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Eye in the Sky Lands at Home on June 14

eye-in-the-sky-e1461955932315-1770424The moral implications of modern warfare are confronted in Bleecker Street’s powerful drama, Eye in the Sky, coming to Digital HD on June 14, 2016 and Blu-ray™, DVD and On Demand on June 28, 2016, from Universal Pictures Home Entertainment.  Tackling an ethical dilemma in a thought-provoking suspenseful story, the gritty film stars Academy Award® Winner, Helen Mirren (Trumbo, The Queen), Aaron Paul (Breaking Bad, Need for Speed), Academy Award®  Nominee Barkhad Abdi (Captain Philips), Iain Glen (Game of Thrones, Lara Croft: Tomb Raider) and the late Alan Rickman (Die Hard, Harry Potter) in his final on-screen performance.  Eye in the Sky “holds us in a vise and keeps squeezing” according to Peter Travers of Rolling Stone.
Directed by Academy Award® Winner Gavin Hood (Tsotsi, Ender’s Game) and written by Guy Hibbert (ComplicitFive Minutes of Heaven), Eye in the Sky follows Colonel Katherine Powell (Helen Mirren), a UK-based military officer in command of a top secret drone operation to capture terrorists in Kenya.  Using remote surveillance and on-the-ground intelligence, Powell discovers the targets are planning a suicide bombing and the mission escalates from “capture” to “kill.”  But as American pilot Steve Watts (Aaron Paul) is about to engage, a nine-year-old girl enters the kill zone triggering an international dispute, reaching the highest levels of American and British government, over the moral, political and personal implications of modern military operations.

BLU-RAY™, DVD AND DIGITAL HD BONUS FEATURES:
  • “Perspective” Featurette: Actress Helen Mirren, Director Gavin Hood, and Producer Colin Firth explain how the film serves as a mechanism for discussion on the moral conflict surrounding drone warfare.
  • “Morals” Featurette: There’s more at stake than meets the eye. Actress Helen Mirren, director Gavin Hood, and producer Colin Firth discuss the moral and ethical questions raised in the film.
For artwork, please log onto our website at www.ushepublicity.com
Website: http://uni.pictures/EyeInTheSky
Trailer: http://uni.pictures/EITSTrailer
Hashtag: #EyeInTheSky
FILMMAKERS:
Cast: Helen Mirren, Aaron Paul, Barkhad Abdi, Iain Glen, Alan Rickman
Directed By: Gavin Hood
Screenplay Written By: Guy Hibbert
Produced By: Ged Doherty, Colin Firth, David Lancaster
Executive Produced By: Claudia Bluemhuber, Benedict Carver, Xavier Marchand
Director of Photography: Haris Zambarloukos
Production Designer: Johnny Breedt
Edited By: Megan Gill
Music By: Paul Hepker, Mark Kilian,
Costumes By: Ruy Filipe

TECHNICAL INFORMATION BLU-RAY™:
Street Date: June 28, 2016
Copyright: 2016 Universal Pictures Home Entertainment
Selection Number: 57177806
Layers: BD-50
Aspect Ratio: Widescreen 2.40:1
Rating: Rated R for some violent images and language.
Languages/Subtitles: English SDH, Spanish Subtitles
Sound: English DTS-HD Master Audio 5.1
Run Time: 1 Hour, 42 Minutes

TECHNICAL INFORMATION DVD:
Street Date: June 28, 2016
Copyright: 2016 Universal Pictures Home Entertainment
Selection Number: 57177802
Layers: Dual Layers
Aspect Ratio: Anamorphic Widescreen 2.40:1
Rating: Rated R for some violent images and language.
Languages/Subtitles: English SDH, Spanish Subtitles
Sound: English Dolby Digital 5.1
Run Time: 1 Hour, 42 Minutes

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #387

THE AVENGERS GET STANDOFFISH

It’s getting so that in comics nowadays you can’t tell the good guys from the bad guys without a scorecard. And sometimes even then.

Maria Hill is currently the director of the Strategic Homeland Intervention, Enforcement and Logistics Division or S.H.I.E.L.D. for short – or SHIELD for even shorter and guess which route lazybones Bob is gonna take. So Maria should be one of the good guys, right? Then she came into possession of some fragments of a Cosmic Cube. A Cosmic Cube, when it was in full on cube form and not fragments, is a device that answers to the will of whomever possesses it and can be used to control matter and energy and even alter reality. So whomever holds the Cosmic Cube has to be careful with it, lest reality be warped in strange and dramatic ways. When the Cube is in fragment form, it’s just about as powerful but the holder has to be even more careful with it, because those fragments can go all Julia Child on you and cut the dickens out of your finger.

avengers-standoff-welcome-to-pleasant-hill-1-550x396-9060357Hill and SHIELD experimented on the Cube fragments, hoping to be able to use them to reshape reality as SHIELD deemed necessary. What they got was a little girl. The Cube fragments merged into a sentient being and did what newly-formed fictional A.I. that are confuse about their identity have been doing for years; it adopted the form of a little girl.

Seriously, what is it about the symbology of little girl that screams confused and unsure of one’s self? I know a 63-year-old man who fits that descriptipleasant_hill_from_avengers_standoff_welcome_to_pleasant_hill_vol_1_1_001-550x692-9759433on pretty well, but you don’t see confused A.I. programs going all mid-life crisis.

Anyway, the little girl called herself Kobik. Director Hill called her an asset. Hill had Kobik create Wayward Pines… err excuse me, Pleasant Hill, a quaint little town in backwoods Connecticut. It was 300 Kobiks by 50 Kobiks by 30 Kobiks, so was big enough to house a lots of people. Lots of carefully chosen people. 96 SHIELD operatives who oversaw a town populated by super villains.

Hill called them reformed super villains. But they weren’t reformed, they were transformed, because, Hill had Kobik change 58 super villains. Now those villains look and dress like ordinary people. Then Kobik wiped the minds of the super villains; gave them new memories and personalities. They lived like common people and did whatever common people did; Shatner covers. For all intents and purposes, these super villains were new people, decent people living the American dream in a small American dream town.

A town that was surrounded by a force field so that none of its residents could leave. It wasn’t a small town, it was prison that really looked a picture print by Currier and Ives. Guantanamo Bay in Norman Rockwell drag.

Which is pretty much the set-up of the current cross-over series Avengers: Standoff! that’s currently playing itself out in several books. Then, complications ensued. Several of the Avengers teams opposed what Director Hill was doing in Pleasant Hill which created conflict between SHIELD and the Avengers. But not as much conflict as when the super villains started to get their memories back. (Oops, did I forget the SPOILER WARNING? Not really. Didn’t think it was needed. Seriously, who didn’t see that revoltin’ development coming?)

So why does Bob I. the Lawyer Guy care about this? Because SHIELD is a governmental agency, meaning all those things found in the Bill of Rights apply to SHIELD and its brainwashing Bastille. I wondered is Maria Hill a good guy or a bad guy for creating this program. And is Pleasant Hill was even remotely constitutional.

Obviously, I’m talking primarily about the 8th Amendment. Even the NRA isn’t concerned about denying the right to bear arms to convicts who are actually serving prison terms. (The only way to stop a bad guy with a gun is with another bad guy with a gun just ain’t gonna cut it.) But how does the prohibition against cruel and unusual punishment affect this Attica of amnesia?

It’s unclear. There is no definitive definition of cruel and unusual punishment. The Supreme Court has ruled that courts should follow an evolving standards of decency test in determining whether a punishment is cruel and unusual. So the test changes as the standards of decency evolve throughout the world. Centuries ago being drawn and quartered was considered a just punishment. Most societies would no longer consider drawing and quartering to be humane. (And not just because the strain it puts on the horses would be cruelty to animals.)

Pleasant Hill utilizes mind alteration of some sort to keep it’s inmates under control. Such mind alteration would be a form of assault, as they constitute a physiological change to a person. In most jurisdictions assault is a crime and I’m pretty sure that standards of decency wouldn’t permit prisons to commit actual crimes on their inmates.

This isn’t a situation like a mentally ill patient who is given medical treatment to restore that person to mental health. This is taking people who are mentally healthy – criminals, but mentally healthy – and altering their brains so that they don’t behave like criminals anymore. This is an assault on the inmates’ cognitive liberty, which many courts are recognizing as being protected by the Bill of Rights.

The Supreme Court might rule Pleasant Hill unconstitutional because it violates standards of decency and inflicted cruel and unusual punishment. Or it might rule the mind wiping was cruel and unusual, because it a crime. As we don’t actually have a real-world counterpart to Pleasant Hill, I can’t definitively tell you how a real-world court would view Pleasant Hill.

I can tell you this, however, one of the tests frequently used is whether the punishment is unnecessarily severe. We know prisons in the Marvel Universe have power dampening apparatus, which can suppress the super powers of their inmates so super villains can be held in prisons without having their personalities wiped and replaced. That being the case, Pleasant Hill might have difficulty withstanding a legal challenge, because its practice of committing assaults on the mind is a more severe punishment than is necessary.

Another test that is pretty much universal in its application to a cruel and unusual punishment analysis is that prisons may not deprive inmates of the basic necessities of life. While Pleasant Hill does provide food, clothing, shelter, sanitation, and medical care, there is another necessity that Pleasant Hill omits; the inmate’s ability to have visits from family members.

The leading case on this matter is Overton v. Bazzzetta where inmates sued Michigan because of prison guidelines which limited who could visit inmates. The guidelines eliminated visitation rights for inmates who violated certain prison rules. It also denied inmates the right to have visits from their children if their parental rights had been terminated. The inmates sued under the First (free association), Eighth (cruel and unusual punishment), and Fourteenth (due process) Amendments. The Supreme Court upheld these regulations and found they bore a rational relation to the government’s interest in maintaining internal security in its prisons.

Overton only dealt with a partial denial of some of an inmate’s visitation rights. Inmates in Pleasant Hill are Cosmic Cubed into believing they’re different people. They’re not receiving family visits because they don’t know they have any families. And their families don’t know where they are.

Would the Overton analysis apply to the wide-spread and complete denial of all visitation rights by an inmate’s family and friends practiced in Pleasant Hill? How would the courts balance complete denial against the state’s need to maintain order? Especially when, as I noted before, Pleasant Hill’s mind wipe is a more severe form of punishment than is necessary for the purpose of imprisoning super villains.

I don’t know. The courts might rule in favor of the inmates and hold that denying them all visitation from family and friends in a manner that is more severe than it needs to be, is cruel and unusual punishment. Or they might not.

So why did I write this column, if I don’t know the answers to the questions I’m posing? Because these are the sort of things I think of when I read comic book stories. Even if there is no definitive answer, I still wonder what would happen if this happened in the real world.

And sometimes, like when I don’t have anything else to write about, I share what I’m wondering about with you. To see, are you pondering what I’m pondering?

(The first one of you who says anything about getting a monkey to use dental floss is gonna get such a hit!)

Martha Thomases: The Same Old Same Old

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This has been a week of heart-breaking news, at least for me. No, nobody I know died (at least as of my deadline), but I hate all the stories coming out of DC Entertainment. No more Shelly Bond? Are they crazy? And Eddie Berganza? I remember meeting his cute kids. What the hell happened?

And that’s before we even get into conjecture about who this is supposed to be.

I don’t want you to think that by talking about Eddie’s kids that I am in any way suggesting that his accusers are lying about him. It’s difficult enough for a woman to stand up and make the accusation. No one does that for kicks. Rather, I’m suggesting that harassers (and their victims) are more complicated than just one type of action, no matter how vile. If anything, if we think that harassers and rapists and other creeps can only be entirely and stereotypically evil, we won’t recognize them in time to protect ourselves.

Instead, I want to talk about the institutional biases, assumptions that are so deeply ingrained in our culture that we don’t even notice them. In this case, it’s sexism, but we could be talking just as easily about racism and agism and homophobia. And I want to talk about it, specifically, in the entertainment industry, of which comics (especially DC and Marvel comics, both owned by major movie studios) are definitely a part.

Hollywood has a reputation for being “liberal,” whatever that means. People like Steven Spielberg and David Geffen and George Clooney raise a lot of money for Democratic candidates, and from this, we are supposed to infer that they are “politically correct” (whatever that means) in their personal lives as well. Maybe they are. I don’t know them. I do know that most business deals in Hollywood are conducted among people who feel comfortable with each other.

Most of us feel comfortable among people who are like us. It’s sad, but it’s true.

I’m not exempt from this. When I was a kid, I lived in a small Ohio city that was only 2% Jewish, but we all lived within the 16 blocks or so that I lived. It was quite a surprise to me to go to Connecticut and find out how many different kinds of Protestants there are. I didn’t even notice how Caucasian my freelance writing life was until I had to get a job doing events for a large department store and met African-American retail executives. When being around white people all the time is what one has always done, it’s difficult to notice how limiting it is.

In entertainment, cis white men (often from the same few Ivy League colleges) are used to being in meetings with other cis white men. They get each other’s references, because they’ve lived the same kinds of lives. That’s why their parents sent them to those schools, so they would meet each other and make friends and be successful together.

Hanging out, doing business with and generally only seeing people like yourself does not fill a person with empathy. To me, the best illustration of this is Swimming with Sharks. When I worked at DC, a friend was having a terrible time with her boss and I suggested we see this movie, since the reviews said Kevin Spacey plays the world’s worse boss and I thought that might make her feel better. Instead, Spacey’s character was almost exactly like her boss.

If your industry is based on an “old boy’s network,” intentionally or not, it’s very easy to decide that sexual harassment is just flirting gone wrong, no big deal. Or that it’s just some woman who was jilted and now wants to sue for a big payday. There are no women in the room to offer another opinion.

For the entertainment industry, it will probably take more than simple soul-searching to make the necessary changes. Even though Pitch Perfect 2 was one of the most profitable movies last year, and Selma got rave reviews, most studios give very few directing jobs to women, and two aren’t giving any. The number of women who can green light a movie is small. So is the number of women who can green light a comic book series.

What can we do about this? I would urge men who consider themselves to be allies to speak up. Don’t let your silence pass for agreement when you see shitty behavior.

It’s not easy to push people out of their comfort zone. Hell, I have trouble pushing myself to get into pants most days, much less notice how many important issues I’m not noticing. Part of the price of privilege is that I have to pay attention and deliberately seek out other points of view.

Am I successful at this? Not often enough. But every day is another chance to get it right.

Tweeks WonderCon 2016 Adventures

This year WonderCon was in L.A. for the first time. While we are fans of the Anaheim Conventions Center (and not just because they have the best ice cream), it was kind of exciting to try a new convention center out. It wasn’t bad, just a little confusing (as you’ll see in the video, we get lost). But we’re really happy it’s returning to Anaheim March 31 to April 2, 2017!

As you’ve probably seen in our videos over the last couple weeks, we got to meet a ton of really cool people — and don’t worry, we have more interviews to come, but this week you’ll get to see what else we did at the con, like the DC Rebirth press launch, the panels, and the shopping.

Glenn Hauman: Neil Gaiman Does Not Need A Pity Hugo

jeff_gillooly-1128121Remember this class act, America?

This is Jeff Gillooly. You may remember him from the 90’s. He “masterminded” the hit on Nancy Kerrigan’s knee on the eve of the U.S. Figure Skating Championships in 1994, to prevent Kerrigan from skating and making the U.S. Olympic Team, for the benefit of his ex-wife, Tonya Harding.

What does this have to do with the Hugo Awards? Well, it should be obvious. Theodore Beale, by slating again with his Rabid Puppies, has decided to kneecap the 2016 Hugo Awards… and just to add to the fun, this time he’s trying to create poison pills by nominating famous authors in some categories, so he can take the credit if they win, and cry persecution if they are rejected with the rest of his slate.

John Scalzi, talking about the Hugo mess on his blog, takes the position:

…I see some people here and elsewhere swearing they’re going to put anything that was on the Sad/Rabid slates or recommendation lists below “No Award” this year. Bluntly, you’ll be foolish if you do this. As I noted in my LA Times piece yesterday, the Puppies this year slated things that were already popular outside their little circles, like, for example, The Sandman: Overture, by Neil Gaiman.

Come on, folks. Does anyone really think Neil Gaiman holds active membership in the Puppy brigades? Or Stephen King? Or Alastair Reynolds (who specifically asked to be dropped from the Puppy lists, and was ignored)? Or Lois McMaster Bujold? […] Don’t give credit for the Puppies slating already popular work and then acting like they got it on the ballot, or for dragooning unwilling and unwitting people onto their slates for their own purposes. That’s essentially victim blaming. Rather, use your common sense when looking at the work and people nominated. The Puppies would be happy if you didn’t do that, mind you. I’m hard pressed to understand why you would oblige them so.

With all due respect, John’s way off base here. Hugo voters are more than entitled to say, “While Sandman: Overture is worthy of nomination, I’m voting No Award for everything that was slated because the nomination process was corrupted. Because of slate voting, books like Saga, Bitch Planet, Chrononauts, and Kaijumax weren’t allowed to compete. It’s a fixed fight against weaker opponents.” After all, if the slate pushed off more worthy contenders, is whatever’s left actually worthy of being called “Best”?

By the same token, King, Reynolds, Bujold, and any other person whose works were placed on the ballot by Beale’s machinations are perfectly entitled to withdraw their works from consideration without any loss of honor, because Beale’s slating tactics insured a uneven field. Beale publicly admits this, claiming “even when we don’t control the category, we still have the ability to decide who will win and who will lose when the SJWs don’t No Award the category.”

610yff-hunl-8969345Neil Gaiman is well within his rights to say, “Yes, I believe Sandman: Overture is Hugo-worthy, but I don’t think I should win just because Scott McCloud’s The Sculptor was pushed off the ballot. I said The Sculptor was the best graphic novel I’ve read in years, it says so on the cover of the book. If I’m not going against that, it’s not a fair competition.”

Neil Gaiman does not need a pity Hugo. He’s already won five Hugos, fairly. He does not need a fixed fight to win them.

Lois McMaster Bujold does not need a pity Hugo. She’s already won four Hugos for best novel, tying the record. She does not need to play against the literary equivalent of the Washington Generals.

Stephen King does not need a pity Hugo. He’s Stephen Goddamn King. (And he won one in 1982.)

And getting votes for being the only good candidate in a bad field, a deliberately weakened field, is getting a pity Hugo.

One author has already realized this. Thomas A. Mays says he has decided to withdraw his Hugo-nominated short story “The Commuter” from the ballot:

I did not ask to be part of any list, but I hoped at the very least that it might bring other eyes to “The Commuter”, readers that might appreciate it for what it was and perhaps honor me with an uncontroversial nomination (or at least a few Kindle purchases).  But, now that all hopes for a clean nomination are dashed, it is my turn to speak:

Rather than eat a shit sandwich, I choose to get up from the table.  

You know who needs a pity Hugo? Theodore Beale. And he’ll never even get that. Maybe there should be a participation Hugo for him. The type some teachers give to a little boy who eats too much library paste, so he can feel better about himself.

Saying Beale wins by provoking others to further damage to the prestige of the Hugos is just silly– it’s Beale himself who kneecapped the Hugos. Beale’s claim of “You’re pushing worthy authors off!” is self-serving, because he pushed them on us in the first place— just because his actions insure someone other than him benefits is no reason to reward him for swinging a wrench at Nancy Kerrigan’s kneecap.

Here’s what Beale doesn’t get, not being a very good creator himself: good creators want to be judged on the quality of what they create. They don’t want to race against hobbled runners. Can you imagine the Cincinnati Reds felt good about beating the Black Sox to win the World Series? Beale is trying to force an affirmative action awards program, because he and his are not good enough to win on their own merits. And in doing so, he’s become the Jeff Gillooly of science fiction.

Mix March Madness 2016 Webcomics Tournament Championship!

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This is it– a battle two months in the making!

The Final Four fought the good fight, and there are only two left standing. In another context they may be a Dynamic Duo, but as the Scots say, there can be only one. Voting was hot and feverish but knocked out in the Semi-Finals were Not A Villain and Girl Genius, who move on into a contest for the bronze. The stakes are high and the prize is grand. No other web comic will be able to claim bragging rights to winning the ComicMix March Madness 2016. Over 500 were considered, 128 were chosen and one will remain champion. Who will it be…

Erfworld or Unsounded?

All will be known after polls close this Friday, April 29– vote now!

 

One last time, the brackets…

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Erfworld
284-6
Misfile
Girl Genius
8-5
Grrl Power
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
Erfworld
1012-492
Stand Still. Stay Silent
Girl Genius
92-34
Paranatural
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
Erfworld
620-332
White Board
Erfworld
Game 15 Details
Unsounded
Girl Genius
98-253
Unsounded
spacer-4-3989938 spacer-4-3989938
Power Nap
8-105
Stand Still. Stay Silent
Something Positive
4-5
Paranatural
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
spacer-4-3989938
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
Order of the Stick
10-6
Lackadaisy
Gunnerkrigg Court
12-4
PVP
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
Order of the Stick
37-185
White Board
Gunnerkrigg Court
54-69
Unsounded
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938 spacer-4-3989938
White Board
109-12
xkcd
Unsounded
8-0
Dead Winter
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Mix March Madness 2016 Final ROUND

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hero_initiative1-1685184As always, we’re letting you support your favorite strips by paying for additional votes, simply click on the Donate button, and during checkout, click on “Which comic are you donating for?” and tell us who you’re voting for. The price is 25¢ a vote this round, with a minimum of four votes purchased at a time, split any way you want. All proceeds from paid votes will go to the Hero Initiative, an organization that helps comic book creators in need. At the close of the round, we’ll add the paid votes to the totals and announce the winner.

Voting ends at midnight Eastern Time on Friday night! Good luck to everyone!

Dennis O’Neil: Forgiveness

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So in last week’s exciting episode, I referred to “Saul on the road to Tarsus” and our friend Ed Newby asked if I meant Saul on the road to Damascus and of course I did. Why didn’t I simply correct myself in the space provided for such things proximate to Mr. Newby’s question? Well, anyone who’d ask that doesn’t realize he’s communicating with a fellow human hugely burdened with Crankus, the evil god of technology. In short, I was afraid I’d screw it up. And I didn’t feel like expending the energy/gumption necessary to unscrew it, assuming I could get it unscrewed and my advice there is, don’t bet on it.

Any(whew)way: here’s the Bible quote to which I misreferred, from the New Testament’s Acts of the Apostles: “As he neared Damascus on his journey, suddenly a light from heaven flashed around him. He fell to the ground and heard a voice say to him, “Saul, Saul, why do you persecute me?”

“Who are you, Lord?” Saul asked.

“I am Jesus, whom you are persecuting.”

And if you’d like to use this in your own metaphor, it’s okay with me. Just be sure not to confuse Damascus with Tarsus. (Tarsus, by the way, is a historic settlement about 12.5 miles from the Mediterranean. It’s still there, and visitable.)

Since I just cited a passage from the Christian Bible, and since as I write this we’re in the middle of the week in which the Jewish holiday Passover is celebrated, maybe, to be fair and all that, I should quote something Jewish. We’ll save the Old Testament for later and instead give you something contemporary that I like, from Rabbi Rami Shapiro:

“Aren’t all religions equally true? No, all religions are equally false. The relationship of religion to truth is like that of a menu to a meal. The menu describes the meal as best it can. It points to something beyond itself. As long as we use the menu as a guide we do it honor. When we mistake the menu for the meal, we do it and ourselves a grave injustice.”

I got those words from Tricycle, a Buddhist magazine, and yes, if I were any more diverse I would plotz. I didn’t get them from a comic book, the titular subject of this weekly blather, but if you’ll forgive me I’ll forgive you.

And don’t tell me there’s nothing to forgive you for. What are you, a saint?

 

 

 

 

Molly Jackson is a Purist

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I really wanted to do something this week about Passover and all the Jewish comic creators. Maybe one day I will, but I saw a movie and now I have it stuck in a loop in my mind. Last weekend on my flight back from the west coast, I finally got the chance to see The Martian. Yes, I know it has been out for a very long time but I fell behind in my movie watching. However, I loved the book, and its science based story points. But the movie irked me, but only because I read the book first.

As for the scenes I wanted to see (at least 15% of the book is missing from the movie), I won’t share the details for fear of spoiling someone. Mostly, I was curious how they would visualize one scene or another. I have fallen in this trap many times before.  Every time I read a book or comic, I build up the world in my mind.

The biggest problem with seeing a book turned movie is that I want to see the picture in my mind up on the screen. I want the director to love the same scenes as me and go out of their way to make them happen.  Written media turned into movies always triggers the perfectionist in me. It’s not fair to the studios, really. Part of me understands that some characters get left out because of budget or time constraints. I understand cutting some characters or changes plot points for better visual storytelling.

What I have to admit is that I am a purist for the original source material. For me, growing up with the written word was everything to me. I would be willing to sit in the theaters to watch a six-hour movie that really encompasses the entire story. I get it, I’m weird.

Comics have less occurrences of this issue only because so many characters have been rebooted multiple times. I admit I still find myself hating adaptations if I know the story it is based on.  This will be tested with Captain America: Civil War coming out in about a week. We all know the story has changed significantly, including the driving force behind the actual war. It will also be missing a few hundred characters. Soon, the internet will be overflowing with tons of complaints. I understand where they will be coming from, even if I won’t agree with them.

For the record, once I got past my own nitpicking, The Martian is a very well done film. You should watch it if you get a chance. As for the next time you read a book about to be made into a film, don’t get your hopes up. Just try to enjoy the moment.

Mike Gold: Breasts & Politics & Comics, Oh My!

diary-of-a-femen-8683304Time to hurl a hand grenade.

Some portions of the modern American feminist movement – which is not and has never been a monolithic force – conflate sex with sexism. Others in this movement think they are two different things. To me, it’s all about choice and, as Margo St. James said, “call off your old tired ethics.” At the very least, stop telling consenting adults what they can and cannot do with their own bodies, lest you be thought of as a Republican.

For those still with me, I’d like to bring to your attention a graphic novel published in Europe two years ago but just made available digitally by Europe Comics called Diary Of A Femen, by artist Séverine Lefebvre and writer Michel Dufranne. Europe Comics describes the story as “A fascinating album (we call ‘em graphic novels out here in Americanland) that helps us understand the inner workings of the controversial feminist organization… Five female characters combating stereotypes.” The story is based upon the real and controversial Femen movement(s) and the creators’ involvement with some movement members.

And, check this out, boys! It’s got naked titties! Whereas that might alienate some of its potential readership here in the States, I maintain that breasts are not inherently sexist and, hey, maybe those boys will learn some important stuff. I know I did, and I’ve been a fellow traveler with the feminist movement for, gasp, about a half-century.

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Sverine Lefebvre

Diary Of A Femen is about a young woman named Apolline, and it is her story. It is not the story of the movement and certainly not of feminism in general: this is a story about a real woman who endures the real travails of life. As such, the first 12 story pages detail the routine life of a young, attractive woman and, despite all outward appearances, that routine is pretty dreadful. If you’ve never fully understood the day-to-day meaning of being a sex object – being objectified by people (notice I didn’t say “men”) who are so accustomed to the societal perception of women that they don’t understand how they’re at fault. Apolline has a routinely bad day, but this time she decides to check out an organization that purports to change that.

Their mission has real meaning to Apolline, filling a hole in her life she knew was always there but hadn’t done anything about – as of yet. Joining a Femen meeting to see what it’s all about, she is warned that by becoming an activist she will take on the very, very real risks of losing her job, her friends, her family and, possibly, her freedom. She takes on these risks and goes through the intensive training one must go through to be a functioning street activist. She then joins the group for public protest… and that is where the proverbial shit hits the fan.

Apolline comes off very, very real, and what happens to her and the decisions she makes are equally real. So is the activist training, planning and risk-taking; I found that to be surprisingly accurate. And her story might not end the way you expect.

This is a very worthy book that tells a fascinating story in profoundly professional terms. So call off your old tired ethics, buy Diary Of A Femen, download it onto your computer or tablet, and read it with the intention of learning something. You will.

And yes, kids. It’s in English.

 

Box Office Democracy: “The Huntsman: Winter’s War”

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In my first year of reviewing movies I ranked Snow White and the Huntsman as the ninth worst movie of 2012 and by that time news had come out that neither star Kristen Stewart nor director Rupert Shane would be returning for the sequel, and I predicted that it would probably be a better movie. I was right, The Huntsman: Winter’s War is a better movie, and it still isn’t a very good movie.   Freed from trying to retell a more famous story, there are some interesting choices made in the script— but it’s all overwhelmed by the crushing clichés of high fantasy. At its lowest points Huntsman is the slickest Lord of the Rings fan-film you’ve ever seen; at its highest it’s a kind of cute romantic comedy starring Nick Frost.

The Huntsman: Winter’s War wraps around the first movie with a little bit of an origin story and then the kind of sequel where you barely need to bring any of the cast back. The story now revolves around a previously unmentioned northern kingdom ruled by Freya (Emily Blunt) the ice witch sister of the evil queen Ravenna (Charlize Theron) from the first film. Freya has a plotline so similar to Elsa in Frozen that it feels like the script was written by lawyers, everything feels just distinct enough while still constantly threatening to break in to a chorus of “Let it Go” at any moment. Freya, it conveniently turns out, raised and trained a whole army of Huntsmen (and Huntswomen) and her sociologically fascinating but completely implausible ban on the very concept of love ends up driving away Eric (Chris Hemsworth) and starting him on his journey that leads him to the first movie. We then skip ahead to after and Eric with one of the eight dwarfs from the first movie (Nick Frost) plus a new dwarf (Rob Brydon) end up on a convoluted quest to rescue the evil magic mirror to save the completely absent Snow White and save the world, I guess. Sara (Jessica Chastain) is Eric’s presumed dead wife who saves his life at a miraculous moment, and then just a bunch of fantasy junk happens until they have to wrap it up.

I feel like a crazy person typing all that up. There’s just an insane amount of idea bloat in this film and it struggles to find a focus.

Some of that struggle for focus is the result of not having a clear protagonist. Going strictly by the screenplay writing books it’s Freya, because it is the change in her attitude that allows the climax of the movie to happen, but she’s practically a Bond villain in terms of her scheming for the rest of the film and it’s hard to feel particularly invested in the well-being of someone who keeps a room full of people turned into ice sculptures. In terms of screen time (and billing) it’s Eric, but he doesn’t change his attitude one iota through the film— he’s right about pretty much everything all the time and is super capable and has no need to improve, he’s Aragorn with an axe. It’s probably supposed to be Sara, she has a clear narrative arc and she has the biggest impact on the events of the film but they try so hard to obfuscate her actions and intentions that it’s hard to connect with her. That along with the stilted narrative structure leaves the movie feeling like a series of vignettes and not like a cohesive narrative.

I did genuinely enjoy the love story between Nick Frost’s dwarf and Alexandra Roach’s. It was cute, and it felt clever, and most importantly… it didn’t feel like it was shaken out of the fantasy magic eight ball like every other piece of Winter’s War. It was the only thing that felt genuine or surprising. This was a movie full of twists and every one of them was telegraphed so far in advance and the one that might have been surprising was shown in its entirety in the trailer for the movie. That simple, silly love story was the only thing I liked, the only thing I will remember fondly in this overplotted mess, but it deserves to be recognized. If the next movie just takes those two characters I’d be first in line for more; otherwise, please put this series out of its misery.