Tag: TV

  • REVIEW: ‘She-Hulk: Attorney at Law’ Episode 3

    REVIEW: ‘She-Hulk: Attorney at Law’ Episode 3

    She-Hulk: Attorney at Law finally gets into its full groove in its third episode, and the result is the series’ best episode by far. By being able to embrace the half-hour story format, the show capitalizes on its concept and various parts to create some memorable and enjoyable television. But at the end of the day, Episode 3 is simple: it is wholeheartedly hilarious and full of constant literal laugh-out-loud moments.

    With Wong’s introduction, the show once again proves it has strong connections to the MCU that it uses to enhance She-Hulk. The legal case-by-case structure essentially gives the show—apart from Jen’s overarching personal journey—the substance and story it needs on a weekly basis without the weight or pressure of actually needing a heavy overarching premise. There are clear breadcrumbs to a larger plot on the horizon, notably with the Asgardian construction worker-inspired Wrecking Crew that tried to take a sample of She-Hulk’s blood for “the boss.” But that tease is quite frankly the least interesting part of the episode by far.

    The focus on smaller-scale stories also gives She-Hulk the space it needs to be genuinely funny and a pure comedy. Without the mandate of a slowly unraveling “main story”, each episode can just simply be enjoyed for what it is. The series can take elements, like Wong, from the greater universe and frame them in its own comedic lens without having to take on any responsibility for the true development of those characters or elements outside of this specific series. The cast, particularly the supporting cast, proves itself to be a formidable comedic vehicle when the narrative gives them the screen time. Josh Segarra’s Pug and Drew Matthews’ Dennis Bukowski handle the B-story without a problem and put in some of the best performances of the episode.

    The pure absurdity contained in some of She-Hulk’s source material and comics generally is often not explored in live-action projects because it is—exactly—absurd. Phase 4 in general has been letting itself delve into that weirdness, but this series probably embraces the weird more than any other project. The simple joy of watching the “everyday life” of a Hulk and the Sorcerer Supreme along with the trivial and silly adventures they get into is virtually never part of the usual MCU experience. By not taking everything so seriously, She-Hulk gets to exist and breathe on its own, unique scale. But its resources make the small-scale stories feel much more exciting than if the revolving door of characters and clients was entirely new or bland. The show, through its connections to cameos and references, has an anchor in the MCU that keeps it from drifting into forgettable waters.

    She-Hulk: Attorney at Law’s third episode sees the series transform into what it is intended to be. Where the first two episodes jogged, Episode 3 sprints. The show is fully self-aware, and even directly calls out misogynistic patterns that surround female superheroes and woman-led projects, particularly on social media. She-Hulk has nothing to prove to those who cannot handle the concept of a “She”-Hulk getting attention. For the rest of the world, this episode proves that the series is a hell of a good time.

  • ‘She-Hulk’ Episode 3 Includes A Potential Captain America Connection

    ‘She-Hulk’ Episode 3 Includes A Potential Captain America Connection

    Through three episodes She-Hulk has already made a habit of sneaking in comic book characters and Easter eggs in addition to tying itself into all corners of the MCU. The A plot of Episode 3, “The People vs. Emil Blonsky”, focused on one of the MCU’s oldest villains in Tim Roth’s the Abomination and, in doing so, may have brought a Captain America connection to light.

    Episode 3 picks up right where Episode 2 left off with Jen confronting Blonsky about his breakout from prison, which was captured on camera and has become national news. Since Jen was working on Blonsky’s potential parole, the footage is kind of an issue. Jen’s status as a female superhero lawyer and the bad news footage of Blonsky fighting Wong quickly become talking points for all the talking heads of the world (the writers created a WONDERFUL satire of the real world in this episode), including one by the name of Jefferson Coop, played by Mahdi Cocci. As part of his show, The Conversation, Coop interviews the prosecutor who put Blonsky behind bars all those years ago after his rampage in Harlem. And, as it turns out, that prosecutor has some big-time connections!

    The prosecutor, played by Jason Turner, goes by the name of Gideon Wilson. In the comics, Gideon Wilson is the name of both Sam Wilson’s brother who has some pretty significant connections to gamma-related characters. While Sam’s sister, Sarah, was introduced in The Falcon and The Winter Soldier, no mention was made of another sibling. Like in the comics, the Wilsons were born in Harlem, however, it has also been established that they moved to Louisiana where they were raised. While it’s not made clear in the episode if Gideon is indeed Sam’s brother, it’s possible he moved back to Harlem to pursue his law career where he was born. So for now it’s best to take it as a cool Easter egg and keep an eye on whether or not Gideon pops back up in the future. Either way, Jessica Gao and company certainly have displayed a knack for dropping in some wonderful comic book connections!

  • REVIEW: ‘Stargirl’ Season 3 Premier-“The Murder”

    REVIEW: ‘Stargirl’ Season 3 Premier-“The Murder”

    Blue Valleys’ resident superhero is back! The third season of Stargirl is setting up what looks to be a much more character-focused, slow burn compared to previous seasons. The Frenemies theme teased towards the end of the second season makes things feel a whole lot more personal this season and the dynamics that it brings into this chapter could be the most enticing aspect of the season, as it feels like it’s the only thing really going on.

    Season 3 brings quite a few familiar faces back into the spotlight, with characters such as Sportsmaster, Tigress, Gambler, and the long-awaited arrival of Joel McHale as Sylvester Pemberton, who returned at the tail end of Season 2 after being teased over the course of the past two seasons. Pemberton’s return brings the dynamic between him and Courtney into focus, bringing up the question as to how the two would be able to co-exist as the only two who’ve ever been able to wield the cosmic staff. Courtney is obviously a bit hesitant but eager to learn more about the cosmic staff from the old hero.

    Courtney has gone on to make a life in Blue Valley as Stargirl with the support of both her family and her friends; Sylvester never properly gave up the mantle and of course, his first notion would be to find the staff as its really all he ever knew, he lived and breathed those cosmic rays until he was put six feet under by Icicle. The whole mystery behind his return is still a bit murky, with Sylvester speculating that the staff may have made him almost immortal with the energy it radiates.

    Courtney has always been the show’s strongest character, which is a good thing when she is your title character, and the hatchet burying this season really allows room to explore the heights and limits of her heroic nature. We get to see these limits put to the test as she must juggle working alongside Cindy Burman after facing the consequences of releasing Eclipso. Courtney works as the glue, the optimist amongst the few who don’t trust as easily as she does. Cindy’s inclusion in the Justice Society obviously leaves some members feeling a bit uneasy about the situation, as they believe she doesn’t deserve redemption.

    The end of the episode provides quite the revelation. The Gambler’s return is quickly shuttered, as the retired Injustice Society member is cut down by a mysterious assailant, just after discovering a system of cameras had been setup around Blue Valley. These cameras are likely monitoring the town for what could only be the experiment teased by Mister Bones at the end of season 2.

  • ‘House of the Dragon’ Loses Showrunner, Adds ‘Game of Thrones’ Veteran for Season 2

    ‘House of the Dragon’ Loses Showrunner, Adds ‘Game of Thrones’ Veteran for Season 2

    Here’s a shocking twist but the currently biggest show on television and streaming, House of the Dragon, has just lost one of its showrunners. Director Miguel Sapochnik is stepping down from the project. It seems the reason is mostly due to investing three years into the prequel series but it seems Ryan Condal will remain as the series’ now-sole showrunner moving forward. George R.R. Martin is still actively involved as a consultant.

    Sapochnik has shared the following statement on his departure:

    Working within the Thrones universe for the past few years has been an honor and a privilege, especially spending the last two with the amazing cast and crew of House of the Dragon. I am so proud of what we accomplished with season 1 and overjoyed by the enthusiastic reaction of our viewers. It was incredibly tough to decide to move on, but I know that it is the right choice for me, personally and professionally. As I do so, though, I am deeply comforted to know that Alan will be joining the series. He’s someone I’ve known and respected for a long time, and I believe this precious series could not be in safer hands. I am so glad to remain a part of the HBO and House of the Dragon family and, of course, I wish Ryan and his team success and all the best with season 2 and beyond.

    Miguel Sapochnik

    Not all is grey, as Sapochnik has a first-look deal with HBO and will be developing other projects. He also still has an executive producer role on House of the Dragon. It also seems like they have added a new director for the upcoming second season, as Game of Thrones veteran, Alan Taylor, will also join in with an additional executive producer role. He is set to tackle multiple episodes in the second season, but there’s no definite statement.

    Source: The Hollywood Reporter

  • Marvel Studios Paid a “Heavy Price” for the 90s X-Men Theme Song

    Marvel Studios Paid a “Heavy Price” for the 90s X-Men Theme Song

    The X-Men finally returned home when Disney purchased 20th Century Fox and while their Marvel Cinematic Universe debut is still some time away, we will still get the revival series for the 90s X-Men: The Animated Series titled X-Men ’97. Marvel Studios has used the iconic theme in some places to tease the eventual growing return of the mutants, but it seems getting their hands on it wasn’t so easy.

    As revealed during a panel at Pennsylvania’s Steel City Convention, consultant Eric Lewald hinted that they paid a “heavy price” to get the rights back to that iconic theme song. To use it for the upcoming X-Men revival series and in the MCU, they had to negotiate with a second person holding the rights according to Lewald, who stated that:

    “[The X-Men: The Animated Series theme song] wasn’t a done deal necessarily when they were producing the new show. The rights were all over the place. I think a secondary person had the rights to the music, so it was a negotiation for them. Obviously, you can’t do the new show without that song. But the guy selling it knew the same thing, so I’m sure it was a heavy price.

    Eric Lewald

    It’s no wonder that they’ve decided to use it as often as they could. While some made statements that it was for nostalgia bait reasons, it not only offers a memorable cue to connect any mutant joining the franchise but you’d also want to make use of something you paid quite a bit for.

    Source: ComicBook.com

  • Ratings for Second Seasons of ‘Loki’, ‘What If…?’ Confirmed

    Ratings for Second Seasons of ‘Loki’, ‘What If…?’ Confirmed

    Aside from outliers like Ms. Marvel’s TV-PG rating, the standard rating for Marvel Studios Disney+ shows has remained TV-14, essentially PG-13. Marvel Cinematic Universe films, of course, have also traditionally held the PG-13 rating since the MCU began in 2008’s Iron Man.

    Still, fans lately have been keen on tracking ratings for projects as the MCU expands past the Infinity Saga. For example, all hopes and expectations are on an R-rated Deadpool 3, Marvel Studios announced that the animated series Marvel Zombies would be its first TV-MA-rated show at San Diego Comic-Con 2022.

    Unsurprisingly, though, the traditional trend continues with newly revealed ratings for Loki’s next season and What If… ? Season 2. Ahead of Disney+ Day and D23, the ratings for both shows have been revealed to be TV-14. Again, given that this is the second season of an ongoing show, these ratings shouldn’t be shocking. But at least fans won’t have to worry about them being less or more mature.

    It will be interesting to watch whether and when Marvel Studios creates other shows outside of its TV-14 comfort zone, like Ms. Marvel and Marvel Zombies. Fans of traditionally more mature characters like Deadpool or Blade, and fans of the darker Netflix Marvel television series like The Punisher are eager to see how Marvel Studios expands its audience going forward.

    For the time being, fans will have to wait until Disney+ Day on Thursday, September 8 and Marvel Studios’ D23 presentation on September 10 to find out more.

    Source: The Direct

  • ‘She-Hulk: Attorney at Law’ From Page to Screen: Episode 2

    ‘She-Hulk: Attorney at Law’ From Page to Screen: Episode 2

    Welcome back to another installment of She-Hulk: Attorney at Law From Page to Screen. Last week, we looked at the differences between the comics’ and series’ versions of Jennifer Walters becoming She-Hulk as seen in the first episode. In Episode 2, viewers got a live-action introduction to Jen’s new legal job, taken straight out of Dan Slott’s and Juan Bobillo’s 2004 She-Hulk run—Goodman, Lieber, Kurtzberg & Holliway (GLK&H).

    ‘She-Hulk’ #1 (2004)

    The Hiring/Firing

    Both She-Hulk #1 (2004) and She-Hulk Episode 2 feature a specific moment. In the comics, Jen is hired by Holden Holliway in a bar. There, she transformed back into Jen from She-Hulk after drinking and was immediately drunk. The live-action series adapted this moment, though not when she was being hired. Instead, Jen explains her “different metabolism” when drunkenly being fired from her job at the District Attorney’s Office.

    The series also interestingly reversed Jen’s presence in the GLK&H office. In the series, Holliway asks her to be in She-Hulk form to be the face of the division. Jen is upset because she feels more comfortable in her human form. In the comics, however, Jen is much more comfortable in She-Hulk form, but Holliway asks that she always be in Jen form for work. It makes sense that the series would want to spend more time with She-Hulk herself, so the reverse of the comics’ situation suits where Jen’s story is currently at.

    ‘She-Hulk’ #1 (2004)
    ‘She-Hulk’ #1 (2004)
    Marvel Studios ‘She-Hulk: Attorney at Law’ Episode 2
    Marvel Studios ‘She-Hulk: Attorney at Law’ Episode 2
    Marvel Studios ‘She-Hulk: Attorney at Law’ Episode 2
    ‘She-Hulk’ #1 (2004)
    ‘She-Hulk’ #1 (2004)

    Superhuman Law Division

    The most important aspect of GLK&H in all media is, of course, the fact that the firm has a superhuman law division. While it will likely change over the course of She-Hulk, a difference between the comics and the series is obvious through Jen’s first tour of the firm. In She-Hulk #1 (2004), GLK&H’s superhuman division has been flourishing for some time. Doctor Strange is involved in negotiations while Jen starts her first day. The Marvel Cinematic Universe’s history with superhumans in society is much shorter than the comics’. She-Hulk seems to be actively moving the live-action world forward, but for the time being, GLK&H’s superhuman law division is relatively empty of superhumans. But Jen’s meeting with Emil Blonsky, aka The Abomination, is already showing the series’ potential to get as absurd as the comics.

    Another GLK&H superhuman law division component appears on the page and screen. In Episode 2, Augustus “Pug” Pugliese introduces himself by walking in the door. Pug is a character directly from She-Hulk (2004), and he also introduced himself while walking into the room there too. It’s a minor detail, but nonetheless, something the mediums shared. Pug is another lawyer in Jen’s division at GLK&H, and has been a neighbor and roommate to her in the comics. It has yet to be seen how large of a role Pug will play in She-Hulk, but he becomes a close friend (and one-way love interest) during his comics story.

    She-Hulk: Attorney at Law is now streaming on Disney+.

  • REVIEW: ‘House of the Dragon’ Episode 2

    REVIEW: ‘House of the Dragon’ Episode 2

    TWISTS! TWISTS! TWISTS!

    Twist of the episode, and the series so far, is that Viserys chose Alicent to be his new queen, instead of Laena Velaryon. Viserys’ reasoning, besides trying to spite Corlys, is that Laena is “too old.” Yeah, let’s go with the 15-year-old instead of the 12-year-old! The plot is showcasing some other motivations other than age and spite. Otto, the Hand and father to Alicent, tries to alienate Viserys from other players. For example, when Viserys brings up Corlys’ and Rhaenys’ marriage proposal, he immediately says that this is an overstep and should have been brought up to the council directly. Viserys is showing signs that he’s recognizing the overreach with his reply that “that’s what I am doing presently.” That still doesn’t stop Viserys from choosing Alicent, who was prodded to comfort the king by her father. Another motivation by Viserys for choosing an older wife would be that these Iron Throne cut wounds aren’t healing. Time may be short for King Viserys.

    Now, Corlys and Rhaenys do have another son named Laenor, of similar age to Rhaenyra. Perhaps Viserys could make amends with his Velaryon cousins with a betrothal between those two?

    SEEDS OF WAR

    Alicent and Otto don’t plan for the new queen to just be a happy wife to Viserys, right? Marriage leads to children, and how are these kids going to feel about being after a woman, Rhaenyra, in the line of succession? The show is keeping these kiddos hidden very well, especially with the time jump that is coming to age them up. Rhaenyra wasn’t exactly thrilled about Alicent being chosen as queen, especially with them growing up as childhood friends.

    DRAGONSTONE

    Daemon and Mysaria caused some ruckus on Dragonstone, and it turned out to all be for nothing! Daemon drew some Valyrian steel and ended up handing over the dragon egg he stole without a hitch. In the books, Mysaria actually was pregnant and was forced by Viserys to send Mysaria and her unborn child across the Narrow Sea. The ship hit a storm, Mysaria lost her child, and Daemon was angry with his brother for a long, long time. The big change is that she’s just chilling with him and her only want is to be liberated from fear.

    STEPSTONES

    Time to see some more Dragonfire third-degree burns! Corlys will lead the navy, while Daemon will fight from the skies on Caraxes. If you remember, the first season of Game of Thrones didn’t include any major battles on screen; in fact, Tyrion was knocked out and missed what would have been the biggest one. That was due to budgetary concerns, which House of the Dragon does not have. Expect a full spectacle on this. Crab man is living on borrowed time.

    Two episodes in and we still haven’t even touched the actual timeline where the Dance of the Dragons takes place. House of the Dragon is taking its time and, in doing so, has put together two killer episodes.

  • ‘House of the Dragon’s Viewership Grew With Episode 2

    ‘House of the Dragon’s Viewership Grew With Episode 2

    Now this isn’t something you see every day but it looks like the second episode of House of the Dragon has seen an increase from its processor. That isn’t something you usually see with ongoing TV shows; the norm is normally for them to start losing viewership as the season goes on. To top it off, the increase follows HBO and HBO Max’s biggest debut ever which stood at 10M. It even went on to grow to 20M according to the network.

    The difference isn’t a large one, as it’s a 2% increase from the premiere episode but it is still 10.2M viewers. To put that into comparison, the Game of Thrones premiere was at 4.2M back in 2011 and highlights just how big this franchise has become over time. It’s not quite close to the Season 8 viewership which stood at 17.9M when it first premiered but that was also after the show continued to build up momentum going into its final season.

    That did see a decrease down to 10.3M in its second episode. So, an actual increase shows that viewers are quite happy with House of the Dragon so far. It’ll actually be interesting to see if that viewership number continues to grow over time, especially once we near the season finale. The series has already received an early season 2 renewal which isn’t a surprise given just how large its debut was but no matter what, it looks like more Game of Thrones is a sure thing moving forward.

    Source: Variety

  • Marvel Studios Has a Supervisor for the MCU Timeline

    Marvel Studios Has a Supervisor for the MCU Timeline

    There’s an ongoing curiosity about what exactly the timeline looks like for the Marvel Cinematic Universe. There was always the question of someone responsible for keeping an overview on how exactly every new entry fits into the timeline, especially with the newly added Disney+ series adding even more new heroes and possible timeline windows. Well, She-Hulk head writer Jessica Gao has revealed that they do have someone who keeps the timeline in check.

    In an interview with The Direct, Gao reveals that there is someone who is responsible for tracing the timeline of the MCU. It seems that they had to repeatedly check in with them to ensure where exactly their show takes place, which she reveals is a few years after Avengers. Endgame.

    It’s definitely after– post-Endgame. There actually is a Marvel person whose job it is to trace the timeline of everything. And we checked with him a lot about where the timing is. And so it’s like… the show is a few years after Endgame.

    Jessica Gao

    It’s definitely a curious reveal and great to know that Marvel Studios are keeping a close eye on how exactly these projects fit on their timeline. With the expansion into the multiverse, it seems their job must’ve gotten quite a bit more complicated but sadly it seems unlikely we’ll ever get to see it. Spider-Man director Jon Watts has also pointed out that he was presented with a scroll. Maybe one day we’ll get to see it as well.

    Source: The Direct