DC Release Black Canary Tie-in Album

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March 2, 2016

When DC Comics started spreading #blackcanarymusic around Twitter-sphere yesterday, more than a few eyes were raised. If you haven’t being reading Brenden Fletcher and Annie Wu’s Black Canary then you’ve been missing out. For the uninitiated, it’s The Blues Brothers crossed with the superhero antics of the Birds of Prey. Given how central music is to the title, many began to put together Spotify playlists inspired by Black Canary‘s punk rock and indie aesthetic. DC have no decided to cut out the middle man and released a three track album simply titled EP1 purportedly produced by Dinah Lance and her crew to co-incide with the release of Black Canary Volume 1: Kicking and Screaming. In reality, the songs are the collaborative efforts of Brenden Fletcher, Michelle Bensimon and Joseph Donovan.

<a href="http://blackcanary.bandcamp.com/album/ep-1">EP 1 by Black Canary</a>

The viral campaign has been quite impressive with the hashtag gaining quite the momentum over the last 24 hours. Additionally, DC announcing tour dates in fictional locations such as Gotham, Keystone and Star City, putting together a tie-in website and even ticket stubs. It’s one of the cleverest ways of promoting a book that I’ve seen in a long time and whats more is that they’ve managed to produce some damn fine music in the process. The music of the fictional Black Canary group has been aptly described by the in-universe music critiques that accompany the issues as “a blend of electronic beats and killer riffs”. The album contains two original tracks; “Fish out of Water” and “Old World” as well as a cover of “The Man with the X-Ray Eyes”. It’s very reminiscent of the work of Blondie, something I’m more than willing to get behind. All of the songs are available for streaming on Band Camp (which you can check out below) or can be purchased for $3.50.

The cynics among you may cry fowl, but Black Canary‘s is the louder cry. This isn’t a forced endeavor, but rather a recognition of the excellent job that the creative team of done in making the intersection between superheroism and music stardom feel like a natural evolution of Dinah Lance’s character. Plus, if we are being honest, Dinah’s classic Black Canary costume makes much more sense if she’s a rock-star, even if naming your band after your old code-name isn’t the best way to keep a low profile.

With the release of EP1, DC is following a long-tradition of inter-textuality between the music industry and comics. Back in the 60s and 70s, The Archies‘ “Sugar, Sugar” was ruling the charts and leading a new wave of bubblegum pop. Back in the disco era, Marvel and Casablanca Records attempted to launch Dazzler as multi-media super-star to no avail. Interestingly back in our review of the series itself, we noted “Annie Wu’s interiors resemble a living album cover….Music is the heart and soul of the book and it creeps into the very artwork itself, almost as if it panels themselves were a song”. Did we call this on some level? You may very well think that, but I couldn’t possibly comment. Now then, when can we expect EP2?

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The Coming of the Supermen #1 (of 6): Neal Adams Did it Again

By

Heather Hurt

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March 2, 2016

This is not you Daddy’s Superman… Or wait. Maybe it is? DC Comic’s new limited series Superman: The Coming of the Supermen, by comics legend Neal Adams, has been one of the most hotly anticipated series of the new year. But, as we have seen in the past, a name does not necessarily equate to a masterpiece.

Superman is the most powerful and, usually, most reliable superhero on the planet. But when a boom tube appears in the middle of downtown Metropolis he is nowhere to be found. As a horde of parademons appear in front of a LexCorp building followed by the arrival of Kalibak, the son of space tyrant Darkseid, three questions arise: Why are they attacking LexCorp? Where is Superman? And who the heck are those guys dressed in his uniform?

“In a lengthy interview of my own, I asked Adams what he thought his best work was, and he answered “Batman: Odyssey.” I paused. After some back and forth, I admitted I never made it to the end.” –Dan Greenfield (13^th Dimension)

It seems odd to be quoting a review of a completely different book, but bear with me for a second.

The idea that Adams so proudly claimed Odyssey as a “best work” is rather impressive. Odyssey, in of itself, was panned by critics. The book was all over the place and consisted of events that were questionable of a Batman storyline. Though the art was tolerable, many believed it lacked the true talent once demonstrated by the legendary artist.

And now… The Coming of the Supermen.

“The question is, can I read your mind and give you the Superman that you want? [Laughs] When I first did Batman and sort of revolutionized Batman, everybody said, “This is the way Batman ought to be!” They didn’t want him the way that he was depicted in the television show. “Neal Adams has created Batman!” No, I didn’t. It was the same old Batman that everybody forgot. His cape flows, and he goes around at night. He’s Batman. Hello! It’s just that [at the time] nobody seemed to know what Batman was anymore…

“I’m not saying DC Comics has lost their vision of Superman, but he does seem to be flying off the mark in different directions. I liked what Joe Shuster and Jerry Siegel did with Superman: Superman!”

Coming of the Supermen #1B/W 1:25 CVR Comic Book Resources can really get down to business and Adams has never been one to not answer, in his personal opinion, honestly. In his mind he is giving us the Superman we want and need. A story that will reconnect us to the Superman we loved before.

In so many ways, yes, he has. Adams creates a world that classic comic readers can more easily relate. A Lois Lane so locked in the news that nothing else matters. The playful banter yet obvious and malicious rivalry between Superman and Lex Luthor. The simple language and the American-Boy-Scout attitude of Clark Kent’s Superman.

That story, just as it is, is something we have not seen in a while. The every-man Superman. But is that the Superman we need following the lackluster back and forth’s of the DC Comic’s New 52 series? Not exactly. For those who have kept up with Superman yet are having difficulty with the over-powered, super-saiyan-esque, god-like Superman, Coming of the Supermen will be a call-back to a different time. More a breath of fresh air or diversion. Not a necessity. Especially once you get to the storytelling.

Like Odyssey, it jumps from plot point to plot point, creating confusion from the very beginning. Three Supermen arrive on Earth then next thing we know they are trying to assist in stopping a parademon invasion. All while Superman is saving lives in the Middle East. Then, out of the blue, an alien appears and tells him he must temporarily take a child into his personal custody before returning to save the day in Metropolis. Who is this alien? And why is he playing the shy-knight who has “said too much”? And it only gets worse.

Issue #1’s are meant to create questions, build drama and indulge in curiosities. Adams, at least, got the first part correct. There are so many questions. But the problem arises that a six-part miniseries may not be able to clear up the pea-soup-thick-fog.

To divert away from the writing and looking more closely at the art. The cover is phenomenal. Reminding us of the true talent behind the ego that defines Neal Adams. The interiors, for the most part, match up. Classically epic battle scenes. Larger than life characters that explode off the page. If anything, Neal Adams’s images can be just as powerful now as they have ever been. And, though barely mentioned in any solicit, Alex Sinclair’s colors help build the classic drama that Adams is so hoping to recreate.

But the artwork greatly over shadows the story. In many books art can help built stronger interest in a moderately written book. But the action-packed, brightly colored sequences seems to only detract from the plot. If that is even possible. Your eyes lock at one brightly colored point and then dart to the next while the words just seem to fade into the background.

Even with the strange plot jumping, Coming of the Supermen was already on the “collector’s required reading list”. Neal Adams creates beautiful visuals that, do not necessarily support a better written book, are wonderful to read through. Hopefully, when the second issues arrives, set for an in-store release of March 16^th, there will be a more defined storyline.

Make sure to stop by your local comics retailer and pick up Superman: The Coming of the Supermen #1 (of 6) today.

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12 Essential War Films

By

Larry Taylor - Managing Editor

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March 2, 2016

War is hell. And for those of us fortunate enough to have never faced the horrors of war first hand (and for those of us who have), Hollywood has tried to give us a glimpse of that hell on earth. War films have evolved over time, and while the majority of them try subtly – or not so subtly – to take a stance on the validity of historical conflicts, the best ones manage to tap into the core of humanity, and the way killing can affect us all on a very base level.

Here are a dozen essential war films everyone should see at least once. Shout out to close calls here, Tarantinos’ Inglorious Basterds, The Dirty Dozen, and Hamburger Hill.

12. Born on The Fourth of July (1989) – Oliver Stone’s second film in his unofficial Vietnam Trilogy is less a war film and more an aftermath tale of regret, anger, and desperation, the undercard of jingoism. Tom Cruise is Ron Kovic, an idealistic young soldier who is paralyzed in battle and spends a great deal of the rest of his time back home protesting Vietnam and seething internally (and externally). Stone’s film is powerful and heartbreaking, and put a new face on the horrors of combat.

11. Glory (1989) – Civil War films are few and far between, but Ed Zwick’s seminal 1989 film about a platoon of African American soldiers fighting for the North captured the dichotomy of race relations in this particular war. These were soldiers, fighting for a cause, but still had to fight against the establishment to find the respect they deserved. Matthew Broderick worked to shed his Ferris Bueller boyishness here, and Denzel Washington took home a much-deserved Best Supporting Actor Oscar.

10. The Longest Day (1962) – 36 years before Steven Spielberg revolutionized war films, John Wayne’s The Longest Day told the story of the D-Day invasion from the perspectives of both Americans and Germans. The balance of the film is what allows it to keep its relevance and power. Wayne was never as strong or convincing in his war films as he was in his westerns, but here he is a perfect fit. Keep an eye out for a young Sean Connery as Private Flanagan.

9. All Quiet on The Western Front (1930) – One of the earliest war films to reach for epic scope, Lewis Milestone’s All Quiet on the Western Front still retains some of its power almost 90 years later. It is also a rare look at World War I, which seemed to have been fought thousands of years before WWII given the great differences in combat styles and technology. This is the story of a young man disillusioned by the horrors of war, and is one of those war films from which all others were borne.

8. The Hurt Locker (2009) – Kathryn Bigelow’s Best Picture winner was one of the very early war films examining the Iraq war. Bigelow shed the jingoistic political landscape of the 2000s to show not how war can ruin a person, but consume them entirely. The most telling moment of the film comes at the end, when bomb technician William James (Jeremy Renner), back from the desert, stands in the cereal aisle of a grocery store. He is lost in this world, and only feels at home when he is on the other side of the planet.

7. The Deer Hunter (1978) – Michael Cimino’s Vietnam saga is perhaps more famous for the controversy surrounding its depiction of the war and the Vietnamese soldiers than it is on a cinematic level. But, when taken more as an allegory – which I feel was the idea all along – The Deer Hunter is a powerful, moving look into the pollution of the human mind from the nihilistic landscape of the battlefield. De Niro shines, and Christopher Walken’s transformation into a near catatonic shell of a human being is undeniably impactful.

6. The Bridge on The River Kwai (1957) – A British soldier (Alec Guinness) agrees to oversee construction of a bridge for his captors, the Japanese military. He is unaware of the allies’ plans to destroy the bridge once it’s complete, setting up a fascinating tale of alliances and bravery in the midst of a somewhat impossible situation. One of David Lean’s greatest achievements, The Bridge on The River Kwai dominated the Oscars, raking in 7 Academy Awards including Best Picture.

5. Platoon (1986) – Oliver Stone’ first foray into Vietnam is his crowning achievement, and a very personal look at the moral corruption that at least played a part in our loss in Asia. The film tells the story of division within a platoon, almost a pro and anti-war division among soldiers. Loaded with great performances form young stars like Willem Dafoe and Charlie Sheen, it is Tom Berenger who stands tall as the villain, a grizzled man of war who lost sight of his humanity long ago.

4. Paths of Glory (1957) – Hidden in the shadow of Bridge on The River Kwai was one of Stanley Kubrick’s earliest masterworks. It won no awards, was nominated for no awards, but has since become a classic in the genre. Kirk Douglas plays a general who refuses to send his troops into the mouth of certain death. After being accused of cowardice, he and his men must defend their decision. There is no bandying about here, Paths of Glory is an anti-war film, and remains one of the most important of all war films.

3. The Thin Red Line (1998) – Terrence Malick had been absent from Hollywood for over two decades when he gave us The Thin Red Line, a meditative look on the expansive horrors of war on both man and nature. Filled to the edges with extended cameos, the tale of the war in the South Pacific in the middle of WWII is hypnotizing. It also features some of Nick Notle’s finest work, namely the argument he and Elia Koteas have over the phone regarding an assault on a ridge. Powerful stuff.

2. Saving Private Ryan (1998) – The Thin Red Line was overshadowed in 1998 by Steven Spielberg’s WWII drama that is both intimate and epic in scope. It begins with the D-Day invasion – easily the most intense 20 minutes ever captured on film – and then gradually devolves into a very personal, small story about a group of men possibly sacrificing themselves to rescue one man whose brothers have all been killed. Saving Private Ryan is a perfectly-executed, well-balanced film, full of some of the greatest performances in the genre.

1. Apocalypse Now (1979) – Francis Ford Coppola’s journey into the mouth of madness (or the heart of darkness) just about drove him insane as well. Apocalypse Now is not just a film about Vietnam, but a film about insanity. Everyone here is insane, or they are on their way to insanity as they travel down the river to meet their end at the hands of Colonel Kurtz. It’s also one of those rarest of pictures, one that evolves over time and speaks to a different aspect of our own minds depending on when we watch it. The layers are seemingly endless, and the haunting performances unforgettable.

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Frank Underwood Thanks You For Your Support With A Secret Clip

By

Matthew Sardo

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March 2, 2016

The 2016 campaign for Frank Underwood (FU ’16) sent an email out Wednesday thanking supporters. The email contained a video with a short clip from Season 4 of House of Cards.

What’s in the folder!?

“I’ve always said that unconditional loyalty does not go unnoticed. You put your support behind my campaign, and now we are in a position to truly push America forward. Please accept this personal message as my gratitude,” said Underwood.

House of Cards was created by Beau Willimon, the series stars Kevin Spacey, Robin Wright, and Michael Kelly.

The fourth season of House of Cards will be available to binge watch on March 4.

President Francis Underwood’s official presidential portrait is unveiled at the Smithsonian National Portrait Gallery in Washington, DC.

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Essential Reading: ‘Captain America: Civil War’

By

Anthony Composto - EIC

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March 2, 2016

Superhero movies are actually driving people to pick up comics again, some for the first time since childhood, others for the first time ever! Tons of fans look to the source material in order to prepare for an upcoming flick, but where is the best starting place? Here is the essential reading for Captain America: Civil War.

Civil War

After superhero negligence leads to the death of hundreds, the United States government enacts the Superhero Registration Act, requiring masked heroes to register their secret identities and become employees of S.H.I.E.L.D.. The super community is split down the middle, with Iron Man leading the Pro-Registration side, and Captain America leading the underground rebellion. The film can’t adapt this story directly. Heroes in the MCU don’t really have secret identities, and half of the characters featured in the book are owned by different film studios (most notably the Fantastic Four). However, the themes of liberty, privacy, public safety, oversight, and fascism will all be present, and that keeps the core of the story the same. Civil War is seven issues long, but it barely scratches the surface of the story. So much happens “offscreen” that fleshes out the characters, their motivations, and the ramifications of the war. Most of it can be found in the various tie-in books; see Marvel’s Official Suggested Reading Order here.

Amazing Spider-Man: Civil War

Out of all the Civil War tie-in stories, this is the most essential. Amazing Spider-Man issues 529 through 531 are “The Road to Civil War,” and help set the stage for the main event. Peter accompanies Tony Stark to Washington to discuss the looming Superhero Registration Act, and it establishes their relationship leading into the war. Then, issues 532 through 538 center on Spider-Man’s role in the war itself. Civil War is a good read, but it’s a very broad story and action heavy. The Amazing Spider-Man tie-ins are much deeper than that. They focus on Peter’s inner turmoil, and explore the grey area between the two sides. Peter is meant to be an everyman, and his thoughts/feelings are much more accessible than those of Captain America or Iron Man. Writer J. Michael Straczynski breaks down the themes of Civil War on a very personal level. Amazing Spider-Man: Civil War may even be better than Civil War itself, especially for fans who prefer depth and inner conflict over shallow action blockbusters.

Black Panther, Volumes 3 & 4

Black Panther makes his big screen debut in Civil War, and these two volumes are the best resources to understand his character. Two volumes may sound like a lot, but it’s largely where the filmmakers are pulling from as source material. Volume 3 – Christopher Priest and Mark Texeira gave T’Challa his first solo series in ten years, and fleshed out his character tenfold. The film is probably going to pull heavily from this volume in particular; Martin Freeman’s character has recently been revealed to be Everett K. Ross, who was a staple in Priest’s Black Panther series. Volume 4 – Reginald Hudlin and John Romita Jr.’s volume built off of Priest’s and further developed the Panther mythology. This is also the volume that intersected with Civil War, so, if you’re just looking to cram, you can focus on the tie-in issues. Issue 18 is the Civil War Ceasefire, and issues 22-24 are the actual tie-ins.

Amazing Spider-Man & Ultimate Spider-Man Omnibuses

Everyone knows Spider-Man’s origin story by now; it’s not even being addressed when he’s reintroduced in Civil War. After the two film series by Sam Raimi and Marc Webb, many casual fans may even consider themselves Spidey experts. However, film has yet to truly capture the essence of his whole character. With Peter Parker finally being brought into the MCU, now is the perfect time to read into his history and develop a standard to measure Tom Holland’s performance against. Luckily, the entirety of Stan Lee and Steve Ditko’s original run on Amazing Spider-Man is compiled into a single Omnibus. Simply put, it set the standard for every comic that came after it. Ultimate Spider-Man was Marvel’s way of rebooting the character for a new generation in 2000. It’s also excellent, keeping true to who Peter is while making his story more accessible. The filmmakers will probably borrow more from this era than the 60’s one, but both are worth reading.

Captain America by Ed Brubaker

The MCU version of Captain America is pulled heavily out of Ed Brubaker’s run on the comics. Brubaker is the genius writer who wrote Cap’s story for eight years, creating the Winter Solider in the process and dealing with the aftermath of Civil War. His run is long; it’s all worth it. But, if eight years of comics is too much for you, center in on the period surrounding Civil War (Captain America volume 5, issues 22-25). It focuses more on his surrounding cast, all of whom are in the film, and leads directly into the “Civil War Epilogue” in issue 25. The Epilogue ties up some loose ends from the main story, and is absolutely essential. The story arc then continues on through issue 30.

Iron Man: Civil War

It feels right to have something related to Iron Man on this list, and his Civil War tie-in (Volume 4, issues 13 and 14) are probably the most fitting. However, they don’t really fall under the “essential” category. The hope is that Tony Stark’s solo series would give more insight into his thought process during the event, which it does. It just doesn’t do it to the extent that it should have. The main Civil War book is what gives the best look at Iron Man during this time. The issues succeeding the Civil War tie-ins then deal with the aftermath and the changes to Tony’s life. — Captain America: Civil War is in theaters May 6, 2016.

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The ‘Finding Dory’ Trailer is Here

By

Larry Taylor - Managing Editor

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March 2, 2016

Finding Dory, Pixar’s sequel to their hugely successful 2003 film Finding Nemo, has a new full-length trailer. Despite the long gap between the films, Finding Dory is supposed to pick up a mere six months after the events of the first film.

Here goes:

Pixar president Jim Morris had this to say about the sequel:

“The movie will be mostly set at the California Marine Biology Institute, a huge complex of sea life rehabilitation and aquarium, where Dory was born and raised… We will get to meet new characters, like an octopus, sea lions, a beluga whale, among others.”

Along with the new characters, it looks like Nemo and his dad, Marlin (voiced by Albert Brooks), and the crew in the fish tank will be back for the adventure to help Dory find her family. Along with Ellen DeGeneres voicing Dory and Brooks returning, other voices include Ed O’Neill, Kaitlin Olson, Ty Burrell, Michael Sheen, Eugene Levy and Diane Keaton.

Finding Dory will hit theaters June 17.

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Steven Soderbergh Goes West For Netflix

By

Matthew Sardo

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March 2, 2016

Netflix has hired Steven Soderbergh to produce Godless, a limited series which is described as a Western set in the 1880s, according to Variety.

Soderbergh reunites with screenwriter Scott Frank who will write and the direct Godless with Casey Silver.

Frank is most famous for his screenplay work on Out of Sight, Minority Report, Marley & Me, and The Wolverine.

No casting or premiere date was announced at this time, but this will most likely be a 2017 release.

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Review: Mighty Morphin’ Power Rangers #1: Teenagers with Attitude

By

Gary Moloney

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March 2, 2016

The first issue of Boom! Studio’s Mighty Morphin’ Power Rangers was simply “morphenominal”. We were enamored with the premiere outing when it was released back in January and couldn’t wait to get our hands on this one.There is always the worry that these licensed titles will be offer a product akin to a putty patroller rather than the Goldar standard, but Higgins and Prasetya proved their dedication to producing a comic that stood on its own merits. With over 100,000 copies sold, I think it’s safe to say that they’ve managed to do just that and exalt the source material in the process. Can the momentum be maintained, however, or will the series go the way of the Dino-zord?

Don’t let the numbering confuse you, this is really the second issue of the series and reading what came before is central to your understanding of the context of character moments. Luckily, for those of you who missed out last time, Higgins provides a nice cliff-notes version of the Power Rangers TV series and the previous issue to get you up to speed. Following on from the Ranger’s collateral damage caused by the Rangers’ fight with one of Rita’s monsters, questions are raised regarding Tommy: the Green Ranger’s loyalty and competency. The framing for the issue is quite clever with Bulk and Skull are recording a Power Rangers-themed web show as they interview our heroes along with a number of Angel Grove denizens about what the Rangers mean to them. It’s always been unclear in the show just how much the public are aware of us the intricacies of the conflict between the Rangers and Rita, but this issue reveals that they know much more than we have might thought.The advantage of a comic like this is that it provides the opportunity for exploring those quieter moments that the show normally skimmed over. We get a better sense of the world the Ranger’s inhabit and how the general public react to them. This is an area that is worth delving into more and the comic gives them the opportunity to do that, If Higgins was inclined to throw in a reference to the UN or military creating their own team of Rangers in response to global threats, I wouldn’t complain.

Tommy’s inner conflict is still very much at the forefront, but Higgins takes the time to learn more about the rest of the Rangers. In particular, Kimberley’s relationship with Tommy is given room to cultivate. Interestingly, she takes the initiative to ask him out, even if Tommy doesn’t necessarily take the hint. It’s a small touch, but one that is demonstrates Kimberley’s agency over her love-life and her willingness to pursue what she wants. This Pink Ranger’s very much in the vein of Fletcher’s Batgirl, understandable given he is co-writing her solo spin-off with Kelly Thompson. Jason is given some room to show-off his natural leadership, but it’s main a vehicle for discussing how the other Rangers, Zack in particular, feel towards Tommy. Billy: the Blue Ranger and Trini: the Yellow Ranger still remain underdeveloped and have yet to receive substantial attention. This was also true for the show for it’s first bunch of episodes, but that’s hardly an excuse. It’s quite a slow-paced edition, reminiscent of the show’s pre-morph second acts, allowing for much needed character development as the villains plot in the background. The action is played down this issue, but we are rewarded instead with a quite introspective piece that has each of the characters examining. What action is offered is merely a forum for Tommy to work out his own frustration. The spectre of Rita still haunts our beloved Green Ranger throughout the issue as she weaves a web of insecurity in his mind. It is still ambiguous enough to leave us questioning whether or not she is an actual remnant of the evil witch’s programming or a mere representation of the PTSD that Tommy is suffering from. Most of this issue sees the Rangers out of their cheap spandex, potentially a risk move so early in the series, but it’s all the better for it. It gives us time to really come to understand these characters better. Higgins has an ensemble cast to juggle and he has done so admirably to date.

One small issue, and this is especially nick-picky, is one of continuity. In one scene, the Red and Black Rangers are discussing Tommy becoming a member of the team and express their unease with Zordon bringing him into the fold without consulting the others. In light of his Tommy’s inability to control his Zord and their initial interactions with him, it’s not an unreasonable comment. The problem is that it was Jason and not Zordon that invited him to join the team to begin with. If anyone is to blame then surely it is the Red Ranger? The strength of the writing and this retcon’s substantial contribution to the cast’s character development is such that I’m more than happy to over look that hiccup, but it’s worth bearing in mind nonetheless. What some writers and commentators fail to understand is that continuity isn’t an end onto itself. Continuity is useful to the extent it provides us a basis from which to tell good stories. Retcons and tweaks to continuity are welcome where they better establish that basis for story-telling. Dogmatic reverence to continuity is unhealthy for the industry and for a creative team’s potential to spell-binder you with new and interesting ideas. In this respect, having the team doubt Tommy’s role as a Power Ranger and question their leader’s wisdom is a solid foundation from which new narrative possibilities emerge. Higgins shouldn’t be afraid to deviate where the story would benefit from it, but he’ll have to thread careful lest the purists emerge from the woodwork.

Prasetya’s interior artwork continues to leave up to the high standards he has set for himself. The characters are animated throughout. Bulk and Skull continuing to reflect their comic relief role in both design and execution. Some proportion issues remain, but it is a noted improvement from the first issue. The characters look more like teenagers than they did before and seem to possess the more appropriately lean physique of the martial artists they are meant to be. I’m still quite uncomfortable with Rita’s outfit, with all the redesigns to make some of the villains look more threatened, we could have done with seeing the ice-cream cone bra taken out of the equation. Power Rangers has always been campy, but it doesn’t seem to meld where with the more sincere interpretation offered by the team over at Boom! Studios.

Mighty Morphin’ Power Rangers deserves to be one of the breakout hits of the year. The art presents a dynamism rarely seen in today’s comics. Higgins has a grasp of the characters that only really comes from someone who has lovingly embraced the material and ingrained it into their psyche. Some more effective balancing of the ensemble would be nice, so as to give Trini and Billy time to shine outside of their traditional roles, but that is sure to come with time. The comic dares to challenge a lot of the assumptions we make about our beloved characters.The TV series never really had the chance or the desire to ask how working alongside someone who once tried to kill you would affect the Ranger’s morale. Such a nuance was unsurprisingly excluded from syndicated programming but we are presented with those questions here. With Mighty Morphin’ Power Rangers, we are given the gift of viewing a childhood favourite with a more mature and refined palette. It’s as satisfying now as it was back then.

A review copy was kindly provided by Boom! Studios.

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American Crime Story Episode 4 – Starstruck [Spoilers]

By

Jess Morton

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March 1, 2016

The striking thing about this episode of American Crime Story is how characters viewers have come to know continue to develop. How O.J. Simpson, the man, is presented in this series is a testament to his effect on the world around him. Everything and everyone revolves around Simpson, but he gets so little screen time. Cuba Gooding Jr. makes his moments on screen count. Audiences want more, and the celebrity legend goes beyond the universe in the series. It’s a strange spectatorship process.

This episode heavily features Marcia Clark, and rightly so. Clark is the driving force behind the prosecution and their ability to battle Simpson’s resources. One fantastic moment in this show, which is often forgotten in this media frenzy, is Ronald Goldman. Goldman’s family has a private moment with Clark. It’s a fantastic scene, and exemplifies how she repeatedly gets emotionally invested in this case. First, it was Clark as a woman speaking up for Nicole as an abuse victim. Now it’s Clark speaking up for the Goldman family losing a son. Both crimes either get overshadowed by Simpson’s fame, or forgotten altogether.

Sarah Paulson gets a serious chance to show her talent here. Paulson’s character illustrates inherent sexism professional women battled. I bet the female demographic watching American Crime Story still feel these problems today.

The scene with the perspective juror’s focus group analyzing Clark in court scream internalized sexism. The detail that hammers the nail in the coffin is when a middle aged white woman describes Clark as, ‘a bitch.’ Clark is dismissed, labeled as overbearing and bitchy because she’s aggressive – because she’s good at her job. But the truth is if Marcia Clark was a man people would praise her as fierce, intelligent, and powerful. The reaction to the focus group’s negative response to Clark is met with classic condescending male advice. Clark is told what to wear, to act more submissive, and everything short of downright discrediting her. Would Clark have to deal with all this absurdity if it were any other case? Probably not.

The celebrity effect pushes continuous ramifications on the case. One huge moment is when Faye Resnick publishes a book on Nicole Brown. Once again the Dream Team holds unnecessary press conferences, and the prosecution scramble to keep up. In an interview with Larry King Resnick says, “Women need to break the chain of violence.” Resnick’s false grief and concern for abuse survivors actually translates into more internalized sexism. This incredible quote puts the onus on women to get out of their situations, but also glosses over the fact Nicole did divorce her abuser. The woman still got murdered. Clark knows better, and continues to push.

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Is this the Title of Star Wars Episode VIII? (Possible Spoilers)

By

Dewey Singleton - Film Critic

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March 1, 2016

Filming has already begun for Star Wars Episode VIII, and it seems that the leaks concerning the highly anticipated follow-up to the Star Wars: The Force Awakens have started as well. Today an image was leaked on Reddit of what supposedly is the title of the new film currently being shot in London. The person went on to state that this image will be made public on May 4th which makes sense because that is a national holiday for all Star Wars fans. So if you don’t want to spoil anything then go on but if you want to see what was leaked … just keep scrolling down.

Here’s the image that was leaked.

What do you guys think? Personally, it looks real to me, but we will soon find out because May 4th is not that far away.

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