Tagged: Star Wars

Marvel-Disney Connection Now Includes Once Upon a Time Hardcover Graphic Novel

  • News
  • March 28, 2013

OnceUponATimeThe connections between Marvel Comics and its sister divisions within Walt Disney continue to evolve. After the success of graphic novels tying in the quasi-related genre of ABC’s Castle, now the company is about to launch a graphic novel based on another ABC property, Once Upon a Time. It’s fully expected that in 2015, Marvel will once more publish Star Wars comics as the relationship between Lucasfilm, now a Disney vassal, and Dark Horse, comes to a conclusion. Should this continue, we can expect a continuing line of comics tied to other Disney properties, both film and television.

New York, NY (March 28th, 2013)—Dive into the immersive world of ABC’s Once Upon a Time like never before as Marvel Entertainment and Disney-ABC Television Group are proud to announce Once Upon a Time: Shadow of the Queen, an all-new original graphic novel hardcover inspired by the popular series. Plotted by series writer & co-producer Dan Thomsen, and co-written by Corinna Bechko (Planet of The Apes), this landmark release fits into the official continuity of Once Upon a Time and features the lush art of Nimit Malavia, Vasilis Lolos, Mike Del Mundo, Stephanie Hans and Mike Henderson.

Welcome to Storybrooke, a small New England town where seemingly regular people go about their everyday lives with no idea who they really are – the fabled storybook characters we all grew up with! It’s real, all of it! But Fairy Tale Land is not the “happily ever after” you may have heard about – their stories continued, and the Evil Queen cast a Dark Curse over their homeland.

In Once Upon a Time: Shadow of the Queen, the Evil Queen has, quite literally, captured the Huntsman’s heart. With the Huntsman a slave, experience the never-before-told tale behind their twisted relationship—and what happens when a good man is forced to do bad. And when Regina cooks up yet another devious plan to capture Snow White the Huntsman comes face-to-face with his past — including an independent spirit in Red Riding Hood that just may match his own.  Can these two break free of the forces that bind them and save Snow White?

The release of Once Upon a Time: Shadow of the Queen marks the first official graphic fiction tie-in to the hit ABC Studios series.

“Once Upon a Time fans are in for a treat with this incredible story that reveals some shocking secrets about Regina and the Huntsman”, said David Gabriel, SVP Sales, Print and Digital Media. “It’s been a pleasure to work with ABC to create a line of high quality original graphic novels that bring new fans into comic stores and also allow us to introduce great franchises like Once Upon a Time to our die-hard fans.”

“Shadow of the Queen will bring fans a whole new thread of the intriguing backstory between Regina and the Huntsman – in a uniquely Marvel way”, said Adam Sanderson, SVP Franchise Management for the Disney-ABC Television Group.  “We hope this brand extension will further deepen the engagement our viewers have with one of ABC’s signature series.”

When put to the test, where will the Huntsman’s loyalties lie?  Has the Evil Queen stolen his heart in more ways than one? Find out in Once Upon a Time: Shadow of the Queen available on September 4th in book stores, comic shops, the Marvel Comics app (for iPhone®, iPad®, iPod Touch® & Android devices) and online in the Marvel Digital Comics Shop.

REVIEW: Willow

Willow Domestic BD+DVDSometimes you are born for a life of adventure and sometimes adventure recruits you into its cause. For George Lucas, the latter approach is preferable as witnessed in Luke Skywalker in Star Wars and Willow Ufgood in Willow. While Skywalker unknowingly had it in his blood, Willow was far more the ordinary person thrust into an extraordinary cause.

Lucas conceived of Willow’s tale back in 1972 and kept it rattling around his mind until technology was sophisticated enough to tackle it on film. Casting Warwick Davis as Wicket in Return of the Jedi probably began the move from backburner to the front of the production slate even though it was another five years before the film began production. By then, Lucas was no longer interested in directing, instead choosing Ron Howard to mount his first major fantasy. By then, Howard, who was a directing contemporary of Lucas although they traveled in different circles, had just finished Cocoon, a science fiction tale dosed with lots of humanity, and that’s apparently what Lucas wanted.

What we got in 1988, though, was an uneven tale with loads of nice scenery and nifty Industrial Light & Magic special effects but none of the characters sang and Howard definitely seemed out of his element. A new edition, with an excellent transfer, has just been released on Blu-ray by 20th Century Home Entertainment.

willow-blu-ray-dvd-WIL_IA_1008_rgbThe story is not especially original as Queen Bavmorda (Jean Marsh) of Nockmaar wants no rivals and to forestall a prophecy, has every pregnant woman in the kingdom imprisoned. Of course, a woman manages to give birth to her child, who turns out to be Snow White, er, The One. To protect her, the mother sacrifices her child, sending it in a small boat on the river where it is found by Willow’s children. Willow is a Hobbit, er, Nelwyn; a farmer, happily married, and not seeking a change in his life. The baby, though, upends everything, especially as the Queen’s hounds come hunting. Willow and the baby, Elora Danan, flee, encountering Madmartigan (Val Kilmer), who is a handsome Daikini; a disgraced knight who swings a mean sword. Following instructions, Willow will risk everything to safely deliver the child to the good king and queen of Castle Tir Asleen. Meantime, Madmartigan encounters and romances Bavmorda’s daughter, Sorsha (Joanne Whalley), getting his just reward. For the two hour and six minute running time, you pretty much know what’s going to happen, and you’re rooting for the heroes.

willow-blu-ray-dvd-WIL_IA_1028_rgbThe screenplay, written by Bob Dolman (How to Eat Fried Worms), based on Lucas’ long-simmering concepts, is overly predictable and none of the characters manage to sparkle. Kilmer is too grim, Marsh too broad. Davis’ title character is earnest but flat, given little to work with. Even former Munchkin Billy Barty is overly broad as The High Aldwin, the magician who takes Willow on as an apprentice. He’s forgiven considering how awful the Brownies (Kevin Pollak and Rick Overton), the two French-accented companions, are. That said, Howard still shows the film’s potential in some lovely quiet moments between the characters. Saddled with a so-so story and inexperienced with the demands of special effects, these are few and far between, which just makes us yearn for more. Darker than your typical kids’ fantasy, this overall holds up on rewatching, which has explained its enduring commercial success. As recently as last month Kilmer tweeted there will be a sequel, but after all this time, it remains wishful dreaming.

willow-blu-ray-dvd-WIL_IA_1027_rgbShot partly in New Zealand, it has lovely views and the SFX are fine for when they were crafted but clearly budgetary constraints kept some of the more exciting set pieces from completion, saving them for use in the Marvel adaptation or novelization (speaking of which, go find the Chris Claremont-penned of tie-in sequel novels). James Horner delivers a familiar and lackluster score, that doesn’t help the overall feel of being a retread.

The new transfer is superior to the 2001 DVD release. Lucas and company personally oversaw the work so the print is clean and the colors are well balanced. The THX soundtrack is equally glorious and makes for an improved viewing experience.

The special features have chosen to skip the Davis commentary from the previous release but does offer up the other ones, including Willow: The Making of an Adventure (23:29), a 1988 documentary; From Morf To Morphing (17:24), with visual effects supervisor Dennis Muren; and, Willow: An Unlikely Hero – Personal Video Diary of Warwick Davis (10:53), with some interesting on-set videos he shot during production.

New to the disc is Willow: Deleted Scenes with Ron Howard (12:32) includes the completely dropped subplot with Sorsha’s father, some of Willow performing magic tricks, and a “fish boy” scene that ILM couldn’t quite get right. There is also a brief one minute-plus montage of the film’s lush Matte Paintings.

Win a Copy of LEGO STAR WARS: The Empire Strikes Out

  • News
  • March 26, 2013

EmpireDomesticFilled with charm, action and irreverent humor this original story features characters, locations and vehicles across the entire LEGO Star Wars universe including Darth Vader, Luke Skywalker, Han Solo, Princess Leia, C-3P0, R2-D2, Darth Maul, and more.   When the premiere of LEGO Star Wars:  The Empire Strikes Out aired on Cartoon Network, it became the number-one telecast of the day with kids ages 6-11 and boys ages 2-17. Written by Emmy Award winner Michael Price (The Simpsons), the show features many of the beloved Star Wars voice-actors fans know and love including Anthony Daniels, Sam Witwer, Ahmed Best and more.

Thanks to our friends at Lucasfilm we have two copies of the DVD to give away.

SYNOPSIS:

HOLD ON TO YOUR BRICKS….FOR AN ALL-NEW ANIMATED ADVENTURE!

Your favorite characters are back to save the galaxy in LEGO® Star Wars®: The Empire Strikes Out™. The heroes of the Rebel Alliance including heroic Luke Skywalker, swaggering Han Solo and steadfast Princess Leia have no time to celebrate their victory over the Empire as a new Imperial threat arises. But as Jedi-in training Luke embarks on this next mission, he discovers that his celebrity status as a “Death-Star-Blower-Upper” can be a double-edged lightsaber when he’s constantly mobbed by crazed fans. So much for secret missions! Meanwhile, Darth Vader and Darth Maul are locked in a hilarious “Sith-ling” rivalry as they compete for the Emperor’s approval. It’s an action-packed comic adventure that’s out of this world!

In order to win your very own copy of LEGO Star Wars:  The Empire Strikes Out on DVD, simply answer the following question. Your answer must be submitted by 11:59 p.m., Thursday, March 28, 2013. The judgement of ComicMix will be final.

What television network did LEGO Star Wars:  The Empire Strikes Out premiere on? 

  • Cartoon Network
  • Nickelodeon
  • ABC Family
  • The Disney Channel

Michael Davis: The Geek In Me

Davis Art 130326I proudly say I’m a geek.

Really.

I’m proud to be thought of as a geek. Shit, I’m so geek I don’t just have an abundance of action figures – I have among those figures a pretty substantial Barbie doll collection.

Long sad story and yes I’m straight.

I have nothing but love and respect for geeks and like I said I’m proud to call myself one.

But…

Lately I’ve been feeling a bit guilty. I’ve been wondering if I really am a geek. Yes, I love comics, video games, movies, books and TV. Yes, I tend to categorically love the sci-fi flair within those media… but am I really a geek?

I’m looking forward to the next Star Trek movie but I’m not losing any sleep over it. The announcement that the original cast was being reunited in the next Star Wars movie was interesting, but except for thinking “Duh.” I had no reaction.

I love going to the San Diego Comic Con but I couldn’t tell you when the last time I spent any time on the floor not doing business.  These are just a few of the hundreds of “I could give a shit” thoughts about pop culture I harbor.

So, am I really a geek or am I just a guy who thinks owning action figures and hating Jar Jar Binks makes me a geek?

Someone tell me.

Help me, Obi-Wan Kenobi…

WEDNESDAY: Mike Gold

THURSDAY: Dennis O’Neil

 

John Ostrander: Revamp, Reinterpret, Regenerate, Reinvigorate

Ostrander Art 130303There’s been a lot of pushing the reset button in pop culture recently and I find the results interesting. J.J. Abrams rebooted the Star Trek franchise a few years back and, while some fans complained, I think it was successful. Certainly it was financially successful, which is what the Hollywood moguls really care about.

At the start of Daniel Craig’s run, the James Bond movies were also rebooted, culminating in the recent spectacular Skyfall, which – again this may be heresy to some – was the best Bond film ever. It’s visually stunning and takes Bond himself to greater depths and heights than I’ve seen up until now.

Sherlock Holmes has been reinterpreted into the modern age with two versions, the BBC’s magnificent Sherlock and Elementary on CBS. Both are true to the basics and it’s amazing how well the classic fictional detective gibes with modern times.

Of course, we’ve witnessed DC’s rebirth with the New 52. Again, you can argue as to whether it is artistically successful but I don’t think you can argue that it hasn’t been financially successful thus far. This summer will see a movie rebooting of Superman with Man of Steel. The Christopher Nolan Batman trilogy rebooted that cinematic history as The Amazing Spider-man did with that character’s movie version. X-Men: First Class reimagined Marvel’s mutants and so on. The next Star Wars chapter and the announced Star Wars solo films, while they will undoubtedly respect the previous movies, will probably play hob with what is known as the Extended Universe, the complex continuity that has sprung up around the films via novels, comics, games and more. Depending on how they turn out, that may not be a bad idea.

All my professional comic book writing career, I’ve played with and enjoyed continuity. I respect it but I don’t worship it and I don’t think it is cast in stone. Sometimes, continuity becomes like barnacles on the bottom of a boat and need to be scraped off in order to make the boat (or the franchise) sea/see worthy again.

One of the most successful franchises is the BBC’s Doctor Who and part of its longevity (it celebrates 50 years this year) is its ability to change the actor who is playing the Doctor. It’s built into the series; the Doctor is an alien being who regenerates from time to time into virtually a new character, played by a different actor. The new Doctor doesn’t look, act, dress or sound like any of the other incarnations. The re-invention is a part of the continuity and that’s very clever.

I think this is very healthy; characters and concepts can and should be re-examined and re-imagined for the times in which they appear. They have to speak to and reflect concerns that its current public has if they are going to remain vital and alive.

Can it be overdone or badly done? Absolutely. Some remakes get so far from what the character is about that they might as well be a different character altogether. You want to take a look at the essence of the character, what defines them, and then see how you get back to that, interpreting it for current audiences. Some folks revamp something for the sake of revamping or to put their stamp on the character. I don’t think that usually works very well. Change what needs changing, certainly, but be true to the essentials of the character or concept.

Have I always done that? I don’t think so; when I was given Suicide Squad, I didn’t go back to the few stories that were originally published and work from that. I created a new concept for the title. However, I did reference the old stories and kept them a part of continuity, albeit re-interpreting them. I think we played fair with the old stories.

On The Spectre, Tom Mandrake and I took elements from as many past versions of the character as we could while getting down to what we felt were the essentials. Really, our biggest change was not the Spectre himself but his alter-ego, Jim Corrigan. Originally, he was plainclothes detective in the 30s and our version reflected that. I think that was a key to our success.

Even with my own character GrimJack, after a certain point I drop kicked the character at least 100 years down his own timeline into (shades of the Doctor) a new incarnation. I gave him a new supporting cast and the setting changed as well. It made the book and the character fresh again and made me look at it with new eyes.

The old stories will continue to exist somewhere; they just won’t be part of the new continuity. At some point, that new continuity will be changed as well as the concepts and characters are re-interpreted for a newer audience. That way they’ll remain fresh and alive. Otherwise, they’ll just become fossilized and dead. Who wants that?

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

From The Muppets to Richard Parker, Animated Animals in Film

  • News
  • March 2, 2013

Life of Pi TigerIt’s been a very good week for Ang Lee and novelist Yann Martel. Lee, of course, won the Best Director Oscar for The Life of Pi, adapting Martel’s magical novel. The film itself was warmly received, earning it admiration from the Academy. The film is being released by Twentieth Century Fox Home Entertainment on Blu-ray 3D, Blu-ray and DVD on March 12.

Based on the acclaimed best-selling novel from Yann Martel that has been published in 40 languages, and brought to life by visionary Academy Award winning director Ang Lee (Brokeback Mountain, Crouching Tiger, Hidden Dragon), this magical adventure of hope, wonder, survival, and the power of the human spirit has been celebrated by critics all over the world.

Much was made of the animals brought to life through digital legerdemain but the film was far from the first to bring artificial animals to the screen, dating all the way back to Windsor McCay’s Gertie the Dinosaur. In more recent times, puppetry was the way to go, pioneered in numerous ways. The first commercially successful film to use puppets, of course, was from Jim Henson.

THE MUPPETS

The Muppets castThe first Muppet movie came to our screens in 1979 and these lovable characters were created without the use of CGI. Each Muppet character was carved out of various types of foam, and then covered with fleece, fur, or other felt-like material. Muppets represented a multitude of species including animals, humans and aliens. Even in this modern age, when interacting with Muppets, children still tend to act as though the Muppets were living creatures, even when they can see the puppeteers.

STAR WARS

The original Star Wars trilogy contained over 100 alien animals spanning a multitude of planets without using CGI. The first film in this epic saga provided audiences with a multitude of film-firsts, including the first ever animated 3D wireframe graphic. Star Wars: A New Hope was made with a relatively small budget by today’s standards and many of the animals and aliens looked surprisingly familiar, check out the very Wolfman-like alien from the iconic Mos Eisley Cantina scene below. This character was changed using CGI for the special edition re-release in 1997.

LABRYNTH

Blink and you will miss the first use of a realistic CGI animal in a feature film.  The 1986 fantasy film Labyrinth showed off a flying digital owl in the opening credits. The opening sequence of Labyrinth was created by animators Laryy Yaeger and Bill Kroyer and won its animators the NCGA Best Computer Animation award of 1986.

[youtube]http://www.youtube.com/watch?feature=player_detailpage&v=kVD-X0eqB2w[/youtube]

JURASSIC PARK

the-lost-world-the-lost-world-jurassic-park-32533948-1800-1013-300x168Lucasfilm’s ILM division provided the Oscar-winning visual effects wizardry in this classic film. The studio used CGI along with animatronics and stop-motion miniatures to create the dinosaurs in Jurassic Park. The iconic first glimpse of those Brachiosauri was voted in the top 30 most magical moments in film by Empire magazine and broke new ground in CGI animation of animals on the big screen.

RISE OF PLANET OF THE APES

Rise of the Planet of the ApesThe latest addition to the Planet of the Apes franchise did not use a single real-life ape during filming. Working with WETA Digital the studio created lifelike apes through revolutionary motion-capture technology and visual effects. The film highlights the journey of an ape named Caesar, a fully CGI creation realized through a brilliant motion-capture performance by Andy Serkis, who used body suits and cameras to create the realistic movement we see in the film. This is the same technology Serkis used to play Gollum in the Lord of the Rings trilogy.

LIFE OF PI

Ang Lee’s award winning adaptation Life of Pi relied on the use of CGI to create the Bengal tiger “Richard Parker” which shares the lifeboat with Pi. This was a tough task and so Lee brought in James Cameron and his team from the blockbuster Avatar to make sure that the CGI was the best it could be. To put this into context, the production team employed 15 artists to work only on Richard Parker’s fur, combing and placing all 10 million hairs on the tiger’s body to create the beautiful creature pacing across the screen.

Marc Alan Fishman: The Tabernacle of Technobabble

Fishman Art 130302I love psuedo-science. More than anything else, the “how” of super-heroes and science fiction is what initially draws me in. My first real memories of my impending nerd-dom stemmed from the Teenage Mutant Ninja Turtles; where I learned that radioactive interplanetary ooze, when liberally applied to animals, created anthropomorphic heroes and villains. And where most of my friends were just happy to have new action figures, I was always perplexed as to how a rhino and warthog, when exposed to said ooze, ended up a mutated state of similar weight and stature. But I digress.

When my attention made way towards comic books, the same curiosity drew me first towards the Marvel universe. Taken against the “crap fell outta the sky, and now you’re super-powered” methodology so many of the DC heroes, Marvel seemed to celebrate the polar opposite. Hulk, Spider-Man, Captain America, Iron Man… all products of science. And let us never forget those pesky mutants. Stan Lee, in the multitude of interviews he’s given over the years always laughed off his choices in the origins of his characters. I’d like to believe though, that there was a bit more to it than he’d let on. The majority of his heroes and villains share science as a passion, and profession. Their powers, results of experiments gone awry. Taken in context of the age in which they were born? It’s fairly easy to see the dots connecting; in the age of the atom, of course scientists would end up mutating themselves and the world at large!

After my recent converting toward Trekdom, I can now say without a shred of sarcasm that I hold Trek above Wars because of the technical bedrock beneath the naked green chicks. At their cores, both universes celebrate journeys. But only Trek dares to boldly go where no man has gone before. Not that Star Wars is without some awesome psuedo-science of its own… but in my mind, it came well after Lucas opened his universe to other collaborators. Men and women who sought to better the mythos with a little less Kurosawa, and a bit more Kelvin.

But what is it that appeals to me so? It’s that shred of plausibility that helps endear me towards creations that embrace it. In contrast, those worlds made of pure fantasy never caught my heart. Where my wife can’t wait for the next Hobbit or Harry Potter, I could honestly care less. Sure, I appreciate the characters themselves, and the plot and structure presented in their various forms. But at their core? They celebrate worlds without reason. Where a kid can ride a broom not because he’s found a way to displace gravity fields, but because his parents loved him a whole ton. Meh.

A cursory look at my bookshelf shows a plethora of writers whose work encompasses these similar feelings. Alan Moore, Grant Morrison, Jonathan Hickman, Warren Ellis, and the like all celebrate the art of technobabble. Their stories, as grand as they may become, still root themselves in panes of logic and reason. Their heroes and villains operate less on threads of sheer will, hope, or love. While their ultimate deus ex machinas may very well encompass those indefinable qualities in order to reach catharsis or conclusion… the worlds built around them all contain some form of believability that allows me to enjoy the work just a bit more than those who simply “wish hard”.

Remember when [[[The Matrix]]] first came about? Long before Neo was wearing his digital crown of thorns, the Wachowski brothers first tried to provide a foundation with which to build upon. And by the end of their first flick, I could enjoy Neo’s triumph over the machines not because of his amazing will to win the day, but because of his understanding of the laws of the program he was an avatar of. His triumph was one of science, not faith.

In Geoff Johns’s expansion of the Green Lantern universe, I celebrated the psuedo-science of the emotional spectrum. Certainly if we could believe that will was somehow a measurable source of energy, so too could be anger, avarice, love, compassion, hope, and fear.

But when Kronos, back with a vengeance, waged war on the Guardians who banished him so very long ago… what defeated him? A big Photoshopped beam from Hal Jordan. Sheer will. Used against a guy who had the weight of the entire emotional spectrum behind him. The scientist inside me screamed with righteous indignation. Based on even small amounts of actual logic, I was left aghast. One emotion, no matter how large (and Photoshoppy), should trump seven. Especially when the shooter of said super beam is merely a mortal man, and his opponent a crazy-assed demi-god. Johns failed to follow the laws of science he himself previously designed (so-to-speak). Simply put? Geoff wrote himself into a corner, and asked for a pass out of it. He flunked the exam. Of course given his captain of the football team status at DC, he slid right past the failing grade. Psuedo-science be damned.

In the universes we fictioneers build, there is an understanding between our words and our audience. To each creation comes a set of laws we play in and around. Those who do it best, gain my attention, respect, and money. Those who disregard it get my furrowed eyebrow and shaking fist. Consider this experiment open-ended. Where there is plausibility, there’s potential. And where there is potential… there’s the possibility of endless wonder. And where there is no need for that? Well, fuck it. Let it fall out of the sky. I mean, why not?

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

Baseball Season Brings 20th Anniversary Edition of “The Sandlot”

the-sandlot-20th-anniversary-1157_rgbIt’s almost spring and we’re suckers for the promise Spring Training brings, so we were thrilled to see that The Sandlot¸ starring genre faves James Earl Jones, Karen Allen,  and a bunch of kids, is finally coming out on Blu-ray. Here are the details:

LOS ANGELES, (February 27, 2013) – “You’re Killing Me Smalls!” A film that still captures the hearts of baseball fans young and old, THE SANDLOT debuts on Blu-ray/DVD combo pack March 26 from Twentieth Century Fox Home Entertainment in celebration of the beloved film’s 20th anniversary. “A charming and whimsical comedy about boys and baseball and a GREAT BIGDOG” (“Siskel & Ebert”), THE SANDLOT ranked in the Top 40 as one of the best sports movies ever.

With memorable performances from nine terrific young actors and supporting appearances from Honorary Academy Award® winner James Earl Jones (Field of Dreams, Star Wars Franchise), Denis Leary (Rescue Me, The Ref) and Karen Allen (Raiders of the Lost Ark, Starman), The Sandlot 20th Anniversary Blu-ray and DVD Combo Pack includes limited edition packaging and 10 collectible cast baseball cards.

It’s early 1960s and fifth-grader Scotty Smalls has just moved into town with his folks. Kids call him a dork – he can’t even throw a baseball! But that changes when the leader of the neighborhood gang recruits him to play on the nearby sandlot field. It’s the beginning of a magical summer of baseball, wild adventures, first kisses, and fun!

In connection with the release, FHE will embark on a partnership with Benny the Jet’s favorite shoe brand PF Flyers, for a special one-of-a-kind promotion. Beginning March 26, a limited run of The Secret Weapon, will be made available inside a vintage 1960’s shoe box, along with a $3 SANDLOT coupon inside. Additionally, all Blu-ray and DVD combo packs will feature a 10% PF Flyer discount coupon inside the packaging. Further information on this exclusive purchase can be found at www.pfflyers.com.

Additionally, The “Sandlot Baseball Field Program” will be comprised of partnerships with Major League Baseball teams nationwide in connection with the FOX Sports Networks. Notable teams such as the St. Louis Cardinals, Texas Rangers and Minnesota Twins will coordinate baseball field renovations across the Unites States so that loyal fans and baseball lovers everywhere will get the chance to enjoy their own “Sandlot” field in their backyards. Furthermore, screenings of THE SANDLOT will be hosted at several Major and Minor League ballparks across the country with Director, Writer and Narrator, David Mickey Evans. So lace up your mitt and get ready for a season full of baseball fun!

SCREENING LOCATIONS/DATES

(*Subject to Change)

ARM & HAMMER Park, home of the Trenton Thunder (Trenton, New Jersey) – 4/13/13

Fluor Field at the West End, home of the Greenville Drive (Greenville, South Carolina) – 4/19/13

Arvest Ballpark, home of the Northwest Arkansas Naturals (Springdale, Arkansas) – 4/21/13

Rangers Ballpark, home of the Texas Rangers (Arlington, Texas) – 5/11/13

Tucson Padres at Kino Stadium (Tucson, Arizona) – 5/18/13

Busch Stadium, home of the St. Louis Cardinals (St. Louis, Missouri) – Date to be announced

Target Field, home of the Minnesota Twins (Minneapolis, Minnesota) – Date to be announced

Chickasaw Bricktown Ballpark, home of the Oklahoma City RedHawks (Oklahoma City, Oklahoma) – 6/1/13

AutoZone Park, home of the Memphis Redbirds (Memphis, Tennessee) – 6/15/13

Steinbrenner Field, home of the Tampa Yankees (Tampa, Florida) – 6/22/13

Dell Diamond, home of the Round Rock Express (Round Rock, Texas) – 6/25/13

Whataburger Field, home of the Corpus Christi Hooks (Corpus Christi, Texas) – 6/29/13

Fifth Third Field, home of the Toledo Mud Hens (Toledo, Ohio) – 7/5/13

Classic Park, home of the Lake County Captains (Eastlake, Ohio) – 7/12/13

CommunityAmerica Ballpark, home of the Kansas City T-Bones (Kansas City, Kansas) – 7/26/13

Security Service Field, home of the Colorado Springs Sky Sox (Colorado Springs, Colorado) – 8/2/13

Fifth Third Field, home of the Dayton Dragons (Dayton, Ohio) – 8/10/13

Werner Park, home of the Omaha Storm Chasers (Omaha, Nebraska) – 8/17/13

The Epicenter, home of the Rancho Cucamonga Quakes (Rancho Cucamonga, California) – 8/30/13

Coolray Field, home of the Gwinnett Braves (Lawrenceville, Georgia) – 9/21/13

THE SANDLOT Blu-ray and DVD Combo Pack Special Features:
●    Featurette
●    Theatrical Trailer
●    TV Spots

The Point Radio: Amy Poehler On PARKS & REC After The Wedding

PT022513

This season, NBC’s PARKS AND RECREATION has been focused on the big wedding of Leslie (Amy Poehler) and Ben (Adam Scott), but was that game changing episode a “jump the shark” moment for the show? Amy, Adam and producer Michael Shure all explain to us why that isn’t the case. Plus the FANTASTIC FOUR movie reboot moves forward and Mark Hammil says “Yes”, “No” and “Maybe” on STAR WARS

Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Mindy Newell: Lost In The Darkness

Newell Art 130218“I grew up reading superheroes where the most important element of that name was ‘hero’ rather than ‘super.’ But, lately, a number of the books from the big two superhero publishers, DC and Marvel, seem to have forgotten the hero part of the name.”

My friend and fellow writer Corinna Lawson, the woman some of you may know as the Geek Mom who writes for Wired, wrote those words in her latest piece, entitled “The Cliffs of Insanity: Putting the Hero Back in Superhero.”

It struck a deep chord in me.

“The Death of Captain America” (Captain America #25, March 2007) scared me and deeply bothered me. It seemed to signal the defeat of American idealism, the loss of belief in this country’s basic precepts of life, liberty, the pursuit of happiness, and freedom for all. And worst of all, it seemed to me that Marvel was telling its readers, most importantly the kids of America, that there was no future here, that the dream was over.

It was an allegory; Marvel seemed to be telling us, for the death of America.

Oh, I think I understand why this story was written. Darkness had overtaken this country, starting with the Supreme Court deciding the election of the Bush administration, ignoring the people’s right to vote or to have their votes recounted or retaken. And the Bush administration, led by Darth Chaney, was such a causally evil administration, ruining the careers and reputations of anyone who got in their way, including people like General Colin Powell and outed CIA agent Valerie Plame, and casually lying to the American public and suckering them into an unneeded and unnecessary war in Iraq, while letting the perpetrator of 9/11, Osama Bin Laden, escape from Tora Bora because the administration could use him and Al Quada to continue to scare the public into accepting the erosion of the Constitution and the Bill of Rights.

Yeah, I got it. It did seem that America, the America I grew up in, that, even with all its continuing problems, the America that promised hope to the world, was dead and buried.

There is a reason why totalitarian and oppressive governments attack the arts and kill writers and artists and sculptors and ban plays and books and movies. Because the arts are where ideas flourish, where the flicker of hope, of what should be, stays alive. Most of us do not think of comics as part of the arts, but they are, combining both the written word and illustration in one format, and as art I believe that comics both affect and reflect society, and are capable of promoting ideas and initiating discussions.

Return Of The Jedi (which would have been a better movie if Luke had been corrupted by Daddy Vader, and Leia and Han had to save him, and then Luke could have saved his father). Ben-Hur. The Searchers. The Bridge On The River Kwai. Watchmen. Buffy The Vampire Slayer. Angel. Battlestar Galactica. Ultimately, all these stories are about the rich and complex nature of good and evil, of love and hate, of triumph and tragedy. Great stories are about anger and hate, lost and found souls, corruption and redemption.

Joseph Campbell’s The Hero With A Thousand Faces, which George Lucas used in telling the story of Luke Skywalker in the original Star Wars movies, is about the monomyth of the world’s cultures throughout history, which is the journey of the hero:

The hero starts in the ordinary world, and receives a call to enter an unusual world of strange powers and events – the “call to adventure.” If the hero accepts the call to enter this strange world, the hero must face tasks and trials – a “road of trials,” either facing these trials alone or with assistance. At its most intense, the hero must survive a severe challenge, often with help earned along the journey. If the hero survives, the hero may achieve a great gift – the “goal or boon” – that results in the discovery of important self-knowledge. The hero must then decide whether to return with this boon – the “return to the ordinary world” – and often faces more challenges on the return journey. If the hero is successful in returning, the boon or gift may be used to improve the world – the application of the boon.”

Once upon a time, our comic book heroes took this journey.

Now?

As Corinna wrote, “But, lately, a number of the books from the big two superhero publishers, DC and Marvel, seem to have forgotten the hero part of the name.”

I agree, Corinna.

Too many of our comic heroes have lost their way.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

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