Pop TV says it is THE EASIEST GAME SHOW EVER, and host Michael Ian Black lets us play to prove the point. Plus we talk comedy and guess what Michael’s dream job is? Then we celebrate a new season of El Rey’s LUCIA UNDERGROUND by spending time with wrestling superstar, Johnny Mundo.
Follow us here on Instagram or on Twitter here.
I love it when I’m wrong. I love to be put in my place. Tough love, kiddos, is often the best kind of love. So, just a few weeks ago I shouted at the heavens “Why isn’t there a Spotify of comic books yet, damnit?!” And with that, I figured the universe would laugh at me and that would be that. But nay, dear reader! Not even a day had passed with my posting before I was politely pinged by the founder of a newly minted app by the name of Comic Blitz. And thus I’m here to redact my previous cursing of the heavens – to a point.
Comic Blitz is as I’d demanded; an app that collects a multitude of publishers’ work and offers the entirely of their expanding catalog to the public for a small monthly fee. At the time I cracked open my secret iPad (the one my wife and son don’t know about, so they can’t ask for it, bwa ha ha) and registered for the service, it was a mere $9.99 for a month. I should note you actually get your first month free, so, really… it’s a damn fine deal.
Upon cracking open the app for the first time, I was quick to bypass the splash screen – which owes a UI nod to Netflix – to peruse the list of publishers on board. While I didn’t see the big two and a half… I did see plenty of recognizably awesome names: Action Lab, Dynamite, Valiant, and Paper Films to name a few. A swipe back from Publishers over to the all-inclusive Titles section waylaid me with enough options that I immediately regressed back to the publishers to quell the visual cacophony. This is the future of comics I was hoping for.
Because just as I’d anticipated, with a literal library at my fingertips – devoid of individual issue pricing – came a hunger as big as Galactus to consume as much of it as I could. Within a few taps, and five minutes, I’d downloaded and filled a virtual bookshelf with titles I’ve passed dozens of time. But now, with Molly Danger, The Boys, and Accelerators downloaded, I’m one bathroom break away from numbing my ass to the sound of swiping, as the digital pages flutter by.
Even more important than getting to those titles I’ve eyed for a while though, are the titles I’m now inclined to check out that I’ve never even heard of. A quick tap into Paper Films introduced me to Monolith. Tap, tap, tap, and the book is pitched to me in a single paragraph. And with literally no barrier to entry (assuming rightly that I’d paid for the month already), I’m downloading it in between writing paragraphs of this week’s column. I’m also downloading a handful of titles from small press publishers I’ve never even heard of: Alpha Gods by Markosia from the UK, The Deadbeat from Alterna Comics, and Bodie Troll from Red 5 Comics.
What Comic Blitz is offering is everything I’d hoped for, minus of course DC, Marvel, Image, and Boom!. But being only several months old leads me to believe that this is merely the tip of the pulpy iceberg. We should be realistic though. The big bad boys of comic books are no different than premium content creators akin to HBO, or the WWE – top of the mountain in their respective ecosystems. Comic Blitz is an even playing field. It’s safe to assume even if Blitz becomes ubiquitous in their saturation of the market… that DC is more likely to HBOGO their way into subscription services. But a boy can still dream. And maybe even shout at the heavens. But I digress.
To be honest, I’m rooting for Comic Blitz’s success to spite the bigger publishers. As the New52 did its job of making me swear off current comics, it’s an app and service like Blitz that’s going to drag me back in. This time around however, I’m apt to read those titles on the fringe of the industry (and let’s be clear: Action Labs and Dynamite and Valiant are whales in comparison to the guppies like Unshaven Comics) instead of defaulting back to Green Lantern or Iron Man. And that’s actually a great thing. Just as I’ve expanded my consumption of music, television, and movies… Comic Blitz has opened Odin’s trophy room, and let me finally explore treasures I’d otherwise leave caked in digital dust.
The future is now, and my words make ideas material. I’d like my monkey man now, Rao.
AMANDA WALLER LOSES TO A CONFESSIONAL PROFESSIONAL
There’s an old saying, “Confession is good for the soul.” But what if the confesser has no soul? Then that confession’s not good for much of anything; especially portrayals of the law.
New Suicide Squad #15 had a scene you’ve seen dozens of times. Well I’ve seen it dozens of times, but I’ve been reading comics and watching TV lots longer than most of you. In this particular case, the scene in question involved Amanda Waller, head of Task Force X, also called the Suicide Squad – the secret, and probably illegal, government black ops group made up of DC Universe super villains culled from Belle Reve Prison – and Miss Pesta, CEO of Calvary Corporation, a multinational corporate conglomerate that for the past several issues of New Suicide Squad had been trying to bring the Suicide Squad down, because the Task Force had disrupted several deals Calvary had in place in other countries. (Sorry about that last sentence, it had more clauses than a family reunion at the North Pole.) (And while we’re doing asides, Calvary Corporation? Seriously? Your evil corporation has the same name as the place where Jesus was crucified? Does no one appreciate subtly? What was Calvary’s business address? 666 Satan Place?)
Anyway, Amanda Waller – who is nowhere near as competent or as intimidating as she had been in her pre-New 52 carnation – decided to confront Miss Pesta head on. Toward that end, Waller broke into Pesta’s office and confronted Pesta head on. And armed, not with a gun but with Deadshot, a costumed super villain assassin in the DC Universe. He had the gun, which he pointed directly at Miss Pesta. Waller and Pesta talked of many things. Not shoes – and ships – and sealing wax; just what Pesta and Calvary was up to and why.
Pesta freely admitted that Calvary wanted to bring Task Force X down and had convinced Task Force X’s new supervisor, Vic Sage, to help them. It wasn’t hard, Sage hated Waller and wanted to destroy her. Sage leaked top secret information about Task Force X through one of the Belle Reve inmates under his supervision. The inmate would be blamed for the leak, so it would never be traced back to Sage or Calvary, and Task Force X and Amanda Waller would be shut down.
When Waller pointed out to Pesta that she had just confessed to conspiring to bring down a government program, Pesta almost literally laughed in Waller’s face. Did I mention that this New 52 version of Amanda Waller isn’t anywhere near as competent or as intimidating as the previous version of the character had been? If I didn’t, she isn’t. And if I did, that hasn’t changed.
Pesta’s actual answer was to say, in what I assume was a mocking tone – Pesta’s word balloon didn’t contain a convenient stage direction like mockingly – “So I deny it later or say you coerced me. You did break into my office and held me at gunpoint, after all.”
Seriously, how many times have we seen this scene played out? Bad guy confesses to cop then says, “but I’ll deny ever making this confession and it will be your word against mine,” Or says, “I’ll say you beat it out of me;” actually believing that a judge or a jury will actually believe the bad guy and not the cop. I don’t know about you, but I’ve seen the scene more times than I could count on all the fingers at a polydactyl convention.
Please, if for some reason you’re ever braced by the police and you freely confess to some crime, don’t think you’ll be able to convince a judge or jury that either a) you never made the confession or b) the police beat/coerced the confession out of you. In the immortal words of Rocket J. Squirrel to Bullwinkle J. Moose, “But that trick never works!”
Judges and juries don’t want to believe that policemen lie. They don’t want to believe that the police do anything wrong or that any arrest was carried out in any manner other than “by the book.” They especially don’t want to believe that the police beat, torture, or in any other way coerce confessions. Judges and juries want to believe confessions are on the up and up, so that they can convict the defendant with a clear conscience. Having a confession makes keeping that old conscience clear all the easier. In other words, unless you’re a southern belle, you should never begin any sentence to a police officer with the phrase, “I must confess.”
Okay, maybe things aren’t quite as bad as that cynical preceding paragraph made it seem. Except for the part where I said judges and juries don’t want to believe that a confession was anything other than valid. That part is true. I spent twenty-eight years trying to convince judges and juries to the contrary with very, very limited success.
No, let me rephrase that. With no success. From time to time, I did manage to get a judge to suppress physical evidence seized during an illegal search, but I can’t think of even one time where I convinced either a judge or a jury that a confession was coerced and should be disregarded. And don’t think I didn’t try.
Now I’m not saying that it wouldn’t have happened in Miss Pesta’s case. Pesta’s an attractive and rich corporate CEO who could honestly testify that a government operative broke into her office and had an underling point a gun at her head before she confessed. She and her story might have some jury appeal. Which is more than we can say about Amanda Waller. Waller is curt and abrasive and heads up a secret, illegal government operation that most Americans would not want to know existed and who brought a costumed hired gun for intimidation purposes. Under those circumstances, it is possible – possible mind you – that a judge or jury would believe Miss Pesta that she never made the confession or that it was coerced. But it happens so infrequently that, were I Miss Pesta, I certainly wouldn’t want to confess and then bank my freedom on the possibility that I could get someone to buy the into the coercion ploy. Unless, of course, I was planning on going to my bank and buying someone into buying the coercion ploy.
So maybe Miss Pesta could be successful in convincing others that her confession was coerced. Remember she is an evil corporate CEO in a comic book story. (Hey, aren’t they all?) In other words, Miss Pesta is a trained professional bad guy, so don’t try this at home.
Because there’s another old saying you should remember, “Your results may vary.”
It’s high political season again, which is catnip to people like me and my fellow ComicMixers. Our meetings would take only half as long as they do if we could skip the ranting and just get down to business.
This year is unusual in the level of anger we see in the electorate. Of course we have seen anger before. I, myself, would occasionally chant “Hey! Hey! LBJ!/ How many kids did you kill today!” In recent memory, the current version of the Tea Party began in rage and paranoia, with lots of murmurs about “secret” Muslims.
This cycle, however, it seems to me to be more. Lots more. Maybe I look at the wrong media, but there is so much fire on all sides.
I think this anger is related somewhat to the continued calls for diversity in all aspects of our modern life. If you read the link above (and I found it to be quite provocative), you’ll see that a great many middle-class and lower middle-class white voters, especially men, feel as if they aren’t being heard.
To anyone who isn’t a white man, this seems, on its face, to be ludicrous. When one is anything but, every story told seems to be from the perspective of white men. They star in most mass media and even when they aren’t the stars, they are most often the writers and producers and directors. They are the acquiring editors, publishers and authors.
But …
Most of us grew up in a world in which white men were the voices of authority, the guides of the narrative. We accepted that as normal. When it changed, some of us celebrated the increased choices, but some of us felt as if something was taken away. We felt lessened, and we want to “take our country back” or make it great “again.”
I’ve been hearing a version of this argument for at least 40 years. Men who played by the rules of their time, who graduated high school and got good (union) factory jobs could expect to build a home and family, with enough for an occasional vacation and a new car. Their wives would take car of the house and kids, and defer major decisions to the Lord of the Castle.
It seems to me this changed radically in the 1970s, and certainly by the 1980s, anyone graduating from high school with such assumptions wasn’t paying attention. However, the increasing income inequality means that the rules have changed (a college degree doesn’t guarantee anything but student debt), and there are more and more people who feel left behind.
Pop culture can’t fix this by itself, and certainly comics, one small part of pop culture, can’t. However, they can help alienated white men feel like they can understand, and even benefit from experiences different from their own.
As a Jewish woman, I’ve loved books written by devout Christians. As a feminist, I’ve enjoyed books by patriarchal men.
The book I’ve read most recently that gave me insight into the experiences of white middle-class (and lower middle-class) men was Trashed. There is no way I would be able to live a life described in those pages (for one thing, I lack the upper body strength), but reading the book made me feel that I knew what it was like.
In other words, my political perspective doesn’t necessarily inform my entertainment choices, and my entertainment choices don’t necessarily affect my political perspective. Sometimes they do, but often they don’t. I’m a big fan of Chuck Dixon‘s, for example, and we don’t agree on much except we love comics.
It’s okay. We can disagree and still tell each other stories.
Back in the day….back before we were born even!…there was this much loved cartoon on Nickelodeon called Invader Zim. But check this out the powers that be at Oni Press have brought it back. And last weekend Volume 1 of the comic series was released! It was written by Jhonen Vasques & Eric Trueheart with artists Aaron Alexovich and Megan Lawton with Simon Troussellier and Rikki Simons.
Would be spoilers to say that we love it and now we not only want to watch the TV series, but we’d like new episodes as well?
The comics follow where the cartoon series left off. It’s about boy named Dib who knows that Zim is really an alien who wants to destroy the world, except no one believes him. It’s rated for teens, but we feel like these books would be loved by younger boys too. It would be loved by anyone who likes funny stories and fart jokes, actually. Watch the video and we’ll explain further.
We’re now into the run of television’s latest superhero saga, DC’s Legends of Tomorrow, and while we’ve been treated to both Hawkman and his mate, who are among the stars of the show, we haven’t yet seen Hawkman’s omcromicon. Do we breathe a sigh of relief or add another bitter complaint to the list?
Or do we scratch our heads and ask what the dickens an… wha’d I call it? – an omcromicon is?
Let’s do that. But first, a confession: I’m on shaky ground here because I’m not sure that I’m spelling “omcromicon” correctly and a very hasty pass through the web got me zilch. Plenty of stuff on Hawkman and Hawkgirl (a.k.a. Hawkwoman) – more than I expected – and a goodly number of mentions of what was once the Hawks’ favored weapons, antique harmbringers like maces and such. But omcromicon? Nada.
So I’m forced to depend on my memory and woe is us.
But here we go anyway. First, the obvious question: What’s an omcromicon? If memory serves – and that will be the day – the device under discussion here is a bit of technology that originated on the Hawks” home planet Thanagar. (Was there a Thanagarian Steve Jobs?) The omcromicon knows everything that everybody on our planet – Earth – knows, which makes it way handier than a Smartphone. (I’m presuming the gadget’s mindreading is limited to sentient beings and I don’t know where that would leave, say, dolphins.).
Nifty tool for a bewinged, offworld vigilante, no?
When I had a polite, but unintimate, acquaintance with the Hawks, I think I pretty much ignored it. The reasons? Okay, here we go into Comics Writing 101, but I will keep it short. The essence of this kind of fiction is struggle: two or more antagonists are after the same thing and the story is a narrative of how one of them defeats the other. If that struggle is too easily resolved, the story is pretty short and maybe not too interesting.
So now our question becomes: Does the omcromicon make the Hawks’ job too easy? Yes and no. It allows the storyteller to skip potentially boring blather about how the good guys got to the place where they could wallop the bad guys and let’s admit it, that’s what we want to see. But maybe the good guys would gain stature and interest if they had to do the legwork on stage. Let them solve the problems too easily and… why do we admire this hero again?
Give a winged avenger an omcromicon and you’ve given him or her something usually reserved for deities: omniscience. Or something darn close to it. You sure you want to do that?
I didn’t, on those rare occasions when the Hawks were a professional concern. But if I’m so smart, why am I not omniscent?
I had no interest in seeing either of the first two Kung Fu Panda movies. I thought they were a place for a brand of Jack Black shtick that I had grown tired of by the time 2008 got here (for the record: peak Jack Black was 2003âs School of Rock). I had a strong idea of what these movies were, and I didnât want anything to do with it. As far as Kung Fu Panda 3 is concerned, I was wrong. This is a charming movie, a funny movie, sometimes even a touching movie. I regretted nothing about my time spent watching Kung Fu Panda 3, and itâs the first movie of 2016 to make me feel that way.
Kung Fu Panda 3 tells a story I was happy to hear told. Po (Black) is told he needs to start teaching the rest of his action team (voiced by a perplexing mix of stars from Angelina Jolie to David Cross to Jackie Chan) and heâs terrible at it so he needs to find his inner self just as his long lost father returns and an unbeatable opponent returns from beyond the grave. Itâs not the most intricate story, and there were things set up that never got paid off to my satisfactionâ like a pivotal character always nervously saying he was âsent by the universeâ sounds more like an evasion than the actual eventual truth. This isnât a movie that wants to be deep; itâs a movie that wants to be fake deep and it does a fine job at that. It keeps the jokes apart from the fight scenes and provided some touching moments between Po and his biological father (Bryan Cranston) and his adoptive father (James Hong) that get to some real places.
The action scenes were better than I expected them to be, but Iâve since realized that was a low bar to get over. Dreamworks typically does good work but their action is usually more frenetic than it is good, I suspect itâs hard to get any material that would look as good as humans doing it just because of how their art style tends toward flatter character designs. I thoroughly enjoyed all of the fight scenes particularly because of how they used the individual animals to different effect. A crane did not fight like and alligator did not fight like a panda. The disappointing exceptions were Master Monkey, who is probably just a bit too person-like to have a distinct style, and Master Tigress, who was also just too much like a human to be exciting. Again, not having seen the previous two entries in this series perhaps none of this was new, fresh, or exciting but it was sort of a delight for me.
It feels weird having to say this, or that it feels like a point of recognition, but I appreciated that no one in this movie was doing an accent. Thereâs a long shameful tradition in Hollywood of over the top accents, and Iâm so glad weâre past that here. It feels generally culturally sensitive, although mostly by being so generic about everything that itâs impossible to feel it being specific enough to be offensive. I did not care for their depiction of dumplings being quite so big thoughâ where are these animals getting dumplings that are universally the size of bao?
If this review were itself a movie made for children I would be learning an important lesson about judging a book by its cover, but it isnât and Iâm not. Instead, I think Iâm learning a lesson about the ever-improving work coming out of Dreamworks as they move away from being “the House That Shrek Built” and towards being the people that brought you How to Train Your Dragon. It also might be a lesson about coming back to Jack Black after so many years away, he might not be as stale as I thought although I feel for the parents who had to deal with their children responding to everything they were told this weekend with âchitty chitty chat chatâ emulating the climax of this film. Kung Fu Panda 3 is a good movie. Although, it is possible that after Norm of the North, any competent animated movie was going to seem like Citizen Kane. Itâs probably actually a good movie.
The 5th Wave is a great trailer and a mediocre movie. There are some big ideas and ambitious visuals but they all made the advertisements and don’t take up much more room in the actual movie. What we get for the price of our ticket is a lot of watching characters move around the woods alone or in small groups. It almost never feels like the big action is happening on screen. It’s the kind of book adaptation where I’m sure the novel is a much more satisfying experience and am not sure why anyone bothered to make the film.
I want to talk more about the plot (and that will need to be behind a spoiler warning) and while I feel like I need to get some discussion of the non-plot aspects of this movie, they’re all just sort of there. The acting is not exceptional but by no means bad; I hope we get a bigger focus on some of the other kids if this turns into the franchise it so desperately wants to be. The visual effects, while used sparingly, are totally passable. There’s a palpable sense of dread several times during the film and I’m sure that’s the whole point of the endeavor, but looking back on it a day later I can remember only one such moment clearly. Honestly, my biggest technical complaint is that the quarantine zone looks a little sparsely populated, like they decided they could skimp on extras or something. The 5th Wave is technically sound and thoroughly inoffensive.
From here on I want to talk about the details of the plot and while I found it a bit predictable, you might not— so be warned.
The plan of the alien invaders felt distinctly like the result of a planning meeting you would see on a Saturday Night Live sketch. The aliens start their invasion with an Electromagnetic Pulse that permanently destroys all the technology on earth (and the awesome plane crash you see in the trailer), then they cause a series of massive earthquakes that also cause gigantic tsunamis and kill a bunch of people, and then they have this super version of the bird flu that kills most of the people that contract it. Up until this point these have been some ambitious plans that seem designed to eliminate the population in a relatively efficient manner. From there the plan becomes a convoluted mess: the aliens are going to assume human form, they’re going to tell the humans that they can assume human form to get them to turn against each other, they’re going to completely take over the military and train an army of child soldiers to think that other humans are really aliens so the child soldiers will kill the remaining humans. How is that their best plan? It seems just monstrously inefficient. It’s like the aliens spent their entire invasion budget on the earthquakes and the virus and just had to wing it. It leads to maybe one good Invasion of the Body Snatchers moment but I correctly predicted 100% of the aliens sitting in the theater so it wasn’t a slam-dunk. The more The 5th Wave told me what it was about, the less interesting it became.
The 5th Wave is the inevitable result of plugging every Young Adult novel that girls like into the Hollywood machine and releasing whatever comes out of the other end. It’s not good enough to be The Hunger Games, fresh enough to be Twilight, indecipherable enough to be The Maze Runner, or whatever Divergent is. It doesn’t seem to have a place except to just be a kind of YA wallpaper. There are germs of good ideas here and characters I wouldn’t be completely opposed to seeing more of if this takes off and becomes a franchise but I also wouldn’t remember or care if it just fades away an becomes nothing. The 5th Wave is the unfortunate symbol of progress, as a new thing becomes just another thing.
February is always a busy month for me. With the start of the year behind us, I am faced with planning and organizing for the spring. The big event for my winter/spring is Toy Fair in a couple weeks.
Yes, Toy Fair is a major industry event that gives the buyers and press a chance to see whatâs coming for the year in the toy world. Now, every year Iâm excited to go but this year, I admit, I am definitely more excited than ever before. It took a little while to discover the reason, but it is pretty simple. Itâs because of Barbie.
In case you missed the announcement last week, Barbie revealed their line expansion of new body types and racial markers for their doll line. Now you can buy a curvy, tall, or petite doll. You can buy multiple skin types, hair types, or eye colors. Barbie is finally showing that there is more than one type of woman. It may seem like a small change but pairing those image changes with the new career choices and this Barbie would look down on the toys of my generation.
I was never a huge Barbie fan as a kid, but I played with them and I always recognized their cultural significance. I still own some collectible Barbies, including my Star Trek Barbies. But to have Barbie, and by extension Mattel, recognize me and millions of other types of women? That is huge in my book.
The past year or so has seen toy manufacturers start having to listen to their consumers. It has also included campaigns to add women into toy line ups. I personally was part of the We Want Widow flash mobs, where we cosplayed as Black Widow in public to show toy manufacturers that she should be included more in Avengers toy sets. More recently, we got to watch manufacturers stumble over themselves as they rushed to put out Rey toys for the new Star Wars movie. They were shocked and surprised that kids and adults wanted to play as the lead role in the movie.
Fast forward to this yearâs Toy Fair. Mattel, one of the major toy companies, has updated one of their oldest toy lines to bring it into a new age. Toy companies like I Am Elemental are still going strong among the sea of other options. In case you donât know, I Am Elemental is a line of female superheroes action figures based on female figures from history. There will be a panel discussing if the gender divide in toys is justified. The best part is that the toy makers will be there to listen and hopefully learn.
It is true that I might be overly optimistic. The changes wonât be happening tomorrow, or probably even this year. But there is a chance that this change is real and is making an impact right now on the toy world. Encouraging the next generation of women through toys would give us a stronger and better generation to take us into the future. I have to hope that this mindset will stick and if it does, I will be happy to support them. And also play with their toys.
This is the time of year when the broadcast networks start to reveal their pilots for the upcoming fall season. The fact that the broadcast networks still think in terms of a “fall season” is simply adorable.
The greatest contribution given to us by the American broadcasting industry is their reimagination of the rubber stamp. So we’ve got a few spin-offs of presently successful comics shows – ABC is toying with a show featuring Mockingbird as an Agents of S.H.I.E.L.D. castoff, and NBC is considering a show called Powerless about superpowerless wannabes who work at an insurance company. Yes, you’re right: we used to call superpowerless people “people.” Now they’re “powerless.” If this one hits air, it might be renamed “Super-Ability Challenged Beings.”
By the way, I hate the word “reimagine” so much that I’m going to start calling it the “I-word.”
So. How many comics-spawn teevee shows can we squeeze into our lives? Surprisingly – well, at least I’m surprised – at least one more.
The CW is shooting a pilot called Riverdale, staring the brand-new, modernized, more realistic, more plot-driven Archie Comics stalwarts. If, like me, you have no life outside of pop culture you might remember this show being under development with Fox. Well, they punted and, quite frankly, the CW is clearly a better fit.
According to the hype, Riverdale is “a surprising and subversive take on Archie, Betty, Veronica and their friends” – I guess this means somebody is going to miss her period – “exploring the surrealism of small town life, the darkness and weirdness bubbling beneath Riverdale’s wholesome façade.” OK, so this show is likely to be less realistic than, say, The Gilmore Girls.
One of the folks responsible for the recent editorial growth over at Archie Comics is their chief creative officer, Roberto Aguirre-Sacasa. He’s also worked on Supergirl, Big Love and Glee. Roberto’s an executive producer of this teevee show. Having a comics person with media chops in a supervisory position on such a program is de rigueur, and it’s a very good sign. So is having Jon Goldwater on board – he’s Archie Comics’ CEO and his family has been steering the Good Ship Archie since the original carrot-top’s creation 75 years ago. Jon can protect the family jewels, and that puts Archie one up on DC and Marvel.
The fact that Greg Berlanti is another executive producer and Riverdale comes from Berlanti Productions is… well… the obvious choice. Berlanti has more comics-related teevee shows on the air than Carter had little liver pills. He produces Arrow, The Flash, Supergirl and Legends of Tomorrow. He also wrote the Green Lantern movie, but we won’t hold that against him. He is, or at least was, attached to the The Flash movie that is unrelated to his The Flash teevee series.
Yeah, I’m intrigued. I’d like to see a teen comedy that speaks to our times. Oddly, the first show that did this was The Many Loves of Dobie Gillis, which Archie Comics felt was a direct rip-off of their property. I can debate that point, but this isn’t the time for that. However, I will say that show contained Warren Beatty’s finest performances.
We’ll see if the CW picks Riverdale up. I just hope that sooner or later they get around to adding Cosmo the Merry Martian to the cast.
Columns / Glenn Hauman / News
Stephen Colbert, we have your writer for “The Chronicles of Amber”!
January 20, 2023
The Law Is A Ass #460: Those “For Life” Sentences Are Nonsense
February 24, 2022
