Guillermo del Toro is the most whimsical director working today. He’s someone who clearly loves movies and the power fiction has in the real world; how the love and beauty created in those worlds can spill into ours. Del Toro crafts modern fairy tales, as dark in tone for today as the classics were for their time, warning their audiences of the world’s darkness, and giving them tools to shine through it. His latest fairy tale, The Shape of Water, is his best yet. In many ways, it is a spiritual sequel to his last great fairy tale, Pan’s Labyrinth, which also concerned living under authoritarianism. But where Pan’s Labyrinth was about growing up in that environment, The Shape of Water is about finding love in spite of it.
Sorry Justice League, THIS is how you do a DC Universe crossover. I’m not going to do my usual recap here because, well, I don’t want to recap what is essentially a three hour movie, and I don’t think you’d want me to – but the long-and short of it is: Oliver and Felicity, Kara and Alex, and the Legends are all invited to the wedding of Barry Allen and Iris West; but the ceremonies are interrupted by Eobard Thawne and the Supergirl and Arrow of Earth-X; the Earth where Nazis won WWII! It’s superheroes vs. Nazis – just as Simon and Kirby intended – and it is GLORIOUS!
Batman: Creature of the Night #1
Bruce Wainwright wants to be Batman, and tragically, he gets what he wants. His wealthy parents are killed right in front of him, leaving him with only his uncle Al, money to buy him a boarding school education, and a case to solve. And a year later, with the police having made no progress, Bruce starts having dreams of a large, shadowy creature attacking criminals in the night. And those same criminals begin showing up, injured and ready to confess at the police station. And one night, the creature gets a lead on the man who killed Bruce’s parents.
Summers of youth are almost designed to be wasted; endless until they aren’t, each long school-free day followed by another, blank canvases waiting to be filled until Fall. And while it may be in Spring that a young man’s fancy turns to thoughts of love, Summer is the season of heat, when those fancies are, like the muscles of statues of antiquity, more obvious to touch than to sight. Unlike Spring’s bloom; Summer love is not communicated through grand gestures, but a poetry of passing glances and soft touches, of feints and bluffs preceding the final climax before Autumn signals the death of warmth.
Supergirl 3.7 – Wake Up
The DEO discovers an alien ship buried under National City, and Supergirl, J’onn and Winn investigate. They find a number of hypersleep pods, one of which has been opened, and shortly after, the person who was in it reveals himself. It’s Mon-El; and a trip back to the DEO for some recovery reveals that he’s no longer sensitive to lead, and because of hypersleep induced fogginess, not much else.
Doomsday Clock #1
We open in Watchmen’s New York, on November 22nd, 1992; which is 25 years to the day before this comic’s release, and also the week that Superman #75 – the Death of Superman – was released. A mob gathers outside the business headquarters of Adrian Veidt, the world’s smartest, and now most wanted man, for his orchestration of the “alien” attack on New York City that resulted in over three million dead and thousands more physically injured.
- The screenplay had to be under five pages long
- The genre had to be Comedy
- The setting had to be a Maze
- The screenplay needed to contain a Taser
And I still had only 48 hours to write it.
All that said, the link to the PDF is below, so feel free to take a look, and please don’t hesitate to be critical.