Godspell: A Review

Godspell: A Review

Introduction:

I had never heard of the show Godspell until it was announced as the musical my senior year. So I figured, what better way to promote my final high school musical than by reviewing the original cast recording. Written by John-Michael Tebelak and composed by Stephen Schwartz, Godspell follows the adventures of Jesus Christ and his band of misfits as they form the most enduring community in world history in the form of playing games, telling stories, and singing songs, leading up to the crucifixion of Jesus. Since there are many versions of the show, I decided I’d review the original cast album, which excludes “Tower of Babble” and “Beautiful City” (written for the film).

1. Prepare Ye the Way of the Lord

Starting with some obnoxious horns, the opener launches with some stellar vocals from David Haskell, the originator of the roles of Judas and John The Baptist. After his a capella solo, the 70s disco/gospel music kicks in and we have a full cast that gets the listener moving to the grooving disco-esqe number.

Track Rating: 9/10

Grade: A+

2. Save the People

The second number features pianos and acoustic guitars, arranged in a style similar to Billy Joel. Stephen Nathan, the original Jesus, jumps into a beautiful number calling for God to “save the people” of Earth. It’s beautiful song vocally and instrumentally that is an infectious and catchy tune.

Track Rating: 10/10

Grade: A+

3. Day By Day

The most popular number from the show, “Day by Day” is a slow burn. While asking for God’s aid in taking life one day at a time is a pretty topic, the song takes a bit to pick up. Once it does, it’s a pretty fun tune.

Track Rating: 7/10

Grade: B

4. Learn Your Lessons Well

An overly exuberant number about memorizing scripture and what you’re taught in Sunday school, it’s a fun tune that slides right into the show.

Track Rating: 7/10

Grade: B

5. Bless the Lord

The soft rock song is pretty solid. It moves pretty well and grooves along nicely. It speeds up and creates a real sense of fun in the show. As a stand-alone song, it’s not great, but it’s solid. Joanne Jonas’s vocals are solid.

Track Rating: 8/10

Grade: B+

6. All for the Best

This vaudeville-style duo between Stephen Nathan and David Haskell is the best song of the show. With its comical sense of timing and wonderful arrangements, the sixth number is truly a delight.

Track Rating: 10/10
Grade: A+

7. All Good Gifts

This acoustic, Gospel-inspired number is beautiful. Lamar Alford shines vocally. His prowess is truly unmatched. The song about being thankful for the gifts of God is really wonderful.

Track Rating: 9/10

Grade: A

8. Light of the World

This disco pop number is the definition of infectious. It’s just a delightful blast that does a perfect job of closing the first act, utilizing dance breaks and unparalleled energy.

Track Rating: 9/10

Grade: A+

9. Turn Back, O Man

This sleezy showtune is fun gives a real 20s showgirl vibe, which is what they’re going for in the show. Sonia Manzano is incredible and her performance is wonderful. It’s song that is so catchy that you’ll be singing it forever.

Track Rating: 10/10

Grade: A+

10. Alas for You

This rage-filled 70s rock number is directed as a warning to hypocrites and truly exhibits the performance of Stephen Nathan and his range. It’s a wonderful tune.

Track Rating: 8/10

Grade: A

11. By My Side

This slower, more personal number lands better than “Day by Day”, but it’s still rather dull. Overall, the performances are haunting, but the lyricism falls short.

Track Rating: 8/10

Grade: A-

12. We Beseech Thee

Jeffery Mylett and company deliver a final fun and lighthearted number for the show as the company pretends to be instruments and just jam in the Gospel-Rock blend. It explifies the fun of the show.

Track Rating: 8/10

Grade: A+

13. On the Willows

The song performed traditionally by The Band, in other version Judas, is a tragically beautiful number carried by acoustic guitars as Judas prepares his betrayal of Jesus. While David Haskell doesn’t perform the song in the show, Steve Reinhardt leads The Band in a final tune before we reach the end of our show.

Track Rating: 8/10

Grade: A-

14. Finale

Stephen Nathan’s acting is once again displayed as he and the company really bring the show home and fill the audience will several different emotions at once: despair at the death of Jesus, anger at the circumstances, fear of the unknown, and hope and joy for the future. It evokes such incredible feelings and closes the show in an incredible way.

Track Rating: 9/10

Grade: A+

15. Day by Day (Reprise)

While our show does not perform this number, it closes out the cast album. I’m not sure contextually why the song is placed last other than to symbolize Jesus’s resurrection and epilogue the show as they’re continuing the community, but overall, it’s not a good song in the slightest. While faster paced than the original, it’s a sad reprise that doesn’t need to in the show. I can see why they replaced it with “Beautiful City,” a much superior song.

Track Rating: 1/10

Grade: F

 

Conclusion:

The album is fun and the songs are really great. It’s a show that must be experienced in person, with a cast that works for you, and you have the chance to do so Friday, November 17th – Sunday, November 19th at the East Grand Forks Senior High School Performing Arts Center. Tickets are $6 for adults and $4 for students. Showtimes are at 7:00pm Friday – Saturday and 2:00pm on Sunday.

Album Rating: 8/10

Grade: B+

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Reputation: A Review

Reputation: A Review

Introduction:

Arguably the biggest pop star of the century, Taylor Swift’s highly-anticipated sixth studio album has finally dropped. Coming off of massive success, both critically and financially, with 2014’s 1989, all eyes are on Taylor as she looks to top her previous successes. Having been criticized for her seamless transition from country (Taylor Swift, Fearless) to pop (Speak Now, Red), she’s also been praised for it; she is one of the only artists to successfully do it. Her new album, Reputation, is set to focus on just that and deal with media persecution and celebrity feuds. Are we ready for it?

1. …Ready For It?

The opening song of the track is much more aggressive than 1989. The song is really well produced and Taylor’s vocals are really well mixed. The lyricism is solid as ever. The song about what it’s like to love Taylor, it’s presumedly written about her current boyfriend, .

Track Rating: 8/10

Grade: A

2. End Game (ft. Ed Sheeran and Future)

The second song directly references the name and theme of the album and Taylor’s reputation. It’s a similar theme to the last song, but with a better package. Future isn’t my favorite rapper but he does a really solid job on this track. Ed Sheeran is very welcome addition and he absolutely kills it. The two are references to rumored lovers of T-Swift, despite those rumors being dispelled. This song is very well produced and written. The performances from the features actually outshine Taylor. It’s a really good song.

Track Rating: 9/10

Grade: A

3. I Did Something Bad

Taylor is very aggressive and in-your-face, while also emulating a playful and ominous tone, dropping her first expletive in a Taylor Swift song. The lyricism is actually really good this track, with the production. Taylor’s performance is really interesting and fun to listen to. The bridge is haunting and might be the highlight of the standout lyricism of the song. 

Track Rating: 9/10

Grade: A+

4. Don’t Blame Me

The R&B and Gospel-style song is actually really well done. Her songwriting is impeccable, once again talking about losing a lover. It’s a really cool song that sounds great and features a really nice performance from Taylor. This could be my favorite from this album.

Track Rating: 9/10

Grade: A+

5. Delicate

Opening with really crisp and nice vocals, this is a little more in-line with the Taylor we knew from 1989. The song about new love is really clean sounding, which is really nice to hear on a primarily aggressive album so far. However, this isn’t really any substance to the pretty, gentle sounds.

Track Rating: 7/10

Grade: A

6. Look What You Made Me Do

The striking lead single is very straight forward in its intentions. Its impressive production and standout performance make for a scary number. It’s really intense and pushes the aggressive nature of the new album to the highest heights. It’s not bad, but she’s made better songs

Track Rating: 7/10

Grade: B

7. So It Goes…

Things are slightly lighter at the outset, but it’s still not letting up fully. Things get more anthemetic. It again sounds more akin to 1989 then the rest of the album. In fact, the vocals are at their best this song. The production is pretty good. The lyricism is spotty, but it’s not bad. It’s one of the highlight tracks of the album overall.

Track Rating: 9/10

Grade: A

8. Gorgeous

A love song that again sounds more like the Taylor we are used to. It’s a much lighter song than some of the others off of Reputation. It’s a playful song about loving someone so much that you hate them. The lyricism is excellent, with outstanding production and stellar vocals. This might be my favorite off the album.

Track Rating: 9/10

Grade: A+

9. Getaway Car

The vocals are solid from the outset. The production isn’t the highlight of the album, but it’s subtle and good. The lyricism is the focus of the song and it’s great, serving as a happy encore  to what we just heard. It’s another good Taylor tune. While the song itself isn’t happy, it’s a very nice treat, with “Gorgeous”, that are reminiscint of 1989 Taylor. The performance is great and her lyricism is wonderful.
Track Rating: 8/10

Grade: A

10. King of My Heart

The production is good and the lyricism is solid. Her vocals are solid. This marks the third song that feels like it belongs more on 1989 than Reputation. It’s not a Taylor classic nor a bad song. It’s fine.

Track Rating: 7/10

Grade: B

11. Dancing With Our Hands Tied

The groove is new and original for Taylor. It’s actually really good. The production is more in keeping with a Calvin Harris song than a Taylor song. Her vocals and lyricism are great. It’s a close second to “Gorgeous”.

Track Rating: 9/10

Grade: A

12. Dress

It’s a weird shift tonelly to go from dark songs to brighter songs that feel like they belong on a different album. This is a very adult song for even Taylor. While the production suggests a brighter song, it’s still mature. However, it just doesn’t fit fully with the style of the album.

Track Rating: 7/10

Grade: B

13. This Is Why We Cant’t Have Nice Things

The Katy Perry clapper is a genius song. It features her best performance of the album and some of the best lyricism. The production is great. It’s a banger with attitude. This fits with the style and tone she was going for with the first single.

Track Rating: 9/10

Grade: A+

14. Call It What You Want

This one falls flat for me. While it works like an aftermath of anger following the last song, it falls flat lyric-wise, production-wise, and performance-wise.

Track Rating: 6/10

Grade: C+

15. New Year’s Day

With light pianos and gentle feel of a party that’s ended. It’s a beautiful ending for this album. It feels like it belongs on Red or Fearless. It is gorgeous vocally and lyrically, with production that brings it all home for the last song.

Track Rating: 10/10

Grade: A+

Conclusion:

I think Taylor had a good idea of what she wanted the album to be initially, but she loses the emotion warranted for the kind of project she wanted to make. The first half of the album is mediocre and is filled with the fire needed to make an angry pop album. It’s aggressive and in-your-face music, which isn’t for everyone. The second half is a traditional Taylor Swift album, like 1989. It has a hard time deciding what it wants to be. There are some good songs in there, but there’s more mediocre music. Overall, this might be Taylor Swift’s worst album.

Album Rating: 7/10

Grade: B-

Places: A Review

Places: A Review

Introduction

First introduced to the world on the Broadway stage, Lea Michele became musical theatre royalty with her breakthrough turn in Spring Awakening in . She was introduced to wider audiences, myself included, for her performance as Rachel Berry in the hit TV drama Glee, in which she starred from its premier in 2009 until it ended in 2015. She also starred in the short lived Scream Queens TV show. While a successful actress in her own right, her voice has always been her biggest asset. Her debut album, Louder, was released in 2014. Now her sophomore effort, Places, is out and it’s time to hear her fantastic voice once more.

1. Love is Alive

Starting the album off with a piano driven ballad is a risky move for most pop albums, but for Lea Michele this is a natural love. Her vocals are the highlight of the record as she belts out a melancholy song about still loving after loss. The pianos and strings together create a beautiful song that tugs the heart strings. The drums coming in at the end is a huge assist for the build that is a nice touch. It’s a wonderful start for an album that’s sure to feature more vocals like this.

Track Rating: 10/10

Grade: A+

2. Heavy Love

An immediate tone change comes with a more pop-y song that uses the strings and drums to create a song about wanting more love from a partner. While still written in a minor key, it’s more jovial than the previous inspiration. This sounds more traditionally pop but still differentiates itself enough from the rest of the pop songs to separate itself from the rest. It’s a solid track that features really solid vocals from Michele.

Track Rating: 8/10

Grade: A-

3. Proud

Once again utilizing pianos for another ballad, Michele sounds more hopeful in her voice and the song’s message reflects that. Her vocals are put front and center in this piece. Using strings and drums again, the build comes purely from them. It has a sort of Madonna-esqe 80s sound. It’s a really nice track for an album that’s very centered on her vocals.

Track Rating: 8/10

Grade: A

4. Believer

Immediately different from the start, a more themeatic piece emerges with synths and a chorus backing her inspirational vocals. This song blatantly separates itself by being noticeably more hopeful and inspirational, not just in lyrics or vocals, but in production. With vocals like Celeine Dion, Michele tames a track that is more pop and a more fun and hopeful song that the melancholy ones of previous. It’s her “Fight Song”.

Track Rating: 9/10

Grade: A

5. Run to You

And now we return to the minor key pianos and morose, gray tones. The backing track may be gray, but her vocals are blue and her subject matter are a gentle purple. Telling a lover about her confidence and trust in them. Her vocals really shines through and are core-shaking. The piano and strings-based instrumental backing her reflects this really sweet love song. This song is the first of the album to feature some guitars; the electric guitars give it a rock feel and add some serious emotion to the song.

Track Rating: 9/10

Grade: A+

6. Heavenly

This R&B song is a really beautiful song about falling in love. The vocals are great and the acoustic guitars help the song along very nicely. It’s a pretty song that is amazing. Her vocals are wonderful and the lyricism is heavenly, pun intended.

Track Rating: 9/10

Grade: A

7. Anything’s Possible

The vocals and pianos together are just the beginning to what is already a very different song. A more fast-paced hopeful song about starting over is what they produce. This energetic ballad about the future is pure bliss. It truly inspires and makes the soul soar. This a Lea Michele that is more similar to “Don’t Rain on My Parade” Rachel Berry. It’s inspirational and uplifting.

Track Rating: 10/10

Grade: A+

8. Getaway Car

The song starts with her trademark piano ballad start. Painting a picture of youthful friendship and is, while nostalgic, is melancholy as well. It’s a story song that is really pretty and nice. It’s pretty barebones production-wise, but that’s the best type to highlight Michele’s powerhouse vocals.

Track Rating: 8/10

Grade: A-

9. Sentimental Memories

A more openly sentimental song, opening with nicely produced pianos, Michele’s vocals create a neat love song that sounds more pop than the previous songs. It’s not quite “Believer” level peppy, however, as it’s quite morose and melancholy in every way. The drum builds and chorus are more pop, but it’s a beautiful song about loss and heartache.

Track Rating: 9/10

Grade: A

10. Tornado

Opening with only vocals, the piano and strings follow closely behind her as she moves faster than she has in previous pieces. Her vocals are incredibly strong on this song and tops “Believer” as her anthem song. It’s truly her “Fight Song”. It’s an uplifting anthem about perseverance and persistence that transcends the album it’s on. It’s got the best vocals of the album on this record.

Track Rating: 10/10

Grade: A+

11. Hey You

The finale of her album serves more as an epilogue to the emotional climax of “Tornado”. Written in a major key for once, it’s a beautiful song about reconnection that feels a lot happier and joyful than the darker, emotional journey we travel on with Lea Michele throughout the album. The pianos and acoustic guitars pair together for this song about moving on from a relationship that was special. It’s a really pretty song that evokes tears and sad emotions with Lea’s wonderful performance. It might just be my favorite song of the album.

Track Rating: 10/10

Grade: A+

Conclusion:

Lea’s vocals are some of the best of all time. Her pop vocals are intense and stir the heart strings in a ways most pop stars cannot. Unlike most pop albums, Places tells a story in a very different way. It follows an emotional experience of going through a break up and loss and emerging again with strength and hope from a dark place. The stages of grief are evident in the project that really is unprecedented in modern pop music. If she doesn’t not receive a Grammy nomination (and win) for Best Pop Vocal Album, I will be sorely disappointed. It’s a wonderful piece of music and treasured gem in a year of competitive pop music.

Album Rating: 9/10

Grade: A

Evolve: A Review

Evolve: A Review

Introduction:

Imagine Dragons exploded on the scene with their masterpiece debut Night Visions in 2013, which earned them many nominations, including Record of the Year for “Radioactive”. Their 2015 return with Smoke + Mirrors went a little more under the radar than anticipated, but featured some gems. The Vegas-rock group returns now with their latest offering Evolve.

1. I Don’t Know Why

The synth pop sound evokes a response similar to 80s glam rock. Launching with a vocally incredible first song that has some very sleek production. The vocals and production are powerful, with some bold lyricism from the Vegas band. It’s a very strong start for an album that has a legacy to uphold for the rock band.

Track Rating: 9/10

Grade: A+

2. Whatever It Takes

Speaking fast, they come back hip-hop infused song that is very melodic and continues the album’s pattern of slick production and strong vocals. The performance is incredible. Imagine Dragons delivers yet another wonderful record for the album.

Track Rating: 10/10

Grade: A+

3. Believer

The most popular single from the album, “Beliver” is strong vocally and in production and performance. Lyrically, it’s the best of the record potentially; it’s an arena anthem that is the highlight of the album.

Track Rating: 9/10

Grade: A+

4. Walking the Wire

The brighter pop sound to the song is really fitting after the intense performance of “Believer”. It’s relieving and gives a love song that has some wonderful guitar work and lyricism. The vocals are absolutely stellar. This might be my favorite song on the album. It’s an anthem that is unparalleled this year in the rock field.

Track Rating: 10/10

Grade: A+

5. Rise Up

Coming out with horns and guitars, this one sounds like it was a song forgotten to be put on the Night Visions album. It’s incredible vocally and has some incredible production. This is another arena rocker that is sure to get audiences head-bobbing. It’s a colorful song that fits the colorful theme of the album.

Track Rating: 9/10

Grade: A+

6. I’ll Make It Up To You

An album that’s been just incredible so far, this next record continues it by giving a softer, gentler song that doesn’t let up on the talent. It kind of similar production-wise to “Everything You Are” by Ed Sheeran and that’s a good thing. It’s another hit for a stellar album. It’s apology song that just succeeds on all cylinders.

Track Rating: 9/10

Grade: A+

7. Yesterday

Taking cues from Gospel music, they deliver another bright and poppy hit that fits right in with this stellar project. This happy toast to the past and the future is masterfully produced and expertly performed. While this is the worst song of the album, that isn’t saying it’s bad; on an album of incredible records, this one earns its spot, it’s just not my favorite of the record purely for some decisions made in its arrangement.

Track Rating: 8/10

Grade: A

8. Mouth of the River

Feeling rather tribal, this track is very deserving of its spot and absolutely fits in. The lyricism is brilliant on this track, with, once again, expert producing and masterful performance, it’s another gem on an album that’s guarenteed a Grammy nomination.

Track Rating: 9/10

Grade: A+

9. Thunder

A pop studded track, it’s another wonderful single about making a comeback, directly or indirectly stating that they know Smoke + Mirrors wasn’t as good as Night Visions, but they’re making up for it with this record. And boy do they ever. The production is wonderful and the vocals fit great. It’s another great track.

Track Rating: 9/10

Grade: A+

10. Start Over

Another bright, poppy masterwork, “Start Over” is the “It’s Time” of Evolve. It’s has some tropical dance infused into its production that works incredibly well. It’s another wonderful single. Serving as a great climax for the album, “Start Over” is the perfect song to send us to the end with.

Track Rating: 9/10

Grade: A+

11. Dancing in the Dark

The finale of the album is a truly perfect fit that wraps up another fantastic album. With some wonderful dance infusion, the vocals are stylized very nicely to fit the production. Ending with a slower piece, it’s a nice, fitting end for what might just be the album of the year.

Track Rating: 8/10

Grade: A

Conclusion:

Imagine Dragons have returned and they have created a true masterpiece album. It’s a perfect blending of genres from rock to pop to dance to gospel. It’s a neat perfect album. The production is all around very impressive and the vocal performances are breathtaking.

Album Rating: 10/10

Grade: A+

Doctor Who: Alternative Series Pitch

Doctor Who: Alternative Series Pitch

This pitch was posted on kkoho87.wix.com/kalebkohowrites on December 5, 2015, before the release of series 9 & 10 and the announcement of the Jodie Whitaker as the Thirteenth Doctor. Whenever you read “12” or “Capaldi”, replace it with “13” or “Whitaker”.

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I got the idea for this pitch from the news that Peter Capaldi (the current Twelfth Doctor) wanted to do other projects on the side, which would result in shorter seasons. I decided to keep the standard twelve episode season. I’d also like to note that I haven’t seen a single episode of season nine at this time. I do not get BBC America on cable. Moving on…

Introduction

This season would open with the Twelfth Doctor in his TARDIS. He is basically distraught over losing Clara a few episodes ago in Season Nine or is basically doing something in his Tardis. He flashes back to his time in another incarnation. This would allow Capaldi to appear in the beginning of the series and end of the series or begin and end each episode, while being able to work on his projects. What incarnation would be spending time with, you ask? Well, I’m telling you that it’s a Doctor we haven’t seen a lot of. We’ve seen his beginning and ending, but what about in between? Of course I’m talking about that one hit wonder from the 90’s, the Eighth Doctor, played by Paul McGann. From here on out, I will be pitching each episode with a possible title and synopsis for each episode.

Episode #10.1 – The Eighth Day

This episode would begin with our flashback. The episode would lead into 8 and his companion, Grace (as we last saw them at the end of 1996’s Doctor Who movie). The episode would feature the Eighth Doctor take Grace back to the never before seen eighth day of Earth’s creation. There, they find aliens being created, one of which is the Silence. The 8th Doctor forgets ever meeting them at the end because of a Silence erasing the adventure from his mind. Twelve closes the episode by filling any loopholes with his smooth Scottish psychobabble. They leave the day as the winners however, defeating a plot by the silence to kill Adam & Eve to end Humans before they grew.

Episode #10.2 – Enter Grace

The Eighth Doctor & Grace battle Cybermen, who plan to delete an entire planet to expand their power. Grace is the hero in this episode and we get better development with her character. She shows grace on the Cybermen, allowing them to leave with their lives when The Doctor stops them.

Episode #10.3 – Exterminate

The Doctor & Grace encounter a group of rouge Daleks who plan to destroy a Time Lord embassy on the planet of the Sontarans. The Doctor & Grace foil the war criminals. The Doctor first catches wind of the 1st Great Time War, prompting him to return to Gallifrey.

Episode #10.4 – The Drums of War

The Doctor & Grace are summoned to Gallifrey by the War Council of Gallifrey. The council informs the Doctor of their dire need of his help. The Doctor refuses to get involved, even when being urged by a regenerated Master. Part One of a three part story.

Episode #10.5 – Treachery of the Time Lords

The Eighth Doctor & Grace are planning on leaving Gallifrey to continue exploration. Eight’s TARDIS is damaged by the Daleks as the fight is brought to Gallifrey. The War Council continues to hound the Doctor to join them in their war with the Daleks, begging him to save Gallifrey. He refuses. The head Time Lord, played by Timothy Dalton, hires an assassin to kill Grace and make it look like a Dalek killed her. Grace is killed. The Eighth Doctor is enraged and agrees to fight the Daleks, believing them to be the killers. He is assigned to the Master’s unit. End of Part Two or Three.

Episode #10.6 – Run

The Eighth Doctor fights ferociously and even brings the war to a tipping point. The Master, who is drunk while celebrating their inevitable victory, reveals it was the Time Lord War Council’s fault. Eight already knows what he is doing is wrong. With this new information, he decides to run. He sneaks into the TARDIS shed and steals his repaired TARDIS & flees Gallifrey, being branded a war criminal. Part 3 of 3.

Episode #10.7 – The Battle of New York

The Doctor is hiding out in New York City in the year 5000 A.D, when a group of Time Lords sent to arrest him attack. The Doctor defeats them and escapes. He continues on in a life of depressed solitude, blaming himself for Grace’s death. He begins suffering from PTSD.

Episode #10.8 – No More War

The Eighth Doctor finds himself battling The Master’s unit, who is sent to capture him for his war crimes, when they all discover the 1st Time War is over, but a second has broke out. The Master is called back to Gallifrey. The Doctor refuses involvement.

Episode #10.9 – The Skaro Advancement

The Eighth Doctor is kidnapped by the Master and his Time Lords & forced to travel to Skaro to lead a covert ops group of Time Lords in their attempts to end the Second Great Time War. The Doctor helps blow up the capital and kills several Daleks, however he refuses to aid the Time Lords and further. The Second Great Time War is won by the Time Lords, but a third and final war breaks out in revenge only months later.

Episode #10.10 – 2000 A.D.

The Doctor finds himself on Earth when Y2K, which wasn’t supposed to happen, breaks out due to a temporal anomaly. The Doctor is able to source the problem to Sontarans and moves on. The events of Y2K are erased, with the destruction date being set back thousand and thousands of years into the future.

Episode #10.11 – The Dalek Offensive

Part 1 of 2: The Doctor is forced into a confrontation between the Time Lords and Daleks & is taken war prisoner by the Daleks. He believes he is to die soon, not wanting to live any longer. The Daleks put him on death row. The Daleks take him to the execution chamber & he is set to die, but the Doctor isn’t done yet.

Episode #10.12 – The Night of the Doctor

The Doctor is saved from death row by the Master. The Master (who has gone rogue) has a plan to end the Time Wars forever, but he needs the Doctor’s help in doing so. The Master & The Doctor sneak back to Gallifrey & steal a weapon called The Moment. The Master & Doctor escape to a safe place to use the device. The Doctor asks what the point of this device is, to which the Master replies by telling him it’s a weapon to blow up Gallifrey & kill everyone, that there’s no other way to end it, and that he wants the drumming to stop. The Doctor defeats the Master and turns him over to the Time Lords, resulting in a full pardon for the Doctor and The Master was to be punished. The Doctor is reinvigorated with new life and purpose, but because of the Time Lords reputation in the Time Wars, he can’t save anyone because they don’t trust him. This is the case with Claire, who dies rather than let the Doctor save her. The Doctor dies in the crash with her, but, as the Night of The Doctor showed, he chose his regeneration into the War Doctor (played by John Hurt). Leading us back full circle, we catch up with 12 who is on his TARDIS concluding his flashback & telling us the untold story of the 8th Doctor.

The Force Awakens: An Alternative Scene Sketch

The Force Awakens: An Alternative Scene Sketch

This sketch was originally posted on kkoho87.wix.com/kalebkohowrites on December 22, 2015.

In my version of the film, we didn’t know Kylo Ren was Han Solo’s son. It was revealed when Kylo Ren, or Ben Solo, murders his father Han Solo. Rey and Finn, who were captured by Captain Phasma, are saved by Chewbacca, who viewed Han’s murder with the others. They run away from the base, Finn has his lightsaber and Chewy his bowcaster. As they get close to the Millenium Falcon, Kylo Ren walks off the Falcon, crossbar lightsaber in hand. He turns it on and screams, “Rey! We have unfinished business to attend to!” Finn activates his lightsaber and yells, “Over my dead body!”

 Ren replies, “That’s the idea, F-N2187”

“That’s not my name!” yells Finn

Finn charges at Ren swinging willy nilly. Ren smacks blades and shoves Finn. It’s clear that Kylo Ren is playing a sick game with Finn and toying with him. Finn gets struck up the back by Ren after a while of toying with him. Finn is severley injured and unconscience. Chewy shoots Ren in the side, grazing him. Just a flesh wound. Ren goes to kill Chewbacca, but Rey picks up Finn’s saber and and swings at Ren, but misses him entirely. She blocks Ren’s swing. She is able to defend herself but isn’t very skilled with the lightsaber. She leads Ren away from the Falcon giving Chewy (carrying Finn) time to escape on the Falcon. Meanwhile, Poe Dameron and his men cannot penetrate the starkiller’s port. The shields are damaged but not fully down and they are being destroyed by the First Order’s fleet. Poe and Wedge Antilles are the only ones left. They are being persued by seven TFO fighters. All hope is lost. Rey and Kylo fight on the edge of the charging Starkiller. We see the beam begin to glow red and that glow illuminates their fight. Rey loses her lightsaber and Ren points his blade are her throat and says, “You’re nothing. You’re an insignificant speck from an insginificant planet. You get lucky that’s all. Now you’re luck has run out.” He raises his blade but suddently stops. He turns to the sky. An old, faded X-Wing flys through the pack and destroys five of the fighters. Poe shouts to the other plane to attack and they wipe out the other two fighters.

The X-Winger shoots the final piece thatis keeping the shields up and destroys it. It’s an impossible shot. Poe shoots and fires in to the port. The Starkiller is going to be destroyed. Kylo Ren is immeditaly taken with fear. “Skywalker,” he says. Ren flees to his ship. Rey watches as Poe and the mysterious pilot fly away. Rey is then picked up by Chewbacca. When Rey returns Poe tells General Leia Organa-Solo about the mysterious pilot. “Luke,” she says. At this, R2 turns on with the map leading to Luke. Luke walks in from the shadows and says, “Don’t worry R2.. I’m back. I sensed I was needed more than I ever had been. I only wish I had been fast enough to save Han.” Everyone is so happy that he is back and to MEET THE WAR HERO & LAST JEDI. Luke Skywalker meets Rey and tells her that the Force is strong in her. That the Force has awakened and it is what called him back. Meanwhile, on a star detroyer, Kylo Ren reports Skywalker’s return to Snoke who tells him he is a failure. He will have to face his uncle and when that time comes, Snoke will have made him ready.

TO BE CONTINUED IN THE LAST JEDI.

Dark Universe: A Post-Credit Scene Sketch for The Mummy

Dark Universe: A Post-Credit Scene Sketch for The Mummy

With the announcement of the Universal Monsters franchise being officially branded Dark Universe, I decided now was the appropriate time to publish a short scene sketch I wrote to serve as a post-credit screen for Universal’s The Mummy. I have not seen the film yet and this is all just for fun. I hope you enjoy!

(The credits finish rolling. The scene begins with Tom Cruise entering the room of Russell Crowe’s Henry Jekyll. Cruise says nothing, but Jekyll can sense he has come to announce his success in defeating The Mummy.)

Jekyll: (Slightly Menacingly) You think your world is safe. The Mummy was just the beginning. You are unaware to the fact that you live in an age of gods and monsters.

(Jekyll’s voice carries on in voice over.)

Jekyll: Monsters that range from the tragic…

(Camera pans up on the back of a chair in an outdoor cafe in Paris, the Eiffel Tower being visible in the distance. We see the top of a hat peeking out of the top of a chair. We watch has a gloved hand reaches and picks up a cup of tea, revealing the gloved hand is NOT CONNECTED TO ANYTHING! The hand raises up and THE INVISIBLE MAN turns his head and takes a sip as we see the liquid disappear into thin air.)

Jekyll: …To the most terrible…

(We cut to a man in an overcoat walking down the streets of New York. He follows a woman down an alley way, but the camera does not. We hear a small scream. The man emerges wiping blood away from his mouth. We cut back to see the woman’s bitten neck as two young men discover her body. DRACULA!!)

Jekyll: …To the stuff of pure nightmares.

(Cut to a mountain forest as a giant, hulking figure emerges. We cut to the back of his rectangular head as he looks down on a city. We cut to a side shot where we see him smirk, the moonlight glistening off of the screw protruding from his neck. FRANKENSTEIN!! We return to Jekyll’s room where he is standing, facing Tom Cruise.)

Cruise: And where do you fit into all of this, Dr. Jekyll?

(Jekyll turns away from Cruise as he looks out the window. He smirks and we punch in close up on his eye as it twinkles and his pupil enlarges, hinting at MR. HYDE. Cut to black.)

The End.

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