Tagged: DC

REVIEW: The New 52 Futures End #1

FuturesEnd1

FUTURES END #1
Written by Brian Azzarello, Jeff Lemire, Dan Jurgens and Keith Giffen
Art by Patrick Zircher

I won’t lie to you, this book’s got me confused.

It starts in the semi-distant future of the time of Batman Beyond, a world that has been taken over by the latest iteration of Brother Eye, a sentient satellite/robot/thingy, which has taken over the world in Terminator-esque fashion.  In an attempt to Fix What has Gone Wrong, Batman Beyond/Terry McGinnis comes back in time to kill someone, a person not specifically named as of yet, but since in this story, they maintain that now it’s Mr. Terrific who built Brother Eye, one might be able to guess he is the target.

The thing is, Terry has not gone back in time far enough.  He landed fives years in our future, a time where Michael Holt has already created Brother Eye and is in the process of introducing its technology into society.  Terry says they’re seven years too late, but he landed five years in the current DCU’s future, which means he should have landed about two years in its past, relative to our present, which would be a little bit before the narrative of the New 52 even started

AUSTIN-crossEyed

Timeline worries notwithstanding, another big problem here is that we’ve already seen Brother Eye in the New 52, in the pages of Dan Didio and Keith Giffen’s OMAC, and he had no connection to Mr. Terrific at all.  At the same time the Mister Terrific book was going (and I was enjoying it) and there was no mention of any Brother Eye technology at all.  Indeed, when they ended the book, they tied it into the coming Earth 2 title instead.  If one wanted to go there, one would have to assume that this book spoils to some degree the events in the aforementioned Earth 2, wherein Michael is currently in somewhat dire straits.

I must assume it will be explained, but we’re once again in a position where DC seems to be reversing itself on the storylines of a new universe that’s not yet even three years old.  This appears to be the third version of Brother Eye in only five years, and the fourth in total.  In the previous iteration of the DCU, Brother Eye was created by Batman as a fail-safe system to take down his fellow heroes should the need ever arise.  The system gets out of hand…

and they have to take it down, a goal at which they only partly succeeded, as various OMACs kept popping up in various places.

In the New 52, Brother Eye is back in control of a single OMAC, in the person of one Kevin Kho.  After the brief (but enjoyable) run of his title, he popped up in various titles, most recently the Suicide Squad, mere weeks ago during the events of Forever Evil.

(And this is all over and above the original OMAC series created by jack Kirby during his brief but creative period that he was at DC, a period that also brought us The New Gods, another stable of heroes too good for DC to not keep using.)

So I’ve no idea how these stories from the current DCU will be tied to the new facts presented in this first issue of the weekly book (which got a tease last weekend as part of Free Comic Book Day.

The story as presented has some obvious parallels to The Terminator, but older DC fans will also recall the MaxiMegaCrossover Armageddon 2001, where a hero of our time chooses to take control of the world, forcing a person to come back to the past, discover which her is was, and stop them.

The book suffers from a weakness not of the story, but the premise itself.  Taking place five years in the future of the DCU, it can be safely assumed that the events of the story will never come to pass, so we’re effectively reading a just short of a year-long(more on that in a moment) “imaginary story” that will have no impact or connection to the ongoing narrative of the regular titles.  Such stories are lots of fun to read in graphic novel or other one-shot format, but 40-odd issues at three or four bucks each?  Not so sure.  I mean, Trinity was entertaining, and Countdown…a bit less so, but both ended up being very expensive stand-alone stories, and they got a lot of people quite annoyed as a result.

They’ve certainly started the death toll quickly, with one major DC down already, and one super-team which was getting positive press for apparently getting a major spot in the book…suddenly not.  But again, since the book takes place in a nebulous future that will almost certainly never take place, there’s no sense of loss at all.  I expect we’ll hear neither hue nor cry at these, or any deaths in the book, as even the most casual reader will suss the fact that they Won’t Really Count.

There’s another weekly starting in October that will connect with Futures End in some way.  I think it takes place in the present in the DCU, which, if so, would still be later than when the string of events supposedly started.  How they’ll connect, or if it will be a story you could enjoy on its own, we shall have to see.

But here’s the thing – Dan Didio has already let slip that all three weeklies (the third being Batman Eternal, which is quite good so far) will not all be a year long, as the past weeklies have been, but will all be ending in March of 2015.  This certainly gives the impression that something will be coming in April of 2015, which only happens to be the 30th anniversary of Crisis on Infinite Earths.

So DC has effectively gotten people to already half-discount the current story, making it seem like it’s nothing more than a prologue to Whatever’s Coming Next.  It’s the exact same mistake they made with Trinity War and Forever Evil.  They sold Trinity War as a Big Event, but as soon as news (and the solicitations) for Forever Evil came out, interest in Trinity War all but ceased as people assumed that FE was the real Big Event.  It’s a process they’ve been using since Infinite Crisis, but now that people are hip to the move, interest in the current book drops as soon as news (or even just rumors) of the next Event come to light.  Forever Evil has ended, though the last issue of the book has been delayed over a month, resulting in several books coming out that take place after the ending.  And largely, save for Dick Grayson, not a heap of a lot seems to have changed. Lots of rebuilding, some strained relations between folks who knew Grayson, but pretty much it seems to be back to first position.

Mixed into the coming months is also Grant Morrison’s next mini Multiversity, which also deals with other worlds of the DCU, and will (assuming it doesn’t get delayed, because how could that ever happen on a Grant Morrison book?) will also be ending next Spring.

So DC has certainly done a good job of getting people interested in next April.  Problem is, there’s a whole Gorram year between now and then, a year full of books that DC needs to keep people interested in.  If people start to get a whiff of a Clever Theory that DC plans to pull another massive change to their books, we may end up with a year-long lame-duck session, with people dropping books they presume (correctly or no) are going to go away, which will only serve to make that more likely a possibility.

In short, DC needs to make its books exciting and engrossing right now, and not dangle a carrot into the future and ask us to trust them.  Sorry but fool me…lessee, carry the four…

Let’s just say I hope we’ll all be here come next April.

Michael Davis: Enter– Deathlok! with J. August Richards

Today is my birthday.

As is my custom, as Master of The Universe, on my birthday, I like to give gifts on the very day I receive such. I like to show those who appreciate me I’m appreciating them right back.

I’ve been writing for ComicMix a long time yet I’ve never given you guys a present on my birthday. Many see my weekly words of enlightenment as gifts but they should not be called such.

The correct word is blessings.

I’m happy to correct my oversight with what I’m sure you will agree is an wonderful gift, my exclusive conversation with J. August Richards, better known to ComicMix readers as Mike Peterson from Marvel’s Agents of S.H.I.E.L.D.

(more…)

Mindy Newell: Columnist Columnizing

Newell Art 140421“Don’t you wish you had a job like mine? All you have to do is think up a certain number of words! Plus, you can repeat words! And they don’t even have to be true!” – Dave Barry

Some thoughts this week reflecting upon my fellow ComicMix columnists’ opinions…

Last week Martha Thomases felt compelled to once again write about the bullshit practice of attacking women who “o-pine” (as Bill O’Reilly says) and dare to speak “truthiness,” as Stephen Colbert puts it, in her column, Criticizing Criticism. Toward the end of the piece Martha wrote about a panel at Washington, D.C.’s Awesome Con (held just this past weekend) that she was planning on attending. The name of the panel was “Part-Time Writer, Full Time World.” All the panelists were women, and apparently they were going to “O-pine” and “speak truthiness” about balancing the demands of a full time job, of being a parent, of having a part-time job – with these women, the “part-time” job is writing – with having time for your personal life, all while keeping a sane thought in your head. She made an excellent point when she pointed out that there were no men on the panel.

Hmm…

To (mostly) quote myself in the “comments” section of Martha’s column:

“As far as the full-time job/parenting/writing/hobby balance thing, it’s not a question of whether or not men don’t do any parenting. I think a lot of men are extremely involved in their kids’ lives these days.

“But what I think what Martha is pointing out is the assumption by the con runners, or at least those who set up this particular panel, that it’s only women who are dealing with this conundrum. Or, to give them the benefit of the doubt, maybe they just wanted to do a “Women in Comics” panel and thought this would be an interesting twist on the subject. Either way, it does seem somewhat sexist–against both sexes for a change!

“The answer, btw – and I feel that I am qualified to answer this conundrum because I was a single parent, and also because I’m now watching Alix and Jeff juggle parenthood, work, and school – is, paraphrasing a certain global sports apparel company:

“‘You just do it’…

“While seeking plenty of help from family, friends, babysitters – and sometimes, if you’re really lucky, an understanding boss or editor.

“And then, when the kids are all grown up and have families of their own, you have the luxury of being a grandmother, and you can just love and spoil the kid and then hand him back when you’re tired or he get’s cranky or it’s just time for you to have some
“me-time.”

“And be proud of yourself, because you just ‘did’ it.”

Denny’s and Marc’s columns made me think once again of how Marvel is doing everything right, and how DC is doing everything wrong. As I indicated in last week’s column, Marvel’s creation of a “telefilmverse” has been just brilliant in its adaptation of its comic universe’s history, in its invigoration of old concepts and old heroes, and in the excitement and joy its inventiveness is creating in both old and new fans.

I grew up a total DC geek in its Silver Age. I loved The Legion Of Super-Heroes, Superboy, Green Lantern, Supergirl, and the “Imaginary Stories” of Julie Schwartz’s Superman. In the 80s and early 90s I was hooked on all things Vertigo (Alan Moore’s Swamp Thing, Neil Gaiman’s Sandman, Grant Morrison’s Animal Man, to name just a few), Marv Wolfman and George Perez’s New Teen Titans, George’s Wonder Woman (even before I co-wrote it), Paul Levitz and Keith Giffen’s Legion Of Super-Heroes (before I was involved), Dan Mishkin, Gary Cohn, and Ernie Colon’s Amethyst, Princess Of Gemworld (ditto), Mike W. Barr and Brian Bolland’s Camelot 3000 (ditto) and many more. Back then DC was a groundbreaker, an innovator, “Bold” and “Brave.”

Today when I think of DC I think of words like moribund, and mired, and morose.

Today, like Marc Alan Fishman, I say, “Make Mine Marvel!”

Paul Kupperberg’s review of  The King Of Comedy http://www.comicmix.com//reviews/2014/04/17/review-king-comedy/ is dead-on. If you haven’t seen this movie, see it.

John Ostrander: Happy, happy, happiest of birthdays! I left you a comment, but I don’t know where it went, because it’s not there now. Just know that I wish you everything you talk about in the column – to live even longer than your paternal grandfather and his continue to bang out comic series and a new novel on a regular basis. I can’t wait to read the new GrimJack series, and that brilliant novel that resides on the New York Times Bestseller list for longer than Harry Potter, Twilight, and The Hunger Games ever did. I want to see Peter David green with envy (just teasing, Peter!) with your success. Hell, I want to see me turn green with envy and choleric with bitterness about your success! And I want you to remember, bro, in the words of that old poet-hipster, James Taylor…

You’ve got a friend.

 

Marc Alan Fishman: All New or All Now?

Fishman rt 140419Over the last few weeks I’ve made a concerted effort to balance my pull list between DC and Marvel. As I’d been gone from weekly books for a few months, I figured it’d behoove me to give a fighting chance to both of the big boys of comics to impress me. To prove to the self-proclaimed king of snark, that there exists good mainstream cape and cowl rags still on the racks. For those who follow my review column over at MichaelDavisWorld, you’ll probably recognize what I’m about to say. Let me not bury the lead, kiddos: Marvel good. DC bad. DC very, very bad.

Superior Spider-Man. Magneto. Ghost Rider. She Hulk. New Warriors. All books I picked up with half a snicker, save perhaps for Spidey. Launching a full-on series (as in, not a “1 of 6” mini-series like they did back in the day) with venerable B, C, and D listers is not a way to drive insane demand to the local comic retailer, I thought. Each in their own right are good characters, rich with backstory, and plenty of defining moments, don’t get me wrong. And yes, save perhaps for Magneto, all of the aforementioned titles had previously been a thing. Never though, have they been anything that you launch with guns blazing. Then I cracked them open, and gave them a read. And it all made sense. All New Marvel Now? Well, that’s synonymous with taking a risk, telling a good story, and letting characters be unto themselves. It’s a novel concept that was seemingly stamped into oblivion when Image Comics begat Spawn. But I digress.

This is not an object lesson on conceptual trends – mostly because my knowledge base would be bolstered not of first-hand knowledge so much as Wikipedia page entries. This is however, a reckoning with modern day storytelling. Marvel’s Now initiative, as I’ve noted before, seems to be about the slow burn off of older concepts and heavy continuity, and letting rise a phoenix (no, not that Phoenix…) from the ashes… born anew.

She-Hulk has been many a gal in her time. And in a single page splash on her March issue politely nodded to it. And with it, poof! The book continued to be about a bold new modern take on the character. A human (granted, a large, green, shapely human) who has intelligence, emotions, and exists in a world that doesn’t revolve around whatever team she’s seat-filling for her Hulkier cousin.

The New Warriors, reformed now after the last person forgot about their downfall a few epic-crossovers ago, set about finding their inner heroes once more. Largely (again) a team built of newbies, loose-ends, and forgotten morts (looking at you, Speedball…), the relaunch hits a small heart string of my own; harkening back to the innocent-fun of books like The Order, The Defenders (the Fraction-penned ones), and Slingers.

Magneto, yoked with just about the longest rap-sheet of who-could-recite-it-all mythology is given a chance to breathe in his own title. Now, without a Brotherhood, or X-Men yelling at him every panel… his book is a quiet, brooding, sharp bit of work. He’s weaker in his mutant abilities, and that makes him a deadlier man. And anytime a writer can write a Holocaust flashback scene that doesn’t make me feel like they’re shooting for the lowest common denominator? Well, it’s a sign something is being done right.

I could go on, but frankly, just read my individual reviews. The unifying factor that exists across all of these new books is clear to me. Mickey’s stopped cracking the pressure valve so hard. The fact that Marvel’s editors have the wherewithal to produce titles that care more about the individual truths that exist within the character(s) they’re reintroducing is beyond refreshing. Combining young and fresh talent to produce these books – each with an art style that is decidedly a step above house style only adds to the appeal. Ghost Rider’s slick magna-esque art helps feed the hellfire that churns through the LA backdrop. She-Hulk’s retro-chic flat art takes the Hawkeye approach to storytelling. And anyone around the shops in the last year or so, know that ain’t no one bad mouthing that book. The key to all of them being critically praised (by me at least) lies within the fact that each book touches in some way on the lengthy barriers to entry with each titular character, and then takes a nice ninety degree turn and goes it’s own way.

And by comparison, DC releases a book like Aquaman and the Others. A book that pulls a plot from any rote team origin you’ve already read, marries it to artwork that feels like any one of seven or eight other current DC titles, and then has the gall to double back on itself to do literally nothing to set itself apart from what has been done before it. I gave a synopsis of the book itself to my podcasting cohorts, and even they were floored at how unoriginal and awkward it all was. And here, in the New52, where there’s absolutely no chains to previous continuity, the best they could deliver was something that felt like Captain Planet (the bad United Colors of Benetton stuff) smashed with G.I. Joe (the whole evil henchmen and shrouded evil guys trying to unsuccessfully smash and grab artifacts stuff). Sad, really. Especially given the fact that a guy like John Ostrander exists, and would have done something amazing with the concept.

I could go for miles on the contrasts in presentation. I could labor all of you to churn through endless paragraphs going over the economics of it all; how Marvel and DC must keep the publishing alive less for huge profit, and more for idea incubation. I could make impassioned speeches as to how DC should consider the New52 a bust, and start All New Now’ing their way through their rich backlog of characters – letting young and fresh creative teams strip down to the bare-essentials, and enjoy telling singular stories that elevate and celebrate the essence of the characters. I’d probably spend another half page just finding quirky ways to insinuate that Bruce Timm become the EIC, and steer away from the sun. But why bother? If DC doesn’t care… for the while, neither should I.

For now… Make mine Marvel.

 

REVIEW: Green Lantern the Animated Series

GL Animated SeriesWarner Bros. was counting on a home run from the misfire that was the live action Green Lantern film. As that film was in production, the animation division was producing their first CGI-animated DC series, also featuring the hero of space sector 2814. Arriving on the Cartoon Network with much fanfare, the Green Lantern: The Animated Series ran from November 11, 2011 to March 16, 2013 for a total of 26 episodes. I disliked its look and found little reason to watch when it was apparent it had little resemblance to the source material. I gave it a second look when Warner Archive recently released the entire series as a 2-disc Blu-ray set. I have not changed my opinion.

The series immediately takes Hal Jordan (Josh Keaton) away from Earth and his sector to send him to “Frontier Space” and establishes the Guardians of the Universe actually have limits to their sphere of influence which makes little sense. He’s partnered with Kilowog (Kevin Michael Richardson), who apparently is no longer needed to train recruits and they jet around space in a spaceship, The Interceptor, which also makes no sense. The ship comes complete with an artificial intelligence, Aya (Grey DeLisle), who takes humanoid form and as she gains independence actually goes from ally to threat in one of the few interesting touches in an otherwise wretched series.

Why are Hal and Kilowog dispatched to the edge of space? Because Red Lanterns, led by Atrocious (Jonathan Adams), are picking off these fringe GLs as an act of revenge for his homeworld being destroyed by the Manhunters. During one of their first encounters, Razer (Jason Spisak) abandons the Reds and accompanies the Corps aboard the Interceptor. The series also features various familiar Guardians and members of the GL Corps.

And just to keep things colorful, we get a bunch of Blue Lanterns, Star Sapphires, and good ol’ Larfleeze (Dee Bradley Baker) of the Orange Lanterns. The relationship between Carol Ferris (Jennifer Hale) and Hal is as tense as in the comics but doesn’t really make either character more interesting. In fact, the writing is perfunctory and not very interesting and it could be the unfamiliarity of the writing staff led by Michael F. Ryugan, Jeremy Adams, and Jim Krieg. Milestone and DC Animated writer Matt Wayne is the only comic veteran on hand.

I will credit the final episode, “Dark Matter” as a cosmic adventure that does a good job raising the stakes but it’s too little, too late.

I love Green Lantern and he’s probably my favorite of the DC heroes which may be why I am so hard on this series and the film. Such incredible potential is continually squandered.  Of late, the various incarnations are so busy being sweeping in scale while leaving characterization in the dark.

The transfer to Blu-ray is excellent with great audio and video. Being from Warner Archive, there are no extra features.

REVIEW: Batman: Arkham Origins Blackgate Deluxe Edition

It’s become a growing practice to create a special edition of popular new releases specifically for Sony and Nintendo’s handhelds, more suited to the system’s differing strengths.  When [[[Batman: Arkham Origins]]] was released recently, both systems got their own side adventure, obliquely connected to the main game, but unique in features and content. Thanks to the popularity of the series, the handheld game has been expanded and made available for all major systems, console and handheld.

Batman: Arkham Origins Blackgate Deluxe Edition is set three months after the events of Arkham Origins.  An explosion at Blackgate prison results in a chaotic takeover of the facility, headed by The Penguin and Black Mask.  Things get more serious when it’s learned that the Joker has also joined the incarcerated internecine warfare. The game has some limited free play options – you can battle the three bosses and their associated campaigns in any order, and the end game finale differs based on who you chose to fight last. The movement is largely a 2-D left-to-right progression, with jumps to other angles for certain puzzles and  boss fights.

The gameplay is similar enough to the main line of games that it’s easy enough to pick up with little trouble.  Enhanced to HD-quality, the game is still based on a design for smaller, slightly less powerful handheld devices, so it’s  not as huge and expansive as the primary title.  The Deluxe Edition upgrade adds new characters, levels and unlockables – there’s 10 special costumes to seek out, from DC stories like Zero year, the Batman 66 costume, and the Blackest Night costume which makes you impervious to damage.

baobde_suits_key-art-300x169-7244264The game is fun and entertaining in their own right, good for filling the time between DLC releases of the main games.  Likely not worth a repurchase if you got the original for the handhelds, but at this price, it’s a good addition to the series, and certainly easier to see on a bigger screen.

Batman: Arkham Origins Blackgate Deluxe Edition is available via download for most console and handheld systems now, including Steam, and coming soon on the WiiU .

John Ostrander: Sequels and Prequels and Remakes, Oh My!

Fox Movies has announced the possibility of re-making the musical [[[West Side Story]]] because Steven Spielberg has evidently expressed an interest in doing so. A part of me, a large part of me, wonders if that’s a good idea. The original won ten Oscars and is considered a movie classic. So – why? Why do a remake? It might be different but will it be better? How likely is that?

It puts me in mind of Gus Van Sant’s shot by shot re-make of [[[Psycho]]]. Why did he bother other than as an artistic exercise? Why did the studio okay it? One of the justifications I heard is the younger generation won’t go to the original because it’s in black and white. Seriously? They can’t be that shallow.

At one point there was talk of doing a re-make of [[[Casablanca]]] as a film. That was fortuitously abandoned. There was a TV prequel to it in 1983 that lasted about a season. There was also a TV remake of Going My Way which starred Gene Kelly in the Bing Crosby role and Leo G. Carroll in the Barry Fitzgerald part. This one actually had a large impact on me; I was in the 8th grade at that point and it made me want to be a priest. My “vocation” lasted only a little longer than the series. But the TV series was my first experience with the material and so the TV series was always my “real” Going My Way.

Famously, there was the [[[Godfather]]] sequel that was better than the first film. Less fortunately, there was another sequel which was lesser than either of the previous two films. Likewise, the sequel to the first [[[Star Wars]]] film was, by most peoples’ account, the best film of the series while the third one was far from that. Then Lucas, in his supreme wisdom, went back and did a prequel to the original trilogy. The technology certainly was superior but the story – not so much. For myself, I wanted to know what happened next – which was the basis for the [[[Star Wars: Legacy]]] comic book series that Jan Duursema and I did. Disney, having bought the franchise, will do a bit of both – they’ll push on to Episode VII, set thirty years after [[[Return of the Jedi]]], but they’re also developing stand alone films about young Han Solo and young Boba Fett. So they’re looking forward and backwards. That could make you dizzy.

There’s nothing inherently wrong with a sequel, prequel or remake. It depends on the reason you’re making it and/or the story you have to tell. Sometimes you look at your earlier work and you see the flaws and think, “Man, I’d love another shot at that.” You feel you’re better at what you do, you’ve deepened as a person, you have more to bring to the material. The danger, of course, is that you could “improve” it to death.

Perhaps the remake is an existing property that you didn’t create. Me, I’d love a shot at [[[The Shadow]]]. Love it or hate it, Howard Chaykin achieved his own vision of the character when he took it on, as did Andy Helfer with artists Bill Sienkiewicz and Kyle Baker. Not traditional and perhaps neither were MY vision of the character but they were interesting and valid and reflected its creators.

I’ve done my own fair share of prequels, sequels, and remakes. Some have worked, some haven’t but in each case I tried to get down the essential concept of the book or character. My run on DC’s [[[Suicide Squad]]] was partly a continuation but mostly it was a re-make. The big question should always be – what story do I have to tell? Is it worth telling? Is it worth the reader’s time and money?

When you get right down to it, those are the same questions for any story you tell – new or remake. The story should always be its own justification.

Photo by nickstone333

Marc Alan Fishman: How To Lose Your (Convention) Virginity

On a recent jaunt into the social media interwebs, an old foosball buddy of mine asked that I help him discover the creepy, crazy, wacky world of comic book conventions. By proxy, I assume he also means sci-fi cons, pop culture cons, and possibly the auto show. In any event? Todd Burrows, I got your wonderfully tattoo’ed back. Consider this your introduction and survival guide all rolled up into one easy to read article. Forgive me though, this ain’t Buzzfeed, so don’t expect 10 glorious animated gifs for scrolling.

Let us assume you’re not a comic guy, but this whole comic thing is mildly intriguing to you. Perhaps a person you used to know back in high school is now a small indie publisher, and you think it’d be neat to see him again. Perhaps that publisher from time to time uses his or her friends in model reference shots, and you think that maybe you’d like to see yourself as a superhero or nefarious villain. And maybe, just maybe, you think dipping your toe into the waters of these new-fangled cons would be a good way to know if all your intrigue is just a waste of your time. I know, that’s a lot of supposition. But I digress. The question is simple: Why Go To A Comic Con?

It’s inclusive.

Since the first time I’ve stepped onto a convention floor, I’ve never once felt on the ‘outside’ of the industry. Once your badge is flung around your neck – be you a complete noob or a working professional – you’ll find most every con filled with folks in the exact same situation. In the pair of decades I have considered myself a fan, I’ve not once found a fellow con-goer not willing to lend an opinion, give a bit of backstory, or make an education recommendation on a good read. It can be daunting, no doubt, to jump in head-first to a world you think you don’t know. But lucky for you? Comics have permeated TV, movies, and pop-culture now for so long, there’s little to no chance you haven’t been introduced already without even knowing it. (more…)

The Point Radio: The Weather Channel’s New Morning Champion

A morning TV show with news, sports and pop culture – on The Weather Channel? This week the network launched AMHQ and host Sam Champion tells us us what to expect in a different type of wake up show. Plus the Doctor Who family gets a new player and a deep freeze in comic store sales in February.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

John Ostrander: Short Form and Long Form Storytelling

My favorite new show on TV this year is The Blacklist. It’s on opposite another show I enjoy a lot, [[[Castle]]], which is now in its sixth season. Assuming it makes it (and I certainly do hope it’s renewed). I wonder if I’ll still love The Blacklist five years from now.

The new trend in American TV appears to be serial anthology shows such as [[[American Horror Story]]] and True Detective. Both take a season to tell a complete story and then the following season tells a different story but in the same genre. [[[American Horror Story]]] often keeps most of the same actors but then casts them in different parts. You tell the story and then you move on, giving a complete beginning, middle, and end.

There’s a lot to be said for that. The BBC series, [[[Broadchurch]]], told a good story – so much so that I wonder how they’re going to do a sequel as they evidently plan to do.

With a long running series, you have to find ways to keep it fresh if you want to keep the viewers coming back and the reasons for continuing the show are often financial and economic ones rather than creative ones. (more…)