San Diego Comic Con is practically right around the corner now; and with it comes one of my other favorite events, Nerd HQ. The brainchild of actor Zachary Levi and his friend Dave Coleman, Nerd HQ has only gotten better each year I’ve attended. Nerd HQ, which raises funds for the worthy charity Operation Smile, provides a smorgasbord of cool experiences in a chill setting (currently The New Children’s Museum)– a nice place to get away from the madness of the con for awhile while still getting your nerd on. Nerd HQ generally offers a selection of smaller-sized “Conversations for a Cause” panels with celebrities; “Smiles for Smiles” and “Signings for Smiles,” where you can get your photo with celebrities, or get celebrity autographs; places to play video games and see some really cool new or upcoming games; other cool exhibits from sponsors, some of which may be interactive; and two rockin’ parties for nerdy fans.
I’m looking forward to this year’s Nerd HQ, and in preparation for attending, I got to chat with co-founder Dave Coleman about his involvement and what we’ll be seeing. Read on for details!
Dave, what is your background with Nerd HQ and Zac Levi?
Well, I started the company with Zac in 2010. We’ve been partners in The Nerd Machine, and I have been producing every HQ since they started. Zac and I have been very, very close friends for the last 10 years or so. We’ve had The Nerd Machine for the last 6 years, almost 7. So I’ve been a part of this since the beginning.
Are you also an actor, or do you work in television? How did you end up meeting Zac?
I was on the crew side. I used to be a prop master for television; but Zac and I actually met playing basketball back in 2004, in the neighborhood that we all lived in. It’s funny, we met a lot of our friends that way. That’s where I met Joel David Moore, who was a really good friend of Zac’s at the time, and who’s now one of my other best friends. So it’s really interesting how we all met playing basketball, and then relationships grew out of that.
Eventually, I also started working on Chuck. I had done a movie with another prop master, Scott Bauer, who was on Chuck from the pilot. And he had interviewed me to do Chuck when they thought some of the guys who had done the pilot weren’t going to come back. It didn’t work out because of scheduling, so I ended up doing a couple of other shows while they were doing the first 2 seasons of Chuck. During season 2 of Chuck, I started working on the show 2 to 3 days a week, and then for seasons 3, 4, and 5, I was the on-set prop master for Chuck the rest of the time.
Can you tell me your experience with starting Nerd HQ and how it came together?
My experience is probably much different than Zac’s experience – just because, when we first started doing this, we really had no idea how to do it. We had never produced an event of any size, really, before. I had a design background; I have a Master of Fine Arts degree in set design. So I’d done that kind of thing, but never produced a full-on event for 20,000 people. So there was a lot of trial and error in figuring things out. You know – what do we think would be cool, and let’s just do that. That’s kind of how it started.
The whole thing was really an accident. When we started it; we made some t-shirts to throw out during a Chuck panel in 2010. I had a design background, and I had printed some shirts in the past; so when we started talking about doing stuff, Zac said, “Hey, what if I wanted to just print some shirts and give them out to fans during our panel?” I was like, “Alright, I can make that happen.” So it just kind of all started happening. And we made some shirts, and we took them, and we passed them out; and some of the guys on stage started throwing them; which was a giant problem, because everybody freaked out. Like, lawyers were pissed off and like, “You can’t do that!” because people were jumping over each other to try to get the shirts, and they were worried about liability and that kind of thing. So it got really kind of hairy there; but everybody loved the shirts.
It was the classic Nerd shirt that we ended up calling the NES, with the original Nintendo font. And so people were asking, “How do I get one? How do I get one?” And we looked around and were like, there’s no real “nerd culture” brand. You can buy stuff at ThinkGeek and Hot Topic, and hell, even at Target now, or Walmart; but there was no brand. So we thought about how to start something that people could identify with. So we turned Zac’s fan website, zacharylevi.com, into thenerdmachine.com, and just started taking email addresses; like, “Hey guys, if we made this shirt, would you be interested in buying one?” And we had thousands of people sign up. So we’re like, “Great! Here we go!” and a company got started. And my wife, Courtney, was shipping t-shirts out of Zac’s garage when we first started; and it was crazy. It was a real home-grown family business.
So after that we started trying to figure out a way to have a party; like in 2010 when we gave out the t-shirts, Zac had a party at a bar in the Gaslamp on Friday or Saturday night of the con. And people came, and we gave out the rest of the shirts that were there, and he was like, “Hey man – what if we just did another party to promote the brand?” But we couldn’t really work out a convention space, because, you know, they had been full for years and it takes a long time to get into the convention. So we said, “Hey, we’ll just do something outside.” We’ll find a little place to have a party, and go from there.” And then it turned into, “Well, if we have a party someplace, we’re still going to have to rent it for a few extra days to get it ready. What if we brought in some games or whatever. Maybe we can get some of our friends to come and do some panels. Maybe we could sell some tickets, and give the money to charity. Let’s see what we can do.” That’s how it all started!
What’s your experience been with the chosen charity, Operation Smile?
Fantastic. They’re one of the greatest organizations that I’ve ever been a part of. We are blessed to be able to help them out each year, and to do everything we can to raise money. We’ve been able to do some really great stuff with them in the last five to six years, that has really affected all of our lives in a positive way. You know, we all worry about jobs, and money, and that kind of stuff; but at the end of the day you go, “Man, no matter what we do, when we’re all done with our lives, we’re gonna go, ‘We did something to really help a lot of kids and a lot of people.’”
So of course people will want to know what’s coming to Nerd HQ this year. What can you tell us?
It will be at The New Children’s Museum again, and here’s a quick breakdown: AMD is coming back as one of our headline sponsors, and they are bringing in Battlefield 1 with EA and DICE; so we’re going to have a 64-station multiplayer of Battlefield 1 on PC – which is all Alienware, super-cool tech, and a really fun game experience. We played it during E3, and it’s unbelievable. Xbox is bringing their whole lineup of games that they’re going to have during the con to HQ. So we’ll probably have between 150 to 200 gaming units on site, where you’ll be able to set times, and that will be with Gears of War 4, Titanfall 2, and a bunch of other really great titles, all through Xbox, which we’re really excited about.
Johnson & Johnson is a partner of ours this year, and we’re integrating the “Donate a Photo” app that they do, in support of Operation Smile, into our app and into our photo booth. So if you take a picture at our photo booth, that photo gets sent to our Nerd HQ account to Donate a Photo. We can upload that, and for every upload, Johnson & Johnson donates a dollar to Operation Smile. What we are hoping is that we can raise another 10 to 15 thousand dollars just from photos at the photo booths. Hallmark is going to be on site with some awesome specials and exclusives for HQ which we’re really excited about. Kellogg’s is doing an indie gaming area with the Square Enix Collective, with a bunch of cool indie games that most people have never seen before, that people will get to play.
We’re going to have a brand-new app that’s been completely renovated and redesigned for this year, with enhanced RFID capabilities; really cool photo filters inside; and connections to all your social media; so that’s very exciting. We’re pulling out all the stops. We’ve added extra air conditioning to the panel rooms, and we’re doing tiered seating in the panel rooms, so it will feel more like the seating at Petco Park. We’re adding a 360-degree camera to the panels, so you’ll be able to watch the panels at home on your VR system. You’ll be able to feel like you’re in the audience, which is what I think people want. And again, we’re lining up some amazing panels – new stuff, returning stuff; things people love, and some new stuff they wouldn’t expect. I don’t have the full panel list yet, but we’ll probably be releasing some of the panel schedule this week, and then we’ll have the full list out by next week.
We’ll be adding brand-new merch that we’ll be selling exclusively at Nerd HQ. We’re going to have this bad-ass 1960’s Nerd HQ-branded van driving around the city to promote HQ and for photo ops – it looks kind of like a big red version of the Mystery Machine. It’s going to be awesome. We’re doing more signings this year than before; and will hopefully bring in some really big names for the signings. And of course we’ll be doing Smiles for Smiles, which is one of our biggest ways to engage the fans with celebrities. We definitely want people to help us in our philanthropy by being a part of it themselves; so we will encourage everyone who comes or watches from home to download the Donate a Photo app from Johnson & Johnson. Because every day of the year, you can post a photo, and each one is a dollar for Operation Smile. Every person, by doing something that they already do by posting a picture, can change one kid’s life in 245 days. We’ll also have the fan parties on Thursday and Saturday, which will be super fun. We’re excited about those. We have a great time those nights.
So what are you most excited about for Nerd HQ 2016?
I think I’m most excited about the greater amount of offerings we’re going to be able to give this year. And I think we’re going to be able to raise a lot more money for charity, and to create a much more pleasurable fan experience through the upgrades to the panel rooms and the rest of the building, which I think are going to make a huge difference. Just being able to offer cool stuff that we haven’t been able to offer before is great.
And it’s HQ, it’s fun! We want people to feel like there’s a place where they belong, a place where they can feel comfortable, and like everyone there is their friend; and that it’s just a good time, and a good place to hang out.
Thank you, Dave Coleman, for your time and for this exciting Nerd HQ information! I can’t wait!
Con season has well and truly slid into gear now; with Awesome Con kicking things off a few weeks ago and SDCCand NerdHQfast approaching. Of course, con season is really year-round these days; but for me, it starts with Awesome Con and ends with New York Comic Con.
This year’s Awesome Con was, as usual, a great start to the season for me. What I like about the con is that despite only being four years old, it’s managed to integrate various fun aspects of different flavors of cons into a fairly seamless whole – meaning that if you aren’t there for one particular facet of the offerings, there are plenty of others to experience. Here were some of the highlights for me:
The media guests:
Awesome Con has consistently done well in getting big names to a young con. This year’s lineup included everyone from screen actors Robin Lord Taylor, Morena Baccarin, Summer Glau, Karl Urban, Peter Capaldi, Jenna Coleman, Matthew Lewis, Jon Barrowman, Brett Dalton, Adam West, and Burt Ward to popular voice actors like Phil LaMarr, Grey DeLisle, Billy West, John DiMaggio, Will Friedle, and Charles Martinet; and also brought folks like professor and writer Carole Barrowman, popular scientist Bill Nye, animator/voice actor C. Martin Croker, and writer/director Kevin Smith to round out the collection.
I had a great time seeing old friends, meeting new amazing, talented folks, and interviewing the fantastic Robin Lord Taylor for ComicMix(and what a delight that man is in person. Seriously. So nice!). I also got a huge kick out of the dichotomy of the two autographs I picked up– Zoidberg (Billy West) was “sooo into” me, but Azula (Grey DeLisle) banished me. Hah! I kind of want to hang them up together.
Panels:
For the last couple of years I’ve been a panel moderator at Awesome Con (a job that can mean anything from being prepared with questions and conversation to excitedly listing off a few guest names and then sitting back and watching the show), which means those are generally the panels I get a chance to see. This year started out with Saturday’s Futurama panel, featuring voice actors Billy West, Phil LaMarr, and John DiMaggio. The room was packed, the crowd was excited, and the panelists were on fire, making the hour fly by with tons of laughter (and reinforcing my firm belief that you cannot possibly be bored at a voice actor panel). Man, I wish they’d bring Futurama back (again) (another time) (Zombie Futurama, Hi-yoooo!).
The next panel I moderated was for the Discovery Channel’s Destination America: A Haunting, a show that examines real people’s paranormal experiences. The panel featured actor and narrator Tony Call, ghost hunter John Drenner, Jr., show runner Cecile Weiland, and executive producer Cathy Garland, along with clips from the show and new season, and a cool Q&A with the audience, most of whom were True Believers. That made for a pretty cool Q&A with the panelists, who are passionate about their show and creating the best experience for viewers. I learned more than I even expected about the process of making the show, aaaand got a little creeped out while watching the clips. *shiver*
On Sunday, I got to moderate writer and English professor Carole Barrowman’s second panel. That panel was pretty much like attending an interactive workshop on writing techniques and tips, and was a great learning experience. Carole shared stories about her life and working with her brother John Barrowman as well as guidance on writing and her own creative process, and was a blast to listen to (and a super-cool, nice person, too!).
Although moderating kept me busy, one panel I didn’t want to miss was Bill Nye’s Star Talk Live! with Bill Nye, Eugene Mirman, Hari Kondabolu, Dr. Dava Newman, Dr. David Grinspoon, and Jo Firestone. It was the headliner for Awesome Con’s Science Fair, which was another great facet of the con.I got to hear most of the talk before I had to rush off, and it was epic. The panelists discussed the possibility of getting “boots on Mars” in the relatively near future; and made me want to join The Planetary Societyand also go read The Martian Chronicles again. Dava Newman, the Deputy Administrator of NASA and a Professor of Aeronautics and Astronautics and Engineering Systems at the Massachusetts Institute of Technology, and Dr. David Grinspoon, astrobiologist and Senior Scientist at the Planetary Science Institute, were particularly interesting. And the addition of comedians to the mix of scientists made it an amusing as well as exciting talk. I’m so glad I didn’t miss that one!
Artist Alley:
I always love Artist Alley; and this year, I felt Awesome Con’s had gotten more robust, with a good collection of big-name and major company creators along with newer talents and independent creators. Among other things I was finally able to meet Skottie Young, albeit briefly as he was only in town for the day (but I always seem to miss him at cons, so was glad to catch him). I also picked up his I Hate Fairyland, which is about a snarky gal with a battle axe (!) who’s trapped in Fairyland. I got to chat with Fred Van Lente, who had, among other things at his table, a stack of Assassin’s Creed issues with a little sign that said, “Ask me why this comic is weird;” and because I can never resist such things, I ended up asking and then buying an issue that has no page 1 and two page 18s! I visited with Joe Harris and Matthew Dow Smith, and picked up the X-Files Christmas Special, as recommended by Matt. I also got to say a quick hi to Franco Aureliani and Marc Hempel (although I somehow missed getting to Mark Waid and Mark Wheatley, thus utterly failing in my goal to See All The Mar(c)ks).
Another fun thing I did while in Artist Alley was walk around with my coworker, and her daughter who is getting interested in creating comics. I had so much fun taking them around and introducing her daughter to the likes of Jim Calafiore (from whom I also picked up Leaving Megalopolis, his project with Gail Simone, which I’ve been wanting to read), Mike McKone, Daniel Govar, and Andrew Aydin so that she could ask them about how they got into comics and what tips they might have for an aspiring creator. It was great to watch these professionals take the time to encourage her and give her advice.
While in Artist Alley I also began a “project” I meant to start ages ago, when I bought a little Canson spiral sketchbook; which is to collect sketches from favorite artists. I started the collection with Tony Moy(from whom I also finally acquired this Vitruvian Totoroon a wood block, which I’ve been coveting for several conventions) and Daniel Govar. Such great pieces to start off my book!
Shopping & the Exhibit Floor:
The exhibition floor, with its booths and shopping, was crowded but great fun. In terms of merchandise it offered everything from comics and big-ticket collectibles to toys and handmade crafts. I, of course, can never resist a bit of shopping no matter how I try (really, I tried!!) which is how I ended going home witha stuffed and mounted narwhal head for my bathroom (what? It’s perfectly normal to have fictional creature heads mounted in your bathroom!); a tiny happy pancakes magnet(it’s so happyyyyy! And the magnet is strong); a cuddly crocheted Companion Cube (so squishable!!); and a little green keychain Kirby (for luck! Green Kirbys are lucky, right? I feel that they must be).
While wandering the floor, I also happened upon just a couple of the many fun display or educational exhibits set up. One was the Department of Energy’s booth (which apparently Awesome Con provides for free because it’s a government agency – good for Awesome Con!) at which a gal from Aftershock Comix was demonstrating DOE’s super-cool interactive energy display; and the Geppi Museum’s immensely fun traveling museum, which was literally awesome; as in, I was awestruck by some of the great pieces they had on view in this very well-set up, professional and attractive display – all the more impressive because it was the very first time they’ve displayed this traveling exhibit, despite having had the idea to do it for some time. If you’ve been to Geppi’s Entertainment Museum in Baltimore, you will know that Steve Geppi’s collection of comics and pop-culture memorabilia is overwhelming and awe-inspiring, and that it’s a lot of fun to wander through the myriad rooms in the building, reminiscing about things you recognize, and coveting pieces you might never think you’d see in person. And even though obviously they couldn’t bring the whole collection to Awesome Con, the pieces in the mini-museum had been carefully selected to represent a broad variety of really, really cool stuff – from extremely early Mickey Mouse art to rare Spider-Man comics, and more. The mini-museum also featured several video screen displays, one of which showed parts of the full museum and another of which was interactive and allowed you to read some of the comics on display. The display also featured a very old working television playing early films, and other nifty pieces. The plan is for the traveling museum to go to cons all over the country; and if it’s at one you’re going to, I highly recommend you check it out.
And that pretty much wrapped up the con for me. Except, of course, for the “afterparty,” which for me means finding a chill bar nearby for a drink and dessert (the best way to round out your convention experience!). This year, the bar wind-down also included two guys arting (finishing up some commissions before going on their way) which made it way, way cooler than it would otherwise have been. You’re good peoples, Dan Govar and Tony Moy. Also, I want all of your art.
But the fun isn’t over, you guys. Because in just three weeks, I’ll be heading off to San Diego Comic Con and Nerd HQ, two concurrent and fantastic events that I can’t wait to attend. The exclusives, guest news, and other things to look forward to have already started appearing all over the internets, and I’m hearing great things about this year’s NerdHQ. So stay tuned, and hopefully I’ll have more fun con news, interviews, and round-ups for you soon.
Fox’s Gotham TV series has been going strong for two seasons and is now renewed for a third. The show began with a focus on (future Commissioner) Jim Gordon’s early career in Gotham, but has quickly expanded to include the early days of many Batman villains as well. One of the most striking of these is The Penguin; a previously cartoonish character (in screen adaptations) who has been masterfully portrayed in Gotham by Robin Lord Taylor as a complex young man who rises from being a minor player in Fish Mooney’s entourage to becoming the self-proclaimed “King of Gotham.” Taylor’s nuanced portrayal of Oswald Cobblepot, The Penguin, has made him a compelling, horrifying, and yet somehow still sympathetic character – one I’m invested in even while I’m despising what he does.
After having had the opportunity to speak with Taylor by phone in the week leading up to Awesome Con in Washington, DC, and to meet him at the Con, I can see where The Penguin’s charm and disarming manner originate; but fortunately for us, and unlike The Penguin, Taylor himself strikes me as a delightful human being; and he has a lot to say about his role in Batman’s Rogues’ Gallery.
Read on below for a most enjoyable interview; or listen here for the audio version.
ESW: Robin, your current role on Gotham is a big part of your career, and The Penguin, as we all know by two seasons in, has been called a “breakout character.” I love the nuances that you bring to the Penguin, who is a mix of pathos and viciousness. Are there any parts of his character that come from you, or that you identify with?
RLT: Yeah; I mean, the thing that really got me into the human aspect of Oswald was, when I first got the job, I reached out to Geoff Johns, who’s the chief creative officer of DC Comics, and I was like, “Do you know any stories?” Because obviously I’d grown up with Batman, and Batman Returns was huge, and the Adam West series was also huge, but beyond that I really didn’t know very much about the character.
And he found some stories; he found one in particular which was Penguin: Pain and Prejudice; and in that story, they really went into detail about Oswald’s childhood, and how when he was young, he was horrifically bullied. Which is not something that I ever experienced, to that extent; but the fact that he had always felt like an outsider – you know, growing up in a small town in the Midwest, I definitely identified with that feeling. Like, just because you didn’t look like everybody else, or there was something different about you – like in my case, I was just not a “sporty” person, and I basically grew up in Friday Night Lights. So it’s just that feeling of outsider-ness, and also that feeling of being counted out just by things that are out of your control. So that was the first thing I really hooked in to. I was like, “Oh, I understand what this feels like,” and it just made him all the more human for me.
And on top of that, his ambition is something that – you know, obviously I don’t think I share quite the same amount of ambition, in the sense that I, you know, value human life! But out of all of the years of basically being rejected by everyone, and having that feed into his outsized ambition – that was another thing that I totally could identify with and understand.
ESW: I read somewhere that when you did the audition, they didn’t actually tell you it was the Penguin. Do you recall if there were any particular acting choices you made in that audition that still define the character or that rolled over into the actual on-screen character?
RLT: Yeah; the scene itself that they gave us to audition for was a fake scene – it was not in the pilot at all, and the names were all different. But the scene involved, I believe, the Penguin character was named Paul or something, and he’s having this meeting with a Mafia don, and trying to get this person to do some deal for him. Of course the don is not into it, and that’s when it’s revealed that Paul has had the Mafia don’s daughter kidnapped, and she’s about to be “taken care of” unless he does his bidding.
And in that scene, all of that is the epitome of Oswald, and that ability to sort of play – you know, in the first part of the scene before it’s revealed that he has the daughter kidnapped, he’s very obsequious, and kind of meek, and deferring to the Mafia don; being lower status. And then there’s that switch halfway through where it’s like, “Oh no no no, actually I’m driving the ship right now; I’m steering the ship.” You know, “You’re going to listen to me.” So going from that humble, almost meek, low status attitude that he had, and then immediately switching to be the guy on top; that was something that I think I definitely carried through to the show that we do now.
ESW: Generally, in previous characterizations of The Penguin on screen he’s portrayed in a more cartoonish style. Can you talk about what you did to make him more real in the Gotham show sense, and yet keep him defined as he is in the comics so that he’s still recognizable as the character?
RLT: First of all, I give so much, if not all credit, to Bruno Heller, and Danny Cannon, and our other producers and writers on the show. It started with Bruno and Danny, this vision and this treatment of the character. It starts with them, and then I step in and we collaborate. Again, going back to what I said before, learning how he was bullied – it was more about finding…you know this is a fantastic world. It’s being able to see this character as an actual person who could exist. Which is actually kind of the allure of Batman itself in the sense that of course it’s still a comic book, and crazy shit happens that would never happen in the real world, but it’s always rooted in the fact that Batman is not supernatural, that Batman is a human being.
And that even though it is this gothic, noir, colorful, crazy world that we inhabit in Gotham City, it’s still all rooted in reality, in the sense that, like, gravity exists, and these are human beings, and there is real pathos behind everyone.
And it’s about justifying every choice that this character makes so that every action he takes, there’s a reason behind it; it’s not just being evil for the sake of being evil. Also what I love about the character is that – at one point in the second season, Galavan is trying to get him to help him get some real estate deal going, and that would require tearing down a big chunk of Gotham City, and Oswald is not into it. He says, “Look, I’m a builder, I’m not a demolition person. I’m not interested in tearing everything down.” He’s interested in controlling everything, but also building alliances and making connections and using that to his advantage. So I guess it would be making sure that everything he does and says comes from a real place – a real desire for Oswald to be – I don’t know if it’s accepted, or feared, or both!
ESW: You mention that Oswald is a builder and has these particular goals. He’s a monster in many ways, but he seems to have his own moral code. How would you define his moral code?
RLT: I would say: Oswald is all about – do not come for him. If you do, you will pay. He remembers every single slight against him, every person who ever hurt him or tried to hurt him. All that, again, stemming from a childhood where he’s an outcast in so many ways, like being a first generation immigrant, for example, in our show. I guess his moral code is just: “Don’t tread on me.” But that’s the thing – with the exception of the poor fisherman in the pilot, and maybe the guy who delivered the flowers from Maroni – a couple of people who really didn’t deserve what they got – for the most part, everyone whom he attacks, it’s motivated by revenge, and it’s all strategy for Oswald. He is anti-chaos. Chaos is not interesting to him; that’s not a place where he can get the power that he needs to survive. He wants order.
ESW: Anti-chaos. It makes me think that perhaps we’re playing Dungeons & Dragons. He’s a lawful evil – not chaotic at all.
RLT: Yeah, totally!
ESW: Now in the second season, trying to rule Gotham, Penguin needs some worker-bee villains who will be loyal to him; and then we get Butch’s betrayal in that second season. It’s a very tricky proposition, getting those loyal worker-bees and knowing that he can rely on them. What traits about the character do you think would believably cement a henchman’s loyalty and how do you establish that?
RLT: In a way, I think even though, you know, he chopped off Butch’s hands, you know, big deal – but even those things have happened, I think that Penguin himself, and it goes back to his anti-chaos attitude, I think he is actually also interested in being loyal to people as well. I think he knows that if you treat people well, you get more from them. You get more loyalty; and ultimately, that can be exploited as well.
You see this very, very clearly in his relationship with Jim Gordon, in the sense that for all intents and purposes they should be arch-enemies. But for some reason, it’s this delicate dance and a push and a pull between the two of them that is important to Oswald. Because that keeps Jim in his world and again, that can be exploited in the future if need be. So I think he does reciprocate loyalty to the people that he is trusting and that’s ultimately how he can get people to join his side.
And also, this goes into – because his actions are justified, and because we understand why he does the things he does, there’s a sympathetic side to this character. And I think that comes through to the other characters as well; in the sense that there’s something enigmatic about him that draws people in.
If I had to root this in the character’s history, I would say that this is something he learned as a survival instinct, when he’s being bullied or when he was being basically tortured by his peers when he was younger. This is what you learn; you learn to ingratiate yourself to people. You make yourself seem more meek and sympathetic, and then eventually they come around, and that’s when you stick the knife in.
ESW: Speaking of that, he’s a pretty dark character, and you seem like a nice guy. Do you have difficulty getting into and out of that character?
RLT: I really don’t, actually! I know that sounds crazy, but… Look, I’ve never played a character that physically is so different from who I am in real life. And so with the hair, the makeup, the costume – all of those pieces coming together every day that I have to work, is – and this is generally how I work as an actor too – is I generally start from the outside and I go in. I let the physicality and the costuming help me get into character so I’m ready. And also, again, it goes to the sets that we shoot, and the locations that we use. With all of these things, it’s like I’m stepping into Oswald, I’m stepping into Gotham City. And at the end of the day, the nose comes off, and the hair is different, and I take these beautiful suits and I put them back in the closet and then I’m back to me. It’s great to have that physical transformation that gets you into character; and from that it’s generally pretty easy.
ESW: He does have some really cool suits!
RLT: God, they’re amazing. The sucky thing is they’re not quite my, Robin Lord Taylor’s, style, so it’s not like I could ever really wear them anywhere. But also – as you can probably tell, I’m one of the least confrontational people that ever lived. And so it’s actually therapeutic in a way. I know that sounds crazy, but it’s really fun to step onto the set and step into the character and then all of a sudden I’m the guy who’s pushing everybody’s buttons, and I’m the guy who’s messing with everybody and starting shit. And it’s liberating, and it’s fun in a way.
ESW: I can understand that. So Oswald has been through a huge journey in season 2 – he was on top; he lost his mother; he convinced Gordon to murder somebody; he was messed with by Hugo Strange; he met his father; fell back into murder; now he wants revenge and all of Strange’s monsters are out there, and Mooney is back… Can you talk about how you think season 2 changed him, or what you think he’ll be doing in season 3?
RLT: I think that in season 2 – it happened twice for him, with the loss of his mother and then the loss of his father – and there’s that lovely speech that Cory Michael Smith as Nygma gave Oswald. It was after his mother died, before he knew his father existed – Nygma says, “You’re free now.” The gist is – and this is a continuing theme throughout our entire show – to love is to be vulnerable. You see throughout the show, characters are falling in love, or they have love in their lives, and then they lose it; and then in a way they are liberated to do whatever the hell they want to do and not feel any pressure. Because what’s left to lose.
So I think that was hugely formative, and then that it happened twice – I think going into season 3, it’s all guns blazing. And also, he’s learned, having been at the top for the brief period. He learned now how much more difficult it is; and he severely overestimated his own abilities, and he didn’t take into account the fact that when you’re the “King of Gotham” you have a giant, giant target on your back in a way that you never did before. I think that’s the most valuable lesson that he learned this season; and then going forward, I think we’re watching his transformation from someone who’s finding their way in this world to someone who now has the wherewithal and the knowledge to basically, kick ass and take names. And not fear the repercussions because, again, having lost all the love in his life, going forward, he’s just going to be completely unhinged – which I’m really excited about!
ESW: So Gotham is obviously a very villain-heavy show, and we know many of Batman’s villains are way ahead of him in development – he’s still Bruce; he’s still young. How do you think this will affect the future seasons in the show, or how do you think you’d like to see that happen? Do you think it will shift to being a more heroic focus as Bruce matures?
RLT: I don’t know; I think our show is about how the city corrupts. Bruce Wayne – Batman – comes from one of the most corrupted acts that could ever happen, one of the most horrific acts; the execution of his parents in front of him. And I could see heroic moments coming through, because obviously you need a balance between the light and the dark, but at the same time, I just think it’s so much more interesting seeing even someone as virtuous and good-hearted as Bruce Wayne – seeing him get swept up into, or sucked down into, the morass of Gotham City and its questionable moral fiber as a city; I think that’s ultimately what’s really interesting to me. And I just think that the villains are where it’s at.
Also, going forward, what I find most interesting, as someone who is a fan of the Batman world, and what I think our show does very well, is show how all of these characters interact, and come in and out of each other’s lives. It’s like seeing how the Penguin’s and Gordon’s connection evolves over time, and also eventually, I’m sure, Bruce Wayne is going to come into Penguin’s life, and all of the other characters’ lives. I love that alliances are formed and then broken; and the re-formed with someone else; some other canon character. I just think that’s fascinating.
ESW: I’ve heard Gotham compared to a soap opera, and it’s not too far off!
RLT: Yeah, except we’ve got monsters and bazookas; it’s As The Gotham Turns.
ESW: So what experiences have you had working with the other Gotham actors? Do you have any fun stories, or any stories about having to work with actors that then the Penguin kills?
RLT: Yeah! Well we get along, as a cast, just smashingly. In fact, early on in the first season, Ben McKenzie had a barbeque; and all the cast members came, and we were all there having fun, dancing, and drinking, and at one point I said to Ben, because this is my first rodeo as it were, and he’s been doing this for longer than I have in a big way; I said to him, pointing at everyone having a ball, “Dude, is this normal? Do casts get along like this? Because I’ve guested on shows, and you can definitely feel the vibe, and it’s not this.” And he said immediately, “Nope. This is not normal. God willing, we can keep this going for the rest of our run,” because it just makes the environment more pleasant, and we all just truly have love for everyone, and it’s so nice. It’s all I’ve ever wanted in a job.
ESW: That seems to come through the social media where I’ve seen you and Cory and Ben and everyone interacting; seeing everyone talking to each other on Twitter and wherever else.
RLT: That’s so nice to hear. And the other thing too is that we’re from all over the place, and everyone’s had such different experiences growing up; and the fact that I can, you know, meet Sean Pertwee, who could not have been from a more different place than me, and have had a more different childhood than I did – and yet, he’s now one of my very best friends. And I just love it, that people can come together and find – in this show, we found a community, which is really great.
So then on the other hand, people have asked me, “What’s the hardest thing about Gotham?” and honestly, it is when a main character dies. And especially if I have to do it. It’s one thing if it’s a movie or a play, because that’s such a contained work. You know when someone’s going; you know the whole thing is going to be over in two-and-a-half hours anyway. It’s not as cathartic as when you’re on a television show. You really do feel that loss. Like when Carole Kane’s character is killed. It was honestly devastating for everybody. It was like, “Oh, God, she’s not going to be here.” Even though she wasn’t there all the time to begin with, it was the loss of that potential for her to be there. I can’t say enough amazing things about her.
And then of course also the same with Paul Reubens. With both of those characters, it really is devastating. You just keep thinking, “If they had written something different, we could have been working together for years now.” I think that’s the hardest part of the job.
ESW: So what’s been your experience with fans and conventions and this role; do fans ever blur the line and call you the Penguin; or what do you like and dislike about that? Have you had any crazy experiences?
RLT: I mean, the whole thing is generally pretty crazy. Even if you think just logically, what I do is, I’m an actor. So ideally I would just sort of disappear – Robin Lord Taylor would disappear – and the character would live in people’s imaginations and that would just be it. But you know that’s not how it works. You become public people; and that’s been probably one of the most challenging things about the job. Just going from relative obscurity to being in peoples’ minds and consciousness – that’s definitely been intense.
For the most part, everyone has been incredibly, incredibly nice, and kind. I’ve been doing conventions now for the last two years, and, like, I signed someone’s ankle, and she went and got a tattoo, and that’s kind of crazy. Honestly, the tattoos, I think, are the craziest thing! Someone also tweeted me a photo of their leg, and it’s my giant face on their leg. I find that so unsettling; I mean, compared to most other things. Like, “Oh God, you did that?” You defaced your body with my face.”
ESW: They will never forget you, ever ever!
RLT: I know. I know; that makes me really uncomfortable! But I will never be forgotten. There’s something to be said for that.
ESW: So are you looking forward to Awesome Con? And do you follow other comics? Do you have a favorite character or storyline, or something you want to see or pick up while you’re at the show?
RLT: I’m totally psyched. This is going to be super. I’ve never been to Washington for a con before; I’m really excited to see what the vibe is like at Awesome Con. From what I hear, it’s an amazing experience. For me it’s always very strange. Obviously I love all of the other DC Comics properties, especially the ones that are on television, in particular The Flash and Arrow, and Supergirl as well. Because we’re all the Warner Bros. family, and we run into each other at San Diego Comic Con and all these other things. So that’s always really exciting to see those folks.
But then at the same time, with the actors who played characters from my childhood – for example, I was at a convention and I was in the green room, and sitting across the table is Denise Crosby who played Tasha Yar on Star Trek: The Next Generation, and when I was a kid, that was my jam; and it’s always so fun to feel the way that people feel when they come to my line or when they come up to say hello. Everyone’s so sweet and so excited to be there, and then some people are really excited and they can’t speak, and that was me talking to Denise. And that’s someone I grew up watching, and that show was so important to me at the time. So experiences like that – just seeing anyone from something I grew up watching – that’s where I really fan out, for sure.
ESW: I know that you recently made a foray into voice acting in Dishonored 2, and you just wrapped a movie, The Long Home; anything you’d like to share about those or other projects?
RLT: Well – Dishonored 2 – when they told me that I was going to come in and be part of it, and read, especially, that character, the Outsider, that was amazing. An amazing experience, and also reading all about what the game is going to be like; I don’t think I’ve been this excited for a video game in a long time. The only thing I’m a little worried about is when I get it and I start playing it, I have to hear my own voice… But yeah, that was a brilliant experience. And then The Long Home, I would just encourage everyone to look for it on the festival circuit and show it some love. It’s an independent film, directed by and starring James Franco, with Josh Hutcherson, and Courtney Love, and there are just amazing, amazing people in it. It’s a low-budget, independent movie; so we’re really hoping to get some momentum behind it and I’m just really excited to see what the final product is.
• • • • •
So there you have it, folks. Thank you to Robin Lord Taylor for sharing his time and thoughts with us here at ComicMix!
Captain America: Civil War is complicated, and sprawling, and intense, and funny, and dark, and in the end, nobody wins. It has one of the best multi-superhero fight scenes out there, and yet the first half of the movie is held together by a series of quiet and deeply personal moments that develop numerous character arcs without feeling random or forced. Neither side of the fight along which lines are drawn – over the issue of whether to sign the Sokovia Accords, which will hold the Avengers accountable to the United Nations after their actions in saving the world have caused multiple instances of massive civilian casualties – seems entirely right.
Captain America’s stance of not wanting to abdicate personal responsibility for the Avengers’ actions to people “with agendas” is shown to be dangerous when he violently defends his childhood friend and WWII army buddy Bucky (a.k.a. the Winter Soldier) against all comers, after Bucky is accused of having bombed the conference in Vienna where the Accords are to be ratified. On the other hand, Iron Man’s position of signing over accountability to the UN and his inability to ever consider that he’s “in over his head,” as the Spider-Man of the comics crossover observed, result in pretty much all of his friends ending up in prison for trying to stop the movie’s actual villain, Helmut Zemo, from activating an elite death squad that can be mind-controlled like the Winter Soldier. And with the intricacies of so many main characters with their own views on the issue, there’s a lot to unpack and consider.
So are you confused yet? If you haven’t seen the movie, a) go see it; what are you waiting for? It’s worth it! and b) I’m not surprised at the confusion. The cool thing about the modern MCU is also one of its drawbacks – these movies (thirteen and counting, with a lot more to come) have managed to stay believably within one universe and interweave references to each other in a fairly natural manner while still maintaining their individual styles. That keeps each film fresh and interesting, while also ensuring we want to see more of the whole universe.
The downside of this is that eventually, with the ensemble movies in particular, there is a lot to pack in to make the films work, and they are in danger of collapsing under their own weight. It’s a testament to writers Christopher Markus and Stephen McFeely and directors Anthony and Joe Russo that they got all the moving parts built into this movie to work together like a well-oiled machine instead of dissolving into a messy disaster (did someone say Batman vs. Superman: Dawn of Justice?)
We’ve gotten to a point in the overall MCU story where to fully comprehend the depth of events in Captain America: Civil War, it helps to be familiar with at the very least The Avengers; Captain America: Winter Soldier; and Avengers: Age of Ultron. (It’s best if you’ve seen all the others, too.) What begins in The Avengers – S.H.I.E.L.D. recruiting a bunch of heroes who start out with pretty different viewpoints and struggle to form a cohesive whole – continues in Captain America: The Winter Soldier, where we see Steve Rogers/Cap’s resistance to following the government when it strays from his personal values and morality, and his belief in caring for individual people. In Avengers: Age of Ultron, we see the results of Tony Stark/Iron Man’s serious accountability issues in pursuit of what he sees as a better future, when he uses something he doesn’t fully understand to complete an A.I. that is supposed to protect the entire world but then tries to kill everyone instead.
By the end of that movie, there’s a fissure within The Avengers – who were not all that stable to begin with – and Captain America’s belief in personal accountability versus Iron Man’s futurist viewpoint stand in stark (no pun intended) contrast to each other.
Captain America: Civil War builds on this and on events of the previous movies by using the immense destruction in New York City during The Avengers and the destruction of the capital city of Sokovia in Age of Ultron as the backdrop for the opening act, in which yet another Avengers’ attempt to stop criminals ends up causing civilian casualties, when Scarlet Witch, the youngest Avenger, accidentally redirects a bomb blast meant for Steve Rogers into a building and kills several Wakandans on a peace mission (a nod to the accidental hero-caused explosion that killed civilians at the beginning of the comics’ Civil War crossover event). This leads to the Sokovia Accords, which 117 countries intend to sign, and which will make the Avengers accountable to the United Nations. The decision of whether each hero will sign the document or “retire” brings out the core issue around which the plot is built.
Although the movie starts with a bang, the series of quieter moments in the first half establishes the stakes and interpersonal relationships that each hero stands to lose when choosing a side as the plot builds the foundation of the civil war itself; creating a world that is less black and white than the comics crossover. And it almost goes without saying in the MCU, but once again the acting in the Marvel movies is top-notch across the board, and the casting choices for new characters are clear winners. Each of the headliners (Chris Evans/Captain America, Robert Downey Jr./Iron Man, Sebastian Stan/Winter Soldier, Chadwick Boseman/Black Panther, Scarlet Johansson/Black Widow, Anthony Mackie/Falcon, Jeremy Renner/Hawkeye, Elizabeth Olsen/Scarlet Witch, Paul Bettany/Vision, Paul Rudd/Ant-Man, Tom Holland/Spider-Man, and Don Cheadle/War Machine) truly embodies the characters we know from the comics and the previous movies; and brings the emotional heart of the movie to the forefront.
The first of the quiet emotional moments occurs soon after Wanda/Scarlet Witch’s mistake costs civilian lives. As she watches the newscasters vilify her, Steve turns the TV off, and together they accept shared blame for the tragedy, as he tells her that they have to learn to live with the collateral damage of trying to save the world because otherwise, next time they might not be able to save anybody. Their mentor/mentee relationship, and Steve’s recognition of her youth and inexperience in the face of the great power she is trying to wield, are clear. Another scene has Tony giving grant money to MIT students in an effort to assuage his guilt over his mistakes (including the creation of Ultron), when he is confronted in an empty backstage hallway by the mother of a boy who died in the Sovokian tragedy while doing aid work; she blames Tony for his death.
And then we have Steve attending the funeral of Peggy Carter, where he receives an almost beyond-the-grave message from Peggy to stand strong for what he believes in via a eulogy from her niece Sharon Carter (surprise, Steve! The pretty neighbor who was spying on you for S.H.I.E.L.D. in Winter Soldier is actually your first love’s age-appropriate relative!). And the introduction of Black Panther, occurring on either side of the bombing in Vienna, is composed of two deeply personal moments – the first of which shows T’Challa’s desire to be a politic leader who will make his peace-loving father proud, and the second of which flips to his intensity and willingness to take matters into his own hands after his father is killed by the explosion. (T’Challa also acts as an “undecided voter” in the war, in that his agenda is his own, not Cap’s or Iron Man’s; and Black Widow lends some other interesting shades of grey to the ideological debate down the line.)
The bombing sets off a chain reaction of events which results in insanely violent but elegant fights down stairways, on rooftops, and through highway tunnels as first the Bucharest police and then Black Panther try to take down Bucky, as Cap and his more recent sidekick Falcon try to protect him.
On a purely cinematic level, I absolutely adore the way that each superhero’s unique fighting style echoes the comics and looks completely natural on screen, the way Bucky and Cap fight almost as one person when they’re fighting on the same side, and the fun the movie-makers must have had choreographing these and the other hero team-up and civil war scenes. The end result of this fight, though, is everyone being captured and brought in to where Thaddeus Ross (who is now Secretary of State, what whaaaat) is haranguing Tony Stark on the phone about the whole mess. This leads to one of my favorite interactions between actors Robert Downey Jr. and Chris Evans as Stark tries to get Rogers to sign the Accords so he won’t be prosecuted.
Downey Jr. shows a vulnerable side of Stark that we haven’t seen very often since the first Iron Man, and Evans ability to emote with facial expressions shines as Steve comes close to signing before discovering that Tony has confined Wanda to the Avengers compound. Disappointment and disgust for Tony’s stance are written all over Cap’s face as he makes the final decision not to sign.
But tell me, have we forgotten about Helmut Zemo?
Who? One thing that’s so great about this film is that underneath all of the straightforward politics of Avenger-accountability, and the character moments, there’s also this little mystery growing. In the background of the superhero clashes, Zemo is seen tracking down old Hydra secrets and plotting to get a face-to-face meeting with the Winter Soldier. Once he does, the movie flips into high gear, with action scenes rolling into character introductions resulting in funny asides, and moving back into action.
Despite the intensity and dark elements in this film, it doesn’t lose the trademark heart and humor that runs through the MCU. Vision trying to cook for Wanda to comfort her even though he’s never tasted food; the introduction of Spider-man and his running fight-scene commentary; Ant-Man meeting Captain America (I love other heroes’ reactions to meeting Cap for the first time. I mean, he’s Captain America. I get it.); everything about Hawkeye (can I even encompass how much I love what these movies and Jeremy Renner have done with Hawkeye? Probably not); Cap’s two best friends/sidekicks grumping on each other (tell me there isn’t a little bromance jealousy up in there) – these are the bits that make the heroes seem like real people.
Even in the epic fight scene that has twelve superheroes squaring off against each other, the humor is not lost, and each hero gets to showcase his or her moves and have at least one lighter moment as the battle rages. Every. Single. Thing. About this battle is cool – but hands-down, the stars of the show are Spider-Man, doing his thing for the first time in the MCU proper; and Ant-Man, who literally takes over the scene and has a blast doing it. This is one fight scene I will inevitably rewind and watch twice during any home viewing of the movie (the Guardians of the Galaxy Xandar ship-crash scene is another one).
The aftermath of this fight leads to the final showdown, and for once, I’m not going to spoil things here. Suffice it to say that although hinted at previously, the movie took a turn you might not expect, and that the fallout from the final reveal resulted in an even more personal, we-ain’t-friends-no-more fight than the all-hands-on-deck brawl that came before. (It also brought an epic comic book cover from the crossover to the screen.) And in the end, out of the chaos of the civil war came almost no resolution (with one notable exception), actually less darkness than I expected despite the villain sort-of actually winning this round, and a question as to what the Avengers will look like when next they fill our screens.
I guess we’ll have to wait until May 2018 and 2019 to find out; but in the meantime, this movie is definitely worth the price of admission.
There are times in life when people must know when not to let go. Balloons are designed to teach small children this. – Terry Pratchett
Terry Pratchett was, in the above as in everything, a wise, wise man. The most valuable things in the world are often ones we should hold onto lest we lose them; and not only hold onto, but treasure.
I certainly treasure the experiences I’ve had while writing my weekly column for ComicMix. Chief amongst these is the valuable experience of actually having to sit down and write something out of my own head for publication on a deadline week after week (despite it having been, hrm, occasionally a somewhat negotiable deadline (thank you, Mike and Glenn, for your patience!). And through the weekly column I’ve had the opportunity not only to develop my discipline as a writer, but also to trot out and work on polishing up several different styles of writing; to continually improve my abilities as an interviewer; to sporadically embark on flights of whimsy and ridiculousness that have nevertheless been surprisingly well received; and to determine just what my opinion was on a variety of relevant comics and genre entertainment subjects, and then how to share it in the way that most reflected my true feelings and yet seemed least likely to result in reams of angry comments.
Of course I also enjoy traveling to different conventions with or as a representative of the ComicMix family; interviewing creators and recapping events, and making new friends through my writing, my travels, my interviews, and my work with other ComicMixers. Writing (almost) every week for ComicMix since May 1, 2012 has opened my horizons, allowed me to have amazing experiences, and certainly changed me for the better.
However, occasionally you have to let go of the things you treasure, even if just for a time. And unfortunately, I find myself at one of those times, due to a convergence of factors; and am thus going to be taking a hiatus from my weekly column here at ComicMix. The main factor is actually one that I’ve been dealing with for over seven months. In short, last July I had a bad fall, and I’ve been living with the repercussions ever since. And while I am generally on the mend, regular doctor visits, medical tests, and twice-weekly physical therapy have sucked a lot of my time away; not to mention that, goshdarn it, this “healing” thing kind of hurts and takes a lot out of you, physically. And, well, then there’s the possibility that I may have to have surgery to fix my thumb because of this (side note: did you know that one of the side effects of getting an MRI on your thumb is to have your entire arm fall asleep? Ooooh, it feels so weird). The sum total of this is that one morning I had to look in the mirror and remind myself that I am not actually a superhero (although if I was I would be awesome) and that sometimes, it’s okay not to be able to do all the things at once, and that if you find yourself, e.g., being very tired and having trouble making your deadline week to week, perhaps you need to take a break from having said deadline.
You might wonder why it took me approximately seven months to realize this. However, as always, Sir Terry has a quote that is particularly apropos:
The whole of life is just like watching a film. Only it’s as though you always get in ten minutes after the big picture has started, and no-one will tell you the plot, so you have to work it out all yourself from the clues.
And then suddenly, all the clues come together, and you’ve solved the mystery of life!
Just kidding.
What really happens, maybe, if you’re lucky, is that you eventually figure out one step you might need to take to improve a current situation. Of course even then there’s no guarantee that it’s the right step. And if you take it, and you let go of that balloon you’ve been treasuring, the fear is that it will be lost forever up in the vast unknowable sky, never to return. All of the work that went into those weekly columns; the vast readership, so painstakingly built (hello, all several of you!); friendships formed in part from my identity as a genre entertainment columnist – gone! Just gone! It’s enough to make me want to hold on tightly to the balloon’s bright ribbon and never let go. But fortunately, columns and readers and friendships aren’t actually balloons that will disappear forever if you let go for a bit; and change can be good, and it can be necessary, and it can lead to new adventures and, after all, sometimes, you must make the hard choice to leap fearlessly off a cliff (or at least move your life onto a slightly different path) because:
If you don’t turn your life into a story, you just become a part of someone else’s story.
And nobody wants that.
Not that my story is actually going to be too different around here. Because despite taking a hiatus from the weekly columns, I am not leaving you entirely, dear readers! I fully intend to remain as Your Faithful Convention Correspondent for all of the conventions I attend (which this year looks to include Awesome Con, San Diego Comic Con, Dragon Con, and New York Comic Con).
Also, depending on circumstances, I hope to return to the weekly posts at some as-yet undetermined time. So actually, it’s less like I’m letting go of my balloon, and more like it’s just been tied onto an extremely long ribbon which I can still hold onto, and we’ll still be connected by that ribbon, and really, that’s not so scary after all.
That said, I will miss my weekly interactions here, and wish that I had infinite time and energy to do the infinite numbers of things I constantly want to be doing. But as a wise man (I bet you can guess who!) once said:
So much universe, and so little time.
So until that time in the distant future when I’m back each week: Vigilate!
So I’m lying on the physical therapy table today, mostly trying to not concentrate on how painful whatever my therapist is doing is (“But it’s the good pain – the good pain!” I assure myself as I grasp the edge of the table) when the therapist next to me and his patient start talking about having just seen the Deadpool movie. Naturally I can’t help but join the conversation.
“So what did you think?” I inquire, and both of them enthusiastically agree that it was great. “Have you read the comics, or did you come to the character through the movie?” I ask. Neither has read the comics, although the patient’s son has. But both agree that they are looking forward to the sequel already; and after some talk about Deadpool, the conversation slides easily and naturally into Netflix’ Jessica Jones and Daredevil, and then hops over to The Dresden Files. The therapist and his daughter have found much to discuss in Jessica Jones; the patient agrees with me that The Dresden Files show was mostly a hot mess, but that was a real shame because Paul Blackthorne was so good and we’re big fans of the books. “It’s like you’re all in the same club,” comments my therapist, around this time.
And so we are. Whether we come to it through reading, the screen versions, other avenues, or what-have-you, it’s clear that we three are, as Anne of Green Gables would say, “kindred spirits” (also referred to mysteriously as “the race that knows Joseph,” and “the Tribe of Joseph”) when it comes to genre entertainment. We vary in age, race, gender, profession, and probably many other demographics, and we’ve only just or recently met; but in discussing these creations, we easily converse like old friends.
I find it interesting, the ability of some people to meet and immediately have a sociable and passionate conversation on these topics; when others either wouldn’t care, or would only want to discuss them because they are the topic du jour and they don’t want to be left out. And I have noticed that amongst these people, there seem to be less misunderstandings; or at least, more easy understandings of what the other person means or how they feel, even if it’s not always conveyed perfectly. I don’t think the ability to find such kindred spirits only applies with genre entertainment fans – in fact, there is certainly a larger pool of kindred spirits in my world than just these sort. And I don’t think that every geek fits this mold – certainly there are misogynists, pedants, and the like present in any field of interest. But I do perceive a vast overlap in the geeks and kindred spirits in my life; and notice that I get along particularly well with people who are passionate about genre works and the creative arts.
It seems to me that it is a very good thing to be of this “Tribe of Geekdom.” I think the people I meet who are kindred spirits in the enjoyment of comics, genre literature, sci-fi and fantasy TV and movies, and the like are simply more. More vibrant, more clever, more adaptable, more understanding, more creative, more passionate, more adventurous, more fearless; more interesting. And it leads me to wonder why that is. Are some people just made that way? Or is it perhaps because they were introduced in childhood to creative works that opened their minds? Or has our mutual love of these creations simply built a foundation of common ground that has brought us to a similar way of thinking before we even meet?
It also leads me to wonder what the world looks like to the “other kind of folks” (as Captain Jim of Anne’s House of Dreams would say). Does my tribe only look like the most interesting one because I’m in it? Whatever do the other folks think of us, talking enthusiastically about lightsabers, musing on what it would really be like to fight with superpowers, dreaming about living amongst Ray Bradbury’s Martians, or discussing how the rules of magic would function as laid out in our favorite book. And do they, in fact, think that they are the ones in the most interesting tribe? Do they feel like “more” to each other?
Which leads me to also wonder, are there really “two kinds of people”? Or is it simply our view from the “darkness behind the eyes, where the little voice is” as Lady LeJean of Terry Pratchett’s Thief of Time described it, that both defines our place in the universe and provides a viewpoint to categorize others in relation to our selves? Is it more likely that we all land on a spectrum of understanding in relation to each other, and those who are too far down the spectrum from ourselves seem, indeed, like another sort of folks entirely? And if they move up the spectrum, will it seem to us like they’ve switched tribes?
Heck, I don’t know. I just know that, like L.M. Montgomery, I perceive a dichotomy of understanding; that it makes me happy to encounter by happenstance as I go about my daily life other people who seem to understand the world in the way that I do; and that many of those folks seem to be, in my experience, most definitely of the Tribe of Geekdom.
So, hooray for the Tribe! And until next time, Servo Lectio!
Back in 2010 and 2011 I was going through a bit of a hard time. For those who don’t know, I have a degenerative eye disease, keratoconus, which had at that time progressed to the point where it looked like my next step in attempting to retain my vision was going to have to be corneal transplant surgery. Fortunately, it turned out there was a less drastic option that would halt the degeneration I was experiencing. However, because that option was experimental it wasn’t covered by my health insurance, and was going to be very expensive.
In a demonstration of how wonderful the fandom community is, a number of friends convinced me that in a situation like this accepting assistance was not a bad idea, and then worked together to raise money to pay for the surgeries, primarily via a fandom auction (a fact I will never forget and for which I continue to feel blessed). It was a dramatic demonstration of how supportive the fandom community can be; and not only the fans, but also the creators, as several comics and literary professionals who learned of the auction or my situation contributed auction items or funds as well.
One of those creators is a wonderfully nice dude who also happens to be one of my favorite Deadpool and comics artists, Reilly Brown. I’ve been privileged to know Reilly since my first New York Comic Con in 2009 and can attest to the fact that he’s an all-around good guy who cares about the comics community and has occasionally done things like reviewing portfolios for free just to help new artists out. For the auction, he contributed this beautiful Deadpool piece along with a nice post asking for support for my situation, and it was a big help and really meant a lot to me.
Recently, Reilly’s had some really great things happen – getting to see a character he’s worked extensively on in his very own successful box office hit; seeing his co-creation Bob, Agent of HYDRA, show up in the Deadpool movie); starting work on a new Deadpool & Cable project; and most important, welcoming his adorable son William (seen here wearing a Deadpool hat to continue the theme) into the world.
Unfortunately, on February 13 (shockingly, not a Friday), one epically bad thing happened as well – a fire started in an apartment building near the one Reilly, his wife, and their new baby live in and quickly spread from building to building. Although no one was hurt (thank goodness!) and the fire itself didn’t reach their apartment, it did hit the apartment directly next door, and the resulting smoke permeated everything, including everything the Browns own. The water the firefighters used to quench the blaze also damaged their belongings.
Reilly writes about the experience here and notes that, although insurance will cover some of the damage, it will not be enough to assist with cleaning or replacing everything, or with moving expenses. Happily, he also includes several means by which you can assist him and his family in getting back on their feet, if you’d like to do so. Among them are purchasing original comics art he currently has for sale; contacting him via his website to commission an original piece; and purchasing a downloadable version of one or both of his sketchbooks for whatever amount you’d like to contribute.
From experience, I can tell you that when going through a hard time, every little bit helps; and knowing there are people out there rooting for you and wanting to help means a lot as well. In addition, lessening the financial worry for someone in difficulty makes it easier for them to bear the stress attendant on a bad situation. In my case, not having as much money stress, and knowing people were out there caring about my situation, made having to go through two surgeries and recovery periods more bearable. I can imagine that, likewise, whatever people might be able to contribute will help the Browns in dealing with the stress and daunting list of things to be done to get back to equilibrium after losing a large chunk of their belongings, as well as a settled place to live (not to mention dealing with all of that and taking care of an infant!).
So if you’re in the market for some really cool comics art, or if you can spare a little bit for a family who needs it (and are also wonderful people), please consider looking at the options Reilly has provided and giving your assistance. Let’s continue to be a great comics community that cares about and looks after its own.
After what seems like decades of waiting (oh wait: it was actually about 10 years!) the Deadpool movie finally opened in theaters this past weekend to the tune of a record-shattering $135 million at the box office; and it was everything I’d hoped for. It was exactly the Deadpool movie that we needed at this point to get the franchise rolling – a dynamic R film that pulls no punches about who Deadpool is and why he’s not a traditional hero, yet invests us in his unorthodox character and worldview and gets us rooting for him anyway. And as I walked out of the theater, despite any minor critiques I may have, I felt distinctly the warm, zen-like glow of happiness from having just experienced the fulfillment of longtime hopes I’ve cherished for the manifestation of just such a Deadpool film.
Anyone who knows me or reads my work will be well aware that I’ve been a huge Deadpool fan for years and have written all kinds ofthings about the character, including a journal and Twitter as Deadpool and several webcomics featuring Deadpool for Reelz.com and MTV Splash Page. I’ve also advocated for Ryan Reynolds playing the title role in a Deadpool movie since 2010, and have covered the movie as it developed as well. Perhaps that’s why a whole several people are very excited to hear my opinions on the Deadpool movie.
Well, friends and internets – My opinions: let me tell you them.
(Warning: spoilers ahead!)
Deadpool is a crazy, hilarious, action-packed, totally inappropriate, slightly heartwarming, somewhat horrifying, gleefully violent, fourth-wall-breaking, satisfyingly mixed-up bag of awesome that makes way more sense than that sounds. It’s a welcome addition to the universe of comic book movies, and one with the potential to add both more fun movies to its own franchise, and bring some levity to upcoming X-Men ensemble movies. It’s also a take on the early Joe Kelly issues of the Deadpool comic, issues I’ve always loved and that did a lot to define the character, including establishing his incessant, pop-culture heavy banter, his work as a mercenary for hire, his romance with Vanessa Carlysle, and his relationship with supporting characters Weasel and Blind Al. The movie pulls heavily and, despite some necessary screenplay alterations, pretty faithfully from Deadpool’s origins as told in Kelly’s 1998 Deadpool & Death Annual, which establishes the backstory of Wade Wilson getting cancer and being given Wolverine’s healing factor by a shady Canadian government program in an attempt to cure him so he could work for them, his manifesting his mutate powers and in the process the ugly cancer tumors and scars we know so well, and his creating the Deadpool persona after his transformation.
Deadpool is an origin story that makes you forget it’s an origin story; a uniquely off-kilter flash back-and-forth plotline that manages to interweave the frenetic fight scenes and scattered behavior and commentary of post-op Deadpool with the more straightforward backstory of Wade Wilson in a way that keeps both interesting and interlocked, and allows for a story beyond his origin. This fits the character to a T; and also makes it possible for a movie starring a character known for random comments and wacky unpredictability to include a lot of heart in the form of a sweet (and salty) love story (the Deadpool marketing people weren’t completely pulling your chain on that one) as well as moments of gravitas and even desperate sadness. And that’s important, because although you won’t often see Deadpool crying into his beer, his origin is a damn sad story, and the dark undercurrents beneath the wisecracking guy in the red-and-black suit are what make him so interesting.
To portray that character, they couldn’t have found a better actor than Ryan Reynolds. Not only has Reynolds got the physique and athleticism for the role, but he also is a master of quick, snarky or sardonic comedic timing and delivery. However, as with the comics character, the over-the-top action and comedy are only two facets of a subtly complex character. The success of Reynolds as Deadpool comes from his ability to marry the snarky persona believably to the darker aspects of Deadpool’s personality, and deftly convey both Deadpool’s genuinely bizarre sense of black humor, and the manner in which the character also uses humor as his armor and as a mask for his pain and despair. Reynolds moves seamlessly from sight gags to exuberantly violent fight scenes to tender moments to intense anger to desperate sadness, and the undercurrents of strong emotion he manages to convey beneath gags and lightning-quick comments are what keep this from being just another ultraviolent comedy. I don’t know that there is another actor out there who could break our hearts during the scene in which Wade cries quietly in the bedroom as he decides to leave Vanessa; and a few beats later, have us roaring with laughter along with Deadpool at the sheer absurdity of a man being murdered via a slow-moving Zamboni.
Of course, in real life, we wouldn’t think any of that violence so funny; but Deadpool’s moral compass is so far off that if we tried to follow it, we’d end up (knowing him) somewhere on Uranus. Reynolds gets that, and plays the character with a charismatic, exuberant energy that pulls us fully into Deadpool’s worldview and makes us forget we’re laughing at, e.g., someone being “skewered like a fucking kabob.” As a passionate fan of Deadpool, Reynolds is wholly invested in this character, and has been wanting to play him in a movie for years (and actually got to play Wade Wilson for a good 15 minutes of X-Men Origins: Wolverine, but we won’t say any more about how that turned out). The Deadpool of the comics has, in fact, compared his appearance to “Ryan Reynolds crossed with a Shar-Pei” – and the movie cleverly acknowledges that (as well as Spider-Man’s origin) when Ryan Reynolds as Deadpool says he was “bitten by a radioactive Shar-Pei.” (Other fun facts: both Deadpool and Reynolds hail from Canada, and both have thrice alliterative names – Wade Winston Wilson and Ryan Rodney Reynolds. It’s like he was made for the part!)
Reynolds as Deadpool drives this movie; but it also succeeds in the realm of pulling the character’s look and fighting style from the comics onto the screen. The red and black costume is Deadpool to the last detail, including the inevitable pouches (which are sent up subtly in the movie when Deadpool puts a pamphlet from the cab into a pouch, then minutes later when it’s time to pay says he never carries a wallet when he’s working because it ruins the lines of the suit. There have been many jokes in the comics about what on Earth he keeps in all those pouches). And because the choreography of Deadpool’s completely badass fighting style (a parkour-like mix of elegance, economy, humorous distraction, efficiency, and brutality) was done so well that it was like seeing his comic book fight scenes come to life, Deadpool is the only action movie about which I’ve said, “I would have been happy to sit through more fight scenes.” I’ve always liked the mixture of fighting styles portrayed in the comics, and seeing them on the big screen reminded me of all the comics storylines that have established just what a powerhouse fighter Deadpool is. Sure, he’s not a tank like Colossus; but with his level of precision and skill, his unorthodox and unpredictable but successful tactics, and his healing powers, there’s a reason Deadpool stands above pretty much every melee fighter in the Marvel universe (bucking for first with Wolverine).
Although I say I’d be happy to see more fight scenes in theory (and in future Deadpool movies!), of course in reality too many fight scenes can overwhelm the story. The screenwriters struck the right balance here, devoting enough time to the establishment of Wade’s prior character and relationships to give them meaning alongside his transformation into Deadpool and into his action-heavy revenge scheme. They also did a good job introducing a roster of interesting character relationships without an excess of heavy-handed exposition; and when exposition was needed, cleverly used Deadpool’s fourth-wall-breaking trait to help things along. I do think that the main villains (Ajax and Angel Dust) are fairly opaque, and we don’t learn much about their motivations, but they are well acted and delineated enough to be effective in the story; and Ed Skrein’s Ajax, while he may not be the most horrifying villain I’ve ever seen on screen, is definitely one of the ones I’d most like to punch in the face.
Deadpool’s allies fare a bit better in the development category. T.J. Miller is excellent as Wade’s buddy Weasel, serving as a sort of loyal sidekick who prefers not to actually be around when the action goes down. In character, he’s very like the Weasel of the later comics (Cable & Deadpool era, because in the earlier comics Deadpool was much harsher to him), despite some differences in detail. Miller’s dry delivery makes him memorable, and Miller and Reynolds have a great rapport on-screen, which makes their friendship believable and their banter very amusing. Blind Al (Leslie Uggams) is great in her roommate role, and despite the movie losing some of the weirder, darker aspects of the Wade/Al friendship (see DeadpoolVolume 1 Issue 14), manages to nail the bickering but weirdly caring dynamic they have in the comics. (“Listen Al, if I never see you again, I want you to know that I love you very much,” says Wade as he leaves for the big showdown. “I also buried 1,600 kilos of cocaine somewhere in the apartment – right next to the cure for blindness. Good luck.”) Even the cabbie, Dopinder (who is not featured in the comics) has his moments and his own little difficult romance going on, which results in a pretty damn funny scene with “Mr. Pool.”
Although X-Men ally Colossus (voice, Stefan Kapicic; facial performance, Greg LaSalle) isn’t given much dimension, he does well as a moral foil for Deadpool, and is endearing in his patient attempts to convince Deadpool to be a hero. And his superhero speech and Deadpool’s ensuing choice at the climax of the movie make for the most morally thought-provoking moment of the film. Negasonic Teenage Warhead (Brianna Hildebrand), the other X-Men character and Colossus’s trainee, doesn’t get a ton of dialogue, but Hildebrand manages to do a lot with her screentime and I love what the writers have done with both Negasonic’s character and her powers thus far (which they’ve changed from the comics, but given she’s barely in the comics, I don’t foresee any fan rage). In outward character she is the quintessential moody teen (as per the hilarious opening credits), which Deadpool instantly calls her on; but that interaction establishes an immediate mocking rapport between the two, and by the final fight scene, they are working together as a better team than he and Colossus ever do. And of all the superpowered characters in the film, her powers are undoubtedly the most bombastically badass, as she can basically be a human bomb (slightly similar to Nitro). Negasonic is also a cool choice because she’s previously unexplored in the X-Men movie realm, and would make a good possible addition to the roster of characters that orbits Deadpool for a sequel, or could be explored further in other X-Men movies.
Of course, the driving force for much of the movie’s plot is Wade Wilson’s love story with Vanessa Carlysle (Morena Baccarin). And if Vanessa and that relationship had not been completely believable, the movie would have fallen apart. Kudos to the writers for penning one of the weirdest, but also possibly most human and authentic, big screen romances I can think of; and to Baccarin (and Reynolds) for making it feel entirely credible and natural. As the lovers note in the movie, they work not because they look like they should on paper, but because their individual quirks fit perfectly together, “like the weird curvy edges of jigsaw puzzle pieces” to form a whole picture. Although Baccarin unfortunately has to fill the damsel in distress role for a while in order to further the plot, there is enough substance built into her character and the romance prior to that point that she transcends that role because we already know her as a whole person, and their relationship as a solid, real thing. Plus, Vanessa does get to do a little ass-kicking of her own, getting in at least one solidly impressive blow on Ajax. And although I was slightly sad she’s not Copycat simply because I would have liked to see it, its canon and it works much better at this point in the movie franchise’s story to have her be a non-mutant. At least we got a little nod to Copycat in Vanessa’s white-streaked hair; and it’s possible that if she shows up again, we’ll get to see her in her full mutant glory.
Although we didn’t get to see Copycat, Deadpool gave us plenty of other references to the comic outside of, obviously, the main cancer and Ajax/Workshop storyline and key supporting characters Vanessa, Blind Al, and Weasel. Along with things I’ve mentioned like the pouches, Vanessa’s hair, and the Shar-Pei bit, other favorites of mine include:
Deadpool running into Bob amongst the faceless lackeys hired by Ajax (and although in the comics Bob’s wife is named Allison, I’m assuming in the movie she’s Gail for Gail Simone, a fantastic comics writer who wrote some great Deadpool comics);
The Hellhouse, a.k.a. Sister Margaret’s School for Wayward Children, in all its seedy glory;
A revenge plot flipped from the early Deadpool issues, in which Ajax is hunting down Deadpool via tracking his former Weapon X buddies (who did time with him in The Hospice/Workshop) and then killing them after they’ve given him the information he needs;
The heel-face turn plot point of Ajax telling Wade the “superhero” program was never meant to turn him into a hero, but was intended to turn him into a super slave (in the comics origin story, Wade did have a chance at being permitted to be Weapon X’s version of a superhero, but the cancer cure didn’t take, which is how he ended up in The Hospice). This echoes the Landau, Luckman, and Lake comics storyline wherein Deadpool signs on to save the world and then discovers that they never actually intended for him to be a hero in the sense he thought, because LL&L’s idea of “saving” the world is allowing an alien being to bring “peace and bliss” to Earth by robbing everyone of free will, leaving inhabitants in an inert stupor).
Deadpool seeking a fix for his ugly face. There are actually several stories in which Deadpool temporarily becomes handsome again/loses the ugly mug, but none of them end well (except, arguably, that thing with the One World Church, since it kicked off Cable & Deadpool, the most awesome reluctant buddy comic ever).
Deadpool bonding with Worm. Although not referred to as Worm in the movies, Deadpool’s Workshop friend David Cunningham has something subtly wrong with his right eye and side of his face, which echoes the cybernetic implant on Worm’s face in the comics, and Worm’s last name in the comics is Cunningham. The two become friends, and as in the comics, Cunningham dies near the time of Deadpool’s escape (although in the comics he’s lobotomized by Ajax, and Deadpool kills him in a mercy killing. This is itself likely an homage to One Flew Over the Cuckoo’s Nest, which Deadpool’s comics origin echoes in many ways).
Several references to Fabian Nicieza and Rob Liefeld, creators of Deadpool, including Liefeld’s name on a coffee cup and one of the characters in the Hellhouse being named Liefeld; and both names appearing on freeway exit signs. There’s also a line in the credits that thanks Liefeld and Nicieza “(With Tongue).” Oh, and let’s not forget the waitress in the Hellhouse, Kelly, who I assume is a reference to writer Joe Kelly;
Deadpool with a knife in his skull, à la oh-so-many of Deadpool artist Reilly Brown’s awesome Deadpool sketches, in which he loves depicting the merc as a literal human pincushion stuck full of things, being gnawed by rats, or even on fire. (The scene also references Daniel Way’s Pool-o-Vision, but I hate that in the comics, so pffft. It’s excusable in the movie because of the knife in the brain, though. Speaking of Daniel Way, the pizza guy scene echoes one in his run on the comics.)
Wade’s Bea Arthur shirt (in the pizza scene). Deadpool in the comics has an obsession with Bea Arthur, who he thinks is uber sexy.
Deadpool breaks his limbs to escape shackles in Issue 9 of the Joe Kelly run, when he’s escaping from Deathtrap. (I love that issue so: “Die, Teddy Ruxpin, Dieee!”) The broken limbs he gets during the Colossus movie fight, and then sawing off his hand to escape the handcuff, both echo that scene. Also, the baby hand growing back in the movie echoes a plotline in Issue 3 in which his finger had been cut off, and he’s trying to grow it back but only grows back a tiny stub at first.
The Dead Pool. Although in the comics Wade names himself after the Dead Pool run by Worm in The Hospice, and in the movie it’s run by Weasel at the Hellhouse, the inspiration is at least similar. The reference to Captain Deadpool is also great.
The way Deadpool impales one of the guys on the freeway with two katanas echoes the cover of Wolverine Issue 88, the issue where Deadpool and Wolverine first meet.
The way Vanessa touches Wade’s face after seeing his scars for the first time is reminiscent of Siryn’s gesture in the comics when she first sees him without his mask.
Meta fourth wall-breakage. Deadpool references the fourth wall a number of times in the movie, as in the comics, but the Blind Al bit where he breaks “sixteen walls” was probably my favorite allusion to it.
When Wade and Vanessa are finally together again and about to kiss, he says, “And now, the moment I’ve all been waiting for.” I’d take that to be a subtle reference to the multiple voices/speech boxes he deals with in the comics.
The little Deadpool bust on the shelf in Wade and Al’s apartment is a nod to how into his own brand and merchandise Deadpool is. (I was honestly surprised not to see the Deadpool boxers and the boots with the Deadpool symbols on the soles!)
The flipped running joke about Deadpool joining the X-Men is great. For some time in the comics, Deadpool liked to refer to himself as part of the X-Men team, and the team continually told him with great exasperation that he’s not a part of the team. Of course, I assume this is also set-up for bringing him into the greater X-Men movie universe, as he eventually does work with the X-Men in the comics.
And speaking of the X-Men universe and the future of Deadpool, now that we have this movie in theaters and it’s doing so well, naturally everyone is speculating about what comes next (besides the release of the soundtrack with that hilarious Deadpool theme song. Of course Deadpool gets his own theme song, along with the best Stan Lee cameo to date). The sequel was greenlit a few days before Deadpool opened; and in the fantastic end credits scene, Deadpool confirms (if you can believe him) that we’ll be seeing Cable in the next film. Given I’ve been saying since the moment Deadpool was a reality that the next logical step is filming the best messed-up bromance ever, a.k.a. Cable & Deadpool, I’ll be overjoyed if that’s the case. And it makes so much sense. Now that the character in both tone and origin is established, it will be easy to introduce Deadpool, e.g. through an X-Force movie (which Ryan Reynolds wants to see happen), to the larger ensemble franchise; and then to roll from that into Cable & Deadpool, a storyline that again primarily focuses on Deadpool (and Cable), but also involves a number of other mutants and has a much grander scale, since Cable is literally trying to save the world before he dies.
Going next to Cable & Deadpool will allow for further development along the lines of the absolute funniest moments in the film, which are when Deadpool is mocking others (particularly Colossus, Negasonic, and “Agent Smith”), skewering the X-Men franchise and superhero movies (“McAvoy or Stewart!?” killed me, and his excitement at the “Superhero Landing!” was a riot) and engaging in or laughing to himself at gallows or black humor (the aforementioned Zamboni scene, spelling out FRANCIS, and the T-Rex joke being good examples of this). Yes, a surprising amount of the crass humor in this movie does land (and Deadpool’s creative cursing is pretty good, his reference to Ajax as a “shit-spackled Muppet fart” being the best), but I’d love to see the sequel really keep focus on the satire and the more complex humor; and bringing Deadpool into the larger X-Men universe or pairing him with Cable (a man who he grudgingly respects, even when he doesn’t always like him) will allow for that. (Side note: I’ve seen some speculation already that maybe other superhero movies should up their ratings to R, considering that Deadpool is doing so well; but I think that would be a mistake. The smartest move, for both future Deadpool movies and other superhero movies, is to stay true to the character(s), and base both content and choice of rating on that. Deadpool being what he is, I had no issue with this film being R, and think future R-rated Deadpool films would be perfectly appropriate – but I also hope the most important goal remains making movies that capture the tone and essence of the character.)
Moving to the Cable & Deadpool storyline will also create an opportunity for another story that will hold together underneath all the jokes, and a more thorough exploration of morality through Deadpool’s eyes. In this film, Colossus’s speech as Deadpool is about to shoot Ajax in the head, and Deadpool’s reaction, which is hilariously and typically Deadpoolian, are also a pointed commentary on the superhero world and the way superheroes’ choices to rise above the villains they fight can be seen as noble and heroic, but could also be viewed simply as an unwillingness to be the one to rid the world of their evil. Of course, taking that final step is also problematic, as it gives rise to the concerns that started Marvel’s Civil War storyline, about having superpowered beings running around accountable to no one. The majority of the superpowered need to walk the line to remain in the good graces of the public; whereas Wade simply does not care and follows his own skewed code.
But examining that code, and Deadpool’s struggles in the comics with making the right choices and being a hero, could make for a great and complex movie sequel, and the Cable & Deadpool storyline has the moral questions and hard decisions built right in. Now that Deadpool has been established, I want to see the sequel delve even deeper into what’s underneath the wisecracks and the crazy now that he’s post-op Deadpool. I want to see Cable developed into a three-dimensional and perfect foil for Deadpool, and I want to see Deadpool forced to make hard choices in his own unique way. And, of course, I want them to showcase more of that crazy elegant fighting style, because it is badass. And, and, and…is there anything else I want? Well I would say a Deadpool unicorn, but I already have one. So I guess all that’s left to say is, OMG Deadpool was super awesome and I want to see it again; and…
You know how every year when spring rolls around you get that compulsion to turf out, e.g., those sweaters you’ve had since high school (high school, for heaven’s sake! That was an eon ago, back when you thought skater style was rad)? And those old magazines, and maybe a set of silverware someone gave you once but you’ve since replaced with a nicer set?
Well I always get that compulsion after Christmas. Possibly because I don’t have a ton of storage space, and inevitable I’ll return from Christmas break with some awesome thing that I have absolutely no place for. And thus, the turfing out begins.
It always takes me awhile, and I like to blame this on my grandmothers (who I loved dearly, by the way). You could not imagine two more different houses when it came to aesthetic than those of my two sets of grandparents (and while everyone contributes to the home decor, I think my grandmas set the tone the most).
My dad’s parents had a home that was well decorated and homey but only lightly accented with knick-knacks – a jar of marbles here; a stained glass biplane there; that weird spinning perpetual motion thing my grandpa loved. There was a place for everything, and everything was in its place.
My mom’s parents, on the other hand, had a proliferation of collectibles, living side by side somewhat regardless of their categorization and in whatever room they felt like living in. Thus, my grandma’s perfumes hung out with her collection of Taco Bell dogs (she had the whole set at one point) and her beautiful hand-painted items kept company with Babe the talking pig. And so on.
It could be genetic, or it could be that I grew up in a house that combined these aesthetics; but either way, I find I am constantly warring with myself when it comes to home decorating…and especially when it comes to geek collectibles. I want a nice, neat place for everything and everything in its place; but I also want the “everything” to include a display of, e.g. every single Deadpool thing I own and at least some of my Minions (I can’t resist the Minions. They’re so silly!). And that’s how every now and again I look around and realize that suddenly, within my neatly organized habitat, my bookshelves have become so overrun with fun collectibles that I can’t get to my books. And why it takes me forever to do my sorting; because every decision of what to keep or give away is an agonizing debate of, “I must get rid of things to have a nice neat space,” versus, “I must display all twelve variations of Donatello from Teenage Mutant Ninja Turtles that I own, and no, I can’t get rid of that Pez dispenser, because then I’d only have eleven Donatellos!” Sigh.
My winter cleaning this year has unearthed a number of geek collectibles I didn’t even remember I had, and made it clear to me that maybe, just maybe, I have a wee bit of a collecting problem. It’s also made me wonder what it is that makes us geeks want to own every collectible for the things we love (and in my case, a lot of cute plush anthropomorphic food, as well). Is it a compulsion? An addiction? A desire to express our love of said things in visible ways? A way to wordlessly connect with fellow geeks through a simple display? Or is it simply the sheer happiness of owning and being able to see and touch the embodiment of things we love?
I don’t know. What I do know is that even though I vowed to myself that I wasn’t going to buy any more Deadpool or other collectibles, my mind also has the perpetual caveat unless they’re really awesome and I can’t live without them embedded in it, and clearly, I can’t live without this: a.k.a. the Hot Toys movie version Deadpool. I mean look at it: it’s a thing of Deadpoolian beauty. I must own it.
I also know that I have a lot of things I ought to be selling on e-Bay, and also, that I need more shelf space.
This past weekend we here in Washington DC got a lot of snow. Um… “A whole lot of snow”? …Okay, how about, “a metric ton of snow”? Ooh… “The fourth heaviest snowstorm dating to 1884.” There. I think that sums it up nicely.
Given this, I (not even kidding) have not left my home in five days (but I’m still sane! No really, I promise! The purple bunnies in my pantry told me so.) And of course, being a very practical person, since I knew the storm was coming I ensured I was well-stocked with all the necessary items beforehand. But then, around the end of Day 1, as the snowdrifts began inching into the two-foot range on my windowsills, I began to wonder what I would do to entertain myself if the power went out (taking with it, one might assume, the Internet).
“Ah-ha!” I said to myself. “I have a fully charged computer with a DVD player, and a backup battery. So even if the power goes out, and Netflix goes out, I could still watch movies if I wanted to” (aren’t modern times great?). But of course, I would be limited to the movies I owned on good old-fashioned DVDs. “So,” I said, turning to my trusty DVD collection, “what have we here…?” And there I found, in my very healthy collection of DVDs (what, I still like owning stuff) seven sci-fi and fantasy movies that I would happily watch during a snowstorm. And given that we might have another crazy snowstorm sometime, I think you should own them too. (Nota bene: I am not looking at series films because my battery would probably die before the end; and I’m not looking at comic book films, because most of them are series films as well as stand-alones, so see point 1.) So here they are:
Look, Star Wars is awesome. I love Star Wars. But it’s Day 1, and the snow has just started falling, and you don’t want to be tied down to a trilogy. You want a nice glass of wine, a good laugh, and that warm glow of feeling you’re inside watching a silly parody while the first flakes fall, instead of outside on your way home from work in the cold. Spaceballs is just the thing. Funny enough to stand on its own (I know, since I saw Spaceballs before I ever saw Star Wars, thanks to Channel 11 back in the day), it’s got a set of great comedic actors, including Bill Pullman (who can also pull off a serious leader-slash-action hero, à la Independence Day), John Candy, and Rick Moranis. And although I don’t know Daphne Zuniga from a lot of other comedic acting, she does a bang-up job as Princess Leia’s more ridiculous doppelgänger. And, of course, there’s Mel Brooks. You gotta love Mel Brooks, the king of comedic parody and wordplay, who is not above turning an instruction like “comb the desert” into a multi-layered gag . (And shout-out to Rob Paulsen, voicing one of the Spaceballs there.) Man, I love this movie.
Okay, okay, you’ve had a few laughs, and the snow is falling in earnest now, and it’s time to Get Serious. Enter Tom Cruise as noble but wavering action hero John Anderton, in the high-tech world of Pre-Crime. This Philip K. Dick-based movie boasts a creepy set of scientifically-explained psychic mutants predicting the future, computer displays that are second only to those in Iron Man for how jealous they make me, and a car chase scene that is one of the more unique I’ve seen. Add into that a fairly well-constructed plot with some great reveals, focusing on multiple possible future time-paths and the interplay of choice, perception, and pre-determined outcomes, and this is a great watch to keep you occupied instead of staring out the window suddenly wondering if you remembered to buy toilet paper. Plus, it’s got Colin Farrell doing an impressive job as earnest government investigator Danny Witwer. Seriously, he’s really underrated in this.
Well, the snow’s been coming down for some time, and maybe you need a little magic. And a little eye-candy, of both the human and wondrous sort. (And a little Bowie, may he rest in peace.) Snuggle up with The Prestige, a beautifully-done film based on the novel of the same name by Christopher Priest, which takes magic to a whole new level by pitting a pair of rising magician friends-turned-bitter enemies against each other, as each desperately tries to outdo the other in becoming their century’s greatest magician. But there’s more to this movie than meets the eye, as anyone who’s watched a Christopher Nolan film should know. Alongside the lush visuals of a Victorian era gone by and a gorgeous, talented cast (Christian Bale, Hugh Jackman, Scarlett Johansson, Piper Perabo, David Bowie…need I go on?), we’ve got intrigue, and plot twists, and science-made-magical (Tesla!) galore. This movie is mesmerizing, and intense, and if you’re trying to stave off the boredom of being several hours into the storm, you couldn’t ask for a better film to surprise you and keep you thinking after the last credits roll.
Okay! So The Prestige kind of left you reeling. I mean, those Christopher Nolan movies are seriously intense, and they do tend to shock the mind. You still want maybe a mystery to occupy you instead of staring at the snow still whirling and building up against the windowpanes; but also maybe a little comedy and over-the-top action to go with it, to give those brain-cells some variety. Enter I, Robot, yet another film based on a short story or novel, this time by Isaac Asimov, one of the “Big Three” science fiction writers of his lifetime, along with Robert A. Heinlein and Arthur C. Clarke. Although the movie embraces Asimov’s Three Laws of Robotics as integral to the plot, I doubt he ever envisioned Will Smith as Del Spooner, the robot-hating, Converse-wearing, nostalgia-loving, wisecracking detective-with-a-heart-of-gold who sets out to solve the mystery of the death of Dr. Alfred Lanning, founder of US Robotics. Smith adds the action-hero vibe and stellar comedic timing needed to make this movie sparkle, although the visuals, as well as Alan Tudyk’s voice performance as the robot Sonny and Bridget Moynahan as socially awkward Dr. Calvin are also key ingredients. I, Robot is a well-paced film that is one part action, one part introspection, and one part Will Smith (or endearing, slightly rebellious comedy gold. Look, I love that man. You know you do too.) It’ll definitely keep you going in the midst of the storm.
Argh! It’s like, Day 3 already, and you’re kind of getting stir crazy. Maybe you want to go to the gym and blow off a little steam (and jogging in place or sit-ups just don’t hold the same appeal). Time for Shaun of the Dead! (Okay, yes, loosely part of a trilogy, but very, very loosely, so I’m keeping it. I would also have included Hot Fuzz on this list, but it’s missing the sci-fi/fantasy element). So you can’t go kickboxing right now. Well, at least you can watch unambitious Shaun and slacker Ed, best friends ‘til the end (played by Simon Pegg and Nick Frost, who have been playing best friends in things since the absolutely fabulous Spaced, and I hope will continue doing so until the literal World’s End), as they wallop their way through a world of lurching, moaning, creepy-but-funny zombies and friends-turned-zombies (I hate zombies and I love this movie. Damn you, Edgar Wright & Co.!) It’s hopefully not the end of the world for you in your snow-blanketed neighborhood, but it could be for Shaun and his friends as they try to stay alive and un-moaning by following the epic survival plan of getting to the pub in one piece. For ridiculous British hilarity and snappy, sharp storytelling and visuals, this is the movie to watch. And, of course, we can’t forget the completely unbearable David, played so well by my favorite comedian Dylan Moran, co-creator and lead actor of the fantastically funny Black Books, that even though I adore Dylan as Bernard Black, I absolutely loathed him as David. Oh, David.
Wow. That was a lot of blood, gore, and fast-paced humor. But now it’s Day 4, and the snow has stopped, and the snowplows are still slowly making their way through, and the whole world is covered in white and looks a little bit magical. Maybe you need a bit of fantasy to go with it. Time to pick up Stardust, a movie about love, magic, discovering what’s really important in life, and, okay, yes, some action, adventure, and evil witches. Based on the story by Neil Gaiman, Stardust boasts a great all-star cast, including Charlie Cox, Claire Danes, Ben Barnes, Michelle Pfeiffer, Henry Cavill, Robert De Niro in what has to be one of my favorite roles of his, and a whole family of talent in the seven brothers played by Mark Strong, Mark Heap, Rupert Everett, Julian Rhind-Tutt, David Walliams, Jason Flemyng, and Adam Buxton. It also has lush visuals and a truly magical tale that has enough twists to keep you guessing. It’s not a syrupy-sweet movie by any means, but it will leave you with that nice, warm, happy feeling that you’re in the mood for by this point.
Alright! It’s Day 5, and you’re in that happy place where you know enough roads have been cleared that you could go outside if you really, really wanted to, but not enough roads have been cleared to mean you have to make a snowy trek in to work for the day. You’re ready to handle another movie that amps up the intensity and keeps you guessing even after the story’s done. Bring out Inception! There’s a reason two Christopher Nolan movies made this list, and that is: Christopher Nolan movies are awesome (as are Jonathan Nolan creations. Let’s not short-change the co-creator of some of Christopher Nolan’s works, and the creator of the excellent series Person of Interest ). And Inception is no exception (okay, I couldn’t resist). What is real, what’s in a dream, and…what? Who’s that guy walking around in my head trying to steal all my secrets?? Inception is the weirdest, awesomest, most visually stunning action-espionage-romance-reverse heist mindfuck ever, seriously. The crazy scenery-based surreal action sequences make me wonder if Nolan was spending a lot of time chilling with Dominique Appia when he made the movie, and the literal layers-upon-layers of plot and twists make it both hard to keep up with and absolutely fascinating. Add to that an excellent cast (Leonardo DiCaprio, Ellen Page, and Joseph Gordon Levitt in a role that really showcased his acting chops, to name a few) and just gorgeous scenes and sounds, and I can’t imagine a better way to finish off being snowbound.
And…look at that! The sun is shining, you’ve made it through Snowzilla without having to boil any shoe leather for nutrients, and…oh. It’s time to be a Real Adult with Responsibilities again? Foo.
