Knights in Wight Satin …

Soooo many “Game of Thrones” puns that I want to post online, soooo many spoilers I need to beware of sharing.  What’s a nerd to do?

The generic puns are safe enough.  People seemed to enjoy my “I’m dreaming of a wight Christmas” tension-breaker when that storm started hitting during last night’s episode.  Or maybe they were just humoring me.  They do that a lot.

I’m waiting for someone to do that weird thing where they brag about having never seen an episode of the show.  I want to hit them with “Arya Stark raving mad?!”  Which I guess is kind of pointless, because they won’t understand the reference, but still.

 

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Cover to “House Of M” #1, Joe Quesda, 2005

(Scarlet Witch Variant.)  Marvel Comics.

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Check out this stand-up performance by Nate Bradford!

Nate Bradford has been my Facebook friend for years, but I only recently got the chance to see his stand-up comedy, thanks to Youtube.  It turns out he’s a damned funny guy.

Here he is at Central Maine Comedy Invitational on March 15th.  (Warning — adult content.)  His bit about the “Farmers Only” dating service is my favorite gag here.  (If you have ever spent time in the Baltimore area, those endless commercials might have driven you insane.)

Nate’s a member of the River Comics comedy troupe, and he regularly performs stand-up at House of Bacon, Pedro O’Hara’s, and 84 Court Street in Lewiston, Maine.

You can find him on Facebook @ https://www.facebook.com/nate.bradford.33
or Follow him on Twitter @ https://twitter.com/DiminishingRet

 

“Allegoria del Tempo (La Vita Umana),” Guido Cagnacci, circa 1650

Allegory of Time (Human Life).  Oil on canvas.

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Nikola Tesla describes a cell phone in 1926.

When wireless is perfectly applied the whole earth will be converted into a huge brain, which in fact it is, all things being particles of a real and rhythmic whole. We shall be able to communicate with one another instantly, irrespective of distance.

Not only this, but through television and telephony we shall see and hear one another as perfectly as though we were face to face, despite intervening distances of thousands of miles; and the instruments through which we shall be able to do his will be amazingly simple compared with our present telephone. A man will be able to carry one in his vest pocket.

— Nikola Tesla, 1926

 

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“Étude,” Piotr Stachiewicz, circa 1899(?)

Drawing.

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A short and spoiler-free review of “Avengers: Endgame” (2019)

Mind. Blown.

If I could tell my 19-year-old self discovering superhero comics in college exactly how good their big screen adaptations would become, I wouldn’t believe me.

I saw “Avengers: Endgame” (2019) tonight with expectations that were very high. It was still better than I thought it would be. It was easily better than last year’s “Avengers: Infinity War” (although I think of them as two halves of the same epic movie).  I don’t pretend to be a film expert, so take this as speculation — I personally think the pair of “Infinity” films have made comic-book movie history in the same manner as the original “Superman” (1978), Tim Burton’s “Batman” (1989) and Christopher Nolan’s “Dark Knight” trilogy (2005-2012).

I don’t really want to make any more observations, because I’m too afraid of inadvertently posting spoilers.  But I will say that there is a massive tonal change between “Infinity War” and “Endgame.”  The banter and humor of the former is largely left aside, and this concluding story is darker and far more emotionally sophisticated.  It’s moving.  It feels strange to write here, but I kept thinking during the movie that this was a more “grown up” Marvel film.

And it is EPIC.  I honestly can’t imagine how Marvel can top it with future films.  There is an action set piece that made my jaw drop.  I can’t say more.

This is an obvious 10 out of 10 from me.

 

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Cover to “X-Men Black: Juggernaut” #1, J. Scott Campbell, 2018

Marvel Comics.

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A short review of “Truth or Dare” (2018)

Blumhouse’s “Truth or Dare” (2018) isn’t high art, but it isn’t quite as bad as everyone makes it out to be.  I’d rate it a 6 out of 10 for being a passably good fright flick.

It’s a gimmick horror film, but the gimmick kinda works –a powerful demon possesses an oral game of “truth or dare” — then follows its players home from vacation with lethal consequences. It’s actually not quite as stupid as it sounds; I had fun with the premise, which sounds like the basis for a decent “The X-Files” (1993-2018) episode.  An exposition-prone minor character explains to our protagonists late in the game that demons need not infect only people and objects, but also “ideas” like games or competitions.  The notion of an idea or a philosophy being demonically possessed has a hint of creative brilliance, and I’d love to see it fully developed in an intelligent, well written horror film.

Alas, this isn’t it.  And instead of lovable heroes like Mulder and Scully, we get a predictable, throwaway group of unlikable teens on spring break.  The movie’s most interesting character is the one it sets up as the stereotypical jerk, Ronnie, adroitly played by Sam Lerner.  The film would have been much better if it had fleshed him out as a three-dimensional character, and had the story revolve around him as a surprise anti-hero.

“Truth of Dare” also borrows maybe a bit too much from “It Follows” (2014) and “The Ring” films (2002-2017). Finally, it confuses the viewer with some head-scratching plot turns near its end.

Oh, well.  The movie still doesn’t deserve the hate it gets.  I figure it’s at least a fun time waster before bed on a weeknight.

 

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Poster for George A. Romero’s “Diary of the Dead” (2007)

The Weinstein Company, Dimension Films.

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Nurse Your Favorite Heresies in Whispers