WSN041212

Vol. 40 No. 46

thursday, april

WASHINGTON SQUARE NEWS presents

THE

s t r a ISSUE

books/theater page 3

music page 4

film page 6

TV page 8

games page 10

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LETTER FROM THE EDITOR

Washington Square News Editor-in-Chief amanda randone Managing Editor

jaewon kang Deputy Managing Editor

Amy zhang Assistant Managing Editor

james lanning Creative Director

selena chen Special Issues

kristina bogos senior staff

university Julie devito city/state emily yang investigative hanqing chen arts jonathon dornbush features jessica littman sports daniel hinton multimedia david lin copy maximilíano durón senior editor jack brooks,

Dear Readers,

BRIDGETTE DORAN

Hype. It is the marketing scheme that has you searching a dozen different websites hoping to find clues about an upcoming film. It is the word of mouth that spreads by friends and relatives that has you theorizing about what will happen in the next book of a favorite series. However much of your enthusiasm for a piece of work arises, it is undeniable that hype plays a factor in the anticipation.

We have all waited for a film, album, book or television show with unbridled eagerness, expecting perfection from something in which we have invested hours of our lives. At times an advertising technique and at other moments a build-up of our own expectations, hype is the excitement that creates devoted fans and invests us in a work of art.

deputy staff

university eric benson, eliza-

beth maguire city/state tony chau, kristine

itliong, jessica schultz investigative feiye wang music josh johnson film stefan Melnyk entertainment jeremy grossman books/theater clio Mcconnell dining hannah borenstein beauty & style shannon

loughran

Imagine the weeks leading up to the release of “Harry Potter and the Deathly Hallows.” Millions of readers spent days and weeks of their lives pouring over every piece of news about the book. They discussed endlessly their thoughts of how Harry’s adventure would conclude. And they waited, dressed in elaborate costume, in line at midnight release parties. They, and I, could not wait to get our hands on the book. We were as hyped up as could be, and for some, the lead-up to the book was as memorable as reading it.

sports John axelrod, cole

riley multimedia james kelleher copy jordan melendrez social media agent nicole gartside

opinion page

opinion editor olivia gonzalez deputy opinion editor ATTICUS

But hype can also have its problems. If too much is promised and fans are let down, a backlash is inevitable.

Generations of fans speculated about the plot twist and turns in the months leading up to the release of “Star Wars Episode I: The Phantom Menace.” Expectations for the film reached a fever pitch as it released. But once those fans saw the film … well, some of them are still reeling from Jar Jar Binks.

BRIGHAM, SANCHAY JAIN

Even though hype can lead to disappointment, more often than not, hype taps into our love for a property and makes us care on an emotional level. In the few months “Community” was on hiatus this year, I scoured the web for any news about what new episodes would entail. I talked with fellow fans and rallied new viewers for when the show returned. I became invested in the show like few programs before it, and I waited for its return as if it were the final “Harry Potter” book.

circulation manager

Our writers have looked at a host of TV shows, movies, musicals and everything in between to demonstrate that hype seeps into every aspect of our lives. We all have our own “Community,” and we just might cover yours in the pages of this semester’s Arts Issue.

advertising business manager

REBECCA RIBEIRO chloe coffman

university sales coordinator

Emilia Mironovici sales representatives

Kaitlyn O’Brien, MICHAEL RYAN, Melissa Ynegas

advising editorial adviser

keith leighty EDITORS-AT-LARGE

jaywon choe kelsey desiderio russell steinberg KIRSTEN CHANG francis poon terka cicelOVa About WSN: Washington Square News (ISSN 15499389) is the student newspaper of New York University. WSN is published Monday through Thursday during NYU’s academic year, except for university holidays, vacations and exam periods.

— Jonathon Dornbush Arts Editor

Corrections: WSN is committed to accurate reporting. When we make errors, we do our best to correct them as quickly as possible. If you believe we have erred, contact managing editor Jaewon Kang at managing@nyunews.com or at 212.998.4302.

nyunews.com

Books & theater

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Whether in musicals or novels, name familiarity can be the key to hyping up a piece of art. Sometimes all it takes is a famous actor or the mention of certain boy wizard to excite fans of the stage and written word.

What’s in a name?

Courtesy of Scholastic

Courtesy of Scholastic

Courtesy of Little, Brown and Company

Young adult fiction steals the spotlight

Recently, so much hype has surrounded “The Hunger Games” that almost everyone is familiar with the basic plotline. Viewers can see the film without having read the books, and even those who avoid both could be aware of the story without ever turning a page.

Much like its young adult novel predecessors — the unforgotten “Harry Potter” and “Twilight” series — Suzanne Collins’ series has an almost obscene number of fans in every demographic. Why is it that these books receive the lion’s share of attention and funding while more serious fiction tends to be regarded with a wearier eye?

Part of the answer may lie in the fallacy that this is a new phenomenon. Even dating back to the time of Charles Dickens, his tales about children, including “Oliver Twist” and “Great Expectations,” were immensely popular. Dickens’ work was beloved in his own era, widely outselling serious authors like George Eliot. Dickens died before the advent of young adult fiction, but his novels could be categorized as such. In his day, he might have been considered as campy as Stephanie Meyer.

But why are children and adults alike so fascinated with chronicling adolescence? The teenage years, in most of these books, are regarded as a traumatic time rather than a series of memories to be looked at fondly with nostalgia.

Indeed, we read such novels because we felt similar pains growing up. Even though we did not participate in Katniss’ dystopian world of televised social Darwinism, her more general pathos is relatable to all teenagers in some fashion.

Young adult fiction also serves to reaffirm our faith in the good by offering redemption and punishing the wicked. These moral fables are successful because they embrace the narrative trope of cosmic fights between good and evil. The novels revive a reader’s formative years while maintaining a carefully articulated distance, and they allow for the naïve childhood idealism of moral certitude. For adults, young adult fiction reopens a window to simpler times. For children and adolescents, the books provide a compass for the unexplored world.

True, literature ought to have moral dimension as well as critical analysis, and we cannot deny that the stories of Katniss Everdeen and Harry Potter engage in moral criticism. But in emphasizing the inherent goodness of its heroes and heroines, young adult fiction ignores more uncomfortable realities. Neither Rowling’s Lord Voldemort nor Suzanne Collins’ Capitol are particularly multidimensional. This makes it easier for us to adore the protagonists and revile the villains, but in real life — and in more serious fiction — the lines are not so clear.

— Christopher Gellert

Between a 1960s musical about a man who works at a wicket company and a show wherein Daniel Radcliffe sings and dances, most of us would probably pick the latter. In fact, these productions are one in the same, but the second tagline is the one that sells tickets.

In recent years, when asked how to succeed in show business, theater companies have answered with the general rule of casting a big name star. With the arrival of Philip Seymour Hoffman in Arthur Miller’s “Death of a Salesman” and Christie Brinkley’s imminent return to “Chicago,” we are living in an age where actors’ names are more important than the show title. Mainstream audiences and tourists do not want to see “Gyspy”; they want to see Patti LuPone in “Gypsy.”

To be fair, a character like Mama Rose is built to showcase a performer at the peak of her career. But that is not the case for every role, including Reno Sweeney of “Anything Goes” — a role which, until recently, was played on Broadway by Sutton Foster.

While Sweeney is an iconic and powerful role, “Anything Goes” is still very much an ensemble piece. Despite the excellent supporting cast, classic Cole Porter songs and exceptional choreography, now that Foster has traded in her tap shoes for a TV deal, a closing date announcement would not come as a shock.

To sustain a box office, stars must be replaced with stars — such as the recent Radcliffe-Darren Criss–Nick Jonas succession in “How to Succeed in Business Without Really Trying.”

A truly great performer can give a powerful performance without stifling the rest of the production. Alan Rickman, during his recent stint in Theresa Rebeck’s “Seminar,” did so with grace. In the expert hands of director Sam Gold, the show could be appreciated for its whole concept — five impressive actors, a sweeping set and, of course, Rebeck’s dynamic writing.

Radcliffe, Rickman, LuPone and many other big names are unquestionably talented actors whose performances are well worth the price of a Broadway ticket.

But it is a real shame when a talented yet unfamiliar performer is pushed aside in favor of some “American Idol” runner-up with a cult following.

For instance, while Constantine Maroulis screamed his way through “Rock of Ages,” his understudy waited patiently backstage. That same stand-in was Jeremy Jordan, who is currently proving — as the ragged and rugged Jack Kelly in the much-anticipated “Newsies” — that not only can a star make a show but a show can also make a star.

— Olivia George

via Wikipedia

Christie Brinkley

via Wikipedia

Philip Seymour Hoffman

4

MUSIC

Love them or hate them, some music acts have long outstayed their welcome while others are on the cusp of making it big. Either way, WSN looks at the acts that are set to explode or fade away in 2012.

Banks’ style will lead to big success Azealia Banks goes by several names, including Yung Rapunxel and Miss Bank$. Whatever fans call her, the Harlem-born rapper will definitely leave her mark on the music industry as the best upcoming female rapper of 2012. Her viral video for “212,” a song with a killer electro beat crafted by Lazy Jay, requires viewing to understand the quality music hitting the rap genre.

Banks has been touring Europe and is currently in Tokyo. Though her stateside success is not as pervasive, once her EP, “1991,” drops this month, she is sure to make it big in the United States.

Banks is a triple threat with her soulful singing voice, clever yet perverse raps and iconic fashion sense. Lately, she has donned custom-made Karl Lagerfeld outfits and even has an upcoming collaboration with Alexander Wang. Her

nickname Yung Rapunxel fits her unique style: The 20-yearold has different-colored, long locks each month that sway from side to side as she energetically rhymes and rocks.

Being one of the five people that Kanye West follows on Twitter has provided her with some musical assistance.

Banks received a beat from Yeezy, and a collaboration track is soon to come. Banks’ other featured songs, such as “L8R” and “Liquorice,” prove she has some serious rapping chops.

She is proud of being an eccentric black female artist who consistently satisfies her fans.

When Banks spits lyrics from “212” about rising to the top, she means it. All other emcees should watch out for Banks’ inevitable takeover.

— Alaina Berry

via Facebook

Beach to crash the scene in 2012 When Beach House first released its self-titled debut album in 2006, the Internet quickly embraced the Baltimore-based duo. The band’s fan base, though highly faithful, remained relatively small. But today, Victoria LeGrand and Alex Scally no longer need much introduction. After signing with Sub Pop Records, they released “Teen Dream” in 2010, which propelled them into the realm of dream-pop greatness.

With the upcoming release of their fourth full-length album, “Bloom,” and an international tour lined up, Beach House is currently riding the crest of a monster wave of fame.

It seems that, given some time for the hype of the album and

tour to reach a larger audience, the band might soon be able to headline a major music festival.

The band has already impressed fans with all three of its critically acclaimed albums. Recent shows having sold out well in advance point to their soaring stardom. Most recently, Beach House has set the blogosphere ablaze with the release of “Myth,” the first track off of “Bloom.” The single has already generated high expectations and heavy anticipation for the remainder of the album, which is poised to greatly increase the band’s growing fan base.

In July, Beach House will headline Central Park’s Summer-

Stage, and Pitchfork also added them to this year’s Pitchfork Music Festival lineup. These shows, combined with the duo’s impending greater international exposure and likely continued success with its newest album, will undoubtedly only help the band gain popularity. Beach House has already performed at festivals such as South by Southwest, Coachella and Sasquatch. Perhaps if the band continues to climb the charts, LeGrand and Scally may soon be gracing the main stages with their haunting, dreamy ballads.

— Claire Voon

Unable to foster message, ‘People’ will disappear Foster the People hit the jackpot in the music industry two years ago. An indie-pop band, which started as the music project of Mark Foster and also included Mark Pontius and Cubbie Fink, recorded “Pumped Up Kicks.” With this one song, the band paved a musical path for appearances on mainstream radio, commercial success and perhaps its eventual downfall.

Usually, members of Foster the People’s fan base know only two things about the band: its name and how to hum “Pumped Up Kicks.” The catchy single’s smooth bass line and melodic vocals made it both annoyingly addicting and extremely danceable for summertime parties. The group’s sudden star status grew from the song’s frequent usage in media like Nylon magazine’s online advertising campaign. Yet after signing a record deal with Startime International, a branch of Columbia Records, Foster the People may have dug its own grave by writing its debut album, “Torches,” around the melody of “Pumped Up Kicks.” This decision makes differentiating songs difficult and gives the album a musical complexity comparable to a wet noodle — a factor noted by online music critic Pitchfork and other prominent reviewers.

While making the song — and therefore “Torches” — extremely catchy, Foster the People in turn gave the album no cohesive message. This has left the band no themes to develop into future material that could maintain the original audience, a tactic that has been used successfully in Lady Gaga’s development of her second album. Foster the People, rather, seems en route to pulling the same move as MGMT: writing a second album aimed in the opposite direction musically from “Torches” to prove themselves unique. While this tends to be a gamble, more often than not, bands fail to replicate their initial success.

Foster the People’s sophomore album is set to come out in 2013, and the band members plan to write material after their summer tour. We may have to wait until then to make a final judgment, but it continues to look less likely that this mainstream indie-pop outfit will survive.

— Matthew Levine Courtesy of Startime International

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The Based God shares success story

jonathan tan/wsn

Within hours of announcing his visit to NYU via Twitter in late March, tickets to see rapper and artist Lil B were sold out.

As a cultural and musical icon in today’s hip-hop scene, Lil B’s arrival caused a huge sensation among NYU and non-NYU students alike. Word spread like wildfire online once the news broke on Twitter, and music websites and blogs gave significant attention to NYU and the Internet hip-hop sensation.

“I heard about it through Twitter and Facebook,” Nick Lockamy, a freshman at Stony Brook University who attended the event, said. “I didn’t believe it at first, but then I did a quick Google search, and I thought, ‘Wow. It’s actually Lil B.’ ” The NYU Program Board reached out to Lil B’s manager a few months ago to have the artist come to speak.

“He’s just sort of an amazing cultural figure, and he’s a positive human being on a level that very few people are,” said CAS junior Patrick Caddick, a member of the Lectures committee of the Program Board.

Students and fans lined up outside the Eisner and Lubin auditorium in the Kimmel Center for University Life on Wednesday night, eagerly waiting for their idol to appear. NYU security seemed tighter than usual as fans piled into the auditorium, chanting, “Based God” — another one of Lil B’s stage names. One fan even wore a chef’s costume, reminiscent of Lil B’s famous “Cooking Dance.”

The artist himself came on stage in a neon green shirt, shoulders hunched in a shy demeanor, with glitter on his forehead and earlobes. His talk, while simple, consisted of inspirational outbursts and stories of acceptance.

“You can have a million stones thrown at you, and you can still be positive,” he said.

“I can appreciate his method of just putting everything out there,” said CAS junior Lila Tublin, an attendee of the event, said.

Lil B produces music more frequently than most artists, having put out four mix tapes in 2012 alone.

What was wonce a mysterious announcement via social media seemed to become a huge success.

“Everyone’s having a great time, and we’re so appreciative for him to be here,” Program Board president Alison Sikes, a CAS senior, said. “We couldn’t ask for a better person, and I’ve never seen kids at NYU so happy.”

— Esha Ray

Jack White to rejoin musician brotherhood I once considered Jack White to be the King Midas of music and that everything he touched would turn to gold. He made rock with the Raconteurs and sludgy blues with the Dead Weather; his original band, The White Stripes, was one of the best bands of the last 15 years.

Recently, White has shifted from his role as musician to producer. His record label, Third Man Records, has produced progressively strange releases. The label started harmlessly enough with releases like a Conan O’Brien spoken word record. Then, in last August, White inexplicably produced a song combining JEFF the Brotherhood, an obscure Mozart piece and Insane Clown Posse. The result was neither funny nor one of those “so bad it’s good” songs. It was just terrible.

That song marked the first time my confidence in White wavered. And it is also why White’s upcoming solo release, “Blunderbuss,” is my most anticipated album of 2012.

White’s last record before the producing craze was the Dead Weather’s 2010 release “Sea of Cowards.” While he

has made some appearances and cameos, like on Danger Mouse’s “Rome,” “Blunderbuss” will be his real return to the musician brotherhood.

Because White was essentially the sole creative force behind The White Stripes, it might be easy to lump his solo catalog in with that of his best band. Even though the first single, “Love Interruption,” is reminiscent of The White Stripes’ “Get Behind Me Satan” sound, White makes choices that let us know the album will not retread on the music he made with his fake sister/real ex-wife. Gone is the monstrous thunder of Meg White’s drums. In fact, the song’s percussion section hardly registers at all, which makes her absence even more striking.

Yet “Love Interruption” still has that signature Jack White lyricism. Lines like “I want love to walk right up and bite me/ Grab a hold of me and fight me/ Leave me dying on the ground” illustrate his ever-present talent with words. Even with verses like that, I am certain White

Black Keys continue to rule the scene Since the 2010 debut of “Brothers,” The Black Keys’ third studio album, the band has seen a meteoric rise into mainstream culture. Their latest effort, “El Camino,” another collaboration with producer Danger Mouse, peaked at number two on the U.S. Billboard Chart and received critical praise for its upbeat, classic-rock-inspired sounds.

Perhaps most telling is The Black Keys’ status on tour — the group is not only headlining major festivals like Coachella, but in March they managed to sell out two tour dates at Madison Square Garden.

The hype currently surrounding the band and its success can be attributed to one of music’s best senses of humor as the members of The Black Keys have never taken themselves too seriously. The band’s music videos are tailor-made to go viral, whether it be the puppet dinosaur in “Next Girl,” the dancing man in “Lonely Boy” or the brawling fathers and sons in “Tighten Up.” Facebook and Twitter are perhaps the most useful tools for bands like The Black Keys, and to ignore their online support would undermine the brilliant hype and marketing strategy the band has in place.

The Black Keys will likely stay at this level of popularity for some time. The charts are currently controlled by dance music and

via Wikipedia

mainstream quality rock music — especially blues-rock — has become increasingly harder to find, essentially guaranteeing that the Keys will enjoy continued success. Nothing, however, is certain, and if the group wants to remain critically successful and retain fans who expect the level of quality the band has produced over the past decade, they will have to continue to be innovative and experimental. Employing producers like Danger Mouse to make the same strides that “Brothers” and “El Camino” have delivered may just be the key to maintaining a dominant place in the musical world.

— Daniel Fuchs

wrote this song and hundreds like it in no more than 12 minutes. “Love Interruption” is not a particularly challenging song though White has a talent of taking seemingly unassuming songs and breathing unparalleled life into them — see “My Doorbell.” Still, having the record not involve Conan O’Brien talking about Frankenstein or Insane Clown Posse doing anything makes “Love Interruption” a more than capable single.

Rumor has it that when Phil Jackson was trying to get Michael Jordan to return to the NBA, Jackson told him that he could play baseball all he wanted but Jordan was born to play basketball. That is what he should be doing. Well, White can produce novelty records all he wants, but he was born to be a musician. Now, with his solo debut, it is time for White to return to the world he once ruled. It is time for King Midas to reclaim his gold throne.

— Josh Johnson

M83’s dynamic sound consistently impresses Since the release of their 2011 album, “Hurry Up, We’re Dreaming,” M83, led by frontman Anthony Gonzalez, has quickly grabbed attention from critics and listeners alike. The group’s pre-release single “Midnight City” has graced top charts with its sweeping and uplifting sounds, and the band has sold out venues across the globe.

However, this sudden explosion in popularity may lead some to question the legitimacy of this hype. Will M83 continue to live up to its current success?

This is not the first time M83 has made a mark on the music scene. After the release of “M83” in 2001, Gonzalez has produced an impressive line of acclaimed albums, including “Dead Cities, Red Ghosts and Lost Ghosts” in 2003 and “Saturdays = Youth” in 2008. Suitably named after the spiral galaxy Messier 83, most of M83’s recent albums encase luscious, atmospheric tones that mesh well with ambient pop. These driving sounds are the perfect medium for the concept behind “Hurry Up, We’re Dreaming,” which evokes the eclectic splendor of childhood dreams mixed with waves of adultlike emotions.

What really grounds M83’s soaring reputation is the quality of its work. The act’s rise in the charts is not an unsubstantiated

peak, but an outcome of a decade’s worth of producing consistently solid albums and EPs. “Hurry Up, We’re Dreaming” is M83’s best album yet: If they can effectively pull off saxophone solos, spoken word and magic frogs in a double album, it is hard to imagine what they cannot do.

— Gloria Lee

via Wikipedia

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M l I F

Action blockbusters have been a staple of the summer season since “Jaws” hit theaters. Major franchises are both ending and returning to the screen this year. WSN looks at whether these upcoming films can live up to their hype.

‘Avengers’ to be ‘Avengers’ to Ridley Scott’s a dream team disappoint fans return to form

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A friend told me the other day that the anticipation for “The Avengers” movie, directed by Joss Whedon, kept him going throughout his more stressful days. It may be hard to live up to expectations like these, which are currently held by millions of Marvel blockbuster fans.

But with all of the talent involved, the film is on track to meet, if not shatter, those expectations.

Thor (Chris Hemsworth), Black Widow (Scarlett Johansson), Iron Man (Robert Downey, Jr.), Hawkeye (Jeremy Renner), Captain America (Chris Evans) and the Hulk (Mark Ruffalo) will come together to save world from Loki (Tom Hiddleston) as well as other unknown villains on May 4. Four of these heroes — ­­Thor, Iron Man, Captain America and the Hulk — have had their own blockbusters in the last four years, and Black Widow, Hawkeye and Loki also appeared in some of those films.

The hype surrounding “The Avengers” is undeniable, and with the combination of timeless characters, a superstar cast and information about the movie still being kept under wraps, it is easy to see why fans anticipate greatness.

While the entire cast is phenomenal, much of the excitement derives from Samuel L. Jackson finally receiving a full-fledged role as S.H.I.E.L.D. director Nick Fury. Jackson appeared as Fury in some of the postcredit teasers, but you can never have too much of his charismatic portrayal.

Some believe it will be impossible to meet these high expectations. Too much hype is never a good thing, as it inevitably leads to disappointment. But Whedon’s refusal to reveal the identities of the villains will allow viewers to be surprised and unfamiliar with most of the film.

Withholding that information increases the hype and will pay off when many of the predictions floating around prove to be wrong.

Aside from the hardcore fans who surf the web daily for more narrative clues, there will surely be many mainstream fans of the individual characters’ movies ready to see “The Avengers.”

Despite the big personalities involved, Whedon’s script appears to smartly reflect the friction some would expect behind the camera. The most recent trailer hints at the conflict between the superheroes as they, like the actors, have to join forces and share in their eventual glory.

The hype for “The Avengers” is as intense as that for any movie in recent memory. With amazing actors, strong writing and proper directing, “The Avengers” will surely not disappoint.

While director Joss Whedon’s “The Avengers” has much going for it, there is nevertheless significant cause for worry. Too many cooks spoil the broth; by that same logic, too, many stars can spoil a movie. Fans of stars like Robert Downey Jr., Samuel L. Jackson and Scarlett Johansson will undoubtedly want to see the camera trained on their favorite star as long as possible. How much room does that leave for a compelling story?

There is also the issue of villain-saturation syndrome, for which “Spider-Man 3” frequently serves as a cautionary tale. A good villain must have a convincing motivation and a backstory — in other words, a subplot. Each new villain adds a new narrative that must be set up near the beginning of the film and resolved by the end. For the devious Loki, “Thor” provided the necessary character background, but his mysterious extraterrestrial army will require more explaining. Also taking up some of the film’s two-hour-plus running time will be any potential cameos by other villains as well as the two Avengers who have not yet been granted their own film (Black Widow and Hawkeye). All of this threatens to needlessly complicate the film.

“Iron Man 2” suffered because of a series of subplots and character cameos that prevented the main storyline from effectively building tension. It is perfectly legitimate to worry that assembling the entire “Avengers” team in one film will serve to only aggravate the problem exponentially for each additional character. There is simply too much material for one film to cover effectively, especially if Marvel is breathing down Whedon’s neck about maintaining continuity and setting up future movies.

Fans will of course want to hope for the best outcome for “The Avengers,” but by no means is it a sure thing.

The concept of an all-star superhero team may be a simple one, but accommodating all of the actors and all of the fictional mythology of the characters will require extraordinary precision and finesse. “The Avengers” will have to work perfectly or succumb to its own ambitions.

— Jessica Littman

Courtesy of Walt Disney Pictures

— Stefan Melnyk

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Courtesy of 20th Century Fox

The upcoming tent-pole film “Prometheus” from 20th Century Fox, set to premiere June 8, has achieved the quintessential Hollywood trifecta: an A-list director (Ridley Scott) teamed with a star-laden cast (Charlize Theron, Michael Fassbender and Noomi Rapace) in an action/scifi prequel to one of the most successful franchises ever, “Alien.”

Scott’s return to the thriller genre is perhaps the most exciting aspect of “Prometheus.” The British-born director created the modern incarnation of the genre with his 1979 release “Alien.” Since then, Scott has cemented his legacy elsewhere with award winning pictures “Gladiator,” “Thelma & Louise” and “Black Hawk Down.”

Theron, Fassbender and Rapace are among Hollywood’s most intriguing actors. Theron is a resurgent force, with last year’s comedy “Young Adult” and this June’s “Snow White and the Huntsman” leading the way. Fassbender has recently become one of Hollywood’s favorite actors following his leading role in Steve McQueen’s “Shame” and scene-stealing turn as Magneto in “X-Men: First Class.”

And Rapace is ready to take American audiences by storm with her first leading role in the States following her “The Girl with the Dragon Tattoo” fame in Sweden.

Despite strong casting, the film’s inevitable success will be determined by its plot. For the better part of last year, the storyline of “Prometheus” has been the center of debate and mystery. However, this has only fueled the attention and excitement. And back in December, once the full-length trailer was released following a brilliant fiveday teaser campaign, multiple clues to a prequel premise to the “Alien” franchise were revealed.

With the looming cloud of intrigue, the exciting cast and Scott’s return to the genre he perfected, “Prometheus” is destined to live up to the hype.

— Cole Riley

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‘Prometheus’ A fitting end to launch malfuntions ‘Batman’ trilogy

Stars won’’t rise to the occasion

Ridley Scott’s “Alien” is a masterpiece few films in the horror-thriller genre can touch. Regardless of whether or not Scott’s upcoming “Prometheus” is a prequel to his original film, I fear it may never live up to the expectations cinephiles have built up for this summer’s release.

It is hard to argue about the talent involved: Scott, writer Damon Lindelof and a trio of well-respected actors in main roles. But the film itself may be too ambitious for its own good. The trailers thus far have shown sweeping vistas, sprawling waterfalls, cavernous tunnels, futuristic space stations and enough location-hopping to amount to a bleak Travelocity commercial.

Scott seems to face an insurmountable task if he hopes to cram all of these set pieces into a two-and-ahalf hour film while telling a cohesive story. “Alien” took place largely in a singular space station and only briefly branched outside of these confines. “Prometheus” obviously wants to be an expansive, engrossing tale, but it may struggle to balance the big picture with the smaller, human aspects of the expected premise.

If anything, Scott’s recent directorial efforts do not inspire absolute confidence as well. He has been hit-or-miss in the past few years with his most recent work, “Robin Hood,” providing some brief impressive action sequences but a boring film overall. “Kingdom of Heaven” may be the best comparison for “Prometheus” as the film tried to include too many components and ended up failing in most respects. Granted, Scott directed “Gladiator” as well as enjoyable films like “Matchstick Men,” however, his time away from the genre may make for an anticlimactic return when “Prometheus” hits theaters.

This summer, those tried and true upholders of the Batman series — Christian Bale, Michael Caine, Morgan Freeman and Gary Oldman — will appear once more in the third installment of Christopher Nolan’s Batman trilogy, “The Dark Knight Rises.”

This time around, Anne Hathaway and Tom Hardy join them. If these two were brought on to the project merely for the sex appeal, then the casting director made some solid choices along with new cast members Joseph Gordon-Levitt and Marion Cotillard.

That said, Hathaway and Hardy will have to do a lot more than look pretty. Both young actors will be playing unfamiliar roles as villains — Hathaway as Catwoman and Hardy as the diabolical Bane — while under enormous pressure to satisfy die-hard fans.

While Bale makes a great Bruce Wayne, he disappoints as Batman. Unfortunately, Nolan tends to focus on the man in the mask, as Wayne rarely appeared from behind his cowl in “The Dark Knight.” If the same is true for the new installment, the rest of the cast will need to pick up the slack.

But can they handle it? Hardy will have a particularly difficult time. Not only will it be impossible to follow in the flawlessly fiendish footsteps of Heath Ledger’s Joker, but Bane might face some insurmountable costume issues.

The villain of “The Dark Knight Rises” wears a breathing apparatus at all times. While integral to the character’s biography, it appears to muffle Hardy’s speech to the point of incomprehensibility.

Hathaway, too, is an unknown quantity. Though graceful, beautiful and a decent actress, does she have what it takes to be Batman’s sexiest nemesis? Recent photos have made fans skeptical. Some have even said that the snug leather body suit looks awkward, which is certainly not an adjective that should describe Catwoman.

“The Dark Knight” was always going to be a difficult act to follow. And while the cast looks capable on paper, in the event that “Rises” does not provide a satisfactory end to the saga, all the star power in the world will not be able to distract a disappointed audience.

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— Jonathon Dornbush

Courtesy of 20th Century Fox

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Courtesy of Warner Bros. Pictures

As summer looms in the not-so-distant future, “The Dark Knight Rises” looks to be the most anticipated movie of the entire season. At the very least, it has a daunting task to both critically and financially surpass the acclaim and records set by its precursor, “The Dark Knight.” With any movie as hyped as this one, there will be naysayers who pick out specific plot details and casting choices as signs of an imminent flop.

Perhaps the biggest concern derives from past superhero trilogies “Spider-Man” and “X-Men.” Both of these trilogies enjoyed two critically and commercially successful films.

Yet they both suffered heavily in their third chapters because of over-crowded plots and uncharacteristic motivations from their leads. Despite the failures of these series, detractors should consider the level of reliability director Christopher Nolan has achieved throughout his entire filmography. Whether in “Memento,” “The Prestige,” “Inception” or, yes, “The Dark Knight,” Nolan has delivered a level of complex storytelling that other franchise directors have failed to achieve.

While a film like “Spider-Man 3” fell short because it attempted to juggle multiple narratives, Nolan is a master at weaving together storylines. Those who complain that Nolan is attempting to shoehorn in two villains — Bane and Catwoman — should examine the seamless integration of characters in his other films.

Also apparent is Nolan’s larger story arc at work in his “Batman” franchise, having assured audiences that this is absolutely the final chapter in his story. This thankfully means no story will be left with a cliffhanger for the sake of a sequel.

Most importantly, perhaps, Nolan clearly understands the Batman mythology, drawing from a variety of the Caped Crusader’s most acclaimed stories. This time around, Nolan seems to be drawing the skeleton of his film from “The Dark Knight Returns,” one of the most acclaimed graphic novels in history. Nolan understands the essences of these characters, from Batman’s inner pain to Commissioner Gordon’s anxiety. He has proven that he sees the Batman mythology as not just a story about Batman but a story about the collective environment in which Batman operates.

With Nolan’s experience and reverence for the source material, fans should abandon their fears and prepare for one of the summer’s most exciting blockbusters.

— Daniel Fuchs

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— Clio McConnell

Courtesy of Warner Bros. Pictures

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TV

A mix of both old and new, WSN looks at the past and future of television to explore how hype has ruined some shows and may be necessary to the success of future programs.

Fall TV pilots to highlight the 1 percent

via Flickr

Many of the pilots in development for the fall 2012 season spotlight the rich and powerful. Whether they focus on wealthy families with troubled pasts or the hidden worlds of big-business industries, producers seem fascinated by the 1 percent.

ABC’s “Americana” is set to explore the fashion industry from the perspective of a successful designer, exploring the ups and downs of the fast-paced business.

“Americana” is competing with another ABC pilot, “Scruples,” also about the fashion world, but from a socialite’s point of view. Though the chance that both will air with such similar subject matter is unlikely, “Scruples” has the air of a sexier, revenge-heavy soap that may offer it more appeal.

Also ordered by ABC, “Devious Maids” follows a group of maids working for rich Beverly Hills residents as they strive to reach their own life goals. NBC’s “Notorious” takes a slightly different approach, depicting a maid’s daughter as she in-

vestigates the murder of a wealthy heiress with whom she was closely involved.

Thankfully, not all of the pilots surrounding upper class society are bogged down with such heavy themes. The CW’s “The Carrie Diaries,” a prequel to “Sex and the City,” written by Candace Bushnell, follows a teenage Carrie Bradshaw, played by young actress AnnaSophia Robb. The show chronicles Carrie’s high school years, as she transforms into the character made famous by the HBO series.

Also with a lighter tone, ABC’s “Malibu Country,” stars Reba McEntire as a country star moving to the wealthy world of Malibu with her kids as she tries to raise them with proper values in a materialistic world.

Programs revolving around revenge and those with murder-heavy themes may owe much of their positive hype to current dramas like “Gossip Girl.” These high society dramas have been early indicators of how captivating these stories

about young people navigating tense social environments are to audiences.

This year’s “Revenge,” similarly, was an unexpected hit for ABC, focusing more on the devious nature of characters in these affluent circles. Even shows like “Mad Men” and the “Real Housewives” franchise indicate America’s fascination with wealthy society and set precedents for success.

With many of these series having such similar premises, it is hard to tell which ones will be picked up, and of those, which will actually succeed.

Some will be clear hits: “The Carrie Diaries” will likely perform well among “Sex and the City” fans and the CW’s core teenage demographic. Many of the other shows, however, will thrive only if the narratives and characters are just as compelling as those that have made “Revenge” and “Mad Men” so appealing to audiences.

— Daniel Fuchs

A lackluster slate of supernatural shows Last year, the success of “American Horror Story” initiated a wave of more serious horror programs. FX made an extremely bold move when it aired a show that contained some of the most disturbing scenarios to be broadcast on non-cable TV. While many expected networks to ape the horror template in their new crop of pilots, this is apparently not the case.

TV networks have, for the most part, gone for a much more playful and innocuous set of supernatural dramas in the upcoming year, a trend best exemplified by “Mockingbird Lane.”

NBC’s dramatic series is a remake of the 1960s sitcom, “The Munsters,” and thus it seems to err on the side of comedy rather than horror. Coming from Bryan Fuller (“Pushing Daisies”) and Bryan Singer (“X-Men: First Class”), this may not be a terrible route to take. But “Mockingbird Lane” feels like a direct refutation of everything “American Horror Story” stands for, making it almost satirical in that respect. The show seems poised to disappoint genre fans.

“666 Park Avenue,” ABC’s mash-up of “Desperate Housewives” and “Rosemary’s Baby,” feels even less righteous. ABC’s synopsis of this spooky apartment-themed series promises intense seduction. Because “666” is set up as more of a wistful romp

than a tonal piece like Roman Polanski’s film, everything about the show feels wrong. What could have been a seriously creepy concept is lightened by sex, romance and intrigue.

The remaining serious shows, however, fail to impress with supernatural elements. “Midnight Sun,” an ABC series about strange disappearances in an Alaskan town, comes off more as a “Twin Peaks” knock-off tinged with conspiracy than an original concept. Also on ABC is “Gotham,” which centers on a detective who uncovers a secret world in New York City. Neither of these appear to be particularly creative nor innovative.

Still, two supernatural series show great promise: “Revolution” and “Powers.” NBC’s “Revolution,” which comes from J.J. Abrams and Eric Kripke, depicts a world in which all energy sources have mysteriously disappeared. “Powers” is a crime procedural told through the superhero genre where the costumed heroes are merely side characters. Interestingly enough, “Powers” comes from FX, the same network that broadcasts “American Horror Story” — a sign that perhaps FX is the only network willing to take a risk on smart, serious supernatural dramas.

— Alex Greenberger

For more TV content, check out The Highlighter at wsnhighlighter.wordpress.com

Courtesy of Gage Skidmore

The rise and decline of NBC’s ‘The Office’ As its eighth season comes to a close, NBC’s “The Office” has seen its fan base dwindle. When the show first debuted in 2005, audiences watched with trepidation, worrying that “The Office” would merely be a failed attempt at recreating the British hit.

But after a short first season that stayed almost too true to the original series, the American version eventually broke out as its own entity, with impressive ratings and critical praise to support its rise as a comedy staple.

“The Office” initially stood out as a nontraditional comedy. Its single-camera, documentary style divulged from nearly all other contemporary comedies, though it has since been imitated by fellow NBC comedy “Parks and Recreation” and ABC’s “Modern Family.” Dry delivery of humor also helped “The Office” to usher in the idea of a smart comedy. This brand is something that NBC has built its entire Thursday night comedy line-up around, largely because of the show’s success.

For most of its run, “The Office” performed well, especially compared to other shows on its struggling network. The show launched movie careers for many of its stars, most notably Steve Carell and Ed Helms, and others like John Krasinski are also finding an increase in film popularity. While recent years have seen a gradual decline in ratings, a common phenomenon for shows that have passed their peak — following Carell’s departure last year, “The Office” has experienced a sharp drop-off of viewers.

The loss of Carell and the subsequent parade of middling guest stars have displeased viewers who were initially attached to the show’s core character dynamics. While loyal fans have allowed the show to maintain its position as NBC’s most watched scripted show, it is not nearly as popular as it once was — back when critics and audiences supported it with enthusiasm.

“The Office” is set to lose more of its cast. Writer, producer and actress Mindy Kaling is developing her own pilot for FOX and fan favorite Rainn Wilson is receiving a spinoff based on his character Dwight Schrute. Writer and showrunner Paul Lieberstein will also be leaving to produce Wilson’s new show.

NBC has not yet announced the fate of “The Office” for next season. Despite its low

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numbers and many cast departures, the show will likely be given another season, as it is still considered popular by NBC standards. The hype may be gone from the once venerable NBC comedy, but fans cannot deny “The Office” has left its mark on television by proving that there is an American audience for sharp, witty humor.

— Samantha Rullo

Courtesy of NBC

‘Housewives’ desperately need viewers

Courtesy of ABC

Courtesy of ABC

After debuting in 2004 to high viewership and critical acclaim, the eight-season run of “Desperate Housewives” will come to an end this May. Most television watchers, however, are likely questioning why this end did not come sooner.

It is hard to believe that when “Housewives” first premiered, it was the success story ABC needed to help pull the struggling network up from fourth place. The dramedy introduced audiences to Wisteria Lane, an idyllic suburban setting that revitalized the careers of actresses Teri Hatcher, Marcia Cross, Felicity Huffman, Eva Longoria and former castmember Nicolette Sheridan.

The early episodes of “Housewives” captivated viewers with a balance between beautiful settings and numerous scandals and secrets. The show may have been originally billed as a nighttime soap, but it became a program that elicited respect for television as a storytelling medium. Mary Alice Young (Brenda Strong), the series narrator, helped established a long-term story line for the show as her character’s suicide remained a central unanswered question.

“Housewives” came at a time when reality TV, game shows and crime procedurals dominated primetime networks. It reinvigorated the serialized drama and allowed audiences to escape into a world of addictive mysteries and fun-loving characters who provided humor along the way.

The show reached its peak with the critically acclaimed third season episode,

“Bang,” when a grocery store shooting affected all of the central characters on an emotional level. The episode became such a success that “Housewives” began an annual tradition of disaster episodes, including tornadoes, fires and plane crashes, which unfortunately sacrificed good storytelling for cheap gimmicks used to earn better ratings.

“Housewives” continued to show signs of desperation when the characters jumped five years into the future in a cheap attempt to remain fresh and thrilling. Plotlines felt stale and reused.

Each housewife began to exist in her own sphere, and they were provided with little reason to interact with one another. The chemistry of the cast was one of the show’s greatest assets, but as those relationships dwindled so did the viewers interest in keeping up with Wisteria Lane.

Now, in its final season, the writers have recognized their problems and have made it a point to resolve the issues as the show comes full circle. The housewives are involved in a mystery that feels just as refreshing and intriguing as it was in the first season. Characters from the past are slowly making their way back onto Wisteria Lane for what may result in an outstanding series finale. Despite these improvements, one must wonder if critics and fans will care enough to tune in and watch the last remaining weeks of the happenings on Wisteria Lane.

— Chris Saccaro

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games How Nintendo can save the Wii U Nintendo revealed its forthcoming console, the Wii U, at last year’s E3 in the hopes of setting the Internet ablaze with excitement. Instead, fans and critics alike reacted first with confusion, and then with cautious curiosity — at best. Though they may have botched the initial reveal, Nintendo can take a few key measures to reignite fan fervor and save face among consumers: 1. Change the Name No one is a fan of the name. Granted, gamers greeted the Wii’s original moniker with incessant mocking, but it eventually became a word uttered by everyone from gamers to grandparents. Unfortunately, the Wii U simply does not convey that this is a new console.

Is the Wii U a peripheral, a new console or a new controller? Fans were baffled initially, and consumers without knowledge of the industry will similarly be confused even if the name is ambiguous. It may sound boring, but something as simple as rebranding it the Wii 2 could make a world of difference in future sales.

2. Market Properly The original run of Wii commercials delivered a light-hearted but clear message about the Wii’s motion-controlled capabilities and the emphasis on the console’s multiplayer focus. The advertisements were clean, funny and to the point. It might make sense to revive the familiar business suit-clad Japanese men, but Nintendo should be reminding consumers at every turn that this is a new piece of hardware. The Wii U’s new controller may be too complicated to sum up in 30 seconds, but by incorporating social networks and in-store demos, Nintendo can show families why the Wii U is a unique system with its motion-enabled tablet controller.

3. Have Strong Launch Titles and Continued Support of the Console This sounds obvious, but it is surprising how often the Wii has experienced prolonged droughts of quality titles. A constant stream of impressive games is essential to the longevity of a console’s popularity. Every generation Nintendo finds itself without third party support. Nintendo’s own titles are never enough to consistently satiate gamers’ appetites.

The promise of major titles like “Assassin’s Creed III” and “Darksiders 2” as launch or near launch titles is a step in the right direction and, hopefully, an indication of what is to come. If Nintendo can deliver a few key franchises in the launch window and continue to cultivate support from other developers, Nintendo might finally break its cycle of prolonged periods without impressive content.

— Jonathon Dornbush

New consoles are always exciting events in the video game industry, but without proper hype, their fate may be sealed before even hitting the market.

Lack of hype leads to plummeting Vita sales Sony’s PlayStation Vita recently hit the shelves to disappointing launch sales numbers, causing many to wonder what went wrong. On paper, the Vita should have had both gamers and technophiles giddy with excitement. The Vita has graphic capabilities unheard of on a handheld console in addition to a five-inch OLED touchscreen, two joysticks and a multi-touch back panel. Right out of the gate, the Vita seemed primed to be a success among hardcore gamers.

But the Vita debuted well below Sony’s expectations, and this can easily be attributed to the company’s failure to market the system. No matter how impressive a new piece of hardware is, the system will be dead on arrival if it is not on the minds of consumers.

With the recent surge in gaming on iOS and Android devices, it was extremely important for Sony to make an effort to create excitement surrounding the new system. The mega-conglomerate’s efforts to spread word about the Vita, however, have been almost nonexistent.

Sony seemed to hope word-of-mouth marketing would translate into high sales. This has certainly worked for iPhone games like “Angry Birds” and “Draw Something,” but the strategy is not one that applies to a handheld device.

The Vita’s initial failure could also be blamed on its price. At $250, consumers expect more than simply the ability to play games no matter how beautiful they are displayed on the screen. The same thing happened less than a year ago with the release of Nintendo’s 3DS. Nintendo soon lowered the price of the handheld console after disappointing sales figures in the wake of a decent launch.

Besides the missed marketing opportunities and high price, handheld devices like Sony’s Vita and Nintendo’s 3DS may be on their way out anyway. The growing iOS and Android market is not slowing down as of yet, especially with newer, better tablets and mobile devices rolling out every month with rivaling technology and graphics. The amazing success of the Nintendo DS came at a time before smartphones were as accessible to the everyday consumer as in today’s market. Today, smartphones may be pushing dedicated handheld devices out.

Whenever a new iPhone or iPad releases, consumers line up in droves, waiting hours to be the first to own the device. The iPhone has reached a level of ubiquity where the device almost generates its own hype. Unfortunately, for systems like the Vita and 3DS, this sort of marketing may never be attainable.

— Chris Saccaro

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