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Cosplay Friday #183 – Hades, Silk, and More by November Cosplay

Some cosplayers are so prolific I can’t imagine how they make the time to search for supplies, make the costumes, and wear them. I craft so slowly that it would take ages for me to finish a single aspect of a costume, let alone an entire outfit. November Cosplay’s portfolio is one that leaves me stunned. She’s dressed as a dazzling array of characters with an emphasis on the Marvel universe and also including DC Comics, Harry Potter, and Disney. She rocks a couple of Disney villains, including Hades from Hercules. Take a look:

Hades (Hercules) | Photo by Roger Lee Photography

Has Hades ever looked so striking? I think not. The lighting in that picture is stark and killer; it sets off the stylized blue hair just so, which is key for Hades.

Anyway! More costumes! See additional ensembles from November Cosplay in the gallery below. You’ll find the Evil Queen from Snow White, Silk, and even May “Mayday Parker,” a.k.a. Spider-Girl. You can follow November’s future cosplay projects at Facebook or Instagram.

Do you cosplay or take photos of cosplayers? Then I want to see your portfolio so we can talk about highlighting you in a future Cosplay Friday gallery. If you’re interested, please go ahead and email me at alratcliffe@yahoo.com with photos you’d like me to feature and be sure to provide credits for the cosplayers or photographers for each image—bonus points if you include links to their Facebook pages or websites.

Images: Courtesy of November Cosplay

New DISHONORED 2 Gameplay Trailer is a Mesmerizing Display of Stealth

One of the best things about video game series like Dishonored, Metal Gear Solid, and Deus Ex (among others in the genre), is the option to get from point A to point B without being detected. While the whole “no violence” thing is cool, it’s the process itself that’s often the most fascinating. In the first Dishonored game, for instance, players were granted clever abilities like “Blink” (nifty word for teleportation), and several ways to neutralize targets, instead of resorting to assassination. As a reward, the summation of your choices to take the low chaos route resulted in the “good ending.” The sequel, Dishonored 2–which is due out November 11–is no different.

With Emily Kaldwin thrown into the mix as a new playable character, we’ll get to harness even more abilities. We got a taste of those during the game’s lengthy spotlight during Bethesda’s E3 press conference, but the latest gameplay trailer gives us a closer look at how they work in a mission. Check it out above!

Here are some of the abilities that were touched on, as well as a description of how they work:

Mesmerize: “Summon a void spirit to enthrall humans or hounds.”

Dark Vision: “Observe enemies through walls.”

Domino: “Link Targets so they share the same fate.”

Shadow Walk: “Assume a stealthier form.”

Rewire Tool: “Tamper with security.”

Despite seeing it before, the Shadow Walk ability still gives me the creeps. I can’t wait to use it for myself to sneak past enemies. It makes for a nice alternative to the often finicky Blink ability. Mesmerize is also pretty entertaining. In the Clockwork Mansion mission, Emily used it to distract two of the NPCs. The result? The duo stared at it dumb-founded, giving the protagonist the opportunity to walk on by.

Just for a frame of reference, here’s the high chaos approach to the same mission:

That’s just a taste of some of the things players will be able to do.

Are you excited to dive into Dishonored 2? Let us know in the comments, join the conversation on Facebook, or start one with me on Twitter: @Samantha_Sofka!

Image: Bethesda

LUKE CAGE Recap: The World Turns Upside Down

Warning: This is a recap, and as such, contains spoilers for the Luke Cage episode, “Code of the Streets.” Get out of dodge if you haven’t watched the episode yet.

The end of the premiere saw Luke stretch his super strength and invulnerability, and when Pop asked him about what happened (because word gets around about that sort of thing), Luke wasn’t regretful. It’s his first step towards using what he has to change the narrative, and he’s pushed further into a new direction in “Code of the Streets.” Pop’s shop is place where honest, real talk flows freely, and as the second episode opened, he explained he’s urging Luke on because Harlem smells like trouble–that trouble being Cottonmouth. But as Pop and Luke discussed Cornell and his cousin Mariah, guess who strolled in?

Cornell came in under the guise of wanting a close shave, but of course, he and his entourage member Shade wanted to ask about Chico. He’s the last missing puzzle piece of the hijacking, and Cornell likely wants to bring Chico to a similar end as his cohort. Pop wasn’t born yesterday though, and he noticed Cornell’s bloody knuckles and covered for Chico. It was a game. Cornell and Shades suspected Pop wasn’t being honest, and Luke didn’t help matters by offering to take out the dirty towels—a.k.a. Cornell and co.—and then making Cornell pay before he walked out.

Since Pop realizes Chico’s life is on the line, he calls in a favor, and it’s here we learn Reva grew up in the neighborhood and knew Pop. Pop didn’t ask any questions when she showed up with Luke, and now he wants Luke to bring Chico home. The reminder was all it took for Luke to jump into action. He was reluctant, but this is a man who has a code and after hitting the streets and flashing a picture of Chico on his phone, Luke found the frightened boy.

His words weren’t enough to coax Chico into coming to Pop’s, and the news about broke Pop’s heart. Were you ready for the paths to converge more? Because Pop opened up about how he used to work alongside Cornell on the streets. Pop isn’t some affectionate nickname given to him by the kids he helps. No, he earned it because “pop” was the sound his fist made when it hit other people’s faces. A former gangster turned neighborhood savior isn’t a groundbreaking story, but damn, things don’t have to be done first if they reach your heart. And Pop’s story did, and his motivation for pushing Luke to be all he can be became crystal clear.

Unfortunately, Cornell didn’t turn his life around like Pop did. He kept following the same road, and he doesn’t see a thing wrong with it. Still, he has a code as well, so when Pop asked to parlay for Chico, Cornell was a willing player. Unfortunately, just as Luke brought the offer to the table, the ever-present Turk Barrett told Cottonmouth’s associate where Chico was hiding. Since Cottonmouth clearly is a man of action, his flunky Tone decided to prove his worth and earn Cornell’s respect by handling the matter himself. That’s when things went, as they say, to hell in a hand basket.

It’s only been two episodes, but we’ve spent enough time in the barber shop to know its status. The business was akin to a church as far as being holy, untouchable ground, but Tone utterly desecrated it. His actions shocked even Shades, who to this point had barely twitched an eyebrow. Tone went to the barber shop and instead of calling Chico outside, he opened up an automatic. He was reckless. And because we know what the shop was about, the sound of every bullet stung. Luke was able to shield a kid getting a haircut but not Pop or Chico. As soon as Tone formulated his plan, Pop’s destiny was set. He’s the Uncle Ben in this story. And even more tragically, it’s likely Pop took a bullet because it ricocheted off Luke’s skin.

The aftermath of the shooting was quiet and deep. The reactions were compelling rather than theatrical. Tone’s actions left a stain on the show that affected everyone we’ve met so far. Misty looked like she’d been punched in the gut, and this is a woman who sees death and all manner of hell on a daily basis. And Luke… Luke may be the strongest, but you could see the tragedy pushing down on him. He looked this close into falling the way of despair and inaction–the kind of inaction that comes when we feel like everything we do is futile. Instead, Luke picked himself up and started a new journey, the one Pop wanted him to take. The rage practically jumped off him when he saw Mariah with the bag of money taken from Chico.

Cornell was struck by the loss, too. He was none too pleased Tone went off on his own to handle Chico, but when he learned Tone killed Pop, a switch flipped. Pop was his friend (hence why it was important to explain their history earlier in the episode). He wasted no time in disposing of Tone. Losing Pop is what got him, but you could see he was also ticked about the disruption of the rules.

Stray thoughts:

For an inanimate object, the swear jar at Pop’s carried a lot of emotion. It’s a symbol of how Pop’s shop was a safe haven. He kept one little place in Harlem pure and good, so no wonder Luke held onto that like a lifeline. You could practically hear Pop talking through the jar and encouraging Luke to use his talents for the force of good.
The little touches, like tail lights throwing a red glow when Cottonmouth appeared, make such an impression.
I wasn’t sold on Detective Scarfe immediately, but he won me over bit by bit throughout the episode. He didn’t seem to be a match for Misty–she’s such a powerhouse she deserves a partner that’s her equal–but their easy camaraderie was too strong to be ignored.
Mariah doesn’t want to get her hands dirty, yet she’s sure willing to play witness to everything Cornell does, isn’t she? It’s an intriguing contradiction. Though maybe it isn’t such a contradiction.

Do you see what happened with Pop as being formulaic? What are you thinking about Cottonmouth at this point? Sound off in the comments or come talk to me on Twitter.

Images: Netflix

Bandcamping: The Best Underground Albums of September

Fall is in full swing now, and since we’re in the season of change, let’s not let the leaves be the only thing altering aesthetics. Your music library could probably use a facelift, so as we do every month in this space, we’ve explored the depths of Bandcamp and came up with a handful of albums we can almost guarantee you haven’t heard, and we can almost guarantee that at least one of them will appeal to you.

So read on, and check out what we thought were the best underground albums of September, starting with:

5. 11:11 by Tessa Dillon

11:11 by Tessa Dillon

Genre: indie folk, indie rock

If you like: Warpaint, Your Friend, Lady Lamb

New Zealand songstress Tessa Dillon is far from the first to do the reverb-heavy, stripped-down folk thing—the aforementioned “If you like” artists come to mind—but that doesn’t mean she can’t do it well, because she certainly does. Her voice is gentle but impactful, and the simplicity of the songs really allow a moment to take with each one; You don’t have to consciously keep up, it’ll just happen to you.

4. Weird Plastic by hi-ker

Weird Plastic by hi-ker

Genre: indie pop, electronic

If you like: St. Lucia, Perfume Genius, CHVRCHES

Hi-ker writes in their Bandcamp bio that they’re currently unsigned, so any record label people reading, take the hint. Weird Plastic is a super engaging album filled with high-energy electropop that’s pop enough to remind of Carly Rae Jepsen one minute and of Animal Collective the next. If they get heard, people will love them, so somebody pounce and get in on the ground floor (assuming they’re looking for a label, that is).

3. I Belong To You by Peak Physique

I Belong To You by Peak Physique

Genre: indie pop, electronic

If you like: Hot Chip, Neon Indian

Based on what’s actually going on, this EP should come off as a lot weirder than it sounds, but they go about it with such confidence and skill that there’s really nothing alienating about it. “When The Spell Breaks” sounds like a mix of Flight of the Conchords and Drake, album highlight “Hell Is Anywhere You’re Not” sounds like a Florence + The Machine re-hash of 2000s electropop like Hellogoodbye, and there’s pretty much everything else in between in the remaining songs.

2. Upsweep by Hannah Epperson

UPSWEEP by Hannah Epperson

Genre: indie pop, electronic

If you like: Lykke Li, Four Tet

This album is hard to describe, which can be either good or bad. It’s definitely a positive in this case, though, a project very broad in scope, a double album with classically-influenced tracks like “Farthest Distance” and glitchy, rollercoaster indie pop songs like “Story.” It’s a wild, dense listen, and admittedly one that’ll take a few play-throughs to appreciate, but based on early returns, it’ll likely bloom into something great.

1. Three by Diners

Three by Diners

Genre: indie pop, indie rock

If you like: Ariel Pink, Peter Bjorn & John, Real Estate

Early fall is a great time for breezy indie rock, so the latest from Diners came at just the right time. It’s a strong step out of summer whimsy and into autumnal reflection, with a foot firmly in both. “Fifteen On A Skateboard” is such a nostalgic and fun track, a wildly catchy tune that also has a fun music video.

Honorable Mentions

Ghost Beach by Beauty School

Genre: indie rock, indie pop

If you like: Best Coast

Red Lights by Exiles

Genre: electronic, synthwave

If you like: Chromeo, Com Truise, S U R V I V E

EP1 by OPERATORS

Genre: electronic, indie pop

If you like: Hot Chip, Mark Mills

SUSPECT DEMO by SuspectBraxton

Genre: hip-hop

If you like: Earl Sweatshirt, Tyler, The Creator

That’s all for September, but until next month, let us know in the comments which of these albums were your favorites, what we missed, and what we should look forward to. If you missed out on the last post, check it out here (and the complete Bandcamping archives are here).

TIMELESS Surprises, But Will Its Time Travels Get Tired? (Review)

Editor’s Note: this review is spoiler-free! Enjoy!

Gosh, you guys: why do us nerds have to be the finger on the pulse of a nation? After the mainstream realized we were right about comic books and superheroes and anti-heroes, it seems they’ve found the next one of our interests to obsess upon: time travel. With the success of series like Outlander, Doctor Who, 12 Monkeys, and even Rick and Morty, it seems like more traditional networks are getting hip to the idea of skipping in and around time, with NBC coming out with their own version of time travel adventure on TV: Timeless, which premieres on Monday, October 3 at 10 p.m..

First thing’s first: this is popcorn television, where bombastic goofiness is the name of the game, and entertainment definitely wins over the science of it. If you’re looking for really complicated, riveting time travel: go watch 12 Monkeys or Rick and Morty. Do your mom and aunt and grandparents want to watch something together as a family? Throw this on and worry not about anyone being able to follow along (or a bunch of Rick’s burping grossing everyone out). Your family will no doubt love series stars Abigail Spencer, Matt Lanter, and Malcolm Barrett—and they’ll definitely LOVE ER‘s Goran Visnjic showing up, tackling big bad duties this season. It also features a veritable smorgasbord of fantastic character actors in supporting roles, including Paterson Joseph, Sakina Jaffrey, and Claudia Doumit. You’ll find quickly that showrunners Eric Kripke (Supernatural) and Shawn Ryan (The Shield) have nailed the freewheeling tone of this procedural.

The show centers around three unwitting time travelers—history buff Lucy (Spencer), former soldier Wyatt (Lanter), and scientist Rufus (Barrett)—as they are tasked with catching a mysterious bad guy named Garcia Flynn, a man hellbent on changing the past, seemingly for the worse. Perhaps the most surprisingly notable thing about the Timeless pilot is its unwillingness to disregard Rufus’ race and the effect that it would have on the people in the eras they visit. Because, duh. But also, given this a network show, it’s about time.

Identity has never been network TV’s favorite thing to dissect, traditionally shying away from discussing race, sex, or gender in any fashion beyond the throwaway joke or a schmaltzy afterschool special-type moment. Despite the mind-bogglingness of not addressing things that actively affect the way a person operates in the world, it’s traditionally been so much easier (and more palatable to a wider—read: whiter—audience) to eschew the discussion altogether, as if the world wouldn’t push back against “otherness.” But here’s the thing: if you’re going back to the past, it better freakin’ act like the past. Though it remains to be seen if Timeless will use Rufus to become a one-note comic relief/social commentary, we’re hopeful that a particularly mysterious subplot with him will turn that bit around some more. And good on NBC/Kripke/Ryan for at least trying, if nothing else.

The show zigs and zags with a boundless sort of enthusiasm that’s easy to like, an interesting juxtaposition to the myriad other time travel shows that seem to take the rules of defying physics as we currently know it. But that’s what makes it so enjoyable: it’s not as serious as 12 Monkeys or intricate as Doctor Who. It’s a Quantum Leap for a modern time—and sometimes that’s exactly what you need. More than anything, Timeless is the exact sort of historical time travel caper you’d want and expect from a network studio (even if it feels like something that would’ve probably done a bit better for them several years ago, before time travel became the new “it” conceit for television). It’s big, audacious, isn’t bogged down by the theoretical physics of traveling through time, and full of nostalgia-laced fun.

3 out of 5 burritos from the past:

Images: NBC

Alicia Lutes is the Managing Editor of Nerdist and creator/co-host of Fangirling. Find her on Twitter if you’re into that sorta thing.

Fan-Made INDIANA JONES Animated Series Is Genuinely Terrific

After an eight-year hiatus, the fifth Indiana Jones film is said to be coming up in 2019. But for anyone who longs to see Indy in his prime, there’s a new video making the rounds that offers up almost everything we’ve ever wanted from an Indiana Jones animated series.

Via i09, filmmaker Patrick Schoenmaker has posted The Adventures of Indiana Jones, which acts as an opening sequence for a cartoon that doesn’t exist. According to Schoenmaker, this video took five years to complete, with contributions from other animators as well. But the end result is an astonishingly fun trip through Indy’s adventures, with sequences inspired by Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade. Marion Ravenwood and Short Round also make appearances. Also a plus: there’s no sign of Willie Scott!

For reasons that aren’t entirely clear, Lucasfilm never seemed to show much interest in bringing the exploits of Dr. Jones to the animated realm, despite the fact that it’s the best way to freeze the character in his original time period. Indiana Jones may not have gotten an Extended Universe that could match Star Wars’ lore, but there are other stories in the franchise worth adapting. Indiana Jones and the Fate of Atlantis would be at the top of our list, alongside other ancillary material from various books, comics, and games. Original stories would also be a very welcome addition, should Disney ever decide that Indy no longer belongs in a museum or a vault.

What did you think about The Adventures of Indiana Jones animated video? Would you be excited to see this project become a reality? Throw us the whip, and share your thoughts below!

Frank Marshall talks Indiana Jones 5…

Image: Frame Order/YouTube

Patrick Stewart on BLUNT TALK, “Make It So!” and Investigative Journalism

Have you guys been watching Blunt Talk? The Starz comedy—its second season premieres Sunday, October 2nd at 8:30PM—has the esteemed honor of being one of the craziest, outrageous, and audacious comedies we’ve ever seen (literally. Ever). But wrapped up in that seemingly ridiculous shell is a soft and earnest center, anchored by none other than the can-do-no-wrongiest human to have ever lived, Patrick Stewart.

As venerable newsman Walter Blunt, Stewart and the team behind his show, Blunt Talk (sound familiar?), find themselves on top of the world at the beginning of season two—but don’t expect this to last, given who we’re talking about. With his heart firmly on his sleeve, Walter’s obsession with a conspiracy surrounding Los Angeles’ biggest environmental threat leads him on an adventure full of webs, intrigue, and the future of the city of angels. All of which Stewart hints at in our chat above.

Now, once we got over our excitement of talking to THE Sir Patrick Stewart (because, I mean, c’mon, right?), we also managed to play a wee game with him that we’re calling “Real Headline or Fake Headline” that he was incredibly good at (because of course he was, he’s Walter freakin’ Blunt, investigative journalist extraordinaire):

Are you looking forward to the new season of Blunt Talk? Have you ever yelled “Make it so!” at Patrick Stewart on the street? Let us know in the comments below.

Featured Image: Starz

Alicia Lutes is the Managing Editor of Nerdist and creator/co-host of Fangirling. Find her on Twitter if you’re into that sorta thing.

LUKE CAGE Premiere Recap: A Hero’s Journey Begins

Warning: This is a recap, and as such, contains spoilers for the series premiere of Luke Cage, “Moment of Truth.” Get out of dodge if you haven’t watched the episode yet.

Right or wrong, I’ve been worried about every Marvel series on Netflix since the premiere of Daredevil. Eventually one has to be off, right? It’s a numbers game. However, I’m happy to report Luke Cage is just as solid as its predecessors (read Alicia’s review if you haven’t yet) and carries itself with charisma, respect, and style. The series premiere, “Moment of Truth” set the tone, with its soulful music and warmer palette, you’re immediately put in another environment. This isn’t Hell’s Kitchen, and Luke Cage isn’t like the other heroes we’ve met.

The story quickly established Harlem as a character as much as any of the physical folks—a point that was reinforced throughout the episode. You’re not hit over the head with the importance of the neighborhood, though, it’s simply there as a living and breathing addition. Harlem’s presence is, uh, present from the opening scene in Pop’s Barber Shop, saturating and affecting the plot simultaneously. And what a fine place for viewers to catch up with Luke: Last time we saw him was on Jessica Jones. He’s put his past behind him, though, and we see him working at Pop’s in a cash under the table janitorial role and Luke’s just fine with his place, even if he has to work another under the table job to get by.

The “with great power comes great responsibility” theme isn’t a new one, and they brought it into the series early with Pop’s heart to heart with Luke. It was enough to reveal Pop knows Luke has abilities, he’s aware of Luke’s former relationship with Jessica, and he wants Luke to do more with his life. And hey, he even worked in a Power Man reference. Luke resisted his words, though, giving him the opportunity to hint at his origin story: he didn’t ask for his powers and isn’t super-thrilled about having them, either.

I’ve referenced how quickly this show put things on the table—I don’t think I’ve been more invested in a Marvel TV series faster—but like the other series, Luke Cage takes its time. We followed Luke through his neighborhood and got a taste for why it’s his home and why he wants to protect it; we’re given time to see why it’s important, and the supporting players are introduced deliberately and given their own moments to shine.

Luke’s other job is at Harlem’s Paradise, a club owned by Cornell Stokes, a.k.a. Cottonmouth. Thus, we met our villain in short order. And what an impression he made in his first scene; the pride he showed for his club and his overall role in Harlem shined—this is a man who is ambitious and confident, going toe-to-toe in his scenes with Mariah Stokes. Mahershala Ali and Alfre Woodard were electric as Cornell and Mariah from the get go: They both command the screen, and when they shared scenes together, their combined power makes you go along with damn near anything their characters say.

Cornell and Mariah’s conversation made Cornell’s less than lawful business operations apparent, and we’re shown a taste of those entanglements. The first act of violence in the series illustrated the stakes and danger, as well as the importance of the music. The way it’s used in Luke Cage isn’t like anything we’ve seen in a Marvel production or any comic book TV series for that matter. It’s woven into the story. In this case, a soulful song being performed at Harlem’s Paradise was cut with a bloody hijacking to stirring effect. The music is a living piece of the plot, much like Harlem, and it brings a fascinating contrast because it’s Cornell, a murderous, cutthroat bad guy, who most appreciates the music. You can see his passion for music in his eyes whenever he watches performers at his club.

Also happening at the club? Luke had to fill in for the bartender (who, incidentally, was part of the hijacking I just mentioned) and met the one and only Misty Knight. (He wasn’t aware of it, but she was undercover.) Though we’d seen plenty of Mike Colter’s charm as Luke up to this point, he rolled a natural 20 on that front in his scenes with actress Simone Missick. Luke is a much more personable hero than either the aloof Matt Murdock or angry Jessica Jones, so you’re naturally drawn to him. Misty certainly was: their hook-up was a complete 180 from Luke and Jessica’s furniture-smashing sex, and it was interesting to see Luke with a woman who was just as strong as him in every aspect (except, y’know, physically).

Oh! And the hijacking? It turned out to be an inside job that utterly screwed Cornell and involved one of the barbers at Pop’s shop. So, worlds start to collide. Cornell’s reaction to catching one of the youths that stole from him said it all, his anger a terrifying thing to behold. The red lighting and music added a comic book, cartoon-y element without taking away from it being frightening as hell. I was torn between appreciating how he was framed so perfectly under the crown in his B.I.G. photo and holding my breath as he lost his shit. I mean, villains aren’t usually rational when they’ve been robbed from, but already, Ali has made this character something different than the status quo.

As Cornell suffered this embarrassment, an associate of a bigger fish called Diamondback came in to more or less babysit Cornell. The arrival of Shades (Theo Rossi)—so-called I presume because he constantly wears sunglasses—affected Luke because he recognized the lackey from his time spent at Seagate Prison. And if you’ll remember, Misty said Luke talked about Shades and Comanche in his sleep.

The appearance of Shades brought Luke’s “Moment of Truth.” He almost ran, but instead remembered his wife and stayed. This choice led to the first look at Luke’s powers in the series, as he engaged in a truly fun brawl to protect his landlord’s restaurant. It was there as if to say, “See, this show’s gonna get real, but we’re gonna have a good time, too.”

How did you feel about the Luke Cage premiere? Were you immediately hooked? Talk to me in the comments.

Images: Netflix

Schlock & Awe: THE RETURN OF GODZILLA (1984)

By the mid-1970s, the Godzilla franchise was total butt. There had been 15 films in Toho Studios’ franchise about a giant lizard monster who alternately destroys Tokyo and attempts to save it from other monsters trying to destroy it. The 1975 entry, Terror of Mechagodzilla, was the least successful of any of them, and the…verisimilitude of the whole saga had become tired and ridiculous, even if you’re suspending the disbelief of the idea of guys in monster suits fighting on top of a model buildings. After a near-decade break with different groups trying to make a new Godzilla movie, Toho turned out a new beginning, and a new era: The Return of Godzilla.

Effectively forgetting all the silliness including other monsters from the previous 14 films, The Return of Godzilla is a direct sequel to the 1954 original. This cuts out a lot of the fluff that became standard for these films–especially the later ones–and did one major thing: it made Godzilla the bad guy again. For the first few films in which the giant atomic lizard appears, he’s the definite threat, crushing building and destroying much of the Japanese countryside. By the time of Ghidorah, the Three-Headed Monster in 1964, Godzilla had become so popular that Toho decided to give him more of a protectorate role, eventually making him the all-around guardian of Japan and Earth in general. One of the smartest things Toho did for The Return of Godzilla was to forget all that and make him a baddie again.

Following roughly the same pattern as the original, The Return of Godzilla begins with a ship in the Pacific Ocean that gets hit by something (guys, it’s Godzilla, you know what you’re watching here). Later, a young reporter named Goro Maki (Ken Tanaka) happens upon the shipwreck in his boat. After climbing aboard, he finds nothing but dead bodies, with the exception of one young seaman named Okumura (Shin Takuma) who wakes from being unconscious just in time to save Maki from a giant sea louse, later realized to have been mutated by the nuclear energy emanating from Godzilla. Back on land, Okumura realizes the thing he saw in the ocean is another Godzilla, the same as wreaked havoc 30 years prior. Maki writes a story about it, but the government quashes it.

Maki then visits a scientists whose parents were killed in the ’54 Godzilla attack. He’s spent his whole life researching the monster, and he calls it a giant walking nuclear weapon. Maki also meets Okumura’s sister who is very relieved to know her brother’s still alive. Elsewhere, the Japanese government is beginning to worry about a repeat of the 1954 attack, and this isn’t helped by a Soviet submarine being attacked. They initially blame the United States, but soon it’s made clear to all parties that it’s Godzilla. Both the Soviets and the Americans demand Japan allow them to use their nuclear weapons against the beast, but the Japanese Prime Minister refuses. The Soviets totally plan to do it anyway, though. The scientists believe, following Godzilla attacking a nuclear power plant and becoming distracted by a flock of birds, that he instinctively will follow a strong sonic signal. They plan to lure him to the volcano on Mt. Mihara on Oshima using a similar signal…but first they have to survive his next attack on downtown Tokyo.

Despite this movie being made for a relatively low budget, and still employing the rubber suits and scale replica effects as the earlier movies, The Return of Godzilla is a welcome return to the more serious, real-world disaster movie type of storytelling of the original film. It’s played about as straight as you can, to the point that the one comedic-relief character–a drunk who decides to use the Godzilla attack as a good time to steal from fancy restaurants–feels incredibly out of place. And I feel like it needs to be taken seriously for the endeavor to work at all.

The first Godzilla was a reaction to WWII and the threat/reality of nuclear annihilation. Japan was and is the only nation on Earth that has been victim of a nuclear bomb attack. Much of the imagery in that movie, of the carnage wrought by the monster and those affected bandaged and bleeding in hospitals, was directly mirroring what happened in Hiroshima and Nagasaki during the War. Obviously, that kind of allegory wasn’t very pertinent in 1984, so what The Return of Godzilla did so brilliantly was to make it a Cold War story. Nuclear threat is imminent, and both the Soviets and the Americans basically attempt to berate Japan in to allowing them to fire nukes on their sovereign soil. These two superpowers were threatening the world because of their East vs West standoff, and the movie exploits that very effectively, while the Japanese government looks for another solution.

Social and political allegory are all well and good, but people watch Godzilla movies for the carnage, and The Return of Godzilla has some of the best. By this point, the ability to make enormous scale models of cities had gotten so good that you almost can’t tell in the wide shots what’s real and what isn’t…until you see Godzilla himself. However, for much of the medium to close-up shots of the lizard, they actually built a fairly complex animatronic figure. The director of The Return of Godzilla was Koji Hashimoto who assistant directed quite a few of the earlier films. Only he, series creator Tomoyuki Tanaka, and special effects director Teruyoshi Nakano from the older films were present here, and it helps to make you feel like this movie is at once connected and distinctly new.

The Return of Godzilla proved exceedingly popular in Japan where it made well over its budget and jump-started the series again, which would run for another decade. Also, true to form, an Americanized version of the movie was produced. It was entitled Godzilla 1985, and Raymond Burr was again brought in to play the main character amid the existing Japanese footage. It didn’t do very well on this side of the pond, and until this month’s Blu-ray release, the original Japanese version had never been released on DVD in North America. It’s a shame, too, because The Return of Godzilla, while not being as culturally resonant or boundary-pushing as the original, is a tremendously fun and impressive flick in the series, and one whose central attack sequence might just be one of the best ever.

Images: Toho Studios

Kyle Anderson is the Associate Editor for Nerdist. He writes the weekly look at weird or obscure films in Schlock & Awe. Follow him on Twitter!

SUPERHERO FIGHT CLUB Brings All the DC Comics CW Heroes Together

When I was a kid, we were lucky to see superheroes in live-action at all. And for every awesome Christopher Reeve as Superman or Lynda Carter as Wonder Woman, you seemed to have a half dozen misfires like the Supergirl movie starring Faye Dunaway. And anyone remember The Phantom with Billy Zane? (If you don’t, consider yourself lucky). So the little ten year old DC Comics fanboy in me can’t help but be giddy now that there are four – FOUR! – DC Comics superhero television shows on the air on the CW network. I am, of course, speaking of Arrow, Legends of Tomorrow, and my two personal favorites, The Flash and Supergirl.

Now the CW has released a special clip, via Entertainment Weekly, of characters from all four of the Greg Berlanti-produced CW DC Comics shows participating in a superhero style fight club, inducting their newest member Supergirl into the mix. All the heroes are inside an X-Men style Danger Room (if I may be so Marvel), and the clip is just loads of fun, and will get you super jazzed for these shows to just start up again already. You can watch the prelude for the Superhero Fight Club clip in the video above. To check out the full scene, you need to download the CW app.

Aside from “new girl” Melissa Benoist as Kara Zor-El, the clip features Arrow’s Stephen Amell (Green Arrow), Emil Bett Rickards (Felicity Smoak), and David Ramsey (John Diggle). From The Flash we have Grant Gustin (Flash) and Carlos Valdes (Cisco Ramon). From Legends we have Caity Lotz (White Canary), Brandon Routh (the Atom), Franz Drameh (Firestorm). And making a small cameo is David Harewood as the Martian Manhunter.

The Flash returns Tuesday October 4, and Arrow returns Wednesday the 5. Supergirlreturns Monday, Oct. 10, and Legends of Tomorrow returns Thursday, Oct. 13, all at 8 p.m. ET on The CW.

Are you as stoked as we are for the return of the DC Superhero shows? Let us know your thoughts down below in the comments.

Could the Flash launch a rocket through speed alone?

Images: CW / Warner Brothers