Netflix To Premiere Final Season Of Clone Wars Animated Star Wars Show March 7
Long running animated series Star Wars: The Clone Wars will have a new home for its sixth and final season – Netflix. The show will debut all 13 episodes of its last run on March 7 on the streaming video service for subscribers in the U.S. and Canada. The season is known collectively as “The Lost Missions,” and it won’t be the only Clone Wars content on Netflix come March: The entire series will be available to stream, including director’s cut versions of episodes. The deal for streaming rights to Clone Wars content is described as “multi-year” in the press release announcing the news, which means that Netflix has locked down a hot property for itself from the now Disney-owned Lucasfilm studio. It’s also the first time Star Wars: The Clone Wars has been available to Netflix members at all, so if you’re a Netflix devotee and you haven’t yet seen the show (which originally appeared on the Cartoon Network in the U.S.), get ready for some highly satisfying binge watching. This arrangement also represents a further cozying of the already cozy relationship between Disney and Netflix. Disney’s other super subsidiary, Marvel, is working with Netflix to create a number of original series based on Marvel superhero characters for airing in 2015, and a number of movies, both live-action and animated, will run on Netflix first from Walt Disney and various other studios at the media giant in 2016, including Pixar and Disneynature. Netflix earned its current success in terms of subscriber numbers on the back of being a more convenient, if somewhat hit-and-miss library of rental content compared to physical video rental stores. The key to its future, however, likely lies in its ability to secure access to exclusive original content like Star Wars: The Clone Wars. Disney clearly sees the value in the model, and that’s a huge vote of confidence to have on your side.
First Look: AVENGERS UNDERCOVER #1
This March, ask yourself the question: If you were a teen superhuman and all the adult heroes failed you when you were kidnapped and tortured, would you switch sides and break bad? Marvel is pleased to present your first look at AVENGERS UNDERCOVER #1 from Harvey Award winning writer Dennis Hopeless and critically acclaimed artist Kev Walker!
Damaged, broken, and forever changed by their experiences in Murder World, five conflicted young superhumans are out to prove to the world they can still be heroes. Now, Bloodstone, Hazmat, Deathlocket, Cammi, Anachronism, Chase, and Nico are going rogue and heading deep undercover with the Masters of Evil. And they’re going to take them down from the inside!
But the longer these teens spend undercover, the deeper they descend into darkness. And the line between good and evil blurs. Before it’s all over – a new super villain will be born!
“In many super hero comics, the series jumps from adventure to adventure, never taking the time to dig deep and explore how a traumatic event would truly effect the protagonists. AVENGERS UNDERCOVER turns that situation on its head by using this trauma as the starting point, “ says editor Bill Rosemann. “What happens after your teachers abandon you? Where do you go when you no longer fit in with your old life? When the world has rendered their judgment as to what lies in your heart, how to you prove otherwise? Dennis and Kev have the answers—and to get them you’ll have to follow our heroes down a rabbit hole of pure evil.”
“There aren’t any rules this time,” says writer Dennis Hopeless in an interview with Marvel.com. “The game is over and the kids who have survived have to go back to real life. AVENGERS UNDERCOVER is the story of what that feels like. We explore the PTSD of the thing.”
“What sorts of life decisions do these kids make once they realize that they don’t really fit into their old lives anymore?” continued Hopeless. “Can they get any of it back? If so, how? And if not, what’s next?”
Their time in Murder World prepared them for death. But nothing can prepare them for their new lives among the Masters of Evil. The longer they stay undercover, their path’s become more clear: Join up with the Masters of Evil for real, or be discovered and killed! If you thought Murder World was dangerous, you haven’t seen anything yet – and it all starts this March in AVENGERS UNDERCOVER #1!
AVENGERS UNDERCOVER #1 (JAN140692)
Written by DENNIS HOPELESS
Art by KEV WALKER
Cover by FRANCESCO MATTINA
Variant Cover by MARK BROOKS (JAN140693)
FOC –02/17/14 On-Sale -03/12/14
These Easy-To-Install Treads Turn Any Car Into a Tank
If you’re an off-roading enthusiast you’ve probably already seen those kits that let you replace your truck’s wheels with a set of four tank treads for tackling any terrain. The Track N Go is the same idea, except that you don’t need a garage, a lift, or any kind of mechanical know-how to install them. You just drive your vehicle onto the treads, lock them in place, and away you go.
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The Eighth Doctor Returns in Doctor Who 50th Anniversary Prequel | Tor.com
The Justice League goes to War in DC’s New 52 animated universe
Thanks to the straight-to-home video Flashpoint movie, the new animated universe based on DC’s New 52 relaunch is officially here. The first movie in this brand-new DCAU? Justice League: War, based on the first six issues of the Justice League comic by Geoff Johns — here’s the trailer.
Poem of the week
A vivid tableau of seasonal metamorphoses is as subtle as the biology keeping nature turning
This week’s poem, “Finding the Keys”, is from Robin Robertson’s latest collection, Hill of Doors, just shortlisted for the latest TS Eliot prize. Symphonic in structure, interlaced with sinewy free-verse translations of extracts from Nonnus’s Dionysiaca and Ovid’s Metamorphoses, the collection has many more doors than a single poem can unlock. But “Finding the Keys” adds potently earthy harmonics to the metaphysical mix, and seems a significant poem in an overall trajectory from turbulence to equilibrium – neither of which, of course, is uncontested, or less than complex.
The first complexity you might notice is of the punning kind. The seeds of the ash-tree are commonly known as “keys”. This sparks off a metaphorical infiltration of foliage by the locksmith’s gadgetry: “handles”, “hinges”, “key-holes”, “latches”. Metaphorical implications apart, these are descriptively suggestive, a fresh-minted visualisation of the clean-cut shapes of twigs and leaves against sky.
The separate descriptive summaries forming lines one and two of the opening couplet lack a finite verb. All four sections of the poem, in fact, are engineered to contrast this kind of vivid “jotting” with fully-formed short sentences, like the interplay of keys and locks. The device gives each trio of couplets a unique rhythmic pattern, in which punctuation (the placing of different degrees of silence) plays a finely judged role.
Winter metamorphoses swiftly into spring in the opening segment, and it seems no more than a hairsbreadth from the bulbs’ early shoots to the leafing trees, from anticipatory silence to the soft, excited sounds of life. The summoning of the deer perhaps helps us imagine how it might be to hear so acutely that we can pick up the “tick and crack” of opening buds. Energy is coiled in the verbal noun, “spur” (Dylan Thomas’s “green fuse” comes to mind) besides an image of sharp-tipped new foliage.
High summer illuminates the second section. The stony riverbed’s “small-change colours” are named in shiny metals that re-connect to locks and door-keys. There’s a preponderance of marvellous, fragmentary highlights throughout (“The long // spill of birdsong. Flowers, all/ turned to face the hot sky”) finally sealed with the simplest of simple sentences, “Nothing stirs”.
Clearly, to read the poem as a series of tableaux representing the four seasons would be to reduce it. Each segment describes transition, and each participates in a larger process of recurrence and change. The deer return in the next vignette, now making a seasonal disturbance of their own with “the woody clack of antlers”. Those despised parts-of-speech, adjectives, earn every bit of their space in this poem, and “woody” is a particularly evocative choice, uniting the deer with their natural element. Then there are the colour-words, denoting different tonal values and playing their own part in the poem’s negotiations between symmetry and asymmetry.
Pairs (“yellow and red”, “stone and pink”) both connect and disconnect. A single colour-word becomes an occasion. So when the “yellow and red” that signify the breaking down of carbohydrate in the still-living leaf mutate to “amber”, this is the end. In a day, the trees are “lanterned” – a transformation of noun into verb which conveys rapid transition. Then the lanterns themselves are “blown”. This is a particularly associative verb, opening up images of breakage: frail glass blown out, lightbulbs blown, high winds that sweep away everything but the “empty stars”. Again, the unit is carefully closed, this time with the beautifully cadenced anadiplosis of “Smoke in the air; the air turning”. The mid-line semicolon is perfect – and even looks like a keyhole.
Winter, no less than autumn, has its shifts and ambiguities. The first two couplets of the final segment are so “hinged” that both the clouds (rose and stone are cloud-tints) and the blackbird are implicated in the promise of snow. A colon asserts the bird’s separation, setting off the contrast of its immaculate symmetry with the bunched, untidy “victory of worms”. The syntax again becomes fragmented, and earlier images of regeneration are confirmed and developed: “The winged seed of the maple,/ the lost keys under the ash”. The last line, with a jolt of relief and optimism, finds the keys where they should be (and were, all along?) These keys will unlock the genetic code for new ash-trees. Perhaps, after “the many griefs of Autumn”, they also signify more-than-seasonal unlocking and rebirth.
Finding the Keys
The set seed and the first bulbs showing.
The silence that brings the deer.
The trees are full of handles and hinges;
you can make out keyholes, latches in the leaves.
Buds tick and crack in the sun, break open
slowly in a spur of green.
The small-change colours of the river bed:
these stones of copper, silver, gold.
The rock-rose in the waste-ground
finding some way to bloom. The long
spill of birdsong. Flowers, all
turned to face the hot sky. Nothing stirs.
That woody clack of antlers.
In yellow and red, the many griefs of autumn.
The dawn light through amber leaves
and the trees are lanterned, blown
the next day to empty stars.
Smoke in the air; the air, turning.
Under a sky of stone and pink
faring in from the north and promising snow:
In his beak, a victory of worms.
The winged seed of the maple,
the lost keys under the ash.
Thank you for seeing After Earth in theaters. We hope you enjoyed this awesome action-packed movie. Share this one proudly. It’s from our friends at Sony Pictures.