The end of 2023 also sees the end of the DC Extended Universe with "Aquaman and the Lost Kingdom". I still think the first Aquaman film was the best entry of the DCEU, but I was entertained with its sequel, even though they seemed to play it safe for the most part.
In a way, it's more of the same from the last film. There's no major new character additions, at least not ones that are fully fleshed out. Though I will say a lot of the returning cast still turn in good performances, particularly Jason Momoa's Aquaman. I really enjoyed seeing him as a father and how he's able to reconcile with his brother, Orm (played again by Patrick Wilson). Anything new that is added doesn't feel fully original. I noticed a lot of story beats and imagery reminiscent of Taika Waititi's Thor films. They even seem to go for "Star Wars under water" vibes with Black Manta (played again by Yahya Abdul-Mateen II) getting an elaborate ship with crew members in uniform ala Darth Vader commanding a Star Destroyer and a Jabba's Palace like scene with Martin Short playing the Jabba like character.
The CGI in the film is about half and half. Most of the time it looks good with great imagery that once again leans into director James Wan's horror style. Other times though things don't look fully rendered, like how some bodies look rubbery during the action scenes. And I don't know if it was a theater issue, but there were a couple scenes under water when characters are talking where they seem to shake, like there was a glitch they didn't catch before release.
For the most part, the climax was fun. I enjoyed the action and I could swear the part with the whales was somehow a callback to a joke from the first season of Dragon Ball Z Abridged. The only gripe I have with it is the big bad seemed to be beat a little too easy after all the build up to what a threat he was. While the film doesn't give a grand finale to the DCEU, it at least brings Arthur's story some closure. The character gets a happy ending and accomplishes the goals his loved ones hoped for him.
After "Blue Beetle", I'd say "Aquaman and the Lost Kingdom" is the second best DC film this year. It's not groundbreaking like the first film, but there's still some entertainment value that allows the King of Atlantis to go out on a good note and the DCEU on an okay one.
Another year, another Doctor Who regeneration. It's happening a lot faster than usual, but these are of course special circumstances. For the franchise's 60th anniversary, David Tennant is back but now as the Fourteenth Doctor rather than reprising the Tenth for three special episodes. With him in tow is Russel T. Davies returning as showrunner after leaving the revival series' fourth season and Catherine Tate as companion Donna Noble.
Despite it looking like the franchise is backtracking with past cast and crew returning, these specials really do feel like a new era is beginning. It may have something to do with the series being broadcast outside the UK on Disney+, and the budget looks like it got a Disney sized increase. Regardless of that though, the first special alone works not just as a jumping on point for prospective fans but a reminder of why established fans love Doctor Who, particularly those like myself who Tennant was their first Doctor. On that note, Tennant as well as Tate have not lost a step in their roles as the Doctor and Donna. Tennant especially still has the fun and emotional aspects that made his Doctor so endearing. Though I will honestly say I couldn't really see much in difference between Ten and Fourteen aside from the age difference, but I think that's the point.
While bringing back Tennant may feel like a stunt to reel in fans who stopped watching in the intervening time, there is a story reason for it. Way back in the "Day of the Doctor" 50th anniversary episode, the Tenth Doctor is referred to as "the one who regrets." While the Thirteenth Doctor had an unyielding optimism, it appears that the Doctor still had some issues they were avoiding. Regenerating back into a previous version that was fun but still felt things so deeply may have been the Doctor's subconscious way of facing them. This really starts in the second special with the Not-Things' taunting about him not knowing where he came from, referring to the Timeless Child revelation, and how the actions of the Fugitive Doctor lead to the events of the Flux and the loss of life that came of it. I was a little surprised they referenced back to that so early after Whittaker's time, though I feel they could have leaned into it more with an identity crisis aspect, like the Doctor doesn't know who he is going forward. Of course, the other aspect of that taunt was the loss of life on the Doctor's watch, which goes harder in the last special with the return of the Toymaker, a villain he had faced way back as the First Doctor. In addition to the Flux, the Toymaker taunts him on the fates of Amy, Clara, and Bill during their times as companions. While the Doctor tries to give silver linings to these events, the Toymaker's retort of "Well that's alright then" adds on to the idea that the Doctor had been avoiding some heavy thoughts.
The battle with the Toymaker of course leads to the Doctor's next regeneration, which for the second time in a row is quite different from what came before:
First off, it's funny how another final episode with Tennant and Tate lead to another duplicate Doctor. I don't think anyone saw this coming. The "bi-generation" not only adds to the surprise of a regeneration episode also being a Multi-Doctor episode, but it's an interesting concept that makes sense by the end of the story. A big mystery through these specials is why the Doctor regenerated into a previous face. The idea of a "returning face" was used before with Peter Capaldi's Twelfth Doctor, who while feeling familiarity with his face didn't piece it together until he remembered the events of the Ten/Donna episode "The Fires of Pompeii", where Capaldi had a guest role prior to his tenure as the Doctor. That episode saw Donna plead with the Doctor to save at least one person as Mt. Vesuvius erupted, rescuing Caecilius (played by Capaldi) and his family. The Twelfth Doctor saw having a similar face to Caecilius as a reminder that he has an obligation to save people when he can. Now things have come full circle with Donna Noble's return and the Doctor having a face from his past. This time though, Donna posits that a familiar face returned because the Doctor needed to rest with loved ones beside him. Of course, those who know the Doctor know he's not one to just sit still in one place for too long. Between learning of his time after their parting and how one thing after another keeps happening since their reunion, Donna realizes the Doctor just doesn't stop. This idea has been brought up before, how the Doctor stole his TARDIS, ran away from Gallifrey and just kept running. The bi-generation where the Fourteenth and Fifteenth Doctors co-exist is the best compromise. After making a duplicate TARDIS thanks to an after effect of the Toymaker's reality warping, the Fifteenth Doctor would continue to go on traditional Doctor Who adventures while the Fourteenth Doctor would settle in with Donna and her family, taking a much-needed break while a trip in his TARDIS now and then is implied. If it's not obvious, the theme of mental health plays heavily here with the bi-generation designed to keep the Doctor from burning himself out. As his regeneration begins, Donna and classic era companion Mel are at his sides and promise to be there for the Doctor no matter how he changes. In the opposite of when Ten regenerated into Eleven, Fourteen is ready to go, which can be seen as the first step of him accepting help. In a way, Fourteen and Fifteen could be considered two halves of the same Doctor, especially with the bi-generation splitting the clothes between the two. Fourteen would still bear the trauma of his past and deciding to take the time to process it whereas Fifteen has the wide-eyed optimism needed for adventure while still keeping the memories and ideals that make him the Doctor.
Speaking of our new Doctor, I like what I've seen of Ncuti Gatwa so far. I think the best comparison I can make right now is that of Matt Smith's Eleventh Doctor. He has a youthful energy, seems wise beyond his years in terms of appearance of age, and appears more in touch with his emotions (which plays into the mental health aspect of the bi-generation). I'm looking forward to what more he brings to the role starting with this year's Christmas special.
However, I don't think this will be the last we've seen of Tennant's Fourteenth Doctor. I have a theory that when it's time for the next regeneration, Fourteen and Fifteen will have a final adventure together that will lead to them reassembling (as well as their TARDIS's) into what will be the Sixteenth Doctor, having memories of both adventure and relaxation. We'll just have to wait and see.
One of many highlights of "The Batman" was Paul Dano's performance as the Riddler. To prepare for the role, Dano developed ideas for Riddler's backstory, which director Matt Reeves was impressed with so much that he arranged a meeting between Dano and DC to portray them in a comic book. This would lead to "The Riddler: Year One", a six issue miniseries published through DC's Black Label imprint that acts as a prequel directly leading into Reeves' film. As we wait for the sequel and spin-off shows, this miniseries helps tide us over by giving us more insight into the Dark Knight's enigmatic enemy.
This book was so enthralling that I had to read it all in one sitting. In the beginning, Edward Nashton was a forensic accountant with dangerously low self-esteem and suicidal thoughts, eventually discovering the Renewal conspiracy as we saw in the film. This comic goes into detail of Nashton's thought process as he lays out his plans to root out the corruption in Gotham and how his idolization of the Batman leads him to create his own masked persona. While I admittedly found some ideas here derivative of the Joker movie, the comic adds new layers to Dano's performance and the Riddler's goals and motivations, as well as a hint of sympathy.
Assisting Dano with artwork on the series is Stevan Subic, who does a great job at showing Nashton's point of view of the world and his memories. For the most part, the art style has a grittiness similar to "The Imposter" (which is an apt comparison given that book's own connections with the film). But the parts that really stand out are Nashton's dark thoughts not only seen in his own mind but also corrupting his view of the real world. It brings such a surrealness that evokes Dave McKean's artwork from the 1989 Arkham Asylum graphic novel and to some degree the animated segments of Pink Floyd's "The Wall".
The fourth and fifth issues of the series were true standouts to me. Issue four flashes back to Nashton's life in the orphanage up to taking the forensic accountant job. This is where the surrealness of Subic's artwork does wonders, with a good use of dark and light colors and stylistic choices as we travel through Nashton's perceived memories.
For a majority of issue five, we sift through one of Nashton's journals like we're actually reading one of the binders found in his apartment. The further in you go by reading his feelings and how he's conceiving his plans, the more deranged the handwriting and drawings become. While it's easy to read it in Dano's voice, it's like you can even hear the inflections in his voice like in the movie just from how the words look written on the page. While I said I read this book in one setting, I actually had to take a few minutes to return to reality before moving on to the final issue. I know Dano had been inspired by serial killers in his performance, but the manifesto that was issue five alone shows just how dedicated he was to the role.
In conclusion, if you enjoyed "The Batman" and want to learn more about what drove Edward Nashton's crusade, "The Riddler: Year One" is a must-read. As you take a trip through this character's psyche, you'll gain even more appreciation for an already stellar performance.
