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This week on Arrow, we get back into the main plot. Prometheus sends a coffin to Mayor Queen’s office with the body of an unknown man inside. It is later found out through forensic work that the man was accidentally killed by Robert Queen, Oliver’s father. Thea returns to the show and helps Oliver reconcile with the news while also dealing with her own identity crisis. Meanwhile, Diggle and Oliver track Prometheus to an abandoned building where they are trapped in a room that slowly fills with cement. Meant to be symbolic of how Robert killed the man in the beginning of the episode, Diggle and Oliver are saved by Black Canary and Mister Terrific.

Oliver and Thea meet with a man who served as the lawyer for Justin Claybourne, Prometheus’ father, and find out they’ve been in contact. After being motivated by Felicity, Oliver dons the Green Arrow outfit once more and the team fights Prometheus and his thugs. While the team deals with the thugs, Green Arrow fights Prometheus one on one. He corners Prometheus and reveals that he learned through the lawyer that Claybourne was planning on disowning his son and that everything Prometheus has done up until now has been for a lie. Seemingly broken, Prometheus submits to Green Arrow who throws him in an ARGUS prison. All the while, the episode is broken up by a continued subplot of Rene attempting to earn back custody of his daughter and flashbacks of Anatoly dropping Oliver back off on the island so he can be rescued circa episode one of the series.

The theme of this episode is in the title: honor thy fathers. This episode was very much about Robert Queen and Justin Claybourne and the effect that both men had on their children. Much of Thea’s story in this episode revolved around coming to terms with her mother, biological father, and step father all being terrible people. Oliver’s role here, beyond crime fighting, was helping his sister deal with this fact and finally showing her the message that Robert created for her prior to his death. The elements of Robert’s failings as a parent and how his children must deal with that and not focus on the past were very well done. Maybe it’s the fact that I’ve spent five years watching these characters grow, but their reactions seemed entirely in line with the characters they have become and it was very touching. The flashbacks to the island where Anatoly and Oliver discuss Robert and what he wanted of Oliver was also more impactful than I thought it would be.

There are a few things that didn’t work in this episode. For starters, the impact of Claybourne’s failings as a parent had nowhere near the impact that the story revolving around Robert did. This is mainly because Claybourne was introduced as a character halfway through this season, but we as an audience are not meant to buy Prometheus’ reaction to his father’s plan to disown him. This is especially the case since the episode ends with him smirking at the camera and the trailer for next week’s episode shows him being his usual, smug self. Along with this thought, it seemed a bit unbelievable that Team Arrow, a group renowned for their intelligence and strategy, would start celebrating so early. None of them stopped to think “Wow this was really easy. Maybe this mastermind who has given us so much trouble the past six months is up to something.”

These flaws are very minor and did little to detract from a pretty solid episode that’s up there with some of the better ones this season. The set up for the final two episodes of season five was great and it managed to move the plot forward in interesting ways for the next season. As of right now, I maintain that the seventeenth episode “Kapiushon” is my favorite this season but from the looks of where things are going, it could easily be dethroned by either or both of these next two.

Trailer for Next Week’s Episode:

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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