Monthly Archive: November 2013

REVIEW: The World’s Endf

THE WORLDS END BD_2DAfter a steady diet of stupid buddy movies, including this summer’s Grown-Ups 2 flop, I welcomed Edgar Wright and Simon Pegg’s unique take on the concept in The World’s End. After a steady stream of funny and inventive films, this one hewed closer to a traditional premise: five high school buddies reunite for one last blast. However, being from this duo, one could expect something different.

The first forty minutes of the film felt fairly straightforward as the one who refused to grow up gathered his peers, all mired in staid existences, and convinced them to do what they failed to accomplish in their teens. In this case it meant visiting and quaffing a brew at all twelve pubs along the Golden Mile, finishing at the fabled World’s End. We see them struggling to reconnect, all annoyed at their leader for one reason or another. Unlike other films in this manner, the men are archetypal, not caricatures, and you feel the weight of adulthood on their shoulders. Their resentment towards Gary King (Pegg) is also tinged with envy as he has never lost that boyhood spirit, that Can Do attitude that made the next step an adventure.

Then things take an unexpected twist and we’re plunged into an entirely different story that pits these five against an alien threat with the very world’s fate at stake. How they handle this fuels the remainder of the satisfying film, out now on Blu-ray from Universal Studios Home Entertainment. Considered the final installment in the Cornetto Trilogy, viewers should be aware it has absolutely no connection to Shaun of the Dead and Hot Fuzz. What they do share in common is an ensemble cast and smart, witty writing that never trips over the line into dumb humor or slapstick.

Worlds-EndWright nicely skewers the horror, cop, and science fiction conventions in these films, always taking ordinary people with ordinary problems and sticking them in extraordinary circumstances. Gary King is the boy who never grew up and as an adult, his actions now appear inappropriate but it is his spirit to never give up that forces the others — — Steven Prince (Paddy Considine), Oliver “O-Man” Chamberlain (Martin Freeman), Peter Page (Eddie Marsan) and best friend Andy Knightley (Nick Frost) – into action. The quiet home of Newton Haven is too quiet and the looks the quintet receive from the patrons borders on The Stepford Wives, even their old college professor (Pierce Brosnan) seem s a little off. When King rips the head off a young punk, he discovers the inhabitants have been replaced with robots out to “civilize” humanity.

There’s a tremendous amount of running, fighting, screaming and humor but in the end it all comes down to King and Andy debating the Voice (Bill Nighy) behind it all. As climaxes go, it falls a little flat but is whimsical in a nice way. And there’s even a touch of romance with Oliver’s sister Sam (Rosamund Pike), the sole major female role in the film, a failing on the Bechdel scale.

The-Worlds-EndThe film’s tone is a steady one, despite the rising complications and activity. The performances are strong as one would expect from the cast, who have worked together for many a year, making this one of the strongest and best comedies of the year. Out on a combo disc (Blu-ray, DVD and Ultraviolet digital), the video transfer is fine, matched by sharp audio. Unlike a lot of recent releases, this one comes with an excellent abundance of material staring with Commentary from Wright and Pegg and Wright and director of photography Bill Pope and Pegg with co-stars Frost and Considine. The first is funny and interesting, the second interesting for technical folk, and the third is as hilarious as you would expect.

U-Control Storyboard PiP lets you see the film’s storyboards alongside the film which is interesting for storytellers. Better is Completing the Golden Mile: The Making of The World’s End (48:00) which takes us through the concept to production although you know some of this through the commentaries.

Additionally, there’s Filling in the Blanks: The Stunts and FX of The World’s End (28:00); VFX Breakdown (9:00); Edgar & Simon’s Flip Chart (13:00), a fascinating look at the beat by beat breakdowns writers use to craft screenplays; Director at Work (3:00); Pegg + Frost = Fried Gold (3:00) Friends Reunited (4:00), mostly culled from a press kit; Three Flavours Cornetto Trilogy (5:00); Animatics (11:00), for two scenes; Hair and Make-Up Tests (4:00); Rehearsal Footage (6:00); Stunt Tapes (9:00); There’s Only One Gary King: Osymyso’s Inibri-8 Megamix (5:00); Music remix montage; Signs & Omens (8:00); Deleted Scene (1 minute); Outtakes (11:00); Alternate Edits (SD, 5 minutes); Bits and Pieces (3:00), additional alternate takes and shots; and, Trailers & TV Spots including the TV Safe Version. Finally, there are Galleries of photographs, concept art, animatronics, prosthetics, theatrical posters and pub signs and a fun Trivia Track.

By all means, check this one out and enjoy the bonus features which enhance the enjoyment.

REVIEW: Doctor Who Specials Feature History & Comedy

The BBC did a cracking job of filling the week before the Doctor Who 50th anniversary with new programming to appeal to Whovians across the globe.  Noted scientist Brian Cox hosted a seminar about the nature of space and time, while noted actor Brian Cox starred in An Adventure in Space and Time.  Paul McGann starred in a short adventure featuring the eighth Doctor, while Doctors Five, Six, and Seven hatched their own plan to crash the festivities.

David Bradley as William Hartnell as The Doctor in An Adventure in Space and Time

Mark Gatiss penned An Adventure in Space and Time, a dramatic adaptation of the early years of the classic series.  Brian Cox and Jessica Raine (Call the Midwife) starred as Sydney Newman and Verity Lambert respectively, the minds behind the show, while David Bradley (Game of Thrones, Harry Potter) took the role of William Hartnell, the first Doctor.  Hartnell was unsure of his ability to take on the role, and Verity supported and encouraged him, each helping the other make a name for themselves in television history.  Bradley does a wonderful job of showing Hartnell’s range of emotion as the harsh schedule of the show takes its toll on him in only three years. A recurring motif of a series of publicity pictures for each new cast change portrays the progression wonderfully.

There’s a number of cameos of classic Who actors in the film. William Russell (the original Ian Chesterton) plays a BBC guard, and early companions Anneke Wills and Jean Marsh (Upstairs Downstairs), and current voice of the Daleks Nicholas Briggs as the original voice of the Daleks, Peter Hawkins.  One final cameo at the end is too wonderful and precious to spoil – let’s just say Gatiss is not afraid to let the line between reality and fantasy blur if needs be.

While the adventure is scheduled for release in the UK on December 2, there’s no date for a US release as of yet.

A lot of fans were upset that the “classic Doctors” were not asked to participate in the anniversary episode (save for McGann, who naturally had to keep his appearance strictly secret), so Peter Davison decided to take matters into his own hands.  He wrote and directed The Five(ish) Doctors Reboot, a half-hour adventure in which, well, in which Peter Davison takes matters into his own hands about not being asked to participate in the anniversary.  He, Colin Baker and Sylvester McCoy hatch a mad plan to crash the filming of The Day of the Doctor and garner appearances.  In a series of mad escapades worthy of Lucy Ricardo trying to get into Ricky’s show (ask your parents), the trio get help from John Barrowman, Peter’s daughter Georgia Moffett and her husband, one David Tennant.

The adventure was filmed alongside the anniversary episode, with our heroes conspiring behind the scenes as the “actual” footage is filmed off-camera  It features cameos from just about everyone that’s been on Doctor Who that “wasn’t invited” to be in the anniversary, up to and including Russel T. Davies.  Tom Baker does not appear, instead using the very same footage from The Five Doctors that they pulled from Shada to cover for his non-appearance there.  Georgia gets a producer’s credit for the adventure, with Steven Moffat and Brian Minchin as executive producers.  It’s a wonderful piece of work from all involved, clearly a love letter to both the old guard and its fans.

The Five(ish) Doctors Reboot is also available for viewing at the BBC website.

Mindy Newell: The Day Of The Doctor

Newell Art 131125 “Great men are forged in fire.

It is the privilege of lesser men to light the flame.

Whatever the cost.”

The Warrior Doctor (John Hurt), The Day of the Doctor, November 23, 2013

After all the press, after all the hype, after a week of BBC America’s Doctor Who Takeover, I was really afraid that actual episode was going to suck, that I was going to be miserably let down, wretchedly disappointed.

I. Was. Absolutely. Completely. Totally. Utterly. Positively.

Blown. Away.

The whole wide world became the whole wide Whovian world yesterday, as the BBC simulcast The Day Of The Doctor in over 75 countries – Angola, Australia, Bangladesh, Benin, Bolivia, Botswana, Brazil, Burkina Faso, Burundi, Cameroon, Canada, Cape Verde Islands, the Central African Republic, Chad, Chile, Colombia, Congo, Costa Rica, the Cote d’Ivoire, the Democratic Republic of the Congo, Djibouti, the Dominican Republic, Ecuador, El Salvador, Equatorial Guinea, Eritrea, Ethiopia, Finland, France, Gabon, Gambia, Germany, Ghana, Guatemala, Guinea, Guinea Bissau, Honduras, Hong Kong, Indonesia, Israel, Italy, Kenya, Liberia, Madagascar, Malawi, Malaysia, Mali, Mauritania, Mauritius, Mexico, Mozambique, Myanmar, Namibia, New Zealand, Nicaragua, Niger, Nigeria, Panama, Paraguay, Peru, Poland, Russia, Rwanda, Sao Tome & Principe, Senegal, Seychelles, Sierra Leone, Singapore, Somalia, South Africa, South Korea, South Sudan, Sudan, Swaziland, Taiwan, Tanzania & Zanzibar, Thailand, Togo, Turkey, Uganda, the United Kingdom, the United States of America, Uruguay, Venezuela, Zambia, and Zimbabwe.

I mean, seriously, has the United Nations ever been able to bring about such a coalition? I mean, seriously, I think the last time so many countries and their citizens came together to celebrate and raise a glass or two as they did on Saturday was for the end of World War II 68 years ago.

I mean, seriously, think about it, people. So many of these nations are embattled and torn apart by violence and terror and war—and yet the Doctor, fictional character though he may be, hits such a powerful chord of hope and peace and unity among the peoples of this Earth, is it possible that even in places like Somalia and Myanmar and Colombia and the Congo that a truce was called for one hour and twenty minutes on Saturday, November 23rd, 2013?

Once before has the world been stopped on this date. 50 years ago President John Fitzgerald Kennedy was shot dead in Daley Plaza, Dallas, Texas on November 22, 1963, and the world held its breath for the next four days as his body was returned to Washington, where it laid in state, first in the White House and then at the Capitol Rotunda, to finally come to rest in Arlington Cemetery across the Potomac River in Virginia – and so in England no one, or very, very few, saw the BBC’s debut, on November 23rd, 1963, of a science fiction television show about a grandfatherly man and his niece and her two teachers adventuring in time and space in a contraption called the TARDIS, which was an acronym, the niece informed us, for Time And Relative Dimensions In Space, and which looked like an English 1950’s police box.

But the BBC reran the premiere episode of Doctor Who and its ratings took off, and when William Hartnell, the first actor to play the Doctor, became too ill to continue, an innovative idea was born to explain the introduction of Patrick Troughton as his replacement—regeneration.

And now Doctor Who, the series, has regenerated.

I won’t go into depth, so as not to spoil it for those who were unable to see The Day Of The Doctor this past weekend, but I will say this – the driving force behind the Time Lord has been changed.

It was quite a day.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

New Who Review: The Day of the Doctor

New Who Review: The Day of the Doctor

It’s not often you get to describe an event as being fifty years in the making. even less so do you get to mean it.  Three Doctors in three timelines converge to give them all a chance to change a terrible moment in their collective past.

The Day of the Doctor
by Steven Moffat
Directed by Nick Hurran

The Doctor is in the present, in his most recent incarnation, picking up Clara, when he gets picked up himself, by UNIT, to investigate a mystery at the National Museum.  Meanwhile (well, I say meanwhile…) in his previous incarnation, he’s investigating a mystery in Elizabethan Britain, an attack by the Zygons that could lead all the way to the Queen herself.  And in another part of the Universe entirely, The War Doctor is making a decision that will put the lives of countless innocents in his hands, a choice that will darken and color his life for centuries to come.

Considering that it is physically impossible to create an episode that has everyone and everything that every fan wants, this episode was as close to perfect as could be.  It embraced plotlines that were started in the Davies era, tied in moments and points in Moffat’s own time of running the show, and did a job of undoing a dark moment in The Doctor’s history worthy of Geoff Johns.  I screamed out loud three times, and it would have been four, if one fellow had been able to keep his mouth shut.

THE MONSTER FILES: The Zygons only got one appearance in the original series, the eponymous Terror of the Zygons, but it was enough to keep the popular in the alternative media for years.  Shapeshifting beings, they invade by taking over from within, taking the forms of important people.  They got an off-camera return in The Power of Three as they tried to invade during Amy and Rory’s second honeymoon.

BACKGROUND BITS AND BOBS:Trivia and production details

Oh my GOD is this gonna be a long one.  This episode is packed with self-references and tips of the hat, as well as calling back to points from many other episodes.  I’ll see if I can hit them all…

THE QUESTION ISN’T WHERE, IT’S WHEN: More precisely, from when.  Matt Smith’s Doctor is clearly experiencing this adventure in the “present,” as in after the events of the last season.  Considering Ten(nant) is traveling alone, and is having the adventure he refers to when talking to Ood Sigma in the beginning of The End of Time, he’s clearly from a period between The Waters of Mars and that episode.  We don’t know exactly how much time he spent gallivanting about between those episodes, clearly long enough for his memories of the details of this paradoxical adventure (while still remembering the bits about the Virgin Queen) that he still saw a need to re-imprison the Time Lords with the help of The Master.

Similarly, The War Doctor is experiencing this adventure at the end of this regeneration.  But while we saw his “birth” in the Paul McGann mini-episode, we don’t know exactly how long he has been around, fighting in (and against) the Time War.  He was in his seven hundreds at the end of the original series, and nine hundred at the beginning of the new, so there’s quite a lot of years to spread around between Seven, Eight, and The War Doctor.

So in brief, we’re seeing all three Doctors having this adventure very near the end of their respective regenerations.  So each of them have seen all they’re going to see through their eyes, and that’s about the best time.

CALL FOR THE DOCTOR QUICK, QUICK, QUICK: Kate Stewart, the head of UNIT, daughter of The Brig, has a custom ring for The Doctor on her phone.
Also, note that The Doctor’s number is once again 07700900461, as it was in The Stolen Earth. About 2500 people thought that might be a working number (at least for a tie-in recording or bit of marketing, anyway) when that adventure aired, and tried calling it.  no idea how many will try it this time.

“Waste no more time arguing about what a good man should be: Be one”: They hit the ground running with the self-references.  I.M. Foreman‘s scrap yard was where we first met the Doctor, Susan and the TARDIS, lo those fifty years ago.  Susan attended Coal Hill secondary school, where she aroused the curiosity of teachers Barbara Wright and Ian Chesterton, who as we see here, now serves as headmaster.  Sarah Jane Smith did a bit of investigating, and tracked down Ian and Barbara (now Barbara Chesterton), and reported to her son Luke that they no longer appear to age.  Also, notice that as we see Clara erasing the quote from Marcus Aurelius on her whiteboard, the words “NO MORE” are in the center of the screen.

“Draft”: The Triumph Clara’s driving is the one The Doctor drove up the side of The Shard in The Bells of Saint John.  When last we saw Clara and The Doctor, she was not getting along with the TARDIS, now she’d shutting the doors with a click of her fingers.  Clearly quite some time has passed since the events of The Name of the Doctor – enough time for her to get a job as a teacher, and to make peace with the TARDIS.  And yet she and The Doctor still keep their “See you next Wednesday” relationship, as it’s clear she’s not traveling with him regularly, tho she has no problem with picking up and running when he pops by.

“Tell Malcolm we need new batteries” – Malcolm Taylor is the acting scientific advisor for UNIT, and was played by Lee Evans in Planet of the Dead, and when I heard his name, I let loose with my third-loudest shout of the evening.  If you folks think you were upset that Rose or Eccleston didn’t appear…
And those are presumably the “Ravens of Death” she claimed to have in The Power of Three.

“Nice Scarf” – Considering what we appear to learn at the end of the episode, that scarf MAY not be a replica.  It might have been a gift. From the original owner.
There’s a bit of debate going on as to exactly who Osgood is. Rich Johnson at Bleeding Cool seems to believe that she’s Kate’s daughter – while her first line was her calling “Mum”, I took that to mean the honorific “Ma’am”, and not “Mom”.  But we both noticed there was a UNIT tech named Tom Osgood in The Daemons, and a few of the prose stories, so that seems a more possible guess on her father, anyway.

“I’d be brilliant at having a job”: Well, he really does work for UNIT, when he’s around, and he did pretty well in the two jobs he took when he was helping Craig Owen in The Lodger and Closing Time.

“The High Council is in emergency session, they have plans of their own”: Those would be the plans set into action in The End of Time. We first heard of The Moment in that episode, as it too took place (partly, in flashback) during the end of the Time War.

“The Doctor has The Moment”: In a delightful bit of ingenious design, the initial gear-like design for of The Moment somewhat resembles the Antikythera mechanism, an Out Of Place Artifact found in Greece that (theoretically) could plot the positions of the stars to astounding accuracy.

“The interface is hot”: For those who are grousing that Billie Piper is not playing Rose, not my comment above.  If we were watching an adventure where The Doctor was traveling with Rose, we’d be watching a Doctor who had not yet met Martha, Donna Noble, the crew of Bowie Base One, a Doctor who had, in short, barely begun to live.  This was a way to have Billie a part of the show, while still giving us the best Doctor to experience the story. Also note that it’s a lovely parallel to Ten meeting Rose at the end of The End of Time, before they’ve met in that first adventure, Rose. The War Doctor meets her (or at least sees her visage) before he regenerates and meets (and saves) her in that department store.  So once again, The Bad Wolf was guiding them all to fulfill the almost predestined moment so far in the future.

“Elizabeth the First…you knew her, then?”: Based on what we see here, and what Ten implies later, we shall have to leave tactfully alone the question of what definition of “knew” is being used here… This is England 1562, 37 years before The Shakespeare Code, where we “First” meet the queen, and The Doctor is totally unaware of why she’d be so angry at him.  I expect that happens a lot.

It’s a machine that goes “ding”: It’s presumably similar to The Machine That Goes “Ding” When There’s Stuff, as seen in Blink. While that one was more tuned to temporal anomalies, this one is attuned to physical ones, like the energy expended by a shapeshifting alien.

“Is it important?” “In 1,200 years, I haven’t stepped in anything that wasn’t”” Another callback, this time to A Christmas Carol, when he said it about people.

“I need you to send me one of my father’s incident files”: She is almost certainly asking for the files on the incident we know as The Three Doctors, the tenth anniversary adventure.  As they had to do in the past, they had to come up with a way around using one Doctor, but not for the same reason. William Hartnell was not well at the time, an advancement of the illness that cause him to leave the show in the first place.  So he was not able to take an active part in the story, instead relegated to appearing via the scanner screen.  Ten years later, Tom Baker wasn’t able to appear in The Five Doctors, so they used footage from Shada in his stead.  Hartnell had already passed, so Richard Hurndall took on the role of the First Doctor.
For all the grousing many fans are making that they “left out Eccleston” from this adventure, it’s been verified via the man himself and he chose not to participate in the episode.  His departure from the series was not entirely cordial; no firm details have come to light because he’s a professional, but it’s generally understood there was no small amount of bad blood.
The reference to “Seventies or eighties, depending” is a sly nod to the fact that the Pertwee years of the show were filmed in the seventies, but were supposed to be taking place an unspecified number of years in the future, to try and explain the higher tech items that were sprinkled around.

“Reverse the polarity”: “Reverse the polarity of the Neutron Flow” was one of Jon Pertwee’s legendary catch phrases, but like “Beam me up Scotty”, usually misremembered.  That exact phrase was only used once in the series, and as a hat tip in The Five Doctors”, it was the shorter quote used here that got used in numerous episodes.

“Why are you pointing your screwdrivers like that?”: The War Doctor gives voice to many of the complaints old-guard fans have had about the new series – all the kissing, the Sonic Screwdriver acting more like a weapon (and a magic wand), and much more.  Not to mock the fans, but more to point out the fact that the creators know full well how much the show has changed. And indeed, it’s the constant change of the show that has kept it alive.

“We’ll need access to the Black Archive”: Of all the stuff in that warehouse, I spotted River Song’s Manolos, a Cyberman head, a Sontaran blaster and the chair they had Ten trussed up in in The End of Time, which at this point in time…hasn’t happened yet.  The Black Archive first got mentioned on Sarah Jane Adventures, in the episode Enemy of the Bane, guest-starring Nicholas Courtney in his last appearances as The Brigadier.

“You have a top-level security rating from your last visit”: The question is, is that just a continuance of the fact that everyone has their memories wiped as they leave, one of the many times that Clara has appeared in The Doctor’s past, or a precursor to an upcoming story?  Also on that board with the more recent Companions are Tegan Jovanka, Nyssa of Traken, Kamelion, Five’s short-lived android companion, even Ian and Barbara.  Also, photographed with Captain Erisa Magambo is Rose Tyler…but there’s a problem there.  The only time they met were in the alternate timeline of Turn Left.  So…where did that photo come from?

“We don’t have the activation code”: The numbers The Doctor scratches into the wall of their cell is 1716231163.  Or more clearly, 17:16 23/11/63, the exact date and time that episode one of An Unearthly Child was originally broadcast.

“Same software…different face”: We’re not talking about the screwdriver any more, are we, blondie?  Because later on in the episode, we find out that in a very similar way, The Doctor has been mulling a problem over for the same 400 years, one that he gets to solve himself, not by someone just opening the right door at the last minute.
Moffat is so so good at playing with time as a plot point.  Sending the activation code into the future by writing it on the wall, and the idea of the scan taking the long way round and finishing up just as it’s needed.

“Oh, you’ve redecorated…I don’t like it”: A twice-joked joke, back for a third time.  Patrick Troughton said it about Jon Pertwee’s TARDIS in The Three Doctors, and Eleven said it about Craig’s home in Closing Time.

“At worst, we failed at doing the right thing, as opposed to succeeding in doing the wrong”: What this episode does is essentially undoes an act that The Doctor has regretted for centuries.  But as is always true of situations like this, it has to be undone in a way so nobody KNOWS it was undone, otherwise any events springing from it will not happen as they did, and you get paradoxes springing up like dandelions. So that, more than any other, is why all the Doctors from the time The Moment was supposedly used had to believe they DID use it.  Only until after the present Doctor lives through his portion of the history can he be allowed to remember.  It’s a temporal version of eating your cake and having it too.

“Wearing a bit thin”: Which is exactly how Hartnell described himself shortly before the first regeneration in The Tenth Planet, ushering in the miracle that would keep the show going for five decades.

“I don’t want to go”: Technically, this is the first time he says that – he’ll say it again in The End of Time.  They even worked it into the script of An Adventure in Space and Time.

“I could be a curator”: He is the Curator.  The letter from Elizabeth I appoints The Doctor as official Curator of the Undergallery, “to be summoned in the event of any crises concerning it.”  Now, how he gets all the way back around to the time, place and form we see here, well, that’s all the fun is finding out, isn’t it?

BIG BAD REPORT / CLEVER THEORY DEPARTMENT: For once, the arc of the upcoming season might be a positive.  Gallifrey Falls No More, and clearly The Doctor wants to find it.  But there’s a problem.  They may not have been destroyed, but this is clearly still the Time Lords who saw no problem with breaking out of their temporal prison by destroying the Earth, with the goal of controlling all of time and space.  Now one could argue that it was more the mad plans of the Lord President (played by Timothy Dalton in The End of Time) nd the rest of the Time Lords (save two) fell into line.  But that’s an argument we heard around the middle of last century, and it didn’t fly too well or too often.  If I have the timeline right, The Time Lords will be banished back into the Time Lock after EoT, and find almost immediately that their plan was unneeded, as The Doctor saves the planet and shunts it off somewhere.  So in the time that has passed, have they come to their senses and spent their time rebuilding, or have the grown even more enraged as they pounded at the walls of their temporal prison?  It’s the same question Wilf asked in EoT – will the Time Lords’ return be a good thing?  A lot of possibilities.

“No , sir…all thirteen”: In two seconds, Peter Capaldi premiered as The Doctor, and his eyebrows have already garnered their own fandom.  It also verifies what has been assumed to be true since new news of the New Doctor came out: The next Doctor is the last of his current cycle of regenerations.  Moffat has stated clearly that the 12-regeneration limit is still in place, whimsical comment in Sarah Jane Adventures notwithstanding. So in addition to the search for Gallifrey, we’ll certainly hear more than a bit about him reaching the seeming end of his lives.  One has to wonder if the resolution of one plotline will resolve the other.

NEXT TIME ON DOCTOR WHO

In the more short-term, Silence Will Fall.

See you back here at Christmas.

John Ostrander: Time and Space and Remembrance

Ostrander Art 131124An unusual convergence of historical dates of different emotional resonances for me occurred this weekend – the 50th anniversary of Doctor Who, the 50th anniversary of the assassination of President John F. Kennedy, and what would have been the sixtieth birthday of my late wife, Kimberly Ann Yale.

Like many Americans, I remember where I was when I heard the news of JFK. I was in my history class at Quigley Preparatory Seminary North near downtown Chicago. The word that the President was shot came over the loudspeaker used for school announcements, followed a little later by the news of his death. I was stunned, in denial. I remember little else of that day. I think school was closed and we were sent home.

Kim’s dad was a Navy chaplain and they were living on-base at the time. She later told me how she was at school off-base and had to hurry back. The base was going into lockdown after the assassination and if she was outside when the gates closed, she wouldn’t have been able to get home. That was her tenth birthday.

For me, I place the days of my youth between two sets of gunshots – the ones that killed JFK and the ones that killed John Lennon on December 8, 1980. I was 14 for the former and 31 for the latter. Both gave me a slightly darker sense of the world around me and the country in which I lived. Both events inform my writing to this day.

The day after Kennedy was killed, a new TV series was launched over in the UK – Doctor Who. The series tells of the adventures of a time-traveling alien Time Lord and his (usually) human companions through time and space. When William Hartnell, the original actor playing the part, became too ill to continue the series, the producers came up with a key concept to the longevity of the series: when a Time Lord faced the death of his mortal body, it can “regenerate” into a wholly new form and, even more significant, a different character. Most important, there’s a whole new actor with a new interpretation of the main character. That, I think, has been key to keeping the series fresh and vital.

I met Kim through Doctor Who. I loved the Doctor and wanted to be the Doctor. I also knew that the odds, then or now, of an American ever playing the part was virtually non-existent. However, I was an actor in Chicago and a sometimes playwright and less often a producer. So I conceived of an idea of getting the rights to put on a play version of the Doctor in Chicago.

I managed to arrange a meeting with show runner John Nathan-Turner during a combined Chicago Comic Con and Doctor Who Convention (sometimes referred to as the Sweat Con since the hotel’s air conditioning unit proved inadequate to the number of people attending and outside it was a 106° Chicago August day). John Nathan-Turner brought along Terry Nation (creator of the Daleks for Doctor Who) and Mr. Nation brought along a lovely young woman with big eyes, curly hair, and a megawatt smile who was his assistant for the Con. That was Kim.

To describe Kim as a Doctor Who fan doesn’t begin to describe it. She was also very knowledgeable on all things Time Lord and I used her an a consultant as I developed the script. Nothing else developed at the time; Kim was married and I don’t fool around that way.

We became a couple only later, after the play project had folded and her marriage had broken up. My romantic life at that point was, if anything, even worse than my theatrical career. I’d given up dating; I hadn’t seen anyone in almost two years. It just seemed too painful to try. Kim and I had kept in touch and she was also a big fan of my work on GrimJack, the comic book I had created for First Comics.

I should note here that Doctor Who was an influence on creating GrimJack. It might seem that the two couldn’t be less alike but one of the things I loved about Doctor Who was that you could do any kind of story. They did horror, they did Westerns, they did everything and I wanted to do that with GrimJack. In that sense, he was my Doctor. Later, we showed he could even reincarnate. There is a darkness to the series that I can, in part, trace back to the assassination of Jack Kennedy.

Kim wrote to me about a specific issue of GrimJack that had affected and resonated with her; I found it a little strange that she would write since we lived less than a mile apart and she had my phone number. I told her this and she replied that some things were best expressed in writing. What can I say? I’m a writer; I understood that. Kim was a writer as well. That night was the night our relationship changed. That was the night we started to become a couple.

It’s just coincidence, I suppose, that the three dates are in such proximity to one another. We assign meaning to dates, both as a people and as individuals. It’s an accident that the significant anniversaries of the assassination, Kim’s birthday, and the launching of Doctor Who are in conjunction this year. The connections that I see, that I feel, among them are mine. We are all the results of the various events that have happened in our lives and none of them occur in a vacuum. This weekend, I remember and honor three that were significant to me.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Saturday Morning Cartoons: Fangirls!

Saturday Morning Cartoons: Fangirls!

http://www.youtube.com/watch?v=IErBgfATPTA

Leigh Lahav would like to welcome you to the fangirl bimonthly update meeting!

Marc Alan Fishman: The Shoot Promo on Comics

Fishman Art 131123The professional wrestler C.M. Punk truly made his mark and broke free of the shackles of mid-card obscurity by way of his infamous pipe bomb shoot promo. For those not in-the-know, a shoot in wrestling is an interview (or soliloquy some of the time) wherein said grappler breaks the fourth wall. As relived in this week’s WTF podcast, Punk was vivid in saying that this promo was done because he was at the end of his rope.

With the WWE wanting him to resign for three more years and Punk decidedly against continuing to not be the guy on the roster, Vince McMahon allowed him to air his grievances live on their Monday night broadcast. If Punk captured the zeitgeist, he’d be a made-man forever in wrestling (which, by my count, is a little over two years). If he failed, he’d be gone, buried back in VA halls wrestling for gas money, and be nothing more than a footnote in WWE’s now 50-year history.

The shoot worked. Punk resigned, and ruled the company with an iron fist until he literally could give no more. The glass ceiling was shattered on the “norm” of the product, and wrestling now is forever changed. Well, maybe not, but I’ll circle back round that idea in a bit.

Why do I bring this up? Well, for one, because it’s topical to me. I was just listening to the podcast on my way home from work tonight. Beyond that, it dawned on me that with all the coverage and snark that exists in the world of comics… there is no C.M. Punk. There is no shoot promo to cut, on any live broadcast. There’s only guys like me; indie creators and op-ed columnists chasing windmills and yelling into the wind. But this here is my stage. This here is my time. So, allow me to speak ill of the industry I wish every damned day I was a part of, but know full well I’ll never actually see.

The WWE’s CEO lives a double life as an on-screen performer. He enjoys his product not only for the money it makes but for the crafted product it actually is. Warner Bros and Disney are just faceless boardrooms ruled not by the glee in little kids’ faces, but cold hard cash. Their publishing branches exist for one reason, and one reason only: to keep the movie and TV machines churning. Don’t think for a second that your issues of Batman mean any more to the execs in Burbank than a roll of teepee. It doesn’t. That rag in your hands? The one that has the blood, sweat, and tears of a dozen hard working men and women broiled into its pulp? It’s an incubator of ideas for a movie or cartoon show. It’s a crockpot keeping the license warm. It’s a mosquito light that keeps the most vocal fans distracted. Go ahead, post your death threats if we make Afflec Batman… but hey! Look over there! It’s Zero Year!

We all desire the notion that those behind the rich mahogany desks (being packed up in Midtown Manhattan in 18 months) lie overgrown fanboys and girls that just want to knock the socks off us, the ever-enduring fans of a dying medium. But it too is just a pipedream. The suits that run your comic book publishing companies are shackled to boulders far too big to drag up the mountain. Beyond the goodwill garnered by our little niche market, and the fervent fans that exist at comic cons lie those aforementioned suits in bigger boardrooms that still demand that at the end of the day everything be profitable. Profits occur when sales increase. Sales increase when gimmicks, #1s, and creators that draw a crowd are given the top spots. When a book stops earning what meager profits it can when it’s hot, it’s tossed out with the bathwater and things start again. The era of continuity is long dead. All hail the retcon.

The closest thing we had to C.M. Punk in comics was Robert Kirkman. He took his indie prowess and love of the craft and turned out The Walking Dead. Now, Kirkman is a suit. Behind a desk. Of a multi-media empire. He won the championship belt, and didn’t even have to work for the man to do it. Now, he is the man, and no longer a voice of the voiceless. Like so many though, atop his mountain of money many years ago he gave birth to his manifesto wherein he challenged the industry to veer towards creator-owned projects. Hey Robbie! Trickle-down economics don’t work in real life or in comics. If every known talent jumped off their pedestals at Marvel and DC to come make indie books at Dark Horse, Image, and Boom! the line to replace them would still be wrapped around the vacant Midtown offices and land somewhere in the opposite ocean. Everyone is replaceable when the end goal is product. Not good product. Just product.

The fact is this: After he changed the world and held the WWE title for longer than any wrestler in the last two decades or so, Punk took a much-needed break. When he returned, he was just as our resurrected Jean Greys, Steve Rogers, or Hal Jordans… a hero to be celebrated for what he was, not who he is now. A long and listless program against his on-screen mentor, and Punk is now booked right back in the mid-card where he started. The comic book industry has no panacea to cure itself of the ills we rally against. Just as the WWE fans buy their John Cena Fruity Pebbles Lunchboxes… so too do we comic fans flock to every worthless gimmick they shove on the racks. We make our excuses, we plunk down our money, and we bitch about it on the Internet later.

The only way to make change, is to make it. There is no utopia. There’s only revolution.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

The Tweeks review “Shrek: The Musical”!

http://www.comicmix.com//wp-content/uploads/2013/11/shrek_home.png

He’s big, green, loud, obnoxoius, and is like an onion. He also sings, dances, and saves the princess. And now, there’s a DVD and Blu-Ray edition of the Broadway musical based on the Dreamworks animated movie based on the book by William Steig. (Whew!) This week, the Tweeks review the musical version of Shrek. Take a look…

The Point Radio: The Reasons They Remade OLD BOY

PT112213

The minute cinema fans heard that the classic film, OLD BOY, was about to be remade, the controversy began. Now, two stars, two directors and one writer later, the film is headed to theaters. Writer Mark Protosevich talks about the burden of getting it right, and star Michael Imperioli explains why Spike Lee is really the only man for the the directing job. Plus comedy’s angry man, Lewis Black, reveals how he first got excited and ABC’s SHIELD tries a new direction.

THE POINT covers it 24/7! Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Martha Thomases: All You Need is Love

thomases-art-131122-150x136-4745173The Fifth Beatle: The Brian Epstein Story by Vivek Tiwary and Andrew C Robinson, with Kyle Baker. 144 pages. Dark Horse. Available in both hardcover and electronic editions.

This week, I’m kvelling all the time. The Fifth Beatle is finally in the stores.

Let me explain. About a dozen years ago, I met Vivek Tiwary and we quickly became friends, even though it’s only recently I’ve pronounced his name properly. We met because we had friends in common, friends who inspired us to do some good, in Vivek’s case quite amazingly. (Really, watch the video at the link. It’s wonderful.)

Community service is all well and good, but what really bonded us was comics. We are totally geeks together. We would walk around various conventions (both Book Expo and the San Diego Comic-Con), sharing the kind of fangasms such events inspire. I even helped him take his young son around.

During these walks, and on other occasions, we would often talk about his various projects, He was working on turning Green Day’s American Idiot album into a theatrical musical, and he was working on a screenplay about Brian Epstein. Vivek is quite passionate on the subject of Epstein, the Beatles’ first manager. He first looked tried to find out about him 21 years ago, when he was in business school. There was hardly any information. Over the decades, he pulled the story together. Vivek had a lot of experience as a theatrical producer, but film was a new medium for him. He had written a screenplay, but getting it made was an arduous process.

Why not make it into a graphic novel while you wait, I suggested.

And so he did. He found Andrew Robinson to collaborate on the art (and I introduced him to Kyle Baker, who drew the hilarious scene in the Philipines), and off they went. Thanks to my ComicMix co-columnist Michael Davis, we got the book to Dark Horse.

Vivek didn’t fall into the trap that catches too many writers from other media, including me. He doesn’t cram the page with words. He knows how to let the pictures tell the story. He trusts his artist to convey the pace, the emotions, the energy of the story. Andrew doesn’t let him down. The likenesses are evocative without being overbearing. People who knew some of the characters in real life tell me he nailed the body language as well as the bodies. The use of Beatle lyrics is lovely.

There is a rhythm to the story that is like a great rock’n’roll song. You get caught up in the energy when you read it the first time, and then you can’t get it out of your head.

And now, you have the book in your hands. You’re welcome.

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander