Disney has released a hysterical new clip on support of Muppets Most Wanted, coming in March.
Genre: Family Comedy
Rating: TBD
Release Date: March 21, 2014
Cast: Kermit the Frog, Miss Piggy, Fozzie Bear, The Great Gonzo, Animal, Ricky Gervais, Ty Burrell and Tina Fey
Director: James Bobin
Producers: David Hoberman, Todd Lieberman
Executive Producers: Nicholas Stoller, John G. Scotti
Screenplay by: James Bobin, Nicholas Stoller
Disney’s Muppets Most Wantedtakes the entire Muppets gang on a global tour, selling out grand theaters in some of Europe’s most exciting destinations, including Berlin, Madrid and London. But mayhem follows the Muppets overseas, as they find themselves unwittingly entangled in an international crime caper headed by Constantine—the World’s Number One Criminal and a dead ringer for Kermit—and his dastardly sidekick Dominic, aka Number Two, portrayed by Ricky Gervais. The film stars Tina Fey as Nadya, a feisty prison guard, and Ty Burrell as Interpol agent Jean Pierre Napoleon.
Disney’s Muppets Most Wanted is directed by James Bobin and produced by David Hoberman and Todd Lieberman. Bobin co-wrote the screenplay with Nicholas Stoller, who is also executive producer with John G. Scotti. Featuring music from Academy Award®-winning songwriter Bret McKenzie, Muppets Most Wanted hits the big screen March 21, 2014.
Starring Ricky Gervais, Ty Burrell and Tina Fey, Disney’sMuppets Most Wanted takes the entire Muppets gang on a global tour where they find themselves unwittingly entangled in an international crime caper.
NOTES:
Director James Bobin returns to Muppets mania. For his work as Disney’sThe Muppets director, Bobin was nominated for BAFTA (Outstanding Debut by a British Writer, Director or Producer). He co-created HBO’sFlight of the Conchords, which he wrote, directed and exec produced.
Bret McKenzie, who won an Oscar® for best original song for “Man or Muppet,” returns to the Muppets stage as music supervisor. McKenzie created, co-wrote, executive produced and starred in the hit HBO television series Flight of the Conchords,”
Ricky Gervais is the creator of Derek and the Golden Globe®- and Emmy®-winning series The Office and Extras.
Ty Burrell is an Emmy® Award winner for his role in TV’s Modern Family.
Tina Fey is a Golden Globe®-, Emmy®- and SAG Award®-winning actress and writer Tina Fey (30Rock, Mean Girls, Date Night).
The news came down publicly on Friday that, in 2015, the Star Wars comics license will move from Dark Horse, who has had it for more than two decades, to Marvel, which had it at the franchise’s inception. It’s not a big surprise; since creator George Lucas sold it all to Disney, and Disney owns Marvel, many saw the move as inevitable.
I have had the pleasure of playing in George Lucas’s sandbox for more than ten years, most often with my artistic partner in crime, Jan Duursema. At first it was only going to be a four issue story arc. My buddy and Brother by a Different Mother, Timothy Truman, was the regular writer on the book at the time and he was taking some time off to work on a special project. He recommended me for the fill-in, one of the many favors I owe Tim.
When I got the first assignment, I knew this might be the only chance I ever got to write Star Wars. I decided we should create our own characters; that way, we were less likely to trip over established continuity. I wanted an amnesiac Jedi – a Jedi who had sustained a head injury and didn’t know he was a Jedi.
Jan was brought on board as well and, I have to say, she was and is a larger SW geek than I was. What I didn’t know about that galaxy far far away, Jan did. She decided she wanted to create a look based on a character from the films, the current one at that time being Episode One: The Phantom Menace. She found a figure who was in the background of a cantina scene. Let me point out that the character appears for maybe three seconds and there was no DVD of the film yet; the only place to see it was on the screen. Jan not only spotted the character but memorized him in those three seconds. Yeah, she’s that good.
And so was born Quinlan Vos, our first Star Wars character. He was joined by Vilmahr “Villie” Grahrk, a devilish-looking Devaronian who spoke like a Russian and was a complete rogue. Man, I loved writing that character! Rounding it all out was Quinlan’s missing apprentice, a female Twi’lek named Aayla Secura. George Lucas would later like the look of her so much he put her in both Episode II and Episode III. I think that was perhaps the only time a character started in the comic and went to the movie instead of the other way around. She and Quin also wound up in the animated version of The Clone Wars.
When Tim decided not to return to the ongoing, I was invited back. At the time, the book would switch artists and writers with almost every arc. I suggested to DH that, whether it was me and Jan or not, there should be a regular team and the book should have its own cast of characters. My argument was that it was hard to build a reliable fan base for the book if it constantly changed identities. Having their own characters that could (mostly) only be found in the book would also be a selling point for readers. DH bought the idea and Jan and I wound up as the regular team.
When Episode III came out (they killed Aayla!), that era was essentially done and Jan and I had to look for another. One of my problems with the Prequel Trilogy is that it went backwards in time; when I like a story, I want to find out what happened next. So I suggested to Jan and Dark Horse that we dropkick the franchise down the timeline, past the movies, past the books, and tell that part of the story. Our protagonist, Cade Skywalker, would be a descendent of Luke but Cade was very different. He was a junkie, a rogue, and he wanted nothing to do with the Jedi. My pitch for the character was – what if Han Solo had a lightsaber?
We named the book Legacy and it was, perhaps, the most successful book Jan and I did in Star Wars. We had new Sith, a resurgent Empire, and Imperial Knights – Jedi-like Force users working for a more benign Empire. The cast was huge and we had a chance to tell all kinds of stories for more than five years.
After Legacy ended, we cast about what to do next. I suggested that, having gone forward in time, we now go back. How did the Jedi become the Jedi? I figured that was a story fans would find interesting. As a fan, I wanted to know. Out of all that came Dawn of the Jedi, the series that Jan and I are currently working on and which will be our last Star Wars story for Dark Horse. In addition, I’ve had the chance to do various Specials and one-shots, as well as Agent of the Empire, which was one part Star Wars and one part James Bond. I had a lot of fun on that one.
So – is that it? Have I written my last Star Wars comic? That’s up to Marvel now but I have hopes. Both Jan and I bring a lot to the table. First off, we know how to write Star Wars so that it feels like Star Wars, even when not dealing with the usual characters. Every story we do has to be approved by Lucas Film Publishing and Jan and I have never gotten a story rejected. We get notes, yes, but not rejections. That’s not easy to do, let me tell you. Jan and I are good at what we do. How do I know? Because we sold well and we have our own fans (and I deeply appreciate them).
Will all that be enough? I don’t know; I’ll certainly contact Marvel and pitch to do more stories. I love Star Wars and I think it shows. Marvel may not yet know what they want to do with the franchise. They don’t get control of it until 2015 which is when Episode VII comes out and that will probably help decide more than few things.
Whatever happens, I’ve had a good run and got a chance to tell some fun stories set in a galaxy I love a lot. I also have some other projects I’m developing and some of them are also SF so I won’t stray too far.
I want to thank Dark Horse, the editors – especially Randy Stradley – and all the very talented people I’ve worked with.
Like so many kids of my generation, Walt Disney was my baby-sitter when I was a kid. “Uncle” Walt sometimes showed up on The Mickey Mouse Club. He was the genial host of The Wonderful World of Disney on Sunday nights. He was the bestower of Mickey and Minnie, Donald and Daisy, Goofy and all those amazing cartoons.
Alas, I grew up, as kids tend to do. I learned more about Disney, the man and the business. The business was well-known for its penny-pinching, and Walt, personally, was a right-wing, union-busting anti-Semite. These are not the kind of institutions I tend to support.
And yet ….
The reason for these musings is that I just saw Saving Mr. Banks, a lovely movie about the making of Mary Poppins. And it is a lovely movie, even though it is almost surely inaccurate. It stars Emma Thompson and Tom Hanks as P. L. Travers, the writer of the Poppins books, and Uncle Walt. The biggest problem most people seem to have with the movie is that it whitewashes Disney.
The story the movie tells concerns the tensions between Travers and Disney over the kind of movie to make, based on the books. I didn’t read the books as a child, but I did read them aloud to my son when he was a boy, and they are both lovely and quite different from the film. I don’t care, I enjoy them both. Similarly, I like both the Disney Peter Pan and the book, which, again, is quite different. In both cases, one is entertained and uplifted by the various stories in the various media.
My favorite part about the movie (besides B.J. Novak is that it is about a relationship between a man and a woman that is not even slightly romantic nor sexual, but still emotional and involving and affecting. Hanks is not the least bit like the Walt Disney I remember, and I don’t really care. The character works in the story, which is what I want from my cinematic experience.
It made me think about my feelings for Disney. On the one hand, his politics were, reportedly, terrible, and his business policies hurtful to a lot of hardworking creative people. On the other hand, he made some of my favorite films. On the third hand, he was a human being with a family he loved who loved him, and the same kinds of human insecurities and failings as the rest of us. These contradictions are what make each of us interesting, each of us a worthy star of our own life story.
None of this is to say that, Constant Reader, will necessarily like this movie. I’m not even sure I can say it’s great art. It made me think about art and commerce and families and the love and respect we owe each other despite (sometimes because of) our sins.
Together with my senior discount, it was well worth the afternoon.
When I had to go to work in an office everyday, I would try to save up my vacation days so I could take off the week between Christmas and New Year’s Day. Ostensibly, I did this because my kid had no school and needed daytime attention.
But, really, I did it because I wanted to go to the movies.
The holiday season usually sees a flood of new releases, either to amuse those home-bound kids or to qualify for the Academy Awards. A lot of the Oscar-bait is scheduled for nation-wide release when the awards will actually be presented, and they just open in a few theaters to get by the rules. Since a lot of Academy members live in New York, we luck out.
There are altogether too many Jews in my borough for me to indulge the traditional Reform observance of Christmas (Chinese food and a movie), but I hope to celebrate the end of the year with my people (by which I mean, movie geeks).
Here’s what I’m anticipating most.
Inside Llewyn Davis Not since Bruce Springsteen teamed up with Pete Seeger has a project seemed so much like it was designed specifically for me. The Coen Brothers explore the Greenwich Village folk scene in the early 1960s. I expect it to be my neighborhood, my music, my sense of humor and my reasons for moving here. And then I expect to be sad because none of this is cool anymore.
American Hustle I’m not a huge David O. Russell fan, but I like a movie with a lot of cute guys in it, even when they have bad hair, bad clothes and bodies fattened for art. However …
Out of the Furnace, which isn’t supposed to be as good, is also on my list because it’s Christian Bale being his cute self, along with a set of very very masculine, serious co-stars. Come to Mama, boys.
The Hunger Games: Catching Fire I’m late to this. It’s been out for a month, and I still haven’t gone. Loved the books (although I thought the last one had a weak ending), loved the previous movies, love the clothes and love Jennifer Lawrence and Elizabeth Banks. I wish the two would remake Thelma & Louise.
Saving Mr. Banks My husband and I were both huge fans of Walt Disney (politics aside) and Mary Poppins. John liked to opine that without Mary Poppins there would be no Star Wars. I read the Travers books to my son, and they are big fun, so I see no reason not to sob like a baby through this entire film.
Frozen See above about Disney. We would often observe that, unlike so many filmmakers who went for a kids’ audience, Disney (as a studio) tended to have much better scripts. This looks like it follows in the path of what I think of as the Broadway musical animated movies (Little Mermaid, Beauty and the Beast, Aladdin) and that’s a good thing.The Wolf of Wall Street Martin Scorsese is one of my all-time favorites. In this film, he seems to be treating Wall Street traders as if they are gangsters involved in organized crime. Sounds right to me.
Anchorman 2: The Legend Continues How much did you love the first one? Not as much as I did. When I go to SDCC, I try to walk around the park near the water, looking for roving bands of news teams.
Kill Your Darlings The first famous author I ever met was Allen Ginsberg. He had given a poetry reading at a nearby university, and came to our commune for dinner. Since I was just a girl, he ignored me just about completely. Still, I’m eager to see him portrayed by Daniel Radcliffe, because it’s about as far from Harry Potter as one can get.
Her I really like Spike Jonze movies. Because of him, sometimes I wander around muttering, “Malkovich Malkovich Malcovich.” So I’m curious to see what his future is like.
Mandela: Long Walk to Freedom Sadly, this will now seem like an elegy. A friend of mine who has to go to film festivals as part of her job saw this a few times back in the spring and said it was always fantastic. And it has Idris Elba. Yowza.
Walt Disney, the studio not the epoymous founder or Tom Hanks, has released several featurettes spotlighting Saving Mr. Banks, which opens today.
Genre: Drama
Rating: PG-13
Release Date: December 13, 2013, limited; December 20, 2013, wide
Running Time: 120 min
Cast: Emma Thompson, Tom Hanks, Paul Giamatti, Jason Schwartzman, Bradley Whitford, Annie Rose Buckley, Ruth Wilson, B.J. Novak, Rachel Griffiths, Kathy Baker and Colin Farrell
Director: John Lee Hancock
Producers: Alison Owen, Ian Collie, Philip Steuer
Executive Producers: Paul Trijbits, Christine Langan, Andrew Mason, Troy Lum
Written by: Kelly Marcel and Sue Smith
Two-time Academy Award®–winner Emma Thompson and fellow double Oscar®-winner Tom Hanks topline Disney’s Saving Mr. Banks, inspired by the extraordinary, untold backstory of how Disney’s classic “Mary Poppins” made it to the screen.
When Walt Disney’s daughters begged him to make a movie of their favorite book, P.L. Travers’ Mary Poppins, he made them a promise—one that he didn’t realize would take 20 years to keep. In his quest to obtain the rights, Walt comes up against a curmudgeonly, uncompromising writer who has absolutely no intention of letting her beloved magical nanny get mauled by the Hollywood machine. But, as the books stop selling and money grows short, Travers reluctantly agrees to go to Los Angeles to hear Disney’s plans for the adaptation.
For those two short weeks in 1961, Walt Disney pulls out all the stops. Armed with imaginative storyboards and chirpy songs from the talented Sherman brothers, Walt launches an all-out onslaught on P.L. Travers, but the prickly author doesn’t budge. He soon begins to watch helplessly as Travers becomes increasingly immovable and the rights begin to move further away from his grasp.
It is only when he reaches into his own childhood that Walt discovers the truth about the ghosts that haunt her, and together they set Mary Poppins free to ultimately make one of the most endearing films in cinematic history.
Inspired by true events, Saving Mr. Banks is the extraordinary, untold story of how Disney’s classic Mary Poppins made it to the screen—and the testy relationship that the legendary Walt Disney had with author P.L. Travers that almost derailed it.
Notes:
Saving Mr. Banks is the first feature-length, theatrical drama to depict the iconic entrepreneur Walt Disney.
Richard and Robert Sherman’s original score and song (“Chim Chim Cher-ee”) would go on to win Oscars® at the 1965 ceremonies.
Mary Poppins won five awards of its 13 Academy Award® nominations: Best Actress (Julie Andrews), Best Effects, Best Film Editing, Original Score and Original Song. Among the nominations were Best Picture and Best Adapted Screenplay.
P.L. Travers’ father was a banker and is the basis for the Mary Poppins story’s patriarch, Mr. Banks—the character in the book whom the famous fictional nanny comes to aid.
December must be The Tweeks’ favorite month: Day of the Doctor, Hunger Games: Catching Fire and a new Disney animated movie- Frozen. A Disney animated movie featuring two main characters who happen to be sisters! Which gives us a chance to open up to our reader a debate we have hotly debated in the ComicMix offices: which one is the evil twin, Maddy or Anya?
The professional wrestler C.M. Punk truly made his mark and broke free of the shackles of mid-card obscurity by way of his infamous pipe bomb shoot promo. For those not in-the-know, a shoot in wrestling is an interview (or soliloquy some of the time) wherein said grappler breaks the fourth wall. As relived in this week’s WTF podcast, Punk was vivid in saying that this promo was done because he was at the end of his rope.
With the WWE wanting him to resign for three more years and Punk decidedly against continuing to not be the guy on the roster, Vince McMahon allowed him to air his grievances live on their Monday night broadcast. If Punk captured the zeitgeist, he’d be a made-man forever in wrestling (which, by my count, is a little over two years). If he failed, he’d be gone, buried back in VA halls wrestling for gas money, and be nothing more than a footnote in WWE’s now 50-year history.
The shoot worked. Punk resigned, and ruled the company with an iron fist until he literally could give no more. The glass ceiling was shattered on the “norm” of the product, and wrestling now is forever changed. Well, maybe not, but I’ll circle back round that idea in a bit.
Why do I bring this up? Well, for one, because it’s topical to me. I was just listening to the podcast on my way home from work tonight. Beyond that, it dawned on me that with all the coverage and snark that exists in the world of comics… there is no C.M. Punk. There is no shoot promo to cut, on any live broadcast. There’s only guys like me; indie creators and op-ed columnists chasing windmills and yelling into the wind. But this here is my stage. This here is my time. So, allow me to speak ill of the industry I wish every damned day I was a part of, but know full well I’ll never actually see.
The WWE’s CEO lives a double life as an on-screen performer. He enjoys his product not only for the money it makes but for the crafted product it actually is. Warner Bros and Disney are just faceless boardrooms ruled not by the glee in little kids’ faces, but cold hard cash. Their publishing branches exist for one reason, and one reason only: to keep the movie and TV machines churning. Don’t think for a second that your issues of Batman mean any more to the execs in Burbank than a roll of teepee. It doesn’t. That rag in your hands? The one that has the blood, sweat, and tears of a dozen hard working men and women broiled into its pulp? It’s an incubator of ideas for a movie or cartoon show. It’s a crockpot keeping the license warm. It’s a mosquito light that keeps the most vocal fans distracted. Go ahead, post your death threats if we make Afflec Batman… but hey! Look over there! It’s Zero Year!
We all desire the notion that those behind the rich mahogany desks (being packed up in Midtown Manhattan in 18 months) lie overgrown fanboys and girls that just want to knock the socks off us, the ever-enduring fans of a dying medium. But it too is just a pipedream. The suits that run your comic book publishing companies are shackled to boulders far too big to drag up the mountain. Beyond the goodwill garnered by our little niche market, and the fervent fans that exist at comic cons lie those aforementioned suits in bigger boardrooms that still demand that at the end of the day everything be profitable. Profits occur when sales increase. Sales increase when gimmicks, #1s, and creators that draw a crowd are given the top spots. When a book stops earning what meager profits it can when it’s hot, it’s tossed out with the bathwater and things start again. The era of continuity is long dead. All hail the retcon.
The closest thing we had to C.M. Punk in comics was Robert Kirkman. He took his indie prowess and love of the craft and turned out The Walking Dead. Now, Kirkman is a suit. Behind a desk. Of a multi-media empire. He won the championship belt, and didn’t even have to work for the man to do it. Now, he is the man, and no longer a voice of the voiceless. Like so many though, atop his mountain of money many years ago he gave birth to his manifesto wherein he challenged the industry to veer towards creator-owned projects. Hey Robbie! Trickle-down economics don’t work in real life or in comics. If every known talent jumped off their pedestals at Marvel and DC to come make indie books at Dark Horse, Image, and Boom! the line to replace them would still be wrapped around the vacant Midtown offices and land somewhere in the opposite ocean. Everyone is replaceable when the end goal is product. Not good product. Just product.
The fact is this: After he changed the world and held the WWE title for longer than any wrestler in the last two decades or so, Punk took a much-needed break. When he returned, he was just as our resurrected Jean Greys, Steve Rogers, or Hal Jordans… a hero to be celebrated for what he was, not who he is now. A long and listless program against his on-screen mentor, and Punk is now booked right back in the mid-card where he started. The comic book industry has no panacea to cure itself of the ills we rally against. Just as the WWE fans buy their John Cena Fruity Pebbles Lunchboxes… so too do we comic fans flock to every worthless gimmick they shove on the racks. We make our excuses, we plunk down our money, and we bitch about it on the Internet later.
The only way to make change, is to make it. There is no utopia. There’s only revolution.
I’ve gone into hundreds, maybe thousands of theaters, but entering the Regal Cinema last week was a bit unique. This Regal had only been in business a few days – to all intents and purposes it was brand new – and so everything about it was clean and pleasant and orderly, the rugs unspotted, the air untainted, the seats deep and sumptuously padded. And I think I felt a slight tingle of anticipation as I crossed the lobby.
I wonder if I felt a similar tingle the first time someone, almost certainly my mother, took me to the picture show. I would have been just past toddlerhood and so my world would have still be surprising and numinous and I’d be into a strange place, my hand in another, familiar hand, stepping into a semidarkness full of strangers, looking up at a big white thing that suddenly brightened and was full of motion and I was in the presence of something new and wonderful. Remember – this was in the early 1940s. In that era, a boy barely past infancy would never have seen even a television, nor would anyone else he knew because the video invasion was not happening until after the war, so pictures that moved? And talked? Magic!
What did I see? Maybe a newsreel – they still showed newsreels, back then – and maybe a Three Stooges or a Pete Smith Specialty. And a cartoon? Woody Woodpecker or Bugs Bunny or Mighty Mouse or Donald Duck? (If it was a Donald Duck, I would have also seen, the first of many such sightings, the name “Walt Disney,” though, of course, the letters would have been only incomprehensible shapes, reading being as yet an unsolved mystery.) Then, the feature, probably a double feature, long pictures about… cowboys? Or people who did funny things, like the Three Stooges? Or both? Might have been both! Why not both?
Marvel superheroes didn’t yet exist when I toddled into the land of cinema, though they sure as shooting exist now and it was a Marvel movie that I saw last week at the Regal: Thor: The Dark World. Enjoyed it, the wife and I, and since I never worked on the Thor character during my employment at Mighty Marvel, I brought no particular baggage to the event. I left my (sumptuously padded) seat thinking that Thor was Marvel’s answer to the Tolkein adaptations – those Hobbits and their quest and their adventures – and that the filmmakers were doing something some science fiction writers were doing about about 50 years ago, conflating mythology with sf, and doing it pretty well, too. And they’re doing it under the aegis of the company started by Donald Duck’s boss.
I saw Walt himself when he appeared on the Disneyland television show in 1954, when I would have been about 15 and, well… something about him bothered me, just a tiny bit. What? Could it be his mustache? It was like the lip hair sported by a recent presidential candidate, Thomas Dewey, who my parents didn’t vote for, possibly because he was a Republican and his opponent, Harry S. Truman, came from our home state of Missouri. Something else, though? Hey… the bad guys in the cowboy movies – not the bad guys out on the trail who got shot or punched by the good guys, but the sneaky bad guys who lurked in back rooms and schemed – they often had those kinds of mustaches.
And all those years past, sitting in the darkness next to a parent – did I see a mustached bad guy on the screen and is that why I didn’t instantly like Walt Disney? You tell me.
Over a decade ago the head of what was then called Tribune Media Services told me that as far as the producer of the Little Orphan Annie musicals was concerned, he did not need the comic strip around in order to keep his Annie franchise successful. I responded, “Well, somebody’s figured out what Disney’s been up to.”
Walt Disney used to say that he always reminded people that the whole thing started out with a mouse. And to this very day – the 85th anniversary of the first Mickey Mouse cartoon was last Monday – Mickey has remained the (usually silent) Disney spokesmouse. So… riddle me this, Mousemen. Outside of a few direct-to-DVDs and a couple teevee shots, how many Mickey Mouse cartoons were made in the past 60 years?
There was not a single Mickey Mouse cartoon produced between 1953 and 1983. There’s been maybe four true Mickey cartoons produced since then, plus the short-lived House of Mouse show, some video games and a few cameos.
And tons of merchandising which, obviously, was not dependent upon the character’s presence on the large or the small screen.
Two of the biggest superhero characters of the 1930s through 1950s were The Shadow and The Lone Ranger. Both remain icons, but neither are vital forces in our cultural marketplace – despite what seems to have been a contest to see who could produce the worst Lone Ranger feature film. If this were, say, 1940, I suspect most people would say these guys would remain strong in one form or another for a long, long time. In The Shadow’s case, that would be until his radio show was cancelled on December 26, 1954. The Lone Ranger lasted on teevee until September 12, 1957; there was an animated series that ran for 28 episodes in the mid-60s.
So, I ask you: as a comic book, how long will Superman last? Or Spider-Man, or Batman, or the X-Men… you get the idea. In the 1940s, Superman was successful in comic books but even more successful as a radio series and a newspaper comic strip. The comic books were kept alive by the success of the Superman television series in the 1950s. National Periodical Publications, predecessor to DC Comics, didn’t need comic books to make a profit. In fact, if they didn’t own their own distribution network they might have canned the print operation when sales plummeted during the mid-50s.
Warner Bros. (DC comics) and Disney (Marvel comics) do not need the comic books in order to sell merchandising and produce movies and television shows, although producing good movies and teevee shows is always challenging.
The good folks at DC’s New York City office – including the vast majority of their editorial departments – have but a few more weeks to decide if they are going to move to Los Angeles in the spring of 2015. It’s a tough decision.
As a member of DC’s historical family, indulge me as I offer this piece of advise. If you want to move to Los Angeles, do so. But as soon as you get there, keep an eye out for other jobs. Warner Bros. and Disney do not need to publish comic books in order to keep their stockholders happy.
If you’re a fan of the Disney cartoon Phineas and Ferb, like I know I am, you may have recognized the performer of the song for latest episode “Steampunx”. It was chap-hop impresario himself, Professor Elemental, taking his gentlemanly beats to a new and young audience. By way of the electric-type wireless, yr. obt. svt. was able to sit the Professor down for a virtual cup of tea and a few questions about his foray into animated entertainment. (more…)
If you’re a fan of the 
