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Dennis O’Neil, Mel Gibson, Scientology, and Woody Allen

Dennis O’Neil, Mel Gibson, Scientology, and Woody Allen

So, can we still love the work of Woody Allen? For me, the answer is an uneasy yes. Because, I do. To say Ill stop would just be another lie in a situation already mired in falsehoods and overlooked facts.

So, I think we can still love the work of Woody Allen, but under one condition: This part of his story is told. No more burying the bad beneath the slightly less bad. And, certainly, no illusions that the whiny, hypochondriac charmer onscreen is anything more than a character he created. I believe Alvy Singer is an underdog. I believe Woody Allen is a child-molester.

Maybe one person writing one post on the Internet isnt going to change the tide of cultural consciousness. Still, what is cultural consciousness but a number of individuals creating a story?

If only a few hundred people make it to the end of this post, then its a few hundred people who have their own decision to make. Ill take it.

I wasn’t as conscientious as maybe I should have been in transcribing what I have just extensively quoted, and so I don’t know if Mick Gray wrote the words or was quoting someone else. In any case, I’m grateful to Mr. Gray for putting the piece on Facebook. It deals with the topic of last weeks column and deals with it far more cogently than my blather did.

Mea culpa. By now, I should know that the work should not be judged by the man. And I’m not even sure that I’ll never pay money to see another Woody Allen movie, as I claimed, because I should also know, by now, never to say never.

But I have not patronized Mel Gibson entertainments, at least not yet, ever since his storm of hate talk and his public espousal of what I consider to be a virulent form of Christianity. The logic is: Mr. Gibson’s public pronouncements are pernicious and could conceivably nudge minds and hearts into pernicious places and I don’t want even a nanocent of my money to end up in Mel’s possession, where he might use it to further his agendas.

That’s me, striking a blow for righteousness!

Sure. Truth is, my lack of patronage makes absolutely no difference to Gibson and his cohorts. But it helps me validate my opinions and my self-esteem – looky looky what that virtuous Den is doing for his morals and maybe it offers me the illusion of having some control over my life. I can neither understand nor affect computers, home heating systems, the car parked in the driveway, Congress, the stock market, cable television, global warming, the volcano under Old Faithful that might blow and cause massive extinction, errant asteroids, why execs of chemical and tobacco companies that wreak havoc on the common good don’t have crises of conscience – all things which either bear on me, or might, but I can sure give that Gibson a reckoning! Take that, Mr. Mel.

Final note: I haven’t boycotted the work of Tom Cruse or John Travolta, both of whom are vocal supporters of Scientology which is a… what is scientology, anyway? Cult? Religion? It’s spokespersons use “religion” and that’ll do. Anyway, although I think this religion is, all around, a bad deal, it seems to harm mostly its followers. I don’t know that it’s poisoning the rest of us and everyone to his own lunacy as long as he doesn’t try to convert me to it.

And for all I know, those execs mentioned above do have crises of conscience and are just keeping mum about them.

THIS AFTERNOON: Tweeks!

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

 

MGM Announces Year-Long 90th Anniversary Celebration

MGM logo earlyLos Angeles, CA (January 22, 2014) – Metro-Goldwyn-Mayer (MGM) announced today a yearlong global campaign to honor the studio’s storied 90-year legacy. Founded in 1924 when theater magnate Marcus Loew bought and merged Metro Pictures Corp. with Goldwyn Pictures and Louis B. Mayer Productions, MGM and its legendary roaring lion logo signify the golden era of Hollywood to film lovers around the world. Since its inception, the company has led the industry in creating some of Hollywood’s greatest stars and is home to over 175 Academy Award®-winning films, including 14 Best Pictures.

“What a supreme honor it is to preside over a company with such an unparalleled legacy. It’s remarkable to have this opportunity to reflect on MGM’s amazing achievements in film history while also looking ahead to MGM’s bright and promising future,” said Gary Barber, Chairman and Chief Executive Officer.

The celebration of 90 extraordinary years kicks off today, as the MGM icon, Leo the Lion, is immortalized with a paw print ceremony at the world famous TCL Chinese Theater in Hollywood, cementing his place in Hollywood history. Sylvester Stallone, writer and star of Rocky (1976), one of MGM’s most iconic and enduring characters, is also on hand to commemorate the special occasion, along with Barber.

MGM is debuting a special 90th anniversary trailer which will play in theaters, on MGM channels – including MGM’s 24/7 movie network, MGM HD; its action-themed VOD channel, Impact; and its premiere multicast programming service dedicated to movies, THIS TV – as well as on DVD products and across social media. The trailer includes a tapestry of iconic images and scenes from films in MGM’s library, evoking a deep emotional connection and celebrating the company’s extensive contributions to the entertainment world. 

[youtube]http://youtu.be/AybnnAQH-Wc[/youtube]

Additionally, several of MGM’s signature films including Rocky, Rain Man, Fargo, RoboCop and The Good, The Bad and The Ugly, have been meticulously restored in 4K resolution (four times the clarity of HD) and will be presented on Blu-ray™ for a beautiful, high-definition home viewing experience. These re-releases will be issued through MGM’s home entertainment partner, Twentieth Century Fox Home Entertainment, and are now available for pre-order on Amazon.

Other initiatives to mark the company’s 90th anniversary include:

  MGM will complement its already vast collection of films currently available on Blu-ray™ by releasing new titles across all genres throughout the year. Upcoming titles for release include In the Heat of the Night, A Chorus Line, and The Birdcage.
     
  MGM has created a one-of-a-kind collector’s book and bonus video disc companion commemorating 90 amazing years, featuring interviews from award-winning filmmakers, directors, and actors discussing the significance of their contributions to MGM’s legacy. The book and video highlight the evolution and history of the legendary studio and provide an extensive look into the studio’s golden years, classics, iconic franchises and much more. Interviews include Sylvester Stallone on Rocky, Clint Eastwood on The Good, The Bad and The Ugly, Susan Sarandon and Geena Davis on Thelma and Louise, and Walter Mirisch on The Pink Panther. The bonus disc will also be available accompanying select DVD offerings.
   
  Fans can also relive their favorite film moments at www.mgm90th.com, a unique Tumblr website and the first Tumblr integration to feature a studio’s full library. The MGM 90th Tumblr site’s dynamic design encourages fans to explore and immerse themselves into rich content celebrating 90 years of MGM filmmaking.  As fans integrate socially with the yearlong celebration, the Tumblr site will serve as an active aggregator showcasing all of the current sharing and postings.   This fresh approach to syndicating content to fans allows a seamless integration appealing to all ages within Tumblr’s rapidly growing platform and beyond.

Frozen’s “Let it Go” in Multiple Languages

disney-frozen-anna-elsa-new-designFew knew what to expect when Disney released Frozen on November 22 but it has turned out to be an iceberg of a film, swatting lesser features out of its path as it has earned a whopping $336,699,913  around the world.

The studio, celebrating the deep freeze the northeast is currently enduring, has released the song “Let It Go” in a new multi-language sequence, spotlighting 25 different languages.

In Frozen, fearless optimist Anna (voice of Kristen Bell) teams up with rugged mountain man Kristoff (voice of Jonathan Groff) and his loyal reindeer Sven in an epic journey, encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf (voice of Josh Gad) in a race to find Anna’s sister Elsa (voice of Idina Menzel), whose icy powers have trapped the kingdom of Arendelle in eternal winter.

How much would you pay for Batman ’66 on DVD?

They’re going to have to make a difficult decision with the pricing on the release of Batman on DVD – do they go high and run the risk of people choosing not to buy it, or go low and maximize sales?

Let’s comparison shop. There’s 120 episodes. How much are other classic / cult TV series charging?

[[[The Wild Wild West]]] had 104 episodes, and its box set list price is 100 bucks (and used to be a lot higher), but currently discounted to $50.  That’s 96 cents an episode, 48 discounted.

[[[The Man From U.N.C.L.E.]]] was 105 episodes, and its box set lists at TWO hundred dollars, currently discounted to $140.  or $1.90 / 75¢ an episode.

[[[Get Smart]]] had 138 episodes, and its box set is $125, marked down to $79 –  90 ¢/57¢ per episode

And [[[Star Trek]]] (TOS) had only 80 episodes and it’s getting 140 dollars, marked down to $75 – $1.75 /93¢ per episode.

[[[The Twilight Zone]]] had a whopping 156 episodes (including a season of hour-long ones), and its box set is three hundred dollars, marked down to $161.  You’d expect it to be more, and it is, but it still comes out to a rather high $1.92 / $1.03 per episode.  But the TZ set offers a LOT of extras, including complete episodes of the recently produced radio series, adding value.  They made a no-frills set with no extras that comes out at only $1.08 / 82¢ per episode

So there’s no single formula.  If you go the high end of UNCLE at two bucks an episode, you’re looking at nearly two hundred and fifty dollars for the set, down to about a hundred if you go with Get Smart‘s ninety cents an episode.

We’re not sure how many special features they’ll be able to include either.  Adam West, Burt Ward and Yvonne Craig are all still around and happy to talk about the show, so they can do commentary.  But save for Julie Newmar and Eli Wallach,  none of the actors who played the major Special Guest Villains are around any more. There’s a number of second-tier folks who are still around – Lesley Gore if you want to reach a bit, and Sid Haig played one of King Tut’s henchmen.   Our own Glenn remembered a few more – John Astin and Joan Collins both played one-time villains – Astin played the Riddler when Frank Gorshin wouldn’t appear, and Collins played the enchanting Siren, and  Glynis Johns as Lady Peasoup, but whether or not they’ll be available for commentary is questionable.  Personally, I hoped that some clever-dick went and got some interviews with some of the actors under the assumption the DVD would happen some day, but odds are we’d have heard about them.

Odds are there’s not too much behinds the scenes footage, so save for an interview format documentary with the heroes (and almost certainly one called “Bat-Mania”), not too much else could be added.

Here’s the thing: Bat-fans have been clamoring for this series to come to video for decades.  The audience is guaranteed.  Only an exorbitant price could scare them away, convincing them to wait to the inevitable price drop.

My prediction? They’ll go for “Collector Sets”.  There will be a “basic” set with just the discs, which may still be upwards of $100, almost certainly over $75.  The special collectors sets will include a mini-statue, a prop replica, or maybe a special box.  I can envision a fold-out box designed to look like the utility belt.  That’s the one they’ll try to get two hundred and up for,

Assuming you’re not one of these hard-liners who swear you never watched the show (i.e., a liar) or just think it was too campy to warrant owning (i.e., another liar), what’s the top price you’d pay for the set?

Mike Gold: It’s Not Your Father’s Boob Tube Anymore

gold-art-140122-150x214-1540579It just started to snow out here in the Atlantic Northeast. I got the mandatory robo-call from our mayor telling us the world is coming to its end. There’s just enough white stuff on the ground for a 1980s yuppie to slip into a twitchy nostalgic daze. Going outside would be stupid: people out here don’t know how to drive on snow, and they act as though a little bit of snow is a sign from their lord telling them they’re going to hell. Which, given the fact this is snow and not hot hail, seems oxymoronic.

I’d give up and just watch television, but I really haven’t enjoyed daytime television since Phil Donohue got liquored up and threated to bite Mike Douglas’s balls off, and besides, odds are in favor of my losing power for at least a while. The good news is, I’ve got lots of stuff on my iPad – including work – and I can recharge that in my car. The better news is, pretty soon we’ll all have access to a lot more fun stuff.

Perhaps you heard that Marvel Studios is cutting out a slice of the MCU and taking it to Netflix as a whole bunch of mini-serieses: Daredevil, Jessica Jones, Iron Fist and Luke Cage, each with its own 13 episode series, each set in Hell’s Kitchen, and then winding up with a big mini called “The Defenders.”

That’s pretty cool. I like the idea of programming coming from non-broadcast and non-cable sources, and I like both House of Cards and Alpha House on Netflix and Amazon Prime, respectively. Marvel says that Netflix gives them the ability to do more fan-friendly teevee; that’s either a really good idea or a threat. We’ll see.

Now comes word that another comics creation is coming to TabletVision. Amazon Studios is paying for the long-in-development Barbarella pilot, based upon Jean-Claude Forest classic science-fiction comic from the 1960s. Skyfall writers Neal Purvis and Robert Wade are still on board to write the series.

I don’t think any of these projects would have made it on cable teevee, and certainly not on broadcast. Oh, sure, maybe Daredevil, Jessica Jones, Iron Fist or Luke Cage, but not all four tying into a fifth mini-series. As for Barbarella, well, the campy movie doesn’t transfer well into the 21st Century, but the comic book does. We’ll see which path it takes… and how salacious they can be.

With the recent, massive improvement of Agents of SHIELD, Fox’s Gotham pilot (which sounds like it has great potential), NBC’s John Constantine pilot, and ABC’s Agent Carter pilot (I loved the Marvel One-Shot on the Iron Man 3 Blu-Ray), I’m actually a lot more enthusiastic about teevee comics than their four-color counterparts at Marvel and DC.

And they’re willing to put it all on my lap, or, through AppleTV or similar devices, on my HDTV.

For free… well, pretty much.

Thank you.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Tweeks!

FRIDAY: Martha Thomases

 

Warner Bros Wins Superman Copyright Battle

Joe Shuster

Joe Shuster (Photo credit: Wikipedia)

Today the seemingly endless Superman heirs copyright suit might have truly leaped its final bound. Just over a month after lawyer Marc Toberoff petitioned the 9th Circuit Court of Appeals for a rehearing of opinion in favor of Warner Bros, the court has said no. “The panel has voted unanimously to deny the petition for rehearing,” said the order issued today. In saying no, the 9th Circuit closed the door on any more requests from the heirs of Superman co-creator Joe Shuster.

Read the rest at Warner Bros Wins Superman Copyright Battle As Heirs Denied Rehearing – Deadline.com.

Snow Will Not Stop “Justice League: War” NYC Premiere

Some our readers applied for (and many won) tickets for the World Premiere of Justice League: War tonight at The Paley Center for Media in New York.

According to a Warner Bros spokesman, “The city is being battered with a powerful snowstorm, but not strong enough to withstand the Justice League … so the show will go on as planned.”

Christopher Gorham (the voice of Flash), producer James Tucker, director Jay Oliva, dialogue director Andrea Romano and character designer Phil Bourassa will still be hand for this premiere showing. Some very exclusive prizes will also be given away.

Michael Davis: The Black Age Of Comics

Davis Art 140121Last year Marvel made big news with the Black Avengers book they are doing or have done or will be doing.

Truth is I don’t know if it’s been done or not because these days I rarely read comics that get massive press. Unless I know the creator I’d rather pass on hype – especially if that hype has to with new black characters.

I’m sick to death of some making a big deal out of the black character they are bringing to comics.

Why?

Two reasons. The first is because two seconds (if that long) after the story appears in the press or the book goes on sale I’m asked to comment.

“DC is doing a book where two black people are in a street scene. What are your thoughts?”

“Well I think that anytime a major publisher puts two black people in a scene it’s another step towards Dr. King’s dream.”

That’s what I’d say. Sure I would.

If ever some asswipe asked me such an asinine question I’d be doing hard time for putting my foot up their ass. Not the 300 bullshit hours of community service I’m doing now. I don’t think anyone’s stupid enough to be that stupid but trust me some have come close.

Because of my so-called status as an African American creator I’m subject to many a question about Negro progress in the industry, so the easiest way for me to avoid going to jail is to tell the truth which is “I have not seen it so I can’t comment but I hope it’s good and if so it succeeds.”

Or, maybe my status has nothing to do with it maybe they know I’m good for a rant or two because I’m either fearless, careless or always high thus I will tell the bare truth no matter what. I’m not fearless, I’ve been careless won’t comment on being high but stupid I am not

Imagine the co-creator of Static saying, “What the fuck is Static doing fighting a fucking giant fucking fish? Fuck fuck fuckidy-fuck!!!!!

Not good.

I waited to comment on the recent new 52 Static book from the DC well after they killed the book, which, by the way, should have been killed. I’ve heard all the “DC should have given it a chance” bullshit on the net, but let’s get real. The book had issues and was not getting the support from the fans so what is DC to do? Continue to take a loss?

Wake the fuck up world. This is reality this is not some chat room where some pussy deprived little fan boy thinks he knows better than Diane Nelson, Jim Lee or Dan Dildio.

News flash: they don’t.

Truth is I don’t comment on any black book unless I love it. I refuse to say anything negative about black comic book content, not because it’s all-great because let’s face it a lot of is horrible. I won’t comment because I’m not that guy. Never in my life have I publicly stated any bad, adverse or harmful remarks against any black comic, creator or publisher…

Unless said creator or publisher invites a response by putting out straight up imaginary bullshit about Milestone. Then it’s on.

I won’t even comment publicly when a black creator says there are simply no black women characters created by black creators that have reached a mainstream audience.

Really?

Milestone’s teenage girl superhero Rocket reached and was an overwhelming success in the mainstream market – before she got pregnant. Then she was mainstream news. You can’t get more mainstream than the Washington Post and CNN, to name but two.

I did send the guy who was saying that in interviews an email saying “really?”

Dark Horse has a new book coming out called Skyman. Everything I’ve read about Skyman mentions he’s black.

Everything I’ve read except for the official Dark Horse press release.

I like that.

The Black Age Of Comics Convention (yep, I stole the name of this article from them) promotes black creators, publishers, comics and black pop culture in general. The goal of the convention is to reach black people and black kids in particular because there are so few black heroes for young kids of color to relate too.

That’s a wonderful thing and they do great work.

99.9% of everything I’ve ever done in comics, television, radio and mainstream publishing the main characters are black because that’s what I do. I’ve always tried to reach a mainstream audience and I’m well aware that black anything is a difficult sell in the first place.

So the second reason (this is so long you forgot I said two reasons eh?) is that I am sick of media news that spotlights the African American aspect of some projects because never, and I mean never, do any of these news stories even attempt to acknowledge what has gone before and most publishers co-sign that bullshit.

So that young black mother or father who sees that TV news report on Marvel’s Black Avengers will think this is the first time ever for a black character in comics and run out to get it for their kid.

To put it another way, it’s like saying Elvis never listened to or was influenced by black music. Eminem is a great rapper and I’m sure if FOX News had a music channel they would have you believe he started Rap and discovered Dre.

Milestone is the most successful African American line of comics in history. We were not the first to publish black superheroes. Not even close. And we said as much and still say as much in public.

You can bet when black kids attend the Black Age Of Comics Convention they are told repeatedly about the vast history of black characters in comics and all media.

My dear friend (to me more like family) Lana Walker is one of the very few people I won’t question if she wants me to meet someone. If she called and said “Michael, I want you to meet with this axe murderer who will try to kill you” I’d take that meeting. No question.

I hate Hollywood parties. Hate them. Lana asked me to come to a Hollywood party and meet some people. That’s like asking Superman to come to a party at Kryptonite mountain – it kills me. I went to the party, no questions asked.

I’m pretty damn sure Lana did not tell those people, “You should meet Michael Davis, he’s black. When I showed up it was pretty damn obvious I’m black. When a new black character shows up and the media covers it, the publisher promotes it as if it’s the first black character ever it is not only, in my opinion, fucked up lazy journalism. it feels to those who know it’s bullshit like yet another total disregard of African American history.

I’d just like publishers to at least give a nod to what has come before when promoting black content.

Or do like Dark Horse and make it about the character.

If you feel the as a journalist the black angle is a good one, do some fucking research and at least write something about what has come before even if it’s something like this:

Black Dick, the story of an African American private eye is a new comic from Poon Tang Publishing. It’s the very first black comic ever… I think.

If people like the character and the idea behind it color will matter not. Blade and Spawn are perfect examples. Yeah, Spawn is black. If you can’t tell because of his mask ask yourself what’s up with that third leg.

BTW, “Black Dick” is trademark & copyright Michael Davis 2014 All Rights Reserved and is not the first black character.

I think.

WEDNESDAY: Mike Gold

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Tweaks!

 

Jen Krueger: Cream Rising to the Top

krueger-art-140121-150x142-9457076I’ve been a fan of Top Chef for years, and this season has me particularly hooked. I like the New Orleans setting, the accompanying season of Last Chance Kitchen has been stellar, and I’ve found a few of the challenges to be some of the best the show has ever done, mostly because they manage to be surprising despite the show being in its eleventh season. But the biggest surprise to me about this season of Top Chef has nothing to do with the content of the show; it’s the sheer fact that I’m watching it.

Frustrations with my cable provider reached a breaking point last summer when I was overcharged by more than a hundred dollars in a single bill, and since most of the shows my roommate and I watch regularly are available through the combination of iTunes, Netflix, and Hulu Plus, we decided to call it quits with cable. Saving money was the obvious perk, but I was also more than happy to cut down on extraneous TV watching borne out of getting sucked into a show coming on after something I’d intended to watch, or worse yet, the time-wasting passive intake of crap I’m not even interested in but end up watching just because the TV is on.

On the other hand, while almost all of the scripted programming I enjoy is available through multiple outlets besides broadcast TV, most of the reality shows I liked seemed to be available only through iTunes, if anywhere at all. I’d always found the idea of buying episodes of reality shows silly since I don’t see any rewatch value in them, competition shows for the obvious reason that knowing the winner and loser of an episode takes away most of the point of watching it, and documentary-style shows because so many of the ones I watched tend to be of little to no substance. Even at just $1.99 a pop, I couldn’t imagine myself paying for them, so I figured they’d simply drop out of my viewing rotation altogether and was kind of bummed out at the thought.

Then I started tallying up the reality TV I’d been regularly watching. One iteration of Storage Wars, two shows about persnickety interior designer Jeff Lewis, three MTV shows about teenagers having kids, four sets of Real Housewives, and five food competition shows later, I wasn’t close to done but was sufficiently embarrassed at the volume of reality TV I’d been consuming. Ugh, I can totally live without this stuff, I thought. And I’ll save hours each week by not watching garbage!

But lumping together all reality TV as garbage isn’t really fair, is it? The first reality show I remember ever getting hooked on was Project Runway, which was innovative and entertaining while showcasing genuinely unique talents in an industry I knew little about (at least in the first few seasons of the show). Before morphing into a sensationalized and formulaic show on Fox, Kitchen Nightmares was Ramsay’s Kitchen Nightmares on Channel 4 in the U.K. and documented sincere attempts on the host’s part to save restaurants in much more detail, meaning insight on everything from how to cook specific dishes to how to best run meal service to how to create a local customer base were all offered on camera by Gordon Ramsay. And though it was short-lived, Anthony Bourdain’s The Layover showed me more about the real local cultures of both cities I know well and cities I’ve never been to than I think I could’ve gleaned through hours of my own research and experiences.

I realized the black-and-white view I’d taken on reality shows in a cable-less household was entirely and arbitrarily self-imposed. I decided that by culling the quality reality wheat from the trashy reality chaff, I could still get my competition and documentary-style fixes without losing hours to the empty albeit entertaining morass that previously clogged my DVR. Last but not least in sealing the deal, I tallied the costs of an iTunes season pass for the few gems like Top Chef that I decided were worth keeping up with and found it comes to less than the cost of two months of cable. With a bargain like that, it suddenly seemed silly not to buy the handful of reality shows I like most. And after all, in any season of Top Chef, the Restaurant Wars episode alone is always good for at least $1.99 worth of entertainment.

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY: Mike Gold

 

The Point Radio: Continuing The Creepy On THE FOLLOWING

It’s a thrill ride both old and new. Fox’s second season of THE FOLLOWING has begun, and we talk to Kevin Bacon, Shawn Ashmore, and new cast member Connie Nielsen on the pressure to keep things moving this year. Plus Angry Birds come to comics and SUPERMAN/BATMAN gets bumped big time.

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.