After being fired from the Hawkins lab after the Starcourt fiasco, Paul Reiser's Owens returns in "The Monster and the Superhero" when Lt. Colonel Sullivan (Sherman Augustus) drops a chopper on the disgraced scientist's front lawn, accusing him of helping Eleven. Sullivan, an agent of shadowy militaristic forces, believes Eleven is the cause of the horrors unfolding in Hawkins. Owens, on the other hand, thinks Eleven could be the cure for what's afflicting the town. After she's cuffed and shipped to juvie for taking a skate to Angela's nose, Owens and his men in black intercept her on the road. They have a plan. It involves helping Eleven regain her dormant powers; he believes he can help bring them back even stronger than before. "What if I'm not good?" Eleven asks. "What if I'm the monster?" That question, I'd wager, will hang over this entire season.
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During the 1910s, women directors played a prominent role in the development of film as an art form. Chief among them was Lois Weber who was recognized alongside directors such as D.W. Griffith and Cecil B. DeMille. Weber's films often touched on controversial social issues such as poverty and contraception. In a 1913 Photoplay interview, Weber spoke of her desire to create films "that will have an influence for good on the public mind." In this 1913 short, "A wife and her baby are alone in an isolated house when a tramp breaks in. As the wife tries to keep the invader at bay, her husband happens to telephone and learn what's happening. He scrambles to return home. He steals an idle car, and its owner, accompanied by police, race after him. We cut rapidly between the besieged mother and the husband's frantic drive, as he is in turn pursued. Just as the tramp is about to attack the wife, the husband bursts in, followed by the police. The family is saved. This is the plot of "Suspense," co-directed by Lois Weber and Phillips Smalley. If the plot sounds familiar, it's probably because you know that one of D.W. Griffith's most famous films, "The Lonely Villa" (1909) tells the same basic tale. So Weber and Smalley are reviving an old idea. Their task is to make it fresh. How they do so has been studied in depth by Charlie Keil in his book "Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913 External," wrote film historian David Bordwell.
After Jonathan's death, Clark started to mature more and began to worry more about the consequences of his actions. After several incidents involving his Kryptonian heritage (i.e. Kal-El's deadly encounters with Brainiac and a bond with his cousin Kara Kent), Lana's departure and Lex's constant attempts to discover his secret, Clark began to embrace his destiny as a hero, culminating in Jimmy Olsen's published photograph of the super-powered "Red-Blue Blur" on the Planet front page and the citizens adopting that name for their own vigilante. Following Jimmy's death as a consequence of Clark's mistakes while trying to stop Davis Bloome/Doomsday, Clark dropped the red-and-blue look and embraced his Kryptonian side, starting to leave his family crest as a symbol of hope at the sites of his heroic feats. When Zod returned to Earth as a younger clone of himself with his army and declared war on Earth, Kal-El had several encounters with Zod. After he used the Book of Rao to send all the army to a new world, Kal-El won over Zod in a deadly battle.
20th Century Fox initially conceived Alien Resurrection as centered around a teenage clone of Newt, inspired by Buffy Summers in Buffy the Vampire Slayer. However, the studio reconsidered abandoning the emphasis on heroine Ellen Ripley and told screenwriter Joss Whedon to make the story about a clone of Ripley instead.[85] Although Sigourney Weaver favored Ripley's death at the end of Alien 3 in the hope that it would deter rumored Alien vs. Predator films, she supported Whedon's concept of a human-Alien hybrid because of the character's uncertain loyalty to either half of her genealogy.[86]
Shaw's religious passion is the central theme and driving force behind the events of Prometheus, with her search for God triggering the expedition's disastrous outcome.[108] During the development of Prometheus, Charlize Theron, Anne Hathaway, Natalie Portman, Gemma Arterton, Carey Mulligan and Abbie Cornish were considered for the role of Elizabeth Shaw.[109][110][111][112] Noomi Rapace first came to director Ridley Scott's attention in 2009, when he watched the film adaptation of The Girl with the Dragon Tattoo in which Rapace played Lisbeth Salander. Scott and Rapace met in 2010 and by January 2011, she was signed to play Shaw.[113] The Swedish Rapace trained with a dialect coach to develop a British accent fitting the character's backstory.[114] Shaw was generally well received by critics, with many drawing parallels to Ellen Ripley (to which Rapace was apathetic).[115] In a four-star review of Prometheus, Roger Ebert praised Rapace's performance as in the same strong-female-lead vein as Weaver's in Alien.[116] Rapace was nominated for the Choice Movie Breakout Award at the 2012 Teen Choice Awards.[117] Her return in Alien: Covenant was uncertain during the film's development, with Rapace and the filmmakers making contradictory statements about her involvement. She was confirmed as returning in a smaller capacity in June 2016, with the filming of her scenes lasting a week.[118]
IGN's writer, D. F. Smith, liked how during the Cell Games Gohan has more screentime than Goku, and praised his scenes as one the biggest moments from such story arc.[42] Theron Martin from Anime News Network celebrated Gohan's development in the Cell Games as he has grown up and has become stronger.[43] 2ff7e9595c
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