I caught some amazing films at this year’s AFI Fest, including a classic that I’d been meaning to see for years, Robert Altman’s Nashville on closing night. It was a great to end the festival, whose films took me to 1950s New York, Zambia, the ultra-rich families of Connecticut and some mysterious California woods.

— Sharon Knolle

Nashville (1975)
Directed by Robert Altman
Produced by Robert Altman & Jerry Weintraub
Written by Joan Tewkesbury
Starring Lily Tomlin, Ronee Blakley, Ned Beatty, Keith Carradine, Geraldine Chaplin, Henry Gibson, Michael Murphy, Barbara Harris, Shelley Duvall, Karen Black, Keenan Wynn, Scott Glenn

Altman’s sprawling 1975 masterpiece set in the country music capital screened as part of a 12-film retrospective to the late auteur.

This was my first time seeing it and it’s definitely a film that’s best appreciated on the big screen.

The effortless way Altman weaves supporting players into every shot and masterfully juggles storylines should be (if it isn’t already) taught in film school.

Despite being nearly 3 hours long and leisurely paced, Nashville is never boring.

The intersecting storylines include a fragile Loretta Lynn-esque country queen (Ronee Blakley) recovering from an accident; a married gospel singer (Lily Tomlin) who is flustered by the attentions of an attractive musician (Keith Carradine); a ditzy, man-crazy girl from California (Shelley Duvall); a hilariously obnoxious BBC reporter (Geraldine Chaplin) making a documentary on the country music scene; and a politico (Michael Murphy, who later starred in Altman’s Tanner) trying to line up the brightest country stars for a concert in support of a third-party presidential candidate.

And — in a very early, non-speaking role — Jeff Goldblum is his endearingly eccentric self as “Tricycle Man,” who rides an Easy Rider-style chopper, does magic and wears glasses that his flashy Thor: Ragnarok Grandmaster character would surely covet.

Each actor cowrote his or her own original songs for the film, including Carradine, whose tune “I’m Easy” — performed during a standout scene where he could be singing it to four different women — won a Best Original Song Oscar. Tomlin and Blakley were both nominated for Best Supporting Actress (Lee Grant won that year for Shampoo). Both Tomlin and Blakley were there in person and took part in a dishy Q&A afterwards.

It’s clear why Nashville is regarded as Altman’s masterpiece and as one of the most important, and still-relevant, films of the ’70s. I can’t recommend it enough.

Rating: 5 out of 5 stars

Wormwood (2017)
Produced by Sean Fogel, Steven Hathaway,
Julie Bilson Ahlberg
Written by Steven Hathaway, Molly Rokosz
Directed by Errol Morris
Starring Peter Sarsgaard, Molly Parker, Christian Camargo, Scott Shepherd, Tim Blake Nelson, Michael Chernus, Jack Doke, David Kairys,
Jimmi Simpson, Bob Balaban, Stephen DeRosa

In his stunning new Netflix miniseries, Oscar-winning documentarian Errol Morris (The Thin Blue Line, The Fog of War) delves into the mysterious 1953 death of Army scientist Frank Olson.

He blends interviews with Frank’s son Eric — who’s made it his life’s mission to uncover whether his father’s plunge from a hotel window was suicide, accident or murder — with noir-ish reenactments of Frank’s last few days.

Peter Sarsgaard sympathetically plays Frank, Molly Parker his wife, Bob Balaban a highly unusual psychiatrist, and Tim Blake Nelson and Westworld’s Jimmi Simpson are shady CIA operatives.Morris and Eric Olson uncover layers and layers of cover-ups over the past 6 decades, with ever-changing explanations of what really happened that night in 1953.

Along the way, we get glimpses into some of the CIA’s worst dirty tricks and the terrible things done in the name of patriotism, including the mind control project named MK-Ultra. Conspiracy nuts will eat this one up.

And noir fans will love the callouts to classic noirs such as The Manchurian Candidate. The recreations are like the best-ever episode of TV’s A Crime to Remember. And opening sequence has a nightmarish, hallucinogenic, David Lynch quality.

Much like Kitty Genovese’s brother in The Witness, Eric realizes he’s probably devoted far too much of his life to his pursuit of the truth, but he can’t let it go.

It’s a fascinating story and Morris’s mixture of documentary and dramatic retelling makes it that even more compelling.

Wormwood premieres on Netflix December 15.
Rating: 5 out of 5 stars

I Am Not a Witch
Produced by Juliette Grandmont, Emily Morgan
Written and Directed by Rungano Nyoni
Starring Maggie Mulubwa, Nellie Munamong, Dyna Mufuni, Nancy Murilo

Luis Buñuel would love this sharp satire in which a little girl is dubbed a witch — but is also a government employee who can determine men’s guilt or innocence.

The film begins when a solemn little girl (Maggie Mulubwa) turns up at a small Zambian village. They superstitious locals are quick to label her a witch.

After a farcical hearing in which one villager offers his dreams as evidence, she is packed off to a witch camp. There, the mostly elderly women must perform hard labor, when they’re not serving as a tourist attraction, that is.

When she is first brought to the camp, Shula is given the same choice all the other women are:

Cut the ribbon and be turned into a goat or admit she’s a witch and remain human.

Sensing she can be part of a community for probably the first time in her life, she declares that yes, she is a witch.

The matriarch of the group dubs the nameless girl Shula. She seems doomed to live out her days working alongside these women, until the magistrate takes Shula out for the day to render judgment in a trial. When she correctly fingers the culprit, she becomes his prized employee.

To be disenfranchised and essentially imprisoned for life, and then to be given such power over other people’s lives is a fascinating conundrum.

Like all the other women designated as witches, Shula must wear a harness connected to a long white ribbon. It’s a poetic metaphor of enslavement as the women work the fields, their long ribbons trailing and tangling behind them.

In reading about the film, I was shocked to learn that “witch camps” are a real thing. The director visited camps in Gambia then added her own fanciful touches for the film.

That her cinematic exaggerations are not really that far off from reality makes this film resonate even more.

Rating: 4 out 5 of stars

Thoroughbreds (2017)
Produced by Andrew Duncan, Nat Faxon, Jim Rash, Alex Saks, Kevin J. Walsh
Written and directed by Cory Finley
Starring Anya Taylor-Joy, Olivia Cooke, Anton Yelchin, Paul Sparks, Francie Swift

Playwright Cory Finley makes an assured directorial debut with this psychological thriller that’s been compared to Heathers and Mean Girls.

After an awkward reunion, two former best friends — Amanda (Olivia Cooke of Bates Motel) and Lily (Anya Taylor-Joy of The Witch) — hatch a plan to murder Lily’s hated stepfather.

Amanda fell out of social circles after a shocking incident that we later learn was her botched attempt to euthanize her beloved (but fatally injured) horse.

Her mother hires the far wealthier Lily to tutor Amanda, hoping that the two will click again and restore Amanda to a degree of normalcy.

Instead, Amanda’s obvious pathology sparks something in Lily, who seizes on the idea that here is someone cold-blooded enough to help her get rid of her stepfather.

There are ample nods to classic film noir, including a scene where the two girls watch D.O.A. And when Lily first suggests they go through with the plan, the scene is styled to recall Gene Tierney’s cold-hearted villainess in Leave Her to Heaven.

In one of his final completed films, Anton Yelchin plays against type as a sleazy local drug dealer whom Amanda thinks would make a good trigger man.

The horse metaphors are a little heavy-handed, as is the oppressive sound design. But worth your watch for Olivia Cooke’s matter-of-fact psychopath.

Rating: 3 out of 5 stars

The Endless (2017)
Produced by Justin Benson, Aaron Scott Moorhead, Leal Naim, David Clarke Lawson Jr., Thomas R. Burke
Written by: Justin Benson
Directed by Justin Benson & Aaron Moorhead
Starring Justin Benson, Aaron Moorhead, Callie Hernandez, Tate Ellington, James Jordan

The directing duo of the Lovecraftian horror film Spring is back with this twisty sci-fi film that, unfortunately, goes absolutely nowhere. Justin Benson and Aaron Moorhead also star as the main characters, two brothers who escaped a cult 10 years before. Justin is the elder brother and Aaron the younger brother who’s a bit vague on why they had to leave in the first place.

The issue isn’t with their acting, fortunately. It’s with the script that sets up an intriguing mystery, then takes its sweet time getting to a wholly unsatisfying ending.

The movie starts off promisingly enough when the brothers receive a package. In it is a videotape with a message from one of the cult members that mentions an upcoming “ascension.”

Aaron wants to go back to Camp Arcadia and demands to know why Justin made them leave. Given that their current life is just cleaning houses and subsisting on ramen, his fond memories of the camp seem much better by comparison.

Justin finally relents and agrees to visit for just one day. After a long drive up into the Southern California hills, they reach the camp. Eerily, no one seems to have aged a day. They’re welcomed with open arms, even though Justin gave a scathing tell-all to the media about the terrible goings-on at the camp. Which he later admits to Aaron that he made up or may have been wrong about.

Justin is edgy and suspicious of the group, but Aaron is happier than he’s been in ages and begs to stay one more day.

We’re given little clues that something otherworldly and potentially very sinister is going on, that there’s “something” out there in the woods. But when the film begins to (very slowly) reveal its secrets, it’s an enormous letdown.

The special effects are impressive for what I assume is a very low budget. And I did enjoy one eccentric character, a perpetually pissed-off guy named “Shitty Carl,” played by James Jordan. But the central mystery is, alas, a dud.

Rating: 2 out of 5 stars

Produced by Matthew Helderman, Joe Listhaus
Written and Directed by Jake Goldberger
Starring Freddie Highmore, Odeya Rush,
Haley Joel Osment, Christopher Meloni,
Marg Helgenberger, Taylor John Smith

There’s a problem with Almost Friends and it’s not the casting or the acting or the cinematography or the editing; it’s the story. Whether this is a problem for you or not may just be a matter of personal taste.

Jake Goldberger brings us the story of young man named Charlie, Freddie Highmore currently starring in the TV show The Good Doctor, who is stuck in a rut before most people have had a chance to create a rut. We’re invited to tag along as Charlie works his way through his ennui with the help of his friend Ben, Academy Award nominated Haley Joel Osment.

The plot ostensibly revolves around Charlie’s inept attempts at making a connection with local barista Amber, Odeya Rush, who has her own set of first world problems. Charlie wants to date Amber but is willing to be her friend when he finds out she has a boyfriend. People move around scenes and things happen but this storyline seems stuck for most of the movie.

Marg Helgenberger, from TV shows China Beach and more recently CSI: Crime Scene Investigation, plays Charlie’s mom Samantha and Christopher Meloni, from Law & Order: Special Victims Unit, plays Charlies deadbeat mostly absent dad Howard. Howard weasels his way into staying with Charlie, in his ex-wife’s house. This gives the movie some if its best moments as Howard has no boundaries and Samantha is a mix of total frustration with Howard and not wanting to damage Charlie’s relationship with his Dad.

Highmore plays everything with a detached affect. Several characters ask him if he’s alright, more to remind us that he wasn’t always like this than get any meaningful answer or progress in the story. There is a trauma that has stopped Charlie from moving forward with his life but it is such a side element that it never seemed to be handled in a realistic or even moderately dramatic way.

The example set by the dreamer deadbeat dad sets a better stage for Charlie’s growth as an adult. With Howard as a fun-loving example of Peter Pan syndrome, Charlie can make allowances for and forgive his Dad for the bad things he’s done and continues to do. We see in the dad, not an example of a withdrawn failure to launch but a more extroverted quest for the easy route to the big win.

Eventually there are some tepid confrontations and Charlie makes some decisions that help us get to the end of the movie.

I like measured, well-paced (usually seen as kind of slow) indie movies but this one really didn’t do it for me. I was restless and kind of frustrated with the whole thing.

Almost Friends is now playing in theaters and On Demand.

Review by David J Moore

Executive Produced by George Hopkin
Produced by A.D. Barker, Kate Horlor,
Adam Krajczynski, Michael Spiby
Written and Directed by A.D. Barker
Starring Leslie Simpson, Axelle Carolyn,
Daniel Tee, Marcus Green,
David Flint, Samantha Hoyle

“The last thing to go is habit.”

Virtually a one-man show, A Reckoning is about a former schoolteacher (Leslie Simpson) who appears to be the last man on Earth after an unspecified apocalypse.

He resolutely goes about his life in a state of desperate denial.

He goes to the school where he worked and gives his lectures to a classroom of straw children dressed in clothes he put on each of them, and he carries on each and every day in the same basic, sad manner.

He wounds himself by accident (he stabs the bottom of one of his feet), and this sets him back quite a bit.

Over time, he gradually goes insane, and at one point, he crosses paths with Death itself.

Desperately alone and lonely, he imagines his wife (or another woman – it isn’t clear) sleeping with him, but in the morning, the woman is only a straw woman. It’s sad, but sincere.

End of the world movies in this vein are no picnic.

Leslie Simpson is quite good in the physically and emotionally demanding lead role. This was written and directed by novelist A.D. Barker, who shot the film in two weeks at an abandoned RAF Base, just outside of Nottingham, England.

You can only hope that the characters find some kind of salvation or release by the end, and A Reckoning provides its character with a conclusion that seems fitting.

For more information visit the A Reckoning Facebook page.

Groovy is the new…well… groovy book from TwoMorrows about hip and psychedelic pop culture in the flower power era of the late ‘60s and early ‘70s. These were my formative years! I grew my sideburns long in 6th grade and wore (candy) love beads and a peace symbol pendant and a fringed suede vest with my turtleneck and bellbottoms.

Yes, like so many others, I was a wannabe Brady.

Groovy author Mark Voger was, too!

FOG!: You were in New Jersey, I was in Kentucky. You were drinking Pepsi, I was drinking Coke. You were in Catholic school, I was in public school. My dad was ex-Army, yours ex-Marine. Other than those and other specific details, though, your experience is pretty darn close to what 11-year-old me was going through in 1970! Complete with black light bulb!

Mark Voger: In writing about life experiences, I’ve always believed: The more specific you are, the more universal you are. Like, when Denzel Washington performed Fences by August Wilson, an audience member came up to him and said, “I didn’t know August Wilson was Polish.” Wilson was writing about complicated father-son relationships he has known and observed, but by telling the truth, it strikes a chord across every culture.

I’ve been anticipating your book for some time now. Based on some of the dates you give for your interviews, you’ve been working on it for some time, as well. When did you get started on it and what made you decide to do this particular book?

I’ve spent my career as an entertainment writer for newspapers and magazines.

I turned pro in 1978 when I was 19. I was especially keen to speak to folks who created the culture that I remembered growing up, in any medium.

So, I went after rock stars and actors and comic book artists and anyone I could.

The interviews all added up. Some of them go back 25 years, but I was doing fresh interviews up until the last hours, literally. I always I.D. the year of a given interview, which I think is important for the reader.

Groovy is one of five or six book ideas that have been rattling around in my brain.

After my previous book, Monster Mash, did well, TwoMorrows green-lit Groovy. It took about 14 months to put the book together, with a few more months of post-production.

I particularly like the fact that this isn’t just the story of those times but also the story of you IN those times. So often people remember the pop culture but forget the fact that the establishment was still in charge and there were more short-hairs around than long-hairs. Since the groovy era has no rigid definitions, there were obviously a lot of things that could have been included. What are some of the people, places and things you had to leave out simply for lack of space?

There are a few, with some regret. I didn’t cover the TV Batman except for just a mention of the Batusi in the TV section. The show was really groovy and colorful, but for me, it was more “op art” than the proper psychedelia that followed. With the Beatles, I pretty much start at Rubber Soul. I tried to stay on point. It was a huge era to try to capture.

In Groovy, there’s some discussion of the difference between the words “groovy,” which is subjective, and “psychedelic,” which is objective. My mantra was: When in doubt, when something’s on the chopping block, lean toward the psychedelic. That’s where I drew the line. As far as the first-person stuff, I thought it was important to talk a little about who I was and where I came in, so you knew where I was coming from. I was too young to be a hippie, but wished I was one.

What type of music did you grow up listening to? I knew who the Beatles were from the cartoons and all the jokes about them on TV but I didn’t really discover their music for myself until just before they broke up. Around our house, my mother liked the Easy Listening radio stations so I got lots of Herb Alpert and Andy Williams. On TV, I loved the Monkees! Probably my first pop/rock favorites. You?

Well, that was the great thing about AM radio!

You could hear it all. I got a little transistor radio when I was in the second grade. I used to sleep with it on my pillow, pushed against my ear, at a real low volume so my parents didn’t know.

Blavat appearing on The Monkees

I remember listening to WFIL 56-AM in Philadelphia, hearing Lady Willpower by Gary Puckett and the Union Gap and Lovers’ Concerto by the Toys on that little radio.

The first time I heard “Crimson and Clover” was on an afternoon TV dance show called Jerry’s Place, hosted by the great Philadelphia DJ Jerry Blavat, the “geator with the heater.”

Tommy James came on and lip-synched that song, and I was a goner.

When I was 11 in 1969, I was in a fish-and-chips shop in Dublin that was frequented by teenagers, and I remember Honky Tonk Woman by the Rolling Stones playing on the jukebox.

In my own recent book, The Best of Booksteve’s Library, I wrote of Laugh-In, “Rowan and Martin’s Laugh-In was a show that I have to say I kind of enjoyed and yet never truly grokked. I watched it fairly often as a child because it was the hip thing to do but it always left a kind of a bad taste in my mouth afterwards. It wasn’t dirty—not even in a Benny Hill way—but it SEEMED dirty which was almost worse. “Sock it to me?” What the hell was that all about? Sock what? “Sock” sounds like “suck” which is dirty, isn’t it? Wasn’t it? Was it?? And I would never in a million years bet you my sweet bippy!!!!”

That said, nothing seems more nostalgic to me today than Laugh-In, although it’s clear that it was a bunch of mostly unhip people trying—and surprisingly succeeding!—to be hip! This is one of the sections where your own feelings give way to the cast member interviews. So I’m curious, who were YOUR favorites on Laugh-In? What was your take on the show then and now?

Laugh-In was wild, because we were Catholic school kids, but for some reason, our parents let us watch this show. So, we would be seeing stuff that the nuns at Holy Rosary School would never condone. Laugh-In always had double-entendre, and I got most of the jokes. That Dick Martin was a rapscallion. There were painted girls dancing in bikinis. It seemed very counter-cultural at the time, but as you said, it was really kind of lame. I don’t think the shows hold up. But I have such great memories of watching Laugh-In. I put on a Laugh-In skit for my Cub Scout troop. We loved Alan Sues as the sportscaster with the little bell.

And, of course, Tiny Tim.

Was there ever as unique a talent as Tiny Tim? Not really a question. Just an observation.

Tiny was one-of-a-kind. He was knowingly campy, but he was also really like that. A unique individual. I wanted him to be the cover boy for Groovy. I thought it would get a “WTF” reaction. Like, it would intrigue people. Thank God (TwoMorrows publisher) John Morrow talked me out of it.

A lot of the folks you talk to in the book are known as “difficult,” and yet you seemed to get some very good, atypical responses from most of them. Are there any of your interview subjects who gave you problems of any kind? Were there any folks you wanted to speak with but didn’t get to? If so, what happened?

I remember I asked Ginger Baker, the drummer for Cream, how he met (bassist) Jack Bruce. He flashed his ice-blue eyes at me and said, “Aw, shoot, d’ya want the whole story? It didn’t go bang-bang-bang, just like that!” But then he told me the whole story, bless him. When we were done with the interview, my wife Kathy, who was my photographer, came over with her camera to pose Ginger. She was a pretty gal. At the time, she had a bandage over one eye due to a home-improvement mishap. Ginger looked at Kathy and brightened up and said, very sweetly, “Have you been fighting?” So I saw both sides of Ginger Baker.

I was supposed to interview Keith Richards around the time of Talk is Cheap. I jumped through many hoops, but in the end, I only got three questions on tape in a crowded bar in Manhattan. Brian Wilson was a challenge to interview, but only because he’s, you know, a drug casualty. He was a very sweet person. The Brian Wilson interview in Groovy was cobbled together from four interviews we did between 2000 and 2012. I used the gold.

Movies were just starting to get groovy around the time I was allowed to go see them without adult supervision. The first one I ever saw on my own—age 9—was Yellow Submarine. You talk about a lot of the cool ones, all right, but how old were you and what was the first YOU remember seeing on your own? Were your choices different with friends than when going to the movies with parents? What was the first “adult” (as opposed to XXX rated) movie you ever saw?

I was always a movie buff. I loved James Cagney and Boris Karloff and Fred Astaire and Ginger Rogers and the Sherlock Holmes movies starring Basil Rathbone. The first adult film I saw in the movie theater was Bonnie and Clyde, which my father took me to in 1967. That was real adult. I loved the ambush at the end, with all the bullets and blood. My dad probably thought it would be a gangster movie like The Public Enemy or something.

I remember really wanting to see Myra Breckinridge in 1969. It was rated X. I imagined all sorts of wicked things that must have been in that movie. I only saw it for the first time in the past year. It’s pretty tame, of course. But that Raquel Welch … va-va-va voom!

The first groovy movie I saw was called How to Commit Marriage (1969) with Bob Hope and Jackie Gleason. No one remembers this film. No one even realizes that it’s groovy, because no one saw it. I loved it then and I love it now. I mean, it’s terrible, but I love it.

The psychedelic posters always fascinated me. Victor Moscoso was the first artist’s name I learned for them and in the 6th grade, I had a Peter Max 3 ring binder at school! Did you have any particular favorites and were you ever inspired to make any psychedelic artwork on your own?

I wasn’t as sophisticated as you, Steve, learning Victor Moscoso’s name. But of course, I knew Peter Max, because he had his hands in everything. There was Peter Max cereal. You had a three-ring binder, my best friend in eighth grade had Peter Max jeans. The pants were yellow with red pockets. I absolutely tried to draw psychedelic stuff. I did a drawing of Tiny Tim surrounded by floating flowers that I gave him when he did a book signing at the Moorestown Mall in New Jersey. I bought psychedelic posters at head shops at the Echelon Mall in Voorhees, New Jersey. But this was commercial stuff, not the authentic posters from, like, San Francisco.

Comics books were my intro to grooviness. I started collecting in 1966 at the height of DC’s Go-Go checks (another sure thing button pusher to get me nostalgic today!). With the truly odd exception of Sekowsky, most of the old-timers were still making fun of the hip kids and counter-culture until the younger creators started moving into the business. Steranko’s style just blew me away! I got to meet him a couple of times over the years. What comics were you actually reading in the ‘60s and early ‘70s and have you had a chance to meet any of the folks you admired then?

I love the Go-Go checks era. The first DC books I ever bought had the Go-Go checks, so that’s all I knew. When they took them off around ’68, I was like: Where are the checks? You’re absolutely right: Mike Sekowsky’s artwork looked current and authentic. I remember Kurt Schaffenberger telling me that DC told him to buy the current fashion magazines for references to spruce up Lois Lane’s look. Nobody ever had to tell Sekowsky to do that.

What was I reading? Everything! Metal Men, Batman, World’s Finest, Flash, Green Lantern, Bob Hope, Jerry Lewis, Dial H for H-E-R-O, Sugar and Spike, the 80-Page Giants, The Amazing Spider-Man, Fantastic Four, Daredevil, the Marvel giants, Sad Sack, Muttsy, Sad Sack’s Funny Friend the Sarge, Hot Stuff, Creepy, Eerie. I loved it all. I was lucky enough to meet a lot of my comic book heroes: Kurt Schaffenberger, Curt Swan, Murphy Anderson, John Romita, Joe Simon, Joe Kubert. It’s funny; I don’t usually ask interview subjects for autographs. But artists, I do. To have a vintage comic book signed by the original artist is such a thrill.

My own local headshop (in the basement of a staid, old, established bookstore) said they thought I seemed “mature” enough so they never hesitated to sell me undergrounds once I discovered them. They were all so divorced from my own reality, though, that it was like seeing things on another world. I’d never even seen marijuana but the Freak Brothers were my favorites along with Bode, Corben, and Bijou Funnies. How did you discover comix? At what age? And did they change your perspective on anything?

I caught up with underground comix in the ’70s when I was a college boy. My roommate had a lot of (Robert) Crumb and S. Clay Wilson and Justin Green and Spain. Once I discovered Crumb, that was it. My mind was blown. The guy is a genius. I saw Bode and Corben in National Lampoon and Heavy Metal. What’s not to love? All that stuff definitely influenced me. At ye olde Glassboro State College, we converted the art magazine into a Heavy Metal ripoff. We called it Airborne. I drew a comic of Jimmy Carter hitting Jesus over the head with a cross. I was getting all that Catholic school angst out, with the undergrounds as my fuel. We actually got in trouble for it. Me and the Airborne editor, a friend named Andy, had to meet with the college president. Andy was explaining to the college president what satire was.

Growing up in middle America the ’60s, I saw more black people on TV than in real life. All my white friends seemed to think African-Americans were cool, though! We would play Mod Squad at recess and I was always Linc! Your thoughts on how important the slow, subtle infiltration of mainstream pop culture by black performers in the groovy period was in the long run to the cause of civil rights?

That was a great moment, when Clarence Williams III and Heshimu were the coolest dudes on television. It seemed long overdue. I have distinct memories of the Civil Rights era. In 1966 when I was 8, my dad drove us down to Florida for a vacation, and I saw an outhouse behind a gas station in Georgia marked “COLORED.”

This was two years after the passage of the Civil Rights Act. But I remember sensing that things were changing. I definitely believe that black artists on TV, whether they were musicians or actors or comedians, had a great deal to do with that change. It was a friendly invasion of the living rooms of middle-class white Americans. It started with jazz, continued with rock ’n’ roll, through Motown and Sly and the Family Stone. I can still hear the Supremes singing Love Child on the jukebox at the local ice cream parlor, which was called the Cowtail Bar. Art unites us.

I never knew anyone who went to Vietnam but we were always hearing in class about so and so’s brother or so and so’s neighbor being shipped off and that TV draft lottery scared me more than any monster movie ever did! If the war was still going on as I came close to draft age—and at the time, that seemed a real possibility—my generally conservative mother talked about looking into moving to Canada. Thankfully, the war ended two years earlier. The underlying theme of every single thing about the ‘60s remains Vietnam, whether folks want to acknowledge it or not. If JFK, say, had lived and had gotten us out of Southeast Asia in ’64, what do you think might have been different about the groovy years?

That’s like a science-fiction question. I’m not certain that the war wouldn’t have escalated under JFK. I have no idea either way. The whole thing was so tragic. The family behind us had a son in Vietnam. His name was Billy, and I drew a poster of him in front of a big American flag when he came back home. I agree that groovy culture was largely a response to the war. I remember the first time I heard Country Joe and the Fish sing “What are we fightin’ for” on the Woodstock album. Those lyrics! “Be the first one on your block to have your boy come home in a box.” I couldn’t believe what I was hearing. I was 12. My dad was a World War II veteran who admired Nixon. So I was really confused and conflicted. I was getting dangerously close to the draft age also. My father wanted us to go when the time came. My mother wanted us to go to college. It was scary. It was close. But you’re right — groovy culture and the Vietnam War were inextricably linked.

Like you, my parents weren’t happy that I bought Jesus Christ Superstar. But I only had the 45. Eventually I got my mother to come around from explaining the lyrics to her and I remember her trying to convince my dad it was okay. I’m not a religious person but I loved the music and saw the ‘90s revival onstage with the film’s stars. As you point out, it was only part of the whole Jesus movement of the time.

As popular as it all was, why do you think the movement withered away or at least shifted into kind of its own Christian pop culture? Was it pushed down by the hedonism of the ‘70s, you think?

I think the “Jesus people” movement faded when the hippies themselves began to vanish.

Several events signaled that the glory days of groovy culture were over: Altamont, the Manson murders, the deaths of Brian Jones, Janis Joplin, Jimi Hendrix and Jim Morrison, all at age 27. People cut their hair, put on “straight” clothes and joined the workforce.

Being a hippie just wasn’t a sustainable lifestyle, although some hippies never gave up the dream, certainly.

The Jesus people probably cut their hair but stayed in the church. I loved, loved, loved Jesus Christ Superstar.

Still do. I saw the first Broadway production in 1972, and then the Broadway revival 40 years later to the day. The Judas was better in ’72.

There is a book and movie called Bubblegum Music is the Naked Truth. Do you think something similar could be said about the groovy age? Does grooviness really signify anything? Cheech and Chong may seem more authentic than Keith Partridge but in a way, they were just as manufactured. Is there a lasting legacy for the flower power days or are they destined to be remembered as a passing fad just like the flapper days of the ‘20s?

I think of groovy culture in terms of art first, and then ideals. The art is forever, I think. Young people still discover the Beatles and Jimi Hendrix. But I close the book with musicians talking about the ideals of the period — Donovan and Arlo Guthrie and Ray Manzarek talking about the environment and the war. A lot of things that people fought for in the ’60s, the environment and Civil Rights among them, are still at risk today, which is so weird when you think about it.

So if nothing else, the groovy era can give us inspiration to push back. They used to say “Up the establishment.” Now we just say “Fight the power.”

Mark’s great new book hits shops this month and it’s a great trip! If you were there at all, this is one flashback you won’t want to miss!

Visit Mark online at MarkVoger.com/

Doomsday Clock #1
Written by Geoff Johns
Illustrated by Gary Frank
Published by DC Comics
In stores Nov 22, 2017 / $4.99

There are ways in which Doomsday Clock #1 demonstrates surprising timeliness for a DC Comics book. It’s hard not to wade through the book’s rich atmosphere of tension and dread without reading a take on our national mood into it.

Whether or not Geoff Johns meant to echo our nation’s current state in this tale, it’s there, pushing through from the margins, and elevating this story somewhat from the potboiler it feels like otherwise.

Ostensibly the culmination of the central mystery threaded through the DC Rebirth line, Doomsday Clock is also a long-dreaded sequel to Alan Moore and Dave Gibbons’ seminal series Watchmen.

Beginning six years after the original story ended, this first issue finds the Watchmen Earth teetering on the brink of disaster as the fragile world peace Adrian Veidt killed in order to engineer has been shattered by the truth of his actions. The seemingly dead Rorschach stalks the streets again, narrating the bulk of this tale in his stripped down first-person prose. His mission is simple–bust a pair of super-criminals, the Mime and the Marionette, out of prison.

The return of Rorschach caused a stir amongst comics fans when it was revealed in advance of this issue’s release, but another twist adds more questions. This isn’t the original Rorschach, and the small glimpse of dark skin he shows the Marionette gives us the only clue to his identity. (Could he be the newsstand kid from the original Watchmen, or related to Rorschach’s psychologist named Malcolm Long.?)

The bigger reveal is that his partner is Adrian Veidt, better known as Ozymandias, on the run and dying of cancer. With the Mime and the Marionette secured, he reveals their real task: find the one man who can reverse the tide of chaos, Dr. Manhattan.

The problem with all of this is that it automatically begs comparison to Watchmen, and as is painfully obvious, Geoff Johns is no Alan Moore.

That isn’t to say Johns isn’t a fine writer, but his style is more straightforward and pulpy compared to the measured, formalist work Moore wrote over thirty years ago. Additionally, some of his table-setting feels a little too protracted. (He also throws in some surprising, though unnecessary profanity.) Meanwhile, Gary Frank turns in typically excellent work, his pencils perfectly capturing the overheated milieu Johns sets up.

Doomsday Clock #1 is filled with twists on the original material, from the new Rorshach and his partnership with Ozymandias to the heightened terror past even that of “Watchmen,” to the nine-panel grid forming the basis of Frank’s pages. There are also some new wrinkles: the Mime and the Marionette seem to echo a couple of familiar DCU faces–especially once the Mime breaks out of his cell.

But the biggest surprise seems to arrive at the end, when Clark Kent has a nightmare of his parents’ death in a car accident–that turns out to be a flashback. Is this a new tweak on our Clark? Or is this a different Clark Kent? Can Superman actually exist in the Watchmen world? And why is Clark reading Walden Two?

Doomsday Clock #1 is an intriguing start to this 12-issue maxi-series, but it already finds itself treading dangerous ground, walking the very fine line between Watchmen homage and its own distinctive story. Johns and Frank can’t help but veer a bit too close to the former, but the book shines when it leans into its new mysteries.

When it comes to casinos, everybody knows the likelihood of winning big is rather slim. This is because the house always has the edge no matter what. Most people will have heard stories about people who have managed to upset the odds on a lucky occasion, walking away with huge amounts of cash. Well a team of MIT students not only managed to win big by getting lucky or even by cheating. They managed to win millions by playing blackjack using a very special system called card counting.

People have tried and failed to swing the odds in their favour in the past but usually by cheating. The MIT students learnt three skills in particular. They understood the basic playing strategy of blackjack and knew it like the back of their hand. They learnt to count cards, a skill that many have tried to master many times but failed and they also learned how to work together as a team in order to reach their goals.

With all the members of the MIT team knowing their roles and working as a team, the spotters would enter a casino and get themselves positioned at various blackjack tables on the premises. What these players did was use their card counting skills to determine when the deck went positive. A deck being positive means the edge is in the players’ favour. The spotters themselves wouldn’t increase their best, they would give a signal to a team member known as the Big Player or BP to come and enter the game, betting big. When the deck goes negative, the spotter signals again and the big player leaves the table.

The system worked because of how the MIT students planned it meticulously. The spotters never raised suspicion as they always bet low continuously. The big player just appeared like any other high roller, throwing huge amounts down hand after hand. They also devised the signals perfectly to indicate when the deck is warm, hot, boiling hot, cold or if there was a problem and they had to depart immediately.

The fact that the MIT team had a team bankroll was probably their biggest weapon against the casinos. As well as the players having money themselves in the pot, they were backed by investors too. Every player in the team used the team bankroll like it was their own and this allowed for them to place bigger bets and therefore win more money. This is precisely why blackjack teams have become so powerful.

After months of practice and getting everything spot on, the MIT team was ready to take on the casinos. They started winning and even losses were not as damaging due to the fact they were working together as a team with one bank roll. As time progressed their pot grew as wins increased and as the team started to grow, still using the same systems, the wins grew with them. At one stage they had millions in their pot and this was down to the way the MIT students went about their business inside the casinos.

Opening night of The Color Purple was a celebration of Black excellence, as a joyful sound rang clear and true through Boston’s Boch Center Shubert Theater. The touring revival of the musical version of Alice Walker’s award-winning 1982 novel is filled with powerful performances that laud the strength of the rural Black women the story centers on, and tells their tales of hardship and determination with soulful pieces that will have you laughing, crying, and signifying in your seat.

The story revolves around Celie, a young black girl living in Georgia with her abusive father. Her sister, Nettie, is her only company. She is bright and pretty, while Celie has only been told that she is dumb and ugly. When Celie sacrifices herself to be the wife to the cruel man known only as Mister so that Nettie can escape that fate, she finds herself entwined in the lives of other Black women who demonstrate a strength and resilience that feeds her own growth. The book was written by Marsha Norman, with music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray. Instead of the letters that Celie writes in the original novel, the musical shares her journey through personal vignettes and the storytelling of others.

In her portrayal of Celie, Adrianna Hicks’ gives us a 180 degree transformation over the course of the musical in not only character development but vocal range. The restrained and monotone Celie of the first act is endearing to no end to all women that meet her, even her own husband’s lover Shug Avery (a touching, then raunchy, then touching performance by Carla R. Stewart). Hicks is able to melt into the set and still have your eyes trained on her, with an ear towards her deadpan delivery that reflects a beat down soul. Her growth into a belting, confident heroine by the second act is natural and engaging, with a vocal command that rings clear to the rafters.

But the real showstopper is Carrie Compere’s take on Sofia, the strong and unapologetic wife of Mister’s son Harpo (J. Daughtry). From the moment she steps on stage, electricity runs through the crowd. In her song with the company “Hell No!” the audience whooped and cheered as she growled out the powerful lyrics “Oh, you better learn how to fight back/ While you still alive/ You show him girls can beat back that jive”. Even when beaten down at the behest of the mayor for her insubordination, her strength is undeniable. Compere’s duet with Daughtry also brought down the house as they toyed and teased during the playful “Any Little Thing”.

Though Daughtry is certainly gifted in voice and comedy, Gavin Gregory’s Mister is the standout performance on the men’s side, both in baritone and stage presence. Male-heavy numbers like “Big Dog” and “Shug Avery is Comin’ to Town” showcase that even though this musical is designed to have the women shine, the men are a force when they hit the stage. There are moments here and there where high notes in particular turn sharp, and lines are lost in an over-emphasis of character (for example, though several of Squeak’s lines were almost unintelligible the gist was clear) but it adds to the rawness rather than detracts from the polish. Church Ladies Angela Birchett, Bianca Horn, and Brit West were alone in having flawless vocal blending whenever they came together to gossip about the happenings of each family. Their time on stage was always a welcome boost.

This show is a very sleek production in terms of design. With a backdrop of common wooden chairs that also serve as the major props and a creaking wooden stage that at times seems to double as musical accompaniment, there is little to distract from the excellent performances on stage. Given that the novel centers on the difficult lives of an array of poor and uneducated Black women in the early 1900s, this makes far more sense than the original overdressed production from the first time the story hit the stage. The period costuming is muted browns, yellows, and blues which allows for an injection of life through brightly colored costume changes as the story picks up, like Shug Avery’s hot pink flapper dress, the second act’s confident use of sunny primary colors in Celie’s clothing business, and beautiful tribal prints that illustrate Nettie’s work in Africa.

The heart-wrenching but uplifting ending song “I’m Here” is a beautiful piece demonstrating the range of not only Hicks’ voice but the journey of Celie to find the peace and the place that makes her happiest. If you are lucky enough to be in a town that The Color Purple comes through, I can guarantee with absolute certainty that your happiest place will be a seat in that theater.

The Color Purple runs through December 3rd at Boston’s Shubert Theatre

For ticket information, click HERE

Inspired by Superman’s selfless act, Batman and Wonder Woman work quickly to find and recruit a team of metahumans – Aquaman, Cyborg, and The Flash – to save the planet from an assault of catastrophic proportions. Packed with stunning concept art, sketches, costume detail, stills, and behind-the-scenes shots from the set, this book is an invaluable insight into the world of Justice League.

And we’re giving away three copies!

To enter, send an email with the subject header “ART OF JUSTICE LEAGUE” to geekcontest @ gmail dot com and answer the following question:

What is Superman’s Kryptonian name?

Please include your name, and address (U.S. only. You must be 18 years old).

Only one entry per person and a winner will be chosen at random.

Contest ends at 11:59 PM EST on December 10th, 2017.

Let’s face it, if any of us lived in a video game world we’d be regular folk, just your run-of-the-mill boring NPC. The only excitement in our lives (unless the protagonist crossed our path) would be special celebrations and holidays.

With Thanksgiving and around the corner, I started wondering what it might be like to celebrate it within a video game. It sounds amazing on surface level until you realise that the majority of game worlds are fraught with enemies and obstacles…much like shopping anywhere on Black Friday.

So here are my picks for the worst game worlds to spend Thanksgiving in:

South Park (South Park 64)

You might believe that South Park is like any other American town so enjoying Thanksgiving here is seemingly normal. However, the turkeys in the N64 game are cold blooded killers so it’s unlikely you’ll be enjoying your usual feast.

I mean, unless you like rabid, mutant poultry? Or maybe you own a Cow Launcher and can take down these evil turkeys? Either way, I’m guessing there are enough fights during the holidays to warrant not starting another with a killer turkey.

Oh and if snowfall comes early, do not…I repeat, DO NOT be tempted to play in the snow because the children of South Park regularly partake in yellow snowball throwing.

Merrysville (EarthBound Beginnings)

The original NES game was called Mother and was released many years before in Japan where the town was actually called Thanksgiving instead of Merrysville. A town whose namesake is eponymous with a celebration should be the ultimate place to enjoy said celebration and yet, this place seems devoid of joy.

When Ninten (the protagonist) first arrives here in-game he discovers Lloyd, who explains how badly he is being bullied by other kids at Tinkle elementary school. Ninten befriends him, though let’s face it, is he really sincere? Or maybe he just felt sorry for Lloyd.

Doesn’t sound so merry to me. The town itself is rather dull, with minimal, similar looking buildings and I have no doubt this would be a terrible place for a Macy’s Thanksgiving Day Parade. Or any parade for that matter as an NPC informs you that Mr. Mayor….*sigh* the mayor of Merrysville doesn’t seem interested in his town, opting to leave damage from a landslide alone until after re-election.

Seriously, this place sounds horrible. Trying to enjoy Thanksgiving here would be difficult.

Town (Animal Crossing)

Sure, this game has a virtual celebration of Thanksgiving or as it’s known in-game, Harvest Festival, but forget enjoying a traditional turkey roast because in Animal Crossing you definitely won’t be eating it.

In fact, Franklin the turkey (who believes he has been invited to the town to be on the menu) seeks out your help to avoid his end. How? By collecting the knives and forks from the hungry townsfolk of course…yep, solid plan. Definitely not an ineffectual or terribly illogical plan.

This cutlery amnesty means the townsfolk can no longer munch down on Franklin…or anything for that matter, I guess that means finger food only? Fortunately, Franklin must not have heard of jerky.

Even weirder, in later iterations of the game, Franklin will more likely be serving your Thanksgiving food because he turns up in his cute little chef hat and overalls (must be all that cutlery he’s amassed, I guess he has to put it to use somehow).

Spencer Mansion (Resident Evil)

Located several miles outside of Raccoon City is Spencer Mansion and you could be forgiven for thinking it would make a great venue for your Thanksgiving get together. I mean, whoever lives here must be super rich, so it’s only natural to assume that celebrations of any kind held here must be lavish and the parties, more so.

They probably spend more on fireworks than anywhere else in Raccoon City, put up only the finest decorations and have a culinary menu to die for. Thanksgiving here would be an absolute blast. Plenty of rooms for entertaining guests, a huge pantry and kitchen to prepare copious amounts of food, a secret laboratory, the suspended ceiling room, Trevor’s tomb…

Um…yeah, the inhabitants of this mansion want to eat your brains just as much as you want to stuff your face with pumpkin pie. Please don’t spend your Thanksgiving here. That said, there are a few puzzle rooms here that might keep your relatives busy, giving you time to game and that would certainly be something to be thankful for.

Skyrim (the Elder Scrolls series)

Traversing Skyrim or any of the provinces of Tamriel may prove perilous, especially given there are dragons, giant spiders and evil cultists ready to strike at any time of the year.

However, if your ideal Thanksgiving revolves around food, the temptation of sweet rolls, venison stew, grilled leeks, spiced wine and pheasant roast will naturally entice you to face up to those dangers, I mean, those delicious sweet rolls alone seem worth the threat if you ask me!

I also hear Black-Briar mead is great with meat and you can always grab a bottle of Cyrodillic Brandy for that one aunt who refuses to drink anything else.

If you’re planning on attending a firework display after all that food though, think again. Not only will it attract trouble but the illuminations in the sky may look like magic spells being cast and you’ll be called out as a Hagraven or witch. I’m pretty sure you won’t be able to watch any sports here either, unless you count watching Temba Wide-Arms cut wood as sport.

Perhaps Skyrim isn’t such a great place after all. You might be drawn in by the food at first but ultimately, you’re more likely to become dragon’s food if you celebrate Thanksgiving here.

So that’s my list, what do you think?

Let us know in the comments section if there are any other places you think deserve a mention.

Happy Thanksgiving, my American friends!

Produced by Tim Bevan, Eric Fellner, James Biddle,
Katherine Keating, Anthony McCarten,
Lisa Bruce, Douglas Urbanski, Lucas Webb
Written by Anthony McCarten
Directed by Joe Wright
Starring Gary Oldman, Kristin Scott Thomas,
Stephen Dillane, Ben Mendelsohn,
Ronald Pickup, Lily James, Samuel West 

To play Winston Churchill, Gary Oldman is swaddled in layers of padding and makeup but the actor still shines through to give an award-worthy performance as the famous Prime Minister who led England through World War II. (The makeup will surely be up for numerous awards as well.)

We’ve already heard Churchill’s historic speech — “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender” — earlier this year in Christopher Nolan’s Dunkirk.

It’s rousing rhetoric that remains one of the most eloquent and stirring public speeches of all time and it certainly makes for a “stand up and cheer” moment in the film.

But the majority of the film is a quiet affair, consisting mainly of meetings and political maneuvering, much like Steven Spielberg’s Lincoln.

The film begins with Churchill anxiously awaiting news that he might be named the next Prime Minister. The appeasement policies of the current one, Neville Chamberlain (Ronald Pickup) have grown increasingly unpopular. History, of course, has nothing kind to say about Chamberlain or his attempts to make peace with Hitler.

That such a thing was even contemplated — a peace treaty with the Nazis! — now seems laughable, but that is the crisis Churchill finds himself in. Beset with political enemies at home and nonexistent support from the Americans, his efforts to wage war are being undermined at every turn.

It’s rather shocking to see that, at one point, he was seriously considering coming to terms with Hitler. When he finally snaps and roars at his chief adversary  Viscount Halifax (Stephen Dillane), roaring that “one cannot reason with a lion when your head in its mouth!” it’s a great scene that will surely be Oldman’s Oscar clip.

Coming as it does after Dunkirk, the battles fought in the political sphere can’t help but pale in comparison. But Oldman makes the film: His performance is likely the one to beat this year for Best Actor. And seeing the growing support for resistance to the Nazis is always a damn good thing.

Also very good in the film: Kristin Scott Thomas as his supportive wife, who has long since made terms with being married to a politician; and Ben Mendelsohn as King George VI, a stiff regent who resents having to appoint Churchill but finds himself warming up to the blustery fellow. Lily James is sympathetic, if not particularly memorable, as Churchill’s secretary.

Rating: 3.5 out of 5 stars

Zorya Films and Millman Productions are putting scream queen Danielle Harris under the knife with the December 1st theatrical release of Christopher Lawrence Chapman’s Inoperable.

Harris (Halloween 4 & 5, Rob Zombie’s Halloween, the Hatchet franchise) stars as Amy, a hospital patient who must battle nature and the supernatural before she ends up trapped for eternity. Chapman directed from a script he co-wrote with producer Jeff Miller. Inoperable will open December 1st in Los Angeles, New York, Atlanta, Houston, Phoenix, Tampa, Miami, Orlando, Cleveland and Minneapolis for weeklong runs.

A young woman wakes up in a seemingly evacuated hospital with a hurricane approaching. She realizes the storm has awakened malevolent forces, trapping her in a time loop. She must escape the hospital before the storm passes or she will be trapped in its halls forever.

Welcome back to Graphic Breakdown!

Happy Holiday! It’s almost Turkey Day!

Before we eat let’s talk about some comics!

Flash #35
Written by Joshua Williamson
Illustrated by Pop Mhan

Joshua Williamson has done an amazing job writing this comic book these past two years. This latest storyline featuring the Negative Flash has been great! Williamson has taken this title and put it in a direction we have not seen before.

Part two of the “Black Hole” arc, this issue is perfect for Thanksgiving. The Flash has to deal with the damage he has done his family, his friends and his city. He has to find a way to make it right.

It’s compelling and a strangely great issue leading into the holiday.

The art has been a little over the place the last few months on the title. It hasn’t been terrible, but stylistically it hasn’t always gelled from one storyline to another.

That being said, Mhan does a good job here telling this story. Pick up this book.

It’s been a consistently great read month to month.

RATING: B+

Doom Patrol #9
Written by Gerard Way
Illustrated by Nick Derington

Gerard Way is a wonderfully nutty comic book writer. His first eight issues of Doom Patrol have been great. He has taken everything I love about the Doom Patrol and puts a fresh spin on it. It’s been a trippy, fun experience.

Reality starts to transform for the team! Everything is going nuts! Yet, Way keeps it grounded and somehow emotional.

This isn’t just a comic book you read. It’s a comic book you experience and I’m in love with the experience.

The art by Derington is spot on. He’s one of the best talents out there. He works so well with Way, it’s uncanny.

The only thing that is tough is the long delay between issues. Still, it’s worth it when it comes out. Pick this up. It’s downright excellent.

RATING: A

Detective Comics #969
Written by James Tynion IV 
Illustrated by Alvaro Martinez

Tynion has been doing a decent job over here at Detective Comics. He has brought together a bigger team of Batmen and has been working with them.

Seeing Batman work with others has been a bit of fun. It’s been a good time.

The team however has fallen on a bit of hard times. That’s too bad. They might not be able to keep it.

Even worse, Batman’s enemies are learning from him.

How do? Well, they decided to form a super team of their very own!

Tynion is clearly having a lot of fun here. The art is okay but passable. This is heating up to the big one (Detective Comics #1000) Its a good start to a new storyline.

RATING: B

Kamandi Challenge #11
Written by Rob Williams
Illustrated by Walter Simonson

I have a confession to make: I love Walter Simonson’s work.

His artwork really is something. He’s been around the comic book industry for over 40 years. The remarkable thing, his work is actually getting better. It’s great to see him on this title in this penultimate issue.

Picking up from last month’s creative team, Kamandi is thrown into the depths of outer space. His spaceship is headed to the dreaded Tek-Moon!

Kamandi has to decide between finding his parents and escaping his captors for good. Can he make the decision and become a man finally?

The story by Williams is appropriately wacky. The art is the most compelling part of it all though. Pick this up.

Simonson makes it worth it and it’s quite an accomplishment.

RATING: A

Suicide Squad #30
Written by Rob Williams
Illustrated by Barnaby Bagenda

This is part four of the storyline “The Secret History Of Task Force X!” This tells the grand story of the Force coming up against their first threat.

Williams keeps the writing wacky as usual. If you’re in the mood for wacky and nutty then this is for you!

The first threat they ever faced was a dastardly creature known as the Red Wave. This Red Wave character has the ability to turn the entire planet into a flaming ball of ash! Harley Quinn is headed right for it too!

Deadshot was planning on trying to warn her but he’s got his hands full fighting an weirdo army!

The story is a wild time. The art isn’t that great. I wish it were stronger as it didn’t draw me in as much as I wanted. Pick it up if you like. It’s entertaining enough, but not as good as recent issues.

RATING: B-

Batman: Creature of the Night Book One
Written by Kurt Busiek
Illustrated by John Paul Leon

During the 1990’s, Kurt Busiek’s career started really taking off with Marvels. He had a way of showing a comic book universe from a unique perspective. It made him a sought after writer.

That fun continues here with this title. Busiek is at this top of his game here and it’s impressive.

This book focuses on a young main named Bruce Wainwright. Bruce’s parents were killed years back. He is starting to feel a power growing inside him.

The thing is, Batman in this universe is just a comic book character. So where will young Bruce put his energy?

Somebody FINALLY found a project worthy of John Paul Leon’s talents. His art is put to wonderful use here.

Pick it up. This could indeed be a sleeper hit.

RATING: B+

Ruff and Reddy Show #2
Written by Howard Chaykin
Illustrated by Mac Rey

Ruff and Reddy used to be famous! But their star has fallen badly. They are doing poorly.

Chaykin takes these two characters and writes the hell out of them in typical Chaykin style. They are has-beens and he has a lot of fun with them.

Ruff and Reddy travel through the convention circuit. They go through the pitfalls and Chaykin keeps it lively throughout.

They hit rock bottom. A comeback, however, is in order.

The art is perfectly suited for this book. Rey had a nice way of telling a story panel to panel.

Pick this up. It’s very enjoyable for sure.

RATING: B+

Gotham City Garage #4
Written by Jackson Lanzing
Illustrated by Aneke
Published by DC Comics

This is one the alternative take on the Batman mythos. If you are looking for something a little more off the cuff then this is the title for you.

This has been interesting to say the least.

Harley Quinn has returned to the Garden. The reason is because she had a mind control project and she wants to see it come to fruition.

Time to watch the place burn down! But Batman and Batgirl are back in town too…to try to take her down.

But can they?

The story by Lanzing is bonkers for sure. But it’s engaging. The art works well for this story. It moves it along at a crisp pace. Pick this up. It’s a different look at the DC Universe that works well.

RATING: B+

Batman Beyond #14
Written by Dan Jurgens
Illustrated by Bernard Chang

This is a start of a brand new storyline! What fun!

Dan Jurgens has been doing some of the best writing work of his career on this title and it’s been a joy to read. This issue continues that trend.

After the events of the Demon business, Terry and Bruce return to Gotham City. And great news! Terry has a new Batsuit. I have to admit, the new Suit is pretty damn sweet.

A familiar foe however surfaces and trouble is coming Terry’s way.

The art by Chang is wonderful for this title. He keeps the pace moving and you want to turn each page.

Jurgens and Chang have taken Terry and made him something more than just a cartoon. They made him human.

RATING: B

New Talent Showcase 2017 #1
Written and Illustrated by Various

This book is put together to spotlight writers and artists coming out from the DC Talent Development Workshops.

It’s great that DC does that as there are definitely some up and coming creators and one definite star.

This book has a great mix of characters. The one that stood out for me was the John Constantine story. Adam Smith writes a good tale here. It’s short but there is so much that could be explored from it.

That makes me call out Siya Oum. Oum has been making the rounds at DC. This story though you can see the star. It’s shining for sure. Oum is an artist that you will be seeing more of.

The rest are a mixed bag. The Wonder Woman story is decent as is the Harley Quinn story (written by Joelle Jones) Give it a shot. Some of the future contributors to comics are seen here!

RATING: B

Imaginary Fiends #1
Written by Tim Seeley
Illustrated by Stephen Molnar

This freaky comic book actually works pretty well. It’s tough to do horror in comic books and make it great. Seeley seems to have found the way. Here, he takes some risks and it pays off in spaces.

A young ten year old girl named Brinke Calle was found in the woods covered in blood. She only said the words “Polly Peachpit.” Her best friend Melba tried to kill her because she said Polly Peachpit told her to it.

Years later, Melba is visited in prison by an FBI agent. The agent needs help with another case. And Melba needs to prove her innocence.

I haven’t been the biggest fan of Seeley recently, but here he just kills it.

The writing is fast and taut and intelligent. The art is great too. Pick this up.

I hadn’t heard of this up until now but I’m looking forward to the next issue.

RATING: A-

Astro City #49
Written by Kurt Busiek
Illustrated by Brent Eric Anderson

This series has been picking up a little steam lately.

Busiek has always been a strong writer. Lately though, he’s been amping it up. I’ve been enjoying it as much as I did when I was a teenager.

The Resistor is the star of this issue. He’s making headlines all over the nations. People are up in arms about the Resistor! One reporter is determined to find out the real story. She also is on the path to finding her missing father.

This story has a twist that I didn’t see coming. That happens so rarely that I must commend it.

Anderson is the artist I love most drawing this series. This is a great issue and I recommend it.

RATING: A-

Batman Annual #2
Written by Tom King
Illustrated by Lee Weeks and Michael Lark

Well, this is an event. Tom King and Lee Weeks, the team behind this year’s Batman/Elmer Fudd special are reunited here. I was so excited to read this as I had no idea this was happening. Let me tell you, it doesn’t disappoint.

This is a story about Batman and Catwoman first meeting. It sets the stage for everything to follow.

I have to say, you need to read this.

Batman and Catwoman have a great dynamic here and King has a ball writing this. It’s good.

Lee Weeks is one of my favorite artists in the field. His storytelling here is top notch. There is also Michael Lark doing some art here. It’s tremendous.

Pick this up. This is a classic in the making. The creative team has made another story well worth your time.

RATING: A

Aquaman Annual #1
Written by Phillip Kennedy Johnson
Illustrated by Max Fiumara
Published by DC Comics

I wasn’t expecting much from this Annual, but I was proven wrong.

The story by Phillip Kennedy Johnson is perfect. I don’t think I heard this name before. But he’s a very strong writer.

Aquaman has his dream come true here!

It was a dream of unity between the surface and the sea. You know it’s not going to last though. The dream may crumble quicker then they think however as forces come into play they weren’t expecting.

The art by Max Fiumara is great. I loved him on Abe Sapien and here he soars as well. Pick this up.

It’s a solid book that certainly surprised me and there nothing better than that.

RATING: B+

Injustice 2 Annual #1
Written by Tom Taylor
Illustrated by Marco Santucci

I discovered the Injustice comics for myself this year and man are some of them fantastic. I’ve noticed it’s usually when Tom Taylor is the one who does the writing. Lucky us, he is the one who has written this annual. It’s a good strong issue.

Ever since Superman was overthrown (like I said, READ THIS BOOK), Wonder Woman has been trapped on Themyscira. It’s a hard thing for her.

It turns out she really loved Superman and couldn’t reach him. Taylor makes the most out of every page. The characters and motivations are believable.

The art is good here. Some of the Injustice books are hit or miss.

Looking for something different?

Head into this book for sure. It’s a dark story but it’s accessible. And that’s a good thing.

RATING: B+

The world’s top protection agent (Ryan Reynolds) is called upon to guard the life of his mortal enemy, one of the world’s most notorious hit men (Samuel L. Jackson). The relentless bodyguard and manipulative assassin have been on the opposite end of the bullet for years, and are thrown together for a wildly outrageous 24 hours. During their raucous and hilarious adventure from England to the Hague, they encounter high-speed car chases, outlandish boat escapades, and a merciless Eastern European dictator (Gary Oldman) who is out for blood. Salma Hayek joins the mayhem as Jackson’s equally notorious wife.

And we’re giving away three copies!

To enter, send an email with the subject header “HITMAN’S BODYGUARD” to geekcontest @ gmail dot com and answer the following question:

This is the third onscreen collaboration between Samuel L. Jackson and Gary Oldman.  What were the first two?

Please include your name, and address (U.S. only. You must be 18 years old).

Only one entry per person and a winner will be chosen at random.

Contest ends at 11:59 PM EST on December 10th, 2017.

For more details, visit Facebook.com/HitmansBodyguard

We’ve got a super full week, it’s like Christmas morning but a month early!

Let’s dive right in!

Action Comics #992
Words: Dan Jurgens, Rob Williams
Pictures: Will Conrad, Hi-Fi

I won’t be the first to point out that the more difficult to convey Superman story is not the one where he fights giant aliens and destroy cities, but the Clark stories. The human stories when he uses what he’s learned over the course of his life and the relationships that have built who he is today.

This week’s chapter is quiet and lot happens in little spaces. The only physical destruction that happens is the trashing of a lab in the Fortress of Solitude out of pain, fear, sorrow and frustrated confusion.

Superman is a character invulnerable to most deadly force, can exist in outer space, and can crush coal into diamonds. Clark is not beyond the failing of many of us – to idolize your parents. And with the betrayal he feels at the “out of character” actions of Jor-El, Clark’s world is suddenly unbalanced unmoored and he questions everything secure to him.

Things would fall apart at one of so many places if Clark did not have the friends who genuinely care about him.

This issue is a great character piece displaying an examination of the Clark and Bruce, Clark and Lois, father (Clark) and son (Jon), father (Jor-El) and son (Kal-El) relationships.

No epic space battles, just the fight for one person to uncover truth and regain their sense of self. Pretty obvious I recommend reading it.

Batgirl #17
Words: Hope Larson
Pictures: Chris Wildgoose, Jose Marzan Jr., Andy Owens, Mat Lopes

Today’s subject is forgiveness.

Can you forgive others?

Yourself?

What lengths does one go to when that’s just not available as a option?

We skip from the past, to the present, to the past and back again. (Past) Babs (Batgirl, but I think we’re close enough to use nicknames) and Dick (Robin) have broken into Mad Hatter’s lair to stop his drug operation and free her friend Ainsley.

So simple right?

But Ainsley’s working there in EXCHANGE for drugs, and Hatter flaunts that fact to Batgirl getting a face of bloody bruises as her response.

Now, in the present Ainsley’s sister Edith blames Batgirl and Robin (now Nightwing) for failing to “save” her sister.

How dare they as teenaged superheroes not be able to stop her sister from taking drugs!!!

Edith has a plan, and the pain she’s been holding onto, and no qualms about killing.

It may sound odd to say an issue with so much sadness and pain is lovely, but life is complex isn’t it?

Blue Beetle #15
Words: Christopher Sebela
Pictures: Scott Kolins, Tom Derenick, Romulo Fajardo Jr.

Jaime’s stories always involve his friends, it’s a package deal. And this action filled road trip story is no exception.

We begin with Jaime fighting glowing alien dudes (already in progress) with the last of his suit’s energy expended (in an admittedly cool explosive Ka-Thooom) he’s saved by the power of a classic car full of his friends slamming those aliens to the ground.

They drive away (just away, you would too) as their surroundings start to shift to future / past / apocalyptic scenes.

The only relief?  A small abandoned town that could fit into any horror movie or video game. But the car is busted and everyone’s tired – hopefully the locals are’t all crazy and culty or anything (yeah they’re never that lucky).

Of course it’s deeper than that (it’s not a one and done), it balances making sense as a story and having fun and I look forward to the next issue.

Green Arrow Annual #1
Words: Benjamin Percy
Pictures: Eleonora Carlini, Hi-Fi

What if all you got for Christmas, was everything you wanted?

Not just you, but everyone and without even needing to ask them – it’s automatic!

That would be a gift right?

It’s the season for large dramatic gestures to make others happy (against their will) right?

It’s funny how a holiday themed issue can be so psychologically frightening. The colors are muted, the lines done with as light touch.

It’s a comic that feels very Twilight Zone-ish in the best of ways.

You hardly have to know any history to enjoy this one (as I’ve noticed is true of many solid annuals).

Oliver, Roy, Diggle, Emiko, Dinah – if you know who they are it helps, but Benjamin Percy does a good job of giving you a taste of their personalities even if you’ve never picked up the book before.

Hal Jordan and the Green Lantern Corps #33
Words: Robert Venditti
Pictures: Tom Derenick, Jack Herbert, Jason Wright

I try not to comment on covers, since every book seems to have alt. covers – but that’s some body horror right there, just (ugggghhhhh!) well done, very well done.

In someplace unknown a watcher (Yekop) dressed medieval knight-ish is running for his life through some place industrial. Yekop gets blasted by off-panel racist (or is it species-ist?) bad guys before he can slip away.

Next page – joy, so much joy.

Somar-Le a young Xudarian is flying with her green lantern ring for the first time. There’s pages of loop-de-loops and green energy streams in twirls just streaking around the sky.

Our last of the Guardians (Sayd and Ganthet) watch in bemused wonder and there’s even the little deep relationship jokes I appreciate.

Nice tone for the peace before everything coming down on our heads again.

The Lanterns (John, Kyle, Hal, Guy) are themselves as expected, but it’s not really their story.

This is going to be a Guardians-centric storyline. If you’ve been curious about the little immortal blue guys, maybe want to know more about their history, hop on. I’ll read for Somar-Le (too cute!)

Harley Quinn #32
Words: Jimmy Palmiotti, Amanda Conner
Pictures: Bret Blevins, John Timms, Alex Sinclair

This issue is a lesson in patience, the long game of writing a fleshed out character world.

We won’t mention other books who introduce a “girlfriend” and knock them off like two issues later, but this is how you have a death in a book that matters to the character AND reader.

Mason was introduced before the reboot, they’ve had adventures on the everyday scale and in the “I have an Oceans-11 like complicated scheme” scale. The group of them became her adopted family when she saved their home.

So they didn’t just kill “her boyfriend”, they killed Madame Macabre’s son, they killed the the “brother” of her family.

There’s violence and blood as per usual, but humor is dialed way the hell back.

This isn’t the kind of book where friendship can fix things, where magic tears can bring your love back to you.

Harley is there to kill those who killed Mason, those who are responsible for Mason’s death and anyone employed by them that gets in her way.

There is no “is it right?” “do I have the right to take revenge?”. There’s only the more relatable touchstones of friends who know her, asking the useless question that you still have to say out loud “Are you alright?”. She’s not, we’re not. There’s going to be a lot of blood and decisions to be regretted later before we get to alright.

Justice League of America #19
Words: Steve Orlando
Pictures: Hugo Petrus, Hi-Fi

Afterthought is fighting Black Canary and Lobo.

Prometheus fights Vixen in front of all the civilian visitors.

The cover doesn’t lie, there’s so much fighting in this book.

I hate to say, my problem is I’ve seen this story through line many times.

They did it well enough and the characters feel true to themselves. But it’s – good guys are threatened and scattered, they get back together and are stronger with friendship, bad guys betray each other at moment of weakness.

The end of this issue opens up the possibility of a more interesting story, and I’ll look forward to that.

Justice League of America Annual #1
Words: Steve Orlando
Pictures: Kelly Jones, Michelle Madsen

Hey there readers! Ever want to read a sweet Lobo story?

No…come back I’m serious!

This is the silly, violent, gritty story you didn’t know you needed a copy of.

I’m not sure if I’ve seen the work of Kelly Jones before – but it is so perfect for this story. It lives in the neighborhood of Sam Kieth, 80’s Frank Miller with some 2000 AD sprinkled on top. If you’re worried about characters always being on model – it’s not your book. This is a fun B-movie space romp (and I’d watch it animated just to see these panels put into motion with maybe John DiMaggio voicing the Main Man)

Lobo has one request of Black Canary – go to space and kick the butt of someone who’s killing the only thing he cares about, Space Dolphins!

She’s not immediately convinced (I would be) but after he levels that he respects Dinah, shows her that Batman believed him, and shares a bit of Lil’ Lobo backstory they’re off on their wacky violent way!

The words and visuals are just fun (space dolphins teleport with the power of Kirby Krackle!) I was happy to have read it.

Looney Tunes #240
Words: Sholly Fisch, Weiss, Barry Liebmann, Sam Henderson
Pictures: Dave Alvarez, Mike DeCarlo

It’s a bunch of 60’s Looney Tunes cartoons on paper. Not complaining, some of those are awesome. At that time cartoons weren’t “just for kids” and I’m so glad we’re at a point where that’s once again true.

First story “Hounded By The Law” even has a title card!

I appreciate the little touches. Two mugs on the run after a robbing a bank hide out in an abandoned house, but they’re targeted by an overenthusiastic dog who wants them to be his new owners. They want to get away, dog wants a home but only one of them will be happy in the end.

A one-page recasting Bugs Bunny as Little Bo Peep

Daffy (the world’s most persistent and socially tone-deaf door-to-door salesman for ACME) terrorizes the Three Little Pigs.

It feels like they’re aiming for younger even though I don’t see that audience getting some of the jokes.

A one-page Daffy, Bugs, Elmer spoof of Blair Witch.

None of the four stories are long enough to be more than popcorn amusement, so if you’re looking for light goofs this would work.

Mystik U #1
Words: Alisa Kwitney
Pictures: Michael Norton, Jordie Ballaire

A big horrible magical calamity already happened called The Malevolence. Just about every magic user is dead.  Zatanna and a dying Dr. Rose Psychic (don’t look at me that way reader, I didn’t name them) have just enough time for one last spell…to rewind time.

We’re back to a time with a teenaged Zatanna, who just uttered her first working spell (cast her father to Hell completely accidentally, but she didn’t KNOW it would happen!).

She’s brought by Rose to, what would happen if Hogwarts and the X-Men combined forces to create a sister campus… and Ivy League school for magic-users – Mystik University. It’s a gorgeous book, it bleeds details on each page and there are so many Vertigo references (they sneak into the House of Mystery in this book, it’s on the campus, squeeeeee!).

You meet each of the students Zatanna gets to know, right along with her.

Students are accepted when they exhibit magic (I do hope there’s scholarships available). Sebastian Faust (who’s father had him to sacrifice to a devil), Pia Morales (she brought her cat back to life, mother is an utterly mundane doctor), Davit Sargon (magic runs in the family), June Moone (Enchantress), Joe (you don’t have to worry about Joe).

There’s a small threat on campus that bring our characters together while the administration decides how to handle the ever-looming danger of The Malevolence (one of our five characters will kick off the disaster) what can they do?

Kill one of them, kill them all just to be safe?

This is the fun college tv show no one could afford to make live, we know half the cast from previous books but I want to learn more. This is a 40+ page read but I was sad at the end of issue one, how long till the next one?

…And we get to learn what haruspicy is – and wish we hadn’t

Nightwing: The New Order #4
Words: Kyle Higgins
Pictures: Trevor McCarthy, Dean White

Jake Grayson is in so much trouble, scared and drugged.

This IS a dystopian future story, you didn’t think that just because someone’s innocent they’d be treated fairly did you? And our kidnapping bad guys (lead by Kate Kane, the former Batwoman) have quite the problem – Jake’s very DNA is rejecting the power suppressant.

Thankfully for Dick, at the end of last issue Kory and Wally West did not shoot him then and there on the side of the road. He’s healing at their secret base, and it’s admittedly in the best place for a secret base – right in the enemy’s backyard.

It’s a regrouping of the Titans, but with a white-ringed Lois Lane filling in for Raven (those rings must have amazing healing properties, she looks the same age as the rest!).

When the power killing blast went out Gar was mid transformation and stuck that way- he’s… a Thundercat (it’s o.k. that you wanted to draw him as a Thundercat it’s just he is soooooo a Thundercat).

Kory is badass, T2 Sarah Connor kinda badass. They might kick Grayson’s butt later for starting this all in the first place, but all agree on one thing, rescue Jake. Nothing in this horrible militaristic future will stop them.

The art on this book is so severe and assists this tale of authoritarian overreach in the name of safety, where the underground proles are the powered beings fighting for their right not to be drugged up the rest of their lives or frozen (at least a metaphorical death). This book gives me the kind of chills Kurt Vonnegut Jr.’s Harrison Bergeron did, another story where everyone being the same was enforced with violent reprisal.

Scooby Doo Team-Up #32
Words: Sholly Fisch
Pictures: Scott Jeralds, Silvana Brys

This issue sees them teaming up with the ever strong and helpful Atom Ant just after last issue’s meet up with the Atom.

I cant believe all the ant puns in this one, but there’s lots of giant monster fighting as well and that’s impressive when you have characters of such disproportionate sizes.

The mystery isn’t that difficult, where’s they come from – maybe the mysterious building on a cliff just off-panel?

But it’s a good simple fun story, watch as this bunch of goody two-shoes (they didn’t make an Adam Ant reference, but I will) run from monsters, fight them, and eat lots of picnic food together.

Super Sons Annual #1
Words: Peter J. Tomasi
Pictures: Paul Pelletier, Cam Smith, Hi-Fi

A dog-napper is terrorizing the streets of Gotham. (Maybe not the worst thing in that city but still pretty bad.)

Jon and Damian stop a bank robbery in New York then call it a night. Jon makes sure to tell Krypto about it, including his plans to investigate the Gotham dog-nappings tomorrow before going to bed. But Krypto decides to take matters into his own paws.

This kind of story, with the actions un-narrated I’m a total goof for.

Krypto gets the help of Bat-Cow (IT HAS BAT-COW!) and Titus. Bat-Cow gives them a harness so Krypto can hold Titus as he flies (Bat-Cow is now my head-cannon the Alfred of this group) and they’re off to solve this pet-related crime spree with the help of Detective Chimp!

It’s a getting the band back together, one last mission one-shot book and it’s so damn enchanting.

It’s got the things you’re looking for in terms of super-pet related story, there’s cameos from almost every pet and they save the day. It’s satisfying but if I over explain it just won’t mean as much, it’s really a “better if you read it” kinda experience..

Teen Titans #14
Words: Benjamin Percy
Pictures: Khoi Pham, Trevor Scott, Vincente Cifuentes, Norm Rapmund, Jim Charalampiois, Blond

“Titans Together!” is their battle cry, and the basic reason they work as a group. They’ve been through so much together they’ve become a family. Sometimes it’s hard to face family not because you think you’ll be rejected, but because you fear you will. Heady concepts for a funnybook right?

So, they got rid of a bomb last issue, but that just left them with a massive destructive wave bearing down on the city, threatening thousands of lives with only Robin and Red Arrow on the scene.

Meanwhile the Titans are trying to convince Wally to be a part of the team again when they get Robin’s unsure call for help.

Just as the wave is about to slam Robin and Red Arrow the team teleports in (nice to have magic-users). Everyone does their part to keep the populace safe, including Wally who made his own way over. But that only leads to questions. Why was the bomb set in the first place? Who were they after? Who’s life is still in danger as we speak.

A good payoff AND set-up chapter, nice human moments in there.

The Hellblazer #16
Words: Richard Kadrey
Pictures: Davide Fabbri, José Marzán Jr., Carrie Strachan

Magic-type people with small groups of followers are being killed methodically in San Francisco, they die with “THANK YOU” written (by them?) in their own blood.

Since John (Constantine) happens to be there, he’ll look into it.

Jenny, a friend of his might be next.

I appreciate a detective story only sprinkled with magic, and this is gritty and noir.

Our protagonist (you didn’t expect me to say hero did you?) is having the hardest time trying to figure out who’s killing off these people and it only gets more difficult with the cops suspecting him, the magic community distrustful and all the people pretending to be demons trying to beat him up.

But I’m right there with you John, I want you to find who did this and I want you to kick it’s butt (and not being a good guy, you’re allowed to be creative in how that’s done).

Wonder Woman #35
Words: James Robinson
Pictures: Emanuela Lupacchino, Ray McCarthy, Romulo Fajardo Jr.

We meet the adopted father of Jason (Wonder Woman’s twin brother), Glaucus, and he is just the sweetest old man. He’s immortal so who knows how long he’s been that, but he’s got it down pat and is a caring worried father that just wants his son to be safe.

All his life Jason has been hidden from his birth-father (Zeus) from the world at large; he was trained by Hercules to defend himself to stay safe.

But what happens when you recognize your twin, out in the open and sunlight accepted by the world?

How do you start that conversation when you’ve been trained in the exact opposite?

I promise you, this book is not all deep philosophical navel gazing.

There’s fun action and though there was a lot of backstory here, the ending promises a battle in the next issue and maybe in a fight with monsters our guest protagonist can find his answers.

I’m so glad her brother didn’t turn out to be a creep.

Friday morning will see millions of shoppers flooding Big Box stores hoping to save a few dollars and fight bargain-hunting pugilists.  Thankfully, that’s no longer a necessary approach to getting a good bargain on some super-desired merchandise.

Our friends at ThinkGeek are not only running several impressive sales, but also are releasing two awesome exclusives!

Funko POP! Labyrinth Jareth Vinyl Figure – Glitter Exclusive

You remind me of the babe
What babe? Babe with the power
What power? Power of voodoo
Who do? You do
Do what? Remind me of the babe

This amazing Pop! features David Bowie in his role as Jared, The Goblin King in Jim Henson’s Labyrinth. Unlike the previously released version, this Pop! includes an extra necessary ingredient…GLITTER!

Going live Friday morning, this Holiday Must-Have retails for $11.99!

The Witcher 3: Original Game Soundtrack Deluxe 4LP Set

Debuting later Friday morning is the ThinkGeek exclusive, The Witcher 3 Original Game Deluxe Soundtrack 4LP Set.  Featuring 63 tracks on gorgeous colored pressed vinyl, the core game discs are white, the Blood and Wine DLC album is blue, and the Hearts of Stone album is blood red.  Here’s your chance to immerse yourself in this magical (and collectible) audio experience.

Both items are available until supplies last and are so cool, you might want to buy an extra for yourself!

Lily Tomlin and AFI FEST Director Jacqueline Lyanga at the AFI FEST 2017 screening of NASHVILLE. Image Via AFI

The odds are very good that you’re going to have cast or crew attend a film fest in Los Angeles, but it was still a wonderful surprise to have Lily Tomlin come on stage for a Q&A after the screening of Robert Altman’s 1975 film Nashville. And then, about halfway into her chat with AFI Fest director Jacqueline Lyanga, when the floor was opened up to audience questions, she spotted costar Ronee Blakley, who came up onstage and joined in.

(Blakley was also at the Beyond Fest screening of 1978 Walter Hill film The Driver, but didn’t join the Q&A. Word to the wise: If you’re in Los Angeles and see a woman of a certain age in a big hat at a screening of a film she’s in, it just might be her.)

After sharing a big hug, the two shared stories about making the Robert Altman film more than 40 years ago, with Blakley saying coyly, “I cannot tell all the stories!” But they did share so many that they ran well over the allotted time.

Here are the highlights:

Tomlin originally didn’t like the role that won her an Oscar nomination.

Tomlin: “I wasn’t excited about playing Linnea. I was excited about being in Bob Altman’s film and it being my first movie. My family is Southern and I know the Southern culture fairly well, even though I was born in Detroit. So I felt that I understood who that woman was. I thought, ‘Well, there’s many other parts I could play in this.’ And as the actors came in, I began to see how Bob is just a great casting person. When he hired the actors who play my kids in the film [both of whom are deaf], he chose the first two ones that came. He was just that confident. Those kids came and those are the ones we had.”

Tomlin shot her own movie on the set — but has no idea where the footage is.

Tomlin: “I was going to make my own film, I had a sound film camera, a little dinky one. I’d go to set every day, even though I didn’t have to work to do. I would start filming the scene myself. I gave up on it after a while. I just stopped going. If I had, that would be something. Although, would you sit through three hours of a meandering camera?”

When asked if she still had the footage, she said, “I might have a few days of it. I’d have to really look for it.”

Altman got so stoned every night, Tomlin thought he’d never make it to set in the morning.

Tomlin: “He was a lovely guy, very terrific. When we were making Nashville, he was getting stoned every night. We would have dailies at the end of the day. You were not required to come, but it was a good idea if you came, because Bob said, ‘If anything happens, you have to accept it, if it applies to your character. And you need to keep up with the story.’ So everybody would go. And the pot was pretty freely floating around. But Bob would get absolutely… you just didn’t know how he was [still] walking. The first couple of days, I was real worried about him. I would say, ‘Well, he’ll never make it to the set in the morning.’ But by 5 or 7 am in the morning, he’d be on the crane, doing whatever he had to do. He was a big, just physically impressive person. His appetites seemed unending. He was voracious in everything he did. But, at least to all the actors, he was … I used to call him ‘The Benign Patriarch,’ because there was something easy about him and not domineering or patriarchal in that sense.”

The story Tomlin’s character tells about an injured relative? That was a true story.

Tomlin: “You never knew if you were being recorded. We were at a big gathering at Haven Hamilton (Henry Gibson)’s house [the one where Elliot Gould shows up] and I was talking about my aunt hitting her head.  That’s what was happening with my aunt in Nashville at that time. She had had an accident, struck her head on her car or something as she was getting in and developed a big hematoma. And you didn’t know if this story would be in the movie or not.”

A movie Tomlin wanted to make didn’t happen — because of Altman’s temper.

Tomlin: “I had optioned a book called Maiden by Cynthia Buchanan in 1971 when I was on Laugh-In. Everyone thought I was cheeky as hell because most comedians who were doing characters like Ernestine, they didn’t go into the movies. You didn’t cross over in those days. By the time I got Nashville, Bob had decided that he was going to make a movie of Maiden. I had bought the rights and my partner Jane Wagner had written the script. He wanted something for [Nashville screenwriter] Joan Tewkesbury to direct, so she was going to direct Maiden. And California Split was just coming out from Columbia and Columbia was the studio that was going to back Maiden. Some suits came down and told him they wanted him to cut 5 or 6 minutes of California Split. And he punched [one of them] in the nose and he fell in the pool. So Maiden never got made. But Altman was impetuous that way.”

Ronee Blakley was first hired just to write songs, not to act in the film.

Blakley: “I had seven songs in the movie and three were in the first movie that I scored, a movie called Welcome Home, Soldier Boys. Those songs led to Judy Collins’s producer signing me to Elektra and then Richard Baskin, who was the music producer for Nashville, liked that album. So that’s how he first introduced me to Bob, it was for my songs. I was originally on the movie as a songwriter. Susan Anspach was going to play Barbara Jean.”

Ronee Blakley at the AFI FEST 2017 screening of NASHVILLE.  Image Via AFI

Tomlin thought she’d ruined the movie in the close-up that probably earned her her Oscar nomination.

Tomlin: “Altman told me at one point that the audience would like me because they would identify with my moral center. Like the woman who hits the kid with the car in Short Cuts and she never even knows about it. But the audience would forgive me.”

Blakley: “Also when she has the affair with Keith [in Nashville]. That is so hot! And the close-up, as the camera comes in [as Carradine is singing “I’m Easy”]. It’s just a stunning shot, really exquisite.”

Tomlin: “Thank you, that is so sweet. I ran out of the dailies that night. Scotty — she was Bob’s right hand, she had a lisp and she smoked — she called me when I got to my room and she said, ‘Why did you leave the screening?’ I said, ‘Oh Scotty, it’s terrible. I just ruined the movie.'”

Blakely: “You got nominated for the Academy Award for that shot.”

Tomlin: “You know what scene I like from the movie? When I get called [by Carradine] from the dinner table and I get up and answer the phone. I thought she was the most real in that.”

Barbara Harris never worked with Altman again — for a number of reasons.

Tomlin: “I loved Barbara Harris, such a great comedian. She comes in on the last day of shooting, waving the SAG book. She said Bob owed each of us, every day we weren’t on the set, he owed us $5 for lunch. There were so many of us. And he had to pay each of us $350 because we were there for about two and a half months.”

Blakley: “She did something else bad. Oh, I feel bad saying anything. I’ll tell my other story, because I don’t want to say anything.”

Tomlin: “Did you think my story shouldn’t have been told? I thought she was brilliant.”

Blakley: “Okay, I’ll tell what she did…”

Tomlin: “I thought it was because she wanted to have that Indian blanket with her when she did her song at the end”

Blakley: “That and the bracelet? She wore the turquoise bracelet and he didn’t want her to, because that was too hip. She wasn’t supposed to be the hip one, she was supposed to be the country one. When Bob saw it in the dailies, he flipped.”

Tomlin: “I always thought she wanted to carry that American Indian woven blanket and it was something she wanted to say, to bring attention to the Native American issue. But I think what Bob really flipped about was the $350 [lunch money].

Blakley changed a scene in Nashville — and Altman was okay with it.

Blakley: “When Barbara Jean was first arriving at the airport, that was my first scene. Altman said, ‘I want to hear all your ideas, I’m open to anything. But on the set, time is money. So if I say no, don’t argue with me.’ Barbara Jean was going to faint and Bob said to me, ‘When you’re about to faint, give a signal to Allen Garfield [who played Barbara Jean’s husband, Barnett].’ And I said, ‘Oh no, Bob. My knees would go first.’ So the very first thing I did was contradict him on the set, but then he gave me that look. It turned out Allen had asked him to ask me to give him a signal because he was afraid he wouldn’t catch me. And then when he heard me say that to Bob, he knew he could catch me and he did catch me. I took the chance and disagreed with Bob and that’s what we did.”

Altman didn’t take it well when Tomlin couldn’t be in some of his later films.

Tomlin: “I was supposed to be in Kansas City and Pret-a-Porter. But I was working on something else and I didn’t want to sacrifice it. And the second one, I was trying to get a animated series for my character Edith Ann. And I wasn’t in a couple of vehicles after that, because Bob was kind of punishing me, he think.”

Lily Tomlin at the AFI FEST 2017 screening of NASHVILLE.  Image Via AFI

Altman wanted to make sure the other actors didn’t like Karen Black’s character

Tomlin: “When I got on Nashville, he gave us two places to live: The motel or the Haystack Apartments. So I moved out [of the apartment] right away, I couldn’t take the allergies. And he said, ‘You get back to those apartments.'”

Blakley: “Did you pay for your own hotel?”

Tomlin: “Oh yeah. Well, he wasn’t going to pay for it.”

Blakley: “When Karen came…”

Tomlin: “Oh yeah. You tell it.”

Blakley: “Didn’t she have a limousine?”

Tomlin: “Yeah, I think he used it in the movie.”

Blakley: “She was the only one who was allowed to come and go. We were all there for 10 weeks.”

Tomlin: “But here’s the best part: We went to him and complained about it. We asked him, ‘How come Karen comes in here and she gets to leave and we have to stay day after day in this heat when we’re not working?’ And he said, ‘You’re not supposed to like her.'”

Blakley wrote her own breakdown scene.

Blakley: “You know when Barbara Jean has her breakdown?”

Tomlin: “That was your invention. That was really good.”

Blakley: “Thank you. Yeah, I wrote that. On the day we were going out to Opryland to shoot, I was in makeup. I asked for someone to ask Bob to come down. I showed it to him, in my journal. He said, ‘Do you know it?’ I said, ‘Yes.’ And he said, ‘We’ll shoot it.’ And we went out and shot it.”

Tomlin: “You kept a journal?”

Blakley: “Yep. You’re in it!”

Tomlin concluded by saying, “We had a great time. I adored Bob. I think most actors who worked with him adored him. He was just so human. He was a terrific presence.”

DECEMBER 1

8 Mile
Eminem won an Oscar for the theme song, but hell, the script should have won as well. A great movie that make me legitimately sad that Eminem didn’t go the Ice-T/Ice Cube route with his career.

Ace Ventura: Pet Detective
Ace Ventura: When Nature Calls
Jim Carrey’s iconic butt-talking role about a detective. For pets.

All Hail King Julien (Season 5; Original Netflix Series)
“In this Emmy winner for Outstanding Children’s Animated Program, Madagascar booty-shaker King Julien takes on the jungle’s craziest adventures.”

A StoryBots Christmas
The sequel to Terminator, explaining to kids the new world order after the machines take over.

August Rush
Modern day take on Oliver Twist where the kiddo in question is a musical prodigy. Features an endearing turn by the late, great Robin Williams.

Chef & My Fridge: 2017
“The best chefs of Korea go head-to-head to create impromptu dishes that feature ingredients found inside the guest stars’ very own refrigerators.”

Dark (Season 1; Original Netflix Series)
“A missing child sets four families on a frantic hunt for answers as they unearth a mind-bending mystery that spans three generations.”

Diana: In Her Own Words
“From award-winning filmmaker Tom Jennings, “Diana: In Her Own Words” is an intimate story told entirely in the Princess’s voice through extremely rare recordings, most of which have never before been broadcast.”

Dreamcatcher
Stephen King’s story about a quartet of friends who meet aliens after a camping trip. Stars Damian Lewis, Thomas Jane, Jason Lee and Timothy Olyphant.

DreamWorks Home: For The Holidays
“Join your DreamWorks friends for these four holiday specials, featuring Shrek and Donkey, Hiccup and Toothless, and the wacky animals from Madagascar.”

Easy (Season 2; Original Netflix Series)
“This eclectic, star-studded anthology follows diverse Chicagoans fumbling through the modern maze of love, sex, technology and culture.”

Exporting Raymond
Docu on the trials and tribulations of making “Everybody Loves Raymond” for Russian television.

Forbidden Games: The Justin Fashanu Story
The heartbreaking story of the only pro footballer to come out of the closet while still playing the game.

Full Metal Jacket
Stanley Kubrick’s masterpiece that takes a long, hard look at how to turn men into soldiers.

Hitch
Will Smith is a matchmaker who gasp meets his match in Eva Mendes.

I already regret writing that. I’m sorry.

My Happy Family
A Georgian woman leaves her husband and family in search of happiness.

Nacho Libre
Jack Black’s take on the sort-of true story of a cook in a Mexican monastery who dons the persona of a Lucha Libre wrestler to raise money for orphans.

Sahara
Before he found redemption in indie films, amazing cameos and Oscar wins, Matthew McConaughey starred in drek like this third-tier Indiana Jones rip-off.

The Farthest – Voyager In Space
“The epic story of NASA’s Voyager mission to the outer planets and into interstellar space.”

The Little Rascals
Mediocre remake of the Our Gang shorts into a feature length movie, sans the tragic backstories of the child actors.

The Wackness
Teen dealer develops a bond with his therapist in this dramedy that hyped ‘90s nostalgia before it was a thing.

The Young Victoria
Emily Blunt stars in this royal biography of England’s great monarch. Perfect viewing if you have already binged The Crown and are hungry for more.

Tyson
Sports drama about the rise and fall of Mike Tyson.

V For Vendetta
James McTeigue and the Wachowski siblings adapt Alan Moore’s tale about a fascist government in spectacular fashion.

Soon to become a documentary

TURN: Washington’s Spies (Season 4)
“TURN: Washington’s Spies takes viewers into the stirring and treacherous world of the Revolutionary War and introduces Abraham Woodhull who, after aligning with a group of childhood friends, forms the Culper Ring — America’s first spy ring.”

While You Were Sleeping
Sandra Bullock stars in the ultime guilty pleasure about a Chicago Transit Authority worker who pretends to be the fiance of the man she saves and ends up part of the family.

DECEMBER 4

When Calls The Heart (Season 4)
When Calls the Heart tells the captivating story of Elizabeth Thatcher (Erin Krakow), a young teacher accustomed to her high society life, who receives her first classroom assignment in Coal Valley, a small coal mining town where life is simple, but often fraught with challenges.”

Do you have more than eight cats? Good news! The Hallmark Channel series is back on Netflix!

DECEMBER 5

Craig Ferguson: Tickle Fight
The late-night host leaves his desk behind in this stand-up special

Marvel’s Guardians Of The Galaxy Vol. 2
The Disney deal with Netflix is still in full effect as the second chapter of the James Gunn megahit heads to the streaming giant. Now with adorable Baby Groot.

DECEMBER 6

Trolls Holiday Special
“Join the cast of the movie for the animated holiday special about the Trolls and Bergens.”

DECEMBER 8

The Crown (Season 2; Original Netflix Series)
“This drama follows the political rivalries and romance of Queen Elizabeth II’s reign and the events that shaped the second half of the 20th century.”

DECEMBER 11

Catwoman
Watch Oscar winner Halle Berry destroy her career one cat pun at a time with this God-awful superhero movie.

The Magicians (Season 2)
“Based upon Lev Grossman’s best-selling books, The Magicians centers around Brakebills University, a secret institution specializing in magic.”

DECEMBER 12

Disney’s The Santa Clause
Disney’s The Santa Clause 2
Disney’s The Santa Clause 3: The Escape Clause
Tim Allen plays a dad who morphs into Santa after accidentally killing the original Claus. Then he has to get married. And then he does battle with Jack Frost.

Judd Apatow: The Return
“Renowned producer, director and writer Judd Apatow makes his long-awaited return to stand-up comedy with this new special shot in Montreal.”

DECEMBER 14

41 Dogs In My Home
The sequel to I Am Alone With No Hobbies and the prequel to I Think I’ll Get A Cat.

A&E: When Patients Attack
“Private security keeps the Queen Elizabeth hospital safe.”

Ainsley Eats the Streets (Season 1)
“In this 10-part series Ainsley Harriott immerses himself in some amazing destinations as he challenges himself to discover the many facets of street food in Iceland, Turkey, Barbados, Taiwan, Morocco, Japan, Spain, Jordan, Sicily, and Penang.”

Halt And Catch Fire (Season 4; Original Netflix Series)
“Re-creating the dawn of the personal computer era, this digital drama tracks the fates of an industry visionary and his brilliant colleagues.”

DECEMBER 15

A Five Star Life
Italian comedy about a fortysomething luxury hotel inspector that is more of a travel guide than a movie.

Christmas Inheritance
Because Netflix needs to fit their quota of mediocre holiday movies, here is this yuletide yawnfest about a woman on the verge of great riches if she does something does something that has no real bearing on the real world or how it works.

Discovering Bigfoot
A docu on Bigfoot made by Bigfoot believers in an attempt to prove they are not crazy.

Erased (Season 1, Original Netflix Series)
“After his mother is killed, a man travels 18 years back in time and has a chance to stop a kidnapping that took the lives of three of his classmates.”

Freeway: Crack In The System
“Freeway: Crack In The System tells the true story behind the crack scourge, featuring exclusive interviews with characters who lived it.”

Neverlake
American teen in Italy is forced into spooky situations when she teams with spirits to hunt for artifacts.

Pottersville
Michael Shannon, Ian McShane, Judy Greer and Christina Hendricks star in this comedy about a man who is mistaken for Bigfoot when he drunkenly roams his town in a gorilla costume.

Reggie Yates Outside Man: Volume 2
“Award-winning filmmaker Reggie Yates travels around the world tackling big issues such as gun violence, racism, gay rights and addiction.”

The Haunting Of Helena
“A tale of a mysterious woman, a little girl, and her single mother, The Haunting Of Helena presents a new twist on the legend of the Tooth Fairy”

The Ranch (Season 4; Original Netflix Series)
“Being a pro athlete didn’t pan out for Colt. Now he’s helping his dad and brother keep the ranch afloat, and figuring out how he fits into the family.”


Trollhunters (Season 2; Original Netflix Series)
“After uncovering a mysterious amulet, an average teen assumes an unlikely destiny and sets out to save two worlds. Created by Guillermo del Toro.”

Ultimate Beastmaster (Season 2; Original Netflix Series)
“In this intense obstacle course series, elite athletes from the U.S. and other countries compete for cash prizes, individual glory and national pride.”

Wormwood (Season 1; Original Netflix Series)
“In this genre-bending tale, Errol Morris explores the mysterious death of a U.S. scientist entangled in a secret Cold War program known as MK-Ultra.”

DECEMBER 18

Hello, My Twenties! (Season 2; Netflix Series)
“With different personalities, life goals and taste in men, five female college students become housemates in a shared residence called Belle Epoque.”

DECEMBER 19

Miss Me This Christmas
A Madea movie sans Madea. The “perfect couple” break up during the holidays and depend on miracles and prayer to get through the holidays.

Russell Howard: Recalibrate (Original Netflix Special)
“Comedian Russell Howard brings his manic energy to a new stand-up special that tackles politics, childhood and why he’s a jerk.”

The Indian Detective (Season 1; Original Netflix Miniseries)
“Doug D’Mello is a Toronto cop of Indian heritage, whose dreams of become a homicide detective are put on hold when he is unjustly suspended. While on leave, D’Mello visits his dad in Mumbai, where he gets embroiled in a local case and falls for an impressive attorney.”

You Can’t Fight Christmas
See Miss Me This Christmas.

DECEMBER 21

Peaky Blinders (Season 4; Netflix Series)
“A notorious gang in 1919 Birmingham, England, is led by the fierce Tommy Shelby, a crime boss set on moving up in the world no matter the cost.”

DECEMBER 22


72 Dangerous Animals: Latin America (Season 1; Netflix Series)
“This enthralling series takes a look at 72 of Latin America’s most deadly animals, from the depths of the Amazon jungle to the peaks of Patagonia, this extraordinary environment is home to some fascinating and dangerous creatures. With explanatory graphics, animation and eyewitness accounts each animal is investigated to determine just how dangerous and life threatening it is.”

Bright  (Original Netflix Movie)
Will Smith stars in this futuristic pics that crosses Alien Nation with Lord of the Rings.

“In an LA rife with interspecies tensions, a human cop and his orc partner stumble on a powerful object and become embroiled in a prophesied turf war.”

Fuller House (Season 3; Original Netflix Series)
“The Tanner family’s adventures continue as DJ Tanner-Fuller shares a home with her sister Stephanie and friend Kimmy who help raise her three boys.”

Rosario Tijeras (Season 1; Netflix Series)
“This is Rosario’s story, a girl born and raised in the city slums who becomes a legend in her own time in spite of her humble upbringing.”

The Toys That Made Us (Season 1; Original Netflix Series)
“An 8-episode Netflix documentary series about the history of important toy lines.”

DECEMBER 23

Creep 2
Video artist finds herself in danger after agreeing to meet a serial killer for an interview.

Duh.

DECEMBER 25

Cable Girls (Season 2; Netflix Series)
“In 1920s Madrid, four women at the National Telephone Company ring in revolution as they manage romance, friendship and the modern workplace.”

Planet Earth II
“Experience the world from the viewpoint of animals themselves. From spellbinding wildlife spectacle to intimate encounters, Planet Earth II takes you closer than ever before.”

DECEMBER 26

Todd Barry: Spicy Honey
The comedian’s new special hits the streaming service.

Travelers (Season 2; Original Netflix Series)
“A federal agent tracks four people who suddenly seem to possess entirely new personalities, leading to a startling discovery about humanity’s future.”

All Hail King Julien: New Year’s Eve Countdown 2018
Beat Bugs: New Year’s Eve Countdown 2018
Larva: New Year’s Eve Countdown 2018
Pororo: New Year’s Eve Countdown 2018
Puffin Rock: New Year’s Eve Countdown 2018
Skylanders Academy: New Year’s Eve Countdown 2018
Trollhunters: New Year’s Eve Countdown 2018
True And The Rainbow Kingdom: New Year’s Eve Countdown 2018
Word Party: New Year’s Eve Countdown 2018
Countdown the New Year…all day and anytime you want! Get the kids to bed early by countdown at 8 pm!

DECEMBER 27

Pusher (Original Netflix Movie)
“A drug pusher grows increasingly desperate after a botched deal leaves him with a large debt to a ruthless drug lord.”

DECEMBER 29

Bill Nye Saves The World (Season 2; Original Netflix Series)
“Emmy-winning host Bill Nye brings experts and famous guests to his lab for a talk show exploring scientific issues that touch our lives.”

Killer Legends
Horror “docu” about the investigation of horrific urban legends and tall tales

Shelter
A Nigerian immigrant bonds with a junkie as the two fight for survival on the streets of New York. Stars Anthony Mackie and Jennifer Connelly.

The Climb
Sort of like The Cannonball Run, but way more serious, involving only two participants and on a mountain.

DECEMBER 31

Dave Chappelle: Equanimity
“Comedy legend Dave Chappelle returns to his roots with an all-new stand-up special filmed at the Warner Theatre in Washington, D.C.”

Fun Mom Dinner
Rip-off of Bad Moms that involves women with kids attempting to prove there is life after childbirth.

Planet of the Apes/Green Lantern SC
Written by Robbie Thompson, Justin Jordan
Illustrated by Barnaby Bagenda
Cover by Ethan Van Sciver
Published by Boom! Studios
ISBN-13: 978-1684150380
Released 10/26/17 / $19.99

Planet of the Apes/Green Lantern. Yes, it’s an odd combination but it sorta kinda works. It’s a also a bit odd when the reader attempts to figure out exactly WHEN the story is taking place.

Of course, with time travel, all things are possible.

Seemingly set in the time period between the original 1968 Planet of the Apes film and its 1970 sequel, Beneath the Planet of the Apes, this puts us far in Earth’s future, even as we’re dealing with the characters of the original Apes series which is now kinda far in OUR Earth’s past.

And to then tie-in the Green Lantern Corps from, more or less, our Earth’s present?

Well, that just confuses the issue even more.

But there they are, in spite of the series’ singular title, we get the Red Lanterns, Yellow Lanterns, Blue Lanterns, and Green Lanterns of recent years and, in fact, much of the time, Hal Jordan is out of uniform all together, being mistaken for Charlton Heston or James Franciscus.

The McGuffin of the plot is this all powerful “one ring” that’s been hidden somewhere on the alternate future earth inhabited by Dr. Zaius, Zira, and Cornelius. Sinestro, the eternal thorn in the side of the Corps, is after it but Cornelius finds it first.

Over the course of six issues, we meet the nuke-worshipping mutants introduced in Beneath and there are nice nods to continuity with minor film characters such as the young Lucius (from Planet) and Dr. Milo (from the third film, Escape From the Planet of the Apes) making appearances. From the comics side, there’s an obvious tie-in with classic Flash villain, Gorilla Grodd!

The story is credited to one Robbie Thompson (no relation) while a gentleman named John Jordan is the actual writer. It all feels a little long and padded to sustain the six issues. Four might have been better. The art, by yet another stranger to me, Barnaby Bagenda, is exciting and colorful (thanks to one Alex Guimaraes) although the PDF copies I saw seemed a bit out of focus throughout. If intentional, for whatever reason, it didn’t work. If accidental, it doesn’t help.

As in the original series, it’s Dr. Zaius who comes across as the most interesting character. One can almost hear Maurice Evans’ pompous, haughty voice echo from the panels. The effect would have been even more interesting except that for some reason, the artist has chosen to make the apes look very little like they looked in the original movie series but rather a bit more like the look of the more recent films.

I have to wonder, too, why it was decided to end what was billed as a six-issue mini-series on a cliffhanger—and a confusing one at that. So, I’m torn here but in spite of my relatively slight issues with it, reading the series overall was a lot of fun and easy enough to follow even if one hasn’t been a devotee of the rainbow Lantern concepts.

So, with those few caveats…Booksteve Recommends!

Leonardo Da Vinci stars in the latest book from AfterShock Comics written by Paul Allor (G.I.Joe, TMNT). Paul joined us today to talk about Monstro Mechanica, his take on a robotic Renaissance and the difference between his robot and the one Da Vinci actually designed and built! This fun book places an automaton in the age of de’ Medici family and on the streets of Florence in 1472.

You’ve never read a book quite like this! Here’s what Paul had to say.

*   *   *   *   *

FOG!: Thanks for joining us, Paul! Issue #1 introduces us to Leonardo Da Vinci, a robot and his female apprentice. Why set a comic book story with a robot in The Renaissance?

Paul Allor: The more heady answer is that the Renaissance is where the modern western conception of the self first began to develop; the idea that every individual has importance and worth beyond their place in society. So we were intrigued by the notion of pairing that time period with the classic sci-fi story of a robot gaining sentience.

The less heady answer is that a robot in the renaissance sounded like a whole lot of freaking fun.

Da Vinci did, in fact, create designs for a robot. How does your robot differ from the one that may have been displayed in 1495?

Totally different, though Sir Fussypants (that was its name — little-known fact) was the seed of inspiration for this story. Da Vinci’s automaton was designed to look like a knight, with basic movement functions that could be controlled by its user. It was incredibly advanced and sophisticated for its time. But our guy both looks completely different (he’s gangly, nine feet tall and made of wood) and acts completely different (veering from childlike innocence to bursts of violence, as his sentience slowly emerges).

Artist Chris Evenhuis did an extraordinary job designing the robot and giving it life, making it feel like a fully-fleshed out character despite it having no dialogue or even facial features.

Isabel has to hide her identity and dress as a boy to fit in as Da Vinci’s apprentice, and as we learn more about her in issue #1, she seems to become more independent with regard to controlling the robot. What makes Isabel a fun character to work with?

Well, most of the time Isabel dresses the way she does because she wants to, not because she’s passing off as a boy. But she was definitely incredibly independent, and bucking gender norms at the time.

What makes her fun to work with is that she’s a character with her own agenda — it intersects with da Vinci’s, but doesn’t overlap it completely. She’s willing to challenge him, even betray him when she thinks it’s for the best.

How did you assemble your great art team for this book?

Well, Chris and I created this book together from the start, so “assemble” isn’t quite the right word. Chris and I had worked together on my G.I.Joe run several years back, and got to know each other’s work from that. From there, we started talking about a creator-owned collaboration, and Monstro Mechanica is the eventual result! And Sjan Weijers, our incredible colorist, is a long-time collaborator of Chris’.

We’re familiar with your work at other publishers and properties, what made you team up with AfterShock to publish Monstro Mechanica?

AfterShock was an ideal home for this book. They bill themselves as having the creative edge of an indie publisher combined with the strengths of a traditional powerhouse, and that’s exactly correct. They’re incredibly supportive of the stories their creators want to tell, while also providing expert guidance and support across the board, from editorial to marketing to retailer outreach. Plus, the opportunity to work with editor Mike Marts was just too good to pass up!

In a twist on the pick your superpower question, if you could channel one of Da Vinci’s many skills, what would it be?


Probably the laser vision. Or his extraordinary, savant-like ability to connect the dots between nature, art, science and engineering.

But nah, laser vision.

What else is coming up for you, and where can people follow you online?

Clue just wrapped up at IDW, so the trade of that will be out early next year! I also have a new , issue coming out in January with artist Tyler Boss, and a bit more TMNT work coming down the pike.

Folks can find me on Twitter at @PaulAllor, and Chris is there at @ChrisEvenhuis. You can also find Chris on Instagram at Chris_Evenhuis, and Sjan is there at SjanWeijers!

Monstro Mechanica #1 arrives in stores and digital on 12/13!

Lastman is so good, it made me ashamed for not taking it seriously when I started.

That’s a hard thing to admit; that I’d take a review assignment for something I wasn’t really into. And it calls into question all sorts of things about humankind and our motivations that seems to be the new mountaintop to strip-mine for yucks in animation lately… Like, you know… Why do we do things? And stuff? (did that sound like Morty in your head? I was going for Morty. It was …urrrrrrrp… a good Morty. And now I’m Rick. Look at me, referential! I’m REFERENTIAL RICK!)

The most popular animated series targeted to non-children right now all seem to turn Jungian in their philosophies, throwing the base plotline of the movie Revolver in your face as if “we’re all going to die” hasn’t been the point of just about every philosophical vehicle ever filmed, written, animated, sung or beaten out of a piano shot with a shotgun a la Tool. And yes, reality is meaningless except for the fact that it is, in fact, reality and since we’re here, we might as well accept it and blah blah blah, Rick and Morty, Bojack Horseman, we get it, you like Smart Animated Things.

Lastman is smart. It’s animated. But it’s not A Smart Animated Thing. Where it’s smart is in the craft of telling a story that is fun, exciting, moves forward, gets to the end, and absolutely most important: entertains.

Let’s get the petty stuff out of the way: It’s limited animation. It’s short. It’s made on a tight budget. It’s not exactly Akira in the art style (or, Stephen Universe for that matter). Some of the characters are drawn outside the bounds of physics and 3D space, which can be distracting. Oddly-well made CGI randomly shows up between the illustrated animation (almost always a car chase).

Either her head is turned 270 degrees around, or her arms on the wrong side of her body.                                                  No big deal, the show rocks anyway.

I bring these things up not because I find any issues with them, but because they’re the typical reasons people automatically dismiss something new when our brains find it and try to decide if we’re going to invest any of our precious, already deeply fragmented attention spans on yet another piece of content delivered by the infinite firehose of Internet. And that’d be a huge mistake, because the Lastman works within these limitations to really exhibit its strength: narrative.