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New Who Review: The Day of the Doctor

It’s not often you get to describe an event as being fifty years in the making. even less so do you get to mean it.  Three Doctors in three timelines converge to give them all a chance to change a terrible moment in their collective past.

The Day of the Doctor
by Steven Moffat
Directed by Nick Hurran

The Doctor is in the present, in his most recent incarnation, picking up Clara, when he gets picked up himself, by UNIT, to investigate a mystery at the National Museum.  Meanwhile (well, I say meanwhile…) in his previous incarnation, he’s investigating a mystery in Elizabethan Britain, an attack by the Zygons that could lead all the way to the Queen herself.  And in another part of the Universe entirely, The War Doctor is making a decision that will put the lives of countless innocents in his hands, a choice that will darken and color his life for centuries to come.

Considering that it is physically impossible to create an episode that has everyone and everything that every fan wants, this episode was as close to perfect as could be.  It embraced plotlines that were started in the Davies era, tied in moments and points in Moffat’s own time of running the show, and did a job of undoing a dark moment in The Doctor’s history worthy of Geoff Johns.  I screamed out loud three times, and it would have been four, if one fellow had been able to keep his mouth shut.

THE MONSTER FILES: The Zygons only got one appearance in the original series, the eponymous Terror of the Zygons, but it was enough to keep the popular in the alternative media for years.  Shapeshifting beings, they invade by taking over from within, taking the forms of important people.  They got an off-camera return in The Power of Three as they tried to invade during Amy and Rory’s second honeymoon.

BACKGROUND BITS AND BOBS:Trivia and production details

Oh my GOD is this gonna be a long one.  This episode is packed with self-references and tips of the hat, as well as calling back to points from many other episodes.  I’ll see if I can hit them all…

THE QUESTION ISN’T WHERE, IT’S WHEN: More precisely, from when.  Matt Smith’s Doctor is clearly experiencing this adventure in the “present,” as in after the events of the last season.  Considering Ten(nant) is traveling alone, and is having the adventure he refers to when talking to Ood Sigma in the beginning of The End of Time, he’s clearly from a period between The Waters of Mars and that episode.  We don’t know exactly how much time he spent gallivanting about between those episodes, clearly long enough for his memories of the details of this paradoxical adventure (while still remembering the bits about the Virgin Queen) that he still saw a need to re-imprison the Time Lords with the help of The Master.

Similarly, The War Doctor is experiencing this adventure at the end of this regeneration.  But while we saw his “birth” in the Paul McGann mini-episode, we don’t know exactly how long he has been around, fighting in (and against) the Time War.  He was in his seven hundreds at the end of the original series, and nine hundred at the beginning of the new, so there’s quite a lot of years to spread around between Seven, Eight, and The War Doctor.

So in brief, we’re seeing all three Doctors having this adventure very near the end of their respective regenerations.  So each of them have seen all they’re going to see through their eyes, and that’s about the best time.

CALL FOR THE DOCTOR QUICK, QUICK, QUICK: Kate Stewart, the head of UNIT, daughter of The Brig, has a custom ring for The Doctor on her phone.
Also, note that The Doctor’s number is once again 07700900461, as it was in The Stolen Earth. About 2500 people thought that might be a working number (at least for a tie-in recording or bit of marketing, anyway) when that adventure aired, and tried calling it.  no idea how many will try it this time.

“Waste no more time arguing about what a good man should be: Be one”: They hit the ground running with the self-references.  I.M. Foreman‘s scrap yard was where we first met the Doctor, Susan and the TARDIS, lo those fifty years ago.  Susan attended Coal Hill secondary school, where she aroused the curiosity of teachers Barbara Wright and Ian Chesterton, who as we see here, now serves as headmaster.  Sarah Jane Smith did a bit of investigating, and tracked down Ian and Barbara (now Barbara Chesterton), and reported to her son Luke that they no longer appear to age.  Also, notice that as we see Clara erasing the quote from Marcus Aurelius on her whiteboard, the words “NO MORE” are in the center of the screen.

“Draft”: The Triumph Clara’s driving is the one The Doctor drove up the side of The Shard in The Bells of Saint John.  When last we saw Clara and The Doctor, she was not getting along with the TARDIS, now she’d shutting the doors with a click of her fingers.  Clearly quite some time has passed since the events of The Name of the Doctor – enough time for her to get a job as a teacher, and to make peace with the TARDIS.  And yet she and The Doctor still keep their “See you next Wednesday” relationship, as it’s clear she’s not traveling with him regularly, tho she has no problem with picking up and running when he pops by.

“Tell Malcolm we need new batteries” – Malcolm Taylor is the acting scientific advisor for UNIT, and was played by Lee Evans in Planet of the Dead, and when I heard his name, I let loose with my third-loudest shout of the evening.  If you folks think you were upset that Rose or Eccleston didn’t appear…
And those are presumably the “Ravens of Death” she claimed to have in The Power of Three.

“Nice Scarf” – Considering what we appear to learn at the end of the episode, that scarf MAY not be a replica.  It might have been a gift. From the original owner.
There’s a bit of debate going on as to exactly who Osgood is. Rich Johnson at Bleeding Cool seems to believe that she’s Kate’s daughter – while her first line was her calling “Mum”, I took that to mean the honorific “Ma’am”, and not “Mom”.  But we both noticed there was a UNIT tech named Tom Osgood in The Daemons, and a few of the prose stories, so that seems a more possible guess on her father, anyway.

“I’d be brilliant at having a job”: Well, he really does work for UNIT, when he’s around, and he did pretty well in the two jobs he took when he was helping Craig Owen in The Lodger and Closing Time.

“The High Council is in emergency session, they have plans of their own”: Those would be the plans set into action in The End of Time. We first heard of The Moment in that episode, as it too took place (partly, in flashback) during the end of the Time War.

“The Doctor has The Moment”: In a delightful bit of ingenious design, the initial gear-like design for of The Moment somewhat resembles the Antikythera mechanism, an Out Of Place Artifact found in Greece that (theoretically) could plot the positions of the stars to astounding accuracy.

“The interface is hot”: For those who are grousing that Billie Piper is not playing Rose, not my comment above.  If we were watching an adventure where The Doctor was traveling with Rose, we’d be watching a Doctor who had not yet met Martha, Donna Noble, the crew of Bowie Base One, a Doctor who had, in short, barely begun to live.  This was a way to have Billie a part of the show, while still giving us the best Doctor to experience the story. Also note that it’s a lovely parallel to Ten meeting Rose at the end of The End of Time, before they’ve met in that first adventure, Rose. The War Doctor meets her (or at least sees her visage) before he regenerates and meets (and saves) her in that department store.  So once again, The Bad Wolf was guiding them all to fulfill the almost predestined moment so far in the future.

“Elizabeth the First…you knew her, then?”: Based on what we see here, and what Ten implies later, we shall have to leave tactfully alone the question of what definition of “knew” is being used here… This is England 1562, 37 years before The Shakespeare Code, where we “First” meet the queen, and The Doctor is totally unaware of why she’d be so angry at him.  I expect that happens a lot.

It’s a machine that goes “ding”: It’s presumably similar to The Machine That Goes “Ding” When There’s Stuff, as seen in Blink. While that one was more tuned to temporal anomalies, this one is attuned to physical ones, like the energy expended by a shapeshifting alien.

“Is it important?” “In 1,200 years, I haven’t stepped in anything that wasn’t”” Another callback, this time to A Christmas Carol, when he said it about people.

“I need you to send me one of my father’s incident files”: She is almost certainly asking for the files on the incident we know as The Three Doctors, the tenth anniversary adventure.  As they had to do in the past, they had to come up with a way around using one Doctor, but not for the same reason. William Hartnell was not well at the time, an advancement of the illness that cause him to leave the show in the first place.  So he was not able to take an active part in the story, instead relegated to appearing via the scanner screen.  Ten years later, Tom Baker wasn’t able to appear in The Five Doctors, so they used footage from Shada in his stead.  Hartnell had already passed, so Richard Hurndall took on the role of the First Doctor.
For all the grousing many fans are making that they “left out Eccleston” from this adventure, it’s been verified via the man himself and he chose not to participate in the episode.  His departure from the series was not entirely cordial; no firm details have come to light because he’s a professional, but it’s generally understood there was no small amount of bad blood.
The reference to “Seventies or eighties, depending” is a sly nod to the fact that the Pertwee years of the show were filmed in the seventies, but were supposed to be taking place an unspecified number of years in the future, to try and explain the higher tech items that were sprinkled around.

“Reverse the polarity”: “Reverse the polarity of the Neutron Flow” was one of Jon Pertwee’s legendary catch phrases, but like “Beam me up Scotty”, usually misremembered.  That exact phrase was only used once in the series, and as a hat tip in The Five Doctors”, it was the shorter quote used here that got used in numerous episodes.

“Why are you pointing your screwdrivers like that?”: The War Doctor gives voice to many of the complaints old-guard fans have had about the new series – all the kissing, the Sonic Screwdriver acting more like a weapon (and a magic wand), and much more.  Not to mock the fans, but more to point out the fact that the creators know full well how much the show has changed. And indeed, it’s the constant change of the show that has kept it alive.

“We’ll need access to the Black Archive”: Of all the stuff in that warehouse, I spotted River Song’s Manolos, a Cyberman head, a Sontaran blaster and the chair they had Ten trussed up in in The End of Time, which at this point in time…hasn’t happened yet.  The Black Archive first got mentioned on Sarah Jane Adventures, in the episode Enemy of the Bane, guest-starring Nicholas Courtney in his last appearances as The Brigadier.

“You have a top-level security rating from your last visit”: The question is, is that just a continuance of the fact that everyone has their memories wiped as they leave, one of the many times that Clara has appeared in The Doctor’s past, or a precursor to an upcoming story?  Also on that board with the more recent Companions are Tegan Jovanka, Nyssa of Traken, Kamelion, Five’s short-lived android companion, even Ian and Barbara.  Also, photographed with Captain Erisa Magambo is Rose Tyler…but there’s a problem there.  The only time they met were in the alternate timeline of Turn Left.  So…where did that photo come from?

“We don’t have the activation code”: The numbers The Doctor scratches into the wall of their cell is 1716231163.  Or more clearly, 17:16 23/11/63, the exact date and time that episode one of An Unearthly Child was originally broadcast.

“Same software…different face”: We’re not talking about the screwdriver any more, are we, blondie?  Because later on in the episode, we find out that in a very similar way, The Doctor has been mulling a problem over for the same 400 years, one that he gets to solve himself, not by someone just opening the right door at the last minute.
Moffat is so so good at playing with time as a plot point.  Sending the activation code into the future by writing it on the wall, and the idea of the scan taking the long way round and finishing up just as it’s needed.

“Oh, you’ve redecorated…I don’t like it”: A twice-joked joke, back for a third time.  Patrick Troughton said it about Jon Pertwee’s TARDIS in The Three Doctors, and Eleven said it about Craig’s home in Closing Time.

“At worst, we failed at doing the right thing, as opposed to succeeding in doing the wrong”: What this episode does is essentially undoes an act that The Doctor has regretted for centuries.  But as is always true of situations like this, it has to be undone in a way so nobody KNOWS it was undone, otherwise any events springing from it will not happen as they did, and you get paradoxes springing up like dandelions. So that, more than any other, is why all the Doctors from the time The Moment was supposedly used had to believe they DID use it.  Only until after the present Doctor lives through his portion of the history can he be allowed to remember.  It’s a temporal version of eating your cake and having it too.

“Wearing a bit thin”: Which is exactly how Hartnell described himself shortly before the first regeneration in The Tenth Planet, ushering in the miracle that would keep the show going for five decades.

“I don’t want to go”: Technically, this is the first time he says that – he’ll say it again in The End of Time.  They even worked it into the script of An Adventure in Space and Time.

“I could be a curator”: He is the Curator.  The letter from Elizabeth I appoints The Doctor as official Curator of the Undergallery, “to be summoned in the event of any crises concerning it.”  Now, how he gets all the way back around to the time, place and form we see here, well, that’s all the fun is finding out, isn’t it?

BIG BAD REPORT / CLEVER THEORY DEPARTMENT: For once, the arc of the upcoming season might be a positive.  Gallifrey Falls No More, and clearly The Doctor wants to find it.  But there’s a problem.  They may not have been destroyed, but this is clearly still the Time Lords who saw no problem with breaking out of their temporal prison by destroying the Earth, with the goal of controlling all of time and space.  Now one could argue that it was more the mad plans of the Lord President (played by Timothy Dalton in The End of Time) nd the rest of the Time Lords (save two) fell into line.  But that’s an argument we heard around the middle of last century, and it didn’t fly too well or too often.  If I have the timeline right, The Time Lords will be banished back into the Time Lock after EoT, and find almost immediately that their plan was unneeded, as The Doctor saves the planet and shunts it off somewhere.  So in the time that has passed, have they come to their senses and spent their time rebuilding, or have the grown even more enraged as they pounded at the walls of their temporal prison?  It’s the same question Wilf asked in EoT – will the Time Lords’ return be a good thing?  A lot of possibilities.

“No , sir…all thirteen”: In two seconds, Peter Capaldi premiered as The Doctor, and his eyebrows have already garnered their own fandom.  It also verifies what has been assumed to be true since new news of the New Doctor came out: The next Doctor is the last of his current cycle of regenerations.  Moffat has stated clearly that the 12-regeneration limit is still in place, whimsical comment in Sarah Jane Adventures notwithstanding. So in addition to the search for Gallifrey, we’ll certainly hear more than a bit about him reaching the seeming end of his lives.  One has to wonder if the resolution of one plotline will resolve the other.

NEXT TIME ON DOCTOR WHO

In the more short-term, Silence Will Fall.

See you back here at Christmas.

John Ostrander: Time and Space and Remembrance

ostrander-art-131124-150x179-1398566An unusual convergence of historical dates of different emotional resonances for me occurred this weekend – the 50th anniversary of Doctor Who, the 50th anniversary of the assassination of President John F. Kennedy, and what would have been the sixtieth birthday of my late wife, Kimberly Ann Yale.

Like many Americans, I remember where I was when I heard the news of JFK. I was in my history class at Quigley Preparatory Seminary North near downtown Chicago. The word that the President was shot came over the loudspeaker used for school announcements, followed a little later by the news of his death. I was stunned, in denial. I remember little else of that day. I think school was closed and we were sent home.

Kim’s dad was a Navy chaplain and they were living on-base at the time. She later told me how she was at school off-base and had to hurry back. The base was going into lockdown after the assassination and if she was outside when the gates closed, she wouldn’t have been able to get home. That was her tenth birthday.

For me, I place the days of my youth between two sets of gunshots – the ones that killed JFK and the ones that killed John Lennon on December 8, 1980. I was 14 for the former and 31 for the latter. Both gave me a slightly darker sense of the world around me and the country in which I lived. Both events inform my writing to this day.

The day after Kennedy was killed, a new TV series was launched over in the UK – Doctor Who. The series tells of the adventures of a time-traveling alien Time Lord and his (usually) human companions through time and space. When William Hartnell, the original actor playing the part, became too ill to continue the series, the producers came up with a key concept to the longevity of the series: when a Time Lord faced the death of his mortal body, it can “regenerate” into a wholly new form and, even more significant, a different character. Most important, there’s a whole new actor with a new interpretation of the main character. That, I think, has been key to keeping the series fresh and vital.

I met Kim through Doctor Who. I loved the Doctor and wanted to be the Doctor. I also knew that the odds, then or now, of an American ever playing the part was virtually non-existent. However, I was an actor in Chicago and a sometimes playwright and less often a producer. So I conceived of an idea of getting the rights to put on a play version of the Doctor in Chicago.

I managed to arrange a meeting with show runner John Nathan-Turner during a combined Chicago Comic Con and Doctor Who Convention (sometimes referred to as the Sweat Con since the hotel’s air conditioning unit proved inadequate to the number of people attending and outside it was a 106° Chicago August day). John Nathan-Turner brought along Terry Nation (creator of the Daleks for Doctor Who) and Mr. Nation brought along a lovely young woman with big eyes, curly hair, and a megawatt smile who was his assistant for the Con. That was Kim.

To describe Kim as a Doctor Who fan doesn’t begin to describe it. She was also very knowledgeable on all things Time Lord and I used her an a consultant as I developed the script. Nothing else developed at the time; Kim was married and I don’t fool around that way.

We became a couple only later, after the play project had folded and her marriage had broken up. My romantic life at that point was, if anything, even worse than my theatrical career. I’d given up dating; I hadn’t seen anyone in almost two years. It just seemed too painful to try. Kim and I had kept in touch and she was also a big fan of my work on GrimJack, the comic book I had created for First Comics.

I should note here that Doctor Who was an influence on creating GrimJack. It might seem that the two couldn’t be less alike but one of the things I loved about Doctor Who was that you could do any kind of story. They did horror, they did Westerns, they did everything and I wanted to do that with GrimJack. In that sense, he was my Doctor. Later, we showed he could even reincarnate. There is a darkness to the series that I can, in part, trace back to the assassination of Jack Kennedy.

Kim wrote to me about a specific issue of GrimJack that had affected and resonated with her; I found it a little strange that she would write since we lived less than a mile apart and she had my phone number. I told her this and she replied that some things were best expressed in writing. What can I say? I’m a writer; I understood that. Kim was a writer as well. That night was the night our relationship changed. That was the night we started to become a couple.

It’s just coincidence, I suppose, that the three dates are in such proximity to one another. We assign meaning to dates, both as a people and as individuals. It’s an accident that the significant anniversaries of the assassination, Kim’s birthday, and the launching of Doctor Who are in conjunction this year. The connections that I see, that I feel, among them are mine. We are all the results of the various events that have happened in our lives and none of them occur in a vacuum. This weekend, I remember and honor three that were significant to me.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Marc Alan Fishman: The Shoot Promo on Comics

fishman-art-131123-150x114-1762129The professional wrestler C.M. Punk truly made his mark and broke free of the shackles of mid-card obscurity by way of his infamous pipe bomb shoot promo. For those not in-the-know, a shoot in wrestling is an interview (or soliloquy some of the time) wherein said grappler breaks the fourth wall. As relived in this week’s WTF podcast, Punk was vivid in saying that <a href=”

this promo was done because he was at the end of his rope.

With the WWE wanting him to resign for three more years and Punk decidedly against continuing to not be the guy on the roster, Vince McMahon allowed him to air his grievances live on their Monday night broadcast. If Punk captured the zeitgeist, he’d be a made-man forever in wrestling (which, by my count, is a little over two years). If he failed, he’d be gone, buried back in VA halls wrestling for gas money, and be nothing more than a footnote in WWE’s now 50-year history.

The shoot worked. Punk resigned, and ruled the company with an iron fist until he literally could give no more. The glass ceiling was shattered on the “norm” of the product, and wrestling now is forever changed. Well, maybe not, but I’ll circle back round that idea in a bit.

Why do I bring this up? Well, for one, because it’s topical to me. I was just listening to the podcast on my way home from work tonight. Beyond that, it dawned on me that with all the coverage and snark that exists in the world of comics… there is no C.M. Punk. There is no shoot promo to cut, on any live broadcast. There’s only guys like me; indie creators and op-ed columnists chasing windmills and yelling into the wind. But this here is my stage. This here is my time. So, allow me to speak ill of the industry I wish every damned day I was a part of, but know full well I’ll never actually see.

The WWE’s CEO lives a double life as an on-screen performer. He enjoys his product not only for the money it makes but for the crafted product it actually is. Warner Bros and Disney are just faceless boardrooms ruled not by the glee in little kids’ faces, but cold hard cash. Their publishing branches exist for one reason, and one reason only: to keep the movie and TV machines churning. Don’t think for a second that your issues of Batman mean any more to the execs in Burbank than a roll of teepee. It doesn’t. That rag in your hands? The one that has the blood, sweat, and tears of a dozen hard working men and women broiled into its pulp? It’s an incubator of ideas for a movie or cartoon show. It’s a crockpot keeping the license warm. It’s a mosquito light that keeps the most vocal fans distracted. Go ahead, post your death threats if we make Afflec Batman… but hey! Look over there! It’s Zero Year!

We all desire the notion that those behind the rich mahogany desks (being packed up in Midtown Manhattan in 18 months) lie overgrown fanboys and girls that just want to knock the socks off us, the ever-enduring fans of a dying medium. But it too is just a pipedream. The suits that run your comic book publishing companies are shackled to boulders far too big to drag up the mountain. Beyond the goodwill garnered by our little niche market, and the fervent fans that exist at comic cons lie those aforementioned suits in bigger boardrooms that still demand that at the end of the day everything be profitable. Profits occur when sales increase. Sales increase when gimmicks, #1s, and creators that draw a crowd are given the top spots. When a book stops earning what meager profits it can when it’s hot, it’s tossed out with the bathwater and things start again. The era of continuity is long dead. All hail the retcon.

The closest thing we had to C.M. Punk in comics was Robert Kirkman. He took his indie prowess and love of the craft and turned out The Walking Dead. Now, Kirkman is a suit. Behind a desk. Of a multi-media empire. He won the championship belt, and didn’t even have to work for the man to do it. Now, he is the man, and no longer a voice of the voiceless. Like so many though, atop his mountain of money many years ago he gave birth to his manifesto wherein he challenged the industry to veer towards creator-owned projects. Hey Robbie! Trickle-down economics don’t work in real life or in comics. If every known talent jumped off their pedestals at Marvel and DC to come make indie books at Dark Horse, Image, and Boom! the line to replace them would still be wrapped around the vacant Midtown offices and land somewhere in the opposite ocean. Everyone is replaceable when the end goal is product. Not good product. Just product.

The fact is this: After he changed the world and held the WWE title for longer than any wrestler in the last two decades or so, Punk took a much-needed break. When he returned, he was just as our resurrected Jean Greys, Steve Rogers, or Hal Jordans… a hero to be celebrated for what he was, not who he is now. A long and listless program against his on-screen mentor, and Punk is now booked right back in the mid-card where he started. The comic book industry has no panacea to cure itself of the ills we rally against. Just as the WWE fans buy their John Cena Fruity Pebbles Lunchboxes… so too do we comic fans flock to every worthless gimmick they shove on the racks. We make our excuses, we plunk down our money, and we bitch about it on the Internet later.

The only way to make change, is to make it. There is no utopia. There’s only revolution.

SUNDAY: John OstranderMONDAY: Mindy Newell

 

The Tweeks review “Shrek: The Musical”!

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He’s big, green, loud, obnoxoius, and is like an onion. He also sings, dances, and saves the princess. And now, there’s a DVD and Blu-Ray edition of the Broadway musical based on the Dreamworks animated movie based on the book by William Steig. (Whew!) This week, the Tweeks review the musical version of Shrek. Take a look…

The Point Radio: The Reasons They Remade OLD BOY

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The minute cinema fans heard that the classic film, OLD BOY, was about to be remade, the controversy began. Now, two stars, two directors and one writer later, the film is headed to theaters. Writer Mark Protosevich talks about the burden of getting it right, and star Michael Imperioli explains why Spike Lee is really the only man for the the directing job. Plus comedy’s angry man, Lewis Black, reveals how he first got excited and ABC’s SHIELD tries a new direction.

THE POINT covers it 24/7! Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Martha Thomases: All You Need is Love

thomases-art-131122-150x136-4745173The Fifth Beatle: The Brian Epstein Story by Vivek Tiwary and Andrew C Robinson, with Kyle Baker. 144 pages. Dark Horse. Available in both hardcover and electronic editions.

This week, I’m kvelling all the time. The Fifth Beatle is finally in the stores.

Let me explain. About a dozen years ago, I met Vivek Tiwary and we quickly became friends, even though it’s only recently I’ve pronounced his name properly. We met because we had friends in common, friends who inspired us to do some good, in Vivek’s case quite amazingly. (Really, watch the video at the link. It’s wonderful.)

Community service is all well and good, but what really bonded us was comics. We are totally geeks together. We would walk around various conventions (both Book Expo and the San Diego Comic-Con), sharing the kind of fangasms such events inspire. I even helped him take his young son around.

During these walks, and on other occasions, we would often talk about his various projects, He was working on turning Green Day’s American Idiot album into a theatrical musical, and he was working on a screenplay about Brian Epstein. Vivek is quite passionate on the subject of Epstein, the Beatles’ first manager. He first looked tried to find out about him 21 years ago, when he was in business school. There was hardly any information. Over the decades, he pulled the story together. Vivek had a lot of experience as a theatrical producer, but film was a new medium for him. He had written a screenplay, but getting it made was an arduous process.

Why not make it into a graphic novel while you wait, I suggested.

And so he did. He found Andrew Robinson to collaborate on the art (and I introduced him to Kyle Baker, who drew the hilarious scene in the Philipines), and off they went. Thanks to my ComicMix co-columnist Michael Davis, we got the book to Dark Horse.

Vivek didn’t fall into the trap that catches too many writers from other media, including me. He doesn’t cram the page with words. He knows how to let the pictures tell the story. He trusts his artist to convey the pace, the emotions, the energy of the story. Andrew doesn’t let him down. The likenesses are evocative without being overbearing. People who knew some of the characters in real life tell me he nailed the body language as well as the bodies. The use of Beatle lyrics is lovely.

There is a rhythm to the story that is like a great rock’n’roll song. You get caught up in the energy when you read it the first time, and then you can’t get it out of your head.

And now, you have the book in your hands. You’re welcome.

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander

 

Dennis O’Neil: The Mustache and the Movies

oneil-art-131121-1022537I’ve gone into hundreds, maybe thousands of theaters, but entering the Regal Cinema last week was a bit unique. This Regal had only been in business a few days – to all intents and purposes it was brand new – and so everything about it was clean and pleasant and orderly, the rugs unspotted, the air untainted, the seats deep and sumptuously padded. And I think I felt a slight tingle of anticipation as I crossed the lobby.

I wonder if I felt a similar tingle the first time someone, almost certainly my mother, took me to the picture show. I would have been just past toddlerhood and so my world would have still be surprising and numinous and I’d be into a strange place, my hand in another, familiar hand, stepping into a semidarkness full of strangers, looking up at a big white thing that suddenly brightened and was full of motion and I was in the presence of something new and wonderful. Remember – this was in the early 1940s. In that era, a boy barely past infancy would never have seen even a television, nor would anyone else he knew because the video invasion was not happening until after the war, so pictures that moved? And talked? Magic!

What did I see? Maybe a newsreel – they still showed newsreels, back then – and maybe a Three Stooges or a Pete Smith Specialty. And a cartoon? Woody Woodpecker or Bugs Bunny or Mighty Mouse or Donald Duck? (If it was a Donald Duck, I would have also seen, the first of many such sightings, the name “Walt Disney,” though, of course, the letters would have been only incomprehensible shapes, reading being as yet an unsolved mystery.) Then, the feature, probably a double feature, long pictures about… cowboys? Or people who did funny things, like the Three Stooges? Or both? Might have been both! Why not both?

Marvel superheroes didn’t yet exist when I toddled into the land of cinema, though they sure as shooting exist now and it was a Marvel movie that I saw last week at the Regal: Thor: The Dark World. Enjoyed it, the wife and I, and since I never worked on the Thor character during my employment at Mighty Marvel, I brought no particular baggage to the event. I left my (sumptuously padded) seat thinking that Thor was Marvel’s answer to the Tolkein adaptations – those Hobbits and their quest and their adventures – and that the filmmakers were doing something some science fiction writers were doing about about 50 years ago, conflating mythology with sf, and doing it pretty well, too. And they’re doing it under the aegis of the company started by Donald Duck’s boss.

I saw Walt himself when he appeared on the Disneyland television show in 1954, when I would have been about 15 and, well… something about him bothered me, just a tiny bit. What? Could it be his mustache? It was like the lip hair sported by a recent presidential candidate, Thomas Dewey, who my parents didn’t vote for, possibly because he was a Republican and his opponent, Harry S. Truman, came from our home state of Missouri. Something else, though? Hey… the bad guys in the cowboy movies – not the bad guys out on the trail who got shot or punched by the good guys, but the sneaky bad guys who lurked in back rooms and schemed – they often had those kinds of mustaches.

And all those years past, sitting in the darkness next to a parent – did I see a mustached bad guy on the screen and is that why I didn’t instantly like Walt Disney? You tell me.

THURSDAY AFTERNOON: The Tweaks!

FRIDAY MORNING: Martha Thomases

 

Mike Gold: Will There Always Be Superman Comics?

gold-art-131120-150x142-1293787Over a decade ago the head of what was then called Tribune Media Services told me that as far as the producer of the Little Orphan Annie musicals was concerned, he did not need the comic strip around in order to keep his Annie franchise successful. I responded, “Well, somebody’s figured out what Disney’s been up to.”

Walt Disney used to say that he always reminded people that the whole thing started out with a mouse. And to this very day – the 85th anniversary of the first Mickey Mouse cartoon was last Monday – Mickey has remained the (usually silent) Disney spokesmouse. So… riddle me this, Mousemen. Outside of a few direct-to-DVDs and a couple teevee shots, how many Mickey Mouse cartoons were made in the past 60 years?

There was not a single Mickey Mouse cartoon produced between 1953 and 1983. There’s been maybe four true Mickey cartoons produced since then, plus the short-lived House of Mouse show, some video games and a few cameos.

And tons of merchandising which, obviously, was not dependent upon the character’s presence on the large or the small screen.

Two of the biggest superhero characters of the 1930s through 1950s were The Shadow and The Lone Ranger. Both remain icons, but neither are vital forces in our cultural marketplace – despite what seems to have been a contest to see who could produce the worst Lone Ranger feature film. If this were, say, 1940, I suspect most people would say these guys would remain strong in one form or another for a long, long time. In The Shadow’s case, that would be until his radio show was cancelled on December 26, 1954. The Lone Ranger lasted on teevee until September 12, 1957; there was an animated series that ran for 28 episodes in the mid-60s.

So, I ask you: as a comic book, how long will Superman last? Or Spider-Man, or Batman, or the X-Men… you get the idea. In the 1940s, Superman was successful in comic books but even more successful as a radio series and a newspaper comic strip. The comic books were kept alive by the success of the Superman television series in the 1950s. National Periodical Publications, predecessor to DC Comics, didn’t need comic books to make a profit. In fact, if they didn’t own their own distribution network they might have canned the print operation when sales plummeted during the mid-50s.

Warner Bros. (DC comics) and Disney (Marvel comics) do not need the comic books in order to sell merchandising and produce movies and television shows, although producing good movies and teevee shows is always challenging.

The good folks at DC’s New York City office – including the vast majority of their editorial departments – have but a few more weeks to decide if they are going to move to Los Angeles in the spring of 2015. It’s a tough decision.

As a member of DC’s historical family, indulge me as I offer this piece of advise. If you want to move to Los Angeles, do so. But as soon as you get there, keep an eye out for other jobs. Warner Bros. and Disney do not need to publish comic books in order to keep their stockholders happy.

Just don’t tell them so.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOONL The Tweeks!

 

Professor Elemental dishes on his “Phineas and Ferb” cameo

zsdq8jo-9940035If you’re a fan of the Disney cartoon Phineas and Ferb, like I know I am, you may have recognized the performer of the song for latest episode “Steampunx”.  It was chap-hop impresario himself, Professor Elemental, taking his gentlemanly beats to a new and young audience.  By way of the electric-type wireless, yr. obt. svt. was able to sit the Professor down for a virtual cup of tea and a few questions about his foray into animated entertainment. (more…)