Author: Robert Greenberger

Aaron Sorkin is an exceptionally talent writer who brings a playwright’s sensibilities to television which means his characters talk. A lot. But unlike so many prime time series, his characters actually have something to say. It’s a shame more people don’t want to hear whatever it is being discussed because Sorkin series tend not to last very long.

There were two seasons of Sports Night, four Sorkin-produced episodes of The West Wing and a single uneven season of Studio 60 on the Sunset Strip. For his self-proclaimed final act in television, Sorkin gave us three ever-shortened seasons of The Newsroom. This last ran on HBO and other than using a handful of words, could have easily aired on the major networks. After all, Sorkin didn’t pander with nudity or excessive violence.

The series’ conceit was that we were watching the fall and rise of network anchor Will McAvoy (Jeff Daniels), the face and voice of Atlantic Cable Network, all all-news cable channel. As we watch him and the production staff find their mojo, Sorkin chose to set the show in the recent past and see how these high-minded journalists would have covered current events. The first season was the run-up to the 2012 election while season two covered election night and how a story blew up in their faces.

Season three, a mere six episodes in length, comes out in a two-disc DVD set on Tuesday from HBO Home Entertainment. The focus this time falls on the Boston Marathon bombing along with the network’s sale and struggles to maintain its integrity while boosting ratings for revenue. With just six hours to play with, Sorkin never let up and moved things along at a fast clip, minimizing the number of sub-plots which meant the supporting cast had less to do. In the penultimate episode, though, there is a strong sub-plot about a college rape story that caused some criticism from the pundits but the series gets credit for even exploring the subject, when few other shows have touched on it.

Daniels, Emily Mortimer, and Sam Waterston get to carry the load this time around and do so with energy and pathos. Everyone else, from Olivia Munn to Alison Pill, have their moment or two and it’s nice to see them in action. If anyone is given less to do it’s Dev Patel, whose Neal has to disappear to avoid testifying where he got leaked information that points to the Eric Snowden case.

Even though it’s set in the past, it’s the very recent past so the issues of the day remain largely the same and there’s a wonderful thread about the impact social networking has had on news coverage, especially without proper vetting of sources and details. Sorkin, at his weakest, still tackles topics few other series go near and gets people on the show and then in the audience discussing the issue. He is clearly liberal in his biases but allows his characters to explore all sides of an issue. Too few prime time shows on any distribution channel truly take on the topics of the day and give their characters strong opinions in favor or escapism or “ripped from the headlines” gloss. As a result, as The Newsroom fades from memory so does the impetus for further intelligent debate thanks to characters we’re invested in.

Sorkin has come to end his series with an episode entitled “What Kind of Day has it Been” and here he brings things full circle as the death of beloved producer Charlie Skinner has everyone reflecting at the events that brought everyone together in the very first episode, when McAvoy was at his lowest ebb and needed help. While McAvoy and crew have come a long way, the series rarely let its viewers down and remained a sharp commentary on politics, media ethics, and human relationships.

The standard definition transfers are fine and makes for good watching. The sextet of episodes is accompanied by the Sorkin commentary that aired after each show. Additionally, there’s some interesting commentary from Sorkin and executive producer Alan Poul for the finale.

HBO gets kudos for airing the series at all and rewatching this reminds me how much Sorkin’s weekly presence will be missed.

Cleopatra in Space: The Thief and the Sword
By Mike Maihack
191 pages, Scholastic Graphix, $12.99

When Scholastic brought Mike Maihack’s webcomic Cleopatra in Space to print, it seemed like a perfect fit for their line. Unfortunately, the protagonist had as much to do with the real life Cleopatra as does the Queen of England. Target Practice was an Egyptian-flavored space opera with an overly familiar feel to it, much like the overhyped Amulet series from Graphix.

We now have the second volume and it does little fresh or different. In fact, it does less than volume one, slowing things down. Considering the annual release pattern, young readers deserve stories with beginnings, middles, and ends. Here, we start in the middle and reach page 191 without too much happening, leaving us with a cliffhanger that will frustrate the audience and make parents feel as if they wasted their money.

Maihack clearly studied comics when the decompressed storytelling of the late 1990s and 2000s were all the rage. At the time, graphic novel collections were increasingly valuable to the bottom line and six issue collections were the sweet spot. That meant pacing went way down and things dragged out. Here, Maihack spends lots of time watching people run, jump, fight, and so on without much of consequence happening. Similarly, he never deepens the characters so they remain flat, two-dimensional types rather than complex beings.

Maihack clearly knows how to tell a story and his character designs are good. His color palette is interesting and he brings some nice emotion to his story but that’s as far as it goes and for the price, more is expected. Heck, I’ll say, it’s demanded.

The Baby-Sitter’s Club: Kristy’s Great Idea
By Raina Telgemeier
180 page, Scholastic Graphix, $10.99

With the well-deserved success of Raina Telgemeier’s original graphic novels, it makes perfect sense for Scholastic to re-release her earlier efforts, adaptations of Ann M. Martin’s Baby-Sitters Club novels. Wisely, they freshened the 2006 material with added color from Braden Lamb and, like a fresh coat of paint, it feels brand new.

Martin launched her bestselling line of Young Adult novels in 1986, totaling 131 standard novels, an additional 15 Super Specials, plus assorted Mysteries, Super Mysteries, Special Edition Readers’ Requests and so on. The last original fiction was actually a prequel to this story, released in 2010.

In 2006, Scholastic hired Telgemeier to adapt the novels in the hopes of a new secondary line of works for readers. After four, sales didn’t meet expectations and they ended. But now they are back with volume one out now and the second due in July.

Telgemeier does a nice job visualizing the four main characters – Kristy, Mary Anne, Claudia, and Stacey. Her story moves breezily along, never dwelling too long on a scene or a baby-sitting experience. Some things get telegraphed such as newcomer Stacey’s secret but in keeping with Martin’s deft handling of teen issues, it plays out well.

It’s interesting to see how Telgemeier has grown as an artist in the last decade. Her style is easily recognizable but feels simpler here. Lamb’s color is a lovely layer to the storytelling and complements the artwork nicely.

The novels and this quartet of titles is clearly for a specific female audience but put it in their hands, and they will love it, coming back for more.

Many cultures initially believed you could not own the land, just use it. Then other cultures thought otherwise and ownership became the norm. Now imagine discovering that some intergalactic race owns the Earth and all its inhabitants. Pretty cool idea, no?

The Wachowskis don’t do much with this in the film Jupiter Ascending, a pretty misfire that has plenty of ideas and plenty of plot holes turning it into more of a mess than a state-of-the-art science fiction tale. It’s a shame really; these are the creators who blew our minds nearly twenty years ago with a little something called The Matrix.

The film, out this week from Warner Home Entertainment, starts on Earth and tells the story of the oddly-named Jupiter Jones (Mila Kunis). She and her family her emigrated from Russia to America where they have a family-run housecleaning business. It’s not much of a career for a young woman and she hates it but she endures scrubbing toilets to raise the funds to buy a telescope to gaze at the stars as she once did with her father Maximillian Jones (James D’Arcy). Short of cash and desiring this treat, she was prepared to sell her eggs to complete her fundraising.

A funny thing happened during the harvesting process: aliens come looking for her. Before they can do away with her, for reasons as yet unknown, she is rescued by Caine Wise (Channing Tatum), yet another alien and Jupiter’s life will never be the same.

Through Caine and then Stinger Apini (Sean Bean), Jupiter begins to learn that she is somehow the reincarnation of House Abrasax’s matriarch, who was murdered some 90 millennia earlier. We’re told about Keepers and Entitled and those who strike their better lose their wings, and on and on. It all boils down to the climax of a long game being played by Kalique Abrasax (Tuppence Middleton), Titus (Douglas Booth) and emperor Balem (Eddie Redmayne). If Jupiter is killed then one of them can inherit the Earth or maybe marry one of the others and then kill her so the groom can inherit the Earth. Why? Apparently, we’re a hardy bunch and we’re a rich supply of the life essence that keeps these royals immortal. Truly.

The goal is to keep Jupiter from claiming her birthright but first she has to be convinced this is all real and then she has to go to the realm and deal with interstellar bureaucracy to establish her claim is legit.

There’s running, jumping, fighting, double-crossing, last-minute rescues, verbal byplay, true love, and every other stock element you want in your sci-fi popcorn films. What’s missing though is the gravitas that this is real and the stakes are high. Jupiter accepts this all with barely any wide-eyed wonder and is then all gung-ho to get involved. Things take a decidedly nasty turn when the emperor has kidnapped her family, including momma Aleksa (Maria Doyle Kennedy). She will surrender the Earth or watch her loved ones be killed.

There’s then more running and things blowing up and the world coming apart and somehow a series of nick of time rescues that stagger the imagination followed by two incredibly unbelievably moments of serendipity that makes you groan loudly because by the then, this story has gone off the rails.

The film is sumptuous to look at with amazing rocketships, costumes, cityscpaes, and tech gear, Everyone from Kunis to Redmayne is attractive and scrubbed to a glistening sheen. The special effects are lovely making you ignore much of the nonsense dialogue, thin characterization, and lapses of logic. Making fun of the government offices requiring a reincarnated heiress prove her legitimacy is a fabulous notion then the Wachowskis made it resemble Earth way too closely down to a cameo from Terry Gilliam, who did similar things in his own films.

The movie looks just fabulous in high definition with an impressive video transfer with matchless audio. None of it makes up for the nonsensical story, but boy, it’s pretty watch although Michael Giacchino’s score sounds crisp yet tired.

The film comes on Blu-pray disc, supported with the standard assortment of features, none of which feels out of the ordinary or particularly special, much like the film itself. We have Jupiter Jones: Destiny Is Within Us (7:00); Caine Wise: Interplanetary Warrior (5:00): The Wachowskis: Minds Over Matter (7:00); Worlds Within Worlds Within Worlds (10:00), letting us finally linger over the cultures, alien races, planets, fashion, androids and designs;  Genetically Spliced (10:00); Bullet Time Evolved (10:00), a look at the latest rev of their patented special effect;, and finally, From Earth to Jupiter (And Everywhere in Between) (10:00),  an attempt at sorting through the film’s plot.

How to be a Superhero
By Mark Edlitz
Bear Manor Media, 586 pages, $42.95/$29.95

Longtime readers of pop culture magazines have no doubt read interviews with actors who have donned capes, cowls, spandex, and prosthetics to portray heroes and villains drawn from comic books. I certainly was involved in my fair share of such interviews working at Starlog Press and its successors have continued, especially contemporary online outlets which are enjoying a bonanza of options.

Most of those interviews tend to be about the most immediate project with little insight or context about an actor’s association with a media property or being the latest in a long line to play the same role. And certainly, these interviews are sandwiched between news, features, and other topics. So, it’s a bit of a surprise that such a collection has not been attempted before.

Mark Edlitz, a hardworking writer with credits including The Huffington Post, Los Angeles Times’ Hero Complex, Moviefone, Sirius/XM Radio’s Slice of SciFi and Empire magazine online, has collected nearly four dozen interviews he’s conducted through the years and is releasing on June 1, How to be a Superhero. It’s not a guidebook or a real “how to” but provides an interesting glimpse into the performers who brought four-color idols to life.

Organized into eight categories, Edlitz introduces you to Caped Crusaders, Heroic Women, Antiheroes, Sidekicks, Supervillains, and so on. There’s even an Appendix that includes the performers he could not interview himself, culling choice quotes from a variety of sources so this is as complete a source as one might hope to find.

Edlitz’s overlong introduction sets the stage and clarifies to us who he considers to be a superhero, which feels like a justification to wax nostalgic about James Bond and including interviews with George Lazenby and Roger Moore. Additionally, he includes an out-of-left field, not terribly useful interview with Leonard Nimoy about Spock.

Overlooking those, the remainder of the book is treasure trove of interesting conversations with actors from Noel Neill and Jack Larson during the nascent television days through Clark Gregg, the coolest hero in a black suit on prime time today. In between, we get everyone you would expect and then some. Edlitz gets credit for speaking to the first Fantastic Four – Alex Hyde-White, Carl Ciafello, Rebecca Staab and Joseph Culp, who played Doctor Doom – in the never-released Roger Corman produced adaptation. Similarly, we also hear from Chip ZIen, who voiced Howard the Duck from that eponymous disastrous production.

Given how slightly defined the heroes were in film and on television in the 1940s-1960s, the actors themselves attempt to fill in the gaps and explain their work process. Then there’s Yvonne Craig who pretty much admitted she didn’t put much thought in to Batgirl given how little she was given to work with.

On the flipside, some of the book’s best comments come from Michael Rosenbaum, exploring the events that shaped Lex Luthor on Smallville. Kevin Conroy and Tim Daly, who voiced the World’s Finest heroes, also have some strong comments about what it means to be a hero.

Behind the camera, Tom Mankiewicz, who wrote for Bond and the Man of Steel, provides an informative glimpse into how 1970s fare was conceived while Ken Johnson talks adapting the Hulk to the small screen, mostly avoiding the horrible telefilms that tried to create a Marvel televised universe.

What would have helped the book was providing some context for exactly when each interview was conducted so we have a better idea how the performers were influenced by contemporaneous comics publishing and film competition. He also asks each subject for a question to ask the next one but they run in a chaotic order so it feels jarring rather than delightful.

As interesting as the words are, the pictures leave something to be desired, mostly public domain press pictures and far too few of them. Still, these are minor quibbles in what is an enjoyable reading experience.

With 20-something superhero pictures to come in the next few years, this book is a fine encapsulation of the pioneers who paved the way for today’s fare. Dealing with stereotyping, poor special effects, meager budgets, and ridiculously tight production made it hard to stand up for truth, justice, and the American Way so they are to be saluted and thanked for their contributions.

Glee lost me when it veered further and further away from its core concepts and refused to take its eyes off their initial stars and their forays into a magical version of New York City. I avoided the final season and from the recaps, it appears to have gone into gonzo land with little effort to ground the show in any sense of reality. As a result, I knew I wasn’t the one to fairly review the final season so I turned to a true Gleek, one of my Creative Writing students, and here’s what she had to say.

By Rachel Watson

Glee has many meanings and definitions that the thought of losing the series or saying goodbye is almost impossible. But all good things must come to an end and knowing Glee, it will end in a big musical number that we will remember.

The sixth, truncated and final season of the series is out now in a box set courtesy of 20^th Century Home Entertainment. It opens with Rachel Berry (Lea Michele) learning that she is being fired from her TV show, causing her to return home to Lima, Ohio. Kurt (Chris Colfer) also returns newly single and together the two friends prepare to start a new glee club at McKinley High.

Despite there only being thirteen episodes, Brad Falchuck and the writing staff managed to fit in a wedding between not one couple but two as the expected lovebirds Kurt and Blaine (Darren Criss) finally tie the knot and in somewhat of a surprise, so do Santana (Naya Rivera) and Brittany (Heather Morris). Fans from the Brittana and Klaine fandoms were happy and tearful that their favorite homosexual couples were walking down the aisle to their loves in the view of their friends and family.

That it was two gay couples getting married speaks to the series’ overall strength and value. Of all prime time television, it was the one to consistently and bravely explore what it means to be a homosexual teen, coming out to friends and/or family, and enduring the same travails as their heterosexual friends experience.

Like every other season, the characters learn a lesson that better prepares them to become their adult selves. Rachel learns to conquer her fear, Kurt learns that love is worth fighting for, Santana learns to follow her own choices and even their adult guru, Mr. Schue (Matthew Morrison) learns that you can do things by the bend of a bow and the power of an arrow.

The music, as always, is enjoyable, the stroylines, over the top as they were this season, easy to follow and the best effort was “Dreams Come True”. Here, Rachel earns a Tony and says, “Being a part of something special does not make you special. It’s special because you are a part of it.” Hearing those words just brings tears to my eyes, but what brings warmth to my heart is when nearly the entire series cast appear on stage to christen the school stage as the Finn Hudson Auditorium in 2025 and then sing One Republic’s “I Lived”.

Glee may be over as a television series, but not as a fandom and family. We learn that we are different but all the same thing. Heart. We are the new New Directions each with a special song to sing. With every broken bone, we lived and Glee changed our lives through characters who were going through the same things we were.

Goodbye, Glee. You will be missed but your lessons will be shared for generations.

The four disc standard DVD-only set comes complete with the usual assortment of extras, the Juke box, and some farewell notes. Best are the final features on disc four: Glee: The Final Curtin and Looking Back Video Yearbook.

You have to give Mark Millar a lot of credit. Not only does he possess a fertile imagination, but produces works that are ripe for cinematic adaptation. A cynic could tell you Millar does this by design, but I believe he’s just in tune with the current zeitgeist. As a result, just about everything he releases gets snapped up by Hollywood and if they’re all as successful as Kingsman: The Secret Service, we’re all the better for it. The incredible streak began with the wonderful Kick-Ass, which was brought to the screen by director Matthew Vaughn and they have successfully reteamed here.

The film is out now on Digital HD from 20^th Century Home Entertainment, with the DVD combo set to follow. On the extras, co-writer Jane Goldman notes how the film and comic share the same DNA but changes had to be made from print to screen so the mass wedding execution is gone but replacing it is a nice bit of backstory about the espionage agency fronted by the perfectly cast Colin Firth. Director and co-writer Matthew Vaughn speaks at length about the changes he made from Millar’s story, most notably changing the antagonist to an older man to better match him against Firth.

The miniseries, now available as a collection, was from Millar and Dave Gibbons, an artist who knows a thing or two about clean storytelling, despite the mayhem and bloodshed inherent in spy stories. Millar and Vaughn agreed that spies had grown too serious and the films needed to loosen up which is why with a wink and a nod this doesn’t exactly send up the genre but is just over the top enough to be immensely entertaining. One of the best touches is the truncated subplot about celebrities being kidnapped with it being boiled down to just mark Hamill, who plays himself.

The basic premise has Harry “Galahad” Hart (Firth) recruit “Eggsy” (Taron Egerton) to join the covert spy agency. The first third of the film is about the training Eggsy and the others have to survive before going into the field. The timetable winds up accelerated when the eccentric billionaire Richmond Valentine (Samuel L. Jackson) attempts “cleansing the population in order to counteract the effects of global warming”. Very Bond, but so much broader than most of his opponents.

Running the agency, located within the Kingsman Savile Row tailor shop, is Arthur (Michael Caine), who has seen it all and brings enough gravity to make the operation seem convincing. On the other hand, Mark Strong’s Merlin is everything you want in the most hawkish military man.

Yeah, there’s tons of action and special effects and humor but there’s heart, which grounds it and makes you root for Eggsy. As we learn, his father was in the service and there’s a bond between Galahad and Eggsy which is nicely developed.

There’s little doubt that the Digital HD format is great for mobile viewing and the 1080p image is crisp and flows without hesitation. If there’s anything to miss, it’s the DTS Lossless audio track but the AC-3 audio is just fine.

Without the physical confines of the disc, it also comes complete with the Blu-ray extras so the digital age continues to transform how we consume media. There’s 1:31 of extra material, broken into sections — Panel to Screen: The Education Of A 21st Century Super-Spy, Heroes And Rogues, Style All His Own, Tools Of The Trade, Breathtakingly Brutal, and Culture Clash: The Comic Book Origins Of The Secret Service — that covers everything from the miniseries’ creation, with Millar and Gibbons chatting, to the casting, production, stunts, etc. All of it is slickly assembled and fine to watch.

Yes, the box office was surprisingly strong and a sequel is on its way but the original is tremendous fun and is a fine addition to your video library.