Our erstwhile editor-in-chief decided, at the last possible minute, to take the day off. Off of what, we don’t know. But we believe he’s at his laboratory coming up with a way to reboot himself. Why not? Everybody else is doing it!
Unfortunately, this is akin to how Bizarro got his start. Rebooting Mike into Bizarro 2016 seems… highly logical.
He’ll probably write another review or something in a couple of days. His ego can’t handle prolonged invisibility.
Burbank, CA, March 29, 2016 â The classic beloved animated tale The Iron Giantàreturns to home screens when The Iron Giant: Signature Editionàis released for the first time on Blu-ray on September 6.àAlso available onàSeptember 6 will be an Ultimate Collectors Edition. àThe 1999 film directed by Brad Bird (The Incredibles, Ratatouille, Mission: Impossible â Ghost Protocol, Tomorrowland) has been fully remastered and enhanced with two all-new scenes.
When The Iron Giant arrived in theaters, it was hailed as an âÂÂinstant classicâ (Joe Morgenstern, The Wall Street Journal).àâÂÂImagine E.T.as a towering metal man, thatâÂÂs the appeal of this enchanting animated featureâ (Roger Ebert, Chicago Sun-Times).àAnd the world soon learned another âÂÂgiantâ had arrived as well: filmmaker Brad Bird, who made his stunning directorial debut with this film and has gone on to win two Oscarsî, as well as worldwide acclaim for his work on both animated and live-action features.
Winner of nine Annie Awards, The Iron GiantÃÂ is the tale of an unlikely friendship between a rebellious boy named Hogarth (voiced by Eli Marienthal) and a giant robot, voiced by a then little-known actor named Vin Diesel.ÃÂ The voice cast also included Jennifer Aniston and Harry Connick Jr.
The film was produced by Allison Abbate and Des McAnuff from a screen story by Brad Bird and screenplay written by Tim McCanlies and Brad Bird.àAdapted from poet Ted Hughesâ book, The Iron Man, The Iron Giantàwas first released in the summer of 1999 by Warner Bros.
âÂÂWe’re tremendously gratified by the ever-growing status of The Iron Giant,àwhich was a labor of love for those of us who made it,â said director Brad Bird.àâÂÂIt seems like a perfect time to give the filmâÂÂs large and expanding fan-base the deluxe Blu-ray they’ve long been asking for.”
The Iron Giant: Signature Edition will be available to own on Blu-ray for $14.97 SRP and contains both the Signature Edition of the film and the original theatrical version in high definition.àThe disc will also include the new documentary,The GiantâÂÂs Dream, a definitive look at the making of The Iron Giant.
The Iron Giant: Signature Editionàwill also be available as an Ultimate Collectors Edition for $74.99 SRP.àThe Ultimate Collectors Edition will include the Signature Edition and the original theatrical version in both high definition and standard definition, âÂÂThe GiantâÂÂs Dreamâ documentary, a hardcover art book on The Iron Giant,àcollectible Mondo art cards, a 4-inch plastic articulated Iron Giant statue, and a letter from director Brad Bird.
Fans can also own The Iron Giant: Signature EditionÃÂ via purchase from digital retailers.
BLU-RAY and ULTIMATE COLLECTORS EDITION ELEMENTS
The Iron Giant: Signature Edition Blu-ray disc contains the following special features:
The GiantâÂÂs Dream is the dramatic story about a rare moment in movie history that allowed a first-time director to make one of the worldâÂÂs greatest animated films, âÂÂThe Iron Giant.â Using stylized animatics, archival footage, original concept art, and revealing interviews, The GiantâÂÂs Dream charts the incredible ups and downs, industry firsts, and amazing history behind this iconic film, and its rebel director, Brad Bird.
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This past weekend was WonderCon out in LA. DC made many announcements about itâÂÂs upcoming Rebirth, some of which we already had some idea about. Now we were given information on creative teams, like Scott Snyder heading up All-Star Batman with rotating artists including Sean Murphy and Paul Pope, and James Tynion IV taking the reigns on the soon to be back-numbered Detective Comics. One of the other Bat family announcements was that they will soon be revealing the JokerâÂÂs name.
Why?
The short answer is that Batman found out his name when he asked that question on the Möbius chair in Justice League #42 (42, the answer to the ultimate question of life. Coincidence?). The long answer is a combination of figuring out how to handle a decades old franchise coupled with changes in audience expectations.
Now, I know what you might be thinking. DonâÂÂt we already know the JokerâÂÂs name? Many comic historians will tell you that the Joker is Jerry Robinson. Some out there may still argue his name is Bill Finger or even Bob Kane. Or maybe it was Conrad Veidt?
His name has changed many times over the years. Dick Sprang, Carmine Infantino, Denny OâÂÂNeil (Hi Denny!), Neal Adams, and many others. Personally, I liked when the Joker was both Marshall Rogers and Steve Englehart. Maybe sharing two minds helped to fuel his insanity. In more recent years, he’s gone by Frank Miller, Alan Moore, Brian Bolland, Grant Morrison, Dave McKean, Tony Daniel, Scott Snyder, Greg Capullo, and many other names.
There are some purists out there who will tell you that no, the Joker only has one name. TheyâÂÂll argue with you that his one true name is Cesar Romero, Jack Nicholson, Mark Hamill, or Heath Ledger. Some new Joker worshippers are even claiming that his real name has been Jared Leto all along. Perhaps weâÂÂll find out soon enough.
Now that IâÂÂve had my fun, IâÂÂll address the long answer to that question (kind of the sort of thing the Joker does, isnâÂÂt it?) of why we are finding out the JokerâÂÂs name. The real answer is weâÂÂve changed a lot as a society. Part of that is entertainment is different. Oddly enough, in the disposable age where we create more garbage than ever, the one thing we wonâÂÂt discard is a story.
Way back in May of 1939 when Batman debuted, back when the United States was only comprised of the continental 48, comics were not intended to be reprinted the way they are today. Audiences were not expected to stick around either. No one imagined that a nine-year old reading Batman would still follow that character for decades to come. All of that came later. Television was the same way. People used to just pump out television programs and if an episode was rushed and turned out to be pretty bad, who cares! People will forget by next week. Who would ever see it again?
Now thatâÂÂs all changed. WeâÂÂve gone back and weâÂÂve read many of those stories. WeâÂÂve tried to make continuity out of stories that were never intended to have any originally because we demand that the world makes sense. We even demand that the Joker makes sense. Part of making the Joker make sense is giving him a name.
Personally, I have less than no interest in the JokerâÂÂs name. Just tell me a good story with the character. ThatâÂÂs not the point of the Joker. Audiences want it though. Or we think they do. In the age of the Internet, people want to know everything about the things they like. Many people âÂÂkeep upâ with comics by reading wiki entries of storylines at this point. Maybe itâÂÂll sell a few comics too.
In defense of the decision to reveal the JokerâÂÂs name, audiences do appreciate an immersive world and I do appreciate that and I even enjoy that myself. Escapism is easier in a fully fleshed out world that we can imagine. When imaginary worlds leave out pieces of information like that, it can be harder to be immersed in that world. Plus, selling a few comics isnâÂÂt and shouldnâÂÂt be a bad thing. Having issues of comics sell big in this market helps to allow the wiggle room to try more experimental comics or to keep a critically acclaimed comic that might not be selling as well afloat for a few more months.
Either way, weâÂÂre finding out his name whether we like it or not. I could have sworn Tim Burton already told us his name was Jack. I donâÂÂt see why Burton would lie to us.
ItâÂÂs easy to kick a studio while theyâÂÂre down, and a little of that seems to be happening with the reactions to Batman v Superman: Dawn of Justice. Warner Bros. has struggled mightily in bringing their heroes to the screen in recent years (recent decades if we donâÂÂt count Christopher NolanâÂÂs work) and thereâÂÂs an attempt to pile on. If Batman v Superman were a Marvel Studios film I suspect it would be getting more positive coverage as people dug to find the good things and used them to redeem the things that donâÂÂt work; instead people are endlessly picking at the numerous mistakes. DonâÂÂt get confused, Batman v Superman is an awful movie and Zack Snyder should be stopped at all costs but in the hands of literally any other director I could believe there was a salvageable property here and thereâÂÂs time to right this ship.
Superman as depicted in Batman v Superman isnâÂÂt fun to watch, nor does he feel faithful to the character. IâÂÂll be honest: I stopped reading comics on a weekly basis in the winter of 2012 and I havenâÂÂt been keeping up since then, so maybe Superman has become an extremely violent, petulant baby in that timeâ but I sort of doubt it. The Superman in this film is terrifying to consider. HeâÂÂs quick to anger and never particularly nice to anyone that isnâÂÂt Lois Lane; more like Miracleman than Superman. The only never ending battle on display in this film is the one Warner Bros. fights for Superman to appear cool, but theyâÂÂve succeeded in creating a character that would only seem cool to an edgy teenager or the 90s comics industry. I donâÂÂt know if IâÂÂm supposed to be rooting for Batman or Superman when they come to blows, but IâÂÂm almost certainly not supposed to be thinking Lex Luthor is right about everythingâ and yet thatâÂÂs just where I was for 80% of this movie.
The non-Superman characters were mostly pretty good. Ben Affleck should release a video where he makes it very clear heâÂÂs addressing all the people who doubted he could be a credible Batman, drop the mic, and then walk away. HeâÂÂs a great Batman; IâÂÂm ready to put him in the upper echelon with Bale and Keaton (and Kilmer but letâÂÂs not get sidetracked) after seeing this movie. HeâÂÂs believable physically, and he captures that kind of arrogant paranoia that I think Batman should embody. The scenes with Wonder Woman in costume are a giddy rush, and they represent her so well in the fight scenes without any clunky exposition or holding anybodyâÂÂs hand. We all know who Wonder Woman is, weâÂÂve been alive in the world. The scenes before she puts on the costume are less good; they kind of play her like an off-brand Selina Kyle, but they might have been going for an air of mystery and were betrayed by the PR team. Jesse Eisenberg has the most off-beat take of any established character, and while there isnâÂÂt a strong comic book foundation to what heâÂÂs doing, it does feel like what a billionaire megalomaniacal industrialist would look like in the modern start-up culture and heâÂÂs so unsettlingly creepy that IâÂÂm going to give him a pass.
I generally find Zack SnyderâÂÂs work to be unappealing visually, and Batman v Superman is no exception. Things are too slick, slow motion is used too much, only a handful of scenes take place in daylight. Gotham City and Metropolis look the same because thereâÂÂs no room for points of contrast. I suppose GothamâÂÂs abandoned docks are supposed to feel seedy and give the city a dilapidated edge but Metropolis has a crashed alien ship taking up a huge part of their downtown so thereâÂÂs no contrast there. The contrast between Superman and Batman should be reflected in every part of their environment and instead everything takes place on the same dreary streets and rooftops.
The common refrain after seeing a movie like this is that it âÂÂdestroys their childhoodâ of the viewer, and thatâÂÂs always nonsense. No one from Warner is going to break down my door and set any of my trade paperbacks on fire or draw a bunch of bloodstains in the margins or anything like that. However, superhero movies are trading on nostalgia. If they canâÂÂt get a dyed in the wool DC Comics person like me to feel a connection to this film (and if you go back and read paragraph three of this review I desperately want to feel this connection) then I canâÂÂt imagine who does. TheyâÂÂve made a misanthropic film, an ugly film, and worst of all they made a Zack Snyder film.
The people have spoken, and the brackets are ready for the Mix March Madness 2016 Webcomics Tournament!
Thanks to the thousands of people who voted in the seeding process, as well as all of you who added your favorite webcomics to the list. WeâÂÂre adding all of the webcomics you suggested to our directory.
But now, the challenges start! Let’s go!
A new film from Quentin Tarantino is never anything short of an event. For his eighth film, The Hateful Eight, he insisted on it being shot in 65mm using Ultra Panavision then arranged with the Weinstein Company to go back in time and release a roadshow version of the film. That is, the 70mm version would play in select theaters and become a Must See film.
The movie is wonderfully cast and beautifully shot with award-winning music from Ennio Morricone. But this is the first time I can say with genuine feeling that I was bored to tears.
Eight people find themselves waiting out a blizzard in an out of the way location, Minnie’s Haberdashery, and no one is as they appear which we learn over the course of two and a half tedious hours. While in some ways this is a thematic sequel to the far superior Django Unchained, this offering lacks the verve of its dialogue and the outrageousness of its characters.
Part of the problem is that fate and a sloppy script bring these eight together and they all seem to know one another in one way or another. Since they all arrive in various ways, it cannot be said to be by design but once they are in the building, its front door repeatedly nailed shut to fight the wind, they talk.
And they talk and they shout and they reminisce and they taunt one another but really, there’s very little said.
The standard release is 20 minutes shorter and probably a tighter story which may have been prudent. Watching the wide screen version at home, you see the gorgeous exteriors which probably benefitted from lenses but once we’re inside, the feeling of closeness is absent, robbing the film of some of its intended tension.
The thread holding things together, is ostensibly that bounty hunter John Ruth (Kurt Russell) is bringing Daisy Domergue (Jennifer Jason Leigh) to Red Rock to be hung. By chance, the Haberdashery also hosts The Hangman Oswaldo Mobray (Tim Roth), the Sheriff Chris Mannix (Walton Goggins), Sanford Smithers (Bruce Dern), a seemingly addlepated former Confederate General; and Joe Gage (Michael Madsen), a laconic cowboy. Their host is Bob (Demián Bichir) and one is left to wonder where Minnie is. But central to the story is bounty hunter Major Marquis Warren (Samuel L. Jackson), who forces the issue of race to be discussed in the post-Civil War portion of the 19th Century. Warren has a personal letter from President Lincoln, which makes him a minor celebrity and cause for suspicion.
Told in five chapters, with odd narrative interludes, the story does have a major surprise towards the second half and explains a lot but by then I was beyond caring since things just poked along without being quirky, fun, or engaging. This was a supreme let down from a far better storyteller.
Thankfully, the 1080p transfer in 2.75:1 is gorgeous, one of the bets high definition experiences I’ve had in a while. The immersive DTS-HD Master Audio 5.1 is just lovely.
Ironically, the extras here are uncharacteristically brief, a sign of the film’s box office disappointment. No expense was invested in tricking this out with special features we get a Combo Pack with Blu-ray, DVD, and Digital HD and just the electronic press kit release Beyond the Eight: A Behind the Scenes Look (4:58) and the slightly more interesting Sam Jackson’s Guide to Glorious 70mm (7:49).
The release arrives tomorrow from Anchor Bay Entertainment.
Part I: Wow!
“Two years ago writer G. Willow Wilson, artist Adrian Alphona and I created a story about a young woman with dreams of being ‘normal.’” Her name is Kamala Khan and she’s a Muslim American girl from Jersey City. We comic folks call her Ms. Marvel.” Kamala’s story shows how “being ‘normal’ isn’t one race, one gender, one point of view. Being ‘normal’ is being different. And being different is being American.”
Sana Amanat, Director of Content & Character Development, Marvel Entertainment, Co-Creator of Marvel Comics’ Ms. Marvel • From her introduction of President Obama at the White House Reception for Women’s History Month, March 16, 2016
I just finished reading Martha’s latest column – Wow, girlfriend! You knocked it out of the park! – and, pursuant to that, I clicked on the link in Martha’s column, which for some reason didn’t work for me, so I did some searching and found <a href=”
.
Watching and listening to President Obama as he spoke to the women gathered at the Women’s History Month reception about women, and their daughters, and their sons, of how we have been, and always will be, part and parcel and participants in this country’s history, its future, and the world’s future, I was struck, yet again, by how absolutely everything about the current occupant of the Oval Office is so absolutely different from the Repugnantican men who want to take over the Presidency.
Just now, as I wrote “take over the Presidency,” I was also struck by what I can only call my Freudian slip; I could have used “inherit the office” or “win the election” or “succeed him as President,” but what automatically came out of me was those two words – take over. Because every time I see Donald Trump and Ted Cruz, and, yes, even the so-called “moderate” John Kasich, every time I hear or read their latest statements, that’s exactly how I interpret their words – as a take over of this country. I have more than once lately pulled out my copy of William L. Shirer’s The Rise and Fall of the Third Reich to read about its financial backing by German corporations; I have pulled out my copy of Margaret Atwood’s The Handmaid’s Tale to reread how the United States of America becomes the Republic of Gilead, a country organized into a fanatical, patriarchal, martial, and rigidly “Christian” society in women are either Madonna or whores.
Of course I am sounding extremely paranoid, but I’m not really. The Repugnantican party and its candidates are so obtuse, so parochial, so busy attacking each other about the size of their penises that they don’t realize they’re on the Titanic. Really, I’m not worried. The Repugnanticans are done as a functioning political party in this country.
So I’m sleeping very soundly.
Except…
Before turning to a different subject, here’s a little something from <a href=”
Sana’s visit to Late Night with Seth Meyer.
Part II: Sucker Punched
On a somewhat lighter note – I haven’t seen The Caped Crusader Beats Up on the Last Son of Krypton (and Vice-Versa), and I really don’t want to; well, except for seeing Gal Godot as my favorite Amazon Princess/Warrior and Jeremy Irons as the butler. But I can wait for the movie to hit the streaming sites and cable and for a rainy day when I’m sitting at home bored out of my mind. Editor Mike Gold and I were talking the other night; he was being the “good cop,” waiting to see it before he formed an opinion, and I played “bad cop,” convicting the movie without benefit of trial.
“Having experienced other Zak Snyder films,” I said, “whatever Zak Snyder touches turns to destructive garbage that has nothing to do with storytelling or character development or emotional satisfaction.” And though I didn’t say this to Mike, I’ll tell you: I think Snyder’s fans are a different kind of audience, one with which I definitely don’t want to be identified. Maybe it’s my crazy writer’s mind making crazy connections again, but I think there’s a direct correlation between the audience that loves Snyder’s movies and video games and the rampaging thugs audience that go to Donald Trump stump speeches, i.e., Zak Snyder :: Sucker Punch as Grizzled Ignorant Cracker :: Protestor.
Now that I think of it, what I said to Mike about The Last Son of Krypton Beats The Crap Out Of The Caped Crusader (Or Vice-Versa) was: “It’s gonna suck.”
I told you so, didn’t I?
Have an Oxycontin. You’ll feel better.
Maybe.
When I applied to University of North Carolina (UNC) Graduate School of Business to earn my MBA, one of the application’s essay questions asked “If you were go back into time to the founding of this university, what three items would you bring with you?”
I imagine the purpose of this was to discern candidates’ true character based on which items were most important to them. I bet there were a lot of answers that listed items like family photos or the Bible. I took a different approach. Having grown up on a steady diet of time travel comics and stories (most notably Mark Twain’s A Connecticut Yankee in King Arthur’s Court) I interpreted the question in a different way. I answered it by thinking about the three items that would have the greatest positive impact on history. One item I recall bringing back in time (in my essay) was the cotton gin. This would help me get the competitive edge on Eli Whitney, and revolutionize the labor market and possibly bring an earlier end to slavery.
Everyone loves time travel adventures. They are everywhere. One could argue that Dickens’ A Christmas Carol is a time travel story (I think it’s really an alternate reality story, but that’s another column). As a kid in the sixties, so many shows would have a time travel episode (Voyage to the Bottom of the Sea, Star Trek) and some used time travel for the entire premise of their series (Time Tunnel, It’s About Time). I grew up just knowing that I’d have an adventure with dinosaurs one day.
Today you can’t swing Shodringer’s cat without hitting a time travel adventure. Even the new iPhone6 ad ends with the admonition “Live Photos…transport you through space and time. I’m kidding, time travel is dangerous.”
But let’s be realistic – Geek Culture is leading the way, or at least is waving the battle flag of time travel adventures.
Superman and Batman always had a lot of reasons to journey through time. In fact as a teenager, Superman’s had to travel through time to visit his best friends. These vintage time travel stories were silly and fun and never really had any lasting affects or severe implications.
Rip Hunter, Time Master was one of those early sixties oddball DC comic series that never really fit in with the rest of the DC mythology. Instead of developing superpowers or fighting crime, Rip had developed a Time Sphere and adventured through the ages with his girlfriend, best buddy and his girlfriend’s pesky little brother. They’d embark on adventures ranging from solving historical conundrums to videotaping live dinosaurs for a contemporary museum exhibit!
Today, of course, Rip leads a ragtag team of trademarked DC heroes through time every week on a popular CW television show. I think it’s safe to say that even the most loyal, the most devoted, the most wildly optimistic Rip Hunter, Time Master fan from 1964 would never have imagined that Rip Hunter would one day be starring in his own TV Show. And be renewed for second season.
Lately two other comic chronological adventures have shown us how much fun this concept can be.
The Chrononauts by Mark Millar and Sean Murphy tell the tale of the world’s first time travel experiment, but it’s a cautionary caper story of cocky entrepreneur-like scientists who live in our Donald Trump dominated world, where major events all too easily slip and slide into reality shows. In this tale, the protagonists do in fact change and re-change history, and their motives aren’t exactly pure. There are ramifications for these characters, both in big and in (cleverly-written) small ways.
Murphy’s art is a joy to drink in. He’s got a rock solid understanding of anatomy and composition, but renders his pages with a brisk sense of urgency. And his powerful scenes reveal an imagination that would make a movie’s budget director weep like a baby.
The Rook, from Dark Horse, is also a recent four issue miniseries. Two masters of the genre, writer Steven Grant and artist Paul Gulacy are the creative team behind this rebooted time traveling hero.
(As an aside, Gulacy is no stranger to top-notch time-travel stories. His recent Time Bomb series from Radical Comics a few years ago was exceptional – kind of like a Rip Hunter on steroids.)
“One of the most intriguing and fun comic themes I have worked on have dealt with time travel,” said legendary artist Paul Gulacy. “Time Bomb and the current Rook series come to mind.”
In the late 70s, Bill Dubay created the Rook for Warren Magazines. As an alternative to the horror adventures and sexiness of Vampirella, the character was fresh, creative and a big hit for the publisher.
Grant and Gulacy have brought The Rook back in style, and clearly are having fun hopping through time. In fact, the Rook’s ancestor was a character in H.G. Well’s The Time Machine.
And I think that’s the most appropriate place to end a column on time travel stories, the place, or one of the places, where it all began.
See the Star Wars: The Force Awakens deleted scenes, “Finn and the Villager”, “Jakku Message”, “X-Wings Prepare for Lightspeed”, “Kylo Searches The Falcon”, “Snow Speeder Chase,” and “Finn Will Be Fine” on Digital HD and Blu-ray Combo Pack, plus a special bonus deleted scene, “Tunnel Standoff” only on Digital HD or by redeeming the digital copy included in your Blu-ray Combo Pack.
Star Wars: The Force Awakens is coming home on Digital HD April 1 and Blu-ray Combo Pack and DVD on April 5.
FRIDAY, MARCH 25, 2016 – Live from the packed WonderCon 2016 VOLTRON panel, executive Producer Joaquim Dos Santos (The Legend of Korra, Avatar: The Last Airbender), Co-Executive Producer Lauren Montgomery (The Legend of Korra), and writer Tim Hedrick (The Legend of Korra, Avatar: The Last Airbender) sat alongside newly unveiled cast members to showcase never-before-seen artwork and footage of DreamWorks Animation’s all-new Netflix Original Series Voltron: Legendary Defender, debuting June 10, 2016.
Dos Santos shared “As children of the 80’s who grew up with Voltron what was there not to love? You had 5 awesome lions, piloted by 5 awesome heroes who combined to form a giant, sword wielding Titan! It unapologetically married Sci-fi and Fantasy in one incredibly over the top, bombastic package. Fans of the new series [Voltron: Legendary defender] can look for us to keep all those elements but also expect a much more fleshed out universe with a rich backstory and characters who will evolve over the course of the series.”
Also joining the panel were cast members Tyler Labine, Josh Keaton, Jeremy Shada, Bex Taylor-Klaus, Kimberly Brooks, Rhys Darby and a surprise video greeting from Steven Yeun. Attendees were treated to a sneak peek of the epic journey five friends embark upon as they are thrust into a sprawling intergalactic war, and only through the power of teamwork can they unite to form the mighty warrior VOLTRON! Additional details below!
Executive Produced by Joaquim Dos Santos
Co-Executive Produced by Lauren Montgomery
Written by Tim Hedrick
Cast:
Princess Allura – Kimberly Brooks (Ben 10: Omniverse, Justice League: War)
Coran – Rhys Darby (What We Do in the Shadows, Flight of the Concords)
Shiro, Black Lion – Josh Keaton (Green Lantern: The Animated Series, Transformers Prime)
Hunk, Yellow Lion – Tyler Labine (Reaper, Tucker & Dale vs. Evil)
Lance, Blue Lion – Jeremy Shada (Finn in Adventure Time, Batman: The Brave and the Bold)
Pidge, Green Lion – Bex Taylor-Klaus (Arrow, Scream: The Series, iZombie)
Keith, Red Lion – Steven Yeun (The Walking Dead, The Legend of Korra)
Synopsis: From days long ago, from uncharted regions of the universe comes the Netflix Original Series, VOLTRON: LEGENDARY DEFENDER! DreamWorks Animation reimagines one of the most popular fan-favorite shows of all time in this all-new comedic action-packed show from executive producer Joaquim Dos Santos (The Legend of Korra, Avatar: The Last Airbender) and co-executive producer Lauren Montgomery (The Legend of Korra).
Five unsuspecting teenagers, transported from Earth into the middle of a sprawling intergalactic war, become pilots for five robotic lions in the battle to protect the universe from evil. Only through the true power of teamwork can they unite to form the mighty warrior known as VOLTRON: LEGENDARY DEFENDER.
Columns / Glenn Hauman / News
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