The Wide Screen - WITH LEITH SKILLING

July 27, 2020

“The Witcher” Is Getting A Prequel! Yes, Already!

Dust off your old suit of armor (I hope you still have yours, and it hasn’t been worn down by your muscles, like Henry Cavill’s), sharpen your ancient broadsword, and toss a coin to your Witcher, because it’s time to return to The Continent. Netflix has just announced today that, while they’ve been waiting for filming to resume on season two of The Witcher series, early work has begun on a prequel spinoff series, titled Blood Origin, which will explore the life and times of the very first Witcher, over a thousand years before Geralt of Rivia. You may think it’s a bit early for spinoffs (and particularly prequels) when the franchise is still so young, but technically this won’t be the first – an animated film was also announced several months ago, which will follow the Witcher Vesemir and be titled Nightmare Of The Wolf (who else is loving these ridiculously over-the-top names?).

Blood Origin will be six episodes long, a short amount of time to pack in so much worldbuilding and deep lore from the Witcher books. Thankfully, writers Lauren Hissrich and Declan de Barra will be joined by the author of the original Witcher books, Andrzej Sapkowski, who will serve as a creative consultant on the series. Together, they will tackle the story of how the Witchers came into being, and how humans and monsters first clashed during the aftermath of the Conjunction of the Spheres.

Let’s go over the basics real quick, because even I didn’t know much about this period of Witcher history before researching for this post. In Sapkowski’s universe, there are several dimensions, or Spheres – each inhabited by different types of people: the Continent, the world in which The Witcher takes place, was originally only home to Elves, Dwarves, and Gnomes. During the event known as the Conjunction of the Spheres, dimensions collided violently, scattering people across the universe and in worlds where they were afterwards trapped when the gateways between dimensions closed. The first humans, and a number of gruesome monsters, were left behind on the Continent – and with them came the magical force known as “chaos”, which Witcher fans will recognize as the power that fuels mages like Yennefer.

Blood Origin is supposed to take place a few hundred years after this event: monsters have overrun the Continent and are busy ripping people to shreds on a daily basis; the Elves are caught up in the middle of all the bloodshed; and the Mages, those few gifted individuals able to channel the power of chaos, are working on a solution to the problem – a solution which will manifest itself in the very first Witchers: a unique breed of superhuman killing machines designed to hunt monsters into extinction and liberate humankind. We don’t actually know the identity of the first person to survive the grueling process one has to undergo in order to become a Witcher, so the show will be working with a blank slate. In fact, we know startlingly little about this entire chapter in the chronology: the names of the two Mages who designed the Witchers, Cosimo Malaspina and Alzur, are some of the only details available from the books and video games.

But in the long run, that might be for the best. With so much uncharted territory to explore, there will be plenty of room to build new storylines and invent new characters – some of this material could then be brought over into the main series (yes, they’re separated by a thousand years, but it’s fantasy: immortality and indestructibility are always valid excuses), tying the two together, perhaps even allowing us to draw parallels between the first Witcher and one of the last. Either that, or it will just be a really interesting and expensive bit of backstory for the world, and I love some backstory. I also really enjoyed The Witcher, so I’m excited that there’s even more content on its way. We don’t have a release date for Blood Origin yet, but it’s probably going to hit Netflix sometime around late 2022 or early 2023.

So what do you think? Are you excited for Blood Origin? Share your own thoughts, theories and opinions in the comments below!

July 24, 2020

“Raya And The Last Dragon” Promotional Art Reveals Title Character!

Despite the fact that it’s probably going to be an amazing movie based off the few details we know so far, Raya And The Last Dragon isn’t on the radar for most general audiences just yet. The upcoming animated feature film from Disney Animation was quietly announced last year and has since dropped off the face of the earth: no new casting, no first look images, no trailers or teasers – and no clear release date in site, since coronavirus is still keeping every film studio on their toes. Raya And The Last Dragon is tentatively set for March 12th, 2021, but that date could certainly change several more times.

While we wait, however, the internet has been blessed with a new piece of promotional art for the film which comes to us via a Panama-based shipping company promoting their services and collaborations with companies such as Disney: tucked away on their Instagram, one is able to discover the brand new artwork, which gives us our first clear look at Raya and a not-quite-as-clear look at the Last Dragon.

The image doesn’t reveal much beyond that, but that hasn’t ever really stopped me from theorizing before. Raya And The Last Dragon takes place in an entirely fictional realm, rather than in any particular historical period, but it draws influences from the culture, folklore and mythology of Southeast Asia – as evidenced in this image by Raya’s clothing, the sinuous, almost serpentine dragon trailing across the sky – and, unfortunately, mostly hidden behind cloud cover – and the ruined stonework overgrown with strangler figs, a sight common in locations such as Cambodia’s Angkor Wat, an ancient temple complex reclaimed by the jungle. With that in mind, I’ve already begun exploring Southeast Asian mythology (much like how I took a deep dive into Scandinavian folklore before the release of Frozen II) and hunting for details that could show up in the film.

One thing in particular interests me about the new poster: surrounding Raya (who, by the way, is perfectly dressed for a heroic quest to find a dragon, though I really would have appreciated a glimpse of her weapon: we can see the hilt, but not much beyond that) is a field of glowing blue flowers, and so far I haven’t come across anything like this in the legends and lore of the region. That being said, it’s hard not to see a resemblance between these flowers and the glowing blue will o’-the wisps that guided Princess Merida to her destiny in Pixar’s Brave, and so I wouldn’t be surprised if these flowers serve a similar purpose in Raya And The Last Dragon.

What do you think of the image? Are you excited for Raya? Share your own thoughts, theories and opinions in the comments below!

July 24, 2020

“The Little Mermaid” May Have Found Its Vanessa!

In times of crisis, it can be comforting to know that not everything has been canceled or delayed indefinitely. The Little Mermaid live-action remake may not be sailing into port any time soon, but it is still coming to a theater near you, and today we’ve learned that a big name may have just joined the cast of the fishy fairytale. The brilliant folks over at The DisInsider broke the news that singer/songwriter Kacey Musgraves has been circling the role of Vanessa in The Little Mermaid, and that, while she’s not locked in just yet, she has spoken with Disney executives via Zoom call to discuss the subject.

Musgraves as Vanessa is an unexpected casting choice that is sure to provoke renewed interest in the film – but then again, so was Halle Bailey as Ariel and Melissa McCarthy as Ursula: and for a moment there, so was Harry Styles as Eric until he passed on the coveted role. Like Halle Bailey, she is better known for her career in music than in movies: she is a nine-time Grammy nominee, and six-time winner, and one of the most well-known female country singers working today. But she’s also a frequent collaborator with Disney – just last year, she performed All Is Found for the closing credits of Frozen II…the song is somewhat forgettable, and I don’t understand why she wasn’t chosen to sing something more powerful like Show Yourself, but don’t get me started on the ways in which that song was robbed. Anyway, she’s established a relationship with the studio, and that’s clearly paid off.

For those who have been living under a seashell for the past thirty years, Vanessa is the human disguise of shapeshifting sorceress Ursula in The Little Mermaid, who shows up for a couple of scenes near the end of the movie to try and steal Eric away from Ariel and prevent the mermaid from scoring a true love’s kiss. Vanessa uses Ariel’s stolen singing voice to easily win over the prince (I’ve always disliked Eric, despite the fact that this technically isn’t his fault), and the two hastily arrange a marriage on the prince’s ship – a marriage which is interrupted by Ariel and her animal sidekicks when they overhear Vanessa singing about her evil plan (when will Disney villains ever learn?). Physically, the character of Vanessa matches Kacey Musgraves pretty perfectly. But there is one problem which I hope is resolved.

Vanessa barely ever sings. And while Kacey Musgraves is still a win either way, I can’t help but wonder why Disney would be focused on her for the part if they don’t plan to expand the role of Vanessa and give her more songs beyond the two she has in the original animated film (and when I say she has two, I really only mean she wails beautifully on the beach when seducing Eric and then has two or three lines where she’s maybe singing, maybe just talking melodically about her evil plan). But Howard Menken, who is doing the music for The Little Mermaid, has only written four new songs that we know about – and according to The DisInsider, these consist of a solo number for Eric (he doesn’t need one, but whatever), a duet for Eric and Ariel (have I mentioned I don’t like Eric?), a song for Scuttle the seagull (who will be voiced by Awkwafina, so I’m letting this otherwise ridiculous decision slide), and a solo number for…King Triton, of all people. It’s possible Menken will write additional songs as production gets underway, but for now this is what we know. No new solo numbers for Ariel or Ursula, nothing new for Sebastian, and nothing new for the character of Vanessa. So as of right now, unless Disney simply plans to fill out Vanessa’s Song (the evil plan song: it doesn’t even have a real title, it’s that short) with more lyrics, then I don’t see the reasoning behind Kacey Musgraves’ casting, though I am still excited for her.

What do you think of this new casting for The Little Mermaid? Do you hope to see Vanessa’s role expanded and/or new songs written for her? Share your own thoughts, theories and opinions in the comments below!

July 23, 2020

“Agents Of S.H.I.E.L.D.” Season 7, Episode 9 Review!

**MAJOR SPOILERS FOR AGENTS OF S.H.I.E.L.D. AHEAD!**

Last night’s episode of Agents Of S.H.I.E.L.D. was an especially emotional one, as it marked the directorial debut of S.H.I.E.L.D. star Elizabeth Henstridge, who has played Dr. Jemma Simmons since the series’ very first season. But while it was the beginning of one joyous chapter for her career and a pivotal turning point in her character’s arc, it was also the end of another chapter of the show’s history, as we bade farewell to one of Agents Of S.H.I.E.L.D.‘s longtime fan favorites.

But on a happier note, let’s first discuss all the murders that took place!

The episode begins (well, technically, it begins several times, but this is the first time chronologically) with our team of agents having just escaped from the 1980’s, only to land themselves in a time storm that threatens to drag the Zephyr One into a swirling vortex of oblivion. The story luckily revolves around Daisy Johnson (Chloe Bennet), who has been unfortunately sidelined throughout this season, as she has to try and survive through a series of time loops long enough to save the ship – and all her friends – from being wiped out of existence. But once Daisy begins to realize, after about a dozen or so time loops, that the key to getting out is somewhere in the mysterious memory implant embedded in Simmons’ neck, people start dying. These deaths are quickly reset with every successive time loop, but that doesn’t make it any less horrific to watch as first Simmons, then Daisy, then most of the other Agents Of S.H.I.E.L.D., are brutally killed off. The killer is soon revealed to be Enoch (Joel Stoffer), who was programmed by Simmons to prevent anyone from removing the memory implant – which contains, among other things, the exact whereabouts of Leopold Fitz, Simmons’ husband and the mastermind behind the entire time-travel apparatus. The problem is that Simmons has no idea she did this because, well, that information is also stored inside the almost inaccessible implant, and she also has no idea how to countermand the programming. Thus, most of the middle section of the episode revolves around the S.H.I.E.L.D. team trying, unsuccessfully, to distract Enoch while Simmons and Daisy attempt to remove the implant. In one of the time loops, where Deke Shaw (Jeff Ward) ends up being killed by the robot, we get this brilliant exchange from the survivors: “Do we have to be sad about that?”…“We do not.”

Meanwhile, even with all the death and destruction going on, Daisy finds time for a romantic interlude. Her and the team’s newest recruit, Daniel Sousa (Enver Gjokaj), locked lips somewhat spontaneously after Sousa admitted that some of his favorite people – Peggy Carter shoutout! – are people like Daisy. I have so many problems with the fact that Daisy is suddenly in another romantic relationship this season. We’ve been blissfully spared any such entanglements for the past few seasons, much to the benefit of Daisy’s character and the quality of the show overall. It’s not that I have a problem with romances but…well, I just have a problem with her romances. Why is it that every one she’s ever had, from her weird hacker boyfriend in season one to the cynical, scruffy Lincoln in seasons two to three, to whatever this thing is with Sousa, always feels like a rejected subplot from one of the lower quality CW shows? I had almost begun to hope that the showrunners themselves had figured this out as well, and had decided to steer clear of any more angsty romantic storylines for Daisy. Clearly, I was wrong, and now I’m prepared to be predictably disappointed when this relationship spirals down the drain in a couple of episodes. The internet is still working on a “ship name” for the couple: I’m sorry, but if I’m going to be stuck with this for the rest of the season, I’m at least demanding something catchier than “Daisysousa”.

Now that we’ve discussed the metaphorical death of my hopes for a single Daisy Johnson (or better yet, a bisexual Daisy Johnson who finds a loving and supportive girlfriend: even Chloe Bennet herself was open to the idea!), let’s talk about the real, physical death of Enoch.

It’s not entirely surprising that, as we near the end of the season and the series, we’re going to start seeing characters die – especially in a series like Agents Of S.H.I.E.L.D., which has always found clever and exciting ways to incorporate themes of death and deathlessness into its writing. No matter how many people will criticize the series for constantly resurrecting its dead heroes, I will maintain that S.H.I.E.L.D. has always done so with the utmost care and attention to detail. Characters don’t just pop back up for no reason – the show always takes time to explain the feelings of horror, loneliness, guilt and anger that come with being resurrected: just ask Phil Coulson (Clark Gregg), who’s now been brought back from his peaceful afterlife far more times than he would have liked, or Melinda May (Ming-Na Wen), who had a near-death experience last season and came back as an emotionless shell of a human being who is still recovering from her trauma. But when the series really kills a character, they don’t fool around: and Enoch, I think, is absolutely and permanently dead.

Enoch, the eternally befuddled and unintentionally hilarious Chronicom who has been a constant companion of the Agents Of S.H.I.E.L.D. for the past two seasons, was written off the show last night with a heartwrenching (literally) death scene that involved a heroic self-sacrifice and more tears than one would think possible for a mostly stoic cyborg alien. Once the memory implant was finally removed from Simmons’ body, it revealed that the mechanism which powers Enoch’s entire system could save the Zephyr One – but removing it from Enoch would kill him. Fortunately for the fate of the universe and unfortunately for Enoch and our supply of Kleenex, the robot had no objections to handing over his heart. As he died, Daisy and Phil Coulson were both by his side: and Coulson, who has too much experience with this sort of thing, reminded him that death is lonelier for the people one leaves behind than for the person leaving. Don’t mind my sobs of pain and anguish.

Despite the emotions over losing Enoch, the tone of the episode’s last couple of minutes was dark and ominous rather than bittersweet. Just before his death, the cyborg dropped a major bombshell: this mission will be the S.H.I.E.L.D. team’s last. That means no matter what happens, we now know something will happen in the next few episodes that will divide the team permanently. A death? A betrayal? A crisis? In this episode, we also saw Jemma Simmons briefly remember Fitz’s location (at least, I assume that’s why she started screaming and crying uncontrollably?) once her memory implant was removed before a time loop reset everything again: will she possibly retain that information? And even if she doesn’t, how long will it be before someone gets their hands on her and that crucial info? Keep in mind that the reason Simmons is so adamant on keeping that secret is because Fitz is apparently somewhere so vulnerable, the Chronicoms will be able to kill him immediately if they find out where he is. Additionally, the episode stinger revealed that rogue Inhuman Kora (Dianne Doan) is busily increasing her own powers, getting ready for her showdown with Daisy Johnson.

The stakes have never been higher.

Episode Rating: 9/10