Weekly Wonder Woman

Weekly Wonder Woman: Wonder Woman #29

Wonder Woman #29

Well, I’m surprised. As we head into the final few issues of his run, after ages of either being annoyed at Brian Azzarello’s Wonder Woman or only finding it moderately good but with some worrying aspects, I’m forced not only to say that Wonder Woman #28 is a great issue but also that it might even be the case that our Brian has had a masterplan all this time, an interesting genius plan that will essentially create a broad foundation for whomever follows him.

Or not.

Let’s talk more after the jump.

Continue reading “Weekly Wonder Woman: Wonder Woman #29”

The BarrometerA Barrometer rating of 4

Third-episode verdict: Believe (NBC/Watch)

In the US: Sundays, 9/8c, NBC
In the UK: Thursdays, 9pm, Watch. Starts March 27th

Three episodes into the latest JJ Abrams drama to emerge from NBC and suddenly we realise that of all the shows Abrams could have emulated, he chose to go with Touch. You could just about spot it if you looked hard enough, even though the first episode was largely by-the-book Abrams formula number one, with secret organisations squabbling over a MacGuffin – in this case a kid with nebulous special powers – that our hero has to defend. True, it was a bit quirkier than normal, with a baddie worried about getting home in time for her mother’s birthday, but there was nothing hugely innovative about it.

Episode two was something of a reboot, with the writers deciding quirky was bad and essentially rewriting the motivations for the goodies and the baddies. Apart from the addition of Trieste Kelly Dunn from Banshee to the cast, perhaps the biggest surprise was how quickly the writers were willing to dish the dirt on all the mysteries the show had served up in the pilot, leaving us with just few to puzzle over, most of them involving butterflies and how our hero figures in the set-up.

Episode three continued in the same vein, answering more questions and giving us flashbacks to how it all started. But now we have the same kind of ‘everyone is interconnected’ silliness of Touch, with our hero and little girl sidekick meeting someone new each episode and fixing their problems with a bit of special power fun. And they’re being told to do it by the butterflies.

It’s still not without charms. Each episode has an obligatory heartwarming moment in which something lovely happens thanks to our less than dynamic duo. They also try to solve problems without a gun, which is novel these days.

But the central mysteries were as unexciting and derivative as I was expecting and the characters vary from insipid to irritating, without much variance. I can’t quite recommend it but if you fancy something like The Littlest Hobo but without as many dogs or a show like Touch where the kid actually gets to talk, this might be the show for you.

Rob’s rating: 4
Rob’s prediction: Cancelled by the end of the season

News: Paul Guilfoyle leaves CSI, Disney’s Mahabharata, a new X-Men trailer + more

Film

Trailers

  • New X-Men: Days of Future Past trailer

UK TV

New UK TV show casting

  • Lee Ingleby, Liz White, Anne Reid, Ralf Little, Sophia Myles to star in BBC1’s Our Zoo

US TV

US TV show casting

New US TV show casting

News: Paul Guilfoyle leaves CSI, Disney’s Mahabharata, a new X-Men trailer + more

Film

Trailers

  • New X-Men: Days of Future Past trailer

UK TV

New UK TV show casting

  • Lee Ingleby, Liz White, Anne Reid, Ralf Little, Sophia Myles to star in BBC1’s Our Zoo

US TV

US TV show casting

New US TV show casting

US TV

Review: The 100 1×1 (The CW/E4)

 


In the US: Wednesdays, 9/8c, The CW
In the UK: Acquired by E4. To air 2014

Sometimes, the contrariness of US TV amuses me. Watch pretty much any US TV show these days and you’ll spot someone who isn’t American pretending to be American. Whether it’s simply the ubiquitous Canadians who permeate every show that’s shot for budgetary reasons in Canada (pretty much anything on The CW, for example), or the numerous Brits, Australians, New Zealanders and Scandinavians looking for jobs and pay in the US they’re never going to get back home, look close enough and they’ll be there, usually sporting a non-descript Mid-Western accent, in pretty much any show you care to mention. 

Yet, when a show actually calls for some degree of international representation, not only will virtually all the characters be American, even the foreigners the producers bring in will be obligated to pretend to be from someone in Iowa.

Case in point is The 100, set in some distant, post-nuclear future, in which only a handful of humans from around the world have survived. They all live in The Ark, an amalgamation of all the world’s space stations, so naturally you’d expect just a few of them to not be American. Yet they aren’t. Even the obviously and famously Scottish Henry Ian Cusick from Lost is forced to feign US accent.

Bizarre.

Nevertheless, The 100 is a moderately interesting piece for The CW, which is rapidly turning into the ‘more sci-fi than the SyFy’ channel. Yes, we have all the standard tropes designed to appeal to young people of both genders – pretty, clean-cut, fit young things in various states of undress, emoting at each other and worrying about their teenage relationships. But these 100 pretty young things are all juvenile offenders, forced to return as guinea pigs to the irradiated world that is the Earth by the Draconian regime that runs The Ark. Will they all die of radiation sickness, get eaten by rabid rats or club each other to death?

Maybe, actually, which is surprising. In fact, some of them might even get killed before the end of the first episode…

Here’s a trailer.

Continue reading “Review: The 100 1×1 (The CW/E4)”