Weekly Wonder Woman

Weekly Wonder Woman: Justice League of America #1, Wonder Woman #41, Superman-Wonder Woman #18, Injustice: Gods Among Us: Year Four #7, Sensation Comics #38

(Formally) moving to its new home of Monday, it’s Weekly Wonder Woman, your weekly round-up of all the DC comics that have featured… well, you can probably guess who.

This week, we have the grand unveiling of the DC You Wonder Woman, the semi-successor to nu52 Wonder Woman. Yes, no longer will I be able to inaccurately mock the new 52 with a tedious reference to Apple Computers of the 1990s; now I must deal with the already self-mocking DC You. Supposedly, a lighter, happier, freer DC universe – ah, if only they could say ‘Marvel-ier’ – it’s got new versions of old characters, new comics and more, right down to a Black Canary who sings heavy metal while fighting crime.

Black Canary sings heavy metal

While the launch has been underway for a couple of weeks now, with Superman getting his secret identity revealed and losing some of his powers over in Superman and Batman’s Bruce Wayne having been replaced by Commissioner Gordon in some kind of battle suit…

Batman and Superman in the DC You

…this is the first week we’ve properly seen the new Wonder Woman make an appearance. So after the jump, as well as our regular scans over the Elseworld Wonder Women of Injustice Gods Among Us Year Four and Sensation Comics, we’ll be looking at the first-DC You issues of both Wonder Woman and Superman-Wonder Woman, wherein we get to meet the new DC You Wonder Woman – hint, she might just have a new costume.

And we’ll also be looking at the first issue of Justice League of America. Yes, I know there’s already a Justice League – this is the Justice League of America. Yes, I know there’s already been a nu52 Justice League of America with a completely different line-up – this is the regular Justice League line-up, with Superman, Green Lantern, The Flash, Batman, Wonder Woman, Aquaman and Cyborg. Yes, I know Wonder Woman isn’t American and actually lives in London, but that’s not my fault is it?

What do you mean they’re all still wearing their nu52 costumes? Don’t tell me that’s now an Elseworld, too. Sigh.

Talking of Elseworlds, here’s the new animated Wonder Woman. See if you can spot any actual similarities with normal Wonder Woman, beyond the fact she’s

  1. A woman
  2. The daughter of a god
  3. Fights
  4. Has a boyfriend called Steve Trevor

Although I guess since Batman’s actually a vampire and Superman’s the son of Zod in Justice League: Gods and Monsters Chronicles, similarities aren’t really what Bruce Timm is going for…

Continue reading “Weekly Wonder Woman: Justice League of America #1, Wonder Woman #41, Superman-Wonder Woman #18, Injustice: Gods Among Us: Year Four #7, Sensation Comics #38”

US TV

Review: Complications 1×1-1×4 (US: USA Network)

Complications

In the US: Thursdays, 9/8c, USA Network

A lot of things can be learned from Matt Nix. Well, three at least. Nix, of course, is the creator of USA Network’s Burn Notice, for years the network’s most popular show. What lessons can we learn from him?

  1. Collaboration is important
  2. Not everything needs to be a procedural
  3. Dark and gritty may not always be a good thing

When Nix first pitched the idea of Burn Notice to USA, it was a dark misery-fest set in New York. Then USA said that maybe he should lighten the whole thing up a bit and set it in Miami. The result was a show that lasted for 111 episodes and a movie. However, I and many others gave up on the show after the fifth season because it had stopped innovating and had become a formulaic procedural.

Now we have Nix’s Complications, in which ER doctor Jason O’Mara shoots a gang member to save both his own life and that of his patient, the child of a gang member. Events then start spiralling out of control as he has to keep protecting and caring for the child or else the gang will kill him, his family, etc.

The show reads as what Nix might have made Burn Notice had he been left to his own devices. It’s dark and gritty, there’s almost no fun or engaging characters, and there’s mysteriously a procedural element to the show as well, with O’Mara having to deal with a ‘dark and gritty’ case of the week in each episode – domestic violence, foot amputation, etc, etc.

And it’s barely watchable. I sat through all 3-4 episodes (the first is a double-episode so your counting system might vary) wondering when it was going to get good. I sat through O’Mara doing all kinds of stupid things, able assisted in this by a somewhat criminal nurse Jessica Szohr. I sat through any number of scenes of poor old Beth Riesgraf (Leverage) having to play Generic Wife 3 – you know, the one who spends all her time nagging the husband, who can never tell her his deep dark secret, even if it means he might destroy his marriage?

But it never got good. Almost the show’s only redeeming feature is gang ‘fixer’ Chris Chalk (best known from The Newsroom but about to be a regular on Gotham as Lucius Fox), who quite rightly gets all the show’s good lines.

The show thinks it’s saying something. And if you watched the first episode, you might think it was going to say something, too, something interesting even – perhaps about what happens if a doctor ‘breaks bad’ or what it means for a doctor to ‘first, do no harm’, with O’Mara working through with psychiatrist Constance Zimmer (UnREAL) all the possible other permutations of medical morality and what happens when you introduce it to the real world. I’m sure over the course of the season, Complications is going to come back to all this at some point at least, but it doesn’t within the next two episodes to any appreciable degree.

Instead, all it does is show you semi-plausibly how to commit some really stupid instances of medical malpractice and get away with it. Even then, it does so in an utterly implausible framework and without any joy, excitement or attempts to engage the audience.

As I remarked earlier this year, USA has had such faith in the show that it’s effectively kept it in a box for a year. Now it’s dumping all the episodes as quickly as possible. I’d say that’s actually a pretty astute move on their part, since for a summer show, Complications is about as enjoyable as septicaemia contracted from some broken glass you stepped on on the beach.

Killjoys
Canadian TV

Review: Killjoys 1×1 (Canada: Space; US: Syfy)

In the US: Fridays, 9/8c, Syfy
In the UK: Not yet acquired

Talking of generic Canadian-US co-production space opera science-fiction, here’s some more! The Killjoys of Space/SyFy’s Killjoys are a group of bounty hunters who have to track down criminals in a system of four planets ruled by a powerful corporation unimaginatively called The Company, the forced title for the show coming from the fact that’s what bounty hunters are nicknamed in this system.

What’s the organisation that employs these bounty hunters? Brace yourself, Brits. Why, it’s the RAC. Yes, the RAC. “The RAC is coming to get you!” Doesn’t that send shivers down your spine?

The three bounty hunters follow the golden ITC rule of casting first laid down in The Champions back in the 60s, in giving us two guys and a girl as leads. The girl – Britain’s own Hannah John-Kamen (Banana, Cucumber, Happy Valley, The Hour) – is the mysterious highly trained one, probably raised since birth to go around killing people; she’s also possibly a member of the rich elite that rules ’the Quad’ as it’s known. Working for her is regular goofball Aaron Ashmore and following this first episode, his brother Luke Macfarlane, who’s wanted by the Company because he knows something bad from when he was a soldier. Together, they all have to track down criminals while cracking jokes and trying to avoid sides in an impending civil war.

You’ve got a decent enough synopsis there, so you should be able to extrapolate from that. Possible love triangle? Yep. John-Kamen having secrets that will be revealed in time? Almost certainly. Lots of semi-decently choreographed but ultimately average fight scenes? Sure thing. A smattering of sci-fi jargon and ideas that very slightly distinguish the show from all other very similar shows you’ll have seen before? Absolutely.

But it’s Canadian sci-fi at its most generic. It even features some of the same guest cast as Dark Matter. Perhaps the only really good thing about the show is the main cast. John-Kamen’s good and you wonder what happened to poor old Aaron Ashmore’s career that he’s ended up here after Smallville, Warehouse 13, et al. Not a great actor, Luke Macfarlane is nevertheless clearly there to bring the funny, having starred in Canada’s only good sitcom of the past decade, Satisfaction.

As a result, this first episode at least was hard going, with aching gaps where there should have been action, decent dialogue, jokes that are funny or in fact anything to stop me yawning like the only thing that would keep me alive was constantly stretching my face muscles for a whole hour every day.

Still, you have to admire a show with the chutzpah to call itself Killjoys, at least. That’s not inviting some obvious jokes. Not. At. All.

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