The Grandfather of the Zombie’s comic is getting a TV show. ‘Cause I mean, if anyone deserved a zombie TV show, it’s gotta be Romero. Right?
It hasn’t taken long for the Marvel Machinery to conjure up a replacement showrunner for their Daredevil show on Netflix. Like, what, forty-eight hours? Even that? The turnstiles continue rotating. Drew Goddard out! Steven S. DeKnight in!
How do you do a television show about Gotham’s up and coming police commissioner guy without Batman? I mean I imagine it is certainly doable, but will people care? Fox doesn’t seem to be willing to roll the dice on that prospect. ‘Cause they’re already looking to cast a young, pants-pissing Master Bruce.
Is anyone around here a Terminator fanatic? I really can’t muster a fuck regarding the franchise, despite Terminator 2 being one of my favorite action movies of all time. So when this sort of shit is announced – a television show tying into a new movie – I just sort of shrug. I go, “where’s the beef?! Where is it?!” Everyone just looks at me weird like, dude, we’re talking about television shows. Not hormone-drenched cow flesh.
Rejoice, my friends! We are living in a golden age of television, when viewers have more and better options than ever before. There’s something for everyone, and that something is oftentimes quite impressive. In particular, dramatic narratives have become a go-to form for fans of creative story arcs and complex characters, presenting a more wide-ranging, novelistic approach to visual storytelling than even what most commercial films currently offer. And a pulp paragon of this form is Breaking Bad. It’s so defining, in fact, that some contemplate that it may be seen as this age’s end someday. But let’s be more optimistic than that. There is still a lot of quality TV-watching to be done and now that Breaking Bad has come to an end and fans of the show, myself included, start to turn to other shows, to find quality entertainment somewhere else, I think it’s a good time to explicate my strangely hesitant relationship with narrative television.
It is with a mixture is glee and sadness that I anticipate the final season of one of my favorite shows. The least I can do in preparation then, is to yell Walter’s name as he requests. Hit the jump to check out the poster for the final season. Go ahead, too. Yell his name.
Fury, that wily bastard. It seems that Agent Coulson totally lives. When it was announced he was returning for the SHIELD television series, peoples of the Netterverse speculated he could do so via flashbacks. Not so. Not so!
ARE YOU NOT ENTERTAINED?!? Be honest. This final episode of Eastbound flipped you on your head, had you crying like a baby, and then had your fist clenched in the air as if to say “you got me, assholes!”, before gently shutting itself down forever. It was the emotional equivalent to 4 years of High School packed into 30 minutes of programming, and now it’s my job to somehow pick up the pieces of your shattered soul to provide some level of clarity in this moment of somber reflection. Wish me luck suckas, because the only way I can describe the series finale is:
Allow me to explain…
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Do you hear that? It’s the sound of every subplot closing on EB&D, as the series begins to neatly wind itself down into the off position leading up to the grande finale this Sunday. 20 is my favorite episode this year, and it had plenty of great momentos. So join me after the jump on our penultimate expedition EVER into the world of Kenny Fucking Powers.
Mother of Satan! EB&D takes the family circus to levels never before unseen, in what ends up more of an anthropologic character experience than an actual plot-progressing episode. I get it though. Not bitchin. I still believe. This week each vice is tidily accounted for, one by one, as we examine the true inner-workings of a southern dysfunctional family the likes of which produced such greatness that is, K fucking P.