Dear Paul,

Paul, Paul, PaulPaulPaul, Paul.

I hope this letters finds you well.

You and I have had our differences over the years but I still remember when I used to hang out in your office and just talk to you and all the swag you bestowed upon me.

Clearly our styles have clashed and the differences we’ve had have been huge.

Like it or not Paul, you and I have a shared history that history includes your absolute undeniable contribution to Milestone Media. Without Paul Levitz Milestone would not have ever existed. I recently said just that at the Milestone 20th anniversary panel at the San Diego Comic Con. You have taught me a lot Paul and like I said rather you like it or not you’ve been instrumental in a lot of my career.

When I first became President and CEO of Motown Animation & Filmworks you and I were talking at a San Diego Comic Con event when a drunk colorist I trained and arranged his first professional job, rolled up to me in front of you and started talking shit about how horrible a human being I was because I fired a friend of his off a project. I was right about to do something very un-CEO like and put my fist in his throat when you lightly touched my arm and said softly “Michael you’re a CEO now, you will always have a target on your back, let it go.”

I did.

I know I’m a bit of a pill Paul, but no more than Todd McFarland, Frank Miller, Harlan Ellison or scores of other artists who have over-the-top take-no-shit-personalities.

Love me or hate me, I’ve earned respect. How many people do you know have a magnet school auditorium named them, were named Mentor Of The Year by Mentor magazine, has 12 count them, 12 Michael Davis day proclamations from 12 different cities because of my work with kids and education, a PhD… and on top of all that I’m cute as a button.

Paul, I am who I am.

You are who you are, one of the most influential people in comic book history if I hated your guts (which I don’t) I would still respect that. I don’t hate you, Paul. I miss you. I miss those Levitz talks, especially the ones that ended with me carrying out a huge Batman or Superman or Lobo statue.  All of which you’ve given me (when you liked me).

I’m super glad to see you are writing again. The Darkness Saga is on my top five ever-favorite story lines, the others being Watchmen, Dark Knight, Camelot 3000 and The Killing Joke. Paul, I’d like to invite you to my annual Comic Con party. We can sit down and swap Bob Wayne stories. I’ll tell you all about the time Bob took me dinner in Texas and how he continuously reminded me there were no black people within a-hundred miles. I wasn’t scared (much) it was all in good fun.

Again, I hope you and yours are well, call me, let’s do lunch, and bring some money so you can eat too. :-)

WEDNESDAY MORNING: Mike Gold

THURSDAY MORNING: Dennis O’Neil

Glee has always been somewhat infuriating in its realistic portrayal of teenage travails (doing it better than most other prime time series) but setting it in such an unrealistic setting since no high school runs the way McKinley does in fictional Lima, Ohio. These kids never have homework or need to balance their studies with extracurricular activities, especially those in time intensive groups such as the Cheerios or the sports teams.

Still Ryan Murphy’s band of misfits remains entertaining and a winning mix. The fourth season, out now on Home Video from 20^th Century Home Entertainment, finally addressed the aging cast, sending most away to college. Notably, Rachel (Lea Michele) was attending NYADA the performing arts college, while struggling to maintain her long distance relationship with Finn (Cory Monteith), who had surprisingly enlisted at the end of the previous season. Following her to the Big Apple was Kurt (Chris Colfer), who didn’t get into the school but was determined to make it somehow.

Back at school, new members were recruited and here were some true gems, starting with Melissa Benoist as Marley Rose, a true talent and cute as a button. Less interesting was the introduction of Puck’s half-brother Jake (Jacob Artist) who started off a bad boy but had his edge quickly shorn away. In fact, all the characters that arrived with nasty angles to their personalities got worn down into saccharine sweetness with Becca Tobin’s Kitty the last holdout.

The show short-changed everyone by glossing over their characters in favor of splitting the focus between NYC and Lima. The proposed spinoff for the graduates was never picked up so the emphasis needed to change, which is a shame since the issues both crews face are vastly different ones and the frequent trips home once more beggared the imagination.

The season differed from the first three in that it did not cover a complete school year, instead ending late in the school year but before the all-important national competition. Along the way, we watched Finn become a lost soul, leaving the service and filling in for Mr. Schuester (Matthew Morrison), who was off at a conference. The character’s search for a direction at the same time the actor was struggling with his personal addictions lends revisiting this arc a poignant feel. His late addition to the DVD cover art was a nice touch.

The major themes of the year including the struggles of growing up, bulimia/anorexia, cancer, marriage, fidelity, and similar trials. Each week they sang and danced their way through the issues, often in catchy ways that belied the seriousness of the issues. In many cases, trouble never met with consequences such as Kitty’s trying to convince Marley she was gaining weight or When Wade “catfished” Ryder.

As the season wound down, the absurdity got worse climaxing with Brittany’s suddenly discovered savant genius with math and being whisked off “now” to MIT. Other characters seemed to have nothing to do, with Jane Lynch’s Sue Sylvester emasculated and left to be supportive. The season wound down as they readied for Nationals and the impending graduation of other members of the glee club.

The film to high definition transfer is well done, as is expected from 20th Century Fox Home Entertainment. And for a series dependent on music, the audio is more than up to the task making rewatching moments work well.

Each of the four discs in the Blu-ray set contains a mix of features such as the Glee Music Jukebox (1:03:28); Movin’ On Up: Glee in NYC (10:02), talking about the location shooting; Building New York (6:29); Jarley (8:53), a look at the new members Jake and Marley; and Deleted Scenes (15:24). Disc two has another look at those musical sequences in Glee Music Jukebox (1:01:48) offers a tour through the musical sequences of each episode on the disc, and Deleted Scenes (5:04). Disc three offers Glee Music Jukebox (1:29:35),  Glee On Film (11:56) looks at the cinema-centric episode; and, The Road to 500 (3:54), which is the number of musical sequences. The final disc gives us Glee Music Jukebox (1:15:52); Blaine’s Time Capsule (8:12), a cheesy message for his adult self; and Glee Premiere Party! (3:41).

The show may have lost some of its cache as a trendsetter and star maker but it remains an entertaining diversion. Personally, the Mike O’Malley scenes as Kurt’s father Burt dealing with his son remain the best material year after year but then again, I’m a father and not a star-struck teen. No doubt, most everyone will find something to identify with or sing-along to.

I’ve been down with what is either an incredibly horrible cold or what technically would be considered a mild flu since last Tuesday, although “mild” is definitely not in the eyes of the sufferer – achy and sore, exhausted just doing nothing but unable to sleep enough to wake up feeling like I slept, coughing up disgusting stuff from inside my chest, a nose that is either stuffed or running depending on the time of day, alternately hungry and nauseous in the same minute…

Anyway, my brain is definitely not completely “there” this week, but here are some thoughts.

So far not terrifically excited by Agents Of S.H.I.E.L.D. I thought the pilot episode was basically meh and if it wasn’t for the involvement of the combined powerhouse of the MCU (Marvel Cinematic Universe) and Joss Whedon it would never have been picked up by ABC, much less been given a full season of episodes. For one thing the new agents (meaning those we haven’t seen in the MCU) are too homogenously Hollywood; everybody is the same pretty face and body, as though the casting office went to the Paris and New York fashion shows instead of the theaters in their search for new talent. Note to ABC: Marvel’s universe is not DC’s universe. It’s built around imperfect people having imperfect lives, super powered or not. It wouldn’t have been a bad idea to hire a Melissa McCarthy or Kevin James as agents. Y’know, some imperfect people. Imperfect people who can… act.

But maybe I’m being too hard on a new show that has had the weight of high expectations around its neck like the proverbial albatross. Isn’t there anything I’ve liked about AOS?

Of course.

Clark Gregg as Phil Coulson. Oh, and Clark Gregg as Phil Coulson. And then there’s Clark Gregg as Phil Coulson.

I also like Lola, Phil Coulson’s 1961 red Chevrolet Corvette C1. (Phil Coulson is played by Clark Gregg.)

I like that Lola has a little bit of DeLorean in her.

I like Sam Jackson showing up as Nick Fury and dressing down Phil Coulson (who is played by Clark Gregg.)

I liked seeing J. August Richards – Charles Gunn on Angel – on TV again, playing the manipulated and man-made superhero/supervillain of the pilot. Whedon has a good, no, great, eye for talent and he often hires and rehires actors he has worked with and brought to stardom…maybe we’ll be seeing other Wheedon “school” alumni on AOS? Alexis Denisoff – yes, I know he played “the Other” in The Avengers, but so what? – Elisha Dushku, Tom Lenk, Amy Acker, Gina Torres, Nathan Fillion….

Actually, those are the kind of actors I would have liked to see making up the Agents Of S.H.I.E.L.D on ABC, Tuesdays at 8 PM, EDT.

Still, the pretty faces of Hollywood might grow on me.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis