Inhumans – Trailer 2

The more I see trailers for Marvel Television’s Inhumans, the better it’s starting to look.  The FX is fine (and while Lockjaw himself looks great; his transport effect?  Not so much) and while I’m hardly waiting with baited breath, I am interested enough to catch it in theaters (mainly because I am curious if it looks cinematic enough to warrant the involvement of IMAX.


The Man Who Murdered Time, Part 3

Last time we learned that the world was caught in a time loop, to repeat New Year’s Day for all time, due to the sinsistent machinations of mad scientist Willard Hughes and his time machine.

But we also learned that there was a method to his madness:  Hughes was dying, though his time machine would enable him to live forever!

That it enabled him to torture his well-to-do cousin as well was icing on the cake.

But Hughes didn’t count on the Shadow in this, the penultimate chapter of The Man Who Murdered Time!


Jessica Jones-A-Thon: AKA You’re A Winner!

Originally Jessica Jones was offered to ABC, and I can’t imagine why they passed on it.  Sure, they would have to tone down on the cursing and the sexual situations, but other than that?

Anyways, Jones (Krysten Ritter) is working with Malcolm (Eka Danville, who’s also Australian, I think) who’s detoxed to try to figure out how Kilgrave does what he does, before Luke Cage (Mike Colter, who’s perfectly cast) hires her to find someone.

She also has to deal with Hope (Erin Moriarty) being hurt in prison.

This episode is particularly hard-hitting, and while I don’t know how you stand on the abortion issue, this episode might give you a little food for thought.

And Luke Cage rides a Harley Davidson.  This is a good thing because if he got on a Kawasaki or whatever I’d be a bit miffed (though I’d be a bit more tolerant of a Ducati or a Buell).

This episode we also learn that Jeryn Hogarth (Carrie-Anne Moss) isn’t made entirely of ice (maybe only 70-80%).

The title, AKA You’re A Winner! refers to a trick Jones uses to track down a person she’s helping Cage to find.

And speaking of Cage, we get another “Sweet Christmas” this episode, and it too well-earned.

Jessica Jones-A-Thon: AKA The Sandwich Saved Me

This episode we catch a glimpse into Jessica Jones’s past, and it goes without saying that she was as much as a pain-in-the-ass back then as she currently is.

Jones and Trish Walker (Rachel Taylor), knowing who it is that’s been spying–from last episode-use the person to try to capture Kilgrave.  To do so they enlists Will Simpson (Will Traval, who’s surprisingly, Australian) into their own Scooby gang to capture him.

Simpson is the cop who attempted to kill Trish Walker earlier in the season.  He’s also has access to a safe house where they can sequester Kilgrave away.

It’s a particularly resonant moment because the person in question was thrown overboard in  AKA It’s Called Whiskey (no spoilers here!)

This is a cool episode that goes a little bit into Jessica Jones’ stint as a superhero  (and I think that this is the first time that I can recall that a female character says ‘camel-toe’)

The title of this episode, AKA The Sandwich Saved Me, is to be taken literally.

Jessica Jones-A-Thon: AKA 99 Friends

Tonally, Marvel’s Jessica Jones is heavier than Marvel’s Daredevil, but that being said, it’s somehow more watchable.  I can easily see myself re-watching this relatively soon, while I am just getting to the point that I want to see the devil of Hell’s Kitchen’s first season again.

This is an important episode.  It’s not as Kilgrave-centered (though even when he’s not present, he’s present) as the prior three episodes and revolves around another case that Jones has accepted.

She also solves the mystery of who it is that’s been supplying Kilgrave with pictures of her, and the answer hits pretty close to home.

The title: AKA 99 Friends revolves around the number of people that have abilities like Jessica Jones, a number she pulled out of her ass (though with good reason).

Jessica Jones-A-Thon: AKA It’s Called Whiskey

Jessica Jones gets closer to Luke Cage, and thinks that she knows a way to nullify Kilgrave’s abilities, so she tries to enlist the aid of various people in her life.

Which, it goes without saying, doesn’t quite go as planned.

This episode is also the first time we hear Cage say “Sweet Christmas,” and it’s awesome (and warranted).

We also learn that Jessica Jones isn’t above sacrificing those that she cares about in the name of a greater good.

The title, AKA It’s Called Whiskey refers to Jessica Jones’ use of the stuff as a coping mechanism.

Jessica runs into Kilgrave, and we learn her heretofore unknown connection to Luke Cage (there’s some dialog that mimics that from Avengers: Age of Ultron, but I’m putting that down to coincidence).

There’s a curious Invasion of the Body Snatchers-quality to the people under Kilgrave’s influence, in that there’s no reasoning, no suasion or quarter given.

Instead there’s a mindlessness to them that’s very interesting.

Will Hollywood Ever Learn? -Gods Of Egypt Edition

Alex Proyas is a pretty interesting director and I’ve enjoyed quite a few of his movies, particularly The Crow and Dark City  (I didn’t mind I, Robot, despite its story having little to do with Issac Asimov’s story).

That being said, his latest project, Gods of Egypt, has me scratching my head.

Gods of Egypt - Gerard Butler

In the poster above that’s Gerard Butler playing Set, the Egyptian god of Death (thankfully in the movie he at least seems to assume his jackal-headed guise at times) though if you look at the trailer virtually everyone of consequence is apparently played by a white person.

Didn’t we get enough of this bs casting with Aloha?  And I am not saying that Egyptians were black–despite the fact that for a period of time the country was conquered and ruled by Nubia, who definitely WERE–though they were certainly brown-skinned, and most definitely not white (though  Egypt was also conquered by the Roman Empire, and ruled for a time by the Ptolemies).

Then there’s the fact that Egypt is actually on the continent of Africa (though culturally is more Middle Eastern in nature).

And since the people weren’t white, why would they choose white people to represent their gods?  It’s either indicative of a people with a massive inferiority complex, or it just doesn’t happen.

My money’s on the latter.

Gods of Egypt - Horus

And I get it.  Hollywood isn’t exactly known for even attempting to depict such things accurately–a few days ago I was watching an episode of Kolchak: The Night Stalker, The Energy Eater, when I noticed an American Indian character played by William Smith.  Smith has had a storied and fascinating career, and while he’s an American, he’s not Indian.

And speaking of Kolchak, Richard Kiel played an American Indian spirit in the episode Bad Medicine.

He is also not an American Indian (though I suspect that his size was what the producers were more interested in, and at over seven feet tall he’s got plenty of that).

What bothers me about casting like this is that I would have no issue with it at all if American Indians and African Americans were so common in movies and on television that casting white people in roles that traditionally aren’t wouldn’t make that much of a difference.

Though that’s just not the case.  There are plenty of American Indian, African-American, Middle Eastern actors that could use the work AND result in a more accurate portrayal of an American Indian diablero or  Egyptian deity.