The Mix : What are people talking about today?

Mike Gold: 52 Comics Pick-Up

Nope. This one isn’t what you might think. To paraphrase Li’l Willie Shakespeare, “Not that I loved the New 52 less, but that I loved DC more.”

The New 52 is not dead. Heck, it’s not even coughing up blood. Sure, a great many of the titles they started out with aren’t around any more, and yes, in June they replace a whole bunch of others (although several seem to be excuses for new #1s), and, certainly, they’re dropping the “New 52” branding, but the New 52 is alive and well.

That’s a mixed blessing. As crappy as most of the New 52 was, I prefer to look at this new stunt as an evolutionary change and not as a reboot. You know, just like what Marvel’s doing with their latest Secret Wars event. The one that starts the month before. Super-hero publishing is a pyramid scheme infused with Newtonian physics.

It’s been around for about three and one-half years, so the New 52 is hardly new. And, well, actually, they’re not really publishing 52 DCU books each month. If I’m counting correctly, in June they’ll have 49 – plus whatever annuals, specials, and clutter that may be. Or, maybe, the only reason they’re dropping the tag line is because it leaves a bitter taste… much like, oh, New Coke.

(Hey, Mike! Damn with faint praises much?)

The news sites have been full of the details of what’s missing and what’s coming and who’s doing what, and since ComicMix is an opinion site littered with some of the finest critical minds on Earth-Prime, I’ll cut to the commentary.

Many of DC’s new titles (New 24?) appear to be flop-oriented. Is the world really lusting for a brand-new Prez series? Bat-Mite? Harley Quinn and Power Girl? Bizarro? Maybe Section 8 will click – it certainly has the pedigree – but in the aggregate, the chances for long-term survival for some of these books appears minimal.

The fact is, I applaud many of these decisions. Do something different. Do something a little wacky. They’re not breathing new life into these (and other) characters, they’re breathing new life into the DCU. Original Marvel publisher Martin Goodman thought Spider-Man and the X-Men would flop. Superman sat in the drawer unsold for years. So, history tells us nobody knows what the hell is going to stick to the wall. Marvel’s bringing back Howard the Duck based upon a 10 second post-credit appearance in Guardians of the Galaxy; you’re telling me a Bat-Mite title is a bad idea? Who knows?

I’m looking forward to a few of the titles, although I will sample more than that. Most of all, I’m looking forward to the new Doctor Fate series by Paul Levitz and Sonny Liew. I love the character, Levitz has a solid track record with Justice Society heroes, and the guy is a lot more interesting than your off-the-shelf mystical hero.

On the other hand… I see where we’re getting a new Green Arrow #1 in July. Who would have ever expected First Issue Special would be so influential?

 

Emily S. Whitten: Spider-Man & Marvel’s REAL Civil War!

Wait, what? You guys, what?? Is it…is it true? Did the magical wish-granting fairy grant my (second biggest, after the upcoming Deadpool movie) Marvel movie wish? Is Spider-Man really coming to the Marvel Cinematic Universe in time for Civil War? Or am I hallucinating due to lack of sleep?

Nope, it’s real, and what’s more, I’m not the only one speculating that Spider-Man’s first appearance in the MCU may be in the Civil War storyline, which is something I’ve been wishin’ and hopin’ for ever since the possibility of Civil War on the big screen was even a glimmer of a speculative thought. It’s no secret that I love the Civil War crossover storyline, and if you don’t know why, just read those two links for plenty of reasons (and, uh, SPOILER WARNING and all that, both for those links and below).

But in brief: the Civil War crossover, though complicated in many ways, can be distilled down to the introduction of the Superhuman Registration Act into the Marvel universe, and the two sides distilled down to those who decide to register and reveal their secret identities, and those who fight registration to retain their personal privacy and freedom. It was a brilliant concept when introduced, because not only can readers identify with it via the analogies that can be drawn to various real-world issues (like surveillance and invasion of privacy and personal freedom, and the fact that S.H.I.E.L.D., which is supposed to be a governing force for good, ends up being a brutal enforcer of the Act), but it’s a fight that every main character in the MCU has a stake in, merely by dint of being a superpowered or vigilante fighter.

The secret identity angle is such an integral part of most super-folk that it pulls most of them in to some extent or another – but also, the backstory and personality of a particular character do a lot to determine what side they choose. And some of the choices are surprising. The Civil War storyline allowed writers to delve into the heart of why the heroes make the choices they do (although I always wish they’d done even more with them). And it gives us a legit reason for more badass scenes like that one in The Avengers where Iron Man, Thor, and Captain America duke it out full force, even while they remain (more or less) the sympathetic heroes that we love.

But despite all of the reasons I’d be excited to see any version of Civil War onscreen, if it turns out that Spider-Man’s first MCU appearance is in Civil War I’ll be doubly excited because Peter Parker’s heartbreaking journey during that storyline really gave it a focus and a character’s path to follow, even in the midst of all the rest. The choice he made to support the Act for both logical and personal reasons, and to work with a man he looked up to, Tony Stark; the consequences of that choice in both the short term and the long; the manipulation and betrayal by Tony even while they both thought they were doing the right thing; and the decision that Peter made to turn his back on his original choice, despite it almost being the death of him, make for a compelling story that pulls the rest of the characters’ journeys together; and any Civil War without Peter’s story will be severely lacking. Not to mention that the visual and emotional impact of some of Peter’s scenes would be amazing on the big screen, as would the Iron Spider suit that plays a big part in Tony’s betrayal.

Really, I could go on for hours about why Spider-Man is, in some ways, the heart of the Civil War tale, and it just wouldn’t be the same without him; but instead I’ll just take this moment to rejoice in his return to the fold of the Marvel family on the big screen, and to hope with all my little comic-book-loving heart that he takes his rightful place there in a well-told story during Civil War.

And until next time, cross your fingers with me and Servo Lectio!

 

Box Office Democracy: “Jupiter Ascending”

The Wachowskis might never reach the heights of The Matrix ever again and, as someone who was 15 when The Matrix was released, maybe it wasn’t that good to begin with—but the films are always wildly ambitious. While Jupiter Ascending fails on many levels, and the script would be generously called hot nonsense, I would much rather see the Wachowskis fail than I would like to see Michael Bay “succeed” at his style of filmmaking. Jupiter Ascending is a film full of interesting ideas and while not all of them get properly explored or pay off in the ways I would like they’re frequently fascinating to think about and that’s way more fun than so many of the incarnations of slow motion explosions I’ve seen in movies this decade.

(more…)

Spider-Man Returns To Marvel Movies In Sony Sharing Deal

In a superhero reunion, Sony Pictures Entertainment has announced a new deal with Marvel Studios that brings new Spider-Man movies into the Marvel cinematic universe.

The next Spider-Man film will hit theaters on July 28, 2017.

According to the announcement, Sony and Marvel will cast a new Spider-Man after Andrew Garfield starred in the last two films, “The Amazing Spider-Man” and “The Amazing Spider-Man 2.” Tobey Maguire played Peter Parker in the previous three installments for Sony.

Sony will continue to distribute, finance, own and have final creative control of the Spider-Man pics. They’ll work with Marvel, owned by Disney, on how to weave Spider-Man’s character into Marvel’s upcoming superhero films, which includes the popular franchise “The Avengers.”

via Spider-Man Movies: Sony, Marvel Join Forces | Variety.

I’d suspected this might happen when the info was leaked during the Sony hack, because Sony might need the money and boost very quickly. And lo and behold, here we are.

Mindy Newell: Full Of Sound And Fury

First off, “I just think he’s hot.”

That’s a line from the end of Man Of Steel, which I watched again last night. And the captain who says it is right. Henry Cavill is – im-not-so-ho – hot. Extremely so. Perhaps more importantly, the man can act. Given a script that does not serve Mr. Cavill, in its, let’s say, frugality of characterization, exploration, and screen time of Kal-El alias Clark Kent actually being Kal-El alias Clark Kent, Mr. Cavill does a helluva job in conveying the confusion, loneliness, guilt, anger, and prickly emptiness inside this alien immigrant from Krypton.

The first time I saw it, I thought it sucked. This time, I thought, well, it doesn’t so much suck as it does come up empty, running on fumes instead of a full tank. And, no, it’s not because *gasp* Superman Kills Zod! *gasp* – which is what got so many bowels, including mine, in an uproar. Given the (truncated) emotional journey that Kal-El alias Clark Kent is on in the film, it’s – im-no-so-ho – the right action at the right time, for not only is Kal-El alias Clark Kent killing the warlord, he is also killing Kal-El the Kryptonian (and by inference, finally laying to rest the planet of Krypton) inside of him, killing the “otherness” that has haunted him all of his life. In that moment of final brutality, he transforms into Clark Kent alias Superman, born and raised in Kansas, U.S.A., and citizen of the planet Earth. As Clark Kent he will love Lois Lane; as Superman he will love Earth.

The problem with the film as I watched it the second time was that I had trouble staying awake to watch the very, very, very protracted battle scenes. Frankly, it got B-O-R-I-N-G. Director Zack Snyder, like George Lucas before him, is not interested in “what makes people tick.” He’s the toddler who knocks down his building blocks because it makes a big noise. He’s the kid with the Erector set building a giant John Deere crane that can knock down his Legos Empire State Building. He’s the adult ultimate SFX and CGI geek that is given a zillion dollars to play with.

And so in Man Of Steel we got an eternity of destruction played out before our eyes. We got IHOP and SEARS demolished real good. We got shockwaves of roiling dust clouds rolling across the Kansas plains. We got tidal waves sweeping across the Indian Ocean. We got F-16s and alien ships crashing to the ground. We got skyscrapers collapsing. We got pummeling and we got blood-and-guts – only there was very little blood and there was absolutely no guts. We got death without bodies.

It’s not really Zack Snyder’s fault. Nor is it the fault of so many young adults, mostly men, who have said to me, “Man Of Steel was so cool! The best part was the fight between Superman and Zod, and when Superman killed him, that was the best!” For they are all part of a generation that, as kids, saw the real towers fall down on television. Too young to really understand what was happening, too young to think about the political implications, too young to grasp the murky history of the Middle East and how it led to that moment, 9/11 and its aftermath, the televised “Shock and Awe,” was the ultimate video game, with explosions and lights, full of sound and fury, and signifying nothing.

They did not know that it was a tale told by an idiot.

And now Superman has a new power. An incredibly destructive and unstable power, to quote writer Geoff Johns. Because heat vision and telescopic vision and super-duper strength and invulnerability and x-ray vision and the ability to fly at super-sonic speeds and across space and into suns and to cross the time barrier just isn’t enough anymore.

Because, you know, all that stuff can get so B-O-R-I-N-G.

 

Molly Jackson: Comic Signings – The Great Connector

Last month, I was going through a pile of old comics. At the time I was getting ready for a signing, and looking for an issue of Incredible Hulk #1 for writer Jason Aaron to sign for me. While I was going through my many piles, I found some gems I had forgotten about, including some signed issues.

You are probably wondering how I could forget about my gems. Since I am lucky enough to live in NYC, I spend a large amount of time and money going to every comic book signing I could. I had a variety of reasons for going. Some events I went to because of the book, some for the creative team and some just because I had nothing better to do. What’s $4 for an issue just to hang out with cool people for an hour or four?

Doing this, I’ve met great people who became good friends and exposed myself to amazing writers and artists. I’ve found a plethora of new series to read and collect. In fact, a chunk of my favorite graphic novels are ones I bought at a signing or comic panel event.

I can’t express how grateful I am for all the people I’ve bonded with during a five-hour outdoor wait in 30-degree weather for a comic book signing. I enjoy the time spent waiting on line, arguing with people about a character arc or TV show. I’ve argued and joked with people without knowing their name! I’ve done food runs for strangers and trusted my new best friends to watch my spot in line for a potty break. I’ve even huddled together with strangers for warmth under an umbrella.

And then, finally getting to meet the person we were all waiting for! Most of the time, I know their work but on occasion, I’ve had to fake my excitement. Still, that’s how I have met writers and artists that I love now. Like going to an panel and signing for a little know writer named Scott Snyder or one I attended for artist Amy Reeder. And there was a time at a con that I hung out with a then-little known writer, Charles Soule, just chatting about his graphic novel. By going to almost everything I could, I met and supported people throughout different points in their careers. You never know who you are going to meet.

I don’t get to go to as many signing or comic events now, due to my day job. Still, I try to go when I can, and especially to the ones I don’t know much about. It’s a great way to learn about new series. That’s how I get to find gems in my collection like Saga #1 signed by Brian K. Vaughn I found. (Yeah, I can’t believe I forgot about it either.) So, go and check out the signings in your area. You never know if you are going to meet the next big star or your next best friend.

 

REVIEW: 101 Dalmatians

101-dalmatians-5152016These days, it’s all about the Disney princesses, but Perdita is merely a dog without high pedigree. As a result, she and her mate Pongo, are often overlooked. They’re certainly overshadowed by their antagonist, the Dalmatian loving Cruella De Vil, about the chew every scene in Once Upon a Time. Thank goodness, then, that Walt Disney reminds us about the utter charm contained within their 1961 release 101 Dalmatians. Out Tuesday in a handsome Diamond Combo Pack, their 17th film holds up remarkably well.

101-dalmatians-1-1975179The film arrived at a precarious time for the studio as rising costs made their animated fare very expensive. Tastes were changing and they were now competing with television for the younger eyeballs so a different approach was called for. From a technological standpoint, the arrival of Xerography allowed them to streamline the filmmaking process, reducing costs. Ub Iwerks, one of the grand animators in Walt Disney’s employ, gets the credit for finding a way to use modern technology while preserving Disney’s unique look and feel.

Then, rather than dip into fairy tales, they created their own tale with broader humor without sacrificing the heart.

In case you forgot, the story features Pongo (Rod Taylor), Perdita (Cate Bauer) and their 15 puppies. It’s a true love story, arranged through their efforts for their owners Roger (Ben Wright, with Bill Lee as his singing voice) and Anita Radcliffe (Lisa Davis) to meet. Across town, though, Cruella De Vil (Betty Lou Gerson) is seeking more Dalmatians to complete her fur coat. She tries to do things aboveboard, offering to buy the pups, but even though he’s cash-strapped, Roger refuses. She then dispatches Jasper (J. Pat O’Malley) and Horace (Frederick Worlock) to steal them and things go from there.

Humans prove inept so Pongo and Perdita are determined to find their brood so, using the Twilight Bark, summon help from the neighborhood animals, including sheepdog Colonel (O’Malley), tabby cat Sergeant Tibbs (David Frankham), and gray horse Captain (Thurl Ravenscroft). By the time, Cruella is found, Scotland Yard recovers not 15 but 101 dalmatians. The film doesn’t rush through its 79 minute story, nor does it deviate from the core plot with extraneous sub-plots or songs. There is just one, “Cruella De Vil”, ostensibly penned by Roger, a struggling song writer. It’s memorable and fits the story.

The transfer is worthy of the Diamond moniker and you can watch it either at 1.33:1 or the letter boxed in Disney View.  The DTS-HD 7.1 Master Audio is crisp and you can enjoy every yip and growl.

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Disney has created four new bonus features for this edition which includes the charming “The Further Adventures of Thunderbolt” (1:48), an all-new story based on the television series seen in the film. Additionally, there’s “Lucky Dogs” (9:08) which places the film in context with on screen commentary from assistant animator Rolly Crump, ink-and-painter Carmen Sanderson, assistant animator Burny Mattison, animator Floyd Norman, executive Don Iwerks, and Lisa Davis (Anita). Disneyland’s “The Best Doggoned Dog in the Word” (51:05) episode is included and should be noted that it is an updated version of a 1957 episode, swapping out footage of Old Yeller with scenes from 101 Dalmatians (in glorious black-and-white of course). The Disney Channel’s Cameron Boyce fronts “Dalmatians 101” (5:12), the most skippable element on the two disc set. All the material from the Platinum Edition DVD is also here. These include Redefining the Line: The Making of 101 Dalmatians: Puppy Dog Tales (5:33), Howling at the Moon (3:36), New Tricks (5:16), Animation 101 (7:51), Drawing All Cars (4:12), Seeing Spots (5:45), A Dog’s Eye View (1:40), Music Video by Selena Gomez: “Cruella De Vil” (3:25), Deleted Song: “March of the One Hundred and One” (2:29),  Abandoned Song: “Cheerio, Goodbye, Toodle-oo, Hip Hip!”(2:32), Abandoned Song: “Don’t Buy a Parrot from a Sailor” (2:39), Demo Recordings and Alternate Versions, and Cruella De Vil: Drawn to Be Bad (7:10), Sincerely Yours, Walt Disney (12:48).

All told, this is a slightly abbreviated package of goodies but you won’t mind too much. The sweet, entertaining film more than makes up for it and rediscovering its charm is just fine.

John Ostrander: Music To Write Comics By

I love movie and television soundtracks. I’ll often use a given soundtrack while I work, letting it fuel my writing. I can’t listen to music with lyrics in them; that interferes with my process. I’ll get themes, characters, even scenes or whole plots from the music. Soundtrack music is in service of the story that the film is trying to tell; it’s a part of the narrative, heightening the emotion that’s being invoked.

I have my own particular favorites. The composers usually have a large body of work but certain key works resonate within me – Jerry Goldsmith’s Chinatown and Patton, James Horner with Field of Dreams, Shaun Davey’s Waking Ned Devine, Elmer Bernstein’s To Kill A Mockingbird (has there ever been a more beautiful and evocative theme?) and, of course, The Magnificent Seven.

I’ve also been very fond of Alan Silvestri’s score to Forrest Gump but that one is hard for me to listen to anymore. It was also one of the favorites of my late wife, Kim Yale. We had it playing in the background on the morning that she died; in fact – as the last notes of the last track played, Kim gave out her last breath. The music will always be with me but I can’t physically listen to it very much.

What I find amazing is how many great composers in movies and television have the last name of Newman. It’s a fascinating family; the musical DNA runs strong through these people. Alfred Newman (1901-1970) was the scion of the family and has won more Oscars for soundtracks than any other composer. He worked on The Grapes of Wrath, Ball of Fire (I love this film!), Twelve O’Clock High, The Grapes of Wrath and How The West Was Won among many, many others.

He composed the theme for 20th Century Fox which is still in use today. You’ve heard it at the start of every Star Wars movie (although, alas, you won’t hear it in any future episodes since the franchise is now owned by Disney). He was the general music director at Fox for decades starting in 1940 and when he left, he was replaced by his younger brother, Lionel Newman.

In his younger days, Lionel was the accompanist for Mae West on the vaudeville circuit (which must have been an interesting job). He composed the music for the John Wayne film, North to Alaska (one of my fave Wayne films as I was growing up) as well as a passel of TV shows like The Many Loves of Dobie Gillis. He was also the music director for TV shows such as The Time Tunnel, Voyage to the Bottom of the Sea, Lost in Space, and Batman.

Alfred Newman sired other soundtrack composers, notably David Newman and Thomas Newman. You may know David from his work on the Disney animated version of Tarzan. He was also the composer on Serenity, the feature film follow-up to the TV series Firefly, a particular favorite in our house. It’s a really lovely piece of work. He also did the music for Galaxy Quest, that wonderful homage/send-up to Star Trek.

Thomas Newman is a prolific and talented composer and one of my absolute faves of the modern breed. His work is stunning, be it on the James Bond film Skyfall or Pixar movies such as Wall-E and Finding Nemo. He scored the films based on two Steven King works, The Green Mile and The Shawshank Redemption. He did the theme for the TV series, Six Feet Under, one of my favorite TV themes of all time. It’s quirky use of percussion sets the tone for the series itself.

One of the most played soundtrack CDs in my collection is the music Thomas Newman wrote for Road to Perdition. As he often does, Newman makes great use of minor chords, suggesting melancholy and loss. I have a strong streak of melancholy myself, always have, and it just responds to this music. Heart breaking and breath taking.

Last, and certainly not least, we have Alfred’s nephew, the astounding Randy Newman. Randy is a pop singer and composer par excellence; you must know his songs like “Short People,” “It’s Lonely At the Top,” and “I Love L.A.” among so many others. One of my fave pop writers/composers of all time.

Given his pedigree, it must have been inevitable that he would also take up soundtrack composing. You must have heard his work on The Natural, all the Toy Story movies, Seabiscuit and Monsters Inc (for which he finally won an Oscar after 15 nominations). If memory serves, his first words of his acceptance speech as he gazed out at the audience was, “Don’t you pity me.” He is a man of great wit, a dry humor, exquisite musical sensibilities, and a great sense of narrative. As you may guess, I am a fan.

There are some composers whose soundtrack albums I would buy without even seeing the movies. The Newman clan rank high on that list. They have, as an aggregate, just too much damn talent. It’s unfair to others, I know, but they make me happy.

 

Marc Alan Fishman: I’m Now A Who From Whoville!

Well, it took me a while to make my way through it, but I’m pleased as punch to report I watched an entire season of Doctor Who. And no need to bury the lead: I’m a fan. Peter Capaldi made me a fan. As for the rest of the Whoniverse, not so much.

For those loosely following my journey to TARDIStowne, this has been a long and bumpy road. When I’d noted my friends had started to watch (somewhere between the 9th and 10th Doctors) I gave the show a tepid try. Because I’d not been privy to any Who lore – be it actual storylines, or knowledge of the production itself – I initially found the show to be too low-budget, and too in-jokey for me to care. As the world around me anointed their arms with tally marks, whispered “Don’t Blink,” or went on and on about something called Bad Wolf, I remained ever-snarky. And then, when a weekend left me with nothing to do but catch The Day of the Doctor with my wife and son, I’d openly declared my desire to jump on the bandwagon. And thus I programmed the Capaldi Who to Season Record. Cue the theme music.

It’s not that surprising – to me, at least – that Capaldi was the hook that grabbed me. My love of Gregory House would be the telltale heart there. At their cores, Greg and Twelve (can I call him Twelve?) are problem-solvers. And they are both likely to use their tongues as the tool to save the day. Unlike House though, Capaldi’s Who was never outright rude for rudeness sake. He was curt, yes, but always when danger or a mystery seemed to be afoot. Tie this into the season’s overarching question – Is the Doctor a good man? – and you have the conflicted lead taking charge each week as the universe finds new ways to unravel.

And whether Capaldi was debating a dying Dalek, scoffing at Robin Hood, or giving dimension to flat foes, he presented it all with a nuanced performance that I believed was deep. Unlike the current James Gordon on Gotham, the gravitas of the Doctor felt lived in. And given I personally knew nothing of the decades-long history of the character? Well, that sums up Capaldi’s talent and my fandom pretty easily.

As with the original Star Trek, Firefly, or any number of other science-fiction shows I would eventually find an affinity for, the key to my kindness has always been strong characterization. Beyond Capaldi, I must give credit where it’s due. In spite of being plucky to the point of annoyance, Jenna Coleman’s Clara did eventually win me over. And her beau for the season, Danny Pink (“P.E.”!), while being a bit too much of a nondescript archetype when action was required, did eventually find his place. Funny then right as I was enjoying his grounded nature… that he (SPOILER ALERT) got smashed by a random plot device… err… car. In any event, the companions of this season were built to show us sides of the Doctor that were necessary in an introductory season. Now, a dozen or so episodes later… we know Twelve is not a leader of men, a lover of the ladies (though he creepily sorta dug kissing his arch, no?), or anything beyond an admitted “idiot with a box and a screwdriver, passing through, helping out.”

Long before I enjoyed the show, I’d considered Doctor Who to be as much (if not more) about the universe the he inhabited versus himself. But Capaldi’s season proved to me that to be untrue. While the episodes throughout the season were chocked in references that scooted way over my head, the most potent moments were never about anyone or anything more important than the Doctor himself.

Obviously tied to the aforementioned Good Man motif, it was clear even in the more lackluster or frustrating episodes (Earth taken over by trees, I’m looking at you…) that the definition of this iteration of the Doctor was at the heart of the show. And even in the face of his newly reformed nemesis, with the entire Earth under the threat of annihilation, Capaldi’s grimaces and line delivery sucked every scene into his orbit.

If I were to be critical, it’d revolve mostly around the specific adventures themselves. I found the show to be at its best when the plots were small and specific. When the Doctor had to handle a murder mystery on the space-faring Orient Express, or dealing with an unknown flat threat targeting a small town, there was a wonderful balance between the threat and the solution. When the show went big, with Earth-swallowing fairy tale forests, or the season finale’s masterful plot, things tended to get out of hand. Heady concepts are the bread and butter of the science fiction serial… but in a season that is built around a introspection, these few-too-many universe-shattering melodramas felt like loose Star Trek plottos, not quirky BBC fare.

With a dozen adventures now under his belt, I’m excited for the future. With the prospect of a new companion to roam all of space and time with pending, as well as litany of returning alien allies and foes, I expect a second season of Capaldi to move outside of the reactionary into something more proactive. Let’s see where this Doctor really wants to travel.

That is of course, unless his new companion Bogarts the TARDIS for their own agenda. Either way, I’m on for the ride…

Eyebrows and all.

 

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