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Box Office Democracy: Mad Max: Fury Road

In 2009 my parents visited me in Los Angeles for the first time and I needed to show them a movie as the Arclight chain of theaters because I wouldn’t shut up about how great they were. There wasn’t anything out that we were dying to see so we saw the latest movie from Jason Statham more because we liked him than because we thought we would see a fantastic movie. That was the first time I saw Crank: High Voltage and it changed what I wanted from an action movie: pace above all other things. I want a movie to move as fast and damn the audience if they can’t keep up. Mad Max: Fury Road is the first movie since that feels like it is genuinely pushing at the limits of the genre and it makes for a truly impactful filmgoing experience.

Mad Max: Fury Road is a 120-minute movie that has well over 110 minutes of action. Fast action at that, breakneck paced, innovative fire-belching action that constantly threatens to overwhelm the senses of the audience. Chase sequences so far above and beyond the norm that it feels like the cinematic equivalent of the invention of the steam engine and it’s like we skipped a thousand steps and went from farming to factories in no time at all. That they could do these choreographed ballets of explosions, high speeds, and flying bodies almost exclusively with practical effects defies belief. It all simultaneously looks like it would take a million takes to get right but would only really ever accommodate one. (more…)

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #357: NEWS, FLASH: YOU CAN’T DO THAT WITH THE BAD GUYS

Okay you’ve got them, now what are you going to do with them?

By “them” I mean super villains. So it shouldn’t be much of a leap to conclude that “you” means super heroes. Certainly a lot less than a .

Doesn’t matter where you are – comic books, movies, television, or even cosplay – if you have super heroes, you’re going to have super villains. And if you have super villains, you’re going to have the problem of what to do with them after they’ve been caught. I realize that in today’s comics, catching the bad guys isn’t always a foregone conclusion, but for the sake of argument let’s assume that the super heroes actually do catch the super villains So, then what to do with them?

In comic books, it’s not a problem. Comic-book universes all seem to have some sort of power dampening technology. Turn it on and the super villains powers go away. That way they can’t use their super powers to break out of the prison.

Movies don’t seem to have much of a problem, either. Mostly because super villains in movies die at an alarming rate. Joker, Penguin, Two-Face (Tommy Lee Jones and Aaron Eckhart), Bane, Green Goblin, Doctor Octopus, Venom, Electro, Iron Monger, Whiplash, The Mandarin, Red Skull, Malekith, General Zod (Michael Shannon version definitely and possibly Terence Stamp version) all appeared to die at the end of their movies. And I probably forgot one or two along the way. What to do with super villains after they die isn’t much of a problem. You just wait for them to turn up, not dead after all, in the sequel.

Television is where the heroes have the most problems with what to do with the bad guys. It started as far back as 1952 and the first season of Adventures of Superman. You remember “The Stolen Costume?” Two crooks learned Clark Kent was Superman and Superman left them on the top of a mountain so that they couldn’t tell anyone what they knew. When they tried to climb down, because they didn’t believe Superman would come back with food for them, they fell to their deaths. And Superman’s reaction was to say they fell off a cliff about as casually as he might say, “Lois? Oh she fell out the window.”

The problem got worse with the 60s Batman TV series. Oh, Batman knew what to do with the super villains he caught. It was Gotham City that didn’t know what to do with the super villains; other than let them escape. 1109514I swear Gotham Pen was built with unreinforced cardboard and doors locked on the honor system.

But in the new millennium, things have gotten really out of hand vis-a-vis captured super villains and what do with them. Especially in the shared TV universe of Arrow and The Flash.

In The Flash, the Flash and his team from S.T.A.R. Labs capture a super villain every few weeks. When they do they put said villain in The Pipeline,Particle-Accelerator-The-Flash their private a prison inside the tube of the S.T.A.R. Labs particle accelerator, quicker than you can say, “Jail, jail, the gang’s all here.” What the heck do we care? I don’t know about the you part of “we,” but the me part cares quite a bit. Putting the super villains in the Pipeline is problematic.

Yes, I know the S.T.A.R. labs group think that Central City and it’s ordinary prison for ordinary prisoners, Iron Heights, can’t handle the metahumans. Guess the all-S.T.A.R.s thought Iron Heights had incorporated all those prison reforms that Warden Crichton used in Gotham City . And, yes, S.T.A.R. Labs may think the metahumans are their responsibility, what with their particle accelerator having created the metas and all, but they can’t just round up all the metacriminals and put them in S.T.A.R.’s own private Ida-hole.

See Missouri – and according to the Flash episode “The Man in the Yellow Suit,” Central City is in Missouri – has a law. Missouri has lots of laws actually, but we’re only concerned with one; MO Rev Stat § 565.130.This laws says a person commits the crime of false imprisonment if he “restrains another unlawfully and without consent so as to interfere substantially with his liberty.”

The S.T.A.R. Lab Rats have definitely interfered with the liberty of the evil metahumans in a substantial way. They’ve locked them up in a private prison. Was it unlawful? Do pigeons poop in the park?

These villains haven’t been found guilty of anything. Hell, they haven’t even been put on trial. S.T.A.R. Labs just decided they were too dangerous to run around loose, so locked them up. And while S.T.A.R. Labs may be correct in its assessment, it’s wrong in its solution. You can’t go around locking up the people you think are dangerous. The government can’t do it without first affording due process of law. And private citizens can’t do it at all.

Don’t go crying PATRIOT Act to me, the metahumans aren’t foreign national enemy combatants. They’re just American criminals. Criminals with those annoying little things called constitutional rights.

As to S.T.A.R. Lab’s claim ordinary prisons can’t handle the metahumans, sez who? The Pipeline handles them all right. S.T.A.R. Labs developed some sort of power dampening technology that it uses to keep the metahumans under control in their private prison. In the episode “Rogue Air,” the dampeners even kept the metahumans under control outside of the Pipeline, when S.T.A.R. Labs and the Flash were trying to transport the metahumans to a different prison. If S.T.A.R. Labs has technology that it uses to keep the metahumans under control, why couldn’t it share the technology so that Iron Heights could use it to keep the metahumans under control?

If your answer was, “I don’t know,” don’t worry; so was mine. But I do know this, “I don’t know,” isn’t a good enough answer to justify not sharing it. Or for locking up metahumans in a private prison without any legal authority.

Now over in Arrow, there aren’t as many metahuman villains. Most Arrow baddies are held in the handy hoosegow. But there are a couple– Slade (Deathstroke) Wilson Slade_Wilson_imprisoned_under_Lian_Yuand Digger (Captain Boomerang) Harkness – who weren’t sent to the standard stockade. These two were locked up in a secret black box prison on the island of Lian Yu. Lian_YuThe only difference is that it wasn’t Arrow who locked up the bad guys there, it’s A.R.G.U.S.

A.R.G.U.S. (or the Advance Research Group United Support) is a secret organization. In the DC comics, A.R.G.U.S. is a federal agency. Arrow has been a little sketchy with it’s background for A.R.G.U.S. but on the show the organization has enough governmental ties for it to be either an actual agency or a quasi-agency of the US government. It’s certainly enough of a governmental agency that the Fourteenth Amendment – the one that guarantees the government cannot deprive citizens of their liberty without due process of law – would apply to it. So because A.R.G.U.S. has both Deathstroke and Boomerang locked up in its secret island prison without either of them having had the benefit of due process or a trial, it’s violating their constitutional rights. It may not be against the law of any state – Lian Yu is somewhere in the South China Sea and not in any state – but it’s still illegal. What with it violating the Constitution and all.

So, to repeat the question with which we opened: You’ve got them, now what are you going to do with them? I don’t know. You don’t know. Maybe even the super heroes don’t know. But whatever’s done them, it shouldn’t be what’s being done with them now.

Martha Thomases: It’s A Bird, It’s A Plane, It’s A Girl!

My editor suggested, if I was having trouble coming up with ideas about what to write, that I note that the new CBS prime-time show, Supergirl, will air at eight o’clock Eastern time on Mondays when it starts this fall… up against Gotham on Fox.

The assumption, when he mentioned this to me last week, was that Supergirl would have trouble against the adventures of Bruce Wayne as a boy, since the Batman character has a known success across several media for more than fifty years. Kara Zor-El, on the other hand, starred in one lousy movie and guested on a season of Smallville.

And then, this happened. Pitch Perfect 2 beat Mad Max: Fury Road for highest grossing opening box office this weekend. By a lot.

“Well,” you say (you being my rhetorical projection), “that’s really irrelevant, because movies are different from television.” This is true.

“And anyway,” you continue, “women don’t like superheroes, so who will watch the show?”

You, my rhetorical projection, are wrong. Women watch the current crop of superhero shows in large numbers. They also watch shows in related genres, including fantasy (Doctor Who, Game of Thrones, for example) and horror (like Supernatural and iZombie).

I’m really psyched because, as you know, I’m a long-time Supergirl fan. I have enjoyed almost every incarnation of the character, including the one who had a flying horse that would turn into a cute guy when the occasion required. This new television version seems to owe a bit too much to The Devil Wears Prada, at least in the trailer, but it is my hope that, as the writers get comfortable with the material they’ll find a more unique take on the characters. It’s what happened in other 0808-produced shows, including Arrow and The Flash.

They should also stop being self-conscious about the character being named “Supergirl.” Yes, it’s kind of anachronistic, so I guess they have to address it. However, the explanation in the trailer has Kara’s horrible boss explaining that “What do you think is so bad about ‘girl?’ I’m a girl and your boss and powerful and rich and hot and smart. So if you perceive ‘Supergirl’ as anything less than excellent, isn’t the real problem you?’”

I don’t know. Why don’t you ask the black James (Jimmy) Olson how excellent it feels to be called a “boy?”

Let’s face it. “Supergirl” has the same number of syllables as “Superman.” It scans a little bit better. We’re used to it. There are other characters already named “Superwoman,” and they are not Kara Zor-El.

In any case, we’re finally getting a prime-time show dedicated to a female adventure hero. From the trailer, it doesn’t seem as if her love life is going to be her defining reason for being. I expect there will be romances (as there are on Flash, Arrow, Gotham and, let’s face it, every nighttime drama), but there will be existential crises, and action and explosions.

Hollywood has a real problem with diversity issues, especially as they relate to women (and especially especially women of color). There are non-feminist women who think this isn’t a problem, but I can only presume they have rich husbands or fathers, or they’re being paid by rich men to defend the status quo.

Two of the five Supergirl producers mentioned on IMDB.com for this series are women. Here’s hoping that’s a good sign.

Will Supergirl be able to hold its own in the ratings against Gotham? I have no idea. I’m never home on Mondays. i know which one I’ll watch on my DVR first.

Even if there is no flying horse.

 

Tweeks Acca-xpectations Met

PP2TweeksThumbnailYou’ll have to acca-scuse us for our excitement over Pitch Perfect 2.  The Elizabeth Banks directed musical comedy did not disappoint in giving us even more quotable lines and mash-ups to sing.   Here’s our Tweeks review, but don’t worry — we leave the singing to Rebel Wilson & Anna Kendrick in this video!

Dennis O’Neil: Happy Endings

For a while, my favorite way of paying the bills was by writing Batman stories for DC Comics. But that was over. I’d accepted a job with Marvel, DC’s arch rival, and so the story I was working on would be my final visit to the Batcave. Well, no  problem.  I was a pro and a pro, I probably thought,  keeps emotions away from the workdesk.

As the splendid Alfred Bester said, “Among professionals the job is boss.”  But still…farewell to Batman? Forever? So I wrote a final panel with a final caption that could have ended the Batman saga, which had been going on for decades.  I knew that it wouldn’t, of course.  Editor Julius Schwartz would  employ another writer and Batman would continue with nary a beat missed. But I would know that my Batman, the only one that counted, would have ended his career with that closing caption.

I wonder how Arthur Conan Doyle felt when he sent Sherlock Holmes over Reichenbach Falls to what he apparently believed would be the great detective’s final exit.

Holmes didn’t stay dead and after some seven years at Marvel, neither did my own private Batman. I returned to DC and, power-mad ogre that I am, assumed editorship of the Batman franchise, which at the time consisted of two comic books. No hardcover novels, no megamovies, just two flimsy comic books. (Plus a number of non-bat related titles, but never mind them.)

And why, you might well inquire, if you are still with me, am I blathering on about such ancient (ancientish) history now?

Cast your mind back to last week’s televised Arrow, which you must have watched, the season’s last episode  and what could have been the finale for the whole series. Arrow, whose birth name is Oliver Queen, has just vanquished his supreme enemy and restored peace and tranquility to his city. He has assembled his cadre of  assistants (disciples?) and proclaimed them his successors. His task is done and they are more than capable of dealing with future tasks. We next see him cruising along an open highway in an open-top convertible, the lovely Felicity Smoak by his side, vanishing into what will surely be the happiest of happy endings.

Except that the series has been renewed and will rise again come fall. So what will Oliver (and let’s not forget the lissome Felicity) be up to in the chilly months while their cohorts kick ass and take villainous names? To just have them leave the series forever would be gutsy, but maybe not commercially prudent. Or maybe they can be more or less absent for a bit – we could look in on them occasionally – and eventually find a reason to return to the fray.  Or maybe they’ll never reach their happy-ever-after destination because of an unforeseen crisis that demands their attention.  (Are they carrying cell phones?)

Or maybe – here’s hoping! – those clever scribes in tv land will devise something breathtakingly original  that will leave me sprawled on  the couch, awed.

I’ve got a whole summer to hope that’s what happens.

 

The DC Comics vs. David Letterman Top Ten List

Everyone is talking about whatever contact they may have had with David Letterman this week, and I’m no different.

I’ve mentioned before that I believe some of the reasons I ended up working at DC Comics almost 27 years ago was because I could pitch softball better than what most people there and that the guy I was interviewing with was the head of the company softball team, and that I went to the game that was scheduled to be against the crew from Late Night With David Letterman.

What I’ve never mentioned before now is that somebody in the DC production department had devised their own strategy to psych out the other team, and had written the entire thing out on big pieces of cardboard, like cue cards.

When the game was forfeited, the giant cards were left behind on the field— and I, being a true comic collector of one of a kind stuff, grabbed them. And kept them. Through five or more moves, I kept them.

And now, on the occasion of the end of David Letterman’s run in late night television, I bring you this never before seen list…

TOP 10 REASONS DC WILL BEAT “LATE NIGHT”! (more…)

Molly Jackson: Blocking the Block

So, this week has been plagued. Yes, I have been plagued with writer’s block. I know you’ve heard of it. I just can’t settle on a column topic or a message or anything else. Right now, I’m probably breaking the unwritten rule of telling the reader this, but I’m naturally a maverick.

All week, this has been weighing on me. I have plenty of options, which have lived and died as columns in my mind.

I could talk about the latest ticket debacle for NYCC. Last week, we all watched (or in my case, participated) in the maddening scramble for tickets. Then the Internet bemoaned the difficulties of getting a ticket and swore off ever trying for tickets again. Which we all know is a lie. Let’s be honest. Because next year, we will all try again.

It’s still a show people want to attend, and as of last year, the biggest show in the US. It may be insanity to get tickets and to go, however it can be an amazing experience. NYCC really needs to get a better ticket system going though. It’s just mean at this point.

Or I could highlight the awesome open submission request from Oni Press. You might know Oni Press as the publisher of Scott Pilgrim, or one of my favorite stories, Resurrection. They now have an open call for new writers and artists. The best part of this is how they want minorities writing stories about minorities. They are requesting diversity in their stories, right off the bat. They also put a stop to rape as a plot device. Especially after last week’s Game of Thrones flop of an episode, this is going to be a very hot topic to avoid for a very long time.

I’m actually excited about this because it screams new stories to me. I want to see the creativity of new writers and artists at a publisher like Oni. I don’t what they make happen in this new drive for talent but it will be amazing.

The worst part is that I still can’t settle on a topic for a column. At least this bought me another week of working on it. Hopefully, the new creativity from Oni washes over me.

Mike Gold: Mad Max – Back In The Desert Again!

Today’s Zen question: Can a movie be called a sequel even if it has a cast that hadn’t been in the earlier three movies but it stars the same lead character and the worldview remains consistent with those movies and all four movies have the same director, but the last one was released 30 years ago?

Today’s Zen answer: Who the hell cares? Mad Max: Fury Road is an absolutely terrific movie.

I saw this epic with my ComicMix comrade Martha Thomases and our mutual pal, Michigan’s own Penelope Ruchman. It was the beginning of an amazingly astonishing pop entertainment day; I’d give you those details but you know how I absolutely hate to name-drop. I won’t speak for Martha or Penny except to say that Martha enjoyed the movie at least as much as I did and I believe Penny liked it even more. Yes, it really is the Gone With The Wind of action movies, except instead of torching Atlanta they trashed several megatons of George Metzger-esque decrepit vehicles traveling across the desert to… well, to nowhere. Action ensues.

And that’s about it for the plot. Usually, that is not a good sign. Here, somehow, it works. If somebody pitched this to me as a graphic novel I’d have rejected it – but on the screen, in George Miller’s more-than-capable hands, it soars. I did not notice one person in the crowded Manhattan theater leaving for food or a bathroom break. That’s better than “two thumbs up,” particularly when damn near the entire movie was set in the desert. You’d think people would need some water or soda or a Slurpee or something.

Tom Hardy is fine as Max. The role isn’t overwhelmingly dependent upon acting chops, but when needed Tom delivers. The true star of this movie, in every conceivable way, is Charlize Theron. She plays the other title character, Imperator Furiosa. She is the heart and the soul of the movie but, to the regret of a few morons, she and her women companions also carry the brunt of the action. They carry it right to your lap.

There’s a bit of a controversy contrived by these aforementioned morons about how Mad Max: Fury Road emasculates men. There is a phrase for this attitude: neurotic bullshit. If this movie made their balls shrivel up and fall to the ground, trust me: society is better off.

There’s a long-standing meme in Hollywood about how women can’t carry an action movie. Executives point to truly shitty movies such as Catwoman, Elektra, and Supergirl. It doesn’t occur to the cigar-chompers that if you rewrote these movies for a male lead, they would be just as shitty and only marginally more income-active. I have three things to say to these people:

  • Lucy
  • Mad Max: Fury Road
  • Greenlight the fucking Black Widow movie already.

Mad Max: Fury Road was co-written by comics great Brendan McCarthy, of 2000 AD fame. Particularly of Judge Dredd fame. The parallels between the Mad Max series and Dredd are, well, overwhelming. Jus’ sayin’. I thought Mick McMahon should have received royalties for The Road Warrior, but it is a great movie. Just like Road Fury.

This movie was so relentless and so compelling that even George Eastman’s parents should be proud.

Go see it. But first, stop by the ridiculously overpriced candy counter and buy vast quantities of consumable liquid. This time, it’s actually worth the money.

 

The Point Radio: Becoming Charles Manson

In a few days, NBC kicks off their binge worthy event series, AQUARIUS and taking the challenging role of Charles Manson is actor Gethin Anthony. He talks about the work that went into getting the part just right. Plus HBO’s BESSIE is creating mega buzz this month. Cast member Bryan Greenberg talks about what it was like to be a part of it all.