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Personally, I've never entirely understood the complaints about Hawkeye being a killer. He fires arrows from a bow. That's not exactly a non-lethal weapon. He kills terrorists and soldiers of fascism and extraterrestrial invasion forces. And in ENDGAME, he was killing murderous mafia criminals. Captain America in the movies shot Nazis and agents of HYDRA and that's not a moral crisis. It's just that Captain America tends to engage in missions of MacGuffin-retrieval or destruction whereas Hawkeye is dispatched on missions that involve killing practicing practitioners of evil. Hawkeye doesn't like killing. Hawkeye doesn't enjoy killing. He kills to stop killers.

I'm not a huge fan of Moon Knight which is odd because I've read so much of his comics. The arc you read -- while I liked it, I knew it would make no sense to anyone unfamiliar with the character and pretty much every superhero comic these days feels like chapter 114 - 118 of a 400 chapter book. It's hard to recommend them, but I am going to give you the full lowdown on Moon Knight which you won't get this way anywhere else.

Moon Knight was originally a villain. His first appearance is in WEREWOLF BY NIGHT #32 where the heroic werewolf, Jack Russell, is hunted by a criminal syndicate called the Committee. The Committee hires noted bounty hunter Marc Spector and provides Spector with the Moon Knight outfit to be equipped to fight a werewolf. Spector initially wants the money but switches sides to help Russell escape. While the Moon Knight character was a thinly characterized figure of greed, the white costume and crescent moon design proved memorable.

Moon Knight reappeared in the MARVEL SPOTLIGHT anthology, in HULK MAGAZINE -- and this time, Spector was now characterized as a heroic figure with the suit being his own creation. Marvel tried to keep the costume but change the characterization so that Moon Knight wouldn't be unlikable. Eventually, Moon Knight got his own series and MOON KNIGHT would offer a convoluted explanation that Spector had been a hero who had attempted to infiltrate the committee and had tricked them into hiring him and also tricked them into providing him with the Moon Knight suit of his own design and if we keep thinking about that, our brains will explode.

Spector was revealed to be a former mercenary who'd only take morally acceptable jobs. He was killed in Egypt but resurrected by the Egyptian moon god Khonshu who inspired him to wear a costume reminiscent of Khonshu's visage and to continue Khonshu's purpose: to safeguard night travellers. Khonshu seemed to infuse Spector with the ability to withstand extensive levels of trauma and pain matched with an obsessive gift for creating Moon Knight's weapons and armour. Spector threw himself into a war on crime in New York City, creating two alternate identities: cab driver Jake Lockley and wealthy socialite Steven Grant, living three lives to infiltrate criminal organizations and then attacking them as Moon Knight.

While Moon Knight joined the Defenders and Avengers, over time, he began to display serious mental health issues: savage bursts of violence, self-mutilation, hallucinations and delusions. Initially, this was attributed to stress from maintaining four separate personas. Later, it appeared that Spector was actually suffering from multiple personality disorder that had manifested in his four different roles. Spector's mental health issues and refusal to seek treatment alienated him from his friends and teammates.

He became obsessed with his worship of Khonshu, at times a nurturing and supportive presence, at times a demonic and abusive deity who demanded Spector isolate himself and give up anything but his Moon Knight exploits.

Due to many different writers having written Moon Knight, there is no single version of what Moon Knight's mental health and religious situation actually is. Some writers wrote Moon Knight as a 'normal' person who is under strain from three secret identities and a superhero persona. Some wrote Moon Knight as suffering from multiple personality disorder. Some wrote Moon Knight as a near zealot in his worship of the abusive god Khonshu.

Some wrote Moon Knight as a good-humoured, pleasant hero supported by the loving god Khonshu. Some wrote Moon Knight as being dominated by Khonshu, then overcoming Khonshu. Some writers implied that there is no Khonshu, that Khonshu is merely a hallucination experienced by a deeply troubled superhero.

The 2017 run of MOON KNIGHT by Warren Ellis and Brian Wood (both now disgraced sexual harassers who are unemployable) had Moon Knight change his costume into a white suit and present him as a consulting detective to police on offbeat crimes. It was revealed that Khonshu was no god, but an interdimensonal entity that had 'colonized' Spector's brain and manifested in inconsistent ways that were Spector's interpretation of a pan-dimensional being.

Then came the Jeff Lemire run you read where Moon Knight is in a hallucinatory, unreal, dreamlike prison which he identifies as Khonshu trying to reassert total control of his psyche. This time, Spector finally defeats the Khonshu influence on his brain once and for all, declaring that he is in control of his own future, not Khonshu. "I am Marc Spector. I am Steven Grant. I am Jake Lockley. And we are going to be okay. We are going to live with who we are. We are Moon Knight. And we never needed you," Spector tells Khonshu, casting out this entity / demon / god / whatever from his mind once and for all.

In the next volume by Max Bemis, Moon Knight is once again fighting crime with Khonshu whispering in his ear and writer Bemis tweeted, "Everything in the last arc took place in Marc’s Head or as an abstraction. Reconciling his illness left Marc able to reappropriate Khonsu." And so, we are right back where we were before.

I feel that most people who talk about Moon Knight try to render all of the above as a coherent history and that's simply not the case. Moon Knight is a character where writers have rarely been able to sync up their approach, so there are a lot of inconsistencies.

Ah, comics. Love talking about them, can't ever recommend them.

In the 2012 movie JACK REACHER, Tom Cruise plays an interesting variant on a Quinn Mallory type character. Cruise's Jack Reacher is an image of what Quinn might have been had he decided to enlist in the army instead of going into physics for his graduate studies.

Jack Reacher is like Quinn if Quinn, rather than studying science, studied violence and human frailty, developing a genius-level ability to break human beings bone by bone, weakness by weakness.

Cruise's Jack Reacher is former US Army Criminal Investigation Command, a military police officer who resigned to drift across America, rootless and friendless. Wandering from city to city, town to town, Reacher habitually runs afoul of criminals and uses his lethally ruthless combat skills, investigative genius, brutal improvisation and razor-sharp reflexes to overcome every situation of threat and danger.

The 2012 movie is not a failure. Tom Cruise excels at playing a man of unique skills who has abandoned civilian life and military life to be alone, who keeps entering deadly situations that call for his talents. Cruise's Reacher is impatient with normal-speed thinkers, able to outthink and outwit every enemy, solitary and detached, remote and absolutely riveting to watch onscreen. Jack Reacher is a cocky superhuman with no job and no home, travelling randomly across America, looking for trouble. McQuarrie's brutalist sense of action and minimalism led to him directing Cruise in MISSION IMPOSSIBLE 5, 6, 7 and 8.

Due to McQuarrie being occupied MISSION IMPOSSIBLE, the 2016 JACK REACHER sequel was not directed by Christopher McQuarrie but instead Edward Zwick (THE LAST SAMURAI). The sequel, JACK REACHER: NEVER GO BACK somehow manages to be a failure despite having a great director, Tom Cruise, Cobie Smulders and the brilliant young actress Danika Yarosh. It's very odd how NEVER GO BACK has all the right ingredients to make a great movie but somehow can't get its act together.

The first issue is the rendering of Reacher in this sequel. For whatever reason, Zwick's direction and script soften the Reacher character from McQuarrie's version. From the first scene, Reacher has a warm chemistry with Cobie Smulders' Major Susan Turner, an army officer who has been making use of Reacher's talents in a strictly over-the-phone relationship that's gone from professional to romantic. There's a tenderness to Cruise and Smulders only ever talking over the phone about the investigations on which Reacher is assisting her and Reacher admits that he is deliberately drifting across America towards her so they can meet in person.

Romance is something that needs to be earned for the distant, aloof Reacher character of the first film and NEVER GO BACK doesn't earn it, instead using it as the starting point. The bulk of the movie is spent with Reacher, Turner, and a teenaged girl, Samantha (Danika Yarosh), on the run from deadly gunrunners. Samantha may be Reacher's biological daughter.

In NEVER GO BACK, Reacher, a loner, is suddenly living his drifter life with a woman who wouldn't mind being his wife and a young girl who thinks he's her father.

It's very strange: NEVER GO BACK deliberately mutes any potential conflict and drama for this setup. Reacher's wanderlust, remoteness and iciness are diminished or near non-existent in this film, meaning there's no struggle in Reacher trying to perform these un-Reacher roles. NEVER GO BACK seems to take place over the course of a week at which point all three characters go their separate ways, meaning Reacher's effort to be a husband and father are ultimately irrelevant.

NEVER GO BACK has a great idea -- the thought of Reacher finding himself with a wife and a kid is insane considering the character from JACK REACHER is undomestic in extreme -- but the movie makes it impossible to explore it: Reacher's characterization has been softened to the point where there's no conflict and the movie's timespan is so limited that the film can't explore these ideas sufficiently.

All of Reacher's acidity from JACK REACHER is missing in NEVER GO BACK. His methodical brutality is gone. His frustration and impatience with normal anxieties or idiocy are gone. His predatory intensity is gone. Instead, Reacher in this movie is relaxed with a warm smile, tender and sweet in mannerism and demeanor -- and is almost a different person. It's unclear why this character with his genial easiness is a willful drifter who never sticks around.

The film is nicely shot. The performances are strong. The individual scenes are always compelling. But the movie never comes together and the script feels like an unrefined first draft in need of revision to fully master the Reacher character and explore the awkward situations within the story. And the problem is likely caused by two deficiencies.

The first is that Christopher McQuarrie has a certain brutalist approach to action both as writer and director for JACK REACHER. In contrast, Edward Zwick is a thoughtful, deliberate, gentle creator whose lack of extremity is completely mismatched to a character like this. He's a good filmmaker, he's just the wrong one for Jack Reacher. It's obvious that McQuarrie understood how to direct Tom Cruise to play Reacher, how to strip down Cruise's charisma to a lean, result-oriented, militaristic character -- while Zwick is leaving Cruise to his own devices and Cruise doesn't understand how to play Reacher without McQuarrie.

And the second is that NEVER GO BACK is not the right story for a feature film; the concept requires a TV show with a season of episodic exploration of how Reacher, an isolated, solitary man now has a wife and a kid.

It's interesting: after this sequel, novelist Lee Child, creator of the Jack Reacher character, triggered a termination clause in his contract to end his agreement with Tom Cruise's movie studio. It's rare for an author to have this kind of control or to exercise it, but Child wanted no further films with Reacher from this studio or with Tom Cruise playing the character. He shopped the TV rights to Netflix and finally, Amazon Prime.

I assume that the new REACHER TV show on Amazon Prime with Alan Ritchson (Aquaman from SMALLVILLE, Hawk from TITANS) will probably turn out better because it's a TV show. Of course, Ritchson's depiction of this character may be totally unlike any image of Quinn Mallory that I have in my head.

I last heard that Wallis Day was filming a movie in Tunisia and hasn't been anywhere near Vancouver in months. Narratively -- I think it makes sense to let Javicia truly be the lead of BATWOMAN for Season 3.

But looking back now -- I think that the writers probably could have transitioned from Rub Rose to Wallis Day in a Season 2 premiere.

They kept using Ruby Rose's photograph throughout Season 2. Since they had the rights to her image even if they didn't have Rose herself, they did have a way of transitioning from Rose to Wallis Day, but it would have been *extremely* difficult.

They could have rewritten the original Season 1 finale into a Season 2 premiere.

2.1- "The Death of Kate Kane"
Opening scene: 'Bruce Wayne'/Hush gets the Kryptonite bullet for Alice. He doesn't encounter Kate because Kate hasn't taken off the Batsuit or gone to Wayne Tower in weeks: she is relentlessly hunting the Arkham escapees.

When we see Batwoman, she's in full costume, masked, played by Kelli Victoria Scarangello (Ruby Rose's stunt double).

Kate doesn't speak without using the Batwoman voice changer and she refuses to take off the mask: she has buried herself in the Batwoman persona due to her grief over her father's betrayal of Batwoman.

When Jacob Kane calls Kate, she picks up but won't speak. Jacob says he knows she's angry at his public decision to hunt Batwoman down but says he's doing his job. Batwoman doesn't answer.

Batwoman is tracking down another Arkham escapee, but when the Crow agents try to arrest her, the escapee gets away. Batwoman is furious . Luke, Mary and Julia urge her to come back to the batcave, take off the costume and address the situation with her father, reveal her identity -- and Batwoman refuses, growling in her vocoder-deepened voice that the problem isn't Kate Kane and Jacob Kane. The problem is the Crows and the Crows are going down tonight.

At this point, Alice delivers the Kryptonite bullet to Jacob in her personal revolver of choice, remarking that Batwoman is their shared enemy.

Batwoman sets a trap for all the Arkham escapees, luring them with false messages saying that there is a stockpile of weapons in an old warehouse that they could use to rule the city. She leaks the messages to the Crows, lets the Crows and the escapees fight it out and batlines Jacob out of the fight.

She snarls at Jacob: who the hell does he think he is to come after her? She notes that below them, the Crows are losing against the escapees. Jacob spits that Batwoman lured his men into a trap; she's responsible for every Crow who dies below. We see Sophie in mortal peril below.

Batwoman triggers a flood of thickening foam that encases and immobilizes everyone on the ground floor, Crow and criminal alike.

She tells Jacob that the Crows are useless, the police are inadequate, Batman is gone: there's only Batwoman and the incompetent Jacob Kane. Jacob strikes Batwoman. Batwoman tries to defend herself but pulls her punches.

Jacob remarks that she seems to be a little soft today and Batwoman breaks his nose. She recoils, horrified and what she's done to her father.  She tries to batline away, Jacob tackles her and her grappling hook punctures a gas line. She throws Jacob off, Jacob draws his standard sidearm, Batwoman throws off his aim and the shot triggers an gas fire.

Jacob descends to ground level to try to dig his people out of the hardened foam before the fire hits them. Batwoman sets off another chemical charge to desolidify the foam so that everyone can escape. But Jacob doesn't leave, pursuing Batwoman deeper into the burning building. They fight in the flames, Batwoman beats him down. From the floor, Jacob pulls out the revolver with the Kryptonite bullet and shoots to kill. Batwoman collapses. Jacob peels off her mask.

CUT TO: A shot of Ruby Rose unmasked, lying on the ground of the warehouse. This is unused footage from some previous episode I don't remember when Kate was unmasked and unconscious and in the suit. But surely it exists.

Jacob is horrified. Backs away several steps in shock and denial. It can't be Kate. It has to be a trick. "It can't be -- " he says. But then we stay on Jacob's face and hear Kate say, "Dad," in a reused audio clip from... again, I don't remember. But surely it exists.

Jacob turns to the warehouse exit, runs away from Kate and screaming that he needs help. Moving farther away from her, hoping his cries will be heard. Then he turns back towards Kate, starts to close the distance from them as she bleeds out. Jacob babbles that he's sorry  --

But then a portion of the ceiling collapses between him and Kate. Jacob rushes forward anyway, but then arms grab him behind -- it's Sophie. He tries to fight her off but she drags him out of the burning warehouse and Kate just before the building is consumed in flame with Kate Kane inside.

2.2 - "Burial"
Kate's body is missing, never recovered from the wreckage. The city erupts into chaos without Batwoman and Jacob is forced to join the bat-team of Luke, Mary, Julia and Parker to contain the situation. They gather at Kate's funeral and Jacob begs God to forgive him.

However, at the end, we find out that a False Face Society member was trapped in the warehouse too; he dug Kate out; the Kryptonite bullet was partially deflected by Kate's lead-lined wrist-gauntlet, going through her body and missing any vital organs. She survived and was brought to Black Mask and is unrecongizably scarred and now played by Wallis Day.

2.3 - "Batwoman Reborn"
The city is attacked and Batwoman reappears to save the day -- but it's a Batwoman with a damaged costume and barely any of the red wig. Batwoman returns to the Batcave, surprising Julia, Mary and Luke. Julia says the real Batwomanis dead and fights this supposed-impostor, but recognizes that this Batwoman has the same fighting style as Kate Kane.

She unmasks and it's Wallis Day, whom the characters recognize as Kate. She looks a little different and all the tattoos are gone. All her skin has regrown new and shifted a little. They question her and she has all of Kate's memories up to the fire. Kate says she doesn't remember how she was healed from her injuries or why her face isn't quite the same.

We later learn that Black Mask healed her body and has programmed a sleeper personality into Kate's mind to be triggered at the right point in his plan for revenge against Batwoman and Gotham City.

2.4 - "Unworthy"
'Bruce Wayne' returns and accuses Kate of being an impostor with poor plastic surgery trying to steal the Wayne fortune. He has her ousted from Wayne Enterprises. He then tells Kate he knows she's the real Kate, but that she was a failure as a superhero in every way and that she is unworthy to be Batwoman.

He shuts her out of the cave; he files for damages against Kate for mishandling his company and triggers a clause in her contract which will drive her to bankruptcy in having to repay all of Wayne Enterprise's costs. Kate is shattered. All she has left is her damaged, burnt, ragged Batwoman suit.

2.5 - "Deficient"
A destitute and homeless Kate tries to keep fighting crime on a budget of $15 a week, wearing an increasingly worn Batwoman costume without any of her gadgets. Due to her injuries and missing memories, Kate is unable to summon her former drive for combat or aptitude for danger. She realizes she no longer has the skill to be Batwoman. Kate is nearly killed and then Jacob Kane saves her.

2.6 - "Prodigal"
Kate confronts her father, blaming him for destroying Batwoman. She has lost everything: she has even lost her face and her voice. Jacob says that he was wrong to hunt down Batwoman. Jacob says that he hated Batwoman because he didn't have the full story; he does now and he's proud of his daughter. Any father would be. Anyone would be proud for Kate to carry their mantle and name.

Kate regroups and realizes that the Wayne who disowned her and threw her out cannot be the real Bruce Wayne.

2.7 - "Unmasked"
Kate realizes that Hush is impersonating Wayne as part of a twisted mindgame from Alice. She defeats him and reclaims the right to wear the suit (and for Wallis Day to wear it after Ruby Rose). For the first time, Wallis Day suits up in full as Batwoman.

This way, we don't just slot Wallis into Ruby Rose's costume and pretend there's no difference. Instead, the Wallis-version of Kate has to go through six episodes of hell before she gets to wear it.

Episodes 8 - 16 have Kate continuing to crime crime and investigate her mysterious recovery. At times, she is haunted by images of a duplicate Kate (with her new face) mocking her, telling her she's not good enough. She also reveals to the public that due to a motorcycle accident, she's had to have reconstructive surgery and was misreported as deceased.

We resume the stories that we would have with the Rose-version of Kate. And in episode 17, Black Mask triggers the sleeper programming and 'replaces' Kate with the Cersei Sionis personality, the mocking shadow in her psyche who now becomes the dominant personality.

And in episode 18, Mary and Luke find a way to restore the full Kate personality and we go from there into Season 3.

**

That said, I really like Season 2 of BATWOMAN as it aired and Ryan Wilder is wonderful. And I don't find fault with the show for refusing to recast Ruby Rose in this manner and only being able to ease into it later and ultimately deciding to have Ryan be the star going forward.

It was an impossible situation and they handled it really well. The fact that they didn't handle it as I would have is not a valid criticism.

PEACEMAKER wasn't really on my radar! I am also not up to speed with STARGIRL, SUPERMAN AND LOIS and I only got to episode 7 of this year's LEGENDS. Will catch up next weekend!

I have been watching BATWOMAN and very pleased... although I will, of course, perpetually feel a longing for these stories to feature Kate Kane (whether Ruby Rose or Wallis Day) instead of Ryan Wilder. But the writers have made the best of what they have and Javicia Leslie is terrific.

The only thing that doesn't quiet work for me -- while Ryan and Sophie have great chemistry, it's unsettling to me that Ryan has been given Kate's suit, Kate's team, Kate's apartment, Kate's company and now Kate's girlfriend which brings me back to thinking this would all make more sense if it were Kate in these stories; if they had simply recast Kate with Wallis Day in the Season 2 premiere and played out the original script but kept Kate in-costume, shown her unmasked briefly with a shot of Ruby Rose from Season 1 (they still had the use of her image despite Rose's departure) -- and then had her severely burned to explain why the tattoos are gone when Wallis Day takes over and why her face is a little different after reconstruction.

Dear QUANTUM LEAP reboot writing staff.

Please hire Temporal Flux.

One question would be: who produced the Mill Creek DVD files? Obviously, Mill Creek set up the disc images, but who compressed them to the point of fitting 7 - 8 episodes onto one disc? Did Universal deliver their original DVD files for Mill Creek to compress? Or did Universal's home video department receive the file size limits and hand them over? And could Peacock have simply been given the most recent versions which were then run through the standard process for SD h.264 streaming?

Thanks, RussianCabbie!

These look like the Mill Creek files to me but run through h.264 compression (for streaming) at a low bitrate for SD content. This reduces data layers of noise/grain to make the file smaller.

The Pilot and "El Sid" are, on Universal DVD, two of the *better* presented SLIDERS episodes. The Pilot's 35mm film origins came through clearly and it looks like it was edited on film. "El Sid," while lacking the same fine detail as the Pilot, has good levels of edge contrast thanks to being edited on the industry standard of digital videotape. I have actually never seen "The Dream Masters," but Season 3 looked sharp on Universal DVD. On Peacock, all three look blurry and smeared.

As a result, details like Quinn's flannel shirt and Arturo's beard have become a blur.

It looks to me like Peacock used the Mill Creek files. But where the DVDs use MPEG2 compression (which creates the compression noise artifacts on the Mill Creek discs), streaming services put SD TV shows through h.264 compression at a low bitrate. h.264 compression doesn't generate noise artifacts; it blurs noise and grain for smaller file sizes. You get this if you stream Netflix in low quality and it looks like Peacock did this with SLIDERS as it's an SD show.

"Summer of Love" seems to have been subjected to the same h.264-type compression, but because the original video master started and finished as a blurry mess, the compression has proven irrelevant; there wasn't much to further smooth and smear in the compression.

Good to hear that the Sci-Fi Channel years are faring well on Peacock.

How does the pilot look? And episodes 2 - 9? And Seasons 2 - 3?

On DVD, the pilot looks amazing, the eight episodes after that look terrible, Season 2 looks okay, Season 3 looks great, and Seasons 4 - 5 are excellent standard definition video.

It's a shame that the best episodes of SLIDERS have terrible to average quality aside from the pilot whereas the worst in creative quality look the best visually.

Interesting political commentary from Democrat strategist James Carville on midterms and Joe Manchin being better than the alternative.
https://www.vox.com/policy-and-politics … atic-party

I was carefully noncommittal and neutral on the subject of cryptocurrency until Temporal Flux said he thought it was stupid at which point it became clear that cryptocurrency is the most obvious scam ever perpetrated on a public that should know better at this point.

Reportedly, one bitcoin transaction requires 1,173 kilowatts of energy and creates half a ton of CO2 emissions (907,185 grams).

One email requires maybe 0.3 kilowatts of energy and creates about four grams of CO2 emissions.

Cryptocurrency is highly volatile and insecure, easily inflated by its perpetrators to an artificial high to sell off at which point its value will crash. There is no regulation whatsoever. And it represents nothing beyond how much energy you can waste in pumping electricity through an array of computers.

Although it does make me wonder how Quinn Mallory would use blockchain technology productively, maybe to perfect Rice-A-Roni.

The lead actor of GOTHAM, Ben McKenzie (Gordon) has a regular column on Slate.com regarding cryptocurrency and celebrity endorsements of cryptocurrency and celebrity sales of non-fungible tokens.

McKenzie thinks it's a massive scam and that celebrities are leveraging their followings for a quick buck that could leave their fans defrauded and financially devastated.

https://slate.com/author/ben-mckenzie

Interesting. Someone actually sliced open their copy of the out-of-print QUANTUM LEAP: PRELUDE novel and put it online in PDF. Maybe you can make it through this time!

https://freepdfhosting.com/462bcfc5ee.pdf

I have never seen the show and I can't remember Tom and Cory's summary. Were the Evil Leapers part of the same QUANTUM LEAP product, or was there a competing time travel experiment that may have been co-opted by demons the way Sam's was co-opted by an angel or fate or God?

**

Hope QL gets picked up. If Slideheads can't get our show back, we can at least be happy that Leapers got their show back.

I can't help but think that the lifetime rule is something that could be set aside with a couple lines of technobabble if it's a problem.

What we should worry about, what should take full priority and requires the total force of our concentration: what of the QUANTUM LEAP novels? There were 18 QUANTUM LEAP novels, 16 of which were published after the cancellation of the TV show and the hastily re-edited season finale turned series finale. The final novel in the series was MIRROR'S EDGE, which sought to recontextualize the unintended/re-edited series finale, "Mirror Image." The QUANTUM LEAP book license did not permit authors to write stories set after the final episode, but MIRROR'S EDGE attempts a loophole by taking place immediately before "Mirror Image" and attempted to recontextualize the last episode.

https://quantumleap.fandom.com/wiki/Books

How will they be integrated into the revival? How will the implications of MIRROR'S EDGE on "Mirror Image" be taken into consideration? Do we need to print off some labels with LEGENDS on them to tape onto the QUANTUM LEAP books?

(Never read them. Only ever saw two episodes of the show. Just happy for the fans!)

(And looking on at a distance, my heart swelling with joy for those who have hoped for more leaps and dreamed of more adventures while also feeling my own bittersweet longing for Quinn, Wade, Rembrandt and Arturo... )

(And pondering if perhaps in this QUANTUM LEAP revival, we'll meet Sam's niece, Margaret Allison Beckett, to be played by Kari Wuhrer.)

(Hey, this means REWATCH PODCAST has to go back to reviewing QUANTUM LEAP!!!)

Golly! Great news for QUANTUM LEAP fans. I hope the series gets picked up and is a huge success. I hope that it stirs warmth and joy in old fans who have waited so long for their show to return while bringing a new generation of viewers to the adventure and mystery and fun of Project Quantum Leap. I hope their fan communities aren't suddenly beset by miserly whining about how a QUANTUM LEAP revival means that someone won't be able to sell their rebranded QUANTUM LEAP fanfic as original work.

I have to honestly say: what romance? :-P

By that, I mean Mara Jade spent most of the Thrawn trilogy trying to kill Luke or being at a cautious distance while grudgingly working with him. She briefly showed up to rescue Luke during a Jedi Temple situation. She had a platonic partnership in some adventures with Luke while Luke was dating someone else. Three years after Zahn's final installment of the Thrawn trilogy, Zahn wrote a two part sequel and the first installment, "Spectre of the Past," features Mara Jade and Luke in separate plotlines. They only meet and work together in second volume "Vision of the Future" where Zahn abruptly starts describing Luke as having romantic feelings for Mara (a plot that has gone almost totally unaddressed before this) and then Luke proposes marriage at the end.

People seem to really like it, but I genuinely don't get it. There are a lot of books with Luke and Mara as a married couple and Zahn wrote none of them.

I *feel* like I've read every SLIDERS fanfic ever written. I honestly don't remember ever seeing Michele in any stories although that doesn't mean there weren't any.

Michele's situation is odd: after "Luck of the Draw," Torme wanted to have Ryan and Henry stay with the sliders for several episodes. FOX refused to allow this, saying it would lock the network into a specific airing order for episodes. Fox didn't even want the Season 2 premiere to so much as mention the cliffhanger. Torme had to fight until finally, FOX permitted him to resolve "Luck of the Draw" in a teaser attached to "Into the Mystic".  This would indicate that Torme would have known that Michele featuring in an episode after "El Sid" would never be permitted.

However, this doesn't seem as clear cut because "El Sid" has a production code of K0802. "Time and Again World," filmed first in Season 2, has a production code of K0801.  "Into the Mystic" has a production code of K0807 and the aired teaser was filmed significantly after the rest of "Into the Mystic" was filmed and edited.

Sliders-expert Temporal Flux reports that FOX set press outlets videotapes of "Into the Mystic" that didn't have the actual teaser because it hadn't been edited into the episode yet and attached a letter effectively saying, "We know the episode doesn't resolve the Season 1 cliffhanger, it totally will by the time we air it!"

I guess it's possible that the creators, having not yet won or lost the battle to have Ryan and Henry in more episodes, saw Michele as another character who could conceivably feature in an episode after "El Sid." However, it's also possible that Michele's arc was meant to conclude with her defeating Sid and free to choose her own future on some other world and that any Earth on which she'd remain would be better than any life with Sid.

There seems to be a factor of rushing and not thinking during this period of SLIDERS. Torme noted that "Time Again and World" was shot first and confessed that it was done in a huge rush with the writing team and crew not ready to start filming again, leading to scripting and visual errors throughout this episode. "El Sid," shot second, is another episode Torme describes as suffering from this urgency, calling it two-thirds of a story padded out to fill a timeslot, and the episode seems to bear this out with too few scenes, all of them significantly overstretched beyond what is needed for the content within them.

The production drafts also seem strangely indecisive about the Michele character and also how the story is to end. Michele's character in early drafts beats Sid into submission with a billy club at the end, leaving him alive (until the earthquake gets him) and then Michele slides with the quartet. It's an awkward situation because it's unlikely Michele would reappear, and a subsequent draft tries to amend this where Michele shoots Sid, but with his dying breath, he stabs her in the back and she dies; the sliders depart and leave Sid and Michele's corpses lying side by side as the ceiling collapses upon them.

This was clearly too bleak and depressing, so the writers settled on keeping the rewrite where Michele shoots Sid and frees herself of his abuse but maintaining the original conclusion where she slides out with the others. It looks like this is where they had to leave it and start filming; it's probable that production simply ran out of time to figure out how to have the character exit the episode and settled for the draft they had. If FOX could be persuaded, Michele could appear in the next episode; if FOX were firm on no set airing order (and they were), then Michele presumably parted ways from them between episodes.

This wishy-washy, middle-of-the-road strikes me as the product of a situation where, as Torme notes, "El Sid" was a severely short, rushed, overstretched teleplay pressed into filming before it was ready.

There's another discontinuity of sorts in "El Sid." This episode continues the thread of "Luck of the Draw" where Quinn and the Professor establish that the timer is already strained to the limit in creating a gateway for four people; introducing additional sliders could cause the tunnel to collapse on them in mid-dimension. "El Sid," filmed second, was continuing a plot element introduced two episodes ago. But it's permanently discarded after this. The sliders and Michele slide and at least four of them are fine afterwards. Wade drives a truck through the vortex in "Love Gods" (which aired before this one and also had extra sliders who are never seen again).

A later script was supposed to have Geraldo Rivera slide with the gang and suffer no harm (from the vortex, anyway). In later seasons, the sliders regularly take extra sliders and drive vehicles through the gateway without concern. I suppose the implication is that Quinn's system, while thought to be limited, turns out to have infinite capacity aside from the (supposed) 60 second window that the vortex can stay open (although it always stays open for as long as the plot requires!).

Hunnh. It looks like you can get a month of free Showtime just for signing up. You can watch the ten episodes of DEXTER: NEW BLOOD in a month, right? Well, regardless, email me your PayPal address and I will PayPal you twenty whole American dollars to watch DEXTER: NEW BLOOD and tell us all about it here. My soul simply can't rest without knowing what you thought of the belated conclusion I have never seen to a show that I have never seen.

I don't know about the rest of you, but I desperately need to know what Slider_Quinn21 thinks of DEXTER: NEW BLOOD.

I have never seen a single episode of DEXTER. I have never even seen the cover to the books. All I know about DEXTER is that

(a) my sister seemed to like it
(b) my writing mentor seemed to love it and
(c) the original showrunner walked off the show halfway into Season 1 and told me how much he hated the show this one time I served him two shots of vodka at the bar that would undoubtedly have fired me if not for me finding another job elsewhere.

I urgently require Slider_Quinn21 to tell me what he thought of it. I will seriously PayPal Slider_Quinn21 the money to buy a month of Showtime (streaming) so that he can watch it and tell us all what he thinks of it here.

https://www.sho.com/order?i_cid=int-dex … lood-23043

I'm not kidding here. I need to know. Will you take it, Slider_Quinn21? Will you rise to the challenge?

Well, both upscaling efforts had two very different goals. Originally, the hope was that SLIDERS could be upscaled to look like a good quality 720p digital video format. The results for the pilot and Seasons 2 - 5 were very good. The results for Season 1's post-pilot episodes were rather muddy and below the standard of the rest.

The second attempt at upscaling Season 1 was not to make it look like HD digital, but instead to aim for the quality of the Season 2- 5 episodes on the Turbine blu-ray set. Those look like high quality standard definition digital videotape versions of a film image (detailed, high levels of film grain). And because it's a lower bar, I aimed for 1080p so that any scaling would be within the video file itself and not dependent on the TV like the 720p upscales.

A new film scan of the PIlot episode would not look very different from the upscale. The Universal DVD version of the Pilot is so crisp and clear even in standard definition that I am starting to wonder if maybe this one episode, as a pilot to sell the series, was actually edited on film. It is a very detailed film image, significantly sharper in all areas than any Season 2 - 5 episode. It's hard to see it in the original SD file and among other SD SLIDERS episodes, but under the Topaz magnifying glass, the Pilot seems to have far more visual clarity and detail than the episodes that followed.

A rescan of Seasons 4 - 5 would also not look too different from upscaled versions of those episodes because those episodes, shot on 16mm film, had most of the film grain detail preserved in being downscaled to digital videotape.

Seasons 2 - 3 would see a significant improvement from a film scan. Scaling 35mm film to 540 line digital videotape will blur and flatten the image and AI upscaling can only approximate the detail to rebuild it for HD and there will be a bit of fuzziness to indicate that it's an upscale and not true HD.

Season 1's post pilot episodes, however, would see the greatest leap forward because the videotape image is so blurry, fuzzy and desaturated. Even after the Topaz deblurring and bicubic scaling, the post pilot episodes have a faint fuzziness that's dependent on a film grain effect to offset that lack of crisp definition.

In order to preserve the grain texture, the files are encoded as H.265, a newer codec that allows for more data at smaller sizes. VLC has the decoder built in. https://www.videolan.org/vlc/

My personal video player package of choice is K-Lite. https://www.codecguide.com/download_kl.htm

I'm sorry to hear that your wife had a bad reaction to the vaccine. I always seem to lose a week to exhaustion and soreness after each dose of Moderna and am hypersensitive to it. But I also have a hypersensitivity to COVID-19, so it seemed best to get vaccinated and be able to see other booster-vaccinated people in person again. Two doses staves off death from COVID-19, but the symptoms of Omicron will be quite severe and it will be contagious, so that's something to think about. My favourite actress had an intense immune system response to her second dose of vaccine due to a pre-existing blood vessel disorder; her mouth burst into sores and she was ill for nearly two weeks before recovering. She needed to get an antibody test before her doctor cleared her for a booster and she hasn't had any issues.

But it's not easy to get over having had a serious reaction that some women have experienced and mistaken for breast cancer.

Trigger Warning: The following story / essay content addresses the subject of sexual assault and Wade in Seasons 4 - 5.

This is a story outline for fully addressing Wade's captivity and sexual assault in Season 4 in a fanfic. I unfortunately don't have time to write a full script. I also don't want to write stories about sexual assault, but this isn't my story. It's David Peckinpah's story. He wrote a story where Wade Welles is raped. He made no effort to address the violation and trauma and recovery of this attack on this character.

It's up to us -- the fans -- to shepherd this story to a place of peace and restoration.

SLIDERS REBORN was a six part series of screenplays written from 2015 - 2016 featuring Quinn, Wade, Rembrandt and Arturo, taking place 15 years after the events of "The Seer." While those 15 years were largely 'off camera,' the story would reveal in Part 4 that Quinn, Wade and Arturo had been resurrected  during the middle of Season 5 around "Requiem" and had been searching for Rembrandt after that, and finally caught up with him minutes after the final scene of "The Seer." It's also revealed that the multiverse was 'reset' after that, erasing the Kromaggs from having ever existed, and the sliders returned to a 'normal' version of Earth Prime by 2001 and resumed their lives, allowing the story to pick up with all of them alive and well in 2015.

The resurrections were mostly simple: REBORN explains in passing: the Arturo of the story is the original left behind in "Post Traumatic Slide Syndrome." That Quinn was actually separated from Mallory by "Requiem" (without Mallory's knowledge); the shock of Wade's fate caused Quinn to become completely untethered, but the Professor was able to restore him using a reversed version of Dr. Geiger's Combine technology.

Wade's restoration is more complicated. REBORN explains: there were actually two timelines for SLIDERS. In the original, Quinn, Wade, Rembrandt and Arturo had four years of wonderful adventures until the fifth year when Dr. Geiger's Combine experiment ripped all Quinns out of all realities. This altered both past and present, as Quinn and his doubles were so entangled in the history of worlds that erasing them was like tearing a bone out of the body of reality. The previous four seasons still existed in history, but in a warped and damaged state, like a fraying bandage over a massive wound. This altered timeline contained the first two years' adventures but in the wrong order, both kept but abruptly truncated the timelines of the extra sliders who joined the team (Ryan, Henry, Michelle, the "Love Gods" refugees), and also produced monsters and magic and the death of Professor Arturo and the Kromagg arc of Season 4.

The Professor on the Azure Gate Bridge was able to find a disembodied Wade and 'reset' her to her original timeline, which was a way to not have to address Wade being captured by Kromaggs and imprisoned in a rape camp before she had her head cut off and stuffed into a computer. Wade in REBORN is simply alive, and when the subject of the Sci-Fi Channel episodes is raised, she says she doesn't remember anything about it. She only remembers four years of amazing adventures followed by reuniting with the Professor.

And that's what was right for SLIDERS REBORN -- but it has been six years since I posted the last REBORN script in 2016 and I have become greatly uncomfortable with the idea that the rape of Wade Welles is something to be erased and forgotten. Rape victims in real life don't have the option of erasing horrific physical assaults and violations. They have to be addressed with a lot of therapy and recovery and healing and they don't get cosmic resets.

At the same time, I don't know what the alternative was to this mistake because ultimately, SLIDERS REBORN was supposed to be a lighthearted, fun comedy with all the traumas of the TV show casually dismissed or referred to in a joking manner. However, while it was funny to have Rembrandt angst over having had to fight dinosaurs twice, rape is not something to joke about.

I haven't had time lately to write full scripts, but I briefly outlined a Part 7 of REBORN at one point because I made a bet that if Trump won election, I would write a full script for it. The outline for Part 7, "Redemption," featured the character of Colonel Rickman and brought his storyline to a close.
https://sliders.tv/bboard/viewtopic.php … 880#p10880

My outline for Part 8, "Reckoning" would open with Wade having a nightmare.

I've been testing a responsive theme for the last few months on a separate copy of this forum (that uses the same database for posts and accounts). I've activated it today on the main forum.

My intention has been to make the new theme purely additive. The board should look pretty much the same as always on a maximized desktop browser with the same purple gradients of the Sci-Fi Channel Bboard. However, if you narrow the desktop browser window to half the screen width, the text should now wrap correctly within the narrowed window instead of overflowing past the border.

And when viewing this site on a cell phone, the layout will hide some of the menu functions for the reduced space, increase the font size of the posts for readability, reduce the font size of the user names, and wrap the text to fit within the portrait screen of a phone browser so you don't have to pan right and left to read posts.

The original theme is still saved as a backup in case this new one proves to be a problem, of course.

I've also removed the Request Account link and changed the Register link to lead to the Google Form for registrations. Having both a Request Account and a Register button was apparently confusing people, but it took me some time to find the function that let me alter the Register page appropriately.

I think you're all right, even those of you who disagree with each other.

I don't generally feel that my father has his finger to the pulse of popular culture. Auto parts, YES. TV and film, no. This one time, after watching THE LINCOLN LAWYER, he said he missed the funny girlfriend (Marisa Tomei) from MY COUSIN VINNIE and that she hadn't done anything he'd seen since. I said we just watched her; he asked when? I said she was the commanding ex-wife of the Lincoln Lawyer in THE LINCOLN LAWYER.

I casually mentioned COBRA KAI and he expressed astonishment that somebody actually made a TV show about two middle aged men arguing about dumb crap that happened between them in high school and urgently asked me to help him get Netflix specifically so that he could watch COBRA KAI and enjoy the continuing adventures of two former high school classmates in their 50s and 60s grumbling about who slighted whom at a high school dance.

Just to see what would happen, I mentioned SLIDERS and he didn't know what I was talking about. There's a point to this, I just don't remember what it was.

To be fair, those shows/movies were big hits and had massive audiences. :-)

I'd love for Torme's revival to happen, but I honestly can't find fault with anybody who thinks a clean reboot would be better. And while I have a lot of problems with NBCU, I wouldn't take issue with them deciding that Tracy Torme's idea is crazy and they are going to hire the Wachowski sisters to reboot the series and cast Allisyn Ashley Arm (Heather from AP BIO) as Quinn Mallory.

A pondering.

I find that there are certain factions of SLIDERS fandom that are incredibly contemptuous towards SLIDERS and its hypothetical future because their fondness for SLIDERS never equals their priority to be 'cool.' This is something Temporal Flux has described as fandom always gravitating to "shiny objects" and "beautiful people" rather than insight and information. Such fans -- and they are fans and delightful people -- are more interested in cultivating their 'cool' image in relation to SLIDERS than they are in SLIDERS itself. They define that 'cool' in relation to SLIDERS by declaring that SLIDERS was always worthless trash, they express how they are unaffected by SLIDERS, unimpressed by SLIDERS, unmoved by SLIDERS, and view SLIDERS something to mock and disdain.

Here's the thing: being a fan of SLIDERS isn't 'cool'. (I'm stealing this from my political frenemy, Prime Minister Justin Trudeau, a liberal in name only.) Being a fan of anything isn't 'cool'.

'Cool' is being indifferent, uninterested, unaffected by external forces like the SLIDERS TV show. 'Cool' is being dismissive and disdainful. Being a fan of anything isn't 'cool'.

Being a fan of SLIDERS is to be sincerely and earnestly engaged with the format of 1990s television and with the specific brand identity of SLIDERS: the characters, the actors, the production model, the behind the scenes circumstances, and being intrigued and interested in how those concepts, characters, actors and production goals might be translated to the modern day.

Being a fan of SLIDERS is to contemplate and dream of what this show would be if it came back today and to know that the odds are not great, but to still find that potential worthy of discussion and consideration. It is a choice to be emotionally invested, to express love and admiration for the sliders, the timer, the vortex, the costumes, the scripts, the world-building -- and some people don't operate on that wavelength. Being a fan of anything isn't 'cool', it's joyful.

Joyful fans are not concerned with "shiny objects," "beautiful people" or being 'cool.' Joyful fans aren't concerned with their image. Such fans approach SLIDERS with a fondness for SLIDERS episodes and love for the sliders.

Look at Grizzlor's photos when he's with Kari Wuhrer or Cleavant Derricks. Is Grizzlor preening for the camera? Anticipating getting to brag? No. He is thrilled and happy to meet these people and to take a brief moment to thank them for how they touched his life. That's a joyful fan.

Yeah, that third dose of Moderna is really hitting my brain right now.

Spoilers. (Actual spoilers for MATRIX RESURRECTIONS this time.)

The RESURRECTIONS Morpheus is a fictionalized version of the original character. While Neo's memories were suppressed, the Analyst (Neil Patrick Harris) allowed those memories to manifest as dreams, nightmares and fantasies that Neo would eventually present to the world in the form of a video game. The RESURRECTIONS Morpheus is the code from that video game having received self-awareness and now attempting to serve purpose of the original Morpheus. The RESURRECTIONS Morpheus is Neo's portrayal of Morpheus, but not an exact copy. Liam Neeson's performance in SCHINDLER'S LIST was a dramatic approxmation of Oskar Schindler, but the two men looked nothing alike.

There is a similar situation with Agent Smith. Originally, Hugo Weaving was supposed to play Agent Smith again in RESURRECTIONS, but the scheduling didn't work out and Lana Wachowski was forced to recast the role with Jonathan Groff. Groff is completely capable of imitating Hugo Weaving and imitates Weaving's voice for a few lines, but then stops doing it. The reason: this version of Agent Smith was reprogrammed to be Neo's employer, Neo's somewhat antagonistic partner, so the Analyst made this version of Smith more casually informal, more personable -- but Groff has flashes of Hugo Weaving's relentless, machinelike hatred and loathing, but it's now blended with a superficially pleasant but innately disdainful contempt for human beings. Groff does a nice job of showing that the original Smith is still in there but with the Analyst's amused humour in the mix.

The truce in REVOLUTIONS was that any redpills who wanted to be freed would be freed; any bluepills who wanted to stay would be kept as power sources. The machines would no longer stop Zion's soldiers from liberating humans from Matrix pods, but any humans who chose to stay in the Matrix would remain. This mass exodus led to the machines losing a large portion of their human batteries. The machines began a civil war with each other, fighting each other for the human batteries that remained. The machine civil war reached Zion, except this time, there were machines that sided with the humans and helped them.

The war ended when the machines dispensed with the Architect's version of the Matrix where humans were leaving. The machines transitioned into the Analyst's version of the Matrix where the Analyst made humans want to stay and reject being awakened. The Analyst created a computer dreamworld where humans became emotionally invested in the quests and goals he would create for them. In Neo's case, his quest was to find Trinity, an unconscious desire that manifested through his Matrix video game. In Trinity's case, she was maneuvered into being invested in her illusory husband and children. With intense emotionality applied to all humans in this version of the Matrix, the Analyst maximized the power output of the human brain (the science here is absurd, of course, because in real life, humans don't really generate that much electricity).

After the war, the machines and humans built the city of IO together. It's unclear if Zion was destroyed or if IO is actually Zion, but renamed after the rebuilding to reflect the machine-human coalition. After all, Starling City became Star City on ARROW.

The reason I am very happy with RESURRECTIONS: it is a response to how the iconography of THE MATRIX has been co-opted by the fascist, alt-right, transphobic, misogynistic, white supremacist segment of our society. On this very Bboard (or some incarnation of it), our old friend Kyle encouraged everyone to view a documentary called THE RED PILL which declared that feminism was trying to put white men and white men's rights into a coma. The red pill has become a symbol for adopting a hatred of women and people of colour and vaccinations -- and calling that hatred a form of self-actualization or empowerment (and maybe it is, but only if you're a privileged white man) and declaring that the world is simply divided into normal and abnormal, red or blue.

This clearly enraged the Wachowskis. The egotistical billionaire Elon Musk who built his wealth on gross exploitation of labourers tweeted, "Take the red pill," referring to -- I dunno what, but Ivanka Trump responded, "Already taken." Lilly Wachowski (who sat RESURRECTIONS out) responded, "Fuck both of you."

RESURRECTIONS is a direct effort to repair the damage done by other hands who've taken THE MATRIX's imagery for their own use. With Lana Wachowski's sequel,  'Thomas Anderson' is working on a game called BINARY that's overbudget and a time sink of nothing. Bugs (the wonderful Jessica Henwick) declares that the red pill/blue pill binary is absurd and that the choice between either is an illusion; the red pill was only ever a symbolic representation someone choosing their own identity. The idea that Neo is innately gifted to be the One in the Matrix is debunked; Neo's ability to manipulate the Matrix code is shown to be a peculiarity in how his brain interprets Matrix code that can only truly be exploited with Trinity's presence and Trinity has the same neural aptitude and can have the same powers so long as Neo and Trinity have the capacity to share them. The division between Neo and Trinity is removed.

In addition, the division between machines and humans is removed; machines can manifest in the real world and some like humans and want to create with them. The RESURRECTIONS Morpheus at one point asks Neo if he wants to stay imprisoned or escape and save Trinity, and remarks, "That's not really a choice." RESURRECTIONS is caustic and irritated with those who have co-opted the imagery of the original movie as the Analyst comments that people believe some truly crazy garbage. RESURRECTIONS has Trinity awaken from the Matrix without even taking a red pill; she makes the choice in who she really is. The red pill never truly mattered as much as the choices and identities around it. The red pill was never about becoming one or the other; it was about engaging with reality and pursuing your own answers in your own way as opposed to signing up for one belief system over another.

In terms of storylines -- yes, I'd agree that RESURRECTIONS has left us closer to the ending of the 1999 MATRIX with Neo and Trinity soaring into the skies with a plan to open everyone's eyes to a world without the control of the machines, but with some progression in showing the IO city where humans and machines are now partners and friends. However, it's not really intended as the start to a new story. Lana Wachowski has said that she views this as a single, standalone entry. The film is presented as an epilogue that provides a happy ending for Trinity and Neo who are restored and re-engaged, and I think this was perhaps preferable to REVOLUTIONS having Trinity dead and Neo probably dead / fate unknown.

THE MATRIX: Spoiler warning but no actual spoilers.

I really enjoyed THE MATRIX RESURRECTIONS. I don't think it's a spoiler to say that THE MATRIX RESURRECTIONS features the resurrection of Neo and Trinity. I will say, however -- while the explanation for Neo's return is fine since he never actually died onscreen, the explanation for Trinity being alive is nonsensical and effectively non-existent. It is Trinity in the movie. It is not a clone, a digital approximation, a backup file, a simulation based on Neo's memories or an impersonator. It is the same character we met in 1999 played by the same actress who portrayed her in 1999.

I can't spoil how she comes back to life because the movie doesn't actually explain how Trinity survived the events of THE MATRIX REVOLUTIONS in which she was impaled in an aircraft crash, her internal organs punctured and pulped on impact. THE MATRIX RESURRECTIONS provides an explanation for Neo's restoration and puzzlingly declares that Trinity received the same as Neo.

And yet... it doesn't matter in the slightest. Having Trinity back is far more important than offering a cast-iron reason for how she came back. Trinity is one of the greatest fictional characters of science fiction history and one of the greatest representations of female empowerment. Carrie Anne Moss has a gift for playing women who are intensely powerful but emotionally available; Trinity can beat you into the ground and she has a boyfriend and it's not you, but she would be your friend and ally. And RESURRECTIONS does a great job of bringing all that back and showing that our world is better with Trinity resurrected.