Calvin… and Jobs
Here’s a little ditty that ComicMix’s Macintosh majority would like to share with you. It’s from The Daily Cartoonist, and it’s called Calvin and Jobs.

Here’s a little ditty that ComicMix’s Macintosh majority would like to share with you. It’s from The Daily Cartoonist, and it’s called Calvin and Jobs.

The Dark Knight continues to rule the box office as it takes the number one position for the fourth weekend in a row, the first time any 2008 release has achieved this. Its estimated haul of $26,030,000 pushes its domestic take to $441,541,000, faster than any movie in history.
Next week, the movie should surpass Star Wars’ $461,000,000 and become the second highest grossing film in American box office history. Titanic
remains on top of the world with its $600 million record and Warner Bros. suspects Batman will not beat the fabled steamliner. Instead, they now estimate the film will earn $520 million.
Now, adjust everything for inflation and The Dark Knight will wind up not second but 49th while Gone With the Wind remains the biggest film of all with $1.4 billion in 2008 dollars.
The stoner comedy Pineapple Express opened in second place with a healthy $22,400,000. Counting ticket sales from Wednesday’s opening, the film already has taken in $40.5 million.
In its second weekend Universal’s The Mummy: Tomb of the Dragon Emperor dropped 60.2%, taking in just $16,113,000. With a total of $70,671,000, it chugs along although there has to be some concern that bad word of mouth, poor reviews and steep drop off may mean the franchise is running out of steam despite director Rob Cohen already talking a fourth film.
Let’s take a lazy Sunday and add in a few links and recaps of things you might have missed on this week’s ComicMix Radio:
We are back on the broadcast on Tuesday with our run down of new comics and DVD releases and more from Torchwood Executive Producer Julie Gardner and series star, Naoko Mori. And remember, you can always subscribe to ComicMix Radio podcasts via
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The 2008 Hugo Awards were given out last night at Denvention, this year’s World Science Fiction Convention, a.k.a. WorldCon. The Master of Ceremony was Wil McCarthy. The winners are (cue the drum roll) …
Since the birth of Tim Burton’s movie Batman in 1989, there has been a video game tie-in with every incarnation of the Batman film franchise. So why is it that we haven’t seen one for one of the most popular (and profitable) films for the character, if not for comic book films in general? It’s not as if there wasn’t a plan for a digitized Batman during the film’s production. Game publisher Electronic Arts had the rights to make a game for the Dark Knight film, according to an unnamed developer for the EA-owned Pandemic Studios. Speculation says that the lack of a game caused up to $100 million in missing sales, and would be the first time that the caped crusader didn’t have a game.
Pretty soon, this is going to turn into a review of Dark Horse’s [[[Creepy Archives Volume 1]]]. Hang in there; I’ll get to it, I promise.
I miss Archie Goodwin, particularly this time of year. He died 10 years ago from cancer at the ridiculously young age of 60. He was one of the best writers this medium has ever seen. In a field that sports the talents of Harvey Kurtzman, Will Eisner, Jules Feiffer, and Dennis O’Neil, Archie was of that highest caliber. If Archie ghosted bible tracks for Jack Chick, I would have read them. He was that good.
As a human being, he was even better. A life-long EC Comics fan (you could see it in his work, as well as in those with whom he chose to associate), for a couple years Archie and I had adjoining offices at DC Comics. We used to go out to lunch and talk about, oh, [[[Tales From The Crypt]]] and Ronald Reagan. Did I mention Archie was very politically aware? Read his [[[Blazing Combat]]] stories. Anyway, sometimes our conversations scared the Manhattan businessmen who sat near us.
Archie enjoyed that. I enjoyed those conversations immensely; I wish I could relive them.
So why do miss Archie “particularly this time of year”? This is convention season. No matter where we were, we would run into each other a couple times each year at various airport gates. He could be leaving from New York and I from Chicago and we’d run into each other on connecting flights in Denver. We could both be at a show in, oh, his native Kansas City and we could be flying to two different places, but we’d still share the first leg of our respective flights. At first it was uncanny; quickly, it became another fact of life.
I haven’t met all 6,500,000,000 people on this planet, but based upon my unscientific sampling I can state with complete confidence that there are few people with greater wit, charm, and intelligence. So there.
This brings us to Dark Horse’s Creepy Archives Volume 1. Archie started writing for Jim Warren’s Creepy with the first issue; by issue two he was story editor and issue four he was the sole credited editor. He wrote most of the stories and, therefore, did a lot to define the 1960s horror story while working with a lot of EC greats like Reed Crandall, Jack Davis, Al Williamson, Alex Toth, George Evans, Joe Orlando, Wally Wood and Frank Frazetta. As time progressed, he added younger talent like Gray Morrow, Neal Adams, and Steve Ditko.
Our exclusive talk with the creative minds at BBC Television continues with Julie Gardner, executive producer of all things Doctor Who as she talks about her next career move and the reasoning behind next years shortened season for Torchwood, plus:
And for another Torchwood scoop, check out this earlier article. Meanwhile, there is lots to cover here so buckle up and Press the Button!
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The perfect trifecta of living comic book legends – Neal Adams, Joe Kubert, and Stan Lee – have come to the aid of Nazi concentration camp survivor and animator Dina Gottlieboa Babbit in her fight to retrieve her long stolen artwork from a Polish museum.
According to today’s New York Times, Ms. Babbit survived two years at the infamous Auschwitz Polish concentration camp by painting watercolor portraits for the notorious butcher of Aushwitz, Dr. Josef Mengele. Many of these paintings are in the possession of the Aushwitz-Birkenau Memorial and Museum; as her work, Ms. Babbit claims ownership and has long demanded its return. The Museum has refused, and Neal, Joe and Stan have taken up the effort.
To help raise awareness, Neal teamed up with Rafael Medoff, the director of the David S. Wyman Institute for Holocaust Studies, to produce a six page comics story detailing the situation. The story was inked – in part – by Joe and sports an introduction from Stan.
They are presently looking for a publisher.
Since her liberation, Ms. Babbit had worked as an animator for Jay Ward Productions, Warner Bros. Animation, and MGM.
If you’ve grown tired of watching that bootleg copy of Iron Man that you’ve crammed onto your iPod/iPhone, then you will be happy to know that details of the Iron Man DVD release are now available for you to drool over.
Torchwood will be retuning to the airwaves next month in a somewhat unique fashion, according to the good folks at Outpost Gallifrey.
BBC Radio 4 will be broadcasting an original 45 minute full-cast radio drama, Lost Souls, on Wednesday September 10 at 9:15 Eastern Daylight Time. The story is set right after Exit Wounds, the season two finale, and deals with the events of that traumatic episode. Therefore, you might not want to hear the show until you’ve seen the second season.
Torchwood regulars John Barrowman, Eve Myles and Gareth David-Lloyd will be starring in the broadcast along with Doctor Who regular (and Torchwood guest star) Freema Agyman. The show was written by Joseph Lidster.
BBC Radio 4 can be accessed online right here. There’s no word yet on its availability through BBC Radio as part of their podcast programming.