Movie Review/ The Front Room

By Anthony Caruso

When I saw the trailer for The Front Room, I thought it looked like a very self-aware horror-comedy that could be a lot of fun. After all, is there anyone on this planet, regardless of how well they get along with their in-laws, who can't relate to the "mother-in-law from hell" trope? So, I was immediately in after watching the trailer. And it helped that Brandy was set to star after being M.I.A. for years. Unfortunately, The Front Room was not the film that its trailers advertised. It's billed and marketed as a horror movie, but this is absolutely not a horror film. At best, it's a dark comedy. And one that amounts to nothing whatsoever at that! As such, I can see a lot of people getting pissed off with this one. 

On its surface, The Front Room is about Belinda, a newly pregnant woman whose life goes to hell when her elderly mother-in-law, Solange, moves in after her husband dies. Now, the trailers made it seem like Solange was after the baby, possessed by a demon posing as the holy spirit. If that was the case, this would have been a far more interesting and fun movie; not to mention a far more focused one. Unfortunately, at its core, this film is merely about a mother-in-law who is trying to make life as difficult for her stepson and his bride as possible, seemingly for no reason at all. Is it because Belinda is black and Solange is a proud daughter of the United States Confederacy? I think the movie tries to be about racism at times, but more often than not, it’s directionless and doesn't know what it's about. Yes, it appears to be about racism a lot of the time. But at times it's about the body horror that's associated with pregnancy. Other times it's about motherhood. And yet, at other times it's about religion. For much of the movie, it's about the loss of dignity that comes with aging (shown by a lot of scenes involving shit). That's the biggest flaw with this film, it's completely directionless and doesn't know what it wants to be about. As such, feels overstuffed with undercooked ideas, all of which amount to a boring third act that amounts to absolutely nothing. 

The film was not only written by Sam and Max Eggers but directed by them, too. To cinephiles the name "Eggers" will be associated with "Robert Eggers" of The Witch, The Northman, The Lighthouse, and the upcoming Nosferatu fame. I can only imagine his brothers got this gig based on nepotism alone. Direction-wise, they do nothing special and don't seem to have a unique style or even a coherent vision. Their screenplay is badly paced and gets progressively worse as it goes along. In their defense, this movie is based on Susan Hill's story of the same name, so I don't know if the source material is this bad or not. But given the fact that Hill wrote the incredibly scary "The Woman in Black", I find it hard to believe that's the case, and I have to believe that the Eggers brothers botched the material when adapting it for the screen. 

In terms of the cast, it's mainly three people: Brandy as Belinda, Kathryn Hunter as Solange, and Andrew Burnap as Norman, Belinda's husband and Solange's stepson. Burnap is nearly a non-entity in this film. Brandy does the best she can with the material she's given and, honestly, it was so nice to see her starring in a movie again that she could have completely phoned it in and I'd have been happy. It's Kathryn Hunter's transformative performance as Solange that steals the show, however. Not only does she completely disappear into the role, thanks to a phenomenal makeup job, but between her grating accent, her disgusting demeanor, her overbearing nature, and her racist double entendres, Hunter truly makes Solange a despicable character you want to see drop dead, even if, in the end, she's merely a woman and there's nothing supernatural going on whatsoever. 

I know it sounds like I hate this movie, but I truly don't. Granted, it's nothing special, and I don't know if I'd ever stop to watch it again unless literally nothing else was on television. But it's fun for what it is when you get past the fact that its trailers sold you a false bill of goods and that you're not getting a supernatural horror flick. Would I recommend rushing to theaters to see this one? Absolutely not - especially if you don't have A-List or you're not part of some other movie membership club. But on a rainy Sunday afternoon if you see it pop up on TBS and need something to watch, and there's nothing better on television, I think it's worth a viewing. As long as you temper your expectations accordingly, you might enjoy yourself! Especially since there are far worse movies than this one out there, and far worse movies that have been released this year alone!

REVIEW, MOVIES, MOVIE REVIEWS

Movie Review/ Beetlejuice Beetlejuice

By Anthony Caruso

"The juice is loose!"

Given how successful the original "Beetlejuice" was, how much of a following it's garnered over the past three decades, and what a Halloween staple the film and the titular character have become, it's incredible to me that it's taken thirty-six years for a sequel to be made! But, we live in incredible times. Now here we are in the year 2024 and Tim Burton, Michael Keaton, Winona Ryder, and Catherine O'Hara have finally all returned for the first official follow-up to the beloved 1988 film. As an enormous fan of the original, my expectations for this movie couldn't have been higher, and I'm extraordinarily happy to report that not only were they met, they were exceeded. "Beetlejuice Beetlejuice" was absolutely worth the wait! It's not only a worthy successor to the original film, but it's an amazingly fun film in its own right!

Let me get my one nitpick with this movie out of the way first: it is a busy movie. There is a lot going on here. There are so many subplots that it feels simultaneously overstuffed and undercooked. Given its under two-hour runtime, it's to be expected that not every subplot would feel properly serviced or needed. Indeed, given how fast this film flew by, I wish it had been longer so that every thread introduced here was given the attention it deserved. That said, all of these seemingly disparate threads coalesce beautifully into such a wonderful third-act finale that’s exciting, side-splittingly funny, and incredibly zany that I imagine many, like myself, will walk out of the film extremely forgiving of how stuffed it is.

It's clear that Tim Burton loved making this movie. It's the most Burton movie we've received from the unique filmmaker in years, and his dark humor and morbid sensibilities are on full display here, as is his abundance of creativity. Part of what makes this movie so great, and what makes it feel like such a natural follow-up to the original, is that the majority of effects, sets (which look as though they've been painstakingly recreated), and costumes are done practically when possible. This feels like a movie ripped right out of the eighties, and it's all the better for it! Burton also stayed true to the original film in terms of crafting this story. Picking up in real-time, every original character is exactly where you would expect them to be nearly forty years later. Even Adam and Barbara Maitland, who were so essential to the original movie but are missing here, are referenced and we're given an explanation as to what happened to the lovable ghosts. And, despite Jeffrey Jones not as Charles Deetz due to the actor's personal legal issues, the character is still essential to the plot, and his presence is felt throughout. Of course, the fact that Danny Elfman returns to score the film helps make it feel like a natural extension of the first movie as well. In fact, the man does something I didn't think possible, he makes the iconic "Beetlejuice" theme somehow more epic! The whole score, and the accompanying soundtrack, is a banger though, and it's one I'll be listening to on repeat for a while. The movie does for Richard Harris' "MacArthur Park" what "Beetlejuice" did for Harry Belafonte's "Banana Boat (Day-O)" in one of its best sequences!

Michael Keaton once again dons the black-and-white pinstriped suit as Betelgeuse, the lecherous demon, and he slips right back into the role without missing a beat. He's as disgusting, slick, and fast-talking as ever, and he has even more tricks up his sleeves this time. While some may say it's Batman, I have always argued that Betelgeuse is Keaton's definitive role, and this movie goes a long way to proving my point. The man was born to play the trickster demon, whose backstory we delve into here. And that story is appropriately gruesome. Going into the movie, I was afraid that Burton was going to make the demon more of an antihero this time around, but that's not the case. He's still, without a doubt, a bad guy, even if he can be manipulated into helping the cause of good. That goes a long way toward keeping him so fun and exciting to watch. In addition, Burton shows an incredible amount of self-restraint with the character. Given his enduring popularity, it would have been easy to have him in every scene of this film. But he's used as sparingly here as in the original, which makes him more effective whenever he does pop up. Like "Beetlejuice", "Beetlejuice Beetlejuice" left me wanting more of the demon himself, which is the biggest compliment I can give the film.

Keaton's not the only returning cast member though! Winona Ryder is back as Lydia Deetz, who is still living with ample amounts of trauma following her encounter with Betelgeuse as a teenager. She's channeled that trauma into hosting a hit paranormal talk show, while also becoming a highly over-protective parent. Ryder is fantastic, and she gets far more to do with Keaton this time around. Suffice it to say, their repartee is easily the best part of the movie. It's Catherine O'Hara's Delia Deetz who very nearly steals the show though. O'Hara is a comedic treasure, and she absolutely chews the scenery throughout the film’s brisk runtime. It's wonderful we get so much of her this time around, including in the bureaucratic afterlife! I felt it impossible to tear my eyes from her whenever she was on screen, even when she was sharing it with Keaton's over-the-top demon. In the intervening years since the original movie, Delia has made a fortune via her weird, modernist art, and it's only made her more insufferable, which is a boon for audiences watching the movie! I will say, the relationship between Delia and Lydia is one of the most unexpected aspects of this film, and also one of the most heartwarming; the two have come a long way with their relationship since 1988!

The returning cast is joined by Jenna Ortega, who is perfectly cast as Lydia's daughter, Astrid. Justin Theroux plays Lydia's entertainment manager and love interest, Rory, who is just as slimy (in his own way) as the demon that's stalking her. And Willem Dafoe plays the dead B-List actor who’s become a detective in the afterlife, Wolf Jackson. Dafoe's character in particular is so damn fun, and feels inspired by the beloved Beetlejuice cartoon in particular. So does the final new character, Monica Bellucci's soul-sucking witch, Delores, who in life was Betelgeuse's wife. Bellucci has such a presence here! She’s gorgeous with her pale skin, black dress, and stapled body parts, which pull themselves together in a wonderful sequence set to The Bee Gees' "Tragedy", while her powers are demonstrated in a truly intimidating way. Unfortunately, it's her character who gets the short end of the stick in the movie. Indeed, her character and entire subplot could have been lifted out of here completely and the movie would barely have changed. I do wonder whether Burton should have done that and saved her to be the main focus of a potential third movie. Nevertheless, she's memorable with the little she is given to do here. And though he gets no dialogue, and I'm unsure of who plays him, I must shout out the character of Bob, one of Betelgeuse's shrunken-head employees who is sure to become a fan-favorite given his oddly adorable, silent demeanor, and his bigger-than-expected supporting role.

Is "Beetlejuice Beetlejuice" as perfect as the iconic original? No, but it nearly is. I would rank it a smidge beneath that film, but only just. Regardless, I cannot wait to watch the two back-to-back for many years to come in what's sure to be a wonderfully fun double-feature. "Beetlejuice Beetlejuice" is not just a legacy sequel done right, but one of the best legacy sequels in years. It leans hard into nostalgia and engages in just the right amount of fan service without overdoing it. At the same time, it carves out its own identity and is a wonderful stand-alone movie on its own. And though a sequel to the original movie, it pays a lot of respect to the animated cartoon and Broadway show as well, which fans of the entire franchise are sure to enjoy! Don't walk, but rush to see this film on the biggest screen possible. I guarantee you that there is no better way to kick off Spooky Season this year. I, for one, look forward to seeing it on the big screen at least one more time before we're able to summon it at home whenever we want by speaking the title aloud three times.

COMIC BOOKS, MOVIES, NEWS

The Massive-Verse Coming To The Big Screen?

By Brandon T. McClure

In 2021, Kyle Higgins and Marcelo Costa began publishing Radiant Black for Image Comics, which launched what became known as The Massive-Verse. Consisting of books like Rogue Sun, Inferno Girl Red, and Dead Lucky, the Massive-Verse has carved out a successful corner of the world of comic books with no sign of slowing down. At this year's San Diego Comic Con, Kyle Higgins revealed a very exciting new project in the works, the Massive-Verse is taking a leap to the big screen. 

One of the most recent entries in the Massive-Verse comes in the form of No/One by Kyle Higgins, Brian Buccellato, and artist Geraldo Borges. This ten issue limited series has been a unique entry in the Massive-Verse due to its multi-media approach to storytelling. The series follows the aftermath of an event in Pittsburgh known as the Accountability Murders where a man going by the name Richard Roe began killing corrupt people in power. These people had been doxed by a keyboard vigilante known as No/One, whose goal was to bring their corruption to light. He signed off his initial message with “No one is above the law, and I am No/One.” The mystery surrounding No/One is at the center of the series, as well as the identity of a new killer, claiming to be the original Richard Roe. No/One’s centers on the theme of accountability and how every act, big or small, has ripple effects. Plus a little bit of The Purge mixed in.

No/One Preview Issue #1 - Artist: Geraldo Borges / Colorist: Mark Englert

No/One was paired with a in universe true-crime podcast called Who Is No/One, which was hosted by characters in the book played by Rachael Leigh Cook and Patton Oswalt as well as guest stars from the likes of Todd Stashwick, Yuri Lowenthaall, and Loren Lester as No/One. Each episode of the podcast picked up after the end of each issue, and discussed the aftermath of the comic books events. It created a very engaging and unique reading experience but the ending of the book still left many lingering questions. Most notably the question at the heart of the comic, “Who is No/One and why did he do this?”

During the “Enter The Massive-Verse” panel at San Diego Comic Con 2024, No/One interrupted Kyle Higgins with a video proclaiming that “I am No/One and this is my story.” This video was followed by the reveal that an in-universe feature length documentary is in the works. The documentary, titled I Am No/One, will recap the events of the comic and podcast and shed new light on those same events as well as act as a sequel to the series, and seemingly answer the question at the heart of No/One once and for all. I Am No/One will be directed by Kyle Higgins and is looking to start filming sometime next year. Seemingly, the cast is already set as Higgins stated he cast the podcast with an eye towards this documentary, but it’s unclear at this time how many are due to return.

For this ambitious project, director Kyle Higgins will utilize “sit down interviews, phone and drone footage, news coverage, and first-person GoPro and helmet videography from the “NO/ONE” operation itself” according to The Wrap. This may be Higgins first time directing a feature length film, but this isn’t the first time he’s done something like this. Higgins has directed many short films that have tied into his comics, most notably The League (tie-in to C.O.W.L.), Versus (animated short film from Radiant Black), and Power Rangers: Shattered Grid (promo for the comic event of the same name). He loves to experiment with multi-media stories, such as Bear McCreary’s comic/album The Singularity, so I Am No/One is the logical next step.

Massive-Verse / Radiant Black

At this time, there is no official word yet on how this documentary will be distributed but it is being produced by Black Market Narrative, ZQ Entertainment, producers Ara Keshishian, Petr Jakl, Stuart Manashil and Steven Schneider (Insidious, Late Night with the Devil, and Paranormal Activity), and, of course, Kyle Higgins and Brian Buccellato. As far as distribution goes, it’s likely this will be a streaming release, possibly on the Black Market Narrative YouTube channel, since there may not be a large enough audience for No/One to warrant a theater release. The Massive-Verse may be popular but an in-universe true crime documentary may be a tough sell to general audiences. But it’s hard to rule anything out at this moment since it’s still a ways away from release. Even if it’s incredibly niche to a general public, it’s still incredibly exciting for Massive-Verse fans. Especially for the fans who were hungry for more after the end of No/One

The collected edition of No/One is due out in November, and will no doubt find new readers looking for this kind of biting political commentary. But No/One has a very particular structure when paired with the podcast, so It’ll be interesting to see how the creators include the podcast without the benefit of a monthly publishing schedule. Likewise, the documentary may also struggle. While it’s exciting now, I Am No/One will likely be out two years after the book wrapped up. It’s not unreasonable to wonder if the hype surrounding this multimedia story will sustain that long. But Massive-Verse fans are in it for the long haul and will no doubt show up when the documentary drops.

The Massive-Verse started as one comic but has grown into one of the most exciting comic book universes on the market. It’s a truly exciting time in the Massive-Verse, as Radiant Black’s “The Catalyst War” event wraps up, a card game on the horizon, the return of C.O.W.L., an audio drama based on the first volume of Radiant Black due out this Fall, and the I Am No/One in-universe documentary. It’s an embarrassment of riches coming from one of the most exciting comic book universes the industry has ever seen.

HORROR, MOVIE REVIEWS, MOVIES

MOVIE REVIEW/ AfrAID

By Anthony Caruso

Wow! Blumhouse has had quite the streak this year! Three films released in 2024 - Night Swim, Imaginary, and now AfrAId - and all three have been complete duds. It's a shame considering the fact that Blumhouse used to be a huge powerhouse in the horror space. Now, however, when their company logo pops up, I always end up giving an involuntary shudder and expecting the worst. 

The basic premise of AfrAId is promising enough: a family is chosen to test a new smart home AI called AIA, which ends up become self-aware and dangerously begins to interfere with and manipulate their lives. While it's definitely not an “original” idea, it's normally a solid enough idea that it usually spawns entertaining films. Not AfrAId, however. Despite the kernels of an interesting story about the dangers of artificial intelligence that are buried within Chris Weitz's muddled screenplay, and despite some interesting setup, AfrAId never takes off or lives up to the promise of its premise's potential. Especially not when it comes to its story, its characters, or its direction. Indeed, Chris Weitz - who also directed this film - ends up delivering to audiences what amounts to a Lifetime Original Movie. He tries to nicely gift wrap the dangers of AI in a story about a struggling, if loving, family. Not only does it look cheap, as though it has the budget of a made-for-TV movie, but it's also just boring on top of being bad. There never appear to be any real stakes, nor do you care enough about the film's characters to actually give a damn about what happens to them!

The cast of this movie is trying their best, and is actually quite charming, but they're never quite able to elevate the material they're given. They are unable to deliver memorable enough performances where I could say that the acting was good at the very least. That's a shame, because avid filmgoers will know that this cast is comprised of very good actors! John Chu has really come into his own over the past few years, demonstrating that he's more than just a go-to for stoner comedies but is somebody that’s actually capable of delivering true dramatics. Katherine Waterston is underrated and undervalued in a lot of ways, mainly due to the material she's been given in recent years like the bland Harry Potter spinoff films, Fantastic Beasts and Where to Find Them. Unfortunately, the two, who play husband and wife here, have next to zero chemistry, and their characters seem intent on making the dumbest decisions possible at every turn. Meanwhile, after a star-making leading man performance in Late Night With the Devil, it was absolutely jarring to see David Datsmalchian in such a one-note supporting role as one of the supposed creators of the villainous AI. Speaking of AIA, though, the strongest performer in this film is actually Havana Rose Liu who not only voices her to perfection, but plays Melody - the flirty and mysterious "advance employee" at the tech company that invented her.

Between the cast, which seems to be simultaneously bored with the material while trying their best, and Weitz's uninspired direction and a story, AfrAId is a movie that is made of a bunch of disparate, jarring components that never coalesces into a coherent or satisfying whole. It's also a movie that, at an extremely short eighty-four minutes including credits, feels far longer than it actually is. And while the ending is interesting, and will leave you with a squeamish feeling in the pit of your stomach due to its real world implications, it's not earned at any point over the course of the entire film leading up to it.

In a lot of ways, this was Blumhouse trying to remake their very successful film, "M3GAN", while discarding everything that made that movie work - including its iconic AI doll - and doubling down and expanding upon its flaws. And though "AfrAId" isn't the worst film of the year - it's no "Borderlands", "The Crow", "Madame Web", or even "Night Swim" - it comes pretty damn close to being it. There's nothing salvageable about this movie, and it's not even interesting or fun enough in a "so bad it's good" type of way; it's just bad and boring, which is an even worse sin. Even for fellow A-List members, I wouldn't recommend rushing to see this one, nor would I recommend watching this one when it hits streaming. It's just not worth your time, and is merely another swing and a miss for a once great horror production company.

BOOK REVIEWS

BOOK REVIEW + INTERVIEW / The Dragon in Winter (A Kagen the Damned Novel) by Jonathan Maberry

Matt and Jenny were joined again by one of Atomic Geekdom’s favorite authors Jonathan Maberry to discuss his August 20th, 2024 release of his 3rd book and conclusion to the Kagen the Damn novels - The Dragon in Winter . Watch/Listen to our interview to get an inside look and some exciting news released!

Join the conversation in the comments and on social media.


For a recap of our previous coverage of Kagen the Damned visit our AG Book Club post of the second book in the series: BOOK REVIEW + INTERVIEW / Son of the Poison Rose by Jonathan Maberry.

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

The Dragon in Winter by Jonathan Maberry

Release Date: 08/20/2024

Published by St.Martin’s Press/ Macmillan

By Matt Spaulding

** POTIENTIAL SPOILERS AHEAD FOR KAGEN THE DAMNED Series **

With The Dragon in Winter, Jonathan Maberry has delivered another action-packed, character-driven fantasy and an excellent finale to his Kagen The Damned trilogy. The novel presents the end to the story that began in Kagen The Damned while also opening up a whole universe of potential to see these characters again and explore the return of magic to their world.

Like with all of Maberry’s novel, The Dragon In Winter, despite being over five hundred pages long, moves along at a clip that fans of fantasy may find refreshing and those readers who are fantasy curious are sure to appreciate. This comes from Maberry’s ability to deliver vital information about characters as the action take place rather than stopping for slow info dumps.

In this novel, we find Kagen and his allies working frantically to find a way to battle the Witch King and his armies that will give them the same advantage of magic that the Witch King has. This sends Kagen off to gather armies as well as hunt down magical artifacts, his brothers Jeklan and Faulker to the far north to rescue a dragon, and brings Tuke and Filia into positions of leadership in the army being raised. Meanwhile, the Witch King is seeking to turn himself into a demigod and bring the great god Hastur into the world in a material form so that he may reign supreme for all time.

The novel also keeps us abreast of what is happening with other characters like Mother Frey, Ryssa, and the twins, all of whom have had smaller but important plot lines in this saga. But where, in another author’s hands, some of these stories and characters may feel superfluous, Maberry deftly weaves them all together in a way where each and every one is vital to the outcome of the overall story and you never feel like you’d rather be spending time with another character any time the focus is on any individual.

The other thing that is accomplished in this novel in surprising ways is the complete subversion of several things you thought you knew before. The history of the Silver Empire is not what it seemed, and neither are several characters. If you’re someone who is good at piecing clues together, it’s all there and maybe you’ll figure it out, but if you’re like me and go for the ride without much thought, there are some big surprises in store.

Ending a journey that spans multiple novels is always difficult, because readers get into their head how they think it should end or how it might end, so there’s a risk they will be dissatisfied with the actual end. But I found The Dragon In Winter to be a great example of wrapping up everything in an exciting, meaningful and satisfying way for not only the story, but the characters I have grown to know and enjoy spending time with.

BOOK REVIEWS

BOOK REVIEW: Sacrificial Animals by Kailee Pedersen

Sacrificial Animals

By Kailee Pedersen

Published by: Macmillan Publishers

Publication date: August 20, 2024

“Sacrificial Animals” is a tale that sells itself as a horror novel based in Chinese mythology. And, to a certain extent, it is. With those elements entering into the novel late in the game (about 80% through) that it’s hard for me to say that is what this novel is about.

The story focuses on the Morrow family: patriarch Carlyle, eldest son Joshua and younger son Nick. They live on an expansive property called Stag’s Crossing. Carlyle is an angry, bitter, racist man who, after losing his wife and unborn child, starts abusing his sons emotionally and physically. Joshua, the favorite son, gets less of this treatment than Nick.

Eventually, Joshua meets and falls in love with a Chinese-American woman named Emilia and is then disowned by his father, leaving Nick to withstand his father’s moods alone. Nick also eventually leaves Stag’s Crossing and Carlyle behind for several decades. On his supposed death bed, Carlyle seeks to reconcile with his sons, who reluctantly return.

That’s the basic plot of the novel. It thrives more as a family drama about abuse than it as a horror novel. It takes the term “slow burn” to a whole new level. However, if that’s what you’re looking for, then this will be right up your alley.

Adding to the slow burn element is the format. Chapter alternate between “then” and “now”. One chapter will tell events that happened in the past. Followed by the chapters that tell what is happening in the present. Sometimes, though, I found myself forgetting if I was “then” or “now”, which led to a slightly confusing reading experience.

The language of this book is beautiful. Pedersen has a talent for rich, vivid, poetic description. Language lovers will relish in every bit of it. And while I do love rich and vivid descriptions and occasional jaunts into poetic prose, I often found the language too flowery. I longed for some modern, up-to-date, concise langue and storytelling rather than something that languished in the words. It probably could have helped speed up the pace of the novel, as well.

Throughout the novel, mostly in the “then” chapters, there are references to foxes and things that Nick and Carlyle have done both to kits and full grown adults (killed them, trapped them, that sort of thing). It all seems very metaphorical for most of the novel and I found myself wondering it’s intent until I hit that final part of the novel.

I wanted to like Sacrificial Animals. I’ve been seeking out horror that is written in different perspectives. I’m interested in horror that reflects cultures other than the one I’m most familiar with. I also don’t shy away from family drama. There’s a lot of potential for fantastic character work and development in a story like this. Unfortunately, this novel wasn’t able to hit that mark for me.

That said, like with all things, someone else may have a very different experience. As I mentioned earlier, if you are someone who really loves to sit with beautiful prose, then this may be a perfect fit for you. Making this book a great book club choice to expand on the conversation.

OPINION: Ghostbusters: Frozen Empire - Fails Its Lead Character

By Brandon T. McClure

The fourth entry in the Ghostbusters franchise (fifth overall) has arrived and was a modest success with a gross of a little more than $200 million. But while Ghostbusters fans and naysayers have largely left the movie in the past, there is one element of the film that people should still be talking about. If you start peeling away characters like Venkman, Podcast, Lucky, and maybe a few nostalgic fetch quests, the heart of the story is a queer star-crossed lovers' coming-of-age tale centered around Phoebe Spengler. Or at least, it should be and is only stopped from being so because Sony is scared of angering a very fickle fanbase. 

Ghostbusters: Frozen Empire sees the Spengler family move to New York City to take up residence in the old firehouse headquarters of the original film. This new film has a lot of moving parts and isn’t able to dedicate the kind of time that is needed for each one. This has the unfortunate side effect of failing arguably the most interesting part of the movie (and its successor): Mckenna Grace’s Phoebe Spengler. The Spengler family, and Grooberson (Paul Rudd), have fully embraced the Ghostbusting lifestyle, but after a particularly destructive run-in with the Hell’s Kitchen Sewer Dragon, the mayor, returning character Walter Peck, played by William Atherton, forces Phoebe to quit being a Ghostbuster. This devastates her, so she goes to the park after dark to play chess by herself (you know, like a teenager would do) but meets the franchise's first talking ghost named Melody. Melody and Phoebe begin to form a very queer-coded relationship, with Phoebe experiencing the equivalence of “gay panic” practically every time they meet. The story progresses with the two of them getting closer until Melody fulfills her unfinished business and passes into the afterlife. Leaving Phoebe alone. It’s a tragic ending to a queer awakening story, but one that has been told numerous times in different films throughout the 21st century and beyond.

The Spegler and Grooberson family (Carrie Coon as Callie, Mckenna Graces as Phoebe, Paul Rudd as Gary Gooberson and Finn Wolfhard as Trevor)

The only issue is it's not explicitly queer. The movie stops just short of explicitly saying anything one way or the other. It frankly feels like a miracle that any form of their flirting remains in the film. Sony has been so scared of angering the Ghostbusters fandom ever since the wildly toxic reaction to the 2016 remake directed by Paul Feig. The toxicity around that film was so bad that a disgraced former President released a video complaining about it before it was released (before he was elected). It’s been eight years since the release of that film and the fandom is still complaining about it. Ghostbusters: Afterlife is basically an apology to that fandom, so Ghostbusters: Frozen Empire couldn’t do anything but play it safe, otherwise they would risk the wrath of the outrage merchants and potentially alienate a fandom desperate for safety. Although it’s not like the movie broke any box office records, so maybe they should have just gone for it.

Right-wing grifters on YouTube have coined the phrase “identity politics”, to not admit they’re openly racist or sexist. It’s a hollow term that makes them sound like they know what they’re talking about when they claim that something has been made “political” or “woke.” But let's call a spade a spade here: these people only care about complaining that there are women, queer and POC characters in their movies now and they don’t like it. But Sony is so cowardly that they would rather hope to appease these people than incur their performative wrath. Sony isn’t even the only one, they’re just the ones that did it recently. This means that Phoebe's story is wildly undercooked and the potential of telling this kind of star-crossed lovers tale has been wasted by a studio with no backbone. If the filmmakers behind the new films are more interested in playing it safe by keeping a vocal minority happy, then why even bother to keep going?

Ghostbusters: Afterlife introduced a wonderful new character in Phoebe Spengler and fans of that film were looking forward to watching her grow and develop as the lead of a new Ghostbusters franchise free from the nostalgic confines of that film. Ghostbusters: Frozen Empire had the responsibility to focus on Phoebe’s story and progress it to the next stage, but there’s so much going on in the film that she gets lost in the weeds. Not to say there isn’t an arc for her in the film, she definitely drops that chip on her shoulder, but the film is trying to please too many masters. So much so that you end up wondering why the film would rather spend so much time on a subplot between Slimer and Trevor (Finn Wolfhard) when it could be focusing on Phoebe. The lore of the film matters more than the characters. Between trying to please the executives at Sony, the fans of the original, and the fans of the new, it either loses sight of Phoebe as the main character or is too scared to take the film where it clearly wants to go (into Melody’s ghostly arms).

Melody (Emily Alyn Lind) and Phoebe (Mckenna Grace)

This is not to say that the movie isn’t good. There are lots of great moments between the main cast of characters and the main villain is pretty cool. Even what little of the queer story that is there is very sweet. Melody and Phoebe are incredibly cute together as they steal away little moments and grow closer through their desire for connection. The relationship isn’t even subtextual either, it’s very much in the text of the film. Through dialogue, stolen glances, and even framing, the film tells the audience that these two are falling in love. There was likely a cut of this movie that ended with a kiss between Phoebe and Melody, but that’s just speculation (and a lot of reading too much into their final scene). Melody’s final line “I’ll see you in the fabric of the universe” might be one of the most romantic lines in the history of film. It’s just a shame the story wasn’t fully realized in the final film.

Ghostbusters: Afterlife doesn’t work because the cast gets to say goodbye to Harold Ramis, or that Gozer is the villain again. It works because of Phoebe and her family. But in Ghostbusters: Frozen Empire they feel like an afterthought. It’s depressing to sit there and see the potential for more and know that the opinions of some angry YouTuber upset over supposed “identity politics” matter more than those who are desperate to see themselves represented. Phoebe’s queer awakening had the potential to be aspirational and meaningful to so many Ghostbusters fans around the world. But Sony has made it clear that Ghostbusters doesn’t belong to those fans, it belongs to the grifters.

CON LIFE, EVENTS

CONLIFE / SDCC 2024 Recap with Jenny and Kyle

By Jenny Robinson

SAN DIEGO COMIC CON 2024

July 24th - July 28th / San Diego, CA

My first San Diego Comic Con was 2009. For 2024, it was an absolute blast to ride along on Kyle’s first attendance, and seeing things through a newbie’s eyes. He embraced the mayhem in stride and taught this veteran a few things as well.

Wednesday started off with the hellacious drive from Los Angeles to San Diego. As we say around here “Took THE 134, to the THE 5, to THE 805….” We made it just in time for Kyle to run at Olympic Speed onto the floor to the Hasbro booth to snag his Preview Night Exclusive of Star Wars Black Series - Darth Maul with Sith Speeder. Preview nights have even gotten bigger over the years! But no SDCC is complete w/o a trip to Tivoli’s (the oldest bar in Downtown SD) once the floor closes. A great place to meet back up with old pals and new friends. This has been a tradition I follow, as they have stiff drinks, affordable prices and a great neighborhood vibe. There has been many hours in the past at these tables, excitedly recapping the day, formulating game plans and catching up with colleagues. This year did not disappoint.

Kyle outside of Tivoli’s with his Preview Night Haul.

On Thursday, Kyle truly impressed me by being up before the sun to run down to the Marriott Marquis to get in line for the Dragon Ball Z exclusive pass. I lagged but met up with him later to snag our “I PLAYED DRAGON BALL: SPARKING! ZERO” lanyard (and I was reminded how very VERY bad I am at video games - and how good he is). The Dragon Ball Z activation is an awesome family friendly (no badge needed) activity. They do such a great job with the various elements to make them feel obtainable and in turn - incredibly enjoyable.
In addition, Kyle officially gained the name “KING OF THE FLOOR!”. He ran back into the mayhem to snag his exclusives he woke up so early for.

Kyle & Jenny’s silly photo op & Kyle’s swag

Thursday was a blast and possibly the busiest of our days! We continued over at Social Tap (fond memories of the 2013 Black Sails party at same location came flooding back to me) for The Op Games Party Games & Whiskey party! This event encompassed everything I love about SDCC. We were welcomed with Whistle Pig cocktails as we bounced around various game tables meeting new people. There were so many laughs as a bunch of us (some we knew, some were new) played TAPPLE AFTER DARK or attempted new languages with for DADADA. Having 10 seconds to come up with a word for “Sexual Positions” that starts with a specific letter in TAPPLE AFTER DARK…let’s just say, PG ratings were not met. The OP Games nailed it by making an event that became an easy ice breaker for attendees to meet and become new fans of their games (the games are so fun!!).

The Op Games - Party Games & Whiskey

Thursday wrapped up with dancing to Jason Deluo at the Fandom Party. The expanse that is SDCC has no limits. Cosplayers dancing to songs like Wiggle was quite the sight! And the audience was an interesting mix of attendees that were dressed to the nines while the other half was trying to figure out how not to crush their swag bags. It was a surreal experience but proved why so many, try so hard, to attend. I’ll note that I do appreciate the passes are handled by accumulating points to be entered to win, but did notice most attendees appeared to be industry guests. Aside from that, DAMN GREAT SHOW at a wonderful location at the Float in the Hard Rock. I was so caught up in dancing, I sadly totally missed the Deadpool drone show that night (Link HERE).
The only true disappointment of the day was the Focus Features Shaun of the Dead Experience. It was pretty sad. They ran out of all the exclusive branded cans of beer ridiculously early (which you also couldn’t drink because they didn’t get a liqueur license). So most attendees just received a non-branded can of local beer. To add to the frustration, they also sold out of most of the merch, leaving just a couple t-shirts in size small or 3X, a Foree Electric Trucker hat (which I couldn’t figure out why a trucker hat?) and a pair of socks. All overpriced. The line to get in was also chaos, making the online RSVP a bit of a waste of time. Do better Focus Features, I hope you learned from this failure. And high five’s to everyone with early reservations that had the opportunity to score a better experience earlier in the day.

Friday. Oh Friday.
Kyle continued to walk the floor noting “The sheer size of some of the booths was just unbelievable. The Marvel and DC booths were among the booths that were needed to visit while I was there. The Marvel booth had cosplay competitions and costumes set up from Deadpool and Wolverine and Captain America: New World Order!” And I hit the streets to stand in line at the Paramount Lodge. Without the tickets, I waited in stand by. This worked because I got in line early, and was prepared to wait. I ended up waiting about 2 hours. Because I was in line, had some wonderful conversations with others and a man who had done it before gave me some valuable tricks (“Go to the Star Trek area first to get a ticket for a t-shirt, then pizza, then drinks - or they’ll run out”). So I did exactly that! The cosplayers there were mind-blowingly awesome!

Jenny with @waltimusprime Marvel Cosplayers at the Paramount Lodge

Continuing Friday, I was excited to attend the FROM (streaming on MGM/Amazon) panel on the IMDB boat. Season 3 looks so creepy good (check it out - premiering 9.22) while Kyle continued to master the floor and tribbles, “The Star Trek booth was a mini zoo of aliens all centered around an episode of Lower Decks, The Menagerie. At the end of that experience you can take your photo in one of the displays and act like you were being attacked by one of the inhabitants.”

Kyle's Star Trek booth experience.

Then wrapping up the day with FX photo ops and XLE PartyPocalypse. XLE had multiple themed nights of parties (Legends of Fantasy, Anti-Hero, etc) that you could purchase tickets through Eventbrite. At $35 a head, it was an affordable and exciting way to continue the evening! The dance floor was jumping with cosplayers decked out in the theme, and a live band playing all the hits. Special shout out to some amazing cosplayers for the introduction to these long standing parties (for fun photos - check out cosplayer @sierramm on instagram).

XLE PartyPocalypse SDCC 2024

Saturday we were loosing steam and caffeine was a #1 necessity. I started the day with Kyle back on the floor. Per Kyle, a standout was “The Star Wars booth. It housed many costumes and props from The Acolyte and was playing scenes on a giant screen from different movies and shows.”
We jumped on the IMDB Boat and did the Rings of Power photo op before I ran to the Wynonna Earp panel. That was one of my favorite highlights this year. I fell in love with the show back in 2017 after SDCC introduced me to the wonderfulness of that silly SyFy show. After it’s final season on SyFy a few years back, fans are now SUPER excited for it’s return on Tubi with the 90 minute Vengeance special. We all have high hopes this will mean more seasons to come.

Wynonna Earp panel

Saturday wrapped at The Penguin Lounge. Boy O Boy did Max do well with this off site. I was truly impressed by the amount of detail both in the location, as in the staff/actors. Every step inside felt like you were deep in the underground trying to snag drugs to get invited into the “secret lair” of criminals. The actors embraced their rolls, interacted with the attendees and provided a fabulous time.

Inside the Penguin Lounge - MAX

We wrapped up the con Sunday by revisiting booths on the convention floor, grabbing lunch at one of our favorite spots, and braving Sunday traffic back up north. Sunday’s are always the best “Chill” day to just take in the sights. I loved having the time to actually pay attention to the elevators, walls and buildings. It’s also a wonderful day for families to just walk around and admire those monsterous building wraps, store fronts and local shops. We walked away from SDCC2024 very VERY happy geeks indeed.

We hope all our followers have the opportunity to visit. The outside stuff takes work but with some good sleuthing, socials media follows and alerts, emails, memberships, etc. all is possible.
With hard work, comes a full 4 day geek love schedule. Long live the CON-LIFE!

REVIEW / Justice League: Crisis On Infinite Earths - Part Two

By Brandon T. McClure

The Tomorrowverse is coming to an end with a massive three-part adaptation of the seminal comic book event Crisis On Infinite Earths. While Part 1 was an inventive story exploring the Flash's life in the franchise, Part 2 serves little more than to set up the final entry. Directed by Jeff Wamester and written by James Krieg, Justice League: Crisis On Infinite Earths - Part Two picks up after the events of the first film. After stopping the first antimatter wave from destroying the entire multiverse, the heroes find themselves under siege by a horde of shadow creatures. But now the Anti-Monitor is revealing himself to the heroes, and they may not be able to stop him. 

"The major selling point of Justice League: Crisis On Finite Earths - Part 2 is the Tomorrowverse Batman (Jensen Ackles) teaming up with a multiverse Batfamily that includes Batgirl (Gideon Adlon), Huntress (Erika Ishii), Batman Beyond (Will Friedle), and a few Robins (Zach Callison), if you don't blink. At least, that’s what the box art and marketing would have you believe. In truth, they have minimal screen time, and the filmmakers seem uncertain how to utilize them effectively. Even the much-hyped return of Will Friedle as Batman Beyond merely serves as set dressing for an underwhelming action sequence. Batwing, mentioned earlier, appears in only one frame of the film, leaving one to wonder if his role was intended to be cut entirely

All that being said, there is an interesting premise at the heart of the Batman sequences. Audiences learned in Justice League: Crisis On Infinite Earths - Part One that Bruce didn’t adopt Dick Grayson when he had the chance because he felt it would be irresponsible. Teaming him up with members of the Batfamily from across the multiverse allows him to see that he may have been wrong in his decision. It enables Batman to reflect on himself and learn what every comic book fan has known for decades: that Batman should never be alone.

Strangely enough, Psycho Pirate (Geoffrey Arend) has more to do in this film than Batman. Audiences learn a lot about Psycho Pirate’s Tomorrowverse history through a series of flashbacks. Audiences learn that he can travel the multiverse thanks to Earth 2’s Dr. Fate (Keith Ferguson), and they discover the events that lead him to becoming a supervillain. By the time the Anti-Monitor (Ato Essandoh) begins to influence him, you’re left wondering why this took so long. In truth, his story is kind of interesting; however, it halts the movie in its tracks whenever it cuts to one of his flashbacks. Therein lies the fundamental issue with the film: its flashbacks. 

While Justice League: Crisis On Infinite Earths - Part One expertly used Flash’s time travel abilities to weave each flashback into a cohesive narrative, this film struggles to find a way to make the flashbacks feel organic. Each time the film needs to exposit some backstory, it cuts to a flashback or a flashback within a flashback. It’s a useful narrative device that is used quite lazily in this entry and stalls the pacing of the film (that and the fake accents, but that’s a franchise problem).

However, the film does have a shining light in the form of Supergirl (Meg Donnelly). This film reveals more of what happened to her between the destruction of Krypton and arriving on Earth in Legion of Superheroes. Through the use of, you guessed it, flashbacks, the film reveals a hidden parently relationship between Supergirl and the Monitor (Jonathan Adams). While these flashbacks also ruin the pacing of the film, they feel far more engaging than the ones about Psycho Pirate. You begin to understand how Supergirl was able to change the Monitor for the better, leading to his desire to save the multiverse. Their relationship forms the emotional center of the film and ends up being the true standout. The emotional crescendo of the story is well worth it and packs an emotional punch.

There are some decent moments in the film, like the return of Matt Ryan as John Constantine, but ultimately you’re left wondering if this needed to be a full feature. Or even if there needed to be three parts to this story. You can’t help but shake the feeling that this entry is just filling time before the finale. But now the stage is set for a climactic battle between the heroes of the multiverse and the Anti-Monitor. Hopefully, part three can bring the whole thing home with a satisfying conclusion.

Rating this 6.5/10

For more coverage, check out Brandon’s previous article: The End Of The Tomorrowverse & The Future Of The DC Animated Original Movies

BOOK REVIEWS, Four Eyes Review

FOUR EYES REVIEW + INTERVIEW / "The Stardust Grail" by Yume Kitasei

Welcome back to another “Four Eyes” review. We take this moment to share 2 opinions on a single geek topic.

Below both Matt and Zahra will each dive into what they thought about Yume Kitasei’s new novel Stardust Grail. And check out Matt’s one-on-one with the author!

Let us know your thoughts in the comments or on social media using #foureyesreview

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

FROM MATT SPAULDING

I won’t bury the lead: I haven’t had this much fun with sci-fi in a while.

When it comes to sci-fi, I mostly consume it via movies and TV. I’m a huge Star Trek fan and a Star Wars fan to a lesser extent. I love my sci-fi mixed with horror à la The X-Files and The Twilight Zone. I also get a kick out of Rick and Morty, Back to the Future, and a bunch of other sci-fi films and TV shows. But, when it comes to reading, my consumption of the genre is mostly limited to novels set in the world of Star Trek and the military/horror/sci-fi Joe Ledger series by Jonathan Maberry.

Looking at my taste, however, it’s not surprising I enjoyed The Stardust Grail as much as I did. It’s not just a sci-fi novel. If I had to best describe this book, it’s Star Trek meets Star Wars meets the Indiana Jones franchise meets Ocean’s Eleven. This book has it all: action, adventure, space travel, alien species, and heists.

The story centers on Maya Hoshimoto, a young woman who group up on a human colony on a distant planet who was once the greatest thief in the galaxy. Maya has given up crime to move to Earth and study at university. But when her former partner, Auncle, a member of the alien species called the Frenro, shows up at Earth to enlist Maya’s help in getting back The Grail, a lost Frenro artifact that can save the species from extinction, Maya is pulled back in for one last job.

But wait! There’s more! The Frenro were once responsible for the building of the Intergalactic Web, a series of portals that makes space travel possible. Turns out, The Grail also helps them build those portals. And something is destroying the portals, threatening to cut humanity off from the rest of the galaxy. So, not only has Auncle asked Maya to help find The Grail, so has the Earth military, who want to keep the Grail themselves.

Besides the action and adventure, I really appreciated the depiction of Maya and Auncle’s friendship. The Frenro are one of the most alien extraterrestrial species I have seen depicted in a while. They aren’t humanoid. They have a very different society and culture than humans. One of the things I found interesting was the cross-species relationship, which was close and loving, but also difficult because of the differences.

The pace of the book is almost non-stop. Kitasei takes just the right amount of time to slow down for character moments to build the reader’s connection to the characters and their relationships to each other, but is quick to get back to the action. There are plenty of twists and surprises along the way as well, meaning the book never feels predictable.

While I am on the subject of twists and surprises, there is just one near the end that I didn’t like. It was a real “wait, what? Really?” moment. The good news is, it didn’t even put a dent in my overall enjoyment of the book. Neither did the very ending, which was very abrupt. I got to the last sentence and felt like there would be more, but there I was at the end. It threw me for a second.

I said it at the top of this review and I’ll repeat it here: this book is a blast. I didn’t want to put it down, even when I knew I had to get some sleep because I had to wake up early for work. Be sure to pick this one up when it comes out.

FROM ZAHRA HUSEIN:

A quest, cool space stuff, and a quirky FMC.

From Star Wars to Star Trek, space is truly one of the coolest unknowns. While The Stardust Grail by Yume Kitasei is one of the few original space books I’ve read, I love a compelling story in any genre and this is very much that - a compelling story. It reads like a love letter to space travel by creating a unique world with adventurers going forth into the unknown.

“People were willing to hurl themselves into the dark, chasing the desire to be somewhere else.”

This tale is told from the first person perspective of our FMC (Female Main Character) Maya. Maya is a thief turned student. But when a book that catalogs the adventures of the last known explorer to go after an important artifact shows up at her school archives, Maya's ready to take back her former role. This story isn’t about your average space quest. This is a heist involving a ragtag gang of adventurers.

Maya is the perfect character for the progressive Gen Z folks - her priorities include actively fighting xenophobia, rebelling against colonization, and returning artifacts to their origins. However, Maya has a strong moral compass and a weak sense of self preservation which can put her in sticky situations. Auncle is our token alien (a Frenro). Frenros are one of the oldest species, but at some point in time they lost the ability to reproduce and they're worried about becoming extinct. Auncle also happens to be Maya’s closest friend and confidant because they were a duo team of thieves. Wil is the “muscle”. She is stuck in a CNE (Coalition of the Nations of Earth) combat suit due to sustained injuries from a battle but she has left the CNE and taken the suit with her. She's somewhat morally gray as she’s driven by the money offered and this causes tension between her and Maya (who can be morally good to a fault). Med IX is a medical robot who has been jailbroken and can now add to and modify their programming. They spend much of their time searching for more emotions to add to their system. Wil is especially loyal to Med IX, they’re a package deal. Lastly, there is Liam who is more of an honorable mention. Liam is Maya's advisor at school. Maya and Liam are both huge anthropology nerds, but he's always been afraid of space travel so he's more of the book smart to her street smart.

Together these characters go on an intergalactic heist and bring the story to life. Their expedition is interwoven with commentary on academia, classism, and racism but it isn’t heavily bogged down by it. Instead those themes make it relatable and just realistic enough that you can understand the emotional drive without being kept from the escapism a good novel provides.

“The Jersey Shore’s all right, though they’re still dredging all the houses that washed out to sea.”

For a sci-fi book, the world building isn’t too heavy either. Kitasei includes statements throughout the book that continue to paint a bigger picture and for the most part it keeps the reader from questioning how different things work or why some things are a particular way. Rather than spending pages on exposition and describing how every little thing looks, the reader is more immersed in the world and is given context clues that provide insight. (But if you need a more thorough explanation of the various species, there’s an appendix for your convenience.) In addition to mentioning different things that indicate rising sea levels on Earth, there are different gender terms used for each of the alien species, and the author utilizes an intriguing concept of "nodes" to explain deep space travel.

“...the idea that we are as strange to the people we study as they are to us”

The varied gender terms were an extremely interesting part of the world building. It makes sense that other species would have different preferred gender terms. Some use “xe” and “xyr”, others use “ey” and “eir”, and one of the species even used the royal “we”. Likewise, Kitasei’s use of “nodes” was ingenious. Nodes allow people to travel over different distances of space almost like a portal. This method keeps the reader from wondering things about distance and time which are often distracting in stories set in space. Sometimes keeping things simple and easily explained is best.

The author seemed to attempt the same approach with keeping technology simple as well, but I fear she missed the mark on that one. With the way phones have progressed in our lifetimes alone, it's fascinating to consider what types of communication devices we'll be using in the future. In the beginning of the book Maya has a "camera ring" which she controlled with her earlobe and it could project who she's communicating with. She later gets a "box" that is also referred to as a "cube" ; it's described as a "cheaper projector you could order if you didn't have a projection ring". A little while later, someone is "chatting with a virtual projection from a box that was much better quality than the cheap recyclable one". There are also times the ring is used to project other things too. Similarly to a cell phone being used to pull up an image, but it was unclear how exactly it works.

It seems rings are akin to an iPhone and cubes are more like a flip phone (and then you could have a cheap one that was like a burner). It took a bit of flipping pages back and forth to come to these conclusions especially because at first the "cube" is referred to as a "box". This follows the same style of world building as the nodes, but unlike the nodes there are various forms of this type of communication and it causes things to be more complicated for no reason. Moreso, there's actually another form of communicative technology as well in the form of "ocular lenses". It's mentioned that there are feeds on these ocular lenses at one point and the characters get a notification on them. One can assume that they’re connected to some sort of network but they aren't used for any other communication - they're used for things like translating and scanning text. The technology didn’t seem to be important to the plot so it was unnecessary to add layers of complexity there.

Maya’s gift also had a layer of nonessential complexity. Her gift is first presented as an unwanted migraine. It's later explained as a vision. Of course both can be true and I almost wish they discussed that. It would've been interesting to consider it a gift and a curse - like she had to endure the pain of a migraine in order to receive the gift of visions. But for all intents and purposes, Maya doesn't seem to like her migraines (even the vision parts) whereas her Frenro friend Auncle seems to think they're a good thing. There are also moments where the gift comes in dreams. They’re referred to as "dreams of another time". My understanding is that the dreams and migraines are both visions but the dreams happen when she's asleep and the migraines happen when she's awake. It didn't seem like Maya considered the dreams good either though so the ability doesn’t feel like a positive thing to anyone except Auncle. It doesn’t help that the power is unveiled slowly and the reader isn’t given much information about it. I wish there was a better way to incorporate and reveal it because it is both fascinating and crucial to the plot. The author even mentions in their note at the end of the book that she has migraines herself and she references a book that is about migraineurs who can experience hallucinations and distortions of space, time, and body image.

Between the characters, the story, and the world, there is a lot to love about Yume Kitasei’s The Stardust Grail. Overall I really enjoyed the book and I would definitely recommend it to those interested in space, heists, and social commentary.

4.5 stars

REVIEW, COMIC BOOKS

Star Trek: Celebrations - So Close, Yet So Far

By Brandon T. McClure

With June in the USA being pride month many comic book publishers take the opportunity to celebrate their queer characters. Predominantly, DC Comics has published an oversized one-shot consisting of stories centered around their queer characters for many years. This year IDW is joining the fun by releasing an oversized one-shot called Star Trek: Celebrations. This new issue will feature stories written by queer creators, such as Vita Ayala (Children of the Atom), Steve Orlando (Commanders In Crisis), and Mags Visaggio (Cold Bodies), who will tell stories centered around the prominent queer characters in The Star Trek universe. But, just by looking at the cover, there is one show being represented more than the others: Star Trek: Discovery. Sadly this is shining a light on a worrying trend within the Star Trek franchise.

The solicitation for Star Trek: Celebrations reads “IDW proudly presents a one-shot anthology centering and celebrating LGBTQIA+ characters from across the Star Trek universe! Join legendary heroes from each era of the beloved franchise in stories that showcase the strengths of infinite diversity in infinite combinations.” The cover features Paul Stamets (Anthony Rapp), Hugh Culber (Wilson Cruz), Adira (Blu del Barrio), Gray (Ian Alexander), Jett Reno (Tig Notaro), Seven of Nine (Jerry Ryan), Raffi Musiker (Michelle Hurd), Christine Chapel (Jess Bush), Hikaru Sulu (John Cho), Beckett Mariner (Tawny Newsome), and Jennifer Sh'reyan (Lauren Lapkus). That makes five characters from Star Trek: Discovery, two from Star Trek: Lower Decks, two from Star Trek: Picard, one from Star Trek: Strange New Worlds, and one from Star Trek Beyond

It makes sense that Star Trek: Celebrations wouldn’t use any characters from before 2016's Star Trek Beyond because Star Trek didn’t have any queer main characters, at least none that were “out of the closet”. Looking back on the franchise, fans have speculated that many characters were queer, with some actors, including Andrew Jordt Robinson (Garak on Star Trek: Deep Space Nine) agreeing, which he made known to TrekMovie.com in 2020. While Star Trek didn’t have any queer main characters, it is littered with queer-coded characters and has always had a passionate queer fanbase with their own queer headcanons (Any Spirk shippers out there?). Due to the era in which the shows were made, queerness was relegated to background and subtext. But that began to change in the latter half of the 2010s.

While Star Trek Beyond features Star Trek’s first queer character, it was Star Trek: Discovery’s premiere in 2017 that is most notable in the history of the franchise. Star Trek: Discovery launched a new golden age of Star Trek for the streaming era and immediately made an impact with its historic representation. Star Trek: Discovery has broken down barriers when it comes to positive queer representation since many of the main characters and principal actors belong to the LGBTQIA+ community. For a franchise that has been so progressive in the past, it was severely lacking in queer representation, and Star Trek: Discovery was in a position to change that. With Star Trek: Discovery acting as the “flagship show”, it boldly led the likes of Star Trek: Lower Decks and Star Trek: Picard into a new progressive future. But seven years and five shows later, Paramounts priorities seem to have shifted.

The first season of Star Trek: Picard saw the return of Jerry Ryan as Seven of Nine, a role she originated on Star Trek: Voyager. She became a key player in the series, as did her on-again/off-again girlfriend Raffi Musiker. The final episode of the first season of Star Trek: Picard implied a relationship between Seven and Raffi was beginning to develop. But they broke up between seasons one and two only to spend the entire second season getting back together again. Now the stage was set for the relationship to blossom. Except they broke up again between season two and three. The two of them never spent time together as a real couple and while the end of Star Trek: Picard put them in command of the new USS Enterprise - G, it wasn’t as a couple. Sure, the show could get “brownie points” for putting queer characters in charge of the Federation's flagship, but if it’s not shown on screen, does it count? If Star Trek: Legacy happens, will the two of them get back together, or will the writers spend another season teasing their relationship, only to not take it anywhere?

It’s important to note that while Seven and Raffi weren’t together on screen, there is a story that explores their relationship between seasons one and two of Star Trek: Picard. Written by Kirsten Beyer, Star Trek: Picard - No Man’s Land is a full-cast audiobook that tells the story of the Fenris Rangers asking Seven and Raffi for help with a “beleaguered planet.” For her part, Beyer has written many Star Trek comics and was a co-creator of Star Trek: Picard in season one before Terry Matalis came on board in season two. The inclusion of this audiobook implies that Seven and Raffi are allowed to be complex queer characters, just as long as it’s not on screen. Matalis did try to explain himself by saying that he thinks “Starfleet regulations have a lot to say about them being officially together which is why we had them apart to begin with. We knew we were ending here and that would be a big conflict of interest on the bridge.” So it’s not homophobic, it’s just that the fictional organization of Starfleet told Terry Matalas that they couldn’t be together. To his credit, he did end the statement by saying “will this ABSOLUTELY be a story you want to tell in the future? A story about a Captain who loves her First Officer and vice versa? Absolutely.”

Sometime between seasons two and three of Star Trek: Lower Decks, Becket Mariner and the Andorian Jennifer Sh’reyan formed a romantic relationship. The show didn’t dedicate much time to this relationship but it clearly made Mariner happy and it certainly made the fans happy to see. In the second to last episode of the show, Becket is blamed for a bad interview with a Federation journalist named Victoria Nuzé and Jennifer breaks off the relationship. More than anything, this feels like a story that the creators of Star Trek: Lower Decks wanted to tell, but the finale gives the audience the sense that Mariner is not going to try and get back together with Jennifer. Perhaps it’s got more to do with Mariner’s self-destructive nature and less to do with a decree from Paramount, but the loss of this queer relationship is one more symptom of an ever-growing problem. It’s also very noticeable that Jennifer only appears in the background of season four a handful of times.

While progressive for the time, the original Star Trek struggled when it came to its portrayal of women. Probably none more so than Nurse Christine Chapel. Originally played by Majel Barret, she was often used to support Dr. McCoy in the sick bay and when she wasn’t doing that, she was lovesick for Spock. Flash forward to Star Trek: Strange New Worlds and Christine Chapel once again occupies the Enterprise sick bay, this time played by Jess Bush. It appeared that Star Trek: Strange New Worlds was interested in adding some much-needed depth to this maligned character and one way they decided to do that was to make her bisexual. Jess Bush also identifies as bisexual and was likely interested in exploring that new aspect of the character and delivering positive bi representation to the world of Star Trek. There was plenty of room left to explore the character, her relationships, and history which would add depth and context to her relationship with Spock. Sadly, the second season did away with all of this. All implications of her bisexuality were scrubbed from the scripts and her complicated, and frankly uninteresting relationship with Spock became the primary focus. Much like her original series counterpart.

It's not controversial to say that the online reception to Star Trek: Discovery has, itself, been controversial. However, many Trek fans were delighted to see this kind of representation in their favorite franchise. The world of Star Trek was beginning to look more and more like the beautifully diverse world we live in. A home to many and the next step in realizing Gene Roddenberry’s vision of utopia. But if you look at these shows today you would likely never know that any of these characters listed above are queer. For years a segment of the Trek fandom, spurned on by bad faith actors within the right-wing community, has been bullying the show's creators, actors, and fans due to a perceived agenda to push “identity politics,” a term implying that someone's identity is inherently political, but only serves as a smokescreen to try and hide a more sinister term. Paramount seems to want to desperately please these “fans'' by going back on much of the progress that was made in the initial years. Star Trek: Discovery has been the only show that was able to retain its overt queerness, but much of its last three seasons have been filled with TOS or TNG nostalgia in the hopes of bringing these “fans” back to the franchise. 

No matter what happens, characters like Mariner, Chapel, Seven, and Raffi are still queer but because the shows have decided to largely ignore this aspect of their identity, they might as well be straight-coded. It’s not enough to say these characters are gay, bi, or trans. That’s not representation, that’s throwing the fans who want to see themselves represented scraps. These characters mean a lot to fans and it feels like Paramount is trying to force the franchise back into the closet. The frustrating thing about Paramount doing all this is that it’s not going to work. The bigoted fandom will never come back to Star Trek, if they ever watched it all. They’ve all grown up with a weird fictional “apolitical” version of Star Trek and have become the villains in the show they claim to love. Paramount+ is not a streaming giant so they probably feel like they can’t afford to alienate what they believe to be a large section of Trek fans, but all it’s going to do is alienate the ones who do love the franchise and want to see it evolve. Paramount is sending a message to those fans: “You don’t belong in the future, because it makes people mad.” 

Last year saw the end of Star Trek: Picard and this year will see the end of Star Trek: Discovery and Star Trek: Lower Decks. After this year, every explicitly queer character will be gone from the Star Trek universe, except for Nurse Chapel. Sure, new shows could pick up the slack and surprise fans with positive representation, but it’s depressing to think that the sole remaining queer character is going to be Nurse Chapel. Since the writers of Star Trek: Strange New Worlds have decided that Chappel’s queer identity (or identity in general if we're being honest with ourselves), is less important than setting up her ill-fated love affair with Spock, all eyes are on future Trek shows and movies. With a Starfleet Academy show and Section 31 film on the horizon, fans are eagerly awaiting to see if they will continue what Star Trek: Discovery started, or will Nurse Chapel be the death knell of queer Trek characters. If the Star Trek: Celebrations comic returns in 2025, will there be new queer characters to add, or will we be seeing the same characters over and over again until the franchise lies dormant again?

A comic book like Star Trek: Celebrations should be a celebration of how far we’ve come in the Star Trek franchise and not a reminder of what we’ve lost. It may be conspiratorial to say that Paramount is targeting queer stories and demanding they not be told, but something is going on, or else these stories wouldn’t be consistently downplayed. Star Trek: Celebrations is a wonderful idea and should be celebrated as the milestone it is, and it’s a shame that it’s made so many realize how little has changed since 2017. The difference between comic book readers and television watchers is in the millions. These milestones should be celebrated on the television shows that inspired generations to look up at the stars and work towards a better tomorrow. It’s important to tell queer stories in every medium, but it’s such a shame that all of the work to showcase queer love and queer stories on the television screen has been relegated to one issue of a comic book in June.

BOOK REVIEWS

Book Review/ "Bury Your Gays" by Chuck Tingle

Bury Your Gays

By Chuck Tingle

Published by: Tor Nightfire

Publication date: July 9, 2024

With his sophomore horror novel, Bury Your Gays, the follow-up to his smash mainstream debut Camp Damascus, Chuck Tingle has hit another home run.

Tingle has been an internet sensation for around a decade for self-publishing his weird, queer homoerotic stories with titles like Pounded In The Butt By My Own Butt and Bisexually Banged By These Sentient Plastic Easter Eggs Who Eat Me Out From Both Sides While I’m In a Standing Position Which Is a Pretty Cool Move. In 2022, he made his mainstream debut with Camp Damascus, a horror novel about a gay conversion therapy camp. It blew my hair back when I read it. And I’m bald. So when I got the opportunity to review his latest work, Bury Your Gays, I was thrilled.

The novel tells the story of Misha, a jaded Hollywood scriptwriter who is at a high point in his career. A short film he made is nominated for an Oscar, and his TV show, Travelers, is a hit. But when Misha is about to out the two main characters of his show as gay, he’s told he has to kill them “for the algorithm”. Faced with a choice, Misha suddenly becomes stalked/haunted by characters he created, and he, his boyfriend, and his best friend are all in a lot of danger.

Bury Your Gays is gripping from the very first chapter. Tingle creates not only some genuinely scary moments, but a mystery readers will absolutely want to know the answer to. Along the way, he also weaves in Misha’s backstory, emotionally explaining why our protagonist lives his life semi-closeted, and why it means so much to him to out his characters and keep them alive. I do my reading at night, before I go to sleep, and I found myself having trouble putting the book down to be a responsible adult and get enough sleep. It’s been a bit since I read a book I was mad to put down to do other things. I just wanted to burn through it. I had to know what happened next.

The thing I loved the most about the writing in this novel is that Tingle manages to address so many societal issues in one tale so deftly. He addresses not only the way that Hollywood stories treat the LGBTQ+ community but AI, corporate greed, data privacy, creating art for “the algorithm”, and even the phenomenon of people having freakouts on airplanes. Seems like a lot when written out like that, but it never seems anything less than natural and part of the story. A truly remarkable feat.

Bury Your Gays is a shining example of horror holding a mirror up to society and showing the ugly parts. It’s tense, gripping, scary, emotional, and, in the end, triumphant. Definitely put this one on your summer reading list.

TV SHOWS, TELEVISION

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.

DC, MOVIES, SUPERHEROES

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.

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.

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.

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.

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 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.

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.

Comic Books, BOOK REVIEWS

COMIC REVIEW: Godzilla X Kong: The Hunted

By Brandon T. McClure

The Monsterverse is no stranger to tie-in comics. It's a staple of Legendary Pictures to publish prequel graphic novels through their publishing arm Legendary Comics. So it should come as no surprise that they’ve done it again with Godzilla X Kong: The Hunted by Brian Buccellato, Dario Formisani, Drew Johnson, and Zid, a graphic novel that sets up the events of Godzilla X Kong: The New Empire. Previous Monsterverse graphic novels have ranged from solid entries in the multimedia saga, to rather disappointing ones, and this one falls right in the middle.

The story follows Raymond Martin, notably named for Raymond Bur’s character Steve Martin from the 1954 original film, as he builds a large mech suit in order to hunt Titans in the Hollow Earth. He hates Titans and wants to level the playing field, much like Apex Cybernetics tried with MechaGodzilla. While he’s going through this, Godzilla is pursuing Skylla, who is attacking various nuclear power plants for some unknown reason. Skylla is upsetting the natural order, and most likely trying to make a play for the title of King of the Monsters, so Godzilla will not take that threat lying down. Elsewhere, Kong is surveying his new kingdom in the Hollow Earth, until his story links up with Raymond Martin towards the end

Prequel comics come with perceived limitations. They can’t do anything that alters the status quo and the ending has to set up the film. They exist as marketing for the “more important” medium of film. So it’s hard, as a comic book fan, to get overly excited and expect more from these comics. Writer Brian Buccellato delivers exactly what he was meant to. There are some really interesting aspects to the story but it’s pretty anticlimactic. Nowhere is this personified more than in the Godzilla segments. Just as Godzilla catches up with Skylla, the comic literally stops the story to say “To Be Continued In Godzilla X Kong: The New Empire.” As a marketing tool, it’s fine, but as a standalone story, it’s lacking.

The most interesting part of the story is Raymond Martin, who would actually have made a good antagonist for a feature film. Martin is a wealthy man who’s turned into a big game hunter, and that’s meant literally. He was in San Francisco during the events of the 2014 film Godzilla and lost his entire family to that attack. This has given him a personal vendetta against Titans, but he’s not ready to go after the alphas just yet. It’s through him that we’re introduced to a new Monsterverse Titan called Spineprowler, who’s basically just a giant jaguar (not the first giant cat Titan that Zid has designed). It’s honestly a shame that he’s killed at the end because there’s some potential here, especially with that name.

The Monsterverse comics have come under fire due to tracing allegations. Some of the images from Justice League vs. Godzilla vs. Kong were clearly traced from screenshots of the various Titans. You would hope that when translating the Titans to a comic book, the artist could take some artistic liberties with the designs. Godzilla: Awakening by Max & Greg Borenstein was able to allow their artist team of Eric Battle, Yvel Guichet, Alan Quah, and Lee Loughridge the ability to take these liberties due to there having been no film at the time. But there doesn’t seem to be any obvious tracing in this book.

Mostly, the art is pretty good in Godzilla X Kong: The Hunted. It’s very dynamic and the design of the Titan Hunter is interesting. Fans of the Skull Island: The Birth of Kong comic will no doubt recognize a familiar style as Zid has been the artist on many Monsterverse books. He’s not alone here, of course. The artist team consists of Zid as well as Dario Formisani and Drew Johnson. The three of them mix their styles well since there doesn’t seem to be a clear division of pages between them.

Those looking for an exciting entry in the Monsterverse might be disappointed, but that’s not to say that there is no value in this comic. Raymond Martin is a cool character and there is plenty of Titan action. The major issue is that it doesn’t operate as anything more than a marketing tool for Godzilla X Kong: The New Empire. It doesn’t reach the heights of the best of them, but it doesn’t hit the lows of the worst of them. It’s a perfectly fine and fun entry in the franchise. If you’re already a fan, then you likely won’t regret picking this one up.

6.5/10

Godzilla X Kong: The Hunted is available at your local comic shop, bookstore, or here and the latest entry in the Monsterverse, Godzilla X Kong: The New Empire is in theaters every started March 29th.

Monsterverse Ranking By Brandon T. McClure

By Brandon T. McClure

I came to the Godzilla franchise in 1998, with the infamous film that came out the same year. Afterward, I would watch the Japanese films all the time whenever a new one came into my local Suncoast (remember them?). I had always hoped that an American company would take another crack at adapting the franchise, but I knew it would be difficult. American films are constantly pushing VFX to be bigger and more lifelike, and while I like the suitmation of the classic films, it was hard not to imagine a world where we got to see Godzilla rendered with state-of-the-art visual effects the likes of which could only be achieved in Hollywood (at the time anyway). The Monsterverse isn’t perfect but they’re solid, fun films and I’m happy to have them. With Godzilla x. Kong: The New Empire on the way, I thought it would be fun to share my ranking of the Monsterverse entries, including the two shows, starting from the bottom.

#6 Godzilla vs. Kong (2021)

D: Adam Wingard/W: Eric Pearson & Max Borenstein

Coming off of Godzilla: King of the Monsters, my expectations were low for something any deeper than a monster brawl. The marketing for the movie was very clear that this was the rematch of the century. Godzilla and Kong are at odds again for the first time since 1963. The Monsterverse exists so that this movie could be made. Luckily it delivered exactly what it was meant to. Godzilla vs. Kong is very much the film that monster fans pretend they want over a film like 2014's Godzilla (just to keep the examples in the family). I can’t lie and say I don’t enjoy a good old-fashioned monster brawl. So why is this at the bottom? The simple answer is that something has to be at the bottom of a ranked list.

The major strength of this film is in the monsters themselves. This time around, the film opts to center on Godzilla and Kong as the main characters rather than “waste time” on the human drama. In a film like this, the human characters do actually get in the way. That’s not to say that there shouldn’t be a human story at the center of these movies, but if you know you’re not going to succeed there, then you should focus on the major draw that’s going to get butts in seats. The action is much cleaner in Godzilla vs. Kong, than in the previous entry, and is well-shot and choreographed. Each monster gets a chance to shine in various environments. Both monsters on the poster are able to get the upper hand in each fight, with Godzilla coming out on top in the end. 

One of my favorite things about this film is how Adam Wingard frames the monsters' personalities. Through camera techniques and expert VFX work, Wingard and his team are able to convey what each creature is thinking and feeling, which allows the audience to connect with them on a deeper level. Framing Kong as the underdog also helps audiences connect with him as the emotional center of the film. One of the best scenes in Godzilla vs. Kong is when he reveals that he can understand humans and can use sign language. Kong signing “home” is surprisingly powerful. Kong is by far more expressive than Godzilla but both are able to convey their thoughts and struggles throughout the movie. It’s honestly impressive. We also learn a lot about the Titan's history on Earth in this movie, which was cool.

It’s very cool that Godzilla vs. Kong frames the monsters as the emotional core of the film, but the actual people don’t get the same love. Godzilla vs. Kong has the worst characters in the Monsterverse and it’s not close. Even the returning characters of Maddy (Millie Bobby Brown) and Mark Russel (Kyle Chandler), are acting wildly out of character. Chandler’s Russel went on a journey of self-discovery in Godzilla: King of the Monsters, learning that Godzilla is important to the natural order of the world, but as soon as he appears in Godzilla vs. Kong, he’s not even willing to entertain the idea that something could have caused Godzilla’s “change of heart”. One other character who suffers in this film is Ren Serizawa. He’s probably the most useless character that had the most potential. The film doesn’t explicitly tell the audience that he’s the son of Dr. Serizawa and he hates Godzilla because of his dad's obsession with him, but that’s who he is. There’s just no time devoted to that story at all. In every scene he’s in, he’s scowling in the background or being pushed around by the head of Apex Cybernetics, Walter Simmons. Then he dies (?) when Ghidorah’s consciousness takes over MechaGodzilla’s body. 

While the villains and “Team Godzilla” don’t get a lot of love, there are some “Team Kong” characters that do. The best character, by miles, is Jia, an indigenous person from Skull Island who is deaf. We learn pretty early on that she has a special connection with Kong. Admittedly it’s this connection that makes her a stronger character than the others, but even Alexander Skarsgard and Rebecca Hall are able to get a few good character moments. I do want to shout out one character on “Team Godzilla” and that’s Brian Tyree Henry’s Bernie. I just think he’s always delightful.

In order to have characters driving the plot forward, the film splits up the main characters into Team Kong and Team Godzilla teams. Team Kong wants to get Kong to the Hollow Earth, while Team Godzilla wants to find out why Godzilla has suddenly “turned” on humanity. I’m sure this worked on paper but it’s painfully clear that all the character work in the script has been edited out of the final film. Who knows if this would have made the movie better, but it does feel more chopped up than the other Mosterverse entries because of it. 

Godzilla vs. Kong has flaws, but it’s very fun. It’s also a tight film, coming in at just under two hours, and paced well enough so you’re never too far away from the next monster brawl. The characters are cut to ribbons, but they’re still fun enough that you don’t get bored when you’re with them. At the end of the day, if you leave the theater entertained then there’s some merit to that. 

#5 Godzilla: King of the Monsters (2019)

D: Michael Dougherty/W: Michael Dougherty & Zach Shields

This is probably the one that I end up watching the most. There are many reasons why Monsterverse fans prefer this film over the others, and the one that is sighted the most is that it has more monster action than the previous Godzilla film. That may be true, but I have one major issue with the film that brings it way down. That’s not to say that I don’t like it. There are many things I love about this film. Godzilla: King of the Monsters has my favorite Ghidorah (it’s also cool that they kept his alien origin) design and the Rodan chase scene is one of the coolest scenes in the Monsterverse. What’s more, Monarch’s flying base, The Argo, is exactly the kind of crazy sci-fi nonsense I like to see in monster movies. So why isn’t this higher?

For one thing, while the special effects are truly top-notch (true across the entirety of the Monsterverse), they’re obscured by an excessive amount of particle effects. Every single fight scene is either covered by a rainstorm or snowstorm, making it very hard to admire the technical mastery being shown on screen. Another issue that comes up with the VFX on display is that Michael Daugherty doesn’t have the eye for scale that his predecessor has. This has the unfortunate side effect of making the monsters feel smaller than they are. This was most likely done to give the audience a better view of the fight scenes, but since they’re obscured so much, it just compounds the issue. Ultimately, I just find the film to be visually ugly, and the fight scenes pretty dull. There are cool things in the fights like Burning Godzilla, but there’s not a lot that “wows” me about the action scenes. 

Even though the villains, including Vera Farmiga’s Dr. Emma Russel, are lacking in strong characterizations, Godzilla: King of the Monsters still has some standouts. The likes of Bradley Whitford, O'Shea Jackson Jr., and Thomas Middleditch all get some fun moments and quippy lines that are worth a laugh. The movie tries, in vain, to make the Russel’s family drama work, but there’s not a lot on the page for any of the talented actors to work with. Maddy (Millie Bobby Brown) and Mark Russel (Kyle Chandler) are more bland than the colorful cast of characters that surround them, but they’re interesting enough to move the plot forward.

Another one of my issues, which is minor, is the killing of Dr. Graham (Sally Hawkins) in favor of Kyle Chandler’s Mark Russel. Since Sally Hawkins is a returning character, audiences are already familiar with her and therefore can connect with her more easily. I’m not saying she’s a massively well developed character from the previous film, I’m saying that it’s easier to connect with a returning character than it is with a new one, such as Dr. Mark Russel. For some reason, the creators of the film decided that killing both Dr. Serizawa (Ken Watanabe) and Dr. Graham was a good idea. Certainly, the death of Serizawa is earned and a beautiful moment for the character, but it was Graham who should have been placed as the head of Monarch after Serizawa in my opinion.

Speaking of Monarch, something that I really enjoy about the Monsterverse is the creation of the organization. In Godzilla: King of the Monsters, Monarch gets an upgrade from a few people chasing monsters to a bonafide monster containment force. I really like this expansion because it helps the franchise more organically lean further into some fun sci-fi tropes and pivots away from relying on the military to drive the plot. The opening scene with the newly hatched Mothra is a really good way to showcase how Monarch are really the only people qualified to deal with the return of these massive creatures. 

There’s a really cool Mothra easter egg that’s in this movie that I wish they went further on, or at least could pursue in the future. The movie dabbles in the more mystical side of the Godzilla franchise with the inclusion of Mothra and is able to sneak in the “Mothra twins” because of it. In the original Japanese canon, Mothra always has two twin fairies that are connected to her. Godzilla: King of the Monsters includes all the previous fairy actors as former Monarch agents and implies that Dr. Chen & Dr. Ling (both played by Ziyi Zhang) are the new iteration of the twin fairies, by implying that her family has a supernatural history and connection with Mothra. I hope that future films or even Monarch: Legacy of Monsters could expand on this idea.

Truthfully, Godzilla: King of the Monsters isn’t as hollow as I originally thought. While the big-budget monster action is definitely the point of the film, it does attempt to tell a story about humankind's relationship with the natural world. The idea of “good radiation” is weird, but the movie’s heart is in the right place. Everything the villains do is in favor of bringing the world back to its “natural state”, where the Titans rule and the humans serve under them. It probably would have worked, but Ghidorah isn’t from the Earth so it puts a wrench in their plans when he starts making everything go wrong. Even the heroes know that Godzilla is the true protector of the natural world and the only way humans can survive is through a harmonious relationship with Godzilla/the natural world. It’s pretty surface level but it works more often than it doesn’t. Speaking of Ghidorah, I hope we’ll see more Toho original monsters in future installments.

The biggest thing that I love about this film is its soundtrack. Bear McCreary is a composer that I’ve loved since Battlestar Galactica. But with Godzilla: King of the Monsters, he really brings his “A”- Game. The new renditions of both Mothra’s theme and Godzilla’s theme are excellent, truly delivering the idea that these creatures are gods and protectors. He also creates new themes for Ghidora and Rodan that are instantly iconic. To my memory, the two of them didn’t have themes in the original Japanese films (I could be wrong), so it’s very cool to get some true bangers here. Not to diminish the other composers in the Monsterverse, especially because I like Alexandre Desplat’s score for the first film, but McCreary delivered something a cut above.

While the environmentalism message is a part of the film, it ultimately succumbs under the weight of expectations. There’s a prevailing issue in Western audiences' views of monster movies, which is that human drama gets in the way of monster action (hopefully Godzilla: Minus One changed that). So Godzilla: King of the Monsters is constantly trying to find the balance of human drama and monster action but is ultimately falling short. I wish I loved it like my fellow monster fans but it doesn’t quite reach the heights of the earlier entries.

#4 Skull Island (2023)

Created By Brian Duffield

The show that has, sadly, become the red-headed stepchild of the Monsterverse. The one that many people don’t even know exists. But it does! It does and I will continue to sing its praises to anyone who will listen. Netflix’s Skull Island is a great addition to the franchise that expands Kong’s world and the world of Skull Island. We obviously get plenty of Skull Island action in Kong: Skull Island, but Godzilla vs. Kong took any future stories off the table, so I was very excited to see the Monsterverse return to Skull Island, even if it is only in the past. While the show is really strong, it’s not complete and there doesn’t seem to be any interest in a second season. With future seasons, this could easily rise through this list.

Right off the bat, I was already skeptical because I’m not a huge fan of Powerhouse animation. Most of the animated shows like Castlevania and Blood of Zeus all suffer from the same stiffness issue that dials down their expressions to remain more lifelike. I prefer my animation to be more expressive, so I was genuinely surprised at how often the show didn’t feel as stiff as the others. It’s got the same house style, but the characters are allowed to be more expressive in their movements. This helped the characters shine more. Each one is genuinely well-written and often very funny. There are standouts, like Annie and Dog, or even Cap, but even the smaller characters get some solid moments before the end of the show.

It being an animated show, allows there to be a lot of monsters and some of them are very inventive. There are awesome new creatures that are designed to fit right in with the world of Kong: Skull Island, like the Aloe Turtle or the Rock Bug, but the coolest new monster is the Kraken. This new antagonist has a personal vendetta against Kong due to it being another alpha Titan. It wants to take Skull Island from Kong, but can only do that if Kong comes to the water. Speaking of Kong, he doesn’t get a lot to do in the series. He makes a few brief appearances before the end of the series, but the show keeps him away for most of it. He does get a very cool action scene between him and the Kraken at the end of the series, which makes up for it. Kong also has a bit of a tragic story in this show which adds to Kong being the most relatable monster in the Monsterverse.

The biggest issue I have with the show is that it doesn’t really feel connected to the Monsterverse. Kong: Skull Island created such a unique and wonderful vision for Skull Island and the show doesn’t really pick up too much of that. There are cool monsters, but some feel pretty generic or something that’s meant to be in Castlevania. Skull Island itself doesn’t really look like the one from the movie, most notably because the perpetual storm that surrounds it, is not in the show for some reason. If you weren’t in the know, this would look like an unrelated show about King Kong.

Skull Island surprised me. It’s very fun, and the funniest entry in the Monsterverse, easy. I’ve been a fan of Brian Duffield since I saw Love and Monsters and he has continued to not disappoint. I desperately hope it gets a second season, not only to resolve that cliffhanger but because there’s so much to explore with the Monsterverse Skull Island. To leave that potential on the table indefinitely would undermine the inherent benefits of having a franchise like this.

#3 Monarch: Legacy Of Monsters (2023)

Created By Chris Black & Matt Fraction

The Apple TV+ show that shocked the nation! As you’ll see as you keep going up the list, I’m a big fan of the 2014 Godzilla film. So I got really excited when I heard that the upcoming show would be set pretty soon after the events of that film. But truthfully, I had no idea what to expect. It became pretty clear that the creators of the Monsterverse weren’t interested in developing characters, so how would translating the big-budget monster franchise to a TV show work? Well, against all odds, it worked and is one of the strongest entries in the franchise to date (some would say the strongest). I’m very glad it exists, even if it didn’t make it up higher on my list.

It’s certainly not perfect though, but it’s only one season in so any faults that it could develop in the beginning will no doubt be ironed out with subsequent seasons. But about halfway through the show, I felt like the 2015 plotline wasn’t as compelling as the 1950s one. Of the two, I always found the 1950s plot more interesting, due to just being more interested in that kind of story, but I was interested in where the 2015 plot could go. I liked the characters and I enjoyed the arc they were on as they uncovered the secret of Monarch and the mystery of what happened to their father. But something shifted, and it started to feel like the 2015 plotline was spinning its wheels until it got to the point where certain main characters entered the Hollow Earth.

For me, I’m not one of those people who thinks the show should have dedicated its entire runtime to the 1950s plot, but I really loved seeing the development of Monarch. I loved watching the trio of Bill Randa, Keiko, and Lee Shaw uncover the mystery of the Titans and discover more and more as they try to prove that these monsters aren’t a threat, but a natural part of the world. I also found their love triangle very compelling and enjoyed watching the three of them grow together. I can’t gush enough about how much I loved that story. I’m always a fan of period genre shows and movies, and I’ve always had a fascination with Monarch’s history, so the 1950s plotline was basically tailor-made for me.

This is not to ignore the 2015 plotline, because there’s a lot to love about it. I enjoyed all the characters, especially Tim, and loved seeing how the world reacted in the aftermath of the MUTO’s attack on San Francisco, which they call “G-Day”. Each character has their own motivation for being on this journey and I thought that the characters were well rounded and developed. I also loved the connections to the other entries in the Monsterverse, both big and small, like Ford Brody’s (Aron Taylor Johnson) aunt being Tim’s partner, or seeing the origins of Apex Cybernetics (who would go on to create MechaGodzilla). I also really liked the inclusion of John Goodman and the scene of him on Skull Island sometime before his death.

One of the coolest things the show did was cast Kurt and Wyatt Russel as the same characters in the different plotlines. Trying to piece together why the character of Lee Shaw didn’t look or act 90-ish years old was one of my favorite things to do after every episode. It wasn’t a prevalent question, but it was one that had an incredibly satisfying and emotional conclusion. The ending when he finally reconnects with Keiko after 57 years is incredibly emotional. The two of them are certainly the standout performances of the show for me.

Monarch: Legacy of Monsters isn’t a show that is reverential to its source material, which ended up working for the better, I would say. At almost every turn, it retcons previously established Monsterverse lore. Which is kind of a silly thing to say since it’s a four-movie franchise, with some semi-canon comic book entries. Obviously, the comics can be retconned because hardly anyone reads them (I say this as someone who has read every Monsterverse comic). Something that surprised me though was that it was able to effortlessly retcon a lot of what was said and shown in Kong: Skull Island. Hell, that movie claims that Harry S. Truman founded Monarch in 1946, but the show makes it pretty clear that that isn’t what happened. The reason why I’m saying all this is because it doesn’t matter. The story has to come first and it was refreshing to see a franchise show understand this. I’m always okay with bending canon to fit the story that needs to be told. 

Every episode also includes a giant monster. Godzilla is in the show a good amount of time and the VFX work on him is great. This show has a crazy good VFX budget, which was not something I expected. The scene where a mountain range is revealed to be Godzilla is one of the best-looking shots in the entirety of the Monsterverse. The new monsters like Ion Dragon or Frost Vark are also really cool new additions to the franchise. The Monsterverse has made tons of new monsters, but I think the ones introduced in Monarch: Legacy of Monsters are better than the likes of Behemoth or Skylla (I don’t get why people like Behemoth).

The reason why the show falls short for me, as alluded to up top, is because the 2015 plotline started spinning its wheels after they found their dad. Don’t get me wrong, there are still good character moments, especially when they’re trying to find May or when they convince Monarch to reveal themselves to the world. The other, much smaller, reason is that I’m a lore-obsessed geek and it’s made the Hollow Earth really complicated. These aren’t big issues, and the character issue is more a problem with the current streaming age than the show itself. At the end of the day, it all comes together in an excellent final episode that even sneaks in a really cool Godzilla fight scene.

We are in an age where franchises can jump from film to television, as evidenced by mixed results by the MCU. So the question always has to be, how can this show complement the big screen franchise? Monarch: Legacy of Monsters is probably what I would pick to be the blueprint for this type of multimedia franchise. The way this show is able to weave in elements from every Monsterverse film, from Bill Randa (Kong: Skull Island) to Apex Cybernetics (Godzilla vs. Kong) is shocking. I expected the show to just be this fun side adventure, but it’s necessary world-building for the Monsterverse and something that I feel was desperately needed.

#2 Godzilla (2014)

D: Gareth Edwards/W: Max Borenstein

Depending on the day, I might put this film at number one. But for right now, I’m confident in its second place placing. I have been a Godzilla fan for decades, and my excitement for this film was only rivaled by 2009’s Star Trek before it. A big Hollywood studio had already attempted to make a Godzilla movie and the results were less than desirable. But it really felt like WB and Legendary Pictures had nailed it from the trailers. Thankfully, the film delivered a very cool new take on Godzilla that stays true to his origins and launched a franchise that I never dreamed would be possible.

There are things I really like about this movie, but I’ll focus on the things that hurt the film for me. Ford Brody, played by Aaron Taylor Johnson, is just not a compelling protagonist. There’s an idea in the film about how legacy affects those that come after, but Ford isn’t engaging with that theme, so it doesn’t receive the attention it needs to flourish (Monach: Legacy of Monsters runs with it though). Ford’s lack of an engaging character is made all the worse by Bryan Cranston’s Joe Brody stealing most of the first act. Johnson is a good actor, but he’s just not given a lot in the script to really deliver anything of substance. Cranston is, but they kill him pretty quickly. You have to wonder if the roles were reversed, would this be a stronger movie? It’s hard to say really. Johnson is too much of a passive protagonist who doesn’t actually do anything of note to push the story forward. He just gets pushed along to one set piece after another. They set up his role in the story as a person who’s really good at disarming bombs, but he never gets to disarm a bomb in the movie. So why is he even there?

One of my favorite elements of the film is the inclusion of Monarch, a secret organization that studies Massive Unidentified Terrestrial Organisms (what later films would call Titans). On paper, Monarch feels like the Monsterverse’s answer to SHIELD, but in execution serves a much different purpose. Since the Monsterverse has a massive amount of mythology to explore, Monarch is the perfect solution to create organic exposition about the mythology. I’m a huge lore geek. What many people see as background nonsense, I see as a new obsession. So when this first came out, I loved exploring the lore of the Monsterverse. This idea that Godzilla and the MUTOs are part of an ancient echo system just fascinated the hell out of me. It lit up my imagination in a way that no other Godzilla film had ever done before. I really like this concept that these creatures are supernaturally tied to the natural order of the world and Godzilla exists to keep the balance. Every time a new movie was announced, I hoped that Monarch would remain a part of the story so we could get to explore the lore further. 

I wouldn’t say that any entry in the Monsterverse feels like it was created by a committee of producers, but Godzilla is the movie with the strongest singular voice. Gareth Edwards had only directed one film before Godzilla and he cemented himself as a director with a unique filmic style. Everything from the sound design (the best in the franchise) to how shots are framed is specifically crafted by Edwards. I wish he had gotten to make Godzilla: King of the Monsters and lament that we’ve lost his voice in the franchise. 

This is by far one of, if not, the strongest directed entry in the Monsterverse. It fumbles its themes, but what entry doesn’t? I love the slow build-up of Godzilla throughout the film and the set pieces and sound design are spectacular. The sense of scale is unlike anything else that had come before it. This film succeeds despite the issues with the main character because of Edwards’ strong directing voice.

#1 Kong: Skull Island (2017)

D: Jordan Vogt-Roberts/W: Dan Gilroy, Max Borenstein & Derek Connolly

Kong: Skull Island is the best film in the Monsterverse. For a while, I honestly thought the top of my list would be Godzilla but Kong: Skull Island is just a much stronger film. Jordan Vogt-Roberts set out to make an anti-war/post-Vietnam monster film and he delivered. Kong: Skull Island has a more clear message and clearly defined characters that affect the plot in a meaningful way. It’s actually hard for me to think of anything that I don’t like about this movie. Perhaps this entry will be shorter than the others!

Like many American monster fans, I have a soft spot for King Kong, both the 1933 film and the 2005 film are some of the best monster films ever made. But how many times can you tell that same story? Jordan Vogt-Roberts apparently felt the same way. Instead, he opted to tell a post-war monster film that pays tribute to the original film in many ways but moves Kong into a new setting, which frees the monsters to explore new avenues. It’s actually a really exciting film, in the sense that it opens up limitless possibilities for, not only Kong but Skull Island as well (something that GVK squandered). 

The MonsterVerse likes to play with the idea that these monsters are godly beings, and Vogt-Roberts wanted to bring that to Kong. His massive size is meant to convey his godliness as he looks out over his domain. Other creatures in the film follow the same “god of their own domain” idea but take it in a different direction. While previous Skull Island’s have used dinosaurs, this Skull Island creates flora/fauna hybrid creatures. This is one of my favorite things about the movie since the creature design in the film is one of the most unique in the Monsterverse. Then there’s the Skull Crawlers. Of all the major villains of the films, they’re my favorite. The designs are really interesting and menacing, and this idea that they’re from beneath Skull Island like devils lurking is so well executed. 

There are a ton of characters in this movie, and many of them don’t really get to do much. In fact, loads of them die. But just because the movie is populated by “red shirts'' doesn't mean there aren’t plenty of great characters to get to know. John C. Reilly, John Goodman, Samuel L. Jackson, Brie Larson, and Tom Hiddleston are all really fun characters to follow. What brings this film above Godzilla is that they are directly engaging in the story and theme of the movie. Where Aaron Taylor Johnson’s Ford Brody is being shepherded through the plot of Godzilla, all these characters are driving the plot of Kong: Skull Island.

While the likes of Goodman and Hiddleston all get standout moments in the film, including Hiddleston’s awesome action sequence, it’s John C. Reilly who brings it home for me. His performance as Hank Marlow is one of the best in the franchise. He’s funny as the man who’s been stranded on Skull Island since World War II, but also incredibly sincere and heartfelt. He also has the duty of holding the weight of the anti-war message of the film and does so masterfully. His speech about his fallen brother-in-arms, Gunpei, lays out the central theme of the film “Take away the uniforms and the war… and he became my brother”. Unlike Godzilla or Godzilla: King of the Monsters, Kong: Skull Island is very front and center with what it’s about. It’s definitely spoon-feeding the audience a little but it’s also a movie about a giant monkey so it’s not meant to be subtle.

There are some incredible set pieces in this movie, probably the best in the Monsterverse, which is a pretty high bar. Kong taking down the helicopters and Packard’s (Samuel L. Jackson) attempts to kill Kong, all rank very high in the film. But the standout is the final fight between Kong and the Skull Devil (the big Skull Crawler). That fight sequence showcases some inventive and fun monster action from Kong trimming a tree to him using the propeller of a ship as a weapon and finally pulling the guts out of the evil creature. Every sequence constantly has me going “This is awesome”. There are so many perfect moments that I could single out and gush about, but I’m not here to recap the movie.

I love this movie very much and hope to see Jordan Vogt-Roberts return to the Monsterverse. I love seeing the franchise get into the crazier, more sci-fi, and mystical side of monster movies, but sometimes I wish we could go back to the likes of Kong: Skull Island and Godzilla. I love the Monsterverse and enjoy every entry, but Kong: Skull Island is the gold standard for me, and I hope that someday it’ll reach these heights again.

BOOK REVIEWS

BOOK REVIEW + INTERVIEW / Empire of the Damned (Empire of the Vampire Volume 2)

Jenny sits down with fantasy & science fiction author Jay Kristoff to discuss his March 12th, 2024 release of his 2nd book in the Empire of the Vampire series . Watch/Listen to our interview to get an inside look at what to expect next for Gabriel de León.

Join the conversation in the comments and on social media.

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

Empire of the Damned - Empire of the Vampire (Volume 2) by Jay Kristoff

Release Date: 03/12/2024

Published by St.Martin’s Press/ Macmillan

By Jenny Robinson

A lot happened at the end of Empire of the Vampire (Book 1). A LOT.

In a world that has not seen a sunrise for decades, vampires are set to destroy humanity. Our protagonist (or in some cases, our antagonist), Gabriel de León tells his story as the last of the Silver Saints (protectors against the vampires).

The first book in this series sets up a colorful cast of characters. The story is told through Gabe’s perspective but includes such insight to those we meet through it’s pages. In attempt to avoid spoilers in both books, I’ll generically say that Empire of the Vampire has a WTF?!? OH NO!!! traumatic ending.

Empire of the Damned dives quickly into the aftermath of the brutality found in the first volume. Gabriel is still imprisoned, reluctantly (and drunkenly) continuing his tale to the vampire Jean-François. In this, we are starting to really see the toll Gabe has paid in this war. His character is becoming a noteworthy study of endurance despite all of his blatant flaws. The pipe and bottle are becoming more frequent in both his stories and present situation. His love and loyalty constantly being tested.

I had struggled with the writing style a bit during the first book. The story Gabe is telling Jean-François is written as if it is happening right then, instead of in the past. There are moments when mid-story, Jean-François taps into the conversation with a critique or question. This felt very abrupt as I was getting to know the characters and the plot. By the time I got a few chapter into this new book, the relationship between the two made those time line jumps feel more naturally. I began to really enjoy Jean-François’s interruptions. It feels a bit like breaking the fourth wall in cinematography. I was surprised how much I looked forward to those moments in this book.

This volume of the series also added a lot of context towards the vampires. I was delighted to learn more about the various histories, beliefs and abilities of each. Belief is a prominent word for this series as a whole. It’s a tale of faith, regret, worship, hope and sacrifice. It allows this second chapter in the series to grow and find it’s footing that was only beginning to take shape in it’s predecessor.

I am not going to lie, this is a beefy read. It’s violent, traumatic, and an exciting chase to see where Gabriel and Dior’s travels lead them. Clocking in at 752 pages, it’s easy to miss place a few hours (days, months) of your life as you speed through page by page. And I gasped a bit at the last sentence. Book 3 is set up spectacularly.

ABOUT THE AUTHOR

JAY KRISTOFF is a #1 international, New York Times and USA Today bestselling author of fantasy and science fiction, including Empire of the Vampire. He is the winner of eight Aurealis Awards, an ABIA, has over half a million books in print and is published in over thirty five countries, most of which he has never visited. He is as surprised about all of this as you are. He is 6’7 and has approximately 11,500 days to live.

He does not believe in happy endings.

Kevin Conroy’s Final Time As Batman

By Brandon T. McClure

After the tragic passing of iconic Batman voice actor Kevin Conroy, Rocksteady Studios revealed that he had reprised his role of the Arkhamverse Batman in the upcoming video game Suicide Squad: Kill the Justice League. With no confirmed future appearances, the narrative quickly spread that this would be his final time voicing the character that defined a generation. Unfortunately for fans, this was also a video game where players had to kill Batman along with the other members of the Justice League. It wasn’t exactly the triumphant last hurrah that many wanted. But Rocksteady might have some good news to help cool down the controversy surrounding their game. It now seems like he may be appearing in at least one more DC project.

Kevin Conroy started voicing Batman in 1992 with the launch of Batman: The Animated Series (B:TAS). He went on to become the most prolific Batman voice actor, continuing to voice Batman throughout the DC Animated Universe (DCAU), making vocal cameos in unrelated Batman animated shows and films, and even playing a live-action Bruce Wayne in the five-part Arrowverse crossover event “Crisis on Infinite Earths.” To say that he’s iconic would be the understatement of the century. The role meant so much to him as he continued to pour his heart and soul into the character for more than 30 years. He was able to tell his story in the beautiful “Finding Batman” short story, illustrated by J. Bone, collected in the 2022 DC Pride Special.

In 2009, Kevin Conroy teamed up with Rocksteady Studios to star in the video game Batman: Arkham Asylum. The game became an instant classic as Conroy proved once again that he was the definitive Batman. He reprised this specific Batman two more times in Batman: Arkham City and Batman: Arkham Knight (collectively known as the Arkhamverse). As the final installment in the trilogy, Batman: Arkham Knight seemingly ends with his death. He somberly walks into his mansion seconds before it explodes with him and Alfred inside. While it was obviously meant to be a fake-out, the game was the definitive ending for this version of Batman. So it came as a major surprise when it was revealed that, not only would Kevin Conroy be voicing Batman in Suicide Squad: Kill the Justice League, but the game would be set in the Arkhamverse, set after the events of Batman: Arkham Knight

Fans were, of course, excited to get a new performance from Kevin Conroy. He and Rocksteady Studios had a great working relationship and he was probably more than happy to return. The opportunity to play an evil version of Batman (because he’s controlled by Brainiac) probably appealed to him for many reasons. But it kind of sucks that his final time voicing the character that meant so much to fans is in a game where those same fans have to kill him. Admittedly, it’s not Rocksteady’s fault, they didn’t know he was going to die when they recorded his lines. Unfortunately, due to Conroy’s passing, Rocksteady developed a target on their back. Fans were unfairly calling the game disrespectful to Kevin Conroy’s legacy. Lucky for them, IGN is now reporting that he had been able to record lines for the upcoming animated film Justice League: Crisis On Infinite Earths - Part 3.

At one point everyone at Warner Bros. wanted to do an adaptation of Marv Wolfman and George Pérez’s hugely influential comic book Crisis On Infinite Earths. Notably, the Arrowverse, which consisted of shows such as Arrow, The Flash, Legends of Tomorrow, and more, beat everyone to it. Walter Hamada, the former president of DC Films, for example, was reportedly interested in developing a big-screen adaptation with one of the various endings to The Flash (the movie) supposedly setting up that storyline. An animated version of the story was rumored for many years before it was confirmed at the 2023 San Diego Comic-Con. The original rumor was that this adaptation would bring together all the various animated universes that DC has developed over the years. 

Butch Lukic (Tomorrowverse producer) told ScreenRant that they “already were figuring out that we were going to do Crisis before [the Arrowverse] even were filming anything on their Crisis,” which puts the development of Justice League: Crisis On Infinite Earths sometime before 2019. Since Conroy passed away in 2022, it’s very likely that he was able to record some lines beforehand, depending on how far they were into production. At this time, no one at any level of WB has confirmed whether this is true or not, so it has become a waiting game. At one point, Kevin Conroy was rumored to be in the upcoming Batman: Caped Crusader, a new animated show coming from Bruce Timm, JJ Abrams, Ed Brubaker, and Matt Reeves. However, Bruce Timm recently put to bed those rumors, saying that he “did not record a voice for Caped Crusader. We were hoping to have him do a voice for the new show (and he was eager to do it) but sadly he passed away before we could make it happen.” So after Justice League: Crisis On Infinite Earths - Part 3, there will be no more surprise performances.

Kevin Conroy’s passing continues to be a source of grief in the nerd community, but it’s great that almost two years after his death there are still new performances to look forward to. So, understandably, all eyes are on Justice League: Crisis On Infinite Earths - Part 3 in a way that it hadn’t been before. The third part of the massive film series is due out by the end of the year, though no official date has been released yet. While some fans may have a bad taste in their mouths from having to kill Batman in Suicide Squad: Kill the Justice League, it’s nice to have the hope that there is one more performance waiting in the wings. IGN has explicitly said that he will play the B:TAS version of his Batman, so it’s poetic that his career may end with the character that it began with.

Out With The Old, In With The New Supergirl

By Brandon T. McClure

As Aquaman and the Lost Kingdom signals the end of the old DC Cinematic Universe (the DCEU) James Gunn continues to build his new one. Now having cast his new Superman and Lois he's turned his sights to a new Supergirl for the upcoming adaptation of Tom King and Bilquis Evely’s miniseries Supergirl: Woman of Tomorrow. While some had been hoping that Sasha Calle would be one of Gunn's returning actors like John Cena (Peacemaker) or Xolo Maridueña (Blue Beetle) it doesn't seem to be in the cards. indeed, House of the Dragon’s own Milly Alcock has landed the part.

Unlike her cousin, Supergirl doesn't have an extensive live-action history. Before Alcock, there were only four live-action Supergirls, and only two of them have been headliners, Helen Slater and Melissa Benoist. Sasha Calle was the latest to carry this torch and had the thankless job of doing it in the much-maligned The Flash. She played a version of the character in an alternate reality where Superman never came to Earth. Instead, Kara Zor-El crash-landed and was locked away by the Russian government. After being freed by Batman and the two Flashes she helps them in the battle against Zod. During this battle, she and Michael Keaton’s Batman die over and over again as the younger version of the Flash tries to go back in time to prevent it. Tragically her destiny is to die with no hope of seeing tomorrow. The lesson of the movie is she either dies or is erased from existence. It would seem that the horrific lesson at the end of The Flash has come to pass as this version of Supergirl is to be lost deep in the multiverse.

With The Flash receiving mostly negative reviews many fans and critics were quick to praise Calle as a bright spot in an otherwise cynical and arrogant film. It seemed that while many didn’t care for the film, they were interested in seeing more of Sasha Calle’s Supergirl, even if it wasn’t going to be this specific version. One of the many filmed endings of The Flash has her appear at the courthouse at the end of the film, to reassure Barry and the audience that she is alive, happy, and here to stay. As many audience members will, no doubt, remember, the film instead ends with a George Clooney cameo. The decision to use this ending had the unfortunate side effect of driving home the idea that Calle’s Supergirl only existed to die. But still, there was hope that she would get another shot.

When Gunn announced that Supergirl: Woman of Tomorrow would be getting an adaptation in his new DCU, he did not specify who would play Supergirl. Instead, he spent a year hyping up The Flash as one of the best films DC has ever made. He also would vaguely talk about how certain actors from the DCEU would continue into the new universe, as the same character. He would be coy with naming specific actors, but would, for example, mention that he was open to Ezra Miller staying on as Barry Allen. Presumably because of how much he enjoyed The Flash. So there was a glimmer of hope that Sacha Calle, who was so excited to be cast as Supergirl, would get a second chance. A chance at a better script. But sadly, she did not make the cut.

Milly Alcock has been acting since 2014 but rose to prominence when she starred as Princess Rhaenyra Targaryen in MAX’s successful Game of Thrones spin-off House of the Dragon. “I was watching House of the Dragon & thought she might have the edge, grace & authenticity we needed for the DCU’s Supergirl. And now here we are. Life is wild sometimes,” Gunn said on Threads. While many actresses auditioned for Supergirl, Alcock was apparently Gunn’s top choice and will soon grace the big screen in the first solo Supergirl film since 1984. At this time, the screenwriter for the film hasn’t been announced and no director is attached, but Deadline is reporting that she’ll appear in a DC project before making the jump to her own film. Considering the time of her casting, it’s reasonable to assume that it’ll be in Superman: Legacy, but that’s just speculation at this time. 

Gunn did make one thing clear, however: “She’s not exactly the Supergirl we’re used to seeing.” This statement is most likely about Melissa Benoist’s time as the titular superhero. While Gunn has tended in the past to downplay the Arrowverse and their contributions to the DC Universe, this statement doesn’t appear to be that. While Melissa Benoist is very beloved as Supergirl, her version of the character received criticism for being a “gender-bent” version of Superman. A perfectly valid portrayal of the character and one that was beloved by fans for six seasons. It’s clear, however, that Gunn is more interested in the ways that Clark and Kara are different, rather than similar. 

It’s unfortunate that Sacha Calle got the raw end of a bad deal when she was cast in The Flash, but James Gunn is the man in charge and shouldn’t be forced to play with versions of characters he didn’t have a hand in crafting. Milly Alcock will no doubt turn out to be a great choice for Supergirl. Tom King and Bilquis Evely’s comic has already become a classic and time will tell if the film adaptation can live up to it. Even though the live-action legacy of Supergirl isn’t as substantial as Superman’s, she has some big shoes to film. The future of Supergirl is in safe hands with her. 

Jurassic Park 7/Jurassic World 4 Is On The Way

By Brandon T. McClure

In June of 2022, the Jurassic franchise ended for a second time. Capping off the Jurassic World trilogy was Jurassic World: Dominion: a film that brought back the heroes from both trilogies to uncover the mystery around BioSyn’s involvement in a swarm of prehistoric locusts that have been plaguing the United States. Marketed as the end of the franchise, Jurassic World: Dominion made over $1 billion in the post-pandemic box office (a rarer achievement than before), which meant it wouldn’t be the end forever. Now it’s been officially confirmed that a new entry is in the works and heading full steam to its July 2, 2025 release date.

The age of the “never-ending franchise” continues as The Hollywood Reporter and the official Jurassic World Twitter account exclusively revealed that a new entry in the Jurassic franchise is in the works. THR reported that original Jurassic Park screenwriter David Koepp is returning to write this new entry. Koepp’s involvement in the franchise ended with the 1996 sequel The Lost World: Jurassic Park and has been regularly working with Steven Spielberg. His more recent screen credits include the two Indiana Jones sequels, The Mummy (The Tom Cruise one), and Kimi. Many on the internet hope Koepp’s return will herald a “back to basics” approach to the franchise or perhaps a full reboot. None of these approaches have been confirmed at this time, however, the script is far enough along that production will most likely ramp up by the summer.

When the Jurassic franchise returned in 2015 with Colin Trevorrow at the helm, Universal was upfront in its desire to launch a new trilogy of films. Because of its $1.67 Billion success, that desire easily became a reality. Trevorrow would become the most prolific creator in the franchise, co-writing all three big screen entries and directing two of them, Jurassic World and Jurassic World: Dominion (also a short film called Battle at Big Rock). He also produced the Netflix animated series Jurassic World: Campe Cretaceous and its upcoming sequel series Jurassic World: Chaos Theory which follows a group of kids during the events of the films. 

But, outside of what is likely a minor involvement in Jurassic World: Chaos Theory, Trevorrow has left the franchise. Most likely feeling that three billion dollar grossing films was enough. Long-time producers of the franchise Frank Marshall, Patrick Crowley, and, of course, Steven Spielberg are all returning, however. Spielberg's involvement is not surprising since he’s been a producer on every entry. While creatively, he hasn’t been too involved since the second film, he prefers to keep a close eye on the franchise he launched in 1993. Internally this new film is being described as a “new Jurassic era” that will tell an all-new story. 

Currently, no director is attached, but with an ambitious release date, Universal is eager to find one. Deadline reported that Universal was in talks with David Leitch to direct this new entry. Leitch was a stunt performer before turning to directed and launched his own successful franchise with Chad Stahelski, John Wick. Since then, Leitch has directed purely action films like Bullet Train, Deadpool 2, and Atomic Blonde. He’s currently ramping up for the release of his latest feature, The Fall Guy for Universal Studios. Leitch seems to have a good relationship with Universal Studios since he directed Fast & Furious Presents: Hobbs & Shaw for them in 2019. He and his partner Kelly McCormick currently have a first-look deal with them, which is likely why he’s on their radar for Jurassic Park/World. But talks broke down. Universal is reportedly looking for someone to quickly shoot the film rather than someone with creative input. One source told THR that “there’s not enough time to work with new ideas.” Pre-production is far enough that Universal doesn’t believe another creator's input is necessary, so this will make the search for one a little difficult going forward.

The end of the second Jurassic World film, Jurassic World: Fallen Kingdom saw the dinosaurs freed from the confines of their island and able to roam the world freely. Striking visuals of various Dinosaurs in populated locations became instantly iconic. But Jurassic World: Dominion seemed wholly uninterested in playing with this new status quo. The film, instead, decided to tell a story about BioSyn (InGen’s competitor from the book making their first film debut) sending prehistoric locusts out into the world to eat various crops and cause a food shortage that only they could fix. There was admittedly more to the bloated plotline of the final film, but the bottom line is that it left people interested in seeing a world interact with dinosaurs disappointed, for the most part.

While the Jurassic franchise has been divisive since it returned in 2015, the general audience still led the three films to make over $3 Billion collectively. Some fans may be disappointed to hear this, but there’s no way the new film would ignore the previous three. Not only that but a new installment is releasing this year with Jurassic World: Chaos Theory. This new show is a sequel series to Jurassic World: Camp Cretaceous and seems to be set around the time of Jurassic World: Dominion. All signs point to Universal being interested in continuing the world as it was left in the final film, regardless of whether it will be a “new story.” In this instance, a new story could just mean that it will be unrelated to the characters seen in prior films. Indeed, it’s been wildly reported that Chris Pratt, Bryce Dallas Howard, and the original trilogy cast are not being asked to return and reprise their roles.

It doesn’t seem to make sense that this new film will be a “back to basics” approach, even though Koepp’s involvement appears to imply one. If this new film is a continuation of Jurassic World: Dominion then this could finally be the film that tackles the narrative potential of seeing a world having to readapt to dinosaurs living among them. Being free from Owen Grady and Claire Dearing, also allows the filmmakers to tell a new story with new characters while playing in the sandbox that was left for them. While it seems a little silly that we’re staring down the barrel of a seventh installment, David Koepp at the helm suggests that the reports of its extinction were greatly exaggerated.