WHAT A NERD WANTS: With the Disney + original, Loki, coming to a close this week, it got our hosts thinking about nerd media universes, and the works that push those meta narratives forward. What’s better––a standalone series showcasing the nuances of a single character? or a show that pushes that cinematic universe into the next stage of its overall narrative? Andrew and D. Bethel put on their thinking caps and engage with these surprisingly nuanced questions.
“Of Underwear Models and Wayward Sons” (11 September 2014): Where Andrew and D. Bethel first discuss the differences between episodic and serialized television.
“American Puppy Story” (17 February 2017): Where D. Bethel and Andrew discuss the tension between serialized television narratives versus episodic shows.
“The Nature of the Gutter” (12 March 2021): Where Andrew and D. Bethel talk with Taylor about the Disney + show, WandaVision.
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
A BAD MIX: This week, the Twitter account, @TerriblyBland, posted a thread calling out nerd industries’ tendency to do networking at bars, especially during and after conventions. As ever with nerd discourse, the claim was met with a lot of support…as well as some very staunch opposition. Andrew and D. Bethel look at the original claim and examine the overall conversation.
hey, when cons come back for the tabletop gaming industry, do you think there's a chance we could shift our culture a bit so that we AREN'T doing all of our networking at bars while constantly, often aggressively inebriated?
— El Whitcombe, Cryptid Camp Counselor (@TerriblyBland) May 19, 2021
Citadels creator, Bruno Faidutti’s counter-argument to the @TerriblyBland’s claims (the English version can be found at the bottom of the post).
“Some Solid Copy” (14 August 2015): Where Andrew first discussed his experience playing Watch the Skies, a megagame.
“Action Noir Theater” (29 July 2016): Episode 100, Part 2 where our hosts reveal the first part of an intended series of the audio drama, Nick Springer. With a bonus, heavily-produced opening where a song by D. Bethel brings Andrew back from being trapped in the rift between space and time!
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
CAPTAINING AMERICA: With the next big Disney+ MCU series having come to a close, our hosts bring in our brand new on-the-ground-Marvel correspondent, Kyrun Silva (of Taurus Comics and the 4 Tales Podcast), to talk about Falcon and the Winter Soldier (especially since Dan still doesn’t have Disney+).
RELEVANT EPISODES:
“Episode 96 – Applejacks. Hot Dogs. Thursday. Fire Truck.” (13 May 2016): Where D. Bethel and Andrew talk about Captain America: Civil War where the MCU last dealt directly with Bucky “Winter Solider” Barnes and where they introduced the Daniel Brühl’s Baron Zemo.
“Episode 107 – Spock’s Screams” (23 September 2016): Where Andrew and D. Bethel discuss the interesting concept of legacy characters.
“Con Artists #06 – Tickets & Tables” (11 December 2020): The most recent episode of Dan and Kyrun’s show about reading, making, and selling comics.
RELEVANT LINKS:
Twitter thread by Margaret Owen on Twitter breaking down intentional design choices of John Walker’s Captain America costume (and why it fits so weird…on purpose):
TAYLORVISION: [SPOILER WARNING] With the divisive (but generally well-received) season of the Disney+ original, WandaVision, all wrapped up, D. Bethel brings friend-of-the-show and on-the-ground DC correspondent, Taylor Katcher, on to talk with Andrew about the twists and turns of this wonderfully unique entry into the Marvel Cinematic Universe. Spoilers about WandaVision are talked about consistently and thoroughly throughout the episode. You have been warned.
WONDER WOMAN TO THE MAX: It was announced, in an unprecedented move by a streaming service, to release Wonder Woman 1984 on Christmas Day to both theaters and HBO Max subscribers simultaneously. Unlike Disney+ with Mulan, Wonder Woman 1984 will be available to all HBO Max subscribers at no additional cost for a month. Andrew and D. Bethel discuss this move and how it relates to how Disney has been doing business, as well as what it means for movie in the future.
“Episode 137 – Atomic Karate” (09 June 2017): Where D. Bethel and Andrew talk with fellow nerd podcaster, Mary Traverse, about Wonder Woman.
“News Cruise” (07 Aug. 2020): Where Andrew and D. Bethel discuss the news of Mulan costing Disney+ subscribers $29.99.
“News Bruise” (11 Sept. 2020): Where D. Bethel and Andrew talk about the odd political discourse around the release of Disney’s live action adaptation of Mulan.
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
WEEK IN GEEK: This week, Andrew watches the recent Netflix-made video game documentary series, High Score, and gets inspired to finally check out the very strange––and controversial?––game, Night Trap. D. Bethel finds serenity as the ferryman of the dead while playing Thunder Lotus Games’ Spiritfarer, a game that is a far cry from their previous games.
“Episode 107 – Spock’s Screams” (23 September 2016): Where D. Bethel discusses playing Thunder Lotus Games’ first game, Jøtun.
“Shortcast 28 – Linguistic Bravado” (11 August 2017): Where D. Bethel discusses his time with Thunder Lotus Games’ second game (to which he contributed through Kickstarter), Sundered.
In two of the “Dan & Rusty Video Game Power Hour” shows, D. Bethel plays a bit of Jøtun:
INFO:
Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
DC DECONSTRUCTED: News of a major restructuring of DC Comics by WarnerMedia last week set the comics world ablaze with speculation and worry. D. Bethel and Andrew try to parse the information and speculate on what it could mean not only for DC Comics but for comics in general.
LOWER THE SHIELD: Over seven seasons, Marvel’s Agents of S.H.I.E.L.D. comes to a close. Our hosts’ appreciation for the show––especially this final season––has not been a secret. Now that is has ended, they finally––finally––talk about the final season and the show it brought to a close. SPOILERS ABOUND for the final season, especially the two-part finale.
The caricatures Dan drew back around 2000-2001, of Andrew and his roommates. The drawing that the SHIELD villain reminded Andrew of is on the bottom right. D. Bethel is in the bottom middle with Andrew at the top left.
NEWS BLAST (COVID-19 EDITION): A lot of stuff is going on amid the global pandemic, and Andrew and D. Bethel are here to talk about it (if Dan actually was able to record his audio this time). They talk about the AMC theater chain shunning Universal Pictures amid Trolls World Tour‘s success, Civilization VI‘s bold new plan for a year’s worth of DLC and expansions, Marvel and DC Comics are shipping books again, The Flash has an abbreviated season (ending on somewhat of a downbeat), and New Mutants gets a theatrical release date…again.
This year we are hosting a variety of looks back at 2019 as hosts and friends-of-the-show offer up the things that defined the year for them. Today we have a look back at the nerdy things that came to a close by Taylor Cassell & Taylor Katcher.
Having three major franchises end in the same year brings a lot of societal excitement that engages even the initially un-engaged. My girlfriend, Taylor, being one of those initially un-engaged folks feeling the nerd zeitgeist (and my non-stop jabbering about Game of Thrones, the Marvel Cinematic Universe, and Star Wars) was a gateway into wanting to be a part of all three as they ended in 2019. This is not an easy task – We’re talking about catching up on 8 seasons of Game of Thrones, 23 Marvel Movies, and 10 Star Wars Films in a matter of months. Below is the result of all three and how we both felt about them. We are listed as our initials, since we’re both named Taylor, and it’s more confusing in writing than in our daily lives. Taylor Katcher will be referred to as TK, while Taylor Cassell will be TC.
Game Of Thrones
[TK] There was a lot to like in the first half of the final season of Game Of Thrones (Arya being “The Prince That Was Promised” being a highlight), but man did they fumble the ball in the very end. A definite bummer for all those who had been watching for ~eight years, but it doesn’t take away from the journey. It just left a bad taste in my mouth.
To be honest, we used the “The Long Night” episode from this last season––the part where it pans past each character so that you, the viewer, were reminded that no one is safe––to pause and explain what happened to that character since season 1 and then watched the remaining episodes together. But it was perfect for Taylor since she hadn’t seen an episode since Season 1, so Winterfell was a known locale and most characters were back together again for the first time since Season 1.
[TC] I have a knack for avoiding spoiler culture by avoiding…culture. When I started dating Taylor, I noticed my ability to get spoiled increase. Now, my brain registers words like “tesseract,” “vibranium,” and “OLED.”
I fell off the GoT train after one season. After season 1, episode 10, the next episode I watched was season 8’s, “The Long Night” and, for me, it was like no time had passed since we were in Winterfell.
Taylor got to catch me up on about 70 episodes worth of TV in a 45 minute span. (I didn’t have to ask––I could tell it was the best date he’s ever been on.)
Here is a live look at TK in that moment. Source: HBO
A brief recap of my thoughts, questions, and exclamations:
Bran’s alive?
The dragons are all grown up.
What’s the red wedding? (There was a purple wedding?)
Do you agree with Sansa Stark’s rape or was it gratuitous?
Holyfuck, WINTER HASN’T COME?!
I was a part of the GoT zeitgeist for about three weeks, speculating if a woman would take the throne and unpacking fan theories with my coworkers. It was a blast and I could have taken eight more years of this feeling.
Final thoughts: I feel bad for all the people who named their kid “Daenerys” and got a six-episode final season with an accidental Starbucks commercial.
The infamous Starbucks scene. Source: HBO
The Marvel Cinematic Universe
[TK] Seeing Avengers: Endgame in theaters opening night was one of the best theater experiences I have ever had. We gasped, cried, and exclaimed together in harmony. Leave it to the biggest media franchise of all time to gift its fanbase with the biggest fan payoff of all time.I know this isn’t “the end” of the MCU but it was the end of the first 10 year Phase that began with Iron Man in 2008, which is a significant chunk of lifetime for most viewers.
Without enough time before the theatrical release of Endgame, Taylor and I started her journey with the intention of watching Endgame upon home release. From May through October, we watched every single MCU movie (except The Incredible Hulk) so that Endgame would be as impactful as possible. And it was––Taylor gasped, cried, felt the impact of The Snap, and the death of Tony Stark. Watching all of these movies again really showed how inviting they were and was a great time for both of us (and the occasional friend popping in to see Chris Evans bicep curl a helicopter). I would recommend both a rewatch for seasoned fans and the full series for newcomers as Disney/Marvel really knows how to make fun films.
[TC] I knew Iron Man was cool because I knew Robert Downey Jr. was cool. The marketing agency I worked for had even snagged RDJ for a Microsoft OneNote campaign called The Collective Project, awarding us our first-ever Cannes Gold Lion as an agency. I bragged to Taylor about this on our first date, probably failing to mention that I had no idea who or what Iron Man was.
Man oh man, did Iron Man live up to his Robert Downey Jr. affiliation. Iron Man ended up being my favorite, with a three-way second place tie of: Bruce Banner (boring but Mark Ruffalo), Captain America, and T’Challa.
My favorite part of our journey through the MCU was how much it united my best friend and roommate, Lauren, and Taylor. In addition to bonding over encroaching on her roommate/best friend territory, soon we could all bond over a missed dance with Peggy Carter, Bruce Banner’s secret, and ON YOUR LEFT jokes (just kidding, only Taylor makes those jokes).
At a Wonder Woman 5K Run recently, the MC said “I love you 3,000” to the lone man dressed as Iron Man and I smiled dopily; I was officially a part of the fandom.
from Marvel’s The Avengers. Source: Marvel/Disney
Star Wars
[TK] Let’s be clear – I love Star Wars. I think that rewatching all ten movies before The Rise Of Skywalker only solidified how much I truly love Star Wars. However, it also made me come to terms with how much I kinda dislike most of the numbered films. I found that I was annoyed that I had to watch any of them in full to get Taylor caught up––especially the Original Trilogy. If anything, only Taylor wanted (needed?) to watch them, and me getting upset every time she fell asleep during a space battle only solidified my dislike of the films because I wasn’t as happy to lead her through them the way I was with the MCU, and it showed in an ugly way. It turns out I like the idea and lore of Star Wars, as The Clone Wars, Rebels, and The Madalorian are the best of Star Wars IMO. Although, I LOVE rewatching my favorite scenes and quoting them from the films, I never need to watch them in full because, in reality, the world George Lucas created is better than the world he wrote most of the time.
The Rise of Skywalker (TROS) was THE MOST Star Wars, but only because it was done as safely as possible. Say what you will about The Last Jedi (a personal favorite film), but at least it tried to say something and make a stand about elements of Star Wars––mainly who can use The Force. TROS walked a lot of that back but seemingly to only not upset anyone. But again, this isn’t about me or you, it’s about Taylor enjoying the shit Reddit argues about for the thousandth time…for the first time.
[TC] In my world, I was the first to ship Reylo. I was the only one aware of how sexy Princess Leia is in a gold bikini. Jar Jar was un-ironically my favorite character and my dad liked Yoda, not yours.
First we tried watching them in release date order. I fell asleep for long stretches throughout. So did Taylor. At one point, we took a break from the viewings for a few months. Every so often, Taylor hinted: “We don’t have to watch them, babe.”
Some things play better in memory than in real time. From Star Wars Episode VI: The Return of the Jedi. Source: Lucasfilm.
Then, as we got dangerously close to the Episode IX release, we tried again, starting with Rogue One and ending with Solo for fun. Here’s Taylor’s prescribed watch-order (in case you’re wondering):
Rogue One
Episode IV
Episode V
Episode I
Episode II
Episode III
Episode VI
Episode VII
Episode VIII
Episode IX
Solo
After Solo, The Last Jedi was my favorite. When Rey moonbeams her saber to Kylo, I literally gasped. I could have watched an entire film of just Daisy Ridley and Adam Driver’s sexual tension.
I don’t remember this but apparently, after we finished the MCU, I said to Taylor, “How could Star Wars be half as good?” Now, I love you 3,000, Star Wars.
From Avengers: Endgame. Source: Marvel/Disney
(I think it’s important to note that while we were binge-watching the Skywalker Saga, we were also watching The Mandalorian in parallel. And if Taylor Katcher can’t make you love Star Wars, baby Yoda sure can.)
[TK] What we are trying to say is, don’t get too intimidated to start watching and enjoying these universes. Fans of these franchises want to share these universes with you, and whether you’ve watched them for 42 years or 3 months, you’ll become a fan as well.
This year we are hosting a variety of looks back at 2019 as hosts and friends-of-the-show offer up the things that defined the year for them. We start by having co-host, D. Bethel, talk about––of course––the X-Men.
Many people view 2019 as the coda for the entire decade, wiping away the expectation and skepticism that has built up over the last nine years as we head into the twenties. I don’t usually subscribe to such notions because time is ever and always a series of causal relationships, but––stepping back from the year as December ends––the evidence certainly points to this year closing a lot of doors. With Game of Thrones coming to a close, Avengers: Endgame definitively ending the first era of the MCU, and even Star Wars Episode IX: The Rise of Skywalker concluding a supposed nine-movie arc, 2019 does actually seem to be not only winding down the year but, in some cases, doing so for decades-long cultural monuments.
However, 2019’s sense of closure and finality landed nowhere more––across multiple mediums––than on the house that Charles Xavier built. At least to me.
Of course, the X-Men aren’t dead nor are they going anywhere; in fact, many look at the events of 2019 that Marvel’s merry mutants went through––20th Century Fox’s purchase by Disney and Jonathan Hickman’s takeover of the comics––and anticipate the beginning of a promising new age.
To me, however, the theatrical release of Dark Phoenix and the comic book reboot with House of X and Powers of X marked a definitive end to eras of the team that mean so much to me.
Source: 20th Century Fox and/or Disney, now…I guess.
DARK PHOENIX
The much derided Dark Phoenix landed with a thud, but more importantly (and as unwarranted as the derision was) it marked the last main installment in the 20th Century Fox-owned X-films. Its finality (and finale) hit me hard as I realized that this series I followed since it redefined superhero cinema in 2000 actually kind of became “my” X-Men.
Through the ’90s, I developed a codified portrait of what this superhero team meant to me in an intense and focused consumption of this property––mostly built upon the triptych of X-Men #1 (1991), X-Men: God Loves, Man Kills, and X-Men: Pryde of the X-Men––and, with that done, it kind of went dormant in my mind as I grew up and started absorbing other things.
And then these movies came around.
For all of their successes and flaws, they wove a tone and ethos that very much aligned with “my” X-Men, and I appreciated and eagerly supported each film released (except for X-Men Origins: Wolverine; that movie is hot garbage).
Again, whether you like them or not, Dark Phoenix ended this era (though we still wait for New Mutants to find a way out of the vault). I very much liked these movies––especially Dark Phoenix––and think that it handled its own mortality (though unknown at the time) with grace, maturity, and one hell of a good movie. In a summer where Avengers: Endgame became a powerfully emotional moment for the folks who are longtime Marvel Universe readers as well as those who literally grew up with the MCU (starting with 2008’s Iron Man), Dark Phoenix stands as an astonishing and powerful goodbye for me and my superheroes. Yes, in terms of emotional resonance, Dark Phoenix is myAvengers: Endgame. Don’t @ me.
Dark Phoenix portrays a nuanced study of––for all intents and purposes *ding*––an abused superhero. Source: 20th Century Fox
The movie affected me profoundly, made worse by the vitriolic discourse around a movie that is, at the very least, perfectly fine or, by my estimation, very good. Because of how much I enjoyed it, I expected myself to go to the mat for it in discussion; however, because it so infuriated me how people treated this movie, I realized exactly how much emotion I had invested in it.
It got to the point where I had to disengage from any conversation around it because I just assumed everyone was on the offensive. So, Dark Phoenix became a very personal movie for me, one for me to enjoy on my own and quietly. That’s okay; I gladly place it on the “just for me” shelf with my other beloved films like Willow, The Postman, and Highlander––movies people love to insult but have a profound and private meaning (while fully aware of their flaws).
Although, I eagerly await the Dark Phoenix retrospectives five or ten years from now when nerdy critics reconsider their stance after the hot takes have cooled and just appreciate it on its own merits.
The year Jack from Jack in the Box joined the team. Art by Pepe Larraz (lines) and Marte Gracia (colors). Source: Marvel Comics
HOUSE OF X / POWERS OF X
When Marvel announced that fan-favorite writer, Jonathan Hickman, would be revamping the mutant sector of its universe, the speculation became a non-stop hype train. Before the books even released, Marvel was proudly declaring thatthe dual titles that launched this reboot––House of X and Powers of X (HoX/PoX), the latter pronounced “Powers of Ten”––already earned a place on the shelf with the other important moments in X-history: the first reboot, Giant-Sized X-Men #1; the industry-shifting story The Dark Phoenix Saga; 1991’s record-breaking X-Men #1; and Grant Morrison’s daring revamp with New X-Men in 2000. HoX/PoX was that important. The hubris of it made me skeptical but intrigued if only because I wanted to get excited about the X-Men comics again. I wanted to jump in at a clean start like I had years ago with X-Men #1. I wanted to become an X-Mencomics super-fan again.
Marvel published HoX/PoX weekly as interweaving limited series, bouncing back and forth between the two very oblique and mystery-laden books, I had a lot of fun diving into this new premise populated with familiar characters. Hickman’s story was big and the sheer scope across the globe and millennia was striking in its boldness.
Things got very weird (dude with the helmet is Charles Xavier, for what it’s worth; the blue dude is Apocalypse, a classic and very dangerous villain of the X-Men). From House of X #5, art by Larraz & Gracia. Source: Marvel Comics
Whether Hickman’s HoX/PoX becomes the paradigm shift Marvel and Hickman touted it as being, I noticed I slowly slid off of it the further it went on throughout the year, especially as HoX/PoX came to a close and the “Dawn of X” (DoX) titles (the disparate titles spun out of the events of the HoX/PoX limited series) started getting published. HoX/PoX definitely lived up to its promise of building a new status-quo from the ground up, but I realized that meant burning down what came before, echoing what will surely be done on the movie side of things when that happens.
While not wholly ignoring the fifty-six years of continuity, Hickman certainly subverted it, making the comic’s printed history merely a series of “things that happened” while the actual, more important story was going on underneath. To that end, HoX/PoX effectively closed the book on the epic socially-conscious soap opera that started in September of 1963, a wave I jumped in on mid-way through but had fun learning about what came before as I rode the wave forward at the same time.
That, however, has been freeing as the HoX/PoX run and the subsequent DoX books feel like a brand new series cast with actors I know––the same faces in a new context. So, there’s no catch-up the reader needs to do. As the prominent anti-continuity voice on the show, that’s only a good thing and it’s amazing that Hickman was able to pull it off not only with the readers, but with Marvel. Admittedly, it’s much smarter than arbitrarily slapping “#1” on the cover and hoping for a sales spike.
At the very least, we got this amazing connecting cover out of the whole event. From House of X #4 and Powers of X #4. Art by Jorge Molina. Source: Marvel Comics
HoX/PoX fundamentally turned the idea of the X-Men on its ear from my holy texts of X-Men #1, X-Men: God Loves, Man Kills, and Pryde of the X-Men. Instead of being a thinly veiled and often problematic metaphor for social injustice set in a superhero world, it is now an eco-sci-fi-utopian-political experiment, and maybe that’s what mutants need to be in 2019, 2020, and onward.
I don’t expect franchises to grow with me and my tastes, but part of the excitement of hopping on HoX/PoX was to get in the ground floor and, with hope, be a part of the audience for whom this becomes “my” X-Men. But it hasn’t done that, and it’s likely because my nostalgia got in the way and not a fault of HoX/PoX. And that realization, combined with my powerful reaction to Dark Phoenix, forced me to fully examine my fandom for the X-Men. It showed me what it means to me, and––more importantly––how I want to interact with it.
That’s important going into 2020 when Hickman’s plans gain more steam and continue to define and refine what the X-Men are now. It’s also important as we get closer to whenever Marvel Studios does what it decides to do with these characters in the MCU. I’m incredibly excited to see where both of these things go, but as I get older such excitement becomes academic rather than gleeful appreciation.
