Kim Yale.

Kimberly Yale, as you know, was John Ostrander’s wife, and it was John’s beautiful tribute to her in his column WWKL? last week that has inspired me to write about her and our friendship.

Kim and I met over 20 years ago at a Chicago ComicCon when she chaired a Women In Comics panel to which I had been invited. I was a real newbie to the biz, wondering what the hell I was doing there, and completely awed to be meeting the real people behind the names on the splash pages of my favorite comics. So I was incredibly shy – yes, hard to believe, but completely true – when I went into the room where the panel was being held and walked up onto the dais. I didn’t know anyone…or at least, it felt like that. Although I do believe that it was Michael Davis  who had promised to come to the panel to cheer me on. Was it you, Michael?

This woman about my age with beautiful red-blonde hair and who just radiated confidence and energy came up to me and said, “Hi, I’m Kim Yale. You must be Mindy Newell. I am so happy to meet you.” I was flabbergasted. “How did you know that?” I said. “Oh, a little birdie told me,” she laughed. (Never did find out who that birdie was.) She introduced me to two of other panelists, Trina Robbins and Joyce Brabner – and they knew who I was, too! We stood talking as conventioneers started filling the room, and I started realizing that I wasn’t such an oddity after all. These were all bright, intelligent women who loved comics just as much as I did!

So the panel started, and we all introduced ourselves, and Kim, as chair, started the discussion with a question that I honestly don’t remember, but my answer was about how Supergirl – the original Supergirl – was such a powerful message for little girls growing up in the 50s, being Superman’s secret weapon and all. After the panel, Kim came over to me and said, “I absolutely loved what you said about Supergirl. I am so glad you’re in this business.”

That was the start of our friendship.

I lived in New Jersey, with the Big Apple outside my windows. Back then Kim and John lived in Chicago. Back before there were cell phones and calling plans, my phone bill zoomed up into the stratosphere with long distance calls to the Second City. I was going through some hard times, and Kim was always there for me, even when it was pushing towards the wee hours. (I’m pretty sure Kim’s bill went up, too.) When Mike Gold recruited Kim for an editor position at DC, she and John moved to Connecticut. Still long distance, but waaaay cheaper than calling Chicago. And, of course, I saw her in the office.

Some things I remember and hold close to my heart:

I was dating a guy who was going to Johnson & Wales in Rhode Island. Kim suggested that we meet at their house for a weekend – which was pretty much at the halfway point – and she and John would vamoose.

Kim and I were doing the Sex And The City thing, just two women sharing lunch and gossip and deep-down secrets at a terrific Italian restaurant a couple of blocks from DC one afternoon when all of a sudden Kim mouthed something to me. I’m a terrible lip reader and I didn’t have a clue what she was saying. “Huh?” I said. She mouthed it again. I said, “What?” again. This time as she mouthed the words, she discretely pointed her finger over my shoulder. The restaurant was loud with lunchtime clients, and I could barely hear her. This time, I said, “Kim, I can’t hear you. What are you trying to say?” Kim was exasperated; she whispered, “Tony Bennett is right there.” I said, in a very looooouud voice, “Tony Bennett!!!! Where?” Mr. Bennett turned around and said, “Right here, ladies.” I was mortified. He was laughing, and Kim was hysterical.

Kim and John sharing the Passover Seder at my parents’ house. Kim’s clear voice reading from the Hagaddah with interest and passion.

Kim calling me to tell me about some physical things that were going on with her, and the fear in her voice, and asking if she should go to the doctor.

John calling me to tell me that the doctors had discovered a second lump in Kim’s other breast while she was on the table.

Going to see Kim at Sloan-Kettering Memorial Hospital.

Kim telling me that she was going to beat this thing.

Kim looking so beautiful in her hats and scarves when she lost her hair from the chemo.

Kim at Morristown Memorial.

Sharing an intimate moment between John and Kim in the hospital a few days before….

Getting a call from John that I had better come right over.

Seeing Kim on the hospital bed set up in their living room, because she could no longer get upstairs to the bedroom.

Kim sick, wracked with pain, weak – dying – and yet still so beautiful and at peace.

John calling to tell me she was now truly at peace.

Kim’s memorial service, where I honored her by partaking in the bread and wine during the Mass. The minister understanding why I did it. The guests who knew I was Jewish completely shocked.

The spreading of her ashes in the garden under the flowers she had planted.

And in the present…

Sometimes, often, I know Kim is hanging around, keeping me company.

Kimberly Ann Yale.

A woman who ran with the wolves.

Kim.

My friend.

TUESDAY: Michael Davis

Espionage stories fall into one of two categories: thoughtful, well-plotted stories about characters forced to make difficult choices or high-tech, glossy larger-than-life adventures. Most espionage films and television have focused on the latter while the former has become a staple of modern day fiction with the acknowledged grandmaster being John le Carré. His books are difficult to adapt given the amount of plot and detail but they make for gipping reading and when brought to the screen entirely depend on the skill of the writer, director, and cast.

His best known novel is probably Tinker Tailor Solider Spy which was a wonderful miniseries starring Alec Guinness several decades back. This past holiday season, a big screen version was delivered and for the most part was overlooked by audiences. That’s a shame because as we now know, it gave Gary Oldman one of the most interesting roles of his career and brought him an Academy Award nomination for his work as George Smiley. The movie is out Tuesday on home video from Universal Home Entertainment.

The movie certainly benefitted from le Carré being a producer, but it was the skillful screenplay by Peter Straughan and the late Bridget O’Connor that boiled the novel into a digestible 2:08 movie. Director Tomas Alfredson grabbed the audience by their heads and said to them, “This requires your complete attention so focus now.” Early on, there are a series of scenes, some just seconds long that carefully build a mosaic of images and story points. We open with the resignation of Smiley and C (John Hurt), the head of MI:6, forced out in the wake of a botched mission in Budapest. Soon after, C dies from illness and Smiley is brought back in from the cold to work independently to prove whether or not a mole exists within the agency. (more…)

SPOILER WARNING: I’m assuming that people reading this have seen the movie and thus will be free with me discussing elements of the plot. If you’re one of those who haven’t, do yourself a favor and DON’T READ THIS. See the movie instead and have your own experience with it. Trust me. You’ll be glad you did. If you need a plot synopsis, IMDB has a good one here. 

The movie Casablanca turns 70 this year and, to celebrate, Warner Bros is releasing it on Blu-Ray on March 27 and is also showing it, one night only, in selected movie theaters across the country on March 21. I’ve already got the tickets for Mary and myself.

I’ve seen the film at least twice now on the big screen and look forward to seeing it again – I’ve watched it countless number of times on DVD but the experience on the big screen is matchless. Those incredible close-ups of the three stars at the climax of the film are so stunning on a large screen.

My first experience with Casablanca, fortunately, was a showing at a second run small movie theater in Chicago (the 400) in an inspired double bill with Woody Allen’s Play It Again, Sam. I had put off seeing the film for the same reason I put off seeing or reading or listening to many things that I would later love – because people told me I had to see/read/listen to something and sometimes I’m a pig-headed idiot.

This was an audience that knew and loved the movie; they cheered and laughed at the best lines and scenes. In the famous dueling anthems scene, some audience members sang the Marseilles and the entire audience erupted into cheers when the French anthem triumphed over the Nazis. It was electrifying for the audience as well as the characters. What a great introduction to the film.

Over the years I’ve watched and became aware of different fine points of the movie. It was very much a picture of its time and reflected a reborn patriotism that came with the War effort. In a scene where Humphrey Bogart’s character, Rick, is waiting for Ingrid Bergman’s character, Ilsa, to come back to his nightclub after hours, he’s getting seriously drunk and asks his piano player and confidant, Sam (Dooley Wilson), “If it’s 1941 in Casablanca, what time is it in America?” That line isn’t just drunken slosh.

Earlier in the movie, Rick okays a credit slip dated December 2, 1941. It sets the events of the movie five days before the Japanese bomb Pearl Harbor causing the United States entrance into World War II. Prior to this, much of America is isolationist and Rick embodies that. He “sticks his neck out for nobody.” He’s cynical and aloof; he never drinks with customers or employees. That all changes before the end of the film.

The fulcrum of change is the return of Ilsa, Rick’s former love in Paris before the Nazis matched in. You can’t much blame Rick for being in love with her; as played by a young Ingrid Bergman, Ilsa is radiant. Rick, however, has been burned. He was jilted by Ilsa just as they were to leave Paris together.

Rick’s change comes late in the film when he and Ilsa have been reconciled and she declares that she still loves him. Torn, upset, she tells Rick that he will have to decide for her, for everyone involved. Rick simply says, “Okay. I will.” That, however, changes everything. At that moment Rick becomes the man of action once more and everything moves forward at a gallop towards the climax.

Rick disposes of all his holdings. We assume it’s because he’s going off with Ilsa but that’s not his goal; he’s getting her out of Casablanca (along with her husband). He’s not out to kill the villainous Nazi Strasser (even though he does). He expects to wind up in jail, a concentration camp, or dead. That, more than anything else, marks him as a real hero – the degree to which he is willing to sacrifice himself.

There’s more to be said about Casablanca and I’ll say them next week. Until then – here’s looking at you, kid.

MONDAY: Mindy Newell, R.N., CNOR, C.G. (Comic Geek)

Weddings are about beginnings and endings, as two single lives end and become one married life, promising a hopeful future. The universe beyond our planet is a breathtaking void filled with great unknowns that also can be seen as a hopeful place where anything can happen. In both cases, when the unexpected occurs, all hell breaks loose.

Danish auteur Lars von Trier explores both issues in his film Melancholia, currently out on home video from Magnolia Entertainment. Compared by many in scope and reach with Terence Malick’s tone poem Tree of Life, this is a more personal and accessible story despite it depressing plot lines. The beautifully filmed and visually impressive film is also anchored by an, ahem, stellar cast.

After a prologue tipping you off that Earth is destroyed we then begin the story. Split into two sections, each named after a sister, we open with “Justine” and the wedding. Justine (Kirsten Dunst) and Michael (Alexander Skarsgård) are trying to make it to the top of a mountain for their wedding ceremony at the palatial castle owned by her sister Claire (Charlotte Gainsbourg) and her husband John (Kiefer Sutherland). They’re late given the difficulty of getting the limo up the steep road and things spiral downhill from there. On what is billed as the happiest day of her life, Justine winds up feeling alone and isolated, retreating to take a bath during the reception. Some of her actions are to avoid her parents (John Hurt and Charlotte Rampling) who brought their own personal drama to the event. Justine is trapped, feeling as if she has made a mistake and can’t get out of it. (more…)

Friends, we are at the dawn of a new and great age. The mighty Marvel Universe and the dynamic DC Nation each will have a block of programming on cable television. On Saturday mornings. Set those DVR’s to stun, kiddos.

Sure, both the House of Mouse and the Brothers of Warner have each ventured into the cartoon cavalcade before, and they were glorious times indeed. As I recall at their heyday, Spider-Man and the X-Men were in full force. Batman’s animated adventures become a power hour with the addition of Superman. And throughout the late 90s and early aughts we’d be privy to all sorts of spin-offs, short lived series, and some toons we may all wish had never seen the light of day. Don’t fret… I’ll have a whole column to dedicate to them soon enough.

The DC Nation block leads off with Green Lantern’s new CG series. Kids ken to the Clone Wars will find fast friends in Kilowog and Hal Jordan as they romp around space helping protect innocents from the wrath of the deadly red lanterns. Following the emerald knights is Young Justice – the continuing tale of a modified DCnU with a team of sidekicks turned proto-titans.

On the Marvel side of the coin, we’ll get the new Ultimate Spider-Man cartoon and the continuing saga of Earth’s Mightiest Heroes with … well… The Avengers: Earth’s Mightiest Heroes. Both blocks will feature fanboy-service by way of interstitial shorts, special segments, and probably a few bonus promotions. DC Nation shows on Cartoon Network, and Marvel Universe will show up on Disney XD. Thus far, DC is ahead of the curve with their block of programming having debuted two weeks ago. Marvel is launching in early April. I can safely report that DC came out of the gate very strong.

I admit I was very nervous about the Green Lantern series when the trailer debuted back in the summer. The Bruce Timm-meets-Clone Wars styling didn’t immediately strike me as being indicative of the quality of previous animated incarnations of DC property. But, like the true emerald enthusiast that I am, I gave the pilot a shot. I was quite impressed. While the character models are a bit too stylized for my personal taste, the writing is high quality. Hal comes across bountifully cocky. Kilowog as the buddy in this buddy-cop-cartoon works surprisingly well. The Red Lanterns are even given a bit of depth out of the gate, quelling most of my fears by the end of the first episode. If there’s any complaint I have thus far, is my fear of the series not exploring the true expanse of cosmic characters. and focusing too much on the Red Lanterns. Simply put, by the end of the season I want Larfleeze, damnit.

Young Justice has been a quietly rising star in DC’s animated belt. The “made cool for the preteen crowd” style keeps me coming back to soak up the fresh redesigns. And their treatment of Aqualad has done more for the character than Geoff Johns did in all of Brightest Day. While their treatment of Conner Kent is a skosh too angsty for my taste… they balance it out superbly with Wally West. The show has taken some time to get its sea legs firmly planted, but a slow burn of serialization paid off at the tail of their first season. Not every story they’ve done has been a complete winner, but the action sequences and cameos from adult league members has always kept things moving. Suffice to say, have it anchor the DC Nation shows their commitment to find new life after the Bruce Timm era-of-awesome.

Over at Marvel, I have to say I’ve never been this excited for a block of their programming. In the mid-nineties, they produced an Iron Man / Fantastic Four block that started strong and staggered stupendously. Their Spider-Man cartoons have always been solid. The X-Men cartoon tackled an amazing amount of comic milestones, but ended sloppily. With their Avengers cartoon though, they have achieved something I honestly did not think I’d see: a comic-inspired take on their quintessential team, done in a manner that is both accessible to new fans and a wink and nudge to their old base. With top-notch voice acting and a fearless plummet into a cadre of villains, the series has been nothing short of brilliant. Every team member has been given time to shine. Suffice to say it not only tows the line for Mickey… it makes me forgive them for releasing the Avengers cartoon from 1999. Wait. Scratch that. Nothing will make me forgive them for that. Seriously? Ant-Man as team leader!? But I digress…

Last, but not least, is ole’ Web Head. Ultimate Spider-Man appears to take its cue from the Brian Michael Bendis penned series, with a bit of a comedic bend to it. With a supporting “and his amazing friends” cast including Nova, Power Man, Iron Fist, and White Tiger… who among serious comic fans are salivating just a little bit? I suggest you check out the trailer, and get ready for the return to quality toonage from our pals over on the Disney float.

So as I’d said before… make sure to have those DVR’s at the ready. And for all you evil pirates, make sure the Torrent Bay is loaded. It’s a good day to be a comic book fan, cartoon lovers… Hop aboard the bandwagon before it takes off without you.

SUNDAY: John Ostrander

Cover: Mark Wheatley

Airship 27 has released a special preview edition PDF of their latest title, The Ruby Files.
Get your free preview download here:
http://www.taylorverse.com/Rick%20Ruby%20Preview%20Edition.pdf

You can also read All Pulp’s interview with The Ruby Files writers and editor at http://allpulp.blogspot.com/2012/03/all-pulps-round-robin-interview-ruby.html

You can find The Ruby Files at the following:
Digital: Airship 27 Hangar – http://robmdavis.com/Airship27Hangar/airship27hangar.html
Print: Amazon – http://www.amazon.com/dp/0615609236/ref=cm_sw_r_tw_dp_NHRypb1G20K9Y
Print: Indy Planet – http://www.indyplanet.com/store/product_info.php?products_id=6797
Please visit the official site for The Ruby Files at http://rickruby.blogspot.com/

You gotta give writer/director Nick Willing credit. He continues to mine public domain works to give them modern day twists and gets Syfy to pay for them. Overall, these have been largely hit or miss affairs which began way back in 2007 with Tin Man, reimagining L. Frank Baum’s Tin woodsman as a sheriff in Oz with Neal McDonough doing his best with weak material. It was still head and shoulders about the god awful 2009 debacle Alice, that proved Willing had no ear to the lyricism of the authors he was pillaging.

Undaunted, thanks to positive ratings from an undiscerning audience, last winter Willing returned with Neverland, a prequel to James Barrie’s Peter Pan. In this version, it all began centuries ago, when the pirate Elizabeth Bonny (Anna Friel) came upon a glowing orb amongst her spoils and when she tired of it and used it for target practice, it shattered, sending the ship and crew to Neverland, a colorful dimension. We then jump ahead and meet Peter (Charlie Rowe), an orphan; prowling the streets of 1906 London, partnered with Jimmy (Rhys Ifans). When the gang steals the same orb, they disappear, leaving Peter and Jimmy alone. Tracking down the orb’s owner, Peter is taken to Neverland and his all-too familiar adventures begin. In addition to riffing on Barrie, the miniseries also borrows heavily from many of the pop culture genre hits from the last decade.

Bonny is still around, cozying up to Jimmy, whom she now dubs Hook, and in time we touch on all the Barrie tropes from Indians to crocodiles. New characters to the tale include Queen Elizabeth’s alchemist, Dr. Fludd (Charles Dance), who finds a spirit he dubs Tinkerbell (voiced by Keira Knightly). Bob Hoskins reprises his Smee from the misguided Hook film from the 1990s. Overall, it’s an appealing cast doing the best they can with poor writing and unoriginal material.

Producers Robert Halmi, Sr. and Jr. know how to stretch a buck, get just enough recognizable names into the cast for international sales and turn literary classics into Velveeta. The miniseries utilizes tons of green screen work but it’s low budget green screen so isn’t as sharp as it should be. In the conversational commentary by Willing, he goes on at length about working with green screen and some of that is more interesting than the story itself.

The video is an acceptable transfer with fine sound. The miniseries comes with a scant handful of extras beyond the commentary. The best of the lot is the 22 minute Neverland: Access All Areas featureete used to promote the miniseries before it aired. You get a woefully inadequate 15 minutes of The Story Behind the Story: Cast Interviews, and a brief look at Green Screen to Scene; a visually interesting Journey into Neverland: Art Gallery.