The Mix : What are people talking about today?

Marvel Cinematic Universe: Phase Two Arrives at Amazon December 8

marvel-cinematic-universe-phase-two-e1448641651924-7829359This Marvel fan’s dream features Blu-ray 3D, Blu-ray, Digital Copy of each Phase 2 film,

specially designed disc holders, and exclusive Marvel memorabilia!

 

SYNOPSIS: The limited edition, 13-Disc Marvel Cinematic Universe: Phase Two Collection invites you to hold the greatest power in the cosmos in your grasp – an orb containing one of the legendary Infinity Stones! Plus Blu-ray 3D™, Blu-ray™ and Digital Copies of all Phase 2 films, in collectible packaging designed by artist Matt Ferguson. This set overflows with stunning Marvel memorabilia, including a gold-foiled page from the book of Dark Elves, an ancient drawing from the Morag vault, Avengers and S.T.R.I.K.E. uniform patches, a replica of the Tony Stark Tattoo from Marvel’s Iron Man 3, and much more!

bonus-e1448641695555-6589029CONTENT:             Marvel’s Iron Man 3 (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Thor: The Dark World (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Captain America: The Winter Soldier (Blu-ray 3D + Blu-ray + Digital                           Copy)

                                    Marvel’s Guardians of the Galaxy (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Avengers: Age of Ultron (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Ant-Man (Blu-ray 3D + Blu-ray + Digital Copy)

1:1 Prop Replica of the Orb

ageofultron-e1448641724238-2700483PLUS an Exclusive Bonus Content Disc with 166 minutes of  bonus material and more!

BONUS FEATURES:        

From Here To Infinity: Phases 2 & 3 Of The M.C.U.

Journey back through Marvel’s Phase 2 films, from its launch in Iron Man 3 through its fulfillment in Ant-Man, to see how individual characters grow and change, how their relationships with each other evolve over time, and how the universe itself expands with each story. Listen to filmmakers discuss the first set of Phase 3 films– Marvel’s Captain America: Civil War, Marvel’s Doctor Strange, and Marvel’s Guardians of the Galaxy 2 – and discover there are no limits to the adventure!

antman-e1448641764186-6373076Phase 2 Tag Scenes: A Making-Of

Learn the story behind the post-credit sequence in Marvel’s Phase 1 and 2 movies, and explore how the scenes connect and unify the far-flung characters and worlds of the Marvel Cinematic Universe.

Marvel One-Shot: The Consultant w/Audio Commentary By Clark Gregg

Marvel One-Shot: A Funny Thing Happened On The Way To Thor’s Hammer With Audio Commentary By Clark Gregg

Marvel One-Shot: Item 47 With Audio Commentary By Louis D’Esposito, Max Hernandez, Titus Welliver And Jesse Bradford

guardians-e1448641795459-5501421Marvel One-Shot: Agent Carter With Audio Commentary By Louis D’Esposito And Hayley Atwell

Marvel One-Shot: All Hail The King With Audio Commentary By Drew Pearce And Ben Kingsley

Iron Man 3: Deleted Scenes

Iron Man 3: Preproduction Creative

Thor: The Dark World: Deleted Scenes

Thor: The Dark World Preproduction Creative

im3-e1448641823440-1009412Captain America: The Winter Soldier: Deleted Scene With Audio Commentary By Anthony Russo, Joe Russo, Christopher Markus, Stephen McFeely

Captain America: The Winter Soldier – Preproduction Creative

Guardians of The Galaxy: Deleted Scenes

Guardians of The Galaxy: Preproduction Creative

Avengers: Age Of Ultron: Deleted Scenes

thor-e1448641863483-2320940Avengers: Age Of Ultron: Preproduction Creative: Hulk vs. Hulkbuster

Ant-Man: Deleted Scenes

Ant-Man: Preproduction Creative

RELEASE DATE:                December 8, 2015

PRODUCTS:                         Blu-ray 3D, Blu-ray and Digital HD

wintersoldierAUDIO:                                    Blu-ray 3D, Blu-ray, Digital HD = English 7.1 DTS-HDMA, French-Canadian 5.1 Dolby Digital, Latin Spanish 5.1 Dolby Digital, English DVS 2.0 Dolby Digital

LANGUAGES:                       English & Spanish, French

SUBTITLES:                         English, French & Spanish

Marc Alan Fishman: To Love and Loathe Loot Crate

Doc Brown FuncoHello. My name is Marc Alan Fishman, and I am … a collector. I’ve attempted many times to stop. I thought getting married, having a mortgage, and a kid would get in the way. It didn’t. I even have another kid on the way, and yet, I can’t shake off my problem. Shiny toys, gadgets, and brick-a-brak litter my life like dumbass xenophobic one liners litter Donald Trump’s presidential campaign. I’d heard once that the first step to overcoming a bad habit was to admit you had a problem. Well, I’ll be honest: I don’t actually have a problem collecting stuff. But I do have a budding problem with the crate culture that’s being cultivated out and about in this age of the Interwebs.

For those still living in a cave, let me bring you up to speed. The Internet is a large interconnected web of sites that offer news, information, and yes, means to buy and sell objects and services of interest. Taking a page out of the subscription services of yore, Loot Crate, Nerd Block, and umpteen other startups have opened their digital doors in order to pair nerds with extra cash with stashes of objects of unknown origin. Or to be a little less cryptic, a combination of overstocked items, and cheaply-produced trinkets by manufacturers looking for quick turnaround.

I freely, and sadly, admit to succumbing to peer pressure when I bit the bullet two months ago. Loot Crate must have paid a fine fortune to market themselves in my Facebook feed several times a day. And there, in all his Doctorly glory, stood a static Peter Capaldi telling me that the month’s crate was Time themed. He beckoned to me in his notorious brogue. “C’mon, ya wee bugger. Why not see what you’ll get? Ye only need to part with a little of that wasted PayPal money you’ve got stashed away fer’ a rainy day. Certainly if they’re showing me pretty face here, I’ll be waiting fer’ you in the box!” And then they sealed the deal with a First Timers discount. Three dollars off bought my love, damnit.

When the crate arrived, I was elated. Loot Crate promised it’d be like Christmas morning. Being Jewish, I didn’t know exactly how that would feel, but my goyim friends always made it sound like a big deal. So, I cracked open the “crate,” which was a cardboard box. I got a limited edition fifth-scale authentic replica of the Back to the Future II Hoverboard, a Doc Brown Funco Pop™ toy, a Bill and Ted’s Excellent Adventure tee shirt, and a Doctor Who Sonic Screwdriver spork. Oh… and a collectible button.

Is Christmas morning supposed to feel empty and hollow? Where I was shown promotional images that hinted at an item celebrating my favorite Doctor, I was gifted a plastic eating utensil – erected in the form of the previous Doctor’s iteration of the aforementioned Screwdriver. The shirt was nice. The Pop was cute. The Hoverboard was authentically replicated, and boxed in a nifty reflective package.

Had anyone in my life gifted these items to me otherwise, I’d be pleased as punch to have received them. Yet, upon unboxing, I felt no twinge of glee. Perhaps I simply was being too dismissive. I should wait another month, and see what new and lovely trinkets would arrive on my doorstep. What good is that twenty bucks doing in that Paypal account, anyways!?

And then Combat showed up on my doorstep. Inside? A pair of sunglasses with a bolted-on 2-D Shredder helmet from the old Teenage Mutant Ninja Turtles cartoon, a Vault Boy bobblehead from Fallout 4, a tiny plastic SD Blizzard villain figure, and a Loot Crate Exclusive Street Fighter II comic book. Again, I’d hoped for that unwieldy sense of joy at the box of goodies before me. Instead, I felt the pangs I often feel when I peruse the show floor at comic con.

I often find myself reflecting “All of these tchotchkes are cute, but really, do I need them?” And the answer has always been an abrupt No. While I admitted earlier to being a collector, that term comes with the weight of individualism behind it. As much as I’m a nerd-of-the-world – well-versed in the minutiae of Blizzard video games and Back to the Future – I’m also a finicky little fuck. Pardon my French.

The appeal of a random box of appropriately nerdy wares is certainly there. It’s the brown-paper bag stapled shut at the comic shop. It could contain an issue of The Atom that’s the bee’s knees! Of course it could contain Voodoo #1 from the New52 as well. The chance for something cool often sparks us to roll the dice. Loot Crate and their kin bank on this feeling. They hedge their bets by appealing to our shared culture of collectability – that even if we don’t personally love the items in the box, someone will, and will pay more for the item than we did. Suddenly Loot Crate is a micro-transaction investment! But nay, I say, my dear nerds.

Loot Crate is, at best, a great way to cultivate a collection of crap for someone who wants to be hip to nerd culture. For the well-versed dorks like myself, it’s the crib-note version of Crisis on Infinite Earths instead of the Absolute iteration. Good on the surface, but not much else.

Could I spend twenty bucks better? Probably. Will I? Maybe after next month’s box. While I’d love to cancel my subscription knowing full well two months has brought me little in the way of childish joy… the crate for December has a Star Wars collectible in it, and my wife called dibs.

No one ever said I wasn’t a hypocrite.

The Point Radio: Scotty Auckerman Writes Funny

Chances are something that made you laugh in the past year was probably written by Scott Auckerman. From The Emmys to COMEDY BANG BANG and BETWEEN TWO FERNS, Scott is on the edge of creating comedy that generates buzz. We talk about how he got started, what The Emmys were really like and how it was writing for The President. Plus CRIME WATCH DAILY is a new show that explores cases that are at the top off the headlines. We talk to the show’s hosts on how they find the right cases to tackle.

Follow us here on Instagram or on Twitter here.

REVIEW: Ant-Man

Ant-Man Blu-rayMarvel’s Ant-Man, which was an international box office smash this summer, is also a schizophrenic movie demonstrating the strengths and weaknesses of working within a shared universe. Where James Gunn was given a corner of the universe to play with the Guardians of the Galaxy allowing him to be cheeky and amusing while introducing cosmic threats that will dovetail in future films, Edgar Wright’s original ideas were too comedic and “out there” to fit in the terrestrial threads already in place.

Despite Wright working on this for years and coming close to bringing his vision to the Avengers’ world, it ultimately fell apart when too many compromises were demanded in order to fit in more closely with the tone and feel of those films. Wright walked and was replaced by director Peyton Reed, best known for the fresh-feeling Bring it On.

Reed did a more than serviceable job in bridging that gap, delivering an entertaining, at time thrilling, feature film that fits nicely within the evolving Marvel Cinematic Universe.  The film is now available for live-streaming via Disney Movies Anywhere and related services with the Blu-ray combo pack coming out December 8.

Ant-Man 2Paul Rudd is well cast as Scott Lang, a convicted criminal who is having difficulties reintegrating into society since most companies won’t give ex-cons a chance. He’s in a strained relationship with his wife Maggie (Judy Greer) and her new husband, a cop Paxton (Bobby Cannavale). Of course his young daughter Cassie (Abby Ryder Fortson) is the only one to see him as the hero he is.

Lang’s family issues and struggle for a fresh start lead us to his being lured into the home of Hank Pym (Michael Douglas), where we learn Pym has been keeping an eye on Lang, hoping to recruit him as an agent of change, helping him prevent his protégé, Darren Cross (Corey Stoll) from making some very bad choices. Of course there is the grief felt for the missing Janet Van Dyne, the Wasp, and the strain between father and daughter Hope (Evangeline Lilly) that is predictable but well-delivered. This thread is engaging, emotionally-packed, and very much the origin story of a hero.

Wright’s influence remains in the other half of the film, led by former cell mate Luis (Michael Peña) and assorted misfits. They provide a lot of the comic relief in the film but every time they are on screen, it feels like an entirely different film and this half does not satisfactorily mesh with the other half as we build to the climax.

08-lily-rudd-antman-w529-h529-e1448641088482-2056414The “Marvelization” of Ant-Man is also evident in how many of the story beats between Pym and Cross are replicated from the Tony Stark and Obadiah Stane beats seen in the first Iron Man, right down to the Ant-Man versus Yellowjacket battle. What saves it, though, is the visual verve brought to the battle in Cassie’s room as we go from terrifying objects being hurled to a real scale vision of a toy train harmlessly smacking against a wall. Overall, it needed to be fresher.

Where the creative committee’s contributions are welcome is found in the opening scene showing a younger Hank Pym quitting his Ant-Man work for S.H.I.E.L.D. with Howard Stark (John Slattery) in place, fitting this in with the overall timeline. Also, Anthony Mackie’s lighthearted turn as the Falcon also established this as being a piece in the Avenger’s overall arc.

The visual effects are top-notch, giving the world of the Ant-Man and the microscopic world he finds himself trapped in are simply wonderful. So the various parts are largely fine, but taken together, creates an unevenness that ultimately disappoints. With luck, the recently announced Ant-Man and the Wasp sequel can find fresh ground to tread.

michael-douglas-paul-rudd-e1448641138124-9406396The Digital HD version reviewed looks great and sounds equally fine. Obviously, this deserves to be enjoyed on a big screen with a good sound system.

There are an assortment of special features that are interesting but not compelling. We start with Making of an Ant-Sized Heist: A How-To Guide (14:34), which is a too-brief look at the film’s background; Let’s Go to the Macroverse (8:06), exploring the technology behind the effects; four WHIH NewsFront — Promo (1:21), Vista Corp Heist (1:49), Darren Cross Interview (2:36), and Scott Lang Live (3:25) – all with reporter/anchor Christine Everhart (Leslie Bibb, last seen in Iron Man 2); pay attention to the ticker at the bottom; Deleted & Extended Scenes —  Fixing the Cable (3:11), Hank Vaults the Suit (0:31), Paxton and Gale (0:22), Qubit Defense Matrix (0:31), Scott and Cassie (0:40), Wish Fulfillment (0:24), The Future of Pym Particles (1:38), and The History of Ant-Man (1:19), all with optional commentary by Reed and Rudd; and of course the Gag Reel (3:25).

Not part of the digital streaming is Reed and Rudd’s audio commentary, which can be heard on disc.

Martha Thomases: Trigger Warnings! Beware!

man-in-the-high-castle

Like the dweeb I am, I spent last weekend watching television on my computer. First (because I’d already seen the first two episodes), The Man in the High Castle on Amazon Prime, and then Marvel’s Jessica Jones on Netflix. I suppose there might have been other things to do for two days, but all of them involved wearing pants.

This isn’t going to be a review, or even a comparison of the two shows. Instead, I want to talk about trigger warnings. Still, you might want to beware of spoilers.

A trigger warning is a note, usually on a book cover or syllabus or other preview piece, that informs the potential user that some material in the specific piece might be disturbing. If you watch the network news, you’ve probably heard some version of a trigger warning before the camera cuts to pictures of starving children or corpses of people shot down in the streets.

The term “trigger warning” has become a cause du jour because some people think it means a particular book (or movie or newscast) is banned when it comes so captioned. To those people, a trigger warning is just another way we are coddling kids today, with their crazy music and their hair, who don’t appreciate how good they have it and they should just get off my lawn already.

Anyway, some people think that there should have been a trigger warning on Marvel’s Jessica Jones. And, I confess, I hadn’t thought about that until I read the essay in the link.

Here’s what I think is the key quote: The point of a trigger warning is not to tell people “Don’t watch this.” Or “You’re too weak to handle this.” The point of a trigger warning is to empower all viewers by informing them of what they can expect so they can make the best decision for themselves, cognizant all the while that the viewer’s personal response is just that: personal.

Maybe I would have understood if I had read the comic book on which Jessica Jones is based. I did read the first issue, and I didn’t like it much. To my reading at the time, it seemed to me to be trying to hard to be shocking and gritty. I watched the series because I totally love <a href=”

Tennant. Yes, I’m shallow. Don’t judge me.

If I’d read the series, maybe I would have known that Jessica Jones is the victim of the violent sexual and emotional abuse perpetuated by Kilgrave The Purple Man, the villain who uses his mind control powers exactly as you’d expect if you imagine David Tennant to be the embodiment of a houseful of frat-boys. Still, because I heart him so much, I found myself, after the first episode, wishing he would come to me in my dreams and lick my face, as he did to Jessica.

After a few more episodes, I didn’t want that anymore. If anything, I felt kind of soiled for having wanted it at all.

I haven’t experienced the kind of comic-book violence Jessica Jones went through, nor have I experienced any more than the daily insults and bruises that any woman gets in this culture (and as a straight cis woman with gray hair, I get less than many of my sisters). The violence in the Netflix series seemed more harsh than what we see every day on network television, but I didn’t have to look away except for the parts about needles in the eye.

Still, there are millions of women who have experienced actual criminal violence, and they might have been disproportionately upset by the fight scenes on the show. (When I say “disproportionately” I don’t mean they are too sensitive, I mean that their reactions are not what the creative people intended.) If Netflix put some kind of warning or disclaimer in the descriptive materials (like cast information and plot summaries) they post before the user clicks to play, this wouldn’t be an issue at all.

There wasn’t a warning on Amazon Prime for The Man in the High Castle either, and I haven’t seen anyone ask for one. So I guess it’s just me.

If you haven’t read the Phillip K. Dick novel on which the show is based, you can still enjoy the show. I haven’t read it in decades. The premise imagines a world 20 years after the Axis won World War II. Germany controls the East Coast of the United States across to the Rockies. Japan controls the West Coast. There is a narrow neutral zone in between.

The world-building on this series is awesome. Everything, from the cars to the clothing to the outdoor advertising to the streetlights, reflects a world in which the American way has been perverted by fascism. It takes a while to notice some of the detail (like the lack of anyone but Aryans in Manhattan) but it’s chilling when it sinks in.

I didn’t experience concentration camps (I’m not that old), but I have been freaked out by the imagery for my entire life. I also have trouble looking at old footage from Hiroshima and Nagasaki after the atomic bombs destroyed those cities. There’s a bunch of both of these things in this series. You have been warned.

Even if the shows had been labeled, I would have watched. Again, trigger warnings are not censorship. If anything, more people would probably enjoy them if they knew what they were getting into.

Now, if we could only lobby Marvel into that Dakota North series…

The Tweeks Get the Feels with Mockingjay Part 2

As you know, Hunger Games: Mockingjay Part 2 opened last weekend. It’s the Hobbited trilogy of the books by Suzanne Collins and stars our spirit celebrity Jennifer Lawrence, along with Liam Hemsworth (who used to be our favorite Hemsworth, but we can’t pick just one anymore), Josh Hutcherson (he’s Anya’s favorite of all), Elizabeth Banks, Phillip Seymour Hoffman (RIP) and lots of others, we’d be here all day.

There’s so much to say about the final installment of the Hunger Games movie franchise…except we can barely speak…THE FEELS! That Heffie scene! Finnick! Finnick & Annie! Prim! Pollux! The Epilogue. Watch the video as we try to get make sense of this very Tweeks Approved movie and get a few words in about the trailer for The Divergent Series: Allegiant.

Dennis O’Neil and Patsy Walker: Reunited!

1945-patsywalker1-4435229Well, I’ll be swoggled! I do believe that’s Patsy Walker moving across my television screen. Haven’t seen her since we stopped working together at Marvel Comics a half-century or so ago. Wonder if she still hangs with her friend Hedy Wolfe. I heard that she became a superhero named Hellcat and the hero thing could put a strain on friendship, particularly if Hedy remained just a girl on the go-go. And who is this, coming to join Patsy? Darned if it isn’t Luke Cage, otherwise known as Power Man. (Brace yourself for a spoiler.) Didn’t he marry Jessica Jones somewhere along the line? Are they still an item? According to the story that’s materializing on my screen, they are, though I don’t see any wedding rings. Oops! Getting late. I’d better change the channel and…

Here we are, back in the “real world.”

What the first paragraph of this blather refers to is a TV series titled Jessica Jones, currently being streamed by Netflix. I haven’t seen it all yet – dang it, I’m old! – but that will be remedied in a day or two. Meanwhile, so far, so good. Acting, writing, action scenes, cinematography: check, check, check and check.

It’s not exactly a bundle of cheer. The story is grim and violent and the characters match the plot. What the film makers have done is to conflate superhero action with film noir, the bleak crime stories that flourished in movie houses in the 30s and 40s, and still poke their heads up now and then, here and there. It’s an existential world, noir is, where it isn’t a good idea to trust anyone, the rule book is generally useless, and cities are places of menace and shadows and ugly surprises.

Add some superheroism and you have Jessica Jones.

She’s not doing a solo. A few months ago, Marvel and Netflix gave us Daredevil, which was also heavy on the noir and looked a lot like Jessica Jones. The creative folk at those companies have found a neglected niche and are filling it admirably.

So Marvel has some characters that adapt well to a noirish treatment. What about Marvel’s arch rival, DC Comics? Any noir possibilities there? You’d certainly think so. One of their flagship characters is a night crawling avenger who is on a lifelong crusade against crime and who does not report for work at a police station.

Batman, of course. And in the course of his 76-year existence, Batman has occasionally qualified for noirdom. But only occasionally, in bursts. Want someone to blame (or credit?) How about Robin? Eleven months after Batman’s debut, he acquired a kid sidekick, a sunny lad clad in bright colors. Not the stuff of dark, perilous alleyways. Then there was a decade of inconsequential stories as the comics world recovered from witch hunts, and another few years of a comedic take on the series, and then…

Well, finally! In the comics, and in the movies directed by Christopher Nolan, a dark Batman. And a television series that is based on Batman continuity, though Batman himself appears only as his preadolescent self. Robin’s still around, but maybe not as prominent as he once was.

So both Marvel and DC are in the noir business, to one degree or another. If this were a contest, who would we judge the winner? Does anyone care?

Molly Jackson: Looking Back At “The Kiss”

looking-back-550x344-1427364

A few days ago we had the anniversary of the first interracial kiss on US network television. No, this post isn’t about Star Trek, even though that is where it took place. But it is nice to look back and forward to see the path we, as a people, are on.

Less than 50 years ago, we broke through what now seems like a stupid boundary. Still, at the time this was a very important step. Especially when you look at the response that the actors and studio got, which was a largely positive one. The public at large didn’t react negatively or angrily; they just wondered what it was like in letters to each of the actors.

This scene went on to be just one of Nichelle Nichols’ accomplishments; she was and still is a public face for NASA, which at the time was almost unbelievable for an African-American actress.

Now in current times, we are still fighting the battle of diversity and equality. If you turn on the news, it is more than evident. Comics has been continuing on this path as well. We have seen the comics news cycle focus on this issue time and again.

In the past year, we have seen growth as well as the troubling yet continuing trend of ignorance. As we look towards the future of comics, the past we have come from will impact how the industry moves forward.

We can look at the past, where a simple kiss is a groundbreaking moment, and see how crazy it seems to us now. Still, we can’t deny that it made a difference in our lives today. With the changes still happening, in the comics industry and in the wider world, perhaps we are ready for another “simple yet groundbreaking” moment.

Mike Gold: Redundancy, Repetition, and Superhero Melanoma

spider-verse-variant-cover-by-skottie-young-4869295

Several decades ago the American comics medium in general – and Marvel Comics in specific – were criticized by some in fandom for being overly formulaic. I realize it is possible for a few fannish souls to overreact, but I have to admit there was an element of truthiness in their concern.

Today we can clearly see a contemporary incarnation of this issue. Not that plotlines are being rubber-stamped; slavish adherence to ever-shifting continuity undermines such creative shortcuts. No, today we are suffering from a different sort of redundancy: overexposure to such a degree that most truly successful superhero characters have become akin to amoebas.

I was just thumbing through the sundry Diamond catalogs announcing comics and related effluvia ostensibly set to ship this coming February. Out of convenience and a desire to meet my deadline, I am going to focus on Marvel’s output – but DC, and to a lesser extent other superhero publishers, are also guilty of sequential overexposure.

This coming February, Marvel is supposed to be shipping (in the unlikely event that my math is correct) no less than three Captain Marvel books, seven Avengers titles, four Deadpools, seven X-Men, three Inhumans titles, six featuring the Guardians of the Galaxy…

and no less than fifteen titles featuring Spider-Man and his Spiderverse. Fifteen. Back when people were criticizing Marvel for recycling plots, they didn’t publish fifteen different titles a month! I guess that’s pretty damn good for a character that can’t even hold onto a major movie franchise.

Of course, the sundry Spideys also appear in various Avengers titles, as do most if not all of the aforementioned properties. And many of the other Avengers like Iron Man, The Hulk, Thor, and Captain America have their own titles as well.

It is true that this sort of thing has been going on for a long, long time. Maybe not quite as long as it may seem to geriatric fans who recall Superman appearing in seven different titles in the late 1950s (Superman, Action Comics, Superboy, Adventure Comics, World’s Finest, Lois Lane, and Jimmy Olsen), but only two of those were published monthly. The rest were published bi-monthly or every six weeks. Still, five titles a month is a lot. Fortunately, continuity was weak at best and if you had an aversion to pill-box hats you could safely avoid Lois Lane (and her omnipresent scissors) and still understand what was going on in the other titles.

However, we have not previously seen such character redundancy to this degree. Not even when the original Captain Marvel and his family were featured in eight different titles back in the 1940s. Not all were monthlies, although the Big Red Cheese did see his own book go out every three weeks for a spell. Then again, in February at least two Spider-Man titles double-ship, and, for the record, February 2016 only has four ship weeks. It’s pretty rare that Leap Year Day falls on a Wednesday.

So, why is this a problem? Well, if you’re a massive Spider-Man fan, it might not be. However, ComicMix columnist Emily S. Whitten is a proud Deadpool fan, but having a job, a life, and a commitment to writing one of the best comics and pop culture columns on the Interwebs, so even Emily has a hard time keeping up with the nutty merc.

This is a problem because it undermines the uniqueness of the character. It’s called overexposure. We used to have three or four Punisher titles; in February 2016 Marvel won’t be releasing a single one.

Sure, as I said, all this goes for DC as well. They’ve been pushing Batman titles out as though they were Cheerios, and they out-X-Men the X-Men by having several thousand different characters all named Green Lantern.

At least Image only produces one Bitch Planet a month… and that’s on a good month. A very good month, in my opinion, but your mileage may vary.

 

Box Office Democracy: The Hunger Games: Mockingjay Part 2

jennifer-lawrence-in-the-hunger-games-mockingjay-part-2-2015-8856641

The Harry Potter franchise is, of course, a cultural institution. It was the formative literary experience for a generation of young people and a monstrously successful film franchise. Unfortunately, it also popularized splitting a climactic book in to two movies; a practice that has since gone rampant leading to the division of the very thin Breaking Dawn into two films to cap off the Twilight series, the ludicrous extension of The Hobbit in to three endlessly bogged down movies, and now The Hunger Games is left to limp across the finish line with Mockingjay Part 2, a film that struggles to justify its existence and ends up feeling bloated and insubstantial.

It serves the narrative but there’s so little of what I enjoyed about the Hunger Games movies up until this point. There’s very little Haymitch so there’s no opportunity to enjoy Woody Harrelson one more time. Effie Trinket gets a role I believe was absent in the books so we can get a fleeting glance at Elizabeth Banks. There are similarly small parts for Donald Sutherland, Jeffrey Wright and Stanley Tucci. Basically any incidental character that helped shape this film series is pushed to the side so we can get more of the love triangle between Katniss, Peeta, and Gale, and those characters as presented in these films are far and away the least interesting choices— and while Jennifer Lawrence is trying her damndest to make this material sing, Josh Hutcherson doesn’t get enough room to sell a very complicated character arc, and Liam Hemsworth is just far too bland.

Francis Lawrence’s direction continues to be the best part of this franchise. There are two superb action sequences in this installment: a sewer chase with a bunch of vaguely lizard-like zombie-esque monsters and a stunning battle sequence late in the film. The chase through the sewer and the fight sequences it contains is the best this series has ever seen, we finally get beyond the moral dilemmas and have every prominent character just let loose in a furious violent crescendo. By contrast, the battle scene late in the movie shows how small and insignificant the principal characters are, as they just sort of amble onward as the explosions and gunfire destroy everything around them and, at the end, they aren’t really a part of this war. It’s a wonderfully shot sequence with the camera fixed on Katniss as the action happens seemingly incidental to the framing of the shot. The chaos builds and builds and the audience can feel the frenetic disarray. These bits are arresting cinema and redeem so much of the little problems this movie has.

I’m going to get in to spoilers from here so consider yourself warned.

One big problem is that the story in both Mockingjay films is weaker than the ones that came before them. The idea that invading a city is really just like another Hunger Games is a silly conceit, but it’s one the movie inherits from the books. The way the film deals with the death of Prim is somewhat less excusable. Prim is killed suddenly, out of nowhere and the moment is given no air with which to breathe, to affect the audience. The movie barrels forward from that moment to the end credits with an inexplicable momentum considering how long we’ve lingered on so many more trivial moments. It’s hard to accept the big choices that come after if we don’t have a proper lens to see how this has affected Katniss. If this was the only way to get the scene with Katniss and Snow in the greenhouse I suppose I can accept it, it’s one of the best films in the series, but I bet I could have cut five minutes somewhere else to give this gigantic moment a little more space to resonate.

I’ve grown to appreciate The Hunger Games quite a bit since I grudgingly enjoyed the first film three and a half years ago. The first film was an admirable adaptation of a tricky book and the second film was an honest-to-goodness triumph of the genre, easily the best of the young adult book adaptation films, and a genuinely excellent movie. It’s unfortunate that we’ve had to watch the wheels fall off from there a little bit. Taking the weakest book, the one least-liked by fans, and turning it in to two films has been an artistically questionable decision but it’s even taken a financial toll on these last two installments. Mockingjay Part 2 had a weaker opening than Part 1, which was weaker than Catching Fire. While we aren’t quite in the realm of failure here, it’s a bump in prestige to watch this franchise lazily bounce after soaring to such great heights. I hope this doesn’t tarnish a set of films that could have been an enduring cultural touchstone— but I’m not sure the odds are in its favor.