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Unlock Kate Stewart in Doctor Who: Legacy

Are you playing Doctor Who: Legacy? Would you like to try the new special levels with an extra friend by your side? SPLENDID!

Just take a look at our recap of the Doctor Season finale Death in Heaven to find a special code to automatically download Kate Stewart, Chief Scientific Officer of UNIT.

If you’re new to the game, you can also use the code 1212-1212-1212-1212 to get  a care package of bonuses to get you started properly

Doctor Who: Legacy is free for AppleAndroid and Kindle devices, as well as playable online via Facebook.

REVIEW: True Blood: The Complete Seventh Season

true-blood-the-complete-seventh-season-blu-ray-with-digital-hd_500-e1415467787782-7913238All things come to an end and the true death arrived for HBO’s True Blood earlier this year. This week, HBO Home Entertainment offers up The Complete Seventh Season along with a mammoth complete series box set. In looking back on the series, it probably hung around a little longer than necessary, especially as things spiraled from over-the-top to insane crazy after series creator Alan Ball left.

true-blood-season-7-e1415468047318-6568879The seventy episodes veered further and further from Charlaine Harris’s The Southern Vampire Mysteries novels and even she wrapped up her prose stories recognizing the time had come.

Bon Temps is under attack as things open up, picking up where season six dropped us. The Hep V Vampires are running amuck as many of our favorite supporting characters have been threatened. Pam continues her hunt for Eric leaving Sookie as the calming voice of reason and she’s not feeling all that steady. Meantime, Bill is on his own and every scene brings us closer to the end of his arc and there’s a sense of inevitable melancholy from the beginning.

true-blood-bill-s7-e8-e1415468074301-9508350His arc is the only one that gets the right amount of time to resolve. While things ratchet up in intensity, we watch one familiar face after another die in vastly imaginative ways. But it also brings several sub-plots to hasty or abrupt conclusions. Luke Grimes, who played James, walked away when he was unhappy with his story and was replaced with Australian actor Nathan Parsons, who is fine. The uneven pacing also serves to winnow down the cast for the final two episodes when the main figures take center stage. As usual, poor Tara gets the worst treatment as if the writers could never get a handle on her after the first brilliant season. Alcide’s departure barely gets noticed.

On the other, it’s nice to have Hoyt back and reaching a satisfying hoyt-3877081conclusion with Jessica so it isn’t all gruesome. With Jessica back in Hoy’t sarms, Jason needed someone to love – as befit his character from the first episode. However, how quickly he found it with Bridget and received Sookie’s blessing came way too fast for my taste.

true_blood_season_7_trailer_1_hbo-e1415468152341-2934458And then we’re down to Bill, Eric, and Sookie the enduring triangle that was twisted like so much Silly Putty across the years. Is it entirely a happy or unhappy ending? Your call but it does wrap things up in a tidy package which is fine. The show grew more and more uneven through the seasons so this was about as good a wrap-up as one can expect. (And there’s a lovely cameo of novelist Charlaine Harris in the final episode, her way of saying bye-bye.)

tumblr_mp8jgvwyyw1qc5buuo1_1280-e1415468185773-2619978As we have come to expect, the three disc set comes packed with the usual assortment of special features starting with audio commentaries for five of the ten episodes. Directors Howard Deutch, Gregg Fienberg, Angela Robinson, and, Simon Jayes; screenwriters Kate Barnow, Daniel Kenneth, Craig Chester, and Brian Buckner; and actors Kristen Bauer van Straten, Carrie Preston, Lauren Bowles, Chris Bauer, Anna Paquin and Stephen Moyer all weigh in on the stories. It’s nice to hear from Paquin and Moyer in the final episode since they carried the emotional load and saying farewell to the show they fell in love with (along with one another).

There’s the fifteen minute True Death: The Final Days On Set, an informal look as the cast and crew wind up their work. Then there’s True Blood: A Farewell To Bon Temps, a twenty-eight minute retrospective that explores the attraction of vampires with Ball, Buckner, and the main cast offering their well-earned observations on that and other aspects of making the series. An updated True Blood Lines timeline is offered once again along with the previews and recaps.

New Who Review – “Death in Heaven”

When there’s no more room in Hell, the dead will walk the Earth.  As Cybermen.  See what he did there?  The Master is back, and has been working on this plot for QUITE a long time. Some old friends return for the fight, we say goodbye (for now, anyway) to some others, and oh goodness, were there still surprises.  I don’t know why you’d be reading this recap before you saw the episode, but if you are, don’t.  Because it makes much more sense to know about the…

DEATH IN HEAVEN
By  Steven Moffat
Directed by Rachel Talalay

(more…)

John Ostrander 2.0

Gentlemen, we can rebuild him. We have the technology. Better than he was before. Better… stronger… faster. – The Six Million Dollar Man

So – where were we?

I’d had a 7 mm. golden nugget lodged in my right kidney. That got removed but then I went into the hospital with sepsis and acute urinary infection. That led to the discovery that I’d had a heart attack, much to my amazement. I’d felt nothing; it was revealed in chemical markers. Further investigation showed that while the heart itself was okay, I needed a triple bypass.

Well, that was a stunner.

The procedure is called a coronary artery bypass graft, known as a CABG, sometimes called a “cabbage.” Which is a little disconcerting. Working on my heart is a cabbage.

It’s a relatively recent procedure, starting up in the ‘60s. It’s not uncommon now and they’ve gotten pretty good at it but nonetheless it is major surgery. In the literature they give you before the operation, they tell you that heart attack, stroke, and death are possibilities. It’s open-heart surgery and, among other things, they can stop your heart while you’re hooked up to a heart/lung machine. Think about that. Usually, when your heart stops, you’re dead. Here they stop it and then fix you and then bring you back from the dead. That’s pure science fiction a century ago. Or maybe Frankenstein.

My day started with a requirement to be at the hospital at 6 AM. I’m sort of a morning person but not that early a morning person. Still, I figured I’d make it up later when they knocked me out. So I’m in operating prep, lying on a gurney in my very attractive open-backed hospital gown, and this female attendant comes in and announces that she is going to shave the front of my body from the neck line to my ankles.

Huh.

Didn’t see that coming.

I assumed they would remove my chest hair because, after all, that’s where they’d be working, but shave my entire front? I wound up naked as a babe or a male porn star.

Not that I would know what a naked male porn star would look like. I’ve … heard reports is all.

Then I was wheeled into surgery and the deed was done. Actually, I sort of had the easy part at that stage. I was out of it. My Mary and members of her family as well as members of mine had to sit in the waiting room for about five hours to find out if I survived it all.

Spoiler Warning: I survived.

I woke up in the CCU (Cardiac Care Unit) with tubes down my throat and wasn’t that uncomfortable. Necessary but uncomfortable; the goal was to keep my lungs open. My Mary says it looked like I had a face-hugger from Aliens on me.

Actually, I had lots of tubes sticking out of me, draining this, siphoning away that. I felt like I was in Young Frankenstein. I almost (but not quite) broke into a chorus of “Putting on the Ritz.” With the tubes down my throat, I probably could only have managed “Rargle gurk guk rozzick.”

I’m making good progress in my recovery; all the nurses and doctors are pleased and I’m appreciative to them and to the friends, fans, and acquaintances who have sent prayers and good wishes. They do mean a lot.

So, from here, I work at getting better and figuring out something else to talk about next week other than myself.

Wish me luck.

Editor’s Note: Loathe as I am to add material to somebody’s column, but John left out the very best part – he returned home mid-week, safe and sound.

And, of course, that’s when the furnace exploded. Afternoon temperature yesterday was 42 degrees. Ahhh… good times!

 

Adam West Discusses His Favorite Bat-Episode

The countdown to the release of Batman: The Complete Television Series is at three days. Tuesday, November 11, sees the  arrival of the mostly wanted DVD set for comic book fans this millennium.

In anticiaption, Warner Home Entertainment has released this clip from one of the bonus features, as Adam West recounts his favorite episode.

Our review will be appearing sometime this coming week.

Marc Alan Fishman: Dear Marvel and DC…

Dear Marvel and DC,

It’s been too long since I’ve written you, and for that I am very sorry. I’d think it awkward, given that I was once a weekly reviewer of your monthly publications, but I’ve essentially all but given up on them over the last six months. And it’s not because of financial concerns, or even a matter of proximity. Certainly sparing ten to twenty bucks a week for a decent load of your wares from one of the fine comic shops mere blocks from my office was once a weekly delight. But over time, my pull list dwindled and dwindled. Each book in your respective repertoire began to feel repetitive, dull, or forced. And as insult to the injury… the shop I frequented only carried indie books they “knew would actually sell” unless I specifically sought them to be ordered and held. It was a dark time, and I flew a white flag.

I’ve done this in the past. Like a jilted lover, sometime absence makes the heart grow fonder. I figured I’d soon see the new announcements stemming from successful dalliances on TV and the multiplex. With a growing fan-base learning about Hydra and Kree maps, or hearing the name Black Adam whispered with Dwayne “The Rock” Johnson being cast, there was no doubt in my mind you knew that the world was set to look at your publishing ventures as potential incubators for those next great ideas.

And then, as if you’d not learned from past mistakes, you started announcing one major-huge-epic-don’t-miss-it-or-by-Rao-you’ll-be-out-of-the-loop-for-decades event after another.

I believe in tough love. It’s never easy to swallow, I know. In my life, it’s always followed by a period of reflection and growth. My high school art teacher said I couldn’t draw my way out of a paper bag. I went to art school and learned how. My college professor said I’d only get out of my art what I put into it. In response, I completed an 8′ x 10′ woodcut with a 1mm gouge. My first employer after graduation said I’d never amount to an art director. I’ve been one now for going on eight years. So trust me when I say that this comes from a place of kindness:

Your events, by and large, really suck.

Yeah, I know you’ve got sales data to prove me wrong. But you know what I have? I have an informed opinion. Civil War was cool. How did The Initiative do for you shortly after? Identity Crisis was excellent, until it got rapey. Fear Itself was novel for a hot minute until I realized it was a D&D campaign from 1996. Flashpoint, Countdown to Final Crisis, and yeah Final Crisis were worth more as toilet paper than as solid fiction. Oh, I’m sorry, I was supposed to read them in 3-D, and backwards because Grant Morrison said it’d make more sense that way? I said the same thing when I tried to convince my wife sweatpants were a viable option for date-night.

And here with both of you announcing and announcing cryptic apocalyptic coinciding crises sometime in the spring? It’s reminiscent of The Producers. I mean, how many dancing Charlie Xaviers will we need before we start guessing it’s all one big joke to you?

The fact of the matter is no amount of adjective-dropping will entice me away from my most glorious hibernation. You’ve both cried wolf far too many times now. Fool me once, shame on me. Fool me thirty-two times with multiple X-Men deaths and rebirths, time-bullets, time-vampires, ret-conned continuities, and multiple-multiverses… shame on you. You seem to forget that after every one of these universe shattering events comes fallout. Canceled series of stalwart brands. Bold new books that will be canceled long before their given a chance to find a rhythm and fan base. Not to be lewd about it, but guys, you can’t shit the bed and then expect us to clean it up with a smile.

I don’t care if Tony is going to be a power-sharing super-douche. Or that Alexander Luthor never really died. Or that Wolverine is dead until Shadowcat phase-pulls his rotting corpse out of his statue-self followed by a trip back through time using Booster Gold’s leftover suit. I don’t even care if you’re exploring new What-If universes with Spider-Gwen. It doesn’t get me hot and bothered that you’re potentially ret-conning away the New52. No matter your proposed gimmick, I’m not buying it.

At the end of the day, I smell your desperation a mile away. It wasn’t like this when Mark Waid was batting 1000 on Daredevil. It wasn’t like this when Geoff Johns was expanding the Green Lantern and Flash mythos without traveling outside the borders of their respective books. You know you can be better than this, but instead are trying to win over everyone with a grand sweeping motion. It’s just not necessary.

And when you realize that? I’ll be back in the shop with my money in hand.

Sincerely,

Marc Alan Fishman

Ex-Pat. Indie Creator. Bridge Burner.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #333: SHE-HULK’S TRYING THE CASE AND OUR PATIENCE

SheHulk3Let’s see now, where were we before we were so rudely interrupted? Interrupted by me when I realized last week’s column was long enough, so decided to split it into two columns. Oh yes, She-Hulk V 3 # 9.

She-Hulk v 3 # 9 is Part Two of the three-part story, “The Good Old Days.” The titular good old days refer to a dock riot in Los Angeles in November of 1940, if that’s “good,” I think someone needs to invest in a new dictionary. The good old days also refer to the fact that during the incident Sam Folger died and now the grandchildren of Sam’s brother, Harold, are suing Steve (Captain America) Rogers for the wrongful death of their great-granduncle. Again, “good?” If you can’t afford a new dictionary, then at least bookmark dictionary.com.

Jennifer (She-Hulk) Walters was representing Cap and Matt (Daredevil) Murdock was representing the Foglers. Matt began his trial with the testimony of Officer McKinley, who told the jury what Harold Fogler said on his death bed sometime in 2014. Here’s Harold’s deathbed confession, as recounted by Officer McKinley.

In 1940, Harold left his mother and brother back in Brooklyn http://brooklyn.com/index.php and moved to Los Angeles. He fell in with a bad crowd. In early November, 1940, the bad crowd met in a warehouse near the Los Angeles docks to plan some trouble they were going to cause there. Harold stepped outside for some air where he was confronted by his little brother, Sam, who had left medical school and come across the country to accost Harold. Sam urged Harold to come back home to their heartbroken mother. Sam brought a friend with him, Steve Rogers, who was still in his pre-Captain America days.

Steve also started in lecturing Harold. And wouldn’t stop. Not even when the bad crowd hauled them into the warehouse. The boss tried to shut Steve up by pointing a Luger at Sam and threatening to kill Sam, if Steve kept talking. Steve kept talking. The boss killed Sam.

Now based on this account of what happened in Los Angels in 1940, Harold Fogler’s grand children were suing Steve Rogers, A.K.A. Captain America, for the wrongful death of their great-granduncle. They said Steve’s “wrongful act” and “neglect” caused Sam’s death.

I say what wrongful act or neglect?

In all U.S. jurisdictions including California, a negligence suit such as wrongful death has four basic elements which must be proven. The defendant must have owed the plaintiff a duty. The defendant must have breached that duty. The breach must have been the proximate cause of some injury to the plaintiff. And the plaintiff must have been damaged by said injuries.

I’ll tackle the injury element first, because it’s the easiest. Sam was killed. He suffered an injury. Death. Death’s the ultimate injury. But did Sam’s family suffer any damages from that injury?

But Sam’s not suing. He’s dead. I’m not so sure how Sam’s injury translates to Sam’s great-grandnephews. The family maintains that Sam would have become a doctor, a successful surgeon and provided for Harold’s family. But can they prove that?

Yes, Sam was in medical school but no one knows Sam would have become a doctor. He could have flunked out. It was 1940, so he could have been drafted and died in World War II. If Sam survived the war and became a doctor, maybe he would have practiced in some rural community in Appalachia where his patients paid him in pigs. Even if Sam had become the greatest and richest surgeon in the history of the United States, he had no legal obligation to provide financial assistance to his brother, his brother’s children, or his brother’s grandchildren. Any financial damages in this suit were speculative. At best.

Speculative damages was only the bad news for the Fogler family. The worse news was that as difficult as proving damages would be, that’s the least of their worries.

The Foglers had to prove Steve had a duty to Sam Fogler and that Steve breached his duty. We know Steve didn’t breach a duty by killing Sam, because the boss killed Sam. The Fogler’s theory of breach of duty was that Steve had a duty to stop talking when the boss threatened to kill Sam and by continuing to talk, Steve negligently caused Sam’s death. As far as I understand the law, Steve had no such duty and, thus, didn’t breach such duty.

The bad crowd committed several crimes against Steve and Sam. Kidnaping. Criminal Threats. Probably more. But those are enough for our purposes, I say in a blatant attempt to limit the amount of research I have to do. No one has a duty to submit to a crime.

If criminals running a protection racket threaten to bomb a store unless the owner pays them money, the owner has no duty to pay the criminals money. If the owner refuses to pay and the criminals bomb the store killing one of the store’s employees, the owner is not liable to the employee’s family for wrongful death.

The owner had no duty to submit to the criminals’ extortion demands. And, because he had no duty to submit, he did not negligently cause the employee’s death by breaching a duty. One can’t breach a duty one didn’t have in the first place. Indeed, most jurisdictions would call the owner a hero for standing up to the extortionists, not a tortfeasor who caused a wrongful death.

The owner’s refusal to pay protection may have resulted in the employee’s death, but it didn’t cause the employee’s death. The only people who caused the employee’s death were the criminals who committed the superseding, intervening act of intentionally bombing the store. They’re the only ones who should be sued for wrongful death.

In the same way, Steve had no duty to submit to the gang’s threats. So there’s no breach of a duty in his acts. Moreover, Steve’s refusal to submit didn’t cause Sam’s death. The boss, a superceding and intervening cause, caused Sam’s death by intentionally shooting him. The Folgers’ case is weak, on three of the four elements for negligence. Steve didn’t breach any duty to Sam by his actions. Steve’s actions didn’t cause Sam’s death. And any monetary damages Sam’s great-grandnephews may have suffered are, as I said earlier, speculative.

Personally, I can’t imagine why any lawyer agreed to take the case in the first place. I especially can’t see why Matt Murdock agreed to take the case. The world now knows that Matt is Daredevil. Matt was just disbarred in New York for, among other things, agreeing to represent a man who wanted to sue Daredevil despite the massive conflict of interests that’s inherent in suing yourself. I can’t imagine why Matt would set himself up for another potential conflict of interests complaint – not to mention a legal malpractice – by agreeing to sue one of his best friends. That’s hardly, as the Code of Professional Responsibility put it, avoiding the appearance of impropriety.

The story tried to explain why Matt agreed to take the case. It was because Steve asked him to take the case. According to Matt, Steve argued, “if I’d ever been his friend, if I cared about what he’d done as Captain America, then I wouldn’t pull my punches.” I don’t buy it. The explanation, that is. I bought the comic. Don’t go accusing me of shoplifting.

I don’t care if Steve and Matt were BFFs, field trip buddies, and even prom dates, Matt shouldn’t have fallen for Steve’s friendship guilt trip by taking the case. Matt should have told Cap, “I can’t take the case. It’s a violation of my professional ethics. And if you’ve ever been my friend, you wouldn’t put me into this situation by asking me to commit malpractice.”

Well that’s it for Part Two of “The Good Old Days.” I promise I won’t write about She-Hulk V 3 # 9 next week. But as it was only Part Two of “The Good Old Days,” I can’t promise that I won’t write about She-Hulk v 3 # 10 http://marvel.wikia.com/She-Hulk_Vol_3_10 and Part Three of “The Good Old Days” in a few weeks.

Can’t promise? I can practically guarantee it.

The Point Radio: CRISTELA and MARRY ME Make TV Comedy Magic

This season, some of the first cancellation casualties have been situation comedies, but beyond the cast offs there are two shows which have made their marks in ratings. Stand up superstar, Cristela Alonzo, brought much of her charm and her act to CRISTELA and she explains why it was so important for her to keep it old school. Meanwhile, NBC’s MARRY ME has plenty of comedy cred with stars Ken Marino and Casey Wilson who don’t even finch when you call them cute.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

REVIEW: Sing No Evil

Sing No Evil
By JP Ahonen and KP Alare
Abrams ComicArts, 181 pages, $24.95

Sing no EvilTranslating music, meant to be heard live, and print, meant to be imagined in one’s mind, is a challenging task. When the music is heavy metal, a very visceral sort of sound, the challenge is even harder. As a result, artist JP Ahonen and writer KP Alare are to be commended for trying but fail to achieve their goal. Sing No Evil, translated from NAME, is about music, friendship, love, rock, and sorcery. As a result, it wants to be too many things and falls short on every level.

The book is at its strongest when Ahonen fills spreads with the manic energy that goes into performing before a crowd. The words get out of the way and the pictures tell the story and we can imagine the chords and backbeat. Sprinkled across the book, they come as welcome breaks from a tedious story about a band that can’t get their collective act together even to perform at a local bar. We are meant to feel for Aksel, the guitarist who can’t sing and the stress his perfectionist attitude brings to his band Pekeros. The rest of the band — keyboard player Lily, bassist Kervinen and drummer Bear –cajole, support or scold Aksel. Lily is the most rounded of the characters in the story while there’s little appealing about Aksel. The dynamic should noticeably change when Lily recruits Aydin, the local pizza delivery guy, as their new singer, but he’s wallpaper. Kervinen is a seemingly ageless spiritual guide to Aksel but feels like a stock player.

SingNoEvilBear, by the way, is a real bear who fights off the urge to hibernate so they can make the band’s dream come true. Why the drummer is a real bear, who doesn’t speak but acts human in every other respect, serves to rob the story of feeling set in our world. And that’s before the demonic forces arrive in the final act.

The creators try too hard, stuff too much extraneous stuff into the story, robbing it of any real emotional depth so we wind up caring little for the band members or whether they achieve success or are another failed act.

The artwork and strong sense of color makes the book interesting to look at but just further emphasizes how weak the characters are and overall storyline is. I gather Ahonen is best known for Northern Overexposure, something I am unfamiliar with but I’d be interested in seeing what else he can do. Right now, though, this book is just plain disappointing.

Martha Thomases: Would Batman Drive A Ford?

In a story in the business section of Monday’s New York Times, there was a discussion of product placement in self-published (or small publisher-published) e-books.

Naturally, my first thought was, How can this be applied to comics?

First, let me start with a few definitions. There is a difference between product placement, such as having a character on White Collar drive a Ford Taurus and so-called “advertorial content,” or specially produced web content about the Ford Taurus driven on White Collar. One is a lucrative part of the creative process, and the other is, essentially, a licensed deal.

Comics have a long tradition of licensing characters to advertisers. Baby boomers have fond memories of the one-page adventures that showed how something as simple and delicious as a Hostess fruit pie could help solve crime. More recently, DC produced a bunch of ads for Subway showing how the avocados in their sandwiches helped Green Lantern save galaxies.

As far as I know, there have been no explicit acts of product placement in mainstream comics. Perhaps I’m being naive. In any case, if there are, they are not very effective in that I have not noticed them.

Would they make any difference? Would you, average consumer, be more likely to be a Ford Taurus if you saw Batman drive one? At least on White Collar, we see an actual car drive through an actual city, even if it is Toronto. One can observe the product being used by a flesh-and-blood human being, albeit an attractive, well-dressed one.

Not every appearance by a real product in entertainment is the result of product placement. Stephen King will often mention plebeian items like Excedrin or Turtle Wax in his books, and these mentions ground the characters in some semblance of reality. No agency is shelling out money for this. If they did, they would demand approval.

In any case, product placement in mainstream superhero comics would probably be too expensive to be worthwhile. Warner Bros. is not going to let Batman drive the aforesaid Taurus in the comics without first making a hefty profit for letting him drive one in the movies. The same goes for Disney.

That’s not parallel to what the Times story was about. In the story, the author got paid to include mentions of Sweet’n’Low in her book.

I’m not a big fan of artificial sweeteners, but I know a lot of people who are. They often have strong feelings about which brand is their favorite. I could probably read that book without noticing the placements. At the same time, I probably wouldn’t think, “This character has such a rich and satisfying life, one I, too, would like to have. I suppose I should eat more Sweet’n’Low.”

Would product placement be good for independent comics? Maybe. At the very least, it could help some creators make a profit, something I strongly support.

Would it compromise artistic integrity? It probably depends on the product and the creative team, and the way the deal is negotiated. For example, I’m writing a story now, in which my protagonist, a knitter, struggles to find her true calling in a complex world. I wouldn’t accept a deal with the United States Army for her to enlist and find meaning in her life, not for any amount.

But hand-dyed cashmere? In a heartbeat.

Who am I kidding. I would do it just to look at the color guide.