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How to bring Matt Smith back to ‘Doctor Who’

In the past week there have been many news stories about how Matt Smith regrets leaving Doctor Who. He played the Eleventh Doctor from 2010-2014 and was replaced by Peter Capaldi in “The Time of the Doctor.”

Steven Moffat, the current show runner, commented he would love to have Matt back in the show. With Moffat leaving after the next series and the rumored exit of Capaldi, a new Doctor will be needed.

I was asked this week if I wanted Matt Smith back on the show.

My answer was “No.”

Part of this comes from feeling jilted by the last number of series, starting with the last two during Smith’s run.

But then I started thinking how they could actually bring him back, and the solution is simple. He cannot be the Eleventh Doctor. This may seem self-explanatory, but casting him again makes the temptation great to let him play the role as he did in the past. That is why my answer was at first no. Fans, and even writers, would expect him to be the Eleventh Doctor.

Not only would this bring the show backwards, but also undercuts perhaps one of the greatest, and saddest, revelations of the modern series. In “The End of the Time” the Tenth Doctor, played by David Tennant, finally describes what regenerating is for him:

“I can still die. If I’m killed before regeneration then I’m dead. Even then. Even if I change, it feels like dying. Everything I am dies. Some new man goes sauntering away. And I’m dead.”

Through the regenerations the Doctor retains memories, but the personalities die, and there is no going backward. To so do would betray the emotional destruction of Ten’s death.

But “The Day of the Doctor” presents the idea the Doctor may “revisit” faces later in his life. We have seen with the regeneration into the Twelfth Doctor there is some level of control, most likely subconscious, during the regeneration process. Even the Master’s regeneration into Missy seems to have been an intentional choice.

If there is this level of control, then the Thirteenth, or some other future Doctor, could have Matt Smith’s face again. The key part is he needs a completely new personality. There can be some nods to the Eleventh Doctor, but they would need to move away from bow ties and fish sticks with custard.

If this does happen, it would be best to wait a few more doctors. Plus, future show runner Chris Chibnall has his own ideas for the series and may not be looking to cast Matt Smith again.

Why I am giving up on ‘The Flash’

[Season Two finale spoilers]

I no longer want to watch The Flash after tonight’s finale. This is not to point blame on the episode, but on what has consistently been a season of missteps and Barry acting like a spoiled child who refuses to listen to others.

When The Flash first premiered I was hooked. Here was a superhero trying to learn his powers while facing an enemy who also sought to teach him. Harrison Wells/Eobard Thawne were Season One and Tom Cavanagh delivered in each episode. This was one of the few cases were my knowledge of comic books betrayed me, for I was convinced Eddie was the Reverse-Flash.

Then Season Two started, and The Flash ran out of ideas. The storyline is exactly the same as Season One. A mystery speedster shows up, who wants Barry to get faster so his speed can be harnessed. This speedster also happens to be someone hiding in plain sight and building trust with the team. I would have bailed a lot sooner if not for the return of Harrison Wells, who seems to be the only voice of reason. Joe can have his moments, but Wells is the one who attempts to ground the characters.

But let’s focus on Barry, the real reason the show went off track. Barry cannot act on logic, only emotion and ego. These traits betray his identity as a hero. Because he is the Flash he believes he is always right. He will not take the time to slow down and think about his decisions and refuses to listen to advice from others. He did not hesitate to hand his speed over to Zoom and decides to monologue (fatal flaw of many super-villains) when he finally has Zoom trapped. He is also trigger happy on the time-travel button, though he knows there can be negative consequences. So far he has been lucky with what changes, but his luck may have run out.

In “The Runaway Dinosaur” we see Barry come to terms with his mother’s death but the finale undo’s any character growth and again reverts Barry to a spoiled child, who will sacrifice the universe for his mother. Many of us may agree with the choice Barry made, but heroes know you cannot save everyone.

In the comics, when Barry saves his mother we are introduced to Flashpoint, a universe on the brink of destruction. This Barry Allen normally acted selflessly, and in a moment of weakness decided to allow himself one win and in doing so destroyed everything. He seldom time traveled and did not fully understand the ramifications his actions would cause. To fix the timeline he had to assure his mother was killed, a decision not many could make. The television Barry always acts selfishly, so saving his mother, especially after his talk with the Speed Force(who is apparently god), is the act of spoiled child who should know better. In Season One he made the tough choice by allowing her to die, which makes this choice now shocking. He still has a family who loves him and can finally be together with Iris, but unless he has the perfect life he won’t be happy.

I respect when shows give us characters we can relate to, who fail and get back up, who make mistakes and learn from them. Barry never learns. This inability to learn makes him more a villain than a hero.

Maybe going Flashpoint in Season Three will fix things, because he will finally see the extreme negative consequences of his actions and learn to be the hero his comic counterpart is.

Review: Batman v Superman

[Minor Spoilers]

It has been a week since I saw BvS, enough time to clear my thoughts and be objective about this film. After seeing negative review after negative review I am actually shocked I was in a theater preview night.

BvS suffers from following the Nolan trilogy, and takes itself to seriously. This tone works for Batman, but Superman should have been treated differently. Yes, he can be a serious character but also a symbol of hope and the opposite of Batman. Giving these characters the same dark tone makes their title fight less meaningful. Man of Steel established Superman kills and takes drastic measures to save Earth, the same as BvS’s Batman. He does not care for Batman’s violent methods, but his opening scene shows him ramming(?) a man through a stonewall, something a human would not likely survive.

Without a greater distinction between the characters, their fight is forced, since the title demands there be a fight, and without proper motivation. Even its conclusion is quite frankly stupid. What frustrates me is they were setting it up for the confrontation to be very meaningful and justifiable. The scene of Metropolis being destroyed through Bruce Wayne’s eyes let the audience understand the human fear of these supermen and the fear that they cannot be stopped. As the film continues this point falls apart as character upon character are introduced and we are bombarded by a series of short scenes not fully developed.

Here I admit I let my knowledge of the comics get the better a little, but Jesse Eisenberg’s Lex Luthor was incomprehensible most of the time, spewing poetry and metaphors that seemed to have no place. He was not Lex Luthor, but some failed blending of the Joker, Riddler, and probably many other DC villains. This is not a villain to fear. How I wish Kevin Spacey or Clancy Brown could have reprised their roles from Superman Returns or Superman: The Animated Series respectively. Even the creation of Doomsday was unsatisfying.

Perhaps what bothered me the most is how Martha Kent and Lois Lane were only in the movie to fulfill the role of damsel in distress, which Lois plays on three separate occasions. Probably of equal annoyance were the four dream sequences, of which one was a prophetic dream. We get these characters have issues, but they do not need to be explored through dreams.

The list of problems goes on but would divulge too many spoilers for those fortunate enough not to see this movie.

I might be slightly unfair though, because there were some good elements to this movie, making the bad all the more frustrating. Ben Affleck and Jeremy Irons were great in their scenes together. I will admit I was one of the people who groaned when Affleck was first cast, but he may well be the best part of the movie. His Batman is experienced and getting old and you can understand his issues with Superman. Irons’ Alfred also more closely follows the modern comics and is more a partner than a butler. I want to see this solo movie, as long as Zack Snyder is not anywhere near it. The Wonder Woman movie should also be promising. Gal Gadot did not have many lines, but she can kick butt and was the best fighter against Doomsday.

Hopefully the future movies will offer more character development and better storytelling, but with Justice League scheduled before most of the solo films this seems unlikely. The DC universe needs a Kevin Feige and a unified vision. Right now they are playing catch-up and are thinking one movie at a time and not about the entire universe.

Anime Take Two

Anime and manga are intertwined. The majority of anime are based on manga, and original anime are often turned into manga.

Japan has a different comic environment than the United States. Manga is ingrained in the culture, with all ages consuming. The popularity of manga led to popularity of anime, opposite of how the popularity of the two forms grew in America. It is sometimes hard to fully understand this relationship for American cartoon shows, while based on comics, hardly follow them. They use the same characters and general story arcs, but try developing their own identity.

Anime tends to be based directly on the source manga. Some changes are made in personalities or minor story points, as in Death Note, but otherwise try to be faithful. Try is the optimal word, because turning a manga into anime faces complications. Anime adaptations normally start when the manga is being published, to capitalize on popularity. Filler episodes or filler seasons are used, allowing the mangaka (writer/artist) time to develop story arcs.

Bleach and Naruto are known for having whole seasons of original content. Dragon Ball Z has fights lasting ten episodes while in the manga they are one or two chapters. These are special cases, with the anime being popular enough to sustain themselves through countless fillers. Others were not so lucky. Full Metal Alchemist and Hellsing both initially followed the manga, but created haphazard endings when the anime caught up with the manga. Soul Eater and Pandora Hearts had to throw together endings when the series were prematurely cancelled. These endings make almost no sense and ruin good anime.

The manga stories work. They contain the mangaka’s vision and present tight-knit stories requiring no changes. In recent years, anime makers realized how great the source material is, giving many series a second take. The 291 episodes of Dragon Ball Z were edited down to 159 episodes in Dragon Ball Z Kai, removing all filler episodes and elongated fights.

Hellsing was remade as Hellsing Ultimate, a series of OVA’s directly mirroring the manga. The same happened when Full Metal Alchemist got its second series Full Metal Alchemist: Brotherhood. This series does suffer in the beginning for episodes were rushed. They are in the first anime, and producers did not want to repeat. The result is episodes a little hard to watch, with the rest of the anime being the best I have seen. Recently the remake of Sailor Moon, Sailor Moon Crystal, finished airing, with each episode a direct translation of one manga chapter.

Not all animes are remade. Inuyasha was put on hiatus for three years, allowing the manga to finish. The result was The Final Act, the best arc in the anime. Bleach is currently on hiatus, waiting for the final arc of the manga to conclude before beginning production. One of the more interesting cases is Black Butler. Episodes in season one sporadically follow the manga, while the rest and season two are original. Instead of remaking, the original stories were ignored, with Book of Circus using flashbacks to reference the preceeding manga story arcs. The latest story arc, Book of Murder, was released as two feature-length films instead of the traditional series.

The manga stories do not need changing, and make better anime series. I wonder what they will remake next.

#SixSeasonsAndaMovie

“Show’s going to last three weeks!”

“Six seasons and a movie!” 

* * * * *

Fans turned a 20 second clip from Community into a rally cry. #SixSeasonsAndaMovie is the only social media campaign I participated in, and one I sought out as a fan. The campaign is unique since fans started it and was later picked up by other organizations.

The point is simple, save Community from being cancelled, which was a risk every season. The end of season five was where it was called upon the most, for the odds of renewal were the worst, though the show was doing better in ratings than many others renewed by NBC.

Most of the battle was fought on Twitter, with fans voicing their opinions and demonstrating the cult audience the series had. Facebook became another battle ground, with the formation of many groups and petitions being made. Cast members were also encouraging fans to tweet every day to show their support. Sony, the company behind Community, adopted the campaign when they started the bid for renewal. The internet was flooded with official posters parodying movies, and creating more fan involvement.

The campaign is a failure and a success. NBC did not renew Community, but Yahoo picked it up for season six. The power of fans and social media was demonstrated in saving a television series. The amazing thing is the campaign constantly evolves. While Community may have run its course, fans on Twitter are using #SixSeasonsAndaMovie for other television shows in jeopardy of cancellation. Even online dictionaries associate the hashtag with any show on the verge of cancellation with a cult like following.

Community recently wrapped its sixth season, leading to another change in the campaign. The final episode ends with #andamovie. The six seasons are complete, now the movie remains. So far the odds are good, with show creators feeling they owe fans the movie. If one looks doubtful, I’m sure fans will take to social media again.

Never underestimate nerds and geeks. Cult followings are powerful, with social media giving fans power to voice their opinions.

Second Life: Television Finales Are Not the End

The end of the television series does not mean the end of the story. Recently the trend is to continue shows as comics. Television series are often costly, but comics can be made for a fraction of the cost. This allows for a wider range of stories to be told.

The poster children for the comic book continuation are Buffy and Angel. Both were popular shows, but had run their course, not to mention required higher budgets. What makes these cases unique to others is the comics are still considered seasons, each consisting of 25-40 issues. Angel only had one, Season Six, to wrap up the many loose plot points. This is, in part, because it was published by IDW, while Buffy was published by Dark Horse. When  acquired by Dark Horse, Angel was incorporated into the Buffy seasons as Angel and Faith.

Which leads to Buffy Season Eight. This was not a great season, being quickly overwhelmed by the amount of characters, or the slayer army introduced at the end of the television series. Where it did succeed was in the scope of stories. No longer were there limits on what monsters could be presented, or stories told because of budgets. The writers and artists visions were fully realized.

Season Nine was fantastic. It returned to its roots and focused on a select number of characters. Where Season Eight showed the crazy monsters allowed in comics, Season Nine took a simplistic approach, addressing the issue of a world without magic. Now the characters were the stars, allowing for development and showing another strength of the comic medium. Not all stories need to be grand.

Dark Horse has allowed other television shows to live on. One of my favorites is Avatar: The Last Airbender. It does not follow the season format, but contains mini-arcs continuing the television series. We see how Aang grows into the role of Avatar, Zuko’s search for his mother, and Toph forming the metal bending school. Unfortunately, some of these stories are predictable since there is a television sequel, The Legend of Korra, but are still enjoyable. The Legend of Korra will also be getting a highly aniticipated comic book sequel, picking up where the television series left off.

Buffy and the Avatar comics are interesting examples for one was a live action show and the other was animated. Reading Avatar is sometimes weird, because it is drawn in the same style as the television series. Being used to seeing the characters and locations animated sometimes makes it hard to fully enjoy the comic series. Buffy is the opposite, and became significantly different when converted to comics, getting a unique feel and gaining an identity separate from the television series. I read Avatar and wonder, why aren’t the images moving?

What’s in a Name?

When someone talks about Fox’s Last Man on Earth, I automatically wonder, Where is the Y?

Y: The Last Man by Brian K. Vaughan is a critically acclaimed graphic novel. The premise, all animals with the Y chromosome have died, save for one man and his pet monkey.

The title is fascinating. It is simple, and can have multiple meanings, none of which have been confirmed by Vaughan. The title makes you think, with different interpretations adding more depth.

Y is for Y chromosome.

This one is fairly straightforward. The Y chromosome has all but disappeared from Earth. Women are left in charge, attempting to make sense of the genetic genocide. Some want to figure out what happened and fix it; others want to let the human race die out. They actively seek out the title character, Yorick, to kill him. This quest to either save or destroy the human race is the driving plot of the series.

Y is for Yorick.

Yorick is the main character, named for a Shakespearean character in Hamlet. You may know him as the jester who is exhumed from his grave.

“Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar?” (Hamlet, V.i)

Poor Yorick only gets eight sentences to his name in Hamlet. Aside from the Y connection, why would Vaughan pick an obscure Shakespearian name? Granted, there are not many other characters in Shakespeare’s plays that have names starting with Y. The plays are important to the story, as Yorick’s sister, Hero, is named for the character from Much Ado About Nothing. There are other references throughout the series.

The name is poetic. Yorick in the play represents the morality of man and how death claims us all. He is the character not allowed to be seen, only his dirty skull. Yorick in the graphic novel was not claimed by death, while everyone else of his gender was. He is the exception to death claims us all, and is seeking to create life. He travels the United States to find scientists, to understand why he survived and maybe find a cure. The man who should have symbolized death becomes hope, promising future life.

Y is for whY.

Whenever I read the title, it becomes Why the Last Man? Why is Yorick the only survivor? Why did this happen? It may just be the brain not used to reading single letters in sentences, human nature to turn things into questions, or our need for answers and understanding.

The maddening thing is we never really find out why he is the last man. Sixty issues are spent following Yorick as he tries to understand the new world, and why he was spared. Some explanations are given, but none are definitive. We are left always asking why? The why isn’t important to the story, for focus is on the characters and not the event. No destination means we follow only the journey.

Y is for anYthing.

Y can be anything. It could be yes, affirming Yorick is indeed the last man. In some cultures Y means peace, questioning whether the world is better with almost no men. A little stretch, but the letter looks like a barren tree, symbolizing death and the possibility of rebirth. One letter can have many different meanings.

Maybe it is one of the above mentioned, maybe it is all, or maybe it is none. Without Vaughan confirming there is no way to know. Each reader picks their own meaning.

I will always ask, why the last man?

Endings are a Privilege

There’s no sound but the turning of the page.

Flip. Flip. Flip. Flip.

The speed intensifies only to slow. The distinct sound grows quieter. That stubborn page slightly stuck to the back cover is all that remains. The page hardly makes a sound as it turns. None are to follow as the back cover quickly snaps shut, closing a series.

There is sadness and satisfaction when a series ends. No one wants to say good-bye to a series they enjoy. Every month the nerd runs to the comic book store to pick up the latest issue of their favorite series, or if you are like me every few months when the trade paperback comes out. The same happens across all media. Fans eagerly awaited the next Harry Potter book, and movies were once in a golden age of midnight shows. They always want more, so when it ends it feels like something is lost.

Endings are a rarity in comics. While despised they are equally welcomed. These series tend to have one writer, one voice who guides the entire story. There are no retcons, nor gimmicks to increase sales. A good series is given the privilege of ending. The critically acclaimed Fables saw its final issue this summer. Sales were high and the series was popular, but the writer, Bill Willingham, felt it was time to end. He told his story and I applaud a writer who knows when a story is done.

I have been fortunate to enjoy a number of endings. The most recent was The Unwritten by Mike Carey and Peter Gross. The story is not important, only that it ended and unexpectedly. Carey places numerous twists and turns in this final volume and by the time you reach the end you know It had to be like this. You may not be happy with it, but often the best endings create that feeling.

Definitive conclusions are often demanded in finales and there is anger when there isn’t one. The outrage at The Soprano’s finale is one example. The genuis here is it allowed everyone to finish the story how they wanted. The Unwritten ends in a similar fashion. Story points are wrapped up but that sneaky last page does not allow the story to end. Instead it opens the possibility for more that you know are not coming.

Another of Carey’s series, Lucifer, ends in a similar way. The final panel promises a new journey but there is none. It becomes our job to figure out how the story will continue, through fan-fiction or our own private endings. I love a happy ending and always imagine these open-ended stories heading that way. (Note: Vertigo just announced a new Lucifer series at SDCC. Takes place in the same universe, but is a reboot to tie into Fox’s forthcoming television series. The original run remains concluded.)

The danger of open endings is giving readers the power of the writer. Not all stories lead to a happy ending. That’s why I also appreciate the endings of The Sandman, Watchmen, and Death Note. Plot points are wrapped up but leave room for possible sequels, though not required. Death Note is a favorite of mine since there is no happy ending. There is no option to create one in your mind, preserving the writers’ vision.

When Heroes Fall: Hal Jordan

I have a confession to make. I love a hero’s fall from grace story. The one where the hero may never recover. Books as After the Cape, Irredeemable, and Ultimate Doomsday  all explore the fallen hero. These stories are the most human,  showing a hero is fallible and suffers like anyone else. Their fall is tragic since they are the best in their respective worlds, making it more meaningful and shocking, for most are human in the end.

Hal Jordan was the greatest Green Lantern.  He received a power ring from the Guardians of the Universe. Fueled by willpower, the ring makes anything possible. His duty was to protect his sector of space and be an extension of the Guardians’ will.

Hal’s hometown of Coast City was destroyed while he was off planet. Seven million people died. Blaming himself, Hal attempted to use the limitless power of his ring to bring them back. The Guardians stopped him and tried to take his power. Hal was misguided, but the Guardians could not understand his grief, causing him to snap. One of the Guardians would later comment, ‘Our greatest champion, yet we did not stand by him in his need. Our unwavering adherence to our edicts prevented the slightest compassion.’

Emerald Twilight chronicles Hal’s journey through space to reach the home world of the Guardians, Oa. Once at Oa, he absorbed the power belonging to all Green Lanterns. Thousands of Green Lanterns suffocated in space as a result. Hal became Parallax and had god like powers.

All heroes fear failing to save the most. They will do anything to correct past mistakes. Every act performed by Parallax was to revive Coast City. He was willing to sacrifice his remaining family and friends to bring back those he failed to save. Parallax was stopped in Zero Hour when his best friend, Oliver Queen, shot him in the chest. Readers who have witnessed friends falling apart and hurting others can understand Oliver’s struggle and decision.

Hal’s fall was not absolute, making it more tragic. He committed atrocities but was always trying to be a hero.

“I only wanted to fix things and look what happened. It’s not supposed to be like this. What happened to Coast City, all those people. I should have stopped it. I should have saved them. I’m a hero, that’s what I’m supposed to do. So I tried to change everything – Coast City, the Corps, everything. Put it back. Put it right. Unless I can do that, I can’t be a hero. I’ll be. . . I’ll be one of the bad guys.”

In Final Night he ultimately gave his life to save billions. But this was not Hal Jordan’s end. His soul bonded to the Spectre, the Spirit of Vengeance. To atone for his sins he would host another being with god like powers. By seeking vengeance for the dead, he would work towards redemption.

Until it was retconned.

Green Lantern sales dropped after Hal Jordan snapped. Green Lantern: Rebirth is the first and best Green Lantern story I have read. If Hal Jordan was coming back as a Green Lantern this is how it had to happen. Parallax became a fear parasite that latched itself onto Hal’s soul, influencing his actions. His sudden changes had motivation and showed how some characters were able to forgive him. A deeper mythology was built that still effects Green Lantern stories.

After reading preceding stories, I felt cheated by the retcon. It undercut all Hal’s efforts for redemption by sacrificing his life and becoming the Spectre. His very human struggle with denial, bargaining and madness was blamed on a separate entity, making it less human and relatable. Numerous characters still blamed Hal for Parallax but eventually forgave him. One of the greatest tales of a heroes fall from grace was retconned away.