The Mix : What are people talking about today?

Dennis O’Neil: Consuming Mass Quantities

It was late in the evening before we found a place where a pair of oldsters with a nodding acquaintance with heart attacks and strokes might find nourishment. A pizza joint, it was. A pizza joint with few customers but a pretty high decibel level. I ordered penne with roasted vegetables. Yummy? We’ll see. The service was, to be charitable, unhurried, but eventually the stuff arrived. A lot of it. I could have gotten four or five home meals from what the wait-person presented. I finished about half.

The next morning, as is my on-the-road custom, I ordered room service pancakes. No complaint about service this time – the meal arrived before it was promised. But again… this was a single serving? Five pancakes, wide and thick: at home – three or four meals. But I ate the lot of them, maybe because I like pancakes more than I like penne with roasted vegetables and afterward, feeling a bit bloated and bottom-heavy, I experienced a guilt pang. Had I been gluttonous? Not that gluttony is a hanging offense. (Is it even a mortal sin? I bow to my school teachers and Others Who Know.)

And here, we begin to slip into murky regions. How do we define gluttony? How much is too much? When does a pile become a heap? A hill become a mountain? Maybe my pig-out is your satisfying snack.

Maybe you can judge when something is too much by the results it produces. I did not feel awfully chipper after that penne dish and maybe millions of my fellow citizens experience similar discomfort after a meal and here we might be tempted to launch into a diatribe about national health crises and such. But let’s not. Instead, let’s go to the movies.

We should have no trouble finding seats. It’s been kind of lonely in the multiplexes lately. Ticket sales have been dismal. The summer’s receipts are 22.2 percent lower than last year’s. And still, the entertainment we get in those holy darknesses is long and, like the pizzeria, very, very loud. Why defeat one villain when we can vanquish a dozen? Just one explosion? What are we, pikers? One hero? Okay, but doesn’t the budget allow us to hire five? More? Same with bad guys. Let’s have our protagonist(s) mow down a battalion.

And as you leave he theater, do you feel that all that sound and fury left you feeling satisfied, or just bloated? Or did you even go to the theater? There’s the hassle with parking and it’ll cost you a twenty to get you and a mate past the ticket taker and so… you may decide to become a member of that 22.2 percent of moviegoers who became ex-moviegoers. I mean, if you’ve seen a hundred explosions you’ve pretty much seen explosions and they’ll look the same when you see them on your television screen, only smaller.

The day after I had the pancakes, I ordered the same breakfast. I expect we’ll get to the movies sometime soon.

 

Box Office Democracy: Summer Box Office Report

This past weekend was the worst total box office of any weekend in ten years.  If you consider how much more expensive a movie ticket is now than it was ten years ago you can get a picture of how catastrophic this weekend was for the film industry.  It was so sparse this weekend that rather than have me review the one meager offering this week (a Christian-themed unlicensed Elvis biopic) I’m here to give you a run down on Hollywood’s disaster summer and try looking ahead to determine if film is in an inescapable death spiral.

This summer was off 15% from last year’s take, and I assure you it was not because our nation’s exhibitors decided to slash ticket prices across the board.  Guardians of the Galaxy was the only big hit this summer and not for lack of trying on the part of every other movie.  We had big name sequels like Transformers: Age of Extinction, The Amazing Spider-Man 2, and Dawn of the Planet of the Apes fail to connect with an audience.  All of those movies made $200 million dollars, which used to be a barometer of big success but you have to remember that’s now what The Avengers did in one weekend.  There isn’t a movie released in 2014 that has out-grossed the first 10 days of The Avengers.

The poor results this year may have more to do with the movies that didn’t come out than the ones that did.  Pixar moved The Good Dinosaur from this summer allegedly to fix “story problems” and while that doesn’t sound like the strongest movie in the world Pixar is usually good for some good money, this summer felt particularly starved for kids movies so the latent demand was probably there.  The unexpected death of Paul Walker pushed Fast & Furious 7 to next year and it’s not unreasonable to suspect that it would have been the highest grossing movie of the year had it released.  Those movies wouldn’t have just added dollars to the ecosystem, they also would have likely drawn some money from other films but there’s no question losing a big franchise and the most successful studio in animation was a serious blow.

Hollywood loves to think the movie business is coming to an end.  It happened when the television was introduced, when the VCR came out, when movies on VHS got cheaper, when DVDs were popularized, when high-definition TV became cheap, and now we’re in the doom saying cycle with streaming services.  None of the other things killed movies so I seriously doubt this one will either.  Nothing you do in your house is the same as the experience of going to the movies and it seems as if people from all walks of life around the world simply like going to the movies.  Give people movies they want to see and they will go to the theater no matter what is in their living room.

Luckily, next year Hollywood seems much more prepared to give people what they want.  We have The Avengers: Age Of Ultron, which will almost certainly break every box office record we have.  We have Finding Dory, the sequel to one of the most successful movies ever made and a likely box office titan.  We have the delayed Fast & Furious  sequel primed to do good business.  People say they hate sequels but they really don’t; they hate bad sequels and this year that’s all they got.  Next year will be the biggest year ever and such a substantial boost over this year that industry pundits will be writing long pieces about how movies have never been better and no one will remember how soft things were this year when they note that sales are up 25% or whatever they are.  It is only in this last paragraph that I realized that I am now also an entertainment industry pundit and if you’ll excuse me I need to take a long shower.

Tumblr’s Hilarious Net Neutrality Statement!

If you log onto your tumblr dashboard today, you might notice what looks like a bit of a problem.  All the graphics on the page are replaced by those “please wait” spinny things, giving the impression you’re stuck with a slow connection.   But it’s just the latest in a series of events, pranks and publicity stunts designed to make people aware of the looming threat to what’s known as Net Neutrality.

Right now, all Internet data are transmitted at the same speed. You get articles and graphics for this site at the same speed you’d get them for Time.com, Amazon, or ElbowsDeepInAsianGirls.tv (Calm down, Michael Davis, I made that one up… I hope)  But if Net Neutrality is shot down, ISPs will gain the ability to offer data “fast lanes” on the information superhighway to companies, on which their data will sail at great speed to the user, while sites who do not pay such premium will see their sites lag at slower “normal” speeds.

The problem is, we won’t actually see the “fast lane” be any faster, it’ll be more a case of the “normal” lane being throttled. just as, oh, let’s say “certain companies” doing that to sites like Netflix.

The FCC is currently mulling over the idea of making this premium bandwidth an official thing, and tech-savvy Internet users have been doing everything they can to show the average users why this would be a calamity.  <a href=”

target=”_blank”>John Oliver’s recent monologue on the issue created such a response it actually brought the FCC’s website down.

The tumblr site offers a link to BattleForTheNet.com, which offers users the option to either have an email sent in their name to their congressperson, or will automatically connect you via phone to your representative’s office.  The response on this issue has been strong, but millions people shouting is not always as loud as the sound of wallets opening.

The verbiage on this issue has gotten quite dramatic, and yr. obt. svt. tries to refrain from hyperbole unless I’m sure I can a laugh out of it.  But it is very fair to say that if ISPs gain the right to charge companies for the right to get their data delivered, it will absolutely make it harder to get a new website into the eyes of new viewers, and make creating a new site so much more expensive.  Part of the wonder of the Web is it makes everybody equally capable of building a site that can reach the world, at the same speed as any other.  The loss of Net Neutrality will take that away.

This is quite important.

Batman: The Brave & The Bold Season 2 Out Now

Batman The Brave and the Bold-S2 BlurayBigger, bolder, blu-er! Warner Archive Collection is proud to present Batman: The Brave and the Bold – The Complete Second Season in Blu-ray™ — available now at www.wbshop.com and your favorite online retailers.

The fearsome fan-addict forces behind The Batman: The Brave and the Bold fired on all bat-cylinders for this fantastic sophomore season that skillfully blends super-heroics, sly satire, and a leviathan scope for an animated concoction embracing the fun of the past with the pow! of the present. Thanks to the series’ first season, Batman: The Brave and the Bold – The Complete Second Season goes even farther beyond the expected grim and grit of the Dark Knight in both its narrative approach AND in the fun.

Across the 26-episode second season – presented in HD and widescreen as it was meant to be seen – you’ll find a vacationing Aquaman, a requiem for a Scarlet Speedster, the legendary Justice Society, the celebrated Justice League International, the Super Batman of Planet X (voiced by Kevin Conroy), Batman’s Strangest Cases featuring a team-up with one snack-loving, mystery solving mutt, and an overarching story arc that climaxes in a stunning battle against Starro the Conqueror!

Joining Diedrich Bader (Batman) in this epic second season are some very special guest voices, including Adam West, Julie Newmar, Paul Reubens, Mark Hamill, Tom Kenny, John DiMaggio, Tara Strong, Stephen Root and many more!

And making this collection even more fab is the fact that the episodes are presented in the producer’s preferred order for the first time anywhere – including the “The Mask of Matches Malone!” in the correct aspect ratio!

Batman: The Brave and the Bold – The Complete Second Season is the latest Blu-ray offering from Warner Archive Collection. The ever-growing roster of animated super hero Blu-ray animation includes Young Justice, Beware the Batman and Green Lantern: The Animated Series.

The two-disc set of Batman: The Brave and the Bold – The Complete Second Season includes the following episodes:

DISC #1

1 Death Race to Oblivion
2 Long Arm of the Law!
3 Revenge of the Reach!
4 Aquaman’s Outrageous Adventure!
5 The Golden Age of Justice!
6 Sidekicks Assemble!
7 Clash of the Metal Men!
8 A Bat Divided!
9 Super-Batman of Planet X!
10 The Power of Shazam!
11 Chill of the Night!
12 Gorillas In Our Midst!
13 The Siege of Starro! Part 1

DISC #2

14 The Siege of Starro! Part 2
15 Requiem for a Scarlet Speedster!
16 The Last Patrol!
17 The Mask of Matches Malone!
18 Menace of the Madniks!
19 Emperor Joker!
20 The Criss Cross Conspiracy
21 Plague of the Prototypes!
22 Cry Freedom Fighters!
23 The Knights of Tomorrow!
24 Darkseid Descending!
25 Bat-Mite Presents: Batman’s Strangest Cases!
26 The Malicious Mr. Mind!

Mike Gold: What Goes Around Inevitably Comes Around

DC Entertainment Co-Publisher and Editorial Big Kahuna Dan DiDio let the cat out of the bag on Facebook last week. In referring to Countdown To Infinite Crisis, he said “Definitely one of the highlights of my time at DC, but it gets me thinking, has it really been almost ten years since then, and maybe its time to do it one better.”

Dan, I’m sorry to say this, but your average seven year old could do it one better; two if you gave him a bigger box of Crayolas.

Look, we haven’t even finished Future’s End, a.k.a. Crisis on Infinite Angst. That means we haven’t even seen its trans-universe gangbang follow-up (pictured above, WordPress willing), Blood Moon. And now you’re “teasing” us with still another Crisis?

No, you are not. I know the difference between a tease and threat. A tease involves taking off almost all of your clothes. A threat is Vladimir Putin taking on Darkseid.

I really liked the original Crisis On Infinite Earths. It was a great series in and of itself. But immediately thereafter DC relaunched Superman and Wonder Woman, which sort of pulled the rug out from under the linear reboot. Then DC launched into a whole mess of predictable game-changers: The Death of Superman, followed by The Death or Disappearance of Almost Everybody Else One At A Time. It wasn’t too long before all the cool stuff in Crisis On Infinite Earths was invalidated or contradicted or ret-conned into oblivion. I can’t count the number of Crisis sequels that followed the one that set the DC Universe straight for the first and still-only time.

Indeed, over the past 30 years the DC fans have learned one and only one thing: we cannot trust DC to sustain a thought.

Like most of your readers and ostensibly many of your staff (hard to tell with the big move to Los Angeles), we all love and revere the DC characters. I know you share these feelings because you’ve said so yourself many times. Some of us were inspired to read because of DC’s output. Some of us got a nice slice of our morality from the doings of these characters. They may be entertainment, but entertainment can be enlightening and DC has spent the best part of 79 years doing just that.

Dan, I am not picking on you, nor am I picking on the talented writers and artists you employ, many of whom I count among my friends. If you want to do a sequel of something, base it upon one of the most innovative, daring and worthy projects in American comic book history. Maybe you can call it Thursday Comics.

You wanna do another Crisis? Do another Crisis. I can’t stop you. But, please do one thing: do not call it “Crisis.” Show some originality.

Besides, Marv Wolfman and George Pérez deserve better.

 

The Point Radio: The Revamped Mythology of GOTHAM

Of all the comic book based shows headed to television this fall, the one facing the biggest hurdle might be GOTHAM. After all, how can you do a Batman TV show without Batman? Show runner Bruno Heller and star Ben McKenzie shed some light on this and more , plus August was another good month for comic sales, but only two titles crack the 100K mark.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

Emily S. Whitten: A Female Gamer in the Maelstrom of #Gamergate

For today’s column I was going to write about fan conventions. I’ve been covering fan conventions pretty non-stop since the con season really kicked into gear, and I’ve still got a plethora of great pictures, videos, and interviews to share. I’ve got interviews from Dragon Con with Bill Farmer, the cast of Arrow, and Mary McDonnell. I’ve got a report on the Harvey Awards and Baltimore Comic Con and all the great comics creators who were there. Heck, I’m not even done writing about SDCC panels, even though July seems like a distant memory now.

But instead of writing about all of that fun stuff, I’m going to be writing about something entirely different and much more distressing. And that is my thoughts as generated by the current state of the gaming community, in the wake of a series of events and attacks that is so widespread, nebulous, and in some instances so based on hearsay that it is difficult to condense into one comprehensive and reliable article with accompanying links. Instead of trying to cover every corner of what’s been going on, I’d like to address my own ruminations on what I’ve seen. But before I do that, here is one of the best summaries I’ve read of “Gamergate” and the events leading up to it.

Let’s move on to why I’m writing about this. At the heart of much of the animosity spewing forth from the various factions involved in Gamergate is the issue of the place of females in the gaming community. There are people being attacked as hateful misogynists, and people being attacked as whiny feminists (and their “dimwitted knights in shining armor”). Some of this is cloaked in “concerns” over journalistic integrity in the gaming journalism community (spurred by an airing of dirty laundry between exes in the community). But I’ve read as much as I can stomach of the Twitter hashtags, news write-ups, etc. as I can for now, and mostly what I’m seeing is gender hatred, skewing heavily in the direction of hating on or negating the views of female gamers. And frankly, it’s horrifying and depressing to read.

I am female, and I am a gamer. I self-identify as a gamer because I love playing video games and have spent countless hours doing it; I’ve participated heavily and vocally in a months-long beta for a game I was excited about and wanted to see done well, including discussing game mechanics and story and character design directly with developers; I review video games when the spirit moves me; and at Dragon Con a couple of weekends ago I was super-excited to finally cosplay as Chell from Portal 2 (not the first video game costume I’ve done, either). And even all of the above is only part of my life-long involvement and interest in gaming. I call myself a gamer by choice, and (this is key) no one can tell me I am not a gamer, because it is my choice to be one, and it is not anyone else’s right to tell me what or who I am.

And yet (a) more than a few times in various fora, in conjunction with someone being aware of or finding out that I am a female, my identity as a “real” gamer and my opinions about gaming have been called into question; and (b) due to the ugliness surrounding the current state of the gaming community, the positive feeling I would ordinarily have in discussing games with someone else who plays video games and telling them that I am a gamer too is tainted and tarnished. And that’s very sad, and why I feel the need to address this subject now.

I want to talk first about point (a), because some people in the current discussion are using the gamer/not a gamer delineation as a way to negate others’ opinions on how things should be in the industry, and who has the right to say how things should be; and coupling that in many instances with gender. This is a classic example of something I’ve written about in detail before, i.e. geeklitism, and it’s just as invalid a stance to take in gaming discussions as it is in all other arenas of fandom.

The first reason is that like any other area of fandom or enthusiasm (whether it be geeky, sports-related, carpeteering, or any other avocation or vocation), identifying as a gamer is a choice of self, not of others. The person identifying as a gamer is the one who knows what makes them feel like one of the group, whether it be hours and hours of play, vociferous discussions about game developing, actual paid work in the industry, or any number of other things that make up what someone with a love of video games might do with their time. (Note: it is never simply “because I am a dude” or “because I am a gal.” So why do we keep bringing that into it at all?) No one else has the right to tell them they are or are not a gamer, and so basing a disagreement on this delineation negates the validity of the disagreement.

The second is that whether someone is a “gamer” or not does not determine whether they have a valid opinion on what is happening. Granted, if someone opines about things they literally know nothing about, then their opinion isn’t worth much. But if anyone out there does their research in the form of seeing and understanding what is going on and what everyone is saying about it, then they are entirely capable of forming and expressing a valid opinion on the issues. It might not be your opinion, but that doesn’t make it invalid or wrong, nor does their position of not being as into gaming as some other person out there (or being of a different gender, or whatever) negate its importance.

The third is that life is a fluid, fluid thing, and we grow, develop, discover new things, and change our lives constantly. So whether someone is at the same exact stage of their identification with a particular group as someone else is always going to be in flux, and some people are always going to be ahead or behind the median. But that doesn’t mean that those who are “ahead” are more in some way than those who are “behind,” or that this makes their opinions more valid. There is no one point on the graph where all fans or enthusiasts of something fall, because we are all different people.

As an example of what I’m talking about here, I’d like to look at one of my own geek loves – the Discworld, created by the wonderfully talented Sir Terry Pratchett. I’ve been a Discworld fan since approximately 1999. There are people who have been fans much longer than I; there are people out there who have just recently discovered and are delighting in the Discworld books or Discworld fan community. There are people who only know me from my Discworld fandom; and there are people who have known me for years and have no idea who Terry Pratchett is or that I have read all of his books numerous times. When I first started out as a reader of Pratchett, I literally had no idea there were fan communities online, or fan conventions in the U.K. for the Discworld series. Fast-forward to today, and I am known in much of the Discworld fan community for having co-founded and helped to run successful Discworld fan conventions, and for a period of time ran the website and social media for those conventions as well. Over the course of a number of years, I got more and more involved in the community of fans surrounding this particular body of literature; but at no point in my involvement did I actually feel like more or less of a fan. Once I started loving Discworld, I considered myself a fan, and that was that. And being a fan, there is no reason that my opinions on Discworld are more or less valid than any other fan’s.

Now let’s look at the effect of trying to use the geek/not a geek (and by extention, gamer/not a gamer) argument on someone to make a point. Are there any benefits to the geek community from taking the geeklitist stance? None that I can see. The only result of excluding someone’s opinion through this argument is to ostracize a person who identifies with you in some way, and to potentially lose their contribution to the community. Imagine if someone had said to me, once I’d identified as a fan but not yet really become heavily involved in the larger fan community, that I was not a Discworld fan because I didn’t post a lot on message boards; or because I hadn’t gone to the Discworld conventions; or because I’d never analyzed a Discworld book from an academic standpoint; or because I am a woman; or some other random category of geeklitist thought. It is entirely possible that I would have been discouraged from continuing to embrace the fan community, despite being a fan of the books. The North American Discworld Convention of 2009 might never have happened (although that’s not to imply that it was anything like a singlehanded accomplishment on my part, obviously.).  And that would have been pretty sad for everyone, because that was a great con at which over 1,000 Discworld fans had a great time.

To move this back into the arena of “gamers,” each person who identifies as a gamer has gone through some variation of the arc I just described above, or is in the process of going through it. But once they are into gaming enough to consider themselves a gamer, what makes any of us a better judge than the person themselves of whether that is accurate or not, or what criteria is valid? Nothing. And more importantly, what benefit is there for gamers who hold themselves up as judges of another person’s identity and passion and the validity of their opinions? All we are doing, when we do that, is alienating a potential friend or discussion partner, and stepping in the way of someone’s path on their journey of discovery into a thing we all purport to love, and into the possible positive consequences this could have for the community as a whole. Imagine if someone did that to you when you were first discovering your passion for gaming – and consider seriously whether it would have curtailed your pursuit of that interest, at the very least in the communal sense. Every time a member of a community questions or attacks someone else’s identification as a member of that community, or their opinion as such, they are hurting the community, and acting in a way I am sure they would have decried if it were done to them. Which brings me back to the point that geeklitism is not a valid or productive stance to take when having a discussion about gaming.

Now let’s look at point (b), of the current ugliness that is circling the internet rounds about gamers and the gaming community, and the effect it has. Whether the rumors related to one couple’s imploded relationship, and its impact on gaming journalism, are true or not, they have served as an ignition point for an enormous amount of hate, much of it aimed at females in the gaming community (a common form of geeklitism). After reading through what I see being posted on Twitter and blog posts, I expect that just by writing this piece I am inviting people to accuse me of things like lying about something, whiny feminism, or lumping all gamers into the same group (the #notallgamers tag on Twitter has been in part misused to try to downplay the misogyny that’s out there, by saying it’s only some gamers that are like that, like that makes it something we shouldn’t decry). I sincerely hope that I am not bringing down upon myself more personal attacks, like those aimed at Games Journalism Prize-winner Jenn Frank, Anita Sarkeesian, Zoe Quinn, and others. I don’t deny that some small part of me fears that writing about this topic is going to result in harassment or abuse, despite there being no reason for that result in a fair and logical world. But right now, after reading about “Gamergate,” the gaming community doesn’t seem to me to be a fair and logical world. It seems to be a world full of unreasoning finger-pointing and blame and hate, aimed at women who are trying to follow their passion.

Whatever percentage of gamers or the gaming community are engaging in the behavior of misogyny, sexuality shaming, hatred, harassment, and abuse, they are the loudest voices in this debacle, and are making the entire community look absolutely terrible. I know for a fact that not all gamers are like that, because I am a gamer with gamer friends. But when I read this stuff, that terribleness is the part that I see. And it’s not even unique. It’s the same terrible behavior I’ve seen aimed at women in costumes and in comics fandom – of treating females as less valid than male peers, or as objects there just for male enjoyment or abuse. The gaming community, while it has its own unique flavor, is not a special snowflake that needs to be defended or it will fall to pieces. It is, like other geek arenas, a group of people that, to date, has clearly not done enough to root out hatred towards a portion of its population, or has even actively participated in that hatred. It is also a group that could be made stronger by taking a hard look at itself and its treatment of a portion of its membership. And it is a group that runs the risk of losing people who make a valuable contribution to its growth and development if it doesn’t do so. I fail to see the upside of that, and that’s something the folks spreading hate should stop and think about.

As a female geek, I move through the world of geekdom being aware that I may be belittled, dismissed, harassed, or attacked in some manner, whether verbally or physically, for engaging in geek fandom. Why do I know this? Because I’ve already experienced these things. Multiple times. In ways that I have never seen happen to my male counterparts. And although I continue to participate in fandom and express my love for the geek things I love, I would be lying if I said each time I see things like Gamergate, or am personally and negatively affected by the attitudes I’m seeing in Gamergate, it doesn’t make me a little less likely to want to engage, and also a little less likely to want to have a reasoned discourse to try to resolve the underlying issues that cause the ugliness.

It makes me more likely to want to say that all I see around me is hatred and misogyny, and that it just ain’t worth it. I both identify with and dread the possibility of winding up in the position of Jenn Frank, who reached the point where enough was enough and simply quit. I can’t imagine being on the receiving end of so much harassment that I am forced to give up a part of my identity and passion in order to feel safe and not hated by the world. I feel sad that she was forced to that point, and that the world of geekdom, in all its fiefdoms, is still not a safe place for women. I hope we can change that; because if we don’t, no matter what the haters might think, the reality is that everybody loses.

Until next time, Servo Lectio.

 

New Who Review – “Robot of Sherwood”

Robot Hood, Robot Hood, riding through the glen,
Robot Hood, Robot Hood, and his band of men…

Clara wants to meet someone legendary, The Doctor tells her they’re all made up, so when he actually shows up, The Doctor is convinced he’s a…

ROBOT OF SHERWOOD
By Mark Gatiss
Directed by Paul Murphy

Clara admits she’s always wanted to meet Robin Hood, who The Doctor waves off as merely a legend.  But as we’ve learned, one does not simply tell Clara Oswald she can’t have something, so off they go to Sherwood.  The Doctor is shocked to discover Robin Hood show up and attempt to appropriate his conveyance.  The Doctor is naturally convinced this is all a trick or plot of some type.  He is at once right, and wrong.  There is a plot, but it’s on the part of the (also real) Sheriff of Nottingham, who has allied himself with a race of robotic spacefarers whose ship is secreted within his castle.  The district-wide canvassing for gold is to built circuitry for the alien craft, to allow it to generate enough power to take off, from which the Sheriff will (dare I say it) rule the world.

The episode is simply too charming and funny to call it anything from a delight.  The dialogue, especially the pissing contests between The Doctor and Robin are hilarious, and for of his claims that he hates banter, The Doctor is very good at it.

At its core, however, it’s far too similar to the series opener – a spaceship, lost in time, crashing to earth and needing help from the locals to take off again, albeit the stuff it needs to repair itself is a bit different.

THE MONSTER FILES – The Robot Knights are more of a minion than a monster, but they’re far from the first.  From The Robots of Death to the Heavenly Host in Voyage of the Damned, they’re powerful and useful.

GUEST STAR REPORT 

Tom Riley (Robin Hood) is known for playing another historical figure; Leonardo Da Vinci on the show Da Vinci’s Demons,.and Oh My God he was in the second St Trinian’s movie as well, a film whose venn diagram with Doctor Who is rapidly approaching a single circle.

Ben Miller (Sheriff of Nottingham) looked way too much like The Master for it to have been anything but a massive in-joke by the crew.  He was going to be a physicist before he met Alexander Armstrong, with whom he went off to start a very successful career in comedy.  He played Johnny English’s assistant Bough in the first film, and appeared

BACKGROUND BITS AND BOBS – Trivia and production details

A PICTURE IS WORTH… – That one photograph in the middle of the montage of interpretations of Robin in the alien computer?

10301_gall_002-6126401

Yeah, that was Patrick Troughton.  before he was the second Doctor, he was the first person to play Robin Hood on television.

 WE’RE GOING TO HAVE TO CUT THIS ONE SHORT – This episode originally featured a scene of a beheading, specifically, that of the Sheriff of Nottingham, who is as a result revealed as a cyborg (and presumably puts the head right back on).  Due to recent events featuring actual beheadings of two journalists by terrorists in the Middle East, it was decided such a scene might be traumatic to some, and the scene was edited.  However, the episode also featured a robot’s head being severed and falling to the floor, not to mention The Doctor joking about the idea of Robin Hood’s head still laughing after it was removed from his neck, so clearly the desire to avoid triggering was somewhat limited.

“Old fashioned heroes only exist in old fashioned storybooks” – And that right there is the theme of the episode.  What happens to Robert of Loxley – to sink into myth and legend – is exactly what The Doctor tried to do to himself in the previous season.  He attempted to erase himself from history and all the databases in the universe.  He naturally had a harder time of it as while Robin Hood only operated for a few years, tops, in one area of England, The Doctor has been poking it in and shaking it all about all over the universe throughout time.

“What about Mars?  The Ice warrior Hives!” – Clara met the Ice Warriors last season in Cold War, and The Doctor of course met them a few times before.

“…or we might be inside a Miniscope!” – The Miniscope is a device designed to allow appreciative audiences to observe the activities of captive (tho unaware of same) beings in a miniaturized and sealed natural environment. The Doctor and Jo Grant were briefly trapped in one in the adventure Carnival of Monsters.

“And this is my spoon” – The Seventh Doctor played the spoons, though he didn’t use them in the more defensive manner he did here.  This scene is much more a Robin Hood reference than anything else – it’s a tip of the hat to the iconic quarterstaff(*) battle between Robin Hood and Little John, as portrayed in too many iterations of the tale to count.

“I’ve had some experience –Richard the Lionheart” – Indeed he has – back in the first Doctor’s adventure The Crusade.  The story was preceded by The Web Planet, the last episode of which had been recovered from a Middle Eastern broadcaster. As a result, it was edited to not include the “next episode” card for The Crusade, as for obvious reasons, that episode was not sold to the Middle East.

“Hai!” – Another callback to the Pertwee era, The Doctor strikes Robin with a Venusian Akido blow.

“Who will rid me of this turbulent Doctor?” – Henry II, King of England once famously asked “Will no one rid me of this turbulent priest?” in reference to Thomas Becket, Archbishop of Canterbury.

BIG BAD WOLF REPORT – Further increasing the similarities to this episode and Deep Breath, this alien ship is also heading for “The Promised Land”, just as the main Clockwork Droid said he was aiming to reach in the earlier episode.  While we don’t see Missy back, The Doctor did notice the similarity.  What’s interesting is that The Doctor assumed the Droid was speaking metaphorically, based on the humanity he’d picked up over the years, but this ship had a course set for it, as if it were a physical location.

NEXT TIME ON DOCTOR WHO – …and gentle be present…to all you’ve ever close kept in your loving heart.  Listen, coming up this Saturday.

    • “Actually, it’s a buck-and-a-quarter quarterstaff, but I’m not teillin’ HIM that…”

Mindy Newell: Martha Got Me Thinking Again!

I listen to feminists and all these radical gals – most of them are failures. They’ve blown it. Some of them have been married, but they married some Casper Milquetoast who asked permission to go to the bathroom. These women just need a man in the house. That’s all they need. Most of the feminists need a man to tell them what time of day it is and to lead them home. And they blew it and they’re mad at all men. Feminists hate men. They’re sexist. They hate men – that’s their problem. – Jerry Falwell

 “Because feminists never disagree with each other. ” – Martha Thomases

That’s what Martha Thomases posted in response to my column last week at the League Of Women Bloggers site on Facebook, where she and I both share opinions and work with other women (such as Trina Robbins, Corrina Lawson, Kate Kotler, and Heidi MacDonald) in the comics and blogging industry.

Martha (whom I have known since I wrote for DC back in the ‘80s) wrote what I think is a brilliant rebuttal last week. So brilliant that I am here to respond. And no, this is not going to become an ongoing issue between co-workers at ComicMix. You are not going to be reading about a “cat-fight” between Newell and Thomases on Bleeding Cool or The Mary Sue or Geek Mom or at The Beat. Because despite the title of Martha’s rebuttal (Girl Fight), you’re not going to see us going at it ala Krystal and Alexis in the swimming pool on Dynasty.

I think that is exactly what is so cool and brilliant about Martha’s column is that it’s a direct stab in the eye to all those who think that “feminism” is one gigantic single-celled amoeba of a socio-political movement.

In other words, just because I can’t get all that excited about Spider-Woman’s ass sticking up in the air on “that” cover doesn’t meant that I don’t agree with Martha about the many shades of feminism. We do come in all shades, in all sizes – some of share opinions and political leanings, some of us don’t. Martha mentioned “Republican Feminists” – click on the link in her column and it leads to a page about First Lady Betty Ford. And First Lady and matriarch of the Bush political dynasty Barbara Bush said. “I hate abortions, but I just could not make that choice for someone else.”

Martha posted a comment to my original column that included the following: “We don’t celebrate the sexuality of “ugly” women (as judged by society). For example, Melissa McCarthy in Bridesmaids isn’t feared for her powerful sex drive. Instead, we laugh. And that movie deserves credit for acknowledging that she has a sex drive at all. Usually, only “beautiful” women (as judged by society) get to do that.

Yeah, we laughed, Martha. McCarthy raising her foot up against the wall of the airplane at a 90o angle as she came on to the air marshal (played by her husband, Ben Falcone) was funny (as well as impressive). But what about the scene where she comes to Kristen Wiig’s home and beats her up over feeling sorry for herself? “Get over it!” she’s telling Kristen. “Embrace yourself! That’s where it starts!” In other words, I think Melissa McCarthy’s real power is in her ability to make people accept her as a fully realized adult woman with a brain, and, yes, a libido that demands to be satisfied.

Yes, she’s overweight by some people’s standards. So what? In the past, buxom, voluptuous women were the ideal – think of the Flemish baroque painter Paul Reubens. And modern painter Lisa Yuskavage’s beautiful and erotic portraits of “fat” women have been exhibited at major art institution around the world, including the Royal Academy of Arts in London, the Museo Tamayo Arte Contemporaneo in Mexico City, and the Institute of Contemporary Art in Philadelphia.

In response to her critics, who have accused her of painting “pornographic” crap, Ms. Yuskavage said, “it’s actually a reclaiming of power and the ability to depict women in all their forms. ”Melissa McCarthy does the same thing with her acting and comedy, forcing us to accept that “rubenesque” women are sensual and sexy and comfortable in their own bodies.

Leslie Tane, the author of the article on Ms. Yuskavage at www.BeautifulDecay.com, said “The essence of female power is not that women must be desexed, it’s that women can decide how they want to be seen – sexy, silly, powerful, maternal, erotic, masculine, intelligent, profound – any combination of these, and much more. ”

Yeah, I know. Lisa Yuskavage didn’t paint Spider-Woman. A man known for his erotic portraits of women painted her.

So the question is: If Lisa Yuskavage had painted an erotic variant cover for Spider-Woman #1, would there have been such an uproar?

I really wonder about that.

And one more thing….

I’ve been wondering why the owners of Twitter – hmm, since Twitter is on the NYSE, it would be Twitter’s Board of Directors and the company’s prime shareholders – haven’t blocked ISIS (ISIL, IS, whatever) from using their application to post their barbarism? Why are they enabling the publicity these monsters are using to “up” their sociopathic and psychopathic “membership” list?

I’m certainly not saying that using Spider-Woman’s derriere on the cover to promote publicity is the same thing. But Marvel’s got to be digging it, despite “apologies” from Axel Alonso, the company’s editor-in-chief – which by the why made stories in The Hollywood Reporter, Yahoo Lifestyle, and various websites, i.e., more publicity. There’s no doubt in my mind – nor should there be in yours – that Manara’s “variant collectible cover” is going to increase sales.

So maybe we – Mindy Newell, Martha Thomases, all us commentators and bloggers, all us pundits – it even made the “Bullseye” feature in Entertainment Weekly – would have been better off ignoring the whole thing.

Then it would have been just another cover of another comic book.

Wouldn’t it?

 

Joe & Anthony Russo Talk Making The Winter Soldier

Captain America TWS Blu-rayWith the blockbuster Captain America: The Winter Soldier being released on 3D Blu-ray, Blu-ray, DVD and Digital HD this Tuesday, we catch up with the directing team of brothers Joe and Anthony Russo to find out about their experience on the iconic Marvel project…

What makes Marvel’s Captain America: The Winter Soldier stand out from other Marvel movies?

Joe: I think it is the level of realism and intensity that makes this movie stand out. Up to this point, I think Marvel films have really embraced the fantasy component, but we have tried to infuse it with intensity and edge. It’s aggressive. We wanted a movie that would grab you and wouldn’t let go until the end. Hopefully we’ve accomplished that and I think that’s what distinguishes it from other Marvel movies.

How did you accomplish this?

Joe: We talked to Marvel early on and said, “People will tell you that they love chocolate ice cream, but if all you give them is chocolate ice cream, sooner or later they’ll get sick of it.” We wanted to throw a curveball and add something to their toolbox going forward that they could use to diversify and dimensionalize the universe.

Why was it so important for you to ground the action in reality? 

Anthony: The movie is set in the political genre and that world is exciting because it has stakes that feel real to you. We were trying to play on a lot of our contemporary anxieties in the storytelling and the realisms flowed from that. This movie has a darker tone and it needs real stakes. That’s what drove us.

How difficult was the challenge of adding more realism to the Marvel Cinematic Universe?

Joe: Well, I was ecstatic as any fan on the planet when I saw what Kevin Feige was doing with The Avengers. I’ve always thought in my own head, ‘How do you pull off an Avengers movie?’ How do you get past so many logistical and financial reasons that mean this movie shouldn’t exist? It’s a real feat, and he pulled it off. If you knew how complicated it is behind-the-scenes to make a movie like that, you’d be amazed. You want the comfort food of that idea, but I think that in order for these movies to keep growing and staying interesting, they have to shift; the tone has to shift. We have to experiment with different flavors…

Anthony: Like Pistachio!

Joe: …To keep it fresh. Hopefully, that’s what we’ve hopefully done with this movie.

What was your biggest challenging in directing the movie?

Joe: The choreography of the action is intense and it’s a very protracted process. It takes a lot of prep and you’re working with a lot of people. Thankfully, we were working with really talented people; from our stunt coordinators to our VFX department to our special effects guys – everybody was the best in the business. Marvel attracts the crème de la crème of talent in the business.

Was it easier to step into a film where most of the characters have been pre-established in earlier Marvel movies?

Joe: We come from television shows like Community and Arrested Development. We always say that after two episodes, the actor knows the character better than we ever will. In that sense, it’s easy to rely on the actor to bring truth to the character. It’s great for us because it’s like a short hand where they can show up with the characters already in place. We just worry about the arcs and the tone of the film. It takes a lot of burden off directing the performance and allows you to focus on the bigger picture of the movie.

How did you balance technology with real sets on Marvel’s Captain America: The Winter Soldier?

Anthony: We wanted to be very careful with that on this film. The level of realism was important to us and it was something that Marvel really embraced. It was a challenge to render the world and the effects in a way that felt very grounded and real world.

Joe: It’s an execution thing. We had a sequence on a freeway and we could have gone to a back-lot and built a little stretch of freeway and green-screened it. But, instead of that, we went to our hometown and got in a lot of trouble for shutting down the freeway for two weeks. We were able to shoot and execute a lot of those stunts practically and I think that enhances your experience because you can feel those things happening for real.

How did it feel to shoot in your hometown, Cleveland?

Joe: It was awesome to be able to go home and shoot. It’s a town that we love and know really well. Not only were we able to share this town with the crew, but also it was easier for us to find locations. We know where everything is, so we could quickly explain to the crew where certain locations could be shot. We understood how to shoot the town because it was the third movie that we had shot there. Also, it was fantastic to have our family around as a support system when you’re working on something of this scale.

Robert Redford was a stellar addition to the cast of Marvel’s Captain America: The Winter Soldier. What was it like to direct such an iconic actor?

Joe: It was amazing.

Anthony: Amazing!

Joe: We couldn’t say enough about him as an individual, and as an actor. He’s truly a renaissance man. He’s like a prince of a human being. And we’re children of the 1970s and of 1970s films, so we’ve seen everything he’s done. I’ve seen Butch Cassidy And The Sundance Kid a million times. To be able to work with him was the highlight of our career.

Robert Redford is a distinguished director, as well as an accomplished actor. Did he offer his directorial input into the movie?

Joe: He is so easy-going and balanced and his knowledge base is incredible. He will offer input or advice when he feels it’s necessary, but he’s never overbearing with it.

Anthony: He’s very respectful and he’s just a lovely man. It was really a privilege to work with him.

What makes the Winter Soldier the perfect villain for the movie?

Joe: It’s a gift to have The Winter Soldier in our movie; it’s a real gift. The genius of [Ed] Brubaker’s comic run is that he took Captain America’s best friend and turned him into the villain. They always say that your hero is only as good as your villain. And, when the hero has so much emotional turmoil in his relationship with the villain, you can’t ask for better storytelling. We were gifted with a great story arc between Captain America and the Winter Soldier. That’s another reason why I think the movie skews darker, too. It’s very rare that you find a villain who has such a strong emotional connection to the hero and where the stakes are so high.

Anthony: It’s very complicated.

Joe: We said to them that this is Star Wars. You know, it’s Darth Vader and Luke Skywalker.

In your opinion, can any woman replace Peggy Carter in Captain America’s life?

Joe: Hayley Atwell did a fantastic job with that role. She’s very charming and beautiful.

Anthony: And that was certainly an issue that Cap was dealing with in this movie.

Joe: And it’s how to reconcile that in his life.

Anthony: But the relationships are very important in the movie in general. His relationship with Natasha [Black Widow, played by Scarlett Johansson] is very important in this film. And his relationships with Fury [Samuel L. Jackson] and The Falcon [Anthony Mackie] are also important.

How challenging was it to come up with a new design for Captain America’s costume in the film?

Joe: The execution of the costumes is a critical and key component for us in the movies. It’s based on our style and our tone and what we like. Again, with everything based in realism, we wanted the costume to be Kevlar-based. We wanted to make sure that the costume had a very functional purpose. That way, when he wears it and you look at him in it, you say “Oh, that’s to stop bullets. I understand.”

Would you say that the costume is as true-to-life as possible?

Joe: Captain America is a stealth operative for S.H.I.E.L.D in this movie, which is another factor that pointed us in a direction for the design of the costume. If the character is working in darkness and in clandestine operations, he can’t wear a target on his chest. He needs to move around in the shadows. We drew upon the more recent versions of the outfit from the comics.

How did your knowledge of comic books inform your directing style?

Anthony: It was most important in terms of the approach to the character and in terms of the version of Captain America we wanted to show in the movie. We didn’t want to get caught up in the boy-scout version; we really wanted to butch up the character. We wanted to bring him into the modern day and make him a man’s man that we could relate to. His virtues are like Rocky Balboa’s in the sense that he has a very simple goal and very fixed virtues. However, he’s unbreakable too, and that’s what is fun about him. In this movie, it was our job to think, ‘Ok, how are we going to break him?’ That’s very much how we approached the film.