Monthly Archive: October 2015

Molly Jackson: Wokka Wokka!

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New York Comic Con is this week, which means I have way too much to do and so not enough time to do it. Let’s be honest, I am so behind in my planning, I’ve decided to ignore it all, veg out and watch TV. So, I’m relaxing with The Muppets.

Have you watched the new Muppets TV show yet? It’s a fun diversion, especially with prep work looming overhead. Now, I am too young to have watched the first series, but I remember watching the reruns as a kid. This brings me back to those happy memories and feelings, mostly because I am still a kid.

The current series has been billed as The Muppets for grown-ups documentary style series, similar to The Office. We watch the whole Muppet family work together on Miss Piggy’s late night show. All the old favorites are there, plus a few of the lesser known characters get featured along with some new additions to the team. You have Electric Mayhem as the show’s band, Fozzie as the announcer, Kermit as the producer, and Statler & Waldorf as permanent audience members, but not in their skybox.

In this, we see another side of the Muppets. Yes, we still get some musical numbers and some physical comedy, we also get relationship jokes and workplace drama. (Animal is apparently a player. Who knew?) The show still has a ton of guest stars but they have meatier storylines and appearances in each episode.

In case you haven’t seen the news, there are family groups complaining about the kid-friendly characters being shown in a grownup environment. While the premise is not exactly kid-friendly, the show can be. Most of the “adult” jokes are delivered in a way that most kids would miss them. Like every really good kids movie, some jokes are only meant for the parents. If anything, I think most kids would find those storylines boring.

Check it out if you get a chance. Let your inner child and your outer adult both enjoy what The Muppets have to offer.

Mike Gold: Scott Allie and the Temple of Doom

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This may come as a surprise to some of you who know me, but I honestly believe that people can redeem themselves. I believe in second chances, and I try to reserve my interpersonal cynicism for, oh, say, Republican presidential candidates. More important, I also believe that every man, woman and child on the planet engages in great acts of assholedom from time to time. Ain’t nobody walking on water, and all our houses have their glass wings.

I also understand why most people who have been subjected to great acts of assholedom might not feel so charitable at that time. We’re hurt, angry and abused and we feel in our guts that we’re entitled to some relief – even if such relief is merely howling with the wolves. Such is human nature. Dogs and cats generally handle it better, and we’d all do well to remember that.

You may be familiar with the incident involving Dark Horse executive editor Scott Allie. Full disclosure: whereas it’s been a while since I’ve seen him, I’ve always liked Scott and I admire his work. As far as I’m concerned, he’s an okay guy.

But, then again… I do not drink alcohol and therefore I do not hang out at convention bars. I used to debate politics and the Cubs at various Chicago taverns back in the day, but all of those joints have been consumed by ferns. Now that I’m a bona fide alter cocker, I tend to slither around back alleys with a joint and a friend. But I do know that bars are great places to get drunk, and some people who drink too much in these environs tend to temporarily join the aforementioned forces of assholedom.

According to published reports, Scott groped writer Joe Harris at a San Diego party, and Joe, understandably, took umbrage. That seems like an appropriate response. Joe didn’t take out a gun and blow Scott’s hands off. Graphic Policy’s Janelle Asselin wrote a piece discussing Scott’s behavior, detailing how this was not a one-off event and this behavior has been common knowledge in Dark Horse circles for a long time. Okay, we’re still cool: this is what happens when you act like an asshole in public.

Then Janelle wrote “the truth is that Allie is a symptom of the problems in our industry,” and I’m not certain that’s fair. I’ve been in this industry for 40 years now, and, yes, I could come up with a list of people I believe have had serious substance abuse problems. However, I’ve been laboring in media and in social services for even longer and I was media and education director for a major substance abuse prevention program in Chicago, and I can say this: If you think the industry has a substance abuse problem, get out in the real world for a bit. Our substance abuse problem in the comics donut shop is overwhelmingly dwarfed by what is routine and, quite often, accepted in the rest of the world.

This observation neither forgives nor diminishes anybody’s behavior. Being drunk or high or tired does not forgive the violating events. Absolutely not. But most perpetrators under these circumstances can redeem themselves by no longer getting drunk or high or tired to the point where they act out in public, or in private for that matter.

Yes, it takes a lot of effort and it usually takes a lot of help. Sometimes, it takes a great deal of help. But people who want to can improve. That doesn’t mitigate their actions in the past, but we live in the future so let’s fix what we can.

Scott said in a statement to CBR “I’m deeply sorry about my behavior at San Diego Comic Con 2015 and I apologize to everyone I’ve hurt. I’m completely embarrassed by my actions and how my behavior reflects on Dark Horse Comics, my friends and family. My personal approach and decisions for managing stress were bad. Dark Horse and I have taken the matter very seriously and since this incident, we have taken steps to correct and to avoid any behavior like this in the future. Although apologies can’t undo what has happened, I’ve tried to apologize to everyone impacted by my behavior. To my family, friends, co-workers, and to the industry – please know that I am truly, truly sorry.” I’m not sure what more we can ask for here; the guy screwed up, probably a bunch of times, but he gets it and he’s trying to redeem himself.

Let’s see if that works, and let’s see if we need to come up with some sort of industry-wide program to help both those with such issues and those victimized by such behavior.

Until then, remember, you’re paying property taxes on a glass house.

REVIEW: iZombie: The Complete First Season

1000575783DVDLEF_432b167Chris Roberson and Michael Allred created a charming little series for Vertigo called iZombie and it got snatched up by the CW for a television. Unfortunately, the 28-issue comic was long gone by the time the show arrived this past winter. For 13 episodes, we were treated to a slightly off-kilter series that proved to be very enchanting in its own right and viewers embraced it well enough for a full season renewal. While the second season debuts tonight, Warner Home Video has released iZombie: The Complete First Season on DVD. Interestingly, unlike other releases from DC Entertainment, this one does not have a Blu-ray companion.

What makes the series fun is the approach taken by series developers Rob Thomas and Diane Ruggiero-Wright, a pair who know a thing or two about offbeat projects. After all, they gave us the wonderful Veronica Mars. Now they have taken another female-centric show and made it a fascinating world to visit weekly.

The comic, which justly earned an Eisner nomination, was about a woman named Gwen who just happened to be a unique zombie, required to eat a deceased person’s brains once a month to stay alive or revert to traditional zombie mode. The series was populated with all sorts of supernatural figures and themes.

Thomas and Ruggiero-Wright took the broadest strokes and revamped it for their purposes. Here, the show features a woman named, ahem, Liv Moore (Rose McIver) who was a med student until she was bitten during your typical zombie apocalypse. To access a regular supply of grey matter, she now works in the King County morgue, receiving visions from her meals. Being a television series, she meets up with a detective and they become odd couple partners.

Roberson and Allred brought one type of quirky humor to their project while the TV producers brought as fresh but altogether entirely different vibe to the series. They also layered in some meta arc material to keep things interesting. After all, something started the zombie uprising plus it all has something do with a drug called Utopium.

Characters are slowly introduced so we first get to know Liv and her concerns before worrying about everyone else’s issues. The performances are fun and the characters engaging making us eager to see what happens this year. McIver stretches every episode as she takes on the persona and quirks of her latest meal, shifting how she interacts with her colleagues. And in the background is David Anders as Blaine DeBeers, the series’ antagonist. It’s nice to see his creepily charming self on a regular show again.

The episodes are spread across three discs, looking and sounding just fine. There are a smattering of DVD extras along with the ubiquitous “DC Comics Night at Comic-Con 2014” (29:31).

REVIEW: The Flash: The Complete First Season

Flash S1 3DYes, gaining great power brings with it great responsibility but that does not mean a character cannot revel in the sudden ability to do the seemingly impossible. After a decade of films with tortured protagonists, all in the name of gritty reality, the arrival of the CW’s The Flash series has garnered near universal praise because, for a change, the protagonist is having some fun. Out now from Warner Home Entertainment, The Flash: The Complete First Season is well worth having.

Grant Gustin makes for an appealing and engaging Barry Allen because he’s young and an unlikely hero, who is having fun running faster than the speed of sound. He’s a pumped, hyper-active puppy hero, eager to use his powers for as much good as possible, from helping paint buildings to rescuing stray animals. He wants to do it all and thinks he can.

Along the 22 episodes of the first season, he was coming to terms with the changes in his life from the fun to the tragic as his newfound abilities opened up new clues into the investigation of his mother’s murder when he was a young child.

Spinning off from Arrow, the new series worked hard to differentiate itself from the darker show. Still, it couldn’t entirely avoid the structure of a support team, all of whom know his true identity. Here’s he’s aided by Dr. Caitlin Snow (Danielle Panabaker) and the tech wiz uber-geek Cisco Ramon (Carlos Valdes).  Both work at S.T.A.R. Laboratories in the employ of Dr. Harrison Wells (Tom Cavanagh), who was the catalyst for accident that resulted in Barry gaining super speed. Wells is more than he seems from the outset and with every episode another layer is peeled away, a far more successful rolling out of a Big Bad than Arrow managed in three seasons.

STAR familyBarry also has a home team in the form of Detective Joe West (Jesse L. Martin), who took the young Barry in after his father, Henry (John Wesley Shipp), was arrested and jailed for the murder of his wife. As a result, he grew up with Iris West (Candace Patton) as a sister, someone he had fallen for although she fell, instead, for dad’s partner Eddie Thawne (Rick Cosnett).

From the outset, comic book fans had familiar names and all served as trigger warnings to future events, some of which will occur in season two, launching this week. The winks and nods are nicely handled and not overdone. They are there for a reason, and unlike in Gotham, they modify not ignore the source material. This includes Caitlin’s lover, Ronnie Raymond, who seemingly died in the same accident but actually merged with Prof. Martin Stein (Victor Garber) to form Firestorm.
If there’s a fault to the first season is that they have too many characters introduced, some dispatched with speed such as Simon Stagg (William Sadler), and others arriving and going without much consequence such as Dr. Tina McGee (Amanda Pays). Rather than focus on Barry and the Flash persona, time is given over to the development of Firestorm and later the Atom (Brandon Routh). And while its fun seeing the two series casts interact with ease, it again takes time away from developing the supporting cast. While we know something of Cisco’s past, Caitlin is fun but underdeveloped, which made “Who Is Harrison Wells?” such a fun turn for the actress.

The rogues, especially Captain Cold (Wentworth Miller) are resonant from the four-color pages but Cold in particular has a nicely developing persona and Heat and Coldrelationship with the Flash. Tying Girder (Greg Finley) to Barry’s past was also nicely done.
It’s a wonderfully, satisfying and strong debut season and listening to the production team discuss it on the bonus material shows the level of detail brought to the plots and effects. The first season is spread across four Blu-ray discs, each containing some deleted scenes, some of which I wish made to air.
There’s also enlightening commentary from executive producers Greg Berlanti and Andrew Kreisberg, and DC Chief Creative Officer Geoff Johns on Disc 1’s “Pilot”.

theflash.thm_In addition to the deleted scenes, there are several nice special features such as Disc 3’s “Behind the Story: The Trickster Returns!” (8:39), exploring Mark Hamill’s return to his character of The Trickster and what went into the episode.

On Disc 4, there’s “The Fastest Man Alive” (30:39) exploring the process of going from four-color comic to network series. There’s a lot of interesting tidbits in this one. Mostly for fans of special effects, “Creating the Blur: The VFX of ‘The Flash'” (26:25). A nice bonus is “The Chemistry of Emily and Grant” (4:20), the test footage between Grant Gustin and Arrow’s Emily Bett Rickards. Repurposed across multiple episode sets is “DC Comics Night at Comic-Con 2014” (29:31). Finally, there’s the usual Gag Reel (8:24).

Mindy Newell: B’more Of All That You Can Be

frank_zappa_doberan-7753757There is a saying in Baltimore that crabs may be prepared in fifty ways and that all of them are good. • H.L. Mencken

“There is only so far that you can push people into a corner… We’re frustrated and that’s why we’re out there in the streets.” • Charles, Member of the Crips gang

“I would never want to live anywhere but Baltimore. You can look far and wide, but you’ll never discover a stranger city with such extreme style. It’s as if every eccentric in the South decided to move north, ran out of gas in Baltimore, and decided to stay.” • John Waters, Filmmaker and Writer

“This is a skewed portrayal of the protests; it is what the media chose to portray – the media that consumers bewilderingly seem to want. The real revolution is thousands of people across America standing in solidarity against police brutality. The real revolution is youth activists using their voices and their fearlessness to fight for the future of their generation. The real revolution is people of different races walking through the streets of inner city Baltimore, arms locked, chanting ’All night, all day, we will fight for Freddie Gray.’” Leah Eliza Balter • Student, Baltimore Community College, Op-Ed in the Baltimore Sun

Detective William Moreland (Wendell Pierce): I’m just a humble motherfucker with a big-ass dick. Detective Lester Freamon (Clarke Peters): You give yourself too much credit. Moreland: Okay then. I ain’t that humble. • The Wire, HBO

Guess what?

This isn’t a column about the Baltimore Comic-Con!

Yeah, I didn’t make it down to Baltimore. I’ve never been there. I’ve never been to Camden Yards, where the Baltimore Orioles play, or the Ravens’ M & T Stadium. I’ve never been to Fort McHenry, where soldiers prevented the invasion of Baltimore by British troops during the War of 1812, which inspired Francis Scott Key to write The Star-Spangled Banner, which became our national anthem in 1931(!) – I thought it was much older than that, as our national anthem I mean. But I have driven through the Fort McHenry Tunnel – according to the Maryland State Government website, the largest underwater highway tunnel, as well as the widest vehicular tunnel ever built by the immersed-tube method – on my way to Washington, D.C. I’ve never been to Pimlico to watch the Preakness States, the second lap of the Triple Crown – although I remember watching Secretariat on television as he came out of the gates in last place to take the lead by the first turn and win by 2½ lengths like some impossible super-horse out of legend made real.

I never went to the Maryland Film Festival, held in Baltimore each May, but I do know that Meg Ryan’s character in Sleepless in Seattle, Annie Reed, lived in Baltimore. One of my favorite films is Avalon, directed by Barry Levinson, who grew up in Baltimore, and is part of his “Baltimore” film series, which also includes Diner (another favorite of mine), which every football fan – including me – remembers as the movie in which Steve Guttenberg, as “Eddie,” tells his fiancée that he will not marry her unless she can pass a quiz about his beloved Baltimore Colts, the team that, as every football fan knows, absconded in the middle of the night on March, 1984 to Indianapolis, causing a flood of 911 calls and emergency room visits by apoplectic fans of the iconic team that was one of the founding members of the NFL team. Then in 1996 the Cleveland Browns – another iconic NFL team – did the same thing to its city and fans, packing up and moving to become the AFC’s Baltimore Ravens.

And speaking of Baltimore football, I was only five years old but I remember going with my dad to The Greatest Game Ever Played, when the Colts played the New York Giants – my team! – at Yankee Stadium for the 1958 NFL Championship. The game went into sudden death overtime, something that had never happened before in a playoff situation. Final score: Baltimore by 6 points over the Giants, 23–17.

I don’t come from Baltimore, but Babe Ruth did. As did Edgar Allan Poe. So did Eubie Blake. And Frank Zappa. And Billie Holiday. And Mama Cass. John Waters and the aforementioned Barry Levinson are Baltimore natives. So is Ed Burns. Politically speaking, Spiro Agnew and Alger Hiss are Baltimore natives. So is Nancy Pelosi, but I didn’t want to list her with Agnew and Hiss.

Who is Ed Burns? To answer a question with a question, remember Detective John Munch? Played by actor Richard Belzer, he was a pivotal character on the Baltimore-set series, Homicide: Life on the Streets, which ran for seven seasons on NBC, won numerous awards, and was co-created by Burns, a Baltimore homicide detective and public school teacher. He and his writing partner, David Simon, used city again in two more series, both on HBO: The Corner, and The Wire.

Unbelievably, The Wire never won any awards; but the show was a critics’ and fans’ darling, and hailed as one of the greatest dramas every to appear on television. Simon said of it: “[It’s] really about the American city, and about how we live together. It’s about how institutions have an effect on individuals. Whether one is a cop, a longshoreman, a drug dealer, a politician, a judge or a lawyer, all are ultimately compromised and must contend with whatever institution to which they are committed.”

Baltimore. Also known B’more. And Smalltimore. More macabre nicknames are Bodymore, Murdaland, and Mobtown. But it’s also been called Charm City, The City of Firsts, Crab Cake Capitol of the World, The City That Reads, Clipper City, Monument City, and The Greatest City in America.

As a New Yorker, I take issue with that last one.

But what the hell…

B’more, I’ll see you next year.

Ed Catto: It’s an Ad, Ad, Ad, Ad, Ad World

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At the recent Baltimore Comic-Con, I presented “It’s an Ad, Ad, Ad, Ad, Ad World” which was both a nostalgic look back at how brands connected with pop culture fans and how brands connect today.

Sea MonkeysAnd I’ve got to say, it was invigorating to be part of such an exciting convention. The convention center is in the heart of their downtown, and the entire, upbeat weekend was an encouraging contrast to the agonizing images of Baltimore from last April. I’m not saying problems don’t still exist, but the Baltimore Comic-Con presented us all with an optimistic and hopeful weekend for this city.

For “It’s an Ad, Ad, Ad, Ad, Ad World,” I tried hard to balance my presentation between nostalgic, backward glances of ads in old comics and the brilliant innovative ways that brands now connect with Geek Culture. But to be fair, a lot of the old ads were so surprisingly goofy, especially through the lens of 2015, that it was hard to resist taking the audience on an extended, smirking “field trip” through the marketing of yesteryear.

batman_model_comic_book_adWe talked about the classic ads, like Sea Monkeys, but also about some of the clever and absurd ads, like those for muscle-building programs and part time jobs selling shoes.

During the presentation, I also took a closer look at two classic brands that engaged in long running campaigns specific to comics: Tootsie Roll’s Captain Tootsie series and Hostess Twinkies (and Fruit Pies) long running single page adventure strip ads. In fact, Hostess’ ads are so memorable that they’ve inspired a plethora of satire ads over the years.

PastedGraphic-4And for today, we talked about KFC’s clever onsite marketing at San Diego Comic-Con last summer. As part of a media partnership, Kentucky Fried Chickens place Col. Sanders statues in cosplay outfits, in various parts of San Diego’s downtown and Gaslamp districts. (And I’m sure you all know by now that cosplay refers to the practice of dressing up as pop culture character for a convention.) Fans were rewarded when they found these statues, and amplified KFC’s marketing messages via social media. And closer to home, we explored how my agency, Bonfire, helped Guinness connect with passionate pop culture fans as a sponsor of the Harvey Awards. These awards, honoring creativity and craftsmanship, are held annually at the Baltimore Comic-Con.

So, the title of this presentation was, in retrospect, misleading. It’s not really an Ad, Ad, Ad, Ad, Ad World anymore. Not traditional ads, anyways. But it is a world that eager for creativity and accepting of marketing messages – as long as they are authentic, entertaining and appropriate.  So keep your eyes peeled, and don’t be surprised if you see the next corporate mascot having fun with cosplay –just like everyone else.

John Ostrander Cons Around in Baltimore

baltimore-comic-con-5890855So, I wasn’t here last week. Some of you may have noticed. So, where was I? At the Baltimore Comic Con (BCC), which was dandy, and I enjoyed it very much. Usually when I’m gone somewhere around the deadline for this column, I’m supposed to get it in earlier and most times I do. This time? Just screwed up the time. What can I say? I’m (mostly) human.

Lots of my fellow columnists here at ComicMix have already done their columns this week on the BCC last week. Mike Gold, Emily Whitten, Martha Thomases, and Molly Jackson all contributed. Marc Allan Fishman wrote about an aspect of the BCC and he wasn’t even there. Makes you wonder what I could add to the (comic)mix. I wondered too, but Mike has already speculated I would probably write about the Con and I wouldn’t want to make a liar out of him.

One of the big pleasures of the Con was getting to see so many of my old friends. I shared a table with my bro, Timothy Truman, and he was considerate enough to bring his wife, Beth, who is a real treat. I hadn’t seen Tim in ages and Beth for even longer; she gave me a great hug and if that isn’t a great way to start a Con, I don’t know what is.

I had dinner with them the first night and we ran into Mike Grell who joined us. In fact, we were going to have a First Comics reunion of sorts over the weekend. In addition to Tim and Mike and Grell and me there was the two Marc/ks, Wheatley and Hempel, and Joe Staton. We even got our picture taken together to commemorate the occasion. The Mighty Gray Panthers of the real First Comics!

In addition, there were all the fine people over at the ComicMix table such as Martha Thomases, Glenn Hauman, Evelyn Kriete and Emily Whitten. I’d never met Emily in person before; she’s delightful and sat to my left at the Harvey Awards on Saturday night. I hatched an idea for a project with her and you’ll hear more about it as we get that act together.

There were lots and lots of other old friends there such as Jimmy Palmiotti and Amanda Connor and my old Suicide Squad editor and ComicMix reviewer Robert Greenberger. I want to take this moment to acknowledge how much Squad owed to Bob. He’s the one who suggested the title to me and helped guide it through its debut and onward. Take a bow, Bob.

As I mentioned, I was also at the Harvey Awards on Saturday night, sitting between Emily and Mike Gold. Vivek Tiwary was the host; I’d never met him before (among an amazing list of accomplishments, he wrote the graphic novel [[[The Fifth Beatle]]]). He was very personable, very enthusiastic about comics, and very generous when he introduced me (I was a presenter). I got to follow both Russ Heath and Jules Feiffer as they accepted their inductions into the Harvey Awards Hall of Fame. These men are legends and, if you don’t know them, go Google their names or look them up on Wikipedia.

And I followed them! Ye gawds. Well, at least I didn’t stutter.

As you may have read elsewhere, there was something of a controversy at the BCC. Some of the comic book guests charged for their autographs and some didn’t. Neal Adams charged 30 bucks per autograph; Mike Grell was also charging a much smaller sum and he donated what he made to The Hero Initiative.

I didn’t and I do not charge for autographs; I never have and I doubt I ever will. This is not to suggest any sort of judgment on those who do. Neal is a legend in the industry and an unquestioned leader in the fight for the rights of freelancers. He’s a long standing hero of mine, both as an artist and as a champion of our rights.

My rationale for not charging is pretty simple: the fan bought the book and it had my name on it and that has supported me. If they want me to deface it with my autograph, it’s the least I can do. Yes, I know that some dealers get them signed and then re-sell them on eBay or some such. I don’t think I ran into many of them, if any, while I was at the BCC. I can’t really sort out the dealers from the fans and I don’t bother trying. If others see the matter differently, so be it. This is just how I do it.

I want to say that the fans were wonderful. They were knowledgeable and enthusiastic and warm and friendly. There were all ages, too. Lots of kids, which wasn’t so true a few years ago. That was wonderful to see and hopeful for the industry.

I think it was Mike Gold who defined the BCC for me: it was really comics orientated. Other Cons are very orientated to the media guests. BCC had some but the main thrust was comics. It also seemed very much like family; other cons, such as NYCC, feel more like business. That’s okay, too; it’s New York City and that’s appropriate. In Baltimore, however, it felt like old times in the industry to me, in between the Con, the fans, and my friends. I think maybe that’s why I really enjoyed it.

I didn’t get a chance to see much of the city, which is usual for me at Cons. What I saw was interesting and nice. I ate a lot of crab which I take it is what one is supposed to do in Maryland. I think I’ve had enough Old Bay Seasoning for a while.

In short, it was a great weekend and I’m so glad to have been invited. It had been maybe two decades since I had last been there; I hope not to make it so long again. Of course, if I did, I’d be really old. Geezer City.

Thanks to all who made it a good time/ I hope we can do it again soon.

Fox Celebrates its Centennial with 100 Digital Releases

20th-century-fox-logo-2695283LOS ANGELES, Calif. (October 2, 2015) – In 1915 William Fox founded Fox Film Corporation and forever changed the course of cinema. Over the next century the studio would develop some of the most innovative and ground-breaking advancements in the history of cinema;  the introduction of Movietone, the implementation of color in partnership with Eastman Kodak, the development of the wide format in 70mm and many more.  Now in honor of the 100th anniversary of the studio, Twentieth Century Fox Home Entertainment will celebrate by releasing some of their most iconic films that represent a decade of innovation.

Starting today, five classic films from the studio will be made available digitally for the first time ever – Sunrise (1927), Drums Along the Mohawk (1939), Man Hunt (1941), How to Marry a Millionaire (1953) and The Flight of the Phoenix (1965).  Throughout the rest of the year a total of 100 digital releases will follow from Fox’s extensive catalog, including 10 films which have never been released on any format – the Raoul Walsh classics The Red Dance (1928), The Cock-Eyed World (1929), The Bowery (1933), Hello Sister (1933) and Sailor’s Luck (1933); John Ford’s Men Without Women (1935), Will Rogers in State Fair (1933), Shirley Temple in Mr. Belvedere Goes to Washington (1949), the Marilyn Monroe documentary Marilyn (1963) and Metropolitan (1935), the first film from 20th Century Fox.

Other highlights include Oscar winning and nominated favorites from such legendary filmmakers as F.W Murnau, Frank Borzage and Akira Kurosawa, and such incredible performers as Marlon Brando, Tyrone Power, Jimmy Stewart, Betty Grable, Clark Gable, Frank Sinatra, Joan Fontaine, Sophia Loren and many more.

Complete list of Fox 100 Digital Releases

The Affairs of Cellini (1934)
Alien Nation (1988)
Anna and the King of Siam (1946)
Baby, Take a Bow (1934)
Bad Girl (1931)
The Best of Everything (1959)
The Big Trail (1930)
The Black Watch (1929)
Black Widow (1954)
Blood and Sand (1941)
Blood and Wine (1996)
The Blue Bird (1940)
Born Reckless (1930)
The Bowery (1933)
Boy on a Dolphin (1957)
Call Northside 777 (1948)
The Call of the Wild (1935)
Can-Can (1960)
Captain from Castile (1947)
Cheaper by the Dozen (1950)
The Cock-Eyed World (1929)
Come to the Stable (1949)
A Connecticut Yankee (1931)
Crash Dive (1943)
Daddy Long Legs (1955)
Dangerous Years (1948)
The Detective (1968)
Doctor Bull (1933)
Down Argentine Way (1940)
Drums Along the Mohawk (1939)
The Flight of the Phoenix (1965)
Four Sons (1928)
Gay Deception (1935)
Greenwich Village (1944)
Guadalcanal Diary (1943)
Hangman’s House (1928)
A Hatful of Rain (1957)
Hello, Frisco, Hello (1943)
Hello, Sister (1933)
The House on 92nd Street (1945)
How to Marry a Millionaire (1953)
In Old Arizona (1929)
It Happens Every Spring (1949)
Jane Eyre (1944)
Judge Priest (1934)
Just Pals (1920)
Kagemusha (1980)
Kentucky (1938)
The Keys to the Kingdom (1944)
King of Burlesque (1935)
Lillian Russell (1940)
The Luck of the Irish (1948)
Man Hunt (1941)
Marilyn (1963)
Marines Let’s Go (1961)
The Mark of Zorro (1940)
Me and My Gal (1932)
Men Without Women (1930)
Metropolitan (1935)
Mister 880 (1950)
Mr. Belvedere Goes to College (1949)
My Darling Clementine (1946)
Pigskin Parade (1936)
Poor Little Rich Girl (1936)
The President’s Lady (1953)
Prince of Foxes (1949)
Prisoner of Shark Island (1936)
A Private’s Affair (1959)
The Rains Came (1939)
The Red Dance (1928)
Romancing the Stone (1984)
Rookie of the Year (1993)
Sailor’s Luck (1933)
Scudda Hoo Scudda Hay (1948)
The Seas Beneath (1931)
The Shocking Miss Pilgrim (1947)
Sing, Baby, Sing (1936)
Sleeping With the Enemy (1991)
The Snake Pit (1948)
Soup to Nuts (1930)
Stand Up and Cheer! (1934)
The Star Chamber (1983)
State Fair (1933)
Street Angel (1928)
The Sun Also Rises (1957)
Sun Valley Serenade (1941)
Sunrise (1927)
The Tall Men (1955)
Tall, Dark and Handsome (1941)
Teenage Rebel (1956)
This Above All (1942)
Three Bad Men (1926)
To The Shores of Tripoli (1942)
Tobacco Road (1941)
Under Pressure (1935)
Up the River (1930)
Wizards (1977)
World Moves On (1934)
The Young Lions (1958)
Young Mr. Lincoln (1939)

 

Marc Alan Fishman: Autograph THIS!

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Once again, retailer extraordinaire Dennis Barger is involved in some amazing debates and discussions within our industry. The last time his name came up we discussed the over-sexualization of the Powerpuff Girls. This time, it’s a far less provocative topic.

Already well-covered by Bleeding Cool, the recent plight of pencilers revolves around the cost of their signature. The debate: some well known creators charge for their autograph. Others choose not to. In choosing to be free, there are those who say this now devalues the ability for others to pluck a buck from a would-be fan. For some creators, the option to take a tithe of the nerditry is traded part-in-parcel for donations to the Hero Initiative, the CBLDF, or other worthy charities. And if any of this sounds familiar, My ComicMix compatriot Molly Jackson gave her two cents, wonderfully, earlier this week. So, the definitive question that we’re trying to figure out is… Who’s right?

Well, sadly our comic culture lives in a world no longer set in just black and white. Both sides have valid points. For those on “Team Charge!” the notion is simple: When you are able to be compensated for your nom de plume costs of attending the con are better covered. Money in one’s pocket, when the per-page rate isn’t pulling in proper piles of cash, is always preferred. And in the cases where a Sharpied autograph equals a rise in the value of the item it’s adorned on, the signature is merely an investment. Who could argue with having to pay $5, 10, or 30 dollars for a name, when it nets the owner $50, 100, or 200 more in potential payouts? No one should argue. That’s called good business. And let’s be fair: if you’re willing to part with a finsky for the signature of a Hollywood celebrity, why wouldn’t you do the same for the author a favorite comic?

What if the answer to that aforementioned rhetorical question was no? Well, you’d be in the “Team Free!” camp. And you’d be just as right as those crazy capitalists across the lake. Some creators who get their table space at these conventions are compensated to attend by their publishers or the convention promotors themselves – who know that their presence yields higher attendance. Charging a fan for a signature inflates the value of a comic sure, but it also takes money out of their pocket they might spend elsewhere in the convention.

Like at a smaller indie table, where they might give a chance to a new book they’ve never seen before. By not charging, there’s a potential butterfly effect to pay it forward within our comic community. That’s good karma. And if that signature on the book is for a retailer who turns that issue into more profit… the same karma applies. I bet the day Dennis Barger mints a hefty payday for his efforts is another day his comic shop stays open. And that in turn increases the potential for him to sell more comics to more kids. See the bigger picture?

Let’s also not forget: It takes seconds to adorn an issue with a scribble. To charge for that scribble, no matter how important you may or may not be can seen unseemly to some. Say that three times fast. If you do though, I’ll have to charge you.

Obviously it boils down to a personal choice. Some creators are too humble to charge for an autograph. Others embrace the entrepreneurial spirit. There isn’t necessarily a wrong choice here. And for those who posit that having some creators charge while others abstain unnecessarily devalues those creators who do… they aren’t wrong in thinking that. If a fan sees Neal Adams charging $30 for a signature next to Scott Snyder charging nothing but a smile? Well, some fans will scoop up a few more Court of the Owls trades and walk away with a few more shekels in their pocket. But, as with everything here, It’s their choice to do so.

Of course, this is where I should chime in, right?

In my own little swatch of ComicTopia, my name is worth spit. If someone wants it on something I created? Well, I’m damn flattered, and it comes at no increase in cost. And I can’t personally see any future where I’m not willing to sign for the same Free-Ninety-Nine I do now. Because frankly I don’t foresee any future where Marc Alan Fishman is a commodity like Neal Adams. And that’s perfectly OK by me. Subsequently as a fan, I’m not a seeker of autographs at any price. While I might be tempted to see Alex Ross or Mike Mignola scrawl their name on any of the well-kept tomes I own of theirs… I’m honestly too cheap to consider trading hard-earned disposable income over said scrawl. The opportunity cost isn’t greater than the enjoyment I’d sooner have taking the exact same money and buying more of their work at full retail. But then again, that’s just me. And because of that opinion – which many share – it’s not taking money out of another creator’s pocket. Because that money would never reach it that way over the sloppy drag of a felt tip marker. Maybe I’m missing out on some would-be profit. Or maybe I’m just not the target demo. Either way, I’m entitled to think that way.

And you can take that opinion to the bank.

New Doctor Who spin-off, “CLASS”, announced for BBC Three

  • News
  • October 2, 2015

This scene will likely not happen in the new show.

Doctor Who is going back to school. BBC announced today a new spin-off for the popular series, aimed at young adults, and written by noted YA author Patrick Ness. Titled Class, the show will take place at Coal Hill School, historic location of the series, and feature the students facing threats from across space and time.

Set in contemporary London. Incredible dangers are breaking through the walls of time and space, and with darkness coming, London is unprotected. With all the action, heart and adrenalin of the best YA fiction (Buffy, Hunger Games), this is Coal Hill School and Doctor Who like you’ve never seen it before.

Steven Moffat, who will executive-produce the show, says: “No one has documented the dark and exhilarating world of the teenager like Patrick Ness, and now we’re bringing his brilliant storytelling into Doctor Who. This is growing up in modern Britain – but with monsters!”

coal-hill-school-650x364-300x168-5159029Coal Hill School was the site of the first Doctor Who adventure, An Unearthly Child – The Doctor’s granddaughter Susan was attending the school, and endlessly impressed and confused her teachers with both her knowledge and naivete.  Those teachers, Ian Chesterton and Barbara Wright, blundered into the Doctor’s mysterious TARDIS and became his first companions on the show.  In the modern series, Clara Oswald is a teacher there, and the selfsame Ian Chesterton is now chairman of the school’s Governors.  We’ve already met several precocious students at the school who we can only hope and pray will make an appearance in the series, including future president of the Earth Courtney Woods (Kill the Moon), and little Maebh and fellow members of the school’s Gifted program (In the Forest of the Night).

We’ve seen a few spin-offs of the main Doctor Who series.  Elizabeth Sladen starred in the first, the one-shot pilot K-9 and Company, but it wasn’t till decades later that she got that series order, with The Sarah Jane Adventures.  Torchwood, aimed at an older audience, got its name from an anagram hastily contrived to hide the name of the actual show being filmed before the new series first aired, and went on to be a hit in its own right, both in the UK and the US.  For a brief period of time, Who-fen never had to wait for more than a handful of weeks before a Who-related series aired.

who_is_patrick_ness__meet_the_man_behind_the_new_doctor_who_spin_off_class-300x181-8747777Patrick Ness, described by John Green as ‘an insanely beautiful writer’, is author of nine books, including six bestselling and critically acclaimed YA novels. He has written the screenplay for his own novel, A Monster Calls, which has been filmed for release in 2016 and stars Liam Neeson, Sigourney Weaver and Felicity Jones.

The new series will film next year, to debut on BBC Three, the digital/online channel later in 2016.  No details have been revealed if the episodes will overlap with the next series of Doctor Who, or which, if any characters from the main show will appear.

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