Never let it be said that I won’t change my mind if circumstances change. In that vein, I’m starting today’s column with a little addition to last week’s thoughts on Arrow.
(Warning: Spoilers ahead!)
After writing about how things in the first two episodes seemed too crowded and rushed, and how I wish they’d slow down a bit and also give Arrow a few challenges to the thus-far routine of “Ollie targets bad guy, Ollie triumphs over bad guy,” Arrow turned around and gave me exactly what I was asking for. Sure, I still wish they’d taken more time to mine the experience of the first few days/weeks of his return from nowhere (sort of like how Elementary managed not to pile on every revelation about Holmes’s and Watson’s pasts and presents right up front, as I mention in my Elementary review here). And I still think the voiceovers are overly melodramatic, and in fact may be the thing that’s jarred me out of enjoying the show the most so far; but it feels like with episode three, the show is now hitting its stride.
For one thing, they actually gave Arrow an adversary worth a few minutes time, i.e. Deadshot, who throws Ollie off his game and wings his bodyguard, Dig. True, Ollie gets the easy upper hand by using his standing as, apparently, a captain in the Russian mob (eh??) to find Deadshot, and then takes him down reasonably quickly – but at least it wasn’t all smooth sailing this week. For another, they introduced a new step in Ollie’s playboy disguise – opening a nightclub to cover his secret base – without resolving it magically in one episode (I was half expecting the final scene to be opening night at the club or something). And finally, they’ve slowed their roll on the character drama to what feels like a more manageable and real life pace, focusing mostly this episode on Arrow beginning to build a bond of trust with Detective Lance (woo!) and Thea being a willful teen headache to everyone around her. Plus there was a bar fight that involved Laurel beating the crap out of a dude, which was killer and by far my favorite scene of the episode.
Happily, it looks like they may also be giving themselves an in to address the voiceover issue, by giving Arrow a confidante in the wounded Dig (and just in time too, as my friends and I were beginning to suggest other possible solutions, such as Arrow getting a new sidekick, Quiver. He would look like this). I hope so, as that could introduce more humor or banter into the show. I’d like to see the grimness tempered with an occasional sense of adventure and fun, as well as more of an open emotional connection to someone from Ollie, and maybe with Dig knowing his secret, that will come to pass.
Until then, I’ll keep watching, and amusing myself by trying to spot the new extreme form of exercise Ollie does each episode (this time, it was lifting a ridiculous amount of weight via a pulley system-thing). I’m hoping they’ll keep including those, so I can turn them into a game like spot-the-pineapple in Psych. I’m also hoping the next Easter egg for comics fans is a character named O’Neil (or possibly Denny?) after ComicMix’s very own Dennis O’Neil. C’mon, writers! I’m sure an absent-minded Perfesser character would come in handy for exposition and the like. Do it!
(End of spoilers!)
In other news, Halloween is just around the corner, which brings me great joy and the usual expectation of going to parties where no one recognizes my costume. Just kidding! I guess I’m still slightly bitter about the time I went out in Georgetown as Black Canary and exactly zero people got it (although there were three votes for Lady Gaga since I wasn’t wearing pants. Sigh.) I can’t complain too much about that, though, because I had fun with it, and it did inspire this awesome sketch by amazing comics artist John K. Snyder III. Yay!
Despite the Philistine-like character of some mundanes in DC, as an adult and convention costumer I love that Halloween provides an opportunity for all the local geeks to strut their stuff without (much) comment from everyone else. Sure, when I go out tomorrow night, I expect the usual round of gangsters, zombies, “sexy” whatevers, and that guy who always shows up dressed as himself with a nametag. But Friday night on the Metro I ran into a matched pair of Trekkies, and they were swiftly followed by a full-grown Teenage Mutant Ninja Turtle. And nobody in this usually stuffy town blinked an eye – or at least, if they did, you could tell by the look in said eye that they were admiring the costumes, not sneering at them.
Given that when I’m on my home turf my life is caught up in my full-time professional job, my professional commitments, and more, I don’t get to do as many local geek things as I’d like – and a lot of my genre friends are folks I’ve met at cons, and live far away. So it’s nice to have the reminder that actually, there are a lot of locals who love the same things I do (and to maybe meet some of them as we’re making the rounds, nerd flags flying high). It makes my geeky little soul happy to be out and about in the neighborhood, shining that geek light with costumes I made for conventions, even if most of the people out there don’t know who I’m supposed to be because it’s a comic book character don’t any of you people at this dance club read comics geeeeez.
Therefore, I plan to keep on representin’ for us comics fans at Halloween this year with the Arkham City Harley Quinn costume I described the construction process for in an earlier column and made for Dragon*Con, which turned out like this, in case anyone was wondering (with bonus Lego Poison Ivy!). And happily, my friend actually discovered that the club we’re planning to go to has the perfect theme – Haunted Mental Ward – so for tomorrow night, I went the extra mile (okay, inch) and also made this. I’m hoping that this year, at least a few people get my costume; but the funny thing is that, if they don’t, I kind of don’t care. Because Halloween is a fun time to go out wearing whatever the hell you want and have some fun with it, and that’s exactly what I plan to do.
What about the rest of you? Any exciting Halloween plans? Great costumes? Feel free to share in the comments (with pictures! Pictures are great!) and I hope that everyone has a fun, and safe, and slightly spoooooky Halloween!
And until next time, Servooooooo Lectiooooooo!
TUESDAY AFTERNOON: Michael Davis Pontificates
WEDNESDAY MORNING: Mike Gold Hands Out Marching Orders
The timing of The Raven’s home video release is a curious one as I am busily teaching my eighth graders about the short story, using Edgar Allen Poe’s “The Tell-Tale Heart” as the first example. This feature film was released in the spring and sank without making much of a ripple at the box office, unlike Poe, who startled readers with amazing regularity for over a decade before his tragic, mysterious death.
To introduce the students to Poe, we reviewed his life which had him all over the northeast, marrying a thirteen year old relative and fighting depression and alcohol while trying to be the best writer or journalist he could be. His works of prose and poetry made for excellent reading in the newspapers and magazines while he laid the groundwork for contemporary detective fiction and helped transition us from the more genteel gothic tale to one of pure horror.
Screenwriters Ben Livingston and Hannah Shakespeare used the unrecorded circumstances of Poe’s final days and blended them with elements drawn from his works to tell this particular story that fails to be a solid detective yarn or be particularly scary. Director James McTeigue’s (V for Vendetta) best move was to cast John Cusak as Poe, giving us a sympathetic character, although he appears far too robust given what really happened in Baltimore back in 1849. Foreshadowing the serial killers that became a staple of newspapers and novels decades later, this story shows us Poe chasing such a killer.
None of it really happened and the R-rated film is too violent for my young charges to see, which may be just as well given its lack of real suspense or good writing. Even the pounding soundtrack is more distracting than unsettling, just another layer of noise on an all-too busy film.
Why is he in Baltimore? Not chasing a killing but there to woo and marry Emily Hamilton (Alive Eve), despite the disapproval of her father, Captain Charles (Brendan Gleeson). He’s also drunk and in need of work, hoping to land some assignment from editor, Maddox (Kevin McNally). During this time, someone is killing young women in a manner reminiscent of Poe’s work so Police detective Emmett Fields (Luke Evans) summons Poe for a consultation and suddenly the game is afoot.
If you enjoy Poe’s work, you will appreciate the nods which have been woven or shoved into the fabric of the story but on the whole it is tedious business, not at all helped from flat dialogue and characterizations to a less than effective atmosphere. And it also avoids being interesting by being very predictable so of course Emily falls into the killer’s hands and Poe will be the only one to save her. Had the screenwriters actually used Poe’s structure of building suspense and playing with the psychological underpinnings of gothic fiction, things might have turned out far differently. Instead, we’re left checking our watch and wondering how such rich material could feel so obvious.
The film’s transfer to Blu-ray is nicely handled and McTiegue’s dark, shadowy shots retain their black moodiness. Similarly, the audio work is just swell.
McTiegue and producers Marc D. Evans, Trevor Macy, and Aaron Ryder provide rich details on the film’s making in the audio commentary. The disc also comes with six Deleted and Extended Scenes (10:41); none of which are missed. The Raven Guts: Bringing Death to Live (13:32) is a just-right-length making of featurette while the teaching in me wanted more from The Madness, Misery, and Mystery of Edgar Allen Poe (9:50), as a pair of experts tell us what Poe’s life was really like, especially at the end. There are three additional pieces: Behind the Beauty and Horror (2:18), The Raven Presents John Cusack & James McTeigue (2:45), and Music for the Raven – The Team (5:10).
Do you want to win tickets to a special sneak preview screening of the steampunk film Tai Chi Zero?
In order to enter, you must be able to do 3 things:
1. Be able to attended the screenings this Wednesday October 17th.
The cities and times for the exclusive preview screenings are
BOSTON – Wednesday, October 17 @ 7 PM
LOS ANGELES – Wednesday, October 17 @ 7:30 PM
PHILADELPHIA – Wednesday, October 17 @ 7:30 PM
2. You must have a working email that you check regularly and that you know how to use.
3. You must be fast as this is first come first served.
If you want to win tickets to this fantastic film all you have to do is email us at Jaborwhalky@gmail.com
In the subject line of the email you must put “I want Tai Chi Zero Tickets”
In the body of that email you must put your full name and what city’s screening you can attended.
BOSTON – Wednesday, October 17 @ 7PM,
LOS ANGELES – Wednesday, October 17 @ 7:30,PM
PHILADELPHIA – Wednesday, October 17 @ 7:30PM
We have limited numbers per screening so this is fist come first serve and we will need your names so we can have them added to the list so you can see this film before anyone else does.
You will be emailed back ASAP if you where one of the lucky ones who jumped on this fast enough and won tickets. All winners will be notified by 1pm(est) Wednesday .
So act fast, email in, and good luck!
About this fantastic film you will get to see before anyone else:
From the creators of Ip Man and Detective Dee, and featuring action directed by the legendary Sammo Hung, Tai Chi Zero is a full on, steampunk-infused, video game influenced kung-fu throw down! In legendary Chen Village, everyone is a martial arts master, using their powerful Chen Style Tai Chi in all aspects of their lives. Lu Chan has arrived to train, but the villagers are forbidden to teach Chen Style to outsiders, and do their best to discourage him by challenging him to a series of fights. Everyone, from strong men to young children, defeats him using their Tai Chi moves. But when a man from the village’s past returns with a frightening steam-powered machine and plans to build a railroad through the village at any costs, the villagers realize they may have no choice but to put their faith in Lu Chan. Who has a secret power of his own.
Several months ago I received an e-mail from a woman named Patti Boeckman. She told me her husband, Charles Boeckman, for most of his life had been a professional pulp writer working in the 40s and 50s under the name of Charles Beckmen. Between 1945 through to 1975 his short crime stories had appeared in such pulp magazines as Dime Detective, All-Story Detective, Manhunt, Detective Tales to name just a few leading up to many sales in 60s and 70s to Alfred Hitchock’s Mystery Magazine.
A native of Texas, raised during the Great Depression, Charles had two loves; writing and music. He became a success in both fields. He taught himself to play saxophone and clarinet and during his travels throughout the south from Texas to Florida he often played with many reputable jazz bands until he formed his own. In 1990, he earned a star in the South Texas Music Walk of Fame and his band to this day still plays in October Texas Jazz Festival.
What Charles and Patti were unaware of until recently was the resurgence in pulp fiction brought about via the internet which allowed life-long fans and newcomers to come together and begin creating forums to share their love of this escapist literary genre. Patti, a former school teacher, discovered all this accidently while surfing the web and began to dig deeper into this wonderful phenomenon which invariable led her to the New Pulp Fiction movement. A smart lady, she jotted down names and e-mail addresses and methodically reached out to many of these “new” pulp enthusiasts and that was how her letter of introduction popped up in my e-mail box.
At that time Patti and Charles were considering collecting many of his crime stories and self-publishing a book. Hearing this, I, and many of my colleagues, encouraged them to pursue this plan. The idea of a new collection of authentic pulp tales produced by the actual writer was too good a dream to let slip away. Then after a few months, Patti wrote again. This time with the news that they had gone and achieved their objective and the result was this book, “Supsense, Suspicions & Shockers,” by Charles Beckman Jr. She asked if I would like a copy to review. That had to be the easiest question I’ve ever answered in my life.
This book, which sports a truly gorgeous cover by amazing Laura Givens, is crammed with twenty-four stories; every single one of them a dazzling display of originality and deft story-telling technique. Like the finest writers of the pulp era, Beckman had a keen, unerring grasp of human psychology and he employed it like a skillful surgeon carving up plot twists that turn on a time and more often than not, leave the reader both surprised and delighted. No easy feat. At the same time, because the book is so packed with stories, a true sense of the times emerges from the pages enveloping the reader taking them on a nostalgic journey back to an American landscape that can only be remembered in such pieces. And throughout, Beckman’s background in music, especially the vibrancy of New Orleans jazz, is often the spiritual background to his cautionary yarns about desperate men and women struggling to survive in a bleak and desolate world.
Here is a sniveling coward bitten by a rattlesnake facing his own demise with joy, a walking dead man with a hole in his head, a musician being hunted by death itself, a cop after the punk who killed his wife and a husband who believes his devoted wife is about to murder him for absolutely no other reason than to simply do him in. These are a small sampling of the unique characters that populate Charles Beckman’s fiction and once you’ve met them, I doubt seriously you will ever forget them. There is a true humanity to these tales that seeks to uncover the good in even the worst of people and thus leaves the reader with a poignant optimistic hope for the future.
“Suspense, Suspicion & Shockers,” is a genuine treasure trove of great pulp fiction by one of the best writers to ever tap his fingers over the keys of a mechanical typewriter. There was magic in those fingers and it awaits you in this book.
PS – My copy arrived autographed.
TIPPIN’ HANCOCK’S HAT-Reviews of All Things Pulp by Tommy Hancock
SUSPENSE, SUSPICION & SHOCKERS
By Charles Beckman Jr.
Von Boeckman Fiction Factory Publications
Every time I sit down to read a story with the New Pulp label attached to it or one that I just categorize as New Pulp, there’s always a thought that runs through my head. How will it measure up, I ask myself, to those who came before…those who left us the legacy of Pulp? When I write, that judgment is even harsher? Even though I’m not necessarily trying to emulate Dent, Gibson, and the others who made Pulp what it was to me as a young fan, I do, as I put words to paper, think about the Pulp masters who came before…
And now, there’s a new name that’ll be added to that list every time I do it.
Charles Boeckman.
SUSPENSE, SUSPICION, & SHOCKERS is a book published by Boeckman, with assistance from his wife Patti, containing stories ranging from 1945 to 1975, tales that saw printed life in Pulp magazines and digest mags like Alfred Hitchcock, one even being picked up by Screen Gems for a television show. Billed often as Charles Beckman Jr., this now 91 year old author recently learned that there were still indeed readers and fans, not to mention creators, who collected, discussed, and found inspiration in the Pulp tales of the Past. Tales just like the 24 he wrote that make up this collection.
Boeckman’s work appeared in a who’s who of classic magazines- Alfred Hitchcock, All- Story Detective, Pursuit, Detective Tales, Dime Detective, Manhunt, and more. Just as varied as the titles carrying his tales are the stories themselves-ranging from horror to crime to straight mystery to music inspired mayhem. Drawing on his background as a jazz musician as well as his love for traveling, the author carries his readers through the back alleys of Corpus Christi, down the blues filled streets of New Orleans, to the arid land of Texas, and all around the country, following gangsters, murderers, molls, and ne’er do wells on their way.
Boeckman writes with a starkness, a reality, that wasn’t present very much in the work of most of his contemporaries. His characters are flawed, many addicted to something, be it marijuana or music, and they make mistakes. Boeckman also, however, reflects the one wonderful aspect all humanity shares. That even in the darkest hour, when all hope is lost, a blackened soul might just reach out for the light and do one good thing in an otherwise worthless life. Simultaneously, Boeckman’s work is dark and moody while also being hopeful and even at times, when you look really hard in the shadows for it, light hearted.
Another appealing aspect of Boeckman’s SUSPENSE, SUSPICION, & SHOCKERS is the characters themselves. With all the reading I do of both new and classic stories, I find many I enjoy, but not so many that truly inspire, that make me want to read more of what doesn’t exist, to up my game in ways I can’t understand. When you meet Boeckman’s Big Lip, Johnny Nickle, Michael OShean, and other citizens that populate this fantastic collection, you’ll know what I mean, especially if you’re an avid Pulp fan and/or creator.
FIVE OUT FIVE TIPS OF THE HAT- SUSPENSE, SUSPICION, & SHOCKERS by Charles Boeckman, often billed as Charles Beckman, Jr. and published by Boeckman and his wife is a must have for any true Pulp fan…or Crime Fan…or anyone who can read. Definitely in the top three of books I’ve ever tipped my hat to.
With apologies to my friend Martha (and more on this anon)…
Now where were we? Oh, yes.We were discussing naughty words. Last week, I mentioned that every civilization seems to have had them, though their content changed from culture to culture and even from time to time within the same culture. And the kinds of things they referred to – and still refer to – wasn’t consistent either. At one end, and forgive the pun if you dare, they refer to the stinky stuff that comes out of your alimentary canal, what television’s Dr. Oz refers to as “poop,” and at the other end, well…God or god, depending on whether we’re talking about my religion or yours. They have uses. The aforementioned Dr. Oz, on his TV show, actually recommended that they way to unwind is to shout s#%t! (I may have the gralix wrong – and note that the suitly fellows at Fox Broadcasting seem to feel that “poop” is acceptable, but “shit” would corrode the souls of the innocent.)
To a writer, they can be useful, these verbal no-nos, regardless of exactly what they are, because they’re rare. Save them for the big moments and then, when you drop the bomb, you get your audience’s attention and they indicate that whichever character uttered them is seriously disgruntled.
There’s an analogy to violence here. Once, in what we might (smirkingly?) call “classic dramaturgy,” violence was used to relieve tension or, again, to indicate that a character’s more than just upset. Now – it’s often just screen clutter. We’ve all seen what I think of as video game movies, in which the good guy slaughters evildoers in wholesale lots, faceless cannon fodder who exist solely to be slaughtered and demonstrate the hero’s aptitude for mayhem. Exciting as watching a faucet drip? Well, no. The stuff involves movement and noise, both of which we’re wired to respond to, but the prevalence of these scenes deprives writers of the earlier uses of extreme action.
Same with the words. If “fucking” is the all-purpose modifier, it loses its capacity to signify emotion extremity.
It was once used to indicate that the speaker was either a thug or a tough guy or at least someone of low estate. But, hey, if altar boys use the word…
A screenwriter of my acquaintance observes that this is how modern people talk and if your story is to be realistic, your characters can’t sound like refugees from a Jane Austen novel. No argument. I’m just reporting, not pushing an agenda.
And what might happen if, from overuse, naughty words vanish from our vocabulary? Anyone else find that an interesting question?
Two last items: “Gralix” is what cartoonist Mort Walker, of “Beatle Bailey” fame, calls the miscellaneous symbols that stand in for ^&##$%* words he isn’t allowed to use in family newspapers.
And finally… Martha, I’m sorry I poached your turf. I wrote last week’s column before reading the very similar one you wrote recently, and first. Mea culpa...
I don’t recall how I first stumbled across the ABC soap opera Dark Shadows back in the 1960s. Normally, back then, I‘d come home from school and watch ‘50s reruns on WNEW or WPIX but somehow, I found the Dan Curtis series and fell for it thanks to the supernatural overtones. It was was heady mix of vampires, werewolves, witches, parallel universes and lots of secrets. When the show reached its conclusion, I was in high school, at a friend’s house and insisted we watch it even though he’d never seen it. I read many of the Marion Ross novels, some of the Gold Key comics, and even the short-lived syndicated strip with terrific Ken Bald artwork. The attempts to revive the series ever since never worked. Ever. So, when I heard both Tim Burton and Johnny Depp were fans, I figured they’d be ideal for a modern film version.
The casting sounded spot on and the first visuals looked great. Then came the first trailer and it was a bit of culture shock, much like Barnabas Collins’ resurrection after 196 years of undead contemplation in the Maine soil. It was quirky and akin to Burton’s Mars Attacks! but I was game to see more. Thankfully, word from screenings indicated the trailers emphasized the quirk and the movie was actually stronger. Perhaps, but not strong enough, and the tepid reviews in the wake of The Avengers meant it was DOA at the box office.
Now we have a chance to re-examine it as Warner Home Video releases the film on disc, notably its Combo Pack (Blu-ray, DVD, Ultraviolet). Visually, it’s stunning, capturing the beauty of Maine, the creepiness of Collinwood mansion and replete with grace notes harkening back to the black and white series, especially the water crashing on the rocks. Danny Elfman’s score eerily echoes the original music and supplements that with songs culled from 1972, punctuating the cultural dissonance experienced by Barnabas.
Depp is well supported by Michelle Pfeiffer, Johnny Lee Miller, Helena Bonham Carter, Jackie Earle Haley, and Chloe Grace Moretz. In some cases they closely resemble their television counterparts and their characterizations are close enough to be satisfying. Eva Green as Angelique, the witch who cursed him to be a vampire after spurning her love two centuries ago, is trampy, campy and sex as hell.
While the film has all the elements to be a strong remake of the series, it falls apart because of a thin script, surprising for a Burton production. Seth Grahame-Smith’s script, from a story concocted by Smith and John August, hints at many soap opera threads but rarely strays from the core conflict between would-be lovers. Angelique is frustrated because Barnabas’ true love, Josette, has been resurrected as Victoria Winters (Bella Heathcote), the newly arrived governess. Further complicating the triangle is the unhealthy interest Dr. Grayson (Carter) has in Barnabas’ vampiric qualities.
The supporting cast is good and does fine with what they’re given, but it’s not enough, especially given how rich and varied the storylines were, which propelled the series for years. We’re reminded of that and Burton deserves credit for including members of the original cast – Jonathan Frid, David Selby, Lara Parker, and Kathryn Leigh Scott—make a cameo appearance at a party. It’s as if they come on scene, have a moment and vanish until needed again which robs the overall film of a richness the material deserves.
The film’s final act, with its pyrotechnic climax was overdone, overlong and totally out of place, more Harryhausen than Curtis.
Depp, with oversized ears and long, tapering clawed fingers, channels Frid’s Barnabas, without the tortured soul that made the original actor an unexpected heartthrob. Instead, he’s devoted to family, playful with the kids, and determined to break the curse that causes him to kill. He is boggled by the technological and cultural changes but it’s all on the surface and worthy of exploration.
As a result, the sum is less than the parts and the movie is a misfire from Burton. For the diehard fans of the cast, director, or series, it’s certainly worth a look. The Blu-ray transfer is both strong with terrific color and sound.
The handful of extras include about 15 minutes of deleted scenes, several of which would have enhanced the film, especially a scene between Barnabas and young David (Gulliver McGrath).You can also watch the film in Maximum Movie Mode that lets you see special featurettes on the casting, production, effects, etc. Thankfully, they are all provided as standalone pieces so you can watch whatever catches your fancy.
Movies are full of great lines and memorable quotes. Some are even wise and insightful, but some are just filled with stupid wisdom. I have in mind John Wayne’s line in John Ford’s 1949 western classic She Wore A Yellow Ribbon: “Never apologize and never explain – it’s a sign of weakness.”
It sounds great and even may make sense within the context of the story; Wayne’s character is a military commander and the troops need to obey the commanding officer without question so apologies and explanations could interfere with that. Unfortunately, some people take it out of context and take it literally and try to apply it to everyday life.
I have in mind the GOP and Mitt Romney over the past few weeks. The candidate shoots from the lip about the death of our ambassador in Libya in order to score political points. He gets his facts wrong. Then a surreptitiously filmed video made at a $50,000 a plate fundraiser for Romney held in Boca Raton emerges. In it, among other things, he dismisses 47% of the electorate as lazy and dependent on the government and says they will never vote for him. If you missed it, you can see it here.
The best “explanation” Romney made on the latter was that he phrased it “inelegantly.” Someone in the GOP camp has taken John Wayne’s movie wisdom very much to heart: never apologize, never explain. It’s a sign of weakness. The title to Romney’s 2010 book is “No Apology.” It’s also part of what appears to be the GOP strategy: attack, attack, attack. They’ve also taken to heart a line from the movie Patton: ‘We’re gonna keep fighting. Is that clear? We’re gonna attack all night, we’re gonna attack tomorrow morning. If we are not victorious, let no man come back alive!”
To my mind, that’s the problem. Your opponent is not just a political opponent; they have become the enemy who must be vanquished at all costs. These political operatives engage in a political equivalent of a scorched earth policy. Anything that might be of use to the opponent must be destroyed by any means possible.
Last week, the Veterans Jobs Corp Act of 2012 failed to pass in the Senate. The GOP justification for it was that they didn’t feel it was properly funded; the war that put these soldiers in harm’s way and that the GOP okayed was also not properly funded but that was all right. The GOP also kept up their filibuster that prevented Obama’s $447 billion dollar jobs program from even reaching a vote.
The basic reason for both failures is that the GOP doesn’t want anything that might reflect well on President Obama this close to the election. Never mind that veterans might benefit, never mind that ordinary middle class citizens might benefit, the key was to make sure that the President didn’t benefit. The GOP announced four years ago that they intended to do everything they could to make Barack Obama a one term president and they have worked hard at it. They will never apologize for that because, to them, that would be a sign of weakness, as would compromise.
Except – apologies are not a weakness. No person and no nation is 100% correct 100% of the time. When you have done or said something wrong, the brave thing, the strong thing, is to apologize for what you’ve done wrong. Ali McGraw’s character in Love Story famously said, “Love means never having to say you’re sorry.” Anyone who has been in love, who has been in a relationship, knows this is another bit of stupid wisdom. If you’re stubborn, if you have to be always right, then good luck to you and that relationship. The political equivalent seems to be “Politics means never having to say you’re sorry.” That’s also boneheaded.
Look, I’m not naïve. I was raised in Chicago and I know how rough and tumble a game politics can be. I understand that, if you don’t get elected, you can’t institute any of the changes or programs that you think would be good for the citizens of this country. However, if your only goal is to get elected, to beat the opponent by any means necessary, then you have no program, you have no vision, for this country other than winning. All you’re going to have is the next election and you’ve provided the next opponent with the game plan and blueprint for how to conduct it – win by any means necessary. All you can then do is keep fighting and governing falls by the wayside.
Everyone makes mistakes. I have my own thoughts and beliefs that I try to put into practice but I never assume they were written on tablets of stone and handed down to me by a deity. I do the best I can and, when I’m wrong and see that I’m wrong, I try to apologize. I’m not as good at it as I should be. I do, however, approach things with the possibility that I could be wrong and a philosophy of never apologizing, never explaining, attack attack attack, does not allow for that possibility. And that’s why, in my opinion, it’s stupid wisdom.
To quote Dennis Miller back when he was more sane, “I could be wrong. . . but I doubt it.”
Marvel Entertainment and ABC Studios are proud to announce Castle: A Calm Before A Storm, an all-new comic book limited series by the popular Castletelevision series. The first issue of this five issue series, based the titular novel from noted author Richard Castle, hits comic shops, the Marvel Comics app and the Marvel Web Store on December 5th, 2012. Following issues will ship monthly through April 2013. Castle: A Calm Before A Storm is written by New York Times best-selling author Peter David (Stephen King’s Dark Tower, X-Factor), penciled by popular artist Robert Atkins (Amazing Spider-Man) and features powerful covers by Mico Suayan (Moon Knight).
Derrick Storm is looking forward to finally getting out of the game – stocking up his cabin cruiser and heading out into the open Atlantic for good. But his plans are put on hold when, on the eve of a UN summit, the severed head of a Russian diplomat is found bobbing in the backwaters of the Hudson. Storm’s CIA handler Clara Strike, enlists him to crack a plot of global proportions, pitting the uncanny PI against a legion of eastern bloc mercenaries, and an ex-KGB hit-man known simply as “The Fear.”
“The continued success by Marvel with these graphic fiction adaptations of my work is incredible. I’m thrilled to welcome Peter, Robert and Mico to the family,” said Richard Castle. “Derrick Storm is one of my favorite creations and it’s great to have such an excellent creative team join us with this new comic series,”
This is the third Castle graphic fiction adaptation to be released through a collaborative effort between Marvel, ABC Studios and the producers of Castle. In 2011, Castle: Richard Castle’s Deadly Storm dominated sales charts and garner worldwide acclaim. And on October 15th, 2012, Castle: Richard Castle’s Storm Season will be released on sale in comic shops, the Marvel Comics app, Marvel Web Store, iBookstore, Nook Bookstore and everywhere books are sold
“The partnership with Marvel has been a dream,” said Andrew W. Marlowe, “Castle” creator/executive producer. ‘Their extraordinary creative vision has given our audience a new and exciting way to enjoy Richard Castle’s work.”
“With the newest adaptation of the Derrick Storm novels it’s safe to say that Richard Castle’s work is a hit with comic book fans around the world!” said Axel Alonso, Marvel Entertainment Editor in Chief. “Castle: A Calm Before A Storm follows in the tradition of our Castle projects full of great characters, international intrigue and packs every page with lots of action!”
CASTLE: A CALM BEFORE THE STORM #1
Written by PETER DAVID
Penciled by ROBERT ATKINS
Cover by MICO SUAYAN
13 & Up …$3.99
ON SALE DECEMBER 5, 2012
Castle stars Nathan Fillion as Richard Castle, Stana Katic as NYPD Detective Kate Beckett, Susan Sullivan as Martha Rodgers, Molly Quinn as Alexis Castle, Ruben Santiago-Hudson as NYPD Captain Roy Montgomery, Tamala Jones as Medical Examiner Lanie Parish, Jon Huertas as NYPD Detective Javier Esposito, and Seamus Dever as NYPD Detective Kevin Ryan.
Castle is produced by ABC Studios. Andrew Marlowe is the show’s creator/executive producer, along with executive producers Rob Bowman, David Amann, Laurie Zaks and Armyan Bernstein.
The Doctor attempts to help the Indian Space Agency about a runaway spaceship of Canadian size headed for Earth. Promising to stop it before it needs to be blown up, he picks up a few friends – Rory and Amy (and Rory’s dad, accidentally) big game hunter John Riddell, and already in his company, Queen Nefertiti of Egypt. They find the ship is a derelict space ark, originally from Earth, created by the Silurians. But where are they, and how did a mysterious and heartless trader named Solomon get control of the ship?
Arthur Darvill had it exactly right when he discusses the latest episode of Doctor Who in a promotional video – “It does what it says on the tin”. The Doctor’s got a gang, Amy has her own companions, Rory’s got his dad, Rory’s dad’s got balls in his pants, the ship’s got a surprising builder, you’ve got your spoiler warnings, and did I mention there are…
DINOSAURS ON A SPACESHIP
by Chris Chibnall
directed by Saul Metzstein
Doctor Who is no stranger to funny episodes, but in the new series, they usually occupy a different spot in the series. They’ve most often come near the end of the series, almost as a buffer to the rollicking action and drama of the series’ finale. But this one is the second of the series, and is certainly one of the more barking mad ones to come along. It may be a perfect episode for that friend you’ve been trying to get into the series – lost of humor, great adventure, and a good look at what can happen in a DW story; namely, anything.
GUEST STAR REPORT
Rupert Graves (John Riddell) Has been on British screens for over thirty years, but he’s best known to Who-fen as Inspector Lestrade on Steven Moffat and Mark Gatiss’ adaptation of Sherlock. He appeared in V for Vendetta and a wide array of TV series, from modern to historic.
Mark Williams (Brian Williams) has a lot of quality work in both comedy and genre work under his belt. He played the patriarch of the Weasley clan in the Harry Potter films, appeared in the recent Gormenghast, and played Cadet Flynn in Rob Grant’s Red Dwarf followup, the why-haven’t-you-seen-it-yet series The Strangerers. In Britain, he’s certainly best known for being a castmember of long-running sketch program The Fast Show. Up next, he’ll be portraying G. K. Chesterton’s detective Father Brown in a new adaptation for British TV.
David Bradley (Solomon) is another alumnus of the Harry Potter films, in the role of Mr. Filch he’s enjoyed over forty years of acting, mostly on British television, in series of all shape and size. He voiced one of the Shansheeth in the Sarah Jane Adventures episode The Death of the Doctor. He’s next appearing in a TV adaptation of the Ken Follett novel World Without End.
David Mitchell and Robert Webb (robot voices) Can best be described as being World Famous In Britain. Stars of the sketch comedy series That Mitchell and Webb Look, they’re also popular on the chat and game show circuit, always able to come up with wit on the fly. As an example of their brand of humor, here’s a classic about a pair of introspective Nazis.
The team are the latest in the trend of big stars making voiceover cameos on Doctor Who. Last year Michael Sheen voiced House in The Doctor’s Wife, and Imelda Staunton was the voice of the Apulapuchian Kindness Facility in The Girl Who Waited.
Richard Hope (Bleytal) is now one of a growing group of “go-to” actors who have played multiple members of the same alien race for the series. He’s played two alternate-timeline versions of the Silurian doctor Malokeh (in The Hungry Earth / Cold Blood, and The Wedding of River Song), and now plays the scientist of the same race, keeping track of their ark. He joins Neve McIntosh, who played two Silurians in the aforementioned two-parter, as well as the Victorian adventurer Madam Vastra (who is rumored to be returning Quite Soon Now) and Dan Starkey, who’s played several Sontarans on DW, as well as voiced them in a few audio adventures and the videogame The Gunpowder Plot.
Riann Steele (Nefertiti) got her first screen credit in David Tennant’s version of Hamlet, and has been making appearances in TV shows and films ever since.
Chris Chibnall (writer) made his first appearance connected to Doctor Who back in the original series. He appeared with a number of other fans on a BBC talk show reviewing the 1986 series (Trial of a Time Lord) and was…not entirely satisfied with it. In the years between, like so many of the current writers, he became a screenwriter, and was brought on board by Russell T. Davies, not at first for Who, but its anagrammatic spinoff, Torchwood. He was listed as co-producer, but was effectively the head writer of the series. After a year or two writing for Law and Order U.K. (starring Freema Agyeman) he was brought back on Who, where he wrote 42 and the Silurian two-parter from last series. In addition to this episode, he also scripted the prequel series Pond Life, furthering the backstory of the Ponds’ life when The Doctor isn’t around.
Saul Metzstein (Director) is new to the series, but is coming on with a bang – he’s also doing the next episode, two on the back end of the season, and also directed Pond Life. He’s done a number of documentaries, including The Name of This Film is Dogme95, about the popular “back to basics” style of filmmaking spearheaded by Lars Von Trier and his contemporaries. In accordance with the rules of the movement, he was not credited for his work on the film.
There were some dinosaurs down in the Silurians‘ cave in their first appearance Doctor Who and the Silurians. The race of Homo Reptilia ruled the earth millions of years ago, but a massive asteroid heading for Earth convinced them they needed to hide underground in hibernation (and, as we now know, built at least one ark) to avoid what would certainly be a world-killing event. Their numbers were off by just a hair – the asteroid missed, was grabbed by Earth’s gravitational field, and became our moon. They’ve slept beneath the Earth for millennia, only awaking when accidentally disturbed by humans, who evolved to the dominant lifeform of the planet in their stead. Along with their close relations the Sea Devils, they’ve fought The Doctor on several occasions on screen, and quite a few more times in the other media.THE MONSTER FILES – For a show about time travel, you’d think The Doctor would have come across dinosaurs every other week, but in fact they’ve barely bee seen at all. Jon Pertwee fought The Dinosaur Invasion when Operation Golden Age sent time all funky and brought dinosaurs to modern London. The Rani tried twice to use dinosaurs in her plots, in Time and the Rani and The Mark of the Rani. And there were pterodactyls (that should not be fed) in the parks of London in The Wedding of River Song.
BACKGROUND BITS AND BOBS – Trivia and production details
LOCATION, LOCATION, LOCATION – Everyone’s heart leapt when there were rumors that Doctor Who was returning to film at Southerndown Beach, which was used as Bad Wolf Bay for Rose’s departure. But it stood in for the engine room in this episode. It was also the surface of Alfava Metraxis in Time of the Angels / Flesh and Stone.
WHEN WE LAST LEFT OUR FRIENDS… – In an earlier draft of his Doctor Who episode, Neil Gaiman had a sequence that would show the middle of a previous adventure, effectively interrupted to lead in to the new one, almost interrupting it. He discusses the scene here. It’s effectively the structure used here with Nefertiti, tho this seems to be much more the end of the other adventure. But both get across the point that The Doctor has many adventures, large and small, that we don’t get to see. As was touched on in last season’s A Good Man Goes To War, The Doctor has met many people, some who owe him a debt, and some (Winston Churchill, for example) who just call him friend. Both Nefertiti and John Riddell are examples of the latter.
Nefertiti is not the first member of Egyptian royalty to travel in the TARDIS. Princess Erimemushinteperem (Erimem for short) traveled with the Fifth Doctor in several audio adventures from Big Finish Productions. After meeting one of the Osirans (seen on screen in The Pyramids of Mars), she accepted the proposal of the newly-crowned king of Peladon and left The Doctor’s company.
SO THAT’S HOW JEFF BROKE HIS LEG – Slow down the playback as the dinosaurs as they tromp towards the screen just before the credits – a crack appears at the last instant, presumably as the glass of the “camera” shatters under the foot of a rampaging ankyosaur.
THE PUNCHLINE IS, “AND THEY WORK FOR SCALE” – As mentioned last week, the Doctor Who logo will be changing each week, covered with a new “skin” connected to the episode. This week it’s covered in dinosaur hide. It’s a cute idea, trying to give the opening a little Simpsons-esque little update each week, but I’m not sure the
show logo is the thing to be changing. Also, I think it’s a bit too small on the screen – perhaps making it a bit larger might help.
WELCOME…TO JURA—SORRY? – The dinosaur effects in this episode are a seamless mix of physical effects and CGI. In the case of the triceratops The Doctor and the Williams Boys ride, it’s a mix on the one moveable beast. The head and torso are a physical prop, moved along by stagehands, while the back feet and tail are CGI. Solomon’s robots are funny physical effects as well – those nearly ten foot tall suits were worn by members of the show’s team of monster players.
HI HO TRICEY! – There’s been a bit of discussion in the archeological community over whether or not the triceratops actually exists. There’s a very similar breed, the torosaurus, and there’s a theory that indeed they are the same species; what we know as the triceratops is a young torosaurus, which underwent a bit or a metamorphosis as it grew. The theory was tabled a couple years ago, but recent studies have come to the agreement that it’s in error. Just as well – I still haven’t gotten over Pluto and the Brontosaurus – I don’t think I could take losing the Triceratops.
“I’ve got it set to temporal news view” Apparently The Doctor’s psychic paper has another function. It was introduced in the new series as a device able to appear as any form of documentation he needs to get out of any situation, from a ticket to view the end of the Planet Earth, to ID backing up his claim that he represents Q
ueen and Country. Some people are able to contact him via the paper, wither by being a close friend (AKA River Song) or by having emotions so strong and powerful the reach across space and time (Young George in Night Terrors). Apparently it also has the ability to pick up news of events he may be able to help with, like a four-dimensional police scanner.
“You don’t normally get spiders in space” – Oh, I don’t know about that. Aside from the dominant life of Metebelis III, AKA Planet of the Spiders, there’s the Racnoss from The Runaway Bride, the Alzarian Spiders from Full Circle, and lots of other examples from the other media.
“Hydro-generators!” We’ve seen a number of “hybrid” power systems in the new series, like the treeborgs on the Byzantium in Flesh and Stone, which converted photosynthesis to electricity, and provided oxygen to boot.
“I will not have flirting companions” Effectively, Amy has take the role of being in charge here, and is the one figuring things out. Rory is helping his father cope with what he’s seeing, and later, fixing him up when he’s hurt. He also lies. It’s another sign of how far the Ponds have come in their time with The Doctor, and possibly, why they need to move on.
“I don’t respond well to violence” Of all the events of the episode, it’s The Doctor’s decision of what to do with Solomon that has sparked the most debate. It’s far from the first time he’s killed – he’s ever talked about the blood on my hands. Indeed, one could argue that he’s killed more by his inaction. He chose not to destroy the Daleks at their start in Genesis of the Daleks, as he realized that in some cases, races who were at war would unite to fight them, ending wars that could cause more deaths. But by doing so, he effectively sentenced all who would die at the Daleks to those deaths. In The Vampires of Venice, he doomed an entire race to extinction, the amphibious Saturnyne, all because their queen didn’t know the name of one of the girls they killed. His choices seem based mainly on how cruel the being are acting towards others, and how much potential the have of being rehabilitated. He chose to help Kazran Sardick and not just push him out of the way (with authority) all because he chose not to strike a child. But even then, he gives Solomon a chance – he warns him that the ship is under attack, and tells him to leave. Solomon’s fate is based entirely on his own choices. He is clearly and irretrievably evil, and none of The Doctor’s companions seem distraught with the choice.
“A monkey could do it…oh look, they’re going to” The Silurians referred to the humans as “apes”, as when they were on the surface, that’s all humans were.
“Try not to bump into the Moon, otherwise the races that live there will be livid” at the time of this episode (2367 AD) there are human colonies on the moon, and presuming the Selenites are not part of the show’s continuity (Considering Mark Gatiss recently produced and starred in a remake of First Men In The Moon, I’d make no such assumptions) there have been no indigenous races reported on the moon. So he may just have been being funny, but surely the humans on the moon would be annoyed by a fender-bender.
“Daisy, Daisy…” rather an obvious one here – Hal 9000’s last words, a repeat of his first, at the end of 2001: A Space Odyssey. Also makes the earlier reference to Arthur C. Clarke by Brian a nice callback. But not everybody knows the etymology of that choice of song. A programming team taught an IBM 7094 to sing back in 1961, and this was the song it sang.
“Can I ask a favor? There’s something I want to see” As The Doctor has said many times, traveling with him changes people; usually for the better, if they survive. In The Sarah Jane Adventures, she explains that she did a bit of research and found a bunch of people who traveled with The Doctor, all of whom have dedicated their lives to helping others in big ways and small, including, of course, herself. Brian’s transformation from someone who “hates to travel” is a more personal type of transformation, but one no less dramatic. Considering all the places he’s been in those postcards, it’s assumed that once again, quite some time will have passed until the next time The Doctor visits the Ponds.
“Siluria!” According to the events of The Hungry Earth / Cold Blood, in 1,000 years’ time, the Silurians will emerge from their cryo-chambers and negotiate a peace with the humans of earth. That’s still several centuries away from the events of this adventure. One wonders how much the flora and fauna of the Silurian Ark will be able to thrive in that time, and whether or not it will make a good world for homo reptilia upon their return?
BIG BAD WOLF REPORT
“Are they the new us?” In School Reunion Rose faced the idea that The Doctor’s Companions come and go, that he has had friends before she came along, and will have some when she leaves. Amy has known The Doctor literally as long as he’s been in this incarnation, and with Rory, have been traveling with him for most of that time. The idea that he might stop seeing them and start traveling with other people is clearly something that has crossed their minds. This carries throughout the episode, and is a theme through much of this semi-season. His relationship with the Ponds is quite different than other companions – he’s keeping in touch, and even though he’s set them home safe more than once, he’s drawn back to them. One reason for that is he’s family. He’s married (or will be, or will someday more officially be) to their daughter River Song, and that really needs much more explanation, but wait a couple weeks and I’ll be able to get into get in detail.
“How’s the Job?” It’s a bit of a throwaway line, but Amy has been unable to keep a job, for fear of missing The Doctor. This whole scene is choked with portent, and is very revealing of the very unique these three have. It’s been said that Amy and Rory have almost adopted The Doctor;Amy is speaking like a mother who’s afraid to have a life, lest her child need her. She ever expecting a call, asking that she pick him up.
Since we already know that the Ponds will be leaving The Doctor’s company at the end of episode five (tho we of course know in what way, or position), it’s tempting and worrying to hear anything being said about them parting.
“That’s me…worthless” Once again, parts of the universe has forgotten about The Doctor, which was, of course, his plan. Some are suggesting the capable hands of Oswin Oswald are at it again, but let’s not forget that in the first episode of the new series, The Doctor produced a program that would erase all records of him off the Internet. No mean feat, to say the least. He could have easily done the same for this value indexing system…or could do so retroactively at his next opportunity.
NEXT TIME ON DOCTOR WHO – A western, filmed in Spain, with an alien. THAT’S multiculturalism. A Town Called Mercy, just a week away
Never let it be said that I won’t change my mind if circumstances change. In that vein, I’m starting today’s column with a little addition to last week’s thoughts on Arrow.
