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Fall into ComicMix

All hail the autumnal equinox, which crept in at 5:51 AM today!  Yes, we were awake for it, thanks to affection-demanding cats.  For us, autumn is the season of excitement and change, and that certainly applies to ComicMix, as you all know.  But one thing that’s staying the same is our great lineup of core columnists; here’s what we’ve had for you this past week:

Meanwhile, Mellifluous Mike Raub has reached that pinnacle at last, the hundredth Big ComicMix Broadcast!  Here’s that one and the ones surrounding it:

Way to go, Mike!

RIC MEYERS: Seven Proof

deathproofjpg-copy-9603965Here’s the story – apocryphal, unsubstantiated, and questionable as it is.

Quentin Tarantino announces he’s going to make the ultimate exploitation flick – a quintessential slasher movie (i.e., with a gruesome death every seven minutes), only with cars instead of knives. Not only that, but he’s going to return Kurt Russell to the pantheon of screen badasses in the process.

However, somewhere along the way, someone supposedly turned down the vaunted director/writer’s advances with a statement along the lines of: “No way. I can see by your movies that you have no sensitivity towards, nor understand, women.”

Tarantino’s rumored reaction is the new, “improved” vision of his loving exploitation “homage” – Death Proof, which was his anchor of Grindhouse – the anthology film buoyed by Robert Rodriquez’s far more spirited contribution, Planet of Terror. But the woeful box office receipts necessitated a rethink, so only Death Proof came out this week as an “Extended and Unrated” DVD Special Edition.

Having been shocked and amazed by the original butt-numbing theatrical version, I approached this DVD with extreme caution – hoping that I would be pleasantly surprised, but fairly certain that my worst fears would be realized. For you see, Death Proof was, and, it turns out, still is, two films in one. A half hour kick-ass revenge thriller, and, in its original theatrical form, a one hour off-Broadway play which could’ve been called Four Chicks Sitting ‘Round Yakkin’ ‘Bout Nothin’.

Now, you’ll be relieved to note, the DVD is still two films in one – a half hour kick-ass revenge thriller, an integral, ten minute lap dance sequence inexplicably omitted from the original film, and, an off-Broadway play called Four Chicks Sitting ‘Round Yakkin’ ‘Bout Nothin’ for a Full 80 Minutes!

Yes, rather than be true to his pre-release publicity, Tarantino has added not more slasher car scenes, not more badass Russell sequences, but more talking … about nothing … that has no relation to the stated purposes of a film called Grindhouse other than showing the rumored rejector that boy, Tarantino sure understands and appreciates women in spades!

As author of the book For One Week Only: The World of Exploitation Films, I was a bit, shall we say, miffed by the writer/director’s cavalier treatment of the genre, although I certainly appreciated his half-hour of valid homage, despite the labored way he set up the situations. It was all the more annoying since he had the makings of a sweet stuntman vs. stuntman thriller in there, but it, like almost anything else legitimately entertaining, was swept away in his desire to show anyone who’d deny him that he adores every word he can put in any woman’s mouth.

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BIG BROADCAST’s Stories Behind The Stories

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Nine is the magic number here at ComicMix – nine days until the giant ENTER key is pressed and ComicMix Phase Two launches (sounds like a prop from the old BatCave, huh?). If I said things are busy, that would be an understatement, but we DO have the time to share a few things with you, following up on news heard this week on The Big ComicMix Broadcast:

• If you want to get a copy of that (one time only) Steve Canyon revival, here is the information direct from the folks at the USAF: "People outside the newsstand radius can buy single copies by calling
our customer service department (800.368.5718) or sending e-mail to
order@mil-mall.com. Each issue will cost $3 (plus $1.50 shipping) the
 week the paper is on the newsstand. Thereafter, it’ll cost $5 plus 
shipping."

• Feel an inner flair for clothing design? The place to go might be here, It’s the home for Viper Comics and their new Sketch 86 line of t-shirts, plus it ‘s where you can submit your own designs for cash and prizes.

• Shades of the original “soap" operas! Mobile and broadband content provider GoTV Networks introduced the initial chapter of a 10-episode made-for-broadband series with Tide laundry detergent called Crescent Heights (as in the West LA neighborhood). Available on here among other places. Ther series features the work of writer Mike Martineau from Rescue Me.

This week, look for more previews of the features debuting here free on ComicMix on 10/2. Meanwhile on The Big Broadcast, we’ll let those creators tell you about their projects in their own worlds!  And do we have to tell you it’s going to be a BIG week: Halo 3, the return of Family Guy, Heroes and Smallville and more – and, wait until you see what’s coming to comic stores in justa few days! 

Take a deep breath and meet us right back here for The Big ComicMix Broadcast on Tuesday!

MICHAEL H. PRICE: What’s A Fishhead?

jpg-cobb-irvin-s-7955816jpg-fishhead-title-page-3342739Continued from last week

We had left Robert Bloch hanging in mid-conversation last week, speaking of Irvin S. Cobb as a forerunner of the “bizarre pulp” movement in popular fiction.

Irvin Shrewsbury Cobb (1876–1944) was a crony and occasional collaborator of Will Rogers, and a key influence upon Rogers’ droll sense of humor. He can be seen as an actor in such Rogers-starring films as Judge Priest (1934; deriving from Cobb’s folksier tales) and Steamboat Round the Bend (1935), both directed by John Ford. It was for other works entirely that Robert Bloch remembered Cobb.

“Have you ever read Irvin Cobb’s ‘Fishhead’?” Bloch asked me around 1979-1980. “Well, if it was good enough for Howard Lovecraft to single out as a nightmare-on-paper [in the 1927 essay Supernatural Horror in Fiction], then I was ready and willing to tear into it. Which I did. Changed my entire direction, that one story did.”

I can relate, all right. In 1995, independent publisher Lawrence Adam Shell and I set about to adapt as a graphic novel Cobb’s 1911 tale of righteous vengeance, “Fishhead,” in which a swamp-dwelling hermit of grotesque aspect runs afoul of malicious neighbors. If Irvin Cobb had drawn upon regional folklore to lend his title character a gift of supernatural communion with the wildlife, then our crew reckoned we must treat Cobb’s story itself as folklore – subject to sympathetic re-interpretation and elaboration as a condition of respect.

And otherwise, why adapt at all? Cobb would have done a greater service to scholarship than to popular literature if he had contented himself merely with compiling the various old-time rumors about reclusive souls presumed to possess spiritual bonds with the wastelands. The audacious job that Cobb called “Fishhead” backfired at first, accumulating rejections from one magazine after another on account of its unabashed gruesomeness and its sharp contrast with his gathering reputation as a sure-fire humorist. One editor, Bob Davis, of an adventurous magazine called The Cavalier, wrote to Cobb in 1911: “It is inconceivable how one so saturated with the humors of life can present so appalling a picture.”

But after Davis had relented and published the yarn in 1913, “Fishhead” proved a watershed, helping to trigger the so-called “bizarre pulp” explosion that would gerrymander the boundaries of mass-market fiction during the two-and-a-half decades to follow. By mid-century, when Cobb’s lighthearted and bucolic tales had become by-and-large forgotten, “Fishhead” was still reappearing as a magazine-and-anthology favorite.

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BIG BROADCAST: A Girl and Her Dinosaur

ajaxfront-2884329The Big ComicMix Broadcast starts our Second One Hundred with an exclusive preview of another Phase Two Project cooking up FREE from ComicMix. You take a cute girl, toss in a cartoon dinosaur and stir up a lot of wacky adventures and out pops Andrew Pepoy’s The Adventures of Simon & Ajax!

Plus Superman has the Deadline Doom, the Top Ten Comics & Graphic Novels are revealed and we play a game of “Where Did I Hear That Before”??

Simone likes people who PRESS THE BUTTON

Happy 25th birthday, Billie Piper!

We want to wish a happy silver birthday to Billie Piper, best known here in the States as Rose Tyler, the recent companion of Doctor Wh– pardon? Why are we covering the birthday of an actress that has nothing to do with comics?

Three reasons: first, there is going to be a Doctor Who comic book from our good friends over at IDW coming out this December. Second, she might be making a return appearance to Whoville.

Third, Because We Want To:

MARTHA THOMASES: Hungry Heart

332903958-3622645Before he started to host The Daily Show, I saw Jon Stewart do his monologue on one of those charity benefits organized by Denis Leary. Comparing Yom Kippur to Lent and, therefore, Jews to Catholics, Stewart said, “You give up something for 40 days. We go one day without eating. Even in sin, you pay retail.”

When this is posted, I’ll be fasting. It’s true that, as a Jew, a woman and a New Yorker, I appreciate a bargain. However, that’s not why I don’t eat. It’s also true that going without a few meals is nothing new to me, being the compulsive bad dieter that I am. Most Saturdays, I eat a piece of fruit for breakfast and then, because I have a zillion chores, nothing else until dinner. So, this Saturday, I won’t have my morning apple. It’s not a big sacrifice.

The sacrifice is forgoing the errands. On Saturdays, I go to the Union Square Green Market. In the fall, it’s a riot of color and smells, with fresh herbs, heirloom tomatoes, summer and winter squash, and dozens of different apples, pears, peaches and pumpkins. For this city girl, it’s a reminder of the natural world, with its cycles of life and death, fertility and harvest. Going to the Green Market is a way for me to forgo the usual cerebral products with which I clutter my day, and to be a mom and a wife, caring for my family and being a part of my community. Plus, I get to talk to farmers, which is a rare and glamorous thing to do in Manhattan.

Yom Kippur, the Day of Atonement, is the culmination of the Days of Awe. I should have spent this time examining my behavior, accepting responsibility for my mistakes, and doing my best to fix them. Instead, I’m thinking about what I’ll be missing for one day. This is something I should fix. Ah, the circle of life.

There are many Jews who are fine people who don’t, for one reason or another, fast on Yom Kippur. There have been years when I haven’t fasted, when I went to work and ignored the holiday. I was in my twenties, determined to recreate myself as an individual separate from my family. For the last two decades, however, I’ve gone to services and enjoyed them. I enjoy them. It feels good to say the prayers on the same cycle every year, as my ancestors did. It’s funny to listen to the stomach grumblings of the people around me, the contrast between our spiritual and biological impulses.

Fasting is supposed to give your body a chance to detoxify, to eliminate the crud we accumulate in our regular lives. Fasting for one day probably doesn’t get rid of many toxins, but it allows me to clear my head, to consider how lucky I am to be able to go without food by choice, instead of being forced to starve by circumstances. Saying ritual prayers and fasting separates me from the mundane, and lets me see life as a glorious blessing.

When I walk out the synagogue doors, the air is usually clean and clear, and Central Park is bathed in sunlight. When the sun sets, and I dip my apple slice into honey, it can sometimes be so unbearably sweet that it makes my cheeks hurt. I’m so grateful to be alive that I know this year will be worthwhile.

Martha Thomases, Media Goddess of all things ComicMix, promises to write about comics next week.

In Search of Jonathan Ross

Bummed out because Jonathan Ross’ BBC4 documentary In Search of Steve Ditko isn’t being shown in the US?  God bless the internets, we say.  Here’s part one:

YouTube has it up in seven parts; here are sections <a href=”

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.  The documentary also features Alan Moore, Neil Gaiman, Stan Lee, and a veddy English sensibility throughout; enjoy!

 

 

Superhero Casting Announced

While Mike Gold shared the news about the honest-to-goodness JLA movie, another project was also announced yesterday.

Dimension Films will be producing the inevitable spoof entitled, what else, Superhero. The casting has been completed with filming about to begin and a March 28, 2008 release date set.

The film features perennial spoof master Leslie Neilsen, in addition to Brent Spiner (Star Trek: The Next Generation), Marion Ross (Happy Days), the amazing Jeffrey Tambor (Arrested Development), Drake Bell (High Fidelity), Sara Paxton (Sydney White), Christopher McDonald (Fanboys), Kevin Hart (Scary Movie 4), and Ryan Hansen (Veronica Mars).  The satire will be written and directed by Craig Mazin (Scary Movie 3 and 4).

Of course, Mystery Men was a wonderful superhero spoof ahead of its time, so we’ll reserve judgment until next spring.

Batman May Cause A Racket

film-batman-dark-knightUsually, when a major motion picture wants to film in a major metropolis, the city and its movie relations department bends over backwards to help the company spend all those millions of dollars.

Not so in Hong Kong.

The Dark Knight (a.k.a. Batman Begins Returns) was, and might still be, going to Hong Kong in November for nine days of shooting in what is generally regarded as a visually spectacular city. But Chinese politicians are balking, siting traffic disruptions and noise pollution. After all, there will be helicoper scenes.

The Dark Knight has wound up several months of shooting in some of the more populated sections of Chicago without incident. In fact, this was a return visit to the "Windy" City, as Batman Begins also did a lot of location work there. As did Spider-Man 2.

Hong Kong is hardly known for its quiet environs, and one suspects the politicos are simply holding out for more money or, as is more commonly known in the industry, "bribes."

Thanks to Adriane Nash for the lead.