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.
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.