Sam and Tiff talk about everything and nothing as friends are want to do.
Sixteen years never felt so short, but it’s with a heavy heart that we say so long and farewell to Jon Stewart as he sits behind the desk as The Daily Show‘s host one last time on Thursday August 6th, 2015. It’s bittersweet, for many reasons, chief among them the notion that though Stewart will no doubt go forth and create something of substance we’ll flock back to, but the familiarity and seeming ubiquitousness of The Daily Show with Jon at the helm will be sorely missed. Even when Jon took personal time away from the program, whether it was vacation or to direct a film (go see Rosewater!), and one of the correspondents took over hosting duties there was still this “gentleman’s agreement” between the audience and the show that Jon was coming back. We got to see the proto-hosting abilities of Stephen Colbert and John Oliver emerge but there was always this sense that The Daily Show wasn’t really The Daily Show until Jon returned.
Of course that wasn’t always the case.
While we see The Daily Show as a satirical powerhouse, the original concept of the show was much more in line with Saturday Night Live‘s Weekend Update – news with punchlines – combined with a Tonight Show celebrity interview segment. Even when Jon took over hosting duties from Craig Kilborn in 1999, The Daily Show didn’t carve out its place as cable’s most trusted news show until the clusterfuck that was the 2000 Presidential Election. The insane yet hilarious coverage and commentary provided by Jon and his team of correspondents featuring Stephen Colbert, Steve Carell, Vance DeGeneres, Nancy Walls, and Mo Rocca set the new tone for the show and propelled it into the politically-apathetic hearts and mind of a new generation of high school and college students in need of their own Walter Cronkite.
That’s not me being hyperbolic, by the way. Jon Stewart is to my generation what Walter Cronkite was to my parents’ generation. It would have been so easy for Jon to treat the hosting gig as just that and keep it in line with most comedy shows, but whether through his own desires or the demands of an audience in need of an iota of honesty, he and the show’s writers and producers turned it into something more. As the political and media landscape turned dark and ugly, Jon was there to offer a comedic palate cleanser that didn’t resort to condescension or fear-mongering to manipulate the audience. Jon did something news channels like CNN, FOX, and MSNBC didn’t – he treated us like we were intelligent, he respected the viewers as people and respected his position as the jester poking fun at royalty.
I was in high school when Jon started hosting The Daily Show and I can say without any hesitation that, to this day, he’s still my most trusted source for objective discussion of the news and media. Yes, he has his own agenda and his own biases but what I’ve always respected about Jon is his desire for discourse. Some news outlets bring people on their shows to yell at them and attempt to dominate the conversation; Jon Stewart brought people on to talk to them. For him it was about looking at both sides and finding common ground or, at the very least, understand where the other side was coming from. His friendly olive branch, however, didn’t stop him from turning it into a sharpened spear when certain guests underestimated his intellect and his ability to work the room in his favor.
The three most notorious cases were his appearance on the how defunct Crossfire and guests of The Daily Show Jim Cramer, host of the also defunct Mad Money, and Betsy “Death Panels” McCaughey. In the case of Crossfire and Mad Money, both shows took huge dives in ratings after Jon conversed with their respective hosts. And by “converse” I mean “ran circles around them intellectually”, though it became very obvious by the end of his “discussion” with Cramer that Jon was taking very little joy in using clips from the man’s show against him to make his point. Towards the end, Cramer physically sighs after yet another order from Jon to show footage. Betsy McCaughey’s appearance was one of those rare moments in television, other than watching audition tapes for American Idol, where I started to feel sorry for the guest. Brought on the show to talk about the language in the early draft of President Obama’s Affordable Care Act that supposedly mentioned “death panels”, McCaughey brought a large binder containing the bill, but neglected to mark where the language could be found. As she attempted to find it, Jon talked with her but McCaughey tried to ham it up for the audience by diminishing the importance of appearing on a comedy show to talk about an issue concerning the federal government. The audience wasn’t buying it, but Jon showed patience as she continued to thumb through the bill. Eventually, he had to go to commercial and when they returned, McCaughey still hadn’t found the statement that justified her coining the term. Instead, the two talked around the bill as if she’d come on the show prepared for a real discussion.
In all three example, Jon Stewart was underestimated by the “other side” and in all three examples he showed just how much he shouldn’t be underestimated. Yes, he still maintains that his job is about putting comedy first, and there are certainly plenty of moments that prove him right, but the audience is in on the joke. We know where his passion is because he’s not particularly good at hiding his emotions when it comes to certain topics and people. It’s because of Jon Stewart that we’ve been introduced to so many amazing comedic voices. It’s because of Jon Stewart that more veterans have access to medical care. It’s because of Jon Stewart that Jason Jones went to Tehran to talk to the real people of Iran, not just the religious fundamentalists most news outlets were showing as the only representation of the country. It’s because of Jon Stewart that we had at least one place to go where we trusted someone not to lie and manipulate us for the sake of ratings.
When Jon Stewart steps down on Thursday, there’s no telling what the future of The Daily Show will be. We’ve been asked to give incoming host Trevor Noah a fair shot and I’m sure many of us will continue to tune in if only to see how well he fares. That doesn’t mean Jon’s shadow won’t linger. For nearly twenty years he was ours, so getting over his absence might take a while.
But here’s to you, Jon! Looking forward to the next adventure!
And now, your moment of Zen.
How does a team of misfit lady-warriors regroup after saving the world from mind-altering tentacled demons? They go back to school.
Rat Queens is back and writer Kurtis J. Wiebe is joined by Tess Fowler, artist for the Braga solo issue, and colorist Tamra Bonvillain (Wayward, Pisces) as the new permanent team after Stjepan Šejić had to step down due to health issues (feel better Stjepan!) Anyway, with the new team in place, it’s time for these warrior women to start a new chapter of their own as they venture to Hannah’s old stomping grounds at Mage University to find out what happened to Hannah’s father after his row with the university’s Council of Nine. And by row I mean huge freaking battle of epically magical proportions!
Seriously, the first five pages show exactly what Fowler and Bonvillain bring to the table. They come out of the gate with a battle among the student mages that would put Hogwarts to shame. I want to meet all of the students and see all of the magic because some of these people had to survive, right? Right? It’s also a pretty diverse student body, Fowler’s designed, and Bonvillain’s colors always pop, her use of lighting is top notch as well.
The meat of the story, however, concerns Hannah and her relationship with her father and her alma matter. At the conclusion of the second arc we learned that Hannah’s rockabilly hairdo was more utilitarian than stylistic, hiding a pair of horns that have something to do with her necromancer parents. It seems the “demon baby” label may be further connected to her time as a student, which I can’t wait to discover. Wiebe continues to thematically tie his leading ladies with similar stories of absent or failing fathers. From the first arc we’ve known Hannah has a stronger relationship with her mother, not unlike Violet or Dee (Betty’s background…still a mystery), but unlike the traditional rigidity of Daddy Dwarf, Papa Vizari comes across as a man who knows he failed his child and could possibly have a relationship with her if they talked things out. Or magiked them. I don’t know how it works in the Vizari family. At least that’d be my guess as to where the proceedings go. Keep in mind, it’s only based on a few lines of dialogue, but what impresses me most about Wiebe’s writing is his ability to pepper just enough background in his exposition to justify future plot points. Case in point: only a few lines of dialogue spoken by or about Braga made her one-shot feel genuine instead of forced.
As always, the humor is a delight from Hannah’s crude yet nonchalant announcements to Betty’s bag of special candy (just don’t eat the green ones). Comic timing is an art I greatly admire in comic books, but Wiebe and Fowler are pros so the girls come off as natural in dialogue and movement. One of the little details I love is Betty’s hair going from braided while she’s “at work” to loose during her down time. It’s small, I know, but it adds to the character. And it’s really in the downtime where Wiebe shines in his writing. Rat Queens, if you’ll recall in a previous interview, is about a family of misfits. Emphasis on the family. When they’re not fighting orc hordes or having wild post-battle parties, the Queens are a rambunctious and raunchy group of friends who would go to hell and back for each other. Their concern and love for one another isn’t just because of their prowess as fighters, mages, or clerics, but from a place of real friendship and love.
Oh and Violet grew her beard again. Yes, she looks hot.
Rat Queens #11 will be out August 19th at your Local Comic Shop and Comixology. Buy it!
Today marks the 75th anniversary of Bugs Bunny’s first “official” appearance – according to film historians – in the Tex Avery/Merrie Melodies short “A Wild Hare” (July 27, 1940) that featured both Bugs and his long-time arch-nemesis with a speech impediment, Elmer Fudd. The cartoon is notable for a couple of reasons, one being it’s “officialness” stems from Bugs and Elmer appearing in their now classic roles with their voices and one-liners set in place. Their designs would be refined over the years, but this is where the Looney Tunes essentially begins.
I grew up watching reruns of the Looney Tunes as a kid, which I’m certain many of my generation did, and though I always had a greater affinity for Daffy Duck, Bugs is the ring leader for the cast of characters voiced by the masterful Mel Blanc with some wonderful assists from June Foray and Arthur Q. Bryan. The cartoons, however, wouldn’t be anything without the amazing talent of animation directors like Tex Avery, Bob Clampett, and Chuck Jones.
While I may have grown up with The Simpsons as a major influence on my sense of humor, Looney Tunes was the spark of it all and remains an integral part of my family and how we interact with each other. Bugs and company span three generations of appreciative viewers from my grandfather’s quiet chuckling at Foghorn Leghorn to my mother’s wild laughter at an exchange of “Rabbit Season!” “Duck Season” to my squeals of delight over the hair pins left behind in Witch Hazel’s haste to serve up some rabbit stew. And I suppose, if I play my cards right, when I have children they’ll be able to enjoy watching the antics of Bugs Bunny as he consistently makes the wrong turns at Albuquerque.
So it is with sincere gratitude that I wish Bugs Bunny a Happy 75th Anniversary!
Dear Bruce Timm,
You probably don’t remember me, but we met briefly at this year’s Emerald City Comicon. Susan Eisenberg actually introduced me to you but since you’re not much of a talker and I was nervous/shy it was a very short “Hi” “Hello” kinda thing.
Anyway Bruce – can I call you Bruce? – I’m writing this because you and your teams on Batman: The Animated Series, Superman: The Animated Series, Justice League, Justice League: Unlimited, and Batman Beyond are the reason I’ve been a long time DC Comics viewer and reader. I live and breathe the DC Universe more than anything (I have Big Barda tattooed on my arm for crying out loud!), so when I saw that you were returning to WB Animation for more DC Animated Movies, I was stoked. And then it was announced that the next movie you’re working on after Justice League: Gods and Monsters will be an animated version of The Killing Joke.
Bruce, if I could make one request of you before this movie has its script locked down, it’s this: Please leave Barbara Gordon out of the movie.
I don’t say this lightly. I’ve thought about this a lot and I even had a lot of reservations writing it down, but my brain won’t shut up about the subject so I feel compelled to let you know why. Mostly it’s that I’m so tired of having this conversation because it really seems to confound some people as to why myself and a great deal of female comic book readers have a problem with The Killing Joke. To be fair, there are some aspects to Alan Moore and Brian Bolland’s work that I enjoy, especially the philosophical dilemma of what turns men like Batman and the Joker into Batman and the Joker. But there are parts of the book that are problematic and you know exactly what I’m talking about because, should you decide to go all the way with this movie, you’re going to have to address it within the story. Namely the shooting, torture, and sexual assault of Barbara Gordon by the Joker. If you could please just do me the solid of taking this out of the movie, along with Barbara, I’d appreciate it. And if you’re worried about the integrity of the story without Babs in it, let me assure you…
Nothing would change.
Just hear me out for a second and bear with me because I’ll most likely be covering story elements that you’re well aware of but are important to point out nonetheless. Within The Killing Joke, Joker, as a means of torturing Jim Gordon and getting at Batman, shoots Barbara, paralyzing her, strips her naked, photographs her, and it is HEAVILY implied that she’s raped. And this is just to torture her father and Batman. The only times we see Barbara are when she’s shot, when Jim is shown the photographs, and when Batman goes to her in the hospital. At no point in this story does Barbara make any decisions or take any actions that effect the course of the story. She is a PAWN, a piece of the story that is actually about Batman, Joker, and her father. This is the definition of both “fridging” and the “sexy lamp” tropes. Barbara serves no narrative function except as an example of the Joker’s sadism in order to provide motivation for other characters.
Quite frankly, I could do without it. Preserving the integrity of the story doesn’t have to include the maiming and humiliation of a character who currently has one of the top-selling books at DC Comics, one that has attracted more young women and new readers than DC could have hoped for. I can only imagine what will happen when those girls and their parents decide to pick up the new animated feature that includes Barbara and the horror that would result from watching such intense scenes of violence committed against a woman. Yes, Jim Gordon is tortured as well, but he gets resolution at the end as well as a moment to assert how his moral compass hasn’t changed despite the machinations of the Joker. Barbara gets no such moment.
And please, if we could avoid the “but she becomes Oracle” part of the justification for including Babs in the story should you choose to do so. She doesn’t become Oracle in the book and it’s a logical fallacy to assert that The Killing Joke is directly responsible for her new identity. There was no plan in place for Babs to move on as a superhero post-Killing Joke and she was all but written out of the comics until Kim Yale and John Ostrander laid the foundations for her second life in Suicide Squad and Manhunter. The Killing Joke is only responsible for showing just how much regard for Barbara DC Comics had when Len Wein gave Alan Moore permission to “cripple the bitch.” The Oracle argument is further invalidated when one considers that amidst the New 52 reboot DC editorial could have easily erased The Killing Joke from Babs’ backstory, putting her in the position of starting from scratch as Batgirl without the story hanging over her like the Sword of Damocles. Instead, editorial kept The Killing Joke as canon but eliminated her time as Oracle due to the truncated timeline. It was more important to keep her paralysis and assault then it was to show her character growth as a hero operating out of a wheelchair. I mean, are you planning on doing another animated movie where we get to see the rise of Oracle? Anything including Batgirl? I see the next movies after Killing Joke are Batman: Bad Blood (featuring Batwoman) and Justice League vs Titans slated for release next year but wouldn’t an animated movie celebrating Batgirl or Oracle make more sense as a followup?
I ask only because the current Batgirl book from the creative team of Cameron Stewart, Brenden Fletcher, and Babs Tarr is ridiculously popular and directly responsible for bringing in new readers to DC Comics, many of them young women and little girls. The tone and the style of the book is lighter and brighter with an explicitly feminist mindset. The team has gone above and beyond to ensure the integrity of Barbara Gordon/Batgirl while keeping her accessible to all readers regardless of gender or age. The kicker being we’ve already gone through a Batgirl/Killing Joke controversy, one where the team asked that the Joker variant cover be removed from their book because it was the antithesis of the women-positive message the team had cultivated in actively distancing the book from the Killing Joke as much as possible.
Bottom line: The Killing Joke is toxic when it comes to attracting female readers and I doubt the animated movie would fare much better considering the most recent batch of animated movies have been all but gleeful celebrations of the PG-13 rating with plenty of violence and coarse language that makes it impossible for me to show them to my five-year-old nephew who loves Batman. It just doesn’t make sense, from a business perspective, to develop an entire line of superheroine products and merchandise for girls aged 6-12, one of those heroes being Batgirl, and then put out an animated product that features said character being horrifically injured and abused. I doubt whoever ends up writing the copy for the DVD/Blu-Ray is going to mention what happens to Babs in the description, so won’t that be a fun family moment when mom and dad buy their young daughter the newest animated movie that features her favorite hero only to watch the awful events that occur.
As a female reader, as a person who loves the animated movies and DC Comics, please write Barbara Gordon out of The Killing Joke. I would prefer she not be featured rather than sit through a movie that’s just going to be uncomfortable on all counts. And this isn’t a case where “then don’t watch it” matters. What matters is the continual validation of The Killing Joke and the insistence from DC Comics and some fans that it’s an essential story regardless of how it treats Barbara. There are others ways to torture Jim Gordon and I’m sure you have plenty of talented writers who could think of a million ways to push him without using his daughter.
Thank you for your time,
P.S. That Batman short was awesome!
Sam chats with Kelly Thompson about reviving Jem and the Holograms for a modern audience and the emotional gut punch of Heart in a Box. Also, get the official shipper name for Kimber and Stormer!
Logo by Nicole Jekich @NJekich
Music: “Jem and the Holograms Theme” by Freezepop
With filming already begun on Paul Feig’s Ghostbusters reboot, the director has taken to Twitter over the last few days and revealed the team’s old yet new accouterments. Working from the original premise of paranormal investigators who treat ghosts like a one would treat roaches or rodents, Feig and his costuming/props departments have taken what worked in the 80s and found a way to make it even more rough and ready for the next generation of ‘Busters.
Slated for release in July of next year, Ghostbusters stars Feig’s veteran ensemble players Kristen Wiig and Melissa McCarthy as well as Leslie Jones and Kate McKinnon. The plot goeth thusly:
Wiig and McCarthy play a pair of unheralded authors who write a book positing that ghosts are real. Flash forward a few years and Wiig lands a prestigious teaching position at Columbia U. (Like the original, the story takes place in New York City, even though it’s being shot in Boston.) Which is pretty sweet, until her book resurfaces and she is laughed out of academia.
Wiig reunites with McCarthy and the other two proton pack-packing phantom wranglers, and she gets some sweet revenge when ghosts invade Manhattan and she and her team have to save the world. [Source: The Boston Herald]
Well, if the “phantom wranglers” are going to get their sweet revenge, then they’re gonna need the right equipment. First, Feig gave us a look at the jumpsuits the ladies will be sporting.
— Paul Feig (@paulfeig) June 29, 2015
While this isn’t a huge deviation from the original uniforms from 1984, it’s worth noting that those were flightsuits while the newer jumpsuits are playing up the firefighter motif that makes sense when the team operates out of a refurbished firehouse. Even a little thing like adding the reflective stripes plays up the “emergency service” aspect and shows how the Ghostbusters approach their job. It’s splitting hairs, but the attention to detail shows that Feig and his team aren’t playing around with the concept.
There’s even a pick of McCarthy wearing her jumpsuit.
Next, Feig showed revealed the new proton packs along with a helpful diagram of the various components for those in need of the terminology when constructing their own.
— Paul Feig (@paulfeig) June 30, 2015
Again, it’s the details that really set the newer model apart original. The look of the old proton pack was slightly more put together than this, though it still had a polish that gave the audience the feeling that Spengler and Stantz had already gone through a refinement stage, but didn’t have time to do a proper field test. Hence, the elevator scene. The new model looks like how I imagine the ’84 pack would’ve looked during phase one of construction. It’s rusted and dirty, giving off the vibe that the team had to pick through a scrap yard to find the right pieces. Best of all, with the main pieces of costuming down, we get to see things like this:
Women cosplaying as Ghostbusters isn’t new, but the fact that a little girl is already enjoying the fruits of a new team of Ghostbusters, who all happen to be women, is just heartwarming. She now has a group of smart, science-oriented women to look to and go “I wanna dress and be just like them!” For Science!
Lastly, Feig revealed the new wheels our ladies will be driving.
— Paul Feig (@paulfeig) July 8, 2015
And no your eyes aren’t fooling you, that’s a hearse dressed up as the new Ecto-1. The concept hasn’t changed at all. In the ’84 movie, the Ecto-1 was a ’59 Cadillac ambulance/hearse. Makes sense, if you operate out of a firehouse then your vehicle would most likely be a revamped ambulance with awesome sirens and lights. The new Ecto-1 doesn’t mess with what was already a good idea, though there is something hilariously morbid about using just a repurposed hearse to catch ghosts.
Overall, the design aesthetic of the new Ghostbusters is coming along nicely and I personally can’t wait to see the movie. But what do you think? Let me know in the comments.
Yeah I know we’re at least two years away from this being any sort of reality, but if Warner Bros. and DC Comics want to make that June 23rd, 2017 release date, then they’re going to have to assemble a cast some time soon. I’d say San Diego Comic-Con would be the best place for such announcing, but I’m not holding my breath. Anywhoozle, while Gal Gadot’s acting prowess as Diana of Themyscira/Wonder Woman has yet to be seen, there are a number of actresses who would do a bang up job filling the ranks of Diana’s sister Amazons. While no one is certain how much time will be spent on Themyscira, it’s still important to feature the Amazons in some significant way. The Amazons, like Diana, can embody a wide range of archetypal and modern roles, but you need the right actresses to pull it off.
So, here is just a small offering of actresses who could grace Themyscira with their presence. This is only scratching the surface, mind you, because there are a lot of Amazons.
Was there really any doubt that she’d end up on this list? One of the breakout characters on HBO’s Game of Thrones, Gwendoline Christie’s Brienne of Tarth has been responsible for a lot of “fuck yeah, Brienne!” moments as the character evolved amidst the War of Five Kings and her interactions with Catelyn Stark, Jamie Lannister, and Podrick Payne. Through it all, Brienne stubbornly maintained her core tenants of loyalty and honor, naming her sword Oathkeeper as a constant reminder of who she is and the promises she made to Renly Baratheon and Catelyn Stark. Christie’s work as Brienne has led to roles in The Hunger Games and the upcoming Episode VII of the Star Wars Saga, both of which have cast her in warrior-type roles. Casting her as an Amazon wouldn’t be that far out of left field and I can easily see her as a confidante to Diana or one her primary antagonists on Themyscira. Either way, a fight scene will ensue and it will be glorious!
The breakout star and personality of Orange is the New Black, Laverne Cox has proven herself to be an amazing actress as well as a compassionate and compelling representative for the transgender community. The presence of Cox in the ensemble cast of women emphasizes the importance of media representation and acceptance of who she is rather than dictate who she should be. The fight for complete LGBTQ acceptance continues, but it would say so much if Laverne played a character who stood side-by-side with Wonder Woman in battle or counseled her on Paradise Island, not just as a transgender woman but also as a woman of color. Of all the characters in the DC Universe, Wonder Woman has the most love and compassion for all living beings, but especially women, and certainly the solo film should find a way to display that whether through actions or dialogue. So far, Warner Bros. and DC have been proving their openness to casting people of color within their ensemble tv shows like Arrow, The Flash, and the forthcoming animated series Vixen and spinoff miniseries Legends of Tomorrow. The casting news for the movies have followed suit with Jason Momoa as Aquaman and Gal Gadot as Wonder Woman. There is a willingness on the part of WB and DC to diversify and the Amazons would certainly embody such a philosophy.
Probably everybody’s first choice for Wonder Woman, especially if this had been back in the days of Firefly. Had WB actually put the green light on Joss Whedon’s Wonder Woman script, Gina Torres’ casting in the lead role would have been a moot point because “duh”! Unfortunately, we don’t live in that reality, but that doesn’t mean Torres can’t have a role in shaping the Wonder Woman universe. The epitome of the “strong female character”, Torres has had a number of roles that make her casting as an Amazon a no brainer. From Nebula on Hercules: The Legendary Journeys to Zoe on Firefly and Jessica Pearson on Suits, Torres is a powerhouse actress with a loyal fanbase that would lose their minds if she showed up on Themyscira. Plus she already played Super Woman in Justice League: Crisis on Two Earths, the evil equivalent of Wonder Woman. She’s got this, so, yeah, WB get on it!
If you’ve been watching Orphan Black, and I’m pretty sure you are, then you know exactly why Tatiana Maslany should be an Amazon. Playing no less than nine separate characters as part of Project Leda, Maslany has given each clone a distinctive voice and personality, which one really can’t appreciate until one clone has to impersonate another. Trust me, it’s brilliant. Her ability to fluidly transition from psychopath to soccer Mom is amazing and I’m pretty sure Warner Bros. would be missing out on a huge opportunity if they didn’t attach her to one of their DC movies. Wonder Woman makes the most sense right now, but who knows what movies lie in the future? There’s no shortage of potential for Amazon movies or build a movie around her amongst the myriad magical characters currently in need of an actress to bring them into the forefront.
I love Michelle Yeoh! Even when she’s in mediocre movies like The Mummy: Tomb of the Dragon Emperor, I still love her because she’s often the best part of those movies. A dancer turned martial arts actress in China, Yeoh gained fame from Western audiences after her appearances in Tomorrow Never Dies, Memoirs of a Geisha, and Crouching Tiger, Hidden Dragon. It’s worth noting that Pierce Brosnan referred to as the “female James Bond” because of her professionalism and skills as a combat actress. Yeoh was also in one of my favorite movies, Sunshine, where she gets a beautifully shot death scene if I do say so myself (and I do). Yeoh’s presence in Wonder Woman, especially on Themyscira, would further show that the Amazons are a multicultural society and a safe haven for those lost at sea.
All the Sleepyheads out there will agree that one of the best things to come out of Sleepy Hollow has been the relationship between estranged sisters Abbie and Jenny Mills played by Beharie and Greenwood respectively. More so than Mills and Ichabod Crane’s bond as witnesses, Abbie and Jenny’s reunion and their slow climb towards forgiveness and understanding has been a highlight of the show, for me at least. On their own, Beharie and Greenwood kick all kinds of ass defending Sleepy Hollow from the forces of evil, but whenever the two share scenes together it’s a wonderful display of actresses feeding off the other and elevating what could be considered very campy material. I believe that they would bring that same energy and elevation to Wonder Woman, working together or separately.
Yes, I know she’s already played Katana on Arrow and Yukio in The Wolverine, but here’s the thing: she was the best part of The Wolverine. Really, every scene she shared with Hugh Jackman was worth watching and I would’ve loved to see a movie all about the various adventures of Yukio and Logan, especially when the movie indicated that might happen towards the end. Then they did the Days of Future Past tag and all my hopes and dreams were dashed. As far as her role on Arrow, the WB has confirmed they have no plans to connect their movies and television shows, so why not put Fukushima on Themyscira? She can fight, she can deliver a good one-liner, it’s really just a matter of time before someone casts her in a franchise-related role. I can’t think of any better place than an island of Amazon warriors, can you?
So those are my picks, but who do you think should show up on Paradise Island? Let me know in the comments!