The Mix : What are people talking about today?

Ed Catto: Paul Gulacy – More than just the Master of Kung Fu

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Headshot Paul-Gulacy2016 is looking to be a big year for Paul Gulacy, with the long-awaited reprinting of his groundbreaking Master of Kung Fu series and as a guest of Honor at the San Diego Comic-Con. But in some ways every year is a big year for Paul. He’s a tireless workhorse who is always creating and producing gorgeous artwork. I’ve had the pleasure of working with Paul on a few projects (please don’t ask about the Lady Gaga thing) and it’s always been enjoyable and invigorating. This interview is no exception. As you’ll see, Paul is witty and wistful and, as always, honest and authentic. He’s the real deal.

mokf-64-gulacy-8966757Ed Catto: Marvel has announced that the trademark and licensing rights to Master of Kung Fu have been resolved and they are finally reprinting the series. How do you feel about that and how do you feel about your work from the period?

Paul Gulacy: It’s wonderful news. It’s about time and everybody I talk to is going nuts. They can’t wait. The way I feel about it is probably the same way everybody feels about it – including Stan Lee. It’s simply terrific news. Not to mention about time. I can’t think of any other popular comic that had to put up and deal with so much nonsense.

EC: When you think about your run on Master of Kung Fu, what are your fondest memories?

PG: Having a ball. Working for Marvel, a great series, a fantastic writer like Doug Moench. It was awesome. We were the springboard creators that launched an entirely new direction and new wave for the industry. We were the 70s guys that some pop culture enthusiasts determined to be a revolutionary period especially in the world of pop culture. When you think of some of your favorite 80s tunes you might be surprised to find out that those songs were recorded in the 70s. The Talking Heads come to mind… and Blondie.

captain-action-cover-jun13b-6707701EC: This past year you contributed a cover to the Overstreet Comic Book Price Guide as one of their prestigious cover artists. Can you describe that process and how you went about it?

PG: Yeah, that was quite the honor. Very nice to make a contribution to such an iconic Americana pop culture treasure. Many people don’t realize just how popular Captain Action and friends were. I recall the TV commercials for the toys when I was a kid. It was an honor to do the commemorative anniversary cover.

EC: You’ve illustrated Batman a number of times, and I’m struck by how often you brought something new to the party – things like a clever costume tweak or a new Batmobile. What’s it like to work on Batman on how does that differ from other assignments?

legends-of-the-dark-knight-11-paul-gulacy-2913106PG: If I’m not mistaken, Doug and I were asked to re-introduce the development of the Batmobile. And that took place in the series called “Prey” (in Batman: Legends of the Dark Knight). Later on we also re-introduced Gordon’s idea of utilizing a bat signal and why.

EC: Recently you contributed to an issue of the DC Western series, Jonah Hex. The issue was stunning, and the opening sequence with a burning building still sticks with me. What can you tell us about illustrating other genres?

PG: Maybe it might be a good idea to stay away from matches, Ed. No, Hex was a blast. Justin and Jimmy always came thru with a doozie storyline. And of course I come from the era where the western was all over television. Plus, I grew up in Ohio riding horses. As a kid I couldn’t stop drawing horses. But again, those guys always came through with an inspiring script.

EC: You’re well known for illustrating beautiful and sexy women, Paul. What’s your secret?

batman-catwoman-gulacy-7808082PG: Perhaps it’s the Jonah Hex after-shave I splash on every morning to start my day. I admire pretty women. They catch my eye and capture my attention. All kinds, shapes and sizes. On my Catwoman run I used three different models who posed for me, and at this point I better shut my big trap before a frying pan comes down in my direction.

EC: By looking at your finished artwork, it seems to me that you’ve enjoyed all your assignments. You never phone it in. But I know that can’t be the case. Were there any projects you were less than thrilled with?

PG: Too many to count. Everybody has those clunkers that make you roll your eyes and shake your head at. I’ve dialed it in on more than one occasion, often to just pay the rent, or get some fast cash. You have to take it on the chin.

EC: Conversely, what projects did you work on in the past that you wish would get another lease on life?

lady-action-model-gulacy-6537991PG: Some independent company characters like Sabre or The Grackle come to mind. The characters that Jimmy Palmiotti and Justin Grey developed for a series called Time Bomb for Radical Publishing I thought were awesome. I really had fun on that story. They come by once in a blue moon, and the fact that they are indie gives you more latitude. My entire career is established for the most part for working on obscure, oddball titles. I’m certainly not known for my Captain America contributions.

EC: Dark Horse is publishing The Rook. It’s a relaunch you’re working on with writer Steven Grant. How did this one come about and what are your thoughts on the character and time travel stories?

Gulacy Catwoman PortraitPG: Both Steven and I were contacted by Ben Dubay who holds the rights to the Rook character that was developed by his uncle, Bill Dubay. Bill passed away a couple of years back. I actually worked for Bill when he was on staff at Warren Publishing in New York City. Among a handful of stories I did for them was a still unpublished Rook story.

The Rook is a time traveler. Maybe it’s a good time to get that in here. Anyhow, Ben was on a mission to get it in the hands of Dark Horse and that worked out. We have one four-part series completed and we are currently working on the next series of four issues. We’re having a ball. Steven’s scripts are just off the hook fun. And don’t be surprised to see this character appear beyond the printed page.

EC: Thanks so much for your time, Paul.

Paul Gulacy’s 2016 convention appearances include: Cal Comic Com January 31st in California’s Orange County, Comic-Con International (San Diego Comic-Con) July 21- 2th in San Diego,
Monster and Robots, August 27 and 28 in New Jersey’s Garden State Convention Center.

John Ostrander: TV Superheroes Come and Go

barbara-gordon-oracle-8492663(SPOILER ALERT! SPOILER ALERT! Spoiler spoiler spoil spoil spoilery spoilers. I’m chatting this week about the events on some of the superhero TV shows last week. If you recorded them and intend to watch them later, give this a pass. Here endeth the warning.)

It was an interesting week in superhero TVland – specifically, DC superhero TVland. At least for me. I had a personal connection to some of them.

Arrow had a few events, some minor, one major. The character Felicity who is their computer geek expert recently got shot and it appears she has nerve damage to the spine and now has resumed her place with the team in a wheelchair. Sound like anyone we know? Yup – Oracle, whom my late wife and writing partner Kim Yale and I created from the remains of Barbara Gordon. Oh, they’re not calling her that but that’s who she is, wink wink, nudge nudge, say no more.

They also had Felicity dealing with a hallucination of her younger self, perhaps brought on by pain medication or even an aftereffect of anesthesia. What’s interesting is that younger Felciity is the spitting image of Death from the Sandman series – pale skin, raven dark hair, dressed in black, with an ankh necklace. However, they don‘t reference Death at all. They just grab her look. Guess Felicity was really into the Goth scene back then.

The major event was – they killed off their version of Amanda Waller. Bad guy just suddenly shot her in the head without warning. That was startling, I will admit, as it was no doubt intended to be. Since I get a little bit of money every time Amanda shows up on Arrow (or anywhere), her death was not a terribly pleasant surprise.

OTOH, this was a young, pretty, skinny Waller which is not how I saw the character. When I created the Wall, I saw her as a certain age and a certain heft for a variety of reasons. The bulk made her more physically intimidating. Also, I wanted a character who was unlike other comic book characters. Being black, middle aged, and plus-sized did that. I understood that this was the CW and that’s what the CW does – young and gorgeous is the rule of the day, every day. I did nott and do not object to their interpretation. And we have Viola Davis playing Amanda in the upcoming Suicide Squad movie and I’m looking forward to that. (The second trailer came out for the Squad movie as well recently and it’s looking real hot, IMO.)

There was another unexpected death in DC superhero TV-land this week and it was in the second episode of the new DC’s Legends Of Tomorrow. On the team is the CW version of Hawkman and Hawkgirl (you couldn’t call her Hawkwoman, CW?) and, lo and behold, they offed Hawkman this week. Well, boy howdee, that was a stunner.

I didn’t create Hawkman but I’d written him for a while (although it was alien Katar Hol rather than Carter Hall) so I did have a personal attachment to him. I’ll continue watching for now just to see where they go with all this but I’m not sure of its longevity.

The last event happened for me on Supergirl over on CBS rather than the CW. The main character is alright but, for me, the real draw is the Martian Manhunter, J’onn J’onzz. Tom Mandrake and I did a series on JJ in which we explored more of his society and culture. For example, it had been long established that, on Mars, J’onn had a wife and daughter who died. No one, however, had ever given them names, so I did. The daughter I named K’ym as a tribute to my late wife. On last week’s Supergirl episode, J’onn went into some of his past. He mentioned two daughters, one of whom was named K’ym.

That pleased me a lot. It was just a small thing but I know Kim would have been very pleased. I can almost hear her giggling and see her bouncing up and down with glee. Most pleasant.

So that was my week in Superhero TVland. How was yours?

Marc Alan Fishman: Firestorm? More like Fire Storm!

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Just as my ComicMix cohort, the Legend of Yesterday, Today, and Tomorrow Denny O’Neil, I have jumped gently back into the TV fracas again with DC’s Legends of Tomorrow. Denny was quick to note in the macro that the show harkens to a very base pulp root – that of myth of the voyage. But my gaze is far more acutely focused on but a single moment from the first episode of the CW’s titular team up.

Shortly after The Doctor – um, I mean Rip Hunter – has pitched woo to each of his would-be Legends, we’re treated to the monotony of joining each member as they pack up their lives to go adventuring. With seemingly everyone on board, we assume smooth sailing… until we reach the immaculate home of Professor Martin Stein. There, amidst his country bumpkin bric-a-brac, Stein and his young ward (Jax Jackson, because all other actual comic-approved merger-buddies are not living…) minced mean words. You see Mr. Jackson, with his youth and a future in tact, wasn’t as elated to traipse across time and space with a band of would-be time cops. Stein frankly couldn’t care less.

And that my friends, is where the show jumped the King Shark.

The known pacifist who was shown previously to prioritize his love of his wife above all else felt it OK to drug his would-be co-hero and drag his sleepy ass onto the ersatz-Tardis because he wanted to. This of course led to Jax waking up, getting angry, eventually getting into plot-driven danger, and ultimately seeing Stein’s way of thinking. It helps that he’s only as smart as the story requires him to be. So a little metaphorical football teamwork was all it took for Jax to forgive and forget. The show of course is in its infancy and perhaps I’m being needlessly picky. But I digress, you see. Being needlessly picky is sort of my super power.

Up until this point, I’ve kept a keen eye on Firestorm in the the DC-CW-TV-U. Amidst all the typical TV dramady tropes revolving around love, revenge, justice, love, romance, kissing, punching, and love, Firestorm has been a calming presence once his origin was ironed out. Stein is as he was in the comics – level-headed, intelligent, and wiser then his would-be counterparts. It’s really the whole hook of the character when you think on it. By pairing the super scientist with jocks and jackanapes the character becomes an inner-monologue of arguments while all the action happens on panel. And as we catch up with Firestorm on Legends of Tomorrow, it’s as close to a comic book scene that reintroduces us to the pair: Jax pilots the body, hurling fireballs at the assailants, while Stein barks orders to refrain from igniting any of the precariously placed chemical receptors around the crime scene. When the criminals are captured, and Firestorm de-Firestorms, Stein and Jackson bicker boisterously as they should.

This brings me back to that pivotal moment when Stein chooses to drug his partner instead of discuss his position. As written, acted, and presented in the episode we’re meant to giggle at the folly of it all. Stein is playing against type to become the impulsive member of the Firestorm Matrix. And to a point, I get it. As a professor and an intellect, the opportunity to travel through time is impossibly tempting. Clearly. But in the year or two that Martin Stein has been one half of a living nuclear reactor it’s hard to believe that he’s not already knee-deep in other research and development revolving around his powers. I mean, as depicted on the show, Firestorm is capable only of flying and fireballing things. To not get us to the transmutation of matter would be a true disservice to the character. Powers aside though, it’s the missing of a man’s soul that troubles me more.

After Ronnie Raymond and Martin Stein officially were able to inhabit their own bodies after their season-long amnesia-riddled origin, Stein offered up what I’d considered to be one of the most realistic lines ever uttered on The Flash:

“If living the last fourteen months as a conjoined meta-human has taught me anything, is that my life’s work should have been being the best husband I could to my wife.”

After all the CGI explosions, quick-cut exposition, and angst-riddled yelling that came with the end of the arc, the older, wiser Martin Stein yearned to be a better husband to the wife who had thought him gone. And here, without a millisecond of thought (seemingly), Stein chooses to abandon his wife, drug a twenty-year old, and go on a Rip-roaring adventure. Professor Martin Stein, suma cum boner.

I can’t wait for Victor Garber to utter the phrase “Now let’s haul ass to Hullabalooza, nerds!”

Tweeks Go to Disneyland: Season of the Force, Marvel HQ & Inside Club 33

This week Maddy & Anya take you to Disneyland. They review Season of the Force (the Star Wars take over of Tomorrowland) and Marvel’s HQ. And then then you take you inside the very exclusive Club 33 in New Orleans Square.

Located in New Orleans Square, the private club has a “secret” entrance and as our mom likes to point out, it’s the only place within the park that sells alcohol. Named for either it’s address (33 Royal Street) or the 33 initial corporate Disneyland sponsors in 1966, Club 33 was built by Walt as a place for special guests, but he didn’t live long enough to see it. Club 33 membership requires lots of money (something like a $27,000 buy in with $12,000 a year in dues) & lots of time (we’ve heard it’s a 15 year waiting list), so we’re not members, unfortunately. This is definitely a must-do before you die, Disney fans!

If you want to see more pictures from Club 33 check our Facebook Page

No Joke, Justice League vs. Teen Titans Due in April

jltt-bd-deluxe-3-e1454090473793-7492004Burbank, CA (January 29, 2016) – The demonic forces of Trigon infiltrate the minds and bodies of the Justice League, turning the veteran super heroes against their youthful counterparts in the all-new DC Universe Original Movie, Justice League vs. Teen Titans. Produced by Warner Bros. Animation and DC Entertainment, the film will be available from Warner Bros. Home Entertainment on April 12, 2016 on Blu-Ray™ Deluxe Edition, Blu-Ray™ Combo Pack and DVD. Order due date is March 8, 2016.

Justice League vs. Teen Titans will be available on Blu-rayTM Deluxe Edition for $29.96 SRP, Blu-rayTM Combo Pack for $24.98 SRP, and DVD for $19.98 SRP.  The Blu-rayTM Combo Pack includes a digital version of the movie on Digital HD with UltraViolet. The Blu-ray™ Deluxe Edition will include all components of the Blu-Ray™ Combo Pack, along with an exclusive Robin figurine in a numbered, limited edition gift set. Fans can also own Justice League vs. Teen Titans in Digital HD on March 29, 2016 via purchase from digital retailers.

Justice League vs. Teen Titans welcomes the Teen Titans to the ever-expanding canon of classic DC Comics characters within the DC Universe Original Movies. When Damian’s over-aggressive tendencies almost destroy a Justice League mission, he is sent to learn teamwork by training alongside the Teen Titans. However, adjusting Damian’s attitude turns out to be the least of the Teen Titans’ troubles as Raven’s satanic, world-conquering father Trigon begins an escape from his inter-dimensional prison. To complete his return, Trigon must have Raven’s assistance – and to accomplish his goal, he spreads his demonic forces across the globe, infiltrating the minds and bodies of the Justice League to do his bidding. To save the universe and prevent a literal hell on Earth, the Teen Titans must rescue – or defeat – the Justice League, and intern Trigon for all eternity.

The voice cast for Justice League vs. Teen Titans includes several actors reprising their recent Justice League roles – Jason O’Mara (Complications, Terra Nova) as Batman, Jerry O’Connell (Crossing Jordan, Stand By Me) as Superman, Rosario Dawson (Sin City, Rent) as Wonder Woman, Shemar Moore (Criminal Minds) as Cyborg and Christopher Gorham (Covert Affairs, Ugly Betty) as Flash. Sean Maher (Firefly/Serenity, Batman: Bad Blood) also returns as Nightwing, as does Stuart Allan (Batman vs. Robin) as Robin/Damian. Making their Teen Titans voiceover debuts are Taissa Farmiga (American Horror Story, Wicked City) as Raven, Jake T. Austin (Wizards of Waverly Place, The Fosters) as Blue Beetle, Brandon Soo Hoo (Tropic Thunder, From Dusk Til Dawn: The Series) as Beast Boy and Kari Wahlgren (Phineas and Ferb, Legion of Superheroes) as Starfire. Jon Bernthal (The Walking Dead, Daredevil) takes the villainous center stage as Trigon.

Produced by Warner Bros. Animation and DC Entertainment, Justice League vs. Teen Titans is directed by Sam Liu from a screenplay by Bryan Q. Miller and Alan Burnett based on a story by Miller. James Tucker is Supervising Producer. Burnett is also co-Producer. Sam Register is Executive Producer.

“Warner Bros. Home Entertainment is thrilled to bring the Teen Titans into the fold of amazing characters within the DC Universe Original Movies,” said Mary Ellen Thomas, WBHE Vice President, TV Family, Animation Marketing. “This all-new film provides the Teen Titans with the perfect stage – alongside and against the Justice League – for a thrilling adventure that fans will truly enjoy.”

Justice League vs. Teen Titans – Enhanced Content

DVD

  • An exclusive sneak peek at the next DC Universe Original Movie.

Blu-ray™ Combo Pack

  • An exclusive sneak peek at the next DC Universe Original Movie.
  • Featurette – “Growing Up Titan” – The Teen Titans have fascinated readers for over 50 years due in part to their stories of valor, as well as earning empathy with comic book readers during their own trials growing up into adulthood.  This documentary spotlights the importance of young voices in the DC Comics mythology, giving generations of readers a team of heroes that mirror their own life experiences.
  • Featurette – “Heroes and Villains – Raven” – She is the daughter of one of DC Comics’ greatest villains, the demon Trigon.  Raven is a powerful telepath who uses her soul-self as a means for astral projection.  She is integral to the Teen Titans.  This documentary is her story.
  • Featurette – “Heroes and Villains – Trigon – The most fearsome and evil opponent the Teen Titans have encountered is this inter-dimensional demon.  Trigon uses his immortality to shape worlds and exact his control.   This documentary introduces the character and how he raises the stakes for the Teen Titans.
  • From the DC Comics Vault– Two Classic Episodes of DC Comics cartoons

Martha Thomases: Comic Books For Everyone!

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There was a disturbance in the Force this weekend as DC announced that they were, once again, relaunching their entire line … sort of.

On the one hand, I’m sick of this. It might work as a publicity stunt for a few months, but, in and of itself it doesn’t necessarily attract new readers. On the other hand, what else can they do?

Just a few days before, my pal Val D’Orazio posted some interesting opinions about the comic book market. She looks at distribution and promotion and demographics and all the other elements that have been part of our discussions about comics since at least the 1970s.

In case you’re new to this, let me try to sum it up (which will, by necessity, over-simplify things). The emergence of the direct market allowed comics to go from a mass medium to a more sharply focused (and therefore, more profitable) business. There were risks (for example, speculation) but there were benefits (cheaper cost of entry allowed more experimentation). For a glorious few years, all kinds of books were offered from all kinds of new publishers, although Marvel and DC continued to dominate. The market grew to include graphic novels, thus entering the mass market again via bookstores. Recently, digital distribution makes it easier for new demographic segments to inexpensively sample titles without having to go to comic book specialty stores.

Or, to quote Val, “In particular, there is going to be a big market for diverse, relevant, young adult serialized content; that is where a lot of the best “new ideas” in comics will be coming from, the sorts of ideas that get optioned for movies and TV.”

Please note: When she says “young adult,” she is referring to that segment of the book publishing business that includes Harry Potter, The Hunger Games, Divergent and the like. It’s a marketing term, not a judgment call. In other words, what is currently one of the most profitable areas.

How does the current publishing model fit with future? Not very well.

I love going to the comic book store on Wednesday. Really. Even in the snow. I like to pick up a pile of overpriced (in terms of cost per minute of entertainment) paper pamphlets and read them over lunch, or over an afternoon. However, I’m someone who has been doing this for nearly 60 years. I’m certainly not the cool, young market that advertisers and publishers want.

And even though I’ve been reading comics for such a long time, I have trouble keeping continuity together. If I was a young person today, I would find the whole thing to convoluted to bother.

DC seems to think the solution is to start from scratch so everyone has a chance to get in on the ground floor. I get it. The New 52 worked pretty well for them, at least commercially.

Unfortunately, they seem to miss what I consider to be the point: they bog down their new continuity with old continuity. And they seem to think that on talent that might be well known within the comics industry will be a selling point to new readers from outside the market.

I like Scott Snyder’s writing very much, and those Marc Silvestri pages are gorgeous. I don’t mean to say those men are not talented, but that they are not known to people who don’t already read comics.

At the same time, a lot of current readers are turned off to buying current comics book series because they don’t like stories that are “written for the trade,” that is, stories that are planned for collections, not for individual issues. This is understandable. If one spends three or four dollars (or more) on a comic book, one would like to get a story.

And a lot of people who like comic book characters (like the Flash, or Agent Carter, or Lucifer, or Batman or the Avengers or Your Favorite Here) are intimidated by comic book stores. All they know is what they see on The Simpsons or The Big Bang Theory. They might enjoy comics, but they need a safe way to sample them.

Even though I’m not a huge fan of reading comics online (I think I’ll like it better if I get the bigger iPad), I think the Interwebs offer a solution. A lot of the expense of publishing comics comes from buying paper, printing, and shipping. By promoting and publishing all kinds of comics online, publishers can attract new readers more inexpensively than with paper, and save hard-copy publishing for the more popular titles.

For example, I’m an old fart who would very much enjoy reading the occasional adventures of the Legion of Super-Pets and their romps through space. I would also like more “realistic” stories, like the procedurals in Gotham Central and Resident Alien. I’d gladly pay a few bucks for the chance, especially if, as Val suggests, there is some kind of Netflix like structure that lets me binge at will.

I haven’t figured out the economics yet, but everyone involved should get paid at least a living wage – not just the creative talent but editors, lawyers, and so on.

If you want to see comics that feature people of color, or queer people, or more women, there can be comics for you. If you want to see the (mostly) all-white comics of the past, there can be comics for you.

Just as having more channels on television has brought more good shows, having more channels for comics should bring more good comics.

Dennis O’Neil: Legends of All Time!

legends-of-tomorrow-art-2590396In this metaphor, time is a liquid and so we find ourselves doing the breaststroke, swimming back, back until we surface until we surface and…

Where might we be? The air is crisp and clean, the ocean before us is deep blue, the whole world seems freshly minted… Oh, of course! We’re somewhere in the region that will come to be called Before the Common Era and we’re watching a group of alpha male-type gentlemen board a sailing ship. Ah, we have it now. The gents are Jason and his pals who will eventually be dubbed The Argonauts, which means that the ship is the Argo, built by a handy chap named Argus and protected by the goddess Hera. They’re preparing to voyage in quest of some golden fleece for reasons with which we need not bother. There we are – everything tied up in a neat package. Don’t you love it when that happens?

But while we were ogling the BCE version of celebrities, the metaphor morphed. What was liquid is now pages, some yellowed and curling, some clean and white and on those rapidly flipping pages… glimpses. There’s King Arthur and the roundtable bunch. (How do we know that this particular king is Arthur? Because we do, that’s how! Now hush.) And there’s Odysseus and his shipmates. And the four musketeers, who, for some reason, are hailed as the three musketeers. (Maybe the seventeenth century French dudes weren’t so good at counting?) And The Shadow with his helpers, and Doc Savage with his and – the pages are crisper and whiter – the Magnificent Seven and the Dirty Dozen and the Justice Society and the Justice League and the X-Men and DC’s Legends of Tomorrow…

Whoa. That last one – it isn’t on a page (yet), it’s on a video screen and I saw it a few nights ago: the latest entry into what’s beginning to seem like television’s Superhero Sweepstakes. What we have here are a number of B-team heroes who, with one exception that I’m aware of, first appeared in DC Comics. (There’s those darn pages again.) They’re united under the leadership of Rip Hunter to combat a giant economy sized threat to the planet and, probably, to ass kick sundry lesser malcontents. They’re not all happy to be part of the team, but that’s okay – we know they’ll be on the front lines when they’re needed. And maybe a bit of bickering will brighten the dialogue – exposition, don’t you know, can be such a bore.

The structure of stories such characters populate is simple and reliable: something threatens the common good, something so formidable that it takes a team to quell it, preferably a team with diverse capabilities to allow for varied action.

Did I mention their… I don’t know what to call it, but let’s settle for “vehicle.” It seems to be a combination airliner, houseboat, taxi cab and time machine, and it is nifty. (Are the toy companies lining up?)

The show itself? Can’t wait for next episode…Well, actually I can, but I will be watching it.

Mockingjay Part II and Complete Hunger Games Collection Due 3/22

MJ2_BD3dSANTA MONICA, CA and VANCOUVER, BC (January 27, 2016) – Four years after Jennifer Lawrence first appeared on the big screen as Katniss Everdeen in The Hunger Games, Lionsgate’s (NYSE: LGF) critically acclaimed series based on Suzanne Collins’ best-selling book trilogy comes to a thrilling resolution in The Hunger Games: Mockingjay – Part 2, arriving on Digital HD March 8 and on Blu-ray Combo Pack + Digital HD,  DVD + Digital, and On Demand March 22, the company announced today. In addition, for the first time ever, The Hunger Games Complete 4-Film Collection will be available on Blu-ray and DVD on March 22.

With $647 million worldwide box office and counting, The Hunger Games: Mockingjay – Part 2 set the world on fire and enthralled millions of devoted fans across the globe. With a critically acclaimed cast including Academy Award® winner Jennifer Lawrence (Best Actress, Silver Linings Playbook, 2012), Josh Hutcherson (Journey to the Center of the Earth), Liam Hemsworth (The Expendables), Academy Award® nominee Woody Harrelson (Best Actor, The People vs. Larry Flynt, 1996), Emmy® nominee Elizabeth Banks (Modern Family), Academy Award® winner Julianne Moore (Best Actress, Still Alice, 2014), Academy Award® winner Philip Seymour Hoffman (Best Actor, Capote, 2005), Golden Globe® winner Jeffrey Wright (HBO’s Angels in America), with Academy Award® nominee Stanley Tucci (Best Supporting Actor, The Lovely Bones, 2009), and Golden Globe® winner Donald Sutherland (Citizen X), The Hunger Games franchise is a worldwide phenomenon earning over $2.9 billion at the box office worldwide.

Jennifer Lawrence stars as Katniss Everdeen, who began her journey fighting to survive the brutal Hunger Games, and rose to lead the rebellion against Panem’s tyrannical president (Donald Sutherland). Now, Katniss and a team of rebels from District 13 prepare for the epic battle that will decide Panem’s future.

Based on the third novel in Suzanne Collins’ trilogy, the must-own limited edition Blu-ray release is packed with over five hours of special features, including the “Pawns No More: Making The Hunger Games: Mockingjay – Part 2” 8-part documentary – an in-depth look at the making of the film from production design, costumes, hair, make-up, stunts, special effects and post production. The documentary also includes a touching piece – from the last day of shooting – in which the cast reflects on their experience shooting the four films. Also included is a detailed look at Cinna’s sketchbook and a walk through the on-set photography along with audio commentary by director Francis Lawrence and producer Nina Jacobson. The Blu-ray is encoded in Dolby TrueHD and features a Dolby Atmos® soundtrack, which delivers captivating sound that places and moves audio anywhere in the room, including overhead, to bring entertainment alive all around the audience. The Hunger Games: Mockingjay – Part 2 Blu-ray and DVD will be available for the suggested retail price of $39.99 and $29.95, respectively.

Also available for the first time as a set on Blu-ray, DVD and Digital HD, The Hunger Games Complete 4-Film Collection includes The Hunger Games, The Hunger Games: Catching Fire, The Hunger Games: Mockingjay – Part 1 and The Hunger Games: Mockingjay – Part 2 with all of the special features from each film’s initial release plus hours of all-new exclusive content including 13 never-before-seen deleted scenes from The Hunger Games and The Hunger Games: Catching Fire and two all-new featurettes: “Picturing Panem” and “Capitol Cuisine.” The Hunger Games Complete 4-Film Collection will be available on Blu-ray and DVD for the suggested retail price of $64.97 and $54.98, respectively.

MJ2_DVD3dTHE HUNGER GAMES: MOCKINGJAY – PART 2 BLU-RAY / DVD / DIGITAL HD SPECIAL FEATURES*

  • Audio Commentary with Director Francis Lawrence and Producer Nina Jacobson
  • “Pawns No More: Making The Hunger Games: Mockingjay – Part 2” 8-Part Documentary**
    • Walking Through Fire (Concluding the Saga)
    • Real or Not Real (Visual Design)
    • High-Value Targets (The Acting Ensemble)
    • From Head to Toe (Costume, Make-up & Hair)
    • Navigating the Minefield (Production in Atlanta, Paris & Berlin)
    • Collateral Damage (Stunts, Special Effects & Weapons)
    • Tightening the Noose (The Post-Production Process
    • A Different World (Reflections)
  • The Hunger Games: A Photographic Journey
  • Cinna’s Sketchbook: Secrets of the Mockingjay Armor
  • Panem on Display: The Hunger Games: The Exhibition
  • Jet to the Set**

*Subject to Change
**Exclusive to Blu-ray/ Digital HD

hunger-games-complete-collection-e1453923211973-4780699THE HUNGER GAMES COMPLETE 4-FILM COLLECTION BLU-RAY / DVD SPECIAL FEATURES*

  • Over 14 Hours of Bonus Content Including:
    • 12 Never-Before-Seen Deleted Scenes from The Hunger Games
    • 6 Deleted Scenes from The Hunger Games: Catching Fire – Including 1 Never Before Seen
    • 9 Deleted Scenes from The Hunger Games: Mockingjay – Part 1
    • 2 All-New Featurettes: “Picturing Panem” and “Capitol Cuisine”
    • 70 Additional Featurettes (Blu-ray); 69 Additional Special Featurettes (DVD)
    • Audio Commentaries, Music Videos and More

*Subject to change
THE HUNGER GAMES: MOCKINGJAY – PART 2 PROGRAM INFORMATION
Year of Production: 2015
Title Copyright: The Hunger Games: Mockingjay – Part 2 © 2015, Artwork & Supplementary Materials TM & © 2016 Lions Gate Entertainment Inc. All Rights Reserved.
Type: Theatrical Release
Rating: PG-13 for intense sequences of violence and action, and for some thematic material.
Genre: Action/Adventure
Blu-ray Closed Captioned:  NA
DVD Closed Caption: English
Blu-ray Subtitles: English and Spanish, English SDH
DVD Subtitles: English and Spanish
Feature Run Time: 137 minutes
Blu-ray Format: 1080p High Definition 16×9 Widescreen (2.40:1)
DVD Format: 16×9 Widescreen (2.40:1)
Blu-ray Audio: English Dolby Atmos (Dolby TrueHD Compatible), English 2.0 Dolby Digital Optimized for Late-Night Listening, Spanish 5.1 Dolby Digital, English Descriptive Audio
DVD Audio: English 5.1 Dolby Digital Audio, English 2.0 Dolby Digital Optimized for Late-Night Listening, Spanish 5.1 Dolby Digital, English Descriptive Audio

THE HUNGER GAMES COMPLETE 4-FILM COLLECTION PROGRAM INFORMATION
Year of Production: 2012-2015
Title Copyright: The Hunger Games © 2012, The Hunger Games: Catching Fire © 2013, The Hunger Games: Mockingjay – Part 1 © 2014, The Hunger Games: Mockingjay – Part 2 © 2015, Artwork & Supplementary Materials ™ & © 2016 Lions Gate Entertainment Inc. All Rights Reserved.
Type: Theatrical Release
Rating: The Hunger Games: PG-13 for intense violent thematic material and disturbing images – all involving teens. The Hunger Games: Catching Fire: PG-13 for intense sequences of violence and action, some frightening images, thematic elements, a suggestive situation and language. ​​ The Hunger Games: Mockingjay – Part 1: PG-13 for intense sequences of violence and action, some disturbing images and thematic material. The Hunger Games: Mockingjay – Part 2: PG-13 for intense sequences of violence and action, and for some thematic material.
Genre: Action/Adventure, Compilation
Blu-ray Closed Captioned:  NA
DVD Closed Captioned: English
Blu-ray Subtitles: English, Spanish and English SDH
DVD Subtitles: English and Spanish
Feature Run Time: The Hunger Games: 142 minutes. The Hunger Games: Catching Fire: 146 minutes. ​​ The Hunger Games: Mockingjay – Part 1: 123 minutes. The Hunger Games: Mockingjay – Part 2: 137 minutes.
Blu-ray Format: 1080P High Definition 16×9 Widescreen (2.40:1); The Hunger Games: Catching Fire: 16×9 Variable (2.40:1) and (1.78:1) (IMAX® Sequences)
DVD Format: 16×9 Widescreen (2.40:1)
Blu-ray Audio: The Hunger Games & The Hunger Games: Catching Fire: English 7.1 DTS-HD Master AudioTM; The Hunger Games: Mockingjay – Part 1 & 2: English Dolby Atmos (Dolby True HD Compatible); The Hunger Games: Mockingjay – Part 1: DTS Headphone:XTM Audio Track; All Films: English 2.0 Dolby Digital Audio Optimized for Late-Night Listening, Spanish 5.1 Dolby Digital Audio, English Descriptive Audio (except The Hunger Games)
DVD Audio: English 5.1 Dolby Digital Audio, English 2.0 Dolby Digital Audio Optimized for Late-Night Listening (except The Hunger Games: Catching Fire), Spanish 5.1 Dolby Digital Audio, English Descriptive Audio (except The Hunger Games and The Hunger Games: Mockingjay – Part 1)

Molly Jackson: Create or Die

create or die

In the past, many writers on this site, myself included, have written columns shining a light on the abused state of minority characters at the Big Two. While I agree with everything said, I think that we have left out the very important point of creating new characters. For the past decade or so, it’s felt like more of a rehashing of characters than creating. C’mon, when was the last time you thought of Marvel as the “House of Ideas” without being sarcastic?

In the last couple of weeks we’ve seen aggravating comic announcement from the Big Two. DC Comics is doing what seems like another reboot called Rebirth. This is rumored to bring the comics in sync with the movies and TV shows. Marvel revealed that they are doing another repeat event with Civil War II. All I can do is sigh.

If we want to see more diverse characters in comics, they will need to be created. New heroes and new villains to fill the diversity void. Yes, I want diverse villains. I need someone like me to be evil.

In fairness, Marvel has done some of that with the creation of Kamila Khan, a.k.a. the new Ms. Marvel. She is a great addition to their universe and her creation proves the whole argument about diverse comic company staffs. That series was heralded as a great change for Marvel but it seems to start and end there. Even in Battleworld, their latest event, Ms. Marvel does not fare well.

I understand the desire to use a large stable of artists rather than create. It means that they can avoid the trap of paying royalties to the creators while still swapping in and out lesser used characters. However, the comics are suffering in a major way. Stories are being retold over and over, rather than creating new ones. Creators are saving their very best for their creator-owned titles, but those are not getting the notice like books from DC and Marvel. Rather than innovate, they have chosen to focus on their entertainment properties because they represent a bigger financial growth. However, this will just hurt them in the long-term.

At this point, I feel obligated to point out that today Faith #1 is coming out from Valiant. Faith is an overweight female superhero, which is a unique change in a few ways. While Valiant has driven us all mad with the almost 12 months of promoting the limited series event, it is about an overweight female superhero. While most of you might be shaking your heads that this isn’t needed, there are plenty of overweight women (myself included) that are excited about it. But even more, I’m hoping that this book is encouraging to that comic reading high school girl who has body image issues. Seeing anyone overweight taken seriously, especially at that age, can make a real and positive impact. I haven’t read it yet (because I am speaking to you from the past! Ooooh, Time Travel!), but I am excited and hopeful that Valiant made a great stride here.

There are some great characters at the Big Two. Characters that I love and respect with all my heart. But the world is a changing and growing place, and the heroes we have are not necessarily the heroes we need. We need new heroes to represent the new world we live in: where racial and religious divides still threaten our communities; where gender and sexual orientation are still judged too harshly; and where we, as a global community, have started standing up against the hate to make these changes happen.

When anything fails to create, innovate and change, it begins to die. Hopefully Marvel and DC realize this before it is too late.

Mike Gold: Superman v Bible, WWII Edition

superman-tops-bible-cmx-8301629

The biggest problem with the InterWebs, particularly for people like me, is that when we’re researching something we first encounter at least a dozen items that look really interesting… and often compelling.

Obviously, if you’re on deadline, this sucks. But if you’re any sort of history freak, that compulsion can be overwhelming. For example, this snowbound weekend I was going through the Chicago Tribune (the Tribune’s online archives are wonderful, in the sense that getting sucked into a black hole of knowledge and culture is wonderful) researching something completely different. And, on page 12 of the November 7 1943 edition, I stumbled across the headline “Book Burocrats Put ‘Superman’ Ahead Of Bible.”

Say what?

Let us put aside the Tribune’s creative spelling of the word “bureaucrats.” Publisher “Colonel” Robert McCormick, a man so far to the right he made Ted Cruz look like Bill Ayers, decided the American way of spelling was confusing and simply wrong, so he wrote up his own dictionary that became the paper’s official style guide. Let’s look at that piece.

The idea of Superman outselling the bible is easy to grasp: most copies of the latter are given away. The idea of Superman having a circulation greater than that of the bible is ridiculous. Even in 1943, there were a hell of a lot of hotel rooms out there.

G.P. Putnam and Sons’ president Melville Minton (with a name like that, Mel had no choice but to go into publishing or play jazz trombone) was extolling the virtues of sending publications of all sorts out to our soldiers and sailors for relaxing entertainment and personal edification. He noted that 35% of the then-current output was going to the army and the navy.

Because I have a tendency to think that all public statements carry a hidden agenda – that comes with the Kappa Tau Alpha paperwork – I suspect Mr. Minton was laying the foundation for greater paper allocations. Which, in my book, is swell.

Quoting the Tribune: “Books, Minton said, are the backbone of American culture and unless book publication is continued uninterruptedly military and civilian morale will suffer, education will be handicapped, and the nation will be following, in fact tho (sic) not in intent, the practices of Hitler.

“Stressing the difficulties under which the book publishing industry is now laboring, Minton said, ‘Superman’ had been declared essential to the war program before the Bible by Washington officials (emphasis mine). Hitler burned books but we just stop publishing them.”

Minton said all that over 72 years ago. Outside of the Hitler part, and then only maybe, those statements are as vital today as they were then.

With eternal thanks to Sydney J. Harris. Top art © Tribune Company. Bottom art © DC Entertainment. Originally appeared in Look Magazine, February 27, 1940 (yup, well before Pearl Harbor); colorized and reprinted in The Greatest Superman Stories Ever Told.

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