Showing posts with label episode. Show all posts
Showing posts with label episode. Show all posts

Wednesday, 14 November 2012

Walking Dead: The Game Episode 5 Release Date Announced

Telltale has announced that The Walking Dead: The Game’s final episode will be released next week. Titled No Time Left, the episode will hit PlayStation Network in North America on November 20th, followed by Xbox Live, PC and Mac, iOS and the European PlayStation Network on November 21st.

“We can’t thank you all enough for your incredible support and we can’t wait for you all to experience the season finale of YOUR Walking Dead story,” Telltale said in a statement. “With one week left until launch worldwide, now is a great time for you and your friends to catch up on the series so you can all experience the season finale and discuss it together.”

The Walking Dead: The Game first launched in April, followed by Starved for Help in June, Long Road Ahead in August and Around Every Corner in October. A disc containing all five episodes will hit stores in December.

We’ll have a full review of No Time Left once it’s released, but until then be sure to read our review of episode 1, episode 2, episode 3 and episode 4, and check out a full walkthrough in our Walking Dead: The Game wiki guide.

Andrew Goldfarb is IGN’s associate news editor. Keep up with pictures of the latest food he’s been eating by following @garfep on Twitter or garfep on IGN.


Source : ign[dot]com

Morgan Spurlock to Direct One Direction Movie

Now this is a bit weird but Morgan Spurlock – best known for directing documentaries  Super Size Me and Comic-Con Episode IV: A Fan's Hope – is going to helm the One Direction behind-the-scenes documentary (it'll probably have a snappier title than that).

"This is an incredible opportunity and an amazing moment in time for the band," said Spurlock in a statement. "To capture this journey and share it with audiences around the world will be an epic undertaking that I am proud to be a part of."

The film will likely be in the manner of recent pop documentaries centering on Justin Bieber and Katy Perry. But hopefully with the involvement of Spurlock, it might have a slightly different approach. The One Direction movie is penciled in for an August 2013 release.

Daniel is IGN's UK Staff Writer, and you can be part of the world's worst cult by following him on IGN and Twitter.


Source : ign[dot]com

Friday, 9 November 2012

Abrams, Favreau on Star Wars: Episode VII Rumors

Would either Star Trek's J.J. Abrams or Iron Man's Jon Favreau want to direct Star Wars: Episode VII? Both filmmakers have been buzzed about for the job. HollywoodLife.com posed that very question to both men.

Calling himself a huge Star Wars fan, Abrams said, “I frankly feel that – I almost feel that, in a weird way, the opportunity for whomever it is to direct that movie, it comes with the burden of being that kind of iconic movie and series. I was never a big Star Trek fan growing up, so for me, working on Star Trek didn’t have any of that, you know, almost fatal sacrilege, and so, I am looking forward more then anyone to the next iterations of Star Wars, but I believe I will be going as a paying moviegoer!”

Favreau seemed more open to the idea of directing the first installment in the next trilogy: "I think both J.J. and I come from a generation of people who formed our whole creative persona around what we experienced as kids from watching those films, and I have had the good fortune of working with George [Lucas] and around George, and whether it is doing a voice on Clone Wars, or being at the Skywalker Ranch mixing Iron Man – so I have been very happy and lucky to just experience the culture that Lucas has created, both in my own life growing up as a kid and professional – whether it was interviewing him at film festivals on stage, he is just a really wonderful, talented gifted guy who has changed the business so much, so I am just giddy, first and foremost as a fan, to see what happens with it."

Favreau cotinued, "I think there is a lot of question marks of how they are going to do it, and who they are going to do it with, and what the story is going to be about; but to say that I am not excited about it is definitely an understatement. We’ll see.”

Oscar winner Michael Arndt is currently scripting Episode VII, which is slated to begin filming in 2014 for a 2015 release.


Source : ign[dot]com

Abrams, Favreau on Star Wars: Episode VII Rumors

Would either Star Trek's J.J. Abrams or Iron Man's Jon Favreau want to direct Star Wars: Episode VII? Both filmmakers have been buzzed about for the job. HollywoodLife.com posed that very question to both men.

Calling himself a huge Star Wars fan, Abrams said, “I frankly feel that – I almost feel that, in a weird way, the opportunity for whomever it is to direct that movie, it comes with the burden of being that kind of iconic movie and series. I was never a big Star Trek fan growing up, so for me, working on Star Trek didn’t have any of that, you know, almost fatal sacrilege, and so, I am looking forward more then anyone to the next iterations of Star Wars, but I believe I will be going as a paying moviegoer!”

Favreau seemed more open to the idea of directing the first installment in the next trilogy: "I think both J.J. and I come from a generation of people who formed our whole creative persona around what we experienced as kids from watching those films, and I have had the good fortune of working with George [Lucas] and around George, and whether it is doing a voice on Clone Wars, or being at the Skywalker Ranch mixing Iron Man – so I have been very happy and lucky to just experience the culture that Lucas has created, both in my own life growing up as a kid and professional – whether it was interviewing him at film festivals on stage, he is just a really wonderful, talented gifted guy who has changed the business so much, so I am just giddy, first and foremost as a fan, to see what happens with it."

Favreau cotinued, "I think there is a lot of question marks of how they are going to do it, and who they are going to do it with, and what the story is going to be about; but to say that I am not excited about it is definitely an understatement. We’ll see.”

Oscar winner Michael Arndt is currently scripting Episode VII, which is slated to begin filming in 2014 for a 2015 release.


Source : ign[dot]com

Thursday, 8 November 2012

Toy Story 3 Screenwriter May Write Star Wars: Episiode VII

Today brings word that Star Wars: Episode VII may have found its screenwriter.

Vulture claims that Oscar winner Michael Arndt (Toy Story 3, Little Miss Sunshine) "has written a 40- to 50-page treatment for the film and is likely to be at least one of the writers when the Disney/Lucasfilm project begins shooting in 2014." They say Luke Skywalker, Princess Leia and Han Solo are indeed in it.

Furthermore, Vulture hears "Arndt's 40-something page treatment will soon be crossing the desks of top directors, including Brad Bird, Steven Spielberg (Lucasfilm’s co-chair, Kathleen Kennedy's former producing partner), and J.J. Abrams. Whether they’d be interested is unknown (Star Wars is a lot of baggage for an established director), but Disney wants to make sure they’ve at least tried the biggest names."

Arndt also co-wrote the screenplay adaptation of The Hunger Games: Catching Fire, which is currently in production.


Source : ign[dot]com

Tuesday, 6 November 2012

Wrestling Wrap Up: Ryback Pins CM Punk!

Other than the fact that, on RAW, they completely took back all the Survivor Series booking they did on the last episode, there wasn't that much notable news in wrasslin' this week. But if you're at all plugged in to current events and/or are heavily invested in the outcome of the Presidential Election, today is going to be long one, filled with nervous eating, restless tweeting and maybe more than your average amount of puppy kicking.

So I've specifically, and systematically, designed this Wrap Up to help distract you from the things that are really important in life. Each picture and GIF is meant to take you on a journey of total divertissement, to the point where, by the end, if all goes right, you'll be completely numb to the reality of your surroundings. My job is to bombard you with stupidity until you can barely stand upright. In fact, there's a good chance that you'll never feel anything ever again.

Which creates a prefect storm of non-emotion ripe for pimping my TOP 50 WRESTLERS OF ALL TIME feature. So dive on in and set your phasers to "bitch." I've made a personal decision to not look at any board comments regarding it, so fire away. Because this could have easily been a Top 100 list. Or a Top 200. And I went through a trillion versions of the list; versions that included people who didn't make the final cut. So what I'm saying is that you can shuffle the deck many times and still get a decent hand. My one request is that you read the part of the intro where I wrote about everyone preferring specific wrestling styles (indie, puroresu, traditional, etc) and characters over others, having different heroes, watching in different eras, etc. Or, you know, just read the sentence I just wrote. Then ask yourself if you ever, say, saw Sting in a match before 1997.

Prepare your agreement!

The Top 50 Wrestlers of All Time!

So last night on RAW, they had Ryback get the Shell Shock pin on Punk that, as of last week, they probably had planned for the end of Survivor Series Team Foley vs. Team Punk match. But then, during a segment featuring Brad "Tightest Vest in Existence" Maddox, Vince came out and created an actual singles match (well, three-way) for the WWE Championship featuring Punk, Ryback and Cena. Because there's no one else! Not a single person.

And on and on, into the night...

And now that Punk is the top heel and not the #2 face, these two are going to have to be in each PPV main event until The Rock shows up. And now Ziggler's the captain of Punk's team, but it doesn't have Punk and...why would Foley be fueding with Ziggler? And...whatever. When the actual story that the announcers are selling is that everything is f***ed up and crazy, things be f***ed up and crazy. Being perplexed and scratching one's head and shrugging is usually the job of TNA announcers.

I mean, we usually hear about how things are changed at the last minute and scripts are being re-written up until the very last possible moment, but Vince actually went out there with Vickie and made s*** up. She had no idea what he was going to say. Which is why she had very little to say and he kept filling in the blanks. So this is some of the most "down to the wire" re-writing we've seen so far. Oh, and by the way, a few months back I reported on the rumors that a "top star" publicly (well, backstage, in front of everyone) got all up in Vince's face, telling him he was out of touch and not listening to the fans. Yeah, it was Cena. Which was probably the best guess to make since there are only two top stars in the WWE right now. Three if you count The Miz's new neck beard.

So now Ryback is in another WWE title match and not safely tucked away in a five on five bout. It would make sense to have Punk lose the belt on the one year anniversary of him winning it, but not so close to him facing Rock. So I suppose the question is...who will Punk pin? Cena again? Or Ryback again? It's all so...boring. In fact, that's my one big takeaway from last night's RAW. Staleness. If the WWE had spent time building up stars (or not knocking them back down once they got too high) we could have been in a different place now. In a Fringe universe, we could be watching Kofi vs. Ziggler main event at Survivor Series.  Or my favorite underrated star..."Singleman!"

More from the big changes on RAW, plus Brad Maddox, on page 2...


Source : ign[dot]com

Thursday, 1 November 2012

It's Always Sunny in Philadelphia: "Charlie and Dee Find Love" Review

Warning: Full spoilers for the episode follow...

"I know what this is. This is a les liaisons dangereuses."

"Oh s***!"

The Always Sunny Gang rebounded big time this week with "Charlie and Dee Find Love." A laugh riot through and through, this was Season 8's best episode so far, revolving around Charlie and Dee getting pulled into the life of the wealthy Taft family via beautiful siblings and heirs Trevor (Josh Casaubon) and Ruby (Alexandra Daddario).

Initially, Dennis, Mac and Frank see this an an opportunity to mooch off the rich, but then become flabbergasted when Trevor and Ruby aren't completely and utterly repulsed by Charlie and Dee during a fancy double dinner date. Man, just watching Charlie squeal when the cheese tray rolled up and then resisting for about ten seconds before just shoving his face into the entire thing like a hog was incredible. "Can the girl not smell Charlie? Can the guy not see Dee?" Dennis was totally confused, until he realized that the entire thing was an elaborate 1% "Dinner for Schmucks"-style mind game designed to humiliate the poor and revolting.

Meanwhile, Mary Elizabeth Ellis returned as "The Waitress," still never revealing her name even though she called Dennis directly in order to reach Charlie. It was a pretty funny gag, hearing only Dennis' side of the conversation, with him not being able to recognize her by whatever name she was saying. "Just say waitress next time," Dennis demanded.

Anyhow, Dennis and Mac decided to split up in order to discover Trevor and Ruby's ultimate scheme, leading to vagina punching, some shampoo laced with rat poison and Dee doing a horrifically un-sexy lap dance to "Bad Company" by Bad Company. "Let's hump!" she drunkenly commanded. One of the most gratifying things about this episode, aside from the fact that it had many hilarious exchanges, was that not everyone in The Gang was a complete moron. Sure, they were freaks, but Dennis was actually right about Dee being used by Trevor to show his frat buddies that he could find the biggest loser. Yeah, he was wrong about Charlie's situation, but Charlie still "won"; having a secret plan of his own to use Ruby in order to make The Waitress jealous.

Of course, in Charlie's mind, winning means merely going back to the way things were; with him doing insane and random stuff that he thinks helps keep The Waitress safe...from a court-imposed distance. "I guess Charlie had the cruelest intentions of all," said Dennis, halfway impressed. It isn't often that The Gang gets a win, even a tainted one, so for Dennis to actually be able to ruin Taft's big public offering announcement with his "Mac/Trevor Definitely Not Gay Sex" video was a lot of fun.

Frank didn't have much to do in this one, but I did laugh heartily when, after being discovered by The Waitress in her apartment, he said, from behind a wall, "I'm your neighbor" before jumping out and screaming at her until she ran out the front door. So yes, these are the kinds of episodes I relish. Always Sunny might not hit it out of the park each and every week, but episodes like this prove that there's still gas in the tank. To mix up my sports and car metaphors.

Matt Fowler is a writer for IGN. Follow him on Twitter at @TheMattFowler and on IGN at mattfowler. No other choice you will ever make will be as easy and render such a great reward.


Source : ign[dot]com

Monday, 29 October 2012

Channel Surfing Podcast, Episode 184

Hey guys, Eric here for an actual brand new episode of Channel Surfing - Not one recorded two and a half weeks ago!

Laura Prudom from the Huffington Post joins me again as guest co-host, as we play some major catch up with the not-at-all-new news that Clark Gregg is starring as Agent Phil Coulson in S.H.I.E.L.D. – though we have actual recent news too, with Ming-Na Wen joining him in the ABC pilot!

Then there’s the bizarre situation with Up All Night, as NBC retools the series into a multi-camera sitcom. Plus, Dan Harmon’s new animated series gets the greenlight at Adult Swim, while G4 pulls the plug on Attack of the Show and X-Play.

We then discuss Arrow getting a full season order and our spoilery discussion on the show’s first three episodes, from 26:15-32:10 – followed by a “Watch Nikita!” rant and news about Seth Green on How I Met Your Mother, the lead being cast in Shawn Ryan’s Beverly Hills Cop, a potential Twilight TV series (sigh…) and Frank Darabont getting a greenlight for his new TNT LA Noir series. Plus, what the hell happened to DC Nation?

Reader email brings us an Arrow-related question about secret identities, followed by a spoilery Fringe chat (for what’s aired so far) from 57:30-1:02:00 and a Legend of Korra Emmy query.

Listen to our latest podcast by clicking the lovely red type below - right click to download.

Channel Surfing Podcast, Episode 184

Hey, why not follow us on Twitter?

Eric Goldman: @EricIGN

Laura Prudom: @LauinLA

Subscribe to Channel Surfing on iTunes

Join the Channel Surfing Facebook Group

Have a question or comment for a future episode? Email us at ChannelSurfing@ign.com.


Source : ign[dot]com

Channel Surfing Podcast, Episode 184

Hey guys, Eric here for an actual brand new episode of Channel Surfing - Not one recorded two and a half weeks ago!

Laura Prudom from the Huffington Post joins me again as guest co-host, as we play some major catch up with the not-at-all-new news that Clark Gregg is starring as Agent Phil Coulson in S.H.I.E.L.D. – though we have actual recent news too, with Ming-Na Wen joining him in the ABC pilot!

Then there’s the bizarre situation with Up All Night, as NBC retools the series into a multi-camera sitcom. Plus, Dan Harmon’s new animated series gets the greenlight at Adult Swim, while G4 pulls the plug on Attack of the Show and X-Play.

We then discuss Arrow getting a full season order and our spoilery discussion on the show’s first three episodes, from 26:15-32:10 – followed by a “Watch Nikita!” rant and news about Seth Green on How I Met Your Mother, the lead being cast in Shawn Ryan’s Beverly Hills Cop, a potential Twilight TV series (sigh…) and Frank Darabont getting a greenlight for his new TNT LA Noir series. Plus, what the hell happened to DC Nation?

Reader email brings us an Arrow-related question about secret identities, followed by a spoilery Fringe chat (for what’s aired so far) from 57:30-1:02:00 and a Legend of Korra Emmy query.

Listen to our latest podcast by clicking the lovely red type below - right click to download.

Channel Surfing Podcast, Episode 184

Hey, why not follow us on Twitter?

Eric Goldman: @EricIGN

Laura Prudom: @LauinLA

Subscribe to Channel Surfing on iTunes

Join the Channel Surfing Facebook Group

Have a question or comment for a future episode? Email us at ChannelSurfing@ign.com.


Source : ign[dot]com

Channel Surfing Podcast, Episode 184

Hey guys, Eric here for an actual brand new episode of Channel Surfing - Not one recorded two and a half weeks ago!

Laura Prudom from the Huffington Post joins me again as guest co-host, as we play some major catch up with the not-at-all-new news that Clark Gregg is starring as Agent Phil Coulson in S.H.I.E.L.D. – though we have actual recent news too, with Ming-Na Wen joining him in the ABC pilot!

Then there’s the bizarre situation with Up All Night, as NBC retools the series into a multi-camera sitcom. Plus, Dan Harmon’s new animated series gets the greenlight at Adult Swim, while G4 pulls the plug on Attack of the Show and X-Play.

We then discuss Arrow getting a full season order and our spoilery discussion on the show’s first three episodes, from 26:15-32:10 – followed by a “Watch Nikita!” rant and news about Seth Green on How I Met Your Mother, the lead being cast in Shawn Ryan’s Beverly Hills Cop, a potential Twilight TV series (sigh…) and Frank Darabont getting a greenlight for his new TNT LA Noir series. Plus, what the hell happened to DC Nation?

Reader email brings us an Arrow-related question about secret identities, followed by a spoilery Fringe chat (for what’s aired so far) from 57:30-1:02:00 and a Legend of Korra Emmy query.

Listen to our latest podcast by clicking the lovely red type below - right click to download.

Channel Surfing Podcast, Episode 184

Hey, why not follow us on Twitter?

Eric Goldman: @EricIGN

Laura Prudom: @LauinLA

Subscribe to Channel Surfing on iTunes

Join the Channel Surfing Facebook Group

Have a question or comment for a future episode? Email us at ChannelSurfing@ign.com.


Source : ign[dot]com

Wednesday, 17 October 2012

Family Guy Celebrates Its 200th Episode

Freakin' sweet! Family is commemorating its 200th episode with a one-hour event including its milestone episode as well as a tribute to the Emmy Award-winning animated series.

The event will kick off with the episode entitled "Yug Ylimaf," in which Brian abuses Stewie's time machine, causing reality to run in reverse. As a result, they have to work together to set things right before Stewie is "unborn."

Then, in the Family Guy retrospective, "The End Of The World As We Know It," fans will get a behind-the-scenes look at some of the show's most memorable moments, featuring interviews with series creator Seth MacFarlane and voice actors Mila Kunis, Alex Borstein and Seth Green. Viewers will also be treated to an inside glimpse into the cast and crew's 200th episode party in Los Angeles.

Family Guy's one-hour 200th episode event begins on Sunday, November 11, at 9pm ET/PT on FOX.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love by following @Max_Nicholson on Twitter, or MaxNicholson on IGN.


Source : ign[dot]com

Monday, 15 October 2012

Once Upon a Time: “Lady of the Lake” Review

Note: Full spoilers for the episode follow.

This week's episode of Once Upon a Time brought us Lancelot (played by Sinqua Walls), mean parents, and all the feelings. Cora is back and evil as ever, the knight of the Round Table turns against his king and saves Snow White from an infertility curse, and there was an ogre. In other words, it was sort of all over the place.

Even though it jumped around, the focus was on Snow and Emma bonding. Snow is the protector now, not a meek schoolteacher and it’s an interesting change in dynamic that Emma doesn’t know how to handle. At least she didn’t until Snow saved her from an ogre. Putting Emma in a place where her knowledge and skills aren’t helpful is a great way to make her appreciate her mom and all she’s done for her daughter.

Emma had better get used to it too because she had to destroy the last known portal back to Storybrooke to keep Cora from crossing over. If you weren’t positive that she’s evil, she killed Lancelot and has been pretending to be him for a while. Speaking of mean parents, Charming’s sort of father - King George (Alan Dale) - tried to make Snow sterile and has also showed back up in the real world. And you thought your holiday dinners were awkward.

One other note about fairytale world - It’s hard not to note that they’ve made Aurora completely unlikable. She’s mean and whiny and hasn’t learned a thing from Mulan so far. There’s room for her to grow, and hopefully Snow will be a good influence on her. Fingers crossed for an epic training montage in a future episode.

The episode unfortunately displayed a couple of the less awesome factors about Season 1. For one thing, a couple of moments were just lazy. Lancelot didn’t thoroughly search that lake bed; how did he know there was just one shell with water? Most people wouldn’t have been turning all the sand upside down. Back in Storybrooke, why didn’t Charming either dig through Regina’s vault to search for magic or destroy everything instead of just making sure no one else finds it?

It was also jam-packed. The death of Charming's mother should have hit harder, but the story was moving along so fast that the full impact didn't have time to develop. Sure, they fit a lot of significant plot points into 42 minutes, but every piece felt rushed. These might be little things to focus on, but they don’t make sense and therefore stick out.

Then there was the ogre. Monsters and big bads are scarier when they aren’t seen, and that is especially true when the CGI isn’t amazing. I was nervous about the ogre until it ran into the clearing; then I just laughed. On the upside, Snow White got to show off her ability to shoot a bow (nice form too – better than Hawkeye!) and impressed the hell out of Emma.

In happier news, Jefferson was back again. Henry nudged him to find his daughter Grace, and their reunion was the very definition of happiness. Sebastian Stan plays the heck out of the Mad Hatter and always leaves an impression regardless of the length of his scenes. Stan needs to show up more, before his Captain America: The Winter Soldier duties pull him away. There were also some great one-liners like Emma comparing a cooked chimera to a turducken. Order one for Thanksgiving now – they’ll be all the rage!

Amy Ratcliffe is a writer for IGN TV. You can follow her on on Twitter at @Amy_Geek and IGN at alratcliffe .


Source : ign[dot]com

The Walking Dead: "Rick's Word is Law"

Warning: Full spoilers follow for The Walking Dead Season 3 premiere episode, "Seed," and minor spoilers for Robert Kirkman's Walking Dead comic book series.

So how about that for a Walking Dead season premiere, huh? Pretty exciting and gruesome stuff. And, as tradition here at IGN, we got to talk to comic series creator and show EP/writer Robert Kirkman about what we just saw. Months have passed, Rick's fully in command, Carl's now clearing houses with the likes of Daryl and T-Dog, there's a walker-filled prison that needs cleansing, Lori's not giving Rick any disapproving looks or pushback and Andrea and Michonne are still off on their own. There's just so much happening.

The Walking Dead: Season 3 Premiere Review

IGN: Well, we're finally here. We're at the prison now. What's it like to finally be tackling a big set piece and storyline that the comic fans have been anticipating ever since the show started?

Robert Kirkman: My experience in having the Walking Dead comic turned into a TV show has been indescribable. It's not something that I've ever heard of anyone really experiencing. It really is quite bizarre. I've gone from seeing comic book characters that I've written for nearly a decade come to be represented by flesh and blood human beings who you can have conversations with. Which is really awkward. But now I'm actually seeing an entire world built up that I can walk around in. I can go into cells inside the prison. I can walk the prison yard. I can play basketball on the basketball court. I can go up into the guard tower. It's really strange to see it all come to life and I think AMC's done a really good job in working with very talented people who really dedicate themselves into making this show the best that it can be. I know a lot of time and effort went into making this prison and it looks absolutely remarkable on screen. In person though, it's overwhelming for me to be there.

IGN: A lot of things have changed within the group since the last time we saw them. Exactly how much time has passed?

Kirkman: Well, we don't really like to nail things down too tightly, but we were getting into winter pretty much by the end of Season 2. The leaves were starting to fall off and it was getting pretty cold and so we were definitely approaching winter when we last left off. Season 3 picks up now with the end of spring and the beginning of summer. So we skipped through a little bit of fall, winter and a little bit of spring.

IGN: What was behind the decision to have Rick be so fully in charge? I think the term that was coined was "Ricktatorship."

Kirkman: I think it was very important, after the last scene in Season 2, to show that Rick's decision to not take any advice from his people and to make it his way or the highway has really made it so that they've all survived the winter, despite not being able to find a solid place to live in for any real length of time. I think we really wanted to show that Rick is a capable leader and that he does know what he's doing. And I think the first two episodes of the season will show everyone that this is a different guy; much more harsh, much more deadly and way more serious. A hardened leader.

IGN: He really has no opposition, at this point, from anyone. And they're a head-strong group.

Kirkman: For better or for worse, Rick's word is law right now. And that's something that has kept them alive. But we'll see, as the season progresses, sometimes he makes mistakes and sometimes bad things happen. But for now, at least, Rick's in charge and we're seeing a very different person. This is a guy who was a small town cop who was just kind of feeling his way through this world. And to a certain extent, he was scared out of his mind. Over the course of the first two seasons, he's become this guy that we have now who is running head first into a prison yard and taking walkers out. And doing whatever he has to do to keep these people around him safe.

IGN: Another big change, and more evidence that Rick's word is law, is how much Carl has changed. Rick would have gotten an earful if he'd tried to have Carl shoot walkers last year.

Kirkman: Carl has really evolved into a child soldier over the course of the winter. He's now there in the mix with Rick and Daryl when they're cleaning out that house in the beginning. He knows how to clear a room now. He knows how to run through a house that could be infested with zombies. And, as you can see, this is something he's done before. This is Carl growing up. Having that time jump in between the seasons has really facilitated turning Carl into a different character. A much more capable character. Someone who doesn't have to hide in the house while all the cool stuff happens. He's out there shooting guns, taking out Walkers and being a little badass.

IGN: What can you tell us about Rick and Lori's relationship? It seems pretty cold at this point. He's providing for her, but little more.

Kirkman: It's definitely damaged. Despite all the other changes that happened over the winter that we didn't get to see, they really haven't reconciled. For the most part, they're not really speaking. Lori has done something that Rick hasn't forgiven her for yet. And Rick did something that Lori wasn't too happy about, as we saw at the end of the second season. So they're really distant and struggling through the fact that they have to live together. She is carrying a child. Could be his child, could be Shane's. Nobody really knows. It is definitely a big sense of source of tension within the group this year.

IGN: Now this is close to the time, in the comic series, that Michonne would become a part of the group, but you've chose not to do that here. She's off with Andrea, which is a pairing we never saw in the comics. What was behind that decision?

Kirkman: I think as the season progresses, and we see our entry point into Woodbury and meeting The Governor, it will become pretty clear this pairing was a really cool change that came with a lot of great story in it. That's really the key to making changes to the comic book. Asking ourselves "what does it add?" or "how could this enhance the story?" And I think this enhances the story in a big way. Having these two warrior women out on the road, surviving together, is kind of a cool thing. And we've seen that they've bonded quite a bit over the winter. One thing that I really like about this season is that if you notice and do the math about how long Rick and the group were with Andrea, she's been with Michonne longer than she was with the rest of the survivors. So their bond has grown very strong over time. If these groups were to meet, if Andrea and Michonne were to encounter Rick and the others, her new bond might add some conflict to the reunion. ...Were it to take place this season.

IGN: Keeping things with the comics here... poor Hershel. We saw his leg get hacked off, but in the comics it wasn't him. It was a different character.

Kirkman: It's a pivotal moment in the comic series, but it happens to Allen, a character that hasn't been introduced on the television show. So we decided to do it to Hershel. And having that moment that comic book fans remember adapted for the show -- in a cool way that calls back to the comic series and the stories that were told there, but also done in a way that comic fans can still be surprised when it happens -- really is the meat and potatoes of the show. I want the comic fans to still go "Oh my god!" That's the really cool stuff, when people don't know what to expect. Even though it's still familiar.


Source : ign[dot]com

Thursday, 11 October 2012

It's Always Sunny in Philadelphia: "Pop-Pop: The Final Solution" Review

Warning: Full spoilers for the episode follow...

"You see free soup, you make a decision to eat it!"

Ugh, what were Mac and Charlie eating anyhow?  It looked like old, cold French Onion soup without the cheese.  At least that's the horrible taste I imagined when they were slurping it.

Yes, the Always Sunny gang is back for Season 8 (wow!) and kicking things off with a good old fashioned Nazi treasure hunt. Specifically, Adolph Hitler's priceless, hokey painting of a German Shepherd. A dog that Hitler must of of lost, mourned, and, according to Charlie, used an an excuse to exact vengeance upon the entire world. "Pop-Pop: The Final Solution" wasn't always killer, but it was still a decent enough way to open up the season given that we're now eight years deep into the rancid exploits of the wonderfully filthy and stupid denizens of Paddy's Pub.

The highlight of this one, for me, was Dennis and Sweet Dee discovering that they went to a racist Nazi youth camp when they were young, clearly not remembering the details of what the irate counselor was screaming at them in his speeches. But what caused them to take a trip down Aryan memory lane? Well, their dearly beloved, and currently rotting, Pop-Pop is being kept alive in a death-soaked, soup-filled hospital room by tubes and they have to decide whether or not to pull the plug on the old bastard.

Shorter cable seasons, and the ability to say just about everything except "f***" on FX, have helped preserve this show, keeping it mostly fresh a long while. But we're still years and years deep into Always Sunny and it's become harder to shock us with the gang's outrageous antics. I still expect to get two or three gems out of Season 8, like Season 7's "The Gang Goes to the Jersey Shore" and "Chardee MacDennis: The Game of Games," but I'm afraid this premiere wasn't the treasure I was hoping for. But it did show, like the Jersey Shore episode, that there's still comedy to be mined from Dennis and Dee misremembering their clearly effed-up formative years.

While Dennis and Dee went back and forth on whether or not to kill their creepy, corpse-like Pop-Pop, who was lying in a room that felt like something out of the movie Seven, Mac and Charlie were on the hunt! In a story that's sure to be adapted later into a big-budgeted "Ryan Gosling as Indiana Jones" Da Vinci Code-style thriller. It's always fun to watch these two spiral into insanity only to revisit their entire idea at the end and discover that one of them was just lying the whole time. This time it's Charlie, who was just pretending to think the dog painting was worth millions to get Mac to help him look for his favorite painting. Except, of course, Charlie had good reason to actually believe the picture could have been worth something. He just chose not to think that.

So throw in a few tasteless jokes about gassing, dog executions and a slight nod to dental torture and you've got yourself an Always Sunny stew goin'! All so that Frank, Mac and Charlie could get their hands on an "original Hitler." "It belongs in a museum!" Mac screamed, channeling his inner-Indiana. Brian Unger appeared, once again, as the gang's beleaguered attorney, providing us with one normal "real life" character to sync up with amidst the craziness. David Hornsby was also back as Cricket, with a wicked new scar on this face and a new job cleaning up giant Mastiff diarrhea at the local pound.

Not a total riot, but when placed side-by-side next to all the new, horrible network comedies that popped up this Fall,"Pop-Pop: The Final Solution" was a masterpiece. By Always Sunny standards though, it was okay.

Matt Fowler is a writer for IGN. Follow him on Twitter at @TheMattFowler and on IGN at mattfowler. No other choice you will ever make will be as easy and render such a great reward.


Source : ign[dot]com

Last Resort: "Eight Bells" Review

Note: Full spoilers for the episode follow.

After Julian and his prisoners were sidelined last week, that situation was front and center in this episode, creating another tough – and ultimately fatal – situation for the Colorado crew.

It all got pretty horrific – it’s vague what Cortez did to appease Julian at one point and stop him from initially killing anyone, though it’s hard not to guess it was sexual. But what was clear was that her fellow prisoner, Brannan, was willing to put his life and hers over their fellow crewmember, when he directly named Redman as the one Julian should kill. It was a suitably gut-wrenching moment, as he was protecting Cortez, yet also himself, over the life of his “brother” and again demonstrates that Last Resort is not going to back down on putting these characters in situations no one would ever want to face.

In D.C., I was glad to see more of Bruce Davison’s Admiral Shepard, and one hell of an uneasy alliance with Kylie, as he called her “A parasite who traffics in war.” The plans for the Perseus being stolen from her add again to the conspiracy scenario, with the implication her own dad may be involved. Also, we finally got to physically see Jay Karnes after two episodes of hearing him. Of course, he was only onscreen briefly, an on Kylie's TV no less - in an amusingly gradual rollout for the character.

Far less enthralling were the James/Tani scenes, despite James’ amusing line, “I’m sorry your dad didn’t hate me more.” I like both actors -- Dichen Lachman did some terrific work on Dollhouse -- but Tani’s “My mom got sick and I’m stuck with my dad who I don’t get along with” storyline sticks out like a distracting sore thumb among the intrigue and tension of Last Resort. I hope she can somehow be better integrated as time goes on.

Putting Prosser back on the sub is good to see, aided by Marcus telling Prosser he still would take Prosser at his word not to retaliate against him – and the fact that Prosser seemed suitably stirred that Marcus would still trust him in that way. Plus, the continued hatred between Prosser and Daisy works well, even getting darkly humorous at times with her excellent retort, “You didn’t hang yourself with your shoelaces. We all have our disappointments”

The sequence where the Colorado had to avoid a series of depth charges was well done. With a TV budget, it’s not like they can have blockbuster movie style effects constantly. But while much of the action was only from the POV of those onboard the sub, there were enough actual shots of the sub in danger to convey the scenario, coupled with the work of the cast to sell the tension of the sub being bombarded from above, while in danger of colliding with a trench below.

Marcus essentially bending over for Julian was a troubling part of the episode – but the good thing is, it was meant to be troubling, and put him at true odds with Sam for the first time. Marcus’ worry that the Colorado can’t deal with battling Julian’s men in the midst of their other crisis is valid, but at same time… just how far can you push Marcus? One of his men was actually killed by Julian now, which makes Julian a true threat (to the Colorado and on the show), but also it makes Marcus look weak and even cowardly not to retaliate. The good news is, it’s clear the Last Resort writers aren’t ignoring this fact… even as I look forward to seeing just how Marcus finally gets his payback, at the “Time and place of my choosing.”

Lastly, I want to commend Sahr Ngaujah for his performance as the oh-so easily offended Julian, whose need to be respected -- he was so upset Marcus hadn't come to talk to him already! -- is what makes him so dangerous.


Source : ign[dot]com

Wednesday, 3 October 2012

New Girl: "Fluffer" Review

Warning: Full spoilers from the episode to follow.

This week on New Girl was all about fluffers, Romneys and loft trolls -- normally an odd combination, but not so outside the realm of possibility for Jess and the guys. More specifically, though, "Fluffer" acted as an emotional outlet this week, as each of the roomies dug a little deeper than normal to solve their respective problems.

For Jess, it was using Nick to justify her sexual urges with her new boy toy Sam. This, of course, started out innocent enough as Nick joined Jess for a platonic date at a fancy restaurant. This scene probably had some of the best bits, including Nick's out-of-place hesitation to stick around ("I don't know which fork to kill myself with.") and Jess's thermos full of white wine ("You unexpected genius!"). Unfortunately, the fun didn't last long after Nick learned that he was merely an emotional patsy -- a "fluffer," if you will -- for Jess.

By the end, however, this was a sweet story for Nick and Jess, if not a bit of a redundant one; at this point, we've pretty much gotten the all clear that they're both into each other. Still, Nick's dresser dilemma ("It's like high-stakes LEGOs.") was a pleasant arc for all involved. I particularly enjoyed Nick's few scenes with Winston, a one-on-one pair-up that I feel doesn't happen nearly as often as it should. It was also a plus to learn for sure that Nick and Jess had both "thought about it;" Jess's flashback with Nick and the peanuts was especially hilarious.

Meanwhile, Schmidt's recurring Romney gag provided a few good laughs, as well as some intriguing insight into his past. On the surface, the Tugg Romney stuff perhaps felt a little over-the-top -- after all, he looked a bad guy from an '80s movie -- but it did its job in leading Schmidt to the real heart of his character arc this week, namely his unresolved father issues. And while the Romney stuff was all well and good for awhile, it was Schmidt's final scene with Cece that let us see a side of him we hadn't really before. I suppose that can be chalked up to his sage-like advice from Cece, who, being brown, has "the wisdom of a thousand white women."

Another big win this week was Winston's storyline with Shelby and his mental cheating. Not only was it hilarious to see his creeptacular arousal face -- which, by the way, is now in the running for best facial expression alongside Nick's turtle face -- but we also saw his clear struggle to make ends meet emotionally with Shelby. This paired with his mom's career remark from last week, and it seems as though Winston is going to have his own struggles to work out. While he still hasn't really taken center stage this season, it was nice to see him land some of his own scenes here as well.

It's true, New Girl is usually at its finest when they can somehow keep all the major players together in one overarching event. In this case, though, it was fun watching the characters veer off into their own stories. Every character had their moment this week, and in a half-hour comedy, an impressive all feat by itself. On the other hand, the stories themselves weren't incredibly engaging this week. At the end of the day, we're pretty much where we were at when the episode started. Still, a little personal character development goes a long way, too, and it was very much appreciated to see a few more of those seeds sewn.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.


Source : ign[dot]com

New Girl: "Fluffer" Review

Warning: Full spoilers from the episode to follow.

This week on New Girl was all about fluffers, Romneys and loft trolls -- normally an odd combination, but not so outside the realm of possibility for Jess and the guys. More specifically, though, "Fluffer" acted as an emotional outlet this week, as each of the roomies dug a little deeper than normal to solve their respective problems.

For Jess, it was using Nick to justify her sexual urges with her new boy toy Sam. This, of course, started out innocent enough as Nick joined Jess for a platonic date at a fancy restaurant. This scene probably had some of the best bits, including Nick's out-of-place hesitation to stick around ("I don't know which fork to kill myself with.") and Jess's thermos full of white wine ("You unexpected genius!"). Unfortunately, the fun didn't last long after Nick learned that he was merely an emotional patsy -- a "fluffer," if you will -- for Jess.

By the end, however, this was a sweet story for Nick and Jess, if not a bit of a redundant one; at this point, we've pretty much gotten the all clear that they're both into each other. Still, Nick's dresser dilemma ("It's like high-stakes LEGOs.") was a pleasant arc for all involved. I particularly enjoyed Nick's few scenes with Winston, a one-on-one pair-up that I feel doesn't happen nearly as often as it should. It was also a plus to learn for sure that Nick and Jess had both "thought about it;" Jess's flashback with Nick and the peanuts was especially hilarious.

Meanwhile, Schmidt's recurring Romney gag provided a few good laughs, as well as some intriguing insight into his past. On the surface, the Tugg Romney stuff perhaps felt a little over-the-top -- after all, he looked a bad guy from an '80s movie -- but it did its job in leading Schmidt to the real heart of his character arc this week, namely his unresolved father issues. And while the Romney stuff was all well and good for awhile, it was Schmidt's final scene with Cece that let us see a side of him we hadn't really before. I suppose that can be chalked up to his sage-like advice from Cece, who, being brown, has "the wisdom of a thousand white women."

Another big win this week was Winston's storyline with Shelby and his mental cheating. Not only was it hilarious to see his creeptacular arousal face -- which, by the way, is now in the running for best facial expression alongside Nick's turtle face -- but we also saw his clear struggle to make ends meet emotionally with Shelby. This paired with his mom's career remark from last week, and it seems as though Winston is going to have his own struggles to work out. While he still hasn't really taken center stage this season, it was nice to see him land some of his own scenes here as well.

It's true, New Girl is usually at its finest when they can somehow keep all the major players together in one overarching event. In this case, though, it was fun watching the characters veer off into their own stories. Every character had their moment this week, and in a half-hour comedy, an impressive all feat by itself. On the other hand, the stories themselves weren't incredibly engaging this week. At the end of the day, we're pretty much where we were at when the episode started. Still, a little personal character development goes a long way, too, and it was very much appreciated to see a few more of those seeds sewn.

Max Nicholson is a writer for IGN, and he desperately seeks your approval. Show him some love on Twitter and IGN.


Source : ign[dot]com

Sunday, 30 September 2012

Boardwalk Empire: "Bone for Tuna" Review

Warning: Full spoilers for the episode follow...

So after three episodes, this has really become Bobby Cannavale's season. And let's face it, in "Bone for Tuna," we all knew there was no way Rosetti was leaving Atlantic City, for the second time, as anything other than bitter and angry. No matter how much Nucky tried to repair their working relationship. As Nucky put it so well, Rosetti could find an "insult in a bouquet of roses." And Cannavale is just crushing it. The way Rosetti not only gets offended when tells him something he doesn't know, but also when people who state the obvious is terrifying. And it was fun to see the fat corrupt cop get incinerated at the end since we all probably had him marked for death when he spoke out of turn in the diner at the top of the episode. Well, as fun as seeing someone burned alive can be. "You think you have friends. They're all dogs with bones."

"Everyone's a person though, right? How else are they supposed to take it?" Rosetti has a point, although taken to a psychotic extreme. Nucky's finding out the hard way that you can't remain cold and detached from a business that takes people's lives. Killing is personal, and now Nucky's repressed anxiety is manifesting itself in dreams. Now, I'm not a huge fan of dream sequences. Often they're a cheap way to show us what a character is thinking. In fact, I usually just deem most of them to be time fillers. And your enjoyment of this season will have a lot to do with how invested you are in Nucky's loneliness. Which is not an easy thing to care about when we're presented with people of great power. Nucky's obsession with Billie Kent is helping us empathize a little here since he's mistakenly fallen for a woman who simply can't give him what he needs. So he's actually making things worse for himself.

I do enjoy how much Nucky has Rosetti pegged though. "Are we starting with this now?," Nucky says right at the moment when Rosetti might be spiraling into one of his fits over a monkey comment...that Nucky actually said to diffuse a possible misunderstanding. So for Nucky nothing's personal and for Rosetti everything's a slight. And I have a feeling that, when all is said and done, Nucky's going to start to creep down to Rosetti's level, possibly even entering a state of rage. Of course, knowing how Rosetti is, Nucky should have known that him not being there to see Rosetti off would cause trouble. But, like I mentioned, he's distracted these days. Nucky's numbers might not come close to Harrow's "63," but he's still feeling the ill effects of an increased body count.

Harrow's scene with Nucky was great; telling Nucky that he blew out Manny's left eye for Angie, not Jimmy the soldier. I was also reminded of Eli's "How the f*** are you still alive?" from last week concerning Micky's hair-brained idea to start spreading the rumor that he killed Manny. Over in Chicago, Van Alden was having a harder time than usual bonding with the "Brotherhood of Bulls*** and Blarney." It was easy to tell that a raid was going to go down, as soon as the other salesbullies mentioned the speak easy, but I thought Van Alden was actually going to be the one to call it in, as payback on them for the ink prank. But no, he got caught in the raid himself. Actually taking more offense to the corrupt booze officer who asked for a bribe to let him scram. It's funny to watch for when and where Van Alden's "morality" rears up. Especially considering that he's now living a fake life and taken a new bride in Sigrid.

I don't particularly like not liking Margaret, so I was happy to see that she didn't make a giant scene in front of the Bishop regarding prenatal care. I expected a haughty lecture in front of unappreciative bores, but instead she actually acted a bit devious and played Dr. Landau for a fool. In the end, she just needed to present her case in front of someone who outranks Landau, and give the credit to Landau so no one thinks they're being upstaged by a woman. So I was happy to be able to leave this episode without being frustrated with her. Plus, she and Nucky were able to act nice and be civil with one another during the award ceremony. With even a slight undercurrent of caring.

On the less interesting side of "Bone for Tuna," Lucky and Lansky are still beefing with Joe Masseria. Not a lot of time was given to this story, and when you add to that the fact that viewers will have to remember back to last season in order to place the lesser Masseria storyline, it doesn't add up to anything interesting. On a more intriguing note, having to do with Rosetti naturally, Rosetti's infatuation with Gillian was nice touch. As gentle as he is around her though, I don't see this ending well. I just don't think anything can end well when Gyp wants something. Because that just means there's a possibility he can't have it. And then watch out!

Matt Fowler is a writer for IGN. Follow him on Twitter at @TheMattFowler and IGN. WARNING: No Nudity!


Source : ign[dot]com

Doctor Who: "The Angels Take Manhattan" Review

Note: Full Spoilers for the episode follow.

"I always rip out the last page of the book - then it doesn't have to end. I hate endings."

As an immortal cosmic adventurer accustomed to ricocheting in and out of people's decidedly mortal lives, it was an understandable gripe for the Doctor to grumble.

But for fans who have come to know and love the Ponds, it was also a fittingly poignant foreboder for an episode we've long known was coming - an adventure that would write Amy and Rory out of the show for good.

And, as Steven Moffat had so excruciatingly and consistently teased, in a 'heartbreaker' which not everyone would make it out of alive.

The Angels Take Manhattan had its minor narrative quibbles (more on those later), but still stood strong as a heartfelt, emotional end for the TARDIS' longest serving companions (since the show's noughties' return at least), and the best episode of the season thus far.

A pitch-perfectly atmospheric film noir teaser set the scene with style - as the city that never sleeps, the Angels had set up scary shop in New York with a temporal battery farm that could sustain them like never before.

When Rory was Angel-napped back to 1938, Amy, the Doctor and a returning River/Melody fought past temporal distortions and chilling cherubims to save him - just in time to see his future self die old and alone.

Despite the Doctor's assertions that you can't change a history you've already acknowledged, Amy and Rory stood destiny in the face, flipped the bird, and sacrificed themselves to create a paradox with the power to change everything.

It was only fitting that as the Who monster so closely tired to Amy's own story, it was the Angels that contributed to her own (kind of) demise. While they weren't at their scariest (though the creepy J-Horror giggle of the cherubims was a nice, new touch), they were the best choice in helping deliver a definitively final (albeit bittersweet) end.

Unsurprisingly, Karen Gillan and Arthur Darvill were as excellent as we've come to expect, bouncing from rompy humour to heartbreaking drama with ease. While the idea of a suicide pact isn't exactly the most jovial of potential exits, their decision to jump into the unknown together encapsulated their relationship - no matter the danger or the potential pitfalls, as long as they made the journey with each other, everything would be ok.

Kudos also to Matt Smith, who managed to break my already fracturing heart with his grief-stricken, surprisingly selfish reaction in the face of Amy's immediate sacrifice. Thanks to The Power of Three, his emotional connection to the Ponds has never been more heartfelt, and the importance of his travelling companions never more stressed - so it'll be interesting to see how he's handling things come Christmas time.

Admittedly, it left a few nitpicky questions - if the only thing stopping the Doctor seeing the Ponds again is the TARDIS' inability to land in New York, why couldn't he just drop into Connecticut and drive/fly/bike over the state line? If Melody can use her Vortex Manipulator to get her parents the book, why couldn't the Doctor simply borrow that? And bugger Amy, Rory and the Doctor in all this - will nobody please just think of Rory's dad, Brian?!

Intriguingly though, there's every chance these questions - and more - will be answered in the series' latter half. Fan speculation suggests the episodes we've seen already have aired out of chronological order, and then we have River's comments that the Doctor's become almost too invisible suggesting series arc-related plot points we haven't even thought about until now.

Ultimately, The Angels Take Manhattan succeeded in an already uphill battle by honing in on the romanticism of the Ponds' connection to the Whoniverse and each other, bringing Amelia's journey full circle with a flurry of poignant touches, and definitively writing them out in the most bittersweet way imaginable.

As far as final pages go, it's one we're happy to leave unripped.


Source : ign[dot]com

Doctor Who: "The Angels Take Manhattan" Review

Note: Full Spoilers for the episode follow.

"I always rip out the last page of the book - then it doesn't have to end. I hate endings."

As an immortal cosmic adventurer accustomed to ricocheting in and out of people's decidedly mortal lives, it was an understandable gripe for the Doctor to grumble.

But for fans who have come to know and love the Ponds, it was also a fittingly poignant foreboder for an episode we've long known was coming - an adventure that would write Amy and Rory out of the show for good.

And, as Steven Moffat had so excruciatingly and consistently teased, in a 'heartbreaker' which not everyone would make it out of alive.

The Angels Take Manhattan had its minor narrative quibbles (more on those later), but still stood strong as a heartfelt, emotional end for the TARDIS' longest serving companions (since the show's noughties' return at least), and the best episode of the season thus far.

A pitch-perfectly atmospheric film noir teaser set the scene with style - as the city that never sleeps, the Angels had set up scary shop in New York with a temporal battery farm that could sustain them like never before.

When Rory was Angel-napped back to 1938, Amy, the Doctor and a returning River/Melody fought past temporal distortions and chilling cherubims to save him - just in time to see his future self die old and alone.

Despite the Doctor's assertions that you can't change a history you've already acknowledged, Amy and Rory stood destiny in the face, flipped the bird, and sacrificed themselves to create a paradox with the power to change everything.

It was only fitting that as the Who monster so closely tired to Amy's own story, it was the Angels that contributed to her own (kind of) demise. While they weren't at their scariest (though the creepy J-Horror giggle of the cherubims was a nice, new touch), they were the best choice in helping deliver a definitively final (albeit bittersweet) end.

Unsurprisingly, Karen Gillan and Arthur Darvill were as excellent as we've come to expect, bouncing from rompy humour to heartbreaking drama with ease. While the idea of a suicide pact isn't exactly the most jovial of potential exits, their decision to jump into the unknown together encapsulated their relationship - no matter the danger or the potential pitfalls, as long as they made the journey with each other, everything would be ok.

Kudos also to Matt Smith, who managed to break my already fracturing heart with his grief-stricken, surprisingly selfish reaction in the face of Amy's immediate sacrifice. Thanks to The Power of Three, his emotional connection to the Ponds has never been more heartfelt, and the importance of his travelling companions never more stressed - so it'll be interesting to see how he's handling things come Christmas time.

Admittedly, it left a few nitpicky questions - if the only thing stopping the Doctor seeing the Ponds again is the TARDIS' inability to land in New York, why couldn't he just drop into Connecticut and drive/fly/bike over the state line? If Melody can use her Vortex Manipulator to get her parents the book, why couldn't the Doctor simply borrow that? And bugger Amy, Rory and the Doctor in all this - will nobody please just think of Rory's dad, Brian?!

Intriguingly though, there's every chance these questions - and more - will be answered in the series' latter half. Fan speculation suggests the episodes we've seen already have aired out of chronological order, and then we have River's comments that the Doctor's become almost too invisible suggesting series arc-related plot points we haven't even thought about until now.

Ultimately, The Angels Take Manhattan succeeded in an already uphill battle by honing in on the romanticism of the Ponds' connection to the Whoniverse and each other, bringing Amelia's journey full circle with a flurry of poignant touches, and definitively writing them out in the most bittersweet way imaginable.

As far as final pages go, it's one we're happy to leave unripped.


Source : ign[dot]com