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Mike Gold: How To Celebrate National Hot Dog Day

I have a leg in each of two worlds, having spent half of my life living in the Chicagoland area and the other half living in the New York metropolitan area, a.k.a. “The Big Apple” so don’t give me any shit about the word “Chicagoland.” New Yorkers have a problem when it comes to comparisons with other cities, particularly the so-called Windy one, named by a New York newspaper editor who previously held the same position in Chicago. And he wasn’t referring to the weather, but to the native approach to political negotiation.

The fastest way for a New Yorker and a Chicagoan to get into an argument is to say the word “pizza.” Second to that: “hot dogs.” But as they say, the proof is in the pudding. Whereas it is well-known that I loathe airlines and airports, the real reason I drive between the Atlantic Northeast and the Inter-Ocean so frequently is that I am compelled to bring back six to twelve pounds of Vienna hot dogs, also known as the Chicago dog, back to over a half-dozen jonesing New Yorkers.

One of the best-known elements of the Chicago hot dog experience is that it is never served – to adults – with ketchup. There have been several books written about this. My landsmen will tell you it’s disgusting and it hides the taste of the sausage.

Of course, that’s bullshit. The traditional Chicago dog is served with mustard, onions (raw or grilled), tomato, relish, a pickle spear, peppers and the most important ingredient: a dash of celery salt. Really, put ketchup on that and nobody will notice – other than Chicagoans. When the famed Nathan’s opened a store in Chicago, they told CBS that their hot dogs do not need all that crap. The reporter, who was not from the Midwest, responded: “but isn’t the traditional Nathan’s hot dog served with sauerkraut?” Nathan’s Chicago store closed down in short order.

But this week the Heinz ketchup company decided enough is enough. There’s money they’re not making in the Windy City, and they need to raise consciousness. They’ve started marketing a concoction called “Chicago Dog Sauce” and, today – National Hot Dog Day – Heinz is giving away an abattoir full of Chicago dogs with the stuff. They even made a cute little video about it.

It’s a very clever gag and a brilliant promotion campaign. If they’re thinking it will cause a major shift in local taste… well, I’m sure they do not. Not even Donald Trump is that stupid. Oh, screw that: Trump eats New York thin crust pizza with a knife and fork, even while in New York City!

It has widely reported that the phrase “hot dog” was the creation of turn-of-the-last-century cartoonist T.A.D. Dorgan. This may be apocryphal – and that Windy City origin might be as well. The National Hot Dog and Sausage Council reports “Some say the word was coined in 1901 at the New York Polo Grounds on a cold April day. Vendors were hawking hot dogs from portable hot water tanks shouting “They’re red hot! Get your dachshund sausages while they’re red hot!” A New York Journal sports cartoonist, Tad (sic) Dorgan, observed the scene and hastily drew a cartoon of barking dachshund sausages nestled warmly in rolls. Not sure how to spell ‘dachshund’ he simply wrote ‘hot dog!’ The cartoon is said to have been a sensation, thus coining the term “hot dog.”

The sausage itself was invented in Vienna Austria in 1487, it gathered national attention in America at the Columbian Exposition in Chicago in 1893, and the hot dog bun was invented at the St. Louis World’s Fair of 1904. Doubtlessly, German and Austrian immigrants were selling these puppies throughout North America during their great immigration throughout the latter half of the 19th Century, suggesting the hot dog was popularized by anarchists.

I realize the Heinz stunt is simply that: a clever promotion and nothing more. I’d be mildly surprised to see their Chicago Dog Sauce on the shelves of the local Jewel Foods chain when I’m next out there buying hot dogs for New Yorkers, but I would not be surprised in the least if it were to be available as a condiment option at the Vienna Sausage company store.

O.K. You can tell the vegans they can come back now.

UCP Expanding Development Slate w/ Dan Harmon, The Raven Cycle & more

UNIVERSAL CABLE PRODUCTIONS ANNOUNCES KEY PROJECTS EXPANDING AWARD-WINNING STUDIO’S DISTINGUISHED GENRE DEVELOPMENT SLATE

 

Notable Projects Include:

Maggie Stiefvater’s New York Times Bestselling Series “The Raven Cycle” With Andrew Miller (“The Secret Circle”), Catherine Hardwicke (“Twilight”) And Michael London of Groundswell Productions (“The Magicians”)

Hugh Howey’s Renowned Post-Apocalyptic Series “Sand” With Gary Whitta (“Rogue One: A Star Wars Story”), Marc Forster (“World War Z”) And Imperative Entertainment

“Sirens of Titan” With Dan Harmon (“Rick & Morty”) and Evan Katz (“Small Crimes”)

 

Announces Evan Spiliotopoulos (“Beauty and the Beast”)

To Write Highly Anticipated “Welcome to Hitchcock” Series


Options Iconic Hugo Award-Winning Science Fantasy Novel “Lord of Light”

 

UNIVERSAL CITY, CA- July 18, 2017– As the annual gathering of TV and comic’s most loyal fans at San Diego’s Comic-Con International 2017 kicks offtomorrow, Universal Cable Productions (UCP) unveiled today its annual genre development slate of notable projects for TV. The studio will also showcase talent and shows with fan-focused events, panels and screenings in conjunction with network partners at the celebrated convention. UCP series with a Comic-Con presence include: “12 Monkeys,” “Blood Drive,” “Channel Zero,” “Colony,” “Happy!,” “The Magicians,” “Mr. Robot” and “Psych: The Movie.”

 

“We’re passionate about genre at UCP and as our latest development slate shows, we continue to work with some of the industry’s most vibrant and imaginative talent to bring fans genre fare they can get behind,” said Jeff Wachtel, Chief Content Officer, NBCUniversal Cable Entertainment and President, Universal Cable Productions. “What began with Battlestar Galactica has grown into a mainstay for UCP as the genre itself has exploded into the mainstream.”

 

UCP today announced it is developing Maggie Stiefvater’s New York Times bestselling book series “The Raven Cycle” and Hugh Howey’s iconic post-apocalyptic novel series “Sand” for SYFY.

 

Based on Stiefvater’s four urban fantasy novels, “The Raven Cycle” tells the story of seventeen year old Blue Sargent who becomes involved with a group of four privileged private school boys on a quest to find a source of mythical and mysterious power hidden deep in rural Virginia. The closer they get to taking control of their destiny, the more threatening their journey becomes – both physically and emotionally, as Blue discovers she’s fated to kill one of the boys. Michael London (“The Magicians”) of Groundswell Productions will executive produce alongside showrunner/writer Andrew Miller (“The Secret Circle”) and Catherine Hardwicke (“Twilight”). Stiefvater will serve as co-EP. Hardwicke is also attached to direct the pilot.

 

“Sand,” a co-production with Imperative Entertainment, is an action drama set in a world ravaged by ecological devastation, savage winds, and shifting dunes. At its center is a family who makes their way in this world as sand divers: the elite few who can travel deep beneath the desert floor to retrieve mysterious and valuable relics lost to the dust. Adrift in the wake of their father’s disappearance years ago, they rely on skill and each other to endure this ruthless environment where otherwise good people lie, sabotage, and kill in order to survive. The series has an impressively large canvas of works, while telling a compelling and intimate story based on the best-selling dystopian novels by New York Times bestselling author Hugh Howey, who is also set to executive produce. The novels will be adapted for television by Executive Producer Gary Whitta (“Rogue One: A Star Wars Story”). The pilot will be directed by Marc Forster (“World War Z”) who will also executive produce along with his partner Renee Wolf (“All I See Is You”); Imperative Entertainment’s Dan Friedkin (“All The Money in the World”), Tim Kring (“Heroes”) and Justin Levy (“Teen Wolf”) will also serve as executive producers.

 

Following up to last year’s development announcement of “Welcome to Hitchcock,” UCP announced today that Evan Spiliotopoulos (“Beauty and The Beast”) is attached to write the series, which is inspired by the work of Hollywood’s master of suspense and brings a modern day take on the very best of Alfred Hitchcock with contemporary retellings of his classic tales from innovative filmmakers and high-profile actors. UCP will collaborate on the project with Vermilion Entertainment, the newly formed television production company by the founders of Cross Creek Pictures, as well as Academy Award®-nominated producer Chris Columbus’ 1492 Pictures/Ocean Blue Entertainment. Columbus, Academy Award®-nominated producer Michael Barnathan, Timmy Thompson and Todd Thompson will serve as executive producers along with the Hitchcock Trust, as part of its development deal with UCP.

 

UCP is also working on “Sirens of Titan,” with Dan Harmon (“Rick & Morty”) and Evan Katz (“Small Crimes”). The story follows Malachi Constant, the richest man in 22nd-century America. He possesses extraordinary luck which he attributes to divine favor and has used to build upon his father’s fortune. He becomes the center point of a journey that takes him from Earth to Mars in preparation for an interplanetary war, to Mercury with another Martian survivor of that war, back to Earth to be pilloried as a sign of Man’s displeasure with his arrogance, and finally to Titan where he again meets the man ostensibly responsible for the turn of events that have befallen him.

 

The studio also announced it has optioned “Lord of Light,” based on the Hugo award-winning science fantasy novel by Roger Zelazny. After humans have moved to a new planet, technological disparities allow a privileged few to assume the names and likenesses of deities, and rule over the common people. Tired of the system, a former “god” wages war against the unjust regime. Set to produce are Gale Anne Hurd (the “Terminator” trilogy) and Valhalla Entertainment; Barry Ira Gellar, Rich Angell and Mark B. Newbauer of Mike and Pike Productions.  Ashley Miller (“X-Men”) will executive produce and is also set to write the adaptation.

“The Raven Cycle,” “Sand,” “Sirens of Titan,” and “Lord of Light” are the latest addition to UCP’s impressive genre development slate, including two projects from its recently announced overall deal with legendary horror master John Carpenter: “Tales for a Halloween Night” for SYFY and “Nightside.”On the heels of their “Umbrella Academy” Netflix series pick-up, UCP also announced yesterday a renewed first look deal with Dark Horse Entertainment to develop comic book IP and hit podcasts for TV. Currently, UCP is in various stages of production and script development on a range of series including: Season 3 of the award-winning “Mr. Robot,” “The Sinner,” “Damnation,” and“Unsolved: The Murders of Tupac and The Notorious B.I.G” for USA Network; “Happy!” for SYFY; “The Purge” for USA Network and SYFY; “All That Glitters” for Bravo; and “Impulse” for YouTube Red.

 

UCP SERIES AND STUDIO PRESENCE AT SAN DIEGO COMIC-CON 2017:

USA NETWORK’S ‘MR. ROBOT’ EXPERIENCE

From Universal Cable Productions, USA’s critically acclaimed series “Mr. Robot” will offer fans a chance to visit the nefarious E Corp’s “Bank of E,” located at 327 4th Avenue, and receive their own E Corp card loaded with E Coin currency. The E Corp card, which can also be opened online at e-coin.com, can be used throughout San Diego’s Gaslamp Quarter for food, drinks and other surprises at participating retailers (to be announced). ‘Con goers can also visit the show’s infamous Red Wheelbarrow BBQ, located next door to the Bank of E, and present their E Corp card for a BBQ meal. Superfans looking for a deeper “Mr. Robot” experience will have the chance to uncover clues, hints and surprises throughout Red Wheelbarrow and the Gaslamp, leading further into Elliot’s world. The Bank of E will be open for businessThursday, July 20 through Saturday, July 22 from 11am – 7pm and Sunday, July 23 from 11am – 4pm.

 

PANELS, SCREENINGS & EVENTS
Thursday, July 20th

Colony (USA Network): Cast and Creators Season 3 Panel Discussion

2:00pm – 2:45pm – Indigo Ballroom, Hilton San Diego Bayfront Hotel

Battlestar Galactica (SYFY) Cast and Creator Reunion Panel

2:30pm – 3:30pm – Ballroom 20

12 Monkeys (SYFY): Cast and Creator Panel Discussion

7:15pm – 8:15pm – 6BCF

 

Friday, July 21st

Psych (USA Network):  Cast Reunion and Movie Sneak Peek

10:00am – 11:00am – Ballroom 20

 

 

Saturday, July 22nd

Happy! (SYFY): Premiere Screening and Cast Q&A

2:45pm – 3:45pm – 6BCF

The Magicians (SYFY) Panel Discussion with Cast

4:00pm – 4:50pm – Indigo Ballroom, Hilton San Diego Bayfront Hotel

Channel Zero No End House (SYFY): Consumer Screening

8:00pm – 9:00pm – Horton Grand Theater

Blood Drive (SYFY): Consumer Screening

9:30pm – 10:30p – Horton Grand Theater

 

About Universal Cable Productions

Universal Cable Productions (UCP) creates innovative and critically acclaimed original scripted content for all media platforms. Its robust slate of programming includes:  the Emmy and Golden Globe award-winning drama “Mr. Robot,” “Colony,”  “Damnation”  (2017), “Falling Water,” “Playing House,” “Shooter,” ” The Sinner,” “Suits” and “Unsolved: The Murders of Tupac and The Notorious B.I.G” (2018) for USA Network; “12 Monkeys,” “Blood Drive,” “Channel Zero,” “Happy!” (2018), “Killjoys” and “The Magicians”for SYFY; “The Purge” (2018) for USA and SYFY; “All That Glitters” (2018),“Girlfriends’ Guide To Divorce” and “Imposters” for Bravo; “The Arrangement” and “The Royals” for E!; “The Umbrella Academy” (2018) for Netflix; “Impulse” (2018) for YouTube Red; “Difficult People” for Hulu; and“HarmonQuest” for Seeso. UCP’s content library also features critic and fan favorites such as the Emmy-award winning “Monk” as well as “Battlestar Galactica” and “Psych.” Universal Cable Productions is a part of NBCUniversal Cable Entertainment, a division of NBCUniversal, one of the world’s leading media and entertainment companies. Follow us @UCPisTV.

Watch the Professor Marston and the Wonder Women Full Trailer

Coming October 27, on the heels of the smash worldwide success of Warner Bros’ Wonder Woman, comes the bio pic about her creator, William Moulton Marston. Professor Marston and the Wonder Women explores the unusual relationship between professor Marston, his wife Elizabeth, and his student-turned-secretary Olive Byrne. Previously known to few beyond comic book scholars, the story finally gained mainstream attention in Jill Lepore’s excellent The Secret History of Wonder Woman.

In a superhero origin tale unlike any other, the film is the incredible true story of what inspired Harvard psychologist Dr. William Moulton Marston to create the iconic Wonder Woman character in the 1940’s. While Marston’s feminist superhero was criticized by censors for her ‘sexual perversity’, he was keeping a secret that could have destroyed him. Marston’s muses for the Wonder Woman character were his wife Elizabeth Marston and their lover Olive Byrne, two empowered women who defied convention: working with Marston on human behavior research — while building a hidden life with him that rivaled the greatest of superhero disguises

The film stars Luke Evans as Marston, Rebecca Hall as Elizabeth Holloway Marston, Bella Heathcote as Olive. It also stars Connie Britton with Oliver Platt portraying M.Cm Gaines, the comic book mogul who challenged Marston, a one-time critic of comics, to write one for All-American Comics.

The Lion King gets Signature Collection Treatment in August

BURBANK, Calif. (July 16 2017) — It was announced today at D23 Expo that in August, one of the biggest animated films in history—The Lion King—joins the highly celebrated Walt Disney Signature Collection. The coming-of-age masterpiece, filled with humor and heart, breathtaking animation and soul-stirring Academy Award®–winning music (1994: Best Original Score and Best Original Song, “Can You Feel the Love Tonight”), arrives on Digital on Aug. 15 and on Blu-ray and DVD on Aug. 29.

Audiences will fall in love all over again with the treasured classic, and a new generation of fans will laugh with Timon and Pumbaa, cry with Simba and Mufasa, burst into song, and find their place in the “Circle of Life.” The Walt Disney Signature Collection release includes over three hours of classic bonus material and exclusive,  brand new features inviting viewers to sing along with the film’s award-winning music, observe recording sessions, step inside the story room, witness the evolution of a villain, and join Nathan Lane (voice of Timon) and Matthew Broderick (voice of Adult Simba) for an extended conversation regarding the legacy of The Lion King.

The Lion King follows the adventures of Simba, a feisty lion cub who cannot wait to be king, as he searches for his destiny in the great “Circle of Life.” The film earned a Golden Globe® for Best Motion Picture—Comedy or Musical and inspired a Tony Award®-winning Broadway musical that is currently the third longest-running musical in Broadway history. In 2019, a reimagined live-action film, helmed by Jon Favreau, will delight audiences with the thrilling retelling of the original tale utilizing groundbreaking technological advances—as only Disney can do.

The Lion King is the fifth title to join the Walt Disney Signature Collection, which includes groundbreaking films created or inspired by the imagination and legacy of Walt Disney, featuring timeless stories and characters that have touched generations. It takes its place alongside Snow White and the Seven Dwarfs, Beauty and the Beast, Pinocchio and Bambi.

Bonus Features:

BLU-RAY, DIGITAL*:

  • Brand New Sing-Along Version
  • Audio Commentary – View the film with commentary by producer Don Hahn and co-directors Roger Allers and Rob Minkoff.
  • Visualizing a Villain – Against a backdrop of live dancers and the animated “Be Prepared” sequence, artist David Garibaldi paints a masterpiece of evil.
  • The Recording Sessions – Watch rare footage of the actors recording their roles, matched with the final animation. Intro by Roger Allers and Rob Minkoff.
  • Nathan and Matthew: The Extended Lion King Conversation – Nathan Lane (Timon) and Matthew Broderick (Adult Simba) offer candid and hilarious insights into their Lion King experiences.
  • Inside the Story Room – Co-directors Roger Allers and Rob Minkoff present archival footage of five original story pitches.

o    Circle of Life – See how color creates emotion and meaning in the film’s iconic opening.
o    Simba & Nala – See how elements proposed in story meetings evolve into what appears onscreen.
o    Simba Takes Nala Out to Play – …And, sometimes what seems funny in story meetings never makes it into the film!
o    Hakuna Matata – Co-directors Roger Allers and Rob Minkoff sing, act and dance their hearts out as they pitch the “Hakuna Matata” sequence.
o    Rafiki and Reflecting Pool – Co-directors Roger Allers & Rob Minkoff pitch a sequence that became the emotional heart of The Lion King to Producer Don Hahn.

  • Music & More – Sing along to your favorite songs from the movie!

o   “Circle of Life”
o   “I Just Can’t Wait to Be King”
o   “Be Prepared”
o   “Hakuna Matata”
o   “Can You Feel the Love Tonight”

  • Galleries

o   Visual Development – Explore a gallery of striking artwork that inspired the movie’s look and feel.
o   Character Design – Trace the development of the film’s unforgettable characters through early concept art drawings.
o   Storyboards – Examine storyboards created in the development of The Lion King.
o   Layouts – Feast your eyes on layouts created in the development of The Lion King.
o   Backgrounds & Layouts – Journey through a gallery of landscape paintings that shaped the world of The Lion King.

  • Classic Bonus Features (Digital Only) – These offerings from prior home entertainment releases include hours of bonus material, such as bloopers, audio commentary, deleted and alternate scenes, and in-depth journeys into the music, film, story, animals and stage show.

*Bonus features may vary by retailer

DISC SPECIFICATIONS:

Product SKUs: Blu-ray Combo Pack (Blu-ray, DVD, Digital Copy), Digital HD/SD, DVD
Feature Run Time: Approximately 89 minutes
Rating: G in U.S. and Canada
Aspect Ratio: Blu-ray Feature Film = 1080p High Definition / 1.78:1, DVD Feature Film = 1.78:1
Audio: Blu-ray = English 7.1 DTS-HDMA, Spanish and French 5.1 Dolby Digital Language Tracks
DVD = English, Spanish, and French 5.1 Dolby Digital Language Tracks
Subtitles: English ESL, English SDH, French & Spanish

Mind MGMT and Flutter Comics Developed for TV

Mind MGMT and Flutter Comics Developed for TV

UNIVERSAL CABLE PRODUCTIONS AND DARK HORSE ENTERTAINMENT RENEW FIRST-LOOK DEAL;

 

ANNOUNCE DEVELOPMENT OF POPULAR COMIC BOOKS “MIND MGMT,” “FLUTTER” AND HIT PODCASTS “TANIS,” “THE BRIGHT SESSIONS” FOR TV 

“The Blacklist” Producer Dan Cerone to Develop “Mind MGMT”

 

Katherine Lindberg and Marc Rosen (“Sense8”) To Adapt “Flutter”

               

“The Son’s” Lee Shipman and podcast creator Terry Miles To Adapt “Tanis” With Sam Raimi (“Evil Dead”) and Debbie Liebling (“South Park”) Producing

 

Gabrielle G. Stanton (“The Flash”) To Adapt “The Bright Sessions” With Creator And Star Lauren Shippen

 

UNIVERSAL CITY, CA- July 17, 2017- On the heels of their “Umbrella Academy” series pick-up on Netflix, Universal Cable Productions and Dark Horse Entertainment have renewed their first-look deal to continue developing and producing scripted programming from the distinguished publisher’s comic book library, as well as new original material. UCP continues to roll out its impressive genre development slate with Dark Horse Entertainment’s “Mind MGMT,” from Matt Kindt, to be developed for TV by Dan Cerone (“The Blacklist”); “Flutter” based on Jennie Wood’s acclaimed LGBTQ comic, being adapted by Katherine Lindberg and Marc Rosen (“Sense8”); “Tanis,” based on the hit podcast, to be developed by Lee Shipman (“The Son”) and Terry Miles, creator of the podcast, and produced by Sam Raimi (“Evil Dead”) and Debbie Liebling (“South Park”) through their company POD 3; and “The Bright Sessions” being adapted for television by Gabrielle G. Stanton (“Grey’s Anatomy,” “The Flash”) and the creator and star of the podcast, Lauren Shippen.

 

“Dark Horse Entertainment is a comic mastermind with deep knowledge of the genre and an expertise in developing content” said Dawn Olmstead, Executive Vice President of Development, Universal Cable Productions. “We’re excited to continue to partner with Mike Richardson and Keith Goldberg as we kick off our series Umbrella Academy on Netflix and shepherd the many adaptions we have set up around town.”

 

“Dark Horse is proud to continue its partnership with Universal Cable Productions. Our companies have worked together closely with great success. We have some exciting projects in the works and couldn’t be happier about continuing the relationship,” said Mike Richardson, President of Dark Horse Entertainment.

UCP and Dark Horse are developing the popular graphic novel from New York Times Best-seller and artist Matt Kindt “Mind MGMT,” which will be adapted for television by Dan Cerone (“The Blacklist”). The series follows a true crime writer searching for the truth behind a mysterious airline flight who discovers a secret government agency of spies with psychic abilities. Henry Lyme, the former top agent, has gone rogue and is working to investigate and dismantle the organization.

 

“Flutter,” is based on the critically acclaimed, award-winning LGBTQ graphic novel series created and written by Jennie Wood with art by Jeff McComsey, published by 215 Ink, about a teenage shapeshifter who turns herself into a boy to get the straight girl that she has a crush on. Katherine Lindberg and Marc Rosen (“Sense8″) are writing the television adaptation.

 

Additionally, UCP and Dark Horse are developing two podcasts for television:

 

“Tanis,” is based on the serialized, bi-weekly podcast. The series follows Nic Silver on his search to unravel what he thinks might be the last great mystery of the internet age. “Tanis” is what happens when the lines of science and fiction start to blur. Lee Shipman (“The Son”) is attached to adapt with podcast creator Terry Miles. Sam Raimi (“Evil Dead”) and Debbie Liebling (“South Park”) will produce through their company POD 3, along with Dark Horse.

 

“The Bright Sessions,” is a science fiction drama that follows a mysterious therapist and her unique set of patients, each struggling with a supernatural ability. Created and written by Lauren Shippen, the podcast has been downloaded over 6 million times in under 2 years and was widely recognized as one of the best podcasts of 2016. The development for television is being written by Gabrielle G. Stanton (“Grey’s Anatomy,” “The Flash”) and Shippen.

 

The studio and publisher previously announced the active development of “Harrow County,” based on the comic book written by Cullen Bunn (“The Damned,” “The Sixth Gun”) and illustrated by Tyler Crook (“Bad Blood”), and the Eisner award-winning “Concrete” from comic legend Paul Chadwick.

 

“Mind MGMT,” “Flutter,” “Tanis” and “The Bright Sessions” are the latest additions to UCP’s impressive genre development slate, including two projects from John Carpenter’s recently announced overall deal “Tales for a Halloween Night” for SYFY and “Nightside.”  In addition to the recent series pick-up of “Umbrella Academy” on Netflix with Dark Horse, UCP is currently in various stages of production and script development on a range of series including: “Happy!” for SYFY; “The Sinner,” “Damnation,” and “Unsolved: The Murders of Tupac and The Notorious B.I.G” for USA Network; “The Purge” for USA Network and SYFY; “All That Glitters” for Bravo; and “Impulse” for YouTube Red.

Joe Corallo: Unmasked Is Back!

Well, I haven’t highlighted a Kickstarter in about a month so I’m going to end that dry spell right now.

Last week Michael Sarrao launched a Kickstarter campaign for his latest graphic novel, Unmasked Volume 2: Promethean. Unsurprisingly, this is the follow up to Unmasked: The New Age Heroes Volume 1 which was Kickstarted back on August 26, 2012. Maybe slightly more surprisingly this is also a follow up to Unmasked: Signal the 32 page one shot which bridges the events of Vol. 1 and Vol. 2 that was also funded on Kickstarter back on April 13, 2014. Both volumes were illustrated by John Broglia and Signal was illustrated by Anthony Gregori.

In total, this will be Michael Sarrao’s fourth comic book Kickstarter. All of his previous campaigns have been successful, and this campaign is only a week in and well on its way to reaching its goal. Michael was kind enough to send me a digital copy of the first chapter of Volume 2 so I can tell you all about it.

Before I get into it I’d like to talk a little bit about Unmasked in general. The story takes place in the fictional city of Seastone where superheroes debuted in 1938 and prominent through the 90s but were absent in the 2000s to be replaced by a more ruthless and violent group of heroes. This captures the interest of a rookie reporter, Paige Cruise, whose father was the world’s foremost superhero expert but has since gone missing. Paige Cruise is out to find out who these new heroes are and is on a mission to unmask them with mixed results.

Now you, loyal reader, may be saying to yourself, “Oh I guess Paige, a reporter, does a lot of research and snooping around to find out who these superheroes really are,” and I have to tell you, “Not exactly, no.” Then you might say, “Well she doesn’t just burst onto the scene and physically grab heroes masks off their faces, right?” To which I have to tell you, “Actually, that’s exactly what she does.” Yes, she physically grabs heroes masks off. I know, it sounds cheesy, but that’s the point. Unmasked is basically a blend of campy Silver Age comics fare played straight with a Watchmen aesthetic. Yes, the threats are all real, but they were in the Silver Age too.

Okay, you’re caught up now? Good. Onto the new stuff!

Unmasked Volume 2: Promethean opens more or less where the series left off. Paige Cruise is still on her quest to unmask heroes though now she herself openly desires to be one, we’re introduced to more chaotic players like Deathdevil, and we learn more about the past of the superheroes in this world.

Where Unmasked: The New Age Heroes Volume 1 feels heavy on the Watchmen tone, Volume 2 blends new elements together and has more of a The Wicked + The Divine tone to it. I love that Image series so I’m not complaining. Michael Sarrao plays a dangerous game here balancing some of the cheesier elements of superhero stories while keeping the tone consistent and getting the reader to take the story seriously and keep the stakes high.

This is the superhero comic you wanted to make and everyone told you no and gave you a long list of why you shouldn’t; mostly because there are just too many places it could all go wrong. Michael has not only successfully handled this material, but he did it his way and has two successful Kickstarters under his belt with this material alone and soon to have a third in the Unmasked-Verse when the Volume 2 campaign wraps up.

I do have to say that none of this would have likely happened for Michael if he didn’t get John Broglia to do the artwork. I may be a little biased because John is one of my favorite people working in comics right now, but he expertly executes a concept that walks a thin line. He gives Unmasked a pop art vibe, with the vital help of colorist Paul Little, elevating the story far more than any words could. Just skimming through these pages you can interpret the tone of this book flawless. It’s a necessary skill in comics, but difficult to master. John Broglia makes it look all too easy.

Having read the first chapter of Unmasked Volume 2: Promethean I can honestly say it has a lot of promise and it’s a stronger start than the first volume. If you’re into indie superhero titles, this is required reading. Check out their Kickstarter campaign and think about donating.

Join me next week when I interview a comic creator on a new project and then the week after when I get back to writing really pretentious stuff!

Disney Rolls out 4K Ultra HD, Blu-ray for 5th Pirates

BURBANK, Calif. (July 14, 2017) — From Disney and Jerry Bruckheimer Films, it was announced today at D23 Expo, that Pirates of the Caribbean: Dead Men Tell No Tales—the fifth film in the now-iconic Pirates of the Caribbean film franchise—will sail home on Digital in HD and 4K Ultra HD™ on September 19, and on 4K Ultra HD™/Blu-ray™ Combo Pack, DVD and On-Demand on October 3.

Pirates of the Caribbean: Dead Men Tell No Tales is a rollicking new tale of the high seas, infused with all the elements of fantasy, humor and action that have resulted in an international phenomenon for the past 13 years. Johnny Depp returns to his Academy Award®-nominated role as the outrageous, swashbuckling scoundrel Captain Jack Sparrow, and is joined by Oscar® winners Javier Bardem (Best Supporting Actor, No Country for Old Men) and Geoffrey Rush (Best Actor, Shine).

Fans who bring home Pirates of the Caribbean: Dead Men Tell No Tales will experience the nonstop action in stunning 4K Ultra HD format, the ultimate home entertainment experience with next-generation high dynamic range (HDR) visuals and Dolby Atmos® immersive audio.

Bonus material includes a collection of behind-the-scenes, making-of stories, including a conversation with directors Joachim Rønning and Espen Sandberg; a sit-down with the two young newcomers who play Henry and Carina; the secrets behind the menacing new villain, Salazar, and his ferocious ghost sharks; an on-set visit with Jack’s first mate from all five films; a chat with Sir Paul McCartney who appears as Uncle Jack; and a discussion about the franchise’s legacy; along with hilarious bloopers, deleted scenes and memories from producer Jerry Bruckheimer’s photo diary.

The rip-roaring adventure—packed with humor, suspense and jaw-dropping special effects—finds down-on-his-luck Captain Jack feeling the winds of ill fortune blowing strongly his way when deadly ghost sailors, led by the terrifying Captain Salazar (Bardem), escape from the Devil’s Triangle bent on killing every pirate at sea—notably Jack.

Bonus features include*:

BLU-RAY & DIGITAL in HD:

  • Dead Men Tell More Tales: The Making of a New Adventure – Get unique access into the making of this exciting new Pirates of the Caribbean movie with this collection of revealing and entertaining stories that you can view individually or as a “play all.”
    • A Return to the Sea – Two talented filmmakers, Joachim Rønning and Espen Sandberg, team up to bring Pirates of the Caribbean back to the screen. Hear how this new chapter of the tale was developed.
    • Telling Tales: A Sit-down with Brenton & Kaya – Meet Brenton Thwaites and Kaya Scodelario, the young actors behind Henry and Carina. The two sit down together for a revealing conversation on becoming a part of the Pirates of the Caribbean film franchise and its continuing legacy.
    • The Matador & The Bull: Secrets of Salazar & The Silent Mary – Oscar-winner Javier Bardem reveals more about his menacing new character and the foreboding ship he helms.
    • First Mate Confidential – Go on-set along with Kevin McNally, the affable actor behind the feisty Mr. Gibbs, Captain Jack’s reliable first mate from all five movies.
    • Deconstructing the Ghost Sharks – Peer below the depths at how these ferocious, mythical monsters were designed and brought to life.
    • Wings Over the Caribbean – Captain Jack has a memorable encounter with Sir Paul McCartney – rock ‘n’ roll royalty.
    • An Enduring Legacy – Take one more look at the Pirates of the Caribbean: Dead Men Tell No Tales  experience and the impact of “Pirates of the Caribbean” — the movies, the ride and beyond.
  • Bloopers of the Caribbean
  • Jerry Bruckheimer Photo Diary
  • Deleted Scenes
    • Highwayman
    • Henry Turner Learns a Lesson from Captain Jack
    • A Whale in Poseidon’s Tomb
    • Alternate Coda: Murtogg & Mullroy “Flogging”

DVD:

  • First Mate Confidential

Pirates of the Caribbean: Dead Men Tell No Tales is produced by Jerry Bruckheimer and directed by Joachim Rønning and Espen Sandberg, with the screenplay by Jeff Nathanson (Catch Me If You Can, Indiana Jones and the Kingdom of the Crystal Skull) and story by Nathanson and Terry Rossio.  The executive producers are Mike Stenson, Chad Oman, Joe Caracciolo, Jr., Terry Rossio and Brigham Taylor.

The film stars Johnny Depp (Fantastic Beasts and Where to Find Them, Disney’s Alice Through the Looking Glass), Academy Award® winner Javier Bardem (No Country for Old Men, Skyfall), Brenton Thwaites (The Giver, Maleficent), Kaya Scodelario (The Maze Runner films, upcoming The King’s Daughter), Kevin R. McNally (Pirates of the Caribbean franchise, Macbeth Unhinged), Golshifteh Farahani (Paterson, Body of Lies), David Wenham (Lion, 300: Rise of an Empire), Stephen Graham (Pirates of the Caribbean franchise, Gangs of New York) and Academy Award® winner Geoffrey Rush (The King’s Speech, Pirates of the Caribbean franchise).

SPECIFICATIONS:

Product Offerings: Digital = 4K UHD with HDR (HDR-10 or Dolby Vision), HD, SD
Physical = 4K Ultra HD Combo Pack (4K UHD with HDR-10, Blu-ray, Digital in HD/SD), Blu-ray Combo Pack (Blu-ray, DVD, Digital in HD/SD), DVD
On Demand – October 3rd – check with your local provider
Feature Run Time: Approximately 129 minutes
Rating: PG-13 in U.S., PG in CE, and G in CF
Aspect Ratio:  2.40:1
Audio:  4K UHD Blu-ray = English Dolby Atmos, English, Spanish and French 7.1 Dolby Digital Plus, English 2.0 Descriptive Audio
4K UHD Digital = English Dolby Atmos (platform dependent), English 5.1, English 2.0
Blu-ray = English 7.1 DTS-HDMA, English 2.0 Descriptive Audio, Spanish and French 5.1 Dolby Digital Language Tracks
DVD = English, Spanish and French 5.1 Dolby Digital Language Tracks,
English 2.0 Descriptive Audio
Subtitles: Physical =  English SDH, Spanish and French Subtitles
Closed Captions: Digital = English; DVD = English

Mindy Newell: Of Storms And Sun

It feels like a month. Two months.

It has been only two weeks.

A dark and stormy two weeks.

The reason I wasn’t here last week was that my 91 (and a ½) year old mom has been suffering the frailties of old age, including a steadily increasing dementia secondary to a history of micro vascular cerebral bleeds and a thalamic stroke a week before my dad died. It’s a retrospective blessing, as I’m not sure she remembers that he is dead, always referring to him as being “away.” That either means that she has confused my brother, who is the spitting image of my father, with him (and at the time of that statement Glenn was in China in his capacity as physician for the Philadelphia Orchestra), or that her time sense is displaced and believes that he is still flying his beloved P-51 in the CBI Theater of Operations during WWII.

The only time she “awoke” to my father’s death was at the funeral – “Taps” had been played, the flag draping his coffin folded and handed to her – she thanked the officer, though it was clear that she didn’t really “get” what was going on – and then, just as the casket started to be moved to the graveside for internment, she wailed, a cry of the banshee that reverberates across the cemetery and which will echo in my heart for the rest of my life, sinking to her knees between the arms of my brother and myself, crying out, “No. Oh, no!… Don’t take him!” It was chilling and heartbreaking – and then she seemed to withdraw again, and for the rest of the day, she was quiet.

Anyway, on July 3rd in the late afternoon, my mom fell and broke her hip. All things considered, it was a “simple” break, and she spent Independence Day in the OR of Cooper University Medical Center in Camden – the “Coop,” as it is called, and it is one hell of a wonderful hospital. Of course I was there, and in the Recovery Room she knew I was there despite the anesthetic dream state, and I even got her to apologize to her nurse for making her come in on a holiday. So the operation was a success, as the saying goes, but…

No, she didn’t die. In fact, she was out of bed and in a chair the next morning and even walked a little bit. She was transferred back to her nursing home on Thursday evening, and… here comes the “wait”…

…became agitated and confused, climbed out of her “geri-chair,” (which looks like a Barco lounger or a Lazy-Boy), and fell on her face and head, resulting in a subarachnoid hemorrhage.

Immediately transferred back to the “Coop.”

My brother and I talked… she was in the Trauma Intensive Care Unit, but we treated her conservatively. Monitoring, yes, but nothing else. This means not even a feeding tube. It is what she wanted – both of my parents’ Advanced Directives were/are 10 pages of legalese that could be summed up in a single sentence: “Leave us alone.”

Over the next day or so, she stabilized. She knew I was there, able to give me a kiss and even took some ice cream, ice chips, and bacon from Glenn. We have now transferred her back to the nursing home, as there was/is no reason for her to be in the hospital. In fact, new orders: Do Not Admit to Hospital. She is on hospice and receiving comfort care.

And then, on Wednesday, I was walking into work, and…well, this is what I wrote on my Facebook page:

“So the klutz (me) is walking into work on Wednesday, and she trips on the irregular sidewalk and goes down… gets up, helped by a Good Samaritan, assuring him the klutz is all right. Start to walk…okay, it hurts, but I come from the school of “walk it out,” and thinking, eh, I sprained it…

“Fucking broke my ankle!!!!”

I actually went into work, changed into scrubs, got my assignment and tried to work. In my first room, the anesthesiologist noted my swelling-and-turning-colors ankle. I told him what happened; he said I’d better put some ice on it. I went into the post-anesthesia care unit and got ice. When I told the other nurses what happened, they said that since it happened on hospital grounds I’d better report it. I soon found myself in a wheelchair on the way to the ER and X-rays.

And that’s how I found out I fucking broke my ankle!!!!

All things considered, I was very lucky. Read that as: it could’ve been worse. For those of a medical nature or with anatomical interest, it’s an avulsion fracture of the distal tip of the left fibula. Which means that when my ankle twisted, the ligaments and tendons stretched and pulled the some of the bone off. As I said to my friend, Dr. Glenn Atlas, “strong ligaments and tendons.”

Like my brother and me deciding to treat my mom conservatively, my wonderful orthopedic surgeon said he could treat the fracture the same way. I was in a splint for two days, and now can use a walking boot, though I’m not running a marathon, or even a 5K, or even a mile, for that matter. Mostly I’m staying off of it as much as possible.

Oh, and I’m also out of work for at least six weeks.

Which means – and bringing this back to comics – I have plenty of time to write.

So, I’m working on a story for a major project that ComicMix has put together that we’ll be announcing in a bit over a week. And I’m also putting together a proposal for a graphic novel. It’s been a long time between comics work for me – gotta say I’m filled with a little bit of trepidation, but also feeling the blood of creation bubbling and roiling in my veins and my head is full of sequential panels and dialogue.

This has been some dark and stormy two weeks.

But maybe, just maybe…and “fer shur” eventually –

The sun will come out.

Ed Catto: The Power of Walter Simonson

In 1977, the Syracuse Post Standard blazed the headline “Comic Book Confab Listed” to announce the second Ithaca Comic Convention. Actually, I think it would be more appropriate to say they whispered the headline. It was scrunched in the middle of a crowded page. The article listed professional comic guests such as Walter Simonson and Al Milgrom. I’m not one-hundred percent sure if that’s how my family found out about that second Ithaca Comic Con way back then. It may have been from seeing a flyer on the bulletin board at Fay’s Drug Store. That used to be a legitimate marketing venue too. But the big takeaway is that back then, the concept of a comic-con certainly wasn’t understood.

“People meet to buy and sell old funny books?” The very notion sounded absurd.

Today’s comic conventions and “cons” are part of the nation’s everyday lexicon. Any gathering gets a little extra oomph by adding “-con” as a suffix. Every Comic Con held anywhere in the country gets a modicum of respect and “Comic-Con International” (commonly referred to as San Diego Comic-Con, or simply SDCC) is right in the center of pop-culture radar.

At the Confab

It was at that Confab in Ithaca that I first met Walter Simonson. I was already a big fan. His Manhunter in Detective Comics, written by Archie Goodwin, had made every fan sit up and take notice. At the time of the convention, he was illustrating a black and white Hulk magazine story that told lost tales of the character’s early days in the Marvel Universe. It was called a continuity implant back then, but I simply realized it was a fresh, outstanding story. I was elated to meet the guy drawing it at this Ithaca Comic Con.

You know how sometimes we meet our cultural heroes and they are really jerks? We spend all this time worshiping a celebrity’s accomplishments, only to have it all come crashing down when they reveal an unappealing side to their personality in a personal meeting? We all have probably experienced that type debilitating letdown.

Well, meeting Walter Simonson was the polar opposite of that. He was kind and patient with me and to everyone there. He was a big talent wrapped in a smile wrapped in supportive enthusiasm.

It’s no one wonder he’s still often referred to as ‘the nicest guy in comics.”

”You will hear similar stories from many comics professionals,” said J.C. Vaughn of Gemstone and The Overstreet Comic Book Price Guide. “Walter Simonson was the first comic professional to talk to me one on one as if I were an actual person. Never mind that he’s Walter Freakin’ Simonson, one of the greatest comic artists to walk the planet; he’s also Walter Simonson, a genuinely good guy (we could use more of both). To hire him (twice!) to do covers for the Guide has been a joy, real wish-fulfillment stuff.”

RAGNAROK

More recently, I met with Walter and his wife Louise at his home to discuss his latest project, Ragnarok. It’s a fantastic IDW series that reimagines the Norse legends, including Thor, in a completely different setting than the Marvel version. He used the phrase “Norwegian Zombie” to describe it.

And reinforcing his humble nature, he’s quick to point out two of his collaborators on this project: Laura Martin and John Workman.

During this visit, Walter showed me pages of issue #10. This is a moving issue that explores the distortion of a brand. Basically, Thor finds the symbol of his hammer is being used for something rotten. Where are the trademark and licensing lawyers when you need them?

As with so many Walt Simonson stories, it’s full of power, action, and majesty. But my favorite moment was at the story’s finale when a woman is kneeling and we, as the readers, have a view of the soles of her feet. It’s a usual image for a comic, for whatever reason, but rendered with care and love. “I had to ask Weezie to pose for that,” laughed Walter. He meant that he needed to ask his wife Louise to serve as an artist’s model in order to render the character’s feet correctly.

Let’s talk about Louise Simonson for a moment. She’s quite an impressive creator. Like Walter, she’s humble and soft-spoken. That’s especially impressive as she has every right to be boastful and proud. Her accomplishments are many, but I am always struck by her kind and gentle manner. I’d tend to think that she’s a huge part of the Walt Simonson mystique. Any man married to a woman like Louise Simonson would clearly want to do his best each and every day.

Plus: she made a mean breakfast when I visited. We really must devote another column to this fascinating person at some point down the road.

Walter also revealed a bit of his own personal background and how it influences his latest series. He spoke to me about his family history in North Dakota, and the wheat farms of the 1800s. There seemed to be a sense of adventure about it all and a respect for the “giants of the earth.” His parents even kept an extensive library that contained a few mythology books from the 1890s. The lessons of this all stayed with him well into his years learning design at the Rhode Island School of Design.

He summed up so much of his background and learning in his mantra for storytelling, “Play by the rules, but still surprise.”

SDCC

This week at the San Diego Comic-Con, publisher IDW has a clever marketing promotion centered on Walt Simonson. Lucky fans will be having dinner with Walter, receive two of the enormous and lovingly crafted IDW Simonson books, get them autographed, and receive a sketch or two. Not surprisingly, the unique event quickly sold out.

I asked IDW’s Director of Special Projects, Scott Dunbier, to speak a little about Walter. He offered a clever and genuine response:

“What can I say about Walter Simonson that hasn’t been said before? Blah blah blah legendary creator blah blah blah brilliant run on Thor blah blah blah nicest guy in comics. Sure, all those things are true. But best of all, I get to work with him and talk to him on a regular basis. I’ve got a great job!”

There may be another big night at San Diego Comic-Con for Simonson. The Eisner Award Committee has nominated him for the Hall of Fame. To be fair, there are many other deserving creators on that impressive list. I have no idea how the judging actually works, but I certainly wish him luck.

This week Walter and Weezie will be at the epicenter of pop culture at the San Diego Comic-Con. And I’m sure they’ll continue to inspire many more people.

John Ostrander: The Digital Dog Ate My Homework. Honest.

When doing my writing lectures/classes, near the start I always ask who in the class would consider themselves to be storytellers. A few raise their hands and then I tell everyone to raise their hands.

We’re all storytellers. We all use story in our daily lives. They’re the atoms of our social interactions. The example I give is if you’re a student and you’re late with your homework assignment you should have a good reason why. Make it a good story. “My dog ate my homework” no longer qualifies – if it ever did. In fact, given how much everything is done on computer these days, it would have to be “My digital dog ate my homework.” It’s not any more compelling than the old version, but it might be considered moderately clever.

Deadlines remain a factor long after you leave school and nowhere is that truer than in comics. In his editorial capacity, my good friend Mike Gold once warned me I had moved past deadline and was approaching the funeral line. He also once rang the doorbell of a truant artist (he happened to be in the artist’s home town on other business). Editors showing up on your doorstep can be unnerving.

In my earliest days as a pro writer, I did everything on typewriter (first manual and then electric; rumors that I chiseled them on stone tablets are just mean). I didn’t have a computer until later and, even when I did, some companies (including DC) were not equipped to receive them electronically. So that meant printing them up on my dot-matrix printer and then rushing them off to FedEx for overnight delivery.

Unless you called in your package by a certain time, usually much earlier than you had the work done, you had to take the package to the nearest FedEx office. If you didn’t hit the office by closing time (usually around 6 PM), you had to make the Midnight Run to the main FedEx office out by the largest airport around. More than once, Kim was the driver while I finished collating the pages, stuffing them in the envelope, and addressing the delivery slip. Let me tell you, Speed Racer had nothing on Kim. She’d run stoplights and take stop signs as suggestions to be ignored. Often, we’d meet other local freelancers also making the death defying Midnight Run. It almost got to be a club.

It was something of a step up when I could fax the script in; that could be done at any time. It still wasn’t completely convenient. These days it’s all done electronically. For instance, this column will never see paper.  As soon as it’s finished, it’s a rush to Hotmail and then to the hallowed halls of ComicMix. It doesn’t have quite the same romance as the Midnight FedEx Run but, on the other hand, there’s a lesser chance of a traffic fatality. And fewer chances for an alibi although the possibility that my steam-powered computer (a.k.a. the digital dog) ate my column is potentially truer than the classic excuse.

Of course, all this could be avoided by simply buckling down and doing the work on-time but, hey, where’s the fun in that?

Right, Mike?

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