Any good zombie fan knows one of the first rules of Zombieland is to limber up… because Amazon has just ordered a pilot for an original series based on 2009’s brilliant zom-com “Zombieland”!
The “Zombieland” series will be part of Amazon Prime’s new original content. So far they have committed to a pilot, with the option to extend it into a full-length series given audience demand. Rhett Reese and Paul Wernick, the original writers of “Zombieland” have signed on to write the pilot, and they’ll be joined by “Zombieland” producer Gavin Polone.
Not surprisingly, the original cast of the film will not be reprising their roles in Amazon’s new series. Woody Harrelson, Jesse Eisenberg, Emma Stone, and Abigail Breslin will be replaced by Kirk Ward as Tallahassee, Maiara Walsh as Wichita, Tyler Ross as Columbus, and Izabela Vidovic as Little Rock. There is no word yet on any surprise celebrity cameos.
In a statement, Amazon says that the show will follow the same storytelling structure of the film, “and finds four survivors outwitting zombies and searching for a place to call home.”
“Zombieland” the movie told the story of four unlikely zombie apocalypse survivors coming together and forming bonds to help each other make it through the end of the world with their sense of humor intact. It involved wacky hijincks, hilarious narration, and one amazing surprise celebrity cameo.
In these days of “The Walking Dead”‘s serious drama, it’s about time we had a regular zombie comedy series. The “Zombieland” original series will air this spring with the rest of Amazon’s original pilots, and viewer feedback will determine which of the pilots get full-season commitments.
IDW Publishing announced “Mars Attacks: Classics Obliterated” today. The one-shot contains stories of everyone’s favorite Martians in some of the world’s most well known classic literature.
The 48 page comic contains re-imagined versions of “Moby Dick,” “The Strange Case of Dr. Jekyll & Mr. Hyde,” and “Robinson Crusoe,” pitting these classic characters against those notorious skull-faced Martians. “Classics Obliterated” is written by Phil Hester, Beau Smith, and Neil Kleid with artists John McCrea, Kelley Jones, and Carlos Valenzuela. There is also a variant cover by the legendary Earl Norem.
The publisher had this to say about the issue:
Moby Dick, The Strange Case of Dr. Jekyll & Mr. Hyde, and Robinson Crusoe are easily some of civilization’s most accomplished and cherished works of literature. But what would it be like if frothing invaders had been holding Melville, Stevenson, and Defoe at gunpoint, forcing them to reimagine their renowned works through the bloodshot eyes of a crazed, skull-faced Martian?
They’d probably be a lot cooler, right?
“Mars Attacks: Classics Obliterated” is in stores June 5, 2013. To find a comic shop near you, go to www.comicshoplocator.com.
When the first trailer came out for Brad Pitt‘s film adaptation of “World War Z” (based on the phenomenal novel by Max Brooks), we were… disappointed. The trailer bore basically no resemblance to the plot or storytelling style of the book, and it turned what was a groundbreaking zombie thriller about a diverse array of individuals into a Hollywood blockbuster with mediocre CGI.
Now Brad Pitt’s Plan B Entertainment has just released a second trailer for “World War Z” and it is (drumroll please)… marginally less disappointing than the first trailer!Let’s take a look.
But it’s cool, because “World War Z” is going to be a smash hit among zombiephiles and moviegoers alike, right? Totally.
The nice thing about the new trailer is that it seems to hint at retaining some of the original story structure of the novel. Brad Pitt, UN operative (agent… person… whatever?) travels around the world interviewing folks in an attempt to uncover the source of the global zombie outbreak. That’s a little bit like the original plot, in which a largely unseen and unheard journalist collects interviews with key survivors ten years after the zombie war has ended in an effort to make sure it never happens again.
We’ve still got Bad CGI Fast Zombies (TM) though. Because apparently Hollywood didn’t learn its lesson with “I Am Legend.”
“Captain America: Winter Soldier” has observers’ building up the sequel starring Chris Evans as a spy-fi thriller, with underlining affirmation currying out by insider’s who cite the 2014-bound comic book film being a political thriller.
The espionage aspects gain more dramatization with news that the star of premier clandestine style films the hallowed likes of “Three Days of the Condor” and “All the President’s Men” is in talks to join the upcoming Marvel flick.
Robert Redford may join the film that slates to begin filming this upcoming May, confirms The Hollywood Reporter. The perennial A-Lister may have a role playing a top level figure of S.H.I.E.L.D. say sources of THR.
On tonight’s “The Walking Dead,” time has run out for the truce between the prison and Woodbury. With the clock ticking, Rick has a change of heart that could change the group forever, and Merle takes matters into his own hands. Intrigued? Then it’s time to review “The Walking Dead” episode 3.15, “This Sorrowful Life.”
The sorrowful life in question turns out to be Merle Dixon’s. And might I just say, it’s about time we had a Merle-centric episode. Among an all-star cast of actors who knock it out of the park every week, Michael Rooker still manages to stand out with his phenomenal performance of one of the show’s most complex characters.
But before we get to the heartbreak and brilliance that was Merle’s final hours, we must take a moment to examine the final hours of the Ricktatorship. After wrestling with the Governor’s ultimatum, Rick decides to turn Michonne over to the Governor in the hopes that he will spare the prison. Any level-headed person knows that the Governor isn’t going to let them live whether or not they hand over Michonne (more’s the pity Andrea never made it to the prison). But Rick has to try. Or so he thinks… and tells Daryl, Hershel, and Merle.
Enter the ghost of Lori, for once with perfect timing. In this scene Lori represents Rick’s conscience. And his conscience is there to say “You’ve gone too far.” He can be a dictator for the survival of the group and the greater good. He can make the hard decisions without input from the others. But the moment he chooses to sacrifice one of their own “for the greater good,” then as Rick puts it in the show, he’s really sacrificing the greater good.
So what can this change of heart mean for the rest of the series? We’ve got one episode left in the season to find out if things take a turn for the better, leadership-wise.
Now back to Merle–layered, oniony Merle. On the surface, it looks like he just bypassed Rick’s orders to kidnap Michonne and deliver her to the Governor. But could Merle actually have had noble intentions all along? His intentions in handing over Michonne were slightly noble in that he hoped it would save Daryl from the Governor. But there’s that whole pesky leading a woman to torture and death thing. So what if Merle really just wanted Michonne as bait so he could kill the Governor and his boys and return to the prison triumphant?
Well, that’s one theory. The other theory is that Merle had a change of heart on the road, due to Michonne’s surprisingly effective nagging. Speaking of which: Merle and Michonne are great foils for each other. I can’t be the only one who sat on the edge of my seat through their little adventure, hanging on every word. Merle has a unique talent for getting under people’s skin, and it was great to see Michonne get under his skin. It was even better watching that unlikely duo take out a couple zombies in delightfully creative fashion.
But I digress. The real tragedy of this episode was Merle’s final attempt to redeem himself by setting Michonne free and going after the Governor himself. He had to know it was a suicide mission. But Merle’s motivation has always, always been to protect his brother. And in this case, that meant his sorrowful life (and a couple fingers, just to add insult to injury).
Seeing Merle come back as a zombie, up to his nose in blood and guts was just heartbreaking. Through the eyes of his little brother we witness the worst. One of the best parts of the episode was watching Daryl sob his way through stabbing his big brother in the face. You can just imagine him thinking with each stab that he’s punishing Merle for all the hurt he’s done to Daryl, even as he’s weeping for all the love he had for him.
On to happier matters: Glenn and Maggie are engaged! And they sealed it with a kiss and a ring torn from the finger of a dead woman. Now that’s romance at the end of the world. It’s also a lovely homage to the comic books in a season that has largely deviated from the source material. In the comic books, Glenn does indeed ask for Hershel’s blessing and pull the ring off a dead woman.
As Maggie and Glenn embrace before the rising sun (and a field full of walkers), it is a beautiful moment. And the audience gets the idea that this will be one of the last beautiful moments in the season–nay, the entire series. We’ve got dark times ahead: Merle is dead, Andrea’s in the torture chamber, and the Governor’s attack on the prison is imminent. At this juncture, what could possibly go right?
Professional wrestler, Nerd Herders podcast co-host and actor, Damian Dragon spoke honestly and at length with Examiner.com about his professional wrestling career, being an entrant in the upcoming East Coast Wrestling Association 17th Annual Super 8 Tournament, his pending retirement, playing Deadpool, comics and more.
In the first part of the interview, Dragon discusses realizing his dream of being in the ECWA Super 8 Tournament, coming April 13th to the Greater Newark Boys’ & Girls’ Club in Newark, Delaware.
Examiner.com: Damian, first off, thank you for taking the time to speak with Examiner.com. Your time is greatly appreciated. You have said that being in ECWA’s Super 8 Tournament is a dream come true, something you have wanted to accomplish your entire 17 year career, what is it about this tournament that makes it mean so much to you?
Damian Dragon: In anything I have ever done I always want to push myself. The only way to do that is by competing with those you deem better than yourself. Those are the people that not just test your abilities, but push them. That was the feeling initially. To reach a point to be seen as one of the best and given the honor to compete at a high level. No “storylines.” No “gimmicks.” Just pure ability and competition in the SPORT of professional wrestling.
But time only added something more personal. After years of giving up on dreams I had due to them falling short or simply never coming to fruition (that is not just in pro-wrestling, but my entire life as a whole) this I NEVER gave up on wanting. Even when hope seemed lost I’d ever get to do it. I’ve spent more than half my life in pursuit of this one event. That’s a hell of a long time to chase something. I gave up many family events, time with my kids and my wife Veronica “Foxy Foxxy” Vargas when I should have been there, wrestled injured and sick when I shouldn’t have. I sacrificed a lot of things and most of all time I can never get back. If I walked away without ever getting this chance, for me and me alone-it will have all been for nothing. It is validation of all I sacrificed and gave up for more than half my life in pursuit of something.
“Man of Steel” wisps a good amount of strong cinematic promises for a movie reboot. Supersonic stages clarifying flight in superspeed. A Smallville revisioning. Brand new scoring sans the classic horn section leading well-known theme, a Lawrence Fishbourne as Perry White and an iconic costume that’s not a costume but a battle suit; great and small promises gearing up the June debut.
But it seems all of this comes from a central grounding. Total Film was told by director Zach Snyder and lead actor Henry Cavill exactly what platforming aspect supports all the tweaks and traditional facets bound in re-establishing a myth within the upcoming Superman film.
“We’ve tried to make a Superman movie where he does stuff and you go, ‘Yeah, if I was Superman, that’s what I’d do,’” Zack Snyder told us. “Even though he’s an alien, he’s more relatable, more human.”
There’s a lot coming with this theatrical release. Rumors that this reboot could shoulder a future “Justice League” spinoff. A new comic book title releasing inside the proximity time of the debut for “Man of Steel”.
It all stems on a re-introduction that has been DC Entertainment’s focus for many of its live action or page binding characters, foremost being the vanguard to an entire genre and the comics publisher itself.
“This is a Superman for a modern age. It’s not betraying anything that Superman is, but it is grounding everything in reality. It’s the story of this incredible being who can do incredible things, but whom we can associate with. Because he’s gone through troubling stuff and had to make tough choices…”
We witness the avant-garde take on a near hundred year running legend come this June 14.
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On tonight’s “The Walking Dead,” Andrea finally learned the definitive truth about the Governor (and it’s about time). Meanwhile, Tyreese and his people start to realize that Woodbury is not all that it appears to be as the town gears up for war. Sound like fun? Then it’s time to review “The Walking Dead” episode 3.14, “Prey.”
This episode shall be known as the time “The Walking Dead” turned into a horror movie. Or at least, more like a slasher than a monster movie. The Governor got his full creep on as he lovingly set up his Room of Happy Torture Time, then proceeded to chase Andrea down and stalk her through an abandoned warehouse full of walkers.
To Andrea’s credit, she fared much better than most blonde horror movie heroines. Instead of running around screaming and crying, she kept her wits about her and managed to out-think the Governor in a daring bid to escape the warehouse and leave him for dead. The stepping-behind-the-door trick was so simple it shouldn’t have worked, but it did. And it was awesome.
But we’re getting ahead of ourselves. While the slasher-film warehouse-stalking scene lasted, it was utterly terrifying and creeptastic. It’s one thing to run away from a deranged madman capable of anything (up to and including torture and keeping decapitated heads as pets), quite another to do so through a dark, abandoned warehouse full of flesh-eating monsters. Every time the camera zoomed in close on Andrea’s face, I felt certain she was about to get attacked by a walker from the shadows off-screen.
But oh wait, that already happened. In the woods, as Andrea’s hiding from her pursuer, she fights off four zombies with nothing but a knife and ovaries of solid granite. Andrea has been the annoyance of the fans this season, mostly for her complete unwillingness to see the truth about the Governor and for her betrayal of Michonne’s friendship. But with this episode it’s safe to say that Andrea redeemed herself as the bad-ass we all came to know and love in season two. Outnumbered and almost completely unarmed, she manages to defeat not only the horror movie monsters but also the horror movie psycho-killer.
Which makes her loss at the end of the show all the more painful. Andrea earned a win. She earned the protection and comfort of the prison community. To get within sight of her goal, of safety, only to be tackled by the crazy, evil bastard she thought she’d left for dead… well, it’s just not fair.
Meanwhile, back in Woodbury, Tyreese & Co. are getting characterization. It seems all is not well amongst our little band of refugees with terrible timing. Allen and Tyreese butt heads about Allen’s dead wife Donna’s relationship with Tyreese. It’s up to Sasha to pull the two jealous men apart at the zombie pits and remind them they’re supposed to be allies.
While the scenes of Tyreese’s group will no doubt be important later on in the story, and while they certainly had to happen sometime, up against the horror movie of Andrea and the Governor they just couldn’t compete. While I’m eager to learn more about the new survivors, I just wasn’t feeling it in this episode. They felt like bumbling bystanders in a war that’s about to explode. Which, I suppose, is exactly what they are at this point.
Let’s take a moment for Milton, who could be the single most pivotal factor in the impending war between Woodbury and the prison. His loyalties clearly no longer lie with the Governor. And yet his motives are conflicted. He shows Andrea the Governor’s torture chamber, yet prevents her from taking the perfect opportunity to assassinate him. He says he belongs in Woodbury and refuses to run away, yet he burns the pit walkers to thwart the Governor’s plan to protect Woodbury.
Milton Mammet, what are you thinking, sir?
The Most Fashionable Apocalypse Survivor award for this episode goes to the Governor himself, for that bad-ass black duster that made him look like the comic book villain we have all come to know and despise.
In the end we’re left with Tyreese & Co’s position in Woodbury precarious, Milton’s sneaky plans to dethrone the Governor in jeopardy, and Andrea awaiting a gruesome fate in the torture chamber. I believe that on “The Walking Dead,” the proverbial brains have hit the proverbial fan for the people of Woodbury.