Lucas Till explains why X-Men: First Class is the best of this summer's superhero movies. Russell T. Davies opens up about Torchwood: Miracle Day. Plus another absolutely amazing quote from the writers of Candyland.
Spoilers from this point forward!
Top image from Transformers: Dark of the Moon.
Havok actor Lucas Till explains what makes this movie different from the rest, including some wonderfully backhanded compliments for Thor and Green Lantern:
"With 'Captain America,' you've got a 1940s pulp-movie feel, and I feel like that's going to be its own separate thing; fun and entertaining. And then you've got 'Thor,' which is, like, a cool 'He-Man' episode, which I was thoroughly surprised with. Then you've got 'Green Lantern,' which I thought was going to be stupid, but kind of looks like a cool cartoon. This one [First Class] - There's so many metaphors to real life and there's actual character development. I feel like you care about the characters, then there's an ensemble cast, which they're trying to do with 'Justice League' and 'Avengers.'
Here's a new TV spot. [ScreenRant]
And here's a TV spot for Jon Favreau's science fiction Western.
Here's another promo. [TFLAMB]
Shia LeBeouf explains Sam's situation at the beginning of the third movie and why Rosie Huntington-Whiteley's Carly offers Sam things that Megan Fox's Mikaela could not:
"Sam's sort of frustrated. He has no purpose in life. When he was with the Autobots, he had purpose. He was needed. But he's got this very supportive girl [Huntington-Whitley's Carly Miller] who's having him go to these job interviews and trying to nurture him, get him back on his feet. It's a different female energy than he experienced with Mikaela, who was a very cold biker chick. This woman's more of a maternal, loving type. Sam wants a domestic, eggs-in-the-morning kind of a thing."
Also, check out the link for some, uh, interesting thoughts from LeBeouf on why the working relationship between Michael Bay and Megan Fox broke down. [Hero Complex]
Here's a new one-sheet, showing Hugh Jackman, his son, and his robot friend walking into the ring.
Here's a teaser trailer for the upcoming sneak peek of the first half of the two-movie adaptation of the fourth and final (for now) book in the Twilight series. Hmm...I feel like I may have overcomplicated this. Anyway, to the video. [Gigwise]
Here are some photos, including a new poster.
No one in Hollywood takes his job more seriously than Candyland co-writer Glenn Berger, who sees his earlier comparisons to Lord of the Rings and raises with a Shakespeare nod:
"You take something that could be considered childish or silly and you take it really seriously and say, "What if there was an operatic, ‘King Lear'-like civil war in a kingdom that just happened to be made completely out of candy?" And you take the action sequences seriously and you take the comedic elements seriously and there's a real emotional journey the characters go on. Having just done that, twice over, with [Kung Fu Panda], we thought "Maybe we could try it again with candy." We were excited about the challenge and hopefully we can pull it off."
I'm calling it now - this movie about a candy-based board game will be better than Citizen Kane, The Bridge on the River Kwai, and The Godfather Parts I and II combined. Check out the link for more amazing quotes from Berger and his writing partner Jonathan Aibel. [/Film]
Here's one more sneak peek at "A Good Man Goes to War", which among other things explains precisely where the title comes from. [Blogtor Who]
Here are some not entirely helpful teasers:
2. "Oh turn it off. I'm breaking in, not out!"
4. "They don't put up a balloon or anything!"
5. A line from a previous episode takes on a new significance.
6. "****** ******** is a geography teacher, ****** **** is a superhero"
8. Rory: "That's probably enough ******* now."
You can check the link for more, including another possible indication that episode eight really might be called the previously rumored "Let's Kill Hitler." [Digital Spy]
Alex Kingston suggests in Doctor Who Magazine that River Song's benevolence will be called into question:
Right up until the reveal, people are enjoying trying to guess. Is she really on the Doctor's side? Or is there something more to her? Is she actually not such a good person? Even once we know who River is, I don't think we've lost her potential for adventure.
Karen Gillan talks about how "A Good Man Goes to War" will change Amy and the extraordinary lengths Steven Moffat went to in order to keep the big revelation secret:
It is really, really emotional for Amy what she goes through. I think any woman watching will really feel for her. It is something that I actually found quite difficult to understand so I had to speak to my mum about the labour scene and just tried to make it really horrific. ... (Giving birth) is going to change her in a big way for the long run and I think we are going to get to see Amy in a really different light.
I didn't know until we started shooting it because everything is really last minute on Doctor Who, so you just get the script. Then there was a dummy ending on the episode seven script so none of us knew what was actually going to happen until the readthrough when Steven Moffat took us outside and showed us on his laptop.
There are lots of monsters in this one and it really feels like a finale. There are lots of old familiar things coming back and lots of storylines that have been going on for many years will be resolved.
Here's a brief interview with Arthur Darvill, Karen Gillan, and Matt Smith, in which Smith drops some hints about how this episode's revelation about River Song will impact the rest of the series. [Doctor Who News Page]
Russell T. Davies explains that just because everyone is suddenly immortal doesn't necessarily mean we'd act all that differently:
Well, in episode three there's a great scene where Gwen and [CIA analyst] Esther walk through Washington at night, and it's kind of a wild atmosphere, because half of the world is out drinking and the other half are at home praying, so we are acknowledging that sort of stuff. But at the same time, I think you should never forget that during the greatest national crises people just go to work, and go home, and get on with it. If this really happened, you and I would just carry on as normal. If something conceptual and huge has happened, nonetheless, you've got a deadline tomorrow, and I need to go to work and write a script tomorrow, and if our granddad is ill in bed, he's still ill. So it's a very unusual concept, in that it's hard to dramatise in many ways. That's why I like it.
He also gives a timeline for when we'll start to understand what's going on:
"It's not one of those things that'll annoy you! Round about episode six you start to get concrete answers, and episodes nine and ten finally explain it all properly. But all the way through Jack's kinda ahead of the game in working out what's going on. It's a mystery, but in a way it's not that mysterious. Obviously something's happened to the world, but the most fascinating thing about what happens in terms of science fiction plotting is that it happens instantaneously. It's not a virus, it hasn't spread, it didn't take a day for it to travel from the North pole to the South pole; it's literally a flick of the switch and it's happened. To Jack, that instantly suggests what has happened, and that takes a few episodes to evolve. It's more about explaining what has happened to society while this has happened, that's the real meat of the story. But it is explained in the end, and finding it out… this story goes back in history as well. We've got episodes that go back to 1927, so it's a broad story covering continents and covering time as well; it's one of those stories with a plot that's been planned for decades, so there's a lot of expanse and muscle in the story. The 1927 stuff is beautiful. I'm giving away too much!"
He also reveals that Bill Pullman's Oswald Danes escapes his murder sentence on the grounds that his execution was carried out to the best of everyone's ability, and his only way to survive out in a world that hates him is to try to ride the media wave. Davies also says that Lauren Ambrose's PR woman is the real villain of the story. There's a ton more at the link. [SFX]
Here are some more promo photos. [Den of Geek]
As was hinted at previously, Eliza Dushku will indeed star in a prequel for Torchwood, and it's in the form of a motion comic called Torchwood: Web of Lies. Jane Espenson and Ryan Scott co-wrote it, and Dushku is the star, but it also features John Barrowman and Eve Myles. [EW]
Finally, in news that isn't nearly as exciting as it might sound, Ianto Jones is being brought back...but only for three radio plays set between the second series and Children of Earth. [Blastr]
Let's complete the Whoniverse trifecta with the writers and working titles for the final three stories of the series, which will be shown in the fall. The first two episodes are currently called "Sky" and "The Curse of Clyde Langer", and they're both written by Phil Ford. Gareth Roberts wrote the de facto series finale, "The Man Who Wasn't There", which reportedly does feature Luke in a starring role, so at least the show gets to go out with the gang more or less all together one last time. [Life, Doctor Who, and Combom]
Blair Brown answers fan questions in this video.
Series writer and co-executive producer Alexander Woo explains why the show is not following the book's lead by sending Bill to Peru:
"In this TV show, Bill is very much a part of this world. In the books, Bill spends most of his time in Peru and is completely disconnected from what Sookie is doing. We have found that Sookie's story has the greatest tension, conflict and emotional consequences when Bill is there. I think the show benefits from Bill being there. We let Sookie off the hook a little less. In the books, Sookie is afforded the opportunity to enjoy various romances. For us, the inner conflict and turmoil on Sookie's part is brought into much starker relief when Bill is a presence rather than just disappearing."
Here's a casting call for the twelfth and final episode of the season, "And When I Die", courtesy of True-Blood.net:
- Doug, Alcide's foreman at Herveaux Construction. He's a schlubby guy with just a couple of lines.
- Patrick Devins, a tough, ruggedly handsome man in his mid-30s to mid-40s. He's an old military buddy of Terry's; in fact, Terry saved his life twice. Patrick will be a series regular in season 5 (that's right, they're already casting characters for season 5), appearing in 7 out of 13 episodes.
That suggests season five will have at least twelve episodes - assuming one of those thirteen episodes Patrick appears in is the fourth season finale - but it could also mean the fifth season is getting thirteen episodes. Either way, the show clearly isn't going anywhere. [True-Blood.net]
Here's a new trailer for Syfy's upcoming superhero show. [Den of Geek]
Additional reporting by Katharine Trendacosta and Charlie Jane Anders.