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This newest episode of The Flash picks up right where last week’s ended. In it, the titular Scarlet Speedster has confronted Savitar and learned his secret identity. Confirming himself to be the future Flash, Barry has a brief battle with him until he escapes. I’m not going to even try to explain exactly who this version of the future Barry Allen is, how it works in the timeline, or what his motivations are since it would take an entire article by itself (or 3 seasons of a CW show) to do the explanation justice. The simplest way to explain it is that Savitar is an alternate timeline version of Barry from the future or a “time remnant” as they’re called in the show.

There’s also no point in explaining any further who Savitar is since he plays a very small role in this episode. Now that the team knows who Savitar is, Cisco comes up with the idea of messing with Barry’s brain slightly in order to prevent him from creating new memories. This would allow them to come at Savitar without his knowledge of the future getting in the way. However, the plan backfires when they accidentally give Barry amnesia. The rest of the episode is a fun bit of filler where Barry goes about his daily life without his memories and the antics that ensue as a result.

The trailer for this week’s episode worried me since I felt that the idea of giving the main character amnesia for an episode was cliché and boring. While it is definitely cliché, it was anything but boring this episode. The writers did a very good job with what would happen if Barry got amnesia and took basically everything into consideration. For starters, Savitar was out of commission with amnesia as well. Wally didn’t have his powers since if Barry loses his memories, Savitar (aka future Barry) couldn’t have come back in time and created the Kid Flash.

There was also a very touching dilemma that Iris went through in this episode. She saw her fiancé lose all the baggage he had from his past due to his amnesia and watched him truly thrive and enjoy life. She struggled with the idea of leaving him this way so he never needed to experience suffering the loss of his parents or carrying the weight of the world on his shoulders as the Flash. When Barry’s memories return later in the episode, Barry explains to her why he’s better off with that baggage. He tells her how when he traveled back in time to save his mom, creating the Flashpoint Paradox, he experienced the same kind of life he had with amnesia. He decided that he wanted to go back to his old life, however, when he thought about the loved ones he’d be leaving behind if he stayed that way. It was all very heartfelt and well-written.

What didn’t work for me with this episode are the villains. The actors who play Barry Allen and Caitlyn Snow are impossible to take seriously when they’re playing villains. They have far too much charisma and I’ve seen them for the entirety of the show as lovable, nerdy heroes that it just doesn’t work. They’ve finally nailed the outfit for Killer Frost, but I still only see Caitlyn when she’s on screen and the tension leaves the scene for me when she’s playing Killer Frost.

As for Savitar, I think he worked much better as some inhuman, machine, speed god than he does as a regular guy. He was much more intimidating behind the mask, but that’s been the case with every major Flash villain in the show thus far. I applaud the writers for taking a risk with Barry’s character but I still think it’s fallen flat on its face so far. That isn’t to say it can’t become more compelling, especially since the idea of the main character being his own worst enemy is usually the means for a pretty good story. However, actor Grant Gustin will have to bring it as Savitar the next few episodes to justify this plot twist for me. Overall the episode was very good with only a few minor issues bogging it down.

 

Trailer for Next Week’s Episode:

https://www.youtube.com/watch?v=2z3md4OUXXE

I spend most of my days working towards my Writing and Rhetoric degree at the University of Central Florida, but I spend a lot of my down time keeping up to date on the best TV, movies, and video games the industry has to offer. Here I put all of that extended time to use discussing each of them in-depth.

Geek Culture

‘Amazing’ Final Fantasy Movie Inspired The Marvels Director

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Generally, The Marvels is good. It has a 59 on Rotten Tomatoes, which isn’t great, but it’s better than Ant-Man and The Wasp: Quantumania and Disney+’s Secret Invasion. Perhaps director Nia DaCosta’s video game inspirations contributed to that.

The American filmmaker said Square Enix’s Final Fantasy VII: Advent Children influenced her latest film at a press junket with IGN. “It’s just an amazing movie, with great fight scenes and a great ending sequence with the main character being thrown into the sky by all the other characters,” she said.
Despite poor reviews upon release in 2005, Advent Children has become a Final Fantasy cult classic. DaCosta seems to agree that the film is a classic. PlayStation exclusives also influenced the Marvels.

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In the interview, she said she didn’t want the superhero film to look “too much like a video game” but did draw from Sony’s biggest franchises, like The Last of Us and Horizon Zero Dawn. “For me, it was from the best games, the best stories that you get, that sort of inspires me to play, and I think inspires people to watch movies like this,” she said.

Since movies have shaped video games since their inception, it’s interesting to see the dynamic slowly changing. Now that technology and interactive storytelling are more complex, filmmakers are looking to PlayStation for inspiration.

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Geek Culture

Netflix raises prices again after strong subscriber growth

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Netflix reported third-quarter earnings and is doing well. Revenue increased as the company added 9 million subscribers worldwide.

Netflix is also using this opportunity to raise the prices of some of its U.S., U.K., and French plans to differentiate ad-free plans from its entry-level ad-supported plan. New subscribers to the most expensive plan will pay $22.99 per month.

Let’s step back and examine Netflix’s current situation. Netflix cracked down on password sharing in its home market and dozens of others in May. The third quarter is the first full quarter under the new rules, so we can see the effect of password sharing.

The company removed the basic tier in the U.S. and U.K. two months ago to simplify its offering. People must pay a lot to remove Netflix ads.

Reports suggest that many customers are experiencing subscription fatigue and considering canceling some streaming subscriptions, but Netflix still has room for growth, especially with advertising revenue.

The company has 247.15 million subscribers. The number of subscribers increased 8.76 million this quarter. Netflix subscribers haven’t grown that much since Q2 2020, when Covid lockdowns were enforced worldwide.

Netflix earned $3.73 per share on $8.5 billion in revenue this quarter. As ads plan subscribers rise almost 70% quarter-over-quarter, ads are contributing more to the bottom line. Nearly a third of new subscribers use ads.

Netflix shares are up 13.75% pre-market ($393.79 per share) on good news for shareholders. However, subscribers will be unhappy because the company will raise prices for some plans again in three key markets. Full breakdown here.

In the U.S.:

  • Standard with ads: $6.99 per month (no change)
  • Basic (no longer available): $11.99 per month (up from $9.99)
  • Standard: $15.49 per month (no change)
  • Premium (with 4K streaming): $22.99 per month (up from $19.99)

In the U.K.:

  • Standard with ads: £4.99 per month (no change)
  • Basic (no longer available): £7.99 per month (up from £6.99)
  • Standard: £10.99 per month (no change)
  • Premium (with 4K streaming): £17.99 per month (up from £15.99)

In France:

  • Standard with ads: €5.99 per month (no change)
  • Basic (still available in France for now): €10.99 per month (up from €8.99)
  • Standard: €13.49 per month (no change)
  • Premium (with 4K streaming): €19.99 per month (up from €17.99)

New subscriptions start at these prices today. Bills for existing subscribers will rise in the coming weeks.

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Geek Culture

Last of Us HBO Showrunner Quietly Removes Name from Troubled Borderlands Flick

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When your writer—one of Hollywood’s hottest—tries to hide their involvement, it’s a bad sign. The Borderlands film’s original script was written by Craig Mazin (The Last of Us, Chernobyl), who recently asked the WGA to use the pseudonym “Joe Crombie” instead of his name.

We hope this means Mazin considers Joe Abercrombie, Lord Grimdark, the grittiness GOAT, but that theory is unproven. Since Mazin wrote the script in 2015 for Eli Roth to direct, a steady stream of writers has been brought in. Aaron Berg, Chris Bremner, Sam Levinson, Zak Olkewicz, Tony Rettenmaier, Juel Taylor, and Oren Uziel have put around 70 fingers in the honey pot.

The name change likely avoids confusion. Mazin probably doesn’t want to be blamed for Jack Black/Claptrap madness, but he wants to keep his rights.

To clarify, the Borderlands film finished filming in 2021, but Roth was replaced by Tim Miller (Deadpool) in January.

When this surprising star-studded film (Kevin Hart, Jamie Lee Curtis, Cate Blanchet) limps out, what are your expectations? We think this was supposed to coincide with Borderlands 3’s 2019 release, but it’s overshot the mark.

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