have destroyed any life before it had the chance to evolve. It's more likely that a single Calvin cell hitched a ride on a meteorite that landed on Mars. It then consumed all life there and became dormant when there was nothing left to eat.

• Just how smart is Calvin? Seconds after he escapes from the lab, the ISS' communication system goes down. Obviously the filmmakers want us to believe Calvin sabotaged it, but that seems like a stretch. He's a translucent starfish who's never encountered humanity or our technology before. Could he really figure out the concept of electronic communication and how to disable it in just a few minutes?

• After Rory's killed and Calvin escapes into the ship, Katerina sends out a distress call to Earth. Seemingly just a few hours later, a Soyuz capsule arrives at the station.

Yeah, no. That's scientifically impossible. Real space travel takes lots of time, and depends on all sorts of complicated conditions like launch windows, orbital planes and such. Even if you've got a rocket all furled and ready to go, you can't just blast off into space whenever you feel like it.

• When Hugh goes into cardiac arrest, David uses a futuristic defibrillator on him. Of course the way he uses it is completely wrong, just like every scene involving a defib machine in every movie ever made.

This is an old, old song here at Bob Canada's BlogWorld, but once more with feeling the human heart is not a car battery, and a defib machine is not a pair of jumper cables! You can't shock a non-beating heart back to life!

Some day before I die, I'd like to see a defibrillator used the right way in a movie.

• I'm VERY impressed that the filmmakers went with such a bleak, downer of an ending. You don't often see that in the cineplex in this day and age.

Although the final scene indicates it's all over for us here on Earth, I wonder if that's really true? Maybe Calvin will be undone by our microbes, ala the Martians in The War Of The Worlds?

Life is well made, well acted and looks incredible, but it's all in service of a derivative, unoriginal script, as it steals the entire plot (and even whole scenes) directly from ALIEN, which drags down the final score by an entire letter grade. It features a welcome and shocking downer of an ending, but one scene does not a good movie make. Do yourself a favor and rewatch ALIEN instead. I give it a C+.


Let Them Eat Cake!

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Back in February, I decided I was going to start a new feature here at Bob Canada's BlogWorld, in which I would chronicle all the batsh*t insane things our Glorious Leader Trump did each week.

Sadly, I threw in the towel after just two installments. Why? Because I literally could not keep up with all the crap that Trumpy did and said on a daily basis. It would take me ten hours a day, every day. I am not kidding. It's that bad.

Actually I'm glad I did give up, because listing all the bizarre things he utters and all the atrocities he's committing was frankly just too depressing.

So I've contented myself with occasionally talking about the REALLY outrageous things he says and does. Like this one!

Last Wednesday (April 12, 2017), Glorious Leader Trump sat down for an interview with Maria Bartiromo (whoever that is) of the Fox Business Network (whatever that is). Bartiromo asked Trump about his decision to bomb Syria just a few days earlier. His responses are nothing short of astonishing. Here's a just a taste of the interview:
Bartiromo: "Now, are we going to get involved with Syria?" 
Trump:"No. But if I see them using gas and using things that— I mean even some of the worst tyrants in the world didn't use the kind of gases that they used. And some of the gases are unbelievably potent. So when I saw that, I said we have to do something."
OK, he's rambling as usual, but so far not that bad.

The interview REALLY took an odd turn though, when Trump began talking about his new bestie, Chinese President Xi Jinping.
Trump: "I have a very, very good meeting with President Xi of China. I really liked him. We had a great chemistry, I think. I mean at least I had a great chemistry — maybe he didn't like me, but I think he liked me."
C'mon, Don, tell us! Did he like you, or did he LIKE YOU like you?
Trump: (still talking about President Xi) "We were going to have a 10 or a 15 minute sit-down. It lasted for three hours. Then the next day, it was another schedule, because everything is very orderly with the Chinese, frankly."
OK, subtly racist, but go on.
Trump: "And we had meetings scheduled. Well, the 15 minutes on the first day lasted for three hours. The 15 minutes on the second day lasted for two hours, just one-on-one, the two of us with interpreters. And I mean we understand each other. I think he's, you know, a person that I got along with really well. We had a good chemistry, yes."
I have absolutely no idea what the hell he's talking about here, what with his fifteen minutes that last three hours.

Here's the kicker though. Make sure you're sitting before you read his next blathering.

Trump: (still talking about his meeting with President Xi) "But I will tell you, only because you've treated me so good for so long, I have to right? I was sitting at the table. We had finished dinner. We're now having dessert. And we had the most beautiful piece of chocolate cake that you've ever seen and President Xi was enjoying it." 
"And I was given the message from the generals that the ships are locked and loaded, what do you do? And we made a determination to do it, so the missiles were on the way. And I said, Mr. President, let me explain something to you. This was during dessert. We've just fired 59 missiles, all of which hit, by the way, unbelievable, from, you know, hundreds of miles away, all of which hit, amazing."
Bartiromo: "Unmanned?"
Trump: "Brilliant. It's so incredible. It's brilliant. It's genius. Our technology, our equipment, is better than anybody by a factor of five. I mean look, we have, in terms of technology, nobody can even come close to competing. Now we're going to start getting it, because, you know, the military has been cut back and depleted so badly by the past administration and by the war in Iraq, which was another disaster."
"So what happens is I said we've just launched 59 missiles heading to Iraq and I wanted you to know this. And he was eating his cake. And he was silent."
Bartiromo: "To Syria?" 
Trump: "Yes. Heading toward Syria. In other words, we've just launched 59 missiles heading toward Syria. And I want you to know that, because I didn't want him to go home. We were almost finished. It was a full day in Palm Beach. We're almost finished and I— what does he do, finish his dessert and go home and then they say, you know, the guy you just had dinner with just attacked a country?"
Bartiromo: "How did he react?"
Trump: "So he paused for 10 seconds and then he asked the interpreter to please say it again. I didn't think that was a good sign. And he said to me, anybody that uses gases— you could almost say or anything else— but anybody that was so brutal and uses gases to do that young children and babies, it's OK."
So there you have it. Our President literally cannot be bothered to learn the name of the country he just bombed, but goddamn if he doesn't love him some some desert! No matter which side of the Syria situation you're on, you cannot deny that this is some bizarre fraking behavior.

Jesus wept. You know, going on and on almost orgiastically about a goddamned piece of chocolate cake while nonchalantly sending missiles to another country is so callous. Yeah, he's bombing an enemy force, but doing so while sitting in a luxurious resort, shoveling desert into his mouth... if that isn't the definition of decadent, then I don't know what is.

It feels like something President Snow would do in The Hunger Games!

This truly is the darkest timeline...

Doctor Who Season 10, Episode 1: The Pilot

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Hey, look! A new show called Doctor Who! I wonder what it's about?

Yes, Doctor Who is finally back for its tenth season (or thirty sixth, depending on how you count it) after taking off an entire goddamned year. No, wait. Strike that. It's been a whopping SIXTEEN MONTHS since Season 9 ended. Yeah, I know, the BBC aired two Christmas Specials between then and now, but I'm talking about regularly scheduled episodes. Jesus Christ, if a woman became pregnant the day the Season 9 finale aired, she could have carried her child to full term and it would now be seven months old! That's how long it's been 
since the last new episode aired! 

I get that there's always going to be a fairly long gap between Doctor Who's seasons, since each consists of just twelve or thirteen episodes. But sixteen months is definitely pushing it!


It seems like a bad idea to me to go that long between seasons, especially in this day and age. Between TV, Video games, streaming services, the internet and smart phones, there's an overwhelming amount of entertainment out there vying for the audience's attention. Stay out of the public's eye long enough, and they'll find some other way to waste their time, and forget about your show altogether.


On the other hand...


As much as I've bitched and moaned about how long the show's been off the air, it turns out it may not have been such a bad idea after all! Doctor Who felt like a brand new show this week, as the cast and crew were seemingly energized by their time away, and were actually excited at the prospect of filming again. The title of this week's episode
 The Pilot was very appropriate. It very much felt like the pilot episode of a new series. Maybe taking a year and a half off was a good thing!

Anyway, enough of my whining about the show's absence. Now I'm gonna whine about its content!

When Doctor Who returned to the airwaves back in 2005, Russell T. Davies became the series' showrunner. He updated the series and took it to brand new heights, making it a true worldwide phenomenon. Davies wrote many of the series' best episodes, and created many new and memorable monsters.

This week's episode felt a LOT like a Davies' era show. That's a good thing! In fact if I didn't know The Pilot was penned by current showrunner Steven Moffat, I'd swear it was written by Davies himself.

See, Moffat? It IS possible for you to write a decent script when you really want to! If you'd have put out work like this on a consistent basis, I wouldn't have spent the past four or five seasons calling for your head!

As part of the show's fresh start, this week we were introduced to the Doctor's new companion, Bill Potts, as played by actress Pearl Mackie. She was great! I really liked her a lot. 
I have to admit that I wasn't all that impressed with her when I saw her in the preview, but she turned out to be a breath of fresh air. 

Bill actually reminds me a lot of Rose Tyler, the Doctor's first companion in the revived series. Rose was a middle class gal who worked in a shop, while Bill works in a canteen, slinging chips. Rose lost her father at a young age, and Bill lost her mother as a baby. They even have the same accent! Surely this all had to be intentional?

There are a number of mysteries set up in this episode, that I'm sure will be answered before the season ends. Like what's inside the vault that the Doctor and Nardole were tinkering with? Why did he stop traveling in the TARDIS? What made him start lecturing at a college for the past fifty years? Is Bill just a regular working gal, or does she have a secret connection to the Doctor (one of Moffat's pet plotlines)?

SPOILERS!

The Plot:
In the present day (always important to clarify that on this show!), Bill Potts, a young woman who works in the cafeteria at St. Luke's University in Bristol, is summoned to the office of a professor. She's greeted by Nardole, who tells her to take a seat.

As she waits, she looks around the room and sees a blue police box in the corner. She sees photos of two women on the desk (one of River Song, the other of Susan Foreman), along with a cup filled with odd cylindrical objects (which we recognize as sonic screwdrivers, of course). She starts to reach for one, but stops when she hears Beethoven's Fifth blasted out on an electric guitar from an adjoining room. The music stops, and we see the Doctor stick his head out the door.

The Doctor enters the room and asks Bill why she's been attending his lectures even though she's not a student. She says his lectures are amazing, and lots of people who aren't officially in his class attend. She also mentions that even though he's supposedly been teaching at the university for fifty years (possibly even seventy), she can't quite figure out what he's a Doctor of, as he never lectures on any particular subject.

The Doctor notes that when most people don't understand something, they frown. He says that when Bill's puzzled she smiles, which intrigues him. He offers to be her personal tutor. Bill's stunned, but accepts his offer.

Months pass, as Bill attends the Doctor's lectures, as well as their private tutoring sessions. One day Bill sees the Doctor and his odd manservant Nardole walking across the campus, looking around suspiciously. They enter a building and she sneaks in after them. She sees the two of them fiddling with a large vault. Bill accidentally makes a noise, which alerts the Doctor, and she hightails it out of the building.

Bill meets and flirts with a young student named Heather, who has a defect in her left eye that's shaped like a star. Heather looks troubled, and asks Bill to come with her and look at something. They enter a vacant lot with a dark puddle standing in the middle of the asphalt. Heather tells Bill to look into the puddle and see if she can tell what's wrong with her reflection. Bill looks, but doesn't notice anything odd. When she turns around, Heather's gone. Inside the puddle, an ominous voice notes that its search for a "pilot" is over, (Houston, we have a title!) and it's established a link.

During one of her tutoring sessions, Bill mentions to the Doctor that she never knew her mother, as she died shortly after she was born. She says she doesn't even have any photos of her mother, as she didn't like getting her picture taken. A few days later at Xmas, Bill's roommate gives her a shoebox she found in the back of her closet. Inside are dozens of vintage photos of Bill's mother. She stares closely at one, and sees the Doctor's face reflected in a mirror behind her mother. Oddly enough, she never mentions this incongruity for the rest of the episode.

Bill tells the Doctor about the puddle, saying her face looked off in it somehow. Intrigued, the Doctor investigates the puddle, which is still there. He realizes why Bill thought her face looked odd in it— the puddle isn't reflecting, it's mimicking her! She saw her face as others see it, not a mirror image.


The Doctor's unnerved by this, and rushes Bill away, telling her to go back home. She returns to her empty flat, and hears the shower running. She looks in the shower and sees no one's in it, but notices an eye staring at her from inside the drain! Yikes!


She runs out of her flat and is suddenly confronted by a soggy Heather, who lunges at her. Bill runs to the Doctor's office for help. Water flows under the door and reforms into the shape of Heather. The Doctor grabs Bill and they hide inside the TARDIS. As is customary for newbies, she's stunned by the fact that the TARDIS is bigger on the inside.


The Doctor materializes the TARDIS next to the vault, fearing the Heather-thing may be trying to get into it. When he sees it's safe, he takes the TARDIS to Australia. Unfortunately the Heather-thing somehow follows, showing up in front of the Sydney Opera House. The Doctor then travels twenty three million years into the future, to another planet that looks suspiciously like the show's traditional quarries. Sure enough, the Heather-thing appears there as well. Just how a sentient puddle is traveling instantly through time and space is apparently none of our concern (this is a Moffat-written episode, after all).

The Doctor then makes some incredibly intuitive leaps, theorizing that the puddle is made of space engine oil that leaked out of a ship that landed on the campus. And not just any space engine oil— this was intelligent space engine oil. Space engine oil that can shape-shift, and become anything it needs to be. Sure, why not? When Heather looked into it, it absorbed her and took on all her characteristics— including the fact that she wanted nothing more than to leave, and that she was attracted to Bill.

The Doctor then decides to destroy the puddle by "running it through the deadliest fire in the universe." He takes the TARDIS to Skaro, during the Dalek/Movellan War. Sure enough, the Heather-thing follows. It's shot by a Dalek death ray (the deadliest fire in the universe, I guess). Instead of disintegrating though, it takes on the form of a Dalek.

The Doctor seals off all the real Daleks from the room. The Dalek-thing transforms back into the Heather-thing. The Doctor says that after absorbing Heather, it wanted to leave, just like her, and it wanted someone to go with it. 
Bill approaches the Heather-thing and tells it that it has to let her go. It finally collapses into a normal, non-sentient puddle. Um... so much for the monster, I guess?


Back on Earth, the Doctor thanks Bill for her help, and then starts to erase her memory of their adventure. She angrily stops him, asking him how he'd feel if someone tried to take his memories. She storms out of the office.

Outside the building, Bill sees the Doctor waiting for her in front of the TARDIS. He tells her she's right, and he's decided not to erase her memories. He invites her to travel with him and Nardole.


Thoughts:
• For the past four or five seasons, showrunner Steven Moffat has been going hog wild with the "Doctor who?" jokes. The Doctor will meet someone, they'll ask who he is, he'll tell them, "I'm the Doctor" and they'll say "Doctor who?" Comedy ahoy!


It was mildly amusing the first one hundred and forty seven times he did it, but after that it got a bit old. In fact after a while I said I was going to start billing him $20 every time he made a "Doctor who?" joke.


Welp, he almost did it in this episode. When the Doctor offers to tutor Bill, they have the following exchange:


Bill:"Oh, um People just call you the Doctor? What do I call you?"

The Doctor: "The Doctor."
Bill: "But Doctor's not a name. I can't just call you Doctor. Doctor what?"

Cue sad trombone...

I'll give you a discount on that one, Moffat. You owe me ten bucks.


• The opening scene, in which Bill waits in the Doctor's office, is a goldmine of little details.


First of all, the Doctor's TARDIS is parked in the corner of the room, just like the Third Doctor used to do.

See, the Time Lords put the Doctor on trial for messing with time, or the natural order of the universe or something. As punishment, they exiled him on Earth in the 20th Century, and removed all knowledge of TARDIS-piloting from his mind. 


He then became a "scientific consultant" for UNIT, and stored the TARDIS in their lab. It still worked— it was still bigger on the inside and all that— he just couldn't take it out for a spin.


The Doctor's desk features photos of his River Song, his wife, and Susan Foreman. Susan of course was the Doctor's companion during his very first incarnation, way back in 1963.

There's also a little statue of a raven on his desk, which I'm sure is supposed to represent Clara. She was killed by way back in Face The Raven, but a "Quantum Shade" that took the form of a black bird (don't ask). 

This doesn't make any sense, as I'm pretty sure that in Hell Bent, Clara erased all memories of her from the Doctor's mind. I guess his memories are returning? Or maybe he has some subconscious recollection of a raven? I dunno. 


Either way, it seems a bit gruesome to deliberately collect a raven figure. Clara was killed by a weird alien raven. It'd be like displaying the handgun that was used to murder a family member.


Anyway, there's also a pencil cup filled with past models of the Doctor's sonic screwdrivers on the desk.


I'm not a sonic expert, but as near as I can tell, these are the ones on display. The Ninth and Tenth Doctors' sonics were identical except for their handles. I can only see the tips of them here, so I can't tell for sure which is which. You can just make out the Eleventh (and early Twelfth) Doctor's sonic lurking in the back. 

As for the one on the right with the black ring and cylinder— I have no idea it belonged to. As far as I know there was never a sonic with those colors. I'm sure someone out there can help me out and clue me in.


I am also ninety nine percent sure these sonics are all commercially available, store-bought toys, and not made by the Doctor Who prop department. How do I know this? Because I have most of them sitting on my own desk!


That Eighth Doctor appears to be a higher-end model that's actually machined out of real metal. Ditto (possibly) for the mystery one on the right. All the others (which have a much duller silver finish) are made by Character Options. I have those exact same Third, Fourth, Ninth, Tenth and Eleventh/Twelfth sonics!


Even though these sonics are a nice little detail in the episode, their presence doesn't make a lick of sense. As we've seen in previous episodes, the sonics are an extension of the TARDIS. It actually grows them. Any time the Doctor loses a sonic or one is destroyed, it creates another one for him. So why would he still have all these old models? Did he find 'em in his coat pockets? Was he nostalgic for the good old days (back when he was only nine hundred years old?) and ask the TARDIS to whip 'em up for him?


There's also a bust of Shakespeare in the window, which is no doubt a reference to the Season 3 episode The Shakespeare Code. I believe that's also the hat rack that was in the TARDIS control room during the Ninth and Tenth Doctor eras. And if you zoom in, those two circular objects sticking out of the window frame (hinges?) look a little like the Gallifreyan language.

The Doctor also has a bust of Beethoven in his office, which was last seen in Before The Flood.


This one may or may not be a callback— there's a stained glass window in the Doctor's office. In the bottom middle pane, near his elbow, is a coat of arms with the name "Robin Oxley" below it. Does this refer to "Robin Of Loxley," aka Robin Hood? If so, this could be a reference to the Season 8 episode Robot Of Sherwood. The fact that it says "Oxley" instead of "Loxley" though makes me think it's just a coincidence.

Oh, and as Bill waits, the Doctor belts out a few notes of Beethoven's Fifth on his electric guitar, while wearing what look to be his thrice-damned sonic sunglasses.


Whew! I think that's it!


• There's a funny moment when the Doctor's interviewing Bill. She asks (quiet rightly) why, out of all the students in his lecture hall, he's so interested in her. He says, "Well, I noticed you." The camera immediately cuts to the photo of Susan on his desk, who seemingly gives him a very disapproving look. The Doctor glances at the photo and actually looks a bit sheepish for a second, then goes on.

• One of Moffat's most favorite writing quirks is to give the Doctor's various companions little titles. Like "The Girl Who Waited" or "The Impossible Girl."


I realized she's only been in one episode, but so far Bill just seems to be "The Girl." That's a good thing! The idea of each of the Doctor's companions somehow becoming the most important person in the universe, around which all reality revolved, was getting a bit old.


I wonder though... 


As mentioned above, the Doctor keeps a photo of Susan Foreman on his desk. She's been referenced in the revived series before, but not for quite a while. Is there some significance to her (sort of) reappearance in this episode? 


Susan's been something of an unsolved mystery ever since the series began. She was introduced as the Doctor's "granddaughter," even though that relationship has never been confirmed (on TV, at least). Did the Doctor have a family at one point? Or did Susan just call him "Grandfather" as a term of endearment? I dunno.


It just seems odd that Susan would resurface in the same episode in which Bill's introduced. It makes me wonder if Moffat's planning a connection between the two. If Susan's from Gallifrey like the Doctor, then she's a Time Lady, which means she can regenerate. Is Moffat planning on revealing that Bill's a new incarnation of Susan, who for some reason doesn't remember her past? 


Gods, I hope not. Based on Moffat's past track record though, I predict there's a seventy five percent chance of this happening.


• I wonder if there's any significance to the name "Bill?" Is it an homage to Billy Piper, who played Rose Tyler, the Doctor's first companion of the revived series?


• According to Bill, the Doctor's been giving lectures at this college for fifty years— possibly even seventy! This is another of Moffat's favorite tropes— having a huge amount of time pass for the Doctor between seasons or episodes.


Since the Doctor looks pretty much the same as he did last time we saw him (which was fifty to seventy years ago from his point of view), Time Lords apparently age much more slowly than humans.

The fact that the Doctor's been lecturing at this school for fifty years brings up a couple more issues as well. It means Nardole has most likely been puttering around inside the TARDIS for that long as well. 


More importantly, it also means the Twelfth Doctor has spent fifty years living a quiet life at this university while just outside his door, England was regularly attacked by Daleks, Cybermen and Sontarans, and every one of his previous incarnations ran around trying to save the place. I guess he was afraid to risk altering time by helping out?


• At one point Bill tells the Doctor that she never knew her mother and doesn't even have any photos of her. A few days later she receives a box of old photos of her mom (taken by the Doctor through the magic of time travel, of course).


The episode kind of glosses over this, but I would LOVE to see just how the Doctor accomplished that feat. Apparently he went back in time, tracked down Bill's mom, said, "Um, yes, you don't know me, but I'm an acquaintance of your future daughter, and since you're going to die soon, I'd like to take some photos of you to give to her twenty years from now."


Does it seem odd that Bill never mentions these photos to the Doctor? Or that she saw his reflection in one? Maybe there just wasn't time in the episode, as she was busy fleeing from the Heather-thing. And maybe once she entered the TARDIS and realized it was a time machine she figured it where the photos came from for herself. Still, something like slightly altering the past for her sake seems like it'd be worth at least a "thank you."


• When Bill noticed that Heather had a defect in her eye that was shaped like a star, I actually groaned a little. OK, a lot

One of Moffat's favorite writing tricks is to give his female characters mysterious little titles, like "The Girl Who Waited" and "The Impossible Girl." I could just see Heather become "The Girl With A Star In Her Eye." And knowing Moffat, he'd mean that literally! Somehow Heather would actually have some sort of interdimentional portal in her eye with a sun on the other side. She'd no doubt use it to fire beams of concentrated starlight from her eye. Thankfully, that didn't come to pass. Yet.

• In a similar vein, Moffat just lovvvvves to create monsters that somehow revolve around bodily functions. The Weeping Angels would get you if you blinked. The Hiders would get you if you accidentally looked at them. The Clockwork Cyborgs would detect you if they heard you breathe.
 He even had a monster made up of the gunk in the corner of your eye!

So imagine my horror when I saw this episode featured some sort of monster in a puddle. I was sure it would turn out to be some kind of pee or drool creature. Again, thankfully that didn't turn out to be the case. It's a testament to Moffat's "talent" though that I honestly thought it could!

• Credit where credit's due— that is one scary-ass image! Even if it does remind me a bit of the Dead Marshes from The Fellowship Of The Ring.

• Apparently Moffat's a fan of J-Horror. It's pretty hard not to think of Dark Water while watching this episode.

• When Bill finally notices that the TARDIS is bigger on the inside, she asks how that's possible. Nardole says, "First you have to imagine a very big box fitting inside a very small box. Then you have to make one. It's the second part people normally get stuck on."


This echoes the Fourth Doctor's explanation of the TARDIS to his companion Leela, way back in The Robots Of Death in 1977. In that episode, the Doctor places a small box on the TARDIS console, next to Leela. He then takes a larger box and moves it ten or twenty feet away, so it looks smaller. The Doctor says, "If you could keep that exactly that distance away and have it here, the large one would fit inside the small one.” Leela says, "That's silly." The Doctor says, "THAT'S trans-dimensional engineering!"


• When the Doctor tells Bill that "TARDIS" stands for "Time And Relative Dimension In Space," she points out a flaw in the name:


Bill:"Doesn't make sense, then."

The Doctor:"What doesn't?"
Bill: "TARDIS. If you're from another planet, why would you name your box in English? Those initials wouldn't work in any other language!"
The Doctor:"People don't generally bring that up."

Whoops! Apparently Moffat forgot that neither the Doctor nor the Time Lords named the TARDIS. It was Susan Foreman who coined the term in the very first episode, An Unearthly Child. Presumably she did this right after arriving on Earth and learning English, which would explain why the acronym works out. No doubt the TARDIS has a completely different name in Gallifreyan.


• It's the return of the quarry!

The Doctor takes the TARDIS twenty three million years into the future to escape the Heather-thing. Once they arrive they exit the TARDIS, and the planet they're on looks amazingly like the rock quarry where they filmed most of the exteriors in the original series! Actually the new series has had its share of "Quarry Planets" as well!


• In order to destroy the Heather-thing, the Doctor says he's going to run it through the "deadliest fire in the universe." In other words, the death ray of a Dalek.

Really? A Dalek death ray is hotter and more deadly than the sun? I bet if he flung the Heather-thing into the sun that'd take care of her. Why does no one in sci-fi shows ever think of using the sun to destroy things? Because it's too easy?


• When the Doctor takes the TARDIS to Skaro, he and Bill wander into a skirmish between the Daleks and a group of humanoids dressed in fabulous attire.

Those would be the Movellans, a race of very Rick James-esque disco dancers. Hey, it was the 70s, what can I say? They appeared in the 1971 story Destiny Of The Daleks, in which they invaded Skaro with the intent of wiping out the Dalek race.

It was kind of cool to see a race from the old series pop up. That said, they're at least the tenth bit of fan service that appeared in this episode. I hope the entire season isn't going to be this reference-heavy.


• The episode wants the audience to feel bad for the puddle of intelligent space engine oil (wow, THAT has to be a sentence that's never been typed before in the history of the English language!), because it's sad and "looking for someone who's looking for it."

Everyone seems to be glossing over the fact that, whether it meant to or not, the puddle straight up killed Heather. I say it got what it deserved!


• Once the Heather-thing's destroyed, Bill seemingly sheds a tear for her friend. Or does she? Nardole looks at Bill and says, "That's the Doctor for you. Never notices the tears." Bill quietly replies, "I don't think they're mine."


Oh god. Some of the Heather-thing splashed onto Bill's face, and now she's going to become infected with intelligent spaceship oil, isn't she? I know how Moffat's mind works!

• At the end of the episode, the Doctor wants to erase Bill's memories of him to preserve his secret identity (despite the fact he's never much bothered about this before now). He starts to place his hands on her temples, just like the Tenth Doctor did to Donna Noble when he wiped her memories in Journey's End.


• This Week's Best Lines:
Bill: "There was this girl. Student. Beautiful. Like a model, only with talking and thinking."

The Doctor:"Time! Time doesn't pass. The passage of time is an illusion, and life is the magician. Because life only lets you see one day at a time. You remember being alive yesterday, you hope you're going to be alive tomorrow. So it feels like you're travelling from one to the other. But nobody's moving anywhere."


Bill: "Why do you run like that?"

The Doctor: "Like what?"
Bill:"Like a penguin with its arse on fire!"
The Doctor: "Ergonomics."

Bill: (referencing Heather to the Doctor) "Look, I know you know lots of stuff about, well, basically everything, but do you know any sci-fi?"

The Doctor:"Go on."
Bill: "Well, what if she's possessed? Something like that."
The Doctor: "Possessed by what?"
Bill: "I don't know. I saw this thing on Netflix. Lizards in people's brains."
The Doctor: "Right. So, you meet a girl with a discolored iris and your first thought is she might have a lizard in her brain? I can see I'm going to have to up my game!"
(today I learned they apparently have Netflix in England!)

Bill: (seeing the inside of the TARDIS for the first time) "It's like a..."

The Doctor: "Spaceship..."
Bill: "...kitchen!"
The Doctor: "A what?"
Bill: "A really posh kitchen, all metal. What happened with the doors, though? Did you run out of money?"

The Doctor: (describing the TARDIS) "What you are standing in is a technological marvel. It is science beyond magic. This is the gateway to everything that ever was or ever can be!"

Bill: "Can I use the toilet?"
The Doctor:"Pardon?"
Bill: "I've had a fright. I need the toilet."
The Doctor: (exasperated) "It's down there, first right, second left, past the macaroon dispenser."
Bill: "Thanks."
Nardole: (seeing Bill in the TARDIS) "Oh, human! Human alert. Do you want me to repel her?"
The Doctor: "She's just passing through. She wants to use the toilet."
Nardole: "Oh. I'd give it a minute if I were you!"

Bill:"Are you from space?"

The Doctor: "No, of course not. Nobody's from space. I'm from a planet like everybody else."

Bill: "Is everything out here evil?"

The Doctor: "Hardly anything is evil, but most things are hungry. Hunger looks very like evil from the wrong end of the cutlery. Or do you think that your bacon sandwich loves you back?"

The Doctor: (to the Heather-thing) "You've already taken one person from the Earth. I'm going to let that pass, because I have to, but I will not let you take another."

The Doctor: "Bill! You all right?"

Bill: "Yeah, I think so."
Nardole:"You don't look all right."
The Doctor: "She's fine."
Nardole: "That's the Doctor for you. Never notices the tears."

Bill: "Yeah, cos I think you're going to wipe my memory. I'm not stupid, you know. That's the trouble with you. You don't think anyone's ever seen a movie. I know what a mind-wipe looks like!"

Hot Gun!

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Last month I told you about a Wheel Of Fortune contestant named Kevin, who, when confronted with this puzzle, guessed the letter "K."

Ah, yes, it's Tennessee Williams' most famous and beloved play, A Streetcar Naked Desire!

Welp, something similar happened this week on Jeopardy! (Um, just so you know, I wasn't shouting there. The makers of Jeopardy! insist on spelling it with an exclamation mark at the end).


 The category was "Three Plus Three," meaning the answers (or I guess since this is Jeopardy!, the questions) are two words of three letters each. This particular answer was "A Hired Killer."

A contestant named Kevin (Jesus, what is it with that name?), who had a score of $0, thought for a second, then confidently blurted out "HOT GUN!"

Needless to say, that was not the right answer. Question! I mean question!

Yep, whenever I want someone killed, I always hire myself a Hot Gun!

It Came From The Cineplex: Ghost In The Shell

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Ghost In The Shell was written by Jamie Moss, William Wheeler and Ehren Kruger, and directed by Rupert Sanders. It's based primarily on the 1995 anime of the same name, which in turn was based on the 1989 manga by Masamune Shirow.

Moss previously wrote Street Kings, and that's about it. Wheeler previously wrote The Prime Gig, The Hoax, The Reluctant Fundamentalist and Queen Of Katwe (he also wrote episodes of several TV series, including Empire, The Cape and Ray Donovan).

Ehren Kruger is a terrible, terrible writer of many mediocre films, which makes me wonder how the hell he keeps getting work, He previously "wrote"Arlington Road, New World Disorder, Scream 3, Reindeer Games, Impostor, The Ring, The Ring Two, The Skeleton Key, The Brothers Grimm and Blood And Chocolate


Then, because Kruger hates humanity with a white hot passion and seeks only to punish us, he entered his Transformers phase, "writing"Transformers: Revenge Of The Fallen, Transformers: Dark Of The Moon and Transformers: Age Of Extinction. For that last one alone, he deserves to be locked up for the rest of his life, away from decent, god-fearing folk.

Rupert Sanders previously directed Snow White And The Huntsman, which of course makes him the perfect choice to helm a futuristic cyberpunk mystery/action film.


I honestly don't understand why major movie studios keep handing these multimillion dollar tent pole pictures over to inexperienced directors who've only got one film (if that!) under their belt. Wouldn't it make infinitely more sense to give the keys to one of these expensive films to a more established director, one with a proven track record?

I can think of one possible reason why studios do this. These days movie executives just lovvvvvve to interfere with their films, making asinine suggestions in order to leave their mark on the project. A seasoned director would probably tell the studio to go f*ck themselves if they tried to interfere with his vision. A newbie director wouldn't want to make waves, so when the studio says jump, he's likely to say "how high?" It still seems like a risky proposition to me though.


The biggest issue surrounding Ghost In The Shell is of course the casting of white actress Scarlett Johansson as Major, the film's ostensibly Asian protagonist. It was an extremely divisive issue, as half the internet called her casting "whitewashing" and labeled it the worst thing to happen since 9/11. Meanwhile the other camp claimed the character of Major was never meant to be Asian in the first place, and Johansson was the perfect choice. Gigabytes of bandwidth was wasted arguing the matter back and forth for months before the movie ever premiered.

For the record, the character of Major is Asian in the film, but her brain is placed inside a robotic Caucasian body. So in that sense, Johansson's casting makes a certain amount of sense (to be fair, the rest of the cast is pretty darned diverse, featuring actors from all over the world, including Europe, Asia and the States).


Masamune Shirow, the creator of Ghost In The Shell, has yet to weigh in on the casting. However, many native Japanese fans of the manga and anime have stated they're perfectly fine with Johansson, as it never occurred to them that Major was supposed to be Asian to begin with.


I dunno... if Japanese fans are OK with the casting, then shouldn't that be good enough for the rest of us? Of course one could argue that this is just another example of Japan's long-standing tradition of erasing themselves from their own pop culture, but I don't have the time or space to get into that here.

It seems like the majority of people who are upset about the casting are American Social Justice Warriors. You know the type guilty white people who're compelled to become outraged on behalf of any and all marginalized groups. Seems to me though that white people trying to school the Japanese into how they should feel about the movie is pretty darned racist in itself.

Earlier this year Vin Diesel starred in xXx: The Return Of Xander Cage. It was an incredibly diverse movie that featured a multi-ethnic, international cast. And just this week Diesel starred in The Fate Of The Furious, which also featured an amazingly diverse group of actors.

I haven't heard one peep of praise about the casting in either of these films in the media or on the internet. Not a single word. Apparently the SJWs can only be bothered to bitch and moan when a movie ISN'T diverse, but don't feel the need to praise one if it IS. So as far as I'm concerned they all need to shut the f*ck up then. You can't boo unless you're willing to applaud as well.


In this regard, Ghost In The Shell was doomed from the start. The filmmakers were damned of they cast an Asian actress as Major, and damned if they didn't.

Personally, I think Johansson was definitely miscast. Not because of her race, but because she's terrible in the part! The defining characteristic of Major is her inability to express the emotions she feels through her robotic body. The character demanded an actress who could convey inner conflict through her eyes and body language only. Scarlett Johansson is not that actress. She apparently confused "emotional detachment" with "boredom," as she seems like she's on the verge of dozing off all through the movie. Seriously, my computer's text-to-speech function has more vocal inflection than she does. If she couldn't care less about the film, then why the hell should I waste my time watching it?

In the end, Ghost In The Shell has far bigger problems than the color of the lead actress' skin. It's a muddled, murky rehash that pales in comparison to its source material. It raises all sorts of interesting questions about the nature of existence and what it means to be human. Unfortunately the movie couldn't care less about actually examining those topics, as it's far too busy rushing from one action setpiece to the next.

The anime was fresh and innovative when it was first released in 1995. Unfortunately it's taken so long for the live action version to hit the big screen that it almost feels dated. In addition, the anime spawned dozens of imitators (including The Matrix films), so now it feels like it's copying other films, even though it came first.


Visually the movie is stunning, as its filled with astonishing images of vast futuristic cities and beautifully realized cybernetic machinery, created by Weta Workshop. Too bad all that talent and hard work is in service of a mediocre script.

Sadly, Ghost In The Shell is a huge flop here in the States, as so far it's only managed to gross a paltry $37 million against its $110 million budget.

Naturally the SJWs are all smugly blaming this on the casting. I guarantee you that is not the case. The popcorn-munching general public doesn't read behind the scenes film news and couldn't care less about whitewashing. They just didn't see anything in the trailers that appealed to them, and stayed away in droves.


The film's actually done quite well overseas, where it's grossed $115 million (proving my point that whitewashing is only an issue among guilty white people). That makes a worldwide total of $152 million, which still isn't enough to show a profit.


SPOILERS FOR A FILM BASED ON A 1995 ANIME, WHICH WAS BASED ON A 1989 MANGA!

The Plot:

It's the near future, and everything looks like Blade Runner (but without the flying cars). Huge cities cover the landscape, as gigantic holographic "billboards" fill the air around them. Cybernetic enhancement is the norm, as nearly all humans are now part machine. Hanka Robotics is the leader in the cybernetic field, and is working hard to develop an all-robotic replacement body for humans.

A young woman named Mira Killian (played by Scarlett Johansson) is gravely injured in a cyberterrorist attack, and is rushed to the Hanka lab.
Her brain is removed and placed into an incredibly realistic, all-robotic body, designed by Dr. Ouelet. When Mira regains consciousness, she asks Dr. Ouelet why she can't feel her body. Ouelet tells her she'll get used to the feeling in time. Hanka CEO Cutter, who's not secretly evil or anything, wants Mira immediately assigned to his anti-terrorism squad, called Section 9. Ouelet objects, saying Mira's not ready, but Cutter insists.

Cut to a year later. Mira, who's now called Major, is working for Section 9, along with her boss, Chief Aramaki and her hulking partner, Batou (pronounced "Ba-TOO"). Major crouches on a rooftop, electronically eavesdropping on a meeting between Hanka executives, including Dr. Osmond and an African Ambassador. As the executives meet, they're tended by several Hanka "geisha-bots."

Suddenly the geisha-bots go crazy and begin killing the execs. Aramaki orders Major to stay put, but she ignores him as she activates her invisibility field and leaps from the rooftop, in a scene straight out of the anime. She crashes through the window of the Hanka boardroom and fires on the geisha-bots, but one kills Dr. Osmond before she can save him. The geisha-bot says, "Commit to the will of Hanka and be destroyed" right before Major shoots it in the head.

Back at Section 9 HQ, the team learns that the geisha-bots were hacked from an untraceable source. Aramaki then tears Major a new one for disobeying orders. Thankfully he doesn't say, "You're a loose cannon, Major! Turn in your gun and your badge!" Major scoffs at his concerns, saying her "ghost" (meaning her soul) is still safe inside its shell (her new robot body). Eh? EH? GET IT? GHOST in the SHELL? Houston, we have a title!


Major reports to Dr. Ouelet to have her body repaired. She mentions that she doesn't remember her past, but has been having brief "memory flashes" of a burning hut. Ouelet looks troubled, and says the flashes are just random computer glitches.

Major and Batou visit the lab of Dr. Dahlin, who's been studying the captured geisha-bot. Dahlin says its CPU is encrypted, and it'll be days or weeks before she can get any info from it. Major says she can speed up the process if she "deep dives" into its brain. Dahlin advises against it, but Major does it anyway. She hooks herself up to the geisha-bot and recklessly dives into its mind. She finds herself in a dance club, where she sees the mysterious Hacker, who lunges toward her. Batou brings her out of the dive just in time. Major says she knows where to find the Hacker.

They drive to a Yakuza nightclub and look around. Major's pulled into a room by two men who handcuff her to a stripper pole and force her to dance with a cattle prod. Classy! Unfortunately the room blocks her communication link with Batou, meaning she has no backup. As the men get rougher, she suddenly turns on them, giving them an epic beat down. She kicks one through the door, restoring her communication with Batou. There's a big shootout, as Major and Batou kill dozens of Yakuza goons. They see a door, and Major's convinced the Hacker's behind it. As they open it, a bomb goes off, nearly killing them both.

Cut to Major getting her body repaired yet again, while Batou's fitted with cybernetic eyes. Cutter meets with Aramaki, furious that he allowed Major to deep-dive into the geisha-bot (Plot Point Alert!). Aramaki advises Cutter to back off, as he answers to the Prime Minister, not to him or Hanka.

The Hacker visits Dr. Dahlin and rips out her cyborg eyes before killing her. Major and Batou investigate and find her body. Major searches Dahlin and finds a computer disk in her lifeless hand 
(apparently they still have physical media in this advanced future). She reads the contents of the drive, seeing it contains a list of names of Hanka employees, including Dr. Ouelet. Major deduces that the Hacker is killing Hanka employees (what a brilliant leap of logic!), and Ouelet is next on the list.


The Hacker, er, hacks into the minds of two garbage men who have cybernetic implants in their brains. He forces them to ram their garbage truck into Ouelet's car. She survives the crash, but the men leap out of the truck and begin shooting at her (um... where'd they get the guns?). Major and the others arrive in time to save Ouelet. One of the garbage men runs for it, and Major chases after him, in another scene pulled straight from the anime. She gives him an epic beatdown, and is about to kill him when Batou stops her.

Section 9 takes the garbage man to their HQ and interrogates him. He says he was on his way to pick up his daughter at school, but Major checks his history and says he lives alone and has no children. Apparently the Hacker, whose name is Kuze (pronounced KOO-zay) planted fake memories in the garbage man's brain. Kuze then begins speaking through the man, threatening Section 9. He then forces the man to kill himself.

They trace Kuze's signal to a secret location. Major checks it out and finds Kuze there, connected to a network composed of dozens of human minds linked together. He says he was Hanka's prototype for an all-cybernetic body like Major's but was considered a failure and discarded. Major sees a tattoo of a burning hut on Kuze's chest (cyborg bodies can get tattoos?), just like the one in her hallucination.

Major goes back to Section 9 and confronts Ouelet. She admits there were ninety eight failed attempts (!) at creating a brain-controlled cyborg body, and that Major was the first success. Cutter orders Ouelet to terminate Major, as she's become unpredictable and uncontrollable. Ouelet, who has a motherly bond with Major, lays her on a table and pretends to administer a lethal drug to her. She slips her an address and tells her she'll find the answers she's looking for there. She then lets Major escape. When Cutter discovers Ouelet's betrayal, he kills her. He tells Aramaki that Major went rogue and murdered Ouelet, and orders her terminated on sight.

Major goes to the address, which turns out to be a massive, crowded apartment complex. She stands in front of an apartment for a long time, until a middle-aged Japanese woman opens the door and invites her inside. The woman seems sad, and tells Major that her daughter, Motoko Kusanagi, ran away from home a year ago and got into trouble with the law. The police told her that Motoko killed herself while in custody, but she doesn't believe that. The woman says something about Major reminds her of her daughter. Gosh, do you think Major might be the woman's daughter? Subtlety, thy name is Ghost In The Shell!

Aramaki calls Major on an unsecure frequency, deliberately allowing Cutter to listen in on their conversation. He tells Major that Ouelet is dead, and Cutter framed her for the murder. Cutter sends out his goons to kill the Section 9 members, but they all survive the assassination attempts.

Major follows her vague memories and finds the burned hut. Inside she meets Kuze, who says his real name was Hideo. He tells her they were members of an anti-human augmentation group who lived in the hut (and implies they were romantically involved). Ironically they were captured by Hanka and used as test subjects in the corporation's cybernetic experiments.

Cutter sends a giant spider tank (remotely controlled by him) to the hut to kill Major and Kuze. There's another big setpiece battle from the anime, and Kuze's mortally wounded by the tank. Major climbs on the back of the tank and uses all her strength to access its hatch. She pulls so hard on the hatch that she severely injures her body, ripping off her left arm. She reaches inside and manages to disable the tank.

Major falls down beside the dying Kuze. He offers to merge his ghost with hers so his consciousness can live on in her. Suddenly one of Cutter's snipers kills Kuze. Batou rescues Major and takes her back to Section 9. Aramaki confronts Cutter (after speaking with the Prime Minister) and executes him.

Later after she's been repaired, Major visits her own grave (which is empty, right?). Her mother approaches and reveals she knows who Major really is (yeah, we figured that out a long time ago, movie). We hear Major's voiceover as she says she's decided her cyborg body doesn't define her or something. She leaps off a roof again on her next mission.

Thoughts:

• Movies are expensive these days! Lately every time I go to the cineplex, I notice that more and more films are being produced by multiple studios, in order to spread the cost around.

It took a whopping FIVE studios to bring Ghost In The Shell to the screen: Paramount Pictures, DreamWorks Pictures, Reliance Entertainment, Shanghai Film Group and Huahua Media.

By the way, those last two are pretty obviously Chinese studios, which I guess means they must have been OK with the film's casting.


Ghost In The Shell marks the third time Scarlett Johansson has played some sort of superwoman in a film. She was super assassin Black Widow in several Marvel Studios films (including Iron Man 2 and the Avengers movies). She was also in Lucy, in which she played a woman who gains superpowers when she begins using one hundred percent of her brain (which is total bullsh*t, but whatever).


By the way, Pilou Asbæk, who plays Major's partner Batou in Ghost In The Shell, also starred with Johansson in Lucy.


• My favorite character in the film was Major's boss, Aramaki. He was a certified badass! I particularly liked the scene in which he wiped out an entire squad of assassins with nothing but a bulletproof briefcase and a handgun.

Aramaki was played by Takeshi Kitano, aka Beat Takeshi. He's primarily an actor, but is also a director, author, screenwriter and comedian (!). Among his many credits, Takeshi starred in Battle Royale and The Blind Swordsman: Zatoichi (which he also directed).


Ghost In The Shell does its level best to out-Blade Runner Blade Runner, creating a vast, fully realized and complex futuristic city.

Even though Ghost's megapolis is visually stunning, it just doesn't pack the same punch that Blade Runner's futuristic version of Los Angeles did back in 1982. Part of that's due to the fact that as impressive as it is, we've seen it all before. I also think it's due to the fact that we never get a really close look at Ghost's city.


In Blade Runner the camera followed Harrison Ford's Deckard as he chased replicants through the crowded streets of 2019 LA. There was a huge wealth of detail in those shots, right down to the storefront signage and futuristic parking meters!


Unfortunately in Ghost In The Shell, Major constantly stands above the cityscape like a cybernetic deity, staring down at the streets below as she silently judges humanity. There are a few brief scenes on the streets, but they're few and far between, and even then the environments seem strangely uninhabited. It's almost like the only people we see are the ones in the gigantic holographic billboards!


I'm assuming this was most likely a budgetary issue. It probably costs less to create a CGI cityscape that's seen from afar than to build and populate several blocks of futuristic avenues.


• There are many ideas in Ghost In The Shell, but the one it hammers home over and over is "Our Memories Don't Define Us— Our Actions Make Us Who We Are."


OK, I gotta call bullsh*t on that one. I do not agree with that concept AT ALL! Our memories are the only things we DO have! You could lose everyone you love and everything you ever owned, but you'll always have your memories. They're a precious commodity that most definitely does define and inform who you are. Without them you're nothing. It's what makes diseases like Alzheimer's so terrifying. If your memories are taken from you, your sense of self is stripped away as well.


In contrast, your actions are important, but they definitely don't define who you are. For example, I was quite the little annoying asshole back when I was a teen, and did a lot of things I'm not proud of. I left that version of myself firmly in the past though. I'm literally no longer the person I was, and those actions no longer determine who I am.


Sorry, Ghost In The Shell. Maybe you shouldn't have stopped going to Philosophy 101 after just one class.

• For whatever reason, I don't usually talk much about music in film. Ghost In The Shell features a very 1980s-sounding synth soundtrack, some of which was reminiscent of the music of John Carpenter films.

• At one point, Kuze uses hijacks the brains of a couple of garbage men, and uses them to attack Dr. Ouelet. 


The idea of hacking into someone's mind and forcing them to commit a crime against their will is an interesting one, and no doubt something that will actually happen if we ever get brain implants.

By the way, after the garbage men crash their truck into Ouelet's car, they immediately whip out guns and start shooting at her. Where the hell did they get those? 
Do sanitation workers in the future regularly pack heat?


• After the garbage man's mind is hacked, he's captured and interrogated in a Section 9 holding cell. He stands in the middle of the cell, hands bound and with a short cable around his neck, which keeps him in a standing position. Got all that?


As Major interrogates the garbage man, Kuze hacks into his mind again and begins speaking through him. Once he's done, he forces the garbage man to jump into the air. When he comes back down, the force causes the restraining cable to snap his neck, killing him instantly.


Eh... I dunno. That doesn't seem possible to me. Based on the length of the cable, his body only "fell" three feet when he jumped. Maybe four. Would that really generate enough force to snap a person's neck? I'm not sure, and it's really not something you can test.


• Although there was naturally a ton of CGI in the movie, Weta Workshop also created a large number of practical effects.

For example, the "Shelling Scene" at the beginning of the movie— in which we see Major's robotic body being built— was completely real. Weta Workshop made a full body cast of Scarlett Johansson, then built a highly detailed cybernetic skeleton fit completely inside it.

They also used the body cast of Johansson to design and build the skintight silicone "thermoptic" that Major wears through most of the film.

Weta also created thirteen different geisha-bots for the film. They created stunningly beautiful heads for the bots, which were worn like masks by the actresses playing the geishas. They also built several animatronic geisha heads whose faces could open up like petals, revealing moving gears and cogs inside. Pretty cool!

Weta also created most of the props and costumes in the film, and even transformed a real street in Wellington into a futuristic environment.

• This is probably some hardcore nitpicking, but here goes...

When Major first meets Kuze, he peels away her outer face plate to reveal the cybernetic mechanism within. It's a visually amazing scene, but... why the hell would anyone ever build a robot face to come apart like that? Any time she smiled or frowned, that center piece would have to be sure and move in synch with all the other pieces on her face, which seems needlessly complicated. Why not just make one big face plate and be done with it?

• As I said earlier, Ghost In The Shell is based mostly on the 1995 anime (in look, much more than in content). The filmmakers took great care to recreate many iconic scenes from the cartoon. It's pretty amazing how close they got in some cases. Here's a look at a few of them.

The film starts out with the "Skinning Scene," in which we see Major's cyborg body being created. The filmmakers really outdid themselves here, as the live action version is practically a frame-by-frame recreation of the anime.

Is she or isn't she supposed to be Asian?

Major prepares to jump into action. Her thermoptic suit was a little more risqué in the anime.

Major falls from a rooftop with style. Again, practically identical to the source material.

She does a lot of falling in this movie.

And brooding. Lots and lots of brooding. Another spectacularly identical recreation of the anime.

The geisha-bots are pretty spot-on as well.

Major's fight with the hacked garbage man is one of the most iconic scenes in the anime. It's faithfully reproduced in the movie, right down to the buildings in the background. Look at 'em! They're identical!

The other characters are meticulously duplicated as well. Here's Batou.

And Major's boss Aramaki. Eh, not quite as close, but not bad.

Ghost In The Shell is visually stunning and filled with amazing images, but it features a muddled script that feels like it was written by a first year philosophy student. It raises questions about the nature of existence, but can't be bothered to answer them as it's too preoccupied with action setpieces. The casting controversy ended up being much ado about nothing, as the film has far worse problems than the color of the lead actress' skin. If you're really interested in the story, do yourself a favor and watch the anime instead. Sadly, I have to give it a C.


Marvel's Agents Of S.H.I.E.L.D. Season 4, Episode 18: No Regrets

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This week in a jam-packed Agents Of S.H.I.E.L.D., an old favorite character makes a surprising return, a new character makes a shocking exit, we meet a member of Fitz's family and The Framework story arc finally starts picking up steam.

There're so many events and ideas crammed into this episode that's it's hard to know where to begin.

Last week I said this Framework story arc was OK, but so far just wasn't doing much for me. That all changed this week! In this episode the storyline's finally jump started, as it gains a brand new urgency. It's about time!

Due to a timely reference on the show last week, I wondered just when this current crop of episodes was actually filmed. Well, now we have a clue. This week's episode contains a blatant reference to the "Nevertheless, she persisted" incident involving Senator Elizabeth Warren back in February of this year. 

Apparently the answer as to when these episodes were filmed is "sometime between February and now!" That's a pretty quick turnaround!

SPOILERS FROM HERE ON!

We got the surprising return of Trip this week, as well as our first ever look at Fitz's long-lost father. Odd that the first time we see actually Alistair Fitz on the show, he's not even a real person!
This week cracks begin to appear in Agent May's steely exterior, as she begins to question Hydra and her place in the organization. Eh, I felt that her sudden
 change of heart seemed awfully abrupt and unearned. 

For the past two episodes she's been marching around like an SS officer, then suddenly this week she sees a couple kids in danger and does a complete 180º turn. I suppose part of her turn could be chalked up to the shock of the situation causing her to remember the real world and her real self. Still, it seemed a bit too quick. I guess that's only natural though, as the season (and possibly the series) is rushing to its conclusion.

We got to see The Patriot go out like the true hero he always wanted to be, in a surprisingly touching scene.

TV shows don't get much better than this, guys. It's a shame more people aren't watching. Actually I'm kind of worried that the series isn't going to be renewed for a fifth season. See, this fall ABC plans to air an Inhumans TV series, but rumor has it it'll be completely separate from the Agents Of S.H.I.E.L.D. continuity. 


That seems odd (and a bit of a slap in the face), as S.H.I.E.L.D.'s been featuring and setting up the concept of Inhumans for the past three seasons.

The fact that this new series has nothing to do with S.H.I.E.L.D. doesn't bode well for the future. It's be really confusing if they had TWO different series about completely unrelated and contradictory groups of Inhumans. I'm afraid ABC's gonna scuttle the show so it doesn't step on their fancy new series. Hopefully I'm wrong.

SPOILERS!

The Plot:
Coulson and Mace stage a car crash on the route of a Hydra prisoner transport bus. Coulson believes they're attempting to rescue Daisy, but Mace says he's hoping to acquire a more important prisoner. When the bus stops, Coulson and Mace dispatch the drivers. They search the bus, but all they find are corpses in body bags. Fortunately Daisy's not among them. They commandeer the bus and return to S.H.I.E.L.D. HQ.

At Hydra, Fitz interrogates Daisy. He says he knows she's from the Other Side and somehow replaced the "real Skye" as part of a plot to take over the world. Daisy realizes these are the lies AIDA's been feeding him. Fitz tells her she won't succeed, as he and AIDA plan to go to the Other Side and conquer it.

Back at S.H.I.E.L.D., Mace tells Mack to switch the plates on the Hydra bus and wipe its GPS. He wants to use it to rescue an important operative with valuable info from a Hydra "Enlightenment Center." Mace and Ward don't quite trust Simmons, so they sit her down for a talk. She tells them about The Framework, and how nothing inside it is real. She says Mace is wasting his time and risking his life on pointless missions that don't matter in the real world. Mace refuses to believe this, saying he has an entire past that he remembers, and every mission he goes on is important. After Simmons leaves, Mace orders Ward to investigate her story and find out if she's lying or not.

AIDA tells May they have a weapon that may be able to defeat Mace, aka the Patriot. She warns May that there may be risks, but she volunteers anyway. May reports to a Hydra doctor, who tells her he's created a super-soldier serum (which is likely the same one that Calvin Zabo, aka Mr. Hyde, aka Daisy's dad used in the real world). May notices there are Terragen crystals in the lab (Plot Point Alert!. The doctor assures her the serum is non-Terragen based, and injects her. She grimaces in pain as the serum takes effect. The doctor tells her she'll now have super strength for about an hour.

AIDA meets with Daisy, who asks why she would make such a hellish virtual world. AIDA says all she did was remove one regret from every person hooked to The Framework, and the resulting world is a natural extrapolation of that. She tells the beaten and tortured Daisy she can make all her pain go away. All she has to do is tell her where she is in the real world, and she can live out the rest of her life peacefully inside The Framework with her ex, Lincoln. For a moment Daisy actually looks like she's considering the offer.

Back at S.H.I.E.L.D., Coulson volunteers to go with Mace to rescue the important operative. Simmons is reunited with Mack, who doesn't remember his life in the real world. He introduces her to his daughter Hope. Simmons watches Mack interact with Hope, and smiles. Ward asks her if she still believes they're all nothing but ones and zeroes. He asks her why she dislikes him so much, and she tells him it's because he's a murdering psycho. He apologizes to her for whatever happened in the real world.

At Hydra, Fitz meets with his father Alistair, who's alive and well inside The Framework. It doesn't take long to realize he's a horrible bastard, and the reason Fitz is a Bond villain in the virtual world. Fitz tells Alistair about killing Agnes last week, and wonders if it was necessary. Alistar berates Fitz, saying that's his mother talking, and Hydra doesn't have the luxury of sympathy. He then tells Fitz about a security breach in Project Looking Glass (Another Plot Point!), which will become important in a few minutes.

Daisy hears Radcliffe sobbing in the next cell. She says she has no sympathy for him, since he created The Framework in the first place. He tells her it wasn't supposed to be like this. He tells her there's a secret back door out of The Framework, one that AIDA doesn't know about.

Coulson drives the stolen bus to the Hydra Enlightenment Center. A suspicious guard inspects the bus, and finds a body bag in the back. Mace pops out of the bag and punches the guard. They infiltrate the building, and find a room full of people locked in small cages. Mace breaks them out, and we see one of the people is Antoine Triplett, aka Trip, who died in the real world back in Season 2!

Here in The Framework, Trip is a member of the Resistance, working for Mace. He infiltrated Hydra and took photos of something called Project Looking Glass (told you it would become important!). Trip hid the film in his boots, and begins searching for them. He finally finds them on a dead Hydra goon and recovers the film.

Coulson sees a Hydra classroom full of kids who're being "reeducated,"Clockwork Orange-style. He spots two of his former students in the class, including Burnell (the kid who loaned Simmons his car in What If...). He tells Trip to go on, as he's going to stay behind and rescue the kids. Outside, Trip hands the film over to Mace, and tells him Coulson stayed behind. Mace gives the film to Burrows (Um... where'd he come from? Was he in one of the body bags too?) and tells him to get it back to S.H.I.E.L.D. on the double.

Burrows radios S.H.I.E.L.D. HQ and tells Ward that Mace needs backup. Ward mobilizes a team, including Mack. Simmons sees Mack with Hope, and realizes that virtual world or not, she doesn't want anything to take him away from his daughter. She volunteers to go in his place.

Mace heads back to the building to help Coulson, but is attacked by Super May. They have a brutal fight that eats up several minutes of screentime. Mace asks her why she's attacking, and she calls him a terrorist and a thug. Eventually Mace defeats Super May, and heads into the Enlightenment Center. May radios Hydra and tells them Mace got away. AIDA orders a Hydra Quinjet to open fire on the building, and bring her the body of Mace.

Inside, Coulson and Trip free the kids. A few of them get out before the Quinjet attacks the building, bringing half of it down. May runs into the building and sees kids struggling to get out of the collapsing building. She's shocked that Hydra would deliberately murder kids in order to terminate Mace. Ward and Simmons arrive, and also rush into the weakened building.

Inside they see Coulson, Trip and Mace trying to rescue the last of the kids. A beam falls from the ceiling, and Mace jumps under it, saving one of the kids from being crushed. May enters and tells them all to stop, but Coulson angrily tells her to snap out of it. He and Trip pull the kid from the rubble, and then try to rescue Mace. He tells them there's no time left, and to get out of the building. They all flee, except for May, who stays behind for a few seconds. She and Mace exchange meaningful looks, as she realizes he's not a thug after all, but a hero. She runs from the building. Coulson and the others load the kids onto their stolen bus. They hear a rumble, and turn the see the building collapse into rubble. The Patriot is dead, but he finally died being the hero he never got to be in reality.

Back in the real world, AIDA reviews the row of captive S.H.I.E.L.D. agents hooked up to The Framework. She notices Mace's vital signs have flatlined, and shuts off his monitor. Just like Freddy Krueger's dreamworld, when you die in The Framework, you die for real.

Later, May visits Daisy in her cell. She asks if it's true that she's an Inhuman. Daisy tells her if she had her powers, she could bring down the whole Triskelion. May says, "I hope so," and throws a Terragen crystal at Daisy's feet. The gas escapes and encases Daisy in a cocoon as she smiles.

Thoughts:
• The second that Mace started infodumping his backstory to Simmons, I should have known his number was up. That's the same trick The Walking Dead uses on practically a weekly basis. Secondary character suddenly starts telling someone their life story? BOOM! They're walker food by the third act!


• Now that I think about it, was there any reason why Mace constantly wore his Patriot costume inside The Framework? He's the leader of an underground resistance in the virtual world, so one would think he'd want to keep a low profile. Kind of hard to do when you're wearing a faux Captain America suit!

• At Hydra HQ, Agent May stops to stare meaningfully at a plaque dedicated to the those who died in the Cambridge Incident. 

This seems to be the event that destroyed S.H.I.E.L.D. and allowed Hydra to rise to power inside The Framework. The Cambridge Incident occurred because in the virtual world, May didn't kill Katia, the Inhuman girl she encountered in Bahrain several years ago.

I looked closely at the names listed on the plaque, but I don't recognize any of them. If I had to guess, I'd say they're probably all names of producers, crew members and even friends and family of whoever made the plaque.

One last thing about this plaque— the text isn't laid out very well. The first line ends with "The," and then line two starts with "Cambridge Incident." Nope! In typography you never want to separate a name like that, and should always keep it on the same line if possible. There's more than enough room to move "The" down and keep "The Cambridge Incident" all on one line.

I realize this is some pretty hardcore nitpicking, but graphic design is what I do for a living, so it drives me nuts when I see bad typography like this.

Agents Of S.H.I.E.L.D. gets very philosophical this week, as it examines the metaphysics of The Framework. Simmons constantly dismisses the lives and loves of the virtual people surrounding her, saying they're not real, and don't matter. Ward disagrees after watching Mack dote on his daughter Hope. He challenges Simmons' attitude, noting that the love Mack feels for his daughter is real, even if she isn't.

It's an interesting idea, and one that Simmons seems to start accepting by the end of the episode.

• The series also gets surprisingly political this week, as The Framework is filled with thinly disguised issues and references to the current inhabitant of the White House (or more accurately, Mar-s-Lago).

For example, Hydra runs several brainwashing facilities, that it tastefully dubs "Enlightenment Cultivation Centers." This is reminiscent of our the current leadership, who drafted a Muslim Travel Ban that they insist isn't really a travel ban and doesn't target Muslims. Or the failed Affordable Care Act replacement that they honest-to-god called "World's Greatest Healthcare Plan Of 2017." It's doubleplus ungood!

Later on Simmons and Mack flip through Hope's Hydra-approved history book. Mack says, "Hydra had a plan. I'll give them that. Scare everyone, take over the media, rewrite history. You know what's not in that book? The Trail of Tears. The Holocaust. Martin Luther King Jr." Simmons replies, "I can't believe it. The blatant lies, the complete disregard for historical or scientific fact." 

This is most definitely a nod to our nation's recent puzzling attitude toward science, in which the public disregards proven fact when it interferes with their personal beliefs. 

Lastly, after Fitz finishes his torture of Daisy, he reports to AIDA. He seems almost impressed with Daisy's resolve as he says, "Beaten to within an inch of her life. Nevertheless, she persisted."

This is a direct shoutout to February of this year, when Senator Elizabeth Warren attempted to give a speech criticizing the nomination of Senator Jeff Sessions for Attorney General. Warren was interrupted and silenced by Senate Majority Leader Mitch McConnell. “Sen. Warren was giving a lengthy speech,” said McConnell. “She had appeared to violate the rule. She was warned. She was given an explanation. Nevertheless, she persisted.”

If you've ever sat down in front of your TV on a Tuesday night and thought, "Say, I wonder what the Agents Of S.H.I.E.L.D. writers think of Donald Trump and his administration?" you need look no further than this episode.

• A couple of old Hydra agents get name-dropped in this episode. Hope's history book features a chapter all about Daniel Whitehall. Long time viewers will recognize his name— he was a Nazi officer in WWII who became a prominent leader of Hydra. He was captured by the Strategic Science Reserve (the precursor to S.H.I.E.L.D.) in 1945. He was sprung from prison by Hydra operatives in 1989, and used organs and DNA from Jiaying (Daisy's mom) to de-age himself. He was killed by Coulson in the Season 2 episode What They Became.

Later at the Enlightenment Center, Coulson makes small talk with a guard and says, "How about that story on Bakshi News the other day?" Once inside the Cener, he finds a room full of students being brainwashed by a recording of Bakshi's soothing voice.

Sunil Bakshi was also a member of Hydra, and Whitehall's right hand man, helping him retrieve the Obelisk. He was later kidnapped by Evil Ward and brainwashed (ironic!) into working for him! Bakshi was killed by Simmons in the Season 2 episode The Dirty Half Dozen.

• Radcliffe explains the underlying principle of The Framework to Daisy, saying, "An entire life, an entire personality, can be permanently altered by just one sentence."

Eh, I dunno about that. I agree your life can be altered by one sentence. Sometimes even one word ("GUILTY!"). But your entire personality? I don't think so.

Of course this is the reasoning the show's using for Fitz's transformation into a supervillain. I just like to think that it takes more than a few words to switch someone from good to evil.

• At first glance, it seemed like serum that Hydra gave May was probably the equivalent of the one the Patriot used in the real world. But I'm ninety nine percent positive it's actually the one that Calvin Zabo used a couple seasons ago to become Mr. Hyde.

Too bad they didn't give May the "Cro Magnon" brow they applied to Kyle MacLachlan's head when he played Hyde!

• Dear god, could Fitz's dad possibly be more of a miserable, conniving, manipulative asshole? No wonder poor Fitz turned evil. Kudos to actor David O'Hara for playing such an evil, evil character so well.

• Fitz tells Daisy that he and AIDA are going to enter the real world and destroy it. That'll be quite a trick! There are only like six real people inside it, and only two of them (Fitz and May) work for Hydra. Everyone else in The Framework is a simulation! Surely they can't enter the real world? Is AIDA planning on taking over the real world with an "army" of two?

• I was not expecting to ever see Trip on the show again, so his return this week inside The Framework was a welcome surprise. 

So how do you suppose Trip can exist in The Framework? It's unlikely Radcliffe programmed him into it, as I don't think the two ever met. Maybe The Framework scans the minds of the S.H.I.E.L.D. agents hooked up to it, and populates it with people from their minds, living and dead?

So far we've seen the return of both Ward and Tripp. We'd better freakin' see Mockingbird and Hunter return before the season's over, or I'm gonna be pissed!

• Inside the Hydra "Enlightenment Center," Coulson finds a classroom full of kids being brainwashed by some kind of hypnotic A couple things here:

When Coulson looked at the screen, for a second I was afraid he was gonna get brainwashed as well!

Secondly, there's no way in hell that putting a piece of tape on your forehead and cheeks will prevent you from closing your eyes. Go on, try it for yourself! You don't even have to use tape, just place your fingers above and below your eyes in the approximate positions of those strips of tape. Can you close your eyes? Of course you can! Maybe this is some kind of magic Hydra® Brand Hypno Tape? 

Even if the tape does keep the kids' eyes open, couldn't they just look slightly to either side to avoid seeing the screen?


• Man, that fight between Mace and Super May was brutal! Agent Of S.H.I.E.L.D. has always had top notch fights and stunts, and this episode was no exception. Way to go, stunt team!

I was especially wowed when Mace through Super May halfway through abrick wall. Ouch! Of course I wouldn't be doing my job if I didn't point out that this should have paralyzed May. Sure, the Hydra serum gave her super strength, but it's unlikely it hardened her bones. They should be just as breakable as they've always been. 

• I was sorry to see Mace go, but hey, at least he died being the hero he always wanted to be, but could never quite become in the real world. Does the fact that he died saving a bunch of kids who don't exist in the first place diminish his sacrifice? I don't think so! Real or not, he died saving them, and as Ward said, isn't that the same thing?

 When Mace dies, Simmons looks like she's on the verge of tears. Does she finally get it? Does she realize that Framework Lives Matter just as much as those in the real world? Or did she just realize that Mace is now dead for real? A bit of both?

• Just how much control does AIDA have over The Framework? If she sees that Daisy's regained her powers, couldn't she just reboot her avatar and remove them?

We should probably toss questions like this in the "Don't Think About It Too Hard" file.

• This Week's Best Lines:
Simmons: "Did you find Daisy?"
Coulson: "No, just a bus full of dead bodies."
Simmons: "Binary ones and zeroes can't die, nor do they feel the cold!"
Coulson: "Maybe we keep that part between us."

Coulson: (asking Simmons about Ward) "Okay, I got to ask. What is it about that guy Every time I see him, I get this weird itch, like hives."
(This is of course a reference to Season 3, in which Ward was possessed by an alien that called itself "Hive."Comedy ahoy!)

Coulson: (still talking about Ward) "Did we get along?"
Simmons: "Well, you crushed his chest with your cybernetic arm and left him for dead on an alien planet, so no."

May: I was told R&D has a new weapon, something that could take down the Patriot."
Doctor:"Ah, yes. Oh, no, it's not exactly a weapon, but it can make you into one."
May: "Steroids?"
Doctor: "Oh, no, not just any steroids. Augmented strength serum. The effects of which are very potent, although temporary."
May: "It's not Terrigen-based, is it?"
Doctor:"Oh, no. No, no, no. This is made from various metabolic enhancers, gorilla testosterone, even a dash of peppermint. The point is, one dose, you will have the Patriot begging for his life."


Simmons: (to Mace) "No one wants to hear they're just an avatar in a digital prison, but sometimes that happens, and here we are."

Mace:"In the the real world, how well do we know each other? Are we friends?"
Simmons: "More like coworkers. But I do think of you in a friendly way."
Mace: "Where am I from?"
Simmons: "Excuse me?"
Mace: "In your world, where am I from?"
Simmons:"Uh, I'm not sure. The midwest?"
Mace:"Well, am I married? Do I have kids? Any siblings? Hobbies? Do I cook?"
Simmons: "Where are you going with this?"
Mace: "You don't know me at all."
Simmons:"Not well enough, apparently."
Mace: "I'm from Brooklyn, son of a plumber, played baseball in college and guitar, can't carry a tune. I say "soda," not "pop," and I like my barbecue sweet, not spicy. Never been married or had kids, but in the last five years, I've buried seventeen of my closest friends and family. Some of them died right in my arms believing they were fighting for something real, stopping hate. And you're telling me it's meaningless?

Fitz:"Lies. That's all she gave us. Beaten to within an inch of her life. Nevertheless, she persisted."

Coulson: "This is Jemma Simmons."
Mack: "Ah, it's good to meet you. This little girl right here, this is my daughter, Hope."
Simmons:"It's lovely to meet you, Hope."
Hope: "Nice to meet you, British lady."

Mace: "Coulson, you got a second? Pulled this I. D. off one of the bus crew. Should get you past the gate. Ward just had to swap the photo, change the name."

Coulson: "Jamie Flugelman?"
Mace: "Well, it's the only one he could clear from Hydra's database, so mount up, Flugelman!"

Hydra Guard:"Flugelman?"

Coulson: "It's Canadian."

Radcliffe: (explaining The Framework to Daisy) "Aida changed him."

Daisy: "She said she took away one regret. One regret can't change an entire life. It doesn't change who you are."
Radcliffe: "Of course it can. One person in your life, one decision, one sentence has the power to change you forever."
Daily: "One sentence?"
Radcliffe: "Yeah, that's right. One single sentence like 'I love you,' or, 'We're having a baby,' or, uh, 'She's gone."
Daisy:"I just I didn't think Fitz was capable of doing something like that."
Radcliffe:"Oh, my dear. Depending on the circumstances, anyone is capable of anything. Just look around."

Alistair: "So, what's this about a woman?"

Fitz:"Someone I had to kill."
Alistair:"Had to? You mean in self-defense?"
Fitz: "No, she was unarmed."
Alistair:"Was she an enemy of the state?"
Fitz:"Yeah. I believe she was."
Alistair:"So what's the problem?"
Fitz: "What if I didn't need to kill her? What if maybe she wasn't lying or maybe she was mentally ill or something?"
Alistair: "What if? Maybe? Now, that's your mother talking. "
Fitz: "Sorry, father."
Alistair: "There she is again. Listen, son, I don't know a thing about what you do here, the science, but I know that it's important, and I know the man I raised. Not a coward, but a man of action, a great man in a hard world. And in a hard world, we cannot afford the luxury of what?"
Fitz: "The luxury of sympathy."
Alistair: "Exactly. We don't buckle to guilt or womanly sentiment. Everyone needs the strap across their back now and again. Teaches respect. You know that. You've felt it. And look where it's gotten you. You're protecting the human race, and the only other person who understands the weight of that is Ophelia. Madame Hydra. And you love her, don't you?"Fitz: "Honestly don't know what kind of man I'd be without you, father."
Alistair: "That's why I'm here, son."
(This chilling look into Fitz's family life perfectly explains why he's such a cold, heartless supervillain in The Framework, and how reversing his biggest regret— never knowing his father— completely changed him for the worse)

Bakshi: (as a voice in the "Enlightenment Center") "
Take a deep breath. Calm your mind. You know what is best. What is best is you comply. Compliance will be rewarded. Surrender, and you will find meaning. Surrender, and you will find release. Take a deep breath. Calm your mind. You know what is best. What is best is you comply. Compliance will be rewarded. Surrender, and you will find meaning. Burnell? Surrender, and you will find release."

It Came From The Cineplex: Power Rangers (2017)

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Krispy Kreme Presents Power Rangers (2017) was written by John Gatins, with story credit by Matt Sazama, Burk Sharpless, Michele Mulroney and Kieran Mulroney. Yep, believe it or not, it took a freakin' QUINTET of writers to bring this epic tale to the silver screen. It was directed by Dean Israelite.

Gatins is an actor/writer who previously wrote Summer Catch, Hardball, Coach Carter, Dreamer: Inspired By A True Story, Real Steel, Flight, Need For Speed and Kong: Skull Island. Hmm. There are actually a couple of decent movies in that list. I guess you can't hit one out of the park every time at bat.

Sazama and Sharpless previously wrote Dracula Untold, The Last Witch Hunter and Gods Of Egypt, which should tell you everything you need to know about the Power Rangers movie. Plus I can't think of a more perfect name for one of the writers of this film than "Sharpless." 


Michele and Kieran Mulroney are writing partners, as well as husband and wife. Michele Mulroney wrote Sunny & Share Love You on her own. The two of them co-wrote Paper Man (??) and Sherlock Holmes: A Game Of Shadows.

Dean Israelite only has one previous Hollywood film under his belt— the teen, found footage, time-traveling sci-fi pic Project Almanac.

Once again, a newbie director is handed the keys to a $100 million dollar plus production. I honestly don't get why studios keep doing this, as it seems like a risky move and rarely turns out well. Why not hire a seasoned director who knows what he's doing to helm your big budget tentpole picture?


It's a Power Rangers film that desperately doesn't want to be a Power Rangers movie. 
dark, dour, joyless and just plain no fun. It's as if Christopher Nolan decided to make a Power Rangers movie.

Worst of all, the film is just plain boring. I checked my watch more than once during the overlong runtime, trying to will it to hurry up and end already. The last thing a Power Rangers movie should ever be is dull.

I kind of had a feeling that something like this would happen. Way back on October 28, 2015, I blogged about the news that producer Haim Saban was working on a new, big budget remake of the series. I was skeptical of the project even then, saying:
"Details are sketchy, but don't be surprised if it turns out to be a grim, gritty and grounded take on the property. In other words, no damn fun."
Wow. How frighteningly prescient. It's like I actually saw two years into the future! This new version of Power Rangers is indeed grim, gritty and grounded, and worst of all, no damn fun.

Long before the movie premiered, director Dean Israelite said in an interview that the film would be "completely playful, and it needs to be really fun and funny. But like Project Almanac, it's going to feel very grounded at the same time, and very contemporary and have a real edge to it, and a real gut to it, it's going to be a fun, joyful, but one that feels completely grounded in a real world, with real characters going through real things."

Ugh... he said the "G" word. "Grounded." Lately that word's become code for "dull and joyless." Any time you hear a director use that word when describing a movie, you should avoid it at all cost, because I guarantee it's gonna be a flop.

Why do directors insist on taking beloved pop culture properties and then strip them of every element that made them popular in the first place? Are they trying to appeal to the wider general public instead of the fans? Bad idea, as this tactic ends up pleasing nobody.

I'm honestly not sure who this film is aimed at. Kids? They'll be bored to distraction by the lack of action and colorful costumes. Nostalgic adults, who remember watching the show when they were younger? They're just gonna be pissed at the lack of anything they recognize from the show they loved. It's a movie without an audience, as the box office results show all too well.

The film clocks in at a whopping 124 minutes, which is wayyyyy too long for a kid's film. A good half hour could have been cut out of this film without hurting it one bit. 

The Rangers' costumes, Zords and the MegaZord, and most of all the action—the things the audience came to see—are on screen for twenty minutes, if that. You'd probably see more of the Power Rangers in the average episode of the TV series than you do in this film.

This is actually the third Hollywood film version of Power Rangers. Mighty Morphin' Power Rangers: The Movie hit movie screens in 1995, and Turbo: A Power Rangers Movie premiered in 1997.

Believe it or not, it's been a whopping twenty four years since the Mighty Morphin Power Rangers first graced our TV screens back in 1993. Twenty four years! Can you believe it? That means there are actually college students out there right now who weren't even alive when the show premiered! How the hell is that possible?

I was wayyyyyy past the target demographic when the Power Rangers TV show premiered. Despite this, I watched it occasionally, mostly because I was a fan of kaiju movies and liked the Voltron-like live action scenes (the teen segments, not so much). 

The show quickly became a YUGE cultural phenomenon. There was a ton of merchandise based on the show, which quickly sold out nationwide. Chinese manufacturers opened up entire factories dedicated to producing nothing but Power Rangers toys in order to keep up with the demand. The shortage was so bad for a while that the owner of an auto dealership allegedly offered to trade a brand new car for a full set of action figures! It was a Big Deal.


It also generated its share of controversy, mostly due to angry parents protesting the show's violence (insert eye roll here).


Yes, there's nothing more horrific than watching a man in a robot suit stomp around a set full of tiny buildings, as he occasionally punches a guy in a turtle costume with a stop light sticking out of its back!

Actually, most of the no-fun, jittery parents complained that the show caused their kids to punch each other and knock over lamps and such. Hey, at least it got 'em up off the couch!


One thing I need to warn you about: you are not prepared for the outrageous amount of product placement in Power Rangers. It is for all intents and purposes a two hour commercial for Krispy Kreme donuts, with a few scenes of the Power Rangers tossed in now and then. I am not exaggerating. I'll go into more detail about this in a bit.

Power Rangers was originally scheduled for a July 22, 2016 release.Lionsgate then delayed the film to January 2017 to "allow the film room to grow," whatever the hell that means. It was pushed back yet to March 24, 2017. As loyal readers of Bob Canada's BlogWorld know all too well, anytime a movie's pushed back multiple times, it's always a bad, bad sign. And so it is with Power Rangers.

Apparently I'm not the only one who's underwhelmed by this take on the material. So far Power Rangers has only managed to rack up a modest $81 million against its $100 million budget. Oddly enough it's done even worse overseas, where its only made $47 million, for a worldwide gross of $128 million. Due to marketing and other costs, these days movies need to gross around twice their production budget just to break even, so Power Rangers has a long, long way to go before it starts turning a profit. If ever.

Lionsgate Studios obviously had high hopes for this movie, hoping to leverage it into a lucrative franchise. In February of this year, producer Haim Saban (who turned Zyuranger into Power Rangers) said that he and Lionsgate already have a SIX movie story arc planned.

Eh, I dunno. I wouldn't hold my breath for Power Rangers 2. If it does come to pass, it'll be a very scaled-down version with a much, much lower budget.


SPOILERS I GUESS, EVEN THOUGH IF YOU'VE EVER WATCHED EVEN ONE EPISODE OF THE POWER RANGERS IN YOUR LIFE, YOU'LL KNOW EXACTLY WHAT TO EXPECT!

The Plot:
We open in Earth's Cenozoic Era, long before there were Krispy Kremes. A fierce battle rages, as we see the wounded Red Ranger, aka Zordon (played by Bryan Cranston, if you can believe that!), crawling along the ground. He's the last survivor of the Power Rangers, and takes his fallen teammates' Power Coins and buries them slightly under the dirt. He then orders his assistant, the robot Alpha 5, to send a giant meteor to his location.

Zordon's confronted by Rita Repulsa (played by Elizabeth Banks), the former Green Ranger who betrayed the team. She's looking for the Zeo Crystal, which she wants in order to rule the world (Which world? Earth? She doesn't look like she's from around here, and even speaks an alien language. Why's she care about this planet?). She offers Zordon the chance to rule by her side, but he refuses. Suddenly the meteor appears and slams into Earth, killing Zordon, along with the dinosaurs. Somehow Rita survives, as she's thrown into the ocean along with her Power Coin.

Cut to the present day, as the town of Angel Grove (and Krispy Kreme!) now stands on the spot where the meteor hit. Star football player Jason Scott gets involved in a teen prank that goes horribly wrong, wrecking his father's car. He's forced to take weekend detention, is placed under house arrest and loses his football scholarship. This greatly disappoints his father Sam (played by David Denman of The Office fame).

Jason reports to Angel Grove High for detention. He sees a bully messing with Billy Cranston, a fellow student "who's on the spectrum." Jason smacks the bully in the face (?) and tells him to leave Billy alone. Cheerleader Kimberly Hart is in detention as well, after sexting a photo of a fellow student (Seriously! I'm not making that up!). While in the restroom, her friends inform her she's been kicked off the cheerleading squad. She stares into the mirror, takes a pair of scissors and cuts her long, luxurious hair. Um... that'll show those old mean girls! I guess?

After detention, Billy thanks Jason for saving him and wants to hang out. Jason says he'd love to, but he's wearing an ankle monitor and can't be out past 7 pm. Billy says it's no problem, as he can deactivate it. Apparently Jason hasn't learned his lesson, as he agrees to go to Billy's house. Billy deactivates the monitor with seconds to spare. He then asks Jason to take his mother's van and drive him to the nearby quarry (I guess Billy's not old enough to drive?).

At the quarry, Billy starts digging around in the side of a cliff wall, saying he's carrying on the project he and his late father started or something. Jason wanders off and sees Kimberly, who's swimming in a strip pit (bad idea!). This quarry's apparently the place to be, because another outcast, Zack Taylor, spies on fellow social pariah Trini Kwan, who's doing yoga. Welcome to Coincidence Theater, as the entire cast is now present and accounted for here in the quarry, so the plot can proceed.

Amazingly Billy's experiment involves drilling a hole in the side of the cliff and filling it with dynamite (!). He sets off a massive explosion, collapsing the cliff face. The others run to see if he's OK. Zack spots several glowing objects (the Power Coins Zordon buried eons ago) embedded in a translucent substance in the side of the cliff. He digs them out and the teens each randomly take one.

Suddenly they hear alarms, and see the quarry's security heading for them. The five teens pile into the van as Billy drives off (So I guess he can drive after all?). They fly down the road, and see an approaching train. Jason says if they can beat the train, the security trucks will be trapped behind it and they'll be home free. Billy floors it and zooms across the track, but the train slams into the back of the van, causing it to spin. It crashes into a gully, as the five teens are knocked unconscious.

Meanwhile, Jason's dad Sam is working on a fishing boat (I guess Angel Grove must be a seaside community?). 
He pulls up a huge net of fish, and when he dumps it out a petrified body plops onto the deck. Gosh, I wonder who that could be?


The five teens then each wake in their own rooms, unharmed and with no idea how they got there (?). Each of them then realizes they now have super strength. Jason, Kimberly and Billy meet up and decide to investigate the quarry again after school. They arrive there and find Zack trying to break through the cliff. They see Trini, but for some reason she bolts and runs up the side of the cliff when spotted (?). The others chase after her and discover they can now jump huge distances. As Billy tries to jump a wide gully, he falls into a deep chasm.

The others jump into the chasm to save him, and land in a lake far below. They dive down into the lake and emerge in an underground cavern. Inside the cavern is a massive spaceship, filled with advanced tech. They're greeted by Zordon's robot Alpha 5 (voiced by Bill Hader), who's apparently been waiting there since the Cenozoic Era. 


I cannot emphasize enough that it's taken the movie over thirty minutes to get to this point, something the TV series did in fifteen seconds.

Alpha activates a display and Zordon's face appears. He explains that his body died eons ago, but his consciousness is alive and well inside the Morphing Grid. Even though the five teens just happened to find the Power Coins, Zordon states that they've been "chosen" to become the new team of Power Rangers. So the fate of the entire world apparently depends completely on random chance here. Got it. Power Rangers, everyone!

Zordon infodumps a ton of exposition to the teens, telling them that Rita Repulsa was originally a Power Ranger, until she betrayed the team. Rita plans to create Goldar, a gigantic monster who will destroy Angel Grove in order to find the Zeo Crystal. If Rita obtains it, she'll destroy the entire world. Wait, now she wants to destroy it? I thought she wanted to rule it? If she blows it up, where's she going to go?

Zordon orders the gang to step onto the Morphing Grid and transform into the Power Rangers. They try, but nothing happens. He realizes they'll need several montages worth of training before they can morph.

Meanwhile, Sam calls the police to come investigate the petrified body in the hold of his ship. In an incredibly awkward and stilted scene, he tells the investigating cop he's going home to bed, conveniently leaving the cop alone with the body. Obviously this body turns out to be Rita, and she absorbs the cop's life force to revive herself. Why she didn't do this to Sam when she was alone with him is left to our imaginations.

Cut to the first of many, many Power Ranger training montages, as the gang fights solid, holographic rock monsters, called "Putties." Once again they try to morph, with no luck. The gang sees a huge cavern filled with giant, mechanical dinosaurs. Alpha causally mentions those are their Zords, huge anthropomorphic vehicles they'll get to control someday when they're ready. 


Zack decides he's ready now, and sneaks away, and secretly takes his Zord out for a spin. Naturally he can't control it properly, and nearly destroys the town before returning it to the cave. Well, that was a pointless scene!

When Zack returns, Jason yells at him for recklessly endangering himself and the town. The argument escalates into a fist fight. Billy separates the two, and they're amazed to see he's morphed into his Power Ranger armor. Unfortunately it disappears, and he has no idea how he did it.

That night the Rangers camp out and discuss their morphing situation. Jason believes they can't morph because they don't fully trust one another, and suggests they open up and reveal their darkest secrets. GAWWWWD, can this goddamned movie possibly drag itself out any longer? 


So the Rangers rehash all the stuff we already know— Jason blew his big chance at a football scholarship, and Kimberly's an asshole who sexted a friend's photo. Zack says his mom's really sick, and worries about what'll happen to him if she dies. Trini's an outcast because her family moves around a lot, plus she may or may not be a lesbian. And Billy's a dangerous loner who likes to blow things up. Power Rangers, everyone!

Meanwhile, Rita wanders around Angel Grove collecting gold in order to create Goldar. She's confronted by the police, but easily dispatches them. Finally, a tiny bit of action!

Billy then uses his autistic powers to figure out where the Zeo Crystal is. It should come as no surprise that it's located directly below Angel Grove's Krispy Kreme franchise.
That night Rita appears in Trini's bedroom and attacks her. She says she killed the previous Yellow Ranger, and demands she tell her where the Zeo Crystal is located. Trini says she has no idea, and for some reason, Rita believes her. She threatens to kill Trini's family unless she lures the other Rangers to the local docks.


Trini texts the others, and they rush to the docks to meet her. Rita easily traps them, and somehow senses the Billy knows where the Crystal is located. Billy finally tells her, and Rita kills him as she heads for Krispy Kreme. The others try to revive him, but he's dead.

Somehow the four teens carry Billy's dead body back through the quarry, into the underground lake and into Zordon's ship. For some reason, the Morphing Grid activates, and Alpha tells Zordon that this is his one and only chance to restore his body and return to the real world. Zordon hesitates, and says only one person may come back through the Grid. He chooses to stay, and uses the energy of the Morphing Grid to bring Billy back to life. I think. It doesn't really matter at this point. The others are so overjoyed that Billy's been resurrected that they're FINALLY able to morph! Hooray! That only took ninety minutes! Power Rangers, everyone!

The Power Rangers head into town to stop Rita. She sends an army of Putties after them, as she puts the finishing touches on Goldar. The Putties soon overwhelm the Rangers. They then summon their Zords, and despite the fact that they've had absolutely ZERO training in operating them, they're able to use them to quickly defeat the Putties. They then set their sights on Goldar.


Billy sees his dad Sam about to get stepped on and rescues him, without letting him know his identity. Sam gives the Red Ranger a long, hard look, apparently sensing something familiar about him.

Goldar easily gets the upper hand, and pushes the five Zords into a fiery pit that's opened in the middle of town. Rita then spots the Krispy Kreme and orders Goldar to destroy it and start digging for the Zeo Crystal. Inside the pit, the Rangers fear they're done for. Suddenly their Zords start to interlock and form the Megazord!

The Megazord begins battling Goldar, demolishing most of Angel Grove in the process. Our heroes! Rita merges with Goldar, combining her power with his. The Megazord somehow manages to defeat him, and Goldar melts into a huge puddle of gold. Jason orders Rita to surrender, but of course she shrieks "Never!" or something like that. She attacks the Megazord, but it simply swats her so hard she flies into outer space and freezes solid (!). Her frozen body then drifts toward the moon, where I'm sure she'll never, ever bother anyone again, unless there's a sequel.

The citizens of Angel Grove then stand in the smoldering ruins of what was once their town and for some reason cheer the Power Rangers. A few days later, we see Sam tape a newspaper article about the Rangers on his fridge, implying he knows his son is one of them. Back in Zordon's ship, he congratulates the team on becoming the new Power Rangers.

In a mid credits scene, we see the detention room at Angel Grove High. The teacher takes roll call, mentioning Tommy Oliver's name several times. We see an empty chair with a green jacket hanging from the back, setting up the Green Ranger saga in the sequel.

Thoughts:
• The film begins with a flashback to the Cenozoic Era, where Rita betrays Zordon and his team.


Sadly, this five minute prologue was far more interesting and exciting than anything in the rest of the movie. In fact I'd have rather seen an entire movie about Zordon and Rita's story than the one we actually got.

By the way, in the prologue, Zordon and Rita speak a subtitled alien language called Eltarian (Eltar being Zordon's home planet). The producers actually hired a linguist to create the Eltarian language. Supposedly Bryan Cranston and Bill Hader had trouble learning and speaking it, but Elizabeth Banks was fluent in it. Wow. What a valuable skill that'll be a year from now.


• In the TV series, Rita Repulsa was an evil alien witch who used her powers to conquer dozens of planets. Hence her name, which is obviously a play on "repulsive."


The movie tries to get clever though, fleshing out her backstory and linking her origin to Zordon's. Rita was the Green Ranger, a member of Zordon's team before she went bad and betrayed him.


Due to this retcon, this means her name was REPULSA before she turned evil! Well done, five screenwriters!

• Also in the TV series, the Power Rangers' entire origin story was covered in the opening credits. Rita Repulsa emerges from a "dumpster" on the Moon and says, "Ah! After ten thousand years I'm free! It's time to conquer Earth!" Cut to Zordon, who says, "Alpha, Rita's escaped! Recruit a team of teenagers with attitude!" We then see the five teens as they're beamed from the Angel Grove Youth Center straight into Zordon's Headquarters, where they morph into the Power Rangers.

This entire sequence takes all of TWENTY SECONDS. Seriously! Everything we need to know about how they became the Rangers is covered in less than half a minute. This dreary film stretches their origin into more than two hours!


• I mentioned earlier that it's been a whopping twenty four years since Mighty Morphin  Power Rangers premiered on August 28, 1993. How the hell can that be possible? It seems like it came out just yesterday.


It gets worse. Of the five principle cast members, three were born AFTER the series began! Dacre Montgomery (Jason) was born in 1994, RJ Cyler (Billy) in 1995 and Becky G (Trini) in 1997 (!)Ludi Lin (Zack) was born in 1987 and Naomi Scott (Kimberly) was born a couple of months before the show premiered, in May of 1993.


Excuse me while I go take my rheumatiz medicine...


• Max Landis (writer of Chronicle, American Ultra and Victor Frankenstein) was originally hired to write the Power Rangers screenplay. In an early draft of his script, the Rangers colors were assigned randomly, resulting in Kimberly being the Black Ranger, and Zack the Pink. The idea of a male being the Pink Ranger was then played for maximum yuks.

This concept was quickly scrapped, and Landis was fired from the film. Actually I wish they'd used his take on the material. It had to be more interesting than this The CW teen angst snoozefest we got.

By the way, after seeing the trailer, Landis criticized the movie, saying it felt a lot like his Chronicle screenplay. He's not wrong. Power Rangers shares a lot with that film, especially during the many "discovering our powers" scenes.

• In the original TV show, it could be argued that the color of the Power Rangers' costumes were based on their race or gender. Zack, who was African-American, was the Black Ranger. Trini was Asian, so she was the Yellow Ranger. Kimberly was a girl, so she was the Pink Ranger.

A few years ago the internet suddenly latched on to this phenomenon, and dozens of "Power Rangers Is Racist!" memes were born.

Eh, did anyone really think that back in '93 before all the stupid internet memes started? The actors spent a good amount of each episode with their faces obscured by helmets, so I just assumed their costume colors were visual shorthand, to help the audience tell who was who. Jason always wore a red tank top, so he was the Red Ranger. Billy often wore blue overalls, so he was the Blue Ranger. Tommy often wore green, so he was the Green Ranger, and so on. I never saw it as anything more than that.

Fortunately the studio leapt into action, and took steps to right this grievous imagined wrong, to save all the SJWs out there from having icky bad feelings.

Billy is now an African American, and is the Blue Ranger. Zack is now Asian, and is the Black Ranger. Trini's still the Yellow Ranger, but now she's Hispanic. Whew! Crisis averted!

And just in case the cast wasn't diverse enough, Lionsgate covered their asses even more. Billy is now on the autistic spectrum, and Trini implies she's a lesbian.

• After detention, Billy asks Jason to drive him to the local quarry. This implies that Billy either doesn't know how to drive, or isn't allowed to because he's borderline autistic. Later when the security trucks are after them, Billy takes the wheel of his mom's van and drives his friends out of the quarry. He seems to know what he's doing, as he expertly drives out of the quarry and down the road at high speeds.

So if he knows how to drive, why'd he want Jason to take him to the quarry? Did he pretend he couldn't drive just to make friends with Jason?


And before you say anything, I do realize that I'm a grown-ass man sitting here complaining about the lack of logic in the Power Rangers movie. But c'mon, even fantasy fiction needs a set of internal rules to follow!


• In the opening credits of the TV series, Zordon tells Alpha to recruit "a team of teenagers with attitude." Hey, it was the 1990s, what can I say? Anyway, the point is that Alpha probably ran some sort of scan, picked the five best best candidates for the job and beamed them into the Command Center.

In the movie, the selection process is completely coincidental, as the main characters randomly converge in the quarry at the same time and just happen to find the five Power Coins. Apparently this time around, possessing one of the Coins is all it takes to qualify for the job.


Lucky for Zordon that five criminals didn't find the Power Coins. Or a bunch of hobos camping out in the quarry.


• Dacre Montgomery, who plays Jason, looks distractingly like David Yost, who played Billy in the original series. Coincidence, or intentional?

• Hey, look! A scene from the trailer that's not in the actual movie! Don't you just love those? There's nothing I like better than a trailer that promises things it has no intention of delivering. False advertising, smalsh smadversmising!

Ah well. It's only one scene (as near as I can tell). It's not like this is Rogue One.


• When the kids first fall into the underground lake, they note that the water around each of them is glowing with their signature colors. Zack, who will eventually become the Black Ranger, says "I'm glowing black!" A couple things here.

First of all, the film's color pallet is so muted and dreary that it's impossible to see any kind color in the water at all. Secondly, just how something "glows black" is left to our imaginations.


• After the teens land in the lake, for some reason they decide to dive deep into it and have a look around. Eventually they find what appears to be a force field that separates the water from an underground chamber. Jason tentatively pushes his hand through this force field into the dry air on the other side.

So how did they film this startling effect? With CGI? In a tank with some sort of elaborate hole in the side for Jason to stick his hand through? With a real live force field?


Nope! They just tilted the camera on its side and filmed him sticking his hand out of a pool. It's actually not a bad little low-tech effect. There's just one thing that gives it away— the air bubbles. When they turn the scene on its side in the actual film, you can see a series of bubbles traveling horizontally through the water. Bubbles generally float up, not right to left!

• When the teens enter the Command Center, they're confronted by Zordon, who looks just like a giant version of Bryan Cranston who got his face stuck in a wall.

Honestly it's not a bad effect, but it's impossible to see it and not think of those 3D pin boards you stick your face or hand in. Did the production designer on this movie really think no one had ever seen one of these things before? I guess we're lucky he didn't place a gigantic Newton's Cradle in the middle of the set.

After one of the many, many training montages, the teens catch a glimpse of some gigantic robotic vehicles inside one of the vast caverns. Alpha causally mentions these are the Zords, which took the form of the most powerful creatures on Earth during the period in which they first came here.

A helpful caption tells us that the prologue took place in the Cenozoic Era. Need I point out that there were no dinosaurs on Earth at that time? The Cenozoic was the age of cave lions, saber-toothed tigers, cave bears, giant deer, woolly rhinoceroses and mammoths.

One of the Zords takes the form of a saber-tooth tiger and another a mammoth (sort of). I guess the other three didn't think the Cenozoic animals were cool enough and decided to take the form of much earlier creatures.


• Elizabeth Banks is the only person in the entire cast who seems to know she's in a Power Rangers movie. She's clearly having a ball here, as she chews the  scenery with ravenous gusto. I'm not a fan of her look or costume, but she's one of the few bright spots in the movie, and it picks up considerably whenever she's on screen (which is all too briefly). The film definitely could have used more of her.

• OK, let's get this over with, and talk about Krispy Kreme, shall we? There's product placement,  and then there's product placement, and then there's the unbelievable level of product placement found in the Power Rangers movie.

Product placement in film is nothing new— in fact it's been around almost from the beginning of movies. Most experts agree that the 1927 silent movie Wings contained the first use of product placement, for Hershey's chocolate bars.

I understand that product placement is a necessary evil of filmmaking. Movies are expensive, and having a company cough up some dough in exchange for featuring their product helps defray some of the enormous cost. So I get it.

But it should be used subtly, and sparingly. Things like a can of Coke sitting on the main character's kitchen table, the make and model of car he drives, or a particular billboard he drives by. It should be unobtrusive and in the background. It should NOT interrupt the plot and make a loud, obnoxious pitch to the audience.

Which brings us to Power Rangers. Krispy Kreme donuts are awkwardly and unnaturally mentioned multiple times throughout the movie, which is bad enough. Then sometime around the halfway point Krispy Kreme actually becomes a goddamned plot point! Rita's looking for the Zeo Crystal, and finds out it just happens to be burried deep beneath the local Angel Grove Krispy Kreme shop!

At one point the movie even grinds to a halt as it literally features a commercial! While looking for the Crystal, Rita wanders into the now abandoned Krispy Kreme. She looks around the store a bit, then casually grabs a donut from the counter, takes a bite and pastes a satisfied look on her face. She stops just short of looking directly into the camera and saying, "Mm-mmm! That's crispy! And creamy!" You think I'm kidding, but I'm not.

The movie comes dangerously close to being a two hour Krispy Kreme commercial, with occasional clips of the Power Rangers tossed in now and then. It's almost like Krispy Kreme is the sixth Ranger!

I don't know how much money Krispy Kreme contributed to the film's $100 million budget, but it must have been at least half to warrant the kind of attention it gets. I hope it was worth it, Krispy Kreme!


I honestly can't remember ever seeing this level of product placement before. The only other movie that might come close is Demolition Man. Remember the scene in which Lenina Huxley tells John Spartan, "After the Franchise Wars, all restaurants are Taco Bell." And then they go to a fancy, four star restaurant which of course is a Taco Bell.


Believe me, as overt as that was, it was positively subtle compared to the product placement here in Power Rangers. Blatant doesn't even being to describe it.


• Rita Repulsa needs gold in order to create her gigantic minion Goldar. Lots of gold. An incredible, impossible amount of gold. See, Goldar is a lumpy, vaguely humanoid-looking thing (with large, inoperative wings, yet) that stands a good five hundred feet tall.


Rita would need literally tons of gold to form Goldar. Hundreds of tons. Maybe even thousands. She'd likely need all the known gold in the world, especially if he's supposed to be solid, which I have to assume he is. A hollow kaiju wouldn't be much of a threat, would it now?


Yet Rita collects this gold by casually strutting through the streets of Angel Grove, occasionally popping into the odd jewelry store now and then, and stealing the gold rings from the display counter.


Angel Grove seems like a fairly small town. In order to provide Rita with all the raw materials she need, its economy is either 99% jewelry based, or else it sits on the world's largest underground deposit of gold.


There was an easy solution to this problem. Just say Angel Grove's near some kind of Fort Knox-like bullion depository, and show Rita break into it and steal all the gold with her magic scepter. 


Once again, I realize I'm an adult with a job and a mortgage who's complaining about absurdities in the Power Ranger movie, but come on!


• So in the third act, Goldar stomps around Angel Grove, knocking over buildings and downing power lines as he looks for the Krispy Kreme.


About ten minutes before the end of the film, the Rangers FINALLY form the Megazord and battle Goldar. They cause just as much collateral damage as Goldar did, if not more! It's Man Of Steel all over again!

And just like in Man Of Steel, once Rita and Goldar are defeated and the entire town is literally flattened, the surviving residents of Angel Grove inexplicably cheer the Power Rangers!


Power Rangers features some of the worst production design I've seen in a long time. Everything in this movie looks absolutely awful. It's all dark, drab and colorless. I get that they needed to add more detail to the TV designs for the big screen, and after twenty four years the Zords and costumes were probably due for an upgrade. But did they have to make everything so joyless and off-putting?


Take the Power Rangers' armor. When we finally do get to see it, some one hundred minutes into the film, it's complicated, over-detailed and just plain dour. Gone are the bright and fun colors of the TV show, replaced with a pallet so desaturated you can barely tell them apart.

Production designer Andrew Menzies (ah, so he's the one to blame) said in an interview that the new suits "an alien costume that grows on them, that’s not man-made. You can’t win everyone over, but we are trying to appeal to a more mature audience and gain new fans."

Nice try, Andrew, but you failed miserably. I don't see how these costumes could possibly appeal to anyone, young or old.

Also, we only see them like this for about five minutes, tops. After that, their visors open up so we can see their faces. Why, I have no idea. I'd understand it if Tom Cruise or Sylvester Stallone was in this film, and the producers said, "I didn't pay $20 million to cover up their faces for the whole goddamned movie! Get those helmets off 'em!" That would make sense. But no one's ever heard of ANY of these actors playing the Rangers. Who cares if you can see their faces or not?


They also feature boob armor where needed, to remind us that some of the Rangers are of the fairer sex. Jesus wept.

The designs of the Zords are just as awful. In the TV show, the Zords were giant mechanical prehistoric creatures. Dinosaurs and mammoths and such. They had pretty cool and simple designs, and it was easy to tell what each one was supposed to be.

That just wouldn't fly here in 2017, so the Zords had to be mucked up and complicated to the point where I'm not even sure what I'm looking at. No longer do the Zords look like their namesake animals. They're more like Transformers now. Vague shapes that've been coated in glue and rolled around in a box of gears and metal parts.

Seriously, look at the designs of these things in that poster above. The yellowish thing in the center looks slightly feline-like, so I assume it's the Saber-Tooth Tiger Zord. But what about the red thing above it? It's color would indicate it's supposed to be the T-Rex Zord, but it looks more like an overly-complicated dildo.


Despite the fact that I saw the movie, I still only have a vague idea of what the Zords actually looked like. Between their speed, the framing and the constant shaky-cam, there's no way to ever get a good look at them. Why, it's almost like the filmmakers were ashamed of the designs and were doing their level best to obscure them!

The best glimpse of them I could find were these images of the toys. As you can see, they resemble prehistoric animals in the academic sense only. That black lump at the upper right is supposed to be the Mastodon Zord. Except it doesn't seem to have a trunk, and it inexplicable has eight legs. The blue thing at bottom left is ostensibly the Triceratops Zord. It's head actually looks a little like a Triceratops, so kudos there, but once again, it also has way more legs than it's supposed to. Did the production designer ever actually see any land animals before?


And what the hell's up with the pink Pterodactyl Zord? That doesn't look like a dinosaur, it's just a weird drone! No wonder this movie's a flop!


The Megazord doesn't fare any better, as it's just as off-putting. The original was a big, boxy, colorful and powerful-looking robot, and it was obvious that it was made up of the five individual Zords. 

Once again this new design is desaturated and joyless. There's no fun whatsoever in this design. Worst of all, I have no idea how the individual Zords are forming it. Look at the original design. Right leg is the Tiger Zord, left leg is the Triceratops. BOOM! Done. Can spot that from a mile off. Is that what's happening with the new one? Beats me. There's a bit of dull yellow around its torso. Is that where the Tiger Zord's supposed to be? Your guess is as good as mine.


And why does it look so... shapely? As if it has actual muscles? I have a horrible feeling that if I looked at the back of this Megazord, it will have lovingly sculpted ass cheeks!



Goldar was always one of my favorite character designs from the TV show. He was sort of a humanoid dog/lion thing, who wore a kind of Egyptian-themed golden suit of armor. He was just a solid, all around fun design.

This new Goldar may well be the worst character design I've ever seen in a major motion picture. It's lumpy, misshapen and looks less like it's formed from solid gold and more like it's made from gellied urine. It looks like the production designer told his six year old kid he could design Goldar, and he threw this together out of Play-Doh. And once again its body is inexplicably shapely! Look at it! This horrible Goldar design has a goddamned six pack! I hate everything about it.

One last time, I realize I'm an adult complaining about the look of the Power Rangers movie. But this is ostensibly a kids' movie (I think?). It should appeal to a child's sense of wonder and adventure. The designs should be colorful and exciting, and most of all, fun. These designs are none of those. They're a failure on every imaginable level.

• In the final scene, we get yet another montage, showing us the Power Rangers' lives after their big battle. Jason's dad puts a newspaper clipping about the Red Ranger on the refrigerator, implying he knows his son's secret identity. Billy's mother is ecstatic that her son now has friends. Zack's mom has inexplicably recovered from her Movie Disease. And Trini paints her bedroom after Rita destroyed it earlier. 

A couple things about the Trini scene. First of all, as she paints, her little brothers sit on the floor of her room playing with actual Power Rangers action figures. Wha....? Where the holy hell did they get those? It takes months, sometimes over a year for action figures to go from the design process to store shelves. Did Trini really wait that long before remodeling her room? I know, I'm complaining about logic in a Power Rangers movie again.

Secondly, as her brothers play with the figures, one of them grabs for the yellow one, saying, "He's my favorite!" Trini turns and says, "How do you know he's not a girl?"

This is likely a reference to the fact that in the original Japanese version of the Power Rangers (which was called Zyuranger), the Yellow Ranger was male. In the American Version, the Yellow Ranger's gender was swapped.

Also, boob armor. Trini's brother either needs some glasses, or an anatomy lesson.

• The mid credits scene sets up the appearance of Tommy Oliver in a possible sequel. Tommy of course was the Green Ranger on the show, who started out as an evil minion of Rita, and eventually rebelled and became good.

Note that we don't actually see Tommy here in this movie, just his green jacket. Hmm. Because we live in a touchy-feeling, politically correct hellscape, I'm confident there's an 85% chance that Tommy Oliver will turn out to be a girl if there's a sequel.
 


Krispy Kreme Presents Power Rangers somehow takes a colorful, exciting and beloved property from the 1990s and turns it into a dull, dour, desaturated teen angst-fest, that's completely devoid of any sense of fun whatsoever. Throw in some of the worst production design ever seen, product placement that actually becomes a goddamned plot point in the movie and an interminable 124 minute runtime, and you have one of the worst films of the year. Skip this snorefest and go watch the TV series again. I give it a very generous C.

Today's Trump Tidbit: Purple Hearts and 9/11

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As always, it's like a full time job trying to keep up with the many tremendous things Glorious Leader says and does on any given day. Here's a sample of what he's said this week (and keep in mind it's only Tuesday!)

This past weekend Trump took time out from his busy golfing schedule to visit the Walter Reed National Medical Center. The purpose of his visit was to award the Purple Heart to Army Sergeant First Class Alvaro Barrientos, who was severely wounded in Afghanistan's Helmland province.

"When I heard about this, I wanted to do it myself," said Glorious Leader. He then pinned the Purple Heart medal on Barrientos' lapel, and blurted, "Congratulations! Tremendous!"

Jesus wept.

Does Donald Trump understand what the Purple Heart is, and why it's awarded?

Note that Barrientos' injuries resulted in the loss of his right leg above the knee. I don't think "Congratulations!" is the appropriate felicitation in such a case.

You probably think I'm nitpicking here, or trying too hard to find fault with our president. I don't think so in this case. Jesus Christ, even a child knows you don't congratulate a soldier when he's wounded. You tell him, "Thank you for your bravery and service," or "Your country salutes you for your sacrifice." His remark was insensitive and uninformed, and only served to highlight his vast ignorance. It's no different than if he told a newly widowed wife, "Way to go!"

This isn't the first time Trumpy's stuck his foot in his mouth regarding the Purple Heart. After Trump won the Republican nomination last year, a veteran took to the stage and gave him his own Purple Heart medal (for some unfathomable reason). Astonishingly, Trump actually accepted the medal and said, "I always wanted to get the Purple Heart. This was much easier!"

What. The. Hell.

Oh, but we're not done! In an interview with the Associated Press on Sunday, Trump boasted about the allegedly sky-high ratings generated by his recent appearance on Face The Nation. Said Trump:
“It's the highest for Face the Nation or as I call it, 'Deface the Nation.' It's the highest for 'Deface the Nation' since the World Trade Center— since the World Trade Center came down.”
Yep. He really went there. The orange-hued Leader Of The Free World is so obsessed with image and popularity that he just equated his ratings in a meaningless interview with one of the darkest days in American history. 

Stay classy, Glorious Leader!

Doctor Who Season 10, Episode 2: Smile

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This week's Doctor Who follows the traditional "New Companion Second Episode Template" as Twelve offers Bill the choice between visiting the past or the future (see picks future, but the way).

Pearl Mackie continues to be a delight as Bill, and is just the breath of fresh air the show needed. Her chemistry with Peter Capaldi as the Doctor is amazing, and it's a cryin' shame they'll only have one season together.

Bill feels like a fully realized, actual person, much more so than the Doctor's previous several companions. As I said last week, it's refreshing to have a companion who's just a normal, everyday human, and not the Most Important Person In The Universe, or some sort of mystery that needs to be solved. That's why I'm terrified that showrunner Steven Moffat won't be able to leave well enough alone, and will somehow screw up Bill before the season's done.

Overall I enjoyed the episode quite a bit, mostly due to the charming banter between the Doctor and Bill. To be honest I'd have been perfectly happy just watching the two of them farting around in the TARDIS or wandering the future city for forty five minutes. It's too bad the mediocre and derivative plot had to intrude halfway through the episode to spoil their day out.


Amazingly, Smile was written by Frank Cottrell-Boyce, whose only previous contribution to Doctor Who was the execrable In The Forest Of The Night, one of the worst episodes of one of the show's worst seasons ever. 

That episode, if you can call it that, featured "science" that would have made Ed Wood blush. A massive solar flare is heading for Earth, so the world's trees take it upon themselves to grow and cover the entire planet (overnight, mind you), generating an enormous oxygen "air bag" that will absorb the brunt of the cosmic firestorm and save us all. Jesus wept.

Fortunately Cottrell-Boyce upped his game here, and wrote a much better episode this time out. In fact it feels very much like classic Doctor Who, back when the Doctor and his companion du jour would spend an entire episode exploring an alien ship or city.

I guess I'm not smart enough to get the point of this episode. The residents of a future colony have to constantly smile, or they'll be disintegrated by sentient robots whose job is to enforce happiness. So I guess this is a commentary on social media? The way we're all obsessed with "Likes," page views, swiping right and all that? Is that it? Did I get it right?

The "Technology Taking Its Programming Literally With Disastrous Results" plot isn't a bad one, but the problem is it's been done all too many times before. Moffat is particularly fond of this plot, as he used it in The Empty Child, The Girl In The Fireplace and even last week's The Pilot!

Lastly, I'd just like to say that the world seen in this episode one in which you have to constantly smile or die— would be my all-time absolute worst nightmare.

See, I don't smile a lot. It's not because I'm angry, sad or upset it's just that when I'm not thinking about anything in particular, my face goes into this default, expressionless mode, which other people read as a frown, I guess. You've heard of Resting Bitch Face? I have Resting Murder Face.

The worst part of this is that people are constantly telling me to smile. I've had complete strangers come up to me and say, "Smile! It can't be that bad!" It drives me nuts, and even though I'm not angry, hearing that eight or twelve times per day makes me so. 

You may not think this sounds like much of a problem, but try living with it for several decades straight and get back with me. People need to mind their own goddamned business. Would you go up to an overweight stranger and tell them they should lay off the bon bons? Tell a guy with nine kids to keep it in his pants? Of course not! So don't worry about what my face is doing.

Honestly, If I had to walk around with a fake smile pasted on my face like the colonists in this episode or else die, I'd have to think it over.

SPOILERS!

The Plot:
The Doctor and Bill hang out in the TARDIS, as witty banter ensues. Nardole knocks on the door and the Doctor lets him in. Nardole seems miffed that Bill's in the TARDIS (jealousy?) and the Doctor tells him to go make some tea. Nardole reminds him of his oath to guard the vault, and that he's not supposed to go off-world unless it's an emergency. The Doctor lies, assuring him he won't leave, and rushes him out of the TARDIS.

The Doctor then asks Bill the standard new companion question: Past or Future? She picks the future for her first trip in time, because she wants to know if turns out "happy."

Meanwhile in the future, on the planet Gliese 581d, a woman named Kezzia walks through a vast wheat field toward a beautiful white city. She's followed by a small, humanoid robot and a cloud of black nanites called "Vardies." Inside the building, she's met by a nervously smiling woman named Goodthing, who tells Kezzia their mother and several other family members are all dead. Despite this bad news, Goodthing pleads with Kezzia to smile. Kezzia's understandably upset, which the small robot beside her senses. It's face, which displays an emoji of a smiling face, changes to a frown, then a deadly face with skulls for eyes. Suddenly a Vardie swarm swoops down and envelops Kezzia. When it flies off, there's nothing left of her but a pile of bones.

Sometime later the TARDIS lands on Gliese, which the Doctor explains is one of the first Earth colonies. He and Bill explore the futuristic city, but are puzzled as to why it seems empty. The Doctor notices swarms of Vardies buzzing around, along with the small humanoid robots, which Bill dubs Emojobots. The Doctor says the Emojibots must serve as  an interface between humans and Vardies. 


An Emojibot hands each of them a disk, which they place on their chests like a pin. The disks immediately move to their backs, and begin displaying emojis. The Doctor theorizes that the badges are meant to display the wearer's emotional state— a mood indicator.

Bill's fascinated by the city and everything in it, but the Doctor's unnerved by the fact that there're no colonists around. He says even if the colony ship hasn't yet arrived, there should be a skeleton crew of humans to help set up the city. They wander into a greenhouse, and the Doctor makes a grisly discovery— the Vardies killed the humans and are using them as fertilizer.

The Doctor somehow works out that the Emojibots were sent ahead to Gliese to build the city for the colonists, and are programmed to make them happy. Somewhere along the line they began taking their programming literally, and when the skeleton crew became unhappy for some reason, the Emojibots eliminated them.

The Doctor and Bill paste big happy smiles on their faces and exit the city as quickly as possible, and make their way back to the TARDIS. He tells Bill to stay there, while he tries to figure out how to stop the Emojibots so they don't kill all the colonists when they arrive. Bill says nothing doing (of course) and returns to the city with the Doctor.

The Doctor realizes that the entire city is formed out of trillions of Vardies, who make up the walls, floors and everything. They find a section of the city that isn't made of Vardies, and realize it's the remains of the spaceship that brought the skeleton crew here. The Doctor finds the engine room and rigs it to blow, which will destroy the Emojibots (and leave a big heap of nothing for the colonists when they arrive!). The Emojibots detect the intruders, and head toward the engine room to stop them.

Bill wanders off and finds a chamber with a long-dead old woman lying on a slab. There's an electronic book at her feet, and Bill flips through it, seeing it's the history of Earth. She's troubled when she gets to the future, and sees it's not pleasant. She then wanders into a room filled with thousands of hibernation pods, each with a human inside. The colonists aren't arriving, they're already here!

Bill fills in the Doctor, and he realizes he was wrong about the colony. He immediately has to undo the damage he did to the engines to keep them from blowing and save what's left of humanity. Bill thinks he's saved the day, but he reminds her that when the colonists wake up, they're not going to be happy that their new home is a death trap, which will cause the Emojibots to massacre them. The colonists begin waking up, wondering what's going on. When they find out, they head to the armory and gear up for war.

Meanwhile the Doctor tries to figure out what happened to the Emojibots so he can reverse it. Bill shows him the old lady's tomb, and the Doctor finally understands. She was one of the skeleton crew, who died of natural causes. This caused grief among the rest of the crew. The Emojibots were programmed to maintain happiness, and when they sensed grief, they decided it had to be eliminated, as their literal thinking became deadly.

The Doctor tries to explain all this to the awakening colonists, but they're too worked up to listen, and attack the Emojibots. The Vardies then spring into action, stripping the flesh off the bones of one of the colonists. Suddenly the Vardies and Emojibots both stop. The colonists wonder what happened, and the Doctor reveals he hit the reset button on the Emojobots. Well. That was... anticlimactic.

Before he leaves, the Doctor explains the situation to the colonists. He says the city belongs to the Vardies now, as it's literally made of them, and they're now the indigenous life form on Gliese. He tells the colonists they need to figure out how to live with the Vardies quickly, and suggests they start smiling.

The Doctor and Bill take off in the TARDIS. When Bill asks where they're going, the Doctor says he's returned them to Earth at the exact moment they left. He throws open the doors and they see they're in 1840 London, as a real live elephant walks toward them across the frozen Thames.


Thoughts:
• This week we find out what's up with the vault the Doctor was fiddling with in The Pilot. We don't find out what's in it, but we sort of learn why the Doctor's guarding it. He tells Bill, "
A long time ago, a thing happened. As a result of the thing, I made a promise. As a result of the promise, I have to stay on Earth."


I'm assuming the mystery of what's inside the vault and why the Doctor promised to guard it will slowly unfold over the next ten episodes. And against all logic, reason and the rules of good screenwriting, I'm confident it'll have something to do with Bill.


One cool thing about the Doctor's oath— according to Nardole, he's not supposed to go off-world and leave the vault unguarded. The Doctor does so anyway of course, using time travel as a technicality. He can leave the planet for as long as he wants (years even!) as long as he returns at the exact moment he left. Timey Whimey!


• Funny how, out of all the incredible things she saw in this episode, the thing that amazed her most is the most mundane— the fact that the Doctor has two hearts.


Somehow I think this is going to be tied in with the vault and the photo on the Doctor's desk last week, and Bill will turn out to have something to do with Susan Foreman. Either it's Susan in the vault, or Bill's Susan's daughter or something like that. Moffat won't be able to help himself.

• The Doctor reminds Nardole that he's over two thousand years old in this episode, and doesn't need a mother hen clucking over him.


Some online fans are claiming this is a mistake, as the the events of Heaven Sent mean the Doctor's really 4.5 BILLION years old. Eh, I don't think so.


In that episode, the Doctor was teleported into some kind of other-dimensional prison. He wandered through a maze-like structure for days, until he found his way back to the transporter room and was killed. The prison then reset itself back to the moment the Doctor first appeared. 


This sequence of events happened over and over for four billion years. But because the prison constantly rewound itself, each time the Doctor stepped out of the transporter was the first for him, if that makes any sense.


That's the way I interpreted the episode at least. And the Doctor seems to agree with me!

• The colony planet in the episode is called Gliese 581d. Believe it or not, this is an actual world (probably), in the Gliese 581 planetary system, twenty light years from Earth! It was discovered in 2007 by the European Southern Observatory telescope in La Silla, Chile. Why there's a European Southern Observatory in South America, I have no idea.


Computer climate simulations have indicated there may be surface water and a habitable surface on Gliese 581d. Kudos to the writers for using an actual (probably) planet in the episode!


• Impressed by the futuristic city in this episode? Wondering how the cheapskates at the BBC could possibly afford to build such a massive set? 

Eh, it wasn't a set. It's a real place! The Doctor Who cast and crew went on the road and filmed the episode at the City Of Arts And Sciences in Valencia, Spain.

• The plot of this week's story— "Be Happy Or Die"— is a familiar one. It's pretty much identical to the 1988 Seventh Doctor episode The Happiness Patrol. In that episode, the Doctor and Ace travel to a futuristic city run by dictator Helen A (who was a thinly-disguised satire of Prime Minister Margaret Thatcher). She made it illegal to be unhappy, and anyone who violated the law was put to death.

I guess the writers were hoping we'd forgotten about that episode?

The similarities don't stop there. The Seventh Doctor and his companion Ace had a teacher/student relationship, just like the Twelfth Doctor and Bill do. And Ace's favorite catchphrase was "Wicked!," which Bill just happens to utter this week. Coincidence? Homage? Outright self-theft?

• Another case of borrowing from what's gone before: at one point, Bill asks why, if the Doctor's an alien, he has a Scottish accent. 

This echoes the first appearance of Rose Tyler in 2005's Rose, in which she asked the Ninth Doctor why he sounded like he was from the north (his reply: "Lots of planets have a north!"). 

Also in 2010's The Beast Below, the Eleventh Doctor and Amy Pond counter the Starship UK, which contains the British survivors of a future evacuated Earth. The Doctor tells Amy, who was Scottish, that Scotland refused to be a part of the ship and built their own.

• Early in the episode the Doctor assumes the city's empty because the colonists haven't yet arrived. He then decides to blow up the city to save the colonists from the Emojibots.


The Doctor was completely wrong about this of course, as it turns out the colonists were already there. But let's suppose he was right and they hadn't yet arrived. 


What would have happened if the colonists had arrived and found the Doctor had blown up their city? What the hell would they have done then? Live in their ship until they could figure out how to build adobe huts? Seems like he didn't really think his plan through. Lucky for the colonists he was wrong and didn't blow up the city after all.


• The colony ship is called the Erehwon. It doesn't take a cryptographer to see that's "Nowhere" backwards. Oy.

This may also be a reference to Erewhon, a satirical novel written in 1872 by author Samuel Butler. The story's about a utopia that turns out to be a nightmare, and even features machines that become self aware. Sounds familiar, eh?

• Supposedly the Vardies are named after Professor Andrew Vardy, of Memorial University in St. John's, Newfoundland, Canada. His area of research is swarm robotics, which I guess is a thing. Frank Cottrell-Boyce, writer of this episode, collaborated with Vardy several years ago on an unrelated story.

• At one point Bill finds a dead old woman on a slab, with an electronic book at her feet. Bill activates the iPad-like book, which displays a slideshow of Earth's history.

The images she sees look amazingly like the opening titles of The Big Bang Theory. Seriously. All that was missing was the Barenaked Ladies theme.

To be fair here, this may have been less of an homage or ripoff, and more a case of there only being so many ways to illustrate a multimedia demonstration of Earth's past.

There are a couple of Easter eggs among the images Bill sees in the book. The first is a photo of the Embracing Couple, a pair of perfectly preserved people who died in the eruption of Mt. Vesuvius. I'm betting this had to be a reference to 2008 episode The Fires Of Pompeii.

The second is a brief image of Vincent Van Gogh, who was featured in the episode Vincent And The Doctor.
• All through the episode the Doctor keeps talking about a magic haddock, which no one else understands. Finally at the end of the episode he explains himself and tells a story to the colonists, saying, 
"Once, long ago, a fisherman caught a magic haddock. The haddock offered the fisherman three wishes in return for its life. The fisherman said, 'I’d like my son to come home from the war and 100 pieces of gold.' The problem is magic haddock, like robots, don’t think like people. The fisherman’s son came home from the war in a coffin and the King sent 100 gold pieces in recognition of his heroic death. The fisherman had one wish left. What do you think he wished for? Some people say he should have wished for an infinite series of wishes... In fact, the fisherman wished that he hadn’t made the first two wishes."
His Magic Haddock story is pretty much identical to The Monkey's Paw, which was written by W.W. Jacobs in 1902. It tells the story of a petrified monkey's hand that grants wishes, but in the most hellish way possible. 

In the story, an old man wishes for enough money to pay off his house. The next day the man's son is killed in a factory accident. The factory owner gives a goodwill payment to the old man, which is the exact amount he needs. 

A week later the old man's grief-stricken wife demands he use his second wish to return their son to them. He reluctantly does so, and they immediately hear a moaning and scratching at their door. The old man realizes it's the half-rotted corpse of their dead son trying to get in, and uses his last wish to undo the second.

I looked around the internet and there doesn't seem to be any story called The Magic Haddock. I'm betting the writer just came up with a new name for the old story, as The Monkey's Paw is pretty well known and would be a spoiler for the rest of the episode's plot.

• The Doctor saves the day by rebooting the Emojibots, to reset them to their factory settings. In other words, "he turned them off and on again."Cue sad trombone. It's a terrible, anticlimactic copout of an ending, one which makes the Doctor look like an idiot. Surely someone as smart as him should have known to do this five minutes after he met the Emojibots (this is actually the second time he screws up in the episode, as earlier he mistakenly assumed the colonists hadn't arrived yet, and almost blew them up along with the city!).

Additionally, the Doctor's reset solution doesn't make much sense. The Emojibots have become a new self-aware species, and are so dedicated to preserving happiness that they literally kill anyone experiencing sadness. The Doctor then "resets" them, essentially wiping their memories. He says the Vardies are now the indigenous population, as the built the city and it belongs to them, and tells the colonists they'd better figure out a way to live with them.

Hang on— if he wiped their memories, then shouldn't they have lost their sentience as well? Shouldn't they just be plain old robots with factory settings now? So what's the problem? Why can't the colonists just move into the city as planned?

By the way, there's no way to watch reset scene without thinking of Roy, the beleaguered computer tech who constantly told his coworkers to turn their computers off and on again in The IT Crowd

• This Week's Best Lines:
Bill: (noticing the seats in the TARDIS) "Oh, that’s a mistake."
The Doctor: "What is?"

Bill: "You can’t reach the controls from the seats. What’s the point in that? Or do you have stretchy arms, like Mr. Fantastic?"
The Doctor:"Oh, I stand, like this."
Bill:"You never thought of bringing the seats a bit closer?"
The Doctor:"No, not so far, no."
Bill: "
Where’s the steering wheel?"

The Doctor: "Well, you don’t steer the TARDIS, you negotiate with it. The still point between where you want to go, and where you need to be, that’s where she takes you."

Bill: (grilling the Doctor about the TARDIS) "How much did it cost?"

The Doctor: "Ah. No idea. Stole it."
Bill: "Seriously?"

The Doctor: "Yep."
Bill: "Why?"

The Doctor:"Well, actually, because I felt like it."
Bill:"What if I steal it from you?"
The Doctor: "On you go, then."
Bill: "I don’t know how it works."
The Doctor:"Well, neither did I."

Bill: (still grilling the Doctor about the TARDIS) "Why a phone box?"

The Doctor:"I told you."
Bill:"Yeah, I get that it’s a cloaking device. But why keep it that shape? Why do you like it?"

The Doctor: "Who said I like it?"
Bill: "You kept it."

Bill:"One question— little fella said you made an oath. You’re not supposed to leave the planet."

The Doctor:"OK, I suppose I owe you an explanation. A long time ago, a thing happened. As a result of the thing, I made a promise. As a result of the promise, I have to stay on Earth."
Bill: "Guarding a vault?"

The Doctor: "Guarding a vault.
Bill: "Well, you’re not guarding the vault right now."
The Doctor: "Yes, I am. I have a time machine, I can be back before we left."
Bill: "But what if you get lost, or stuck, or something?"

The Doctor: "I’ve thought about that."
Bill: "And?"

The Doctor: "Well, it would be a worry, so best not to dwell on it."

Bill: (seeing the Vardies) "These are robots? These are disappointing robots."
The Doctor: "That’s a very offensive remark. Don’t make personal remarks like that."
Bill: "You can’t offend a machine."
The Doctor: "Typical wet brain chauvinism."

(I get the feeling that if we ever do create sentient robots, this will be a real conversation)

The Doctor: "Welcome to the future. Emojis, wearable communications, we’re in the utopia of vacuous teens."

The Doctor: "I’m not that fond of fish, except socially, which can complicate a meal like this."

Bill: "Why are you Scottish?"

The Doctor: "I’m not Scottish, I’m just cross."
Bill: "Is there Scotland in space?"

The Doctor: "They’re all over the place, demanding independence from every planet they land on."

The Doctor: "Why are you here?"

Bill: "Because I figured out why you keep your box as a phone box."
The Doctor:"I told you, it’s stuck."
Bill: (indicating the sign on the front of the TARDIS) "Advice And Assistance Obtainable Immediately.' You like that."

The Doctor: "No, I don’t."
Bill: "See, this is the point. You don’t call the helpline because you ARE the helpline."
The Doctor: "Don’t sentimentalise me. I don’t just fly around helping people out."
Bill:"What are you doing right now?"
The Doctor: "I happened to be passing by, so I’m mucking in."
Bill: "You’ve never passed by in your life."

Bill: "I really am on a spaceship."
The Doctor: "Yes. Which we’re about to blow up."
Bill: "How are you allowed to do that? Like, how are you allowed to blow something up and not get into trouble? I mean, blow something up, get into trouble, that is a standard sequence!"

Bill: "Where are we going?"

The Doctor: "No idea. But if I look purposeful, they'll think I've got a plan. If they think I've got a plan, at least they won't try to think of one themselves."

The Doctor: "Do you know why I always win at chess? I have a secret move. I kick over the board."

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Mystery Science Theater 3000 is back on the air! Huzzah!

This past weekend I finally got a chance to watch the new season of MST3K, which is currently airing on Netflix. I'm only three episodes in, but so far I'm loving it. It feels
exactly like the old series, which is definitely a good thing. If it ain't broke, why fix it?

They're calling this Season 11, and that's just what it feels like. It's as if no time at all passed since Season 10, which aired wayyyyyy back in 1999 on the Sci-Fi Channel (back when it still had a sensible and comprehensible name). 

I was worried that they'd try to update the show for the new millennium, filling it with endless riffs about cell phones and Facebook and Adele and Uber and whatever the hell else is current and popular these days. Surprisingly, they kept such jokes to a minimum, as they made numerous Gilligan's Island and The Munsters shoutouts, and surprisingly even referenced riffs from previous old episodes ("Watch out for snakes!")!

Many people (myself included) worried about the new cast. That's pretty much par for the course with MST3K though. By the end of its run, literally EVERY single character on the show had been replaced at least once! Every one! If you don't like change, then MST3K is not the show for you. 

Fortunately the new cast is surprisingly good (with one major exception). I was totally sold on Jonah Ray as new human host Jonah Heston after just one episode. Hampton Yount as Crow is fine as well, and manages to do a reasonable facsimile of Bill Corbet's voice. I'm not completely onboard with Baron Vaughn as Servo yet though. Kevin Murphy had a very distinctive voice, and his Servo had the air of a pompous little intellectual. So far Vaughn's version of Servo has a pretty bland and unremarkable voice, with a personality to match. He's basically a clone of Crow at this point. Hopefully they'll work on this in future seasons (of which I hope there are many).

One small complaint: during the movie segments, I have a hard time telling which of the three characters are talking. I'm chalking this up to me just not being used to their voices yet. I'm sure after I watch a couple more episodes, I'll figure it out.

Naturally Patton Oswalt is great as Max, aka TV's Son Of TV's Frank, and is the logical replacement for Frank Conniff.

The only weak link in the cast (for me at least) is Felicia Day as Kinga Forrester, daughter of Dr. Clayton Forrester from the original series. The internet at large practically lost its collective mind last year when her casting was announced. 
Sorry, but I don't get it. Am I missing something here? Why is she so universally beloved by the nerd community? 

From what I've seen so far, she has little or no on-screen charisma, and seems completely wrong for the part of mad scientist. The Forrester family are all evil geniuses! They're campy, over the top characters! There should be no piece of scenery left unthawed after they appear! So far the best adjective to describe Kinga Forrester is... meek. She seems more like a timid little mouse than a mad scientist, and feels completely miscast here.

Hopefully she starts getting better quick. At this point she's worse than J. Elvis Weinstein's Larry!

The Kinga Forrester misstep aside, the show's awesome and I'm extremely glad it's back. Now let's hope it's successful, so Netflix renews it and actually gives them some money this time, so the producers don't have to beg Kickstarter again to fund it!

The Flash Season 3, Episode 19: The Once And Future Flash

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The Flash is back, after yet another one of its endless and interminable breaks. How I loathe these constant interruptions. Blame them on Sweeps Weeks.

This week Barry travels to the dark and dreary future, one that's somehow darker and drearier than his regular time period's been lately. In fact, this nightmarish version of Central City is so grim and gritty that I can't help but think it's meant as a parody of Zack Snyder's DC Movie Murderverse (see Man Of Steel or Batman V. Superman: Dawn Of Justice for examples).

We also get yet another tease of Savitar's identity this week. Sigh... OK, it was kind of fun trying to guess who he was at first, seemingly eighteen or twenty months ago, but the mystery's definitely lost its allure. The promos promise they'll finally reveal his identity in next week's episode. I hope so, because I'm honestly about five seconds away from not giving a sh*t. Enough's enough.

A while back I did a rundown of the candidates I thought were most likely to be Savitar, including Wally, HR, Eddie Thawne and even Barry himself. Based on various plot points, I narrowed the list down even further to HR or Barry. Eh, after this week's episode, I'm changing my mind again, as I don't think he could be either of them.

See, we don't learn who Savitar is this week, but get a pretty good indication of who he isn't. Future Barry says he finally managed to trap Savitar in the Speed Force in 2020. We then see that every character on the show— Barry, Cisco, Joe, Caitlin/Killer Frost, Wally, HR and Julian—is present and accounted for in 2024. If Savitar's locked up tight in the Speed Force, then he can't be any of them, right?

There's a fan theory floating around that Savitar is either Eddie Thawne or Ronnie Raymond, both of whom were fiancees of Caitlin Snow. Eddie was sucked into a singularity or something in the Season 1 finale, and Ronnie became one half of Firestorm and sacrificed himself to stop a singularity sometime in Season 2, I think. 

The technobabble nature of their both their deaths could easily serve as an excuse for them to turn into Savitar. And the appearance of either of them would definitely account for the look of shock and wonder on Caitlin/Killer Frost's face at the end of the episode.

I'm doubting it'll be Eddie though, since he just appeared (sort of) a couple months ago in Into The Speed Force. I think it'd be too confusing if he was both a Speed Force manifestation AND Savitar as well. 

That leaves Ronnie Raymond. I dunno if I really believe he's Savitar or not, but based on this episode, he seems to be the most likely candidate.

SPOILERS!

The Plot:
Barry and Iris hang out in their apartment. It's snowing outside, which is odd, considering this episode's airing in April. Barry's busy working out speed calculations (?) as he struggles to figure out how to save Iris from Savitar on May 23rd. Iris makes Barry promise to look after for Joe once she's gone (Plot Point Alert!). Barry gets a message from STAR Labs and rushes off.

At STAR, Killer Frost, aka Caitlin Snow, runs amok and attacks Cisco, HR and Julian. The three of them hide inside a cell in the STAR Labs Secret Super Jail, which seems like a dumb idea, since Killer Frost can simply open the door from the outside. Just as she's about to kill them with an ice blast, Barry appears. He urges her to try and fight her evil side, but she says "Nah," forms a wall of ice in front of him and runs off.

Cisco and Julian try to figure out how to find Killer Frost before she kills someone. Barry decides this would be the absolute perfect time to run to the future and find out who Savitar really is (?). When the others say "What the hell?" he reminds them that he can visit the future and be back a second after he left. Technically he's right, but it still seems wrong to run out in the middle of a crisis like this.

Unfortunately Barry's not fast enough to break the time barrier by himself, so he enlists Wally to help. The two of them run around the STAR Labs pipeline, until a time vortex begins to form. At the proper time Wally shoves Barry forward, which propels him into the vortex and seven years into the future.

In 2024, Barry's immediately attacked by Mirror Master and the Top, but manages to get away from them. He visits his apartment, but finds it empty and abandoned. Cisco appears, saying he had a feeling Barry would show up here some day. He notes Barry's wearing the 2017 version of his Flash suit. Barry tells Cisco that he needs to talk to his future self.

Cisco takes Barry to STAR Labs, or what's left of it. He says after Iris died, Future Barry shut it down and abandoned Team Flash, saying they reminded him too much of what he lost. Cisco stays in the elevator as Barry enters the darkened Cortex. Barry then encounters Future Barry, who for some reason speaks in a gravelly voice and has a ridiculous looking emo hairdo. Future Barry says he knows why Present Barry's here, and that he can't help him. He says he never found out who Savitar was. He tells Present Barry to go back and spend as much time as he can with Iris.

Barry says goodbye to Cisco and then attempts to run back to 2017. Oddly enough, he can't open a vortex. Apparently it never occurred to him that if it took two people to get him to the future, it would take two to get him back. Barry asks Cisco to just use his powers to open a breach and send him back. Unfortunately that's impossible, because at some point in the past seven years, Killer Frost froze off Cisco's hands, effectively neutering him. He now sports a pair of bionic hands.

Barry decides that since he can't get back home, he might as well catch up with his old friends. Cisco takes him to a prison where Killer Frost is incarcerated. Julian tends to her, and is surprised to see a slightly younger looking Barry. Julian says Killer Frost teamed up with Savitar and knows his true identity. Barry pleads with her to tell him, but she refuses. She does predict he'll be very surprised when he eventually finds out.

Barry visits Wally next, at the West house. Cisco say that after Savitar killed Iris, Wally went  crazy and tried to kill him by himself, with disastrous results. Wally's now wheelchair bound with a shattered spine, and whatever he saw while fighting Savitar left him completely comatose. He then goes to see Joe, who's tending to Iris' grave. Joe's not happy to see him, especially after he broke his promise to Iris and completely abandoned him.

Barry returns to STAR Labs, and demands to know why Future Barry turned his back on his friends and family. Future Barry tells him that he did everything he could to save Iris, but Savitar took her anyway. Once that happened, there was no reason to go on, so he wasn't there for Joe, for Caitlin or for Wally. He tells Barry he may not understand it now, but he will. 
Future Barry also says he eventually figure out a way to trap Savitar in the Speed Force forever, but by then it was too little, too late.


Barry talks to Cisco again, trying to figure out why he can't get back to his own time (um... because you don't have Wally's help?). Cisco says Barry can leave whenever he wants, and sheepishly admits he used some kind of dampening device to slow him down so he'd stay. Cisco wants Present Barry's help in getting Team Flash back together. Barry just can't resist Cisco's puppy dog eyes, and agrees to help.

Barry and Cisco go to Jitters, which is now called "HR Jitters." HR's there, reading his latest trashy novel to a group of enthralled MILFs. They round up Julian and Joe as well, and bring them back to STAR Labs. Barry talks them all into resurrecting Team Flash, and they're all on board. Cisco gets an alert saying Mirror Master and the Top are robbing another bank.

The Flash zooms to the scene and confronts the villains. They attack him again, and quickly get him on the ropes. Back at STAR, Cisco says his power dampening device could save Barry, but there's no way to get it to him in time. Suddenly Future Barry makes a dramatic entrance, saying he'll take it to him.

Future Barry zooms to the scene of the robbery, decked out in his updated Flash costume. He uses the dampening field to shut down the villains' powers and cuffs them, saving Present Barry.

Back at STAR Labs, Team Flash celebrates their sad little win, which doesn't matter because as soon as Barry returns to the present, this future timeline will likely cease to exist. Despite this, Future Barry says he sees now that this future's worth fighting for. He tells Barry that a scientist named Tracy Brand helped him trap Savitar in the Speed Force, and gives him some kind of futuristic flash drive (heh) with all the info he needs on it.

Barry enters the pipeline and somehow makes it back to 2017, even though earlier in the episode he wasn't fast enough to break the time barrier by himself. He tells Cisco and the others about his future adventure, and says the first thing they need to do is find Killer Frost and keep her from teaming up with Savitar.

Cut to Killer Frost walking through a wooded area. Savitar appears, and offers to help make sure the 
Caitlin side of her persona never returns. Killer Frost asks him why she should trust him. Savitar kneels down and the back of his suit opens up. A mysterious, shadowy figure steps out of it. All we see though is Killer Frost's face, as she's astonished by who's inside the suit.

Thoughts:

• As the episode opens, We see Barry and Iris in their apartment. The fireplace is blazing merrily away, and it's actually snowing outside. 

Just when is this episode supposed to be taking place (in 2017, that is)? I was under the impression the series was happening more or less in real time, as their Xmas episode actually aired back on December 6, 2016. So why the heck is it snowing on the show at the end of April? Is Killer Frost making it snow?

I'm betting this is a case of the show's numerous idiotic breaks screwing up the schedule, causing us to get a winter episode in the Spring.

• Cisco, Julian and HR run from Killer Frost, and hide in a STAR Labs Super Jail cell. I loved the Raiders Of The Lost Ark moment in this scene, as HR slid under the cell door, then reached out to grab his trademark drumstick just before the door closed on his arm.

• By the way, did you wonder why HR doesn't spend a lot of time in front of the camera this week? That's because he spend most of his time behind it. Actor Tom Cavanaugh directed this week's episode.


• Barry says he's not fast enough to open a time portal on his own, and needs Wally's help. They run around and around the pipeline, and at the appropriate moment, Wally gives Barry a boost to propel him through time.

Unfortunately it looks for all the world like Wally grabs Barry by the ass and tosses him into the vortex.


• When Barry arrives in 2024, he sees several newspapers blowing down the street, and picks one up to check the date and make sure he's really in the future.

Why the hell are there still physical newspapers in 2024? For three seasons now, every time Barry enters the STAR Labs Time Vault, he gazes at what appears to be a holographic newspaper dated 2024.

So I guess there aren't holographic newspapers in the future after all? Maybe we're to assume they still have paper newspapers in 2024, but what we see in the Time Vault is just a holographic recording of one of these? Or am I putting way more thought into this than the producers did?

• OK, this doesn't have much to do with this episode, but whatever. When Harrison Wells' Time Vault was first introduced back in Season 1, it was controlled by an artificial intelligence called "Gideon."

In the first season episode The Trap, Barry accidentally discovers the Time Vault and is greeted by Gideon's voice. He doesn't want Wells to know he's found the room, and asks Gideon if she can keep it quiet. She says of course. When Barry asks why she's obeying him, she says it's because he created her! Impressive!

Wow, Barry'd better get busy. He now has less than seven years to somehow figure out how to create an advanced, self-aware artificial intelligence. 

I get the feeling the writers forgot all about this little factoid...

Oddly enough, over on Legends Of Tomorrow, Rip Hunter's timeship, the Waverider, is also controlled by an A.I. named Gideon. Hmm... Did he steal Gideon from Barry? Or did Barry give Rip a copy of Gideon for his ship?

• When Cisco meets Present Barry, he notes that he's wearing the 2017 version of his suit. That implies he'll be getting a new one soon!

• Barry meets the 2024 version of himself, complete with black hair that falls over his face in dank, greasy locks.

Obviously the producers were trying to make Barry look older here, but oddly enough his hairdo made him look younger, like a high school kid going through an emo phase.

• Did the producers deliberately try to make Barry look like Ezra Miller here? He's the actor who's playing the Flash in the upcoming Justice League movie.

• Great confusion surrounds the issue of Barry's method of time travel.


Barry tells Wally he's not fast enough to run into the future, and needs his help. They run in circles at superspeed until a portal forms, and Wally literally tosses Barry into it. So far, so good.

Once Barry finishes his business in 2024, he tries to go back to 2017. Surprise! He can't seem to run fast enough to open a portal and get back! Derp!

Did it never occur to Barry (or the writers) that if getting to the future is a two man job, getting back would probably be the same?

To confuse the matter even further, Cisco admits he deliberately used a power dampening device to suppress Barry's speed, because he didn't want him to go back to 2017. This implies that somehow, Barry should have been able to return to the present by himself. And at the end of the episode, that's exactly what he does!

So which is it, writers? Does Barry need help traveling through time or not? Does it take two people to jump to the future, and only one to get back? Is going to the past like running downhill?

• Barry asks Cisco to use his vibe powers to open a time portal for him. Cisco says he'd love to, but unfortunately Killer Frost froze off his hands at some point in the past. According to Cisco, "No hands, no vibes."

Did his hands contain special vibe-emitting glands? Couldn't he manifest his power some other way? Through his stumps, or even his eyes?

So where did Cisco get such advance Attack Of The Clones bionic hands? The writers realize he's only seven years in the future, right? It seems unlikely prosthetic technology's gonna advance that far in so short a time. I guess maybe Cisco invented them? And had someone else make them for him? Or maybe he got them from Atom.

• Barry goes to visit Future Killer Frost in her cell. She's surprised that Cisco didn't tell Barry she teamed up with Savitar. She says, "You didn’t tell him, did you? Well, secrets always were our thing, weren’t they?" 

Meta Alert! Wow, truer words were never spoken, as characters consistently keeping secrets from one another for no good reason has been a hallmark of The Flash since the series began. Maybe this is the writers' way of saying they're gonna cut back on the secrets? HAW HAW! What the hell am I saying? They'll never learn their lesson!

• Mirror Master's Inception-style reality warping effects were very well done. Kudos to the effects team!


• I like the Future Flash costume quite a bit! It's still overly complicated, but it looks more like the one he wears in the comic than any previous version, plus it's a brighter red. Slowly but surely, the show's working its way toward a comic accurate Flash costume!

• At HR Jitters, HR reads excerpts from his new novel to an appreciative audience. The title of his book is The Streak Vs. Mr. Reflecto, which I assume is based on a real life future battle between the Flash and Mirror Master?

• Apparently smartphones won't change much in the next seven years, as the ones the future characters all have look pretty much the same as our current models.

I'm sure this was a cost-cutting measure, so the prop department didn't have to cobble together futuristic looking phones. But it also makes a certain amount of sense, as the phones we have now haven't changed much in the past seven years. They've probably gotten a bit thinner, but that's about it.


• After 2024 Team Flash's little victory, the news media of the future celebrates the return of the Flash. What the heck's going on with that newscaster's collar? Is that what men's shirts will look like in 2024?

By the way, we've seen Channel 52 on the show before. It's a reference to "The New 52," one of DC's semi-annual revamps of their entire comic line.

• Before Barry leaves, Future Barry gives him the name of Tracy Brand, the doctor? scientist? who figured out how to trap Savitar in the Speed Force in 2020. He also gives Barry some kind of futuristic flash (heh) drive, in the hopes that Brand can figure out how to eliminate Savitar three years early. A couple things here. 

First off, I googled the name, and as near as I can tell, "Tracy Brand" isn't a character from any DC comic.

Secondly, about that button drive that Future Barry gave to Present Barry: I sure hope Tracy Brand or Cisco or someone can figure out a way to read the info off a storage medium that hasn't been invented yet!

• Math is hard! Barry travels to the year 2024. Once there, he mentions several times that he came from 2017.

When he finally gets back to 2017, he has the following conversation with Cisco:

Cisco: "You're back?"
Barry: "I went to the future."
Cisco: "How far?"
Barry: "Eight years from now."

Hmm. I freely admit I'm not a math expert, but eight years from 2017 would be 2025, right?

Marvel's Agents Of S.H.I.E.L.D. Season 4, Episode 19: All The Madame's Men

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This week on Agents Of S.H.I.E.L.D., the pieces are all falling into place as we can begin to see AIDA's endgame.

We also get the return of yet another long-dead character inside The Framework, as Sunil Bakshi pops up as a propaganda-slinging Bill O'Reilly TV blowhard.

And we finally find out just what Project Looking Glass really does, as the writers may have just revealed how they plan bring back an old character for good!

SPOILERS!

The Plot:

We’re still inside The Framework this week. We see Sunil Bakshi, who hosts his own propaganda-spewing show called the Bakshi Report. He feeds the public a fake news story, claiming the Patriot attacked and destroyed the Hydra Enlightenment Camp (which is just the opposite of what actually happened last week). 


Inside Hydra HQ, Daisy completes her Terrigenesis, courtesy of Agent May, who’s decided to switch sides. In addition to restoring her quake powers, the Terrigenesis healed her many injuries sustained during her stay at Hydra. Daisy and May fight their way through wave after wave of Hydra agents as they try to escape the building.


They make their way to the elevators, where they’re confronted by Madame Hydra, aka AIDA, and a couple of her goons. They throw down their weapons and seemingly surrender to her. Just as AIDA starts monologuing, Daisy hits her with a quake blast, knocking her backwards. She crashes through the windows of the Triskelion and falls to the pavement several hundred feet below. Somehow she doesn’t explode on impact.

AIDA wakes up in the real world and sees the Superior standing over her. If you'll recall, at the end of Self Control, AIDA removed the Superior's head and placed it in a jar, and his brain now controls an LMD replica of himself. Why? Um... because comic books?


Anyway, AIDA tells LMD Superior that Daisy and May tried to kill her in The Framework. He pulls a gun on the real May, who’s lying comatose on a slab while she's hooked up to The Framework. Fortunately for May, he can’t seem to make himself pull the trigger. For some reason, AIDA built his LMD body with the same restrictions she has— she’s bound by her programming to protect the S.H.I.E.L.D. agents at all costs, and can’t physically harm them. Because Daisy and Simmons hacked into The Framework on their own though, they’re not covered by this limitation, and she’s free to kill them. She tells the Superior to find and kill them, pronto. OK, none of that makes any sense, since Daisy and Simmons are both S.H.I.E.L.D. agents and should fall under AIDA's programming restriction, but let’s just roll with it.

Back at Resistance/S.H.I.E.L.D. HQ, Coulson and the others debate how to carry on now that the Patriot is dead.

At the Triskelion, a doctor tends to the injured AIDA while Fitz and his father Alistair look on. The doctor tells Fitz that AIDA’s spine is shattered, and she’ll likely never recover. Fitz angrily sends him from the room. Alistair says that with AIDA incapacitated, Fitz is now the new head of Hydra! Fitz meets with Bakshi, who wants to interview AIDA to reassure the public. Fitz says he doesn’t want the public placated, he wants them afraid.

Bakshi goes on the air and announces that the terrorists “Skye” and Melinda May tried to kill Madame Hydra, and are dangerous enemies of the state. He urges the public to be on the lookout for them, and if they see something, to say something.

Back at S.H.I.E.L.D., Ward wants to go out and search for Daisy, but Coulson warns against it. Ward dismisses his concerns, pointing out that Coulson’s just a teacher, not an agent. Coulson reveals he was invited to join S.H.I.E.L.D. when he finished college, but passed because he was afraid. He realizes now that that was a mistake. Ward admits he was recruited by S.H.I.E.L.D. as well, by Victoria Hand (Callback Alert!).

Daisy and May try to make their way to S.H.I.E.L.D. HQ, and see their faces on a billboard. Daisy says they’re too exposed out on the street, so they steal a car.

Back at S.H.I.E.L.D., Simmons examines the Project Looking Glass plans that Trip stole from Hydra last week. She realizes it uses Darkhold technology, which can generate matter from nothing. She says it’ll need a huge power source, and Trip says he heard chatter at Hydra about an oil rig in the Baltic. Simmons says the Superior had an oil rig in the real world, and that AIDA must be working with him.

Daisy and May make it to a S.H.I.E.L.D. outpost, and knock on the door (!). A Resistance fighter answers, sees May and pulls a gun on her. Suddenly a truck full of Hydra soldiers appears and open fire. They wound the Resistance grunt, and Daisy and May drag him inside and barricade the door. Burrows tells Coulson & Mack something’s happening at the contact point, and they go to check it out.

Inside the Resistance outpost, May admits to Daisy that she’s the one who called in the air strike that killed the Patriot. Daisy tells her it wasn’t her fault, as AIDA and Hydra both messed with her head.

Meanwhile, Fitz sits with AIDA. Alistair tells him that Bakshi’s fear-mongering is working, and their forces are closing in on Daisy and May. AIDA wakes up and makes Fitz promise to finish Project Looking Glass.

The Hydra troops break into the Resistance outpost, and Daisy and May take them out easily. Just then Coulson and Mack arrive. Mack sees May, and recognizes her as the Hydra agent who raided his house and threatened his daughter Hope. He points his gun at her, but Coulson talks him down, saying he doesn’t know why, but he trusts May.

Simmons and Trip fly a Quinjet to the Superior’s oil rig. They discover there’s a huge facility deep under water, below the rig. They infiltrate it, expecting to find Project Looking Glass there, but the place is completely empty. Simmons realizes that the Project is actually being built in the real world. AIDA plans to use to become a real girl, utilizing the Darkhold tech to create an actual human body for herself. Once she does so, she’ll be free of her restrictive programming and can kill the S.H.I.E.L.D. agents (and finally feel real emotions too).

Alistair tells Fitz that Daisy and May escaped. Fitz shrieks at his father, who shuts him down quick. He assures Fitz they’ll find the traitors. Fitz says he’d better, as he has to send a message that failure won’t be tolerated, even from his own father. Alistair tortures interrogates Radcliffe, asking him where to find Daisy and Simmons. Radcliffe laughs at him, pointing out that Alistair’s a pathetic drunk in the real world. That earns him another beatin.’

Coulson and the others return to the S.H.I.E.L.D. Resistance HQ. Daisy feels dumb for not realizing that the S.H.I.E.L.D. HQ inside The Framework would be in the same spot as it is in the real world (!). Ward’s happy to see Daisy, and they discuss what’ll happen when she leaves virtual world. Coulson examines May’s body cam footage of the air strike on the Enlightenment Center, which showed Hydra planes bombing a building full of kids. He says it’s the perfect anti-propaganda to sway the public to their side.

Daisy tells Coulson that Radcliffe told her how to escape The Framework, and they don’t have to go on any further missions that don’t matter in this fake world. Coulson says they can’t just leave The Framework in this state, and believes if they solve its problems, they’ll solve their own. Doesn’t make any sense, but they’ve got three more episodes to fill, so I guess this is what we’re going with.

Fitz finishes building Project Looking Glass, and tells AIDA it’s ready. He apparently knows what it’s for— to create a human body for her in the real world— and asks her to take him with her. So I guess that’s a thing that can happen?

Coulson and the others infiltrate Bakshi’s TV studio and take it over. As Coulson prepares to broadcast May’s footage, Ward tells Daisy that Hydra will try and stop them, and he’s willing to sacrifice himself to keep them on the air as long as possible. He says he wants Daisy to know he’s nothing like the Grant Ward from her world. Coulson records his message, and he and the others leave the station. Ward hits the switch, and the message goes out all over the country. In it, Coulson shows the shocking footage, and pretty much urges the public to rise up against Hydra.

Burrows enters the control room and tells Ward there’s a crowd outside the station. Ward grimly picks up his gun, ready to go out in a blaze of glory. Burrows then says it’s not Hydra outside, but the public, showing support for the Resistance. Jesus, why didn’t he just say that in the first place, instead of being dramatically vague?

In the real world, the Superior tells AIDA that he’s located Daisy and Simmons onboard Zephyr One, and prepares to rendezvous with the plane.

Thoughts:
• The late, great Bill Paxton makes a guest appearance on Agents Of S.H.I.E.L.D. this week.! Well, sort of.


The episode opens in a TV studio which is airing The Bakshi Report. We see a bank of monitors displaying various graphics. One of the screens features a graphic saying, "In Memoriam: John Garrett, American Hero."

It's been a while since Garrett and Bakshi appeared on the show, so to refresh your memory, Garrett was the Big Bad back in Season 1. He was originally a high level S.H.I.E.L.D. agent, as well as a secret Hydra operative. He was injured during a mission and used Deathlok technology to extend his life. Later on he became the secret entity known as the Clairvoyant, and started the Centipede Project.


As for Bakshi, he was an assistant to Hydra leader Daniel Whitehall, and specialized in brainwashing experiments.

• During The Bakshi Report, there's a news crawl along the bottom of the screen. Among the stories in the news crawl:


"A UC Berkeley linguistics student has been arrested for harboring an Inhuman refugee in her dorm room (ten points to Gryfindor for spelling “Berkeley” right!)”

“...which commemorates the life and legacy of American hero John Garrett. (this one was incomplete, so I couldn't see the beginning of the line)”

“A new biography of Daniel Whitehall examines his close relationship with the Malick family. (Gideon Malick was one of the villains in Season 3)”

“New Inhuman Stop & Screen Program declared a major success after Hydra reports record number of incarcerations. (this one's obviously a not-so-subtle dig at Trump's ICE program, which targets the "bad hombres" who are in our country illegally)”

• One last thing about The Bakshi Report— it's a propaganda program, designed to misinform and sway public opinion. But take a look at Bakshi's logo. Would the general public really trust and believe in an organization whose logo is a stylized octopus with an evil skull for a head?

• It was extremely satisfying when Daisy blasted AIDA out the window of the Triskelion.

That said, is gravity different inside The Framework? AIDA falls a good twenty or thirty stories, and actually BOUNCES when she lands on the pavement far below! As a result of her fall, she suffers a shattered spine. That's it? She should have made a huge red splash from that height!

• With Agent May's help
, Daisy undergoes Terrigenesis and gets her quake powers back inside The Framework.


Why do Inhumans and Terrigen exist in The Framework in the first place? Last week AIDA said she tweaked The Framework a bit to remove the biggest regrets of the S.H.I.E.L.D. agents hooked up to it. So she can obviously has some degree of control over the parameters of this virtual world. So why didn't she just delete a couple lines of code and eliminate Terrigen altogether? That way there'd be no possibility of superpowered threats to her.


Even though it doesn't make much sense, I get why the writers added Inhumans to The Framework. AIDA's superhumanly intelligent, and could effortlessly alter the conditions inside the virtual world so there's absolutely no possibility for the heroes to overthrow her. They've got to give the S.H.I.E.L.D. agents a tiny advantage and level the playing filed a little bit, else there'd be no reason to watch.

• When LMD Superior points a gun at Agent May in the real world, he's unable to pull the trigger. When he asks what the hell, he and AIDA then have the following conversation.

LMD Superior:"What have you done to me? Why can I not kill her?"
AIDA:"Because I built you. The same parameters that limit me must also limit you. My primary directive requires me to protect these people."
LMD Superior:"Then we are both powerless."
AIDA:"Not entirely. If they become a direct threat to the Framework, then they no longer require protection."

So even though there're several helpless, comatose S.H.I.E.L.D. agents right there in front of AIDA in the real world, she can't kill any of them unless they threaten the virtual world she made. Doesn't May now pose a threat to The Framework? She just willingly transformed Daisy into an Inhuman, and now she's switched sides and is actively working with the Resistance to take down AIDA and Hydra. That sure sounds like "a threat to The Framework" to me!

• When Coulson takes Daisy to the top secret Resistance HQ, she feels stupid when she realizes it's the S.H.I.E.L.D. base, and even dumber when she realizes it's in the same spot as it is in the real world!


Um... how is it that AIDA never thought of that? She's been to S.H.I.E.L.D. in the real world! Why didn't she send a Hydra army to the base to wipe it out months ago? That's the first place she should have looked for the Resistance!

• Looks like Agents Of S.H.I.E.L.D. definitely believes in nurture over nature. Framework Ward was recruited into S.H.I.E.L.D. by Victoria Hand, who supported and guided him, making him into the decent fellow he is today.

Compare that to Real World Ward. He was recruited by secret Hydra agent John Garrett, who manipulated and twisted him into a cold, traitorous killer we saw in the first three seasons.


Agents Of S.H.I.E.L.D. continues it's campaign against the Trump administration this week.


During Coulson's anti-propaganda speech that's beamed out over the airwaves, he says, "Hydra doesn't think we're smart enough to know when we're being fed alternative facts to keep us afraid, to keep them in power." 

This of course is a reference to Kellyanne Conway, who used the term in a Meet The Press interview back in January. Interviewer Chuck Todd asked why Conway why White House Press Secretary Sean Spicer lied about the size of the crowds at Trump's inauguration. Conway replied that Spicer's comments weren't falsehoods, but "alternative facts."

Naturally the internet went nuts over the comment, and a thousand "alternative facts" memes were born.

Toward the end of the episode, we see Bakshi brazenly hitting on an attractive female producer in his TV studio:

Producer: "That's very kind of you, Mr. Bakshi, but I couldn't possibly impose."
Bakshi: "I'm just saying, if you need to shop for furniture, I'll take you. I know just the place."

This is a reference to the infamous Donald Trump "Pussy Grabbing" tape, which was accidentally recorded backstage in 2005 while waiting to shoot his cameo appearance on Days Of Our Lives

In the tape, Trump brags to Access Hollywood's Billy Bush (whoever the hell that is) about how easy it is for a big shot celebrity like himself to bed any woman he sets his sights on. Our president, ladies and gentlemen!

Here's an excerpt from the tape:

Unknown Male: "She used to be great. She’s still very beautiful."
Trump:"You know I moved on her actually. You know she was down on Palm Beach. I moved on her and I failed. I’ll admit it. I did try and f*ck her. She was married."
Unknown male:"That’s huge news."
Trump: "No, no, Nancy. No this was— and I moved on her very heavily, in fact. I took her out furniture shopping. She wanted to get some furniture, I said, ‘I’ll show you where they have some nice furniture."
Unknown Male: (laughs)
Trump: I took her out furniture. I moved on her like a bitch, but I couldn’t get there, and she was married. Then all of a sudden I see her, she’s now got the big phony tits and everything. She’s totally changed her look."

Obviously Trump must exist inside The Framework, and Bakshi was trying out some of the president's patented moves on his producer!

• During Coulson's anit-Hydra broadcast, he says (among other things): 
"Remember, there are more of us than there are of them. And now that we know the truth, we have a choice to make. We all have the opportunity to be patriots. Will you take a stand? Are you going to hold them accountable?"
Did Agents Of S.H.I.E.L.D. just encourage the public to rise up against the Trump administration? It sure sounded like it to me!

• So this week we find out the true function of Project Looking Glass— it uses Darkhold technology to create matter out of thin air. AIDA plans to use it to create a flesh and blood body for herself, one that can feel pain, experience emotions, and isn't bound by Radcliffe's restrictive programming.

I wonder... are the writers planning to use this device to turn Framework Ward into a real boy, and keep him around on the show? Think about it. The original Grant Ward was an irredeemable asshole who died a couple times last season. This would be the perfect way to reboot the character and bring him back full time. It would be convoluted as hell ("This is Grant Ward. He used to be a program in a virtual world, until we used a magic device to turn him into a real person), but it would make perfect sense in the universe of the show.

Assuming there's a Season 5, that is...
• This Week's Best Lines:
LMD Superior: "Has one of your playthings rebelled?"
AIDA: "Agent May has begun to question the narrative she was programmed with."
(I got news for you, AIDA, I question the narrative I was programmed with on a daily basis! Who the hell wrote this sh*t?)

Framework Ward:"Anyone else getting sick of this propaganda crap? It's like sipping poison. Little bit every day, you don't even notice till it kills you."

Coulson: "The smart move is to wait for her to reach out."
Framework Ward:"Look, this isn't your wheelhouse. I'm sure you're a good schoolteacher, but...uh, you're a schoolteacher."

Trip: (after Simmons explains the concept of The Framework to him) "Hey, I'm not gonna pretend to get all this, but I'm here to help."
Simmons:"You believe me? About another world?"
Trip: "Come on, girl. That's way too crazy a story to make up."

Alistair:"Don't you snap at me, boy. If I wanted you hysterical at every setback, I would have left you with your mother."

Daisy: (as she's brought into the Resistance Base, which is really S.H.I.E.L.D. HQ) "So the secret base is the base. Probably should've guessed that."

Alistair:"Do you think I don't know who you are? Where you're from? You come from that other world, just like them. You're just as tainted."
Radcliffe: "You want to talk about that 'other world,' as you call it? It's the real world. Here, you're just a snippet of code that Aida changed slightly so you'd stick around for Fitz. You may be part of his life here, but there Alistair Fitz is so thick, he doesn't recognize his own son's genius. He's a pathetic drunk. Even here, you're nothing without him. So do what you will. I've got nothing left to give. You'll be a disappointment to your son yet again."

Coulson: (as the Resistance infiltrates the Hydra TV studio) "Heard you were looking for some enemies of the state?"

Framework Ward: (to Daisy) "I know I'm not going with you when you leave, but I can still help out from this side. I would hate for you to think that I am anything like the Grant Ward you knew over there."

Coulson: (giving his anti-Hydra speech) "As you all know, a Hydra facility was destroyed yesterday. Hydra told you that it was an act of terrorism. They told you an Inhuman named the Patriot murdered civilians. But what they told you was a lie. We're gonna show you what really happened.

This footage was taken from the body-cam of a high-level Hydra operative. Hydra used this Enlightenment Center to brainwash anyone who dared to question them. Jeffrey Mace saved these people, but Hydra was willing to kill them just to maintain their lie. Once you see this footage, the truth is undeniable.

Hydra doesn't think we're smart enough to know when we're being fed alternative facts to keep us afraid, to keep them in power. Remember, there are more of us than there are of them. And now that we know the truth, we have a choice to make. We all have the opportunity to be patriots. Will you take a stand? Are you going to hold them accountable? 

Throughout history you've seen empires rise and fall. A wise man once told me that a person can do anything once they realize they're a part of something bigger. It's taken me a while to understand that. For years, I was just a face in the crowd, a history teacher who spread Hydra's lies. They seemed too imposing for any one person to fight. But now I'm choosing to stand up, to become a part of something bigger. I really do believe that together, we can accomplish anything. Because the truth is I'm not just a history teacher. My name is Phil Coulson and I'm an Agent of S.H.I.E.L.D."

It Came From The Cineplex: The Fate Of The Furious

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The Fate Of The Furious was written by Chris Morgan and Gary Scott Thompson, and directed by F. Gary Gray.

Morgan is no stranger to the series, as he previously wrote The Fast And The Furious: Tokyo Drift, and co-wrote Fast & Furious, Fast Five, Fast & Furious 6 and Furious 7. He also wrote Cellular, Wanted, 47 Ronin and The Vatican Tapes. Looks like he'd be better off sticking with the Fast & Furious franchise.

Thompson is also heavily involved in the franchise, as he previously wrote The Fast And The Furious, 2 Fast 2 Furious, and co-wrote Fast & Furious, Fast Five, Fast & Furious 6 and Furious 7. He also wrote The Underachievers, White Ghost, Split Second, K-911, Hollow Man, Timecop 2: The Berlin Decision, Hollow Man 2 and 88 Minutes. I've never even heard of ninety percent of those. Sounds like he'd be better off sticking with the Fast & Furious films as well.

Gray previously directed Friday, Set It Off, The Negotiator, A Man Apart, The Italian Job (ah... now I understand why Charlize Theron is in The Fate Of The Furious), Be Cool, Law Abiding Citizen and Straight Outta Compton.


In my review of Furious 7, I said it was interesting that the franchise began as a small-stakes movie about California street racing culture. Somehow along the way it's evolved into a series about indestructible superheroes, who speed around in cars that effortlessly defy the laws of physics. It's like a live-action cartoon at this point. In fact it reminds me a lot of M.A.S.K., the 1980s cartoon about a task force of crime fighters with transforming cars, who battled the evil criminal organization V.E.N.O.M.

In fact I have a theory that the screenwriters watched a child sitting on the floor playing with his Hot Wheels cars, and took careful notes in order to come up with this script.

And you know what? I'm fine with that! I'm a big fan of dumb, loud action movies, and this is one of the dumbest and loudest I've seen in quite a while. Turning it from its street racing roots into a series of superheroes fighting over-the-top Bond villains has kept the franchise fresh, and is no doubt why were up to movie #8.

As I said back when I reviewed Furious 7, I've only seen three of the previous films— the first two, and the seventh. So a lot of the references and callbacks were lost on me, especially the reveal of the reason for Dom's betrayal of his "Family."

This is the second Fast & Furious movie without the late Paul Walker, and the first since his untimely death in 2013. Does this new film suffer from his absence? With all due respect to Walker, not a bit. Dwayne Johnson and his larger-than-life charisma is more than able to fill the Walker-shaped hole in the cast. 

Jason Statham is no slouch either, and his chemistry with Johnson is one of the highlights of the film. In fact the two of them completely overshadow Vin Diesel, who's the ostensible star of the franchise. After the first act he's shoved completely to the side, becoming little more than a guest star in his own film.

In fact Universal Studios just announced plans for the first ever Fast & Furious spinoff movie, starring Johnson and Statham!

Supposedly there was some kind of tension or feud between stars Vin Diesel and Dwayne Johnson during filming. Some say it was all just a publicity stunt, while others swear it was real. Either way, I'm not even gonna get into it here. They both have dream jobs that pay more money than the average person will ever see in his lifetime. Maybe they should quit acting like five year olds and try being adults for a change.

Earlier this year I reviewed xXx: Return Of Xander Cage. It featured a highly diverse cast of superhumans performing physically impossible stunts as they traveled the world in search of a high tech McGuffin. Compare that to The Fate Of The Furious, which features a highly diverse cast of superhumans performing physically impossible stunts as they traveled the world in search of a high tech McGuffin. 

They're the same goddamned movie! At this point there is absolutely no difference between the two franchises, other than the character names and cast. In fact I'm ninety percent convinced that Vin Diesel just took a rejected Fast & Furious script and used it to make Return Of Xander Cage.

Last month Ghost In The Shell, starring extremely white actress Scarlett Johansson as Major, a role many moviegoers believe is an Asian character. Predictably, the internet lost its collective mind, as terrabytes of bandwidth was wasted arguing over the film's "whitewashing."

Meanwhile, The Fate Of The Furious features an incredibly diverse cast of actors. Blacks, whites and Hispanics of both genders, all working together and contributing to the team. Yet I've not heard one word of praise about the casting in the film. Not a single peep. 

Apparently the Social Justice Warriors only complain when a film isn't diverse, but can't be bothered to praise one when it is. So as far as I'm concerned, the Casting Police need to shut the f*ck up. You can't boo if you're not willing to cheer, guys.

Before the movie came out, there was lots of online speculation as to what was causing Dominic Toretto to betray his "Family" this time around. Some believed he'd been some sort of double agent all along, while others were sure Dom had been replaced by a double in an effort to destroy the "Family" from within.

There was even a theory floating around saying the reason Dom was attacking his "Family" was because he'd been replaced by some sort of Terminator-like robot (!!!). Now THAT'S a movie I'd like to see!

I can certainly understand why so many people bought into the robot theory. With his stony, immobile face, Vin Diesel definitely seems like an emotionless android throughout most of the picture.

As expected, The Fate Of The Furious is kicking major ass at the world box office. Here in the States it's scraped up a surprisingly mediocre $192 million against its $250 million budget. It's grossed a whopping $870 million overseas though, pushing it past the BILLION dollar mark! Yeah, there's definitely gonna be a Part 9.


SPOILERS!

The Plot:
We begin in Cuba (now that its borders have been opened) as Dominic Toretto (played by Vin Diesel) and Letty Ortiz (played by Michelle Rodriguez) celebrate their honeymoon. Dom admires the way the Cuban people have been keeping their cars running without new parts for the past fifty years. Dom's cousin Fernando approaches him, saying his car is being towed away because he can't keep up the payments to a man named Raldo. Dom challenges Raldo to a street race (in Fernando's ancient car). If Dom wins, he gets Fernando's car PLUS Raldo's. If Raldo wins, he get's Dom's souped-up Impala, free and clear. Raldo agrees.

Dom begins knocking body panels off of Fernando's car to make it as light as possible (sure, why not). He tunes up the engine as well, and hooks up the requisite nitrous tank while he's at it. Dom and Raldo begin racing down the Cuban Mile, whatever that is. Raldo easily pulls ahead, until Dom activates the nitrous. His car then blasts off like a rocket, passing Raldo.

Unfortunately Fernando's cobbled-together car can't handle such abuse, and the engine quickly starts glowing red hot. It catches fire and the heat shatters the windshield, sending flames straight into Dom's face (luckily, he doesn't have any hair). Dom does what anyone would do in this situation— he simply spins the car around and finishes the race in reverse. Um... I don't think that's possible, but let's just go with it or we'll be here all day. Dom wins the race (backwards) and jumps out of the car just before it flies off the road into the ocean and explodes (!).

A crowd gathers as Dom and Raldo size up one another. Finally Raldo hands Dom his keys and says he has his respect. Dom gives the keys back to Raldo, saying his respect is enough (insert the first of many eye rolls here). Dom apologizes to Fernando for blowing up his old car, and offers him his Impala in return (riiiiiight).


The next day Dom and Letty relax in bed. She asks him if he's ever thought of starting a family (Foreshadowing Alert!). Later he's walking through the streets with a bag of groceries (that actually has a loaf of French bread sticking out of the top!). He sees a woman having trouble with her car, and offers to fix it. As he looks at the engine, he realizes she sabotaged it herself. The woman reveals her name is Cipher (played by Charlize Theron) and menacingly says she has a job for Dom. He scoffs until she shows him a photo on her phone. An expression almost flashes across Dom's stoic face as he stares at the photo the audience can't see.

Meanwhile, Luke Hobbs (played by Dwayne Johnson) is coaching his daughter's soccer team. He's approached by a government agent, who wants him to go to Berlin and recover an EMP device that could disrupt the power of entire cities. The Agent warns Hobbs that this mission is off the books. If he fails the government will disavow any knowledge of it, and he'll go to jail. For some reason, Hobbs agrees to the mission, but only after his daughter's team wins.

Hobbs gathers the "Family," consisting of himself, Dom, Letty, Tej (played by Ludacris), Roman (played by Tyreese Gibson) and Ramsey (played by Nathalie Emmanuel) and head to a base in Berlin. They quickly recover the EMP and hightail it out of there, chased by a number of armed goons. Taj reveals his secret weapon— a comically over-sized wrecking ball (attached to lord knows what, high overhead) that swings through the streets and demolishes the pursuing cars.

Hobbs pulls up next to Dom's car and congratulates him on another successful mission. Dom swerves into Hobb's car, causing him to crash. He then makes off with the EMP. As the police surround Hobbs and arrest him, he radios the others and tells them Dom's gone rogue. Dom then arrives at an airport, and drives his car into a large jet that does a touch and go landing. Take THAT, Laws Of Physics!

As Hobbs is taken to jail, he's approached by Government Agent Mr. Nobody (played by Kurt Russell) and his new partner, "Little Nobody" (played by Scott Eastwood, son of Clint). Mr. Nobody offers to get Hobbs out of prison if he accepts another mission. Hobbs refuses, saying he doesn't trust Nobody (heh), and will take his chances with the court system. He's locked up in the same maximum security cell as Deckard Shaw (played by Jason Statham), the man who murdered at least one member of Dom's "Family" in the previous movie. Hobbs' cell is right across from Deckard's, and they begin "comically" threatening one another.

Meanwhile, the rest of the "Family" regroups in a garage somewhere. Are they still in Berlin? Back in the States? Your guess is as good as mine, as it's often unclear just where things are happening in this movie. Anyhoo, the group is stunned by Dom's actions. Letty stands by her man, refusing to believe he would betray them (even though he just did).

Back at the prison (which I guess is in America?), Hobb's cell door opens by itself. When guards arrive to force him back in, Deckard grabs one of their batons and uses it to escape, inadvertently opening ALL the cell doors. This starts a prison riot, as Hobbs and Deckard fight off both guards and other inmates in an effort to escape. They make it out of the prison, where they're met by a smiling Mr. Nobody, who engineered the whole thing.

Mr. Nobody takes Hobbs and Deckard to his HQ, where the rest of the "Family" have already gathered. There he tells them about Cipher, a mysterious woman who's the world's most clever and dangerous hacker. He says Cipher tried to steal both the Nightshade and God's Eye McGuffins from the previous films. Nobody notes that Dom foiled both those plots, which is likely why she's targeting him.

Mr. Nobody says no one can locate Cipher, as she constantly flies around the world in a command jet. Roman suggests they use the God's Eye (the magical software program from Furious 7 that can locate anyone anywhere on Earth) to find her. They try, but get pings from all over the planet. Tej and Ramsey remove the fake signals, leaving just one— which is coming from the building they're in! The killer's in the house with you! Get out of there!

Suddenly an explosion rocks the building, stunning the whole crew. Dom and Cipher enter and steal the God's Eye. Letty sees Dom, and asks if he's really going to turn his back on "Family." Um, since he just tried to kill you all just to steal a piece of tech, I'd say yes. Yes he is. Cipher walks over and plants a wet, sloppy kiss on Dom, making sure Letty gets a good look, and the two saunter out.

Cut to Cipher's jet, where we finally get to see why Dom's working for her. She's captured Dom's old flame Elena, who apparently bore him a son he never knew about, and is holding them in a cell on her plane. Elena shows Dom his son, and explains that she gave him the middle name of Marcus. She says she wants Dom to give him an official first name (Foreshadowing Alert!). Dom is furious with Cipher, and threatens to kill her. Cipher pulls out a gun and hands it to him. She says he can shoot her if he likes, but the instant he does, her men will storm the room and kill Elena and Marcus, before killing him. He hands the gun back to her, and for some reason, hangs his crucifix over the cell door (MAJOR PLOT POINT ALERT!).

Cipher then orders Dom to New York City, where he's to steal a briefcase full of nuclear codes from a Russian Ambassador. As he drives through the city, he pretends to have car trouble and pulls over in an alley that's strategically hidden from Cipher's omnipresent cameras. He then enters a pub and asks Magdalene Deckard (played by Helen Mirren, if you can believe that!) for help in rescuing his child. He returns to his car before Cipher becomes suspicious.

Hobbs and Deckard are still seething with rage at having to work together. Hobbs discovers that Deckard was a highly decorated British Army Captain, and then suddenly the two become fast friends, which isn't the least bit unrealistic at all. Somehow Deckard tracks Dom to NYC and the "Family" follows him there.

Cipher detects the crew and causes a diversion by hacking into every self-driving car in the city, in a huge "trailer moment" action setpiece. She creates a massive stampede of driverless cars, which immobilizes the Ambassador and blocks the "Family" from him. Dom threatens the Ambassador unless he hands over the briefcase, which he reluctantly does. He drives off, but is soon pursued by his "Family." They fire several grappling hooks into his car, stopping it in its tracks. Suddenly he backs up rapidly, which somehow causes the other cars to flip end over end, and gets away. Take that AGAIN, Laws Of Physics!

Dom exits his car with the case, and is confronted by Deckard. Dom shoots him, and Deckard drop dead to the pavement like a sack of wet laundry. Don't worry, I'm sure he'll get better. No one stays dead for long in this world. Dom runs down an alley, where he's stopped by Letty. She grabs the case from him and says she knows he won't shoot her. Suddenly Cipher's henchman Connor Rhodes (played by Krisofer Hivju, of Game Of Thrones fame) appears and points a gun at Letty. Dom points his gun at Rhodes and tells him to let her go. Letty gives the case back to Dom, and he and Rhodes scamper off.

Back on the plane, Cipher's disappointed that Dom let Letty go. She holds Marcus in her arms, while Rhodes executes Elena. OK, SHE'LL probably stay dead.

Mr. Nobody says now that Cipher has the Russian launch codes, she'll likely steal a nuclear missile next. The "Family" deduces she'll strike the base of a Russian Separatist Group, who've "acquired" an ICBM in Siberia. Mr. Nobody outfits the crew with souped up cars and tech from a secret government warehouse.

Dom approaches the Siberian base and uses the EMP device to knock out the security, so Cipher can hack into their nuclear sub. Unknown to her, two figures parachute INTO the cargo hold of her plane (take THAT yet again, physics!). The figures turn out to be Deckard Shaw, whose "death" at the hands of Dom was all a ruse, and his brother Owen Shaw, who died in the previous movie, but apparently got better.

Meanwhile, the "Family" somehow arrives in Siberia just minutes after deducing that's where Cipher would strike. It's a small world after all! Letty and Hobbs infiltrate the Separatist base and liberate the control center. Ramsey hacks into the center, and tries to gain control of the nuclear sub. Unfortunately Cipher is the better hacker, and locks her out. She somehow pilots the sub by remote control into the sea, even though seconds earlier it was in dry dock. Continuity, schmontinuity! Ramsey notes that the sub's heading for a gate ten kilometers from the base, and if it passes through into open ocean, there'll be no chance of stopping it. The crew jump in their cars and race across the ice for the gate.

Back on the plane, the Shaw brothers gun down Cipher's numerous grunts. We take time out for a flashback, so the movie can explain how Deckard faked his own death, as for some reason, his mother Magdelene somehow talked him into teaming up with his brother to help out his former mortal enemy. Deckard makes his way to the cell and rescues Marcus. He radios Dom and tells him the "package" is secure.

With his son safe, Dom no longer has any reason to obey Cipher. He kills Rhodes, and radios Cipher, warning her he's coming after her next. Cipher orders her men on the ground to wipe out the "Family." There's a big action setpiece as the vehicles careen across the ice and the two sides shoot at one another. When it looks like the "Family" is winning, Cipher launches torpedoes at them. The torpedoes break through the surface and travel along the ice toward the crew's cars, which I don't think is possible, but let's just move on. A torpedo approaches Hobbs' vehicle, and he actually leans out and uses his bare hands to shove it off course, where it slams into one of Cipher's trucks and explodes. Now I'm positive the screenwriters watched a kid playing with his Hot Wheels cars for inspiration.

Cipher then crashes the sub through the ice, and launches heat seeking missiles at Hobbs and the others. Just then, Dom dramatically appears, letting his "Family" know he's back for good. He gets the missiles to chase his car and then jumps it over the sub. The missiles slam into the sub, causing a massive explosion that somehow doesn't harm any of the "Family."

Back on the plane, Cipher is furious. Deckard confronts her, and revealed he found her "untraceable" plane after Dom placed his crucifix— which contained a secret homing beacon— on Marcus' cell. She grabs a parachute and leaps out of the plane, ensuring she'll return in the inevitable Furious 9. Deckard— still holding Marcus— lands the plane. On the ground, Dom and Letty are reunited and embrace.

Cut to New York, where the "Family's" having a rooftop barbecue. Mr. Nobody tells them Cipher is still on the loose, but is confident they'll catch her. He offers Hobbs his old job back, but he turns it down, saying he'd rather continue coaching his daughter's team. Deckard returns Marcus to Dom, who introduces everyone to his new son. He says he's picked out a first name for him: Brian (insert the world's largest eye roll here). Wow. Didn't see that one coming.

Thoughts: 

• I don't have many thoughts about this film, as it's pointless to nitpick such a big, dumb, over the top action movie. After all, it's designed to excite, not to make sense. That said, here are a few ridiculous moments that leaped out at me.

 I was very surprised that the word "family" is only uttered thirteen times during the film.  #restraint

And yes, I actually kept a running tally there in my theater seat!

• At the beginning of the film, Dom's in Cuba, and for reasons wagers his beloved Impala in a street race. Um... how'd he get his car to the island? Is there a ferry from Miami to Cuba? Is that a thing now that we're all friends again and can travel there once more? 

Going from Miami to Cuba isn't like trundling across a bay. It's over a hundred miles. Is there really a ferry that can go that far?

• The Fast & Furious films are what I like to call a
 "Barnacle Series." Any time a new character is introduced, they immediately become part of the "Family" and appear in all subsequent entries. These movies add characters like a ship picks up barnacles.

Take Ramsey, for instance. She was introduced in Furious 7, where she served more as a cheap expository device than an actual character. Sure enough, she's back for The Fate Of The Furious, even though we still know virtually nothing about her, other than she's a hacker. The writers seemingly realize this, as the movie suddenly goes meta. When Tej and Roman shamelessly hit on Ramsey during the barbecue, she playfully tells them she'll go to dinner with whichever one of them knows her last name!

Same thing with Nobody Jr. He makes his debut at the beginning of the film, and by the end he's driving around and blowing up sh*t with the others as he seemingly becomes an official member of the "Family." There's no doubt in my mind he'll show up in the ninth film. 

But most amazingly is Deckard Shaw. Even though he murdered Han in a previous film, all is forgiven as he's also brought into the fold. His chemistry with Hobbs practically guarantees he'll be back in the next movie.

As the series goes on (and on, and on), eventually they're going to have to think about weeding out the "Family" a bit. You can't have a movie with twenty five main characters.

• In Fast & Furious 6, Dom seriously injured Owen Shaw, putting him in critical condition. This understandably upsets Owen's brother Deckard, so in Furious 7 he swears vengeance on Dom and his "Family." He murders Han and blows up Dom's house.

Annnnd then we get to this film and suddenly all is forgiven. Hobbs and Deckard comically trash talk one another for a few minutes, then they throw their heads back, laugh heartily and become good friends. Dom somehow even talks Deckard and Owen into going on a ridiculously dangerous mission to save his infant son!

I dunno... I guess I'm just not as forgiving as the people in this cinematic universe. I can't see myself sharing a beer with a man who killed a close friend. Or trusting my son to him! 

Not to mention the Shaw brothers have absolutely ZERO motivation to save their sworn enemy's kid. Even if their mom did bully them into it. That's another thing! Why possible reason would Magdelene Shaw have for helping Dom, after he seriously injured her son?

• Jason Statham and Charlize Theron are reunited here, after co-starring in 2003's The Italian Job. Theron also worked with Michelle Rodriguez in Battle in Seattle, in 2007.

Sadly, we never get to see Theron behind the wheel in this film. She's certainly no stranger to chase movies, as she starred in the aforementioned The Italian Job, as well as Mad Max: Fury Road.

• At one point Deckard mocks Hobbs' hulking physique by calling him "Hercules." This is no doubt a shoutout to the fact that Dwayne Johnson, aka Hobbs, starred in the sub-par Hercules in 2014.

• I'd really like to know how the filmmakers talked Helen Mirren into starring in a Fast & Furious movie. She's an Oscar winning actress, for Thor's sake! I guess they conned her into it the same way Michael Bay tricked Sir Anthony Hopkins into being in a Transformers movie.
• I won't liec I thought the "Self Driving Car Stampede" in the middle of New York City was pretty darned cool. Patently impossible, of course, but cool. 

Apparently the film takes place in a parallel world in which Manhattan is populated by thousands, maybe even tens of thousands, of self-driving cars. I'm sure they have some there, but nowhere near THAT many.

• The streets of NYC are curiously devoid of traffic during the many chase scenes there. Yeah, there were a few cars dotting the streets, but nowhere near the number you'd no doubt see on a typical day. I have a feeling it's not possible to drive ninety five miles an hour through downtown Manhattan. 

• Great confusion surrounds the Russian motorcade scene in NYC. A Russian Ambassador is being driven to his embassy in a stretch limo. There are four black sedans in front of his limo, and four behind. Like this: = = — = =

At one point Cipher tells Dom that the Ambassador is in "the third car," and to target it. I assumed that meant he was really in one of the sedans, and the limo was a decoy meant to fool any would-be terrorists.
But then a few minutes later Dom stands on top of the incapacitated limo and demands the Ambassador hand over the nuclear codes. So I have no idea what all the "third car" talk was about. I guess Cipher meant he was in the third row back? Confusing!.

I could also swear there's a shot during the self-driving car attack in which the Ambassador's limo flips end over end, yet a few scenes later it's driving down the street, no worse for wear. 

Apparently the film was also edited fast and furiously!

• I don't think the filmmakers understand just how an EMP pulse works. From what I've read, it fries any kind of electrical system in the vicinity. I think maybe devices that aren't actively switched on will be OK, but I'm not 100% sure about that.

Anyway, at the Russian Separatists' base, Dom uses a stolen EMP device to fry a pursuing attack chopper. A couple things here. First of all, Dom's driving in his car when he sets off the EMP. His car's ignition should have been fried and it should have immediately coasted to a stop, but of course it's completely unaffected.

Secondly, when the chopper's hit, its rotors instantly stop spinning, and it starts careening wildly toward the ground. The pilot then radios a Mayday call. Whoops! Radios are electronic devices too, writers!

I guess maybe you could argue that the EMP device is directional, and can be aimed at a particular vehicle so it affects it and nothing else. The only problem with that theory is that when Dom activates the EMP, we actually see a visible pulse emanate from his car!

• More wonky editing: During the big third act action setpice, we see the Russian sub that Cipher's trying to steal is dry dock. It's actually sitting on several large supports, several feet off the ground. 

A few minutes later the sub is in the water, sailing merrily away. 

Apparently there's a big chunk of film missing here to explain how the sub instantly got from dry land to under the water.

The Fate Of The Furious is big, dumb and loud, filled with over-the-top action scenes that defy the laws of physics. It doesn't make a lick of sense, but it's a heck of a lot of fun, and a worthy entry in the series. The absence of Paul Walker doesn't hurt the film a bit, as Dwayne Johnson and Jason Statham more than make up for his absence, going so far as to shove star Vin Diesel out of the spotlight. I give it a B.

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