- Published on
Sweet mother of dragons! Are you telling me that I'm going to have to convince the wifey to allow me to subscribe to another streaming service?!
That just may be the case as Arrow's subscription service continues to -- much like their home video releases -- blow the competition out of the water with incredible films, documentaries, and features the likes of which has them cornering the market on behind-the-scenes content. Though some of the titles might be a bit obscure, those typically have the makings of some special experiences for those of us who like stories a bit 'different' in our regular entertainment diet. February -- which is just around the corner, for those of you not paying attention -- looks to have a gangbuster line-up, including some old and new releases that sound dynamic.
Rather than belabor the point, let me go ahead and do the usual cut-and-paste below, so you can get it straight from the horse's mouth just what is waiting for you if you subscribe. I dare you -- no, I triple dog dare you -- not to read on.
As always, thanks for reading ... and live long and prosper!
-- EZ
That just may be the case as Arrow's subscription service continues to -- much like their home video releases -- blow the competition out of the water with incredible films, documentaries, and features the likes of which has them cornering the market on behind-the-scenes content. Though some of the titles might be a bit obscure, those typically have the makings of some special experiences for those of us who like stories a bit 'different' in our regular entertainment diet. February -- which is just around the corner, for those of you not paying attention -- looks to have a gangbuster line-up, including some old and new releases that sound dynamic.
Rather than belabor the point, let me go ahead and do the usual cut-and-paste below, so you can get it straight from the horse's mouth just what is waiting for you if you subscribe. I dare you -- no, I triple dog dare you -- not to read on.
As always, thanks for reading ... and live long and prosper!
-- EZ
ARROW Offers Classic and Cutting Edge Cult Cinema
February 2022 Lineup Includes Laguna Ave
Outlandish Sci-Fi Comedy Starts Streaming February 1, 2022
Alongside The Sleeper Must Awaken: Making Dune
Feature-Length Doc on Lynch's Divisive Space Epic
February 2022 Seasons:
Vinegar Syndrome Collection Vol 1, Man/Machine,
Gareth Evans Selects, Kick-Start My Heart,
The Curse of True Love
Praise for Laguna Ave
“Machine-metal sci-fi horror meets modern angst and anxiety”-- Horror Buzz
“A gonzo, wild adventure” -- The Hollywood News
February 2022 Lineup Includes Laguna Ave
Outlandish Sci-Fi Comedy Starts Streaming February 1, 2022
Alongside The Sleeper Must Awaken: Making Dune
Feature-Length Doc on Lynch's Divisive Space Epic
February 2022 Seasons:
Vinegar Syndrome Collection Vol 1, Man/Machine,
Gareth Evans Selects, Kick-Start My Heart,
The Curse of True Love
Praise for Laguna Ave
“Machine-metal sci-fi horror meets modern angst and anxiety”-- Horror Buzz
“A gonzo, wild adventure” -- The Hollywood News
London, UK - Arrow Video is excited to announce the February 2022 lineup of their new subscription-based ARROW platform, available to subscribers in the US, Canada, the UK and Ireland.
The February 2022 lineup leads with the ARROW release of David Buchanan's surrealist mayhem feature Laguna Ave, available to subscribers in the US, Canada, the UK, and Ireland. The film will debut on ARROW February 1 with a host of exclusive extras.
The February 2022 lineup leads with the ARROW release of David Buchanan's surrealist mayhem feature Laguna Ave, available to subscribers in the US, Canada, the UK, and Ireland. The film will debut on ARROW February 1 with a host of exclusive extras.
February 1 will see the exclusive debut of Laguna Ave (UK/US/CA/IRE), David Buchanan's black and white bizarre comedy and The Sleeper Must Awaken: Making Dune (UK/US/CA/IRE), a feature-length documentary exploring the making of David Lynch's film, featuring dozens of new and archive interviews with the cast and crew of the 1984 cult classic. Also available February 1 are Angel (UK/US/CA/IRE), Avenging Angel (UK/US/CA/IRE), Spookies (US/CA), Pledge Night (US/CA), Blood Harvest (UK/US/CA/IRE), The House of the Dead (UK/US/CA/IRE), Demon Wind (US/CA), and Night Train to Terror (UK/US/CA/IRE).
February 1 begins this month's Seasons with Vinegar Syndrome Collection Volume I (UK/US/CA/IRE).
Vinegar Syndrome restore and distribute genre and underground films, mostly those produced between the 60s and 80s, to ensure that these kinds of movies - that would typically be neglected or at the back of the line when it comes to film preservation - aren’t lost to the passage and ravage of time and the “vinegar syndrome”: the chemical reaction that destroys celluloid film.
Titles include: Angel, Avenging Angel, Blood Harvest, The House of the Dead, and Night Train to Terror.
February 7 assembles a new Season with Man/Machine (UK/US/CA/IRE).
The fusion of flesh and metal; the forcing together of a human being with cold hard steel to create something new, something other, something cybernetic: a Man/Machine. Russell gets a taste of the power and pleasure caused by mechanically augmenting his body in Laguna Ave, and, if after watching David Buchanan's hilarious hangout cyber horror, your interest has also been piqued, then put down those pliers for a sec and beam our season of biomechatronic movies into your visual receptors first - because you might then decide you're better off steering clear of any artificial improvements or VR dalliances.
Titles include: Laguna Ave, Tetsuo: The Iron Man, Jesus Shows You the Way to the Highway, Burst City, and Dead or Alive: Final.
On February 11, ARROW hands the keys to the kingdom to filmmaker Gareth Evans (Apostle, Havoc) with Gareth Evans Selects (UK/US/CA/IRE). Evans is the writer-director of the explosive The Raid and The Raid 2, a fan favorite segment in V/H/S 2, the chilling folk horror Apostle starring Dan Stevens, this year's Havoc starring Tom Hardy, and a creator, writer and director of last year’s acclaimed summer TV sensation "Gangs of London".
ARROW is extremely proud and pleased to present to you Gareth Evans Selects, Evans' carefully picked favorites from the ARROW vault. Full of classics and deep cuts from the length and width of ARROW’s spectrum, every selection is a firecracker - so you should most definitely choose to put an evening, or ten, in his hands.
Selections include: A Snake of June, Dark Water, Versus, Audition, and The Ballad of Narayama.
February 1 begins this month's Seasons with Vinegar Syndrome Collection Volume I (UK/US/CA/IRE).
Vinegar Syndrome restore and distribute genre and underground films, mostly those produced between the 60s and 80s, to ensure that these kinds of movies - that would typically be neglected or at the back of the line when it comes to film preservation - aren’t lost to the passage and ravage of time and the “vinegar syndrome”: the chemical reaction that destroys celluloid film.
Titles include: Angel, Avenging Angel, Blood Harvest, The House of the Dead, and Night Train to Terror.
February 7 assembles a new Season with Man/Machine (UK/US/CA/IRE).
The fusion of flesh and metal; the forcing together of a human being with cold hard steel to create something new, something other, something cybernetic: a Man/Machine. Russell gets a taste of the power and pleasure caused by mechanically augmenting his body in Laguna Ave, and, if after watching David Buchanan's hilarious hangout cyber horror, your interest has also been piqued, then put down those pliers for a sec and beam our season of biomechatronic movies into your visual receptors first - because you might then decide you're better off steering clear of any artificial improvements or VR dalliances.
Titles include: Laguna Ave, Tetsuo: The Iron Man, Jesus Shows You the Way to the Highway, Burst City, and Dead or Alive: Final.
On February 11, ARROW hands the keys to the kingdom to filmmaker Gareth Evans (Apostle, Havoc) with Gareth Evans Selects (UK/US/CA/IRE). Evans is the writer-director of the explosive The Raid and The Raid 2, a fan favorite segment in V/H/S 2, the chilling folk horror Apostle starring Dan Stevens, this year's Havoc starring Tom Hardy, and a creator, writer and director of last year’s acclaimed summer TV sensation "Gangs of London".
ARROW is extremely proud and pleased to present to you Gareth Evans Selects, Evans' carefully picked favorites from the ARROW vault. Full of classics and deep cuts from the length and width of ARROW’s spectrum, every selection is a firecracker - so you should most definitely choose to put an evening, or ten, in his hands.
Selections include: A Snake of June, Dark Water, Versus, Audition, and The Ballad of Narayama.
On Valentine's Day, February 14th, Cupid puts ARROW in his bow with two Seasons that will shoot audiences straight in the heart.
Kick-start My Heart (UK/US/CA/IRE)
Action films are a different breed on ARROW. Our blow-em-ups go further than you could ever imagine and contain wilder and crazier carnage, genre crossovers and plot turns than your eyes and mind can manage. So if you’re sick of seeing hearts and flowers everywhere this Valentine’s season, turn up the volume and forget any heartaches or breaks with a selection of wild action movies unlike any you’ve seen before.
Titles include: The Zero Boys, Wolf Guy, White Fire, Blood Tide, and Bad Black.
The Curse of True Love (UK/US/CA/IRE)
The bard said that “the course of true love never did run smooth”, but we bet Shakespeare could never have imagined in his wildest midsummer night's dream what that would mean here on ARROW. We can be soppy romantics at this time of year too, and there are some genuinely stirring, sweet and tender love stories in this selection, but our lovey-dovey offerings may also have the odd monster, murder, zombie or ghost too.
Titles include: A Ghost Waits, Zombie for Sale, Manon, Marty Loves Katie, and The Love of a Woman.
February 18th bites into Dan Curtis' Dracula (UK/US/CA/IRE), the 1974 TV movie adaptation from the creator of "Dark Shadows".
February 21st caps this month's lineup with two films for North American subscribers. Next of Kin (US/CA): When a young woman inherits a creaky retirement home, she'll find herself in a waking nightmare of murder, madness and a legacy of evil that may be inescapable.The atmosphere is deepened by an intense synth score by Klaus Schulze of Tangerine Dream.
Turkey Shoot (US/CA): In a totalitarian near future, defiant citizens are labeled "deviants" and sentenced to brutal "behavior modification" camps. But when new prisoners Anders and Walters are chosen as human prey for rich people to hunt, they will be thrust into a nightmare of depravity, dismemberment, the insane hungers of a deformed cannibal circus freak, and more.
Kick-start My Heart (UK/US/CA/IRE)
Action films are a different breed on ARROW. Our blow-em-ups go further than you could ever imagine and contain wilder and crazier carnage, genre crossovers and plot turns than your eyes and mind can manage. So if you’re sick of seeing hearts and flowers everywhere this Valentine’s season, turn up the volume and forget any heartaches or breaks with a selection of wild action movies unlike any you’ve seen before.
Titles include: The Zero Boys, Wolf Guy, White Fire, Blood Tide, and Bad Black.
The Curse of True Love (UK/US/CA/IRE)
The bard said that “the course of true love never did run smooth”, but we bet Shakespeare could never have imagined in his wildest midsummer night's dream what that would mean here on ARROW. We can be soppy romantics at this time of year too, and there are some genuinely stirring, sweet and tender love stories in this selection, but our lovey-dovey offerings may also have the odd monster, murder, zombie or ghost too.
Titles include: A Ghost Waits, Zombie for Sale, Manon, Marty Loves Katie, and The Love of a Woman.
February 18th bites into Dan Curtis' Dracula (UK/US/CA/IRE), the 1974 TV movie adaptation from the creator of "Dark Shadows".
February 21st caps this month's lineup with two films for North American subscribers. Next of Kin (US/CA): When a young woman inherits a creaky retirement home, she'll find herself in a waking nightmare of murder, madness and a legacy of evil that may be inescapable.The atmosphere is deepened by an intense synth score by Klaus Schulze of Tangerine Dream.
Turkey Shoot (US/CA): In a totalitarian near future, defiant citizens are labeled "deviants" and sentenced to brutal "behavior modification" camps. But when new prisoners Anders and Walters are chosen as human prey for rich people to hunt, they will be thrust into a nightmare of depravity, dismemberment, the insane hungers of a deformed cannibal circus freak, and more.
Laguna Ave.: Russell, a burned-out television editor and middle-aged slacker with a prosthetic hand futilely searches for work in Hollywood's brutal, exploitative underbelly. His former boss owes him money, his partner Rita is always out of town and inaccessible, and his new downstairs neighbor, Gary keeps him awake at night with mysterious, disturbing noises. But everything changes one evening when Gary pays Russell a visit introducing him to a sinister world of an accelerationist conspiracy.
The brand new feature-length documentary The Sleeper Must Awaken: Making Dune chronicles the creation of David Lynch’s 1984 adaptation of Frank Herbert’s beloved sci-fi epic which starred Kyle MacLachlan, Patrick Stewart, Sean Young, Virginia Madsen, Brad Dourif, Jürgen Prochnow, Max von Sydow and Sting.
Containing dozens of new interviews, as well as archival interviews with Frank Herbert, David Lynch and members of the cast and crew, The Sleeper Must Awaken exhaustively explores the making of Dune from the well-known, and not so well-known earlier attempts to bring the story to the screen, to Lynch’s troubled production - examining every single element from script development to the shoot to post-production and the film's release.
Gain new insight into Dune, a film dubbed a “failure” by Lynch, but that went on to become a cult classic which we are still captivated by and talking about to this day, through the fascinating full-length making-of, The Sleeper Must Awaken: Making Dune.
Containing dozens of new interviews, as well as archival interviews with Frank Herbert, David Lynch and members of the cast and crew, The Sleeper Must Awaken exhaustively explores the making of Dune from the well-known, and not so well-known earlier attempts to bring the story to the screen, to Lynch’s troubled production - examining every single element from script development to the shoot to post-production and the film's release.
Gain new insight into Dune, a film dubbed a “failure” by Lynch, but that went on to become a cult classic which we are still captivated by and talking about to this day, through the fascinating full-length making-of, The Sleeper Must Awaken: Making Dune.
Head over to ARROW to start your 30 day free trial.
Subscriptions are available for $4.99 monthly or $49.99 yearly.
ARROW is available in the US, Canada, the UK and Ireland on the following Apps/devices: Roku (all Roku sticks, boxes, devices, etc), Apple TV & iOS devices, Android TV and mobile devices, Fire TV (all Amazon Fire TV Sticks, boxes, etc), and on all web browsers at https://www.arrow-player.com.
ARROW Essentials curates collections based on genre, decades and themes; and ARROW Stories takes a fresh look at the world of film and TV with exclusive documentaries, interviews and video essays diving deeper into the many curated seasons and titles on the platform for a richer and deeper viewing experience.
With a slickly designed and user-friendly interface, and an unparalleled roster of quality content from westerns to giallo to Asian cinema, trailers, Midnight Movies, filmmaker picks and much, much more, ARROW is the place to go for the very best in on-demand entertainment.
From Arrow Films, a recognized world-leader in curation and creation, ARROW (previously known as Arrow Video Channel) is a premium platform giving audiences an unparalleled viewing experience across multiple devices, so fans can explore the films and TV shows that the Arrow brand is famous for.
Specially curated by members of the ARROW team, ARROW is home to premium film and TV entertainment, exclusive new premieres, cutting edge cinema, international classics and cult favorites - such as the works of Lars Von Trier, Brian De Palma, Dario Argento, David Cronenberg and Park Chan-wook, and brand-new short films from both new and established filmmakers.
In the coming months, ARROW will be adding Oscar-winning hits, European classics, Asian cinema masterworks, rediscovered Westerns, offbeat gems and much more as part of ARROW’s international strategy to support and celebrate the medium of film.
ARROW is also home to ARROW Stories - an ever-growing collection of interviews, trailers, documentaries and additional extras, both newly created exclusives for the service and from the company's extensive archives. The service will be updated regularly with fresh content, new curation focuses and never-before-seen content, all selected by the ARROW team as well as the filmmakers themselves. With a slickly designed and user-friendly interface ARROW is the new alternative place to go for the very best in On-Demand entertainment.
ARROW Essentials curates collections based on genre, decades and themes; and ARROW Stories takes a fresh look at the world of film and TV with exclusive documentaries, interviews and video essays diving deeper into the many curated seasons and titles on the platform for a richer and deeper viewing experience.
With a slickly designed and user-friendly interface, and an unparalleled roster of quality content from westerns to giallo to Asian cinema, trailers, Midnight Movies, filmmaker picks and much, much more, ARROW is the place to go for the very best in on-demand entertainment.
From Arrow Films, a recognized world-leader in curation and creation, ARROW (previously known as Arrow Video Channel) is a premium platform giving audiences an unparalleled viewing experience across multiple devices, so fans can explore the films and TV shows that the Arrow brand is famous for.
Specially curated by members of the ARROW team, ARROW is home to premium film and TV entertainment, exclusive new premieres, cutting edge cinema, international classics and cult favorites - such as the works of Lars Von Trier, Brian De Palma, Dario Argento, David Cronenberg and Park Chan-wook, and brand-new short films from both new and established filmmakers.
In the coming months, ARROW will be adding Oscar-winning hits, European classics, Asian cinema masterworks, rediscovered Westerns, offbeat gems and much more as part of ARROW’s international strategy to support and celebrate the medium of film.
ARROW is also home to ARROW Stories - an ever-growing collection of interviews, trailers, documentaries and additional extras, both newly created exclusives for the service and from the company's extensive archives. The service will be updated regularly with fresh content, new curation focuses and never-before-seen content, all selected by the ARROW team as well as the filmmakers themselves. With a slickly designed and user-friendly interface ARROW is the new alternative place to go for the very best in On-Demand entertainment.
- Published on
Yes, yes, and yes: like so many of you, there was a time when I was heavily into collecting action figures from a variety of product lines. In all honesty, my main interests were (and likely always will be) DC Comics' great one-two punch of Batman and Superman, but I strayed well outside the lines when I found something on the shelves that suitably tickled my fancy. I never spent all that much money on any one item -- though I may one day tell the story of the one that got away -- and I have as of late parted with a reasonable number of finds from the collection thanks to the consumerism giant that is Ebay.
But I digress ...
Another one of my long-term favorites has always been Flash Gordon, perhaps the original SciFi space hero. In my mind, Flash has just never got enough love both from Hollywood and beyond, and I've long argued that it's a property -- if done right -- could be as enduringly popular as George Lucas' Star Wars. I think the original serials from the 1930's are fabulous. I think the cartoon and movie from the 1980's are spectacular. While there have been a few other iterations that largely missed the mark for any number of reasons, Flash -- 'savior of the universe' -- deserves another day to win the hearts and minds of viewers.
Thankfully, it looks like he'll be getting a bit of a resurgence as Boss Fight Studio is dipping back into those days of yesteryear to bring Flash, a few of his comrades, and some other King Comics heroes to bold new life (well, in plastic anyway) with what looks to be one of those 'blind box' toy programs in 2022. I'll be copying and pasting their release materials below, but fans who are interested in checking out the complete set (it's a bit steep for my slim budget) can follow the link right here.
Sure, I get that some of these heroes from your granddad's era might not be of insurmountable interest, but back in the day (and with some of us who still worship genre) these characters were exactly what young skulls were looking for. They were icons of a kinder, gentler, simpler time, and I challenge readers to go out and discover them once more. Who knows? If they prove popular in the consumer marketplace, then you can bet movie and TV producers will be more than willing to dip back into that well for new trips to the silver screen.
Rest assured: I'd likely be first in line on opening night.
As always, thanks for reading ... and live long and prosper!
-- EZ
But I digress ...
Another one of my long-term favorites has always been Flash Gordon, perhaps the original SciFi space hero. In my mind, Flash has just never got enough love both from Hollywood and beyond, and I've long argued that it's a property -- if done right -- could be as enduringly popular as George Lucas' Star Wars. I think the original serials from the 1930's are fabulous. I think the cartoon and movie from the 1980's are spectacular. While there have been a few other iterations that largely missed the mark for any number of reasons, Flash -- 'savior of the universe' -- deserves another day to win the hearts and minds of viewers.
Thankfully, it looks like he'll be getting a bit of a resurgence as Boss Fight Studio is dipping back into those days of yesteryear to bring Flash, a few of his comrades, and some other King Comics heroes to bold new life (well, in plastic anyway) with what looks to be one of those 'blind box' toy programs in 2022. I'll be copying and pasting their release materials below, but fans who are interested in checking out the complete set (it's a bit steep for my slim budget) can follow the link right here.
Sure, I get that some of these heroes from your granddad's era might not be of insurmountable interest, but back in the day (and with some of us who still worship genre) these characters were exactly what young skulls were looking for. They were icons of a kinder, gentler, simpler time, and I challenge readers to go out and discover them once more. Who knows? If they prove popular in the consumer marketplace, then you can bet movie and TV producers will be more than willing to dip back into that well for new trips to the silver screen.
Rest assured: I'd likely be first in line on opening night.
As always, thanks for reading ... and live long and prosper!
-- EZ
KING COMICS SUPER HEROES PVC PDQ
Your favorite King Comics Super Heroes come to life in brand new epic mini-figures!
Each PDQ contains 18 blind-boxed mini-figures in an eye-catching display.
Each blind box contains a bold figure posed just like your favorite comic scenes. Character choices include Flash Gordon, Ming the Merciless, Prince Thun, Phantom (Blue), Diana Palmer, King Vultan, Dale Arden, Phantom (Purple), Phantom in Disguise, and Devil.
Average size: 3 inches high
This is a pre-order item and is expected Summer 2022
*These figures are adult collectibles for Ages 8 and up. Contains functional sharp points and small parts.
- Published on
Stardate 01.25.2022.A: Meet Osric Chau - Actor, Producer, And Potential Victim In 2021's 'Superhost'
How utterly ironic that on the day I was all set to interview actor and producer Osric Chau about his latest project Superhost – a Horror film loosely exploring the dangers of our modern technology – that my iPhone telephone recording APP would utterly fail! (Curse you, modern technology!) Fortunately, it wasn’t a total loss as the two of us were eventually able to connect, though your faithful correspondent was forced to conduct the interview old-school style … with pen and paper!
Chau is certainly no stranger to the world of genre entertainment. Fans likely recognize him most from his time as the prophet ‘Kevin Tran’ aboard The CW’s long-running and popular Supernatural, a role that saw the character suffering a grim fate at the hands of the angel Gadreel. Though it’s always sad to see a fan-favorite player exit a show, Chau has nothing but fond memories and praise for his time aboard the Horror serial.
“I’m nothing but grateful for the time I spent on Supernatural,” he says. “I’m a Vancouver native – born and raised here – and Supernatural brought me back home so that I could stay instead of traveling around for work. It was a great opportunity. I love that show and its fans.”
Still, his time exploring things that go bump in the night isn’t his only experience with Science Fiction and Fantasy. A quick perusal of his IMDB.com profile proves his flexibility as a talent as he’s secured screen time in such projects as Roland Emmerich’s 2012 (2009), Halo 4: Forward Unto Dawn, The 100, Dirk Gently’s Holistic Detective Agency, Demon X, DC’s Legends Of Tomorrow, Nancy Drew, and The Flash. And – as a creative person – Chau’s begun expanding his net worth by branching out with screenwriting, producing, directing, and more.
“I wrote and directed my first short film recently,” he confirms, “so I’m looking at opportunities to do more of that in the future. That, and I’ve opened a couple of restaurants!”
Indeed, expanding his creative portfolio is front-and-center with the young entrepreneur as 2021’s Superhost appears on IMDB.com to be his first foray into producing a full-length feature film. The film premiered at Miami’s Popcorn Frights Film Festival in 2021 before release for streaming in the U.S. via the Internet. As of today’s date, RottenTomatoes.com has the flick with an 87% Tomatometer rating (with critics) while dipping a bit to 57% with audiences. IMDB.com scores the film with a 5.7 on its 10.0 scale. (For the record: my review is embargoed until January 31st, but I’m excited to write about it already so watch our MainPage for coverage.)
Chau is certainly no stranger to the world of genre entertainment. Fans likely recognize him most from his time as the prophet ‘Kevin Tran’ aboard The CW’s long-running and popular Supernatural, a role that saw the character suffering a grim fate at the hands of the angel Gadreel. Though it’s always sad to see a fan-favorite player exit a show, Chau has nothing but fond memories and praise for his time aboard the Horror serial.
“I’m nothing but grateful for the time I spent on Supernatural,” he says. “I’m a Vancouver native – born and raised here – and Supernatural brought me back home so that I could stay instead of traveling around for work. It was a great opportunity. I love that show and its fans.”
Still, his time exploring things that go bump in the night isn’t his only experience with Science Fiction and Fantasy. A quick perusal of his IMDB.com profile proves his flexibility as a talent as he’s secured screen time in such projects as Roland Emmerich’s 2012 (2009), Halo 4: Forward Unto Dawn, The 100, Dirk Gently’s Holistic Detective Agency, Demon X, DC’s Legends Of Tomorrow, Nancy Drew, and The Flash. And – as a creative person – Chau’s begun expanding his net worth by branching out with screenwriting, producing, directing, and more.
“I wrote and directed my first short film recently,” he confirms, “so I’m looking at opportunities to do more of that in the future. That, and I’ve opened a couple of restaurants!”
Indeed, expanding his creative portfolio is front-and-center with the young entrepreneur as 2021’s Superhost appears on IMDB.com to be his first foray into producing a full-length feature film. The film premiered at Miami’s Popcorn Frights Film Festival in 2021 before release for streaming in the U.S. via the Internet. As of today’s date, RottenTomatoes.com has the flick with an 87% Tomatometer rating (with critics) while dipping a bit to 57% with audiences. IMDB.com scores the film with a 5.7 on its 10.0 scale. (For the record: my review is embargoed until January 31st, but I’m excited to write about it already so watch our MainPage for coverage.)
“Superhost was a fun project that was perfect to produce during the COVID pandemic,” Chau explains. “I got involved with it very early on as Brandon Christensen (screenwriter and director) and I were rooming together at the time, and he had this great idea for a Horror film. I was able to talk about it with him and Kurtis David Harder (producer), and I even gave some writing suggestions and feedback. But it was Brandon who pulled it all together, and I’m glad it all worked out the way it did.”
For those unaware of the story, Superhost explores the tale of two social media influencers – Teddy (played by Chau) and Claire (Sara Canning). In their bid to recover from their web show’s sagging ratings, Teddy finally secures what he believes will be the dream destination for their airBnB vlog: this remote villa has finally become available, and he secures it for their stay, also secretly planning on using the opportunity to propose to the love of his life. As fate would have it, their host – Rebecca (Gracie Gillam) – has decidedly darker intentions behind inviting them to stay, and it just might prove to be their ultimate undoing.
When asked about the heavy weight social media influencers have on the modern world, Chau grows a bit reflective.
“I am not a social media personality,” he confesses. “There was a time when I did engage more, but I reached a point where I didn’t want that to dictate my life. As an artist, I’m always trying to find my ‘authentic self,’ and I just found that difficult when trying to balance time on social media. I don’t really gravitate toward sharing my life the way others do. I commend those who do it. There are many who do it and are great at it. It’s just not a skill set I possess.”
Superhost’s script definitely revolves around its central characters being tied closely to the age of Twitter, YouTube, and TikTok. Teddy and Claire’s relationship experiences some highs and (bloody) lows in the 90-minute feature as the story explores how both vloggers have invested their separate and shared identities in hit-and-click programming to the point of risking some financial collapse. Though some might find Christensen’s particular take a bit cynical, others will more likely see it as a cautionary tale about the dangers of taking unwarranted risks.
“Horror is a great genre to tell this story,” Chau expands as we talked about the enduring quality of films engineered to scare us silly. “Horror doesn’t rely on known commodities the way that all other genres do. That’s what makes it unique. And Superhost is a great ‘what if’ story. There’s the added benefit that all of this could be real. Is it found footage, or did all of this really happen? So there’s always an audience for Horror. It doesn’t have to be expensive, and it can be made on almost any budget. People will pay money to see that. That’s what makes Horror different than drama or comedy.”
Superhost (2021) is scheduled for home video retail on February 1st. The film is up for pre-order on Amazon.com and other retailers. It was produced by Superchill, and it is being distributed as a Shudder Original. Bluray.com reports that the Bluray will include some behind-the-scenes shorts, bloopers, and a few other surprises.
-- EZ
For those unaware of the story, Superhost explores the tale of two social media influencers – Teddy (played by Chau) and Claire (Sara Canning). In their bid to recover from their web show’s sagging ratings, Teddy finally secures what he believes will be the dream destination for their airBnB vlog: this remote villa has finally become available, and he secures it for their stay, also secretly planning on using the opportunity to propose to the love of his life. As fate would have it, their host – Rebecca (Gracie Gillam) – has decidedly darker intentions behind inviting them to stay, and it just might prove to be their ultimate undoing.
When asked about the heavy weight social media influencers have on the modern world, Chau grows a bit reflective.
“I am not a social media personality,” he confesses. “There was a time when I did engage more, but I reached a point where I didn’t want that to dictate my life. As an artist, I’m always trying to find my ‘authentic self,’ and I just found that difficult when trying to balance time on social media. I don’t really gravitate toward sharing my life the way others do. I commend those who do it. There are many who do it and are great at it. It’s just not a skill set I possess.”
Superhost’s script definitely revolves around its central characters being tied closely to the age of Twitter, YouTube, and TikTok. Teddy and Claire’s relationship experiences some highs and (bloody) lows in the 90-minute feature as the story explores how both vloggers have invested their separate and shared identities in hit-and-click programming to the point of risking some financial collapse. Though some might find Christensen’s particular take a bit cynical, others will more likely see it as a cautionary tale about the dangers of taking unwarranted risks.
“Horror is a great genre to tell this story,” Chau expands as we talked about the enduring quality of films engineered to scare us silly. “Horror doesn’t rely on known commodities the way that all other genres do. That’s what makes it unique. And Superhost is a great ‘what if’ story. There’s the added benefit that all of this could be real. Is it found footage, or did all of this really happen? So there’s always an audience for Horror. It doesn’t have to be expensive, and it can be made on almost any budget. People will pay money to see that. That’s what makes Horror different than drama or comedy.”
Superhost (2021) is scheduled for home video retail on February 1st. The film is up for pre-order on Amazon.com and other retailers. It was produced by Superchill, and it is being distributed as a Shudder Original. Bluray.com reports that the Bluray will include some behind-the-scenes shorts, bloopers, and a few other surprises.
-- EZ
- Published on
I've often said what I find immeasurably beautiful about Science Fiction and Fantasy is that its a genre that can be form-fitted to damn near any creative need.
With a bit of spit and polish, SciFi can encompass comic ideas, dramatic ideas, horrific ideas ... practically anything a storyteller might need. It has no limits -- visually, aesthetically, thematically -- and consequently it can achieve great things on budgets big and small because what propels it is the ideas. (Well, that and great talent, of course.)
And distant frontiers have often been painted in palettes resembling our own past. These space-aged pioneers will no doubt encounter many of the same struggles our great-great-grandfathers and great-great-grandmothers did when they first crossed the plains, built a ranch, or plowed the land. Many SciFi films have benefitted from such comparison, and it looks like we've got one more that we can add to the list: 2021's Settlers. Here's the plot summary for the motion picture as provided by our friends at IMDB.com:
"Mankind's earliest settlers on the Martian frontier do what they must to survive the cosmic elements and each other."
I don't know about you folks, but this is one I missed when it apparently made the round in theaters. It looks like it launched its U.S. theatrical run in July of 2021 -- at the height of the dreaded COVID -- so perhaps it came and went pretty quickly. In any event, I'd received confirmation that it's heading to home video in February compliments of my friends in the distribution business, so I wanted to put up their announcement as a public service. I'll be doing the usual copy and paste below.
It definitely looks like a return to the days of the Old West in the aptly-titled Settlers. As is always the case, it looks like we humans are bringing our emotional baggage with us when we venture out into the stars.
God help us all.
As always, thanks for reading ... and live long and prosper!
-- EZ
With a bit of spit and polish, SciFi can encompass comic ideas, dramatic ideas, horrific ideas ... practically anything a storyteller might need. It has no limits -- visually, aesthetically, thematically -- and consequently it can achieve great things on budgets big and small because what propels it is the ideas. (Well, that and great talent, of course.)
And distant frontiers have often been painted in palettes resembling our own past. These space-aged pioneers will no doubt encounter many of the same struggles our great-great-grandfathers and great-great-grandmothers did when they first crossed the plains, built a ranch, or plowed the land. Many SciFi films have benefitted from such comparison, and it looks like we've got one more that we can add to the list: 2021's Settlers. Here's the plot summary for the motion picture as provided by our friends at IMDB.com:
"Mankind's earliest settlers on the Martian frontier do what they must to survive the cosmic elements and each other."
I don't know about you folks, but this is one I missed when it apparently made the round in theaters. It looks like it launched its U.S. theatrical run in July of 2021 -- at the height of the dreaded COVID -- so perhaps it came and went pretty quickly. In any event, I'd received confirmation that it's heading to home video in February compliments of my friends in the distribution business, so I wanted to put up their announcement as a public service. I'll be doing the usual copy and paste below.
It definitely looks like a return to the days of the Old West in the aptly-titled Settlers. As is always the case, it looks like we humans are bringing our emotional baggage with us when we venture out into the stars.
God help us all.
As always, thanks for reading ... and live long and prosper!
-- EZ
SETTLERS
Available on DVD & Blu-ray on February 15, 2022
Available on DVD & Blu-ray on February 15, 2022
RLJE Films, a business unit of AMC Networks, will release the sci-fi film SETTLERS on DVD and Blu-ray on February 15, 2022. Following its world premiere at the Tribeca Film Festival, IFC Midnight released SETTLERS in theaters, on Digital Rental & VOD on July 23, 2021.
SETTLERS is written and directed by Wyatt Rockefeller (shorts “Groomed” and “Entropy”), and stars Sofia Boutella (Kingsman: The Secret Service, Atomic Blonde), Ismael Cruz Cordova (“Berlin Station,” Mary Queen of Scots), Brooklynn Prince (“Home Before Dark,” The Florida Project), Jonny Lee Miller (“Elementary,” Mindhunters), and Nell Tiger Free (“Game of Thrones,” “Servant”). RLJE Films will release SETTLERS on DVD for an SRP of $27.97 and on Blu-ray for an SRP of $28.96.
Mankind's earliest settlers on the Martian frontier, llsa (Sofia Boutella) and Reza (Johnny Lee Miller) inhabit a desolate farmstead with their child Remmy (Brooklynn Prince and Nell Tiger Free). They work the land and shield their daughter from the dangers of the harsh surroundings. When hostile intruders threaten to expel them from the compound the family is forced to fight to survive in this science-fiction thrill ride. “Settlers presents an intense and distressing story made even more uncomfortable by the stellar performances of its cast.” -- THN
ABOUT AMC NETWORKS
AMC Networks is a global entertainment company known for its popular and critically-acclaimed content. Its portfolio of brands includes AMC, BBC AMERICA (operated through a joint venture with BBC Studios), IFC, SundanceTV, WE tv, IFC Films, and a number of fast-growing streaming services, including the AMC+ premium streaming bundle, Acorn TV, Shudder, Sundance Now and ALLBLK. AMC Studios, the Company’s in-house studio, production and distribution operation, is behind award-winning owned series and franchises, including The Walking Dead, the highest-rated series in cable history. The Company also operates AMC Networks International, its international programming business, and 25/7 Media, its production services business.
ABOUT IFC FILMS
Established in 2000 and based in New York City, IFC Films is a leading U.S. distributor of independent film. Its unique distribution model makes independent films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) and digital platforms.
SETTLERS is written and directed by Wyatt Rockefeller (shorts “Groomed” and “Entropy”), and stars Sofia Boutella (Kingsman: The Secret Service, Atomic Blonde), Ismael Cruz Cordova (“Berlin Station,” Mary Queen of Scots), Brooklynn Prince (“Home Before Dark,” The Florida Project), Jonny Lee Miller (“Elementary,” Mindhunters), and Nell Tiger Free (“Game of Thrones,” “Servant”). RLJE Films will release SETTLERS on DVD for an SRP of $27.97 and on Blu-ray for an SRP of $28.96.
Mankind's earliest settlers on the Martian frontier, llsa (Sofia Boutella) and Reza (Johnny Lee Miller) inhabit a desolate farmstead with their child Remmy (Brooklynn Prince and Nell Tiger Free). They work the land and shield their daughter from the dangers of the harsh surroundings. When hostile intruders threaten to expel them from the compound the family is forced to fight to survive in this science-fiction thrill ride. “Settlers presents an intense and distressing story made even more uncomfortable by the stellar performances of its cast.” -- THN
ABOUT AMC NETWORKS
AMC Networks is a global entertainment company known for its popular and critically-acclaimed content. Its portfolio of brands includes AMC, BBC AMERICA (operated through a joint venture with BBC Studios), IFC, SundanceTV, WE tv, IFC Films, and a number of fast-growing streaming services, including the AMC+ premium streaming bundle, Acorn TV, Shudder, Sundance Now and ALLBLK. AMC Studios, the Company’s in-house studio, production and distribution operation, is behind award-winning owned series and franchises, including The Walking Dead, the highest-rated series in cable history. The Company also operates AMC Networks International, its international programming business, and 25/7 Media, its production services business.
ABOUT IFC FILMS
Established in 2000 and based in New York City, IFC Films is a leading U.S. distributor of independent film. Its unique distribution model makes independent films available to a national audience by releasing them in theaters as well as on cable’s Video On Demand (VOD) and digital platforms.
- Published on
Yes, yes, and yes: we fans love to get up on our soapboxes from time-to-time; and with the morning I've had I think I'll take a therapeutic jaunt myself and climb up on way. Bear with me.
I have a standard response when I'm asked about upgrading my DVD collections. I always tell folks that I'm holding out for the inevitable 10K versions.
Yes, most folks don't get it, and that's OK. I don't always seek first to be understood (in contrast to what the teachings of Stephen Covey taught me ... or didn't) because sometimes it's just more important to risk making a point. But the straight skinny here is that studios -- especially Paramount, especially as it applies to Star Trek -- continue to roll out new editions of their older properties seemingly with no other desire (truly) than to make a buck.
First, we were offered Classic Trek on VHS. (Ask your parents, kids.) Then, it became laserdisc. Then, it become DVD. Then, it became HD-DVD which inevitably went away with the advent of Blu-ray. Now, they're shucking 4K restorations ... and in lieu of asking when it'll ever end (it won't) I just tell people -- here it comes -- "I'm holding out for the inevitable 10K versions."
I'm all for enjoying a higher quality viewing experience, and I'd imagine I'm not alone on that point. Many of us invest a reasonable amount of capital into having a great home entertainment system for that very reason: we want the best we can have stopping short of seeing something on the silver screen. But at what point have we really strayed into 'this is just getting silly' territory?
Having review a small handful of 4K restorations for my day job here on SciFiHistory.Net, I can say in total honesty that I've really only experienced one upgrade that truly made a difference: I won't name the film, but I will say that earlier prints were incredibly dark in place, so much so that it was occasionally hard to make out what was truly going on without context. Films from 40 years ago, however, were shot on film; and I've read that there are going to be some inherent difficulties in restoring them via 4K without bringing along a bit of grain here and there. But is there really that much demand for restoring something 40+ years old?
Purists will certainly suggest that it's all about experiencing art, but I've always thumbed my nose at that because I've heard directors and producers suggest that, on an occasion or two, these restored prints really looked like a completely different film to them. Is that experiencing the art, or is it merely trying to give the art another outlet now that it's -- well -- 40 years old? Are studios doing little more than just trying to drum up more consumers?
And may I ask: are viewers truly seeing anything fresh in these restorations that wasn't there before? I understand that there might be a modicum of greater detail -- all well and good -- but the story remains the same. Nothing all that new is being added to the experience except some visual bells and whistles, so at what point do we culturally just have to accept that enough is enough? I'm all for stopping at whatever version allows me to insert myself digitally into the film, but that's never gonna happen!
At some point, these double and triple and quadruple dips really need to stop ... or maybe studios need to start offering digital codes for future releases: buy our 2K restoration now, and you get a digital code for the eventual 4K restoration!
All of this comes about largely because I've read a bit about Star Trek: The Motion Picture (Director's Cut) being prepped for release. It was in article on ComicBook.com, and interested parties can check it out right here.
As always, thanks for reading ... and live long and prosper!
-- EZ
I have a standard response when I'm asked about upgrading my DVD collections. I always tell folks that I'm holding out for the inevitable 10K versions.
Yes, most folks don't get it, and that's OK. I don't always seek first to be understood (in contrast to what the teachings of Stephen Covey taught me ... or didn't) because sometimes it's just more important to risk making a point. But the straight skinny here is that studios -- especially Paramount, especially as it applies to Star Trek -- continue to roll out new editions of their older properties seemingly with no other desire (truly) than to make a buck.
First, we were offered Classic Trek on VHS. (Ask your parents, kids.) Then, it became laserdisc. Then, it become DVD. Then, it became HD-DVD which inevitably went away with the advent of Blu-ray. Now, they're shucking 4K restorations ... and in lieu of asking when it'll ever end (it won't) I just tell people -- here it comes -- "I'm holding out for the inevitable 10K versions."
I'm all for enjoying a higher quality viewing experience, and I'd imagine I'm not alone on that point. Many of us invest a reasonable amount of capital into having a great home entertainment system for that very reason: we want the best we can have stopping short of seeing something on the silver screen. But at what point have we really strayed into 'this is just getting silly' territory?
Having review a small handful of 4K restorations for my day job here on SciFiHistory.Net, I can say in total honesty that I've really only experienced one upgrade that truly made a difference: I won't name the film, but I will say that earlier prints were incredibly dark in place, so much so that it was occasionally hard to make out what was truly going on without context. Films from 40 years ago, however, were shot on film; and I've read that there are going to be some inherent difficulties in restoring them via 4K without bringing along a bit of grain here and there. But is there really that much demand for restoring something 40+ years old?
Purists will certainly suggest that it's all about experiencing art, but I've always thumbed my nose at that because I've heard directors and producers suggest that, on an occasion or two, these restored prints really looked like a completely different film to them. Is that experiencing the art, or is it merely trying to give the art another outlet now that it's -- well -- 40 years old? Are studios doing little more than just trying to drum up more consumers?
And may I ask: are viewers truly seeing anything fresh in these restorations that wasn't there before? I understand that there might be a modicum of greater detail -- all well and good -- but the story remains the same. Nothing all that new is being added to the experience except some visual bells and whistles, so at what point do we culturally just have to accept that enough is enough? I'm all for stopping at whatever version allows me to insert myself digitally into the film, but that's never gonna happen!
At some point, these double and triple and quadruple dips really need to stop ... or maybe studios need to start offering digital codes for future releases: buy our 2K restoration now, and you get a digital code for the eventual 4K restoration!
All of this comes about largely because I've read a bit about Star Trek: The Motion Picture (Director's Cut) being prepped for release. It was in article on ComicBook.com, and interested parties can check it out right here.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Argh. Some days it just doesn't pay to have to wake up and read the news. That's how I felt this morning.
Honestly, I'm not one of Meatloaf's biggest fans, but I did have an incredible amount of respect for the talented musician because of his long partnership with songwriter Jim Steinman. On his own, Meatloaf's work was middleground stuff so far as I'm concerned (no, haters, I'm not a music critic in any estimation of the word), but when the two of these minds paired up they produced some incredibly magical stuff. The Bat Out Of Hell albums are phenomenal listening experiences; and I'd argue whether or not you're into this style of rock there's some showmanship that deserves to be explored at least with a single listen.
Not all that long ago, I think Meatloaf appeared on one of those 'Songwriter' specials (VH1? MTV?), and the wifey and I watched it on video. Much like the music he performed, Meatloaf knew how to tell a great story; and he recounted some fabulous tales regarding his career and compositions. Fans of the man are also encouraged to check it out (I suspect it's probably available either for purchase or streaming somewheres), and I think you'll find some of what he shared especially bittersweet now that he's gone.
But music wasn't his only passion. Though I'd argue Meatloaf was no accomplished actor, he's enjoyed a somewhat prolific career as a guest star to such programs as Monsters, Tales From The Crypt, The Outer Limits, and Ghost Wars (so far as genre-specific titles are concerned). I think it's safe to suggest that singers know more than a thing or two about living larger-than-life, and he could bring some of the required sensibilities to acting as a side gig.
Alas, no one lasts forever, and he's shaken off his mortal coil as of yesterday. Though it's sad to see him go, I find comfort in knowing that his powerful voice will sing on so that others may continue to find and appreciate what a gift he was while turning out hit-after-hit when the inspiration moved him.
Prayers to the man's friends and family in their time of need.
-- EZ
Honestly, I'm not one of Meatloaf's biggest fans, but I did have an incredible amount of respect for the talented musician because of his long partnership with songwriter Jim Steinman. On his own, Meatloaf's work was middleground stuff so far as I'm concerned (no, haters, I'm not a music critic in any estimation of the word), but when the two of these minds paired up they produced some incredibly magical stuff. The Bat Out Of Hell albums are phenomenal listening experiences; and I'd argue whether or not you're into this style of rock there's some showmanship that deserves to be explored at least with a single listen.
Not all that long ago, I think Meatloaf appeared on one of those 'Songwriter' specials (VH1? MTV?), and the wifey and I watched it on video. Much like the music he performed, Meatloaf knew how to tell a great story; and he recounted some fabulous tales regarding his career and compositions. Fans of the man are also encouraged to check it out (I suspect it's probably available either for purchase or streaming somewheres), and I think you'll find some of what he shared especially bittersweet now that he's gone.
But music wasn't his only passion. Though I'd argue Meatloaf was no accomplished actor, he's enjoyed a somewhat prolific career as a guest star to such programs as Monsters, Tales From The Crypt, The Outer Limits, and Ghost Wars (so far as genre-specific titles are concerned). I think it's safe to suggest that singers know more than a thing or two about living larger-than-life, and he could bring some of the required sensibilities to acting as a side gig.
Alas, no one lasts forever, and he's shaken off his mortal coil as of yesterday. Though it's sad to see him go, I find comfort in knowing that his powerful voice will sing on so that others may continue to find and appreciate what a gift he was while turning out hit-after-hit when the inspiration moved him.
Prayers to the man's friends and family in their time of need.
-- EZ
- Published on
I've made it pretty clear that I'm no fan of what most folks have christened NuTrek, but for those who may've only recently discovered the pages of SciFiHistory.Net let me offer a bit of clarity.
I don't hate anything. Simply put, there are just some programs that never do anything for me. Do I watch them? Well, yes, from time-to-time I might decide to visit them in my ripe old age. I did that for Babylon 5, a show I just never got the bug for during its original run in TV syndication: I visited the entire series run (not the telefilms or Crusade) on home video. Did my opinion change? Not really. I thought it was interesting. I thought it had a fabulous cast. But for whatever reason it just never struck a chord with me. Each of us is different, and sometimes that's all it boils down to critically or commercially: if it doesn't 'touch' me, I just tune it out.
NuTrek -- Star Trek: Discovery, Star Trek: Picard, and anything else that's rolled out behind Paramount's pay wall (which I'm not fond of) -- is an animal all its own. I do find it vastly different from the Treks of old (not in a bad way) that I've tried to explain as follows: while classic Trek was about "ideas," NuTrek seems to be about "ideology." While ideas don't tend to divide people, ideologies do; thus, I just don't see the shows as crafted or produced with the same motivation behind these stories and characters, so likewise I've tuned it out.
Now, as I said above, I don't hate it. I don't hate anything. I don't wish it ill. I hope it can be around for as long as the original series and maybe even longer (if that's somehow possible). It certainly speaks to its audience, and there's absolutely nothing wrong with that. I just don't consider myself part of its audience. So be it. We part company as friends, and I've even engaged some of its talent online when given the opportunity (and they respond).
I did purchase Star Trek: Picard on DVD and watched it with the wifey. Erm ... without going into any great lengths, I was disappointed with it for a lot of small reasons. Sure, it's great to see Patrick Stewart back, but I didn't see this modern version of Capt. Picard as being the same as Picard of old. Some of that relates to the way the writers crafted this particular story; I don't think any of us relish the premise of our heroes getting old and/or infirm, and -- given that was the reality of this particular show -- I thought there were ways that could've been handled responsibly and respectfully ... but that wasn't the case.
Again, that's just my two cents. I never ask for anyone to agree, nor do I expect to agree with all of you. My thoughts are my thoughts, and I'm as entitled to them as you are to yours.
In any event, there's a trailer for the second season of Star Trek: Picard that was released just today (I believe); and it definitely looks like it could be a bit more of a story aligned thematically with the days of The Next Generation. While trailers can be deceptive, this one appears to kinda/sorta retread some of the ideas always tinkered with in the shows as well as the movies; but I'll leave it at that for those who want to check it out. It'll be posted below, you know what to do, and that's all I have to say about that.
As always, thanks for reading ... and live long and prosper!
-- EZ
I don't hate anything. Simply put, there are just some programs that never do anything for me. Do I watch them? Well, yes, from time-to-time I might decide to visit them in my ripe old age. I did that for Babylon 5, a show I just never got the bug for during its original run in TV syndication: I visited the entire series run (not the telefilms or Crusade) on home video. Did my opinion change? Not really. I thought it was interesting. I thought it had a fabulous cast. But for whatever reason it just never struck a chord with me. Each of us is different, and sometimes that's all it boils down to critically or commercially: if it doesn't 'touch' me, I just tune it out.
NuTrek -- Star Trek: Discovery, Star Trek: Picard, and anything else that's rolled out behind Paramount's pay wall (which I'm not fond of) -- is an animal all its own. I do find it vastly different from the Treks of old (not in a bad way) that I've tried to explain as follows: while classic Trek was about "ideas," NuTrek seems to be about "ideology." While ideas don't tend to divide people, ideologies do; thus, I just don't see the shows as crafted or produced with the same motivation behind these stories and characters, so likewise I've tuned it out.
Now, as I said above, I don't hate it. I don't hate anything. I don't wish it ill. I hope it can be around for as long as the original series and maybe even longer (if that's somehow possible). It certainly speaks to its audience, and there's absolutely nothing wrong with that. I just don't consider myself part of its audience. So be it. We part company as friends, and I've even engaged some of its talent online when given the opportunity (and they respond).
I did purchase Star Trek: Picard on DVD and watched it with the wifey. Erm ... without going into any great lengths, I was disappointed with it for a lot of small reasons. Sure, it's great to see Patrick Stewart back, but I didn't see this modern version of Capt. Picard as being the same as Picard of old. Some of that relates to the way the writers crafted this particular story; I don't think any of us relish the premise of our heroes getting old and/or infirm, and -- given that was the reality of this particular show -- I thought there were ways that could've been handled responsibly and respectfully ... but that wasn't the case.
Again, that's just my two cents. I never ask for anyone to agree, nor do I expect to agree with all of you. My thoughts are my thoughts, and I'm as entitled to them as you are to yours.
In any event, there's a trailer for the second season of Star Trek: Picard that was released just today (I believe); and it definitely looks like it could be a bit more of a story aligned thematically with the days of The Next Generation. While trailers can be deceptive, this one appears to kinda/sorta retread some of the ideas always tinkered with in the shows as well as the movies; but I'll leave it at that for those who want to check it out. It'll be posted below, you know what to do, and that's all I have to say about that.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Reviewing television programming is always a risky proposition.
Essentially, a critic is left to react sometimes to very few developments. The nature of episodic storytelling is that some installments feel a bit more like filler between better hours. Getting from Point A to Point B takes a catalyst, and the stuffing of lesser moments, secondary reveals, and narrative exposition can leave one with little to ruminate over … and such is the case with Chapter 4: The Gathering Storm. In fact, the name alone implies that this might just be the calm before the storm, an assessment not all that far off the mark.
What Storm did have was a flashback exploring just how Fett and Fennec Shand found themselves in their unlikely partnership.
As had been previously seen on The Mandalorian, Shand herself was left seriously injured on the sands of Tatooine. Indeed, it looked very much like the mercenary had shaken off her mortal coil, an ending somewhat surprising when she showed up episodes later in the same show. The Book Of Boba Fett picked up with Fett’s discovery of her fallen body. Discovering that she hadn’t expired, he took her to a ‘modification clinic’ where the somewhat Borgified tech mended her wounds – essentially rebuilding her destroyed abdomen with bionics. Once she had awakened, Fett then solicited her cooperation in raiding Jabba’s palace to recover his signature spacecraft (no longer named Slave I thanks to our modern age’s political sensibilities), and a new partnership was born.
As far as plot points, there’s a bit more than happens. Fett extracts a revenge on behalf of his slain Tusken Raiders, and the new partners go in pursuit of the bounty hunter’s lost armor. But still most of Storm felt like a bit of this and a bit of that thrown together to help position the season’s central arc – Fett’s establishment of a ruling criminal dynasty on Tatooine – get from the aforementioned Point A to Point B. The biggest scene in this regard comes at the end when they confront the heads of the modern crime families at a meal within Jabba’s Palace, wherein these leaders come face-to-face with the reality that Fett has acquired another Rancor … perhaps no greater indication that, as a ruler, this hunter means business. It was a great reveal, handled with a bit of humor, and thankfully the episode felt like scribe Jon Favreau was trying to right the course (just a bit) away from last episode’s Power Rangers-like additions. (FYI: they were entirely absent from this adventure. Good choice.)
Because the chapter really was a series of chess moves meant to set-up where we’re likely heading, there isn’t much associated commentary. As a character, Fett is further established as a character who’s through his crossroads, and now – like the Mandalorian – perhaps he’s seen just as a man trying to man his way across the galaxy. The significant difference here Fett’s only one step further along in his journey with a deliberate destination whereas no one quite knows where Mando will end up next. This bounty hunter turned leader has a vision for his future, one that involves management skills he’s only beginning to grasp, so the conflict continues to evolve. By contrast, Shand looks more like a mover and shaker willing to truly get her hands dirty in their quest to establish their own law and order; though she’s not much with motivating others, she’s willing to use the business end of a blaster to see her respective objectives achieved. Their clash of styles might be leading us somewhere dark, but we’ll have to wait and watch.
In perhaps the best sequence of the new series so far, the audience is treated to old school Fett: in a brilliant scene, the hunter flies his gunship down over the Tatooine landscape in pursuit of the speed bikers who executed his tribe of Sandpeople, and he razes the flock with blaster fire. One-by-one, they’re shot down in the tracks; the obvious carnage isn’t shown – this is Disney, after all – but it’s hard to imagine any of these malcontents escaped with their lives fully intact … and, dare I say, that’s the Boba Fett most of us have been waiting to see from a show that even bears his name in the credits. While I get that the character may need to grow and change a bit for a serial drama, it’s still nice to enjoy a side of red meat with a meal this delicious.
Happy hunting.
-- EZ
Essentially, a critic is left to react sometimes to very few developments. The nature of episodic storytelling is that some installments feel a bit more like filler between better hours. Getting from Point A to Point B takes a catalyst, and the stuffing of lesser moments, secondary reveals, and narrative exposition can leave one with little to ruminate over … and such is the case with Chapter 4: The Gathering Storm. In fact, the name alone implies that this might just be the calm before the storm, an assessment not all that far off the mark.
What Storm did have was a flashback exploring just how Fett and Fennec Shand found themselves in their unlikely partnership.
As had been previously seen on The Mandalorian, Shand herself was left seriously injured on the sands of Tatooine. Indeed, it looked very much like the mercenary had shaken off her mortal coil, an ending somewhat surprising when she showed up episodes later in the same show. The Book Of Boba Fett picked up with Fett’s discovery of her fallen body. Discovering that she hadn’t expired, he took her to a ‘modification clinic’ where the somewhat Borgified tech mended her wounds – essentially rebuilding her destroyed abdomen with bionics. Once she had awakened, Fett then solicited her cooperation in raiding Jabba’s palace to recover his signature spacecraft (no longer named Slave I thanks to our modern age’s political sensibilities), and a new partnership was born.
As far as plot points, there’s a bit more than happens. Fett extracts a revenge on behalf of his slain Tusken Raiders, and the new partners go in pursuit of the bounty hunter’s lost armor. But still most of Storm felt like a bit of this and a bit of that thrown together to help position the season’s central arc – Fett’s establishment of a ruling criminal dynasty on Tatooine – get from the aforementioned Point A to Point B. The biggest scene in this regard comes at the end when they confront the heads of the modern crime families at a meal within Jabba’s Palace, wherein these leaders come face-to-face with the reality that Fett has acquired another Rancor … perhaps no greater indication that, as a ruler, this hunter means business. It was a great reveal, handled with a bit of humor, and thankfully the episode felt like scribe Jon Favreau was trying to right the course (just a bit) away from last episode’s Power Rangers-like additions. (FYI: they were entirely absent from this adventure. Good choice.)
Because the chapter really was a series of chess moves meant to set-up where we’re likely heading, there isn’t much associated commentary. As a character, Fett is further established as a character who’s through his crossroads, and now – like the Mandalorian – perhaps he’s seen just as a man trying to man his way across the galaxy. The significant difference here Fett’s only one step further along in his journey with a deliberate destination whereas no one quite knows where Mando will end up next. This bounty hunter turned leader has a vision for his future, one that involves management skills he’s only beginning to grasp, so the conflict continues to evolve. By contrast, Shand looks more like a mover and shaker willing to truly get her hands dirty in their quest to establish their own law and order; though she’s not much with motivating others, she’s willing to use the business end of a blaster to see her respective objectives achieved. Their clash of styles might be leading us somewhere dark, but we’ll have to wait and watch.
In perhaps the best sequence of the new series so far, the audience is treated to old school Fett: in a brilliant scene, the hunter flies his gunship down over the Tatooine landscape in pursuit of the speed bikers who executed his tribe of Sandpeople, and he razes the flock with blaster fire. One-by-one, they’re shot down in the tracks; the obvious carnage isn’t shown – this is Disney, after all – but it’s hard to imagine any of these malcontents escaped with their lives fully intact … and, dare I say, that’s the Boba Fett most of us have been waiting to see from a show that even bears his name in the credits. While I get that the character may need to grow and change a bit for a serial drama, it’s still nice to enjoy a side of red meat with a meal this delicious.
Happy hunting.
-- EZ
- Published on
Like many who've been on this journey with TV's The Walking Dead since it started I suppose it's safe to say that I have a love/hate relationship with the show.
Now, when I say hate, I don't really hate it, per se. Honestly, I don't really hate anything, not even shows I don't watch or understand. I attribute the hate to a measure of frustration I might have with subplots that have served to anchor the show down when they instead should've challenged it to achieve more from, arguably, one of the most talented casts to ever grace a primetime show. Yes, the problem gets a bit shoddy from time-to-time; and the writers try to eke a bit too much emotion out of some elements of the narrative. But, again, I don't hate it ... certainly not the way some who write about media online do these days.
I've loved most of the journey. As I said, the cast has been mostly phenomenal; and I think it many ways the franchise -- unlike some others -- has actually been very good for fandom. For example, Star Trek and its crew of ideologically-driven writers seem to be content on dividing fandom into its respective segments. It seems Star Trek: Discovery and Star Trek: Picard would rather shun long-established fans in favor of propping up what they perceived as -- erm -- tomorrow's members of the Federation. They see themselves as trailblazing authors welcoming in a new era of social justice, and I see them as just trying to beat a dead horse in a new way in order to prop up an enterprise that was never about dispiriting people but elevating all of mankind.
By comparison, The Walking Dead has stayed true to doing what it does best: put good people in dire circumstances and let 'em figure out how to survive. Some of their humanity may've been lost in the process, but isn't that part and parcel about what we want our storytellers to do with characters? Put them through their paces so that we can see what they look like on the other side? When Trek has taken to preaching its weekly sermons, Dead is more about surviving than Trek ever was.
I don't mean to wax on, and I won't belabor the point any longer: all I really wanted to point out was that the trailer for the second third of episodes for Dead's swan season is here. Be warned: it's a bit jumbled (for my tastes), not quite presenting a clear picture of what to expect when the show returns to the airwaves in late February on AMC but rather just an assortment of fast-moving sequences pitting character against character ... with very few walkers. Call me old-fashioned, but I do prefer we keep our focus on the real enemy -- that being the undead.
In any event, I'll put it below so you can check it out if you're so inclined. As always, thanks for reading ... and live long and prosper!
-- EZ
Now, when I say hate, I don't really hate it, per se. Honestly, I don't really hate anything, not even shows I don't watch or understand. I attribute the hate to a measure of frustration I might have with subplots that have served to anchor the show down when they instead should've challenged it to achieve more from, arguably, one of the most talented casts to ever grace a primetime show. Yes, the problem gets a bit shoddy from time-to-time; and the writers try to eke a bit too much emotion out of some elements of the narrative. But, again, I don't hate it ... certainly not the way some who write about media online do these days.
I've loved most of the journey. As I said, the cast has been mostly phenomenal; and I think it many ways the franchise -- unlike some others -- has actually been very good for fandom. For example, Star Trek and its crew of ideologically-driven writers seem to be content on dividing fandom into its respective segments. It seems Star Trek: Discovery and Star Trek: Picard would rather shun long-established fans in favor of propping up what they perceived as -- erm -- tomorrow's members of the Federation. They see themselves as trailblazing authors welcoming in a new era of social justice, and I see them as just trying to beat a dead horse in a new way in order to prop up an enterprise that was never about dispiriting people but elevating all of mankind.
By comparison, The Walking Dead has stayed true to doing what it does best: put good people in dire circumstances and let 'em figure out how to survive. Some of their humanity may've been lost in the process, but isn't that part and parcel about what we want our storytellers to do with characters? Put them through their paces so that we can see what they look like on the other side? When Trek has taken to preaching its weekly sermons, Dead is more about surviving than Trek ever was.
I don't mean to wax on, and I won't belabor the point any longer: all I really wanted to point out was that the trailer for the second third of episodes for Dead's swan season is here. Be warned: it's a bit jumbled (for my tastes), not quite presenting a clear picture of what to expect when the show returns to the airwaves in late February on AMC but rather just an assortment of fast-moving sequences pitting character against character ... with very few walkers. Call me old-fashioned, but I do prefer we keep our focus on the real enemy -- that being the undead.
In any event, I'll put it below so you can check it out if you're so inclined. As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Huh.
With as much as I've read about programs and programming, you'd think I might've noticed that The Boys -- the popular Amazon Prime anti-superhero comedy -- forthcoming spin-off was going to be animated, but somehow that fact completely escaped me. It seems that I do recall having read about the show being given a spin-off, but -- mmm -- how exactly is an animated spin-off going to bring the same kind of delivery?
Don't get me wrong: I'm all for expanding popular properties, especially when some time, care, effort, blood, sweat, and tears are being put to efficient use. But The Boys is a live action show -- one built for a decidedly adult audience -- and this one looks to be a bit more juvenile.
And, sure, I get that Star Trek has undergone a recent growth in animation with both its Lower Decks and Star Trek: Prodigy entries, but Trek is -- thematically and tonally -- way different from the incessantly bloody and destructive tales at the core of The Boys' best diversions. Again, not griping ... just trying to be honest ...
Whatever the case may be, I'll tune in for it, as I do kinda/sorta catch a Venture Bros. vibe in this latest video release. Who knows? Since that Cartoon Network highwater mark was disgracefully cancelled, maybe Diabolical will step in to fill the void.
Trailer is below. You folks know what to do.
-- EZ
With as much as I've read about programs and programming, you'd think I might've noticed that The Boys -- the popular Amazon Prime anti-superhero comedy -- forthcoming spin-off was going to be animated, but somehow that fact completely escaped me. It seems that I do recall having read about the show being given a spin-off, but -- mmm -- how exactly is an animated spin-off going to bring the same kind of delivery?
Don't get me wrong: I'm all for expanding popular properties, especially when some time, care, effort, blood, sweat, and tears are being put to efficient use. But The Boys is a live action show -- one built for a decidedly adult audience -- and this one looks to be a bit more juvenile.
And, sure, I get that Star Trek has undergone a recent growth in animation with both its Lower Decks and Star Trek: Prodigy entries, but Trek is -- thematically and tonally -- way different from the incessantly bloody and destructive tales at the core of The Boys' best diversions. Again, not griping ... just trying to be honest ...
Whatever the case may be, I'll tune in for it, as I do kinda/sorta catch a Venture Bros. vibe in this latest video release. Who knows? Since that Cartoon Network highwater mark was disgracefully cancelled, maybe Diabolical will step in to fill the void.
Trailer is below. You folks know what to do.
-- EZ