fantastic_four

So Syd's power is that whoever she touches she trades consciousness with. So when she touched her mom on the couch, her mom was in Syd's body when she entered the shower with her boyfriend. So when her mom dropped her robe, why did her sense of touch not realize she wasn't wearing a robe but instead Syd's shirt and pants? I've analyzed this multiple times from every angle I can think of. Did I overlook something? I sure hope I did, because if Hawley can't keep the show straight, then I can't keep his reality warps straight, either. Anyway, this was my favorite episode of the season. Syd showing David that she has frequently used her power for bad yet vaguely justifiable reasons was compelling.

This may have been true all along, but the last episode switched back and forth between a boxed version of the events, i.e. a black frame around everything on the top/bottom and both sides, and full-screen video that it occurred to me Hawley is trying to tell us something about the reality they're seeing with the black boxing. At first I thought the boxing meant we're seeing the Astral Plane, and maybe that's exactly what it means, but I"m not sure of it. Does anyone feel like they get what the black boxing is trying to communicate about the events we're seeing?

I love Alan Moore's work, but I don't think I'd be able to talk more than ten minutes with the guy about any topic of depth before i couldn't stand him anymore. He's arrogant as hell. But I get why Lindelof would go offensive like that. He knew before he started working on the project that he'd be doing it with a creator who would never cooperate with him and who would resent the fact that he was doing the work to begin with.

PLEASE let Juggernaut be in this film, and PLEASE give him the same awesome "he's so freaking tough and huge I can't believe it" treatment they've given to Colossus.

41 and 5 for 90% currently. The early reviews are usually higher than the final, so I'm guessing somewhere in the mid to low 80s. Sounds like a winner, just not a "best of all time" type film like we always hope for.

I'm expecting mixed crtical reviews based upon the reactions, but all of the comic guy reviews I care about sound strong. I think I'll love it.

You haven't read any reviews yet, just "reactions." The review embargo doesn't lift until 6pm.

Something tells me I should bail on this thread right now and if I don't I'm going to know exactly who dies in this film prior to seeing it. For anyone who's itching to post spoilers...can you please at least wait until a day after the review embargo lifts? I'd love to read some discussion about the reviews before I bail.

I like the look of Venom in that video still more than the Venom in the actual trailer.

Yea I'm not liking the face either, but I can't place why I feel that way. Looks very similar to Venom in Spidey 3, and he certainly looks like Venom from the comics. Maybe you just can't make the classic McFarlane Venom design look good within a realistic context.

Looks like it's going the Lethal Protector route. I like the looks of it.

It's the closest comparative measurement we have for number of tickets sold since studios don't report that. It's not all exact since it factors in the normal rate of inflation as opposed to actual changes in ticket prices, but it's far closer than comparing unadjusted box office totals.

I'm reading around the web that Teddy, i.e. James Marsden who is Dolores's main squeeze, is one of the bodies floating at the end. I knew he must be some main character, but I couldn't make out who it was due to the extreme closeup on the face underwater. Looking at a still frame of it below suggests it is him.

We definitely don't know how he gained power in the company, but I felt satisfied after the first season as to how he became the man in black. Started the season acting highly moral in the game in contrast to his friend, falls in love with Dolores, has that love spoiled by the end and becomes disillusioned, decides he enjoyed the ride but loses his morality towards the hosts after his love for Dolores dies, keeps playing the game but is ruthless in chasing its objectives. I assume his love for the game motivated him to gain some ownership of it. How he did that interests me less than the fact that he did it.

Which parts interest you? They spent hours in season one giving his back story, although they didn't reveal it was his back story we were getting until the end of the season.

The Westworld wiki's entry on the first episode claims the scenes with Bernard and Floki that started on the beach take place on the Chinese mainland and that at some point a Chinese official tells them by radio to leave or they will start an international incident. I missed all of that and am not even sure how you could tell it was China from that. http://westworld.wikia.com/wiki/Journey_Into_Night_(episode)

Westworld's story is very much the same maze they showed repeatedly during season one and they showed again in that first episode of season two, except that we can't see it from above like you normally can with a maze and we have to keep following the path we think might be best. And we'll hit the dead ends Nolan has constructed with the fractured plot. Most viewers find a complex plot structure like that very frustrating as they did when it was similarly used in the Matrix films, the Lost television show, and the movie Prometheus. I've been assuming based upon the flashbacks from season one between Arnold and Dolores that the maze is symbolic of the set of experiences that Arnold thought the hosts would have to go through to attain the sentience that Dolores has apparently achieved. I still don't fully get the validity of such an idea within the context of real artificial intelligence, but it's interesting.

I wasn't clear on that, but I thought that was Shogun World only, and that in season one they established that Westworld is somewhere on the American mainland. But you might be right. I felt like I needed to rewind it to clarify, but I didn't do it. They're doing the always-confusing fractured timeline thing again, and I'm still not sure if the Bernard we saw with Floki is earlier or later than the Bernard we saw with Tessa Thompson, and I'm not sure where in the world they were relative to each other.

The poster for this season featuring a synthetic buzzard ties into a question that occurred to me during this first episode--what exactly are the hosts' bodies made of? Is it biodegradable material that insects and other scavengers can eat? Every time we saw a body I wondered if the signs of decomposition definitely indicated that it was a human; that's particularly true of Anthony Hopkins shown with maggots all over his face. But if the hosts' bodies are biodegradable, then perhaps that isn't a safe assumption.

I was pleasantly surprised by Floki's presence as well. I'm equally surprised based upon the last scene we saw with him that IMDB indicates this is the only episode he's in. Well I guess they tied a bow on whether or not Anthony Hopkins was a host or not by showing his rotting carcass covered with maggots. So what, Maeve is just choosing to disbelieve or ignore Lee's assertion that her daughter was never a real host and just a part of her programming? Where's that supposed to lead? Just seems pathetic. What the heck was up with Bernard all episode? Why's he breaking down, and why did he kill all those hosts? Solid episode but not a particularly compelling one. This entire operation by Dolores still seems like a suicide mission, but I'm guessing we're leading to a point where that will change. Part of that is determined by the fact that the company appears to be keeping all of this entirely quiet and handling the situation entirely by themselves, but that seems implausibly risky based upon the number of humans who are dying left and right.

Tell that to hulk 181, ASM 300, NM 98, Nyx 3, etc.... Those issues are incomparable in terms of supply. Can you think of a key comparable to FF 48 in terms of supply? In the Silver Age, the closest comparisons are the late Silver keys, i.e. Cap 100, Hulk 102, etc. But they pale in terms of significance and demand to FF 48, so they're not great comparative examples.

I'm sure there's more than 114 people in this world that want a 48 in 9.4 Just as there were tens of millions of people in this world who would have wanted any of the million dollar houses that tanked in the housing bubble. The question in any market is how many are willing to pay more than market price for a desirable item to keep pushing it up in price? When you know the next ComicLink auction will have yet another 9.4 or 9.6 copy of FF 48, that number pushes downward over time in relation to the prospect of being able to buy another 9.4 copy of FF #52 when a copy only shows up every 6 to 12 months.

You will be blown away...gonna be the biggest movie ever.

The Census tells a different story. FF 48 - 37 9.8, 84 9.6, 114 9.4 FF 52 - 5 9.8, 13 9.6, 31 9.4 Spidey 33 - 39 9.8, 107 9.6, 114 9.4 There are four times as many high grade copies of #48 as there are of #52. But you could plug in any other early to mid Silver Age key in place of FF #52 and get similar multiples of available supply as compared to #48. 48 isn't the only issue that's in high supply due to warehouse finds; #44 is similarly available. So is #59. There are a few others I'd have to search my memory and the Census for to recall them. I hunted for nosebleed copies of FF throughout the 2000s, so I eventually became familiar with their scarcity and populations.