Yesterday we learned that The CW was looking to to develop another DC comic TV series based on The Flash. Apparently the character will be introduced in the next season of Arrow before he gets his spinoff series.
Arrow writers Greg Berlanti, Andrew Kreisberg and DC Chief Creative Officer Geoff Johns will be writing the script for the pilot.
We've now got a few more updates on the series. According to Deadline, the character is set to show up in the 8th or 9th episode of Arrow season 2, and they are going to start looking for an actor to take on the role this week. Berlanti had this to say in a statement,
"Barry Allen’s story always has been a favorite of mine, as well as of Andrew Kreisberg and Geoff Johns. We wanted everyone to know about the show as that process commenced. We think it fits well both in terms of Arrow and as a stand-alone series."Kreisberg added in a separate interview with THR:
"When we first meet Barry Allen, he's just a forensic scientist … an ordinary man. Part of the fun for the audience … is to see how we view our Arrow take on the Flash legacy. Some of it will feel very familiar to DC Comics, some of it hopefully will feel different, fresh and exciting. The same way we approached Arrow is the same way we're approaching Barry."He goes on to say that The Flash will be wearing his a version of his classic suit:
"No sweat suits or strange code names; he will be The Flash."As for the Wonder Woman series they were developing, Amazon, that's been put on hold. CW executive Mark Pedowitz explained,
“Amazon is on pause (as) the script is not exactly what we wanted, and with an iconic character like Wonder Woman, we have to get it right.”Hopefully they can take The Flash and turn it into an cool series that we can enjoy!
The success of ‘Man of Steel‘ not withstanding, Warner Bros. and DC Comics made their first major breakthrough push toward a shared cinematic franchise in past weeks by introducing a ‘Batman vs. Superman‘ movie, though the silver screen was far from the only target. Sources say that DC has begun fast tracking a ‘Flash’ TV series to be spun off of ‘Arrow,’ but what does it mean for DC’s overall cinematic plans?
The news comes from Deadline, who believes The CW will expound upon its plans during the TCA press tour panel later today. For now, the current plan will be for ‘Arrow’ producers Greg Berlanti, Andrew Kreisberg and DC Entertainment’s Geoff Johns to write the ‘Flash’ pilot, David Nutter to direct, and Berlanti and Kreisberg expected to run the potential series, while Marc Guggenheim remains with ‘Arrow.’
If and when The CW opts to move forward with ‘Flash,’ the character might first appear on ‘Arrow’ later this season, before building off into his own TV series. ‘Arrow’ fans will naturally point out that the Green Arrow-centric TV series has particularly avoided featuring any characters with superpowers, though producers expressed an openness to the idea of potentially incorporating Wonder Woman, who had herself been optioned for the TV series pilot ‘Amazon‘ this past season.
It also remains to be seen if a ‘Flash’ TV series would help build toward the inevitable ‘Justice League‘ movie, or simply build interest in the character before a cinematic iteration finally gets off the ground, as has been in the works for years. The character himself has a much stronger TV history, including a live-action 1990 TV series with John Wesley Shipp, and a more recent live-action adaptation from The CW’s own Superman origin tale, ‘Smallville.’
We’ll bring you more on the potential ‘Flash’ TV series as it develops, but what say you? Are you interested to see another ‘Justice League’ character brought to life, even if the ultimate movie goes a different way? Is ‘Arrow’ a good starting point for the character?
No one can question Guillermo del Toro's passion for Japanese monster movies. The fan boy-friendly director, who earned his Comic-Con bona fides by crafting oddball fantasias including Pan's Labyrinth and the Hellboy films, has spoken at length about being weaned on creature double features as a kid in Mexico. And it wasn't just the granddaddy of all man-in-a-rubber-suit behemoths, Godzilla, who cracked open his mind. He also swooned over the more esoteric beasties in Toho Studios' kaiju (i.e., giant monster) stable — titanic brutes like Mothra, Megalon, and Mechagodzilla. It goes without saying that del Toro's geek credentials run deep.
Now, with his latest film, the gargantuan monsters-vs.-mammoth-robots smackdown Pacific Rim, del Toro has somehow persuaded Hollywood to bankroll his tribute to the giddy junk food he grew up on.
Set in the not-too-distant future, Pacific Rim picks up after a string of apocalyptic sea-monster attacks have reduced San Francisco, Manila, and Cabo San Lucas to dust. It turns out that a breach in the bottom of the Pacific Ocean has ripped open and loosed an armada of kaiju. Humanity is defenseless against their massive, razor-toothed maws and battering-ram limbs — at least until the military's high-tech Jaeger program is conceived. The Jaegers (German for ''hunters'') are 25-story robots operated by two human pilots whose minds are neurally linked in a process called ''the drift.'' The Jaegers are only as good as their operators, who must be able to read each other's thoughts and intuit each other's next moves. Go-it-alone rebels need not apply. But of course one does: Raleigh Becket (Sons of Anarchy's Charlie Hunnam), a hotshot pilot whose brother was killed in a kaiju rampage and who's so wild and unpredictable he might as well have the name ''Maverick'' stenciled on his helmet. It doesn't help matters that Hunnam has to bark goofy lines like ''Stay in the drift, the drift is silence!''
Del Toro weaves his very own mythology throughout the film, circumventing the massive battle sequences and creating some minor but zany depth to this world, like creating the “drift”, a temporal connection between the Jaeger pilots, which allow their minds to connect as one; or the mysterious monster world which exists in another dimension and is the true origin of our dinosaurs. This mythology is pure Guillermo del Toro but the director, as well as co-writer Travis Beacham only scratch the surface of what could be mined. They leave the fun mythology and “science” stuff to two wacky opposing “scientists,” both tongue-in-cheek stereotypes. The first is Charlie Day doing a wonderful Rick Moranis/Bobcat Goldthwait one-off as the overzealous and nerdy Dr. Newton Geiszler and the classically German mad-scientist Gottlieb (Burn Gorman). More than any other character in the film, these two embody that wildly imaginative del Toro mind.
The film does become stagnant in between the battle sequences. During these scenes the story relies on training montages or jealous in-fighting between the Jaeger pilots, which is rather dull compared to the battles and the mythology. The stale acting does not help these moments either. The film could be far better if the bridges between the battles were more involving.
The scenes of mass destruction are obviously frequent throughout this epic battle between 25-story tall robots and massive dinosaur-like monsters, but what separates this heap of destruction from other recent fare like “Man of Steel” and “Transformers” is that del Toro never stops to show us just how “awesome” the destruction is. Thankfully he spares us those overlong 20 to 30 second shots of skyscrapers crumbling to the ground, which would put “Pacific Rim” in the graveyard of broken cinema. The focus during the battles is almost always on the Jaeger and Kaiju.
“Pacific Rim” is never pretentious and is often funny, which makes it lofty and entertaining, despite some rancid performances. Except for Charlie Day, Ron Perlman and the sublime Idris Elba, the performances are often cringe-worthy. Under ordinary circumstances, bad acting can sink a film, but del Toro has presented such an extensive buffet of goodies that it’s easy to look past the acting (it’s not as if the characters require top-notch acting in the first place) and get lost in this brave new world. Elba, of course, steals the show as the no-holds-barred commander Stacker Pentecost. His great line “Today we are cancelling the apocalypse” has already made it into this year’s pop culture lexicon and is one of the highlights of the film.
Finally, props to Warner Brothers for releasing a wildly imaginative sci-fi romp of this scale which isn’t a sequel or remake. Despite “Pacific Rim’s” flaws, here’s hoping enough people see it and like it to send the message to all the studios that it’s not always a bad idea to produce new material, especially from directors like del Toro who certainly knows how to make a commercial film with a unique and visionary style.
Wizards of the Coast is celebrating two new digital releases this week: Dungeons & Dragons: Chronicles of Mystara, which released on June 18th, and today’s launch of the critically-acclaimed Neverwinter MMORPG. These releases are just two of several exciting Dungeons & Dragons digital games scheduled for release in 2013.
Dungeons & Dragons: Chronicles of Mystara from Capcom features up to four players battling against mythical beasts from the D&D universe with a mix of melee, range and magic attacks. The game is available as a digital download on PS3, Xbox 360, Wii U and PC.
Neverwinter is an action RPG set in an immersive massively multiplayer world that lets players explore and defend one of the most beloved cities in the Forgotten Realms. The MMORPG is free-to-play and can be downloaded at http://nw.perfectworld.com/.
The release of Dungeons & Dragons: Chronicles of Mystara and Neverwinter join many other partnerships and digital releases in the works, establishing D&D as a major force in the digital space. Other upcoming releases include Arena of War, a mobile game for Android, iPhone and iPad devices from DeNA available later this year; Shadowfell Conspiracy, the second expansion pack to the Dungeons & Dragons Online MMORPG releasing on August 19; the upcoming release of Baldur’s Gate on Android followed by Baldur’s Gate II Enhanced Edition; and a yet-to-be-announced game from Playdek.
UPDATE: Confirmed! The Xbox One will only require an internet connection on set up. Virtually everything else surrounding the DRM has been removed. Including regional restrictions. Go here for more information.
UPDATE: Xbox has added an update to the top of their Xbox One FAQ, seen below. Other news sites are reporting from their sources that Microsoft will make an announcement in the next few hours.
It would appear the Xbox One will become the Xbox 180 due to a rumor that holds a lot of weight. Patrick Klepek wrote an article on Giant Bomb earlier today saying just this. His sources informed him Microsoft was going to move away from the controversial DRM announced at E3. This DRM has given the company a lot of bad press.
From Giant Bomb’s article, here is a break down of what these possible changes mean:
What do you think about these possible changes? Does this influence which console you will be buying this fall?
So let’s start back about a year ago when the first trailer for Man of Steel came out, many of us were doubtful. Warner Bros. seemed to have no idea how to adapt any of their DC Comic universe outside of Batman (which was thanks to Chris Nolan), and director Zack Snyder was a known abuser of slo-mo that had just come off the craptastic bomb Sucker Punch. On top of that, the less that is said about their Green Lantern attempt, the better.
Then, as more trailers came out and plot details were revealed, I became more and more optimistic. After the three minute trailer that came out around April, I noticed general anticipation had shifted dramatically in the right direction and continued to build to a crescendo ever since. I got a chance to watch Man of Steel opening weekend. Did it soar…or suck? Minor spoilers ahead.
My thoughts? I loved Man of Steel. This film finally takes Superman in the right direction cinematically, dropping him in a modern world that is in desperate need of a Superman. As great as the Christopher Reeves Superman films were, the last one came out over 25 years ago. We really need to move on.
Thankfully, Warner Bros saw that after the poorly received Superman Returns. Was the film perfect? Not by a long shot. While there were a few moments of levity here and there, like when Clark first learned to fly and during his interaction with Lois after he dons the famous suit, the film does feel a bit too serious and even dour.
Along with that, it would have been nice to see a distinct showcase of Superman’s abilities in use when he was fighting Zod and his cronies. That would have been his edge on these Kryptonians who had little experience with the use of their abilities.
Plus, something that was unanimously an issue with fans was how during Zod and Superman’s borderline demolition of Metropolis, Superman gave not a whit of interest in the collateral damage. That is always a big aspect of Superman, trying to contain a superpowered fight away from the civilians. The causalities must have been in the thousands given how many skyscrapers they knocked over. Even though he stopped Zod, why would the US or any country trust him given how much destruction he and his kind caused across just one major city? Just saying.
Now, what worked?
First off, Krypton does explode so we can all relax there.
Let me also say that the reimagining of Krypton was amazing!! This is very different from any other iteration of that planet on or off screen. I can’t say how much I was relived to not see the same ice sculpture with the dome a top it. Finally we get to see Krypton as something more. The technology is very advanced, liquid metal at times in ways that are reminiscent of The Matrix. Even the little details such as the family crests are fantastic. Apparently, they made over 300 different family crests for this film. All the political intrigue and coups prior to Krypton’s destruction really worked for me, partially due to Michael Shannon and Russell Crowe owning the scenes they were in together. I could have stayed longer on Krypton before its explosion, but obviously the story was about Superman.
And Henry Cavill IS Superman. He’s everything a fan could hope for in a new Man of Steel. The character doesn’t need to be dark and gritty just to adapt to modern times. However, I like how we see Clark choose to become Superman instead of getting brainwashed for 12 years by his bio daddy. Along with that, Clark is still finding his footing in this new role, and Cavill embodies that loneliness and confusion in the earlier parts of the movie perfectly.
I was at first hesitant about Amy Adams as Lois, mainly because of the huge age difference and that she looked more like a Lana Lang than a Lois. But she worked for me very much, a tough as nails woman who’s good at her job but still has an overwhelming knack for getting into trouble.
Michael Shannon owned as Zod. He was not a caricature, but a man who was literally made from birth to be a soldier. His sole purpose is to protect Krypton. Anyone who gets in his way is an obstacle that must be removed. Antje Traue worked wonderfully as Zod’s right-hand Faora, not saying much but delivering ass-kickings when needed.
All the supporting cast worked for me, too. Russell Crowe and Kevin Costner added gravitas as Clark’s two fathers, though I could have done with a little less of the constant hammering home of Clark’s greater destiny. Lawrence Fishburne could have gotten a little more to do as Perry White, but I’m guessing we’ll see that in later films.
I did like how the Superman name came to be in this film. Lois was about to name him that before the Army rudely interrupted. But the name got bandied about given the S on Clark’s chest, which is the family crest of House El and stands for Hope.
A big change that I enjoyed but might irk long-time fans is how Superman and Lois first meet. Not to spoil this, but it actually makes a lot of sense given the modern day context of the movie. I mean, Lois IS a Pulitzer Prize winning investigative reporter and not an idiot.
Another smart choice David Goyer and Zack Snyder made was how all the other Kryptonians in Zod’s crew didn’t adjust so quickly to Earth’s Sun (unlike in the show Smallville). Zod, when his protective helmet gets damaged, is overwhelmed at first by all his enhanced senses. And other than Zod, who worked to master his new powers, all the other Kryptonians could only Hulk-leap to get where they were going instead of flying outright.
Superman having trouble fighting Zod and his soldiers at first made perfect sense as well. For one, from what we can tell, the Superman in this film had never really used his powers in a fighting capacity before Zod arrived. Two, he has never encountered any person as strong as him, let alone several people. And three, Zod and his officers are all trained soldiers bred from birth to be the best, whereas Clark is not. This made for very interesting fight sequences in both the battle of Smallville and Metropolis.
And of course, the final battle between Zod and Superman. Other than the potential collateral damage that I had issues with, this fight made the destruction of New York City in The Avengers look like a minor earthquake. I’m glad we finally got to see Superman fighting a superpowered foe and the devastation that could occur because of this. Which leads us to how the fight ended.
PROCEED AT YOUR OWN PERIL.
Superman kills Zod. Now, everyone knows that Superman has a very strict no-kill policy. It's as distinct as his red underwear (which is sadly missing from his suit this time around). However, Zod had nothing left to live for after Superman foiled his plan. So he forced Superman’s hand by trying to barbeque some innocent civilians with his heat vision. Despite Superman’s pleas for him to stop, Zod refused. So Clark had no choice in the heat of the moment (no pun intended but it stays) but to kill him.
Many people hated that, but I loved this moment. Superman just killed the last remnant of his race, and hates himself for it. Henry Cavill’s reaction made that scene much more powerful. Plus, for people complaining that Superman is so perfect, he had to make a very real choice between the lives of civilians or the last of his kind. Superman chose Earth. Either way, I hope that we see the ramifications of Zod’s death ripple through the next Superman films. And, to go full geek on all of you, Superman hads been forced to kill a few times in the comics, mainly Zod.
Now that Man of Steel has come out and is cleaning house at the box office, my questions is what’s the plan? One of my biggest issues with how DC/Warners has handled their comic properties is not having a clear plan. As of right now, we know that Warners is fast-tracking a Man of Steel sequel with both Zack Snyder and David Goyer returning. Other than that, we hear Warners is developing a Wonder Woman movie or considering a Flash film or wanting to do a Justice League film in 2015. However, they have not revealed any type of release strategy for their DC Movie Nation.
Having a clear plan and sticking all those milestones is one of many reasons why Marvel has been so successful in their Shared Cinematic Universe.
The Monday after the first Iron Man film broke bank, we got a three year release schedule from Marvel. DC/Warners needs to show us what the road is to Justice League, and deliver on those dates.
Right now, they’ve grabbed the public’s interest in a larger DC Universe. Now they need to take their time, not rush into Justice League yet, introduce us to some characters other than Batman or Superman, and make movie magic.
I've been doing some soul searching and coming to grips with the loss of Matt Smith (in spite of it not happening yet) and I think it will weigh up there with the loss of David Tennant. Then I was like, "Wait a minute. They were able to finagle the story to allow for the return of Tennant, could they do it for Smith?!" This launched a theory I have in my head that I have to run by fans that will include some River Song worthy spoilers. If you are familiar with the statements made by John Hurt not too long ago about his character's role in the 50th, then you have nothing to fear. Otherwise, be warned...
Okay, so Hurt spoiled that his character, "The Doctor who broke his promise" will indeed be the "true 9th Doctor" and the storyline will have something to do with the Time War. So what does this have to do with 11 and how can he still appear on the show? Stay with me here because I'm about to pull a lot of Who logic, and it could get wibbly wobbly in this piece.
If I had to guess, I would say the inclusion of Tennant and Rose are specifically to help remove Clara (who is signed on for season 8) from the Doctor's time stream and back in the time line. Simple enough, following that logic you could remove 11, as well, and send them on their way, right? Wrong. Seeing as 11 entered his own time stream (something a time lord must never do) I'm guessing there's a fair bit of nastiness that completely prevents him from leaving his own timeline. Plus, let's not forget that he is regeneration number 12. If you don't hold onto the theories that his regenerations from River passed on, then he is in all respects dead to rights after this death.
So what if 11 wasn't The Doctor who regenerates?! He would forever be trapped within the timeline and able to appear at any moment to save the day (much like Clara). Tennant of course is now half human so he wouldn't be the one to change, but of course who better than "The Doctor Who Broke His Promise" aka true Number 9 with three regenerations on standby to take on the continuation. There are some parts of The Doctor's memories that I haven't quite worked out yet and how that would work...but I'm sure the Tardis holds a memory bank of the Doctor's thoughts so he could be brought up to speed. Ultimately it would ensure Smith would have the option to return if he wanted. I dunno. Is my theory too crazy?
James Bond directors have been a hot topic on the internet today. A few names thrown out earlier included Nicolas Winding Refn, Ang Lee, Tom Hooper, David Yates, and Shane Black. Now Deadline has jumped on board the Bond 24 news wagon, and they're throwing in their own news update, saying that Sam Mendes is actually back in talks with the studio! It still amazes me sometimes how fast news like this can change. This is surprising, because Mendes is incredibly busy with directing several stage plays. He has said time and time again that he wasn't going to do it. Mendes did an amazing job with Skyfall, and it ended up being the most successful Bond movie so far, pulling in over $1.1 billion. It was a pretty amazing Bond film!
Apparently the studio has decided to wait for Mendes to work through his stage play commitments, and they are looking to make a deal with him to start production on Bond 24 next year. The report confidently states that "Mendes will be the director of the next Bond." They don't say he might, maybe, or possibly be directing. They say he will.
Are you excited to hear that Mendes is coming back for more Bond?