This is an all-new clip from BATMAN: THE DARK KNIGHT RETURNS, PART 1 featuring The Mutant Leader giving his televised declaration of war on Gotham City, Commissioner Gordon and Batman. The Mutant Leader is voiced by Gary Anthony Williams, best known for his recurring roles on “Malcolm in the Middle” and “Boston Legal,” as well as voiceovers as Riff Tamsom on “Star Wars: The Clone Wars,” Uncle Ruckus on “The Boondocks,” and Mongul in “Batman: The Brave and the Bold.” Williams’ casting as the bad-to-the-bone Mutant leader belies his true calling in comedy — he is co-founder and artistic director for the L.A. Comedy Shorts Film Festival in Hollywood.
BATMAN: THE DARK KNIGHT RETURNS, PART 1, the next entry in the popular, ongoing series of DC Universe Animated Original Movies, arrives September 25, 2012 from Warner Home Video as a Blu-ray™ Combo Pack and DVD, On Demand and for Download. The PG-13 film is produced by Warner Premiere, DC Entertainment and Warner Bros. Animation.
In my moment, it’s Labor Day. (In your moment…watch me shrug.) That being so – that Labor Day reality – it seems appropriate to think of unions and a cause dear to my heart.
Unions have not been consistent, not in my limited experience. An anecdote? Right after graduating from college, my friend Don Tonelli and I went to San Francisco. No agenda, just a long ramble to somewhere we’d never been. While in the Bay Area we visited my uncle Oscar, whom I’d seen once very briefly when I was a tot, and who was the subject of a bemused mention at clan gatherings. Oscar was a marvelous old man who kept us entertained and fascinated for most of a week. Among his entertainments were stories of the early days of the unions, when he and other skilled craftsmen went to meetings in large groups, armed with rifles, defying the fat cat bosses and their goons, demanding decent wages and working conditions. Back then, unions were the good guys.
But by the time Don and I shared wonderful hours with Oscar, unions had changed. Not for the better. The story went like this: unions had been infiltrated by criminals and had becomes nests of bullies and mobsters. Pretty damn shady enterprises, all in all. We baby blue staters grouped them with society’s ills. We didn’t consider that they provided insurance plans and pension plans and sundry other benefits, including a sense of the pride in working for a living. We were young. We were slow to look at both ends of a question. And, besides, it felt righteous to be pissed off.
Lately, I’ve grouped unions with the good guys again. They are among the few sources of campaign financing that can compete in fund raising with the billionaire-favored superPACs, and so they help blue collar voices to be heard. And they still provide those benefits. Those benefits are important.
We comics guys have never had unions. The closest thing to a union in our world was the Academy of Comic Book Arts, created by a motley crew of freelancers in 1970. ACBA, as we fondly called it, didn’t attempt to negotiate with the publishers, though that was discussed at early meetings, and in the end, did little to provide those important benefits. What it did do was present yearly awards for exemplary work, and that is no small task. But those awards weren’t of much use if your kid was sick or the rent needed paying.
No unions, no benefits. Good luck.
And this brings us to my heart’s dear cause: The Hero Intiative. Which is what, exactly? Here’s a paragraph from the organization’s website:
The Hero Initiative is the first-ever federally chartered not-for-profit corporation dedicated strictly to helping comic book creators in need. Hero creates a financial safety net for yesterdays’ creators who may need emergency medical aid, financial support for essentials of life, and an avenue back into paying work. It’s a chance for all of us to give back something to the people who have given us so much enjoyment.
If you get a chance to help H.I., you should take it.
With four months of digital success under their belt, Archie Comics brings their superhero stable back to comic shops with the first print issue of New Crusaders, in comic shops this week. Each issue collecting the four weekly “acts” of the digital release, the comic is a response to the many requests from readers who wanted to see a traditional edition as well. Archie has done a good job of it, with several special covers and some extra bonuses not seen in the digital release.
Archie Comics superheroes have had a long and varied publishing history. They premiered in 1939, enjoyed a a re-emergence in the 60s, another in the 80s, a couple revivals that never got out of the gate, and two attempted revivals by DC Comics, the woefully underappreciated Impact imprint from the 90s (helmed by our own Mike Gold), and the more recent Red Circle line which started strong with the J. Michael Straczynski books, but never seemed to find its audience. This time around, Archie has chosen to do the job themselves, and unlike the DC revivals, have made the new series part of the continuity of all their books, starting back in to 40s. While the book has decades of history and continuity, the book is carefully written to not require knowledge of those stories. It can easily be picked up as a first issue, with no fear of getting lost.
The members of the superhero team known as the Mighty Crusaders did something never before heard of in the annals of super-herodom; they succeeded. They beast evil into submission, sent the villains running, and spent the last couple of decades happily retired. After an explosive tease, the story starts with the Crusaders enjoying a reunion in the peaceful town of Red Circle, where Mayor Jack (Steel) Sterling is throwing a party for the heroes and their families. While the heroes reminisce in the Mayoral mansion, their kids are getting to know each other outside. Lucky for them, because one of their greatest foes, alien overlord the Brain Emperor takes the opportunity to take out his old foes all at once. Only Joe Higgins, the original Shield, escapes, and manages to get the kids to safety in his home, or more specifically, his secret headquarters below, where he’s maintained vigilance for the return of their enemies.
Ian Flynn, who’s made quite a name for himself piloting both of Archie’s big video game franchises, Sonic the Hedgehog and Mega Man, handles the writing for the series, and he’s got a solid grasp of what makes an action comic work. Even more importantly, as the digital book is coming out six pages at a time, he’s been able to pace the story so that each weekly chapter reads like a complete adventure, yet still flows smoothly in this single-issue format. Artist Ben Bates has a wonderful open style – his characters are drawn simply, his layouts uncluttered, very reminiscent of Impact artist Mike Parobeck; an art that is complex without being overly busy. There’s lots of easter eggs for older readers; the aforementioned city of “Red Circle” is only the first. In addition to the main adventure, this issue features a reprint of a original Shield story from the 80’s run of the series, written by Marty Greim and art by industry vets Dick Ayres and Rich Buckler.
The print edition of New Crusaders publishes monthly. The digital edition is available via an iPhone app and for the web and other devices via the Iverse website. For a 99 cent weekly subscription, readers receive a new six-page chapter each week, as well as access to a growing library of the classic MLJ/Radio/Archie runs of the comics. For the occasional “Fifth week”, a second series, Lost Crusade, will fill in the blanks of the events between the end of the 80s run of adventures and the new ones. It’s one of the best digital books being done by a major publisher right now, and both it and the new print edition are well worth a look
For those interested in learning more about the members of the Crusaders, I have a series of histories up on my website:
Not since the spy craze of the 1960s have there been so many television series about intelligence agents. There was the late, lamented and still-missed Rubicon and the JJ Abrams misfire Undercover. Currently, there’s the frothy, entertaining Covert Affairs and for those who like their espionage tales with some meat on the bones, there’s Showtime’s Homeland. The second season of the acclaimed series arrives at month’s end, but for now, the first season is just out on disc from 20th Century Fox Home Entertainment.
Anchored by the riveting performance from star Claire Danes, the series explores CIA agent Carrie Mathison and her quest to determine if a returned American POW, Marine Sgt. Nicholas Brody (Damian Lewis), is the real deal or a sleeper Al Qaeda agent. Sounds simple enough, right? Instead, over the course of a dozen episodes, nothing is as it appears, starting with Mathison herself. When we meet her, she has just returned from an unauthorized operation in Iraq and is relegated to a Counterterrorism post back in Washington, DC. When her Director, David Estes (David Harewood), tells the staff a POW has been found, it confirms a rumor she had been fed about a sleeper agent. Is it Brody? Is it someone else? Are they connected? Already on thin ice from her Iraq mission, she has to investigate Brody carefully because everyone else has declared him a war hero and you don’t accuse heroes of being evil. Mathison only trusts her suspicions with her mentor, Saul Berenson (Mandy Patinkin), and together they covertly investigate Brody.
Without giving away all the exciting twists and thrilling turns, suffice to say that over the season there’s a lot of red herring to wade through along with some excellent writing and performing. The series is filled with a lively, engaging, and rich cast including Morena Baccarin, Jamey Sheridan, Amy Hargreaves, and Navid Negahban. The storyline is an evolving one demanding you pay attention so as not to miss a clue (or strong performance). Nothing is as it appears and as the tension mounts, the audience is left to wonder about Mathison’s own sanity. When Patinkin comes to realize how vulnerable she is, the show shifts into some of the most heartfelt moments. Both are damaged souls and few can play that vulnerability better than these two.
Set in and around Washington provides plenty of pretty pictures but the real strength is in the richness of the storyline. In addition to the main plot, we focus on Brody’s homecoming after eight years away and how that has turned his wife and children’s world upside down. There’s the usual office politics and governmental affairs but it all feels fresh which is to be applauded.
Veteran producers Howard Gordon and Alex Gansa (24) were inspired to create this from the Israeli series Hatufim (Prisoners of War), which is now streaming on Netflix. They were lucky to craft a lead character complex enough to entice Danes back to series television, a move that earned her a Golden Globe nomination while the series took home Best Television Series – Drama. The first season arrived on October 2, 2011 and received 1.08 million viewers which was sizeable and stayed that way, earning critical acclaim with every passing week. Having all twelve episodes to watch once more, without waiting a week in between, allow you to study and notice nuances you may have missed the first time.
The four disc DVD or three-disc Blu-ray sets come with audio commentary and some very interesting deleted scenes that fill in some gaps or let characters breathe. The final disc also has the featurette Under Surveillance – Making Homeland, which is nowhere near as enlightening as it should be. There is also The Visit: A Prologue to Season 2 which you will have to watch and judge for yourself.
Punching its way into its second year, PRO SE PRESENTS keeps on Puttin’ the Monthly Back Into Pulp! PSP 13 is chock full of old favorites and new faces! Chuck Miller brings a new chapter in the world of his psychedelic Pulp character, The Black Centipede! Noted writer H. David Blalock introduces readers to ‘Kelly’s Beast’! And Joshua Reynolds returns along St. Cyprian, Pulp’s favorite Royal Occultist! Magic, madness, murder, and more! Featuring Cover Design and Art Work from Sean E. Ali, Pro Se Presents 13 comes out blazing from Pro Se Press!
Get your copy of PRO SE PRESENTS 13 today for only $6.00 in print! Shop at the Pro Se Createspace store here! or directly from Amazon here! Coming Soon as an Ebook!
Back in the mid-70s the astonishingly gifted Neal Adams pointed out – in context of something else – that the issues of Detective Comics he drew outsold those Frank Robbins drew. Let me state: Neal was not putting Frank’s work down.
Nonetheless, I felt that comment lacked veracity, so – being an honest-to-Crom obnoxious brat hotshot at DC Comics at the time – I looked up the sales figures. It turns out Frank’s issues actually sold slightly better than Neal’s on average. But in those days of newsstand-only comics, the all-important sell-through percentages – that is, the percentage of comics sold out of the total print run – was a couple points higher. And each point over breakeven is pure profit, each point significant to the publisher and to the success of the title.
I am not putting Neal down; I think most people would have suspected his work would outsell Frank’s. But, really, the marginal victories contributed by the artists are less significant than the mere fact that ever since Adam West donned the cowl, Batman is Batman. It’s possible that really bad talent could torpedo the character, but it would take a while and management would notice and hit teams would be assembled.
I mention this by way of Marc Alan Fishman’s discussion in this space last Saturday of the recent brouhaha between Rob Liefeld and Scott Snyder. Scott went on about how his Batman (which, in my opinion, is one of the best monthlies DC Comics publishes these days) sells 80,000 copies and how it outsells Rob’s work at DC, from which Rob recently resigned.
Rob’s position is that such stellar sales are not due to the craft of the talent within as much as the fact that the book is called Batman and that Batman would be a top-seller even if Jason Todd wrote it. Scott said horse hockey (I paraphrase), and lots of folks agreed, including our own Marc Alan Fishman – the son I never had and if there were any hint he was he’d demand a blood test.
At this point, I need to point out the following: It was Marc who turned me on to Scott’s Batman. As he has repeatedly made clear, Marc’s not a big fan of The New 52. Yet he personally took every opportunity to inform me that Batman was an exception. I read the first three issues and told him I agreed.
I also need point out that I have never met Scott. I’ve met Rob, although I haven’t seen him since a San Diego show about a decade ago and I don’t think we’ve ever had a real conversation. I personally do not find his work of late to be compelling, but that’s my taste. There’s a reason why DC gave him all that work this past year, and he’ll always be a hero for creating Deadpool. Rob’s managed to make an impressive number of not-friends during his career, but that can be a positive mark of distinction depending upon the individuals and circumstances involved. I, on the other hand, am well-known as the sweetheart of the donut shop. I have no axe to grind against any anybody.
Batman receives much wider distribution than Savage Hawkman or Deathstroke. The latter titles are pretty much restricted to the comics shops and to e-comics sales; you can buy Scott’s Batman at a great many convenient stores, truck stops and the more enlightened supermarkets. This is because Batman is Batman.
His Batman outsells Rob’s New 52 titles in the comics shops, to be sure. Quality is in the mind of the reader and, unfortunately, when you’re dealing with Batman or X-Men or Oreo cookies, who’s got the better stuff simply is not as important as the brand itself.
Rob Leifeld is absolutely correct when he says Batman is Batman.
But bringing rational thought to a flame-fight is a buzz-kill.
Mike Gold, Marc Alan Fishman, and our fellow ComicMixers Emily S. Whitten, Glenn Hauman and Adriane Nash will be at this weekend’s Baltimore Comic-Con, mostly hanging around the Insight Studios and Unshaven Comics booths, annoying the innocent. Drop by and say hello.
This past weekend, DOCTOR WHO got off to an amazing start. Now we sit down with Show Runner Steven Moffat to talk about the thrill ride that lies ahead over the next few weeks. Plus more with NBC’s GUYS WITH KIDS, and Ellen Barkin talks about censorship and her new series, THE NEW NORMAL. Oh yeah – like the BBC’s SHERLOCK? Are you ready for a manga version?
Back in March, I was asked to put together video clips for this year’s Hugo Awards ceremony, which took place during Worldcon in Chicago on Sunday. Simple assignment— find short clips of the nominated works to introduce them to the audience.
Well, it didn’t quite happen that smoothly. As you may have heard by now, in the middle of the Hugo Awards ceremony at Worldcon, with thousands of people tuned into via video streaming service Ustream, from the people in the overflow room at the convention to people viewing it live at DragonCon to people all over the world, the feed cut off just as Neil Gaiman was giving his acceptance speech for his Doctor Who script, “The Doctor’s Wife”, replaced with the words, “Worldcon banned due to copyright infringement.”
Here’s the video in question, the clip reel for Best Dramatic Presentation, Short Form:
Do you see anything in there that violates Fair Use? Of course not. But then, you’re not an automated copyright violation monitoring service, which is what UStream is blaming the problem on. (You’ll note that this video is currently hosted on YouTube, and they don’t seem to be having any problems with it.) I happen to strongly disagree: this service worked almost exactly as UStream intended it to, with the exception that they couldn’t do anything when it was discovered that, whoopsie! The automated service has no intelligence and no off switch, and we’ve just pissed off people with millions of twitter followers. I also note that UStream has been taking down comments on their own site, which of course has not stopped people from commenting on Slashdot, TechCrunch, io9, and CNN stories.
I’m also marveling at the irony of cutting of Neil in mid-speech, as Neil is one of the foremost anti-censorship people in the comics industry, as a board member and major backer of the Comic Book Legal Defense Fund and a supporter of anti-censorship actions on the web going back to the 90s.
We’re still waiting for the full awards ceremony to be rebroadcast. In the meantime, we hope that you were following our Twitter feed, as we were covering the awards live. Universal Geek has posted audio of Neil Gaiman’s Hugo acceptance speech. And here is the clip reel for the Best Dramatic Presentation, Short Form:
Ever see a movie or read a comic book that just sucked? Ever wonder how that god-awful piece of shit came to see the light of day?
I have. Not only have I wondered how something so terrible can get made, I’ve done stuff and wondered how in the hell I managed to pull it off something so bad and someone paid me for it.
I vowed never to make that mistake again, which is why all my current projects are at least two years in the making. I just signed a deal to write another novel and my first novel has yet to come out. I could write any book in three months but I’m smart enough (now) to take the long road when it comes to content. My latest book deal calls for me to deliver the first draft in a year. Do I need a year? Nope. Will I take the year? Yep.
I’ve learned the hard way that just because you can do a thing in five minutes does not mean you should do that thing in five minutes. Ask any woman, if you get my drift.
Some creative people do as much as they can as fast as they can for a variety of reasons, chief among those reasons, particularly for new creators, is money.
Money is the reason, in my humble opinion, that some new creative people find themselves with a wonderful opportunity and completely fuck it up. Case in point…
Some time ago someone called and told me of the sweetheart deal he had made with a major entertainment company. Frankly I was very surprised because the idea (in my opinion) was just horrible and all the work this person had done that I knew of was just not professional enough to warrant the sort of deal he was talking about. But what do I know?
I have no right what so ever to judge what anyone creates or what some company wants to pay for. My opinion as to what is published or made into a TV show or movie means nothing except to me in reality.
But… as a person who is in the position of green lighting projects for the various production and publishing companies, my opinion matters if you bring something to me. Even then I may not the final decision maker depending on the type of deal I’m in with what company. All that said, the project I’m talking about I would not pitch to anyone I have a relationship with. Besides, the person who has the project somehow secured a deal with a major player and they don’t need me anyhow.
The way the project is being handled it’s only a matter of time before the company writing the check will either pull funding or replace the creator who brought it to them. The project is ripe with production problems and personalities that will cause the funding company to bail or take away all the decision making from the creator who sold his rights to the funding company.
Why has this not happened already? Because the company writing the checks is new to the comic book business and they don’t know what’s bullshit and what’s not. But no one can keep up a smoke and mirror con job forever, eventually someone in the funding company will not give a fuck about the potential of the idea. They will start to wonder why the creator and his team have missed every deadline and call someone outside of the creator’s team to see what the fuck is up.
Sensing he was in trouble, the creator called me and asked me to be involved. I listened to the pitch because the company they had the deal with is huge. After the pitch I took a meeting with the team putting it together and realized that these guys were way out of their league. I explained to them where I saw real problems and cautioned them that the funding company would eventually see the same problems as I and grasp that the business plan and projections the creator and his team presented were unattainable at best and just bullshit at worst.
My comments were met with scorn and disbelief. Who was I to criticize them? They were the people with the deal. They were the people who were now in business with a major entertainment company. Who was I to rain on their parade?
I was the guy the entertainment company called a few weeks later and asked to take over the project.
I declined. It’s just too much trouble, I don’t have the time and working with the creator whose days are numbered would be a nightmare.
This really is a dream project for the creator and rather he listened to me or not I do so wish it works out. I hope that the funding company does not get to a point of no return and decide because they already spent X amount of money they have to publish to recoup at least some of that money back.
That, by the way, is one of the reasons you see shitty product in the entertainment marketplace. Corporate decides that although the product is shit someone will buy it and instead of losing one million dollars they lose nine hundred thousand.
I hope I’m wrong and as bad as the project is it does gang busters in sales. I hope if that happens and the creator is still involved with the project he will count his blessings and not make the same mistakes again.
I also hope for a threesome with Salma Hayek and Angelina Jolie while Jennifer Lopez makes me a egg sandwich and Kim Kardashian feeds it to me. I think that has a better chance of happening.
If you follow my columns on ComicMix at all, you know that I’ve posted about attitudes towards women at cons afew times, and that I tend to get a bit, shall we say, heated about some of the gender and entitlement issues I’ve encountered in the context of cons and fandom. When I sent in my last such article, Mike (Gold, Editor Extraordinaire) said to me, “I love the column! And these are really important issues; but…you are going to talk about some of the joys of being at conventions at some point, right?” To which I said, “Of course!”
This is one of those columns.
I love conventions. Love them. For all of my complaining about some of the attitudes I have encountered in fandom and internet discussion, at the conventions themselves I fortunately don’t run into too much of that face to face (it’s easier to say those things in the echo chamber of the internet, I suppose). Instead, for me, cons are pure joy. The energy of the other fans and the creators, actors, or whomever might be on the guest list; the costumes (if it’s a costume-heavy con); the diverse people you meet; and best of all, getting to catch up with the wonderful friends I’ve made who I usually only get to see at cons – these things are why I spend my vacations from lawyerdom at places like Dragon*Con, which just ended last night.
One of the great parts of a con like Dragon*Con is getting to meet some of the talents that I don’t usually encounter in my literary and comics-heavy convention rotation, i.e. the actors and actresses and writers for genre TV and movies. Having co-founded a literary convention, I’m a little more accustomed to the literary atmosphere; so I love the diversity and excitement that surrounds a con that embraces the TV and film aspects of fandom as well.
At this con, I was fortunate to have the chance to talk to many of the wonderfully talented folks writing and acting in some of genre fiction’s best TV and movie projects, and now, I get to share those encounters with you. This week, I’m going to focus on one of my favorite shows, Warehouse 13.
Warehouse 13 is a fantastically fun show in which U.S. Secret Service agents are tasked with retrieving and storing troublesome or dangerous “artifacts” that once belonged to important historical figures and have been imbued with some of their characteristics. These artifacts can affect the way people behave, or even their physical being. Sometimes the consequences might be terrible; and sometimes, hilarity ensues. If you’ve never seen the show (which airs on Syfy) I highly recommend it. The smart writing, excellent cast interactions, and fun premise make it a great show; and I love that the show really does have the ability for endless possibilities (and endless wonder, as per their tagline) without going stale, thanks to the way it draws on history and plays with the pasts of historical figures.
At Dragon*Con I got to go to one of the Warehouse 13 panels, and it was a blast. Eddie McClintock is hilariously over-the-top (but in a great, energetic way) and clearly delights in the con experience; Saul Rubinek read my mind when he filmed the audience cheering for Allison Scagliotti to come to the next Dragon*Con and then sent it to her via smartphone right then and there; Aaron Ashmore tried valiantly not to give away possible future romantic hijinks for his character Jinks in the face of great audience interest; Anthony Michael Hall discussed villainy with a surprising aplomb for such a nice guy (and does a great evil laugh); and Deric Hughes discussed several exciting future possibilities for the show. Everyone on stage also encouraged the excellent idea of a Warehouse 13 convention; and if you want to see that, as I do, tweet @warehouse13 and @Syfy and tell them so using the hashtag #Warehouse13Con.
The panel was fantastic; and happily, I was also able to catch up with everyone personally at the con and ask them a couple of quick questions. Here’s what they said:
Aaron Ashmore (actor):
What would you like to say about current or future projects?
“Warehouse 13 is my main focus; I’m so wrapped up in it right now. We’re on a full-time schedule that finishes shooting in November. After that, well, I may be looking for a new gig!” (Everyone: hire him for things. He’s awesome.)
What’s your favorite part of Dragon*Con?
(Aaron noted that he hadn’t really gotten a chance to chill at the con yet because of all the panels and being at the table, at which point I extended him an invitation to our informal Sunday night party, Beer-Pirate-Palooza.)
Aaron: “Well then, I’m going to preemptively say Beer-Pirate-Palooza!”
(Bless.)
Saul Rubinek (actor):
What would you like to say about current or future projects?
“Warehouse 13 is the best – It’s just a great role and I love it!”
What’s your favorite part of Dragon*Con?
Saul’s deadpan humor was clearly present as he replied:
“Meeting fans…and helping to pay for my kids’ college education!”
Eddie McClintock (actor):
What would you like to say about current or future projects?
“Warehouse 13 is awesome!
I’m also getting ready to do a film with the godfather of horror, Mr. George Romero, called Road of the Dead. Let me just say that zombies no longer have to shuffle around for their food – they’ve learned to drive.”
What’s your favorite part of Dragon*Con?
“Seeing an Uhura (of Star Trek) dressed in bunless leather chaps.”
Anthony Michael Hall (actor):
What would you like to say about current or future projects?
“Warehouse 13 is great!
I’m working on a new film with Danny Trejo and Mickey Rourke called Dead in Tombstone, for which there is actually a trailer on YouTube already. I am co-producing and starring in Friend Request, which is about a detective who is kind of down on his luck and is raising his daughter on his own, while trying to catch a Facebook-style killer; and that is shooting next week. I’ve also started a new production company called Manhattan Films; and through that I am producing and directing The Lost Shield, which is a cop story and should be shooting by next summer. I’m really excited about these projects.”
What’s your favorite part of Dragon*Con?
“The fans; seeing people have a great time. I genuinely love doing these things, and I love that it’s run by fans.”
Deric Hughes (writer/producer):
What would you like to say about current or future projects?
“Warehouse 13 definitely occupies my time. We have a ten episode web series called Grand Designs that people should check out, and I co-wrote and produced a couple of the episodes. My writing partner for that is Benjamin Raab, and J.P. Nichol, Mark Frank Williams, Ian Maddox, Sueha Koorse, and Joseph Brock also worked on those. They are on the main show website, and all of the cast did voices on those.”
What’s your favorite part of Dragon*Con?
“Definitely the people!”
Thanks a bunch, Warehouse 13 folks, for your time and awesomeness; and we hope to see much more from you!
Check in with me next Tuesday for Part II of the Dragon*Con Experience, including more awesome panels and chats with guests; and until then:
Servo Lectio!
TUESDAY AFTERNOON: Michael Davis and… Friends
WEDNESDAY MORNING: Mike Gold Takes On The Fish… Again!
This is an all-new clip from BATMAN: THE DARK KNIGHT RETURNS, PART 1 featuring The Mutant Leader giving his televised declaration of war on Gotham City, Commissioner Gordon and Batman. The Mutant Leader is voiced by Gary Anthony Williams, best known for his recurring roles on “Malcolm in the Middle” and “Boston Legal,” as well as voiceovers as Riff Tamsom on “Star Wars: The Clone Wars,” Uncle Ruckus on “The Boondocks,” and Mongul in “Batman: The Brave and the Bold.” Williams’ casting as the bad-to-the-bone Mutant leader belies his true calling in comedy — he is co-founder and artistic director for the L.A. Comedy Shorts Film Festival in Hollywood.
