Treat yourself to hours of frightful fun with this exclusive Halloween Collection of 19 thrilling, chilling films with limited-edition art packaging by renowned artist/illustrator Orlando Arocena. Utilizing vibrant colors and a fervent imagination, Arocena’s striking cover art creations add the perfect touch of terror to these haunting horror titles. Choose your favorite Halloween hits, featuring Hollywood’s biggest stars, and start planning a killer movie night that’s sure to be a scream. It’s an eye-popping, spine-tingling collection to die for!
Fans who purchase any of the films at Walmart will also receive an exclusive coloring book featuring all 19 of Arocena’s designs.
Films available in the exclusive Halloween collection include:
Last Monday was the 100th birthday of the King o’ Comics, Jack Kirby. The young’uns among you might not know the name (or maybe they do; I try not to be a fuddy-duddy most days) but Kirby was a force unparalleled in the comics medium. If you need a primer, Mike Gold wrote an excellent column about him.
Even if you know Marvel only from the movies, you owe him. Captain America? Jack. The X-Men? Jack. The Black Panther? Jack. The Avengers? Jack. And so on and so forth. And not just at Marvel; King Kirby seemed to be everywhere. And not just superheroes; he did Westerns, monsters, romance. And so on and so forth.
I met him in person exactly once.
The first thing I need to explain is that, before I became a professional writer in comics, I was a bonafide geek. Yeah, I still am.
One of the big thrills when I first started was that at conventions I could meet my heroes as a fellow professional. In theory. Not as a peer; that suggested I was an equal and that was not how I felt.
So – it’s early in my career and I’m working the First Comics booth at the Chicago Comicon along with my wife, Kim Yale. We were the only ones working the booth at that moment. It wasn’t in the main room and we weren’t getting much traffic.
Then this small group of people walk by, talking among themselves, and in the middle of it is Jack Kirby.
OMG! OMG! OMG! OMG! OMG!
(Point of historical accuracy: Back some 30 or so years ago when this story takes place, we never said “OMG!,” at least not in the Midwest. I just wanted to convey the impact of the moment in modern terms.)
Kim later said she watched me turn into a 14-year old fanboy complete with zits. I can’t imagine that was pleasant.
In the group, I spotted Julie Schwartz, himself a legend and an icon. There’d be no Silver Age DC without Julie. Possibly no modern comics industry.
I knew Julie a little through Mike Gold so I hiss at him, “Julie! Hey, Julie! Hey!”
Julie spots me and ambles over. “Hey, kid, how ya doin’?”
“Julie! Introduce me to the King!” I plead.
Julie looks at me like I’m demented and maybe, at the moment, I am. “It’s Jack,” he tells me. “Just go over and say hi.”
“No no no no no! I can’t I can’t I can’t! Don’t you see?! He’s the King!” “Hey, Julie! Help a guy out!”
Julie gives me a pitying look and says, “C’mon, kid.”
I walk over to the group with Julie and he does a nice intro of me. The King shakes my hand, says “HiHowareya.” I babble something about what an honor gee you’re my hero blah blah blah. And it’s over. The King and his group move on.
I wish I could say that I never washed that hand again but Kim would have insisted.
I doubt very much that the moment would have stayed with Jack Kirby but it has stayed with me in vivid detail for a couple of decades. Over the past few years, I’ve met some fans who treat me sort of like I treated Jack. (Trust me, gang; I’m not that impressive and I can give you references.) There was only one Jack Kirby and there will ever be only one Jack Kirby and he just turned 100.
SANTA MONICA, CA – The critically acclaimed Starz fantasy series American Gods” Season One, produced by FremantleMedia North America, arrives on Digital HD October 6 and Blu-ray (plus Digital HD) and DVD October 17 from Lionsgate. From writer-producers Bryan Fuller (Hannibal) and Michael Green (Heroes) and based on Neil Gaiman’s international best-selling novel, American Gods Season One is a visual feast focusing on an ex-convict named Shadow Moon, and his sudden introduction into a power struggle between the Old and New Gods. American Gods Season One stars Ricky Whittle (The 100), Ian McShane (John Wick: Chapter 2, Deadwood), Emily Browning (Sucker Punch, Lemony Snicket’s A Series of Unfortunate Events), Pablo Schreiber (13 Hours, Orange Is the New Black), Peter Stormare (John Wick: Chapter 2, Fargo), and pop culture icon Gillian Anderson (The X-Files, Hannibal).
When Shadow Moon is released from prison, he meets the mysterious Mr. Wednesday and a storm begins to brew. Little does Shadow know, this storm will change the course of his entire life. Left adrift by the recent, tragic death of his wife, and suddenly hired as Mr. Wednesday’s bodyguard, Shadow finds himself in the center of a world that he struggles to understand. It’s a hidden world where magic is real, where the Old Gods fear both irrelevance and the growing power of the New Gods, like Technology and Media. Mr. Wednesday seeks to build a coalition of Old Gods to defend their existence in this new America, and reclaim some of the influence that they’ve lost. As Shadow travels across the country with Mr. Wednesday, he struggles to accept this new reality, and his place in it.
The home entertainment release of American Gods Season One features over two hours of exclusive extras including “The Road to ‘American Gods’” documentary, six behind-the-scenes featurettes, audio commentary on the premiere and season finale episodes, God Squad Video Commentary, and an opportunity to explore the Crocodile Bar in 360 degrees. “American Gods” Season One will be available on Blu-ray and DVD for the suggested retail price of $39.99 and $34.98, respectively.
BLU-RAY / DVD SPECIAL FEATURES
“The Road to ‘American Gods’” Documentary
“Title Gods” Featurette
“‘American Gods’ Origins” Featurette
“Old Gods” Featurette
“New Gods” Featurette
“What Is ‘American Gods?’” Featurette
“Book vs. Show” Featurette
God Squad Video Documentary
Explore the Crocodile Bar in 360 Degrees with Commentary by Cast and Crew
Audio Commentary with Cast and Crew on the Premiere and Finale Episodes
o Episode 101 with Creators-Writers Bryan Fuller and Michael Green and Director David Slade
o Episode 101 with Actors Ian McShane and Ricky Whittle
o Episode 108 God Squad Video with Actors Ricky Whittle, Emily Browning, Yetide Badaki, Bruce Langley, and Orlando Jones
A short one act play, in response to this recent hubbub during the Wizard World Chicago Comic Con.
To boob, or not to boob, that is the question:
Whether ’tis nobler in the mind of cosplayers to suffer
The slings and arrows of outrageous fans and parents
Or to take arms against a sea of tsk-tsks,
And by opposing, end them.
To diet (to fit in a form-fitting costume) – to sleep on the floor of your con hotel suite –
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks
That the display of flesh is heir to. ‘Tis a consummation
Devoutly to be wish’d of the fans to see.
For those not playing along, let’s cut to the chase. This past weekend, a cosplay maven – with distinct permission to come in her much-worked-upon Silent Hill cosplay – was jeered and leered at by some in the crowd, and ultimately (and incorrectly) walked back to her hotel room to change.
Per her posting, she had gotten the proper clearances, but miscommunication amongst the staff of the convention center and the con itself led to her removal. To her credit, she took the whole debacle in stride. As she commented in the aforementioned post: she expects some of the reactions she gets in her guise. As is her opinion, the human body can become a work of art; as such, her costume (the effort clearly of many hours of construction and creation) is her craft. If convention attendees find her faux – décolletage to be too much so be it. She clearly takes proper steps to ensure she’s meeting the criteria to cosplay by the rules.
This of course begs us to ask questions. Is she bending the rules to the given extreme? Is a well-produced facsimile of a naked body part – aligned to some measure of a costume – an allowable choice of expression within the confines of a convention? And if you personally find something akin to the display of the naked human body to be unsettling or offensive, are your rights inherently more potent than that of the cosplayer?
Let’s be clear: I’m not a show-runner, and thank Rao for that. What I am though, is a parent. My children, ages five and one, were attending Wizard World Chicago at the same time this particular cosplayer was doing her thing. The cosplay-picture-posing thing… not the being politely escorted away thing. Now, amidst snapping pics and moments with Wolverine, Batman Beyond, Deadpool and the like, my children nor my wife happened to see the naked-esque participant.
But what if they had?
Would I be chiding the choices of a fellow artist? Hardly. As it were, I sincerely agree with her opinion. The human body is not offensive. A nipple or breast out in the air – be it constructed, make-upped, or otherwise displayed – is of no more or less value to me personally than an ankle or an earlobe. If the costume itself requires the display of one’s personal nether-regions (augmented as necessary), and it falls within the rules of the given convention? Let it all hang out!
It mostly comes down to the show-runner. So long as their rules are on display in some fashion, the responsibility will fall on the patrons of the con to choose whether they feel they can enjoy the show or not. For a more family-focused show, perhaps there will be need to be more specific about the display of human flesh. But as with all things: we are all in shared space at a convention. Choosing to air your negative opinion in any way shape or form will always be far more offensive to me than any exposed tit.
As a parent, perhaps I wouldn’t make a choice for my kids to see this particular cosplayer – moreso because she looked genuinely scary – but if they had seen her? So what. My job as a parent isn’t to protect my kids from the world. It’s to help them interpret, understand, and appreciate it.
With a bare bodkin? Who would these fardels bear,
To grunt and sweat under a weary costume,
But that the dread of something after death –
The undiscover’d titty, from whose bourn
No traveler returns – puzzles the will,
And makes us rather bear those ills we have
Than fly to others dress as yet-another-Harley Quinn?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought,
And enterprises of great pith and moment
With this regard, their currents turn awry
And lose the name of action. – Soft you now!
The fair Pyramid Head! – Nymph, in thy orisons
Be all my sins rememb’red. Sorry I stared a bit too hard at your cosplay.
Somehow, I seem to have inserted myself onto the Marvel “Friends and Family” list for preview screenings. A few weeks ago I got an advance look at The Defenders in a small screening room with about 25 people. On Monday, I went to an IMAX showing of The Inhumans with an audience of several hundred.
The environment in which I see a film influences the way I feel about it. I love going to screenings because they make me feel cool and sophisticated. TheDefenders event was in the morning, with a group that included people I’d known for decades, in comfy chairs with excellent sight lines. TheInhumans was in an enormous theater, with an enormous screen, and hundreds of strangers (although there were some people I knew, including a new friend, an old friend and a really old friend.
Even before the movie started (and, to be fair, it’s not really a movie, just the first two episodes of an ABC television series), the mood was festive and celebratory. My date, ComicMix colleague Joe Corallo and I found our assigned seats and gleefully looked around to see whom we might recognize. Lots of people brought children with them, and they were thrillingly well-behaved. Before the movie started, we sang a rousing chorus of “Happy Birthday” to Jack Kirby, in celebration of his hundredth. The print was crisp, and the creator credits received applause.
If only I could tell you I liked the show.
I knew nothing about the characters beforehand. I did a little browsing online, and Joe told me a few things (including how great the Paul Jenkins run was). I would imagine that most people who will watch on the ABC television network are similarly ignorant, and the show would allow for that.
It is not good. And it’s not good in a way that makes it seem, to me, to be the anti-X-Men. People with mutant powers are exalted here and given high-status government responsibilities. Those with no powers are sent to work in the mines.
The Inhumans live on our moon, in a city at the border between the light side and the dark side. We first see the king and queen, Black Bolt and Medusa, in bed, where she is using her superpowers (magically manipulating her long hair) to excite him as much as network television allows. These two people are attractive and playful, so I was ready to like them. Also, the actress, who plays Medusa, Serinda Swan, looks like a grown-up version of Ann-Margaret in Pocketful of Miracles, one of my favorite movies.
We see them getting on with their royal responsibilities, as they walk up and down and through the massive castle. First up is a ceremony in which two siblings find out if they have super-powers. It is there that we meet Black Bolt’s brother, Maximus, who we know must be a bad guy because it is the same actor, Iwan Rheon who played Ramsay Bolton on Game of Thrones. Maximus seems to have no powers but is allowed to stay in the royal quarters because his brother is such a softie.
There is lots of back-and-forth travel to Earth, sometimes through a sentient wall and sometimes with a giant bulldog which I think has some kind of fan following (and, hence, anticipation) but which is just a big CGI dog in these first two episodes. There is a royal betrayal, a rebel uprising, and a great escape. Each character gets a chance to use his or her powers, sometimes to great effect, sometimes just because, I assume, Jim Shooter said every character must use powers within the three pages back when he was editor-in-chief at Marvel. Some powers, like being able to come back to life after being killed, seem like a narrative cop-out, a deus ex machina of the gene pool.
A lot more questions were raised for me than were answered. Where does the royal family get all the leather for their outfits? What are they digging for in those mines? Are terrific eyebrows a way to tell which women have super-powers? Where does the food come from? I would have preferred to see more of the city as a whole, and less of the king and queen walking up and down stairs. Also, why are we supposed to think the king and queen are good and Maximus is bad? Wouldn’t it be more interesting from his point of view?
I think that Inhumans wants to be the new Game of Thrones, but without the historical parallels, the multiculturalism, the armies, the enormous cast or the budget. Instead, it seems much more like high school writ large, with the cool kids getting to have a working source of light, and the rabble doomed to the underworld.
Will it get better? Will it be even worse when it’s on a television screen, not in a theater? Will there be dragons or just giant dogs?
• • • • •
Just a reminder: It’s not too late to get in on our Kickstarter campaign for Mine! A Comics Collection to Benefit Planned Parenthood. This book will be full of cool stuff… including a story by Neil Gaiman and Mark Wheatley! You’ll be helping people around the country receive quality health care. We’re on track to hit our initial goal, and if we raise more than that, there will be lots more other goodies. So check it out, and pledge whatever you can afford.
I’m guessing that comics began edging into my toddling into our flat when I was somewhere just north of infancy: five, six, somewhere in there. Paperbacks, though – different story. The first modern paperbacks weren’t published until 1935, just four years before I burst, noisily, into my parents’ existence. So, the publishing venue and I arrived at approximately the same time and we’ve both been around ever since. Mass market comics, the kind that printed original material, joined the party in 1938, a year before I did and lo and behold, there we are, comics, paperbacks and me, all growing old together.
Later, after I’d moved to a metropolis that hosted a relatively large number of bookstores, I would browse: enter the shop and just patrol the aisles, maybe lingering a bit in the science fiction and detective sections. (There were no comics sold in regular book stores – not yet. And the comic shops, the kind we know and love, we as yet unborn.) Sometimes I would even – o thrill! – buy something.
Then: something new, a new place for browsing – video stores. I’d been aware of them, these new browsing sites, pretty early on, I guess. I lived in a hip neighborhood and the nearest video renter gave discounts to writers and artists and if you think that Scrooge O’Neil would ever pass up that kind of sweet deal, well… Then a friend introduced me to some really big video places in Brooklyn – I’m taking seriously big – and there I was again, on the browsing trail.
End of story?
You know better than that!
We weren’t done with browsing, we children of the war, but our technique evolved. We began to do it, some of it anyway, with no wear and tear on our sneakers. Oh, don’t put it past me to half-kneel and check the titles on the lower shelves, but these days I’m more likely to have entered the store in search of the coffee counter than to buy books, which are more likely to arrive via electronics. So, yeah, we shop from the couch, in front of a computer screen like the one you’re looking at.
All done?
Not yet. One more venue should be acknowledged. It does not allow you to own something you want, it allows you to rent movies and television shows and maybe sports. It dwells somewhere in the vast cosmos of television land and I reach it by using something called a Firestick, though you may employ another modern miracle to do the job. And after Mari retires for the night, I sometimes sink into the couch and, yes, browse the hundreds of entertainment and information listings Firestick makes available.
Maybe next week we’ll say something about the content of those listings. No promises, though.
CULVER CITY, Calif. – Fasten your seat belts as the year’s must-own action-packed thrill ride, BABY DRIVER, which just sped past $100 million at the box office, accelerates home on digital September 12 and on 4K Ultra HD™/Blu-ray™ Combo Pack, Blu-ray & DVD October 10 from Sony Pictures Home Entertainment. Written and directed by acclaimed filmmaker Edgar Wright (Shaun of the Dead, Hot Fuzz), this fast-paced and furiously stylish heist movie stars Ansel Elgort (The Fault in Our Stars) as a young getaway driver who steers to the beat of his own playlist. With an all-star cast that includes Kevin Spacey (House of Cards), Lily James (Pride and Prejudice and Zombies), Jon Bernthal (The Walking Dead), Eiza González (From Dusk Till Dawn: The Series), with Jon Hamm (Mad Men) and Oscar® winner Jamie Foxx (2004, Best Actor, Ray Charles), BABY DRIVER pulls up on 4K Ultra HD Combo Pack, Blu-ray and digital with over two hours of tricked-out bonus features, including over 20 minutes of deleted and extended scenes.
Go behind the wheel of this summer’s biggest surprise box office hit with extensive bonus materials exploring its unique driving and music-infused production, including making-of featurettes on stunt driving with the cast, music, choreography, and orchestrating some of the best car chases in cinematic history. Additional bonus materials include animatics, cast auditions and rehearsals, director commentary with Edgar Wright, and more!
Synopsis:
Baby (ANSEL ELGORT) – a talented, young getaway driver – relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (LILY JAMES), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (KEVIN SPACEY), he must face the music when a doomed heist threatens his life, love and freedom.
From TriStar Pictures and MRC, BABY DRIVER was produced by Nira Park (Hot Fuzz, Shaun of the Dead), Tim Bevan (Hail, Caesar!, The Theory of Everything) and Eric Fellner (Hail, Caesar!, The Theory of Everything). Executive producers are Edgar Wright, Adam Merims, Rachael Prior, Liza Chasin and Michelle Wright.
Blu-ray & Digital Bonus Materials Include:
Extended/Deleted Scenes – 20 minutes of extended scenes and a few moments that were dropped from the final cut.
Mozart In A Go-Kart: Ansel Drives – Ride shotgun with star Ansel Elgort as he works with the talented stunt drivers to become the ultimate getaway driver.
I Need A Killer Track: The Music – Explore how the film’s phenomenal soundtrack dictated both the writing process and all aspects of production on Baby Driver.
That’s My Baby: Edgar Wright – Follow Edgar Wright’s vision of Baby Driver from its inception two decades ago, to its ultimate realization on the big screen.
Meet Your New Crew: Doc’s Gang – Led by powerhouse Kevin Spacey, the cast assembled to form Doc’s gang is perfectly constructed with stars like Jamie Foxx and Jon Hamm as well as up and coming talent like Eiza González and Jon Bernthal. Go behind the scenes to see this talented group at work as they bring these characters to life.
Find Something Funky On There: The Choreography – With every frame of Baby Driver set to a specific beat it took precise choreography by the cast, crew and editors to create a cinematic dance like nothing that’s been done before. Hear from the choreographer and filmmakers on this groundbreaking process.
Devil Behind The Wheel: The Car Chases – From closing down Atlanta’s interstates to creating eyepopping maneuvers for a variety of vehicles, witness the amazing craftsmanship and sheer determination that made the film’s incredible car chases possible.
Animatics – Check out over 35 minutes of the numerous pre-vis animatics developed by Edgar Wright as part of his meticulous preparation.
Ansel Elgort Audition – See firsthand the audition that proved without a doubt that Ansel Elgort was the perfect choice for Baby.
Annotated Coffee Run Rehearsal – Day one of production involved one of the film’s most elaborately choreographed sequences where every movement is carefully crafted. Check out the preliminary rehearsal and see the behind the scenes movement in concert with Ansel Elgort’s on camera choreography.
Hair, Make Up & Costume Tests – In this stylized montage, witness the transformation of the actors through costume, hair and make-up tests.
Mint Royale – “Blue Song” Music Video – This music video directed by Edgar years ago for the band Mint Royale showcases some early inspiration for Baby Driver.
Complete Storyboard Gallery – See the elaborate storyboards developed for the film in this gallery featuring storyboards for the entire film.
Director Commentary
Filmmaker Commentary (Edgar Wright and Director of Photography Bill Pope)
DVD Bonus Materials Include:
I Need A Killer Track: The Music
That’s My Baby: Edgar Wright
Meet Your New Crew: Doc’s Gang
Devil Behind The Wheel: The Car Chases
Mint Royale – “Blue Song” Music Video
Director Commentary
Filmmaker Commentary (Edgar Wright and Director of Photography Bill Pope)
BABY DRIVER has a run time of approximately 113 minutes and is rated R for violence and language throughout.
Warner Animation’s just-released Batman and Harley Quinn is an interesting project from the standpoint of it being a more mature sequel to the Batman: The Animated Series while still fitting into the now cohesive DC Animated Universe. It has the look and feel of the classic series while the content and themes are vastly different in keeping with Harley’s prominence in all-things DC these days along with upping the stakes in a longer production.
That said, the production is very entertaining and a welcome 30th film in the line of animated projects (the DC Universe: 10th Anniversary Collection is expected in November).
It’s a lot of fun to have Bruce Timm, Harley’s co-creator back in action as a co-scriptwriter. Sam Liu is also back to direct so we have a lot of veteran talent to bring tremendous affection to the project and it shows in every detail.
Poison Ivy (Paget Brewster) has been connected with Jason Woodrue, the extra-dimensional Floronic Man (Kevin Michael Richardson), ever since Neil Gaiman put them in the same class in Black Orchid. Here, though, we think Ivy is out to save the world from man’s ecological folly but we get a larger, nastier, and more in control Floronic Man than we’ve seen in comics or animation. He’s out to make the world a verdant paradise, as long as he’s in charge.
They are after Alec Holland’s bio-restorative formula, the one that turned him into the Swamp Thing, and once they begin not-so-subtly robbing places to obtain it, this alerts Batman (Kevin Conroy) and Nightwing (Loren Lester). To find Ivy, they turn to her long-time gal pal, Harley Quinn (Melissa Rauch) who is now out of jail and off the grid. When Nightwing tracks her down, we find her in costume, but waitressing at Superbabes, a super-hero themed restaurant (those wall decorations were a set of decals DC sold back in the ‘70s, a lovely touch).
To convince Harley to help them, the pair fight and, in an interesting turn, wind up sleeping together, only to be found by Batman.
From there, the chase is on, leading them all to Louisiana where the film’s extended climax occurs. Along the way, they look for clues in a bar that features a motley assortment of thugs dancing to twins performing, which is amusing, but when Harley has to sing, we get her full song and then a fight, prolonging what should have been a far shorter sequence.
There are loads of asides, gags, and tips of the cowl to other incarnations of Batman and the heroes so pay attention. This is where Timm tends to excel, never taking his eye off telling a strong story. And yes, despite some plot drag in the middle, the themes are very strong here. We do get a totally extraneous appearance by Swamp Thing, although they avoided making him a deus ex machina. Still, the story sort of just runs out of steam rather than neatly tie things up. Do stay for the post-credits sequences which are just a hoot.
It is a real pleasure to hear Conroy and Lester together again and it’s all the more a shame Arlene Sorkin, Harley’s original voice, is absent from the reunion. Rauch is good, but her Bernadette bleeds through now and then.
Parents should be aware this is rated PG-13 for “sexual references” and “rude humor”, mostly in the form of Harley’s words and deeds – but really, did you expect any less?
The movie is available in a variety of formats including the 4k Ultra HD/Blu-ray/Digital HD and the collector’s set with a Harley figure. Word is, the 4K and Blu-ray are almost indistinguishable and the 1080p, AVC-encoded version is just lovely and well matched with the lossless DTS-HD MA 5.1 soundtrack, featuring a top-notch score from Kristopher Carter, Michael McCuistion and Lolita Ritmanis.
The Blu-ray comes with the usual assortment of Special Features, starting with A Sneak Peak at DC Universe’s Next Animated Movie (8:30), which is Batman: Gotham by Gaslight. I frankly am offended so much credit goes to Mike Mignola without author Brian Augustyn’s name being mentioned – and quite a bit of the art from the comics is actually from the Ed Barreto-drawn sequel.
There is also The Harley Effect (21:15), where her co-creators, Bruce Timm and Paul Dini, discuss her origins and slow-building popularity until she is now one of DC’s most ubiquitous characters (effectively their version of Deadpool, put her on anything and it’ll sell); and, Loren Lester: In His Own Voice (11:46), talks returning to the role that made his voiceover career. We get the Sneak Peaks to Batman: The Dark Knight Returns, Part I and II and Batman: Assault on Arkham. From the DC Comics Vault offers two well-chosen selections: Batman: The Animated Series, “Harley and Ivy” (22:23) and “Harley’s Holiday” (21:15).
Do you remember the name of the first comic book you ever experienced? I do. It was a copy of DC Comics’ Mutt and Jeff, one of the very first daily newspaper comic strips and purportedly the first to be anthologized in what we today consider the comic book format. It was made as a subscription inducement giveaway.
This happened to me sometime around late 1953 or early 1954, when I was three years old. Okay, I was precocious (a synonym for “obnoxious”) but hardly anybody was that precocious. No, the comic book was read to me by my sister. Being almost seven years older, and much to her understandable chagrin, she was pressed into service as my babysitter. That certainly pegs her as precocious as well.
Marcia picked up a comic book from her stack, Mutt & Jeff #34, March 1952, and proceeded to read it to me. My sister had taste: that issue sported a cover by the legendary Shelly Mayer. Being only slightly out of toddlerhood, I learned how to recognize the shapes of the word “Mutt” and the word “Jeff.” DC ran the daily strips in two-page spreads, each one carrying the “Mutt and Jeff” logo. Page after page of them.
Proud of my achievement, I pointed to each logo and shouted, “Mutt and Jeff” over and over and over. For some reason, my sister/babysitter did not murder me on the spot.
What Marcia couldn’t have known at the time was that she had opened Pandora’s Box.
That initial experience led me to discover the comics in the newspapers, and over the next two years, those comic strips taught me how to read. This is actually quite bizarre as our paper of choice carried Pogo, Li’l Abner and Abbie ‘n’ Slats, and they didn’t quite speak English, at least not as we spoke it in the Midwest.
The newspaper strips led to my discovering comic books on my own – initially by finding Marcia’s own four-color stash, later by coercing my parents to buy me a comic book or two at the neighborhood drug store.
Of course, my love of comics led to many friendships and, ultimately, to comics fandom. A piece in the paper led me to fanzines, which led me to the conventions and then to advising comic shop retailers and organizing comic book conventions, and then to the first of two tenures at DC Comics, the co-creation of First Comics with Rick Obadiah … and to ComicMix with Glenn Hauman. With a whole lotta other stuff thrown in; allow me some modesty, okay?
Last weekend, I left the Chicago Wizard World show a day early to go to Detroit. Marcia Judith Gold Bashara had died at the age of 73, due to heart problems. I was fortunate enough to see her one last time on my way to the convention, spending a day with Marcia, her husband and my friend of 53 years Salem, and my wonderful nieces Heidi and Cheri.
Yeah, it’s really tough to type these words.
I used to tell people – usually, people writing articles about comics – that we comics people who were born during the baby boom and Fred Wertham’s anti-comics crusade decided to get into the racket as revenge for our parents’ tossing out our comics sometime in the mid-1960s.
And there’s some truth to that, but if not for my sister Marcia’s sharing her enjoyment of the comic book medium, I might not have had any comic books for my parents to toss.
For the record: about 15 years ago, I returned the favor by introducing Marcia to Will Eisner’s graphic novels. She absolutely loved them.
• • • • •
A tip of the hat to the many, many people who consoled me at Wizard World and to my fellow ComicMixers who helped pick up my load. And, most of all, to Maggie Thompson for consistently being there with her advice, her intelligence, her wit, and her charm. Which actually means “to Maggie Thompson for being Maggie Thompson.”
I have to imagine production of The Hitman’s Bodyguard started with director Patrick Hughes gathering the whole cast together and giving them some kind of speech along the lines of “Look, we all know this script is a piece of garbage but if we pull together we can elevate it way past tolerable” and then there was some big cheer and they ran out to the set like a sports movie. It’s a laughable script that doesn’t hold together under the smallest bit of scrutiny, but the cast absolutely crushes it. It’s the best bad movie I’ve seen all year and I don’t mean that as faint praise. The world is full of people doing average work with average material but seeing fantastic work come from a wretched foundation is something special. This is a diamond found in a coal mine.
The chemistry between Ryan Reynolds and Samuel L. Jackson is basically driving the whole movie. We’re getting a Deadpool-lite version of Reynolds thick with meta commentary on the events of the movie and sort of action movie in general. This plays well with the standard action-comedy version of Jackson we’ve been seeing since Die Hard with a Vengeance. This interplay drives the whole movie dragging a murky nonsensical plot and a seemingly endless numbers of big pauses for jokes that just aren’t that funny. Everything that’s Reynolds and Jackson bickering is great, every scene that has Selma Hayek in it is good, everything else is pretty bad.
The action in the movie is good enough, but it feels more like a greatest hits compilation than any kind of new composition. The best sequence in the film is one where Jackson is walking through a Dutch square seemingly oblivious to potential attackers while Reynolds stealthily takes them down. It’s a good sequence but it feels an awful lot like a knock-off of the Waterloo Station sequence in The Bourne Supremacy and while it’s 10 years later feels a bit slower. There’s also a reasonably thrilling chase through a canal with Jackson in a boat being chased by bad guys in SUVs while Reynolds on a motorcycle harasses them. It’s a nice idea salad mixing bits from a number of other movies. Maybe greatest hits is too reductive, more like a remix of some old favorites, you ought bop your head a few times but odds are you’ll go back to the original.
Most of the story of The Hitman’s Bodyguard is just low-level stupid. You know, stuff like trial scenes that were written by someone who has only experienced the legal system from their drunk friend describing Law & Order episodes to them. But then toward the end they try to pretend like there’s some big moral quandary between a life spent protecting terrible people versus a life of killing bad people for money. For one, I don’t believe that you can make a great living as a contract killer just sitting around and waiting for bad people to need killing that badly. Also, people who decide to hire assassins to deal with their problems aren’t people who are on the highest of high grounds to start with. It’s not an interesting moral quandary, and it directly detracts from the stuff that’s actually entertaining in the movie. Wikipedia says that when this script was named to The Black List it was a drama— maybe this is an artifact from those days, but it has no place in this movie. (I also can’t imagine this was a better movie as a drama. I’m bored just thinking about it.)
The Hitman’s Bodyguard is good because you get to see Deadpool interact with Nick Fury. They had to file off all the serial numbers, superpowers, and sci-fi gadgets— but that’s what it is. We’ll never get the actual pairing because of all the various rights headaches (and honestly, what would need to be happening in the MCU for it to even happen) but we can get it here stitched on to a wretched story about the trial of a dictator who commands an army of mercenaries while imprisoned at The Hague. Come for the cast, stay for the cast, leave with a smile on your face, pick it on Netflix 18 months from now, never think about it after that.
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