"The Expanse" coming to SyFy in December

I am going to give this pilot a shot.

Flash Watch: Season 2 - Episode 2 "Flash of Two Worlds"

In my book, there are a few places you can say that really changed comics.  The publication of New Fun Comics, Action Comics #1, Detective #27, Sensation Comics #1, Amazing Fantasy #15, Fantastic Four #1, Crisis on Infinite Earths, Watchmen...  stuff like that.

We can break down how each of those changed comics, and some were in large, cultural shift-y kinds of ways, while others took more time to reveal themselves.

Flash #123 is one of the places you can put your finger on that changed comic books in ways no one anticipated at the time.  Pretty remarkable that between the first appearance of Barry Allen in Showcase #4, which I'm saying is the start of the Silver Age, circa October 1956, and the Flash of Two Worlds issue, circa 1961, we saw two huge changes in the state of comics thanks to one character (and, I'd argue, to a lesser extent in how Barry Allen dealt with his villains in those early issues).  Today, it's almost impossible to imagine modern comics from any publisher without the concept of a multiverse (see Marvel's current Secret Wars event or the many worlds of Archie Comics).

The multiverse exploded the possibilities for comics, for alternate universes, and became a staple of sci-fi in everything from Star Trek's "Mirror, Mirror" episode to the existence of shows like Sliders and Fringe.  And, of course, is part of mainstream physics at this moment in time.

Before we get too far into discussing how cool I find the multiverse, I want to also mention that I have a tremendous amount of affection, in general, for the characters of the Flash titles, and Jay Garrick of the Silver Age and Jay Garrick of the post COIE/ pre-New-52 definitely falls into that category.

So, of course, it was tremendously fun to see Jay put on the helmet on a legitimate TV show.

Flash Watch: Season 2 - Episode 1 "The Man Who Saved Central City"

Last year I tuned into the CW hour-long superhero action/drama The Flash expecting the same crippling disappointment I've found with most things DC Comics in recent years, Dark Knight Trilogy aside.   At my core, I always want these things to work, so you got to show up and see what they do.  And, in this case, I think The Flash is doing it right.

Sure, the show dabbles in some of the angst and romantic melodrama you've come to expect from the network that turned Superman into a weepy teen for a solid decade with Smallville, but unlike doe-eyed Superman, this show understood that a program needs momentum, not endless circling of the drain when it comes to character and plot development.

Of course, the creatives behind The Flash was never embarrassed of the source material to begin with, but then they went ahead and just swung for the fences, because Barry Allen does not do "slow burn".  In Season 1 we got a huge amount of the Flash's Rogues Gallery on screen, up to and including Gorilla Grodd (and I got Captain Cold, who is secretly one of my favorite villains anywhere in comics).  And we saw a lot of other DC heroes running around, like Firestorm.  All of that would have been a lot of fluff and of no consequence, if, at the center of it, we didn't also get a pretty solid story about a kid who saw his mother die in a blur of mysterious red and yellow, and saw a man in yellow kill his mother right in front of him.

The Flash, Season 2 debuts Tuesday!

I don't talk about the character as much as Superman or Wonder Woman, but I think it's been pretty clear to longtime readers that I'm a fan of DC's speedster dynasty and the whole Flash concept.  From when Carmine Infantino drew his first strobe-image of Barry Allen in motion, this was a book that looked pretty straightforward, but which got really weird, really fast way back in the Silver Age, and it never turned back.*

And, lest we forget, the whole concept of a multi-verse in comics was spawned in the classic "Flash of Two Worlds" story in The Flash #123, back in 1961.

Speaking of, Tuesday sees the season premier of The Flash as it enters its sophomore year.  And, look who shows up:

hell, yes

Jay Garrick has been vital to the Barry Allen Flash comics since that 1961 issue, and it's awesome to see he'll get screentime and, I hope, a recurring role.

Last season was the most fun I had watching any one TV show.  Maybe it's not as intricate and adult as Mad Men or The Americans, but it does exactly what I want a Flash TV show to do - be super weird, have lots of fun twists and turns, use super speed in new ways all the time, and make Barry Allen an all right kind of guy.

They threw everything at the wall last season, and it mostly worked.  Now we see what happens when they don't just worry about time-travel, they worry about the multiverse.  Let's hope this isn't the season where they drop the ball.

Here's some posters:

There's the Jessica Jones I know and love (teaser for Marvel's "Jessica Jones")

Doc Watch: PBS's American Experience - Walt Disney, Part 1

True story.  The first birthday wish I remember making, and I'm not sure that I thought the mechanics of how this would work out or the sheer body horror of it all, but I distinctly remember wishing I'd become Mickey Mouse.  This went on for a few years until I read an article, probably in Dynamite! or something, about the fact there had been an honest-to-god guy named Walt Disney and it wasn't just a brand name like "Buster Brown" or "Cracker Jack".

Then, for a few years, I wished to become Walt Disney.  Then I wanted mutant powers or some such and all that went away.

I had a pretty good idea of what Walt Disney had done for entertainment.  Despite the fact the guy was dead (I was semi-obsessed with the fact that both Walt and Elvis were dead, but very present in our lives) I watched his cartoons, his TV network, his live-action adventure films, went to his amusement parks, watched his nature documentaries and I had a stuffed Mickey Mouse that was a pal.  My interest in animation and the entertainment industry continued, and at some point in high school I bought a Walt Disney biography and read one or two animation histories.  And not all of it was rosy.

In a lot of ways, reading up on Walt Disney was how I learned to reconcile the good with the bad when it comes to the folks we revere.

Content Free "Marvel's Jessica Jones" Trailer Arrives

We were big fans of the Alias and The Pulse comics.  Looking forward to this one.

TV Comedy Noir Watch: The Spoils Before Dying (2015)

I am absolutely flabbergasted that the 2014 IFC mini-series The Spoils of Babylon is not more widely discussed.  It had an all-star cast, a distinctive narrative and visual style and did something most comedy utterly fails to do - continue to tell a story that's still sort of interesting as the thing goes along.

The 2015 follow up is The Spoils Before Dying.

Now, follow me here.

Both series are framed by introductions of each episode by author, screenwriter, producer, director Eric Jonrosh.  Jonrosh was the sort of high-literary figure of the 20th century that's since been kind of forgotten as Fifty Shades of Grey has come to define the modern American novel.   Jonrosh also embodies the worst excesses of the brightest minds of the 20th Century and their more, uh, colorful golden years.  And is played by Will Ferrell in a beard, old age make-up and about 150 extra pounds.

this is not actually me, your humble blogger, but I understand the confusion

The Spoils Before Dying is less the sprawling 1970's-era TV mini-series than its predecessor and, in a tale unrelated to the prior series, a noir-jazz-Mickey Spillane mash-up pastiche.  Again, the story itself would probably be fine as a drama, played straight.  I'm not kidding.  It's a tight little murder mystery with Chandler-esque turns and a nice upping of the ante in the final act.

But that's not really so much what they're up to.

Television Weekend: "Wet Hot American Summer - First Day of Camp" and "Penny Dreadful"

I don't often "binge watch" TV, but when you can get through a whole season of a TV show in four hours, sign me up.

The 2001-era movie, Wet Hot American Summer, has, apparently, become a staple of Netflix viewing.  Or something.  Because, for some reason, 14 years later, Netflix has doubled-down and produced 8 episodes of a TV show that should be insanely expensive to produce, just off actor's salaries.  My guess is that everyone is working at scale or something, because, really, what was a herd of mostly up-and-coming actors in 2001 are now established either in Hollywood or smaller comedy circles.  The Netflix series has also added a bucket-load of additional actors in other roles, including Jon Hamm (who has just shockingly good comedy chops, as he's demonstrated multiple times over the years), Michael Cera, and a few I don't want to spoil.

If you missed the original movie, the conceit was a play on "the summer camp picture", which was a staple of the 1980's, from comedies to horror films.   The adult-aged actors played 16-year-old camp counselors, and, Friday the 13th aside, worked not just aspects of those movies, but of camp, in general.*

The original movie squishes a lot into a relatively short running time.  It's a great ensemble piece playing out over the last day of camp as everyone concludes their unfinished business, from romance to preventing a rogue satellite from landing on the camp.  You're either with the movie or you're against it.

Rowdy Roddy Piper Merges With The Infinite

just look at that magnificent bastard

Working a crowd isn't easy, especially doing so as the bad guy.  But, man, somehow Rowdy Roddy Piper became not the villain people loved to hate - people just plain ol' loved him.

I don't follow wrestling now at all, and my window of interest when I was a kid was pretty narrow, so my viewership occurred primarily during that early 1980's window where the WWF was suddenly everywhere, and you had colorful characters like Jimmy "SuperFly" Snuka, George "The Animal" Steele, Mr. Fuji, the Iron Shiek, Andre the Giant and Hulk Hogan.

At age 8, I liked it a lot.  The plots were straightforward.  Mean Gene Okerlund had a cool, dry wit we all admired, and it was a lot like watching live-action comics, but only as complicated as the Hostess ads.  There were good guys and bad guys, and sometimes they switched.

Among the wrestlers I liked, I counted Rowdy Roddy Piper.  That guy had moxie.  He was hilarious, he didn't take anyone seriously, and he was just fun to watch.  I just assumed because I liked him he was a good guy who happened to talk trash or something.  He had a kilt, bagpipes, and a mouth that didn't really stop.  But, no, he was a bad guy.

In fact, his gig was more or less that he was the biggest SOB in wrestling, pretty keen with an insult or gag or low-blow.  All with a cocksure attitude backed up with wins, and a fanbase that adored the act.  The clips you watch now are, uh... un-PC, to put it mildly.  But he didn't need to be un-PC, he just needed to be a needling jerk.

In fact, he's been voted the best "heel" in wrestling multiple times.

That, my friends, is the sort of life goal I aspire to.

Another Eric Jonrosh masterpiece has resurfaced - The Spoils Before Dying

Finally. At last. Eric Jonrosh's most controversial work makes it to television.  Jonrosh is a bitter pill for much of America to swallow, but swallow it we should, for Jonrosh's work isn't just about America.  It's about US.



A spiritual sequel to The Spoils of Babylon, I cannot wait to see Jonrosh's look at a very different America finally get it's release.

Here's the trailer for Babylon, if you've somehow missed it.

Justice League TV Show - Secret Origins

I don't know what the hell is going on with my cable at home, but it isn't good.  Likely a mixture of the fact that we haven't updated our boxes or our modem in years and the technology has obviously continued to change.  So, we're basically cable-less until we get a technician out sometime next week.

In this spirit, Jamie got into the DVDs, and popped out with Disc 1 of the first season of Justice League, the 2001ish launch of the DC Heroes team-up show featuring "The Magnificent Seven":  Superman, Wonder Woman, Batman, Martian Manhunter, Green Lantern, Hawkgirl and The Flash (traditional magnificent seven swapping Aquaman for Hawgirl, but I get the motivations behind the swap and, frankly, it worked beautifully).

We watched the first three episodes, also known as the Justice League movie, "Secret Origins", wherein some pretty well designed aliens invade Earth and the seven disparate heroes team up as a unit for the first time, at least in the world of the Timm-verse that started with Batman: The Animated Series and continued with Superman: The Animated Series, both series legends in superhero animation in their own time and something I can't believe people don't talk about more instead of praising the just seriously gawdawful 90's X-Men and other cartoons.*

Cap Watch: Captain America II - Death Too Soon!

This evening we took in the second, not lesser, but - indeed - final installment of the TV movie exploration of Marvel's Sentinel of Liberty, Captain America in Captain America II: Death Too Soon (1979).

The movie is perhaps even more of a curiosity than the prior attempt, but it's worth noting that Wonder Woman - which we sort of think of as fully formed, first aired as a TV movie with tennis-pro Cathy Lee Crosby as a jump-suited, blonde Wonder Woman prior to the decision to try another TV movie pilot with Lynda Carter, which led into the series (which had to switch networks and decades before the 1977 season, just to make life more complicated).

Things were a little different back when you had to actually be home to watch TV when it aired, and once it was gone, it was gone.

Cap DOES NOT let thugs take money from sweet old ladies.  No, really.

I genuinely feel this movie is better acted and directed than the origin story, and the plot plods along at a mosey instead of a painful death march.  I'm not saying this even good TV, but I am saying it didn't physically hurt to watch (even if I did end the movie with a migraine halo).

This is the part of the year in which I watch a reality show about dancing!

This is the part of the year during which, if I want to see my wife, I watch the Fox dancing competition "reality" program, So You Think You Can Dance?

Of the possible reality game shows she could have selected to watch, it's one of the more innocuous things I could deal with.  It's not dubious, karaoke-style singing a la American Idol.  And it's not about a panel of judges that I know nothing about, a la The Voice.  It doesn't make me hate humanity (see: any reality programming gameshow on MTV).  And it's not as relentlessly depressing as most dating or "unscripted" things that, for real, I cannot get my head around at all.

But I also know next to nothing about the art of dance.  If it didn't feature Madonna expressing herself circa 1989 or the ladies of En Vogue instructing me to "free my mind", I am not sure how much attention I paid to anyone dancing anywhere during my formative years.

I believe we are now in season 478 of So You Think You Can Dance? and I feel no closer to understanding dance any better.  I listen to the critiques, shrug, and have little to no opinion.

Electra Wut? There's a new Electra Woman and Dyna Girl show coming. Because of course there is.

Oh, Deidre Hall.  You and your magnificent coifs.  And Judy Strangis of the gigantic eyes.

They may not have had Lynda Carter's budget (nor been Lynda Carter), but they had their own thing going on, including an amazing vehicle and the finest special effects you could produce using video overlays in 1976.

Electra Wow!

Seriously, only Lynda Carter may have rivaled Deidre Hall for amazing hair in 1976-1977, and both knew how to make a superhero outfit work.

I have only the haziest memories of Electra Woman and Dyna Girl from my own youth.  The Sid and Marty Kroft shows were still on in rotation around 3:00 in the afternoon in the 1970's and early 80's, but it's hard to say what I remember as snippets and flashes of memory and what was what I caught later in college (and afterward) on basic cable.

"Texas Rising" - a History Channel attempt at legitimacy

Well.

The History Channel decided that they needed to make a 10 hour mini-series exploring the romantic revolutionary war period of The Lone Star State, an era in the 1830's when the winds of change blew over a few hundred miles of uninhabitable desert and scrub land and a bunch of people kicked out of every decent state in the nation hid out here until Mexico got sick of them.

As always, a little background:

I didn't move to Texas until 1979, but I did grow up here, between Dallas, Houston and Austin, and I've been lucky enough to spend time in San Antonio.  I'm partial to the state, but I am also well aware of our checkered past and present.  I do love my state, but it's often the way you love a fun but very disappointing relative.  Say, a brother.  Just for example.  Purely hypothetically.

This guy was Governor for almost my entire adult life.  and, he'd like to be your President.

Growing up in Texas, you're sort of constantly inundated in Texas history in public school (or, so it was when I was a kid), and names like Stephen F. Austin and Sam Houston are up there with your American founding fathers.  Names like William B. Travis and David Crockett have passed right into mythology as martyrs of freedom.  Also, we have cows and horses and we're all pretty fond of Tex-Mex and barbecue, so we have a lot to offer kids.  On top of this, I was 11 in 1986 when we had the State Sesquicentennial (that's the 150th birthday), so it was a whole thing when I was in 4th grade.  Prince Charles came!  It was a major deal, man.

In college I had an extra credit class free and wound up taking "Texas History from Prehistory - 1845".

So, and this is a wildly unpopular notion, but there is, in fact, a bit of a difference between the legendary version of history as is taught in public school K-12, and what actually happened and why.  Or, at least, an interpretation of history that doesn't necessarily reflect the narrative of the progress of rich white dudes as a sort of destiny for all.  I know many people find this idea upsetting, especially uncles at Thanksgivings.  But, it is also true, full stop.

I wound up taking the follow up Texas History class, and, ha ha, also got myself a history degree (woooo!  so full of good ideas), focusing as much as possible on Southwest US History in a program that was much more about a broad base of history.  So, ask me to try to remember Roman History sometime.  It is super awkward because it's mostly me blinking at you then saying "uh, aqueducts".

When I saw the History Channel had decided to make a dramatized version of Texas history, I was skeptical.  They don't really have a track record that I'm aware of, and of late, most of their history has involved bearded people pretending to be rednecks on TV and lots of hunting of bigfoots and whatnot.

And right I was.  This show is terrible.  And weirdly so.

On the Reading of Text and Your Own Interpretation - Mad Men's Final Scene

Most often we're able to write a post, say our piece, do some interpretation if needed, hit publish and then wonder, once again, what exactly it is we're doing with our life.

But every once in a while, something occurs that puts a new spin on something we wrote about, and it seems worth it to revisit the scene with the new evidence in hand.  With my readership of upward of five humans, I feel it's only fair to try to keep up and adjust to new information.  If I did not adjust as new info came to light, I'd still be wearing diapers and needing to be put in a very large stroller.

In the final scene of the show, the hard drinking, mid-20th Century picture of a man, Don Draper, has utterly broken down.  In his wanderings between New York and LA, he has somewhat accidentally come to a hippie meditation retreat in California, and is subsequently abandoned there by his ride, but - vulnerable and shattered, he seems to open up in a way he has not previously in 7 seasons.  In his final shot, he sits cross-legged with a group on a coastal bluff, comfortable in a meditative position.  The scene cuts to the 1971 "Hilltop" ad from Coca-Cola, and the series ends.

The ad is very real, and ran in various iterations even during my very early youth which began in 1975 (I have memories of it appearing on TV when I was very little, at least the Christmas spot).

And so, "Mad Men" ends

There were a lot of crazy stories going around as fans speculated how Mad Men might end.   I will never understand why Mad Men was one of the most curiously misunderstood television programs to ever air, but at least the folks watching it for all the wrong reasons provided enough eyes on the show that it lasted longer than it might have, otherwise, and without becoming one of those shows that seems to live on, shuffling about, no longer certain when it should have ended, but certainly positive it no longer needs to be on the air.

My pal Matt came over to watch with us (he, his ladyfriend Nicole, and the illustrious JuanD have been Team Mad Men at our place for years now), and said "here are the two endings I heard people saying were possible".  One was that DB Cooper thing that circulated the past couple of years and which I think Mad Men was well aware of as it went into the final episodes.   The other, curiously, was exactly what happened.

I had no preference, and as I don't particularly enjoy coming up with my own ideas for how things should play out, one thing I've always enjoyed about Mad Men was that I rarely guessed anything ahead of time about the program.*   Some shows like Parks n' Rec can make a gag out of ending the show and give everyone saccharine endings, but I think if you were going into the final season of Mad Men expecting everyone to wind up just fine, you haven't really been watching that show very closely.   Nor was the show Breaking Bad, where there was only ever one real conclusion from the the half-way point of the first season.

Let's Finally Talk Marvel's "Daredevil"

I'm not a rabid fan of The Man Without Fear, but on and off over the years, I've enjoyed reading comics about Marvel's foremost punching bag, Daredevil.  Of all of Marvel's staple characters, since the 1980's at least, Daredevil has been like a weird superhero/ noir/ gangland epic soap opera that mostly lost it's way when it veered too far into the rest of Marvel's superheroing and was at it's best when it kept even the costumed heroes and villains a bit more grounded and spent a lot of time with Murdock out of costume.*

If I were to recommend runs, I'd really recommend the Frank Miller era (the man's work just keeps bearing fruit) and the unbelievable Brian Michael Bendis era that had tremendous impact not just on Daredevil - forever changing the character while making him, somehow, even more Dardevil - but on the concept of dual identities in comics.  

So when I saw the initial previews of the Netflix-direct Daredevil show, I was a little shocked to see how much it looked exactly like a mix of Miller, Romita Jr., Mazzucchelli and Klaus Janson's work on the book and the Bendis-era Maleev tones and compositions.  And while Miller's story took place with Daredevil well established in the Marvel U, it certainly harkens back to his work.

DC TV presents "Legends of Tomorrow" and the trend of non-glowering superheroes expands

Opting to not recycle a title of a long-canceled comic is bold new territory for DC Entertainment.  Spun off from the mopey CW hit, Arrow, and its spin-off, The Flash, supporting superheroes (and popular villains) introduced in those series land in a single show.

if you'd told me 5 years ago I'd get a TV show with an Atom/ Captain Cold/ Hawkgirl/ Firestorm team-up...

Here you go:



I don't know what to say except: "really?"

That's not a bad "really" either.  That's a "you really made this show I'm totally going to watch?"  I mean, Brandon Routh as Ray Palmer!  Get out!

It's not going to be good as in The Americans, Mad Men or a few other shows I'm enjoying.  And certainly not as tonally ambitious as Daredevil.  But it does look like the brand of fun DC Entertainment seems to have remembered it was supposed to be the home for with the success of The Flash, seems to backpedaling into in the comics line and rolled over for on Supergirl.  Heck, I even expect a lighter tone on Arrow next season when I'm forced through another crossover event, and that show is the most unnecessarily overwrought business on TV.

And, if I may...  Man, from the comics, I love the Flash villains (aka: The Rogues) as much as any B-list characters in comics, and if I absolutely were required to pick a favorite, it would be Captain Cold (Grodd has a very special place in my heart, but he's not so much technically a Rogue, but I'm splitting hairs).  And, man, have I enjoyed Cold this season on The Flash.  So seeing him get extra screentime is a big win for me.

Here's to DC doing good things on TV and making up for the comics they seem to be having such a hard time making these days.