Post Apoc­a­lypse

SFX: The Sci-Fi and Fantasy Magazine - - Front page -

The con­tents of your heads com­mit­ted to pa­per.

I was raised on Buffy, Xena, Alias, Dark An­gel, The X- Files; had Won­der Woman comics as much as I did Bat­man. I don’t know what’s hap­pened, but sadly fe­male lead roles are sup­pressed into the male/ male/ fe­male billing struc­ture. What hap­pened to those rev­o­lu­tion­ary shows shak­ing up the sys­tem? I re­ally wish Cat­woman had been done right. It would have been re­fresh­ing to see so many more fe­male-hero-lead films – Storm, maybe, in­stead of non- stop Wolver­ine. One day we’ll get there…

Josh Pin­der, Face­book They say fe­male su­per­hero movies won’t make money. Mar­vel and DC have both said the same thing. Maybe if they made one we would go watch! Cat­woman failed be­cause it was badly made, same as Elek­tra. If there was as much ef­fort put into th­ese films as there was Nolan’s Bat­man movies, we wouldn’t be hav­ing this con­ver­sa­tion.

Rhi­an­non Lloyd, Face­book Diana Prince should’ve had her own film first! The ex­ecs at Warner Brothers are a bunch of over­paid hacks who – with the ex­cep­tion of the Nolan Bat­man tril­ogy – con­sis­tently fail to do comic book he­roes ( es­pe­cially women) jus­tice. This is why I pre­fer the DC an­i­mated films. Hope­fully both they and Mar­vel will wake up soon.

Jeremy Ni­chols, Face­book If Mar­vel want to test the wa­ters be­fore com­mit­ting them­selves to a mega- bud­geted movie about one of their main fe­male char­ac­ters, they could find a good scriptwriter and a di­rec­tor with a proven track record of de­cent low- bud­get

“It’s as if the se­ries imag­ines that it can get away with any­thing”

fan­tasy movies and give them $ 1012 mil­lion to make a Lady Sif movie for the DVD/ stream­ing mar­ket.

Glen Har­ri­son, email Will Agent Carter help fuel a fe­male- led su­per­hero fran­chise? Or do the fail­ures of Elek­tra, Cat­woman, Aeon Flux etc put the stu­dio ex­ecs off mak­ing one? Do they feel that comics and geek­i­ness are ex­clu­sively a male do­main?

There are so many char­ac­ters out there that they don’t have to use in­stantly recog­nis­able ones – Blade is cred­ited with be­ing the suc­cess that launched the re­cent trend for comic book movies, yet at the time few knew of the comics he came from. Maybe a sim­i­lar tack could work here.

Rom­sey Keith I sus­pect this could be a ship that’s go­ing to take a long time to turn around. But all it takes is one big hit to change that... if the 2017 Won­der Woman movie does boffo box of­fice, we can surely de­pend on ev­ery­one jumping on the band­wagon.

WHAT A WHO- HA

The timey wimey dial has gone down from 11 to about six, the av­er­age story qual­ity has gone up from about seven to nine, and Clara is rapidly be­com­ing the Sarah Jane of the mod­ern age, thanks to a re­al­ity jolt that’s knocked some of the doe- eyed pup­py­ness out of her. Peter Ca­paldi is tak­ing new Who back to the shad­ows of the ’ 70s, and as a re­sult this might just be the best sea­son ever.

Craig Water­worth, Wellington This Doc­tor puts me in mind of “Scream Of The Shalka”, a barely re­mem­bered we­b­cast fea­tur­ing a moody and ec­cen­tric lead played by Richard E Grant. We knew he was moody and ec­cen­tric be­cause he kept go­ing round telling ev­ery­one he was. We ended up with a character who seemed both su­per­fi­cial and smugly self­sat­is­fied with his own bril­liance.

No one seems to be try­ing any more. It’s as if the se­ries imag­ines that it’s now too big to fail, has a locked- in au­di­ence, and can get away with any­thing.

While other pro­duc­tion teams would have taken that as a cue to be bold and ex­per­i­men­tal, the cur­rent lot are busk­ing. “Robin Hood... with robots” should have been a fool­proof idea, and any five- year- old could have come up with a more en­ter­tain­ing take on it. “Lis­ten”’ s re­hash­ing of over- fa­mil­iar Mof­fat tropes and mawk­ish sen­ti­ment seemed de­signed purely to press fan but­tons rather than make a co­her­ent or de­vel­oped drama from its sec­ond- hand ideas.

For the first time ever I’m con­sid­er­ing turn­ing off. And the only thing stop­ping me is that I don’t want any­one to think that it’s Peter Ca­paldi who’s driven me away, be­cause he’s a great ac­tor do­ing his best with the ma­te­rial he’s been given.

Emily Red­stone, Bas­ingstoke I’ve been a fan of Steven Mof­fat from the be­gin­ning. I’ve de­fended

“Warm up the pie and leave all logic at the lodge”

his writ­ing and the show over the past few years but alas I feel I can de­fend it no more.

“Ro­bot Of Sher­wood” was so bad that it’s left a bit­ter taste that’s re­mained through­out se­ries eight. I don’t even bother watch­ing the episodes live any more but only catch up a few days later.

This year it feels as if a new team of writ­ers have been brought in who don’t un­der­stand the char­ac­ters at all. I could have put up with the Doc­tor’s ju­ve­nile be­hav­iour for one scene, but when it car­ries on through­out the episode, it not only makes the episode un­watch­able but for­ever sul­lies the character of the Doc­tor. The Doc­tor can be flawed, yes, but give us a character putting the lives of oth­ers at risk be­cause he’s act­ing like a bratty child and I’m go­ing to find it dif­fi­cult to care.

I know there will be some that will blame the cast­ing of Peter Ca­paldi, but he’s not the is­sue, it’s the writ­ing.

Pete Wool­man, Le­ices­ter Judg­ing by the re­ac­tions we’ve re­ceived, se­ries eight is by far the most di­vi­sive since the show re­turned in 2005. Per­son­ally, I think it’s a step up from Matt Smith’s fi­nal half- sea­son, but I’m still turned off by the more git­tish side of Ca­paldi’s char­ac­ter­i­sa­tion. That’s not my kind of Doc­tor.

Nuke night­mare

I was thrilled to see the four- page fea­ture you gave to that sadly over­looked master­piece of the ’ 80s, Threads, in is­sue 251 ( gosh, you’re a slow reader! – Ian) which has only just reached the An­tipodes ( ah­hhh, okay – Ian). I brought back a VHS copy in 1989 and forced ev­ery­one I knew to watch it – in­clud­ing my two teenage sons – as it’s never been shown here.

Thanks for bring­ing back poignant mem­o­ries of a show which made many of us an­ti­nu­clear fa­nat­ics back in the days; it’s ar­ti­cles like that and an ear­lier one on Ul­tra­vi­o­let that are the main rea­sons I’ve been buy­ing SFX ( how­ever late) since the days of Spike and An­gel.

Lyla Wil­liam, Bris­bane I love the idea of the im­age of you trau­ma­tis­ing any­one who vis­its by forc­ing them to watch Threads, Lyla. I hope you didn’t end up mop­ping up after too many ter­ror- wees.

LEAVE WELL ALONE

I was in­trigued by the ini­tial premise of The Leftovers. But what I watched was not good.

It starts with 2% of the hu­man pop­u­la­tion sud­denly van­ish­ing. Well, that’s startling but not even close to the end of the world. Who­ever wrote this clearly in­tended it to be seen as ma­ture. Early on we hear the “C” word ut­tered a lot, and we get a pro­longed scene of teenage sex games at a party – ev­ery bit as ris­i­ble as it sounds.

Then there are the white- clad mute cultists. They make me won­der if this show was spon­sored by a to­bacco company, as most of them chain- smoke. De­spite their seem­ingly slow move­ments, they man­age to go from star­ing at peo­ple in a restau­rant to star­ing at them when they get home with re­mark­able speed.

In short, this is just about the worst ma­jor TV show I’ve ever seen. It seems to work on the premise that ev­ery­one is a com­plete idiot, and left me won­der­ing who would choose to sit through this drivel.

Paul Baker, Bishop’s Stort­ford This prob­a­bly wasn’t your in­ten­tion Paul, but now I re­ally want to catch up with The Leftovers. Sounds like I’ve missed all kinds of hi­lar­ity.

THE VE­GAS SHOT­GUN MAS­SACRE

Re: your Bryan Cranston in­ter­view ( SFX 254, page 97) – he’s quite right, mon­ster movie Night Of The Le­pus is “hys­ter­i­cal”. There’s lit­tle more ridicu­lous than B- movie ac­tors mug­ging as an over­sized furry paw bursts through the wall to swipe at them, a huge pink nose ( back- pro­jected) twitch­ing beyond. Try as they might, the ef­fect just isn’t men­ac­ing.

What isn’t so funny is when at the story’s cli­max US Army tanks tackle the massed bunny hordes as they romp across the desert to­ward the lights of Las Ve­gas: it looks very much as if the pro­duc­tion crew just had at some real live rab­bits with a shot­gun. “No an­i­mals were harmed…,” I don’t think. A tad trau­matic if wit­nessed, as I did at a ten­der age, as a mid- af­ter­noon TV mati­nee…

Knocks the stuff­ing out of Water­ship Down, I tell you!

Ilya, London Ac­tu­ally, scratch my pre­vi­ous com­ment – I’m go­ing to be too busy with Night Of The Le­pus...

The Tur­tles’ lat­est mu­ta­tion brought with it an un­ex­pected new look.

Jenna Cole­man’s sys­tem­atic takeover of the new se­ries is com­plete.

The Doc­tor needs to steer clear of cakes marked “Eat Me”.

The cultists’ grad­u­a­tion was a con­fus­ing af­fair.

The nu­clear wind im­me­di­ately filled her with re­morse.

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