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Rabu, 10 Oktober 2012

Supernatural Tackles Found Footage, LARPing and… Cartoons?

Spoilers for the Supernatural: Season 8 season premiere follow.

Supernatural returned last week, setting in place plenty of big new storylines for the show, as Sam and Dean were reunited after Dean’s year in purgatory. So what’s next for the Winchesters? Supernatural executive producers Robert Singer and Jeremy Carver discuss their plans for Season 8 – and beyond.

Flashbacks

There will be frequent flashbacks filling in more of what happened in the past year for Sam and Dean. “Not every episode, but where appropriate,” explained Singer, adding it would inform where “The boys’ headspace is in a given episode.”

Singer noted the flashbacks" allowed us to tell slightly different kind of stories.” When it comes to Sam and his newly revealed love interest, Emilia, he remarked, “Supernatural hasn’t spent, I think, a lot of time on relationship stories. This is a really nice mechanism to do that without imposing that on the forward momentum of these other stories that we’re telling.”

Noted Carver, “One thing we like particular about the first 13 [episodes] is the way we’re playing with perception… What happens as these brothers start to discover more about what they’ve done in the past year – and might those tables turn in terms of who has to answer for what?”

Sam

“Sam is keeping thoughts of this woman and this relationship to himself. It greatly informs where he is now at the beginning of the season. It represents something to him. It represents, essentially, another way – another life,” said Carver.

Carver, who returned to Supernatural in Season 8 in his new role as showrunner, after a couple of years away from the series, remarked, “The jumping off point, certainly when I came back to the show, was laid out by Bob [Singer] and Sera [Gamble]. You are truly alone. What does that mean? What kind of impact does that have on somebody? How does that affect somebody after so many years?”

While comparisons are inevitable to how Dean had his own domestic life when Sam was in hell, the producers noted that the big difference was that Dean “Never felt comfortable” in that scenario and couldn’t put aside all of his Hunter past – still salting windows and such. But Sam, “found real solace and real comfort. The only thing that sort of got him back was yeah, they were responsible for Kevin. ‘If we can do the Kevin thing and get this done, I’m done.’”

As Carver put it, Sam’s experience gave him, “A taste of something he never had before, and it had a really profound effect on him.”

Dean

As Carver noted, Dean had “a bit of a surprising reaction” to Purgatory, which was brought up in the season premiere.

“The idea that it was ‘pure’ down there… I think one of the last things you’d expect going to a place that is so horrible - That someone might actually consider it a happy experience. You have to ask yourself, why do you think it’s happy? What is this thing inside himself that he connected to? This primal side? How will he deal with that topside?”

As for Dean’s new friend Benny and how they became so chummy, Carver said, “It’s something we’ll see in those flashbacks. Hopefully the intriguing question that the premiere asks is, you see this warmness, but when they meet you see this reserve and general distrust. How did they get from that to that embrace? That’s what the flashbacks are telling us.”

Benny

As mentioned above, a big new player introduced in the season premiere is Benny, and Carver noted that as the season continues, “We use Benny as that thing that is representative of Dean in purgatory.”

“I think you’ll see Benny playing a pretty important part both in his physical presence and his psychological presence. The idea of Benny is hanging over our brothers pretty heavily. He’s a guy who has a tremendous, tremendous bearing and he’s really working out wonderfully. He’s a really complex character and adds really interesting wrinkle to the brother’s relationship this year – how they deal with something like this.”

Season 7 hammered home the hardline stance Dean had with the supernatural – going so far as to kill Sam’s old friend, who he believed was inevitably a danger. So just what changed for Dean to make him let a dangerous creature like Benny go, and how might Sam react to discovering this? Said Carver, “I think that’s the question that comes front and center when you see Benny. That’s something that’s got to be confronted at some point and arcs out through the course of the season.”

Kevin

The Season 8 premiere also brought back Kevin, introduced at the end of Season 7, in a big way. Noted Carver, “We’ll learn more about how he personally feels about being a prophet and being involved in this mission that the brothers are a part of – the personal cost it has for him. And to see how his willingness or desire to do the job, how that rubs off on the boys. They’re all playing off each other and inextricably linked here.”

We’re also about to meet Kevin’s mom and Carver explained, “Putting aside the question of trust for a second, you could say Ms. Tran does something sort of interesting and sort of fun and it gives the boys, in an odd way, a bit of a mother figure that they haven’t had I a long time. It’s a fun dynamic and it can be a rather moving dynamic at times, also. It also gives you a fourth wheel on the car that you have to deal with…”

Friends and Foes

When it came to recurring characters in Season 8, Carver and Singer were still tightlipped on what role Bobby might play, despite Jim Beaver being part of the Supernatural panel at San Diego Comic-Con this summer.

What could they say about who we’ll see this season? Said Carver, “We’ll be seeing a healthy dose of Kevin. Crowley is set up to be somewhat of the boy’s main agonist. There’s Benny, there’s Emilia. There are some new angels that we’re introducing. Amanda Tapping is playing a fairly mysterious angel named Naomi.”

As for the big, “What happened to Castiel?” question, “We’ll be telling that story pretty steadily through the first seven or eight episodes. By episodes seven, eight you’ll start to get a really good idea of what happened in Purgatory to Cas.”

Hellgate

The premiere set up a big new mission for Sam and Dean - to actually close the gates of hell, once and for all. But if they accomplished that, would that mean all their enemies would be vanquished? Clarified Carver, “There’s so many other monsters in this universe. In the Supernatural universe, you’re thinking ‘I’ve eliminated a big chunk’ – but certainly not all.

As for how big a story arc this is establishing, Singer noted, “Jeremy’s hell-bent on multiple seasons.” Carver said the actual quest to close the hellgate story was a season-long arc, but added, “The questions that come up in this quest and the series of reveals and the series of discoveries are meant to start giving us underpinnings for questions and secrets and things that will be explored in future seasons.”

As for whether closing the hellgate to demons coming in and out would also affect human souls, Carver revealed, “That’s something that will be clarified later on – or dealt with.”

Future Highlights

Supernatural has a reputation for doing some rather unusual and noteworthy episodes. Looking ahead to some highlights this year, Carver said, “We’re doing one a little bit later that’s dealing with what happens when you find yourself living in a cartoon universe. That’s a lot of fun. It actually won’t be animated. It deals more with cartoon physics in the real world. We will be doing an episode that deals pretty heavily with the LARPing universe, different from the way we’ve dealt with in the past. Those are two really fun ones we have coming up.”

There is also a found footage episode, which Carver described as “pretty unlike any episode the show has ever done before. Said Singer, “You’re living in this found footage. The boys are bracketed on either side in the opening and at the very end, but for 95% you’re living in this found footage. [Sam and Dean] are in it, unknowingly. It’s crazy. It’s a really good episode. It’s very compelling and has some great guest stars.”

Carver said the setup was, “College kids dealing with a situation that goes pretty horribly awry” and that the episode was much more in line with “your Paranormal Activitys or your Blair Witch” than the Ghostfacers episodes. Added Signer, “Tonally, it’s a 180 degrees away from Ghostfacers.” As Carver noted this episode “ain’t for laughs.”

Carver also remarked, “I’m excited about episode five. We’re dealing with a good deal of flashbacks from Sam and from Dean. That’s a really meaty and emotional episode. It’s somewhat of a turning point for the boys, also.”

Supernatural airs Wednesdays at 9pm ET/PT on The CW.


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Rabu, 03 Oktober 2012

New Girl: "Fluffer" Review

Warning: Full spoilers from the episode to follow.

This week on New Girl was all about fluffers, Romneys and loft trolls -- normally an odd combination, but not so outside the realm of possibility for Jess and the guys. More specifically, though, "Fluffer" acted as an emotional outlet this week, as each of the roomies dug a little deeper than normal to solve their respective problems.

For Jess, it was using Nick to justify her sexual urges with her new boy toy Sam. This, of course, started out innocent enough as Nick joined Jess for a platonic date at a fancy restaurant. This scene probably had some of the best bits, including Nick's out-of-place hesitation to stick around ("I don't know which fork to kill myself with.") and Jess's thermos full of white wine ("You unexpected genius!"). Unfortunately, the fun didn't last long after Nick learned that he was merely an emotional patsy -- a "fluffer," if you will -- for Jess.

By the end, however, this was a sweet story for Nick and Jess, if not a bit of a redundant one; at this point, we've pretty much gotten the all clear that they're both into each other. Still, Nick's dresser dilemma ("It's like high-stakes LEGOs.") was a pleasant arc for all involved. I particularly enjoyed Nick's few scenes with Winston, a one-on-one pair-up that I feel doesn't happen nearly as often as it should. It was also a plus to learn for sure that Nick and Jess had both "thought about it;" Jess's flashback with Nick and the peanuts was especially hilarious.

Meanwhile, Schmidt's recurring Romney gag provided a few good laughs, as well as some intriguing insight into his past. On the surface, the Tugg Romney stuff perhaps felt a little over-the-top -- after all, he looked a bad guy from an '80s movie -- but it did its job in leading Schmidt to the real heart of his character arc this week, namely his unresolved father issues. And while the Romney stuff was all well and good for awhile, it was Schmidt's final scene with Cece that let us see a side of him we hadn't really before. I suppose that can be chalked up to his sage-like advice from Cece, who, being brown, has "the wisdom of a thousand white women."

Another big win this week was Winston's storyline with Shelby and his mental cheating. Not only was it hilarious to see his creeptacular arousal face -- which, by the way, is now in the running for best facial expression alongside Nick's turtle face -- but we also saw his clear struggle to make ends meet emotionally with Shelby. This paired with his mom's career remark from last week, and it seems as though Winston is going to have his own struggles to work out. While he still hasn't really taken center stage this season, it was nice to see him land some of his own scenes here as well.

It's true, New Girl is usually at its finest when they can somehow keep all the major players together in one overarching event. In this case, though, it was fun watching the characters veer off into their own stories. Every character had their moment this week, and in a half-hour comedy, an impressive all feat by itself. On the other hand, the stories themselves weren't incredibly engaging this week. At the end of the day, we're pretty much where we were at when the episode started. Still, a little personal character development goes a long way, too, and it was very much appreciated to see a few more of those seeds sewn.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.


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Minggu, 30 September 2012

Boardwalk Empire: "Bone for Tuna" Review

Warning: Full spoilers for the episode follow...

So after three episodes, this has really become Bobby Cannavale's season. And let's face it, in "Bone for Tuna," we all knew there was no way Rosetti was leaving Atlantic City, for the second time, as anything other than bitter and angry. No matter how much Nucky tried to repair their working relationship. As Nucky put it so well, Rosetti could find an "insult in a bouquet of roses." And Cannavale is just crushing it. The way Rosetti not only gets offended when tells him something he doesn't know, but also when people who state the obvious is terrifying. And it was fun to see the fat corrupt cop get incinerated at the end since we all probably had him marked for death when he spoke out of turn in the diner at the top of the episode. Well, as fun as seeing someone burned alive can be. "You think you have friends. They're all dogs with bones."

"Everyone's a person though, right? How else are they supposed to take it?" Rosetti has a point, although taken to a psychotic extreme. Nucky's finding out the hard way that you can't remain cold and detached from a business that takes people's lives. Killing is personal, and now Nucky's repressed anxiety is manifesting itself in dreams. Now, I'm not a huge fan of dream sequences. Often they're a cheap way to show us what a character is thinking. In fact, I usually just deem most of them to be time fillers. And your enjoyment of this season will have a lot to do with how invested you are in Nucky's loneliness. Which is not an easy thing to care about when we're presented with people of great power. Nucky's obsession with Billie Kent is helping us empathize a little here since he's mistakenly fallen for a woman who simply can't give him what he needs. So he's actually making things worse for himself.

I do enjoy how much Nucky has Rosetti pegged though. "Are we starting with this now?," Nucky says right at the moment when Rosetti might be spiraling into one of his fits over a monkey comment...that Nucky actually said to diffuse a possible misunderstanding. So for Nucky nothing's personal and for Rosetti everything's a slight. And I have a feeling that, when all is said and done, Nucky's going to start to creep down to Rosetti's level, possibly even entering a state of rage. Of course, knowing how Rosetti is, Nucky should have known that him not being there to see Rosetti off would cause trouble. But, like I mentioned, he's distracted these days. Nucky's numbers might not come close to Harrow's "63," but he's still feeling the ill effects of an increased body count.

Harrow's scene with Nucky was great; telling Nucky that he blew out Manny's left eye for Angie, not Jimmy the soldier. I was also reminded of Eli's "How the f*** are you still alive?" from last week concerning Micky's hair-brained idea to start spreading the rumor that he killed Manny. Over in Chicago, Van Alden was having a harder time than usual bonding with the "Brotherhood of Bulls*** and Blarney." It was easy to tell that a raid was going to go down, as soon as the other salesbullies mentioned the speak easy, but I thought Van Alden was actually going to be the one to call it in, as payback on them for the ink prank. But no, he got caught in the raid himself. Actually taking more offense to the corrupt booze officer who asked for a bribe to let him scram. It's funny to watch for when and where Van Alden's "morality" rears up. Especially considering that he's now living a fake life and taken a new bride in Sigrid.

I don't particularly like not liking Margaret, so I was happy to see that she didn't make a giant scene in front of the Bishop regarding prenatal care. I expected a haughty lecture in front of unappreciative bores, but instead she actually acted a bit devious and played Dr. Landau for a fool. In the end, she just needed to present her case in front of someone who outranks Landau, and give the credit to Landau so no one thinks they're being upstaged by a woman. So I was happy to be able to leave this episode without being frustrated with her. Plus, she and Nucky were able to act nice and be civil with one another during the award ceremony. With even a slight undercurrent of caring.

On the less interesting side of "Bone for Tuna," Lucky and Lansky are still beefing with Joe Masseria. Not a lot of time was given to this story, and when you add to that the fact that viewers will have to remember back to last season in order to place the lesser Masseria storyline, it doesn't add up to anything interesting. On a more intriguing note, having to do with Rosetti naturally, Rosetti's infatuation with Gillian was nice touch. As gentle as he is around her though, I don't see this ending well. I just don't think anything can end well when Gyp wants something. Because that just means there's a possibility he can't have it. And then watch out!

Matt Fowler is a writer for IGN. Follow him on Twitter at @TheMattFowler and IGN. WARNING: No Nudity!


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The Avengers: Earth's Mightiest Heroes - "Winter Soldier" Review

Warning: full episode spoilers follow.

Picking up from the fallout of last week's "Code Red," this week's installment of Earth's Mightiest Heroes continued the focus on Captain America, Winter Soldier, and Red Skull. With the addition of the long-absent Nick Fury into the mix, "Winter Soldier" explored the darker, more espionage-influenced portion of the Marvel Universe. At least until Red Skull's giant super-mech shows up to stomp all over the US Capitol.

The writers offered no further explanation than the previous episode did as far as why Bucky was suddenly able to shake off his decades of brain-washing. Instead, this episode dived right into his current mission, which we eventually learned was trying to dispose of Red Skull's Hydra drones before his fail-safe activated. This was another area where the plot felt a little flimsy. If Red Skull had these gigantic, nearly indestructible drones lying in storage, why did he waste years infiltrating the US government when he could have caused more immediate and significant damage with these?

In any case, the episode delivered some brief but interesting flashbacks to Winter Soldier's early missions. Seeing a younger Fury and his S.H.I.E.L.D. agents in action was a nice bonus. We even learned that Bucky was responsible for Fury losing his eye. It's a shame this material wasn't expanded upon more, particularly with Contessa Valentina Allegra de Fontaine making a silent cameo appearance. Marvel's live-action S.H.I.E.L.D. series can't happen soon enough.

"Winter Soldier" generally handled the title character well. His origin was pretty similar to the one established by Ed Brubaker in the Captain America comics, with the only major difference being that Skull was responsible for his "resurrection" from the beginning rather than stealing the assassin from his Russian handlers. He showed he had the skills to both defeat Fury in open combat and take down Red Skull's giant robot with sheer force of will (again, that fierce willpower should have been reflected more last week). By the end of this episode, Bucky's emotional arc was properly completed and the door was left open for more from the character. The problem there being that the series is ending soon, and it's still not confirmed whether Avengers Assemble will be a reboot or a continuation of Earth's Mightiest Heroes.

The final battle sequence wasn't quite the spectacle it could have been, but at least we got to see Cap and Bucky team up once again to punch Red Skull in the face. It offered a nice counterpoint to the tragic flashback sequence of Bucky's death we've seen multiple times during the course of the show. Unfortunately, Hulk and Yellowjacket were both conspicuous in their absence during the fight. It's been disappointing to see so many weeks pass without a return appearance by Hank Pym. His size-changing abilities might have lent an extra bit of flourish to the battle with Mecha Red Skull. Perhaps "Yellowjacket" was intended to take place after this one chronologically, but then why air it out of order?

On the bright side, at least next week's episode will finally bring Hulk back into the fold. The character was written out of the series just as his stock skyrocketed in the wake of the Avengers movie. Let's hope EMH can still run with that momentum as we inch closer to the big finale.

Jesse is a writer for various IGN channels. Allow him to lend a machete to your intellectual thicket by following Jesse on Twitter, or on IGN.


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Doctor Who: "The Angels Take Manhattan" Review

Note: Full Spoilers for the episode follow.

"I always rip out the last page of the book - then it doesn't have to end. I hate endings."

As an immortal cosmic adventurer accustomed to ricocheting in and out of people's decidedly mortal lives, it was an understandable gripe for the Doctor to grumble.

But for fans who have come to know and love the Ponds, it was also a fittingly poignant foreboder for an episode we've long known was coming - an adventure that would write Amy and Rory out of the show for good.

And, as Steven Moffat had so excruciatingly and consistently teased, in a 'heartbreaker' which not everyone would make it out of alive.

The Angels Take Manhattan had its minor narrative quibbles (more on those later), but still stood strong as a heartfelt, emotional end for the TARDIS' longest serving companions (since the show's noughties' return at least), and the best episode of the season thus far.

A pitch-perfectly atmospheric film noir teaser set the scene with style - as the city that never sleeps, the Angels had set up scary shop in New York with a temporal battery farm that could sustain them like never before.

When Rory was Angel-napped back to 1938, Amy, the Doctor and a returning River/Melody fought past temporal distortions and chilling cherubims to save him - just in time to see his future self die old and alone.

Despite the Doctor's assertions that you can't change a history you've already acknowledged, Amy and Rory stood destiny in the face, flipped the bird, and sacrificed themselves to create a paradox with the power to change everything.

It was only fitting that as the Who monster so closely tired to Amy's own story, it was the Angels that contributed to her own (kind of) demise. While they weren't at their scariest (though the creepy J-Horror giggle of the cherubims was a nice, new touch), they were the best choice in helping deliver a definitively final (albeit bittersweet) end.

Unsurprisingly, Karen Gillan and Arthur Darvill were as excellent as we've come to expect, bouncing from rompy humour to heartbreaking drama with ease. While the idea of a suicide pact isn't exactly the most jovial of potential exits, their decision to jump into the unknown together encapsulated their relationship - no matter the danger or the potential pitfalls, as long as they made the journey with each other, everything would be ok.

Kudos also to Matt Smith, who managed to break my already fracturing heart with his grief-stricken, surprisingly selfish reaction in the face of Amy's immediate sacrifice. Thanks to The Power of Three, his emotional connection to the Ponds has never been more heartfelt, and the importance of his travelling companions never more stressed - so it'll be interesting to see how he's handling things come Christmas time.

Admittedly, it left a few nitpicky questions - if the only thing stopping the Doctor seeing the Ponds again is the TARDIS' inability to land in New York, why couldn't he just drop into Connecticut and drive/fly/bike over the state line? If Melody can use her Vortex Manipulator to get her parents the book, why couldn't the Doctor simply borrow that? And bugger Amy, Rory and the Doctor in all this - will nobody please just think of Rory's dad, Brian?!

Intriguingly though, there's every chance these questions - and more - will be answered in the series' latter half. Fan speculation suggests the episodes we've seen already have aired out of chronological order, and then we have River's comments that the Doctor's become almost too invisible suggesting series arc-related plot points we haven't even thought about until now.

Ultimately, The Angels Take Manhattan succeeded in an already uphill battle by honing in on the romanticism of the Ponds' connection to the Whoniverse and each other, bringing Amelia's journey full circle with a flurry of poignant touches, and definitively writing them out in the most bittersweet way imaginable.

As far as final pages go, it's one we're happy to leave unripped.


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Kamis, 27 September 2012

The Big Bang Theory: "The Date Night Variable" Review

Warning: full episode spoilers follow.

The Big Bang Theory ended the somewhat uneven Season 5 on a high note, with Wolowitz and Bernadette finally tying the know and Wolowitz subsequently blasting off to an uncertain fate aboard the International Space Station. The newfound momentum carried over into the Season 6 premiere, "The Date Night Variable." Here we learned that being trapped in the cold depths of space might be the least of Wolowitz's concerns, as there's apparently nowhere his mother's shrill, disembodied voice can't find him.

Given that the majority of the scenes in Big Bang Theory unfold on the same few sets, there was a certain amount of novelty in seeing Wolowitz floating in a zero-G environment with electronics crammed into every alcove and snarky Russian cosmonauts lurking around every bend. His fear of going to the space station clearly evaporated once he arrived, bringing that little subplot to a close. Instead, his fear of rebelling against his domineering mother went to war against his desire to please his new wife, leaving poor Wolowitz in quite the pickle. The back-and-forth was pretty amusing, particularly with Dimitri poking his head in to further take the wind out of Wolowitz's sails now and again. Melissa Rauch delivered a memorable performance despite only appearing as a talking head on a choppy video screen. Bernadette's bubbly exterior is clearly starting to crack thanks to Mrs. Wolowitz's nagging influence. Can you blame her?

Back on terra firma, the rest of the gang dealt with their own relationship crises. The final couple episodes of Season 5 seemed intent on pushing the various romantic relationships in a more purposeful direction again, and that trend continues here. Sheldon and Amy faced the prospect of their second anniversary and the contractually-obligated date that accompanied it. It's always been interesting to watch Sheldon deal with being in an actual relationship. This is a character who doesn't really comprehend romance, nor does he have any particular desire to learn. On one hand you have to admire him for sticking to his guns all this time, but on the other you have to feel a little bad for Amy when Sheldon exploits a loophole in their contract by bringing Raj along.

The uninvited dinner guest might be one of the oldest sitcom tropes in the book, but it worked well here. Raj's continual third wheel status kept the two date nights uncomfortable in a good way. It was also immensely satisfying to see him deliver the stern lecture about cutting the crap and embracing love that Leonard and Penny really needed to hear. Raj may be pathologically shy around women, but it seems even he knows a thing or two about matters of the heart. The episode took a funny swerve near the end when Raj and the perpetually lonely comic shop owner Stuart had a little male bonding moment over some "sad-tinis" and bossa nova music. Raj is in need of a new bromance now that Wolowitz is otherwise occupied. It'll be interesting to see how far the writers run with this pairing. The show has never allowed Raj much in the way of lasting romantic relationships. Maybe it's time he tried his luck with the other gender.

The only problem with this episode is the lack of resolution to some of these romantic conflicts. Sheldon at least provided Amy with the dose of affection she craved (with ample assistance from Spider-Man, of course). But the Leonard and Penny subplot was pretty much abandoned once they kicked Raj out of the apartment. Is it too much to hope they'll actually take Raj's advice to heart? Nor did Wolowitz do anything to quell the threat growing from the two women in his life. Clearly these relationship woes will continue to play out over the early part of Season 6. Again, it was nice to see a greater sense of purpose and direction with the characters late last season, and I'd hate for the show to start meandering with some of this material.

Still, "The Date Night Variable" provided a solid amount of laughs and some quality character moments, which is all anyone can really ask of this series. Now to grab my Chewbacca mug and get a refill on that sad-tini.

Jesse is a writer for various IGN channels. Allow him to lend a machete to your intellectual thicket by following Jesse on Twitter, or on IGN.


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Rabu, 26 September 2012

Flood Confirmed for Halo 4

343 Industries has confirmed that The Flood will return in Halo 4. In a massive set of screenshots released today (which may contain campaign spoilers), Microsoft showed off The Flood in action, as well as a new map. The Flood will return in a new multiplayer mode called Flood.

Separately, during an event at the London Film Museum in Covent Garden last night, 343’s Frank O’Connor confirmed that Halo 4 is complete and ready for certification. According to Videogamer, O’Connor reported that "We had a big piece of news yesterday back in the office, which is that the game is literally finished at this point. They are handing it off through the various certification processes and that, and we're done. It's been three years of incredibly hard work by about 300 people." Developing story…

Andrew Goldfarb is IGN’s associate news editor. Keep up with pictures of the latest food he’s been eating by following him on Twitter or IGN.


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Selasa, 25 September 2012

New Girl: "Re-Launch" Review

Warning: Full spoilers from the episode to follow.

It didn't take long for New Girl to get back in the swing of things for Season 2. In a matter of minutes, I felt right back at home as Jess and Nick shared some quippy bathroom banter and Schmidt begged Winston to scratch the inside of his crotch cast. ("And before you ask, yes, I have been able to reach completion with some very precise and vigorous nipple play.") But after a long and seemingly uneventful summer, it was time to kick things back into high gear with Schmidt's DANGER-themed "rebranding" party, at which Jess, recently laid off from her job, volunteered to be one of the shot girls.

I must admit, I actually really like the idea of Jess's unemployment as an overarching plot device. Much in the same way that she had to cope with losing her boyfriend in the pilot, here we got to see how she handles another loss, this time with her teaching position. It was also fun to see the hilariously awkward support from the guys once they got the news (a la Nick's winking and Schmidt's disoriented sense of direction).

Jess's turn as a cocktail waitress was also pretty classic and -- what's that word again? -- "adorkable." Parker Posey's guest spot as Jess's "26-year-old" competition made it all the sweeter, too; her appearance was definitely one of the highlights. It's almost a shame we didn't get to see more of her, but then again, that almost made it funnier. Nick's comments comparing Jess to other shot girls were also pretty great. ("You're the nurse that I want to wake up to after I've had my stomach pumped. Different kind of hot -- but still hot!") And reintroducing the tiny silver hat from the lost and found was a nice touch.

We also learned that, not only are Schmidt and Cece are still broken up, but Cece now has a new boyfriend, Robbie (played by Franklin Nelson). Of course, that left the door open for Schmidt to continue his usual parade of shenanigans. His spinning flails of fire -- "the most dangerous element of all the elements!" -- was perhaps the most delightfully ridiculous, although I also enjoyed Robbie's nonchalant responses to Schmidt's interrogation. ("I don't like music. 'What's up with me,' you know?")

True to form, this episode also had a couple of really sweet moments, too. Schmidt and Cece's final conversation seemed to hint at a future reunion at some point, which would be preferable. Meanwhile, Nick and Jess's heart-to-heart outside was exactly what the episode needed to round things out. Indeed, "Re-Launch had just about all the makings of an exceptional episode of New Girl. Unfortunately -- as always, it seems -- Winston got the short end of the stick here. He never can seem to find his place, even when he's loosely attached to another character's storyline. While his drunken schtick was certainly not without its laughs, it felt like his character was kind of on the outskirts this time around. Having said that, Jess's storyline was the real draw this week, and it should be interesting to see how her unemployment pans out in future episodes.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.


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Sons of Anarchy: "Laying Pipe" Review

Note: Full spoilers for the episode follow.

Like most shows with a big cast and a ton of storylines going on at the same time, Sons of Anarchy is usually busy jumping from plot to plot, making sure that everything is moving forward. This week’s episode, “Laying Pipe”, directed by former guest star Adam Arkin, was more focused, which set the right tone considering the significance of what happened. There’s a spoiler warning at the top of this review, but this is another warning: if you haven’t seen the episode yet and don't want to be spoiled, go watch it and come back here afterwards.

Let’s discuss the less heartbreaking items first. First up: Gemma’s bad day. If trying to undermine Tara by working with Wendy wasn’t bad enough, pretending to Tara that she hadn’t tipped Wendy off ended up making Gemma look a tiny bit silly. As Gemma herself pointed out, Tara is the smart one. And then there was the fight with the prostitute (Ashley Tisdale) who was with Clay at Nero’s. Clay’s sly smile confirmed that this was exactly what he was going for; it was disappointing to see Gemma gave him what he wanted.

Of course, all of this was completely in character for Gemma, who has been known to go off half-cocked when things get her riled up. Katey Sagal put a great tone into all of her lines, especially with Tara (“Where is this sad song going?”). Even when she knew she didn’t have a leg to stand on, she was feisty. Tara’s declaration that she loved Gemma but wouldn’t put up with this was the perfect response. My question is how long Nero is going to be ok with the chaos that accompanies Gemma everywhere. Their discussion afterward was another example of the great chemistry between Sagal and Jimmy Smits; the ease they have with each other makes it fun to watch the relationship unfold.

It was just last week that I was looking forward to seeing what would happen when Clay and Nero met up, and I got my wish pretty quickly here in just the third episode of the season. I should have known that Nero would be cool as a cucumber, unwilling to let Clay get him worked up. Although there was no violence between Gemma’s men so far, I think Nero will prove to be more than capable of holding his own if Clay decides to take him on.

After all the angst with Juice last season, it was like a breath of fresh air to see him more lighthearted again. In this episode Theo Rossi brought out the humor every chance he got, and it was a great way of easing some of the tension from the other storylines. Juice’s reluctance to take Clay to Nero’s was cute, but it was when Carla called him “white trash” and he made the correction that he was Puerto Rican that made me laugh out loud. It was good to see the old Juice back.

Diana was too sad to write a funny caption this week

And now to the heart of the episode – what happened to Jax and the other three Sons in county lockup. To start, Harold Perrineau and Charlie Hunnam’s scenes together were great. They started off on unequal footing, with Jax trying to keep things from spinning out of control. The change in Jax by the end of the episode was profound, and Pope recognized it right away.

Charlie Hunnam and Ryan Hurst also made the most of their time together in this episode. As glad as I was to see the heart to heart where Jax came clean about the events of last season, I knew it didn’t bode well for Opie. But even if we could sense it coming, it didn’t make it any less painful to watch that scene unfold. It was brutal, made more so by Opie’s resignation and Jax’s horrified reaction. Sons of Anarchy has a history of being unafraid to show shocking violence and this was no exception.

Opie (and Hurst) will be missed. The impact on Jax was immediate. He was already struggling to keep things together and it will only be more difficult without Opie as backup and moral compass. The way he “held court” at the end with Chibs and Tig showed us the change in him as he used Tig to solidify his control of SAMCRO. If I had a complaint about the episode, it was that I wanted to see the conversation when Jax called Tara in the end. We got to see Jax’s reaction to what happened to Opie, how it affected his dealings with Pope, and how he dealt with Chibs and Tig. When the scene ended without showing us how Jax explained things to Tara, it felt like we were missing something. Maybe they will give us some of the fallout in the episodes to come, we will have to see.


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Warehouse 13: "The Ones You Love" Review

Note: Full spoilers for the episode follow.

Wow, that episode sure did get going in a heartbeat. It's rare that Warehouse 13 starts off with crazy action, but within minutes we've got Artie and Brother Adrian fighting it out. And the pace never slowed down after that, giving us more varied, action-packed scenarios in one episode than we've ever seen before. But too much action can lead to sacrifices in cerebral storytelling, and that's exactly what happens here.

Here's the first sign that something was wrong. After Artie and Brother Adrian scuffle for a bit, the dear brother says, “Come, here. I want to tell you my plan.” And Artie dutifully leans in so the dear brother can whisper in his ear. That was the most awkward thing I've seen in TV in a long time. It's just incomprehensibly contrived and illogical.

But it was still early in the episode, so I didn't give up on it yet. Soon it is revealed that Brother Adrian is playing pretty dirty and he's going after the family members and loved ones of the warehouse agents, and we've got the thrust of this week's plot. Meanwhile, Mrs. Frederic and Jinks are off to the Vatican to get to the root of the problem in a story initially seems pointless, but becomes very important later. Still, the peril of the loved ones dominates this story, and the whole core cast of characters gets set on a different adventure. Myka goes off to see her pregnant sister who is stricken by sudden desire to poison her. Jeri Ryan returns to the show as Amanda, Pete's ex-wife. And Claudia rushes to California to save her brother again. To say this episode has a lot going on would be a severe understatement.

In recent past episodes, the writers tried to do too much. There were one too many stories, which left each mini-plot with less screen time than it needed to really shine. You'd think I'd lay down the same critique here, but...you know...although I was all prepared to be the big bad reviewer on this one, it isn't necessary. Despite the many, many stories going on here, I have to say that it works. Each of these little stories is simple enough that it doesn't need much exploration, and the scattered structure keeps the episode from having any sagging parts.

The most entertaining of these stories is Myka's. The sisterly rivalry is hilarious, and culminates in one scene that has Myka physically fighting with her pregnant sister while trading insults from years worth of juvenile grievances. It could have descended into Jerry Springer material, but it's actually tastefully funny. On the other side of things, Pete's story is the more dramatic one for once. Just as it looks like Pete is going to have something very nasty happen to him, quick thinking saves the day. Myka's conclusion that the leather box was the medium for the tattoo was brilliant, and Pete's idea to just lie on the ground and press the box against his back is immediately obvious, but the obvious sometimes escapes Pete so this is progress for him.

Soon, however, the episode got back to sloppy writing. Artie utters the illogical line, “I'm not a murderer. But don't worry; you're never getting out of here again.” Uhm...wouldn't never leaving be something to worry about? That whole sentence should've never left the writer's room. And since when did Leena not listen to a grave warning from Mrs. Frederic? Run, girl! Run!!!

Still, the shocking revelation that Brother Adrian had never actually been there is one of the biggest WTF moments WH13 ever had, but it's surprising because it comes out of nowhere. We didn't have any really hints for this turn of events. While a good plot twist is never seen coming, you do want it to make some sense based on what the viewer has seen. I don't know if re-watches of the previous episodes would really support this development, so I can't give the producers highest marks for execution. But I'll definitely give out extra points for effort, and this plot point does make it easy to segue into evil Artie doing a truly villainous deed; killing Leena.

Leena being dead is sad, but let's be honest – she was the most disposable of the cast members. It's been ages since she had anything to actually do in this series. Her death just means that we may finally have a permanent change in this series. But we've seen disaster averted so many times in WH13 that it's hard to know if this will actually stick. This is one of the times when the show's own history works against it, and the drama we should have is tempered by uncertainty. Despite that, I'll still be eagerly awaiting what WH13 has in store for a follow-up to this week's intriguing events.


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Revolution: "Chained Heat" Review

Note: Full spoilers for the episode follow.

The second episode of Revolution continued the story in a confident manner, introducing several new elements along the way.

Daniella Alonso (Friday Night Lights) was introduced as Nora, someone Miles described as “really good at blowing stuff up.” And while we didn’t get to see that particular skill set, there was still a decent amount of action in this episode – something that’s always a question when you move from the always higher-budgeted pilot of a series to the regular episodes.

The portrayal of the agreeably Han Solo-like Miles as especially talented in this regard continued – most notably when he managed to fight and stab someone while he himself was handcuffed. And Charlie had some very cool moments herself, first when she managed to deftly chain up Nate, and second when she used that hidden wrist gun.

However, the episode was pretty inconsistent with the pilot as far as Charlie having hesitation to kill her enemies in the midst of battle (and Miles' concerns on that front), considering she’d shot a dude with a crossbow last week - in front of Miles, no less. At least the flashbacks to right after the blackout did a nice job of showing how Rachel tasked Charlie with being Danny’s protector – and how Mama showed that when someone tries to take your stuff and won’t listen to your warning, you shoot that person. Either way, by the end of the hour, Charlie had killed two guys in the midst of freeing a bunch of enslaved workers, so hopefully this issue has been put to rest.

I do hope this show gives us a better reason to care about Danny as the weeks go on. Right now, the quest to save him is meant to the main point of concern for Charlie, but he’s a pretty blank slate at this point – as is Nate, whose name isn’t Nate.

Better served here were Aaron and Maggie. Aaron had better lines than in the pilot, including “Great, they’re having a sale on heroin!” and his description of the blackout as having “cornholed the laws of nature.” His insistence that it was a manmade event, if correct, does give us our first kernel of tracking down the source as an actual person.

Maggie meanwhile had a legitimately poignant scene, revealing she carries her old iPhone with her because, “Somewhere inside are the only picture of my kids” – a sad line that rings true in this day and age, when having physical photos is less and less common.

This episode very quickly revealed a different side of Neville in an efficient manner, as we saw his genuine concern over one of his men being mortally injured, while expressing, “the Monroe militia is the one thing between us and total anarchy.” This is where hiring an actor like Giancarlo Esposito really pays off, because man can this guy sell conviction like no other.

Less involving is Monroe himself, which could become an issue as the series goes on, given he is meant to be the main villain – the Emperor to Neville’s Darth Vader. Even when cutting open a man for saying he’s not scared of him, he doesn’t really convey menace, at least so far.

Hopefully the inclusion of Rachel isn’t his storyline improves things – you can never go wrong with more Elizabeth Mitchell. The original version of the Revolution pilot sent to critics in May had the reveal of Rachel being alive (then played by Andrea Roth) at the end of that first episode. I was a bit worried the producers had decided to really drag out that reveal when they cut it from the pilot, so it was good to see it was simply held for one week.

Lastly, Grace and her old school computer got an unpleasant surprise with the arrival of Randall – who had an electronic prod of some sort that is our second example of power still working in certain devices. Curiouser and curiouser...


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How I Met Your Mother: "Farhampton" Review

Warning: Full spoilers from the episode to follow.

It's been a long time coming -- a looooong time coming -- but with this season of How I Met Your Mother possibly acting as its last, it's clear after watching "Farhampton" that the show definitely has its sights set on the end. This, of course, was mainly due to the fact that we got the closest we ever have to seeing the mother, and for once, it almost feels like the end of our tale is within reach. Unfortunately, that fleeting exhilaration of that final moment was more or less undercut by the 21 humdrum minutes preceding it.

Once again, Barney and Robin were back on the long road to reuniting -- did I mention? -- again. In what is possibly the most roundabout way of writing someone off a show, it's borderline infuriating that we'll soon be forced to witness the train wreck that will eventually become Barney and Quinn's inevitable breakup. More than anything, I almost just feel sorry for Becki Newton, whose presence on the show now only serves as a constant reminder that she's leaving. We already know how the story ends, must we spell out how it all happens? At this point, I think we can put the pieces together. It's kind of like watching The Sixth Sense and knowing the whole time that (spoilers?) Bruce Willis is a ghost. It's simply not as interesting to watch.

How I Met Your Mother Creators on Crafting the (Probable) Final Seaosn

However, Lily and Marshall's storyline was easily the laziest of the bunch. Not only have we seen the "sleep deprived parents" bit in countless other sitcoms, but it seemed like there were some mixed metaphors going on between the initial zombie references and the bizarre recurring fish tank gag. Hopefully their season arc will improve, as theirs is currently the only one without a predetermined destination. It's a shame they got the shaft this week, as their hackneyed B-story could have easily been reworked into a stronger social rules bit. Admittedly, though, I did chuckle when Quinn explained why she had overheard the dazed couple's conversation, "'Hey, Quinn. Let's all hang out in Marvin's room!'"

Meanwhile, we also got a followup from Ted and Victoria, who, last we saw, had driven off into the sunset together. But as someone well versed in the etiquette of being left at the altar, Ted was appalled to learn that Victoria had not left a note for her fiancee Klaus. After all, "it's common courtesy!" Honestly, this arc -- while ultimately about as meaningless as Barney/Robin/Quinn's -- was perhaps the most entertaining. Ted's not so stealthy attempts at leaving the note were among some of the better sequences, particularly Barney's remote distraction of Andrea the Giant. ("Quinn's on board!")

However, it was Thomas Lennon's portrayal of Klaus that truly elevated this story. His conversation with Ted at the train station definitely added a bit of much needed weight to the episode. Although Band of Horses' "Funeral" wasn't exactly the most appropriate underscore for the montage, Klaus's speech was still a rather well-written summation of the presumed events to come, and provided a nice lead-in to the aforementioned mother sequence.

"Farhampton" was not without its occasional redeeming qualities, but as far as HIMYM episodes go, this one was certainly not a standout. In fact, the only substantial joke was Barney's one-minute recap of the entire series thus far, which seemed oddly fitting for HIMYM's potentially final premiere. Likewise, Robin's bridal cold feet at the top of the episode also provided an additional nugget of intrigue (although this obviously won't be addressed until later on). Aside from that, the episode was pretty lacking in both laughs and dramatic content. While it's a plus that Season 8 is heading somewhere assuredly interesting, I only hope the road ahead is a little more scenic.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.


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Senin, 24 September 2012

Alphas: "The Devil Will Drag You Under" Review

Warning: Full spoilers for the episode follow...

Whatever the cost is right. Unfortunately, the cost of finding Dani, from the push that Nina gave to Hicks, was Dani herself.

"The Devil Will Drag You Under" was a thrilling and poignant "dark before the dawn" episode that helped elevate Dani up the ranks to become a character whose death we care about possibly even more, at this point, than some of Rosen's actual team members. It also both redeemed her character and gave our villain, Parish, a more savage edge. Now I'm sure none of us thought Parish would actually spare Dani at the end, no matter how conflicted he might have been. He's a man who's lived way too long and seen far too much "sacrifice" to ever get trapped inside sentiment. But does anyone else think that he'll actually emerge from this angrier and more determined than ever as well?

Rosen and Hicks will be devastated, naturally. But it also seems like Parish will now carry around a deep resentment for Rosen and his ideals for turning Dani against him and forcing his hand. Which brings me to another great aspect of this episode - Parish's plan to kill all of Manhattan as a way of "culling the herd." Yes, from the playbook of "That Escalated Quickly," it turns out that the soft-spoken Parish isn't interested in baby steps. Nope. No gassing a subway car or taking out a bunch of people at a sporting event. He's skipping over a bunch of villainous rungs and going right for the genocidal maniac mantle. And yes, Rosen sending Dani back into Parish's clutches, as an obvious double agent, wasn't going to turn out well for her. That's writing 101. But if he hadn't, they'd also never have discovered Parish's plot.

In fact, it was purely because Parish revealed his master plan to Dani that Rosen and Hicks had to go in and rescue her. Because it caused her to noticeably freak out in Parish's eyes. Causing him to detain her. Causing her to miss her meet-ups with Rosen. And just when I thought Nina was going to be confined to doing her Nina-rounds (trying to comfort the distraught members of the team), she was revealed to be an instrumental component in Rosen's plan to send Hicks in after Dani.

In fact, there was quite a bit of mind manipulation in this episode. Kandyse McClure (BSG's Dualla) stopped by as a mind-vetter named Agnes. Who suffers the Rogue-esque curse of never being able to touch someone with her skin. Which then causes her to admire the true love that Hicks feels for Dani. Also, creepy Kimi was back, creepily whispering into Hicks ear, trying to get him to blow his brains out. Come to think of it, Hicks' mind was kind of like a boxing speed ball in this episode. But no matter how powerful these mind Alphas can be, they can't bring someone back from the brink of death.

Save for Rosen, everyone around Dani's fallen body had powers. But no one could heal her. Not even Nina's last ditch effort to push her with "DO NOT DIE!" It was a tragic, well-crafted scene that will hopefully push our heroes into the final stretch of Season 2 with an inspired fury.

Ashes for paradise.

Matt Fowler is a writer for IGN. Follow him on Twitter at @TheMattFowler and IGN. WARNING: No Nudity!


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The Avengers: Earth's Mightiest Heroes - "Code Red" Review

Warning: full episode spoilers follow.

This week's episode of Earth's Mightiest Heroes was nothing if not ambitious. "Code Red" was a loose adaptation of the comic book storyline of the same name (penned by Geoff Johns in a rare foray into the Marvel Universe). But it also brought Red Hulk back into the forefront as well as exploring the mystery of Winter Soldier and his connection to Captain America. Needless to say, the script bit off a bit more than it could feasibly chew in the span of 22 minutes, but "Code Red" was entertaining nonetheless.

The episode got off to a strong, slightly creepy start as Red Skull's virus spread and morphed all it touched into sickly, red-skinned, almost zombie-like creatures. This was some unusually creepy imagery for an animated superhero series, and it lent a nice darker edge to the episode. Unfortunately, the scope of Red Skull's attack was very limited compared to the original story. Rather than being a global pandemic, the Code Red virus only impacted the Avengers and the Manhattan civilians in the immediate vicinity. Ideally, this conflict could have been spread across multiple episodes, with one devoted to the Avengers battling against and ultimately succumbing to the virus, and the second shifting focus to Secretary of State Dell Rusk and his gang of superhuman enforcers.

It was strange seeing Doc Samson, Red Hulk, and Falcon relegated to what essentially qualified as hired muscle. The writers seemed inspired by Jeph Loeb's Hulk work in both the brawl between Red Hulk and Thor and the fact that Red Hulk was a member of a team comprised solely of characters who wear red costumes. Luckily, all three contributed to some memorable action scenes. The highlight was easily the Red Hulk/Thor battle, which was fierce enough to literally rock the Statue of Liberty on its foundations. Falcon showed his bad-ass side as well in the fight with Hawkeye, which should help win him some new fans in advance of his starring role in the upcoming Avengers Assemble series. Lance Reddick's vocal work certainly didn't hurt. Reddick, Fred Tatasciore (Red Hulk), and Steve Blum (Red Skull) all delivered memorable performances this week.

But again, the script was juggling more material than it could really handle, and the final minutes were really weighed down by the rush to the finish line. Winter Soldier's transition from loyal minion to Cap's savior was abrupt, to say the least. There wasn't even much indication as to what turned him against Skull. Red Hulk quietly vanished, while Samson's recent misdeeds were quickly explained away as a product of brainwashing. In the final moments, the Avengers discuss the downfall of Dell Rusk's political career and the resulting swell of public support for the Avengers, but this is all material that might have worked better if it were shown rather than told to viewers. Ultimately, Code Red either required more running time or a more narrow focus on Cap, Winter Soldier, and Red Skull.

Luckily, this isn't the end for these particular plot threads. Next week's episode will delve deeper into the Winter Soldier mystery, while the following installment (whenever Disney XD chooses to actually air it) will finally bring Hulk back into the fold and reveal Red Hulk's secrets. We're entering the final stretch for this series, and it looks to be an eventful time for Avengers fans.

Jesse is a writer for IGN Comics and IGN Movies. Allow him to lend a machete to your intellectual thicket by following Jesse on Twitter, or on IGN.


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Minggu, 23 September 2012

Boardwalk Empire: "Spaghetti & Coffee" Review

Warning: Full spoilers for the episode follow...

"Tell Nucky, Old Pop Collingsworth says hello!"

The violent hair-trigger temperament of Gyp Rosetti that was established last week in the Season 3 premiere helped a great deal in carrying us through "Spaghetti & Coffee," adding a extra layer of tension to every single scene he was in. From his dealings with the young man at the gas station to the scene in the diner, you just could never tell what might set Rosetti off. And honestly, it made for some very great, nerve-racking scenes. But the Rosetti we saw in this episode was a much more restrained, plotting gangster, with enough smarts not to just fly off the handle and kill innocent people in public. And with enough intelligence to actually figure out a plan to thwart a giant booze shipment headed to Rothstein. I'll tell you this though: The next time Rosetti is actually alone, with no witnesses, with a guy who's pissed him off, the crimson's gonna flow!

But even though Gyp stepped up a few notches on the crime boss evolutionary ladder by actually hatching a devious idea, "Spaghetti & Coffee" was a quieter episode than last week's. And it was also the first time that I specifically missed Jimmy. Perhaps it was because Harrow and Gillian took this week off, or maybe it was because one of the side stories involved Eli returning home, prison-gaunt, to his family. There is sympathy to be found in Eli, but not too much. He backed the wrong horse and was complicit in the plot to murder his own brother. Seeing him humbled seems like a natural progression, but Boardwalk needs to be wary of not overloading itself with "fallen" characters. We've also got Van Alden over in Chicago, trying to make his way through life by looking into mirrors and self-motivating himself through psychotherapy.

"How the f*** are you still alive?" Eli says to Mickey, as his new life now involves answering to Nucky's oft-inept gigglepuss. But work is work and Eli's ready, eventually, to lend a hand to Nucky's transport operation. The most interesting thing that developed here though was, at the end, when Owen trusted Eli's advice over Mickey's when confronted by Rosetti's "everybody got guns" battalion of thugs. So it looks like it takes about, oh, one episode for a disgraced character to climb back a few rungs and become useful again. I say this assuming that Van Alden will also take O'Banion up on his job offer.

Although there sadly was no Harrow this week, we did get a peek back inside Chalky White's world and got introduced to Stephen Root's cryptic Special Investigator, Gaston Means. Means, the money-drop go-between for Smith and Daugherty, already fits in well on this show, being both someone who's direct and puzzling at the same time. Chalky, however, is having a bit of trouble at home when he discovers that his daughter, Maybelle, doesn't want to marry the extremely do-right future-doctor, Sam. Even after Chalky vetted him ("How bout you doctor me?"). No, being Chalky's daughter has given her a penchant, and attraction, to a more secretive, gangster life. Even though she doesn't fully know the gruesome details of his work and legacy. "Am I interesting now?" Chalky asks her after Sam's face gets slashed at a juke joint, which then leads to the assailer's face getting stomped in by Dunn Purnsley. Chalky's story didn't have anything to do with Nucky, or the bootlegging biz, but it's always awesome to visit his world. And it's touching to know how much he wants his daughter to elevate her position in life. He could easily succumb to pride, thinking that the paid-for-in-blood life that he's provided her is plenty good enough. But he's done the things he's done so that she never has to.

Margaret, meanwhile, is still on Dr. Mason about prenatal care education. It's a good story, but I have a little trouble latching onto giant, historical issues like this when I know that there're so many more years of research and work and protesting involved in evoking eventual change than this series can dare to encompass. It's a lofty undertaking, which at this point seems like a bit of a burden for a character that many are still straining to appreciate. And Nucky? Well, Nucky's off and under the spell of follies-performer, Billie Kent. His very own White Rock Girl, as he references. But Billie is anything but something that reflects the crystalline purity of White Rock beverages. She's a good-natured, but flighty, actress. And Nucky mistakenly thinks he can curb her flirty, secretive ways. And for a guy who's so direct, and expects honesty in return, it's a bit foolish of him to get wrapped up in her allure. But from their time together we were able to learn that all Nucky wants, more than anything, is for "everything to run all by itself." Which is close to the life he could have had with Margaret if she hadn't thrown all his money at the pediatric hospital.

I do miss Jimmy, and I still haven't found a "not-Nucky" story that can match up with Jimmy's former side of the Boardwalk Empire coin. Eli's not going to cut it, and while Chalky and Harrow are fascinating to watch, they're still mostly "the frosting on top." Rosetti, and the tension he brings, is already a great addition, but stretching him out over a whole season could be a tricky endeavor. This episode felt a bit shallow, but perhaps that's because Nucky was busy dipping his feet in the shallow end, hoping his hummingbird wouldn't fly too far away.

Matt Fowler is a writer for IGN. Follow him on Twitter at @TheMattFowler and IGN. WARNING: No Nudity!


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Last Resort: "Pilot" Review

Note: Some spoilers follow for Last Resort – basically the same plot points revealed by the network in trailers for the past few months. But keep in mind, you can watch the full pilot online now, before it debuts on ABC.

Shawn Ryan has more than proven his TV mettle at this point, having given us the awesomeness of The Shield, while in recent years delivering terrific (even when frustratingly ratings-challenged) programming like Terriers and The Chicago Code.

All of which is to say, Ryan’s involvement immediately had me interested in Last Resort, the new ABC series he created with Karl Gajdusek (Dead Like Me). And the very happy news is, wow, does this show deliver. Last Resort is easily fall’s best new TV series.

Andre Braugher stars as Captain Marcus Chaplin, commander of the nuclear submarine the Colorado. When Chaplin is confronted with that horrific moment where he’s actually given orders to fire his nukes on Pakistan, the highly suspicious circumstances of the orders doesn’t sit right with either him or his XO, Sam Kendal (Scott Speedman). Chaplin’s instincts are correct, and his refusal to carry out the order without more information suddenly makes him and his crew enemies of the state, with their lives on the line.

With more than one crew member shocked (if not filled with outright rage) at his decisions, Chaplin impulsively takes the sub to a small, inhabited island – creating a new home base for all onboard, while they try to sort out why these insane turn of events have occurred and who is behind them.

Martin Campbell directed the pilot to Last Resort, and the action veteran brings to the proceedings the intensity and skill he gave Bond films GoldenEye and Casino Royale – giving the show a big, appropriately intense vibe almost from the start.

If I have any quibble about the Last Resort pilot it is that it does feel almost too jam-packed – if any series could have benefited from an old school two-hour “event” premiere episode, it would be this one. For instance, we might have spent a bit more time on the Colorado as the crew goes through a normal routine, as the episode, in the interest of brevity, begins with them rescuing a team of Navy SEALs (who are being suspiciously tightlipped about their own mission), and at first it’s easy to feel a bit out of sorts about what exactly is going on.

Overall though, Ryan, Gajdusek and Campbell are to be highly commended for efficiently and effectively conveying so much in just 44 minutes. Even with the limited time they have, they distinctly establish the characters and relationships on the Colorado before the true crisis begins, from Sam’s longing to get home to his wife, Christine (Jessy Schram), to the struggle the sub’s third in command, Lieutenant Grace Shepard (Daisy Betts), has establishing authority among certain members of the crew, thanks both to her gender and to her powerful Admiral father (Bruce Davison), who some feel helped secure her position.

The cast are excellent, with Braugher bringing exactly the right feel of leadership, intelligence and cunning to the role of Chaplin. We have to believe that Chaplin is a man with a long, honorable history in the military -- that his decision to not fire when ordered to do so would not be one he’d make lightly -- and Braugher is exactly the right actor to portray that history and someone who has to handle so much weight on his shoulders without crumbling under the pressure.

With just a couple of big scenes each, for the most part, plenty of other cast members quickly establish fertile ground to build upon – including Autumn Reeser as Kylie Sinclair, a D.C. power player who has a vested business interest in what’s happening on the Colorado, but is not simply the ice cold opportunist she appears to be; Daniel Lissing as one of those aforementioned Navy SEALs hiding secrets of his own; and Dichen Lachman, Sophie Girard and Sahr Ngaujah as residents of the island the Colorado arrives at, who quickly have to make some big adjustments to their lives.

An alum of Ryan’s previous military-based series, The Unit, Robert Patrick, is great as Master Chief Joseph Prosser, conveying a complicated mixture of character traits, as Prosser is clearly old fashioned and rigid, but also doing what he feels is right through and through…. In what is possibly a combustible combination.

Last Resort has such a tense, “How will this be resolved?!” scenario, it’s hard not to also wonder, “How do you sustain this for several years?”, if it finds its deserving success. But the pilot feels so confident and powerful, I’m more curious than concerned when it comes to answering that second question.

It’s rare to have a truly terrific pilot episode. By their very nature, they are just chapter one in what’s meant to be a long story - burdened with establishing the overall situation and filled with exposition and introductions. Last Resort stands out as one of those shows that grabs your attention from the get go and delivers a tricky balance of strong character beats and big action set pieces. Don’t miss this one.

Last Resort premieres Thursday, September 27th at 8pm on ABC.

Eric Goldman is Executive Editor of IGN TV. You can follow him on Twitter and IGN.


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Sabtu, 22 September 2012

Doctor Who: “The Power of Three” Review

Note: Full Spoilers for the episode follow.

The Temple of Doom, Raiders of the Lost Ark, and The Last Crusade. Beetlejuice, Beetlejuice, Beetlejuice. Amy, Rory and the Doctor.

Yep, it's fair to say that good things really do come in threes. And for the Pond's penultimate adventure, it seemed only fitting that we slowed things down to explore the impact The Doctor's had on their life, and - surprisingly - them on his.

For the most part, The Power of Three hit every emotional beat with satisfying eloquence, and succeeded in delivering a fitting epitaph to the TARDIS trio. Whether the episode as a coherent whole was up to scratch though, isn't quite as clear.

The set-up was as brief as it was intriguing - one day, out of absolutely nowhere, thousands of tiny, shiny black cubes started popping up all the globe. While the world and the Doctor flew straight into Defcon 5, the cubes responded by doing the last thing anyone expected - absolutely nothing.

So began the 'Year of the Slow Invasion', and an episode in which we (and more importantly, the Doctor) were able to see what Amy and Rory get up to during their non-planet hopping downtime. Inevitably, when the cubes finally did make their nefarious plans known, no-one was expecting it.

For a good three quarters of its running time, The Power of Three was slightly brilliant.

By focusing on the relative mundanity of Amy and Rory's 'other' life, it succeeded in paying off this season's subtle shift away from the Ponds' reliance on the Doctor. Whether hanging out with friends, going to jobs they loved, or simply chilling out in bed together, it sold the idea that the Ponds are finally ready for a normal life.

In fact, it was the Doctor's counter reaction that gave the episode its heart. His big sell to Amy on travelling the universe, and the revelation that he's not running away from, but to life's smaller moments was heartwarmingly poetic.

It also had humour galore, with Russell T Davies-style celebrity cameos, irreverent silliness (giving the Doctor OCD on a galactic level made perfect, amusing sense), and - of course - the return of the best companion the Doctor never had, one Brian 'Diligence' Pond.

Who needs Oswin when you have a man who can spend four days sat in the TARDIS without a toilet break?

The cubes meanwhile were as beguiling in motive as they were design, and when they finally struck, the terror of a planet-wide collective myocardial infarction (I've been watching a lot of Scrubs recently) was genuinely, erm, heart-stopping.

It was only the rushed resolution that failed to deliver.

While the concept of an intergalactic pest exterminator seeding sexy slug pellet cubes all over the world was nifty, the introduction of the maskless Darth Vader-ish Big Bad behind them seemed a pointless afterthought.

Not only did he arrive too late in the tale to really feel threatening, but some of his motives seemed bizarre, too - what was the point of the Q*Bert-mouthed orderlies? And why were they bringing anyone back to the ship in the first place?

Equally, the Doctor's magic wand wave-away of the world's mass heart attack felt frivolously easy considering the initial impact (and is anyone else worried about the more-than-likely vegetative state of the millions of people who have just come back to life - after around ten minutes sans oxygen?).

While The Power of Three had its problems, the simplicity of its driving plot and the focus on character delivered.

Whatever happens in next week's final Pond adventure, at least this will serve as fitting coda to one of the most memorable Doctor/Companion(s) pairings so far.


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Jumat, 21 September 2012

Louie: "Late Show Part 3" Review

Note: Full spoilers for the episode follow.

The conclusion of Louie’s journey towards potentially becoming a late night host ended in Late Show Part 3, and while it didn’t quite offer as many new turns as the last couple of episodes, it still was incredibly entertaining.

There was an obvious Rocky homage last week, with Louie running in the middle of the street, trying to get in shape, but here it became solidified that this entire storyline was Rocky – the original Rocky, that is. This was a story about Louie going the distance. He didn’t beat the champ. He didn’t become the champ. But he proved he could go toe-to-toe with him.

That would of course make David Lynch’s Jack the Mickey character, and indeed, Jack turned out to be the tough bastard who constantly harped on Louie, but ultimately was trying to help him and saw his potential.

Lynch’s appearance on these two episodes has been amazing. Again, we were in clear Lynchian/Twin Peaks territory here – close your eyes and listen to Lynch delivering the line, “Here’s the thing with that, champ – it’s short for champion” and you can just hear Gordon Cole saying something like that to Albert Rosenfeld. Lynch and Louie were a pairing I never would have thought of, but it completely worked and it would be great if somehow, they could bring him back at some point.

Louie’s practice interview with a cleaning lady was a wonderful disaster, as she broke down crying over the mother she lost when she was eight. All of Louie’s attempts to hone his skills were that great combination of awkward and funny, including an hysterically random array of curse words Louie let out at one point when practicing a monologue by himself.

After last week’s episode ended with the reveal that Chris Rock was also in the running for the Letterman job, it was odd to not have that brought up at all here or to at least get some mention of it. But that was balanced by having Jerry Seinfeld himself appear, as yet another celebrity willing to play a rather dark version of themselves – with Seinfeld attempting to trick Louie into believing a deal for Jerry to take the Letterman job was already signed. I’d already chuckled at Lynch’s parting words of advice -- “If someone asks you to keep a secret, their secret is a lie, you got that?” -- but it was even better when it turned out to be setting up Seinfeld’s scene.

Having Louie’s oh-so youthful manager Doug not speak at all the past couple of episodes got a great payoff here, as he got to exclaim, “If somebody asks you to keep a secret…!” and give Louie the eureka moment that would allow him to go out and nail his test show.

It’s interesting how negative a light this episode painted Letterman in at the end. Not only did we learn he signed a new 10-year deal to stay on the show, but we learned Louie had been banned from ever appearing on Letterman again. Hell, the episode ended with Louie yelling, “F**k you!” at the Letterman studio. (Though in a victorious way!) This show involves Louis C.K. using real life as a springboard sometimes while completely creating scenarios other times. Do he and Letterman have a beef? Are they good buddies and this will be laughed about between them? Either way, the scenario had a satisfying conclusion, with the unseen Letterman still making an impact.

In the end, this was a nice bit of validation for Louie, who had certainly wanted that job, but seemed to take heart in his friend telling him, “You took 20 million out of that a**hole’s pocket - that’s how good you are.”

Requisite awesome Jane line of the week: “You’re not skinnier. Daddy, you’re fat, Daddy.”

Eric Goldman is Executive Editor of IGN TV. You can follow him on Twitter and IGN.


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Senin, 17 September 2012

The Avengers: Earth's Mightiest Heroes - "Emperor Stark" Review

Note: Full spoilers for the episode follow.

After sitting out several episodes of Earth's Mightiest Heroes following his conversion in "Ultron Unlimited," Vision came back in a big way with "Emperor Stark." The episode kicked off with a great premise, as Vision awoke after a 30-day repair process to discover that Tony Stark had inexplicably chosen to take over the world. If superhero movies have taught us anything, it's that any device promising free, unlimited energy will eventually be harnessed for nefarious purposes.

The episode was certainly a strong showing for Vision, whose inorganic mind suddenly became a major asset in a world where Purple Man ruled all. His interaction with his new teammates was very enjoyable, particularly when Hawkeye scolded Vision for calling the battle "easy." Hawkeye had his own solid moments throughout. It was amusing to see Cap trick him out of being brainwashed by reminding Hawkeye that he doesn't like to do what other people tell him to. Hawkeye's trick shot in space also stood out as a memorable moment. Buit nothing topped the brawl between Thor and Vision. Seeing the latter take on 500 tons of mass and dive-bomb Thor from orbit had to be one of the top moments in the show's two-year history.

What was interesting about Christopher Yost's script for "Emperor Stark" is that it showed a bit less less direct influence from the Avengers comics than usual. Technically this episode could be said to be inspired by the Emperor Doom graphic novel, but the cast of characters, their motivations, and Purple Man's role in the story were heavily modified. Purple Man is known for committing some heinous acts against Marvel's heroes. And while his misdeeds in this episode certainly didn't outclass those in Brian Michael Bendis' Alias comic, he still managed to hit Tony closer to home than any other villain in the series. The fact that it was all merely revenge for being made to look foolish in public was a nice extra touch. Star Trek: The Next Generation's Brent Spiner made a welcome guest appearance as the voice of Purple Man. Spiner seemed poorly suited for the Joker on Young Justice, but here Purple Man had just the right blend of shrillness and subtle malice.

My only complaint with "Emperor Stark" was that it could have been drawn out longer. The ending in particular could have used a bit more attention. Stark noted his own culpability in Purple Man's world domination scheme, but Cap seemed content to brush away his concerns and deliver a typically heart-warming, sappy speech. The extended brawl between the two brought to mind the conflict in Mark Millar's Civil War comic. For a time it seemed as though the series was moving towards a full-on adaptation of that conflict, but with EMH ending in a few months, clearly that won't be the case. Even so, it would have been nice to see the episode end on a slightly more ambiguous note in terms of the Cap/Iron Man dynamic.

That aside, this was easily one of the better installments of Earth's Mightiest Heroes this season. Next week brings the long-awaited return of Hulk and the resolution of the Red Hulk mystery.

Jesse is a writer for IGN Comics and IGN Movies. He can't wait until he's old enough to feel ways about stuff. Follow Jesse on Twitter, or find him on IGN.


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Sabtu, 15 September 2012

Doctor Who: "A Town Called Mercy" Review

Note: Full Spoilers for the episode follow.

For a character who spends most of his time fixing wrongs, rooting for the small guy, and drifting in and out of lives/towns/planets, it's surprising that the Doctor hasn't had more cowboy adventures.

In fact, there's only ever been one real Who Western to date - and while 1966's The Gunfighters wasn't exactly what you'd call a classic (the common - and untrue - pop culture myth goes that it had the lowest rating of any Doctor Who story ever), A Town Called Mercy proves that the Doctor suits the genre as well as he rocks a Stetson.

When Amy, Rory and the Doctor appeared in the remote backwaters of the great American dream (well, prairie), the bloodletting game was already afoot. A cyborg cowboy was on the hunt for an alien Doctor, and was going to hold a whole Wild West town hostage until he found (and more importantly, killed) him.

In a tale full of sliding morality scales and shades of ethical grey, the answer wasn't quite as simple as it appeared. For a story touting genocidal vivisectionists, murderous cyborgs, moustache-twirling Sheriffs (courtesy of Farscape's superb Ben Browder doing his best Josh Brolin-lite) and gun-toting townspeople, it was - surprisingly - the Doctor who proved the most volatile.

Throw in a sexually confused talking horse, an exploding spaceship, and some dry, typically British humour ("I don't want to miss The Archers"/"Who got toast crumbs on the console?") amongst all the traditionally American genre tropes, and you had a story that managed to celebrate all things both Who and Western.

When it comes to Westerns, it's all about the mood. Get the score, cinematography and set design wrong, and you've got more chance of looking like a Disney theme park village than a gruff, intense adventure into the heart of gunslinging darkness. Thankfully, writer Toby Whithouse (the man behind the genius Being Human, and last season's not-so-genius Who episode 'The God Complex') and director Saul Metzstein (who just finished work on the Second Unit of our other favourite gritty shoot-em-up of the moment, Dredd) have obviously done their genre research.

While it still held true to a pre-watershed family friendliness, there was a bewitchingly moody beauty to the episode, thanks no doubt to the decision to shoot in Spain, in an area where an array of classic Westerns (including A Fistful of Dollars and The Good, The Bad & Ugly) were also made. More importantly, everything fans would want from a Who Western was there - the Doctor rocking a stetson, straddling a horse and chewing a toothpick, a face-off at high noon, an (almost) bar fight etc etc.

And while the Terminator-meets-Predator killer cyborg offered solid thrills, it was in the Doctor's moral uncertainty that the episode really galvanised. Matt Smith dialled down the wacky to explore the cold, judgemental friction that we've seen simmering away since the Doctor returned in The Asylum of the Daleks. His willingness to cross a line both literal and metaphorical, and throw a mass murderer to the gattling-gun happy robo-dogs prompted a Batman-ish moral dilemma - how many times must his mercy come back to bite him in the (surprisingly chapless) ass before he finally cracked and dished out a murderously final punishment?

While Amy's convincingly impassioned wake-up call seemed to do the job, and simultaneously remind us of the importance of the humanity the Who companions bring to the TARDIS, it'll be interesting to see where things go from here - and if the Doctor's renewed mercy is the very thing that leads to Amy and Rory's potentially tragic departure.

Rated as a Doctor Who episode, A Town Called Mercy was a weighty, progressive, sumptuous and entertaining adventure.

Rated as a sci-fi western (hello Cowboys & Aliens), it was a nigh-on classic.


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