Today is all about the finale season of the Danish post-apocalyptic show, The Rain.
This week I’ll be watching Stargirl, Wynonna Earp, The 100, Marvel’s Agents of SHIELD, Doom Patrol, and starting in on the finale season of The Rain. I’m into season two of Kipo and the Age of Wonderbeasts on weekend mornings, I’m starting the final season in my Justice League Unlimited rewatch, and I’m into part two of Chilling Adventures of Sabrina.
Doom Patrol’s casting department really did a championship job for Dorothy, I’ve thought.
Maxine Bernstein’s bizarre puffery about what it’s like for Mine Furor’s paramilitary shock troops inside the Federal courthouse sets a new standard for literal puffery with this paragraph.
The federal officers needed to wait them out. One deputy marshal joked that most people until now didn’t have a clue who they are or what they do and that when he says he works for the Marshals Service, people sometimes look at him and ask, “marshmallow?”
For the record, Marshmallows are fans of Veronica Mars, not wannabe Interior Ministry troops for Trump’s improvisational fascism.
This week I’ll be watching Stargirl, Wynonna Earp, Marvel’s Agents of SHIELD, and Doom Patrol. I’ve started season two of Kipo and the Age of Wonderbeasts on weekend mornings, and I’m halfway through season one of Chilling Adventures of Sabrina.
So, the Nathan Fillion panel was sort of the perfect con-ending panel, and very much the sort of thing people come to expect from Nathan Fillion in that he used it to invite in people he’s worked with and made it as much about them and their time together as it was about himself. It’s also a good reminder that Gina Torres has one of the best-ever laughs. We haven’t often gotten to see the two of them together in a fandom/convention context, and the fact that nearly twenty years later they’re still so warm with other is emblematic of what people seem always to say about how he tries to captain a (television) crew. Included below is my first-ever picture of Nathan Fillion, from the Browncoats Backup Bash of 2006; a scheduled fan-run convention had fallen through and imploded in a most spectacular fashion at the last moment, stranding a hotel full of Firefly fans with no event. Except that various people started working backchannels, and fans who weren’t even there started donating money, and suddenly that night half a dozen cast members — led, of course, by Fillion — walked through the lobby doors and hung out for several hours. This was my fandom home for a decade; and Fillion always will be our captain.
Facepalming at this Marvel’s Agents of SHIELD producer saying that Devs “used the word quantum a lot to make it sexy-sexy”. Quantum mechanics literally is central to the entire underlying thing in Devs. It’s not just tacked on like the technobabble most science-fiction shows use to make things sound plausible. Which isn’t to say I have a problem with technobabble; it’s crucial narrative tissue for a lot of sci-fi television. It’s just, like, I know you joked earlier about how your show just brings out quantum mechanics whenever they need to have an explanation for something, but that doesn’t mean every show that mentions quantum mechanics is doing that. It’s all the more weird because he was touting the show.
The next two Comic-Con@Home sessions on my schedule this afternoon are the The Fleet Science Center Celebrates: Agents of SHIELD (“The Stories and Science of Androids, Space Travel and Aliens”) panel; and the HBO’s Lovecraft Country panel.
What I appreciated about this week’s Marvel’s Agents of SHIELD is that they didn’t settle just for having found a way to do a time-loop episode, but that they supercharged it by drastically reducing the length of the loop compared to other shows that have played with this trope. Being also a bottle episode, this meant that everything necessarily could happen rapidly, since there could be no moving around.