Yeah, I think it was where the post-Flashpoint Resurrection Man ended. Kinda left a sour taste to have waited all that time between the original series and the New 52 just to find he's basically another failed attempt to revamp Immortal Man.

A LOT of Paul McGann's popularity before the surprise short ahead of the 50th anniversary was due to a pretty extensive career playing the Eighth Doctor in Big Finish, including several with Alex Campbell, Susan's son, played by McGann's real life son Jake.

OR we could simply go with the explanation on the page. He had already taken control of her before and that was when she wasn't aware he even existed. He couldn't do it a second time, with her fully aware of what was coming.

Good for you? Do...do you feel manly now?

Most of us can put our disbelief aside to see the creature as he sees it, not merely because there's something on the wing, but because it could be NOTHING on the wing and the therapy he just got through did absolutely nothing to help his pre-existing problem.

This kind of logic is why they insisted on making Annabelle look scary from the jump instead of trusting the audience to get into the moment by themselves without trying to get someone to notice them. I mean I get it. I "punched" a ghost on the Haunted Mansion ride to prove I wasn't scared of a "cheap special effect" when I was like nine.

So...Bizarro. You mean he's going to be Bizarro. Nobody wants Nuclear Man, particularly since that name belongs to another hero, at least as a nickname (like Man of Steel, The Dark Knight or Fastest Man Alive).

I dunno, it's a bit on the nose. Especially considering it wasn't written for the 86 movie (despite people on Genius trying to argue that the "mighty hands of steel" line was an intentional reference) but has become one of those cheesy in-jokes that get overdone like shoehorning in "more than meets the eye" everywhere it can go. Not that I mind those (for another movie I'd have petitioned hard for a Cybertronic Spree spot, even their version of The Touch), but it feels tonally out of place and after the fact it's a knife twist because of Hasbro's absurd decision not to participate in any further movies because One didnt make enough money to save them from their other baffling and infuriating decisions.

I usually agree with Mark, but not in this matter. The whole Krypton thing is tragedy enough. It doesnt have to be compounded with more unnecessary death. It worked in the original movie, but I've never much liked it in any other project. The Kents help ground him. It's always a good moment when he's under some kind of stress or dilemma and goes home for advice. I recently lost my mom and this past Mother's Day was...rough. But I wouldnt call her death a tragedy that would shape a - THE - superhero. It's just part of life.

Then again, a lot of our conversations before she ed was me trying to get through to her that no, the abuse she put me through can't be dismissed because at least it wasn't sexual. So what do I know.

I dunno, I think I'd have to flip the top two looking at them. The most recent almost looks like an Alex Ross painting (it's only missing the mirrored lenses), while Garfield's is a little too dark in the blue areas. The spider on his back throws it off too. It kind of depends on what you consider comic-accurate, which is kind of a spectrum. I can agree with the original Ditko look being darker, but that was largely because of limited inks.

If you really look into it, Star Trek's best elements sort of came together on its own instead of being preplanned. Trouble tended to rise up when they (usually Berman) refused to budge on an idea. Of course they were also pretty good at working within their means, but so much of what we think of as Star Trek beyond the basic premise just sort of happened. More with TNG than TOS anyway.