Tagged: Wonder Woman

Martha Thomases: Men Don’t Have Breasts

avengers black widow

Looking forward to Captain America: Civil War? I am. Along with Free Comic Book Day, it marks the beginning of the summer entertainment season. It’s enough to make a person want to invest in popcorn futures.

(Is there even such a thing as popcorn futures?)

While I won’t defend them as pieces of art, I enjoy a good action movie. I like adrenaline and explosions. I like to watch attractive people pretend to fight each other and pretend to fall in love with each other, preferably with lots of adrenaline and explosives.

The main reason I enjoy these movies is that my inner seven-year-old can pretend that I’m doing some of the heroic actions, or maybe even the villainous actions. The same seven-year-old who believed that the right sneakers would let me run faster and jump higher.

Pre-pubescent kids have amazing imaginations. To be seven is to know, in your heart, that anything can happen, that the world is an awesome place and you can have it all. Unfortunately, as we get older, reality intrudes. We start to learn that we have limitations as well as talents, and we have to figure out how to make the best of both.

Boys grow up to be men, and I’m not claiming that is easy. Men face a lot of pressure to conform to a fairly narrow view of masculinity. They are supposed to be strong and tough and earn a living and support a family and never ever let anyone see them doubt themselves.

But they don’t have breasts. Breasts are wonderful body-parts, but they don’t necessarily appear at the most convenient time, nor do they come with instructions about how to fit themselves into a girl’s previous version of a normal life. According to this, breasts (or, more accurately, the way our society treats breasts) are responsible for too many girls dropping out of physical activities they used to enjoy.

I’m going to blame comics, at least in part. Especially mainstream super-hero comics.

Too many super-heroines go about their super-heroing business displaying their impossibly large breasts with no visible means of support. A girl with new breasts reading about Catwoman leaping around Gotham City without at least an underwire (and preferably in a sports-bra) isn’t going to think she can be Catwoman. The same girl, watching Anne Hathaway in The Dark Knight Rises, doing the same thing, will be able to relate.

Scarlett Johansson is a beautiful woman with womanly curves, and her Black Widow costume is entirely believable for the stunts she performs.

We might not be able to expect the same for the upcoming Wonder Woman movie. According to Gal Gadot, the executives in charge of the film care way more about how her breasts look than about the script or any other aspect of the production.

In that regard, at least, Warner Bros. is keeping the comic book’s history alive. For all her decades of feminist cred, DC has most often treated the Amazing Amazon as tits and ass, a tradition that will carry on at least through the movie’s premiere.

Luckily, there are all sorts of comics that a girl can read that have characters who look like her and still accomplish amazing things. Some have characters she may already know and some she may not and some she may have heard about but not know the details. And if she ventures past the Big Two, there are so many choices telling so many different kinds of stories that don’t rely on sexualizing women’s bodies as objects to be observed, not inhabited.

You know, like the boys do.

Review: BvS Is A Four-Letter Word

Batman v Superman

Did you ever endure some sort of traumatic injury knowing full well that a minute or two after the moment of disaster it was going to hurt a hell of a lot worse?

That’s how I felt after seeing Batman v Superman. Bright-eyed fanboy that I am, I walked into the theater with the highest of expectations. I had heard from a couple of friends who saw the Los Angeles screening that it was pretty good. Now I’m reconsidering my position on medical marijuana. Maybe the fault here is mine: I had been on OxyContin following some dental surgery earlier in the week and I guess I quit taking that shit too early. I wanted to like the movie – for one thing, it took two and one-half hours out of my life. For another, successful movies inure to the benefit of the comics medium and, arguably, my cash flow.

Here’s the good stuff. The camera really loves Gal Gadot, particularly when she’s in her Diana Prince guise. I enjoyed her work so much I even briefly considered watching her Fast and Furious movies, and I lamented the fact that I lacked the foresight to join the Israeli army when she was a part of it. Also, and I guess this is critical, Ben Affleck was fine as Old Man Bats. Granted, standing next to Henry Cavill would make Emo Phillips seem like Robert Redford, but Ben did just fine. Diane Lane is always a joy to behold and her talent exceeded her part. And Jeremy Irons seems to have found Michael Caine’s Miraclo stash and became Alfred the Butler for about an hour.

All that in the aggregate does not come close to balancing out Jesse Eisenberg’s turn as Lex Joker Junior. If you saw him in any of the trailers then let me assure you that what you saw is what you get. Spoiler alert: he channels Gene Hackman at the end. Somewhere Kevin Spacey is buying him a condolence card.

And, holy crap, why does everybody in the damn movie have serious mommy issues?

The story is irrelevant. And negligible. Clearly, director Zack Synder thought he wasn’t spending enough money so he finagled a nice big CG Doomsday for reasons so oblique they do not bear repeating. Lois Lane starts out as the awesome investigative reporter she’s supposed to be and then quickly devolves into perpetual rescue bait. Jimmy Olsen turns out to be something Jimmy Olsen would and could never, ever be. The Flash zipped through just long enough for the audience to realize the filmmakers are idiots. And Aquaman was portrayed as an angry deep-sea fur ball with a fork.

The blame for this fiasco is squarely on the director. Zack Synder should not be given a blank check. By the end of the movie I was hoping the after-credits scene (note: there is none) was of John Wayne Gacy returning from the dead to eat Zack’s brains. Gacy, of course, would have been played by Samuel L. Jackson.

I’ll see Suicide Squad because I was there at its conception and because Affleck was swell. I’ll see Wonder Woman because Gal Gadot is that impressive. But the Justice League movies? If I succumb to peer-group pressure (the comics world remains a small donut shop), I’ll be hoping for that Gacy scene.

The best part of Batman v Superman? The trailer for Civil War.

Marc Alan Fishman: The Super Hatred for Batman v. Superman

Batman V Superman Doomsday

Let’s get this point out straight away: I haven’t seen Batman v. Superman: Dawn of Just Angry Dudes Who Like Destruction-Porn.  Beyond the trailers, I have done everything in my power to not read spoilers. I’ve put on blinders on whilst perusing my social media feeds, allowing me to catch only shreds of the shared rage boiling over amongst my closest 927 friends. So, my column this week explores the deeper issue fans are complaining about the most these days: gritty realism.

The clamber in the streets is about how DC is taking itself too seriously. How leaning into grit, grime, explosions, and death is ruining childhoods, and fans. But I beg the question: when your director previously worked on 300, and the lukewarm sepia-washed Watchman adaptations and delivered his own mighty opus in the video-game-cum-popcorn-film Sucker Punch, well, pardon me: what the fuck did you think he was going to do with Batman and Superman?! The output of Snyder shouldn’t come with a single measurable iota of surprise.

The deeper issue then gets tied back to Chris Nolan’s interpretation setting the table for what has come since. Batman Begins, The Dark Knight, and The Dark Knight Rises were once applauded for removing the kitch from the Bat-franchise. Nolan’s Knight was as real as you could get with the base-concept. The interpretation of the Joker was chilling – and not in the gutter-punk way Jared Leto appears to be aping Ledger’s performance mind you. And Bane? Well… he spoke in a weird accent, and had an appreciation for coats of the 70s. Those three Bat-films begat what we’re getting now. And that includes the popcorn fart that was the spectacular – Trump-level – Green Lantern movie.

So why is Marvel so beloved? As we’ve seen the table set for Civil War… for all the fun we had laughing at SHIELD agents playing Galaga, and Ant Man cracking wise, we’ve been privy to just as much world destruction. New York? Invaded. Washington D.C.? Had helicarriers dropped on it. And that fake-sounding country in Avengers 2? Well, it done went and turned into a low-grade meteor. Pair that with a few Hulk-smashed cities, and all those dead goats in Ant Man, and you have plenty of grit to chew on.

The difference being the actual plot and characters in service to it.

Man of Steel, much like The Avengers featured the destruction of a city (and maybe a few suburbs). Iron Man, Cap, and pals were lauded as witty-brilliant. Kal-El was deemed a dour dolt by the very same folks. One movie was held up in reverence. The other, kicked to the dollar bin with a sigh. For the record? This is as it should be. The Avengers took the time to showcase their heroes making attempts to save the people of New York. Superman was basically shown punching for the last 40 minutes of his film; subsequently followed by the murdering of the villain, a quick bit of snark, roll credits. It would seem, based solely on the 10-20 sentences I’ve half-begun to read on my feed… BvS is much in the same vein. And not a surprise either… I saw the trailers, and can put one and one together.

Spoiler-free knowledge of BvS dictates that Batman was in Metropolis during the Kryptonian scuffle. And true to his comic-counterpart (to whatever degree you agree with me), he sees an unchecked level of power on display and finds need to be fit to control it. Superman is the gun that took Bruce’s mom and dad until he can prove it otherwise. What follows – I’ll safely assume – is 90+ more minutes of fighting, yelling, and teeth gnashing. And Wonder Woman is there to make girls happy or something.

Don’t get me me wrong. I believe we need to look to our ComicMix cohorts Mike Gold, Denny O’Neil and John Ostrander when we talk on the topic of grit and realism. Pick nearly any yarn spun (and edited) by those gentlemen, and you’ll see how the heaviest of topics can be touched on without leaving a fanbase in ruin. Hell, check out the very first issue of Wasteland, and ask how the material could be covered within its pages and still leave you with a bit of a smirk.

When it comes down to it, I will see the new Batman and Superman movie. I’ll do my best to withhold judgment until the last frame is projected. I’ll do whatever I can to suppress expectations to anything higher than a whisper. I’ll give credence to the filmmakers, writers, and producers to prove to me they have a way to bring the heroes and villains of their catalog to life in direct completion to the House of Mouse.

But, at the end of the day, the devil is in the details, not the CGI decimation of untold thousands. So, I’ll just guess there won’t be a need for any follow up review, kiddos. No worries: Civil War is just around the corner.

Marc Alan Fishman: Nerd Rage Begone

Wonder Woman 49 Neal AdamsMaybe it’s the fact my son Bennett has finally mastered the art of pooping, or that my second son is due in less than three weeks, but I’m getting soft, my friends. To be clear, I still get migraines whenever I pull my attention towards the pending nominations of candidates from both parties. To be clear, I still shake my fist aggressively when Chicago drivers cut me off. To be clear, I still snark at things and get bent out of shape over tons of crazy Internet news. With that being said, a few of my friends on my social media feeds are seemingly raging hardcore over a litany of geek-related issues that just plain baffle me. Actually, strike that. It doesn’t baffle me so much as enrage me. I get the irony of it all, mind you. But I just can’t keep my snark in any longer over their bunched up panties.

And for the record, I don’t deny anyone the right to be snarky, angry, or anything else. I merely find these topics too silly to get an anger-boner over.

Issue 1: The Big Bang Theory

Recently this tweet elicited a resurgence of hatred over the CBS sitcom The Big Bang Theory. If you’d like a detailed recounting of my feelings for the show, you’re welcome to do so. I penned that article in January of 2013. And here I am, basically three years later feeling absolutely no different.

For someone to feel the need to light the torches and mount the armies of nerditry in an effort to chase this windmill really must have nothing better to fret over. To mock the lowest-common-denominator joke mills that are most of the network half hour sitcoms in perpetuity is akin to scoffing at those who eat fast food. No one – and I assure you that includes the entirety of Big Bang‘s staff – actually feels like the show is somehow a Bat-Signal for nerds, geeks, and dweebs to uniformly celebrate as barrier-breaking television. It’s stupefying to believe I have more than a fair share of friends that feel a need to #nerdrage over the comings and goings of that show – in part because a few soccer moms said trivializing comments to their local comic shop owners.

A person who doesn’t know Bruce Wayne from Wayne Brady tells a store clerk he reminds them of  Sheldon Cooper is as bad as that store clerk implying the insulter shops at Lands End and drives a Buick Enclave. Both parties are in the wrong. And if you find yourself seething and foaming at the mouth because Big Bang had the audacity to make boobie joke about Saga? Go buy a tee shirt that says so from Hot Topic and blow that rage out yer’ hipster ass. Next time? Be glad Saga got mentioned to literally tens of millions of people instead of pitching a needless hissy over the sheer gal of it all.

Issue 2: Wonder Woman’s Ass and Leg Lifting Kiss

Wonder Woman #49’s Cover B Variant by Neal Adams depicts Superman and Wonder Woman embracing in a totally PG-13 kiss. Diana’s rear end is facing the camera. I assume this was done because the way the legendary Adams depicts the Amazonian Princess, had the camera angle been reversed, the entirety of the cover would be Superman’s cape, calves, and booties, with Wonder Woman’s feet in between, making a passionate kiss look more like a night at the Cosby residence.

Let me make this clear, in case the snark isn’t coming through. The cover that has caused several pals of mine to shake their fists to the heavens in womanly rage (and this includes dudes too) is a variant cover. Meaning the actual cover than the majority of comic collectors will preciously bag and board after reading cover to cover is not in fact this man-first, woman-hating, soul-destroying piece of dreck. This means that only those who covet artwork by Neal Adams, or are tender completests in the highest regard will actually need to seek the cover out from their local comic retailers to even get it.

To quantify any negative feelings over this drawing is simply a rage too far to me. Yes, Wonder Woman isn’t facing forward on her own cover of her own book. Because Neal Adams chose to draw it this way, and the editors said “cool.” Yes, Diana has her leg up as if to imply she’s not only enjoying the kiss, but she may even feign to a submissive role in Superman’s larger frame. But that’s the prerogative of Neal Adams to choose to make her that much smaller than the Big Blue Boy Scout. For the record, I’ve long held it in my mind that she was likely as tall as he was, but nowhere near as wide. But hey? Guess what? I’m not Neal Adams, and I wasn’t paid to draw the cover. A cover by any account isn’t being force fed to adolescent males with a call out balloon declaring “Superman gets what’s coming to him, baby!”

I could go on. I could hand-pick several other ragers who need to calm down – like those who need to imply that the executives of Hollywood don’t understand our culture. Or the dorkus milorkuses who feel it necessary to pass judgment on a blogger declaring Chris Hemsworth went full geek in the next Ghostbusters movie because he’s wearing a vest and horned-rimmed glasses. The list goes on and on.

Simply put, when our nerdy culture can finally take the time to accept that those not-in-the-know mean us no harm when they simplify our loves… when we can stop over-analyzing every little detail to acknowledge our hobbies are still businesses in the business of making money… when we can stop feeling the need to throw stones through the glass houses that offer us shelter?

Well, that’ll be the day I feel no rage against the nerds who need to rage.

The Law Is A Ass

Bob Ingersoll The Law Is A Ass #379

WONDER WOMAN GOES OUT FOR TRICK OR TREATMENT

“Who watches the watchmen?” Not sure that one’s ever been answered. Who judges the judges? Check the byline.

Deborah Domaine, A.K.A. the super villainess The Cheetah, was serving a sentence in Iron Heights Prison. In Sensation Comics Featuring Wonder Woman #15, a federal court was holding a hearing on Debbi’s motion to be transferred to the Ohlendorff Metahuman Psychiatric Hospital, because Iron Heights wasn’t equipped to treat her “severe dissociative identity disorder.”

Sensation Comics Featuring Wonder Woman #41 (2015) - Page 12

The prosecution called Wonder Woman as a court-appointed expert witness on prison security. During Wonder Woman’s testimony, we got all the background exposition they don’t put into captions anymore. Last year, Debbi escaped from the psychiatric facility of Concord Federal Prison and attacked Wonder Woman in the National Air and Space Museum. During the ensuing fight – what’s a comic book story without an ensuing fight? – one hundred thirty-eight innocent bystanders were injured. Collateral damage. Wow, that fight had more collateral than ten bank loans. Anyway, Debbi was recaptured and transferred from Concord to the more-secure Iron Heights.

According to Debbi’s lawyer, Iron Heights’s medical staff adjusted Debbi’s medication and Debbi’s behavior had stabilized. So Debbi filed a motion to be transferred to Ohlendorff where she could receive the treatment necessary to cure her of her mental illness. Wonder Woman opposed the transfer and testified Ohlendorff’s security protocols were too lax to insure that Debbi would remain incarcerated there.

Why was Wonder Woman called as a court-appointed expert on prison security? I guess because her foes escape incarceration every alternate Tuesday that gave her expertise on which DCU prisons are secure. Personally, I’d question Wonder Woman’s expert status unless she said none of them are. DCU prisons have the biggest Open Door Policy since John Hay.

Unfortunately for Wonder Woman but not for the story – this was only page 4, something had to fill out the remaining pages – Judge Holzman transferred Debbi Ohlendorff. Then, short story shorter; Debbi escaped, Wonder Woman captured her, and Debbi went back to Iron Heights.

You might be wondering how Ohlendorff, a psychiatric hospital dedicated to treating metahumans with mental illness problems, could lack sufficient security to make sure its extremely dangerous patients all stayed on the grounds. I know I did. Seems a bit counterproductive. But, then, so does making a hotdog that’s bigger than the bun and it’s not like that never happens.

I wondered even more about defense counsel’s argument that neither Iron Heights nor any other metahuman prison was equipped to treat Debbi’s mental condition. The Eighth Amendment’s cruel and unusual punishment clause requires prisons to supply inmates with adequate medical care. The US Supreme Court said so in Estelle v. Gamble. Federal courts have applied Estelle’s rule both to physical health and to mental health care. When prisons show an intentional indifference to the mental health issues of its inmates, they violate the Eighth Amendment. Among the ways prisons can show indifference are a failure to have an adequate, qualified mental health staff on-site and the failure of large prisons to have a licenced psychiatrist on staff.

We know Iron Heights, like other DCU prisons, locks its cell doors on the honor system, so it might also consider viol-Eight-ing the Amendment to be as a badge of honor. Maybe it didn’t have on-site psychiatric staff, either. In that case…

Wait. No. No. Defense counsel said that Debbi received medications in Iron Heights, that Debbi’s medication had been adjusted by Iron Heights, and that the medication had stabilized Debbi’s behavior. Someone on Iron Heights’s staff was administering those meds. More important, someone on staff was competent enough to evaluate Debbi’s medications and adjust them by prescribing a proper dosage which had stabilized Debbi. That someone had to be a doctor. Debbi was receiving some treatment in Iron Heights, treatment that seemed to be working. How was Iron Heights not equipped to handle her mental disorder?

But for the sake of argument, let’s assume Debbi’s argument was valid. There is a case which held the failure to transfer an inmate from a prison to a hospital when the prison could not adequately treat the inmate was deliberate indifference; lending support to Judge Holzman’s ruling. But transferring Debbi to a hospital the judge knew couldn’t keep her locked up, that’s a different matter.

Mentally-ill inmates may have the right to be transferred to a hospital, but they don’t have the right to choose which hospital. Courts have ruled prisons must give inmates medical treatment, but they don’t have to give the exact treatment the inmate requests if other treatments are adequate. In addition, the government’s responsibility to protect its citizens means mentally-ill inmates should be hospitalized in an environment that is consistent both with their treatment and with public safety. If the defendants demonstrate a threat to public safety – by, say, escaping every alternate Tuesday and injuring one hundred thirty-eight innocent bystanders – courts are justified in having them hospitalized in a more restrictive hospital than the one the defendant might choose.

Judge Holzman might have granted Debbi’s motion to be transferred to a hospital. But in light of her past record, I find it doubtful that Judge Holzman would have transferred her to a hospital that a court-appointed expert on security testified wouldn’t be able to hold her. Hell, Judge Holzman didn’t even let Debbi into his courtroom; Debbi attend the motion hearing via closed-circuit television. If Holzman thought Debbi was so dangerous that he didn’t want her in his courtroom; he would not have sent her to an insecure mental health facility. He would have sent her to a hospital but one that was more secure. Like Concord or Arkham Asylum. Then Debbi could receive the treatment she required and the public would be safer, because Debbi was in a more-secure facility.

One where she might only be able to escape every third Tuesday.

Ed Catto: Censorship and the Ties That Bind

WWE1v1_CASE_LARGEA reviewer for GoodReads offered up her thoughts in a December review of the upcoming Wonder Woman: Earth One graphic novel by Grant Morrison and Yanick Paquette. A negative review took the creators and the publisher to task for what she perceived to be deviant fantasies. Several geek-centric sites, including Bleeding Cool, noted how this sparked conversations and negative comments from fans, both for the anticipated book and the reviewer’s ethics.  The review has since been taken down.

These discussions erupted just as I had finished reading The Language Police: How Pressure Groups Restrict What Students Learn by Diane Ravitch. My Aunt Carolyn lent it to me, and I procrastinated in reading it. In the end, I was so glad I read it. It tells the disturbing tale about how interest groups, from both the left and the right, have influenced the content of accepted textbooks in American schools. But this censorship is ultimately ineffective in serving their own agenda. What usually happens, as you all know, is that kids proclaim school books (especially in History and English) to be boring and turn to all the other media that’s at their fingertips.

Language Police Diane RavitchBut the efforts and impact of these special interests groups is all very Orwellian.

The censorship cited in The Language Police is astonishingly deplorable. I can understand the conflicts of teaching Mark Twain’s The Adventures of Huckleberry Finn when the n-word is so prominently featured. That’s an understandably tough issue to wrestle with. But the censorship goes so far beyond that. There are early examples of the publisher changing the Ray Bradbury novels to accommodate outspoken crusaders’ issues that include a lack of a racially diverse cast and the use of religious concepts. It doesn’t stop there, and continues today. When Ravich talks about poems being changed with gender neutral language, it becomes pathetic and bizarre.

Women's Movement WWThere’s a story about my Aunt Carolyn to share at one point or another. Back when she was an English teacher at the local school, she purchased several issues of Classics Illustrated, with her own money, and passed them along to her students. Her principal was furious, collected those comics and destroyed them.  Was this because my hometown, Auburn NY, participated in those Wertham-inspired book burnings in the fifties? Hard to say, but I hope to get to the bottom of it one day.

Back to the matter at hand. These DC “Earth One” series retell the early days of established characters with a modern slant. And the pages revealed of Wonder Woman: Earth One do show a lot of chains and bondage. But in many ways, that hearkens back to the origins of the character. On one hand, Wonder Woman fans realize that many of those early stories showing women in chains was a metaphor for the issues with which women were dealing. The inevitable bursting of the chains foretold the eventual triumphs of the women’s movement.

WW historical SketchOn the other hand, Wonder Woman’s creator, William Moulton Marston was complicated individual, and lived much of his life with a level of duplicity that is astounding to modern audiences. Today, he would be regarded by many as a phony and a blowhard. Personally, his living arrangement, with essentially two wives and four children, was kept secret from the world and seemingly contradicts the pursuit of truth that was at the core of this “invention” of the lie detector and his creation of Wonder Woman and her magic lasso.

In The Secret History of Wonder Woman, Jill Lepore provides a fascinating and well-researched look behind the curtain at Wonder Woman, her creators and the women upon who the heroine and her supporting cast were based.

Secret History of Wonder Woman Jill LeporeMy concern comes not from what Marston believed or preached, not from the interpretation of those beliefs by Morrison and Paquette, but the rush to judgment of this graphic novel before it’s even published. There’s enough censorship going on right now and we certainly don’t need more.

The other big part of this concerns the idea of when the fans “ownership” of a character transcends that of the creator or the creator’s original vision. Recently, we’ve seen this topic revisited with Star Wars. Many fans revere the original trilogy, but take creator George Lucas to task for getting it wrong with the three prequel movies. In another Orwellian twist, it’s easy for indignant fans to condemn him for his lack of understanding of the mythology he created.

Likewise, fans of Wonder Woman may be upset to fully understand what her creator meant for her to represent. To them, Wonder Woman, as a character and a mythology, has grown and matured far past anything the original creator envisioned. And they take great umbrage at interpretations that differ from their own.

CWjRuJwU4AA_rF4Who’s to say what’s right? It seems to me that Geek Culture is made up passionate fans and there’s room for many fan interpretations. Some may be more valid than others depending on one’s vantage point, but all demand a level of respect.

This past Christmas, we sent two young nieces a Wonder Woman gift pack that included including ComicMix’s own Robert Greenberger’s excellent book Wonder Woman: Amazon, Hero Icon, DVDs from the Wonder Woman 70s TV show, apparel, comics and the DC animated movie). But if it were available, this new Wonder Woman: Earth One book would probably not have been appropriate for them.

But that doesn’t mean it’s not appropriate for other people and that certainly doesn’t mean it should be censored. I hope Wonder Woman continues to break chains, freeing not only women, but all of us, with love and wisdom. And I hope she can continue to challenge us along the way too.

cbldf* * *

Now’s probably the time to nod to the hard working folks at Comic Book Legal Defense Fund. If you aren’t familiar with the work they undertake, or need a refresher course, swing by their site: CBLDF.org

Joe Corallo: Moving… Pictures

Suicide Squad movie

First column of the new year. We’re already over 1% through the year. How’s it treating you so far?

Switching gears from last week where I was reflecting on 2015, I’ve been thinking about what we have in store for us in the year to come. Upon pondering what’s awaiting us over the course of the next twelve months, I realized that we may not be moving forward as fast as I was hoping. Particularly when it comes to the movies.

I’m starting with Star Wars: The Force Awakens, as it’s still making money and hasn’t even opened in China yet. This may be considered a minor spoiler, so if you haven’t seen the movie yet and any plot detail revealed may cause you to succumb to an unimaginable rage, then I suggest you skip to the next paragraph. Anyway, the opening scroll of the movie reveals that the major plot point is that our heroes need to find a straight cis white guy, Luke Skywalker, to save them all. Sound familiar? And while the new main characters are a more diverse crew, they’re still not only serving to find previously stated straight cis white guy, but the movie gets hijacked by another straight cis white guy, Han Solo, the moment he comes on screen. Not quite the kind of progress you’d hope to see in a movie that was billed as being diverse.

How about the superhero/geeky movies coming up? Batman V Superman: Dawn Of Justice is about a couple of straight cis white guys who are up against a straight cis white genius with a straight cis white woman tacked on as an afterthought. That’s not to say it won’t be a good movie or we shouldn’t give it a chance, but that doesn’t change those facts.

DC may be offering us more diversity with Suicide Squad. Will Smith as Deadshot, Adewale Akinnuoye-Agbaje as Killer Croc, and Viola Davis as Amanda Waller do give me hope that we will be seeing a more diverse cast in a superhero movie, possibly the most diverse yet in the Marvel and DC universes big budget films. However, this could just as easily end up being primarily about The Joker and Harley Quinn. Will Smith did indicate that Deadshot and Joker would both be pursuing Harley Quinn, so Deadshot may have a significant role in the film. However, this may also indicate that we’ll have a straight Harley Quinn as opposed to her bi comic counterpart. Not to mention the heteronormative nature of a love triangle involving two men going after one woman who is only allowed to enjoy one of them intimately.

As for Marvel’s offerings, we’re looking at Captain America: Civil War and Doctor Strange from Disney and Deadpool and X-Men: Apocalypse from Fox. Starting with Captain America, we do have the introduction of Black Panther into the Marvel Cinematic Universe. Falcon and War Machine will also have roles in the film, in addition to Black Widow and Scarlet Witch. That being said, the movie is being carried by Captain America, a straight cis white guy, protecting his friend Bucky, a straight cis white guy, primarily from Iron Man, a straight cis white guy. Noticing a pattern?

The Doctor Strange movie, from what we know of the casting and plot synopsis so far, is that it will be about a magical straight cis white guy that needs to stop another magical straight cis white guy.

Deadpool is about a cis white guy, but this one is supposedly pansexual. We’ll see what this ends up meaning. It could be an actual representation of a pansexual character. It could also easily be used to have Deadpool jokingly hit on guys while only having a more realistic interest in women. I’m hopeful, but I’ll believe he’s pansexual in the film when I see it.

X-Men: Apocalypse, while having some diversity in its cast, doesn’t mean it’ll be about diversity. These movies tend to revolve around Xavier and Magneto, two straight cis white guys. Cyclops and Jean have been recast and brought back into the fold of the X-Men movie franchise. A straight cis white heteronormative relationship is just what the X-Men franchise needs! It’s not like Storm could have ever had an interesting relationship in the comics that could translate to film. To be clear, she has, and I was being sarcastic. Also, casting Oscar Isaac, a Hispanic actor, to play the Egyptian villain Apocalypse is a bit troubling too.

As I was saying earlier, none of this means that these movies will be bad. This may very well be the best slew of superhero movies yet. However, they are lacking quite a bit in the diversity department. Having slightly more diversity in the cast of a movie while still having straight cis white guys moving the plot forward and taking up the majority of the screen time is really missing the point.

The point being that we need to be exposing ourselves to people of different backgrounds, points of views, and people who have had radically different life experiences than we commonly see depicted in media. We don’t get that by having them walk on screen or onto the pages of a comic. We get that by having them be an integral part of the plot, or better yet, the focus of the plot. A radical concept, I know.

The comics and the TV series are doing a bit of a better job this year. Shows like Supergirl and Agents of S.H.I.E.L.D., comics like Midnighter, the new Black Panther series written by Ta-Nehisi Coates starting this year, Moon Girl and Devil Dinosaur, and many other examples exist that show that we’re continuing to make some progress in both of those mediums. That said, out of the 11 oversized 50th issues DC has coming out in a couple of months, eight of them star straight cis white guys, two of them star straight cis white women, and one stars a bisexual white woman.

The movies really do need to step up their game in the diversity department. It may be too late for 2016 already. We do at least have the Wonder Woman movie coming out next year. Let’s hope for better luck in 2017.

Ed Catto: Murphy Anderson – The Non-Traditional Man of Tradition

PS Magazine Murphy Anderson

Last month we said goodbye to the great comics artist, Murphy Anderson. He had such a body of work, and given his impressive talents, it’s not surprising that he was working as a professional comics artist over six decades.

My gorgeous wife, Kathe, had come to love Murphy too. She was so impressed with the man, his lovely wife Helen and his son, Murphy Anderson III. (This is one case where you can’t parrot that old saw, “There will never be another Murphy Anderson” – because there is!) She and I were talking to some friends about Murphy’s passing and we were trying to put it into perspective for these folks who weren’t comic fans. I stumbled into the analogy that Murphy was the “Tony Bennett of comics.” Upon further reflection, I think that’s pretty fitting. He was the consummate professional, always delivering high quality work and was always consistent. He never changed his thinking to bend the times – neither in his art style nor his thoughts on how a professional presents himself. And like Tony Bennett, Murphy was humble, warm and charming.

But even though he never changed what he did or how he did it, Murphy leaves us with a rich scope of non-traditional work.  Oh, sure, if you’re feeling nostalgic for the great man you can pull out some old Hawkman stories or Buck Rogers strips. But this week we’re going to celebrate some of Murphy’s non-traditional work!

MS Magazine

You probably know that MS Magazine proudly debuted with a Murphy Anderson cover featuring Wonder Woman. I wouldn’t have been in their target demographic, but I know I would’ve bought this issue!

PS Magazine

Valiant AndersonIt’s hard to believe, but in the days before Instagram and cellphones, folks used to read print material when they were just hanging around. The Army knew this and created PS Magazine, a hybrid of information for the serviceman told in a light, engaging comics style. You probably know that Will Eisner worked on this, but did you know that Murphy Anderson managed the contract for years afterwards?

Prince Valiant

Pioneer’s Prince Valiant reprint series invited some of the industry’s best artists to contribute covers to the series. Murphy’s Prince Valiant was a winner:

Aurora Ads

Sometimes an advertised product looks nothing like the real thing. Safe to say that no kid’s finished model kits looked as good as they did in the ads in which that Murphy Anderson provided the art.

black-cat-ma-290x450-1473904Black Cat

In the 90s, Alfred Harvey rebooted a family property: the original Black Cat. Mark Evanier was the scripter and Murphy Anderson was the interior artist. Although not known for rendering vivacious women, Murphy could rev it up when needed (see my previous column on his stunning depiction of the lovely Dejah Thoris) and he sure did here. Keep an eye out for this gem (Alfred Harvey’s Black Cat: The Origins) when you’re diving into the back issue bins.

Super Queens

You might have known that Murphy provided the packaging artwork for Captain Action, but did you know he also provided stellar artwork for the companion Super Queen’s line? It included lovely images for Supergirl, Mera, Batgirl and Wonder Woman.

Record Albums

Ok, we’ll admit it – these weren’t quite Sgt. Pepper level, but Murphy created several record album covers for Batman, Robin and more!

murphy-anderson-cover-seduction-of-the-innocent-300x426-9511981Seduction of the Innocent

Do you love Craig Yoe’s IDW reprints (Haunted Horror and Weird Love) as much as I do? Back in 1985, Eclipse did a similar thing with their Seduction of the Innocent comics. Issue #2’s cover features the lovely Gloria Wheeler, Interplanetary Girl Reporter using elements from the 1950s story called “The Space Treasure.” The whole story, with robust Murphy Anderson pencils and inks, was originally printed in Standard series called Fantastic Worlds.

Now, before I wind it up, I might need to remind you that Murphy, the quintessential gentleman, was a Tarheel… and the University of North Carolina’s team color is baby blue. There’s an old saying in the south, “God so loved Carolina, that he made the sky Carolina Blue. There’s should be a corollary to that, something along the lines of: “God so loved the comics industry that he gave us Murphy Anderson.”

Marc Alan Fishman: Missed Opportunities

Final CrisisBarely a week ago, WWE World Champion Seth Rollins turned his knee into goo after botching a routine move. The Internet Wrestling Community was set on fire with speculation to the immediate future of the flagship of professional wrestling. And a few days later, the fire was doused with the reality of predictable corporate future endeavors. A tournament to crown the new king of the ring was announced (no, not the King of the Ring™… I’m being poetic, damnit), and the brackets were filled to the brim with rehashed match-ups.

To any savvy fan, the winner is already clear-cut. Worse than that, the obvious feuds they were building to were pre-populated into the tourney. It was the worst possible outcome following the worst possible injury to happen to the roster at the worst time.

What sucks the most though is what brings me here to my personal rant this week: the missed opportunities.

Too often, we fans of Geek Culture can’t see the forest for the trees. It’s inherent in our very nature to forget to enjoy the journey, not simply skip to – and then quickly judge – the outcome. Typically, I would have reached that catharsis after lambasting you, my cherished fans, with several iterations on that theme. Like This American Life, but less maudlin. To take a bit of my own medicine though, I’m going to play devil’s advocate; I’ll argue in favor of screwing the well-worn journey in lieu of an unguessable ending. Someone cue some lighting or something.

I listened to Marc Maron’s WTF Podcast this week, wherein he was able to confront Lorne Michaels as to why he didn’t get hired on at SNL back in 1996. Rather than dance around the subject for an hour or so and reach the eventual bittersweet climax as I’d anticipated, Maron flipped his own typical script to change the predictable outcome. Within seconds Maron let slip his big finale, and covered his missed opportunity so many years ago. The answer, predictable perhaps more to his audience to then himself, was a complicated mélange of half-explanations. Somewhere between network notes, the right stuff, or the right timing, Maron simply wasn’t the proper fit. Michaels danced around it a few times more throughout their nearly two-hour talk, but the larger arc to their conversation held true. With the predictable ending out of the way, the two men connected on a much deeper level. As a listener, I wasn’t on the edge of my seat awaiting the answer. Instead, I was relaxed as they were, and I thoroughly enjoyed their banter in the moment. For the first time in listening to his podcast (which I’ve been a fan of for about four years now), I truly felt the connection brewing between Maron and his guest. It was riveting.

So it was disappointing to come home to Vince McMahon’s machine, chugging to the same destination it was headed in, when the universe handed him the ability to remove the predictability his product has been plagued with for the last five years – save only for the time when Seth Rollins himself turned heel. Missing the opportunity to even fill a tournament bracket with a few honest-to-Rao underdogs could have been the shot to the arm the wrestling community has sought after since the conception of Stone Cold Steve Austin. It’s been over nearly two decades since we’ve heard “Austin 3:16 just whipped your ass!” and we’ve not seen a better moment since.

And don’t think I’ve forgotten our dearly beloved comic books, my friends. You see, part of my longstanding feud with purchasing weekly books has been inherently tied to the continual delivery of the same beats over and over. The missed opportunities for originality. When Swamp Thing crossed over with its sister title Animal Man, we got yet-another-epic where nothing-would-be-the-same-again, when in fact it’d been beat-for-beat the same crap I’d read in a million other books.

To make it worse, it forced extra issues into my subscription box, under the auspices of being a completest. Call me – like so many others in our brood – a completest. Fearing forever that the one issue we’ll miss will end up being Wonder Woman #219. Don’t get the reference? Google it.

Suffice to say that in the information age it’s hard to put one over on an audience. When BitTorrents, Wikipedia, and a DVR exist, fast-forwarding to the end is easier than ever. The only way to fight it then, is to stop taking us from point A to B. Start instead at C, backtrack to A, and end somewhere on Q. So long as it makes sense for the characters to have ended up where they needed to be in a believable way – under whatever accepted rules exist in their respective universe – then everyone wins in the end. If not? Well, you’ll end up like so many Matrix sequels, and back issues of Countdown to Final Crisis.

At the bottom of the discount bin, along side an unending ocean of missed opportunity.

Mike Gold: My Short Attention Spam

anderson_buckrogers

I hate being bored, so over the years I’ve managed to shorten my attention span to the point when the good stuff runs out, so do I. Therefore, from time to time I have a little to say about a lot of things. For example:

Bill Finger CreditDC / Warner Bros finally gave credit where credit has long been due: appending Bill Finger’s name to Bob Kane’s as the men who made Batman a Day-One success. It is marvelously ironic that the first time I’d seen the “Created by Bob Kane with Bill Finger” line was on Cartoon Network’s Robot Chicken DC Comics Special 3: Magical Friendship, which, for the record, I enjoyed – certainly a lot more than the second one. Hawkman vs Robot Chicken? Priceless. Anyway, Bill’s name is supposed to be deployed in similar fashion on all future Batman stuff, including their electronic comics (left). It’s about time. And lawyers. And egos.

Red_Wolf_1_Young_VariantI’m looking forward to Marvel’s upcoming Red Wolf series, even though it clearly indulges in usually needless future-continuity winks such as Sheriff Steve Rogers and Mayor Wilson Fisk. Nonetheless, I’ve always been amused to see the standard Marvel heroic fantasy from the standpoint of earlier times – 1872, in this case, or World War I or whathaveyou. Our ComicMix pal John Ostrander has written more than a few of these for Marvel and they always conveyed a sense of fun. Same thing with Howard Chaykin. Red Wolf might be a little-remembered Marvel character – as was the Phantom Eagle – and I have no doubt there likely will be some sort of SHIELD reference. OK, that’s part of the fabric of the Marvel Comics Universe and sometimes it’s difficult to by-pass the opportunity to get cute. If this new series is half as much fun as Skottie Young’s variant cover (right), it’ll be completely worthwhile.

Hey, Supergirl teevee producers! If you actually say the word “Superman” on your television show, just who is going to sue you? Warner Bros? Well, actually, I know one producer who wound up being sued by his own company, so I shouldn’t be quite so sarcastic. But, hell, I am who I am. After a while going so far out of your way to not say “Superman” takes the viewer out the story. If you don’t want to say Superman, you shouldn’t be allowed to use the Big Red S. It was very conspicuous by its absence. And annoying.

WonderWomanCoversOn the other hand, I’m surprised I’m enjoying Gotham so much this season. I was ambivalent about it after the end of the first season, but two weeks into this season ComicMix columnist Marc Alan Fishman said I should check it out. He was right: the show improved significantly, particularly with respect to Bruce Wayne and Jim Gordon. Of course, the addition of Michael Chiklis to the cast as Gordon’s boss also added to the fun. The story itself ebbs and flows and is too often carried by bravura performances by Chiklis, Sean Pertwee and Robin Lord Taylor – not to mention Carol Kane, who is a national treasure. But it’s fun.

Ed Catto did a wonderful tribute to Murphy Anderson in this space a few days ago, and I second each of his statements. I’d like to bring to your attention his work on a different piece of our modern history. The very first issue of Ms. Magazine featured a story abut Wonder Woman, a worthy idea for the start of America’s first mass-market feminist magazine. The cover featured one of the best Wonder Woman pieces I’ve seen. This cover (left) was penciled and inked by my old friend, Murphy Anderson. Of course we will miss him, and of course he left us with a lifetime of wonderful artwork. A true master of our medium.