Hey there, true believer, when you book to the multiplex to see the new Thor flick, you won’t be seeing just a movie, or even just a superhero movie – you’ll be seeing a Marvel movie! And you’ll know it almost from the moment the feature begins to unreel. How? Easy! The word MARVEL will be splashed across the big screen, white letters against a red field – no point in being subtle, here. There may be references to other Marvel movies as the drama unfolds and, count on this, after the end credits – and you are going to stay for them, aren’t you? – there will be a brief final scene that hooks you into another Marvel movie! Or two, maybe.
Almost like it was all planned from the beginning, this creation of the Marvel brand, and in a way, it was. And by “beginning” I don’t mean…oh, say 2002, when Tobey McGuire put on the Spidey suit and began slinging webs. No, we’re referring to the 1960s when Stan Lee was busy revolutionizing the comic book biz. He once told me that he wanted everything Marvel to support everything else Marvel, and he made that happen, insofar as it could happen back in the dark ages. (No Internet? No smart phones? iPads? Google? Facebook? Not even – you gotta be kidding me! – fax machines?)
So Smilin’ Stan Lee created the Marvel Universe, a mirror image of our universe, but a universe not quite so beholden to life’s drearier realities – one in which superheroes could and did exist. Characters from one title popped up in another title and all the costume wearers seemed to know, or at least know of, each other. It was a cohesive fictional construct, this Marvel Universe, and it was given to us almost whimsically; footnotes and text pages and even cover copy emphasized fun and hinted that we didn’t have to take anything in a Marvel book too seriously. Y’know, just hunker down and enjoy. Oh, and you didn’t have much doubt that you were reading, not just a comic book, but a Marvel comic book.
The movie and television folk seem to have learned from the smilin’ one. They’ve taken Stan Lee’s paradigm, adapted it to their media, and achieved marketing success and, recently, a fair degree of artistic respectability. What Stan might call “the Marvel manner” has survived metamorphosis from cheap pulp magazine filler to the stuff of hugely elaborate and technologically sophisticated cinema.
Those cheap pulp magazines? Well, they’re not pulpy anymore and, let’s face it, not so darn cheap, either. But they’re still comic books – Marvel comic books. Somehow, the publishing arm of the Marvel empire has preserved some of its identity though decades of varying ownership and turnover of personnel in both the marketing and the editorial offices. And a lot of artists and writers, including your humble correspondent, have worked for and/or at both Marvel and its rival DC, and still at least a ghost of Stan Lee’s vision persists.
I haven’t mentioned Marvel’s television show, Agents of S.H.I.E.L.D. Well, the lead character has mentioned his appearance in Marvel’s big screen Avengers and the word on the street is that S.H.I.E.L.D. will have some connection to the next Captain America flick. ‘Nuff said?
DC Enterprises honcho Diane Nelson released the following message to her New York City staff:
Dear DCE Team,
As I hope you know, I and the entire DCE exec team work hard to offer transparency about as much of our business plans and results as we possibly and responsibly can. In an effort to continue to do that where possible and to ensure you are hearing news from us, rather than a third party, I am proactively reaching out to you this afternoon to share news about our business.
I can confirm that plans are in the works to centralize DCE’s operations in 2015. Next week, the Exec Team will be in New York for a series of meetings to walk everyone through the plans to relocate the New York operations to Burbank. The move is not imminent and we will have more than a year to work with the entire company on a smooth transition for all of us, personally and professionally.
Everyone on the New York staff will be offered an opportunity to join their Burbank colleagues and those details will be shared with you individually, comprehensively and thoughtfully next week. Meeting notifications will be sent tomorrow to ensure the roll out of this information and how it affects the company and you personally.
We know this will be a big change for people and we will work diligently to make this as smooth and seamless a transition as possible.
Best,
Diane
So if you’re looking for convenient parking the next time you go to The Ed Sullivan Theater, pretty soon it’ll get easier.
What can I say about Black Lightning except for the fake Afro wig (decades before Steve Harvey’s BTW… wait… y’all didn’t know that was a wig? Oops, sorry Steve, my bad) but like I was saying-except for the wig I loved this character the moment I saw him. Yeah, there were some stereotypical thing to him like his real first name, Jefferson but his last name was Pierce and Jefferson Pierce sounded so cool I can give Jefferson a pass.
9. Spawn.
Created By Todd McFarlane
Little know story: when I was the CEO of Motown Animation & Filmworks I started a comic book imprint called Machineworks. We were all set to do a publishing deal with Marvel Comics which would have given Marvel its very own Milestone like imprint. Think about that for a second: Marvel’s very own Milestone with the clout of Motown Records behind it.
But… the more meetings I had with Marvel and the closer we got to a deal the less secure I felt about being in business with them. So I took a meeting with the Image guys in their hotel suite at 3:30 in the morning during San Diego Comic Con.
Understand this was not an impromptu meeting this was the time the meeting was scheduled for. My Chief Operating Officer was a major Hollywood playa at the time and he hated the Image guys, especially Todd. I mean hated Todd with a passion. I knew all the Image guys for a while by then so it didn’t bug me in the least that the meeting was at 3:30 in the morning in the Image suite… in the master bedroom.
A master bedroom where Todd McFarland, Jim Lee, Rob Liefeld, Eric Larson, Marc Silvestri and Jim Valentino were all sitting or laying on a king size bed and that’s where the meeting took place.
My COO almost busted a blood vessel, he was so pissed.
I loved it and at that moment the Marvel deal was dead and we were in business with Image comics.
What does this have to do with Spawn being number 9 on my Top Ten Black Superheroes Created By White Guys and Louise Simonson?
Everything.
Todd’s Spawn is not a typical black superhero; he’s not even really a hero. He’s a spawn of Hell who when he was alive just happened to be black. Spawn’s alter ego-Al Simmons was named after Todd’s real life friend of the same name.
Just like that Image meeting all those years ago Todd has an “I don’t give a shit” attitude about what people think and he created a black superhero that transcends what you may think it should be.
8. Cyborg
Created by Marv Wolfman & George Pérez
Another little-known story. I stopped reading comics all together when I entered high school. I went (yes here it comes, again) to the greatest high school in the history of the world, the High School Of Art & Design. Yeah, yeah. I’m a broken record…
When I applied to A & D I wanted more than anything to be a cartoonist and draw comic books. After I was admitted and it was time to choose my major, my cousin who’s an artist (and before you dismiss him as a guy who just likes to draw bear in mind his work sells for upwards of seven figures and I’m not joking, he’s that kind of artist) told me if I majored in comics I would stave and die.
So I majored in illustration and stopped reading comics cold turkey. Just like that I gave up comics and as luck would have it I discovered the Society Of Illustrators and met master painter Ernie Barnes the summer before I entered A & D so by the time I was in A&D I loved the world of illustration. I went all trough undergrad and graduate school with nary a comic.
Of all places I was a an Elton John concert at Madison Square Garden and the guy sitting next to me was reading a copy of Frank Miller’s Daredevil while we waited for the show to start. One thing led to another and the next day I’m at the greatest book store on the planet called, of all things, Forbidden Planet, buying Miller’s complete run of Daredevil. While at checkout I heard these kids talking about the Teen Titans and George Pérez’s artwork. I asked to see what they were reading promptly got out of line and went to pick up all the back issues of the New Teen Titans.
I loved those books and OMG…Cyborg, at that time, was the best freaking Black character…ever.
Cyborg’s alter ego is Victor Stone, the son of Silas and Elinore Stone, a pair of scientists… a pair of scientists?
Oh no, Marv did-ant!!!!
Oh yes, Marv did.
What’s not to love about Cyborg? His parents were Black and a pair of scientists!!
Wow.
A pair of black scientists who don’t become drug dealers like Tyrone Cash…go figure.
7. Storm
Created by Len Wien and Dave Cockrum
Storm like Cyborg and Spawn were part of a new breed of black characters created by white boys (or Louise Simonson) these characters did not need “black” in their names because they worked with or without race being a major factor. Black Lightning works that way also but let’s face it, Black Lighting is a cool ass name.
Storm’s not just a black character, she’s a major playa in the power department at Marvel comics and she’s a woman. How cool is that? I read somewhere that Storm is not black; she’s made up of a bunch of different races.
OK, how can I put this diplomatically? I know…
Fuck that.
What did someone decide because she was one of the most powerful characters in comics she couldn’t be black?
Nope. Fans old and new think of Storm as a strong black woman and that means if you want to date her you best have a job.
What?
6. Miles Morales
Created By Brian Michael Bendis
A half black and half Latino Spider-Man. Just how on earth could I not love this? I give Marvel shit about some of the black characters in their universe, but man do they get well-deserved props for Miles Morales. Another little known fact: Milestone was named after (equal parts) Miles Cowan, Denys Cowan’s son, and Miles Davis. I can’t help but think (I may be wrong I was once…she sure looked like a man) that Miles Morales gives a nod to Milestone as Static gave a nod to Spider-Man.
5. Blade
Created By Marv Wolfman & Gene Colan
I went to the opening of the first Blade movie at the Magic Johnson Theater in the Crenshaw district of Los Angeles. I was there with my then-girlfriend and one of my best friends who also happened to be white. Except for those two the only other white people in the theater were in the movie.
The credits rolled and up came “Blade, created by Marv Wolfman and Gene Colan.” I could NOT contain myself so I started clapping like a madman and yelling “yeah.”
But no one else did. Everyone and their mother were staring at me.
Shit.
This huge gang banging looking dude turns in his seat and says to me, “Are they brothers?” I answered truthfully. “Marv’s my brother.” He said, “Cool” and didn’t shoot me.
I must admit when I was a kid I brought every comic book I saw a Black character in. I hated horror books but Blade was in Tomb Of Dracula so I brought it. One of the best comic book decisions I’ve ever made.
4. Mal Ducan
Created By Robert Kaniger
Who the Hell is Mal Ducan?
Mal was the first black official member of the original Teen Titans. He was an average guy with only boxing skills and I loved that character. Later on DC tried giving him a bunch of powers and that was stupid. I like good old unpowered Mal because as a kid he was me.
I saw myself as Mal, I couldn’t fly I had no utility belt no super speed but I knew I could be a hero just like Mal.
3. The Black Racer
Created By Jack Kirby
The Black Racer is was Sgt. Willie Walker, paralyzed during the Vietnam War. Walker was contacted by the Source when Darkseid first brought the war of the gods to Earth, and told it was his responsibility to take on the role and yada, yada, yada…
OK, the Black Racer was Kirby’s answer at DC to the Silver Suffer character he co-created with Stan Lee at Marvel.
There were about a zillion things wrong with the character. The first is that black people don’t ski.
Duh.
I didn’t give a shit what was wrong with that character. Jack ‘“King” Kirby had created another badass black character and all was right with the world! Truth be told, Kirby could have created the “Black Player” as a super powered black hockey player and I would have been all in. The Black Racer is still badass for my money today.
2. The Black Panther
Created by Stan Lee & Jack Kirby
The Black Panther was created at the height of the civil rights movement in the 60s.
The Black Panther party was a black revolutionary socialist organization active in the United States from the 60’s to the 80’s.
Now-how bad ass do you have to be to name a Black character the same as that party and make that character not only an hero but a king of a African nation that was tectonically eons ahead of the United States Of America?
Bad Ass.
Period.
1.Steel
Created by Louise Simonson & Jon Bogdanove
I could go on and on why this is number one on my list, but that’s another article in and of its self. I’ll just say this: Louise was gangsta enough, talented enough and bold enough to put the ‘S’ on a black man.
BBC announced this week details of the theatrical showings of the Doctor Who 50th anniversary special, The Day of the Doctor, with US showings details released today. Fifteen theaters in eleven US cities will be presenting the anniversary episode, starring Matt Smith, David Tennant and John Hurt as The Doctor, with Jenna Coleman and Billie Piper as their companions.
Houston – Cinemark Tinseltown 17 and XD (The Woodlands, TX)
Atlanta – Cinemark Tinseltown 17 (Fayetteville, GA)
Seattle-Tacoma – Cinemark Lincoln Square Cinemas (Bellevue, WA)
Minneapolis – AMC Southdale 16 (Edina, MN)
In addition to the day and date broadcast, Fathom Events will be hosting a rebroadcast the evening of Monday, November 25, in over 300 theaters. Fathom Events hosts many live and special events simulcast in theaters nationally, including live performances by the RiffTrax team, formerly the cast of Mystery Science Theater 3000.
The Doctor Who tumblr page has posted a FAQ page about the event, including details for viewing in other countries, and the complete list of theaters participating in the Monday evening event.
The Day of the Doctor is being simulcast globally on November 23rd, the 50th anniversary of the series, so that the fans can enjoy the episode all at once, with no chance of spoilers. The episode will be be broadcast on BBC America – check your local carrier for channel details.
A fine friend of mine – a comic shop retailer, convention promoter, and all around great geek – tasked me with a topic for the week: the death of collect-ability. As a collector himself, my friend postulated that “[It seems like] Marvel Comics no longer has any ongoing series, and everything they create now is a limited series.” Interesting thought, no?
For those paying close attention to the racks these days (which I admit I’ve not… but more on that later), they’d note that within the big two, no issue is numbered over the forties. Between Marvel NOW and the New 52, the industry has taken a shine to newness as the gimmick du jour. Gone are the long-running series that toppled in the hundreds before they were relaunched into new volumes. Serious collectors would amass each issue into their glorious bags and boards, stacks, and boxes.
Devotees of the X-Men, Fantastic Four, Action Comics, or Detective Comics would “ride the run” as it were. Through the high times and low, the collector made a simple statement: I want all of this. When the volume ended, a new line in the Overstreet is made and thus, said geek has the ability to opt out and move on. It might also be appropriate to hypothesize that when a volume ended, it did so not at the height of its quality or popularity. As my buddy Triple H might say? It’s always about what’s best for business.
Let us dive into that then, shall we? As a retailer, a #1 is a boon for business. It’s the universal jumping on point for a reader. Sales charts proclaimed that the New 52 was an initial success. As were several gimmicks revolving around funny numbers. Marvel NOW got into the same tactics, albeit under slower pretenses. At the end of the day though, all the ongoing series now sit in their infancy, and it is perhaps leading to an antsy fan base changing titles the way they surf the Internet. Keep producing #1s and you spark the base for a quick jolt of sales each time. The same way TV launches their seasons of new shows. The same way movie studio reboot and relaunch franchises when they want guaranteed money.
I personally am not getting any book with Wolverine in it. I freely admit though that when I see a new Wolverine #1 with a new team I stop and think “maybe I should get in on that kooky Logan business…” Hell, whilst driving home from the New York Comic Con, my Unshaven cohort declared that Matt Fraction was going to write a new Silver Surfer series. Given that I loved the new Defenders mini he did (which I bought, oddly enough, because it was a #1 and I was low on books to buy that week it debuted…), there I sat, hands on the wheel thinking that it’d be worth a try. By the way, I hate the Silver Surfer. He defeated Kyle Rayner in Marvel Vs. DC in the 90’s and I’ve never forgiven him. Yet, the allure of a #1 and a creative team I like is enough to sway my snarky heart. Scary, no?
My unnamed pal noted his sadness that his newer customers would “never get to experience of watching a series / character / creative team grow”, and those words ring true. Ron Marz’s run on Green Lantern anchored my teen years. By watching Rayner grow from a newbie ring-slinger to the true torchbearer of the corps, I built a life-long love of the character. Do I feel the same way about any character I’ve read in the last several years? Hardly.
I love the Superior Spider-Man right now, but I know that love is entirely fleeting. Much as I’d hoped Dick Grayson would hold the cape and cowl of his mentor for more than a hot minute, I knew that the industry I wallow in is one of transitory entertainment. Nothing lasts longer than the sales figures allow them to. When Walt Disney’s petulant corpse and the unseen Brothers Warner loom in the darkness with gluttonous desire, the idea that a paltry four dollar rag be given years to find a voice and mature is as impossible as a mouse actually piloting a steamboat. It’s a small world after all, and it doesn’t run on dreams and candy. It runs on movie and merchandise revenue. Comics these days serve their purpose more for maintaining rights, and collecting otaku for monetary tribute. The business model for doing that simply doesn’t take into account anything more than a bottom line in the black.
One thing I’d be remiss to mention here is how my very own studio has thought of production. Our Samurnauts concept was built to be presented as a maxi-series of mini-series… if that makes any sense. Knowing our audience as we did when we started, it was hard to not want to make everything last only long enough to make it into a trade. Then slap a new #1 on the next mini, and make everyone start back at the beginning. Simply put? When I walk past an indie table, and see a series past even four issues? I’m already walking past for fear of the costly barrier to entry. While the series itself may be absolutely amazing, as a fan, I freely admit that I’m always less likely to buy-in when I know there’s a backload of material to catch up on. Comics aren’t seasons of shows on Hulu or Netflix; they’re commitments of dollars, and as such I’ve ended up becoming a slave to newness.
I open the argument to you, the people of the court. Are Marvel and DC doing you wrong by continued experimentation, relaunching, and ADHD production? Or do you like the idea that you’re never too far away from a jumping on point? Do you find the pulp of today to be too transitive, or do you like to consume your sequential fiction one micro-series at a time?
I’m not a Communist. I’m not a Marxist, unless you count Groucho. And I’m certainly not a Maoist. However, I’ve always enjoyed quoting this passage from Mao’s Little Red Book: “Let a hundred flowers bloom; let a hundred schools of thought contend.”
I’ve always heard that as a call for diversity, not only of opinion but of style, of subject matter, of voice and rhythm and flavor. It’s what I want not only in the market of public opinion, but even more in my popular culture.
Especially in comics.
For many years American comics came in only a few flavors. You had your superhero comics, and your underground comics. If you wanted something that wasn’t “Biff, Bam, Pow” or political satire, you had to look to Europe or Japan, and hope one of your friends could translate for you.
Luckily, that hasn’t been true for years. Yes, Marvel and DC continue to dominate the direct market, but there are many more outlets that sell graphic novels, including bookstores and the Internet. More publishers putting out more kinds of books meant there were more potential readers. The marketplace grew, and, as a result, not only are there massive, crowded events like last weekend’s New York Comic-Con, but best seller lists of graphic novels in the newspaper of record.
In the past couple of years, the market has opened even wider because of crowd-funding. People who are passionate about an idea for a book can raise the money themselves to put it together, and then either try to find a publisher or do it themselves. It’s the same spirit, but light years advanced technologically, from the zines I loved searching for in the 1970s and 1980s.
My pal, Bo Hampton, one of the finest artists working in comics, has a western super-natural horror story up on Kickstarter. It looks amazing, and it’s exactly the kind of book that neither DC nor Marvel would publish today. And even with so many mainstream publishers in the graphic novel business, there aren’t a lot of places that will do 80 pages of full color.
Dwayne McDuffie once said that the Internet is like a junior high school cafeteria but on a global scale. Even though there are billions of us here, we still find our own little cliques and nerd groupings.
And garden plots, where we plant a million flowers.
We should have seen this coming. Last fall, Warner Animation unleashed Batman: The Dark Knight Returns, Part 1, adapting the first two issues of Frank Miller’s seminal prestige format miniseries. In January, we finally got Part 2, completing the story of 50 year old Bruce Wayne being forced to don the cape and cowl once more, to bring justice back to a crumbling Gotham City. Out now is Batman: The Dark Knight Returns Deluxe Edition, seamlessly editing the two sections into a 148-minute feature.
As previously reviewed, the adaptation is largely successful, recreating the bleak look and feel of a fascist world, protected by a Man of Steel working for a government Wayne no longer recognizes. The story is clearly Miller’s musing on the role of heroes in the time of Ronald Reagan but it is also a thrilling adventure, looking at a bitter, somewhat broken hero who has turned his back on the people he swore to protect. Events and destiny, though, have something to say about that choice.
So, the question becomes, is it worth buying the combined parts in a single disc? As a film, no, not really. Being a successful adaptation, it lays the ground work in the first half so things explode and rush along in the second., Splicing them together, it plays nicely and ramps things up and without waiting six months, delivers on the promised climax. It’s a satisfying adaptation from writer Bob Goodman and director Jay Oliva.
What you also get that’s new is a fun, interesting Audio Commentary track from Oliva, Goodman and voice director Andrea Romano and a second Blu-ray disc containing all the previous features plus a brand new lengthy documentary on Miller. Masterpiece: Frank Miller’s The Dark Knight Returns (69 minutes), narrated by Malcolm McDowell, not only talks to Miller at length but includes colleagues including Jenette Kahn, Editor Denny O’Neil, collaborator Klaus Janson, admirers Grant Morrison, Michael Uslan, and Mike Carlin. We meet the Virginia fan boy who successfully found work as an artist at Marvel, getting noticed for his work on Daredevil, leading to coming over to DC for Ronin then Dark Knight, helping shape the next generation of storytelling. Unfortunately, we don’t see the remainder of his sporadic career in comics and Hollywood.
The documentary makes this worth owning while the combined feature is a more satisfying viewing experience.
After their first announcement at San Diego four years ago that they had obtained the rights, Marvel Comics announced last weekend at New York Comic Con that reprints of the original Alan Moore / Neil GaimanMiracleman series would begin in January 2014. Gaiman will then continue the story with issue 25, which he said was completed, but never released, back when Eclipse was publishing the series.
Joe Quesada made the announcement at his “Cup O’ Joe” panel at the convention, to an appropriately appreciative audience. Marvel will be reprinting the entire series, starting with its first issue as seen in the UK magazine Warrior, reprinted in Eclipse’s Miracleman #1. The early issues were written by Alan Moore, but his name is not being used in any publicity for the series.
Originally named Marvelman, the character became “Miracleman” in America after Marvel Comics contacted its US publisher, Eclipse, and asked it be changed to avoid confusion in the marketplace. Marvel, who has been referring to the character as “Marvelman” since their first announcement of the acquisition, has decided to reprint the series under the US title of Miracleman after all. Tom Brevoort explains, “Gaiman and Buckingham worked on Miracleman, and that’s the name under which the series is best known in the States. So Miracleman it is.”
The series will be re-lettered and re-colored, but there no editing or alteration of the art is planned. Some of the violence was quite intense in the original series, and issue nine featured very graphic depictions of childbirth, so the plan not to censor the art is good news indeed.
Marvelman was created by Mick Anglo when the British comics publisher who was reprinting the popular Fawcett Captain Marvel needed material when the various Captain Marvel titles ended, pursuant to a DC lawsuit. Marvelman bore more than a slight thematic resemblance to Captain Marvel – young boys given a word of power to change into a powerful hero – a deliberate choice by the publisher.
Marvelman (Photo credit: Wikipedia)
In the early eighties, Alan Moore wrote new adventures for the hero, the first of his “Everything you know is wrong” style of completely revamping a heroes origin while still paying respect and adherence to the stories that were told. He would do this again with great success on Swamp Thing when he came to the US to work for DC.
The issue of ownership of the character has been a rats’ nest of red tape, even during the original run in Warrior. To attempt to summarize the tale would not come close to getting across the complexity – The management suggests you seek out the exhaustive work of Irish comics journalist Pádraig Ó Méalóid, whose exhaustive history of the boondoggle puts all obsessive comics writers to shame.
Specific details of the schedule and format of the Miracleman reprints will arrive shortly with the January solicits. If the book is published monthly, with the same page count of the Eclipse issues, it would Neil’s new material would not be seen for two years. But considering the nigh-legendary status of the run, new readers will finally have a chance to read this seminal series, both in the careers of the creators involved and the exciting storytelling style.
Pretty day outside, if you like bleak. Mist, rain, a world of grey. October in the northeast. Bleak.
Not much better inside. It’s becoming a chore to watch some of my favorite television programs. The other night, after sitting through about 10 minutes of The Daily Show, I walked out of the room. I deeply admire Jon Stewart: he’s a national jester and as such, one of our treasures. Four nights a week, he manages to inform and entertain simultaneously, and he does this nifty trick consistently, show after show. He was riffing on the shutdown of the national government and suddenly I didn’t want to hear about it anymore, not even when Jon Stewart was the messenger and the message was leavened with comedy. To hear yet again of the antics of that herd of egotistical narcissists who are our elected leaders – enough! Let them take the nation to hell. I’ll just shut my eyes and cover my ears and try not to breathe in the dust.
Remember the words of Thomas Jefferson: “Indeed I tremble for my country when I reflect that God is just: that his justice can not sleep for ever.”
I’m not blaming the politicians. They are what they have to be. In a system that values greed above all else, in which congressmen, who are charged with regulating an enormous and ever increasingly complex commonwealth must spend 30 hours a week on the phone begging for money instead of learning what they should know, and in getting what they beg for place themselves in indentured servitude to the check writers, who were taught that education is passing tests, whose egos might need to be damaged before they can even aspire to the jobs they hold, and who have begun to behave like history’s great mischief makers, zealots who are incapable of questioning their zealotry, who are unable to identify with human suffering other than their own…yeah, they are more to be pitied than hated. But such creatures can foster ruination, pitiable or not.
There’s nothing I can do about the Washington mob that’s shaping our collective destiny. But please don’t ask me to share an elevator with any of them.
So I ducked an episode of The Daily Show. Then, the following evening, I got over my snit, stopped wishing that reality to be something other than what it is, and tuned in for my eleven o’clock Jon Stewart fix.
• • • • •
And now to answer a question you may or may not be asking: can’t we please, for the love of Pete, end on a cheerier note? Okay, how about a dose of…
I’ve been down with what is either an incredibly horrible cold or what technically would be considered a mild flu since last Tuesday, although “mild” is definitely not in the eyes of the sufferer – achy and sore, exhausted just doing nothing but unable to sleep enough to wake up feeling like I slept, coughing up disgusting stuff from inside my chest, a nose that is either stuffed or running depending on the time of day, alternately hungry and nauseous in the same minute…
Anyway, my brain is definitely not completely “there” this week, but here are some thoughts.
So far not terrifically excited by Agents Of S.H.I.E.L.D. I thought the pilot episode was basically meh and if it wasn’t for the involvement of the combined powerhouse of the MCU (Marvel Cinematic Universe) and Joss Whedon it would never have been picked up by ABC, much less been given a full season of episodes. For one thing the new agents (meaning those we haven’t seen in the MCU) are too homogenously Hollywood; everybody is the same pretty face and body, as though the casting office went to the Paris and New York fashion shows instead of the theaters in their search for new talent. Note to ABC: Marvel’s universe is not DC’s universe. It’s built around imperfect people having imperfect lives, super powered or not. It wouldn’t have been a bad idea to hire a Melissa McCarthy or Kevin James as agents. Y’know, some imperfect people. Imperfect people who can… act.
But maybe I’m being too hard on a new show that has had the weight of high expectations around its neck like the proverbial albatross. Isn’t there anything I’ve liked about AOS?
Of course.
Clark Gregg as Phil Coulson. Oh, and Clark Gregg as Phil Coulson. And then there’s Clark Gregg as Phil Coulson.
I also like Lola, Phil Coulson’s 1961 red Chevrolet Corvette C1. (Phil Coulson is played by Clark Gregg.)
I like that Lola has a little bit of DeLorean in her.
I like Sam Jackson showing up as Nick Fury and dressing down Phil Coulson (who is played by Clark Gregg.)
I liked seeing J. August Richards – Charles Gunn on Angel – on TV again, playing the manipulated and man-made superhero/supervillain of the pilot. Whedon has a good, no, great, eye for talent and he often hires and rehires actors he has worked with and brought to stardom…maybe we’ll be seeing other Wheedon “school” alumni on AOS? Alexis Denisoff – yes, I know he played “the Other” in The Avengers, but so what? – Elisha Dushku, Tom Lenk, Amy Acker, Gina Torres, Nathan Fillion….
Actually, those are the kind of actors I would have liked to see making up the Agents Of S.H.I.E.L.D on ABC, Tuesdays at 8 PM, EDT.
Still, the pretty faces of Hollywood might grow on me.
Hey there, true believer, when you book to the multiplex to see the new Thor flick, you won’t be seeing just a movie, or even just a superhero movie – you’ll be seeing a Marvel movie! And you’ll know it almost from the moment the feature begins to unreel. How? Easy! The word MARVEL will be splashed across the big screen, white letters against a red field – no point in being subtle, here. There may be references to other Marvel movies as the drama unfolds and, count on this, after the end credits – and you are going to stay for them, aren’t you? – there will be a brief final scene that hooks you into another Marvel movie! Or two, maybe.
BBC announced this week details of the theatrical showings of the Doctor Who 50th anniversary special, The Day of the Doctor, with US showings details released today. Fifteen theaters in eleven US cities will be presenting the anniversary episode, starring Matt Smith, David Tennant and John Hurt as The Doctor, with Jenna Coleman and Billie Piper as their companions.
After their first announcement at San Diego four years ago that they had obtained the rights, 
