Welcome back to the DCTV Arrowverse episode roundup! There were a lot of fantastic character moments and plot developments on this week’s CW shows.
You can check out all of my previous DCTV Arrowverse episode roundupshere!
Supergirldealt with the aftermath of Jeremiah’s betrayal while trying to prevent Cadmus from kidnapping aliens;The Flashhad to deal with the wrath of Savitar and one of the characters betrayed the team by holding onto a Savitar keepsake;DC’s Legends of Tomorrowwent back to the Cretaceous period and also battled inside Rip Hunter’s mind.
The interweaving theme this week is that of trying to come back from actions taken against loved ones and friends.
Each episode roundup recaps the show’s main plot points, with a section for commentary.
Let’s get started! Click through the gallery to read through each episode!
Samurai Jack, one of the most acclaimed animated series of the early 2000s, has finally received the continuation it deserves, and the debut episode does not disappoint. (Spoilers ahead!)
For the uninitiated, Samurai Jack was a four-season animated series that followed the story of a samurai warrior (given the nickname of “Jack” later on) who sought to destroy Aku, an evil daemonic wizard with unmatched power. Although the samurai managed to best the shapeshifter in a duel, Aku was able to send Jack into the future before he could be struck down. Jack, discovering a world where Aku’s unimpeded reign led to the suffering of many, vowed to return to his timeline and to kill Aku to prevent such a future from coming to pass, helping as many people as he could along the way. By the nature of the show being episodic and only occasionally experimenting with stories that slightly advanced the overall narrative, it was readily apparent that Jack wasn’t going to make it home as long as the creators felt they could continue exploring the future. That being said, a Season 3 episode teased that Jack would eventually make it back in time after spending years in the world that Aku created. The series was acclaimed by many outlets and gained a cult following over the years as an older audience was drawn into the samurai’s tale and the unique artistic direction that the series experimented with.
And then came… Nothing. The show was cancelled in 2004 with the intent to produce a feature-length film that would serve as the ending to Jack’s quest, but the disappointing performance of The Powerpuff Girls Movie, which was meant to kick off an entire line of big-screen adaptations of various Cartoon Network shows, instead led all of the planned projects being cancelled or refitted for television. Various other setbacks kept the project from coming to fruition, even after several pushes to get a movie made went through a handful of production studios like Bad Robot. Although a comic series published by IDW was made, series creator Genndy Tartakovsky claimed that it was a non-canonical account, and it seemed as though the show was going to be left without a real conclusion. That changed as of today, as the latest attempt (which officially began development in 2015) to continue Samurai Jack‘s story was a successful one. It was determined that the fifth and final season of the show would shift the series over to a having a narrative arc instead of just telling episodic stories, and it would finally resolve the question of whether or not Jack would return home – and if he was even capable of defeating Aku once and for all.
Set 50 years after Jack was trapped in Aku’s future, the ageless samurai has lost all hope of ever returning to the past and exclusively fights to save as many people from Aku’s dark reign as possible. Somewhere along the way, Jack lost his katana – itself one of the few things capable of killing Aku for good – which seems to have influenced his decision to live to make a better future instead of trying to change the past. Armed with futuristic weapons, riding a motorcycle with spiked wheels, and donning heavy armor over his light gi, the samurai continues his one-man war on Aku’s seemingly-infinite forces – but that’s not to say that his continued failure to find a way back home hasn’t taken a toll on his mental state. Whether he’s at rest or is in the midst of battle, post-traumatic stress causes Jack to hallucinate visions of the people that suffered under Aku’s reign in feudal Japan. While our hero is still as steadfast as ever when it comes to fighting Aku’s minions, it’s clear that he’s a damaged man looking for some fleeting hope that he can somehow still fix everything, especially since the memory of a mysterious new warrior framed in shadow has left the hero in a state of perpetual unease.
The premiere also gives us our first look at what appear to be a group of recurring antagonists – the Daughters of Aku – who are given a surprising amount of depth in a series well-known for having a monster-of-the-week format. The girls are raised from birth to be assassins that believe that Jack is some sort of Antichrist while Aku is a benevolent lord of all creation, which will surely lead to an interesting sort of conflict. While the episode has already taken Samurai Jack in a much darker direction than anything that’s come before, the show doesn’t lose sight of the original quirks that made the series such entertaining viewing in the first place. This is no more apparent than with the episode’s primary antagonist – a campy assassin robot who controls his weapons with the music he makes on a flute (and later, through singing, scatting, and beatboxing), which predictably leads to a fight that is as cleverly choreographed as it is inherently goofy. And the show’s ability to run with this nearly as well as it does – while managing to make the more common, serious moments hit hard – only continues to prove why people are still in love with it.
The series revival also takes advantage of the decade-plus of advancement in animation techniques, utilizing several digital programs to help recreate the original show’s style instead of keeping it completely hand-drawn. As a result, a series that was already well-known for having lush, beautifully-animated sequences now has even more stunning artwork than ever before, and said artwork is animated in a way that’s smoother than ever. These technological advances even manage to help implement elements of CGI that would have stuck out like a sore thumb in the original series, as the cel-shaded computer graphics mesh perfectly with the hand-drawn feel that the show still has. The art direction for the series continues to be brilliant as the show’s comic-book-esque animation techniques have been refined and expanded upon, resulting in action scenes that are more visually-engaging than ever. The story’s newfound emphasis on utilizing a non-linear format – something relatively unheard of with the show – displays Tartakovsky’s strength as a storyteller and leave me excited to see where we go from here. We’ve already been promised the return of the fan-favorite Scotsman, Jack getting his sword back, and a final confrontation with Aku that will collectively blow our minds. It has yet to be seen if the rest of the show’s revival can sustain the level of quality presented in this phenomenal first episode, but for now, it’s safe to say that the premiere episode of Samurai Jack got things started off the right way. Welcome back, Jack. We missed you.
Samurai Jack airs on Saturday evenings at 10:30 CST on Cartoon Network.
*Spoiler Free Review*In the 84 years since the original King Kong dazzled cinema-goers in 1933, the giant-sized ape’s story has been told many times over, but aside from a few details here and there, his story has, for the most part, stayed the same. That is, until now…
Kong: Skull Island is an exciting new chapter in the story of everyone’s favorite ape. Set in 1973, a so-called crackpot researcher obsessed with proving that monsters exist (John Goodman) assembles a team of soldiers and scientists, in addition to professional adventurer (Tom Hiddleston) and war photographer (Brie Larson), to explore an uncharted island in the Pacific that he believes is home to a massive mythic beast. So, the group ventures to Skull Island, where blondes don’t always have more fun, in hopes of bringing back proof that there are things out there that we can’t even fathom.
Simply put, this film is a hell of a lot of fun, if you’re into this sort of thing. We’ve seen the Kong story play out on screens 3 times now, including the original, the 1976 remake with Jeff Bridges and Jessica Lange, and Peter Jackson’s 2005 remake starring Jack Black, Naomi Watts and Adrian Brody. I think it was about time someone did something new with him, which I’m happy to say we got with this film. Sure, he’s still fighting equally massive monsters and all that good stuff, but this time we got something more than just the played out (by this point) premise of “It was beauty killed the beast.” I also really dug this film’s setting. Taking place after the U.S. pulled out of the Vietnam War, it was cool seeing the film’s armed forces taking on these creatures utilizing the weaponry of the era, i.e. helicopters, flamethrowers, and napalm.
As far as the human element of the film goes, Brie Larson was the clear highlight as war photographer Mason Weaver. I’m not going out on a limb by saying that Larson is a fantastic actress, but she sold her character’s awe and wonder and joy and whatever other emotion asked of her exceptionally well. Also, it was so refreshing, especially for this franchise, that she was not the damsel in distress that every other female lead in this series has been. I totally bought Tom Hiddleston in the role of James Conrad. We don’t get to see him that often in the lead action hero roles, but this one definitely suited him. Seeing him in this film, it kinda put the idea into my head of him playing Nathan Drake in an Uncharted film. If Nathan Fillion’s not gonna do it, I think maybe Hiddleston has the chops and the charm to pull it off. I’m a huge fan of both John Goodman and Samuel L. Jackson, and both actors were solid as usual in their roles as the ultimate believer Bill Randa and Preston Packard, the soldier that isn’t right if there isn’t a war to fight.
Surprisingly, this film was a lot funnier than I had anticipated and John C. Reilly’s character, Lieutenant Hank Marlow, was responsible for the vast majority of the humor. From the trailers, I was unsure how he would fit into the world of this film, but I thought he totally worked and was completely in tone with what’s established here. In fact, he was my favorite character and will no doubt be a lot of other movie-goers’ favorite as well. The rest of the cast was filled with other great performers, such as Corey Hawkins, Tian Jing, Jon Ortiz, Marc Evan Jackson and Toby Kebbell, who played dual roles as Chapman and motion capture for Kong himself. Additionally, aside from Reilly’s role, I think I enjoyed the rapport between Jason Mitchell and Shea Whigham’s characters most. These types of films typically forgo displaying even a modicum of character development for the soldiers, so I appreciated that this film tried to at least give us something to relate to with each of these characters, even if it wasn’t quite enough in some places.
But no one’s going to see this movie for the humans, so let’s talk about the main event here. If I remember correctly, this film was originally just going to be called Skull Island, and I’m glad they amended that, as Kong truly is the star of this film. I was pleasantly surprised by how much we actually get to see the creature and we didn’t even have to wait an entire hour, as is the norm for this series. I liked the design of Kong in the film a lot more than I did when I first saw him in initial trailers, with his looking more in line with the ’33 version than the over-sized silverback gorilla of the 2005 film, just 100 feet tall. He’s bigger, badder and better than ever. Also, it certainly felt like he got a lot more screen time than Godzilla did in the 2014 film, and the action isn’t obscured behind buildings or shown predominantly from the point-of-view of the humans on the ground either. We get to see what’s actually going on and it is glorious. Kong is most definitely still the King, and after seeing this film, no one will be able to dispute that.
One of the great things about this movie is that while it could totally get away with being just another paint-by-numbers monster movie, when given opportunities to subvert expectations, it more often than not does so. There were several characters that I fully expected to bite the big one early on that made it out in one piece, whereas some of the other characters who I thought would survive the whole ordeal were taken out far earlier than I had anticipated. I also enjoyed that the antagonists of the film, both human and otherwise, didn’t just simply check off all the right boxes and call it a day. I won’t say too much, but I was a bit surprised that the human I assumed would be the main villain was in fact not and that Kong had more motivation to defeat the villainous monsters than his simply being territorial.
Director Jordan Vogt-Roberts did a tremendous job here. I loved his last feature, The Kings of Summer, but it was a smaller film, so I was curious to see how he would handle something of this scale. I think he totally nailed it. This was a gorgeous film. The colors were vibrant and popped beautifully, and the scenery looked spectacular. Also well done was the script by Dan Gilroy (Nightcrawler), Max Borenstein (Godzilla) and Derek Connolly (Jurassic World), from a story by John Gatins (Power Rangers). The two-hour run time flew by as the movie knew how and when to focus on just the right things for the just right amount of time so as to not drag. The writers also filled the movie with plenty of nice nods to the genre (there’s even a great Jurassic Park reference in there that I appreciated).
As a whole, I was left thoroughly satisfied by this film. I was really looking forward to this film and I’m so happy to have not left the theater disappointed. It’s not a perfect film (I have a few negatives, most of which might be considered spoilers, so I’ll skip over them for now), but for a massive fan of giant monsters duking it out like myself, it delivered everything I went in hoping for. If you’re a fan of the genre like I am, then I wholeheartedly recommend this film. I liked the 2014 Godzilla (this one’s better), which was technically the first film in this new MonsterVerse, but Kong: Skull Island goes above and beyond in establishing a solid foundation for the rest of this cinematic universe to grow from. I will advise you, though, when the credits start to roll, make sure you stay in your seat for what I would call one of the most satisfying post-credits scenes I’ve seen in a long time. My party was one of the few groups that remained in our seats when the lights went up in my theater, so in case you were thinking of taking off, trust me, you don’t wanna miss it.
Score: B+
Kong: Skull Island is in theaters now.
Have you seen the film yet? If so, what did you think? Share your thoughts in the comment section below.
10 Theater-Worthy Movies To Look Forward To In March
As we say goodbye to February and Oscar season, we look onwards toward March as the summer blockbuster season begins. March is a month loaded with anticipated movies and it has something for everyone – especially genre fans. Next month’s offerings are diverse, ranging from smaller horror-thrillers to long-awaited reboots and sequels. This bode’s well for multiplex’s as audiences have more than once choice at any given weekend. With heavy hitters that will appeal to both kids and adults, March is sure to be a big month at the box office.
Let’s take a look at what you can expect to come out next month in chronological order. Hit Next to continue!
There was no episode of Powerless last week, but the Wayne Securities team is back once again in this week’s episode, “Cold Season.”
Emily (Vanessa Hudgens) convinces Teddy (Danny Pudi) to enter his new invention, a pair of high-tech heat gloves that can warm your hands to the perfect temperature and reheat your coffee (or soda, gross), into the Wayne Innovation contest. With $100,000 on the line, Emily must motivate Teddy to crush the “asshats” in the Wayne X division. But can Teddy handle the pressure?
Meanwhile, Van Wayne (Alan Tudyk) takes advantage of Ron’s (Ron Funches) kindness by getting him to assemble toys for his new girlfriend’s kid.
There’s a lot to talk about in this week’s episode of Powerless, so hit the next button below to follow along as we break down the highlights and critical moments of “Cold Season.”
This week on Riverdale, it didn’t take long for news of Polly’s escape to come to light, with one of Cheryl’s minions overhearing Betty talking about Polly and immediately sending a text to the queen bee herself.
Wasting little time, Cheryl confronts both her mother and Sheriff Keller, revealing Polly escaped from the facility the same night Jason and Polly’s getaway car was torched, which makes Polly a prime suspect in Jason’s murder.
To combat the Blossoms, the Coopers hold a press conference to reveal Polly’s time under strict observation and her pregnancy, trying to make her into a sympathetic character that couldn’t have killed Jason. Shortly thereafter, Betty discovers that Polly has been hiding upstairs in the Cooper’s attic all this time and the two sisters talk, with Polly revealing she doesn’t want to give the baby up for adoption despite her parents’ wishes.
After hearing of the pregnancy, Cheryl later approaches Betty and says she wants to make sure the baby is safe over everything else. Apparently they’re “all on the same team now.” At Pops, the Blossoms talk with Betty, offering her their full support in exchange for her trust. Eventually, Betty sets up a meeting between Polly and the Blossoms; however, only Cheryl shows up and says that Polly has to leave because her parents don’t really want to help. Veronica immediately offers Polly a space at her home and Hermione instantly welcomes her in, adding the Lodges to the Cooper-Blossom drama.
Elsewhere, Archie discovers Jughead living in the school and Jughead reveals his father has fallen off the wagon. Being the swell guy he is, Archie gets his dad to offer FP another chance at his construction business. After first denying the offer, Jughead utters some harsh truths and his dad ends up taking Fred up on the offer.
After a good first day, FP, Fred, Archie, and Jughead head out to dinner at Pop’s and the two old pals bond. While there, FP says that “Fred owes him.” Later that evening, Archie asks FP what he meant, and FP reveals that Fred bought FP out of the construction business, which they originally went into together, and that’s how the two of them ended up at odds. However, after speaking with his father, Archie learns there’s more to the story than that.
At school, Sheriff Keller and the principal are waiting for Jughead to take him to the police station. Keller looks at Jughead’s past history of delinquency and his bullying at the hands of the football team, including Jason, and insinuates that he may be guilty of Jason’s murder. Jughead is afraid of becoming a scapegoat but Betty is there to comfort him.
When Archie and Betty can’t located FP, Fred Andrews shows up and claims that Jughead was working for him the weekend of July 4, giving him an alibi. When FP finally shows up, Jughead and his dad exchange words and FP promises to get back on track and tells Jughead to go stay with the Andrews for now. Jughead says he’s not giving up on his dad, “not yet.”
At the Lodge’s, Veronica and Hermione are at odds, but Veronica’s method of payback is shopping splurges and late-night partying to get under Harmione’s skin. After this brash behavior, Hermione and Veronica sit down and negotiate a truce. Hermione is going to continue seeing Fred During but will tell Hiram about forging Veronica’s signature in exchange for Veronica backing down and ceasing her spend-thrift ways.
At the very end of the episode, we see that FP is in possession of Jason Blossom’s Riverdale High letter jacket, suggesting that he was the one that torched the getaway car.
Continue on to read the review of season one’s seventh episode, “In a Lonely Place.” It’s separated so you can tackle all of the juicy Riverdale drama in chunks and explore the episode’s key moments and highlights. Click Next to scroll through, or jump straight to the part you’re most interested in:
I’ve discovered that for a show as dense as Legion, it is tough to attempt any meaningful summary. Therefore, I’m going to try something a little different this time and talk about specific parts of the show that were important or particularly revealing. As a preface, this chapter was probably my favorite. Although it had a little of a slow start, Legion once again did a fantastic job of revealing things to us without saying too much and spoiling any other surprises. As much as we know, there are still a ton of questions, as the end of the show so clearly sets up. For an 8 episode season, Legion has been very well paced. Even though I can spot my favorite chapters, the others don’t seem to suffer. It is just that my favorites are even better than the already great ones.
Let’s go ahead and get started sorting out some interesting parts of Chapter 5:
Into the burgeoning Netflix side of the Marvel Cinematic Universe enters Iron Fist, the fourth solo series after Daredevil, Jessica Jones, and Luke Cage leading up to this summer’s big The Defenders crossover event. Like all shows in this corner of the MCU, it’s already too long by at least three episodes and, like all the movies, grading each individual installment is more of an exercise in style than substance, as visual aesthetics and narrative structures are carried over between installments.
Where Iron Fist stumbles is in creating a space for itself. Daredevil impressed with its grit and realism, in contrast to the colorful, broader movies. Jessica Jones and Luke Cage are intensely-personal projects wrapped up in superheroics and earned praise for depicting the first female and black superheroes in the MCU, ahead of movies’ Captain Marvel and Black Panther. What makes Danny Rand aka Iron Fist different? By extension, what is his show about? After watching the first six episodes which were made available for critics, I still don’t know. And I’m not sure if the producers do either.
Ostensibly, the show is a crime drama, like the other Defenders shows, but with its disparate elements of fish-out-the-water storytelling, mysticism, and corporate malfeasance, it never comes together beyond its bare superheroic bones, remaining formulaic in structure and formless in tone. If Logan is an example of what happens when you blend together several genre flavors in a superhero pot to create something new and delicious, Iron Fist is an example of how to make a bland dish from ingredients that dampen each other. And, for the brief talk of trouble adapting the mysticism of Iron Fist for Netflix’s grounded dramas, the superpower itself is well-done, the special effect automatically making the show a better Dragon Ball Z adaptation than the terrible movie.
The show tells the story of Danny Rand, a billionaire orphaned at 11 in a plane crash in the Himalayas, where he stumbles into an extradimensional city named K’un L’un that only exists on Earth every 15 years. During his time in K’un L’un, he trains to become the Immortal Iron Fist, a prophesied warrior. When the 15 years are up, he returns to his hometown of New York City to reunite with his extended family the Meachums, assume control of his inheritance the Rand Corporation, and rid the city of the Hand, the undead ninja cult which the Iron Fist is destined to defeat. Naturally, all three of these threads are intertwined from the get go, which the six episodes take pains to establish.
It’s not apparent what showrunner Scott Buck, responsible for the later, lesser (waaay lesser) seasons of Dexter and completely ignorant of the character prior to getting the job, brings to the property, other than a company man who could bring this show across the finish line. Obviously, Marvel TV got what they wanted, because they were happy enough with the result that they carried him over to ABC’s The Inhumans miniseries, which just started filming this week. Notably, THR reported that it was right after Buck’s hiring that the company ultimately decided to keep Danny white, despite auditioning Asian actors including Lewis Tan (who instead got the villainous role of Zhou Cheng), and it’s a decision that creatively reverberates throughout the show.
The obvious answer to making Danny more relevant today was to make him Asian-American. Indeed #AAIronFist was a real campaign supported by Geeks of Color and several others last year, prior to Jones’ casting. It would have fit nicely with the Marvel/Netflix strategy of diversifying its superheroes, giving the full array of the human experience representation in the Defenders. After all, there’s already a white martial artist in the group named Daredevil. After Buck’s hiring, the show took the traditional route and the show suffers for it, because now Danny is just a slightly-sunnier Bruce Wayne (or Oliver Queen) from Batman Begins (or Arrow). Producers claim keeping Danny “an outsider” was key in their decision, but anyone who knows a person of color or who has struggled with their identity knows this is a cop-out.
On the heels of similarly-magical themed characters like Doctor Strange and Ghost Rider popping up in the MCU, Iron Fist doesn’t feel like a breaking of reality or anything (this is a world where the Norse gods exist after all). The problem with Iron Fist isn’t with its outlandish elements, but its grounded elements. The street-eye view that dominated the three previous shows becomes an eagle-eye view from the top of a billion-dollar company, where the characters are much less likable, though the show demands we empathize with them. It’s like Billions meets The Wire with bland superheroics thrown in.
From episode 1, it drives headfirst into some of the most tired ideas in the genre. The first few episodes had me rolling my eyes quite a bit from numerous instances of poor communication (take a drink for every time “I just need to talk” is said, and you’ll be smashed by the end) or just plain plot-induced idiocy from the characters. This is not a show aware of its own medium or storytelling unlike, oh I don’t know, Logan (guys, Logan is awesome). It prevented me from investing in these characters journeys. Despite the poor writing, I was taken with the performers, who are quite a bit better than the material.
Game of Thrones veteran Finn Jones, for his part, acquits himself well given the quandary of a modern-day Danny Rand. He reminded me of a cross between young Bruce Wayne returning to Gotham for the first time and Nightwing fresh on the job. He is more optimistic character than the typical billionaire orphan superhero but not without his breaking points. Much of his initial time in New York is taken up by arguing for his very existence, to the point you’re begging him to punch someone just so we can get over the whole rigmarole . It doesn’t help that Danny spends the first few episodes as hobo Bruce Lee. It’s only when he finally acclimates to running a company or simply living in normal society again that the plot starts moving forward in an unpredictable way and the series finally begins to pick up steam.
Fellow Thrones star Jessica Henwick’s Colleen Wing is a stand-out, a normal person who just so happens to be able to kick the ass of not one, but two men twice the size of her at the same time. Her human vulnerability inherently makes her more interesting than the supernaturally-imbued, nigh-unflappable Danny, who, as I said, is only really interesting when he is actually, you know, struggling. Colleen meanwhile is an innocent bystander drawn in Danny’s conflicts by virtue of his homelessness and their shared love of martial arts. She’s a much better window in the world of Danny than the show seems to credit her for and arguably, she’s the character who changes the most in the first six episodes. Henwick sells both her physicality and her reluctant heroism.
David Wenham plays Harold Meachum, the Rands’ business partner who took over the company after their deaths and gave it to his children, the never-good-enough son Ward (Tom Pelphrey) and the overachieving daughter Joy (Jessica Stroup). These jump from antagonist to ally at a moments notice. The show doesn’t seem interested in presenting them as likable which makes it more interesting when they delve ever so slightly into their psychology. The difference between meeting these characters and getting to know them is the difference between the quality of the first few episodes versus the last few. Wenham for his part seems to be having fun hamming it up as another “man behind the man”-style villain in the vein of Kingpin, Kilgrave, and Diamondback.
Fans can expect to see Carrie-Anne Moss’ wily lawyer Jeri Hogarth pop up in her third Marvel/Netflix series following Jessica Jones and Daredevil, as well as Rosario Dawson’s perennial favorite Claire Temple, making good on her decision to ask Colleen for training at the end of Luke Cage season 1. Wai Ching Ho reprises her Daredevil role as the otherworldly crime boss Madame Gao, implied to be a former resident of K’un L’un.The fight scenes were fine, thought I never found myself as impressed as I was when I first watched the Daredevil hallway fight in season 1 or the staircase fight in season 2. I was most engrossed during Colleen’s cage fights, where the stakes seemed most real.
Iron Fist does the heavy-lifting putting tying together the threads for The Defenders, establishing the Hand – seen extensively in both Daredevil seasons with numerous plot threads left unresolved – as the sworn enemy of the Iron Fist. The Marvel TV bosses have been very careful at laying interconnected breadcrumbs, some of which haven’t even been apparent until now (we still don’t know what was up with that giant hole in Daredevil season 2, for example). But it’s comforting to watch to see that all four shows have been building, rather than rambling, toward something i.e. The Defenders. I just wish they had gotten here faster.
Whereas Luke Cage lost steam as it transitioned for its first half to its second, Iron Fist struggles out of the gate to really grab the viewer. Fortunately for the show, binge-watching is the new model and the clunkiness of the first few episodes give way to more depth and action the latter few hours I watched. It’s certainly possible that the back half of Iron Fist season 1 addresses some or all of the problems I talked about it in this review, but I personally would be satisfied if the more propulsive, competent storytelling continued. The ship to make Iron Fist relevant sailed at the series conception. Instead, it exists as a milder, more fantastical Daredevil. Under that limited scope, it works; nonetheless I can’t help but watch and think it could have been so much more.
All 13 episodes of Iron Fist season 1 debut Friday, March 17 at 12:01 a.m. PST. The titular hero returns in this summer’s eight-episode team-up The Defenders. The Marvel/Netflix crossver is followed by The Punisher spin-off this fall, with a third season of Daredevil and second seasons of Jessica Jones and Luke Cage in development for 2018.
As we say goodbye to February and Oscar season, we look onwards toward March as the summer blockbuster season begins. March is a month loaded with anticipated movies and it has something for everyone – especially genre fans. Next month’s offerings are diverse, ranging from smaller horror-thrillers to long-awaited reboots and sequels. This bode’s well for multiplex’s as audiences have more than once choice at any given weekend. With heavy hitters that will appeal to both kids and adults, March is sure to be a big month at the box office.
This week on Riverdale, it didn’t take long for news of Polly’s escape to come to light, with one of Cheryl’s minions overhearing Betty talking about Polly and immediately sending a text to the queen bee herself.
