Premiering next Monday (February 17th) on the CW, STAR CROSSED mixes a bit of X-Men with Romeo and Juliet into a new sci-fi/romance series. We talk to Aimee Teagarden, Matt Lanter and creator, Meredith Averill, on just what the series will be. Plus Batman leads the sales list in what turns out to be a slow start to 2014 for comic shops.
Taking a popular property from book to big screen is always risky. The bigger the characters are, the bigger the problems. We continue our look at VAMPIRE ACADEMY’s film debut as actors Lucy Fry, Zoey Deutch and Dominic Sherwood talk about how VA creator, Richelle Mead, reacted to the movie. Plus DC Comics’ newest original DVD feature, JUSTICE LEAGUE WAR is yet another set of familiar characters tweaked differently. How will fans react? Director Jay Olivia and others tell us just what to expect.
The TOY HUNTER is back on The Travel Channel – digging in at attic or basement near you. Jordan Hembrough has begun season three with some big guest stars and some great finds, and he shares them here. Plus VAMPIRE ACADEMY goes from big book to big screen. Actors Luci Fry, Zoey Deutch, Sami Gayle and more talk about what fans of the series can expect in the film.
It’s Superman, Wonder Woman and even Batman on the big screen. Move over Affleck, Will Arnett talks about how he found just the right voice for The Dark Knight in LEGO THE MOVIE, plus more on THE BLACKLIST as cast member Parminder Nagra and show runners John Eisendrath and Jon Bokenkamp teased us on when we can expect some big reveals.
On November 15, Reddit users discovered a mysterious website called Survivor 2299 that had cryptic text, messages buried in its code, and a clock counting down to December 11. With clear aesthetic references to popular post-apocalyptic nuclear wasteland video game series Fallout, gamers got excited. It’s been more than three years since game publisher Bethesda released the previous installment in the franchise, and all signs pointed to Survivor 2299 being a precursor to the fervently anticipated announcement of a Fallout 4 release date. But on December 6, I was among a number of gamers disappointed as Survivor 2299 was revealed to be a hoax. Dashed hopes aside though, I was left wondering how a community that’s generally considered quite savvy was fooled by (or at the very least, enticed to seriously consider) a hoax that lasted almost a month. The answer I’ve landed on: we’re steeped in pre-hype hype.
Naturally, the debut of a major product or entertainment property is going to be preceded by marketing efforts to make consumers excited for its release. To get the best day one numbers possible, Apple and Warner Bros. spend a considerable amount of money making sure everyone and their brother know exactly when the latest iPhone and Batman movie come out. But while these companies and others like them may’ve once been content to start their marketing push just a few months before a product launch, they now begin tantalizing consumers much earlier, and with much less information.
I blame the teaser trailer. A few quick shots strung together or fifteen seconds from a single scene may not be enough to communicate what a movie is about, but it’s more than enough to make people start tweeting about how badly they want to see something. And if boosting anticipation is the goal, releasing a teaser weeks or months before the full trailer accomplishes that goal handily.
But the pre-hype hype hasn’t stopped there. A movie’s teaser trailer may be the first advertising general audiences encounter these days, yet within recent years studios have caught on to a way to create buzz for films even earlier, and amongst a more targeted demographic: the San Diego Comic-Con panel. Movies don’t have to be completed for studios to start talking them up to crowds at the show. Heck, some films are even promoted there before going into production, with simple information like casting announcements taking the starting position in the hype parade once occupied by the teaser trailer.
Not surprisingly, this mentality of conventions being the place to start generating hype goes beyond movies. Video game companies reveal far-off game release dates to fans at E3, the event that is to the gaming world what the San Diego Comic-Con is to comics. And of course, Apple’s new tech announcements are so anticipated that their press conferences are treated with the reverence of a convention, complete with save the date cards and the promise of live streaming for those who can’t make it. With an already assembled crowd representing the people most likely to enjoy a forthcoming product, why wouldn’t companies capitalize on the fact that a tiny tidbit is enough to get die-hard fans eagerly anticipating things they won’t be seeing for months?
Actually, to be fair, I should point out there is a movie studio that wouldn’t start up their hype machine at Comic-Con nine to twelve months in advance of a film release like so many others do. Marvel Studios starts even earlier. By announcing titles in the third phase of the plan for their cinematic universe, they’ve managed to create hype for films that are still years away from theatrical release. And though it seems unnecessary to start parceling out information years in advance like this, I have to admit I’m already pumped for Ant-Man and will probably only get more excited about it with each hype-bolstering move Marvel Studios makes until the movie’s 2015 release date.
Now if only Bethesda would take a page from Marvel’s book and give me a real Fallout 4 date to look forward to, even if it’s not in this decade.
Regular readers of this space may have discerned I have an absolutist attitude towards the First Amendment: freedom of expression must not be abridged in any way or form. That doesn’t mean people or corporations shouldn’t be held responsible for what they say, just that they can say it.
As A. J. Liebling said, “Freedom of the press is guaranteed only to those who own one.” That’s obviously true, although the Internet has expanded our deployment of these freedoms exponentially. But the same attitude probably should be expected of retailers: is your local mom’n’pop candy store (yeah, yeah; nostalgia) obligated to carry the latest issue of Steamy Dwarf Sex? Probably not.
But let’s take this one step further. Do corporations that are publicly traded – public corporations – have the right to decline to offer whatever publications they dislike? If Apple’s bookstore and magazine stand doesn’t like, say, Boy’s Life, do they have a right to prevent their customers from getting it through their facilities?
That’s not an easy question to answer. Setting aside the completely ridiculous fact that in the United States of America corporations are defined as human beings, where does one “person” get off deciding what you get to read on your tablet… or hear on your Internet radio station… or see online? The Internet’s success was spurred by the availability of free pornography. The entire home video business was founded on the availability of porn in the solitude of your own home. So have various On Demand services. And where would HBO be today if not for the availability of free tits for the past 41 years?
(Yes, Virginia, there was a time when nary a nipple was permitted on the boob tube.)
Today, there’s much controversy about Apple’s bookstore and magazine stand service setting arbitrary “standards” that, by their very definition, cannot be evenly enforced. This policy has kept Matt Fraction and Chip Zdarsky excellent (in my opinion; this is not a review, although the book does offer the best recap page I’ve ever read) series Sex Criminals from being listed in their service. This story rightfully has garnered a lot of publicity, so I’ll use that as my example while promoting a worthy book that may be hard to find in some venues.
Sex Criminals is not a salacious book – but that is not the issue. A book’s “redeemable qualities” are completely irrelevant: that’s a standard that obviates freedom of expression. And Apple – as well as sundry other “public” corporations – has declined to distribute the title.
Outside of expanding opportunities for letting corporations determine what we can and cannot read through their efforts, the problem here is that Apple has established a standard that they do not enforce evenly. Their music service distributes all kinds of “explicit” stuff. So does their movie and teevee service. Same thing with iBooks. Their newsstand service distributes material that is truly salacious. So why dump on Fraction and Zdarsky?
Let me pose this question a different way: If Image Comics’ Sex Criminals was written by, say, Stephen King, would Apple refuse to offer it?
“You see things; and you say ‘Why?’ But I dream things that never were; and I say ‘Why not?’”
George Bernard Shaw
“Back to Methuselah” (1921)
President Barak Obama is a visionary. Which is great. It’s important for the President of the United States to be a visionary, to be able to inspire. That’s how Barak Obama became President in 2008.
But once elected, it’s not enough to be a visionary. You need to know how to put that vision into effect.
John Fitzgerald Kennedy knew how to do that. Ronald Wilson Reagan knew how to do that.
President Barak Obama – and I can’t believe I’m saying this – does not.
The Affordable Care Act, a.k.a. Obamacare, is in real trouble. The website is a disaster – where is Oracle when we need her? – and those who have been able to sign up are finding that their personal health care providers are not participating and that only a limited amount of hospitals are participants. A woman speaking to Brian Lehrer on NPR a couple days ago told him that the only hospital she can go to under the ACA is Lenox Hill in Manhattan, and while Lenox Hill is a very fine institution, the woman lives out on the Island, as in Long. (And for those of you not in the metropolitan New York City area, trust me, when you are sick enough to need hospital care, you do not want to drive on the Long Island Expressway as your life is ticking away and you are crawling along the asphalt at as much as 10 miles an hour.) Meanwhile insurance companies are happily cancelling policies because they don’t measure up to the ACA’s parameters because the premiums for ACA approved policies are more expensive.
(Once again the insurance companies have figured out how to make a buck off of people’s miseries – I can just hear the board of directors of Horizon, Aetna, Oxford, Cigna, and all the rest at their meetings: “Okay, no more lifetime caps, no more pre-existing condition bans, but here, look at Paragraph IV for example – everyone has to have maternity care in their plan, which means we can charge the client for that even if the client is male. And that’s just Paragraph IV. Yes, no worries, we can make up for any potential losses and we have the ACA and the President to thank for that.”) And the Repugnanticans are having a field day, gleefully attacking our Marxist, Maoist, Socialist, Kenyan Muslim President every which way they can. And though you, my faithful readers, know that I am a staunch Democrat and supporter of the man currently living at 1600 Pennsylvania Avenue, I gotta say…
What the fuck, man!
You go and approve the hiring of a Canadian tech company to build the web site? And to make matters even worse, it’s a company that has a botched record! To quote from the Washington Times (granted, a very conservative paper, but they are right in this):
“Canadian provincial health officials last year fired the parent company of CGI Federal, the prime contractor for the problem-plagued Obamacare health exchange websites, the Washington Examiner has learned.
“CGI Federal’s parent company, Montreal-based CGI Group, was officially terminated in September 2012 by an Ontario government health agency after the firm missed three years of deadlines and failed to deliver the province’s flagship online medical registry.”
For someone who is about jobs, jobs, jobs for Americans, I just don’t get it. Why didn’t the President just go to Microsoft or Apple? Why didn’t he call up Bill Gates or Steve Jobs (before he died, of course) and ask them for advice, i.e., give me the names of the best and the brightest in the IT biz. I want them to build what I believe will be the most important website in American history.
That’s what I would have done.
Seriously, man, what the fuck?
Now I hate working for a micro-manager. You know the type – he or she has got his or her nose in your face every second of every hour of the workday, and just won’t leave you alone to get your job done.
But the President of the United States has to be, in so many ways, a micro-manager. A hands-on guy. He – or she? Go, Hillary! – has to know what’s going on, has to have his – or her. Go, Hillary! – nose in your face every second of every hour of the workday. The President always has to be one step – or a hundred yards, or a million-zillion miles – in front of the crowd.
Because ultimately, as that plaque on Harry Truman’s desk read – The buck stops here.
And it doesn’t do any good to admit to that after the fact, as Obama did last Wednesday.
There are two totally unrelated things I want to talk about this week. Well, not entirely unrelated. Both have actual connections to comics, something my last column managed to completely miss.
1. In a move that reminds absolutely everyone of Dick Tracy, Apple may be developing the twenty-first century version of the two-way wrist radio. This would be a flexible all-class device that one would wear on the wrist. There is speculation the screen would be 1.5 inches in diameter.
I hate this idea. I can barely type on the keyboard of my phone with two thumbs. There is no way I could tap out anything even vaguely intelligible on my wrist with one hand. There is only a slightly larger chance that I would be able to read anything on a screen that small, so I guess that would limit the amount to typing I would need to do.
There is apparently an entire department at Apple that is developing wearable computers. The article alludes to the possibility of Apple sunglasses as well.
My first reaction was to get excited, because I would look much cooler in sunglasses, and also, Neuromancer. However, the more I think about it, the more I think it’s either a bad idea, or requires more refinement. I mean, it’s difficult enough to walk a city sidewalk now, when the multitudes are so engrossed with looking at their phones that they walk into traffic. And they have to actually take their phones out of their pockets and hold them in their hands to look at those screens. With glasses, even that little bit of effort is superfluous. As you walk down the sidewalk (or, God forbid, drive your car) you won’t be able to tell who is or isn’t paying attention.
We’re all doomed.
At least, with a watch, there’s the possibility of fighting crime.
2). Those of you who keep track of my every utterance may remember how appalled I was last year when the editorial brain trust at DC Comics decided that super-powered female lizards have breasts
But, mostly, it upsets me that purportedly adult humans either know nothing about human biology or think the customers who pay their salaries are stupid tools who are easily manipulated. Both of these alternatives fill me with despair.
And this week, as I read my DC Comics, I was let down in exactly this way by a few books I normally enjoy.
The first was the end of the “Rot World” storyline, taking place in the #17 issues of Animal Man and Swamp Thing. Our title heroes and their allies are fighting creatures who have been overtaken by The Rot, so that they are desiccated zombies or monsters. Among the zombies are Superman and Wonder Woman. They are skeletal, except for Superman’s enormous muscles, and Wonder Woman’s muscular arms and giant breasts.
It makes no sense whatsoever for Wonder Woman to have a body that indicates she has no fat, but the gigantic breasts belie that. I suppose it’s possible that her breasts are full of pus, which would be scary, but also disturbing.
And then, in Dial H for Hero #9, the woman with a dial turns into a Minotaura, a female minotaur. She is covered with hair, has horns on her head, again with the exaggerated musculature, and again with ginormous boobies.
Think about it. A minotaur, half man and half bull. The female version would be half woman, half cow. No horns. And, if mammary glands, just as likely to be an udder as breasts.
Consider the possibilities of the super-powered udder. There could be jet-propelled milk, used to knock opponents off balance. A full udder is heavy, and an empty one could be flexible. It would be awesome.
But it wouldn’t give the fanboys boners, so I guess it’s not to be.
I await the Apple computer that gets built into bras.
I was a little slow when it came to adopting television as a part of my lifestyle. I only cared about cartoons as a small child, and no wonder: teevee was mostly local and cheaply produced and all those public domain Fleischer and Warner Bros. cartoons were a delight. They still are. I didn’t get sucked into the mainstream until pre-adolescence.
When that happened, TV Guide was my bible. A digest-sized magazine that contained detailed descriptions of every local and network show to be aired in the following week, I, like my peers, pretty much planned our lives around the boob tube. The annual Fall Preview issue was a genuine event.
When it comes to broadcast entertainment today, TV Guide has become less than irrelevant – it’s useless. Cable has brought us so many channels if the magazine stuck to its original concept it would take a half hour to read the next 30 minutes of descriptions. The printed grid tells us nothing we can’t get from our cable grid. And the vaunted Fall Preview issue presumes the “new fall season” is unique. It is not. With the exponential growth of choice, “new seasons” come with each new season.
more important. I take the recommendations of my friends quite seriously – daughter Adriane is a constant source of advice, and I take heed at the recommendations of Martha Thomases and the other ComicMix crew (Martha makes one such nod this Friday; I’d link to it but it’s not Friday yet).
But if my jaded, tube-weary brainpan is capable of generating any excitement similar to that of the old new fall season, it happens right now, in January. Some of my favorites return this month: Justified, Community, Young Justice, Bill Maher. There are a number of promising-sounding shows such as Ripper Street, and before long we’ll have Louie, Hell On Wheels and Doctor Who back.
None of these (save Bill Maher) are what we used to think of as full-length series. We get maybe a dozen episodes of each annually. Even though each episode is played many times, teevee-watching isn’t quite the passive experience it once was.
All of this cable stuff already is being eclipsed by streaming media: Netflix and others have competitive original content, Apple has a box for sending stuff from a great many services (including, of course, its own) to the teevees in your house, and Intel is going to be rolling out an interesting new media box on a market-by-market basis starting soon. The larger cable companies have apps that allow you to pick up their service at home on your smartphones and tablets, and content suppliers such as HBO and the various networks allow you to steam their material to these same devices.
We’re probably just a heartbeat away from fulfilling the prediction made back in 1967 in the brilliant social satire, The President’s Analyst. Pretty soon we’ll just have a chip installed in our heads, and the fees will be debited to our bank accounts.
We don’t need drugs, alcohol or virtual reality. We have television.
Using the new Doctor Who Limited Edition Gift Set, your noble author will make his way through as much of the modern series as he can before the Christmas episode,The Snowmen.
Surpassed only by the Daleks, the Cybermen are the Doctor’s greatest foes. So like the former, it was only a matter of time before we would see…
RISE OF THE CYBERMEN / THE AGE OF STEEL by Tom MacRae Directed by Graeme Harper
“If you want to know what’s going on…work in the kitchen.”
The TARDIS falls out of the time vortex and crashes…in London. Well, no, not quite, it’s a parallel Earth, one where Zeppelins are an established mode of transportation, and Rose’s dad Pete is not only alive, but one of the most successful businessmen in England. The Doctor cautions her that this Pete is not her father – there may be another Jackie or even a parallel Rose in this world. He’s partly right – Pete and Jackie are married, and fighting, but there’s no Rose Tyler. With the TARDIS recharging, the trio does a bit of investigating. Pete Tyler has sold his company to John Lumic, owner of Cybus Industries, who make the earbuds that literally everyone wears, a replacement for the smartphone. Intrigued at anyone with that much influence, The Doctor gives in to Rose’s wishes, and they plan to visit Pete. Mickey, on the other hand, visits the home of his grandmother, who on their world, raised him but died five years ago, only to learn that here, she’s still alive. The Mickey, or rather the Rickey of this universe, however, is a freedom fighter against Lumic’s Cybus corporation, which has become so a part of society it makes Apple look like Onkyo. Lumic has a new process for preserving the human brain and “upgrading” human beings. when the UK President refuses to allow the procedure to be tested, Lumic takes the law into his own hands. He lures a number of forgotten men into a truck and uses them to create his new humans – Cybermen.
A solid pair of episodes, bringing a classic foe back in a new way. These are not the Cybermen from our universe – they appeared on the planet Mondas, Earth’s twin that shot out of orbit eons ago. This gives them a chance to re-introduce an old enemy without having to educate the new fans about their history. Daleks are so endemic to British culture, there was no need to re-introduce them, they could just hit the ground running… or rolling.
As more and more Cybermen appearances have stacked up, there’s been some confusion as to whether we’re still seeing the Cybermen from “Pete’s World”, or the ones from ours. The “C” logo has disappeared from the chest, suggesting we may now be looking at native Cybermen. It’s hoped that Neil Gaiman’s upcoming episode, tentatively titles “Last of the Cybermen” will address this issue.
The episode was inspired by a Big Finish audio adventure, “Spare Parts” by Marc Platt. While the final script was quite different from the original story, Davies made sure Platt was paid a fee and got a “Thanks to” credit in the episode.
Mickey’s departure is the first voluntary one for a Companion in the new series. In the old days, willing departure for The Doctor’s friends was the rule – in the new series it’s the exception. So far only Mickey and Martha Jones were the only ones to leave the TARDIS by their own choice, and in both cases they came back to help again. Noel Clarke brought Mickey to new places in the episode, finally becoming his own man, both in how he handles himself, and being able to come to terms with his relationship with Rose. Getting to play a dual role also showed off his breadth as an actor. We got to see alternate Roses and Petes as well, but not both at the same time.
This story(and an upcoming one that addresses this world again) are a classic example of the TV Tropes about parallel universes, specifically that the alternate version of a main character doesn’t really count. Rickey dies, but that’s okay, Mickey’s ready to take his place. Even the Jackie of Pete’s World dies, which sucks for Pete, but since The Doctor has spent the whole episode reminding Rose (and the audience) that “She’s not your mother”, it’s no big deal, just good for a moment of pathos. And they drive that home by making sure we see “our” Jackie at the end of the episode. Pete’s the only one we really care about, because “Our” Pete’s already dead. Besides, the other Jackie was a bitch.
They also do a good job of skewering a trope or two as well – note that when looking for the transmitter controls in the zeppelin bridge, Mickey says he doesn’t know what he’s looking for, and Jake annoyingly comments that maybe it’ll be in a big box with “transmitter control” in big red letters. Later on, they find it… in a big box with “transmitter control” written on in big red letters.
The TARDIS falls out of the time vortex and crashes…in London. Well, no, not quite, it’s a parallel Earth, one where Zeppelins are an established mode of transportation, and Rose’s dad Pete is not only alive, but one of the most successful businessmen in England. The Doctor cautions her that this Pete is not her father – there may be another Jackie or even a parallel Rose in this world. He’s partly right – Pete and Jackie are married, and fighting, but there’s no Rose Tyler. With the TARDIS recharging, the trio does a bit of investigating. 
