Tag Archives: The Flash

The Goofs, The Girl, The Green and the Lazy: Arrowverse Week One Round-Up

Well, Berlanti’s Arrowverse is back for another season of humor, heart, and spectacle. Here’s the  (Spoiler Free) Breakdown of how the first week went from worst to first.

The Flash:

I believe it was Huey Lewis, of the Marin County Lewis’s that first said that the power of love is curious thing. For example, it can make one man weep, another man sing. No better evidence is there of the power of love and it’s curious (read super ass convenient) capabilities than the Season 4 opener of The Flash. It is here where love times love divided by love will conquer all.

As you may recall, at the end of Season 3, Barry decides that he will become the Speed Force’s captive, leaving Team Flash to fend for themselves. Jumping to present day, Iris (You’ll remember her as the one whose foretold death wasted half of every episode last season) is running point for Team Kid Flash, made up of Wally, Cisco/Vibe and Joe in a police issued SUV. They’re on the job, chasing down and capturing Metas, all the while having fun as they go. But it’s bittersweet, as everyone misses Barry. This is about as far as we can go without specifically ruining anything. Oh and Caitlin isn’t evil anymore. Yeah. Like that.

The Flash, while having been one of the best shows the last couple years while Arrow dipped into whatever the hell it dipped into, has a bad habit of high stakes cliffhangers with very underwhelming pay offs. Remember Flashpoint? The jaw-dropping season 2 ender that had all of our minds racing? What was going to happen?! A ripple in the fabric of time and space so big that it could help undo all of Arrow’s missteps! It could be the catalyst for a full season of plotlines and story arcs about Barry’s selfish mistake and–oh it’s done? With very little real consequence? Except for you, Diggle of course.  RIP Baby Sarah.

This opener was lazy. It was lazy, uninspired, and underwhelming. I’m talking Moffatt Doctor Who levels of lazy. Eric Bischoff’s Monday Nitro levels of underwhelming. My inability to come up with a third example’s level of uninspired. The writers once again couldn’t paint themselves out of the giant corner they were stuck in so they HAHA SCIENCE!!’d and YAY FOR LOVE!!’d themselves an answer.  This is getting to be a nasty habit, and it needs to change fast before the average viewer catches on. Guys, get it together. You’re better than this.

SUPERGIRL:

The Girl of Steel is back and broody as hell. That’s what happens when the alien love of your life gets lead poisoining and is sent off planet. Typical.

Well, Kara’s in a bad mood and in an attempt to cope has thrown herself into her work as Supergirl. National City is grateful for the drop in crime, but her friends and family are worried about her.

Meanwhile, Nathan Petrelli…no…Glenn Talbot…no…Morgan Edge…no…Nathan Petrelli is in National City to fill the male megalomaniacal CEO void left by Peter Facinelli’s Max Lord after the network switch.

Supergirl is a steadily consistent show, if not a little on the bland side. She serves as a strong role model for young and not as young girls alike, which is always a good thing. Season 1 and 2 benefitted from using the plots of some of Superman’s better stories, but that can also hinder it in the long run. We like the show, but it feels like it’s still finding it’s voice. It bounces back and forth between light-hearted and overly serious. There’s a medium there, and if they keep working at it, they’ll find it. (Hint: It’s more to the light-hearted side). It could really benefit from somehow finding itself on the same universal plane as the rest of the Arrowverse. A little crossover action, if even a simple cameo, never hurts. The first crossover with Flash in season one is one of the best episodes to date.

ARROW: 

At the end of last season, there were a lot of promises made. More accurately, vows. Even more accurately, ONE vow: Arrow had until the crossover to sort itself out or I was done forever. What was once my favorite hour of the Arrowverse managed to adorably trip over itself like an at first likeable but long term annoying as hell nerdy girl sidekick turned non-canonical love interest, much like the other real-world super powers predecessor, Heroes. The difference being that Heroes went bad almost immediately, while Arrow got through 2 seasons before it started to turn.
If you remember, we left our heroes on the banks of Lian Yu, where Adrian blew up all the sidekicks with an extraordinary amount of C-4 for a DA to procur. Well, we find out early on that they all survived. Well, almost all of them, you find out, as the show’s decided not to ditch the flashbacks as previously hoped, but flashback to the story of how they survived.

Meanwhile, in the present, Ollie has his hands full with fighting off a new group of terrorists led by Black Canary, while also raising his son Conn…sorry, William…who is having problems trusting his dual identitied father, if you can imagine such a thing. Also, Felicity isn’t as annoying thus far, but they made two separate hints that her and Oliver have “the talk” coming just over the horizon…there was a whole island of C-4! She couldn’t just have caught even one…never mind.

I give this show grief because I love it, and only want the best for it. And I’m not alone, thankfully, as my voice will continue to go unheard. Stephen Amell’s voice, however, that has a little more sway, and he’s made his point.
In a recent interview, while discussing a conversation that he had with Arrowverse creator Greg Berlanti, Stephen Amell said this about the show back in Season 5:

“You know, I think that there’s a lot of things that we do well,” and Greg goes, “I would agree,” and I go, “Can we do those things?”

I have to be honest, we’re only one episode in, but it feels like they really are trying to do them. Arrow was the second place winner this week. They genuinely seem to want to get back to where we all know Arrow can be, but there’s a lot of work left to do. I can’t figure that the introduction of Michael Emerson (Lost, Person of Interest) as a big bad is anything but a further step in the right direction. So I’m staying true to Arrow, but so help me if the wedding storyline comes back on the table, I will burn that bridge once and for all.
But please don’t, guys. Seriously. What am I going to watch instead? S.H.I.E.L.D.? Come on.

LEGENDS OF TOMORROW

There is a clear winner this week, and that winner is Legends.

This is the third season for this show, and if this opener is any indication, they’ve found their tone. The Legends work as a goofy band of screw-ups that really do want to do right, but can’t get out of their own way. The episode where they have to save George Lucas from becoming an insurance agent is one of the strongest of the series thus far.

In this episode, their former captain, Rip Hunter has left them on their own, and formed the Time Bureau: a group of suits that go around fixing anachronisms in the space-time continuum, a lot of which are the doing of the Legends themselves. Not to be outdone, and as a way of proving their worth, the Legends defy the Time Bureau and try to fix the mistakes themselves.

This one has finally found the humor. They aren’t all trying to look tougher by brooding or sex each other, at least not so far, they’re trying to prove to everyone that they really are the good guys, even if they get it wrong sometimes. Their new motto is “Sometimes we screw things up for the better”.  They aren’t quite as zany and quippy as the Guardians of the Galaxy, (and hopefully they never will be), but they have that flare to them.

I enjoyed Legends most of all, and I hope they stick with this new “we do what we want” attitude as it will strengthen the core and bring this show up in the ranks as a contender instead of what it’s been so far, an also-ran.  It certainly did this week.

Pushing the Button: A DC Rebirth Update

Last time we talked, we looked at the recently-wrapped Superman Reborn storyline and what it meant for the ever-evolving post-Rebirth DC Universe. Now that the Batman/Flash crossover The Button has wrapped, now that even more things have changed, it’s time to do it again. I’m going to discuss and build on some of the theories and threads I mentioned in that first piece, so if you haven’t read it, give it a peek. And once again, be prepared, because spoilers are coming for The Button, but also for other stories across the DC Universe.

So That Just Happened

Let’s look at exactly where we are, shall we? In The Button, Professor Zoom attacked Batman in the Batcave, ultimately dying in a spark of blue. Batman and the Flash then used the Flash’s cosmic treadmill to try to trace the mysterious radiation signature on the blood-spattered button Bruce found in DC Universe Rebirth #1. Eventually, the two landed in the Flashpoint universe, where Bruce Wayne got to meet that world’s Batman, his father Thomas Wayne. That universe vanished, seemingly destroyed. Zoom — who can only ever be “mostly” dead because time travel — continued on his race to find those behind the power of the button. He was wiped out again, by still more blue flame, and Bruce and Barry were rescued from the timestream by the timely (get it?) intervention of Jay Garrick, who was only there for moments before the flame got him too. The button itself, judging by the epilogue, seems to have been retrieved by Dr. Manhattan, whom Geoff Johns has told us has a particular interest in Superman. He’ll be telling that story in the recently-announced Doomsday Clock event.

But that’s the Reader’s Digest version of The Button, there’s an awful lot to unpack here. What is it all saying? What does it mean? And how does it play into the DC Universe going forward?

The Manhattan Project

First of all, let’s talk about the Dr. Manhattan connection. Although the fingerprints of Watchmen were all over this story (right down to the first chapter, Batman #21, mimicking Dave Gibbons’s famous nine-panel grid in the artwork), it gave us precious little in the way of revelation. We still don’t know exactly why the button wound up in the Batcave, and although Zoom claimed to know who was responsible, his eradication at the end of the story will make it difficult for Barry and Bruce to interrogate him. In fact, as far as a direct link to Dr. Manhattan goes, the clues can be boiled down to one word: “They.”

Zoom claims to know who is responsible for what’s happening to the universe and, in his own words, “They’ve never faced someone like me!” Granted, it’s becoming more acceptable to use “they” as a gender-neutral singular pronoun these days (something that makes the English teacher in me shudder — I’m not saying we shouldn’t have a gender-neutral pronoun, just that I wish there was another word that didn’t dilute the meaning of the word “they”), but it’s hard to imagine that’s what Zoom meant. If he’s seen Dr. Manhattan, especially if the latter is walking around without his bikini bottoms again, it’s fairly clear that he’s male, and I doubt Zoom is the sort to walk up and ask him his preferred pronouns before engaging him in battle. If he hasn’t seen Manhattan, his claim to know who’s responsible becomes much more specious. All of this is to say that this one word may support something I suggested last time: whatever is happening, it doesn’t look like Dr. Manhattan is the sole person responsible.

Homecoming

Next up, let’s talk about Jay Garrick. Much like Wally West did in the original Rebirth special, he appears and helps save the day. Unlike Wally, Jay doesn’t stick around. The question, however, is why did he vanish? He disappeared in a nimbus of blue flame, much like Pandora did in the first special, much like the Flashpoint universe did earlier in this story (more on that later). But it’s very hard to imagine that means he’s dead. DC has teased the return of the Justice Society really hard here, not only with Jay but with another appearance by Johnny Thunder in chapter one of The Button. Would they have brought him back just to wipe him out?

Barry recognizes the circumstances of Jay’s appearance as being similar to Wally’s, and when Wally appeared, he needed his emotional connection to Barry to re-ground him in reality. It doesn’t work for Jay. Barry even says that he doesn’t seem to be Jay’s “lightning rod.” Who then, would it be? Who else has a strong enough emotional connection to Jay Garrick to return him to reality?

The immediate and most obvious answer is his wife, Joan. She hasn’t been seen in Rebirth, but that doesn’t mean she isn’t in the DC Universe somewhere: alone, sad, possibly confused by a gaping hole in her life. But Wally West’s lightning rod wasn’t his wife, Linda Park. Who else could anchor Jay? Besides Barry, his best friend has historically been original Green Lantern Alan Scott, but Alan is MIA along with the rest of the Justice Society. All of Jay’s contemporaries are missing.

Everyone except for Johnny Thunder. Johnny, who in Rebirth #1, seemed to imply that he was responsible for people forgetting the Justice Society. Johnny, who in Flash #21 screams at the skies, consumed with guilt. Johnny, who is currently locked away in a nursing home, with everyone assuming he’s a raving old man. In fact, why don’t we take this a step further? What if Johnny is, unwittingly, one of the people who helped Dr. Manhattan remake the universe? He certainly wouldn’t have done it intentionally, but he was never the brightest bulb to begin with. The only reason he was in the JSA is because he commanded a Genie with Mxyzptlk-level reality-warping power. Could he have been tricked into using his Thunderbolt’s power to change the timeline? Or could he have done it independently of what was going on with Dr. Manhattan, and could Manhattan have simply taken advantage of Johnny’s mistake to further his own goals?

Lost and Found

Let’s take a moment to do a little census here. A lot of fan-favorite characters were missing at the launch of the New 52 universe. Some of them have returned: Wally West, of course, but also Stephanie Brown, Donna Troy, Cassandra Cain, Ted Kord, and probably several others I’m forgetting at the moment. Others, like the Legion of Super-Heroes and the Ray Palmer Atom, were there for the New 52 launch but have gone notably missing since then. Still others have been taken away on-panel. Doomsday, Prophecy, and Tim Drake have all been “removed” from action, and we know they’re in the clutches of Mr. Oz. Of those still unaccounted for, the Justice Society has been particularly notable in its absence. And with its absence came the absence of other characters derived from the JSA: Alan Scott’s children Jade and Obsidian, for example. If the JSA returns, can they follow suit?

And there’s one other big one that needs to be mentioned. After he was “Reborn,” Superman needed to give the readers a rundown of what his history was in this world where the older, married Superman merged with his younger New 52 counterpart. Action Comics gave us two issues where he asked his little robotic buddy Kelex (and who wouldn’t want a Kelex as their own personal assistant?) to go over his past with him. It was kind of odd, in a meta way, for Superman to essentially ask the robot to read him his diary, but it worked. The big questions were answered: Jonathan and Martha Kent are both dead in this continuity, Superman never had a relationship with Wonder Woman. He did fight and was killed by Doomsday…

…but that’s where it gets odd.

As we all know, after Superman’s death he was replaced by four different people claiming the name. John Henry Irons, Steel, is part of the cast of Superwoman these days. The Eradicator and the Cyborg Superman are both in the Superman books right now in villain roles. The fourth? Connor Kent? Superboy? Nowhere to be found, even in the history that Kelex relates to us. Superman himself notes, as he listens to his own history, that something doesn’t feel quite right. Is Conner going to be lost to the void, or is DC planning to give him his own Wally West moment, bringing him back in triumph? If, as Geoff Johns promises, Rebirth is about restoring hope and legacy to the DCU, wouldn’t Doomsday Clock be a hell of a place for Connor to come back?

Of course, Jonathan Kent the second is Superboy now, but I’d be fine with changing Connor’s name and moving him into sort of a Nightwing-type role in the Superman family. Superteen? Superkid? Ugh, those are terrible. Superguy? Sequel? Okay, maybe we have to look beyond the letter “S” for a new name.

I hear “Valor” is available.

The Dark Knight Redacted?

Anyway, let’s talk about what this story has done to Batman. Back in Flashpoint, when Barry Allen was (he thought) restoring the timeline he had damaged, Thomas Wayne gave him a letter to deliver to Bruce. It was one of the high points of that story and created a grand emotional link for Bruce to his past. In The Button, that link was made even stronger as Bruce had to face a version of his father who chose the same path he did, that of the Batman. Thomas’s Batman was darker and harsher than Bruce’s (not surprising, as Flashpoint was a darker and harsher world), and as Bruce leaves, Thomas asks him to give up being Batman, to put this life behind him, because no father would ever choose a life like that for his child. As the story ends, we have a very pointed moment where the Bat-signal blazes across the sky of Gotham, and Bruce ignores it.

What does this mean?

Well, it doesn’t mean that Bruce is hanging up the cowl, let’s start there. There have been plenty of post-Button stories solicited already where he’s still Batman. (Heck, Batman #23 came out on the same day as The Button ended). There are also two other strikes against this notion of Bruce giving up. First, they did that story just two years ago with James Gordon taking over as Batman (not to mention the countless times in the past when Dick Grayson, Jean-Paul Valley, etc. have worn the cowl). Second, Rebirth has been all about bringing DC’s heroes back to their purest, classic form. Does anyone really think that means shelving Bruce Wayne? Certainly not for any length of time.

So what does it mean?

For that, let’s take a step back and look, once again, at the apparent meta-message of Rebirth Geoff Johns (I’m assigning this thesis to him, as he seems to be the architect of the story and is the author of both DC Universe Rebirth #1 and the upcoming Doomsday Clock) seems to be arguing that the darkness that has infected the DCU started not with Flashpoint, but could be traced back to Watchmen. Last time, I argued that this is only partially true, and that there are other culprits as well, but I didn’t mention one of the bigger ones, as it didn’t appear to be relevant at the time. Now it does. I’m talking, of course, about The Dark Knight Returns. Frank Miller’s magnum opus was a masterpiece of the form, like Watchmen. Also like Watchmen, people took entirely the wrong message from the story and, for years, turned the mainstream Batman progressively darker, gloomier, and more brooding than ever.

Perhaps part of the purpose of The Button — that part of it, at least — is to do specifically for Batman what the larger Rebirth story is doing for the rest of the DCU. I’m not saying that we should go back to the days when Batman was cutting ribbons at supermarket openings or encountering aliens with huge insect heads on the main street of Gotham, but there has to be a middle ground. For much of the Bronze Age, in fact, we lived in that middle ground. Go back and read some of those great Dennis O’Neil/Neal Adams Batman stories. You’ll see a character who lives in the darkness, but carries a spark of light within him, a Batman who was not above making a joke. (Indeed, in the years since The Dark Knight Returns pretty much any time Batman has displayed a sense of humor, it’s come as a total shock to whoever he was talking to at the time.)

Bruce Wayne, we know, will never quit. Not forever, anyway. But that doesn’t mean he has to live a life totally devoid of joy. Tim Drake (who himself was thinking of hanging up the cape to go to college when he was abducted) was often living proof of that. Maybe that’s  another reason he, as Mr. Oz put it, had to be “taken off the table.”

It’s a long way until November, guys, and there are plenty of things that could happen between now and then that could cause me to adjust these thoughts (I’m looking at you, The Lazarus Contract). But for now, at least, I think I’ve tackled all the big concepts, and we’ve got an awful lot to chew on while we wait for the next course.

The Flash/Supergirl Crossover Musical: So that’s out of the way now. (Spoiler Free Review)

So from the title, you might surmise how well this article is going to go. Please do not judge too quickly though. We promise we will try our very best to be objective and cover it as fairly as possible. We good? OK.

From the screeching, hormonally charged, twittering brains with bank accounts behind the show-crushing beast that was and most assuredly will be again Ollicity, comes the inevitable response to hiring two former Glee castmates as your leads.

What? We said we would TRY to be objective. Not our fault that it didn’t take. Alright, fine. Come back. We’ll try to salvage this. Admittedly, we didn’t come into this with the most open of minds so maybe we’re not giving it a fair shake. Let’s try again and break this down to the good and bad.

Well where to start? The only place one should start with a musical: the singing. There is no doubt that the cast members of these shows are very talented musically, and they get to show off exactly what they can do with this episode.

While everyone who sang did a genuinely good job, the stand out for us was John Barrowman, normally playing Malcolm Merlyn in the Arrowverse, but this time playing club owner Cutter Moran. He didn’t have a lot to do, but he took what little he had and made the very best of it. Unsurprising really from such an amazing stage performer as he is. In a scene whose random and awful lyrics caused us to physically look away, his voice actually brought us back with eyebrows raised. Not damn bad, Captain Harkness. Not damn bad at all.

Jesse L. Martin nailed his part as well. Another great stage presence, the man can sing. We saw some of in last year’s Earth 2 episode, but he doesn’t get enough to do we didn’t feel for reasons we will come back to later.

Kara, Barry, Cisco and even Winn: They all sounded terrific and it was nice that they got to show off their great singing abilities. Melissa Benoist (Supergirl) does a beautiful rendition of Moon River right at the start and even though we knew she could sing, it was still a pleasant surprise to hear how well.

The Barry/Kara song at just over the halfway mark (the title we’re withholding for the sake of the reveal) did start to win us over, despite everything that came before it. Rao help us, the two have brilliant chemistry and you can’t help but love them together.

Darren Criss, this crossover’s villain Music Meister was a lot of fun to watch. Again, he didn’t have a huge amount of stuff to do as they tried to get in as much as they could, but the guy has charisma and charm oozing out of his little boyish face. He won us over fairly quickly in his introduction on Supergirl. His few minutes of screentime on that show actually had us anticipating what was to come.

There’s an action sequence here with Martian Manhunter teaming up with Wally and Vibe, and it is on par with the fun and excitement of the Flash’s usual action scenes. That was another great moment from the episode.

Now let’s get to it.

The biggest obstacle that this episode faces is time. It has 45 minutes to pull off a musical, as well as tie up subplots from both The Flash and Supergirl, and boy can you feel the time crunch. They have Kara and Barry play it off a few times with the meta joke that “wow, everything is so much easier in musicals”. Luckily, we were able to unstick our eyes after they rolled so hard up into their sockets, otherwise we’d have had to start the episode over.

So beyond skipping what should have been a longer, more complicated conflict, we got too easy resolutions for the sake of moving the plot along. If the resolution is so simplistic, it begs the question of why even bother? Individual shows’ subplots is why, but still.

What needed to be done, and once again wasn’t, is it being a true crossover. We had exactly 2 minutes of the plot discussed at the tail end of Supergirl, same as it was with the Invasion crossover last fall. Musicals take time to get everything explained, broken and fixed again. This is going to sound hypocritical after everything that’s come before it, but there needed to be more time for more songs. And the one thing this didn’t have was time. Were they to have stretched it out fully across both shows, we would still spend two hours cringing, yes, but the story would be a lot stronger than it was. It wouldn’t feel so hastily duct taped together.

If crossovers are going to be a consistent thing in the Arrowverse, (YES PLEASE) they have to let Supergirl come out to play for the whole recess. Her being on another universe isn’t excuse enough to hinder that relationship, especially now with Cisco’s doohickey.

The other bit, the one we’ll close with, was the writing. All the actors that they have hired in the Arrowverse are exceptional. If the actors don’t have long careers in the stage/fim business like Victor Garbor, Jesse L Martin, and John Barrowman, they have proven their abilities on these shows. They can act. We’ve seen it. But watching them try to choke back some of the dialogue from this episode made them look like amateur dinner theater workers.

We noticed it specifically with a few of David Harewood’s
(Supergirl’s Martian Manhunter) lines. He gets through them, same with the others, but it pulled us out of the moment with how clunky it was. Also, don’t get us started on the jokes. You want to? OK, fine. At one point Supergirl said, “My sister says I put the Kara in Karaoke.”
We literally almost closed the laptop and walked away at that. It was early in the episode though, and we thought of your faces, your sweet reviewless faces, and we knew we had to press on. So we did and what was our reward?

Honestly, we can’t tell you. Partially due to not giving away the ending of the episode, but mostly due to we don’t genuinely know what happened. Nothing is really explained, it simply transpired for the sake of transpiring. They knew they wanted to sing, but they didn’t know how to make that fit into a cohesive, solidly written story. It was like the ending of a Stephen Moffat Doctor Who episode: aggravatingly underwhelming.

Look, there are a lot of good moments in the episode. It was a fun little one shot stuck in the middle, but they once again did not utilize Supergirl’s hour to help flesh out their crossovers and the time crunch really cripples them from making a solid story. Perhaps though, given the rush job they did with the script, that’s for the better.

Our final analysis of this crossover is the same as our analysis of BvS’s handling of the Death of Superman: Everyone has been wanting it for so long, and yeah, that was not the best way to handle it, but hey, it’s out of the way now and we can move on to bigger and better things.

Supergirl returns Monday March 27th and The Flash Tuesday March 28th.

2016… The Year That Failed

To be honest I don’t remember how I started 2016 but the months to come saw some major deaths in entertainment with the likes of David Bowie, Gene Wilder, Anton Yelchin, and Princess Leia herself, Carrie Fisher. Those are just some of the names that 2016 took from us. In the wrestling business Chyna, Balls Mahoney and Axl Rotten lost their life’s this year.

With the bad you also have the good… 2016 brought us some good movies like Rogue One, Captain America: Civil War, and Suicide Squad. But on the small screen Tv shows like The Flash was fantastic! and The Walking Dead introduced us to Negan, and now everyone can see how good an actor Jeffrey Dean Morgan is.

Pro Wrestling Guerrilla put on one hell of a three night event with BOLA. AJ Styles made his WWE debut at the Royal Rumble and in September saw Styles defeat Dean Ambrose to win the WWE Championship.

Side Note: CM Punk lost his first fight in the UFC. He’s a bit overrated when it comes to his stuff outside WWE or wrestling in general. And Lesnar-Goldberg had a shit match.

What’s to come in 2017? To be honest, I don’t see Ring of Honor lasting much longer. With their agent talents going to the WWE performance center to be trainers and people like Michael Elgin leaving ROH in a work-shoot gimmick then deciding to leave ROH all together in December.

On the WWE side of things… I’m loving the women’s division in NXT and I see it growing in 2017. I hope to see Samoa Joe, Johnny Gargano, and Nakamura make it to the main roster.

In Tv and movie, I have high expectations for Power Rangers but after seeing the promo figure for Goldar, I just don’t know now. Logan looks like it’s going to be good. I like the X-Men-Wolverine-First Class films. Hopefully we will see more or the rumored Tv series will be good.

And lastly, on a personal note. 2016 for myself has been good. Went to an awesome Halloween party at Ship’s Wheel. I learned how to two-step and haven’t looked back since. Thanks to Ashley, Reigh, Taylor and the one person that started it all Stacy. I can go to any honky tonk and have a ball… I also lived through the fall of Drunken Zombie, a podcast and blog site… somewhat all about horror. But it wasn’t long until I was writing again, right here at Geek-Nerdery! (Cheap Pop). But for a complete rundown of my year, just visit Doiner.com. and there you have it! 2016 is about to be over. Hopefully no more deaths! Massive!