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The Point Radio: Robert Carlyle On Life At The STARGATE

There’s more on STARGATE UNIVERSE including Robert Carlyle explaining why he took a dive intp series television, and Ming Nah on playing one of the few openly gay characters in SF TV. Plus ZOMBIELAND jumps to the top of the Box Office, while STAR TREK and WOLVERINE slip off the chart.

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Superman’s powers explained and DiDio on Outsiders: ComicMix Quick Picks for 10/5/09

It’s been a slow few days in comicsylvania, so here’s a roundup of the last few days:

It can’t possibly have been that slow the last few days. What else did we miss?

Review: ‘Superman/Batman: Public Enemies’

For the last 25-30 years, writers and artists have been having a wonderful time contrasting the differences between Superman and Batman. Prior to that, they were both happy-go-lucky super-heroes, brothers-in-arms with nary a problem twixt them. The team of Jeph Loeb and Ed McGuinness really explored the dichotomy between the icons in[[[ Superman/Batman]]], the modern day version of [[[World’s Finest Comics]]]. Their opening story arc, “Public Enemies”, was a major turning point in the DCU, bringing down the curtain on one set of stories and kick starting threads that played out across the line for several years.

Any storyline that involved, could not possibly be well-adapted to an animated feature considering the lack of context most viewers would need to have. As a result, [[[Superman/Batman: Public Enemies]]] the direct-to-DVD release from Warner Premier, now on sale, had to make some modifications. Unfortunately, they were not all for the better.

On the plus side, there are some nice bits between [[[Superman]]] and Power Girl who is the only other character in the story to possess a personality. The story moves at a nice clip and showcases both heroes fairly well, It’s a true pleasure to have Tim Daly and Kevin Conroy voicing the major heroes with Clancy Brown back as the icy Lex Luthor. The animators also do a fine job taking McGuiness’ pumped up style and bringing it alive.

A major plus is that this continues a line of animated features based on today’s DC Comics, demonstrating that good characterization, good storytelling and mature themes can be presented in an entertaining manner for fans of all ages. Yes it’s violent and yes the attempts to destroy, kill and maim the Dark Knight and the Man of Steel aren’t positive themes, but good continues to triumph over evil, working up a sweat to do so.

WIth Luthor as president, it changes the playing field in the struggle between Lex and Superman. Suddenly, as Commander in Chief, he possesses even greater resources to call upon and even uses the Oval Office to sway public opinion. A kryptonite meteor coming to Earth? Must be affecting Superman so he can no longer be trusted. The changed dynamic means battling Luthor has to change, too, and that’s where the comic story works better than the film, which keeps things on the all-out-action level.

Loeb erred in many of the selections he made among the heroes and villains cobbled together to oppose the World’s Finest duo. For example, everyone knows Major Force is a murdering sociopath and the team should have rejected working alongside him. Starfire, an alien princess, and Katana are not American citizens and shouldn’t have answered President Luthor’s call. Similarly, when Captain Marvel shows up to duke it out, Superman brings up the wisdom of Solomon which should have counseled the good Captain to avoid this political mess. The animators also picked an overly broad collection of villains to arrive, controlled by Gorilla Grodd. They all got stopped way too easily, diminishing the threat any one of them possessed.

The movie feels big because of the cast and I wish there were more strong voices such as CCH Pounder’s Amanda Waller. It was probably a mistake for Alison Mack to be Power Girl because I kept thinking Chloe Sullivan.

The biggest oops was not having the Superman and Batman Families come to the heroes’ aid, demonstrating their contrasting styles. I’d have much preferred keeping it, ahem, all in the family, in lieu of the mindless slugfests at 1600 Pennsylvania Avenue.

Finally, there’s the notion that this genius Japanese kid was the only one on Earth able to construct a rocket able to stop the mammoth kryptonite meteor. Let’s see, there are various magicians, three [[[Green Lanterns]]], and so on. And in the film’s case, once the meteor is blown up, there’s nary a mention of what became of the now tiny chunks of kryptonite that were now hurtling towards Earth and other planets in the solar system. At least a line of dialogue should have covered that. At 67 minutes, there was definitely room to smooth over the story points.

Overall, though, this is a strong offering and fun to watch.

The extras on the Standard edition and the DVD include the usual assortment of trailers for other DCU videos, including the next one, [[[Justice League: Crisis on Two Earths]]], coming in 2010. The Blackest Night featurette also appears. “A Test of Minds: Superman and Batman” dos a nice job exploring the comic book relationship between the heroes while “Dinner with DC: With Special Guest Kevin Conroy” features the voice actor Voice Director Andrea Romano, Executive Producer Bruce Timm and DC’s overseer Gregory Noveck chatting the animation crew about adapting the film. Two Batman-featured episodes from Timm’s Superman: The Animated Series round out the disc. You have until September 30, 2010 to take advantage of the digital copy download, with no disc to aid you.

Review: ‘Star Trek: TOS’ Season 2 on Blu-ray

After a rocky first season that ended with the letter writing campaign to save [[[Star Trek]]] from cancellation, the second season opened in a horrible Friday night time slot but was a stronger series. Creator Gene Roddenberry continued to oversee everything as an Executive Producer but John Meredith Lucas took over as the line producer, aided by Roddenberry’s former secretary, D.C. Fontana becoming the script consultant. These changes made for a strong start as witnessed on [[[Star Trek: The Original Series Season 2]]], now out on Blu-ray from Paramount Home Video.

Things had started to gel for the series as the characters became more sharply defined and the writers began to tailor the by-play accordingly. The backstory grew stronger so it was clear what the United Federation of Planets was all about and that the starship Enterprise was truly exploring space and fought only when necessary.

The season opened with “Amok Time”, written by SF great Theodore Sturgeon and explored Vulcan and Spock’s place among his people. It’s a great opening but also one that acknowledged the rising popularity of the character and Leonard Nimoy, placing him ahead of star William Shatner.

Roddenberry and Lucas began exploring more of Spock’s backstory, starting with “Amok Time” but later in “Journey to Babel” which memorably introduced his parents. Fortunately, attention was paid to others, as well. Bowing to criticism from Pravda, the Russian navigator Pavel Chekov joined the crew, ending the rotating supernumerary opposite Helmsman Sulu. With George Takei’s work on [[[The Green Berets]] prolonged, Chekov got plenty of screen time, much to Takei’s regret and Walter Koenig’s delight.
(more…)

The Point Radio: STARGATE UNIVERSE Danger & Sex In Space

STARGATE UNIVERSE (SyFy Channel’s next step in the SG francise) debuts tonight with a new cast and a definite new direction. We begin our backstage access today as the cast explains just what they have to do to survive lost in the multi-verse (and it isn’t playing video games) – plus John Cho talks about his future on not only FLASH FORWARD, but maybe back on The Enterprise or even The White Castle.

PRESS THE BUTTON to Get The Point!

And be sure to stay on The Point via iTunes - ComicMix, RSS, MyPodcast.Com or Podbean!

Follow us now on and !

Don’t forget that you can now enjoy THE POINT 24 hours a Day – 7 Days a week!. Updates on all parts of pop culture, special programming by some of your favorite personalities and the biggest variety of contemporary music on the net.

CLICK HERE TO LISTEN LIVEFOR FREE or go to GetThePointRadio for more including a connection for mobile phones including iPhone & Blackberrys



It’s No New Comics Week

Back in the days before direct sales and specialty shops overwhelmed comic book sales, you couldn’t find a new comic book on the newsstands to save your soul. The theory was, nobody buys magazines between Christmas and New Years Day, and even now “weekly” magazines like Time and Newsweek skip that week. The fact was, the newsstand distributors and shippers thought that would be a swell week to take off, so they did.

Well, those sing-along days are back. Diamond will not be shipping anything the week of December 30, 2009. Nada. Zippo. Nothing.

There’s a bit of a difference between modern times and those thrilling days of yesteryear. Maybe the old mom and pop stores could survive selling Brylcream and Ipana, or maybe they’d take the week off as well. But today’s comics shop owners can’t afford to close down that week – yes, comic book selling is that marginal a business – and they’ve still got to pay the rent.

Expect a lot of in-store post-Christmas sales, which might be lucrative for those retailers whose customers get cash as holiday presents.

Manga Friday: Supernatural Teens

Where would comics be without the
stories of young people with amazing powers? Oh, sure, you could cobble
together a world canon of stories with no supernatural stuff at all, but it
would have to be a masterpiece of the gerrymanderer’s art. And why would you
want to – when you can have all of the moody, or conflicted, or ridiculously
innocent teenagers with amazing abilities you ever thought of? Like the main
characters of these three books, for example…

Wicked Lovely: Desert Tales, Volume 1: Sanctuary
Written by Melissa Marr; Art by
Xian Nu Studio
Tokyopop/HarperCollins, May 2009,
$12.99

Wicked Lovely is the name of a novel by Marr, and it also seems to be
the umbrella title for her novels about teens and faeries (and teen faeries,
and faerie teens) in the modern world. The novels seem to be about a girl named
Aislinn – no self-respecting teen-novel heroine ever has a name like Doris or
Mabel – and her travails in high school and the Faerie Courts. But this manga
volume – it says on its back cover that it’s “manga,” if you don’t believe me,
and never mind that it reads left-to-right and was written by an American – is set
somewhere in the western desert, where once-mortal Rika lives quietly, trying
to avoid both humans and the local faeries.

Rika was discovered and turned –
not exactly
“seduced and abandoned,”
since she wasn’t able to give him what he wanted – many years ago by the Summer
King, Keenan, who turns up early in this book to give an excuse for some
backstory and to fail to get her to swear fealty to him. She refuses, of course
– she’s solitary now, and happy that way. What does it matter if most of the
solitary fay are nasty enough to make “mischievous” a very weak term to
describe them?

But they’re just there for spice;
this is a series for teenage girls, which means Rika has to see a cute boy –
Jace, who paints, like she does – and save him from those nasty fay, who try to
kill him for no good reason. He’s sweet and innocent enough to stare wide-eyed
at her abilities – those nasty wild fay don’t give up, or there wouldn’t be a
plot here other than “elf girl and artist boy meet cute and gaze into each
other’s eyes,” – and the book is low-key enough that they’re just mildly
kissing by the end. (Which seems awfully tame for a fairie who’s hundreds of
years old.)

Wicked Lovely: Desert
Tales: Sanctuary
has too many
colons in its title and a thin plot, but I have to expect that it’s just the
kind of thing teen girls will want: a bit of angst, a wish to be alone that
doesn’t actually lead to loneliness, and a cute boy that the girl gets to
protect and pursue. I’m just twenty years too old and the wrong gender to
appreciate it properly. (more…)

Happy 50th Anniversary to ‘The Twilight Zone’!

twilight-zone-3825074On this day in 1959, Rod Serling and CBS introduced us to a fifth dimension, beyond that which is known to man. It is a
dimension as vast as space and as timeless as infinity. It is the
middle ground between light and shadow, between science and
superstition, and it lies between the pit of man’s fears and the summit
of his knowledge. This is the dimension of imagination. It is an area
which we call… the Twilight Zone.

The Twilight Zone ran for five seasons on CBS, then entered the dimension of infinite reruns to this very day– often with rerun marathons on July 4th and New Years Eve in local markets, a tradition that extends to its current home on the Syfy Channel. It won numerous Emmys and Writer’s Guild awards and spawned two series revivals, a movie, a song by Golden Earring, and countless other homages, and may be one of the most influential shows to air on television.

If you’re a fan, you can’t do better than the DVD compilations or Marc Scott Zicree’s Twilight Zone Companion. If you’ve never seen the show– how? Never mind, here’s the first episode for you on CBS’s web site.

Review: ‘High Moon’ Volume One

High Moon
Dave Gallaher & Steve Ellis
DC Comics, 192 pages, $14.99

DC’s online imprint, Zuda Comics, has certainly been a hit or miss affair but when it hits, there’s a pleasure in discovering new talent or new concepts. While [[[Bayou]]] was a breakout hit, the most consistent entry remains [[[High Moon]]], written by former ComicMix contributor Dave Gallaher, illustrated by Steve Ellis and lettered by Scott O. Brown.

Gallaher had this notion for years but managed to earn one of the inaugural slots when Zuda went live in late 2007 and the strip won the first reader contest. It has since received plaudits from around the field and now DC is releasing the first three stories in a trade paperback.

The three stories comprising the first volume mix the western and horror genres with a dash of steampunk and overly, it’s a breezy, entertaining read. The focal point surrounds the Macgregor family, a line of detectives, currently working as a branch of the famed Pinkertons. Matthew Macgregor takes center stage in the first story while brother Tristan arrives for the second tale and then Tristan and Fergus deal with demons in the final tale. Linking all three, though, is Eddie Conroy a werewolf with a haunted past.

Each tale takes place in a different locale, starting with the drought-stricken Blest, Texas, then moving on to Ragged Rock, OK before concluding in South Dakota.

Across these stories are vampires, werewolves, demons, sexy Indians and a lot of atmosphere. We are given details in drips so reading the three stories in one sitting helps build the world of High Moon and it’s a nice place to visit.  Gallaher’s dialogue is spare and distinct while Ellis works wonders with the static format of the Zuda reader, playing with page design when the action demands it. His use of color goes a long way towards giving the strip a nice atmosphere.

We could use a little more grounding in the time and place when these stories take place and what the ground rules are for the occult aspects but these are minor quibbles for what is a strong series which returns to the web with a fourth installment this fall.

Fathers and Sons: reviews of Danica Novgorodoff’s ‘Refresh, Refresh’ and ‘The Big Kahn’ by Neil Kleid and Nicolas Cinquegrani

I should start by quoting something weighty – the most
obvious would be that old Tolstoy saw about happy and unhappy families – but
let’s take that as written, shall we? Comics have given short shrift to
families for the past seventy years – at least, the American comic-book
industry has, though strip comics grew fat and bloated on the hijinks of
aggressively “relatable” families for that long and longer.

Even the undergrounds – typically about countercultural
types, who occasionally complain about their parents but try to avoid them as
much as possible – and the modern alt-comics movement (Alienated Loners R us!)
avoided family dynamics. Sure, there are exceptions, from Will Eisner to art
spiegelman, but the average American comics protagonist is an orphan – or wishes
he was.

Maybe that’s starting to change, or maybe I just have a couple
of anomalies on my hand. Either way, today, I have two books where that isn’t the case – not to say that these dads might not be
dead, absent, or problematic, but they’re definitely part of the story. And
their sons care who, and what – and where – their fathers are.

Refresh, Refresh
A graphic novel by Danica
Novgorodoff, adapted from a screenplay by James Ponsoldt based on the story by
Benjamin Percy
First Second, October 2009,
$17.99

What do men do? For many in the comics reviewing world,
that’s an easy question: men punch each other in the face. But they don’t have Refresh,
Refresh
in mind when they say that. This graphic
novel is set in a small Oregon town, just a couple of years ago, where most of
the adult men are off fighting with the Marines in Iraq. And their sons –
mostly Cody and Josh and Gordon, three highschool-aged boys who are at the core
of this particular story – talk about joining up when they’re old enough, or
working in the local factory, or maybe even getting out.

But Refresh, Refresh
is based on a literary short story, and if there’s one thing we all know, it’s
that there’s no getting out of a story like that – it’s all doom and gloom
until the moment-of-clarity ending. So this town is stifling and without any
options, the boys drifting – from backyard boxing to underage drinking in bars
to racing around on motorbikes and sleds – as they rebel without any fathers to
drag them into line. (The narration – presumably taken from the original Percy
story; I don’t want to blame Novgorodoff for any of it – is particularly
heavy-handed in that area, such as this sequence from p.83: “We didn’t fully
understand the reason our fathers were fighting. We only understood that they
had to fight. ‘It’s all part of the game,’ my grandfather said. ‘It’s just the
way it is.’ We could only cross our fingers and wish on stars and hit refresh,
refresh, hoping they would return to us.”)

What they hit “refresh, refresh” on is their e-mail
in-boxes; that scene recurs several times in the story. Oddly, though, it’s the
only incursion of modern technology into a story that could otherwise be
Vietnam-era. They don’t follow their fathers’ platoon on CNN.com or an Armed
Forces website; don’t call each other on cellphones; don’t think about or track
or seem to notice the war on TV or the Internet; even their laptops seem to be
screwed down to tables, for all the moving they do.

Refresh, Refresh is a very traditional story about young men in
small towns; I could probably quote half-a-dozen Bruce Springsteen songs on
roughly the same topic, and with pretty much the same moral and tone. (And that’s
without diving into the world of the realist short story, where kitchen-sink
dramas almost require young men with promise to be squandered.) Novgorodoff
tells this version with a bit too much self-conscious artistry – too many deer
looking up at airplanes, too many of those explaining-the-theme narration boxes
– but she keeps the focus tight and specific, on these three boys and their
world, their choices and possibilities. A story like this is nearly always
about badchoices, though, so it
would be best to come to Refresh, Refresh with a MFA-teacher’s fatalism, and not expect anything so comic-booky
as a happy ending for the boys who punch each other in the face. (more…)