SPIDER-MAN: NO WAY HOME hit theaters last week and made a boatload of money because it was epically bonkers and awesomeness. Yet, you can have a conversation about its cinematic quality versus a great comic book movie. Thanks for checking out the podcast.
Have you seen SPIDER-MAN: NO WAY HOME? Chat with me on Twitter (@matthewsardo). Below is my reaction to SPIDER-MAN NO WAY HOME in the dimly lit parking of AMC Theaters, about 15 minutes after I saw the movie.
SPIDER-MAN: NO WAY HOME SYNOPSIS: For the first time in the cinematic history of Spider-Man, our friendly neighborhood hero’s identity is revealed, bringing his Super Hero responsibilities into conflict with his normal life and putting those he cares about most at risk. When he enlists Doctor Strange’s help to restore his secret, the spell tears a hole in their world, releasing the most powerful villains who’ve’ ever fought a Spider-Man in any universe. Now, Peter will have to overcome his greatest challenge yet, which will not only forever alter his future but the future of the Multiverse.
Directed by:
Jon Watts
Written by:
Chris McKenna & Erik Sommers
Cast:
Tom Holland
Zendaya
Benedict Cumberbatch
Jacob Batalon
Jon Favreau
Marisa Tomei
Based on the MARVEL Comic Book by:
Stan Lee and Steve Ditko
Pieces of Us is a new documentary film from longtime actor turned writer and director Cheryl Allison (Honk) about LGBTQ+ hate crime survivors who took their recovery public to inspire others to do the same.
A global story, Pieces of Us travels from New York to India to reveal the inspirational stories of several survivors. These disparate people stood against hate, becoming unlikely heroes. The stories, like those of transgender activist and Stonewall Riots survivor Victoria Cruz, sparked powerful connections worldwide with other survivors. By speaking their truth, the community strengthens and motivates change.
PopAxiom spoke with Cheryl Allison about becoming a creative professional and making Pieces of Us.
Documentarian
Cheryl’s a longtime performer. “For over 30 years, I’ve performed in primarily musical theatre in New York City and theatres across the country.”
“As many actors do,” the actress, who’s also been on TV in shows like Dallas, says, “I always enjoyed the process behind the scenes. Then, about five years ago, a story fell into my lap that I thought would make a good documentary. So, I decided to tell this story. I formed WOW Films and began making the documentary I’m still filming.”
Soon after, Cheryl “directed my first narrative, a short film called Hiding in Daylight, in 2018. After that, it just sort of snowballed from there.”
“I consider myself a documentarian,” she affirms, “but that’s how that evolved. I still perform and I love being an actress.”
About Pieces of Us
Creating Pieces of Us started even before Cheryl or the film’s primary subject Mykel Dicus were aware. “I’d met Mykel Dicus back in the early 90s. He’s a fellow musical theatre performer. Fast forward to a couple of years ago, and he’s a survivor of a hate crime.”
“So, what he’d done in his recovery and working through years of PTSD … he created a one-man cabaret show called Pieces of Me.” In the show, Mykel talked about the crime, how he survived it, and the process for his healing. “In talking to other survivors, he realized the story was bigger than him. So, he approached me with the idea for this documentary.”
“I loved the fact that the film was going to concentrate on being a survivor,” she declares, “not a victim. How do you heal from such an event, and how do you pay it forward?”
“Mykel had already secured an executive producer for the film called Mark von der Heide,” she says, which is a vital part of any burgeoning film production. “I began to film things in June of 2019, where we filmed at World Pride.”
Making A Documentary
A narrative film follows a script, though it might change through the process, “the script gives you the template of where the story’s going to go.”
“But with a documentary,” Cheryl adds, “it can go anywhere. You know the main subject of the film. We knew this film was going to deal with LGBTQ+ hate crime survivors. But how do we tell it, and how do we connect all these different stories?”
Mykel was a subject of the film and one of its producers. “The way I approached it, I told Mykel, you’re going to have to trust me and remove yourself from the producing end of it and just be the subject. So let me handle it.”
“I asked our executive producer, can you give me autonomy?” Cheryl continues, “I like to work with autonomy. In a documentary, you have to allow yourself the freedom to let the story unfold how it’s supposed to unfold. You can’t predict things.”
As if written in a script, our call fails right here.
Reconnected
Cheryl returns to discuss further how to let a documentary organically come together. “If you try to squeeze it too tight into some preconceived notion of what the documentary is supposed to be, then you’ll suffocate it. It changes depending on what you get in interviews and through the process.”
Interviews were the first step for Cheryl in making Pieces of Us. “I interviewed amazing people and followed them to World Pride. After about five months of filming, I felt very comfortable that I had everything. But the scary part is going into editing to look at everything. It’s a jigsaw puzzle.”
Pieces of Us took nine months to edit. “It’s like sewing together a film. It’s a process that you have to understand is going to come and give it that breathing room to happen.”
“I always think about editing like a sculptor,” she adds, “Instead of building the movie, we already have everything, and we just need to chip away. That’s what editing is until you see that movie develop.”
Global Story
“The website has so much information about the film on there.” Cheryl asserts that anyone worldwide can learn more about the film and the stories it documents. “The website I love because you can read about the various survivors in the film.”
Pieces of Us took Cheryl from New York to Pittsburgh to India. “The circle of people involved is international. We have the Prince of India, the only openly gay royal in the world.”
The story of Manvendra Singh Gohil is harrowing and all too common. “… when he came out, his country disowned him. They burned his effigy. His father disowned him. He talks about the process of his healing. Now, his father is accepting. His mother is not. He endured shock therapy while his country tried to ‘make him straight.'”
The story of Pieces of Us is powerful and poignant. It’s a deep dive into the darkest sides of bullying and hate. But the film hopes too that others will stand against such evil. “We have a section of the film that talks about straight allies. We need straight allies.”
Wrapping Up
Cheryl is a musical theatre performer and enthusiast, so what’s her favorite musical? “That is hard! That’s like choosing a favorite child or pet. I will say I have two that are opposites, but I had the honor of doing them. The first is Les Miserables which is one of my favorites. I saw it when I’d just graduated high school, and I knew that’s what I wanted to do with my life. My other favorite show is Mamma Mia. It’s so much fun.”
“I’m finishing up a documentary about a goose that I rescued during the pandemic. He went viral. He has eighty thousand followers on Instagram. People all over became invested in this goose. His name is Honk.”
Is Pieces of Us on your watch list?
Thanks to Cheryl Allison and Wild Works PR
for making this interview possible.
Originally a novella by Joe Hill (Locke & Key, Plunge) and adapted by writer David M. Booher (Canto) and artist Zoe Thorogood (The Impending Blindness of Billie Scott), Rain #1 is an emotionally devastating and human-centered first issue of this unique apocalyptic comic. With a compelling narrative, great characterization, and wildly singular art, this is an unconventional horror story worth picking up.
“On a seemingly normal August day in Boulder, Colorado, the skies are clear, and Honeysuckle Speck couldn’t be happier. She’s finally moving in with her girlfriend Yolanda. But their world is literally torn apart when dark clouds roll in and release a downpour of nails—splinters of bright crystal that shred the skin of anyone not safely under cover. RAIN makes vivid this escalating apocalyptic event, as the deluge of nails spreads across the country and around the world, threatening everything young lovers Honeysuckle and Yolanda hold dear.”
Writing & Plot
In a medium chock-full of apocalyptic scenarios, Rain #1 is a breath of fresh air. Joe Hill’s concept of icy needles raining and impaling people is outlandish and horrifying. On the surface, this idea sounds like B-movie schlock. However, the concept is delivered in a plot dedicated to the story and humanity of its protagonist. Hill’s narrative, expertly scripted by David M. Booher, is emotionally heavy and beautifully presented. From moments of genuine romantic love to gut-wrenching loss, Hill’s prose and Booher’s presentation of it crafts a story that brings humanity and severity to a ridiculous-sounding concept.
There is an art in scripting prose writing in comic form, and Booher nails the approach. Internal dialogue that serves as narration is prescient and smartly laid out. His dancing between it and the dialogue would have you believe that this was his story entirely in the first place. All of the pieces of the script mesh together to create something memorable in its beauty and devastation.
Art Direction
Rain #1 is blessed with the unique visual talents of relative comics newcomer Zoe Thorogood. With help from Chris O’Halloran on colors, this comic’s art direction is the perfect blend of stunning and disturbing. Thorogood’s gorgeous yet unusual character depictions, lanky with big eyes basically, is offset by her eye for detail in facial features and clothing. This latter piece is so effective for how real her choices seem. It’s rare I see a comic that depicts how people in their late teens/early 20’s actually dress. Aside from this, her depictions of gore are all the more disturbing because of her distinct style. Tha manner in which she depicts such lively looking character being suddenly and viciously impaled by sky-needles makes this comic all the more unsettling – and proves her mettle as a top-tier horror artist.
O’Halloran’s colors mesh with Thorogood’s pencils in a atmospheric, modern manner. His use of flat tones adds even more of an uncanniness to the visuals while maintaining a gorgeous yet disturbing experience. His variety is worth noting here too. No two people have the exact same shade of skin tone, and no two surfaces are the same color. Overall, this comic is a stunning visual experience that fits its unsettling tone.
Verdict
Rain #1 is a brilliantly human and heartbreaking start to this apocalyptic-horror comic. Joe Hill’s work is expertly adapted by David M. Booher’s scripting, with cutting narration and standout dialogue capturing the story’s humanity. Zoe Thorgood’s pencils and Chris O’Halloran’s colors make for a uniquely gorgeous yet unsettling visual experience. Be sure to get this on your pull list so you can grab it when it hits shelves on January 12th!
THE ALL-NIGHTER #4 hits the internet December 21st, but thanks to comiXology Originals, Monkeys Fighting Robots has an exclusive five-page preview for you.
About the series: A new villain appears on the scene, the most destructive yet. With the situation continuing to spiral out of control, is Alex finally out of his depth?
THE ALL-NIGHTER is by writer Chip Zdarsky and artist Jason Loo, with colors by Paris Alleyne, and letters by Aditya Bidikar. Allison O’Toole is the series editor.
Zdarsky, Loo, Alleyne, Bidikar, and O’Toole previously collaborated on AFTERLIFT, another comiXology Original. AFTERLIFT won Best Digital Comic at the 2020 Eisner Awards, and was just named one of the Best Canadian Comics of 2021 by the CBC.
Check out the THE ALL-NIGHTER #4 preview below:
What is your favorite comiXology Original? Sound off in the comments!
MOON KNIGHT #6 hits your local comic book store December 22nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive three-page preview for you.
About the issue: Beaten, bloody, his world burning down around him—this was how the Moon Knight was born. And now it’s happening all over again. Outmaneuvered, outgunned, out-planned, Moon Knight’s mysterious enemy has strode out of the shadows to strike—and when this villain strikes, they strike true. At the mercy of a maniac, will Moon Knight die yet again?
The issue is by writer Jed MacKay and artist Alessandro Cappuccio, with colors by Rachelle Rosenberg, and letters by Cory Petit. The main cover is by Carlos Pacheco, Rafael Fonteriz, and Rachelle Rosenberg.
Moon Knight first appeared in comics nearly 50 years ago in 1975; he will make his live-action debut next year in an eponymous Disney+ series where he will be played by Oscar Isaac.
Check out the MOON KNIGHT #6 preview below:
Are you reading Marvel’s current MOON KNIGHT run? Sound off in the comments!
FEARBOOK CLUB hits your local comic book store January 5th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.
AfterShock is printing the graphic novel under its YA imprint, Seismic Press.
About the book: When shy 6th-grade shutterbug Whit Garcia starts middle school, he’s forced to join a yearbook club with three other weirdos who will never be voted “most likely to succeed.” But after the ghosts of missing students start haunting them, Whit, Hester, Hillary and Press must solve the supernatural secret behind these spirits — or their yearbook club will be voted most likely to join them.
But are these ghostly students the real bad guys? Or are they just warning Whit and his friends? Warning them about a darkness beyond their schoolyard…a darkness that threatens to swallow the school – and its occupants �� whole.
The sophomore offering from Seismic Press, FEARBOOK CLUB is a story all about fitting in, fighting ghosts and forming friendships with other misfits, especially when you’re a misfit yourself.
The series is by writer Richard Ashley Hamilton and artist Marco Matrone, with letters by Dave Sharpe. The main cover is by Matrone.
Check out the FEARBOOK CLUB preview below:
Are you going to be picking up FEARBOOK CLUB when it drops next month? Sound off in the comments!
There’s a lot to love about Image Comics’ Newburn. It’s a brilliant concept from the get-go: a private investigator hired out by the mafia to keep the peace. And when it comes down to it, that’s all this series really needs to be successful. Newburn can come in, month after month, solve investigations and kick ass. As readers, I think we’d be pretty happy with that. But writer Chip Zdarsky, and artist/colorist/letterer Jacob Phillips aren’t satisfied with that. They’ve taken it a step further. Newburn #2 is full of complex and human characters. They aren’t simply part of the “investigation of the month.” These characters have a story that’s bubbling beneath the surface. A story Zdarsky and Phillips want to chip away at slowly.
Writing
Zdarksy doesn’t shy away from the uncomfortable parts of his script. While Newburn is a character we’re supposed to root for – or at least want him to succeed in solving mysteries – we also see that he’s the kind of guy who can shrug off death with disturbing ease. Yet Zdarksy also shows that Newburn’s a little disturbed by his own callousness, too. And so we get to the meat of the story. Zdarsky places our characters in a tug-of-war of ideals. Do they want to be inhuman and legendary in their ability to get things done? Or do they want to cling to their conscience in a world that’s begging them to look the other way? Zdarsky presents these ideas with subtlety and subtext. He introduces this dilemma through pregnant pauses and unanswered questions. It’s wonderful and chilling at the same time.
Art
Emma still has some feeling in her. Phillips shows her smiling, frowning, grimacing, and yelling. But through all these scenes, Newburn doesn’t change. He throws a punch with the same look on his face as when he’s walking down the street. He only ever looks concentrated. Here, Phillips shows us that Emma is Newburn’s connection to normal life. He’s pretty far gone. He’s been doing this for a while. But Emma still sees it for what it is: interesting, terrifying, and thrilling work. Phillips focuses us in on the differences between these two by showing us their faces as often as possible, zooming in on their smiles or (in Newburn’s case) lack thereof. Phillips tells us so much about these characters in the simplest ways.
Coloring
Phillips’ coloring is quite subtle. Many of the scenes have no vibrant colors in them. That’s not to say these panels aren’t stunning. Phillips’ colors somehow manage to look messy, while also looking meticulously planned. He gives every page an uneven painted quality which is outright beautiful. But what we’re seeing are office buildings and quiet city blocks. There’s not a ton to get emotional about, especially not for our characters. So Phillips renders these in soft colors that blend together. The scenes feel gentle and unassuming. Yet when Newburn dodges a punch, or throws one, Phillips colors the background in bright red. He mesmerizes us with the quiet scenes, then wakes us up for the thrilling action.
Lettering
Phillips takes quite a straightforward approach in his lettering. The fonts don’t change, the word balloons remain mostly the same. There isn’t a ton of sound effects. But this is a crime procedural comic. This uncomplicated approach matches the tone of the series perfectly. And the one time Phillips changes things up, it’s incredible. When Newburn and Emma sit in the back of a car and chat, we see them as reflections in the car mirror. Phillips shows their word balloons coming from off panel, each tail directed at a side one of them is sitting on. He uses the reflection to show us where they’re sitting, then keeps the word balloons out of the way of the rest of the picture. It’s a fantastic choice which not only let’s the art breathe, but feels like it places you in the scene with the characters.
Image Comics’ Newburn #2 hits comic shops on December 15th. It shows that this series is going to be deeper than a simple crime story. Zdarsky and Phillips want to know what makes Newburn tick. Pick up a copy at your local comic shop, you don’t want to miss this one!
Jeff Lemire returns to his story of loss and grief at his most creative in Mazebook #4. With lettering from Steve Wands, this issue sends Will full-on into his dreamlike journey to find his daughter with suspenseful results. With sharp, naturalistic writing and brilliantly creative direction, this is yet another powerful chapter in this emotionally charged series.
“Stuck in an urban labyrinth of his own torment, melancholy building inspector Will and his talking canine companion fight their way through a dangerous metropolitan maze and head underground on the hunt to find his long-gone daughter.”
Writing & Plot
Lemire’s focus and pacing in this issue changes as much as the story’s setting with Mazebook #4. This time around, Will has finally arrived in the dream(?) realm where he believes his long lost daughter still lives. Here he meets up with a canine companion and the two hunt down the mysteries – and threats – awaiting them. As per usual, not much about the actual plot is discussed. Instead we find out as much about this world as Will does. He is our eyes and ears for this whole chapter. The surprises and dangers come across as surprising but almost natural feeling obstacles in an unnatural setting. The dreamlike state we’ve experienced this entire series in makes these new occurrences make sense in an unexpected way.
Our experience of the narrative is quite different in this issue due to Will’s change in focus. Where as in prior issues we’ve gotten his grieving internal narrative, here we only get his direct dialogue. He’s driven in this issue, more so than he’s been this whole series thus far. He has a purpose now that he’s here in this strange realm – and he has company. Lemire’s dialogue sensibilities really shine in this series, and this issue is no different. Will and his new friend’s back and forth is funny and endearing, and feels like real conversation. The comic’s steady pacing and uncertain progression makes this a charming yet tense installment in this outstanding series.
Art Direction
Jeff Lemire’s now signature art style crafts the perfect atmospheric experience in Mazebook #4. Admittedly not a visual style many readers can get behind, I find his brand of character art and design charming and emotionally evocative. This particular issue, however, sees Lemire in a previously unseen top form in terms of design and layout. Here, many of the pages are two-page spreads where the action is directed via a visual maze. It can start in the middle of the prior page then drop to the bottom, then swing back to the top of the facing page. This sort of approach has been done before, but rarely to such neat (and plot-relevant) effect. Lemire’s application of inks and watercolors over his pencils brings the usual sense of rich atmosphere, with a more foreboding touch.
The lettering from Steve Wands complements Lemire’s rough-hewn pencils with a similar approach. His fonts appear as if they were made with a #2 pencil, and I mean this in a positive way. There’s a handwritten quality to them that fits this comic perfectly.
Verdict
Mazebook #4 is a fascinating, tense, and brilliantly designed chapter in this stellar series. Lemire’s dialogue sensibilities, pitch-perfect visual aesthetic, and engaging page design make this another incredible issue in this engaging comic series. Be sure to grab a copy when it hits shelves on 12-15!
DC Comics’ Batgirls #1, available now, is about to give readers three for the price of one. Three Batgirls, that is. Becky Cloonan, Michael W. Conrad, Jorge Corona, Sarah Stern, and Becca Carey come together to tell this tale. All while the three Batgirls are still on the run from Seer, which means finding low-tech ways of protecting the city.
Cassandra and Stephanie take center stage on this cover of Batgirls #1.
The women who share the Batgirl mantle have been having a rough go of it in recent issues. First, their beloved (and iconic) clock tower was blown to bits. Then they were framed for its destruction. And finally? They’re dealing with a new villain, one that perfectly counters Oracle and her talents.
Despite these concerns, it is fantastic to see the trio back together for their own series in Batgirls #1. If there’s one thing we know about these heroines, it is that nothing keeps them down for long. So yeah, they’re going to rally, which involves finding new ways to keep on fighting.
The Batgirls aren’t going to let an enemy like Seer stop them from doing what is right.
Writing
Batgirls #1 is every bit as charming as readers could have hoped, if not more. Becky Cloonan and Michael W. Conrad perfectly capture three fan-favorite characters’ voices and blend them into an entertaining and energetic issue.
The sheer amount of energy in this issue allows each character’s personality to shine through. Barbara is calm, exhausted, and forming a plan. Stephanie is as bright and bubbly as ever. And Cassandra is still driven and succinct. There’s an added level of sweetness here as Barbara does her best to step up as caretaker for the other two, despite all of the complications that come with this action.
The issue starts as one might expect, with the trio in desperate need of a new sanctuary. While their new building doesn’t have the iconic look of the clocktower, it does still have a fair amount of personality. Whether or not that is a good thing remains to be seen.
That is but one of the changes portrayed in this issue, as a lot is going on. There are several threats on the horizon, not least of which being Seer. Seer has already proven to be a fascinating counter to Batgirl/Oracle, and it will be interesting to see how this character develops over time.
Hey, even a hero needs a break every now and then!
Artwork
If you think the characters and their personality within Batgirls #1 are bright, just wait until you see the artwork! The characters are expressive, the colors pop off the pages, and the action sequences demand attention.
Jorge Corona’s take on the three Batgirls is shockingly brilliant. It’s easy to see minute details on each of their faces, from Barbara’s exhaustion to Cassandra’s battle for control over her own life.
A thousand little details grab the eye, thanks partially to the coloring by Sarah Stern. To say that Stern’s colors are vibrant almost feels like an understatement. They’re the bright neon hues that only street art seems to capture, and yet here they are on the pages for us to adore.
Becca Carey’s lettering is the grounding feature necessary for this issue. The words help keep readers on track, guiding us from one panel to the next. It’s impressive how well-done the lettering is here, as they don’t remotely get lost in the sea of action, details, and colors.
Batgirl and Nightwing look so proud on this variant cover of Batgirls #1.
Conclusion
Batgirls #1 is the start of something fun and new. In other words, it’s going to be the perfect read for any Batgirl fan — regardless of which one you adore. Given how quickly this issue dives into the thick of things, it’s going to be a blast seeing what happens next.
I shouldn’t be at a loss for words about this issue. With writer Jeff Lemire, artist Andrea Sorrentino, colorist Dave Stewart, and letterer Steve Wands manning the ship, frankly, I should be expecting this level of excellence. Yet, Image Comics’ Primordial #4somehow manages to be even more beautiful than all the issues before it. This creative team knows that sometimes the simplest things are also the most meaningful.
Writing
Lemire’s script for Primordial #4 is led almost entirely by our three animal characters: Able, Mrs. Baker, and Laika. While they’re still undergoing the changes spurred on by previous issues, they are able to communicate in basic, if powerful, terms. They use words like “good,” “bad,” and “home.” But in giving these animals such a basic script, Lemire connects us to some of our most primal feelings. We want to be good. We want to be home. And when we see that these animals do too, that’s all that matters. Lemire doesn’t get distracted by the complexities of his story, and neither do we as readers. Those things, though interesting, get pushed to the margins. It’s the little critters that are navigating these complexities that we hone in on. In putting the story on their backs, Lemire makes this issue so moving, yet still easy to digest and understand.
Art
Sorrentino’s imagery is also a big part of what keeps us focused in this issue. He chooses all the right details to give us the feeling of every scene. When things begin to go wrong for our animals, we don’t see big images of them running or cowering. We see a panel of Mrs. Baker’s eyes peeking out from between her fingers. Or we see Able’s hands, desperately grasping at the side of a rock. And yet these images are often panels found in pages with wild layouts. Sorrentino will scatter panels across a page, like glass shards falling to the ground. That way, these small, intimate, emotional moments, tied together by the chaos of the panels on the page, make for deeply moving scenes.
Coloring
There are massive sections in this issue that don’t have much color in them. Stewart first shows us Able, Mrs. Baker, and Laika walking through scenes that are grey and white. The scenes feel quite matter-of-fact. We’re left worrying, for a second, that in gaining a higher intellect, these animals have traded away their joy. But then color splashes onto the page. It’s a joyous and beautiful return to emotions. And once Stewart has brought us back, he doubles down. When the animals are in danger, the page is covered in neon yellows and bright oranges. By stripping away the color for a while, Stewart gets us on the edge of our seats, our faces buried in the page. And that’s where Stewart wows us with dazzling colors and fills us with potent emotions.
Lettering
The most interesting aspect of Wands’ lettering comes through in how the animals talks. We see Able and Laika talking in broken sentences. Their word balloons have wavy borders and their font is small and tidy. It all feels quite refined. But when Mrs. Baker – who still communicates in “Eee eee!” noises – speaks, her word balloon is simple and her font is bold and slightly messy. Later, we see Laika panic. She talks about what’s wrong, but she barks too. And when she barks, Wands abandons the wavy borders and tidy font. We see Laika’s animal instincts rise back up into her throat. It’s a fantastic way for Wands to show us the emotion of that moment.
Image Comics’ Primordial somehow gets more beautiful with each issue. This creative team communicates in the simplest terms, to navigate us through a complex story. It’s stunning and moving. Pick up Primordial #4, out from Image Comics December 15th, at a comic shop near you!
