Fair warning, this is less of a review of Blade Runner 2049, and more of a discussion of where I believe the movie fits in relation to science fiction. So, upfront, Blade Runner 2049 is transcendent. As I hope to impress in this piece, more than just a sequel deserving of the Blade Runner name, 2049 is the culmination of almost every major theme in popular science fiction today.
Batman: White Knight #1
We open on a familiar scene. The Batmobile races towards Arkham Asylum, the driver hops out and goes inside to meet an inmate. Only the inmate is Batman, and the person in the Batmobile is Jack Napier, the Joker.
I kind of resent deciding to start my review of this series here, as I’ve greatly enjoyed what Tell-Tale has done with the Batman mythos so far, but this is easily the weakest episode yet. Despite introducing some novel twists on familiar characters, The Pact feels limited in what it borrows from the Batman mythos, resulting in a plot that feels overstuffed, skipping possibly interesting scenarios by railroading the player through a series of lose-lose choices to ratchet up the drama.
From its first episode, Rick and Morty has consistently been one of, if not the single smartest show on television, with every episode recontextualizing its audience’s’ relationship with the tropes and other narrative devices the show often deconstructs. The two most prominent of are the show’s relationship with its own canon, and Rick himself. Season three, and it’s finale in particular, continue to evolve Rick and Morty’s relationship to its audience, and refine its position on fiction as a reflection of reality.
Rick and Morty is almost stubbornly episodic, regularly creating in-universe reasons to deploy negative continuity and ignore the impact of the immense multiverse it continues to build should have on its two main characters. Rick and Morty’s indifference to it’s own universe is firmly established in the season one episodes “Rick Potion #9,” where Rick and Morty leave their universe for a new one after rendering it uninhabitable; and “Rixty Minutes,” where Morty explains the events of the previous episode to his sister, Summer, concluding that “Nobody exists on purpose, nobody belongs anywhere, everybody’s gonna die. Come watch TV.”
Batman: the Red Death
The first of the Dark Knights rises! In Earth -52, Batman hunts the Flash for his speed force. With the Bat-Family dead, Bruce wants to steal Barry’s powers so that he can protect the entire world, much less Gotham. After a long and, for Barry, torturous chase, Bruce succeeds in merging himself with the Speed Force, becoming Batman the Red Death. Shortly thereafter, he is approached by the Batman Who Laughs, who tells him that his world is destined to die, but he knows of one destined to live – they just have to take it.
The Golden Circle is director Matthew Vaughn’s first sequel; and it seems that, not quite as confident the second time around, he and co-writer Jane Goldman accidentally made two movies and smushed them together.
I try not to do this, but, don’t see mother! Seriously. Don’t reward this type of indulgent, cruel filmmaking with your money. IT‘s still in theaters. See IT. See IT again, even.