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Monday, 30 September 2013

BREAKING BAD 5X16 "Felina" Review

Posted on 17:42 by gllapsi


That's it. It's over. It's done. "Breaking Bad" has reached its conclusion and as I begin to type this review I have to admit that I'm at a bit of a loss as to what to say.

Well let me get this out of the way; I liked the finale. I thought it was a fitting ending to one of the greatest television shows of all time. Was it the greatest finale I've ever seen? Is "Breaking Bad" the greatest show ever? I'm not going to bother trying to address these questions. The value of "Breaking Bad" as a whole, and of this finale in particular will be determined in time. It's going to be a good, long while before anybody can rank this series with real precision and surety within the pantheon of great television series. That being said, there's still a lot to talk about.

The most interesting thing about "Felina" is how against the grain of the rest if "Breaking Bad" it is. It isn't a member of "Breaking Bad's Greatest Hits", it doesn't have those heart-pounding, emotionally draining sequences that have made "Breaking Bad" so famous, especially over these last couple of episodes. For a series that made a name for itself largely based on all it's twists and turns, "Felina" curiously plays out almost exactly how I had predicted it would weeks ago. No big surprises, the tables never really get turned, it's methodical, it's blunt and it's clear. And I think that's a reflection of where Walter White is at in his head, it's a reflection of what he morphed into in the final moments of last week's "Granite State". Walter White's Heisenberg persona came about because he was angry at the world. He enjoyed being angry. He loved to scream and snarl and rage at the world he deluded himself into believing owed him it's reverence. Because of his crippling self-centrality, the only way Walt could feel alive was when he was asserting his superiority over all he surveyed, and every person within it.



But now, with Heisenberg purged from his system through crushing defeat, Walter White finds a new spark of life left in him, enough to carry him and see his goals through to the end. But not for himself, oddly enough. This entire series has been about a man pursuing his own selfishness and his own gain, a man driven to extremes by his own self-worship. But now, with that side of him having been stamped out of him by karma, or destiny, or God (whichever way you choose to look at it), Walter White has nothing left to do except use his gifting of brilliance and return to the colossal wreck of his own making and set things as right as he can set them. A ghost of his former self, Walt isn't getting high off the rush of adrenaline such activities would have brought him before. He doesn't seem to be getting any real joy from his plans, he is simply using the skills he has learned over the past five season in order to do what must be done. And that's what "Felina" is, it's taking care of business. It lacks the high-tension and thrills of past "Breaking Bad" episodes because there's no thrills left to be had. It does what must be done and makes no attempt to glamorize it or make it more exciting it they truly is.

From a structural standpoint, "Felina", as well as "Granite State" serve as more of an epilogue than a finale. The true arc of the show ended with "Ozymandias". That was our finale, all the show's threads coming to a head. "Ozymanias" was the finale, "Felina" is the send-off. And while that structure may bother some viewers, I think it works as a proper antidote to a common TV finale problem: an ending that's too abrupt. By liberating himself from the expected conventions of television storytelling, Vince Gilligan freed the show from having every major, finalizing event have to happen in it's final hour. It was a smart move, and one that may mess with some folks expectations, but if the story plays out better this way, so be it.

So Walt kills the Nazis. Jesse goes free. Walt dies. That's basically it. That's what happened. It's so simple and obvious, but those final few moments were packed with so much meaning. When Jesse drove off into the night screaming with joy, finally free from the cancer that is Walter White, a sense of relief washed over me. It was as if, with Jesse's freedom came the viewer's freedom. The horrors that this show has put its audience through these past couple of episodes have begun to feel like a cage from which their is no escape, a cage to which only Walter had the key, and it seemed as if there was no way he would ever unlock it. But he did. His final act, though not redeeming, left us with some hope. And given what a gut-wrenching experience this whole thing has been, I'm so very glad we got to experience some hope right here at the end.



The final scene, where we observe Walt as he looks over the Neo-Nazi lab, was, I think, a perfect scene to end the show on. He is in the place that he loved more than anything in the world: a meth lab, a monument to him and his great "achievements". Walter White is a man who values himself far above all other things, and in "Felina" we finally see him come to terms with that. He's too far gone to turn back and become the man he should have been, he's alone because he sacrificed every other person he had in pursuit of his own desires. And in this final scene we see him die, not surrounded by a family who loves him, but surrounded by the cold, unfeeling metal tools of his craft, all of which are as lifeless and empty as his soul. Some would interpret this ending is a victory for Walter White (some critics have gone as far as to say that this finale somewhat undermined the rest of the series' moral message), but I'm inclined to disagree. There is no victory in dying alone, comforted only by self-love and delusions of grandeur. Walter White died one the saddest and emptiest men who ever lived, and no final act of goodness can ever change that. Losing with a marginal amount of grace is still losing, and Walter White lost long, long ago. He lost in the pilot episode of this show, when he made the decision to let his ego rule his heart and mind, and as a result he lost his family, his soul and his life. The fact that he died with a smile on his face doesn't mean he won, it only means that he lost touch with morality, selflessness and real love so long ago that he no longer understands what winning really means. 

The episode title refers to a song called El Paso by Marty Robbins, about a man who falls in love with a Mexican girl and gets in a whole world of trouble because of it. His love for this girl gets him chased out of town, and when he returns he's fatally shot. The final verse of the song reads: "From out of nowhere Felina has found me, kissing my cheek as she kneels by my side, cradled by two loving arms that I'll die for, one little kiss and Felina, good-bye." The blue meth, Walt's legacy, is his "Felina". But, as we learned so pointedly in "Ozymandias", Walt's legacy will fade from existence leaving nothing of meaning behind. And that's how Walter White meets his end; wrapped in the loving arms of his own emptiness and meaninglessness. He loved his own fleeting desire for recognition and power to the very bitter end, and I can't imagine anything sadder than that.



While we're on the subject of finales and endings, I have some thoughts, or musings on the subject that occurred to me while pondering this episode: One big thing I took away from "Felina", oddly enough, was reaffirmation of my love for the series finale of "Lost". The moments in "Felina" that worked best were the moments where the story stuck to it's narrative guns, propelling the characters forward to their final destinations. The weakest scenes were the ones where the narrative went a bit out of its way to wrap up "loose-ends". Now none of the scenes in the episode were bad, Mr. Gilligan managed to wrap the whole thing up as gracefully as he could, but I couldn't help but notice how very little I cared about each little storyline being wrapped up with a neat little bow. Some friends of mine expressed a desire to know what happened to Brock, which I can't see fitting into this episode at all. It's not that I don't care what happened to Brock, I do, but Brock's resolution was not a piece of the story at hand, this isn't, and has never been, Brock's story. Explanations only need come into play as support for the current narrative, and pausing from the action to say "oh hey, so this also happened to that one other character" undermines the flow of the story-line that really matters. I honestly could've done without that final establishing call with Lydia where Walt spells out to her precisely how he killed her. I have to question the logic of disrupting the Walt/Jesse sequence that was going on to further clarify the fate of a character that only now appeared in this final season. Did I enjoy it while it was there? Sure. I enjoyed watching Lydia die as much as the next viewer, but in the broad scope of the episode I can't say that it really worked well enough to justify its presence.

And that's what I loved about the "Lost" finale. No further attempts at closure could've made the final moments of that show more powerful. Knowing why Walt (har-har) was "special" has no relevance to how and where the characters ended up. "Lost" wasn't a show about mysteries, "Lost" was a show about characters and the fact that it managed to find a suitable ending for each character arc given a cast of its size is nothing short of miraculous. To say that the presence of unanswered questions (there aren't as many as people think there are) ruined the ending of the show is to entirely miss the point of "Lost" itself. As much as I admired "Felina" I would be lying if I said that the final moments of it affected me more than the final moments of "Lost". And while that's largely by the design of each show ("Lost" is a show that lends itself to more sentimentality) I feel it's still a testament to how good of a finale "Lost" really had. This isn't meant as a slam on "Breaking Bad" by any means, "Breaking Bad" did what it had to do, it's ending is fantastic and deserves all the praise that it gets. I just think that it serves to prove a point about ending a television show: knowing everything isn't as important has having an ending that means something. And I will, without a doubt, take a finale that answers nothing but retains its meaning over a finale that checks off all the answer-boxes at the expense of it's narrative.


"Felina" is a great episode of television and the surprisingly simplistic ending that I didn't know I wanted. "Breaking Bad" has forever cemented its legacy as one of the greatest television shows of all time and I have loved watching every second of it. It isn't hard to say goodbye to this show, it's never been a comforting presence that I'll miss having every week, I'm just overjoyed that I finally get to see the complete picture. "Breaking Bad" is finished and is all the better for it. We finally get to see the disturbing end of television's most talked-about anti-hero, and while on its surface he may have died on top, there's a much more powerful and unnerving reality lurking below that ending. It's a finale with layers, and I wouldn't have it any other way.

“I did it for me. I liked it. I was good at it. And I was really…I was alive."

It's been a joy writing these reviews, so thanks to everybody who took the time to read them. I look forward to picking up with some "Walking Dead" reviews starting with a series recap/review next Sunday.

Have an A1 Day!

Episode Grade: A
Season Grade: A
Series Grade: A

Credit goes to Heisenberg Chronicles on Tumblr for that awesome poster.
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Posted in Aaron Paul, Breaking bad, BRYAN CRANSTON, Felina, Vince Gilligan | No comments

Yes Ma'am Monday: Carrie-Anne Moss

Posted on 06:03 by gllapsi
Ma'am /mam/ noun
 - term of respectful or polite address used for a woman.
 - term of address for a ranking female officer.
 - term utilized for a person of the female gender that just saved your sorry butt from a horde of genetically mutated Nazi undead super soldiers.

There's only a handful of films in my life that upon first viewing left me instantly feeling like pure genius had been on display: Blade Runner (1982), Fight Club (1999), V for Vendetta (2009). But perhaps at the top of the list is The Matrix (1999).

I distinctly remember walking out of the theater that night feeling like my neural pathways had reached sensory and cognitive overload. I went back the next night and have seen it countless times since.

One of the myriad factors contributing to the pure brilliance of the film is Carrie-Anne Moss' portrayal of the character Trinity.

Intense. Strong. Focused. Unbelievably sexy.

And although aesthetically pleasing physically, the primary draw, at least for me, are all the other attributes I listed.

She knows who she is. She cares about others. She doesn't give up.

Unquestionably a woman to which one would never utter the words,"Sure babe." Carrie-Ann Moss would automatically always hear,"Yes ma'am."

Stephen Sumner is the science fiction columnist for Action A Go Go. He's proficient in Klingon swearing and has attempted the Vulcan process of Kolinar (with only mild success.) His favorite sci-fi series include Firefly, Battlestar Galactica and Star Trek. He can be followed on Twitter at https://twitter.com/VierLights or on the Tumblr machine at http://vierlights.tumblr.com/. 
 
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Posted in #babe, #carrie-anne moss, #sexy, #sumner, #yes ma'am | No comments

Firefly for Rookies

Posted on 05:44 by gllapsi

Recently wrote a piece entitled Firefly Approved Agents of S.H.I.E.L.D Review. I was shocked, shocked I tell you, to learn that there are people in the world who've never even heard of Joss Whedon's Firefly. But that jolt to my system only arose because the show has become so engrained in my daily sphere of functioning, I had forgotten how I was introduced to it.

For years my brother would mention during conversation,"Dude, have you seen this show called Firefly? It's really good. Done by the same guy that did Buffy the Vampire Slayer." My response was usually,"Dude. What the hell kind of name for a show is 'Firefly' and do you think mentioning another show with 'Buffy' in the title is going to sell it to me?" (And yes...we say "dude"...a lot.)

Because my brother is awesome, he actually sent the first season of Firefly as a gift. He included in the note:

"Dude. It's like what Han Solo would've been all about before he hooked up with the Rebel Alliance."

How could I ignore a statement like that?

That night, disc one gets popped in. During the first couple of episodes, primary thought was,"What the hell is this?" Over episodes two and three, thinking shifted to,"Whoa. This is awesome." By the end of the first season, complete addiction took hold. The show was new, different and refreshing compared to almost anything else I'd ever watched. There was an absence of formula and an emphasis on creative non-conformity, with tons of action, excellent writing and sharp humor. And perhaps most importantly, the crew felt like family.
Quickly went online to find season two. Found nada, zip, zilch, bupkis. Called my brother. "Dude. Can't find season two for sale online. What's the deal? Is it out of print or something?"

His response?

Words that are forever etched into the very foundations of my mind. Words which upon hearing caused a thousand serrated daggers to rip my heart to shreds. Words that bit and clawed with the ferocity of savage space cannibals. Words that lead to thoughts of jabbing knitting needles into my eyes and then running madly, screaming, into the night.

"Dude. There's only one season. And if you didn't notice, its not even a full season."

Because of severe mismanagement by the TV execs, the show had been cancelled.
Previously on Action A Go Go, I'd written a series of articles entitled Trek for Rookies which people seemed to appreciate. Geared towards folks that were turned on to the Trek universe by the Abrams reboots, but didn't know where to start regarding the television series.

Because the Firefly series is almost a blink of an eye compared to the extensive history of Trek, it doesn't require multiple articles. However, if you'd like to simply get a taste, or perhaps you're already a fan and need something to share with others to open their eyes to the awesomeness of Firefly, then this article may be of help. Enjoy!

Firefly Overview
Joss Whedon (writer/director) described the show simply as "nine people looking into the blackness of space and seeing nine different things". Others have described it as a "space western," but I've always felt that does it a disservice, since the label "western" carries much baggage. (And I, generally, am not a fan of the genre. I think the only cowboy I ever found fascinating was The Stranger in The Big Lebowski.)

My brother was right. Malcolm Reynolds is cut from the same cloth as Han Solo. He, and the rest of the crew on the Firefly class ship named "Serenity" are all misfits, trying to find their way in the universe. Smuggling, running from the law, finding trouble and then getting out of it.
Cast/Characters 
Malcolm Reynolds (Nathan Fillion) - Captain of the ship. A rogue. A man of action. Anti-authoritarian. Anti-government. Anti-religion. Cynical on the surface, but that's just to cover up that he actually cares. Well, cares most of the time anyway. Aw hell. Some of the time? Hard to tell.
Zoe Washburne (Gina Torres) - Second in command. Skilled in tactics and combat. Dominating presence. Married to Wash. "Amazonian goddess-warrior" is a term that comes to mind. 
Hoban "Wash" Washburne (Alan Tudyk) - Pilot of the ship. Married to Zoe. Not someone you'd pick first to help out in a fire-fight, but would be awesome to have him sitting at your poker table. Funny as hell and an expert at handling the ship. 
Kaylee Frye (Jewel Staite) - The essence of kindness. A smile that would warm the most bitter of hearts. Master mechanic. 
Jayne Cobb (Adam Baldwin) - Not that bright. Driven mostly by his hormones. Morally ambiguous. And because of that, he is awesome. We live in a politically correct, corporate, cubically-driven society. Living vicariously through Jayne is a wonderful thing. 
Inarra Sena (Morena Baccarin) - A professional courtesan. Looking at her, one would think she's trained in a thousand arts of pleasure. But it's actually more like twenty three thousand. 
Shepherd Book (Ron Glass) - Claims to be a man of God. But there's a past. Someone once asked him if the Bible didn't have some specific things to say about killing. His response? "Quite specific. It is, however, somewhat fuzzier on the subject of kneecaps." 
Simon Tam (Sean Maher) - Although a brilliant, handsome doctor, he is completely incompetent around women he finds attractive. Cares more for his sister River than anything else in the universe. 
River Tam (Summer Glau) - To write anything of her would be to give too much away before viewing the show. However, will share a gif that gives a clue as to what lay down the road:
Alphas 
 - Action packed, but not at the cost of substance.
 - Much humor at all levels, from the prurient to the subtle.
 - Multiple-viewing shelf life. To this day, after seeing an episode for the dozenth time, I'll still catch subtle things I'd missed before.
 - Every single crew member, regardless of what faults they may have, is likeable. They become like family.
 - If you're a fan of language, the show contains a smorgasbord of cool colloquialisms and slang.
 - It's no secret that the paradigm of women as mere sex objects runs rampant in Hollywood. However, even though all the women on Firefly are sexy, they also show amazing depth of character and embody tons of admirable qualities. You know. The way it should be.
 - Special effects are pretty awesome considering it was made for TV. Stunning on Blu-ray.
 - Speaking of which, when looking to buy the series and the film, minimal damage is done to one's bank account. But when you have them in your possession, clear the weekend schedule and turn off your phone. The words "Firefly" and "binge" usually go together.
 - And if you're a fan of Christina Hendricks, you'll be happy with a couple of her appearances, made before Mad Men existed.
Deltas
 - As stated in the intro, if you watch the first episode cold, one may think,"What the hell is this?" Be patient. Watch a few episodes. It sometimes takes time for the mind to realize the greatness of something new.
 - Fourteen episodes. One movie. That's it.
Is Firefly right for you?
If you like science fiction; if you like action; if you like word play; if you like dry humor; if you like seeing authority being bested by the underdog; if you like seeing people doing the right thing even when it would be more expedient to do the easy thing; if you liked Joss Whedon's work with The Avengers (2012) and Agents of S.H.I.E.L.D; if you always wondered what a TV show about Han Solo would've been like; then Firefly just may be right for you.

Will close with an image to which every fan of Firefly can relate.
The photo above is for entertainment purposes only. It is a metaphorical representation of the inner existential turmoil experienced by fans of Joss Whedon's Firefly and is in no way advocating actual violence. Please do not do this in the real world. Mr. Travolta was unavailable for comment.
Stephen Sumner is the science fiction columnist for Action A Go Go. He's proficient in Klingon swearing and has attempted the Vulcan process of Kolinar (with only mild success.) His favorite sci-fi series include Firefly, Battlestar Galactica and Star Trek. He can be followed on Twitter at https://twitter.com/VierLights or on the Tumblr machine at http://vierlights.tumblr.com/.
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Posted in #fillion, #firefly, #geek, #glau, #sumner, #whedon | No comments

Sunday, 29 September 2013

Opinion: Why that "4 Ways to Make Star Wars Great Again" Completely Misses What Makes Star Wars Great

Posted on 16:37 by gllapsi


I am a massive fan of Star Wars, always have been, always will. It is the movie series nearest and dearest to my geeky heart. So it really grinds my gears when I see ignorant opinions gain traction, and a mob-mentality starts forming around an opinion that's fundamentally flawed and off-base. I would argue that no franchise has more of this than Star Wars, too many people have strong opinions because of sentimental attachments instead of real critique. Ya think the prequels sucked because Jar-Jar and Midi-Chlorians and CGI Yoda and stuff? THINK AGAIN FANBOYS. It's time for a crash-course lesson in why Star Wars is really great, and why the prequels really sucked.

Star Wars is great because it created a massive epic universe that's as multi-faceted and diverse as our own. It isn't great because it IS a western, it's great because it CAN BE a western, or a pirate movie, or a political thriller, or so many things. George Lucas didn't establish such a massive sandbox of worlds and cultures just to distill the entire thing into a grimy looking western. What these guys are describing in their video is a sure-fire way to make a creatively dead fan-service fest. 



The Star Wars prequels failed for one reason and one reason alone: they were bad movies. It's not because they took place is cities, or because they explained The Force. The prequels sucked because the writing sucked and the casting sucked and the directing sucked. But it seems like fanboys can't just blame the poor writing, EVERY LAST THING in the prequels has become tainted in their minds by mere association. 



JJ Abrams and Michael Arndt have been gifted with a thousand different characters, species and planets to construct any kind of story from, and to say that A. They can't have cities, governments or libraries, B. Everything must look like it rolled in garbage, C. The Force CANNOT be explained, needlessly restricts the storytelling potential for them. To say that Star Wars is great because of its superficial ascetic elements is absurd, and completely misses the potential for great film-making. Wanna know how to make Star Wars great again? WRITE A GOOD MOVIE. That's it. That's all it takes. Whether it takes place in the streets of Coruscant or the deserts of Tatooine, or even the icy wastes of Ren Var, it doesn't matter. It just needs to be good filmmaking.

May The Force be with You, J.J. Abrams. Let's bring Star Wars back with a vengeance.


Andrew Allen is a television (and occasionally film) writer for Action A Go Go. He is an aspiring screenwriter and director who is currently studying at the University of Miami. You can check out him on Tumblr @andrewballen and follow him on Twitter @A_B_Allen.
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Posted in Disney, episode VII, George Lucas, JJ Abrams, Star Wars | No comments

Saturday, 28 September 2013

RUSH MOVIE REVIEW: Is this the racing movie we’ve been waiting for?

Posted on 22:11 by gllapsi



                  I can count the number of really great racing movies on one hand. And these are movies that car guys (like myself) will talk about with big grins on their faces. That list of movies would include Grand Prix (1966), Winning(1969), and Le Mans (1971). Days of Thunder (1990) can be thrown in there as well, but that’s a much better “movie” than it is a car movie. Which brings me to Ron Howard’s latest feature film, RUSH. It’s been talked about in car enthusiast circles since it was announced and the project has held much promise.

                Has it delivered? Let’s find out!

THE STORY AND THE PEOPLE WHO GET PAID TO TALK…
 
                The movie centers on the real life racing rivalry of James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). There was racing wins, losses, and countless dances with death with all of this is set against the backdrop of the go go 1970’s where sex, drugs, and wild music ruled everything. And the rivalry couldn’t be anymore Hollywood. Hunt, the devilishly handsome and constantly on edge satyromaniac (his racing suite had a patch on it that read SEX: Breakfast of Champions) up against the calculating and constantly cursing Lauda. Director Howard uses this to excellent effect and gives both characters plenty of moments to shine where hilarity and tragedy are put into focus.

                And the cast is superb. Hemsworth does an great job of creating a character that’s constantly showing off while desperately trying to hide the turmoil inside. Brühl manages to ooze intelligence and resolute determination. Good stuff all around here. Olivia Wilde also gives a solid performance as Hunt’s wife. Alexandria Maria Lara in turn shines as Lauda’s wife as well.

THE GOOD…

With the story and acting up to snuff the details give this movie an air of authenticity that engrosses at every turn. When you are in Brazil the heat is so sweltering everything is seen through a haze and you glimpse ice desperately melting off a sizzling race tire. In Italy the tifosi (die hard Ferrari fans) pack into every corner and even crawl on two story tall signs just to get a glimpse of the racing. And the cars…oh the cars. 500 horsepower rockets darting back and forth and bucking under immense power. Yes, this is racing ladies and gents.

                The movie also earns its hard R rating and everything that comes with it.

THE BAD…
 
                Whoever shot this film had a case of the shakes. For all the beautiful stuff in this film you’d be hard pressed to make any of it out at times, which is a shame. For all the great moments it manages to catch it forgot the greatest lesson of all…you cut the film slow to catch fast cars in all their glory. Counterintuitive, I know, but it seems like ADHD film making is here to stay.

THE VERDICT

5 out of 5 Arnolds

 
 
 
 
This movie could’ve came out bad. Real bad. A Hollywood movie getting a bunch of European racing drivers right AND capturing the sexiness and excitement of a bygone era? With authentic cars, car talk, and details? Done. Ron Howard created a racing movie for the ages here, and while it doesn’t match the near documentary quality of Le Mans or Grand Prix it also wasn’t made in the era it was about, while those movies were. So RUSH gets the gold. Go see it in theatres. It’s a spectacle to behold. Racing movies don’t come much better.
 
P.S   Here's a picture of the actual Niki Lauda and James Hunt. Yeah, I think they did a pretty good casting job.
 
Cheers!

 
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Posted in Chris Hemsworth, Daniel Brühl, Olivia Wilde, Ron Howard, Rush | No comments
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Blog Archive

  • ▼  2013 (330)
    • ►  November (27)
    • ►  October (86)
    • ▼  September (65)
      • BREAKING BAD 5X16 "Felina" Review
      • Yes Ma'am Monday: Carrie-Anne Moss
      • Firefly for Rookies
      • Opinion: Why that "4 Ways to Make Star Wars Great ...
      • RUSH MOVIE REVIEW: Is this the racing movie we’ve ...
      • Great Moments In Action History 1: The Bullitt Car...
      • Meagan Marie Cosplay Awesomeness!
      • Disc Two: Christian Bale Dons Val Kilmer's Costume...
      • End Of Summer Editorial : Um...Blockbuster Filed B...
      • Thursday Trailer Park: BOUNTY KILLER Official Trailer
      • Firefly Approved Agents of S.H.I.E.L.D Review
      • ACTION A GO GO VIXEN OF THE WEEK: OLIVIA WILDE!!!!
      • SLEEPY HOLLOW 1X2 "Blood Moon" Review
      • AGENTS OF S.H.I.E.L.D.: A Counterpoint
      • NEED FOR SPEED trailer arrives starring Aaron Paul
      • AGENTS OF S.H.I.E.L.D. Review: The Terms “Disappo...
      • Trek for Rookies - Quick Reference Guide
      • Wallpaper Wednesday: You Just Can't Catch This BUL...
      • MARVEL'S AGENTS OF SHIELD Debuts Tonight on ABC! H...
      • Tunesday: The Music of the Dark Knight Trilogy
      • Trek for Rookies - The Original Series
      • Honest Trailers: Iron Man 3
      • Deleted Mandarin Scene from IRON MAN 3
      • Women + Armor = Awesomeness!
      • BREAKING BAD 5X15 "Granite State" REVIEW
      • Hyper Light Drifter just might make me a Kickstart...
      • Yes Ma'am Monday - Sigourney Weaver
      • ACTION A GO GO is on #Facebook. Your Profile never...
      • Stephen King - Thanks For All The Fears!
      • He's A One Man Army...Sonny Chiba!
      • Happy Birthday Elvira, Mistress of the Dark!
      • Time For A Katee Sackhoff Pictorial - So Say We All!
      • Thursday Trailers: Kevin Smith presents...THE DIRTIES
      • Sci-Fi/CyberPunk Visual Bliss - The Art of Vitaliy...
      • ACTION A GO GO VIXEN OF THE WEEK: Diana Agron...Hi...
      • SLEEPY HOLLOW 1X1 "Pilot" Review
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