Monthly Archive: March 2017

Joe Corallo: Iron Miss

This past week I finished watching Iron Fist. I also went to a discussion at Manhattan’s Strand bookstore on queer representation in comics, with speakers including Jennifer Camper and Phil Jimenez, but I really want to focus on Iron Fist. Well, I checked out some of the old MST3K episodes they just added to Netflix too. That last part actually ties into my Iron Fist discussion. Yes, really.

The Internet has been flooded with reactions to Iron Fist that have been all over the place. Praise to malaise. I had already seen all the other Marvel Netflix series so I was diving in regardless of what the critics had to say. I got through it all in about days of watching.

It was a rough three days.

I’m not going to get too deep into spoilers, but if you want a 100% spoiler free viewing experience of Iron Fist and haven’t watched it yet, you may want to check it out first before reading ahead.

Welcome back! Okay, so is it just me or was there way too much of a similarity between this and the first season of Arrow? This all happens in the first episode, but Danny Rand coming back from being assumed dead after traveling far with his family and there being an accident and coming back to reclaim his dad’s company, his best friend’s dad being the bad guy, the Triad and the Hand both being Asian led criminal organizations, and that’s just off the top of my head. I might like the show more if I hadn’t seen it done a few years ago now.

Arrow was able to avoid the implications of cultural appropriation. As ComicMix’s own Martha Thomases pointed out in her last column, there is nothing inherently white about the character, so why did he have to be white? I totally understand the argument that casting an actor of Asian descent just because the character knows martial arts wouldn’t be ideal either. That’s what I talked about last year when I wrote about Iron Fist as a lose/lose. I’m not convinced that I was wrong yet.

The show also feels like it thinks it’s more clever than it actually is. I, like I imagine many others, figured out a major plot point a good ten episodes before Danny figured it out. I also liked the “thrown in an asylum when you’re actually magic and they just don’t know it” trope better when I saw it in Return to Oz and Buffy the Vampire Slayer many, many years before that.

Later in the week I ended up watching the MST3K classic, The Pumaman. This clumsy 1980 superhero outing is about a white guy who has the powers of an ancient God/alien worshipped by Aztecs and has a man of Aztec descent as his sidekick despite the fact that guy was definitely more knowledgeable of what was happening. The part of person of appropriate background to serve as sidekick this time was played by Jessica Henwick, whose opinions on this can be read here. Her character, Colleen Wing, is hardly the first character to play this role, nor is the sidekick in The Pumaman. The Lone Ranger, The Green Hornet, and more franchises have this premise. It’s dated and at this point it’s just boring. Give us something more creative.

Between all that and the character of Danny Rand quite possibly being the most annoying, unlikeable, mansplaining protagonist in a Marvel property makes this a bit hard to watch. If you enjoy it, great. There are people that do and they’re not wrong. I just found this to be a clumsy, ham-fisted attempt at the genre.

For the sake of fairness I will also say what I enjoyed about Iron Fist. It had a great score.

Another martial arts based franchise got a reboot recently. I saw Power Rangers with some friends over the weekend. It’s definitely a movie for a younger audience. I was impressed by how the character of Billy is a black autistic teenager, has a lot of screen time, was easily the second most consequential Power Ranger. The heroes in this were more diverse than in the original, but Rita was whitewashed with seemingly little backlash to that, which seems strange to me. Why care so much about diversity in one element of your film and not the other.

That said, I’d still recommend Power Rangers over Iron Fist. It has a little more heart, is about 11 hours shorter, and cares a lot more about Krispy Kreme.

REVIEW: Fantastic Beasts and Where to Find Them

J.K. Rowling did a superb job creating her magical universe, populating it worldwide with schools, wizards, prisons, creatures, and muggles aplenty. She also gave her world a rich history and then has been mining it with spinoff works of varying lengths and media. One of the more popular has been Fantastic Beasts and Where to Find Them, taking a reference book mentioned in her Harry Potter novels and telling the story of how Newt Scamander managed to pen such a fascinating work.

Warner Bros, seeking ways to continue to profit from the film series, optioned the title and has created a trilogy with Rowling taking her turn as screenwriter for director David Yates, who directed four of the eight films. He did a far more immersive and coherent job on last year’s Legend of Tarzan.

The resulting film has grossed over $800 million worldwide so the gamble seems to have paid off and yet, the film adaptation was surprisingly lacking in charm and, well, magic.

Wisely, the story is set in America so we can see a different attitude and approach to magic as Scamander (Eddie Redmayne) has come to the States in search of more magical beasties to preserve. He has the misfortune to arrive as 1926 New York City is under attack and magic exposed to the No-Maj populace. Fanning the flames is Mary Lou Barebone (Samantha Morton), peddling the New Salem Philanthropic Society. The overly complicated plot also has a search going on for dark wizard Gellert Grindelwald and schisms within the Magical Congress of the United States of America, allowing its director Percival Graves (Colin Farrell) to conduct some extracurricular work of his own.

Coming to Newt’s aid is disgraced Aurora Tina Goldstein (Katherine Waterston), her sister Queenie (Alison Sudol), and would-be baker Jacob Kowalski (Dan Fogler), a non-maj. The Queenie-Jacob relationship is the film’s real heart and soul and I wish there was far more of that rather than sound and fury signifying how large their budget was for CGI. Everything is loud and overly prolonged without necessarily advancing character or story.

Visually, this is a dreary version of Jazz Age Manhattan which was flying high just prior to the 1929 Stock Market Crash. There are dark clouds and somber tones permeating the film, all the more to contrast with the realm where Scamander has been housing his finds, preserving them from a magical community that misunderstands and mistrusts them.

Frankly, the film, out now for home video consumption from Warner Home Video, is a messy disappointment, missing the essential elements that made the host series a cultural event. It looks good, is very well cast, and has some nice moments, but too little is explained, and there is little genuine emotion found in the overall story. Newt comes across as a brave bumbler, far from heroic, and is remarkably uninteresting compared with Jacob or even Tina.

The film is available in all the usual formats and combo packs with the Blu-ray’s high definition transfer superb enough to make every sparkle shine. The audio is a good match so families watching at home will be entertained by the light show.

The disc offers up over an hour’s worth of extras that feel more perfunctory than special. We start with Before Harry Potter: A New Era of Magic Begins (15:31), focusing on Rowling’s process; Characters (24:19), split into five featurettes (The Magizoologist, The Goldstein Sisters, The New Salemers, The No-Maj Baker, The President and the Auror) complete with actor interviews; Creatures (20:59), divided into seven featurettes (Bowtruckle, Demiguise, Erumpent, Niffler, Occamy, Thunderbird); Design (34:33), spotlighting each location (Shaping the World of Fantastic Beasts, New York City, MACUSA, Newt’s Magical Case, The Shaw Banquet, The Blind Pig); and finally eleven Deleted Scenes (14:33), none of which would have improved the film’s messy feel.

Mindy Newell: “Flash” Dance

I grew up on Broadway musicals. Once upon a time when going to see a show on Broadway didn’t cost you your mortgage plus the life of your first-born, my mom and dad were avid theatergoers. They saw the original production of South Pacific with Mary Martin and Ezio Pinza, the original production of Camelot with Richard Burton and Julie Andrews and Robert Goulet, and the original production of The King and I with Gertrude Lawrence and a then little-known Yul Brynner.

When they were still dating they went into town to see Oklahoma! Over the years they saw Carousel, and Brigadoon, and Rex Harrison and Julie Andrews in My Fair Lady, and Zero Mostel in Fiddler on the Roof, and Carol Channing in Hello, Dolly!, and the original West Side Story with Carol Lawrence and Larry Kert. My father fell asleep at Cats and my mother said she had a hard time staying awake herself.

Our stereo console was filled with “original Broadway cast” albums from all those shows and more – well, not Cats. When I was kid I would put on an album of, say, South Pacific and pretend I was Mary Martin washing that man out of my hair – oh, and I still do that in the shower some times:

“When a man don’t understand you, When you fly on separate beams,

 “Waste no time, Make a change,

 “Ride that man right off your range. Rub him out of your roll call,

 “And drum him out of your dreams.”

Yes, I am singing as I type.

My brother and I would put on West Side Story and dance around the living room, jumping on and off the chairs and the tables and sofas and getting into a lot of trouble. Later on, my mom often took Glenn and I into town to see revivals of these shows and others. In 1966 my father was laid up with a really bad ankle sprain, so I was privileged to go with my mom to see the one and only Ethel Merman in the revival of Annie Get Your Gun at Lincoln Center.

So it’s safe to say that I grew up on Broadway musicals. And love them. I have more Broadway soundtracks on my iTunes playlist than anything else – perhaps not cool, but fuck you and your Beyonce and Adele. One of my proudest and happiest moments and one that I will remember on my deathbed is when I played Peter Pan in Peter Pan at Camp Monroe. I have also played Ado Annie in Oklahoma and every single female role in Fiddler on the Roof except for Golde (Tevye’s wife, for those not in the know). I was Miss Mazeppa, bumping with my trumpet and in full Roman centurion regalia, in Gypsy.

So it’s safe to say that I grew up on Broadway musicals. And that it has continued into adulthood and to the present day. I became mesmerized by Hugh Jackman long before he was Wolverine when John and I went to see him as Curly in a revival of Oklahoma. And I became familiar with Melissa Benoist and Grant Gustin and Darren Criss long before any of them put on a superhero costume through my allegiance to Glee. And I knew Jesse L. Martin as Tom Collins from Rent, not to mention Victor Garber from Godspell, Sweeney Todd, and the 1990 revival of Damn Yankees.

And of course I knew John Barrowman from his days as Captain Jack on Doctor Who. But I never watched Smash, so I never caught on that Jeremy Jordan could sing and dance until last week…

…which was, of course, the crossover musical episode of The Flash called “Duet.”

It was wonderful.

It started in the epilogue of Supergirl on Monday night, in which Darren Criss pops up as the Music Meister, who does “something” to Kara which places her in a seemingly coma and then pops off to find the “fastest man alive.” Meanwhile, Kara wakes to find herself in a nightclub in what looks like the 1940s, dressed in a gorgeous gold beaded gown with a man telling her that she is the last-minute opening act. She steps through the curtains, and finds herself standing in front of a microphone and an audience. She opens her mouth and…to be continued.

And on The Flash the next night…

A young Barry Allen is watching Singin’ in the Rain with his mother, who is, uh, singing the praises of the musical. Then, in present time, Barry is watching Singin’ in the Rain and other classic musicals to soothe his tormented soul over his breakup with Iris. “Everything is better in song,” he says to Cisco, with whom he has moved in as a temporary(?) roommate.

Called to S.T.A.R. Labs because of a breach in the multiverse, they find Mon-El carrying a still-comatose Kara and J’onn Jonzz, who have come to Barry’s Earth because of the Music Meister’s claim to be looking for the Flash. The villain shows up, puts Barry into the same coma-like state as Kara, and suddenly Barry finds himself in the same nightclub as his Kryptonian friend… and she is up on stage, singing “Moon River.” (One of my favorites – from the not-musical Breakfast at Tiffany’s, in which Audrey Hepburn as Holly Golightly sings the lovely ballad, composed by Henry Mancini with lyrics by Johnny Mercer, while sitting on her fire escape and accompanying herself with a guitar.)

After Kara finishes her performance, the Music Meister pops in and tells them what’s going on – they are actually living this scenario psychically, or “in their own minds,” while their bodies lay undisturbed and inanimate in S.T.A.R. labs. Why the musical setting? Because both are deeply connected to the genre – Barry through his mom, and Kara through her love of The Wizard of Oz. They both must follow the plot of this mind-blowing musical to its end to recover and get back to the real world. Except: “If you die in here, you die out there.”

The episode is full of remarkable performances. Perhaps, at least for me, the best was the beautiful rendition of “More I Cannot Wish You” from Guys and Dolls sung by Jesse, Victor, and John. Grant’s interpretation of “Running Home to You” is heartbreaking and glorious. “Super Friend” is a treat to watch, with Grant and Melissa singing and hoofing and having a joyous time. Jeremy, Darren, John, and Carlos (Valdes) swing to “Put a Little Love in Your Heart.” And Melissa’s “Moon River” is, just, well, I just have to sing along…

 “You dream maker, you heartbreaker,

 “Wherever you’re going, I’m going your way.”

 “Two drifters, off to see the world.

 “There’s such a lot of world to see. We’re after the same rainbow’s end,”

 “Waiting ‘round the bend, my huckleberry friend,

 “Moon River, And me.”

Brava!!!!

Also… Encore!!!!

 

Ed Catto Was Kidnapped by Comic Shop Retailers!

They say what happens in Vegas should stay in Vegas, but in this week’s column I’m going to let the proverbial cat out of the bag.

As you may recall from last week, I was recently in Las Vegas at the GAMA trade show convention. This annual gathering is designed to help game store owners (and comic shop retailers) learn about upcoming products, learn best business practices and network.

In my role as a marketing consultant, I was helping a company called TCGplayer.com launch a new platform for retailers. It was hard work to get everything ready in time for the show, but it all paid off with fantastic results. And for a guy like me, it was especially fun to be onstage in a room of 300 retailers and introduce the company’s CEO during the keynote speech. By the end of the show, I helped deliver results that far surpassed their expectations.

Now I’m not sure if I’m a glutton for punishment or if I just really like hanging out at comic shops. But when the trade show ended on Friday, I embarked on a “Vegas walkabout” to visit the local Las Vegas retail shops.

First off was Ralph Mathieu of Alternate Reality Comics. Ralph’s a focused, upbeat retailer who is also a passionate fan. In fact, his amazing wall of original artwork at the back of the store is a bold testament to his passions.

I had met Ralph many years at a ComicsPRO event. Like GAMA, that’s also a trade organization for retailers, but ComicsPRO focuses more on comic shops than card stores – although there is a lot of overlap in both organizations. Back then, I think I met Ralph in the BOOM! Studios Mobile Party Bus… but that’s another story for another day.

Anyways, it was invigorating to see Ralph, and his co-worker Hannah, at his wonderful store. Just as I was wrapping up my shopping, a boisterous quartet burst through the doors!

These bad hombres were comic shop retailers from the GAMA trade show who, like me, were on the local comic shop trail. And there were faces I recognized:

  • Chris Brady is the owner of 4Color Fantasies in California’s Rancho Cucamonga and one of the leaders of ComicsPRO. He’s a wise retailer with a sharp eye and a catalog of great stories. He also brought two other folks from his retail team.
  • Brave New World’s new owner Mike is a big retailer with a big laugh. After a successful marketing career, Mike recently took over this legendary California comic shop. He’s cut from the same cloth as Mongo’s Vultan, Prince of the Hawkmen – he’s full of confidence and drinks deeply from the cup of life!

Once we realized we engaging in similar local retailer visits, these guys kidnapped me (i.e., invited me to tag along) and off we went!

We stopped at two more retailers:

  • Cosmic Comics is a fun store with gorgeous back issue file cabinets. Co-owner Brian Fudge came out from the backroom to chat us all up a bit.
  • MaximuM Comics has several locations and we dropped in at the one in Henderson, NV. That’s a nice suburb of Vegas. We were there on St. Patrick’s Day, and I was especially impressed with their sale on comics-with-green-characters: Green Lantern, Green Arrow, Hulk etc.

It was fascinating to spend the week with 400 retailers at the GAMA show, but even more interesting to visit actual retail locations with a few of them. These retailers studied each store we visited with inquisitive and evaluative eyes. They were looking for new retailing ideas. They wanted to know the problems solved with every retail choice. They were instantly able to evaluate everything they saw.

On the way back, we happened across a broken down Mercedes Sprinter van. It was filled with long-legged Las Vegas Dancers and they pleaded with us stay with them and drink martinis while they waited for their tow truck to come.

Well, that part is a total lie. The reality was much more mundane. We wrapped it all up in the early afternoon and went back to our hotel rooms for a nap, and presumably to read our new comics. And, you know what? That was a pretty awesome way to spend an afternoon in Vegas.

John Ostrander: My Secret Origin Story

Tomorrow I’m supposed to have what is called a nuclear stress test – checking on the old ticker – during which they introduce a nuclear particle into my blood stream and then will track it. According to comic book physics, this should result in my gaining a super-power or two. So I’ve been considering what power(s) I might get or want.

There’s a spectrum of possibilities. Spider-Man got his powers through radioactivity, as did the Hulk. The Fantastic Four got their powers through a form of radiation. In the back of my mind, I wonder if the radioactive particle might activate some recessive mutant gene or possibly Terrigen mists like the Inhumans to which I may have been unwittingly exposed.

Daredevil got hit by a truck and some radioactive isotope/bar clonked him on the head which obviously gave him his radar sense. The Atom got his powers from White Dwarf Star radiation. Superman’s powers come from the rays (radiation) of a yellow sun, but he loses them under a red sun.

So – what powers would I want? Flight is always a great one but there are problems. For example, why doesn’t Superman have bugs in his teeth? You drive a car down a highway and you’re going to wind up with bugs in the grill and bugs on the windshield. And big airplanes are often having collisions with birds; does Supes do that or does he dodge them? So flying is not as simple or cool as one might imagine.

Enhanced strength? I’d be the perennial bull in the china shop. How much would I destroy by accident? I’d have to get used to it and learn how to modulate it; shaking someone’s hand could cause them major bodily harm.

I’ve always had the theory that super-powers in some way should have a psychological component; the power somebody manifests should be tied in to who they are. So what powers would work for me?

I tend to be more cerebral than physical, so I think I would tilt more to the Professor X end of the scale. Mind powers. Or like Deadman, I’d have the ability to inhabit other people and take over their bodies and live their lives for a while. It’s sort of what I do as a writer; I go into other lives.

Eh, then you also have Dr. Sam Beckett on Quantum Leap. I thought he was kind of creepy. He’d “jump” into other people’s lives and be them for a while and then, when he leapt out, the real person would come back, aware that they had been possessed and dispossessed at the same time and they’d be stuck living with the changes Sam Beckett had made in their lives.

Green Lantern would be up my alley; manifesting whatever I can imagine through sheer force of will. That, too, is what I do as a writer. But that falls outside the parameters of the concept – it’s not radioactivity that gives GL his powers but the ring. Same thing with Batman; no radioactivity involved in his creation. Unless we want to suggest Bruce was bitten by a radioactive bat when he first fell into the bat cave as a boy. Hmmmmm.

Of course, I could also wind up with less useful powers such as being able to sniff out chocolate within a mile. Or with a gesture make meatballs and sauce fly out of my fingers. With my luck, that would be more likely.

Well, we’ll just have to wait and see. If I get something, I’ll let you know next week. Unless, of course, I need to preserve my secret identity. If you hear nothing further from me on the subject, you’ll know why.

As the creator of so many great super-heroes would say – Excelsior!

Marc Alan Fishman: What DC Could Learn from Logan

Having finally caught and absorbed James Mangold’s Logan, the finale to the OG X-films, I find myself hoping that the execs behind the soon-to-be-released Wonder Woman and Justice League movies were taking notes. A caveat: I’m going to attempt to keep my lens wide this week. While I don’t believe I’ll be spoiling anything more than people on your Facebook feed have blathered about, be nonetheless forewarned.

Before I get into my listicle (they’re what make articles click-baity, don’t-cha-know), let me quickly pontificate. Logan was one of the most powerful superhero films I’ve ever seen. Perhaps second only to The Dark Knight. It was a straight-forward small-scale road picture that kept a handle on a single-thread story, presented as an homage to the westerns it evoked throughout the picture. In spite of a heavy-handed two-hour run-time, the film itself moves at a steady pace. The performances are top-notch, with Patrick Stewart and Hugh Jackman taking astounding leaps above their initial performances of Charles Xavier and Wolverine circa 2000. Sweet Rao I feel old just typing that. But I digress. On with the listercizing!

  1. Things get dark, but never for the sake of needless angst.

The first thing DC should take note on… and perhaps highlight, circle, underline and install neon lights around… is that it’s perfectly acceptable to be maudlin if it’s earned. X-Men, X2, and to a much-much-much-much lesser extent any of the other X-films did much to pile on the action and gravitas towards the mutant life en masse. But Logan abstains from needless retreading. Instead, it delivers us heroes who are hurt inside and out. It gives them needs, wants, and desires that don’t coincide with some greater plot or McGuffin. And when a McGuffin lands in their lap, they pleasantly drape it in subtext (Charles Xavier, through his delusional state, would seek to mentally communicate with any over living mutants, wouldn’t he?) that earns the gravitas the film requires. And when a character screams to the heavens in a shrill cry of anger and sadness, it comes by way of two-hours of earned malaise and not because it looks cool.

  1. Show. Don’t tell.

During a lull between brutal set pieces, Professor X waxes poetic about the final days of his former academy. He doesn’t speak in pure exposition. He drifts in and out, dancing around nuanced and painful memories, and ultimately evokes the feeling of tragedy and regret deeply rooted in his psyche. We never hear the full details of what occurs. We never see some spiffy CG recreation. And we never need to.

In addition to Charles’ admission of guilt and shame and the slow reveal of X-23’s backstory, Logan elicits the show-don’t-tell ethos that DC needs to heed. While yes, we get the obligatory backstory tacked to her early on, it’s delivered without hanging a lampshade on it time-and-again. Laura is feral and untrusting. She’s lethal and raw. While we see her drop her guard eventually, it comes over the course of many scenes and instances where Dafne Keen shows us how powerful a performer she is. Logan never once feels the need to montage our way toward understanding a new norm.

  1. Keep the violence real, believable, and still other-worldly.

The biggest issues I’ve had with Batman v. Superman and Suicide Squad came solely in their fetish for destruction. Logan certainly was built for violence. But when it occurs, it’s not only earned by the stakes in the story, it comes layered with emotional and physical fallout. As Logan and others are forced to fight a youthful Wolverine clone (my one spoilery thing, I apologize…), suddenly fighting a savage killer with a healing factor feels like a true threat. It also stands to note that even in the climax of the film — with multiple combatants, gunfire, and viscera — there’s no death for the sake of spectacle. War is waged for hope, humanity, and vengeance. All that, and there’s nary a single beam-being-blasted-towards-the-sky. Natch.

  1. The story is fearless in the face of predictability

If nothing else could be counted on by DC after seeing Logan, it should be the safe admission that sometimes it’s OK to tee-up a predictable story. There’s nary a single twist to the picture if you pay clear attention. But, due to the patience of director Mangold, we get a film that never needed to rely on ham-fisted trickery to earn the 92% fresh rating on Rotten Tomatoes. The potency lies in the characterizations and believable escalation of antagonism. Villainy in Logan is no less super-villainous that Lex Luthor creating Doomsday, or Darkseid declaring war on Earth. But it’s the reactions of our heroes that carry us through to the end credits. Jokes occur naturally and not at the behest of breaking a tense and necessary silent moment for the sake of relieving the stress on the audience. Mangold lets the story unfold through deliberate character-driven motivations. We never see the puppet-strings of action-figure-merchandisers creating moments for future marketing. Honesty and artistry over bottom-dollar-profits. And because of it, the fans have carried a hard R-rated film to over 500 million dollars in ticket sales.

I know Justice League and Wonder Woman are being built to pitch out to a larger PG-13 audience. But the sincere hope remains that DC paid attention. Logan was amazing not because it used the word fuck a few hundred times, but because the story delivered earned every last fuck delivered.

 

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #404

THE SHOW WAS DUMB NO DOUBT ABOUT IT

I feel like staying far away from Civil War II this week. How far away? I’m not even writing about comic books. That far.

Doubt was another attempt to do a Shonda Rhimes style show without Shonda Rhimes. CBS tried to hedge its bets by having former Grey’s Anatomy Katherine Heigl headline Doubt. Did that help? Even less than her presence helped in her last show, State of Affairs. State of Affairs lasted 13 episodes. CBS pulled Doubt after only two episodes. Which is one more episode than I was able to last. Doubt was such a huge turkey it could have fed the Eight is Enough brood and still have had enough to give the Brady Bunch leftovers. But I digest.

Doubt told the story of Sadie Ellis, a high-priced New York City defense attorney who was defending Dr. William Brennan on a first-degree murder charge. The show was, as TV flack hacks like to put it, “ripped from the headlines.”

See, Dr. Brennan was a doctor, a pilot, and a the son of a US senator, who was accused of murdering his 16-year-old girlfriend back in 1993. So, this story is a mash-up of John F. Kennedy, Jr. (son of a senator and a pilot) and Michael Skakel (nephew of a different Kennedy senator who was accused of the 1975 murder of his 15-year-old girlfriend and convicted in 2002). The writers had to go to the library achieves to find whatever newspapers they ripped this15-year-old headline from. I understand that if Doubt had made it to a second season, instead of just a second episode, it was going to do a “ripped from the headlines” story based on Sacco and Vanzetti.

Dr. Brennan’s girlfriend was murdered back in 1993. We learned in a pretrial hearing that Dr. Brennan confessed to the murder to another student while they were in boarding school. And that the murder weapon disappeared in 2006 and hasn’t been found.

Ms. Ellis and her team thought their best chance to win the case was to suppress the statement. If that was their best shot, Dr. Brennan better start getting measured for his fashionable “The New Black” jumpsuit. Because the odds of them winning the suppression motion were even worse than the odds of my winning the Mega Millions and the Powerball. Three times.

The Fifth Amendment says that no one can be compelled to incriminate him or herself. Confessions are suppressed when they are obtained in violation this amendment because they are in some way coerced. All courts hold that if the government or one of its agents coerce the confession in some way it must be suppressed. That doesn’t apply here. Brennan gave his confession to another student, not the police.

Courts are split on whether a confession that was coerced by a private citizen should be suppressed. Some say any coerced confession should be suppressed. Others say only a confession that was coerced by the government should be suppressed. But, again, that doesn’t apply here.

Dr. Brennan’s statement was one that he gave voluntarily to another student while they were attending boarding school. There was no hint of coercion. And there is no split among the courts that a confession what was not coerced should not be suppressed.

Ms. Ellis could also have tried to suppress the evidence because it was a statement made by someone who was not in court and which is being offered to prove the truth of the matter asserted, i.e., that Dr. Brennan killed his girlfriend. You know, hearsay. Sadie didn’t even try that one.

When most states defined hearsay, the definition specifically excluded the statement of a party in the case that is contrary to the party’s position at trial — such as a confession by a defendant who pled not guilty would be. New York didn’t go that route. In New York, the statement of a party opponent is still hearsay. However, it is one of the exceptions to New York’s hearsay rule. So not hearsay or an exception to the hearsay rule, either way the confession would be admissible.

The judge quite correctly ruled that Dr. Brennan’s statement should not be suppressed. So the defense team’s best shot fired blanks. Then, just when things looked darkest for Dr. Brennan, they got worse. The police found the murder weapon.

Seems back in 2006 there was a fire in the 93rd Precinct and the evidence there was moved to the Staten Island police warehouse. Let me get this straight; the evidence was lost because the police forgot where they put it? That’s dubious at best and this show was never at its best.

Police have to keep track of what’s called the chain of custody on all evidence. They have to know where evidence is at all times so that when it’s offered in a trial, the police can establish that the evidence is actually what it purports to be and hasn’t been tampered with. Toward this end, evidence is kept in secure lockers and has to be signed out when someone wants to examine it. That way there’s a paper trial detailing where the evidence was at all times and who had it.

So when the police moved the evidence from the 93rd Precinct to the Staten Island warehouse, they would have made records of the move so that the evidence’s chain of custody could be maintained. The police would have known at all times where the murder weapon was and would have been able to put their hands on it anytime they wanted it.

Sadie tried to exclude the murder weapon. She argued to the judge that its chain of custody had been broken when it was lost in the warehouse. The prosecutor argued that a chain of custody breach goes to weight not admissibility. Wrong!

If the defense can establish that there was a break in the evidentiary chain of custody so that the evidence might not be what it purports to be or might have been tampered with, that means that the evidence is not admissible. Chain of custody arguments go to admissibility, not weight. Any prosecutor would know that; except, perhaps, the one who didn’t think to look in the police warehouse that all the other stuff from the 93rd Precinct was moved to after the fire.

And that’s what happened in the first episode of Doubt. I can’t tell you what happened in the second because I, like most of America, didn’t watch it. One episode was bad enough. I can only suffer so much for my art.

Martha Thomases: Iron Fist and America’s Original Sin

If racism is America’s original sin, it’s not surprising that racial issues hold such a central place in our popular entertainments. It also affects our response to these entertainments.

Especially mine, and especially this weekend.

It started with a semi-binge of the Iron Fist, the new Marvel Television series on Netflix. All sorts of people were angry that the actor cast as the lead, Danny Rand, is white. While this is faithful to the source material, it would not have been blasphemous to cast an Asian-American actor. The character, as written in the television series, is not particularly white.

He is, however, really boring. I don’t know if this is the fault of the actor or the script. There are so many things that are not discussed that might fill in the characters’ inner lives. What does Rand Industries do? Do they make things? Do they just do real estate deals? Why does Danny run around like a crazy person instead of asking questions? How do they get from Gramercy Park to Chinatown so quickly? Did they chase each other through subway tunnels?

Maybe these details are filled out in later episodes. I expect to finish the series, although probably not until after I watch Dave Chappelle.

In other words, while I understand that race might be an issue for some viewers, it was not the most notable part of my experience.

I also finally saw Get Out, an amazingly brilliant movie. Race relations are absolutely the point of this movie. It offers a view of the world as experienced by African-Americans that I don’t get to see very often. It also offers a view of white people that I, a white person, rarely get to see. It’s funny and frightening and very important while never making me think I’m doing something that’s good for you. Broccoli should have such a good script.

Should we only have people of color as leads when the story is about their particular subgroup? I don’t think so. There are all sorts of stories that can be filled with people of any race, gender or ethnicity. For example, I love Jesse Martin on The Flash, and I am sure he was cast because he is Jesse Martin, not because they needed an African-American in the part. That said, the fact that he is black adds a definite je ne sais quoi to the series. So does his height. So does his goatee.

My ComicMix colleague Joe Corallo and I have spent hours arguing over these and related issues, usually consuming a good deal of tequila in the process. We have very different responses to the Aftershock series Alters. I really like it, and Joe likes it less than I do (although I think he’s coming around). I’m interested in the story the creative team is trying to tell, and Joe has less patience with the story than he does with the creative team. This is not an argument either one of us can win, because we like what we like and don’t like what we don’t like. Still, these are interesting reactions to have when a series is launched about a character who isn’t a straight cis white guy.

There are times when a character cannot be a straight cis white guy. There are times when a character must be a straight cis white guy. Most of the time, the only reason it matters to certain audiences are our cultural assumptions about which people are worthy of stories.

Tweeks SuperFlash Duet

Musicals are life. And while we weren’t exactly caught up on both Supergirl and The Flash (though we’re told we really need to do that), we couldn’t miss the SuperFlash crossover event. Especially not with Broadway talents like Darren Criss, Jeremy Jordan, John Barrowman, Jesse L. Martin, Victor Garber and Glee alums Melissa Benoist & Grant Gustin!

Thing is, Maddy knew a little something about the Music Meister’s first appearance (played by Neil Patrick Harris, who also beat Darren Criss to the punch at playing Hedwig) on Batman: The Brave and the Bold, so we couldn’t help but compare the two musical episodes.

Could this CW musical event stacked with all our favorites be better than an animated episode featuring Black Canary singing about her love for Batman? Watch the video & find out.

Vin Diesel’s xXx: Return of Xander Cage comes home May 2

 

HOLLYWOOD, Calif.  – Hailed as “a crazy, stunt-filled action spectacular” (Scott Mendelson, Forbes) and “a shot of pure adrenaline” (Joey Nolfi, Entertainment Weekly), xXx: RETURN OF XANDER CAGE x-plodes on 4K Ultra HD Combo Pack, Blu-ray Combo Pack, DVD and On Demand May 16, 2017 from Paramount Home Media Distribution.  X-cited fans can be the first to get it two weeks early on Digital HD May 2.

When a group of lethal mercenaries steal a hi-tech weapon that poses a global threat, the world needs superspy Xander Cage (Vin Diesel).  Recruited back into action, Xander leads a team of death-defying adrenaline junkies on a mission to kick some ass, save the day, and look dope while doing it.  Packed with some of the most mind-blowing stunts ever caught on film, xXx: RETURN OF XANDER CAGE features a powerhouse international cast including Donnie Yen (Rogue One: A Star Wars Story), Deepika Padukone, Kris Wu, Ruby Rose (John Wick: Chapter 2), Tony Jaa (Furious 7), Nina Dobrev (TV’s “The Vampire Diaries”), and Samuel L. Jackson (Kong: Skull Island).

The xXx: RETURN OF XANDER CAGE 4K Ultra HD and Blu-ray Combo Packs are loaded with over an hour of action-packed special features, including in-depth  interviews with the all-star cast, plus a behind-the-scenes look at the film’s incredible stunts, locations and much more.  The film also boasts a Dolby Atmos® soundtrack* remixed specifically for the home theater environment to place and move audio anywhere in the room, including overhead.

xXx: Return of Xander Cage Blu-ray Combo Pack

The xXx: RETURN OF XANDER CAGE Blu-ray is presented in 1080p high definition with English Dolby Atmos (Dolby TrueHD compatible), French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital and English Audio Description and English, English SDH, French, Spanish and Portuguese subtitles.  The DVD in the combo pack is presented in widescreen enhanced for 16:9 TVs with English 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital and English Audio Description and English, French, Spanish and Portuguese subtitles.  The combo pack includes access to a Digital HD copy of the film as well as the following:

Blu-ray

  • Feature film in high definition
  • Bonus Content:
    • Third Time’s the Charm: Xander Returns
    • Rebels, Tyrants & Ghosts: The Cast
    • Opening Pandora’s Box: On Location
    • I Live for This Sh#t!: Stunts
    • Gag Reel

DVD

  • Feature film in standard definition

xXx: Return of Xander Cage 4K Ultra HD Combo Pack

Fans can enjoy the ultimate viewing experience with the 4K Ultra HD Combo Pack, which includes the Blu-ray detailed above, as well as an Ultra HD Disc presented in 4K Ultra HD with English Dolby Atmos (Dolby TrueHD compatible), French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital, Portuguese 5.1 Dolby Digital and English Audio Description with English, English SDH, French, Spanish and Portuguese subtitles. The Combo Pack also includes access to a Digital HD copy of the film.

xXx: Return of Xander Cage Single-Disc DVD

The single-disc DVD is presented in widescreen enhanced for 16:9 TVs with English 5.1 Dolby Digital, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital and English Audio Description and English, French, Spanish and Portuguese subtitles.  The disc includes the feature film in standard definition.

Paramount Pictures and Revolution Studios present an RK Films and One Race Films production, a D.J.Caruso film Vin Diesel “xXx: Return of Xander Cage.”  Donnie Yen, Deepika Padukone, Kris Wu, Ruby Rose, Tony Jaa, Nina Dobrev with Toni Collette and Samuel L. Jackson.  Casting by Anne McCarthy and Kellie Roy.  Music by Brian Tyler and Robert Lydecker.  Costume designer Kimberly Tillman.  Editors Jim Page, ACE and Vince Filippone.  Production designer Jon Billington.  Director of photography Russell Carpenter, ASC.  Co-producer Marla Levine.  Executive producers Vince Totino, Scott Hemming, Rick Kidney, Gloria Borders and Zack Roth.  Produced by Joe Roth, p.g.a., Jeff Kirschenbaum, p.g.a., Vin Diesel, p.g.a. and Samantha Vincent, p.g.a.  Based on characters created by Rich Wilkes.  Written by F. Scott Frazier.   Directed by D.J. Caruso.

xXx: RETURN OF XANDER CAGE
Street Date: May 2, 2017 (Digital HD), May 16, 2017 (4K Ultra HD, Blu-ray, DVD, and VOD)
U.S. Rating: PG-13 for extended sequences of gunplay and violent action, and for sexual material and language
Canadian Rating: 14A violence, language may offend

* To experience Dolby Atmos at home, a Dolby Atmos enabled AV receiver and additional speakers are required, or a Dolby Atmos enabled sound bar; however, Dolby Atmos soundtracks are also fully backward compatible with traditional audio configurations and legacy home entertainment equipment.

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