Monthly Archive: January 2015

Martha Thomases: Superhero Salespeople

Girls like superheroes. I can prove it, because a major media division has done the market research for me.

You can learn a lot about what people think of you by what they try to sell you. I don’t mean this personally. It’s not like some guy you meet at a conference who sizes you up and either offers you one of his room keys or life insurance, depending on his evaluation of your sex appeal.

No, I mean this on a more macro level. I mean the multi-billion dollar industry dedicated to discovering what you like and using that data to sell you crap.

For example, when I watch the network news in the evenings, I see a lot of ads for prescription medicines for diabetes, arthritis, and erectile dysfunction. From this, I understand that the advertisers think the people who watch the news are old, infirm, or both.

This is in stark contrast to the ads on The Daily Show with Jon Stewart, where the ads are all new movies, new video games, beer and Doritos. This is where Millennials get their news.

If I have Maury Povich on while I do my morning chores, I see ads for payday loans, attorneys who specialize in personal injury lawsuits, and for-profit colleges that offer two-year (or less) degrees. From this, I understand that the advertisers think I am an unemployed idiot.

When we get into prime-time television on the major networks, the stakes are higher. The audiences are larger, and the advertising rates more expensive. The networks don’t compete to attract fringe audiences. They want the mainstream.

Not just mainstream, but young, unattached, 18 – 29 mainstream. People who are just starting their independent lives … and forming their brand allegiances.

And to television networks, mainstream means both men and women. Some shows may skew more male or more female, and we can tell which is which by the advertising on the program. We see beer and Doritos when the target is the bros. We see make-up and fashion when the target is female.

When I watch the current crop of shows based on superhero comics – Arrow, The Flash, Gotham, Constantine, Marvel’s Agents of S.H.I.E.L.D. – I see a lot of Revlon commercials.

Doesn’t the conventional wisdom maintain that women don’t like superheroes? Why are women watching these shows?

I have theories, none of which I can prove without procuring the services of expensive market research firms. However, in the absence of evidence, here is what I think:

  • These shows feature a variety of attractive young people, many of whom are in great shape but none of whom are so over-endowed that we wonder how they can stand up. I mean that for the actors as well as the actresses. They are better-looking versions of people the audience might know in their real lives.
  • A substantial number of the writing teams include women. I don’t have the percentages, but, while I would guess it to be less than half, I think it’s more than a third. This means that there are women creating dialogue that, to them, sounds like something a woman would say if she found herself in a situation with, maybe, Valkyries.
  • The emphasis is on action, not violence. This might seem like hair-splitting (but watch long enough and there will be a commercial for a shampoo that will fix that), but there is surprisingly little gore on most of these shows. There are fights, but they aren’t bloody. Major characters rarely get killed, and not for the sole purpose of motivating the male hero. There aren’t a lot of women in refrigerators.
  • The female cast members often have their own storylines that are not dependent on the male cast members to be interesting. This is most true on S.H.I.E.L.D. and absolutely true on the spin-off mini-series, Agent Carter, least true of Constantine (at least so far), but even then it is more true than it is in the current version of the comic on which it is based.

None of these traits seems to be turning off male viewers. If it does, the advertisers have decided that the women in the audience will spend enough money to be worth the loss.

I hope that the success of these shows encourages editors to hire more women to create mainstream comics. I hope the success of these shows encourages publishers to offer comics that will appeal more to female readers.

But mostly, I want to see a Felicity Smoak / Melinda May team-up.

 

ComicMix Six: Top Six Movies of 2014

With the 2014 cinematic year in the books it’s time to do the time-honored tradition of the film reviewer, making a list of the top movies of the year. It makes us feel important and it’s an easy ay to fill space during the dreadful early January period for movies. Here are my top six movies of 2014. I’ll be back in just a little bit with the six worst movies.

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6. [[[Godzilla]]] – I wasn’t big on Godzilla when it came out, I though that it cheated me out of many of the giant monster fight that they owed me when I paid $15 for a ticket. But when I was gathering my list of top movies of the year I remembered the movie quite fondly. It’s suspenseful and, honestly, has plenty of action. It doesn’t reach the frenetic peaks that Pacific Rim did but then again Pacific Rim did not make my top 10 list last year. With more Bryan Cranston, this might have been my favorite movie of the year.

Tweeks: From Darkest Peru to the Big Screen, Paddington Bear

paddington-poster-s-8840026The Tweeks grew up listening to Stephen Fry reading Michael Bond’s Paddington series on all of our car trips giving us a great fondness for that bear,  worrisome Marmalade habit not withstanding.  So, of course we had to get straight to the cinema (with a group of Brit ex-Pats — who really really love their Paddington) as soon as the movie opened in the US.  We didn’t even know The Doctor was in it, but we think it serves as proof to any one still wondering if Peter Capaldi holds a connection to the younger Whovian set!  Staring Downton Abbey’s Hugh Bonneville and the cutest CGI bear ever, it’s a great movie for the whole family.  No, really.  Adults will love it too.

Dennis O’Neil: The Ice Man Fallith

Ye Ed here. Denny’s words will not appear in this space this week.

Remember all that ice and snow and stuff? You might have some of your own. So does Denny. It’s possible you may have slipped on the ice at some time during your ventures around the sun; well, so has our erstwhile columnist.

Marifran tells me he hurt his back. That’s great – Denny didn’t break anything and hopefully will be back at the Mighty Wurlitzer before too long.

It was 75 Years Ago The Shadow hit the Comic Racks

shadow-comics-e1421883416738-1901679Seventy-five years ago, The Shadow and Doc Savage made their four-color debut on January 21st, 1940 in SHADOW COMICS #1, which also featured the first comic book appearances of Nick Carter, Bill Barnes, Frank Merriwell, Iron Munro and a variety of other popular Street & Smith pulp characters.

With the possible exception of WALT DISNEY’S COMICS & STORIES, it is unlikely that any other comic magazine ever debuted with as many pre-proven famous characters. The Shadow had already starred in nearly 200 pulp novels and several films, while his weekly radio show had the highest audience ratings in daytime radio. Iron Munro was based on John W. Campbell’s novel THE MIGHTIEST MACHINE, one of the inspirations for Jerry Siegel’s SUPERMAN, and featured the exploits of a human born and raised under Jupiter’s high gravity who arrived on Earth to discover that his denser molecular structure gave him invulnerability, super strength and the ability to leap huge distances. Doc Savage’s monthly pulp magazine was reputed to have the highest per-issue circulation of any hero pulp, while Nick Carter and Frank Merriwell had been American icons going back to the Dime Novel era of the previous century. SHADOW #1 also featured adventures of CRIME BUSTERS’ distaff detective Carrie Cashin, the Air Trails Boys and famous Street & Smith dime novel properties including Diamond Dick and Horatio Alger’s Bob Burton and Mark the Match Boy.

In creating the earliest comic book superheroes, Superman’s Jerry Siegel and Joe Shuster, Batman’s Bob Kane and Bill Finger, Joe Simon, Jack Kirby, Stan Lee and Will Eisner took inspiration from the supermen of their own youth: legendary pulp heroes like The Shadow, Doc Savage, Zorro and The Whisperer. Bill Finger even acknowledged that his “first script was a take-off on a Shadow story” and that “I patterned my style of writing after The Shadow.” Bob Kane agreed, saying: “I suppose both The Shadow’s cloaked costume and double-identity role, as well as the extraordinary acrobatics of Douglas Fairbanks, Sr., did more to my subconscious to create the character and personality of Batman than any other factors.”

Though Street & Smith had pioneered the hero magazine genre with its SHADOW and DOC SAVAGE pulps, the nation’s largest publisher of pulp fiction magazines was slow to move into the rapidly expanding comics market, initially rejecting comics because it avoided publishing material that couldn’t be printed on its own Manhattan in-house presses.

In 1937, Shadow wordsmith Walter B. Gibson had attempted to interest Street & Smith in a Shadow comic book after noticing that the new comic strip reprint magazines were successfully competing for newsstand space with THE SHADOW MAGAZINE. When promotions manager William de Grouchy pointed out that the most popular newspaper strips had already been bought up by rival publishers, Gibson countered, “Why not get up some and sell them to syndicates and get the rights to use them in comic books?  And we should begin with The Shadow.” Unfortunately, the executive initially rejected Gibson’s suggestion which could have resulted in The Shadow and other Street & Smith characters debuting in comics ahead of Superman and Batman (whose first appearance in DETECTIVE COMICS #27 was an unauthorized adaptation of “Partners of Peril,” a 1936 Shadow pulp novel).

Despite this delay, SHADOW COMICS was still one of the first comic books to bear the name of its lead character, closely following on the heels of AMAZING MAN COMICS, FLASH COMICS and BLUE BEETLE COMICS, and preceded the first issue of BATMAN by several months. However, despite its title, SHADOW COMICS was actually an anthology comic featuring a wide range of characters, and had originally been planned as ASTOUNDING COMICS and advertised as STREET & SMITH COMICS, before being retitled SHADOW COMICS in the eleventh hour to tie in with the release of Columbia’s THE SHADOW movie serial.

SHADOW COMICS sold an average of 425,000 copies per issue in 1941 and continued for 101 issues, with its final issue appearing in 1949. The Doc Savage and Bill Barnes four-color features introduced in its first issue were soon promoted to headline their own comic anthologies, with DOC SAVAGE #1 debuting in April 1940 and BILL BARNES later that same year. Supersnipe (“the boy with the most comic books in America”) also debuted in SHADOW COMICS before moving on to its own successful comic book series.

Fifteen years after the Golden Age series ended, THE SHADOW was revived first by Archie’s Radio Comics imprint, and was later published by DC Comics, Dark Horse and Dynamite, and also appeared in a Marvel Comics graphic novel by Denny O’Neil and Michael Kaluta. The original Shadow and Doc Savage pulp novels are also currently being reissued by Sanctum Books trade paperback imprint.

Mike Gold: Batman Resurrected

michael-keaton-8209952No, that’s not the title of the next Batman movie. Well, it might be. I suspect Warner Bros. hasn’t thought that far ahead. They’re too busy trying to make their Aquaman movie without giggling themselves to death.

A couple nights ago I was watching Batman Returns – you’ll recall that was Michael Keaton’s second and final Batflick. At the time of release, which was 1992, I thought it was an uneven movie. By and large, I liked the Catwoman stuff but I thought the Penguin parts were… foul. It’s been quite a while since I’ve seen the movie, so when I surfed past it at a quarter-to-two in the morning, I thought it might be fun to check it out with my older and even more jaded eyes.

I was amused to discover the movie was broader than I remembered, but just as dark. It was almost as if Stanley Kubrick made the movie as a tribute to the 1960s teevee show. The Catwoman scenes weren’t as strong as I remembered, the Penguin scenes were better acted (but no better realized) than I thought, and the scenes with Michael Keaton that didn’t include either villain were, by and large, really good.

So what happened in the past 22 years? Certainly most of us enjoy the avalanche of Marvel Studios movies, the so-called Marvel Cinematic Universe that, properly, excludes Spider-Man, the X-Men and the Fantastic Four. But the tone and texture of the DC Movie Universe should differ from the tone and texture of the Marvel Cinematic Universe, just as your average DC Universe comic book differs from its Marvel counterparts – when done right.

(Yes, you read that right: I referred to the DC movies as a separate “Universe” from the DC teevee shows for one simple reason: they are separate. Completely separate. Needlessly and confusingly separate.)

So… what changed? Batman Returns really isn’t dated. Why would I be so taken with Keaton’s work this time around?

One word. Birdman.

You know the concept: an on-the-ropes actor best known for his playing a costumed superhero on the big screen tries to resurrect his career and give his life meaning by directing and starring in a Broadway play. For this effort, Keaton has been awarded top acting honors from the Screen Actors Guild, BAFTA, the Independent Spirit Award, the Satellite Award (from the International Press Academy, not to be confused with the Hollywood Foreign Press Association’s Golden Globes) and the AACTA International Award for Best Actor – that’s the Australian Academy of Cinema and Television Arts.

Keaton has also received an Oscar® nomination for Birdman, in a particularly tough category this year. “It’s an honor just to be nominated…”

I always liked Keaton, and he really knocked me over in Clean and Sober. But Birdman surpasses his previous efforts because he knows we will conflate his character with his career. He relies that pre-existing relationship, and he pulls it off magnificently.

I don’t think Keaton’s career has been on the ropes, but it was no longer as high profile. I suspect he liked it that way. But, post-Birdman, he is an A-Lister once again. And this is strictly because he decided to do Batman in the first place – and because he thought it over and appreciated what that meant to both him and his audience.

All top-drawer superhero actors age… with a few unfortunate exceptions. The plot to Birdman is all about what you do with yourself after you shed your tights. Keaton figured it out.

Brilliantly.

(“Oscar” is a registered trademark of the Academy of Motion Picture Arts and Sciences, so watch your ass.)

 

Box Office Democracy: Blackhat

Blackhat has a germ of a good movie buried in it; I was very interested to see how a director like Michael Mann would make a movie where most of the action happens in a virtual world. Hacking is perhaps the least visually interesting thing there is you’re probably doing something very similar to it right now while reading this article. Early in the film there are signs that Mann plans to tackle this dilemma there are sweeping, focused, shots of the inside of computers that switch to shots of code moving through virtual space. Unfortunately, it seems that Blackhat completely lost its collective nerve in this regard as after the first act the movie basically refuses to return to any kind of hacker stuff and just becomes a bad action movie.

The clichés in Blackhat are so brazen that I had to stop and consider that it might be some kind of brilliant subversion of the form, it isn’t. Viola Davis plays an FBI agent who cares more about stopping criminals than following the rules because her husband died on 9/11. Chris Hemsworth talks about being in prison and sounds like a professional wrestler doing a bad interview segment. Characters die but usually only after they have a moment of catharsis with another character. These Are things that have been tired and overdone longer than I’ve been alive and I can’t understand why anyone thinks it can fly anymore.

I always hate being this person but the movie is so spectacularly implausible that it destroys my suspension of disbelief. The movie opens with a nuclear reactor exploding and our heroes are walking around inside of it within a handful of days and perhaps this isn’t common knowledge but nuclear meltdowns make places completely inhabitable for centuries. They follow that up almost immediately by having a hack push the price for soybeans up by 250% and that’s almost equally impossible. There are so many ways to make money if you’re a crazy genius hacker and I wish they had picked one that wasn’t completely impossible. Furthermore, I don’t think you can have a private army roving through and shooting up Hong Kong murdering police whenever you want without having some kind of response from the Chinese government. These are immersion destroyers.

This isn’t directly related to the quality of the movie per se but I spent a lot of time focused on the aesthetics of Chris Hemsworth in Blackhat. He’s so much less bulky than he is when he’s playing Thor and I can’t decide if I think this is his natural size and he bulks up for Marvel films or if this kind of dramatic change in physique is just par for the course if you’re in the Chris Hemsworth position in Hollywood these days. He spends an incredible amount of time wearing button down shirts with the buttons open to the navel which is a look I’ve never seen in real life and can’t imagine a context where it makes sense outside of a beach. It felt like objectifying of Chris Hemsworth in a way that I’m quite surprised to see in a movie seemingly exclusively aimed at men. I don’t know how many women you can get to a rather violent movie advertised as a dry cyber crime film just by having a bunch of strong PG-13 male nudity. It’s another curious choice in a movie that can’t stop making head scratching decisions long enough to string together anything remotely coherent.

The Point Radio: John McGinley – No Doctor Cox No More

You loved John McGinley in SCRUBS and now he’s part of the TBS comedy, GROUND FLOOR. John talks about his fairytale start in movies and why his GROUND FLOOR character couldn’t be more different that Doctor Cox on SCRUBS. Then, THE BLACKLIST is back for the second part of their sophomore season, and it kicks off with a choice time slot right after NBC’s broadcast of The Super Bowl. Star Megan Boone and EPs Jon Bokenkamp and John Eisendrath tell us why this is a great place to jump into the series.

On Friday, we celebrate the return of KING OF THE NERDS on TBS. They’ve really upped the game this year, and we’ll tell you what’s coming up.  Be sure to follow us on Twitter @ThePointRadio.

REVIEW: Glee the Complete Fifth Season

Glee Season 5So, when did Glee go off the rails for you? I began tiring of the show in the third season, stuck around for one more and realized it couldn’t make up its mind about the type of series it wanted to be. Part of the blame goes to Ryan Murphy and Fox for falling so in love with their core characters that they wouldn’t let them grow up and leave high school. While a spinoff set in Manhattan had been considered and discarded, trying to have it all didn’t work either. After seeing the fitting tribute to Cory Monteith, I bid Finn Hudson and the rest of Lima High an overdue farewell.

When Glee the Complete Fifth Season arrived for review, it gave me a chance to see if I made the right decision or not. The series’ musical numbers remain strong as ever but it also remains maddening. On the other hand, the various social topics it had addressed makes the show wonderful drama but the rest of it is set in a world so divorced from the one we live in, it gets infuriating.

First, the cast is too largely, too spread and too unwieldy to properly focus on one set of characters. We have Rachel, Kurt, and Santana in New York, Mercedes in Los Angeles and everyone else in Lima, OH. But, we have the originals poised to graduate and the newcomers still looking to get themselves properly established in the hearts and minds of the audience.

You still have all the adults with their own issues from Mr. Schu and Emma starting a family to Sue deposing Principal Figgins and managing to somehow shut down Glee Club.

And while the students never seem to have any classes or homework or trouble juggling extracurriculars, homework, family obligations and the like, it beggars the imagination that not one but two of the cast are such geniuses that they fight over Valedictorian. It would have been nice to see the school wrestle with the arrival of the Common Core curriculum or the pressures of standardized testing on both faculty and students.

Rachel’s assent to Broadway is the stuff of legend and her dream come true (we could have satisfactorily ended the series when she debuted) but for her to actually give it away for television makes little sense along with the decision to use Santana as her publicist.

The show veers from one emotional note to another without a lot of proper foreshadowing or setup so character traits come and go, as do their romantic feelings. Of the newcomers, the most intriguing was Marley who is gone early on after revealing her heretofore unknown songwriting skills, which conveniently come into play when the club needs a song at Regionals. And then there’s the horrid unaired Christmas special, held over from 2013 and a sad way to end the first half of the season.

This season saw the show limp to its 100th episode which Murphy and Brad Falchuk used to trash the club and scatter everyone to the four winds. As centennial episodes go, it was above average but stung with unrealistic events. Eight episodes later, the friends find themselves in many unexpected places, leaving the viewer to wonder how the sixth and final season, now airing, would tie things up.

The high definition transfers on the six disc DVD set are fine although it is noteworthy Fox has not released this on Blu-ray. As usual, the set comes with its patented Glee Musical Jukebox, allowing viewers to go straight to the musical numbers.

The smaller than usual extras include Gleeful: Celebrating 100 Episodes of Glee (8:31) with Matthew Morrison (Will Shuester) and the cast members fondly looking back when they were a phenomenon that had not been anticipated. There’s also Glee in the City (13:34) where producer/director Ian Brennan and actors Kevin McHale, Darren Criss, Amber Riley, Chris Colfer, Chord Overstreet, Adam Lambert, and Lea Michele talk about the story possibilities by being set in the center of the universe.

Review: Citizens of Earth

Allow me to be blunt – if you’re a fan of old-school RPGs, cease all bodily functions not controlled by your autonomic nervous system and obtain a copy of Citizens of Earth.

If you played the Super Nintendo classic Earthbound, you’ll recognize its inspiration of this wacky little RPG, out today for PC, Nintendo 3DS, Wii U and PS Vita.  From the spacey soundtrack to the map design, even down to the lava-lamp graphics behind the baddies in the random battles, the game makes a comfortable home in the classic’s footprint.

This is what's known as "hanging a lampshade on it"

This is what’s known as “hanging a lampshade on it”

You play the newly-elected Vice-President of Earth, choosing to make a visit to your home town for a brief respite before your new career.  Alas, all is not well on the homestead – the town is surging with anti-you protesters, the manager of the local (and highly addictive) coffee shop has vanished, and more weirdness to come. The true threat that faces you and your compatriots remains hidden until well into the game, and it’s as out of left field as any surprise in any classic RPG.

You quickly begin recruiting local citizens to join your ragtag band of investigators, including your mother, brother, an odd-smelling conspiracy theorist, and the local donut chef.  Other recruits don’t unlock till later as more of the map is unlocked.  Their various powers and attacks provide a lot of ability to customize your combat strengths, as well as team bonuses for having certain members in your party. from changing the weather and time of day, to changing the difficulty from candy from a baby to what oldsters like me call “Nintendo-Hard.”

The game is funny; silly, even, with lots of wacky dialogue and throwaway gags as you read random signs and books. Lots of recorded dialogue by a strong cast, and a sound palette that keeps the old school feel while staying technically advanced.

The strength of the enemies jump up quickly once you make your way to the next  play area, leaving you to do some good old grinding. The enemies are as wacky  as they are difficult, from roving protesters to the punnish “Telefawn” and “Bubblebee,” there’s a constant variety of new monsters and foes to fight.

The game wears its throwback badge with pride, but can still hold its own with any of the recent RPGs we’ve seen recently, especially on the handhelds.  The game plays very well on the Vita, with the option to interact with the touchscreen as well as the keypads.

There’s not enough funny being put into games nowadays. Citizens of Earth is a welcome breath of fresh air.

Citizens of Earth is available for download on PC, Wii U, Nintendo 3DS, PS4 and PS Vita.