IMMORTAL SERGEANT #1 doesn’t hit your local comic book shop until January 18, 2023, but thanks to Image Comics, Monkeys Fighting Robots has an advance review for our readers.
About IMMORTAL SERGEANT #1 by Joe Kelly & Ken Niimura (I KILL GIANTS): On the eve of his unwelcome retirement, Jim Sargent (aka “Sarge”) a grizzled, old-school detective, catches a break on a murder case that’s haunted him for decades. Unfortunately, Sarge must drag his anxiety-riddled adult son, Michael, along for the ride or risk losing the lead forever. Can this dysfunctional duo overcome their own hang-ups, blindspots, and secrets to catch a killer?
Do you plan to add IMMORTAL SERGEANT #1 to your pull list? Check out the preview below.
HUNT. KILL. REPEAT. #1 hits your local comic book store on March 23, 2023, but thanks to Mad Cave Studios, Monkeys Fighting Robots has an advance review for our readers.
The book is written by Mark London, with pencils by Francesco Archidiacono, Marc Deering is the ink master, Lee Loughridge drops the colors, and you will read Rus Wooton’s letter work. Ryan Kincaid created the cover.
About HUNT. KILL. REPEAT. #1: It’s Kill Bill meets Clash of the Titans in Hunt. Kill. Repeat. The all-new, action packed series by Mark London (Battlecats, Knights of the Golden Sun). When the Greek gods invade Earth, society is quickly forced to comply with their new rulers. However, one god, Artemis, rejects her brethren’s ideology and has found solace in the love of a mortal. When she is called to Olympus to answer for her betrayal, the gods strip away her godly powers and leave her for dead. Now, ten years later, Artemis is on a quest for revenge to confront her father, Zeus, for taking away everything she ever loved.
Do you plan to add HUNT. KILL. REPEAT. #1 to your pull list?
The Mysterious Benedict Society is a Disney+ series based on Trenton Lee Stewart’s children’s books, where four tweens unite to thwart the bad guy. The second season ends this week, and costume designer Chrisi Karvonides discusses the collaboration involved in making the unique look of the show work.
“Reynie” (Mystic Inscho), Kate (Emmy DeOliveira), “Sticky” (Seth Carr), and Constance (Marta Kessler) are either orphans or outcasts recruited by a mysterious and narcoleptic man known as Nicholas Benedict (Tony Hale). Mr. Benedict chose the children because they possess innovative, intelligent minds and unique, complementary skills. Reynie is super-smart; Sticky remembers everything he reads; Kate has a bucket of tricks, and Constance, the youngest member, is surprisingly brilliant. Through season one, the kids learn to become a team. Then, in season two, they take things across the Atlantic.
PopAxiom spoke with Chrisi Karvonides about her career and living on set to get The Mysterious Benedict Society done right.
Fashion to Film
“I started in fashion for a hot minute,” costume designer Chrisi Karvonides begins her story. “I worked in New York. I got in very young, at 17; I worked in the sweatshops,” she laughs. “I realized I did not like it.”
Chrisi loves storytelling, and “fashion was more about telling the trends. So, I got out.” But undeniably thinks of it as an essential part of her learning process. “I learned my skillset in New York at FIT and the shops.”
“I went to Emerson for costume design, then NYU. A huge scholarship took me to Yale. I had a broadway show, Two Trains Running with August Wilson,” she continues, then turns into a consequence of all that outstanding higher education. “I had big student loans to pay back, so I moved to the west coast to work on films; as an assistant designer, lots of sci-fi, big sci-fi films. I became a costume designer for things like From the Earth to the Moon, Big Love, and Carnivale with HBO. After that, I moved to Fox to work on the first season of American Horror Story.”
Theatre and a film set are similar, but “the pace is different. Every ten days, you have a new story, a new ‘play’ to design.”
“I love designing for episodic TV,” she gleefully asserts. “I love the pace. I love making it become a reality.”
Theatre is never too far behind, and neither is another passion. “I still design for theatre three decades later. But, in the last decade, I’ve been able to pursue my first and foremost love — opera. I design for opera in both Europe and the States.”
About The Mysterious Benedict Society
How did Chrisi become part of The Mysterious Benedict Society team? “It’s a lovely story. Big shoutout to Care Adair, who was the season one costume designer. She went on to the HBO Perry Mason, so she pulled out of season two. But she set the tone, and it’s quite magical. She called and asked if I’d consider interviewing.”
“At first, I didn’t know anything about it,” she says, “But once I saw that nod to the Wes Anderson aesthetic and filmmaking, I was so excited. I want to be in television storytelling that allows for costume creativity, and this doesn’t get any better.”
Watching even a frame of The Mysterious Benedict Society tells you all you need to know about how cohesive a show it is, and that’s because of incredible collaboration. “What’s incredible is you have these four writers that are so engaged and involved; they want to convey this magical realism, a non-specific period. Almost an artificial reality with a nod to the 60s and 70s.”
“To achieve that, you need an incredible amount of collaboration, so we’re not going down some rabbit hole where the show ends up being orange or grey. It was a daily communication with [production designer] Cynthia, constantly working with each other.”
Chrisi shares an example. “Originally, Mr. Cutain’s space was supposed to be a coral or ochre color. But the guys wanted it to be calming and gravitate towards blue. But they also really wanted his costumes to be in the blue world. So Cynthia and I figured out how to separate. She’d go darker in the background if I were lighter, and vice versa. It was a weird tinge to the blue, like a blue-green we both embraced.”
Making the Show
“We call it cross-boarding,” she says about how they shoot the show. “We do two episodes at the same time. But working with young actors, we found it difficult to do that, so we tried to keep things more in sequence. It helped the young actors with plowing through their scenes.”
Season two of the series takes the Benedict gang aboard the Queen Mary to England. “We filmed on the Queen Mary in Long Beach. It’s a huge setup to be there. The elevator wasn’t working, so they had to move all this film equipment up six flights of these narrow, iron staircases from the 1930s.”
“It was quite a feat,” she declares and shares more about life on set. “We camped out there for ten days. Two costume trailers, my whole crew including stitchers and seamstresses.”
Costume renderings from Chrisi Karvonides
Ideally, costume designers like to pre-fit background performers ahead of time, “but that wasn’t working out. COVID was ripping through, so we had a lot of restrictions. Not as bad as 2020, but it was complicated.”
“About a third of the people we dressed head-to-toe on site,” she says, and there’s no way to emphasize the number of costumes and detail involved in season two. “My favorite part of season two is that so much takes place on the ship. We created, you don’t see it that much on screen, but we created the entire ship’s crew, from Captain Nolan to the sailors, patches, and signage. The guys working down in the engine room with the boiler suits. We made all the life jackets. So it was about 100 costumes just for the ship’s crew.”
How much time and people-power was available for all that work? “Two weeks. We had about sixteen people on my crew. The whole crew was talented and creative and had something great to contribute.”
Puzzles
“In Benedict, the way it’s shot and how they line things up it’s beautiful. It’s so inspired by the way Wes Anderson does his movies,” she gushes about the show, and that energy is alive in every episode.
One thing Chrisi loves about the show is what she calls puzzles. “There are verbal puzzles, and her team loves working on visual puzzles. Take Kristin Schaal’s character, her name is Number 2 because of her birth order, but she also felt that the name correlated to a number two pencil. So it’s given that it’ll be a saturated, warm yellow color. When we shift from there, it might be a bit of a burnt orange like the top of an eraser.”
“My other was Constance,” she adds “we wanted to keep the pink coat. We had a backstory that you’ll never hear where she got a new coat from Number 2, and it has scraps from the old coat as part of it. So we go into a new coat, embracing her character’s age which was now like 12. From there, we stayed in that color, then went around the color wheel to figure out everyone else’s colors.”
Wrapping Up
Who inspires Chrisi, past or present? “Oh my goodness, that’s a very long list. I would feel terrible missing out on someone,” she laughs, then thinks a moment. “I can give the nod to when I was a kid, the big costume designer I admired was Milena Canonero. Then, of course, Colleen Atwood.”
“Some I admire because they get to do a lot of magical realism,” she says. “Maya Rubeo, who was nominated for JoJo Rabbit. That’s that same thing where it’s a whimsical or nostalgic nod to a time in history, but her sense of color and composition is incredible. She also designed for Avatar and all the jewelry the Navi wear.”
Chrisi’s a fan of creators like Taika Waititi, who she says is doing a lot to elevate heightened reality, which I love. I’ve done a lot of realism, so it’s fun to explore those possibilities. Guillermo Del Toro’s work as well. His journals are fantastic. It’s a combination of his beautiful handwriting with all these drawings. I want to work in that kind of milieu. I love opera; it allows for more artistic freedom.”
Season two completes its run and is available on Disney+. So what’s next for Chrisi? “I’m hoping for a season three. I’m in the middle of designing an opera for the Royal Swedish Opera that’s based on Lars Von Trier’s film Melancholia. It’s part of that heightened reality, non-period defined. The music is quite incredible.”
Is The Mysterious Benedict Society on your watch list?
Thanks to Chrisi Karvonides and Metro PR
for making this interview possible.
BLOOD FORCE TRAUMA is a comic book series created by Jake Smith and Hiram Corbett. Smith has successfully run six Kickstarter campaigns to get the series out to the public, and today, Dark Horse Books announced they will collect the series and publish the trade paperback.
About BLOOD FORCE TRAUMA: It’s America’s pastime of the future! Brutal hand-to-hand combat. Two fighters enter, one walks out. The other? Gets scraped off the arena floor! Full of laser skull guys, kung fu masters, and mutant shark dudes from another dimension! It’s somewhere a normal kid like Zap Daniels just doesn’t belong. Too bad he’s the new world champ!
The BLOOD FORCE TRAUMA trade paperback hits your local comic shop on August 16, 2023, and bookstores on August 29, 2023.
Steven Spielberg has returned with a phenomenal family drama in The Fabelmans. A coming of age epic that loosely chronicles the director’s youth. Spielberg is known for his blockbuster spectacles, so this was a surprisingly significant departure from Spielberg’s definitive work. The Fablemans is a crowd-pleasing family drama that will touch your heart, and showcase a side of Spielberg you’ve never seen before.
If Spielberg intends to pour his heart out like this in the future then I’m open to seeing similar projects like The Fabelmans. The film is riddled with award-winning performances, meta aspects, and features the most realistic depiction of a family slowly crumbling from within. Michelle Williams, who is known from Dawson’s Creek, delivers some of her best work in recent memory. Directed and co-written by Spielberg, The Fabelmans stars Williams, Paul Dano, Seth Rogan, Judd Hirsch, and Gabriel LaBelle.
Set in the 1950s, The Fabelmans follows Sammy Fabelman (LeBelle), a young boy with a passion for filmmaking who discovers the power of movies. Sammy’s world is turned upside down after discovering a family secret, but his passion for filmmaking allows him to overcome this unfortunate reality. This might be the best love letter to cinema this year, and Spielberg being the brain behind it makes it more rewarding. On one hand, you have a compelling family drama, but then Sammy’s journey offers a salute to film and those that are passionate about it.
Admittedly, there are some moments where the pacing isn’t great. Still, even the dull moments are kept afloat by the stellar performances. Spielberg and Tony Kushner delivered a satisfying script for The Fabelmans. This family is easy to relate to and their struggles are heartbreaking as a result of the talent bringing it to life. Sammy was the character I found myself wanting to see more of. I’m sure this will apply to several viewers because he’s someone that uses film to escape the difficulties of life. For many of us, movies are a form of relief, a way to put our hardships on pause.
What I love about The Fabelmans script is that it spends a while to let viewers grow attached to this family before it puts them in difficult positions. For instance, the attacks on Sammy at school strike a core due to how the character has been built up as a sympathetic protagonist. Sammy and his family are constantly moving due to parental adjustments, but their Jewish background creates a problem for Sammy. Their interactions with one another are very believable as well, especially the dinner table sequences.
Everyone is tremendous in their roles, which only makes the more depressing moment that much more richer and heartbreaking. LaBelle is great as Sammy, but Williams is the standout as Mitzi Fabelman, Sammy’s mother. Her facial expressions combined with her delivery make it challenging to not get lost in the performance. Mitzi’s journey is a challenging one, and Williams demonstrates that with ease. As mentioned, perhaps the only negative is the pacing because the film might have overstayed its welcome toward the end.
The Fabelmans cinematography gives it a dream-like feel that only enhances the experience. Also, Spielberg doesn’t rely on exposition dumping but opts to let the viewer piece together the obvious. Once the family secret is revealed, a sequence unfolds that plays with your imagination versus explaining everything. For anyone concerned with “wokeness”, The Fablemans is more interested in a subtle approach, which keeps the narrative engaging. I’m not sure where this will end up on my list for the year, but The Fabelmans is another example of Spielberg’s brilliance.
Devotion is a crowd-pleasing film based on an inspirational war story about the first black naval aviator. Top Gun: Maverick set a high bar earlier this year, making it difficult not to compare it to this latest war drama. Still, Devotion offers a moving narrative that is brought to life by two powerful performances. While its runtime could have been trimmed, the emotional weight of it all keeps the film engaging from start to finish.
The biographical war genre has been hit or miss in the past, and Devotion is a resounding hit for the most part. This wasn’t a project I was looking forward to, but that improved the overall experience. Devotion won’t achieve the lasting legacy that other war films have, which isn’t to say it’s an inferior project. It’s just being released during a year when Top Gun: Maverick will swallow any impact it could have had. Although, box office projections might prove me wrong. The film is directed by J.D. Dillard with Jonathan Majors and Glen Powell in the leading roles.
Devotion is co-written by Jake Crane and Jonathan Stewart, its story centers on Jesse Brown (Majors) and Tom Hudner (Powell). The Navy’s most celebrated wingmen during the Korean War. Specifically, it examines their interracial friendship and the obstacles Jesse overcame to make American history. Most of the characters are underdeveloped and one-note, but Jesse and Tom’s bond serves as the heart of this inspiring tale. Majors’ and Powell’s believable chemistry makes it easy to grow invested in their roles.
Racial themes are present, which can grow tiring during certain sequences. These moments are necessary to further establish resiliency of Jesse. While I personally haven’t experienced racism the way Jesse has, it’s motivating to see him brush it off and continue to chase his dreams. It’s an important piece of this character that sends an empowering message to the viewer. His colleagues feel sorry for him, but Jesse reminds them that he can fight his own battles.
The aerial sequences are a highlight of the film’s great cinematography but don’t offer the same thrill you’ll find when exploring the characters at the center of this story. The pacing isn’t the best, especially during the film’s second act which still delivers an enjoyable ride thanks to this inspiring script and the actors involved. Admittedly, I found myself growing tired of the movie towards the end until it picked up the intensity once more. Devotion gives Tom his own compelling journey, as he struggles to not feel sorry for Jesse while also staying committed to a promise he made.
Tom’s journey is socially relevant without being heavy-handed with the dialogue. The context of what is happening speaks for itself and Jesse doesn’t try to teach Tom how to not appear prejudiced. Jesse and Tom have their own separate arcs that draw them closer as friends. If there is one thing that will make this movie worth enduring, it’s the third act. It’s an emotionally draining finale that lets Majors and Powell demonstrate some of their best work during this film. Majors has Powell beat, but Powell still delivered one of the best performances I’ve seen from him in recent memory. If that doesn’t do it, the score featured throughout is very moving and will touch your heart at all the right moments.
Devotion won’t go down as one of the greatest war films, but I hope I’m proven wrong because it was an exceptional movie. It just falls flat during the second act, which could eliminate it from being a good movie to certain viewers. However, the constant comparison to Top Gun might propel this movie to legendary status as time passes.
A good rule of thumb for me is that if Geoff Johns name is attached to any DC book, you buy it. Johns is responsible for great stories like Blackest Night,Doomsday Clock and Flashpoint. He rarely misses his mark as a writer. As he returns to write Justice Society ofAmerica, any fan of DC comics has to at least be intrigued. Joining him on this story is superstar artist Mikel Janin, Jordie Bellaire on colors and Rob Leigh on letters.
WRITING
Geoff Johns starts this issue off with a time line for readers. The death of Batman’s parents, Catwoman leaving out of a window and the birth of Bruce and Selina’s daughter. This sets the tone for the rest of the issue. Helena Wayne has taken up the mantle of Huntress and she has her own running crew. Johns gives us enough of these new characters to get a feel for them and have an interest in them as well. Power Girl and Solomon Grundy are also on the team, so they aren’t all completely unknowns. What Johns does that works best for this issue is the internal monologue from Huntress. Johns allows us to see and feel everything she’s going through and his dialogue for her is intelligent, just like her parents. When there is action in this issue, it hits fast and hard. Johns keeps readers on their toes as we get punched in the gut with a shocking event in the issue. Johns continues to be one of the best writers with story structure and ideas, especially with his DC work. Justice Society of America #1 is an issue that twists and turns. It will keep your attention and interest while making you wonder what will happen next.
ART
Mikel Janin is a phenominal artist. This issue packs a lot of emotion, so the panels that work best are the ones that visually display that. Power girl getting upset with Huntress is effective because of the emotion we see coming off of both characters. Janin also makes this an aesthetically pleasing issue. Panels where Solomon Grundy and Huntress are leaving a building seems like a simple enough task. Janin silhouettes both characters in white so we only see their outline while the city is fully pictured behind them. This type of artistic gamble pays off and becomes one of the most memorable moments in the issue.
The colors by Jordie Bellaire are fantastic. Bellaire doesn’t make anything in this issue too vibrant to stick out, which works. This is a dark time in the DCU and Bellaire uses tones that reflect this. Huntress has a gorgeous purple outfit that doesn’t leap off the page at you, and it shouldn’t. As characters get picked off, Bellaire uses a red to mask the panel. This is effective because it signifies death. It encompasses the whole panel and draws the attention of the reader. Bellaire continues to be one of the most innovative colorists in comics.
The letters are done by Rob Leigh. As far as lettering goes in this issue, the thing that sticks out the most is Huntress’ internal monologue. Leigh is very careful to place all of these thoughts in the appropriate spots. Nothing runs into any of the pencils on the page and Leigh has them stashed on the right side as Huntress attacks a goon. Sound effects are crucial on an issue like this, especially when people are getting shot. Leigh goes with the classic “BLAMMM” as characters meet their end. The placement of the sound effects is key and Leigh places it out of the way of the action. Letters are crucial to a book, and Leigh does good job of making sure his work compliments the art work.
CONCLUSION
Justice Society Of America #1 is an excellent read. Geoff Johns crafts an excellent introductory issue that should engage readers and get them excited for what comes next. The art work is second to none this week. Janin, Bellaire and Leigh all give great effort to make this book look spectacular and they succeed. Justice Society of America #1 is the real deal and hands down the book of the week.
CANARY #4 drops digitally on Comixology on December 6th, but thanks to Amazon, Monkeys Fighting Robots has a four-page preview for our readers. The book is written by Scott Snyder, with art & colors by Dan Panosian, and you will read Richard Starkings’ letter work.
About CANARY: When a horrific shooting disturbs the peace of a sleepy town in the Old West, Marshal Holt is called upon to investigate. But as Holt digs deeper, he discovers that evil may just run to the core, and it all seems to stem from a place called CANARY. From writer SCOTT SNYDER and artist DAN PANOSIAN comes a western tale that will make your blood run cold…
The Mysterious Benedict Society is a Disney+ series based on a quartet of children’s books by Trenton Lee Stewart, where four children unite to save the world. Now wrapping up its second season, the show brought in producer designer Cynthia Charette (Pumpkinhead, You) to continue the unique, stylized vibe.
In the series, four children, Reynard (Mystic Inscho), “Sticky” (Seth Carr), Kate (Emmy DeOliveira), and Constance (Marta Kessler), are either orphans or outcasts recruited by Nicholas Benedict (Tony Hale). The kids are selected because they possess innovative, intelligent minds and unique, complementary skills. For example, Reynard is super-smart, Sticky remembers everything he reads, Kate is a clever creator with a bucket of tricks, and Constance is a force of nature even though she is the youngest member. The kids learn to be a team in season one while saving the world. In season two, they do a little globetrotting.
Cynthia’s story starts in Nashville, Tennessee, where she was “the artist in school and knew I didn’t want to sit behind a desk.” But Cynthia “found theater. So I went to Syracuse University and majored in theatre design which I love. You get to create worlds on stage for the story.”
“I moved to New York and soon found that it was hard making a living in theatre,” she laughs, “I had a friend who was a director out of USC. He raised money for his first film, a low-budget horror movie called The Offspring. We had a budget of 250 thousand dollars, and it was an anthology.”
At this point, Cynthia was ready to work on anything she could get her hands on. “So, I went to Georgia to make the film.”
“For my first film out, we had an anthology that included the civil war, 1930s carnival, 1950s, and 1970s.” A wild mix of eras that require vastly different details. No pressure. “I was the designer, costume designer, and scene painter, and my crew were free kids from high school. I loved it. It hooked me. I knew I wanted to do it. I got to be creative and hands-on.”
Now hooked on production design, Cynthia moved to Los Angeles, and “after about six months, I got my next job.” Her burgeoning career took her into two projects — Shocker and A New Nightmare — with horror legend Wes Craven. “I loved Wes. He was a great mentor to me.”
Cynthia also worked with Stan Winston on his directorial debut Pumpkinhead. “You know, Stan Winston and Wes Craven allowed me to come to them with story and ideas. Like the burial ground in Pumpkinhead, that wasn’t even in the script. They’d let me take the visuals to another level.”
About The Mysterious Benedict Society
“I didn’t know anything about the show or story. But my agent called me saying they were interested,” she says about her path to becoming part of The Mysterious Benedict Society. “So I watched season one and thought, ‘No way, are you kidding me!’ I’ve been training for this show my whole life.”
“I was reflecting [recently] that some of these projects I did, one called Trusting Beatrice and another called Trading Mom with Sissy Spacek, they let me be so creative. I got to build worlds, and I mean every hand prop, everything that you see. Those projects were similar to what I’m doing now with the Mysterious Benedict Society.”
In the interview, Cynthia, who has an extensive portfolio, “put together all the creative stuff I’d done for other similar productions.”
The Mysterious Benedict Society is a show for tweens or early teens, and the production puts viewers in a vivid, detailed, and stylized world. Every scene looks like a flavor of ice cream. “That makes absolute sense. It’s a plan. It’s not by chance. We care about every detail.”
“I have to keep the crew on the same page but keep it fun and creative for them to get them engaged,” she says about her day-to-day work. “If we all work together, it’ll work, and you can tell the shows where they just gloss over certain things.”
That’s Not Blue
The Mysterious Benedict Society is a show full of vibrant, complimentary colors. Each character is distinct in attitude and motivation, and look. So how do they get such rich colors playing together? “Color is a gift that I have. I’m known for that. People say ‘blue,’ and I say, ‘No, that’s HC150, or that’s HC153’ I can tell the difference.”
“They didn’t have the color pronounced as I do, but I studied season one,” she says about taking the production design reigns for season two. Michael Wylie (Pushing Daisies) was the production designer on season one of the series, so what information did Cynthia receive? “I love Michael. The tone had been set. We studied it and looked at where we had to go. We’re traveling across Europe, so wherever we go, as I’m creating these different worlds, tonally, those ebb.”
The interplay between colors derived from the production and the costumes is worth watching The Mysterious Benedict Society. Especially for cinephiles. How does Cynthia and costume designer Chris Karvonides work together? “I’ll set a specific palette, then work with Chris and props and decorating to match things.”
“But sometimes Chris would have to make a costume before a set was even started,” she continues, reminding us that film and television productions are in constant motion. “Her trailer was right next to my trailer. I would run over there many times, look at her fabric, hold my palette up to it, and that’s the care we put into it. Especially when it comes to color, it works. We both cared that much.”
“When you get a show like Benedict where you can make a storybook come alive, we’re not going to let it down. We’ll raise the bar and keep it as high as it needs to stay.”
The Process
Production designers create the worlds around the actors we know and love to help tell the stories we can’t get enough of. Season two of The Mysterious Benedict Society takes things up a level, including vehicles, which brings up an essential aspect of production. “The vehicles showed up out of the junkyard. I’d have to design all those. The VFX team would get designs. It’s also important for production and visual FX to work together early on.”
“The first time I try to read it through,” she says about reading scripts and the start of the process. “It’s hard; my mind goes into visualization immediately. Then, the second pass, I start breaking it down to figure out all the sets.”
What does breaking it down for Cynthia entail? “We look at page count. If there are five pages on one set, we know they’ll spend more money, or it’s a bigger set. If I get an eighth of a page on one huge set, I talk to the producer about how we want to get that done or is it getting cut.”
“Our show has a lot of sets,” she adds, “and unfortunately, the budget takes priority. Sometimes you have to fight for a set because you feel it’s important.”
Wrapping Up
Cynthia’s influences include films like “Mary Poppins and Chitty Chitty Bang Bang, then Beetlejuice and LemonySnickets, just creative worlds. But also films from the 30s, the Art Deco, and glamour. I either love fantasy, like joyful fantasy, or absolute beauty. Anything beautifully designed.”
“It’s not in my DNA to blow up and kill,” she laughs, “But designing beauty and worlds. Never Ending Story is another favorite of mine. I’d love to do a period piece like Pride and Prejudice. I also love Succession. But I would love to do a remake of something glamorous from the 30s or 40s.
Season two of The Mysterious Benedict Society is now available on Disney+. So, what’s next for Cynthia? “I’m busy on other projects until we hear about season three of Benedict.”
Is The Mysterious Benedict Society on your watch list?
Thanks to Cynthia Charette and Metro PR
for making this interview possible.
JUSTICE SOCIETY OF AMERICA #1 hit your local comic book store this week from DC Comics. The Panel Breakdown deconstructs the fantastic line work of Mikel Janín combined with the spectacular color palette of Jordie Bellaire. Geoff Johns writes the series, and you will read Rob Leigh’sLeigh’s work.
Check out the Panel Breakdown below.
About the issue: THE NEW GOLDEN AGE, CHAPTER ONE: LEGENDS DIE TOGETHER TOO
A long-lost hero from the JSA crashes into our era with a grave warning…but it’s too late. A mysterious and malevolent enemy has invaded the entire history of the JSA, and an all-new team must come together to defeat it. But what deadly secret does this messenger from beyond keep? Where are they from? And why is all of this happening now? Only the Time Masters know…
