Star Wars: The Force Awakens-A Fan’s Reaction


Nostalgic I am, yes.

Nostalgic I am, yes.

I love Star Wars.

My first experience was viewing the reissued special editions (you know, the Han didn’t shoot first kerfuffle) in theaters with my dad.  I became obsessed.  I cried for weeks when Han Solo was frozen in carbonite.  This was before the explosion of the internet and none of my friends cared so I was spoiler free until Jedi came into town a month later.  I started collecting figures and taking them out of the box to arrange scenes on my shelf.  It was one of the main things that brought my husband and I together.  I borrowed his character encyclopedia and left a note by Princes Leia’s profile.  I won us a limo ride to the premier of Episode 1 after entering an essay contest with our local paper.   (Talk about a perfect date.)

So when I say I was disappointed with Episode VII, you’ll know I’m not a hater and not just some casual critic.

I’m a writer.  Part of what has always drawn me to Star Wars is the story.  Steeped in mythic themes and the quintessential modern prototype of the hero’s journey, Lucas’s original space fantasy captivated my literary sensibilities.  It was also a perfect blend of humor, action, and romance.  I remember reading articles before the release of The Force Awakens talking about how director J.J. Abrams tossed around story ideas on long walks and thought “cool, that’s what I’d like to see.”  It made me nervous, but I figured I’d give him the benefit of the doubt.  Unfortunately, that haphazard approach to storytelling shows in The Force Awakens.  The film is visually engaging, but it doesn’t hold up when you think about it from a storytelling perspective.

I agree with the general complaint of too much borrowed from A New Hope.  The movie became one long nostalgia trip with hyped up special effects.  But what bothered me the most was the lack of subtle and nuanced storytelling.  I didn’t feel invested in the characters and their conflicts because I wasn’t given a reason to care.  Who was the new hero Poe Dameron talking to by the fire when he put the plans into BB-8?  Who left this kid on a desert planet to collect scrap?  I had no idea what the Resistance was about and why the First Order was even around.  The last I saw a regime had toppled and the heart of the empire was destroyed.  If it all went to pot, fine.  I buy that.  But at least throw me a dialog bone as to why the galaxy is still in chaos.  Scrolling credits aren’t enough to justify an entire plot without any other questions answered.

The movie seemed to pitch forward at light speed, giving no ground to back story or character development.  The new Death Star, um, I mean Starkiller Base destroyed the Republic.  I’m sorry, what?  That’s about as much time as the film devoted to it.  But what does that even mean?  Was it a planet?  A system of planets?  Coruscant?   We reeled to the climactic death scene of ____ so fast that I couldn’t even react.  Normally I would have choked on popcorn wetted with tears.  Or maybe it was because I had seen the same thing happen before and the foreshadowing was so tangible, I could have hit it with a stick.

If Abrams wanted to go dark, maybe he could have waited until a bit later in the storytelling so that I was invested in the plot.  He took away Star Wars’ adventurous spark when he massacred a village thirty seconds into the movie and started to lose me from that point on.  If we’re going to borrow so much from Episode IV, then why not the homey scene of blue milk and Beru’s cooking?  Instead I got a slave girl overworked, underfed, and alone.  Yes, the Stormtroopers never hitting a mark got a bit old, but now they create carnage like a first person shooter video game.  Let’s face it, the film was a downer from beginning to end.  The lighthearted moments are gone.  It’s just one fire fight after another from a group of people with bleak lives.

One saving grace for the film was the addition of the new trio.  Poe, Finn, and Rey make for powerful and interesting characters if we just go by their words and actions.  Back story aside, Rey presents an intriguing raw force wielder.  Poe is just a cocksure as Han Solo but has no mercenary tendencies–he’s firmly committed to the Resistance.  Finn is all heart with a loveable lack of confidence but a strong conscience.  It’s clear this is where the film started and what anchors an otherwise piecemeal ship.  And the new baddies: very engaging and complex.  Maybe this is where the trouble started-grafting these new lives into an established galaxy where the previous head honchos still need their screen time.  Don’t throw tomatoes, but maybe it would have been better if the Princess and her scruffy nerf-herder hadn’t even shown up until later films.  On the other hand, we were given that outcome with another character and some clamor that was the awful part.  I didn’t mind that so much.

In some ways, J.J. Abrams could never win, and in most ways, he already has.  Ticket sales annihilated  records.  Merchandising is a machine that could rival a terminator.  I’m sure most people love the violence and dark storytelling-it’s what our modern culture demands, right?  Me, I’ll just have to look back to a long time ago in a galaxy far, far away to find my escapist adventure and symbolic new hope.


The Restless and Ranting Writer Part II

I just needed a little push out the door...

I just needed a little push out the door…

Writing really is an ironic task. We want to tell stories and connect to people’s lives but the process of doing so usually means working alone. Without speaking we create words and conversations, describe scenes and journeys, and if we’re lucky, explain a little piece of the human condition. Blogging is one of the great oxymorons: we connect to the world socially without ever leaving our writing place. No wonder writers can become such maladroit companions.

Writing may be a solitary task, but writers need community. I tweeted that out last week after I realized that what was making me so frustrated was the solitude I had confined myself to. Even Bilbo had to step out of his shady hobbit hole to move his life into a new adventure.  Sure, I’ve shared in brief writing communities-too expensive conventions filled with promises from some in the publishing world, homegrown critique groups that gave way to life. I’d had little success because I didn’t venture much.   I’d like to make it to that dragon horde of success but first I needed a little push out of the door of my own dusty hovel.

After digitally lamenting my fate, a writer friend reminded me by her own efforts that actively seeking community makes a difference. Despite the fog of media, there are still ways to make connections and at times meet face to face. My search-engine fires stoked, I found a local writer’s group to meet up with and ventured out. I felt like I’d just taken a gulp of air after swimming laps underwater in the pool. I wondered where I’d been all my life. Will it cost money? A little. Take time? You bet. Is it one of the best things I’ve done for myself since I can’t remember when? Yes times one thousand.

Those folks in the middle ages had the right idea. If you worked a craft, you belonged to a guild.   You met with others to hone your craft, share ideas, swap success stories, cry about failures, and spur each other to keep on keeping on (they probably said “thou must keepeth oneth” though). It’s why we geeks trek to conventions-to meet with others of like minds (and costumes). If I’m willing to do that, what was holding me back from the one craft I’ve always clung to for identity? I’m not sure. But I am glad that I decided to stop along the way of my journey to get published and find some travelers to keep me company. I’m sure it’ll make the road seem shorter now.


P.S. If you want to follow me on Twitter, find me @CHthewriter.

P.S.S. Shout out to my hubby who was a great editor for this post!

The Restless (and Ranting) Writer

Ever feel like you’re just not in “the club?” I’m feeling downright ranty about the closed door of the publishing world today. Even as a member of a professional writing association, I’m the unchosen at kickball. Critique groups in your area: Click to page. Scroll. Open to new members? No. Or maybe if you send us a sample of your writing and we decide you might fit our writing style. What? Now I have to query to join a critique group? $#%##!&%$#.

Okay, I feel better now. Sorry you had to see that.

Writing is hard. Darn it, it’s a slow, lonely, frustrating, beautiful and very individual process. It’s even harder if you *gasp* write fantasy.

I’m trying to be in the trenches but I’m often overwhelmed by this social media world that demands that I connect on every share your stuff site, do cool things and take pics of my amazingly pinable creativity, snark my way into the hearts of millions, and lead a life besides all this. Can I just go into my little hole, create, then come up with a precious gem that I’ve hacked out of the earth after years of refining?  I don’t know.  I’m told writers need a brand.  But I wonder if my particular cereal will ever sell.  When I say I’ve had some great rejection letters from agents, my non-writing friends look at me like I’m crazy.  But even good rejection wears on the soul.

Conflicting information abounds in the “How to Get Published” circus. Don’t compare your book to other books in your pitch; give an editor or agent a comp (comparison) so that they can get a quick idea of how your book is like what’s already selling. Include a synopsis; a synopsis is evil! I’m not making this up people! but I’m trying to stop my head from a get-out-the-holy-water-spin-fest.

I have writer friends in the area and right now I feel like I need to do what my daughter does with stuffed animals: pull all of them close to my face and smother my sweet little cheeks into their softness. I need a giant support/critique group hug. I should be noveling right now but that pesky writer’s itch has struck again. And despite my Gollum-like love-hate for social media, I get sucked in because it’s easier to watch other people’s stories than to write your own. It’s easier to say “it’ll never happen” than to hunker down and do it.

That said, there’s a tenacity that I and perhaps most writers have and after these periods, be they long or short, we slap ourselves in the proverbial face, dust off our fingers and type, scribe, tap or speak our way out of a “woe is me” slump. Even if it’s a paragraph and it isn’t that good. Because somebody, someday might read my words. And that makes it all worth it.


Here’s a brief bit of something I’ve been working on. Comments are welcome.


“The Faceless,” Wynn whispered to Finn. “They’re after me.”

Finn’s eyes grew wide and she redoubled her speed, pulling hard on the ropes with other sailors to unfurl the main sail. The ship began to glide away from the wooden slats and posts, its ropes dangling in the seawater.   “Jonah!” Finn cried, pointing to the end of the dock.

The Faceless were crowding onto the dock, their ceaseless walking undeterred by cries from other sailors. Most backed away but didn’t run. The Faceless weren’t interested in them. They advanced down the long boardwalk, hands at their sides, blank faces turned toward their prey.

Wynn felt cold pinpricks all over her body.   The pirates kept hurrying around the deck, lashing ropes and encouraging sails to collect wind. Balton, at the helm, kept his gaze on the horizon, guiding them out of port at a snail’s pace.

“We’ll never make it,” muttered Wynn. She backed up to the hold, hitting the knobs of the doors to the captain’s quarters with her back. She watched, helplessly as Jonah untied the last of the mooring ropes. The Faceless were within feet.

The Captain unsheathed his sword and swung at the Faceless as the nearest grasped at his throat. His blade cut right through its hand, dropping it with a thud to the dock. The creature made no sound and no blood ran from the wound. Wynn found this more terrifying than seeing the gore of severed flesh. The rest of the Faceless horde converged on Jonah. He swung madly but deftly, chopping limbs and kicking their bodies back, but they kept moving, like slugs over a log, toward the ship’s ropes.

“Haul in the lines!” Finn cried.

Jonah struggled, visibly tired as he fended off the Faceless bodies. He fell back against the dock, pressed down by two of the creatures. Others wrenched his sword from his hand and flung it clattering back down the dock. Jonah kicked and thrashed, but they held him fast. The Faceless not holding Jonah began to jump into the water and swim out to the Sleep in a steady track.

Suddenly, one of the Faceless holding Jonah slumped over, a dagger protruding from the back of its neck. Jonah struggled against the other, flipping both of them off the dock and into the sea. For endless moments, nothing surfaced until the Captain broke, gasping, to the surface.

Everything I Needed to Know I Learned from Pixar

creativity animated

creativity animated

My father is my personal Pinterest of old fashioned newsprint and glossy pages. He’s always finding the best tidbits of life wisdom, geeky news, educational insights and a plethora of other blips to keep me reading in those moments I catch between work, caring for my little princess and the business of doing life. Sometimes he strikes gold and I find a piece of writing so inspiring it stays tucked beside my bed or in my pile o’ stuff (okay I really have lots of those, but the one for bits of reading I want to save), like the one I found today: “Creativity Inc.,”a feature in Fast Company about Pixar’s behind the scenes leader Ed Catmull and his business philosophy.

Pixar is an inspirational organization. When the movie industry became a proud peddler of mediocre, if not appalling scripts, along came this humble animation company that reinvented the precedent for storytelling on the big screen. One example: the first 39 dialog-free minutes of Wall-E tell more story and give deeper character development than the entire franchise of Transformers. Still not convinced? Toy Story 3 grossed $1.06 billion. Adults cried. I saw it three times in theaters.

The article reminded me that Pixar originated as a part of the Lucasfilm animation department, so it’s no surprise that groundbreaking is in their nature. What I didn’t know was that Pixar counts failure as a part of their creative process and relies on a system that embraces candid reworking of an idea until it’s as right as it can be. They don’t tie anyone to a project unless they were a part of its inception and they don’t let one person’s creative process overwhelm the entire venture. What a concept.

If I remembered this when I get single-minded in my pursuit of a writing career, my forest-for-the-trees storytelling would be strengthened. “You are not your idea, and if you identify too closely with your ideas, you will take offense when challenged,” Catmull says.

If we applied this to education, the pundits demanding higher-level thinking would be sated. “There is this notion that fewer screw-ups is always better, so the tendency is to say that zero is the optimal number of defects. But in most industries, that is completely false. The notion of zero errors in our industry is completely false. Zero errors in educating a child is not meaningful,” Catmull tells in his interview.

If more companies allowed failure and think-tank sessions, perhaps the human capital would be worth more dollars in the long-run instead of tight-fisted budgets that eke out a profit. Imagine if creativity ruled more of the adult world. I love the way Pixar embraces creativity –with unique passion. They succeeded at being creatively different to the point where the Disney giant stooped to beg their forgiveness when they realized that animation without story doesn’t work (Walt would surely have shouted that from the rooftops). But story doesn’t come from a machine or some perpetually rehashed franchise, it comes from people; and good stories come from people who are given the freedom to think and rethink.

I believe creativity is innate in everybody. Somewhere along the way we form inhibitions that wall in or choke our creative processes. Sometimes this comes from management, sometimes it comes from ourselves. In either case, creativity is too often stifled before it can bloom and so the same old, comfortable routine becomes the norm.

Ultimately, those who long to be creative will. However, this is a monumental task. Life gets in the way. It’s easier to sit on the couch and suck in entertainment than to sit at a computer and tell stories through the keys. Adults have too much to worry about right? Clean the house or write a blog? I get to feeling like I’ve let my adult-self down if two hours have passed and I’ve done nothing but rewrite a few paragraphs or look up craft ideas online. “We can’t spend time doodling about projects,” our programmed conscious tells us. Strangely enough, Pixar’s next movie addresses just that-the inevitability of growing up but still retaining a child-like spark in our minds. Inside Out tells the story of Riley’s emotions and how they help her cope with a move to San Francisco from their position at “headquarters.” Ticket fees are a small price to pay for inspiration.

An Ode to the Video Store or Why the Death of Blockbuster Has Left Me Nostalgic

Video Tape DeathWhen I think about my childhood, I can’t help but remember frequent trips to the video rental store.  Browsing through wire racks of thick plastic display cases, I would make my way to my favorite tape and grab it like the warm hand of an old friend.  The newest releases only took up a small portion of the shelves, and the classics stood sentinel in their rows, familiar in their positions from week to week.  Movies traveled at a glacial pace from the theater to the store.  Disney still made hand drawn films and Don Bluth animation was better than anything DreamWorks ever dreamt up.

I’m saddened when I think that my daughter will never know that movie rentals come from anywhere other than an outdoor kiosk or a computer system.  Can you even get movies through the mail anymore?  She will never have the pleasure of browsing the local rental shop with friends before a sleepover or spending a happy summer hour contemplating the kids section for the oldie but goody she’s rented five times or the one she’s only rented four.  Redbox doesn’t stock classics.  If it’s not new, it’s gone.  Netflix won’t offer the same homey setup every time you view it or the chatter of the in-house TV showing The Land Before Time again.

Yes, with the end of Blockbuster comes the end of an era.  Video rental stores have gone the way of full-service gas stations and the five and dime.  They will be a sad piece of nostalgia we carry from our collective past, we children of the eighties and nineties and our parents.  I think of making those trips in search of entertainment with my daughter.  What will be our bi-weekly outings?  Certainly driving to Walgreens to find the Redbox won’t hold the same romance.  Trips to the Target five dollar DVD section?  Maybe.  Heck, I can’t even take her to Borders and say “old mom used to work here.” Now that is a whole other nostalgic-angst blog post waiting to happen.  I’d better quit while I’m ahead.  Oh, and I just want to give a shout out to Barb’s Video.  Yeah.  Those were the good old days.

P.S. Here’s a repost of a movie review that may ease our sufferings.  If nothing else, you can read the intro and see how attached I am to my video store memories.

Ghostbusters Jack Black

Be Kind Rewind


Ghostbusters Will Never be the Same

A Film Review by Christie Hudon

Remember the golden age of mom and pop video rental stores?  Before the Blockbuster explosion I used to rent my tapes from Barb’s Video.  I loved walking into the familiar racks of the kids section and picking up one of my favorites-always in the same spot near the big white plastic Disney cases.  Sorry for digressing, but after seeing a video store featured on the big screen I’m kind of sentimental.  Be Kind Rewind, the latest from quirky filmmaker Michel Gondry is a nostalgia piece with an independent flair and a delightfully straightforward story.

Afterwards, I chatted with a fellow moviegoer who called the film an “off-beat comedy.”   I thought this was a perfect description. Be Kind Rewind is at times slapstick and other times sophisticated.  One moment you shake your head at the obvious plot device and the next you ponder the ambiguous ending.  It seemed crystal clear to me though that this was Gondry’s treatise on moviemaking.  You don’t need a budget worthy of a congressional bill, you need ingenuity.  We go to the movies to see creativity and heart and we appreciate those films.  I read between the lines and see the idea that the majority of what Hollywood has to offer has failed because they’ve forgotten this.

Be Kind Rewind is the story of Mr. Fletcher’s video store in Passaic, New York.  When Fletcher (played by Danny Glover) leaves town for the week and entrusts his store to his adopted son Mike (Mos Def) a disaster happens.  Mike’s bizarre friend Jerry (Jack Black) becomes magnetized (don’t ask, just watch) and erases all the tapes in Fletcher’s store.  In a desperate attempt to keep the customers happy, Mike decides to re-shoot the movies with the help of Jerry and a very old video camera.  What follows is a store full of strangely delighted customers and abridged homemade classics like The Lion King done with life-size paper cutouts and safari bed sheets.

One of several interesting aspects about Be Kind Rewind is the way the audience becomes involved in the making of the movie.  We see the remakes come to life with bad camera tricks, no sets or effects and minimal professional resources.  When we watch the creative process, the film becomes something more; a work that is compelling because of the efforts of those involved.

Along with all the camera gags, we also get a feel good story; in the middle of a poor neighborhood, people work together to make these films and save the store from being condemned and demolished.  Be Kind is a refreshingly enjoyable movie.  It makes you feel as if you could go out and shoot a film in your own garage and I think that’s just what Gondry intended. Be Kind Rewind Poster

Bored with Broadway-A Full Fledged Rant from a Broadway Geek

broadway signMusical theater has officially jumped the shark.  In true Fonzie, last-ditch style, the Great White Way has offered little original material since Sondheim.  The lists continue to bore: rehashed movie musicals, revivals of revivals, musical reviews with a threadbare plot and the latest deluge—non-musical movies turned musical.

Yes, that’s right folks.  In a few short months we’ll be graced with Rocky the musical.  I can’t wait to hear songs like “Yo Adrian” and a wordy version of the Rocky theme song.  “Duh duh duh, I can win, I can beat the boys in every fight I’m in…”

Broadway producers are all too intent on the latest trend in musical material—film.  In a recent USA Today article, lyricist Andrew Lippa claims that audiences want musicals that “traffic in big emotions.”  His latest stage offering is a songful adaptation of Big Fish.  While Fish seems a better palate for musical numbers than Rocky, I can’t help but pine for something original.  At least musicals based on books have a fresh visual representation.  What chance do audiences have to view something new if they’ve already seen it in all its Blu-Ray glory?

Yes, adaptations from film can be fresh and fun.  I must admit that I enjoy Shrek the Musical more than the film.  The characters took on more depth and the gags were cleverer (except the fart jokes that ruin the end of one song).  Big the Musical had some catchy songs.  And which came first: the screen Thoroughly Modern Millie or the stage version?  I must admit I don’t know but I love the stage musical.  The film is awful.  Perhaps this is what it takes—a flop of a film and a clever revamp a la Broadway.  It just seems that lately, all producers are willing to take a risk on is some rehashed movie script.

I don’t get to see a lot of shows.  Traveling companies are expensive and trips to NYC very few and far between.  What I hope for is a great playlist of music I can sample, enjoy and sing.  Lately, what I find instead is wordy, un-lyrical soup that strains the ears and vocal chords.

Two more trends that cast a pall on the lights of Broadway: screen stars filling the spot of stage actors and a plethora of movie musicals turned stage musicals.

Problem the first:  I know girls who have tried or are trying to make it in NYC.  It’s nearly impossible just to get an audition, let alone cast in the tiniest role.  Now, if you peruse the coming soon list for plays, it reads like a summer blockbuster schedule: Daniel Craig, Orlando Bloom, Rachel Weisz, Ethan Hawke, Zachary Quinto.  (Patrick Stewart and Ian McKellen started on stage so they are on home turf.)  Can stars cross over from one stage to the next? Sure.  The irksome thing here is that most spots are filled by movie stars; leaving poor old Johnny-no-name with as much of a chance to be a stage actor as DC has to beat Marvel at the box office.

Notice, not many have the talent to try the triple threat of taking on a musical.   The roles I speak of are for straight plays.  Well done Dan Radcliff!  Who knew inside that post-Potter boy was a bit of Fred Astaire—just a small bit mind you.  He’s no Matthew Broderick.  Am I a hypocrite?  Broderick went from stage to screen and back again.  What makes him different?  Well, I believe he was cast for his talent and not just for his name as his performances on both sides of the curtain shine.  That’s not to say Ethan Hawke can’t do a smashing Macbeth; but I’m sure Johnny-no-name would have been great too, given the chance.

Don’t start getting preachy about capitalism and the need for star power to draw audiences in this bust of an economy.  I’ve already come to terms with that.  I’ll admit I was tempted to see Harvey starring Jim Parsons.  But does the stage have to go the same way the film world did before people realize that in the end, story, not just casting matters? Originality doesn’t hurt either.

Problem the second: movie musicals turned stage musicals with little difference or disappointing changes.  Disney is the worst at this.  I can say it because I’ve seen it.  Last summer I was a bit dismayed with Newsies.  The live dancing was fantastic.  The female reporter character was horrific.  This was their big change—a spunky girl who sings so brightly you feel like your ears need WD40.  The Little Mermaid was a disaster of Starlight Express proportions.  Their answer to swimming?  Roller skates.  I saw clips on YouTube and was not hooked.  Repeat after me producers:  Just because they sing in a movie doesn’t mean it has to be on stage.

What about movies that have no place being musicals?  Billy Elliot?  The Full Monty?  I’m beginning to think the most original Broadway show in the last two decades is Urinetown (don’t get too grossed out, it’s a social/political/Broadway satire that’s only a little about bathrooms).  I’m sorry, I just can’t get over Rocky.  My musical senses are screaming “Noooooooo!”

My idea of a pleasant surprise was the other show I attended last summer.  Spider-Man: Turn Off The Dark was a dark horse in the stage line-up, what with all the horrific accidents that preceded its opening.  I had to laugh.  Comic books turned musicals?  Now we really are getting desperate.  But I heard the score and the fun, edgy, grungy sound.  I saw fresh staging that turned comic book pages into set pieces and turned perspective on its head.   Spidey literally bounced off walls in the catchy song of the same name.  They didn’t try to cast Tobey Maguire and teach him how to sing.

As you head to Broadway or try to listen for a new sampling of Tony fodder on iTunes, don’t expect anything spectacular.  If you already missed artsy classics like Little Miss Sunshine and Kinky Boots adorned with the musical treatment don’t worry, The Bridges of Madison County and Magic Mike are headed your way.

Other Titles Coming Too Soon to Musical Theater:

Diner– Six high school friends reunite; based on a film with music and lyrics by Sheryl Crow.

Prince of Broadway-A Broadway musical about a Broadway musical producer (Harold Prince).  Sounds titillating doesn’t it?

Ever After-Based on the film starring Drew Barrymore.

Bullets Over Broadway-A musical adaptation of the Woody Allen film.

If/Then-Finally, something original!  The plot is really complicated and not easy to summarize so Google it.

Allegiance—A New American Musical-Another tale of fresh origins about a Japanese family interred during WWII.

Revival of Les Mis-‘nuff said.

AladdinAnother Disney grab for theater cash.  I love Aladdin!  But I don’t have to see it on stage.

Bruce Lee: Journey to the West-A musical that is sure to be a smash after Rocky paves the way.

NERDS://A Musical Software SatireNow Steve Jobs and Bill Gates get the musical treatment.  The title is clever though.

The Geek Singularity

Revel my geeky friends, revel.  We may never live in an age as uniquely geek as this.  It’s as if all the sweet spots of comic book, fantasy and sci-fi culture have hit their apex in pop culture, spawning movies, television shows and merchandising of nebulaic proportions.  There may never again be a time when Comic Con features nearly the entire cast of Marvel’s Avengers and X-Men: Days of Future Past, strutting movie icons like Hugh Jackman and Samuel L Jackson; Peter Jackson wooing Tolkien devotees with Hobbit footage and Doctor Who panels visited by The Doctor himself.  In true Sheldon Cooper theory, I christen this golden age The Geek Singularity.

Guardians of the Galaxy

Guardians of the Galaxy

If the coming soon to theaters list is any indication, The Singularity should last at least into 2016.  Comic Con is on my bucket list but not even on the radar for at least six or seven years so I need this phenomenon to last.  According to their panel, Marvel has movies projected to 2021 so the longevity of the current comic book/ sci-fi/fantasy zeitgeist is a probability at least in the Disney universe.  What with a new Star Wars trilogy on the way, The Singularity may well last another couple of decades.  And who cares if pop culture hangs on.  Being geek has never meant being mainstream-until now.

The Winter Soldier

The Winter Soldier

Here’s a look at the future of The Singularity…


50th Anniversary of Doctor Who

Ender’s Game

The Hunger Games: Catching Fire

Agents of Shield (Television gold? I hope so.)

Thor: The Dark World


Captain America: The Winter Soldier

The Spectacular Spider-Man

Games of Thrones Season 4

Teenage Mutant Ninja Turtles (Thank God they’re mutant once again, not alien.)

X Men: Days of Future Past

Guardians of the Galaxy (Marvel’s obscure but cloying gamble that I would see just for Karen Gillan as a bald villain.  I love you Amy Pond!)


Pirates of the Caribbean 5

The Fantastic Four (Didn’t they just do this?)

Avengers: The Age of Ultron (Salivating for this one.)

Justice League (Please come back Christian Bale!)

Superman Sequel (featuring Batman; please come back Christian Bale!)

Ant-Man (Um, well okay, for the sake of The Singularity.)

Star Wars Episode 7 (J.J. Abrams has his work cut out for him-I want my daughter raised on good Star Wars.)

Future Projects

Deadpool (You’re welcome fanboys.)

Aquaman (The comments about this movie on IMDB read like an episode of The Big Bang Theory: “Aquaman sucks!” “Dude, 75% of the Earth’s surface is covered by water so he controls almost every sea creature and can easily sink almost all the world.”)

Death Note

BLEACH (Anime getting some geek movie love? Beautiful. Can I get some Americanized live action Sailor Moon? Wait, no, just no.)

The Phantom

Wonder Woman

X-Men 4 and 5 (Let’s hope they’re as good as the prequel sort of reboot.)

Nick Fury

The Flash

"Two of You? Oh the mind races" -River Song

“Two of You? Oh the mind races” -River Song

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