The Mix : What are people talking about today?

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.

 

The Law Is A Ass

BOB INGERSOLL: THE LAW IS A ASS #344: BATMAN’S PROPERTY RIGHTS AND WRONGS

4252353-behush1Batman Eternal, the Energizer Bunny of comics that keeps going and going and going and… (If I repeated “and going” for another thousand words think Mike and Glenn would complain? It would certainly make my job easier.) Batman Eternal is taking a novel approach to comic books, both figuratively and literally, by telling a year-long, novel-length Batman story. Here’s the thing about novels, though, to make them long enough to be novels, things have to happen. Usually lots of things. But here’s the thing about things, especially lots of things, not all things work.

So it is that we come to Batman Eternal #34, where something happened. Something that shouldn’t happen happened. No, something that couldn’t happen happened.

Seems that over the years, Batman secreted seventeen bunkers loaded with weapons and explosives in little hidey holes all over Gotham City . He financed these caches with his corporate cash. Which is to say, Batman – secretly Bruce Wayne – used money from Wayne Enterprises, which supported Batman, Inc. financially, to fund these weapons caches. But the secret of those secret caches had been compromised. And compromised in a bad way. Not bad as in declaring slaves were only three-fifths of a person, but it was a bad compromise.

Tommy Elliot, Bruce Wayne’s one-time childhood friend and now the masked villain known as Hush, broke into the Batcave and learned the location of the caches. In addition, Hush took some of Alfred Pennyworth’s blood, so he had the genetic material needed to bypass the DNA-encoded locks on the caches. And if you think that spells trouble, you don’t know how to spell. It does, however, mean trouble with a capital T and that rhymes with B and that stands for boom!

In Batman Eternal #32, Hush used the first of the explosives he stole from Batman to blow up a police military vehicle. He knew that the explosives used would be traced back to Batman. How he knew that I don’t know, because I don’t know how what was left of explosives after they exploded could be traced back to Batman. Did Batman’s mother sew his name on them? (What too soon?) Anyway, in Batman Eternal# 32, they were. Traced back to Batman, that is.

Meanwhile, at Wayne Enterprises, business home of billionaire-playboy Bruce Wayne, he said in his best William Dozier voice, CEO Lucius Fox had a cow. (No, not a delicious steak dinner, the kind of cow that Bart Simpson says you’re not supposed to have.) Lucius knew that if the weapons used could be traced back to Wayne Enterprises’s financial backing of Batman, it would look bad for the business. Bruce Wayne assured Lucius that the situation was under control.

It wasn’t. Which brings us to Batman Eternal #34. And to the second explosion in a building somewhere down by the docks. And finally, to the angry confrontation between Mayor Hady and Lucius Fox. The Mayor was understandably upset that the weapons Wayne Enterprise bought were being used to blow up Gotham City. Lucius was understandably a Fox in sheepish clothing.

Now while this scene played out, Batman tracked down and captured Hush. Thus preventing any more explosions. But Lucius didn’t know that Batman had gotten the situation under control, so he took steps of his own.

Just after he caught Hush, Batman learned that the federal government, acting I assume with the cooperation of Lucius Fox, seized “the chief operating functions of Wayne Enterprises” along with all of its holdings “both foreign and domestic.” “For all intents and purposes, Wayne Enterprises is no more.”

First, isn’t that a bit of an overreaction? Two explosions and the government seizes all the assets of a multi-billion dollar international conglomerate? The Gulf oil spill caused more damage than both explosions combined and the government never went to BP stations grabbing up the beef jerky. And all this over two explosions? In Gotham City two explosions would be a slow news day.

Second – and this is where that whole something that couldn’t happen happened comes into play – remember last week when I said that under the combination of the Fifth and Fourteenth Amendments of the United States Constitution, people can’t be deprived of their liberty without due process of law? Well, funny thing, the Fifth Amendment doesn’t mention only liberty. What it actually says is that no person shall be “deprived of life, liberty or property, without due process of law.” You probably noticed the italics I added back there and are way ahead of me. You’ve already figured out that today we’re talking about property and the “Takings Clause” of the Fifth Amendment. If so, congratulations, cause that’s what we’re doing.

Corporations don’t actually own their assets. The shareholders own them. Thus, when the federal government seized all the holdings of Wayne Enterprises both foreign and domestic, it was seizing property owned by Wayne Enterprises’s shareholders; chiefly Bruce Wayne. Under the Fifth Amendment, the federal government could not seize this property without due process of law.

What would constitute due process of law? There are a few things. It’s likely the weapons and explosives were contraband. (Well, the explosives, anyway. Under the Second Amendment seventeen caches of military-grade ordnance is just a firearm safe.). Anyway, if either the explosives or the weapons were contraband, then the government could seize them right away. Contraband is property which the government has decreed no private citizen – real or corporate – may own such as drugs or counterfeit money, but not, unfortunately, box sets of Keeping Up With the Kardashians. Because people have no right to possess contraband, the government may seize it as soon as it finds it. But the other Wayne Enterprises property – the real estate holdings, the office furniture, the keys to the executive washroom – these wouldn’t be contraband. The government couldn’t simply seize those things without due process of law.

In order for due process of law to work, the government would have to file some sort of forfeiture proceedings. It could, for example, claim that Wayne Enterprises was involved in racketeering operations and seize the property under the RICO statutes. Before the government could do that, however, it would have had to indict Wayne Enterprises under the RICO statutes, and then move for an injunction to seize the assets so that Wayne Enterprises could not dispose of them. The federal government did not file any RICO indictments against Wayne Enterprises, so it had no authority to swoop in and seize its assets.

Moreover, even if the government had indicted Wayne Enterprises and moved to seize the assets, there would have to have been a hearing before a judge on the government’s forfeiture motion. A hearing in which all Wayne Enterprise shareholders – including Bruce Wayne – would have had the right to be present. There were no such hearings. No hearings means, no seizures. No seizures means Wayne Enterprises is hale and hardy and Bruce Wayne is still rich.

The government could also file some other sort of forfeiture proceeding, say a motion to seek the assets because they were a nuisance or some such complaint. Once again, there would have had to be a hearing in front of a judge, before the assets could be seized in this way. Once again, there was no hearing. Once again, Wayne Enterprises is still free of government control. And once again, Bruce is still solvent.

Ah, but couldn’t Lucius Fox as CEO of Wayne Enterprises have voluntarily agreed to the government seizing control of Wayne Enterprises and it’s assets, thereby obviating the need for any hearings? In a word, no. In two words, no no.

As a corporate officer of Wayne Enterprises, Lucius owed a fiduciary duty to the shareholders to act in their best interests. He could not willingly give the shareholders’ property to the federal government without the permission of those shareholders. Doing so would have been an act against the shareholders’ best interests and a violation his fiduciary duty. So again, I am left with the conclusion that Wayne Enterprises still stands and Bruce is still a billionaire-playboy.

Now I freely admit that twenty-eight years as a public defender practicing criminal law left me a little unfamiliar with corporate law. So if there are corporate lawyer types out there who can think of a way in which the federal government could have seized all of Wayne Enterprises assets in less than twenty-four hours and without any sort of indictments, forfeiture motions, or hearings on the matter, I’m willing to listen. Not sure I’ll be convinced, but I’ll listen.

After all, it’s the law that’s a ass, not me.

Martha Thomases: The Great Comic Book Lock-Out

There’s been a story making the rounds on the Internet among women who work in the comic book industry. It’s the first-person account by a father who takes his young children to his local comic book store and finds himself embarrassed in front of his daughter. Like the smart little cookie she is, the daughter explains to her father that there is nothing in the store for her.

This is a complaint that women in the comic book industry have been making, as a group, for at least twenty years. Neil Gaiman captured the ethos perfectly in an early issue of Sandman – which is when a lot of fanboys learned that particular point of view was out there. Still, even with all this discussion over the decades, this gentleman did not notice until he had his own daughter, and looked at his comic book store through her eyes.

Some women, reading this story, immediately suggested a few dozen comics or graphic novels that his daughter might like but which, apparently, were unknown to the salespeople at this particular store. Some women were irked that this gentleman wasn’t aware of the problem until it was his problem.

I understand both reactions, but neither is the part of the story that made me the most angry.

There seems to be a school of thought in which the only fiction available to readers is about the readers themselves. Boys can only read about boys. Girls can only read about girls. African-Americans can only read about African-Americans or, possibly, racial minorities can only read about other racial minorities. Certainly, the thinking goes, white kids are only interested in reading about other white kids.

Let me be clear. I don’t think there is some kind of committee that issues these edicts. I think it is a more subtle form of bigotry.

Here’s an example: When I worked at DC and we launched Milestone, a lot of retailers told us that they weren’t going to order the books because they didn’t have any African-American customers. There are so many errors in this kind of thinking that it made me want to tear my hair out. Here is why:

  1. Milestone comics are not created by exclusively black creators for an exclusively black audience.
  2. White readers will not find anything they don’t understand in an issue of a Milestone comic.
  3. The money that African-Americans use for goods and services is exactly the same as that used by white people. If a retailer stocks comics that might appeal to African-American customers, these African-Americans may use this money in his or her store.
  4. Most capitalists consider more customers for their goods and services to be a desirable state of affairs.

The same thinking can apply to comic books that might be appropriate for young girls and, I would argue, for young boys as well. Comics that don’t overly sexualize the female characters. And yet, in the comments section, a retailer claims that no one buys such books for more than an issue or two.

Maybe none of his regular customers buy such all-ages titles regularly. However, a look at a national best-seller list shows a wide variety, including books appropriate to an all-ages audience. Booksellers make money with these books. There is no reason any particular reader can’t.

Comics are not the only literary format with this problem. To quote from the link: “Ellen Oh tells a story of being in a bookstore in Bethesda, Maryland, in 2012, and watching a little white girl reach for The Mighty Miss Malone by Christopher Paul Curtis, a book with a black girl on the cover. Her mother takes that out of her hands and says, ‘Oh no, honey, that’s not for you.’’’ Oh recalls. This is a version of a story I heard repeatedly from the librarians, authors, and editors I interviewed.

We can’t do very much about individual narrow-minded parents. We can celebrate the fact that fiction in all media allows us to see the world through another set of eyes.

Comics do this in a way that allows us to immerse our senses with color and artwork and so much imagination that there was a time when people thought comics were just for kids. That kind of thinking started to fade away thirty years ago, and this was a good thing. It’s not a good thing to keep the kids out.

Nor anybody else.

 

Tweeks: Mean Girls Game for iOS is Here!

Mean-Girls-High-School-Showdown-Game-mean-girls-6711211-555-371There is nothing so fetch (that’s British for awesome) as Mean Girls! Well, except maybe getting to answer Mean Girls trivia, quote the movie AND defend a tiara on our iPhones at the same time  So Much Drama released Mean Girls: the Game on iOS last week and ever since then we’ve been addicted to staying out of the Burn Book and defeating the new Plastics clique at North Shore High with our popularity points and  candy grams. 

This week we review this game, tell you why you need to watch the movie (even if it’s for the 100th time) and remind you all that on Wednesday We Wear Pink.

You go, Glen Coco!

How Much Does It Cost To Build A Dalek?

Not a cosplay project – there’s plenty of resources for that.  Heck, the BBC used to send out official plans for one. But an actual, proper one, with the mutant and the hoverpad and the exterminatey-ready-to-go-ness?

The UK’s Horror Channel are now running classic Doctor Who episodes, and they took the opportunity to run the numbers.

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Click to embiggenate

These numbers include all the startup costs; R&D, as well as initial set up of the factory locations. So we’re looking at the cost of rolling that first Dalek off the line – presumably the per-unit costs would decrease as time goes on.  Allowing for depreciation, once production gets up to speed, costs could drop precipitously. Though of course, even the first Dalek could get quite a bit done.

Also, with a number of nuclear plants already in existence, one might be able to cut a deal with a forward-thinking city to set up a lab in an extant plant, not to mention the various tax breaks many municipalities would offer to such a job-creating endeavour.

The cost of raw materials would drop over time as well as more areas are conquered, allowing for greater collection activities.  And since Daleks are in a sealed system capable of surviving in the vacuum of space, odds are they aren’t too worried about the effects of fracking on the environment. That would certainly reduce the costs of mining – no need to worry about EPA restrictions.

The Horror Channel’s website has more info on The Doctor, as well as a neat web game that lets you demolish Daleks at various locations  around England.

Box Office Democracy: “Project Almanac”

Going in to Project Almanac I had a very clear idea of what I would be getting: Chronicle but with time travel instead of superheroes. To its credit that isn’t really what Project Almanac is, it isn’t as predictable or as overly dramatic. It doesn’t have a conclusion that’s drawn out too long. In fact, in a lot of ways it feels like Project Almanac is the inverse of Chronicle in that it’s a movie that never seems to know when to stop being playful and start being serious. When the time finally comes to put the dramatic hammer down there isn’t enough time left and we’re left with a third act that feels rushed and unsatisfying.

(more…)

Dennis O’Neil: In For Repairs

Ye ed here again. 

Our pal Denny remains in for repairs. Let this be a lesson to all of us who think we are invulnerable to ice: if Denny isn’t, what chance do you have?

Marifran tells us that, outside of a complication last weekend, he is home and well on the mend. That is very good news indeed. He will be healing up as fast as he can – dodging the dark side of winter is one thing; blowing off the spring is quite another. 

Hang in there, Denny. Erudite people aren’t exactly a dime a dozen!