In Captain America: The Winter Soldier, Steve Rogers speaks to an aged Peggy Carter and tells her “knowing you helped found S.H.I.E.L.D. is half the reason I stayed”.
When Agent Carter was first announced, perhaps many thought that the story of how Carter “helped found S.H.I.E.L.D.” would be told. Instead, what we got was how Carter was marginalised at the SSR but still ultimately played a major role in stopping Leviathan from executing a diabolical plot to kill thousands of innocent people and take revenge on Howard Stark.
This final episode of the mini-series does what one expects it to, and with much aplomb. Hayley Atwell, Dominic Cooper and James D’Arcy provide the star power as Carter, Stark and Jarvis as required, whereas Chad Michael Murray (Agent Thompson) and Enver Gjokaj (Agent Sousa) are functionary at best. So while Agent Carter was a fun ride into the post-war MCU, hopefully subsequent mini-series will explore more seriously the founding of S.H.I.E.L.D. and Carter’s role in the same.
Agent Carter has done well to make connections with MCU films (unlike say, Agents of S.H.I.E.L.D.) and has exploited well the strengths of having a shared universe. Let’s hope there’s more to come.
By now, it’s plainly apparent that Better Call Saul as a series is going to be a proper examination of James M. McGill aka Saul Goodman. Vince Gilligan and company are in no hurry to rush through these opening episodes and instead letting the story of McGill play out naturally. It’s fascinating to see how McGill goes from struggling public defender and the perpetual loser to an opportunist seeing the possibilities in every situation. Sure, he is still a little awkward and a bit of a buffoon but this episode – “Hero” lays out the genesis of Saul Goodman for all to see. The straight and narrow seems to be a path rightly forsaken in exchange for success. For the audience, it is intriguing to witness McGill’s metamorphosis and to attempt to second guess each one of McGill’s moves as he manoeuvres himself into positions of favour.
Definitely in no hurry to go from this prequel sequence of events into the post-Breaking Bad continuity – hoping the series will stay with this timeline for awhile.
The Campbell Apartment, named after a bar hidden inside New York’s Grand Central Station, is the brainchild of Russian born singer-songwriter and oil painter Ari Vais. Ari’s new Sundogs EP is the proverbial breath of fresh air in a modern rock scene obsessed with superficialities. No such issues with Vais and his straightforward musical agenda. The songs take top priority – memorable melodies and relatable lyrics – clothed in classic pop-rock arrangements and instrumentation. Tracks like “Something in the Way” and “Heroic Audio Display” hearken back to a kinder & gentler times (the 90s), the last hurrah of the Pop Underground, where thought and effort are put into communicating a genuine emotional resonance through words and tunes. By the time one gets to the music hall jauntiness of final number “What Do You Think Of That”, it’s easy to feel a sense of regret that there isn’t more. But that’s the harsh reality of releasing marginalised forms of music in 2014. So if you love songs that balances intelligence with musicality, support The Campbell Apartment and the Sundogs EP! Find out below how and why Ari Vais does what he does!
How did you start writing songs?
I must have learned how to play guitar well enough as a 10 year old to learn a bunch of Beatles songs by the time I was in high school, and then Floyd, Zeppelin, finally some REM and Lou Reed songs, and then around 16, a slew of my own songs where the burst of writing didn’t cease until recent years. I still write but not as prolifically. I guess when I started as a teen, the tunes were based on traditional chords, as well as chords that I had no idea what they were, where my fingers were just doing some formation that happened to sound cool and go with the song, because I still didn’t know my way around a guitar that well, and trying for clever words or earnest poetic ones, hopefully with a tiny dash of humor, and a strong melody. The last bit was the most important, and very much still is.
Possibly one of the best Walking Dead episodes in recent memory and it was achieved without having to kill a major character! All it did was examine the question of trust in the post-apocalyptic world of The Walking Dead. After having suffered at the hands of the Governor and the cannibals of Terminus, it’s easy to understand Rick’s reluctance to trust anybody. But what if someone comes along and tells Rick and group that there is a relative paradise waiting for them? Too good to be true? When does playing safe become dangerous? For Michonne, that time to trust a stranger like Aaron is now, and finally Rick has to decide whether he can do so and put his children potentially at risk.
It’s as simple as that but of course, it isn’t simple at all and the tension and drama flows from the audience asking the same question that Rick does – can we trust these people? Well, can we?