Tagged: Nick Fury

Box Office Democracy: The Hitman’s Bodyguard

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I have to imagine production of The Hitman’s Bodyguard started with director Patrick Hughes gathering the whole cast together and giving them some kind of speech along the lines of “Look, we all know this script is a piece of garbage but if we pull together we can elevate it way past tolerable” and then there was some big cheer and they ran out to the set like a sports movie.  It’s a laughable script that doesn’t hold together under the smallest bit of scrutiny, but the cast absolutely crushes it.  It’s the best bad movie I’ve seen all year and I don’t mean that as faint praise.  The world is full of people doing average work with average material but seeing fantastic work come from a wretched foundation is something special.  This is a diamond found in a coal mine.

The chemistry between Ryan Reynolds and Samuel L. Jackson is basically driving the whole movie.  We’re getting a Deadpool-lite version of Reynolds thick with meta commentary on the events of the movie and sort of action movie in general.  This plays well with the standard action-comedy version of Jackson we’ve been seeing since Die Hard with a Vengeance.  This interplay drives the whole movie dragging a murky nonsensical plot and a seemingly endless numbers of big pauses for jokes that just aren’t that funny.  Everything that’s Reynolds and Jackson bickering is great, every scene that has Selma Hayek in it is good, everything else is pretty bad.

The action in the movie is good enough, but it feels more like a greatest hits compilation than any kind of new composition.  The best sequence in the film is one where Jackson is walking through a Dutch square seemingly oblivious to potential attackers while Reynolds stealthily takes them down.  It’s a good sequence but it feels an awful lot like a knock-off of the Waterloo Station sequence in The Bourne Supremacy and while it’s 10 years later feels a bit slower.  There’s also a reasonably thrilling chase through a canal with Jackson in a boat being chased by bad guys in SUVs while Reynolds on a motorcycle harasses them.  It’s a nice idea salad mixing bits from a number of other movies.  Maybe greatest hits is too reductive, more like a remix of some old favorites, you ought bop your head a few times but odds are you’ll go back to the original.

Most of the story of The Hitman’s Bodyguard is just low-level stupid.  You know, stuff like trial scenes that were written by someone who has only experienced the legal system from their drunk friend describing Law & Order episodes to them.  But then toward the end they try to pretend like there’s some big moral quandary between a life spent protecting terrible people versus a life of killing bad people for money.  For one, I don’t believe that you can make a great living as a contract killer just sitting around and waiting for bad people to need killing that badly.  Also, people who decide to hire assassins to deal with their problems aren’t people who are on the highest of high grounds to start with.  It’s not an interesting moral quandary, and it directly detracts from the stuff that’s actually entertaining in the movie.  Wikipedia says that when this script was named to The Black List it was a drama— maybe this is an artifact from those days, but it has no place in this movie. (I also can’t imagine this was a better movie as a drama.  I’m bored just thinking about it.)

The Hitman’s Bodyguard is good because you get to see Deadpool interact with Nick Fury.  They had to file off all the serial numbers, superpowers, and sci-fi gadgets— but that’s what it is.  We’ll never get the actual pairing because of all the various rights headaches (and honestly, what would need to be happening in the MCU for it to even happen) but we can get it here stitched on to a wretched story about the trial of a dictator who commands an army of mercenaries while imprisoned at The Hague.  Come for the cast, stay for the cast, leave with a smile on your face, pick it on Netflix 18 months from now, never think about it after that.

Mike Gold: The Wrong Captain America

captain-america-statue-3045608Yesterday, I awoke to the news that the should-be city of Brooklyn was honoring the 75th anniversary of Captain America with a 13-foot tall bronze statue, to be planted in Prospect Park next month after visiting the San Diego Comic Con. “Pretty cool,” I said to our cats, who I believe responded with “Yeah? Does he have a pro pass?”

Then I saw the sketch. In case you haven’t seen it, look to the left.

That is not Captain America. That’s the guy who starred in the past several movie adaptations. That one hasn’t been around for 75 years, but he has been around for over five billion dollars.

I really hate it when the media adaptations are conflated with the “real” thing. The biggest event in the history of comic books should have been the marriage of Lois Lane and Superman. Instead, it was just another episode of Lois and Clark – an afterthought that was unceremoniously (comparatively speaking) ported over to the comic book. Getting rid of that fiasco actually justified one of DC’s many, many reboots.

Not all stories work out, no matter what the medium. Movies and teevee adaptations are made for their times. This is understandable when a $200 million budget is on the line. I don’t get angry when they “get it wrong” as long as the end result is an entertaining experience. That’s why it’s called an adaptation. But I do get concerned when the adaptation becomes canonical.

There’s a reason why Captain America has lasted 75 years (admittedly, with a couple years off during the 1950s and 1960s). There’s a reason why Superman and Batman have lasted almost 80 years each. Quite frankly, there’s a reason why the reboots of Doctor Who and James Bond worked so well: both were extremely faithful to the source material. Neither character became somebody or something else. Their re-creators understood what made those characters work.

andy-gump-6654384That’s why I feel it was a mistake for Marvel Comics to replace the Lee and Kirby version of Nick Fury with the Samuel L. Jackson version in their mainstream comics universe. I’m certainly a very strong advocate for diversity in comics. That’s why I asked Joe Corallo to do a weekly column here at ComicMix covering that very issue. But SHIELD is an organization that employs about a zillion people and presumably is a diverse place; coming up with another Nick Fury to track the movies wasn’t necessary.

Statues are likely to last a long while. There’s still a statue of Andy Gump in downtown Lake Geneva Wisconsin – in fact, when some drunken idiot smashed it to pieces in 1967, it was replaced with another. Andy starred in a popular newspaper comic strip called (of course) The Gumps. It ended in 1959 and today very few people know of either the strip or the character. But that statue lives on. It is nice to think it inspires some to Google the name and learn a thing or two about comics history.

Captain America? The movies will be with us in one form or another pretty much forever. The comic book? Sad to say, that’s somewhat less likely – but, clearly, over the course of time more people will know Cap from those movies than from the comics.

I sure hope they get to meet the real guy.

Tweeks: Experience The Marvel Experience

tweeksmexthumbnail-7923266Last week, we went to The Marvel Experience during its stop in San Diego.  Taking place in seven large domes, visitors become S.H.I.E.L.D recruits who undergo training in order to fight alongside the Avengers against Hydra in a final showdown. It reminded us of a Marvel themed amusement park, but is it worth the ticket price (ranging from $24.50 to $34.50) when it comes your city?  Watch our review to find out.

Mindy Newell: EW Does SDCC

Nick Fury

My geek overdrive continues to overwhelm me. But I’m not the only one.

Less than a week away from this year’s San Diego ComicCon (which opens its doors this Thursday, July 24th, and closes them on Sunday, July 27th) Entertainment Weekly joins the national geek fest that is summertime with a bang-up double-size issue featuring a cover shot of Robert Downey, Jr. as Iron Man and Chris Evans as Captain America with Ultron looming behind them. The issue is a stuffed-to-the-gills San Diego Comic Con preview…

And I read every single page. Including the adverts.

Now I know how those fans at the 1976 SDCC felt when Charles Lippincott (then head of Lucasfilm’s marketing, advertising and publicity department) showed some of the first production slides of Star Wars, and (writer) Roy Thomas and (artist) Howard Chaykin previewed their Marvel Comics adaptation of the film, because the cover story,an “exclusive first look” at Avengers: Age Of Ulton, does an admirable job of leaking just enough info to make me want to go out and see the move right now – only, goddamn!, it’s not due to hit the theatres for a frakking ten months! (May 1, 2015, which makes it nine months and 12 days, to be exact, and if I counted right.)

That’s incredibly unfair, EW!

By the way, that Star Wars teaser was the beginning of SDCC becoming the first exit ramp on the expressway to marketing love and box office bonanzas, for better or for worse. Most comics fans believing it was for worse, as SDCC has increasingly become more and more about film and television and less and less about the four-color world.

Along with articles on upcoming films, small and large (The Hobbit: The Battle Of The Five Armies; Air; Mad Max; Fury Road; Horns) and television shows – which Mike Gold did a wonderful job of discussing here. Although you missed Outlander, Mike, an adaptation of Diana Gabaldon’s eight-volume (so far, according to EW) saga which successfully – based on its millions plus fan base and its mega-profitability for the author and her publisher – blends the genres of romance and science fiction, and which Battlestar: Galactica rebooter Ronald D. Moore is exec-producing for cable channel Starz. It premieres this summer on Saturday, August 9th, although you can stream the first episode on the channel’s website, starting on August 2nd…

Excuse me. I got diverted… to paraphrase Peter David.

A nice surprise in the issue is a piece about Jim Steranko. Now a lot of you may be to young to remember Mr. Steranko, but many, many professionals and fans say that it was his work on Nick Fury: Agent Of Shield in the ‘60s (that decade of the Beatles, Andy Warhol, “tuning in, dropping out, and turning on,” the pill, Vietnam, burning bras, the Chicago Democratic Convention… that decade of social revolution) which bumped up comics from pulp rags to line the birdcage with to a new American literary and artistic medium.

Me, I was too young to understand just how revolutionary Mr. Steranko’s work was, but it definitely sunk into the deeper reaches of my pre-adolescent psyche, influencing my (much) later work in the field, i.e., Mr. Steranko was – and is – an individual in the very best (and maybe sometimes the very worse) sense of the word, “travelling to the beat of a different drum,” as Linda Ronstadt and the Stone Poneys sang in 1967. (Here’s a question for you music trivia buffs out there. Who wrote “Different Drum?”*)

There’s also an oral history of The Terminator, which is interesting, but a little sycophantic, IMHO, although in fairness these types of interviews usually are, and also because I’m not really a fan of Mr. Cameron’s, who has become a Hollywood financial powerhouse and player despite the constant charges of plagiarism leveled against him. Notably Avatar, but also Titanic and the above-mentioned Terminator.

Don’t get me wrong. I love his Titanic. It’s compelling and historically pretty damn accurate. But many film aficionados, including director and writer Peter Bogdanovich, noted the ahem similarity between Cameron’s 1997 film and History Is Made At Night, a 1937 film by Walter Wanger, directed by Frank Borzage, which tells the story of a love triangle between a financial magnate (Colin Clive), his beautiful (and unhappy) wife (Jean Arthur) and a French headwaiter (Charles Boyer). Just where do Jean and Charles meet? On an ocean liner. On her maiden voyage. And guess what? The ship hits an iceberg.

And I love Terminator. But have you ever sat through the credits and seen the acknowledgement to Harlan Ellison? Do you know why? Mr. Ellison filed a suit that complained that elements of the film were sourced from two episodes of The Outer Limits that Mr. Ellison wrote, “Soldier,” and “Demon with a Glass Hand.” Hemdale, Terminator’s production company, and Orion Pictures, its distributor, settled out of court with Mr. Ellison. Part of the settlement included that film credit.

You’d have to ask Bob Ingersoll, who writes The Law Is An Ass column here at ComicMix, about this, but it’s always indicated some degree of guilt to me. Meaning that it’s not worth the hassle and the mucho dinero and time to the defendant to fight a charge that contains enough truth in it that the defendant could conceivably lose.

I wouldn’t do it.

I’d give the money and run.

Wouldn’t you?

*Mike Nesmith of The Monkees wrote “Different Drum.”

•     •     •     •     •

As I filed this week’s column, I heard about the passing of James Garner, 86, on Saturday, July 19, 2014. Though perhaps best known as gambler Brett Maverick and cantankerous private detective Jim Rockford on the eponymous television shows, my favorite Garner roles were U.S. Army Major Jeff Pike in 36 Hours, Lt. Bob “The Scrounger” Hendley in The Great Escape, and King Marchand in Victor Victoria. He will be missed.

James Garner

 

Jen Krueger: What Is Dead May Never Die

Spoiler warning: read no further if you haven’t caught up with the season two premiere of Orphan Black!

When it comes to character body count by the end of a first season of TV, Orphan Black is no slouch. Considering the hook of the pilot involves a woman witnessing her doppelganger jump in front of a train, maybe it shouldn’t be surprising that by the end of episode ten, the list of dead characters is of a decent length and appears to still be growing. But even though the season one finale added Helena to the show’s list of killed roles, the end of the season two premiere scratches her right back off that list seconds before cutting to the credits. Usually I don’t like seeing characters purported to be dead waltzing back into a tale, and I certainly didn’t like it in this case.

I loved it.

A big part of why I generally can’t stand watching supposedly dead characters brought back to narrative life is that faux deaths meant to fool the audience are almost always too transparent. Watching Captain America: The Winter Soldier, I was surprised the movie would bother trying to convince viewers that Nick Fury was actually dead. Even taking public real world knowledge out of the equation by ignoring the fact that this movie is only the sixth of Samuel L. Jackson’s nine-picture deal with Marvel Studios, Fury is obviously too important to the Marvel Universe to be unceremoniously killed in the middle of the Phase Two releases. Since it’s one of few things I can imagine making Captain America and Black Widow truly trust and rely on each other, I don’t quibble with the movie letting the other characters think the attempt on Fury’s life was successful. But trying to fool the audience into the same misapprehension ruined the emotional resonance this might otherwise have had for me by making the scene in which Black Widow says goodbye to what she believes to be Fury’s dead body seem like it was less about her character than it was about the movie attempting to provide enough evidence to trick the audience into believing Fury’s death. Faux character deaths are too often accompanied by this kind of overt attempt at selling them to the audience, and with a hand clearly trying to pull the wool over my eyes, I’m not likely to look at anything else.

But that isn’t to say I never care about character deaths when I can tell they’re fake. All it takes to get me to feel for characters that falsely believe somebody’s dead is for the story to simply back off the hard sell about the supposed demise. In Pacific Rim, I had no doubt Mako and Raleigh would have a happy ending, but I still got choked up watching Mako think she lost Raleigh in the last few minutes of the movie. I didn’t buy that he was dead, and I may even have thought to myself that Raleigh actually being dead would make the narrative stronger (I know, I know, I have a real dark streak), but I was able to see the ending as a trope of the genre rather than a genuine attempt at surprising me with his survival, because I didn’t feel like the movie was trying to convince me Raleigh was dead. Even when I’m moved by a fake death though, I can’t help but think how much more I’d enjoy whatever I’m watching or reading if the story managed to unfold without clear attempts at fooling me as Pacific Rim does, yet somehow actually get one over on me in the end as well.

And that’s where Orphan Black hits it out of the park. I was genuinely surprised to see Helena stumble into a hospital at the end of the season two opener after watching Sarah shoot her and presumably leave her for dead in the season one finale. The show didn’t treat Helena’s assumed death with any more or less weight than other deaths that had preceded it, and by not trying to dictate my assumptions about Helena’s fate, Orphan Black kept me from realizing there was anything to assume other than Helena’s actual demise. Of course, just successfully surprising me isn’t enough to make me feel positively about a character returning after seeming to die. In fact, there’s probably no faster way to lose my goodwill as a reader or viewer than by surprising me with the return of a character all logic dictates should be dead (*cough cough* Shameless season four).

Giving credit where credit is due, Tatiana Maslany is so phenomenal in every one of the many roles she plays on Orphan Black that I was ecstatic to realize I’d be seeing more of Helena after all. Sure, there are plenty of other clones with which to watch Maslany show off her acting chops, but she manages to portray each role so uniquely that I sometimes forget I’m watching the same actress in several parts. This made the thought of Helena dying feel like a big loss to the cast, and also makes me think I’d even be fine with the show bringing back other clones that have been offed in previous episodes. It’s a rare case in which my emotional investment overrides narrative logic, but when a show gets me this hooked on its characters, I’m more than happy for the narratively dead to rise so that I can be fooled. Heck, pop a blonde wig on Maslany to give her the part and I’d even accept Aynsley being resurrected.

A Team Divided – Your First Look at SECRET AVENGERS #1

This March, run the mission, don’t get seen, save the world. The covert branch of Earth’s Mightiest is back with a new mission, new enemies, and even deadlier threats. Today, Marvel is pleased to present your first look at SECRET AVENGERS #1 from the critically acclaimed creative team of Ales Kot and Michael Walsh!

The Earth is in danger. And only the world’s most effective secret squad can save it. Too bad that’s NOT the Secret Avengers! Three missions kick off at the same time: one in the air, one on the ground, and one in…space?! And no one is ready for what comes next – except the attackers! Now, Fury, Coulson, Hawkeye, Black Widow, Spider-Woman, Maria Hill, and even the villainous M.O.D.O.K. must work together if they hope to achieve the impossible. But first, they’ll have to survive!

“A possible strength – and also a possible weak spot – lies in the group’s capacity to work together,” says writer Ales Kot in an interview with Marvel.com. “Unless they learn how to do that, they will be picked off one by one. Because something is coming for them. And not just from one direction.”

Personalities clash as the bullets (and arrows) fly this March when the high-stakes, action-packed espionage comes to All-New Marvel NOW! with a bang in SECRET AVENGERS #!

SECRET AVENGERS #1 (JAN140679)

Written by ALES KOT

Art by MICHAEL WALSH

Cover by TRADD MOORE

Variant Cover by MIKE DEODATO (JAN140680)
Animal Variant by KATIE COOK (JAN140681)

FOC –02/17/14 On-Sale -03/12/14

Check out the Captain America Trailer

capt2_teaser2_1-sht_v9-2-e1382796199209-6990264In the better late than never department, we present to you the just-released trailer for next April’s Captain America: The Winter Solider. In the trailer, you will find Black Widow, Nick Fury, the Falcon, and the Winter Soldier. Not glimpsed is Sharon Carter but she’s in this stuffed tale as well. It looks pretty darn cool.

Genre:                          Action-Adventure
Rating:                          TBD
U.S. Release date:        April 4, 2014

Cast:                            Chris Evans, Scarlett Johansson, Sebastian Stan, Anthony Mackie, Cobie Smulders, Frank Grillo, Emily VanCamp, Hayley Atwell with Robert Redford as                                                   Alexander Pierce and Samuel L. Jackson as Nick Fury

Directors:                      Anthony and Joe Russo
Producer:                      Kevin Feige
Executive Producers:     Louis D’Esposito, Victoria Alonso,  Michael Grillo, Alan Fine, Stan Lee
Screenplay by:               Christopher Markus & Stephen McFeely (credit not final)

After the cataclysmic events in New York with The Avengers, Marvel’s Captain America: The Winter Soldier finds Steve Rogers, aka Captain America, living quietly in Washington, D.C. and trying to adjust to the modern world. But when a S.H.I.E.L.D. colleague comes under attack, Steve becomes embroiled in a web of intrigue that threatens to put the world at risk. Joining forces with the Black Widow, Captain America struggles to expose the ever-widening conspiracy while fighting off professional assassins sent to silence him at every turn. When the full scope of the villainous plot is revealed, Captain America and the Black Widow enlist the help of a new ally, the Falcon. However, they soon find themselves up against an unexpected and formidable enemy—the Winter Soldier.

Based on the ever-popular Marvel comic book series, first published in 1941, Marvel’s Captain America: The Winter Soldier is produced by Kevin Feige, directed by Anthony and Joe Russo, from a screenplay by Christopher Markus & Stephen McFeely, and stars Chris Evans, Scarlett Johansson, Sebastian Stan, Anthony Mackie, Cobie Smulders, Frank Grillo, Emily VanCamp and Hayley Atwell, with Robert Redford as Alexander Pierce and Samuel L. Jackson as Nick Fury.

In Marvel’s Captain America: The Winter Soldier, Steve Rogers teams up with Natasha Romanoff, aka Black Widow, to battle a powerful yet shadowy enemy in present-day Washington, D.C.

Mike Gold’s Big Fanboy Geek Out

Gold Art 130904Sometimes writing this type of column requires the skills of an experienced curmudgeon – which, lucky for me, is how I got the job. But only a child with a weak bladder pisses over everything he likes, and I am not a child. I am an adult. With a weak bladder, but hey, I’m staring Medicare in the face.

Unlike some of my ilk, I still read comic books – not exclusively, but I read a lot of ‘em. I read a few out of curiosity and a few others just to see what my friends are up to. But I focus on the comics I actually enjoy (hence my annual “Top Nine” list). With comics characters and adaptations proliferating all across the media, the same is true with comics-based movies and teevee shows. And what’s making my little fanboy heart go pitter-patter? Spoiler Alert: look at the artwork up by the headline.

I have enjoyed Nick Fury: Agent of S.H.I.E.L.D. ever since its debut in Strange Tales #135. This comic book came out in the early summer of 1965. An endless sea of masterful writers and artists succeeded Stan Lee and Jack Kirby (for the record, Kirby plotted those early stories) and the most significant, the most interesting, the most awe-inspiring, was from a relative newcomer named Jim Steranko. He imbued the property with so much raw energy and skill that the property is still running off of the momentum he provided some almost a half century ago.

I love the way S.H.I.E.L.D’s been handled in the movies. It’s so… Marvelesque. It’s been handled by people who get it. So it should come as no surprise that my fanboy anticipation is entirely invested in the new teevee series, Agents of S.H.I.E.L.D.

Of course I can be disappointed. This sort of thing has happened before. The right people get it wrong. But given how S.H.I.E.L.D. has been handled by Marvel’s movie division and the fact that Joss Whedon is the show’s overseer and Clark Gregg unsplatters himself from the movie storyline to reappear as Agent Coulson in this new series, I have every right to expect a solidly entertaining experience.

On Tuesday, September 24, nearly three weeks from today, I’ll find out.

And then I can move on to Doctor Who’s anniversary.

After all these years, it’s still fun to be a fanboy. I’ll grow up to be that old geezer at the assisted living center, completely not acting his age.

I’m looking forward to it.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Martin Pasko

 

Ultimate Spider-Man: Avenging Spider-Man Comes to DVD Next Week

Over the past year, Peter Parker has been saving New York City from evil villains as the masked hero, Spider-Man while balancing his heroics with homework and friends. When S.H.I.E.L.D. Director, Nick Fury, offers Peter the chance to raise his game to the next level…to become The Ultimate Spider-Man, Midtown High becomes a secret operations base for young heroes under the watchful eye of Fury and the school’s new principal, Agent Coulson. Spidey takes on S.H.I.E.L.D. missions across the Marvel Universe, encounters new villains, and battles his biggest threat yet…teen high school drama, in this funny and action– packed new series!

Click Communications: Marvel Ultimate Spider-Man: Avenging Spider-Man on DVD 2/5/13! &emdash; Nick Fury & Spider-Man

Marvel’s Ultimate Spider-Man: Avenging Spider-Man 2-Disc DVD

PREMIERED APRIL 1, 2012 ON DISNEY XD BY MARVEL ANIMATION STUDIOS

Genre:                                   Animation/Action-Adventure

Rating:                                   TV-Y7 FV

US Release Date:                            February 5, 2013

Feature Run Time:                          Approximately 135 minutes each disc (six 22-minute episodes) – total: 270 minutes

Suggested Retail Price:     2-Disc DVD = $26.99 (US only)

Content:

Disc One: Great Power, Great Responsibility, Doomed, Freaky, For Your Eye Only, I Am Spider-Man

Disc Two: Flight of the Iron Spider, Exclusive, Field Trip, Home Sick Hulk, Run Pig Run, Not a Toy

Voice Cast:

Drake Bell as Spider-Man (Drake & Josh), Clark Gregg as Agent Coulson (The Avengers, Thor), Logan Miller as Sam Alexander/Nova (I’m in the Band), Caitlyn Taylor Love as Ava Ayala/White Tiger (I’m in the Band), Greg Cipes as Danny Rand/Iron Fist (Teen Titans), Ogie Banks as Luke Cage/Power Man (Fatherhood), Tara Strong as Mary-Jane (The Fairy Odd Parents), Steven Weber as Norman Osborn (A Fairly Odd Movie: Grow Up Timmy Turner! Brothers & Sisters), Tom Kenny as Doctor Octopus (Spongebob Squarepants, Dan vs.), Chi McBride as Nick Fury (Human Target, Hawthorne), J.K. Simmons as J. Jonah Jameson (Spider-Man 3, The Closer).

Executive Producers:                    Alan Fine (Marvel’s The Avengers, Thor, Iron Man 2) Dan Buckley (The Avengers: Earth’s Mightiest Heroes, Iron Man: Armored Adventures) Joe Quesada (Ultimate Spider-Man) Jeph Loeb (Lost, Heroes).

Keep Joss Whedon’s “S.H.I.E.L.D.” from being cancelled!

  • News
  • August 29, 2012

We would like to get ahead of the curve and start the first official campaign to keep Joss Whedon’s S.H.I.E.L.D. on the air and avoid premature cancellation.

Never mind that the show was just announced yesterday. Ignore the fact that there has been no casting for the series yet. Forget that Whedon has a contract with Marvel for the next three years. This is a Joss Whedon television show. The clock is already ticking down to its inevitable demise.

We don’t know how it will happen this time. It could be a remade pilot, or a pilot put in at the end of the season. It could have its budget cut. It could be put on Friday night, always a favorite. It could have the network shot out from under, but it’s unlikely that could happen to ABC (although not impossible). It could be a combination of all of them.

But this time, we can get a head start! Because we know that people are going to be trying to strangle this show as soon as humanly possible, we can prepare months, nay, years in advance. We can create cool social media campaigns! We can start making t-shirts, and buying up eyepatches in bulk for the inevitable mail-in to executives claiming that if they’re so blind as to cancel a show as brilliant as this, they should have Nick Fury’s eyepatches! (However, threatening to pluck out network executive eyes, while fun to contemplate, should be saved for later when we start sending telegrams.)

So we’re calling on you, faithful ComicMix reader. Retweet this post! Like it and share it on Facebook! Digg it! Put it on Reddit! Use StumbleUpon! Heck, even use LinkedIn, even though it’s supposed to be for work! There’s no time for work! This is important! This is your new job now! Click all those buttons below this article! Joss Whedon’s vision depends on you! If you don’t do it, he won’t be able to take your favorite characters and emotionally torment them… and mess with their heads… and then gratuitously kill off your favorite one, just because he was in a bad mood that day…

…nah. Joss wouldn’t kill off S.H.I.E.L.D. agents just for the heck of it, would he?

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