Marvel’s cinematic Avengers will be joined on the smaller screen by The Defenders, the culmination of four series just commissioned by Netflix. Luke Cage, Daredevil, Jessica Jones, and Iron Fist were announced this by Variety morning as each receiving thirteen episode commitments. The linking device is that all four series will be set in New York City’s Hell’s Kitchen, which, in the comics, has been Daredevil’s base of operations dating back to the 1970s.
This rumored set of series was revealed without naming producers, writers, showrunners or casting but would be expected to debut some time in 2014. The announcement did not acknowledge if this quartet of series will be set in the same reality as the film series. If so, it would also connect these shows to ABC’s Agents of S.H.I.E.L.D.
Netflix has received great attention thanks to their original series, a move now being imitated this month by Amazon Prime and soon by Hulu and YouTube. Their House of Cards was the first internet series to receive an Emmy nomination and will be back for a second season in the winter. The pay channel’s Orange is the New Black is their most watched original series and will also be back for a second season, as will their Hemlock Grove.
Since Jeph Loeb was added as a VP for filmed material, Marvel has filled in a vital gap with live-action television, something they seemed unable to crack. Beyond these four, and the subsequent Defenders teamup project, Marvel has been said to be eyeing a Peggy Carter spinoff based on the short film with Haylee Atwell that was attached to the home video release of Iron Man 3. Other series apparetly also ebing pitched to other networks.
Disney’s Marvel movies will move from Starz to Netflix after the current dea for the studio’s output expires in 2015, just in time for The Avengers 2.
DC Entertainment aso has numerous television series in development, mostly at their co-owned CW network with the Flash expected for the 2014-15 season. Fox is also developing a Gotham City series featuring young James Gordon, long before Bruce Wayne first dons the cape and cowl.
In advance of next week’s release of Zack Snyder’s Man of Steel on Blu-ray and DVD, Warner Home Video has released this infographic. This tells you al you need to know about Krypton, or at least the world as depicted in this past summer’s reimagining of the Action Ace. The film has grossed over $662 million worldwide, which, given its production budget of $225 million, means it is on the cusp of profitability. Ancillary sales, including the domestic home video release, should push it into the black before the year is out. Box Office Mojo notes that it may not have soared to the heights anticipated by Warner Bros and its DC Entertainment subsidiary. In dollars, it ranks tenth as a comic book adaptation, although it is the top grossing Superman film dating all the way back to Superman and the Mole Men.
Rotten Tomatoes says the film was perceived as only 56% fresh, dubbed by major media critics as too somber. Richard Roeper, for example, noted, “There’s very little humor or joy in this Superman story.” Fans were divided over this sterile and somber version of the archetypal superhero, sharply criticism the filmmakers and DC for letting Superman commit murder. In comparison, this weekend’s Thor: The Dark World is already trending at a strong 75% fresh.
DC Entertainment has bet a lot on this interpretation, letting it be known that this should be considered the first installment in a unified DC Cinemaverse. Already shooting for a summer 2015 release is a sequel which will include a Caped Crusader owing much to Frank Miller’s groundbreaking The Dark Knight Returns. Fans already have their knives sharpened for flaying Ben Affleck’s performance as the Darknight Detective without seeing a single frame of film, a habit that can be traced back to the first announcement of Michael Keaton donning the cape and cowl. The sequel is also rumored to be introducing Diana, the Princess of Themyscira with current theory being that Jamie Alexander, Lady Sif in the Thor series, is in talks with the studio.
What is expected to follow would be a Justice League movie while DC and Warner have been coy about whether or not the television reality seen in Arrow and its intended Flash spinoff would also be set in the same reality. Given the success of Disney, Marvel and ABC has had with integrating Agents of S.H.I.E.L.D. with the feature films, one would think they would follow suit.
Kevin Smith and and the guys from The Secret Stash are already back into a new season of COMIC BOOK MEN on AMC. Kevin catches us up and talks about how the show has evolved over three seasons, and where it’s headed. Plus The DVR scores again for TV ratings and Alex Ross celebrates Marvel.
Nick Cardy (October 16, 1920-November 23, 2013) died today after an illness. He was placed in hospice care over the weekend and leaves behind an enduring legacy of memorable artwork.
Born Nicholas Viscardi in New York City, he was raised on the Lower East Side and was already dabbling with art by the time he was six years old. He was painting and having his work published during his early teen years, taking free classes at the Boys Club of America. Raised in an era of gorgeous magazine illustration, he found inspiration in the works of Charles Dana Gibson, Arthur Petty, Al Dorne, and John Gannon among others. He continued his studies at the School of Industrial Art where he met and befriended Al Plastino.
In 1937, he went to work for an ad agency but two years later joined the Eisner/Iger Studio and drew stories for a variety of publications, notably Quality Comics. Among his regular assignments were Sheena, Queen of the Jungle and Quicksilver. He saw Eisner as a mentor and later joined his solo studio, writing and drawing the Lady Luck feature for the back of The Spirit.
After leaving Eisner over a financial dispute, he joined Fiction House producing work for Fight Comics and Jungle Comics among others. Soon after, he served in World War from 1943-46, getting wounded and earning two purple hearts. He was assigned to the 66th Infantry Division, driving a tank in the armored cavalry. After his discharge, he met and married Ruth Houghby and they remained married until 1969. They had one son in 1955, Peter, who died in 2001.
Cardy returned to comic art, sharing studio space with Plastino and Jack Sparling, returning to Fiction House but adding in magazine work. He also took on illustrating the Casey Ruggles comic strip. In 1949, Burne Hogarth invited Cardy to take over drawing the Tarzan daily strip. He continued his work for multiple publishers, including National Comics in 1948. There, he began working for Murray Boltinoff on Gang Busters quickly adding other features.
As the 1950s dawned, he increasingly worked for National, also known as DC Comics. He took over as the main artist on Tomahawk and Congo Bill. During the early 1950s, he anglicized his name to Cardy after prejudice against his Italian heritage cost him assignments.
In 1960, Aquaman was given a tryout in Showcase with the hope he could sustain a title of his own. Ramona Fradon withdrew from the feature to raise her daughter so Cardy took over and became synonymous with the Sea King through the 1960s. And when the Teen Titans proved an enduring idea, he replaced Bruno Permiani as its artist as the group also gained their own title. During the decade his work grew more distinctive and his brilliant design sense made his covers true standouts. When Aquaman was optioned by Filmation for a Saturday morning series, he produced the character sheets for the animators.
When Dick Giordano was hired as an editor, Cardy lost Aquaman to Jim Aparo, although he remained on the covers for continuity. His free time was taken with the critically acclaimed Bat Lash. Cardy continued his experimenting with color and design, adding a cartoony approach that helped make the western distinctive. He also replaced Teen Titans with a long stretch on The Brave and the Bold, proving adept at not only Batman but the remainder of the DC Universe.
Under Editorial Director Carmine Infantino, Cardy grew in value to the company. Through the early 1970s Cardy became the line’s premier cover artist, giving the line a unified house style that was highly commercial.
Cardy was growing increasing discontented with comics and DC in particular so by 1975 he was ready to move on. Before leaving though, he did a series of paintings and illustrations for Marvel’s line of black and white magazines.
Modifying his name to Cardi, he reinvented himself as a commercial artist doing advertising work, largely in the film field. When he began doing convention appearances, he was rediscovered and became a popular guest at shows around the country. He excelled at commission work and remained good humored with fans. In July 2005, Cardy was inducted into the Will Eisner Comic Book Hall of Fame.
His legacy as an illustrator and stylist has thankfully been collected in various DC Archives and Showcase Presents volumes letting modern day fans see one of the finest illustrators grow, evolve and get better through the years.
Our deepest sympathies to his family, friends, and legions of fans.
Dear Mr. Watterson is a documentary film about the impact of the newspaper comic strip Calvin & Hobbes, created by Bill Watterson. The film is in theaters and available On Demand on November 15, 2013. Pre-order now at http://www.dearmrwatterson.com. Take a look at the trailer now:
Last weekend I was at the Detroit Fanfare (which is why I wasn’t here) and I enjoyed myself immensely. It’s a good Con, well organized, and they took good care of me. I had a chance to say hello to old friends like Bill and Nadine Messner-Loebs, Paul Storrie, Howard Purcell, Norm Breyfogle and others and make new friends like Whilce Portacio. And, of course, talk with fans and sign books and stuff which, for me, is the main reason I go. I love meeting and talking with fans and having a chance to say “thank you” for their support.
I was ferried there and back by my cohorts in Unshaven Comics – Marc Alan Fishman (my esteemed fellow ComicMix columnist), Matt Wright, and Kyle Gnepper (the cute one). Marc drove and we blathered together in a wonderful fashion.
Da Boys (as I refer to them and, being from my home town of Chicago, they’ll understand) are indie comics creators, notably of the Samurnauts (which you can learn about and buy at their website here and they make the rounds of Cons, setting up shop, and hawking their wares at their booth. They do nearly a dozen a year and FanFare was the last one for 2013.
They were in a separate but adjacent ballroom to mine so I would touch base with them throughout the show and we had eats together. At the end of the Con, I wandered over while they broke it all down and packed it up. I was really struck with how organized they were and how compact it all became. Da Boys really know their stuff. Their book is wonderful but they also have a better business sense than I did at that time or have even perhaps now.
They sell their books, sure (and go buy them at the site) but I saw buttons and posters and cards at the table and they did (and do) sketches and so on. I looked around the room, which was mostly Indie folk, and this was a trend. My friend, Paul Storrie, who was nearby, also has a very professional set-up.
I don’t know but I suspect this is a trend among the younger creators. I suspect they wouldn’t sneer at work from the Big Companies but they have their own creations that they own and that they are hard at work selling.
You should also read Marc’s column from yesterday. Yes, I’m very flattered by the kind words directed at me – although if they eat with me a few more times I suspect they’ll get over the novelty – but what I was really struck by was how they evaluate which Con to go to. They know the numbers in terms of what they sell, of the costs of going to a certain con, the bottom line of each venture. They factor in the time away from family and having to go to their day jobs. They – and I suspect the other Indie creators – know their business far better than I did when I was their age. Hell, I’m not sure I had started writing comics when I was their age.
I salute them and I intend to support them. This is the future of comics, boys and girls. This is where the really good stuff, the fresh and exciting stuff, is coming from. So I’m going to urge you, next time you go to a con, to seek out Unshaven Comics and the other Indie producers, look at what they’re doing, sample the books, get the buttons, and be a part of something that is alive and vital in the comics industry.
As another innovator in the field was known to remark, ‘Nuff Said.
This time of year, Americans are reminded of one of the most tragic events in our history – the assassination of John F. Kennedy. A new documentary on The Reelz Channel brings to light an older book that may have surprisingly new evidence to reveal. Plus your favorite new indy comic is probably sold out already, and we go behind the scenes of he new SyFy series, NAKED VEGAS (no, it isn’t about that!)
November will be a very busy month for Lionsgate as they launch the highly anticipated adaptation of the controversial Orson Scott Card’s novel Ender’s Game. A few weeks later they top that with the release of The Hunger Games: Catching Fire, the second chapter in the adaptation of Suzanne Collins’ stunning trilogy. On th eoff-chance tomorrow’s moviegoers are uncertain what the film is all about, the studio sent out the timeline you see here.
Additionally, they announced an interesting new app for the film. Here’s the formal release:
Salt Lake City, Utah, October 29, 2013 – Sandboxr, a 3D print and software development company from Utah, announced today its 3D print creation app for Summit Entertainment’s ENDER’S GAME. Sandboxr’s 3D print creation app has been in development for the past two years, and through the ENDER’S GAME-licensed version, fans will be able to create and bring home exclusive replica battleships from the film generated by cutting-edge three-dimensional printing technology. Fans will be able to check out the ENDER’S GAME 3D printing experience at Sandboxr.com before Thursday’s release of the movie in theatres and IMAX October 31 at 8pm. Summit Entertainment is a LIONSGATE® (NYSE: LGF) company.
Nancy Kirkpatrick, Summit’s President of Worldwide Marketing, said, “This is the first 3D experience of this type to coincide with a major cinematic movie release, and Summit is excited to work with Sandboxr to offer this amazing experience and great new technology to our ENDER’S GAME fans.”
At Sandboxr.com, fans of ENDER’S GAME will be able to enjoy an interactive product experience that extends their engagement with the film and that they can access from their computer. Fans can choose from a selection of CG images from the movie studio file archives and bring home their own ENDER’S GAME 3D printed spacecraft and accessories.
“With an experience as sophisticated as Sandboxr’s, the challenge is to make it easy to use by the average guy or girl. 3D experiences are typically exclusive to tech savvy makers and designers. However, we’ve worked hard to make a 3D printing experience that is accessible in a meaningful way to everyone. Bringing 3D design and print technology into the hands of the ENDER’S GAME fans is a thrilling opportunity for us at Sandboxr,” says Berkley Frei, Sandboxr CEO.
To experience the app for yourself log onto sandboxr.com and follow the links to ENDER’S GAME.
The Hobbit: An Unexpected Journey Extended Edition from Academy Award®-winning filmmaker Peter Jackson is available NOW on iTunes in the US with the rest of the world rolling out. A production of New Line Cinema and Metro-Goldwyn-Mayer Pictures, this new cut includes 13 minutes of extra film footage that extends individual scenes, making this the must-see, definitive version for fans. The Hobbit: An Unexpected Journey Extended Edition on iTunes includes exclusive early access to nearly nine hours of new special features as part of iTunes Extras*.
All-new special features on the iTunes release includes:
New Zealand: Home of Middle-earth
THE APPENDICES PART 7 – A LONG-EXPECTED JOURNEY: The Chronicles of The Hobbit
THE APPENDICES PART 8 – RETURN TO MIDDLE-EARTH
The Appendices is a multi-part chronological history of the filming of The Hobbit: An Unexpected Journey, covering pre-production in the various departments of the film in the months leading up to the start of principal photography, the boot camp training for the main cast, the work done on set chronologically through the three shooting blocks and in the world of its digital effects.
*iTunes Extras not available in all countries.
SYNOPSIS
The Hobbit: An Unexpected Journey is the first in Peter Jackson’s highly anticipated trilogy adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien.
The adventure follows the journey of title character Bilbo Baggins, who is swept into an epic quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome Dragon Smaug. Approached out of the blue by the Wizard Gandalf the Grey, Bilbo finds himself joining a company of 13 Dwarves led by the legendary warrior, Thorin Oakenshield. Their journey will take them into the Wild, through treacherous lands swarming with Goblins, Orcs and deadly Wargs, as well as a mysterious and sinister figure known only as the Necromancer.
Although their goal lies to the East and the wastelands of the Lonely Mountain, first they must escape the Goblin tunnels, where Bilbo meets the creature that will change his life forever…Gollum.
Here, alone with Gollum, on the shores of an underground lake, the unassuming Bilbo Baggins not only discovers depths of ingenuity and courage that surprise even him; he also gains possession of Gollum’s “precious” ring that holds unexpected and useful qualities…A simple, gold ring that is tied to the fate of all Middle-earth in ways Bilbo cannot begin to know.
The screenplay for The Hobbit: An Unexpected Journey is by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo del Toro, based on the novel by J.R.R. Tolkien. Jackson also produced the film, together with Carolynne Cunningham, Zane Weiner and Fran Walsh. The executive producers are Alan Horn, Toby Emmerich, Ken Kamins and Carolyn Blackwood, with Boyens and Eileen Moran serving as co-producers.
New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), Present a WingNut Films Production, The Hobbit: An Unexpected Journey. All three films in The Hobbit Trilogy, also including The Hobbit: The Desolation of Smaug, and the final film, The Hobbit: There and Back Again, are productions of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), with New Line managing production. Warner Bros. Pictures handled worldwide theatrical distribution, with select international territories as well as all international television distribution handled by MGM.
I read the book, I saw the video, and I can’t begin to explain. Just watch the video, then buy The Fox. Amazingly, the video actually captures the tone of the comic.
Marvel’s cinematic Avengers will be joined on the smaller screen by The Defenders, the culmination of four series just commissioned by Netflix. Luke Cage, Daredevil, Jessica Jones, and Iron Fist were announced this by Variety morning as each receiving thirteen episode commitments. The linking device is that all four series will be set in New York City’s Hell’s Kitchen, which, in the comics, has been Daredevil’s base of operations dating back to the 1970s.
