For the Girl Who Has Everything

Death comes to Metropolis. Actually, death comes to National City, the in-all-but-name Metropolis stand-in on TV’s Supergirl. It’s veering into spoiler territory which character exits stage left, never to be seen again (except possibly in flashbacks or twinning of some sort), so look away now while you have a chance. All will be revealed below the fold. For now, however, we can talk about tonight’s very special “family” episode (by one conservative count, characters use the word “family” at least 157 times), “For the Girl Who Has Everything.” That girl, of course, is Supergirl and the everything describes her current double life as twenty-something executive assistant by day to Cat Grant (Callista Flockhart), National City’s most powerful women/CEO of CatCo Worldwide Media, her  friendships, most notably Jimmy “Please, Please Call Me James” Olsen (Mehcad Brooks) and the permanently friend zoned Winn Schott, Jr. (Jeremy Jordan), and Supergirl/Kara’s (Melissa Benoist) sister, Alex Danvers (Chyler Leigh), and second-in-command at the Department of Extra-Nornal Operations to Hank Henshaw/Martian Manhunter (David Harewood).



When details started coming out about the return of The X-Files, people heard the title of this week’s episode, “Home Again,” and wondered if it was a sequel to the most notorious X-Files of them all, 1996’s “Home.” Adding fuel to that speculation was the fact that Glen Morgan wrote and directed this episode, he co-wrote the tale of the inbred Peacock family, and surely the fact that the original “Home” is now passe enough to be screened regularly in X-Files reruns threw down the gauntlet for him to come up with sometime even more disturbing. Actually, “Home Again” dealt with subject matter far more upsetting than deformed incestuous rednecks: overwhelming guilt and end of life. (more…)


EDITORS NOTE: With a movie as unique as Deadpool, its a given-in that it was going to get a polarizing reception. You may have seen Nerd Bastards earlier glowing endorsement of the movie (Review HERE), but now let’s hear an opposing and more critical review. 

The Merc with the Mouth (aka Deadpool) is back. Actually, he was never here, not yet anyway. It just feels that way, a tribute (if “tribute” is the right word) to Deadpool’s genius-level marketing team. Over the last 6-7 months, Team Deadpool has been everywhere, online and off, in strategically released trailers, TV ads, mock-PSAs, and increasingly frequent appearances by star Ryan Reynolds, making a bid to reclaim the big-screen superhero title he lost almost six years ago (the less said about Green Lantern, the better for everyone involved). That’s all to the good – if we define “good” as increasing audience awareness and opening to relatively strong box-office returns – but ultimately Deadpool: The Movie has to stand or fall (or more accurately, fail) on its own apart from audience-friendly marketing, and unfortunately fail Deadpool: The Movie does, sinking under the weight of its fourth wall breaking, meta-joke heavy premise. It’s a premise that proves unsustainable across first-time director Tim Miller nearly two-hour, big-screen adaptation of Marvel Comics’ least likely superhero.  (more…)


Right from the get-go, you can tell… it’s on like competitive ping-pong.

Deadpool found itself in a bit of “controversy” during its PR push when it landed an “R” rating – a rating which the marketing team reveled in, wearing as a badge of honor like a sort of “look how awesome we are, adult fanboys!” type of way.  Not that there’s anything necessarily wrong with that; since day one, the movie has been priding itself on its “dare to be different” philosophy, which quite frankly is likely the only mantra that could ever work with a film based on a character like Deadpool. (more…)

DC's Legends of Tomorrow -- "Blood Ties" -- Image LGN103B_0254b.jpg -- Pictured (L-R): Casper Crump as Vandal Savage and Falk Hentschel as Carter Hall/Hawkman -- Photo: Cate Cameron/The CW -- © 2016 The CW Network, LLC. All Rights Reserved.

This week on DC’s Legends of Tomorrow, Rip Hunter and his gang are still stuck in 1975 as they wait for Kendra to recover in the med bay.  They’ve jetted over to Zeipzig, Germany for the time being, however, and are taking a moment to reassess.  This episode, entitled “Blood Ties”, is about both the bonds of family as well as actual, you know, blood.  We get a deeper look into the crazy that is Vandal Savage, as well as some further peeks into the backstories of the team.  If you haven’t watched the last few episodes, STOP HERE!  SPOILERS will be rampant from here on out.  You’ve been warned. (more…)

TV RECAP: ‘Arrow’ – S4E12 – “Unchained”


This week’s episode of Arrow was so tight that it brought backed a beloved regular from the past and it was probably the least notable thing that happened during the hour. A globetrotting adventure that took us from Nanda Parbat to Japan and all the way back to Star City, this week’s Arrow had no shortage of material as old friends returned, new enemies arrived, and strange bedfellows were sewn. This episode was so busy that it could only introduce major new plot points in passing, but as the official halfway point of the season, “Unchained” adds new elements to the seaosn’s arc that could potentially be followed up on in some very interesting ways. (more…)


As the saying goes: everything old is new again. Whether it is trends in fashion, styles of music, or even the food and drink we put in our bodies (the “Paleo diet” is from how long ago?), our society has an interesting penchant for liking something, forgetting that something for a while when newer and flashier somethings come along, and finally rediscovering that something and saying “y’know, this something is actually pretty cool.” Even though a timeless work of fiction – such as a Jane Austen novel – is really never truly forgotten, sometimes it does take an infusion of a new idea to bring a classic “back to life,” as it were.

Ironic, then, that the catalyst to reanimate wide-scale interest in Austen’s bourgeois-eschewing “Pride & Prejudice” is a creature that is, by its own nature, reanimated in and of itself: the zombie. Yes, the separate components of Pride & Prejudice & Zombies may not break any new ground on their own, but when these two disparate pieces are “mashed up” together, they become much like Paula Abdul and MC Skat Kat, with opposites attracting in the most delightfully random of ways. (more…)


After last week‘s explosive episode, which was packed with a lot of new information, action, and Howard Stark, this week’s episode put the brakes on the forward momentum of a season a little bit in the most entertaining way possible. “Smoke & Mirrors” intercuts the past and present, moving back and forth between Peggy Carter‘s continued investigation into Isodyne Energy and exploring the past of both Agent Carter and the person who is shaping up to be the primary villain, Whitney Frost, or Madame Masque as she’s quickly becoming. The title of the episode refers to the illusion of propriety put forth by the men behind Isodyne Energy, the Arena Club, and apparently so much more and the illusions put up by both Carter and Frost at different points in their lives to hide their true selves, whether intentional or not. Getting a glimpse into the events that shaped both of these women, and especially Carter, is the focus and most fascinating part of this episode.