Will Dr. Ben Song Return Home? - Quantum Leap Canceled By NBC

By Brandon T. McClure

“Dr. Sam Beckett never returned home.”

So ends the final episode of Quantum Leap in 1993. One of the most heartbreaking endings in television history as the entire premise of the show was built around the hope that Dr. Beckett (Scott Bakula) would find a way home. It is apparently the fate of all Leapers to never find their way home as, more than thirty years later, Dr. Ben Song (Raymond Lee) will suffer the same fate. As Quantum Leap fans found out on April 5, 2024, the sequel series of the same name has been canceled by NBC.

Originally created by Donald P. Bellisario in 1989, Quantum Leap aired for five seasons on NBC and followed the time traveling trials of Dr. Sam Beckett as he attempted to put events right that originally went wrong. Thirty years after the show's cancellation in 1993, Steven Lilien and Bryan Wynbrandt revived the show with a new cast of characters and a new leaper, Dr. Ben Song. Together with his friends in the present, including his hologram and fiancé Addison Augustine (Caitlin Bassett), he attempts to put right what once went wrong, all the while trying to discover the larger mysteries surrounding the Quantum Leap program.

There have been talks of a new Quantum Leap series for decades and at one point Bellisario had suggested a movie could come to fruition. Ever since the finale's title card, fans had been hoping that someday Sam Beckett could return home. Practically every convention or public appearance made by the cast or Bellisario had them saying “maybe”. But that changed after the death of Dean Stockwell who played Sam’s best friend and hologram Al. It was Bakula’s belief that there was no Quantum Leap without Stockwell’s Al. But shortly after Stockwell’s death, NBC ordered a revival of the cult classic series centered around a new Leaper. Fans had wondered if Bakula would return but he set the record straight just before the new series began airing. Before the series aired Scott Bakula confirmed that he would not be returning, leaving the new show with a large shadow hanging over it. But the show prevailed and was able to find a dedicated audience, admittedly not a large one. While the first season wasn’t the smash success that NBC was surely hoping for, it was successful enough to get a second season.

Unlike the original show, this new Quantum Leap leaned on serialized storytelling, in order for it to compete in age of streaming television. The first season centered around the mystery surrounding his fiancé, Addison’s future death. Ben had somehow manipulated his leaps to arrive at the point where he could save her life. The second season found Ben at the whim of Ziggy, the supercomputer that seemingly controlled the leaps through time. Through the season Ben unknowingly manipulated the life of a a young woman named Hannah Carson (Eliza Taylor ).

Quantum Leap quite brilliantly began to implement a story that was reminiscent of the Doctor and River Song’s story from Doctor Who. Ben had told her who he was and she would help him through his leaps. All the while, Hannah was working on something in the background as her knowledge in quantum physics grew. She appears in many of the episodes of the second season, and audiences began to wonder if she would discover how to bring Ben back to his own time. As it turns out, she had created a code that would help Ben in the future, but it didn’t bring him home,. Instead, it brought Addison to him in the past. The finale of the second season set up a third season where Addison and Ben would be reunited, leaping through time putting right what once went wrong. Interestingly enough this is not the first time this idea was presented.

In May of 2019 a video was uploaded to Reddit which confirmed that there was a filmed alternate ending, should the show be renewed for a sixth season. This alternate ending was going to send Al through the quantum accelerator to find Sam, who was now leaping through time as himself, rather than in the bodies of other people. This suggests that the sixth season would have Sam and Al leaping together through time, working as a team without the limitations of the hologram idea. Even though Bellisario is only an executive producer and not a creative voice on the show, his original idea (which he denies he had even, though there’s proof) still found its way into the new Quantum Leap writers room. This means that both shows were cancelled before this exciting idea could come to life.

But now the excitement has been replaced by disappointment as NBC has seen fit to cut its losses. The show struggled during its second season, like many shows, due to the studios’ greed driving the writers and actors of Hollywood to go on strike. Quantum Leap struggled in the ratings and will probably never receive the same cult-like fandom the original has, but it had fans and they deserved better. So like Dr. Sam Beckett before him, Dr. Ben Song never returned home.

The End of The Tomorrowverse & The Future Of The DC Animated Original Movies

By Brandon T. McClure

For 17 years, Warner Bros. Animation and DC Entertainment have been releasing successful direct-to-video animated films through an imprint known as DC Animated Original Movies. These films were based on some of DC’s most iconic characters and comics. In 2020 they released Superman: Man of Tomorrow, a new adaptation of Superman’s origins that launched what would become known as the Tomorrowverse. Meant as a fresh start for the line of movies, the Tomorrowverse laid the groundwork for a new and unique take on DC’s most iconic characters. But after only four years, the Tomorrowverse is coming to an end, and it’s possible this may signal the end of the DC Animated Original Movies.

In 2007, Warner Bros. and DC Entertainment launched the DC Animated Original Movies line with the launch of Superman: Doomsday, a trimmed-down adaptation of The Death of Superman and The Return of Superman. The goal of this new line of films was to appeal to a more adult audience, often getting “PG-13” (and sometimes “R”) ratings and allowing for more faithful adaptations. With this new line of films animators, writers, and directors, could adapt comic storylines more faithfully than live-action films and shows, and represent the various art styles of the adapted comics. Many popular films came from this line including Justice League: Doom (which saw the return of many cast members of the Justice League animated show), All-Star Superman, Superman vs. The Elite, and many more. Save for a few exceptions, each film was a standalone movie, unconnected to any larger storyline. But that changed in 2013 with the release of Justice League: The Flashpoint Paradox and the start of the DCAMU.

Bruce Timm has been working exclusively with DC Animation since 1993 and was one of the major producers of the DC Animated Original Movies. He wanted to take a step back to focus on Green Lantern: The Animated Series, so James Tucker came on board to produce the next film, Justice League: The Flashpoint Paradox, and effectively took over from Timm. Tucker had been a part of DC Animation for many years at this point but suddenly found himself in charge of a new DC Universe. According to Tucker, Justice League: The Flashpoint Paradox, based on the popular comic event Flashpoint, was initially going to be a standalone film but they learned pretty late into production that the “higher-ups” were interested in using the film to launch a series of interconnected films. This series would be dubbed the DCAMU and would go on to release 15 films, and 2 Constantine specials (one posthumously released in 2022 not produced by Tucker), including Justice League: War, Son of Batman, Death of Superman, Wonder Woman: Bloodlines, and more.

Constantine: The House of Mysteries - MAX

It’s important to note that the DCAMU, like many universe designations (Arrowverse, DCAU, etc.) is a fan name that only applies to a particular set of films. Between 2013 and 2020, Warner Bros. Animation released 23 direct-to-video animated films through the DC Animated Original Moves line, but only 16 (including the Constantine special), were part of the DCAMU. Batman: Assault On Arkham, Justice League: Gods and Monsters, Batman: The Killing Joke, and others were all released during the period of time that the DCAMU was running, but were not considered a part of the universe. The DCAMU had a distinct art style and saw most of their voice actors return throughout the entire run, which helped differentiate itself from the other films in the DC Animated Original Movies line.

The DCAMU ended up being a blessing for James Tucker in more ways than one. Before it, Warner Bros. was releasing three unique animated films every year, each by the same team of animators. Since the animation styles were often very different between films, the team would have to start from scratch each time. Creating a “house style” for a franchise allowed them to reuse character assets, which had the added benefit of cutting down on budget and time, and increasing the amount of films that could be released in a year. By 2018, they were releasing four films a year, which generally had one film be a standalone feature and the other three be part of the DCAMU. Probably the most important benefit of the DCAMU was that James Tucker was able to use the franchise as a way of introducing other characters. WB has always been hesitant to greenlight any movie that didn’t have “Batman” or “Justice League” in the title (This is a problem across DC as a whole). For reference, the DC Animated Original Movies have released 20 movies with “Batman” in the title, the most out of any character. With a franchise like the DCAMU, Tucker was able to introduce characters and spin them off into other films. This is how the likes of Justice League Dark, Suicide Squad: Hell To Pay, and Teen Titans: The Judas Contract were able to get made. In an interview with the Word Balloon podcast, after Justice League Dark: Apokolips War was released, he mentioned that it was important for him to showcase other characters, even though it was always a struggle to get them made.

Justice League Dark: Apokolips - MAX

Sometime before 2019 (the timeline is unclear, but likely 2017 or 2018), Tucker was told that the DCAMU would be coming to an end with the, already greenlit, Justice League Dark: Apokolips War. To this day, he claims he doesn’t know why the films ended and there has been no official word from WB. Critics and fans have thrown out ideas for why the DCAMU ended but most just say it was because “they were bad”, which is a ridiculous statement considering their Rotten Tomatoes scores were often within the “fresh” threshold. One theory suggested that the films ended because James Tucker stepped down, but he made it clear that it was not his plan to end. He likely used the ending as an excuse to step down and not the other way around. What’s more likely is that the sales weren’t what WB was interested in seeing. Only two of the nine films released between 2017 and 2020 grossed over $4 million in sales. 

To put this in perspective, the DC Animated Original Movies were relatively inexpensive to make. Each one would cost roughly $2 million or less, so $4 million is a profit for them. These films are also easy to market and repackage for continuous sales over long periods of time. What’s more, Warner Bros. streaming service, MAX (formerly HBO Max), could stream these movies till David Zazlov (head of WBD) wants to save some more taxes. So these films aren’t unprofitable or not successful, but there has been a significant downward trend. The most successful film they’ve ever made was Batman: Under the Red Hood in 2010, which made $12 million according to the-numbers.com. While some Batman films have gotten close to that number, the entries of the DCAMU never made it above $6 million and began to plummet in sales. The highest-grossing film was Son of Batman with $7 million in 2014 and the lowest-grossing entry was Wonder Woman: Bloodlines in 2019 with only $1.7 million. The hope with any film franchise is that there would be growth in sales, but if audiences were voting with their wallets, then it was pretty clear that interest in the DCAMU was waning.

Justice League: Warworld - MAX

Even so, James Tucker was just as surprised as anyone that the DCAMU was ending. He didn’t have a plan for one and was hoping that he could continue for many more years. He had hoped to one day get to do another Teen Titans film, but those desires had to be put aside. He had already gotten WB to greenlight a new Justice League Dark film and now had to find a way to turn that film into a universe-ending epic. Justice League Dark: Apokolips War starts after Darkseid has already taken over the world and many of Earth's heroes and villains have died. Constantine gets a team together for one last-ditch effort to destroy Darkseid and in the process frees the Justice League and the remaining heroes. But so much had already been lost in the battle so Constantine convinces Flash that the only way to fix everything is to reset the universe in the same way that he did during the Flashpoint (the events of Justice League: The Flashpoint Paradox). It’s revealed in Constantine: House of Mystery (a short film released after the end of the DCAMU in 2022) that Constantine used his magic to help Flash, which made it so Darkseid couldn’t find the Earth in the new universe that would be created. Darkseid had been an ever-looming threat in the DCAMU, and this plan would allow the new universe a fighting chance, but it opened up Earth to a new, more dangerous enemy.

Regardless of why WB ended the DCAMU, plans began for a new universe that would be dubbed the Tomorrowverse. Named after the first film in the franchise, Superman: Man of Tomorrow, the Tomorrowverse began months after Justice League Dark: Apokolipse War. This new universe was spearheaded by Butch Lukic, Jim Krieg (who wrote Justice League: The Flashpoint Paradox), and Kimberly S. Moreau. There was one big difference between the DCAMU and the Tomorrowverse that fans didn’t know, and that was it was always going to end. Butch Lukic told Cinemablend, in January of 2024, that “it was just preplanned. [It was] five, six years ago where we laid out 10 movies that we were gonna do. Because we were basically given 10 movies only, and then you’re out, you’re done.” This marks a stark contrast to the development of the DCAMU, which had no set ending until WB decided it was time.

During an interview with ComicBookMovie.com, Jim Krieg and Butch Lukic discussed what it was like to pitch the Tomorrowverse. “Butch and I had this idea that we would have a long time to build to Crisis,” Krieg said and added “I remember [Butch] and I talking to Sam Register (president of WB Animation) and saying, ‘Maybe we can have twenty films and then end in Crisis?’ I think he said, ‘How about three?’” Judging by this, Sam Register and WB Animation weren’t all that interested in another long-running universe. Krieg and his team went into the pitch meeting with the idea that they could have, at least, as many films as the DCAMU. Krieg told  ScreenRant that “we would have been happy to do 20. But when you want to do 20, and someone offers you 10, you'd say yes anyway," Krieg and his team were insistent and had big plans, but ten movies were all they could get. Butch lamented in the ComicBookMovie.com interview that he “originally wanted to keep doing a slow build with movies like [Batman:] The Long Halloween and [Superman:] Man of Tomorrow. I wanted to take as long as possible and once we gave them our pitch, they said they wanted Crisis involved and they wanted it done in ten movies. That’s why we had to fast-track some of these stories and build it towards this.” Through every interview, it’s clear that everyone is happy with how the Tomorrowverse has played out, but they had to condense 20 movies into 10.

Batman: The Long Halloween

Many of the criticisms that have been lobbied towards the Tomorrowverse make more sense with the realization that they only had ten films to work with. One of the issues that the series was plagued with was the quick-moving and eclectic way the story unfolded. It makes it very difficult for audiences to engage and get emotionally invested in characters and character arcs if the story isn’t properly unfolded. This is not to say that the Tomorrowverse doesn’t work. Many of these films are very good, despite the limitations (except Justice League: Warworld). Batman: The Long Halloween is a near-perfect adaptation of the comic it’s based on and Legion of Superheroes is a great story centered around Supergirl and her journey in the 31st century. The Tomorrowverse, while short, has been very good at utilizing characters outside of Batman and Superman. Characters like Green Lantern and the Justice Society don’t often get the same attention that DC’s heavy hitters do in animation, so it’s been great to have a franchise attempt to change that. As standalone films, they’re all strong features with good voice casts and expressive animation. The connections and the universe-building have just been the Tomorrowverse’s weakness. But, that said, Justice League: Crisis On Infinite Earths could make it all come together in the end as one complete ten-movie arc. It just feels like it’s ending before it even got to start.

Justice League: Crisis on Infinite Earths - Part 1

Justice League: Crisis On Infinite Earths is not the first time WB has adapted Marv Wolfman and George Perez’s seminal event. Famously, the Arrowverse aired a five-part adaptation on the CW that crossed over all their shows at the time (which ended up being the beginning of the end for them) in 2019. But Butch Lukic revealed to ScreenRant, that they’d been working on the animated version since before that by saying “we already were figuring out that we were going to do Crisis before they even were filming anything on their Crisis.” This lines up with what has been revealed about the timeline of when they were told how many films they would get and a particularly weird trend within WB at the time.

It appears that there was a point in WB’s history that saw many DC departments interested in adapting Crisis On Infinite Earths. From TV to animation, to movies, everyone was racing to get theirs made, and the Arrowverse was just the one to make it to the finish line. Before James Gunn and Peter Safran became the head of DC Studios, a man named Walter Hamada was the head of DC Films. After he exited the company in 2022 (in the wake of Batgirl’s tax write-off), The Hollywood Reporter found out that he had been mapping out a new trajectory for his DC films that would culminate in a big-screen adaptation of Crisis on Infinite Earths. Hamada was so confident in this plan that one of the filmed endings to The Flash (the movie) saw Barry receiving a call from Ben Affleck’s Batman that would reveal they were now on separate Earths. Sadly, the changing of the guard at DC meant that this plan was scrapped and a new ending was filmed (this is why the George Clooney ending exists).

While Krieg and his team may have known that an animated Crisis film would be the end of the Tomorrowverse back in 2019, fans did not. But rumors began swirling of the animated Crisis adaptation in 2021 when Journalist Matías Lértora tweeted “An animated TRILOGY adaptation of CRISIS ON INFINITE EARTHS is coming” and “It is expected that all the DC animated Universes will come together.” Finally, at the 2023 San Diego Comic-Con, it was revealed that 2024 will see two ambitious releases from the DC Animated Original Movies line, Watchmen, based on the Alan Morre and Dave Gibbons comic, and the rumored Justice League: Crisis On Infinite Earths. Only later was it revealed that Justice League: Crisis On Infinite Earths would be a three-part ending to the Tomorrowverse. No new information has been released about Watchmen at the time of this writing.

Justice League: Crisis on Infinite Earths - Part 2

The first part of Justice League: Crisis On Infinite Earths is out now (with part two out in April) and follows Flash as he travels through time and universes to try and stop an Anti-Matter wave that is destroying the multiverse with the help of the Justice League and alternate universe heroes. Matt Ryan’s Constantine makes a surprise appearance in the film to connect the Tomorrowverse to the DCAMU, which was alluded to in the aforementioned Constantine: House of Mystery. It seems that when Constantine and Flash changed the universe, they hid it from Darkseid but opened it up to a new threat, likely the Anti-Monitor, the villain of the original comic. While the first part of the rumor turned out to be true, it remains to be seen if the second part is. So far, no familiar heroes from other DC animated universes have popped up but Krieg and Lukic said to stay tuned. Indeed a rumor came about that suggested that Kevin Conroy had reprised his role as Batman for one last time in a future installment. 

One of the more fun aspects of animated shows crossing over is the opportunity to utilize the unique animation styles of the various shows (see any Teen Titans Go! crossover for examples). It’s now been confirmed that Will Friedle will reprise his role as Terry McGinnis/Batman from the wildly popular animated show Batman Beyond, in Justice League: Crisis On Infinite Earths - Part Two, but he will appear in the animation of the Tomorrowverse. It appears that, rather than having different universes represented by different animation styles, in order to celebrate the animated history of DC, the creators opted to keep it simple. It was likely more of a budget choice than a style choice, honestly. Besides, Justice League: Crisis on Infinite Earths needs to act as an ending to the Tomorrowverse first and foremost. While multiverse stories can be a fun way to celebrate the storied history of a property, they need to serve the story of the main characters they’re following. The allure of nostalgia is strong and this is something that multiverse stories often struggle with (see The Flash for examples).

When asked about the future, Krieg said that "whatever happened afterward would be someone else; a couple of producers would do another universe, which turned out to be the James Gunn-verse." It’s unclear what he means by this, however, when James Gunn was asked on Threads if Justice League: Crisis On Infinite Earths has anything to do with the start of his new DCU, Gunn simply said “They do not.” Considering the timing of his hiring and when these films would have been in production, it is very unlikely that he had anything to do with this. But there’s also the case of his plans for the DCU throughout all mediums. In his original announcement, Gunn stated “It's one of our jobs to make sure the DCU is connected in film, television, gaming, and animation. That the characters are consistent, played by the same actors, and it works within one story.” Gunn said this after implying that the disconnected nature of the various DC projects was diminishing the brand and many shows were canceled in the wake of his hiring. The question of what exactly he means has come up far more times than not. Does he mean that there will be entries in the DCU that are video games or animated films? Or does he mean that all future video games, animated films, and so on will be part of the DCU? The distinction is an important one, but not one that has been made.

To be clear, DC Animation isn’t going anywhere. Harley Quinn: The Animated Series is still a hugely popular MAX show, with a Kite Man spin-off on the way, and it’s just been announced that Gunn will produce a big-screen animated adaptation of Daniel Warren Johnson and Juan Gedeon's comic

The Jurassic League. They’re just now being developed by DC Studios, along with everything else DC-related. Gunn seems like he wants to keep the door open for unconnected stories, like The Batman Part II, but wants to make it clear to audiences that they are “Elseworlds” stories and not part of his DCU. So while there will be video games, animated shows, and movies connected to his DCU, that’s not all there will be. So there is still room for something like the DC Animated Original Movies, even though there might be a significant downsizing in the amount of films made. 

The DC Animated Original Movies are not huge releases for Warner Bros. and with studios insisting that physical media should die out, it’s not outside the realm of possibility that the line of films could be ending (whatever happened to that Milestone movie announced in 2021?). David Zaslav has come into Warner Bros. to clean house (and probably sell it for parts) and has become a ruthless player in the studio system. Not only has he canceled shows, but erased shows and movies to never be seen again. All in the name of tax breaks. Nothing stops him from looking at the measly $2.6 million that Injustice made in sales (the previous six movies didn’t do much better) and deciding that the entire line of films isn’t worth the money anymore.

While it’s undeniably sad that the Tomorrowverse is coming to an end, the future of the DC Animated Original Movies remains unknown. No films have been announced for 2025, but that doesn’t mean there aren’t any, some could be announced at this years San Diego Comic-Con as is tradition. As for this year, two animated Justice League: Crisis On Infinite Earths films and a Watchmen animated film (possibly two) are still on the schedule and Warner Bros. Animation is  hard at work on Creature Commandos, the first part of James Gunn’s new DCU, which is likely out at the end of the year. So that begs the question, is the future of the DC Animated Original Movies, to end with Watchmen? Or will they continue under the watchful eye of James Gunn to either be part of the DCU or somewhere in his multiverse? Or will they just continue as is until David Zaslav notices they exist and comes barging into their offices with a flamethrower to burn it all down? Only time will tell.

INTERVIEW / Zoey is Too Drunk for This Dystopia by Jason Pargin

Matt sits down with author Jason Pargin to discuss his latest book, Zoey is Too Drunk For This Dystopia as well as his other works. They also talk about the power fiction has to comment on very real things and make you think.

For audio, please check out the Atomic Geekdom Podcast to listen in.

ABOUT THE AUTHOR

JASON PARGIN is the New York Times bestselling author of the John Dies at the End series as well as the award-winning Zoey Ashe novels. He previously published under the pseudonym David Wong. His essays at Cracked.com and other outlets have been enjoyed by tens of millions of readers around the world.

NIC GAUGE / Running With The Devil

MOVIE: Running With The Devil

STARRING: Nicolas Cage, Laurence Fishburne, Leslie Bibb, Cole Hauser, Adam Goldberg, Peter Ficinelli, Bary Pepper

RELEASE DATE: September 20th, 2019

WHERE TO WATCH: VOD (Hulu, Apple TV, Amazon Prime)

By Justin Pomerville (2 Broke Geeks)

The Man (Laurence Fishburne) and The Cook (Nicolas Cage) in Running With The Devil.

I know the film business can be tough, and sometimes it’s even harder to write a cohesive story that reads well on screen. But then, there are people who make filler films. These are films that a production company puts out that are just there. They had to fill an obligation for making a film, pull a shell of a script together, and then put it out (usually straight to DVD). Running With The Devil is not the first nor the last film that does this.

What is really baffling about this movie, is that they have a pretty good cast list. On top of having Cage, you have Laurence Fishburne, Leslie Bibb, and Adam Goldberg. This could have had the makings of a decent film but the plot is very generic. A tenacious federal agent (played by Bibbs) follows the supply line of a group of experienced cocaine dealers. They are followed from origins on the farm, through the smugglers, cartel bosses and onto corrupt officials. All with the DEA trying to bring them down. I don’t really need to explain much more on the plot than that. It’s not a terribly bad one, but there were ways they could have elevated it. And that needs to start with giving your characters names.

It’s rare for me to be invested in a character when I don’t know a single thing about them, especially their name. Cage is “The Cook”, Fishburne is “The Man”, Bibbs is “The Agent In Charge”, and the trend continues from there. To the point where no one in the film ever gives anyone a name. Not a single name was uttered in this film making it frustrating to watch.

The Cook (Nicolas Cage) in Running With The Devil.

This film is going to go at the bottom end of “Terrible” on the Nic Gauge scale. Everything about this film was insignificant, but still better than a good handful of films that have also come out.

NIC GAUGE / Renfield

MOVIE: Renfield

STARRING: Nicolas Cage, Nicolas Hoult, Awkwafina, Ben Schwartz, Brandon Scott Jones, Jenna Kanell, Bess Rous, Shohreh Aghdashloo

RELEASE DATE: April 14th, 2023

WHERE TO WATCH: VOD (Amazon Prime, Apple TV, Roku, Vudu)

By Justin Pomerville (2 Broke Geeks)

Dracula (Nicolas Cage) in Renfield.

Growing up, I was exposed to the old Universal Monster films. Personally, Creature from the Black Lagoon is my favorite, but Dracula has always been a close second. When it was announced that Nicolas Cage was playing Dracula in a modern-day version of the classic film, I was extremely excited. At the time of writing this, it was still in some theaters, but I had to wait till it became available on VOD in order to enjoy it, due to the lack of theaters near me actually playing it. At that time, I have heard many things about this film that had me confused about what kind of experience I was in for.

After centuries of servitude to Dracula (Cage), Renfield (played by Nicolas Hoult) has had enough of his boss and is desperate to have a life out of his shadow. While going to meetings to learn about his codependency issues, he finally gets the power to find his voice, if only for a short time. When Renfield has a run-in with a crime family and befriends a cop named Rebecca (played by Awkwafina), Dracula soon learns how weak Renfield has become and decides to take matters into his own hands.

Dracula (Nicolas Cage) and Ella (Shohreh Aghdashloo) in Renfield.

Overall, this movie was everything I expected it to be. More of a comedy than a horror film, with lots of violence, and somewhat good humor. Cage and Hoult are obviously the most interesting characters of the film, Cage specifically because of how over the top he played Dracula. However, everyone else in this film kind of fell flat for me. Awkwafina and Ben Schwartz (who plays one of the crime bosses) have the majority of the more “comedic” moments. I use quotation marks because although they are mainly known for being comedy actors, I didn’t really find their jokes and timing great.

Tedward Lobo (Ben Schwartz) and Dracula (Nicolas Cage) in Renfield.

The other problems I had were, for a film that is 1½ hour runtime, the story feels nonexistent. They rush through a lot of plot with hardly any story to tell. Just characters giving their backstories so it can be used as plot fodder later. I wish they spent more time on the character’s relationships with each other. Even the Dracula/Renfield relationship felt like it suffered from pacing. The runtime felt like it was more dedicated to violence and fighting. Which, although fun to watch with creative kills, the cartoonish effects of the blood spraying off bodies was too distracting.

Renfield (Nicholas Hoult) and Dracula (Nicolas Cage) in Renfield.

Yes, this film was fun, but not as strong as I hoped it would be. Cage carries this film and as I said earlier, the violence and fighting are fun. But the story and effects bring it down a significant level. This film is going to the lower end of “Good” on the Nic Gauge.

COUNT DOWN #27: Iron Man’s PTSD

By Brandon T. McClure (@btmcclure @fakenerdpodcast)

The MCU, specifically the Infinity Saga (2008-2019) has meant a great deal to me, as I am sure it has for many people. What first started as a book pitch is now a series of essays of mine that will be (hopefully) published every week. The goal is to pick a specific moment within The Infinity Saga and share with you why I believe it’s a defining moment. To revisit previous posts, visit our site HERE.

Enjoy the ride as we count down from 50 of the most defining moments and share your thoughts in the comments. 

• Iron Man’s PTSD •

MOMENT# 27

MOVIE: Iron Man 3

DIRECTORS: Shane Black

WRITERS: Drew Pearce & Shane Black

Tony Stark/Iron Man (Robert Downey Jr.) in Iron Man 3.

Marvel is often considered a comic book company with more relatable superheroes. Readers point to Spider-Man’s struggles or Iron Man’s alcoholism as examples of this. The heroes of the Marvel universe would often go through similar personal struggles that the readers would. This allows readers to relate to the characters in a way that they felt they couldn’t with characters like Superman or Green Lantern. Translating this to the MCU was instrumental in the long-running success of the franchise. In the third Iron Man film, Tony Stark is reeling from the events of The Avengers and can’t find a way to move past his near-death experience. In short, he had PTSD.

Iron Man 3 is a curious anomaly in the MCU. While Marvel had already been sold to Disney by the time of The Avengers, Iron Man 3 was still produced by Paramount Pictures. Shane Black stepped in to direct this film when Jon Favreau declined to return. It was the first of the solo franchises to finish their trilogy, which left the future of Iron Man in question until Avengers: Age of Ultron. The hype coming off of The Avengers also propelled this film to $1 billion. Finally, while it’s seen somewhat of a reevaluation over the years, it’s still not remembered all that fondly by the larger fandom. All this is to say that the history surrounding Iron Man 3 is kind of weird. Seriously, it’s the only film in the Infinity Saga that had a separate cut screened for Chinese audiences (But that’s a whole other thing).

In Iron Man 3, Tony is having trouble moving on from the Battle of New York. During the battle, Tony took a nuclear bomb through the portal and nearly didn’t make it back. Now that things have gone back to normal, he’s having trouble going back to his life. “You experience things and then they’re over and you still can’t explain them,” he says to Pepper after she confronts him. While this is happening, a series of bombings are taking place around the United States that are being linked to a terrorist known as The Mandarin. Tony takes it upon himself to uncover The Mandarin’s true plans but he’s having a difficult time due to his undiagnosed Post Traumatic Stress Disorder. 

Tony Stark (Robert Downey Jr.) in Iron Man 3.

PTSD is largely considered to be a disorder that only develops in soldiers that have seen combat. But it’s far more common than that. PTSD can develop in any person who’s been exposed to a traumatic event. Sexual assault, car crashes, domestic violence, or emotional abuse can all result in PTSD or its symptoms. It stands to reason then that any man who suffers a near-death experience would develop this disorder. Tony experiences all the hallmark symptoms and doesn’t know how to handle them. During one severe anxiety attack, he denies it happened and runs away. He can’t sleep because his nightmares are plagued with the memories of the battle and the move that almost cost him his life. Of course, this is also a science fiction superhero movie, so the movie uses Tony’s suits as an allegory. He’s trying to make sure that he’s prepared for next time, rather than dealing with the issue he’s dealing with now.

These days, mental disorders like PTSD are taken more seriously than they used to be and this is actually where Iron Man 3 fails. Pepper and Rhodey don’t take Tony’s illness seriously. Pepper’s reactions are pretty common for partners of people who suffer from PTSD in fairness. She loves Tony but can’t understand why he’s changed. Rhodey’s reactions are a bit more questionable since he’ll sometimes make a joke at Starks expense. It’s only strange because Rhodey is a soldier, but this was indicative of the time. Things have gotten better over the years, but these misgivings don’t negate the importance of Iron Man 3 showing Tony with PTSD. Art has a profound effect on the world and can lead to a path of normalization for things that aren’t considered “normal” (for lack of a better word). Iron Man 3 proudly made it known that the battle didn’t end for Stark when the Avengers went for Shawarama, it continued into his everyday life.

Tony Start/Iron Man (Robert Downey Jr.) in Iron Man 3.

Throughout the movie, Tony learns to open up about his problems which aren’t easy. Luckily the trials that Tony is put through in the movie, send him on a clear path of healing and he’s able to learn to cope and live with the disorder (although it does lead to him making Ultron…). By destroying all his new Iron Man suits, Tony symbolically learns that he doesn’t need them anymore and that there is a clearer and safer path to healing. Something that every person who suffers from PTSD would like to learn. Through this hero, PTSD victims see that there is a light at the end of the tunnel.

Iron Man 3 is a far more important entry in the Infinity Saga than people are willing to give it credit for. Truthfully it’s time for the narrative around Iron Man 3 to change. It’s a well-shot, well-written film, with great action set pieces, and a story about a hero struggling with a disorder that millions struggle with. Marvel likes to say it’s home to the relatable hero, and Iron Man 3 delivered one of the most relatable stories that had ever been seen in a superhero film at that point. Because of this, Iron Man’s PTSD remains an important moment in the Infinity Saga.

Star Trek Needs Star Trek: Legacy

By Brandon T. McClure (@btmcclure @fakenerdpodcast)

It’s a crazy time to be a Star Trek fan right now. Five shows have been released since 2017’s Star Trek: Discovery with a sixth one on the way. Currently Star Trek: Picard is airing its third and final season which sees the return of the cast of Star Trek: The Next Generation. This season has been better received than the previous two seasons and that’s got the fans begging for more. Turns out the showrunner for this season of Star Trek: Picard has plans to continue the story, should Paramount be interested, through a show called Star Trek: Legacy.

When Star Trek: Picard first aired on CBS All Access (Which became Paramount+) in 2020, just before the COVID-19 pandemic hit, the series saw an older retired Jean-Luc Picard now living in his family's vineyard, content with making wine for the rest of his life. But a young being, who claimed to be Data’s daughter, sought him out and set him off on a new journey that took him to new worlds with a new crew. This season was ran by Michael Chabon, who would leave during the production of season 2 due to a massive contract he signed to develop more in the world of Star Trek. This, however, has yet to come of anything. Terry Matalas took over the show and season 2 was released in 2022. That season saw Q return to help Picard come to terms with the death of his mother. As ambitious as those two seasons were, they were generally not loved by the fandom at large. But season 3 had a lot of promise.

After being contacted by Beverly Crusher, Picard reconnects with Captain William Riker to help him find her. While this is going on, Raffi, a character introduced in the first season, is uncovering a plot to destroy the Federation. This is all connected and sets the stage for a story that would be filled with nostalgic callbacks, returning cast, and exciting new characters. Terry Matalas and his crew of writers, production designers, directors, and more, crafted a season that harkened back to the 90s era of Trek, which is commonly referred to as the golden age. Star Trek: Picard season 3 is capable of standing on its own without the support of the first two seasons and operates as a legacy sequel to not just Star Trek: The Next Generation, but Star Trek: Deep Space Nine and Star Trek: Voyager. 

William Riker (Jonathan Frakes) and Jean-Luc Picard (Patrick Stewart) in Star Trek: Picard

With any legacy sequel, there need to be characters to pick up the mantle from the older generation. That’s where Star Trek: Picard truly shines. While some characters already had kids, like Worf’s long-forgotten son Alexander, or Riker and Troi’s daughter Kestra, this season introduces Jack Crusher as the son of Picard and Beverly. What’s more, this season also introduces Geordi’s children in the form of Alandra and Sydney LaForge. The frustrating thing about these characters is that fans like them. They like them a lot and there are not that many episodes left with them (1 at the time of this writing). It’s a good problem to have, certainly, but many fans are wondering if these characters will ever be seen again.

Lt. Commander La Forge (LeVar Burton) and Alandra La Forge (Mica Burton) in Star Trek: Picard

This is where Star Trek: Legacy comes in. Terry Matalas’ proposed spin-off of Star Trek: Picard would pick up after the events of the series and seemingly feature these characters that fans have fallen in love with. Matalas is talking to everyone about this show (except for me) in the hopes of gaining interest in it. When speaking with TrekMovie.com he spoke about how he feels the 25th century, the year that Star Trek: Picard is set, is the present day of the Star Trek universe, and that he would love to explore what the century looks like around the galaxy. “Boy, wouldn’t you want to check in with the Klingon Empire? Wouldn’t you want to check in with Deep Space Nine and The Doctor [from Voyager] and everything that went on with the Berman-verse?” He adds that he would like to “explore the galaxy and sort of get back to the Next Gen roots of storytelling” and that that is the “kind of version of Star Trek I’d like to see, with this group of characters that we’re seeing”.

Strangely enough, this is not new territory for fans. When Star Trek: Discovery aired its second season, it introduced Anson Mount as Captain Christopher Pike, the second captain of the USS Enterprise. Captain Pike took command of the USS Discovery for a mission to search for Spock, whose disappearance was related to a mission that threatened the galaxy. Anson Mount’s Captain Pike and the other two returning characters Spock and Number One were so well received that fans began demanding a series focused on them. Eventually, Paramount+ gave in to fan demand and greenlit Star Trek: Strange New Worlds in May of 2020. When it was released in 2022, it was an instant hit with new and old fans alike. Now, Trek fans are being called on once again to campaign for Star Trek: Legacy. 

Paramount+ has already announced a new show in the form of Star Trek: Starfleet Academy, but that’ll most likely be set in the future of Star Trek: Discovery, which leaves a gap of time not being explored by the franchise. Star Trek: Strange New Worlds is set in the mid-23rd century, just before Star Trek: The Original Series and Star Trek: Lower Decks and Prodigy are set in the early 2380s, which technically makes every Star Trek show on the air a prequel series. There’s still plenty of room for a series set in the early 25th century, the “present” of the Star Trek timeline as Terry Matalas said. The show could continue to explore strange new worlds and pick up characters that fans haven’t seen in ages. Characters from Star Trek: Deep Space Nine like Ezrie Dax, Bashir, or even Miles O’Brien (who let's face it, should have been in this season of Star Trek: Picard). There is plenty of room for a show that deals with nostalgia while also paving the way for the “next generation”.

There is a legitimate fear with Star Trek: Legacy that is worth bringing up. Star Trek has never been a nostalgia machine. It’s always been a franchise that’s more concerned with moving forward than backward. In fairness, this changed with the 2009 film Star Trek, and the current era has been struggling with that ever since. Both the first seasons of Star Trek: Discovery and Picard were less concerned with nostalgia than doing something new and the fans were not receptive to that. Sure, it probably had more to do with creative choices, but studios often take the wrong lessons from these things. Star Trek: Lower Decks is a show built upon reference jokes to past Trek and was very well received when it launched. So Star Trek: Legacy could be more interested in looking backward than forwards. Ideally, that wouldn’t be the case. The show would hopefully not center around nostalgia and only sprinkle it in when the story called for it. For the most part, that is how season 3 of Star Trek: Picard has been structured so there’s no reason to think that Star Trek: Legacy would be any different.

Following a story about the kids of the crew of Enterprise D is incredibly appealing because they’re good characters that fans have enjoyed. Perhaps Kestra Troi-Riker joins the USS Titan with Sydney LaForge at the helm and her sister Alandra in Engineering. Captain Seven of Nine and her first officer/girlfriend Commander Raffi Musiker at the conn. The cast is already there and waiting to explore the final frontier of the 25th century. Hell, maybe they’ll finally remember Alexander. One thing is for sure, if this is the last time we see these new characters, it’ll be a shame.

COUNT DOWN #28: The Hellicarrier

By Brandon T. McClure (@btmcclure @fakenerdpodcast)

The MCU, specifically the Infinity Saga (2008-2019) has meant a great deal to me, as I am sure it has for many people. What first started as a book pitch is now a series of essays of mine that will be (hopefully) published every week. The goal is to pick a specific moment within The Infinity Saga and share with you why I believe it’s a defining moment. To revisit previous posts, visit our site HERE.

Enjoy the ride as we count down from 50 of the most defining moments and share your thoughts in the comments. 

• The Hellicarrier •

MOMENT# 28

MOVIE: The Avengers

DIRECTORS: Joss Whedon

WRITERS: Joss Whedon & Zak Penn

Bruce Banner / Hulk (Mark Ruffalo) and Steve Rogers / Captain America (Chris Evans) in The Avengers.

Most fans would argue that the MCU’s early success came from them taking the source material seriously where other comic book films hadn’t. Something that’s overlooked in that argument is the way early MCU writers and directors were able to interpret and reinvent the source material and make them more digestible to the mainstream audience. Captain America didn’t wear red, white, and blue spandex, instead wore a red, white, and blue military uniform. Thor wasn’t a god, he was an alien. There are many examples of this that led comic book fans to believe that the more outlandish elements would never be adapted. But then a giant aircraft carrier lifted out of the ocean and into the sky.

The Avengers came out in 2012 and was the final film of what became known as “Phase One”. It saw the heroes of the previous movies unite to save the world from the evil Loki and his army of Chitauri warriors. The movie also shines more light on the mysterious organization that had been introduced in the background of the previous films called S.H.I.E.L.D. While Samuel L. Jackson’s Nick Fury had appeared in every phase one movie with the exception of The Incredible Hulk, much about the organization he ran was still a mystery. Comic book fans were left wondering if the flying base that S.H.I.E.L.D. and Fury called home would ever make an appearance in the new franchise. Luckily they didn’t have to wait long.

The Helicarrier is a flying aircraft carrier originally created by Stan Lee and Jack Kirby in the pages of Strange Tales #135, all the way back in 1965. It’s often depicted as the signature ship for S.H.I.E.L.D. and is one of the most iconic vehicles in Marvel Comics. Because of its iconic status, fans had hoped that Marvel Studios would find a way to incorporate it down the line. While it certainly seemed a little unreasonable to expect it in the first Avengers movie, perhaps it was possible the flying ship could show up in the second or third. Luckily Kevin Feige and co. were just as eager to incorporate it as fans were.

In order to deal with the threat of Loki, Fury assembles the mightiest heroes of Earth on an aircraft career in the middle of the ocean. Just after Captain America and Bruce Banner meet on the carrier, Natasha tells them to head inside because it’ll get hard to breathe. Certainly, a weird thing to say about an aircraft carrier. Steve wonders if they’re in some fancy new submarine, but the truth was much cooler (or “worse” as Banner puts it). As the water around the ship begins to swirl, four large turbine engines rise out of the water. With these engines in place, the aircraft carrier rises out of the ocean and into the air, revealing the Helicariar to millions of people watching The Avengers.

The Hellicarrier in The Avengers.

It’s hard to understate how big of a deal this moment was in 2012. The Dark Knight trilogy and X-Men films were some of the biggest names in comics, but both seemed to be ashamed of their source material. Audiences were conditioned to believe that the source material was “silly” and that the medium of film could legitimize it by stripping away the more fantastical elements. Compared to the things that Marvel Studios is doing now, the Hellicarier is small potatoes, but in 2012 it rewrote the brain chemistry of every comic fan watching. These things weren’t “silly” anymore. A Hellicarier was featured in a movie that made over $1 billion.

The Hellicarier was the first in a long line of promises that Marvel Studios would make to their fans. By including the Hellicarier in The Avengers, the creatives behind Marvel were telling the audience that nothing was off limits anymore. Comic books weren’t something to be ashamed of when making the adaptations, they were something to be taken seriously. Sure, the Hellicarier isn’t the reason why The Avengers passed the billion-dollar mark, but fans could rest easy knowing that the comics they loved were respected.

NIC GAUGE / The Humanity Bureau

MOVIE: The Humanity Bureau

STARRING: Nicolas Cage, Jakob Davies, Destee Klyne, Sarah Lind, Hugh Dillon, Vicelous Reon, Nikolas Filipovic, Kurt Max Runte

RELEASE DATE: April 6th, 2018

WHERE TO WATCH: VOD (Peacock, Ruku, Tubi, Pluto TV)

By Justin Pomerville (2 Broke Geeks)

Noah Kross (Nicolas Cage) and Rachel Weller (Sarah Lind) in The Humanity Bureau.

I always find it interesting to look at the world we live in and when there is a movie that comes out that is based on the future. Especially when you get close to when that future film has taken place. Great examples are The Purge which takes place in 2022, Soylent Green which also takes place in 2022, and Blade Runner which takes place in 2019. My point is, we like to see if the events actually come about, even in a joking manner. Considering how things on Earth currently have been going, it will be interesting to see if the events of The Humanity Bureau come to pass, even just a sliver of it.

It’s the year 2030, and global warming and economic recession have turned a majority of the American Midwest into a deserted wasteland. In order to combat this, a government agency called the Humanity Bureau was born. Its purpose is to exile members of society that they deemed unproductive and banish them to a colony called New Eden. Humanity Bureau caseworker, Noah Kross (played by Cage) is investigating a case appeal by single mother Rachel (played by Sarah Lind) and son Lukas (played by Jakob Davies). Kross learns the truth of what New Eden actually is and decides to protect Rachel and Lukas from Kross’s boss, Adam Westinghouse (played by Hugh Dillon).

Noah Kross (Nicolas Cage) in The Humanity Bureau.

As I said before, when movies take place in the future actually reach that time frame, we like to revisit those movies and compare if those films got it right. Obviously, we haven’t been eating people like in Soylent Green and we don’t have a lot of the technology that is showcased in Bladerunner, but with something like global warming, The Humanity Bureau does kind of hit a little closer to home. However, we won’t know for sure until we get there.

Beyond that, this film is very much a cut-and-paste Nicolas Cage thriller. Cage’s character gets invested in a woman for some reason, goes against his work to protect her, and gun fights and car chases ensue. The CGI in this film is not the greatest, especially the green screen behind Cage while he is driving. Because of its generic nature overall and the uneventful acting and plot, it will rank pretty low on the Nic Gauge. However, the kind of social commentary on global warming does give it a slight leg up from some others, so it sits in the middle of “Terrible”.

INTERVIEW / Actor & Recording Artist - Jovan Armand

We have a very special episode this week with a very special guest. Kyle and Dave are joined by one of the stars of the recently released Shazam: Fury of the Gods, Jovan Armand. Jovan joins us to talk about the new movie, how he was cast in the original film, and what got him into acting. He also talks about his new song that he recorded and is available NOW!

Interview can also be found on your favorite podcast app at Atomic Geekdom @atomicgeekdom

NIC GAUGE / Kill Chain

MOVIE: Kill Chain

STARRING: Anabelle Acosta, Angie Cepeda, Nicolas Cage, Luna Baxter, Ryan Kwanten, Pedro Calvo

RELEASE DATE: October 18th, 2019

WHERE TO WATCH: VOD (Amazon Prime, Apple TV)

By Justin Pomerville (2 Broke Geeks)

Araña (Nicolas Cage) in Kill Chain.

You ever watch a movie that just has a bunch of stuff happening, but yet it feels like nothing actually happened? Or that the point of the movie got lost somewhere between the script to film? 2019’s Kill Chain feels like that kind of movie.

This film’s synopsis can be summed up in one sentence; A shootout between two hitmen begins an evening of murder, betrayal, and revenge amongst a crooked gang of police, gangsters, assassins, and mercenaries. I don’t know what else to add to this. It’s one of those films where it had so many subplots that only come together at the end. By coming together, I mean they had no other way to make this film end in a reasonable manner. 

Cage’s character becomes the most important person because although he is only in the movie for approximately 30 minutes of the 1hr. 30 runtime, he set into motion all the events that lead the very specific characters to his location. Characters that are specific yet not important enough to give them all actual names. Only 5 cast members (including Cage) had names. All other supporting “important” characters had names like “The Very Bad Woman”, “The Old Sniper, “The Curious Assasin”, and “The Woman in Red”. I use quotation marks around “important” because although they have lines and progress the story, they have no significant role in this film. 

Araña (Nicolas Cage) and Gigi’s Friend (Jon Mack) in Kill Chain.

This movie was a chore to get through and even Cage could not save it. Because I don't really have much left to say about this entry, Kill Chain is listed in the lower end of “Hot Mess” on the Nic Gauge.