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Johanna Konta reached an essential point in her career on the All England Club Wednesday afternoon. The 25-year old battled back weather, delays and Puerto Rico's Monica Puig to win her first match at Wimbledon 6-1, 7-5 on Court One.
The two had met one time with the Brit winning a frightening match up against the strong serve of Puig in three sets a year ago at Nottingham. Both made it towards the semifinals at Eastbourne using what they both thought would have been a finals appearance between each other. That would not come to light with one losing quickly along with the other doing it her all until it turned out too late. The 25-year-old world no. 19 really has her home country behind her and needed to have one additional run on grass while she still were required to play with it under her feet.
She began using a strong break of Puig before holding serve from the second gaining a beginning lead. A lot of work went into her early lead delaying the Puerto Rican who has been herself looking for on the board. It looks like a hopeless cause as Konta kept Puig scoreless through four coasting by hand skills. She allowed herself being taken to get a game as Puig ended the drought winning by herself serve before watching Konta speed to your 5-1 lead.
Wasting no further time, the high ranking Brit pushed to win the set by the single set point completing a 23 minute set. Konta served at 85 percent while using first serve being the workhorse of her success. She was the higher quality on break points and committed just four unforced errors altogether.
Puig knew that her numbers in the set needed to become better playing and proved it by holding serve on Konta to get started on the second set. The Brit went ahead about the score and took the lead over a break prior to the rain started pour down locating a halt towards the match. When play resumed the very next day, Puig won upon an unforced error in the Brit leveling the set at two all. The Puerto Rican took a 2 game bring success Konta before she surely could respond and level back through eight.
With a hurry to get rid of the rain for the second time, the Eastbourne native rushed throughout the ninth playing hard for that win along with a 5-4 bring about play to the match. The tenth was obviously a real struggle for your players like a light rain poured down with officials not prepared to suspend it. In the end Puig held serve throughout the game forcing Konta to try and do more to win the match. She started it along with her fourth ace against Puig before scoring manboobs leading 40-0. Though she allowed two points, she were able to gain back control and would try to complete it a second time within the return.
Unforced errors about the count of Puig got Konta into position she wanted then when the time was right, the Brit handled it to win the break point plus the match in sixty minutes and 14 minutes. 'It became a tricky first round because she was play so well for the grass,' Konta said about Puig following match. 'I really knew that I were forced to be there every point the top that I could and also the conditions didn't make it easier to the both of us. 'Coming back the following day we still had obstacles and I'm pleased that I might stay focused as I did and really not panic not rush and merely kept playing.'
With her match finally completed, she'll enjoy some time off and await the winner between Magdalena Rybarikova and Eugenie Bouchard.
Let’s get one thing straight here, folks: DEADPOOL should not be the lead character of anything. He’s gonzo comic-relief, a bit player with a VERY specific bit to play, and that’s where he’s always belonged – or rather, its where he belonged once somebody figured out what to DO with him.
PRIDE & PREJUDICE & ZOMBIES is the latest attempt to answer the question of whether or not you can stretch one joke into an entire movie, though this time the joke being adapted is less of the “setup-misdirection-punchline” and more of a “hey, isn’t it funny that this is a thing that exists” variety.
Well. Needless to say my plans to get back on track for weekly updates didn't go exactly as planned, though I'm sort of glad of that. Episode 3 ("Better Angels") felt a bit lackluster, falling back on elements that have been the least interesting part of the season so far in order to let subplots of later importance (Whitney Frost discovering she can kill with a touch thanks to her Zero Matter infection, Jason Wilkes being a "living ghost" thanks to a blast from the same) handle their setup.
Punk band trapped in a backwoods club with an army of white-supremacists looking to kill them for witnessing a murder. Finally coming out after a big impact on the festival circuit. Looks intense:
With apologies for the week's delay - as you may have heard, I've picked up some work recently. Before anyone asks: Yes, I've also seen Episode 3 - it'll get it's writeup likely sometime later today.
Anyway...
The first season of AGENT CARTER was a revelation: The so called Marvel "assembly line" spinning-off the CAPTAIN AMERICA franchise with a female-fronted period action drama whose narrative functioned as a series-length metaphor for the forced-backslide of women's rights in the post-WWII U.S.? Even if you'd seen THE FIRST AVENGER and thus knew that Hayley Atwell's Peggy Carter could more than carry a show, that wasn't what anyone was expecting. And while the first season didn't precisely stay sturdy all the way through (what should've been a gangbusters finale was undercut by TV budgeting, but only just so) it was one of the worthier editions to the canon by far.
So it's with some trepidation that one approaches the series' second season. Sure, the characters more than deserve to be revisited and there are definitely more stories worth telling, but the first run felt like such a meticulously constructed piece - the right actress, the right character, the right story to tell with her - that there was always going to be some worry that any follow-up might stretch the setup too far: The first season felt like it used up every possible angle in the Marvel-ephemera-as-historical-feminist-metaphor toolbox, so where else might there be to go beyond new villains and more world-building for the broader MCU?
The good news is, it turns out that AGENT CARTER still has a lot to say along with being as reliably fun as ever. The less encouraging news, at least thus far, is that there might already be a sense of diminishing returns involved. Notice I said "might."
Make no mistake, Season 2 starts strong: Carter vs Dottie rematch in the opening minutes? Awesome. The SSR Agents (except for Agent Thompson) now holding Peggy in close-to-fetishistic respect? Good development. Shipping her out to the West Coast to help Agent Sousa with a nascent Los Angeles division? Nice change of pace. New mystery involving (thus far) a secret stash of black-hole creating extradimensional black goo already confirmed to be the (chronologically) first appearance of the not-yet-correctly-named Darkforce? Very cool. Lotte Verbeek as Ana Jarvis? Hilarious character, a great addition. All the misdirection business with the frozen lake/bodies? Good stuff. All told, in terms of technical quality and overall charm, it's basically every bit as good as it was before - one of the most seamless progressions between seasons of a non-procedural I can remember.
And yet... yes, it doesn't quite pack the same level of punch the arrival of Season 1 did. To an extent, that's to be expected: We're in the realm of the familiar now, so there's less sense of discovery on the audience's part. But I worry that it also has something to do with the underlying scenario being not as fundamentally compelling.
Realizing that Season 1 really was going to make it's meta-story entirely about Carter as a stand-in for an entire generation of Rosie's who braced at being told to put down their rivet-guns once the war had concluded was an invigorating system shock; not just because a Marvel show was tackling something so specific but because it's a hugely important moment in modern history that we never really get to see in popular entertainment - to the extent that the only major mainstream movie or series I can name offhand that tackled it previously was A League of Their Own. By contrast, apart from the end-of-Golden-Age-Hollywood setting, Season 2's big thematic bugbears (so far) appear to be pre-Civil Rights racism (Peggy's new would-be paramour is a Black scientist with pointedly Steve Rogers-esque dorky/handsome vibe) and early signs of anti-Communist paranoia and... well, we've seen both of those before. They just don't feel as novel.
Or at least they don't so far.
Like I said, it's early yet. And even if AGENT CARTER can't always be super-novel in addition to being super-entertaining, well... "just" super-entertaining is hardly much of a negative. It's encouraging to remember that this series isn't cheap to produce, and its being handled largely by powers from the Film side of the Marvel business, so its unlikely they'd spend the time or resources to bring it back if they didn't think they had a compelling reason to. Given how good a job so much of the same team did last time, I'd say it's worth enjoying the fun for now and being optimistic about everything else. QUICK TAKES:
I honestly wish Marvel hadn't been so preemptively eager to inform us that Whitney Frost is indeed a variation on Madame Masque - that would've been fun (if easy) to put together. I expect she'll end up wearing the signature gold mask at some point.
I'm going to go out on a limb NOW and say that they're building to a "twist" with Dottie this time around. She's back to early to "just" be a heavy again, why would she be trying to steal an Arena Club pin if she was working for them, she's super-insistent about only talking to Peggy, etc - it doesn't add up. I'm calling it now: She has a good(ish) guy agenda this time, and she and Peggy will be fighting on the same side at some point.
Speaking of the Arena Club and/or Council of Nine business, they're logo looks too much like a missing-link in that "devil symbol gradually becoming HYDRA symbol" evolutionary change laid out in AGENTS OF S.H.I.E.L.D to be anything but, right? So the question becomes: Are they HYDRA, or do they and HYDRA just share a common ancestor. At this point, they mainly seem to be standing in for The Maggia, hence the Madame Masque connection.
Masque being an "evil" equivalent to Heady Lamar? Good angle.
I maintain more than ever that I really want Chad Michael Murray's Agent Thompson to ultimately become an MCU equivalent to William Burnside.
Well, the experience actually worked out pretty good for me overall. I learned a lot about publishing, met a lot of interesting new people, and continue to be making a decent profit off of it. In fact, things went so well that I've been itching to publish a follow-up ever since. And since one of the lessons I've long resisted learning is to recognize my own limitations, I've decided that I don't want to follow-up Brick-By-Brick with just one book - I want to publish a whole bunch of books.
Hit the jump for further details:
So. Here's what's going on. I've recently finished officially acquiring the rights to republish a rather substantial amount of writing that I previously produced both for the this blog and for other outlets, most notably the bulk of my written work for The Escapist including the Intermission and High-Definition film and television columns. I've heard from many fans, viewers and readers over the years that they would like the opportunity to revisit various pieces that I wrote but don't necessarily want to hunt them down in the backlogs of this or that website, or that they'd like the opportunity to support their favorite older pieces in a way that directly benefits the author (since I, like most writers on a work for hire basis, do not continue to receive royalties or other compensation from future traffic on older writing); and I'm sympathetic to both of those desires - and not just for the obvious reasons.
So I've decided to do something about it.
Over the last few months (and continuing) I've been going through this aforementioned backlog of older work and dividing individual pieces out by subject, and have thus far arrived at a point where it looks like I have enough material (after discarding pieces that have either aged poorly or, like many "speculative" pieces, are no longer especially relevant) to conceivably publish anywhere from 7 to 10 individual volumes of collected writing; organized into subjects like reviews, the film industry, geek-culture, video games, interviews and profiles of celebrities, etc.
That's... quite a bit of product.
And to be perfectly honest, it's a more substantial (potential) project than I was originally preparing to deal with, which means its probably going to take a bit more time and effort than I originally expected to get it underway - and that's if it looks like I've got an audience that's receptive to what I'm offering. Hence the purpose of this post: I'm looking for feedback about how best to make this material available to you, my fans and readers.
Make no mistake: This is happening.
I am determined, barring some unforseen disaster, to get a run of books collecting my previous decade of writing out into the marketplace for sale. The question, however, is what that means in terms of the form they are available and how much can be inititially produced. Ideally, I'd prefer to get the entirety of what I've got out for sale all at once, but production costs are a reality and so is the concept of over-saturating one's own market. In other words, it would likely be prudent to release volumes in "waves;" which means determining both what people most want to read, how they'd most want to read it and what the best system for delivering that is.
My original plan when setting up this project was limited to producing a series of ebooks, and that format remains my primary focus given that I'm an independent freelancer and that these, after all, are republications of previously-existing material (though finished volumes would include new introductions and contextual-intros for each entry.) However, as part of my goal of becoming more active on the convention circuit outside of strictly making panel appearances, I am looking to have more physical product/memorabilia to bring with me when I do.
That means I'll have to find means of producing these volumes in print form, too - easier said than done, since my aim isn't so much to have them on store shelves or printed-on-demand for fans who prefer a physical copy (though I certainly wouldn't be against either) but rather to be able to order copies to sell myself without some kind of obscene markup: FYI, the reason you're able to purchase copies of Brick-By-Brick from me in person at Conventions, occasionally at reduced rates, is because I paid for the printing services myself upfront on the gamble that I would sell enough of them to eventually make that money back (which I did in a shorter than expected amount of time.) That made sense for a smaller single-volume project, but isn't feasible for a bigger enterprise like this particularly in my current (improving, but not fast enough) financial situation.
So what am I looking for right now?
At the moment, I'm mainly looking to get the word out: "Hey a bunch of MovieBob books, get excited!" Could there, potentially, be some a crowdfunding campaign to help facilitate all this at some point? That's definitely a possibility, though there need to be a lot more logistics ironed out before I start asking people for money. Well... money apart from The MovieBob Patreon, of course, as that's still the best way for fans to help ensure that their favorite MovieBob-branded content continues to be produced.
But right now, I'm mainly looking to see if any of the fellow creator/producers in my audience have any advice vis-a-vi getting printing/ebook-formatting done with wide distribution channels without necessarily going broke setting it up - or, hell, maybe there's a publisher out there looking to roll the dice on some eclectic multi-volume entertainment-writing? To that end, here's the basics on what I'm (currently) looking at in terms of eventual product:
Between 7 and 10 volumes of work, culled mainly from my near-decade of work for The Escapist but also from my blogs and other sources during the same time period plus new work in some instances.
New introductions for each volume and mini-intros for each individual piece of writing, placing the work in context and offering thoughts in hindsight on the work itself.
Each volume comprising about 120-170 pages of writing (in standard MS Word doc formatting), not counting introductions, index, etc. Shorter volumes = greater selection at a lower pricepoint, win/win.
Volumes covering a diverse array of topics, including but not limited to: Geek Culture, Video-Games, The Movie Business, Film Reviews, Television Retrospectives, Classic Films, Superheroes and more.
Each volume tied specifically to the proven MovieBob brand, with the possibility of additional subseries-branding tied to other projects such as "The Game OverThinker" and "Really That Good."
But before anyone gets TOO excited:
At this time, one thing I can say that I know will come as a disappointment to some but I feel I need to be honest about: These will not be "book versions" of Escape to The Movies or The Big Picture. Property-rights work differently for projects like that, and even if they didn't reviews written for spoken-word scripts of that nature do not often translate well into plain text. So while a book of straightforward reviews of recent films is on the "to-do" list, if you're expecting your favorite episode from one of those shows it probably won't be part of the series. That still leaves plenty of reviews to be had from the columns and from this blog, but if you're looking for (for example) the early TRANSFORMERS reviews, they won't be in there. Sorry.
On the other hand, if you remember enjoying reviews like WINTER'S TALE, or the retrospectives of older films related to holidays, sequels, remakes or the passing of famous actors and filmmakers, or pieces like "Re-Tales," "South Park as a Gated Community," "Advice From a Fanboy," "Bat-Mitt vs Obamavengers," etc; that's exactly the sort of material being collected. Also, the Video-Games volume will likely included adaptations of scripts from the early Game OverThinker episodes, as well.
So when can you expect to hear more?
That largely depends on what I hear back. Do you have advice, feedback, questions, etc? Let me know in the comments. I'm excited to move forward with this, and I hope folks are as eager for this material in this format as people have been telling me they are.
If Trey Parker, Matt Stone and South Parkhave always better than almost anyone in the business at exactly one thing, it’s preventative self-defense: Few other creators are as consistently reflective enough to anticipate almost any criticism of their work and bake sly inoculative retorts directly into the batter. This is, after all, the same series and creative team that structured their (thus far) sole theatrical outing, South Park: Bigger, Longer & Uncut, around the conceit of a busybody helicopter mom unwittingly unleashing an Apocalyptic war with Canada over fury at her son being admitted to an R-rated animated film.
UPDATE: The first of the "new projects" listed below can now be revealed - I have officially become part of the ScreenRant News Team!
You'll find my news items handily catalogued under my contributor tag, HERE. If you want to keep my content chugging, here's a brand new and simple way to do so: Share the HELL out of these posts to social-media, Twitter, Facebook and wherever else you may want to. Cheers! (original post appears below) Hello, friends!
So. Some changes are afoot, and it's time for a quick update. This technically should have been up sooner, but I was working a convention all weekend. Anyway...
You may have noticed that there wasn't a new episode of IN BOB WE TRUST this weekend. That wasn't an oversight - there wasn't one produced. IBWT and ALL-NEW GAME OVERTHINKER are both taking a bit of a hiatus. There won't be new episodes of either series for a time, and at this point I can't specifically say when they'll be back or in what form. Don't freak out.
Here's the thing: The reality of Internet-based original programming is in the midst of a major evolutionary shakeup. As original web creators consolidate and grow bigger, in tandem with major media companies becoming increasingly part of the equation; the old model for web video i.e. self-producers making episodes week-to-week on their own self-determined schedule is gradually giving way to a more traditional TV-style "seasonal" model whereby shows come and go in arranged runs. You'll note, for example, that ScrewAttack's DEATH BATTLE is currently taking its break, and popular series like EPIC RAP BATTLES OF HISTORY have adopted the seasonal model to increase their production caliber and accommodate their live shows.
So it also goes for independent producers like myself: IN BOB WE TRUST and GAME OVERTHINKER were produced for a set run with ScrewAttack, that first run has concluded and now they're on break; while fans of ScrewAttack's broader content-library have no doubt taken note that BEST/WORST EVER and TOP TEN have started back up again. So goes the cycle. I can't say when my two series will return at this point, or in what form: It's possible that IN BOB WE TRUST (for example) might find a different homebase in the interim. It's also possible (again, for example) that you might see me on ScrewAttack with another brand-new series. All I can say on that front is that you should stay tuned.
Especially since that's far from all I've got going on :)
There are (at least) two major new projects I've currently got in production, at least one of which you should be hearing about very soon and another which is going to substantially expand my footprint in multimedia; so stay tuned for news on both of those fronts.
Finally, tops on my 2016 "to-do" list is to replace this blog (which is, I'm aware, very out of date for the kind of operation I'm increasingly running here) with a more functional, modern website. So keep an eye on that as well (especially if you've got experience in building professional sites and have anything to reccommend.)
As ever, while I'm aiming every day to once again be supporting myself and my work through regular employment in my chosen field(s), the new media landscape remains a tricky place in that regard. If you'd like what I'm putting out and would like to help ensure that I can keep providing it for you, please consider joining (or increasing!) support for The MovieBob Patreon.
