New episodes start Friday October 30th on Disney+
I know I don’t write often much these days; the pandemic has a way of making me feel like time is both infinite and unending. Is that vague enough an excuse? Unlikely. But much like the fists flying in faces throughout Cobra Kai, the snake has awaken my desire to act once again here on Pop Culture Squad. Continue reading “So Long and Thanks for the Fish, Man #069: Cobra Kai Has No Mercy… For My Love” →
Well, I went to the doctor / I said, “I’m feeling kind of rough” / He said, “Let me break it to you, son / “Your shit’s fucked up.” / I said, “My shit’s fucked up? / “Well, I don’t see how / He said, “The shit that used to work / It won’t work now.” – Warren Zevon, My Shit’s Fucked Up, from the album Life’ll Kill Ya, 2000
This week we offer a three short subjects for our attention-span impaired friends…
ITEM 1: Beware of Falling Objects
A couple months ago, WarnerMedia announced HBOMax, the ultimate Warner Bros streaming service. And the most expensive, as I noted. They consumed their first Pac-Man, HBOGo. Go? Go know… I also noted, a few hours after the announcement, that there no longer was a way to keep their DC Universe going. I certainly wasn’t the only person who came up with this analysis — it was obvious, sorta like saying “that yellow thing in the sky is ‘the sun’” — but I blurted it out faster than a speeding bullet.
However, there was some significant collateral damage. The death of DCU (which, as predicted, will see its original programming going over to HBOMax) begat a very severe round of staff-hatcheting at DC comics. After moving 3,000 miles to new “state-of-the-art” facilities — they didn’t mention which art — their parking lot now can welcome more pigeons. Continue reading “Brainiac On Banjo #094: Nyah Nyah, Nyah Nyah, Nyah Nyah!” →
As of this writing, which is 9 PM EDT Sunday July 12, the DC Universe streaming service is still alive. It’s home to some of the most entertaining superhero teevee programing around, in my opinion. I can’t speak for yours. But that thing coughing up blood all over your Wi-Fi is, sadly, the DC Universe streaming service. And it’s the fault of their own artistic success.
Aside from hospitals, the only place that has had a worse month than the DCU has been the White House. In fairly quick order, the service lost future first-run episodes of Stargirl to the CW, saw The Doom Patrol multicast on the pathetic HBO Max sinkhole, Harley Quinn also airing on Syfy and Canada’s Adult Swim, and is thought to be migrating to HBO Max as well. Titans remains, but might be severely undermined by DC’s new Gotham City Police show (not necessarily the final title) spinning out of The Batman movie the now filming in Europe.
“I’ve seen the future and it will be / I’ve seen the future and it will be / BATMAN, BATMAN / I’ve seen the future and it will be / BATMAN / And where, and where … is the BATMAN?” – Batdance, written by Prince, 1989.
I enjoy going to comic book convention trivia panels when Mark Waid is on the dais. Not just because Mark knows almost everything, no matter how obscure, but because he is actually embarrassed that his knows minutiae as well as he knows trivia.
But this question might blow his brainpan right out his neck. Therefore, this Spoiler Warning is just for Mark Waid.
Question: Name all the different actors who have played the part of Bruce Wayne.
Follow-up questions: If he signs the new multi-picture deal, should Michael Keaton be counted twice? And will Bruce Wayne meet Adrian Toomes? Continue reading “Brainiac On Banjo #089: Riddle Me This, Keaton!” →
Joe has a written a new comic, Disaster, Inc., debuting this week from AfterShock Comics. It is drawn and colored by Sebastián Piriz and lettered by Carlos Mangual.
He has written for Marvel, DC, Image, IDW, and Storm King Comics, among others. He is well known for shepherding the return of The X-Files to comics at IDW beginning in 2013. Some of his other titles include: Great Pacific, Snowfall, Rockstars, Slingers, and Surviving Nuclear Attack.
Harris also wrote the screenplay to Sony Pictures’ Darkness Falls. His style is very character centered and his creator owned work tends to cling to the horror or speculative fiction genres.
We were excited to get a chance to talk to him about his writing process and also how he is dealing with the COVID-19 pandemic while living in New York City.
You can find the audio recording of our discussion below, and we transcribed a big portion of it for you as well.
We hope you enjoy the conversation.
Pop Culture Squad: So, thanks for doing this. Before we get into anything, how are you feeling?
Joe Harris: I feel good. I’m looking into getting an antibody test soon. So, I can know, one way or another, if I have had COVID-19 or not. I was symptomatic a few weeks ago. I think you remember. So, who knows.
PCS: Well, I am pretty confident that you had it based on the symptoms you were describing. You documented the illness while you were in isolation, and then you sort of disappeared for a day. It’s scary, and it is a scary time for everyone. For all those people who are down playing the seriousness of it, people are dying. You live in the center of the worst of it.
What’s that like being in New York right now?
JH: Um, Kind of surreal. I mean, at this point, it’s kind of shocking at how normal everything has become… There are things you’ll probably get angry about this stuff no matter where you go. You probably see somebody not wearing masks. You’ll see people that aren’t keeping adequate distance, but for the most part New York, I think, by and large, considering how big it is, has done a decent job.
I don’t know how that comes out in the wash when you think about the amount of dead and the number of infected, but it seems like at least for a stretch the city was doing what it could. It is a little less desolate now though. I can hear more people out on the street. I don’t hear as many ambulances.
Which makes sense considering, that the emergency rooms aren’t has overrun as they apparently were. I don’t know when we come out of this. It’s been a little surreal. So, it’s hard to imagine how everything goes right back to normal. That much I don’t see; I don’t know what would looks like or what that will feel like. The city just kind of adapts. I haven’t been down in the subway in months, and I expect it will be sometime before I am again.
PCS: Let’s get into some comic stuff. We know that Disaster, Inc. is the first book that Aftershock is going to be shipping through Diamond when the restart happens on May 20th. So, what do you want to tell people about the book? Continue reading “Spotlight SquadCast Interview with Writer Joe Harris” →
Star Wars! / Give me those Star Wars! / Nothing but… Star Wars / Don’t let them end — written by Nick Winters, 1977
With all the streaming at our fingertips, the entertainment business is making a lot of headlines promoting what they’re going to do once Earthlings return to mobility. But don’t get excited just yet: the only cameras operating right now are working Zoom and not Studio Binder. When Keith Richards self-quarantines, everyone should self-quarantine.
Next week’s launch of HBO Max has turned up the heat. Clearly, studios are concerned about competing for subscribers with promises of new content, which, at best, won’t appear until after the winter solstice. My take on HBO Max is simple: it’s goddamn expensive, and right now they’re running little but reruns. It’ll probably work out because they’re not promoting that fact. But reasonable bean-counters understand that few people are going to maintain subscriptions to HBO Max, Disney+, AppleTV, CBS All Access, Peacock Premium, and Amazon Prime – to name but a very few – all at once. That’s a lot of money, and it’s also more programming than one can handle. Continue reading “Brainiac On Banjo #085: Crossing The Stream” →
“Battlestar Galactica star and Star Wars veteran Katee Sackhoff is joining The Mandalorian season 2. We have exclusively learned that Sackhoff will be playing a live-action version of Bo-Katan Kryze, a Mandalorian warrior she previously voiced in Dave Filoni’s animated series Star Wars: The Clone Wars and later Star Wars Rebels.”
Sweet Little Sixteen / She’s got the grown up blues / Tight dress and lipstick / She’s sportin’ high heal shoes / Oh, but tomorrow morning / She’ll have to change her trend / And be sweet sixteen / And back in class again. – Chuck Berry, Sweet Little Sixteen, 1958.
It seems that almost everybody is using their confinement to catch up on all kinds of television — mostly streaming or DVRed (that’s a verb now, right?). So, lapsing back into my traditional role as August Contrarian, I’ve decided to do a little catch-up on my book reading. Right now I’m about two-thirds of the way through Meyer Levin’s The Old Bunch, written in 1937. That’s only 35 years longer than I’ve had it on my shelf. As Brian Wilson and Mike Love said, I get around. Eventually.
But mopery is a force of my nature, so I have been watching a bit of teevee. Besides, I’ve never gotten a paper cut from watching television. I’ve been watching Stargirl, the latest presentation from Warner Bros.’ DC Comics think tank. The former goes up on both the DCUniverse streamer and The CW this coming week. Pop Culture Squad HBIC Adriane Nash (that’s what it says on her business card) and I had the privilege of watching the first three episodes of Stargirl, and my comments that follow come from the totality of this experience. Spoiler Alert: There really aren’t any spoilers here. Sorry.
Let it be said that I am a Justice Society fan — certainly the original creation, as well as most of its subsequent reincarnations. The JSA was the thing to collect when I was Li’l Fanboy, along with EC Comics, Carl Barks and The Spirit, and I remain a big fan of all four. Indeed, I now get nostalgic for nostalgia.
Stargirl is based upon the 1999 title Stars and S.T.R.I.P.E.S. by Geoff Johns, Lee Moder and Dan Davis, with James Robinson riding shotgun on the first issue, which was #0. Yes, the comics racket remains mathematically challenged. The series lasted 15 issues, ending with #14 (reread the previous two sentences), and it was a conflation of the original Star-Spangled Kid, Starman(s), and various versions of the JSA as well as the JSA’s lame doppelgänger, The Seven Soldiers of Victory. A cute teenager discovers Starman’s cosmic belt as she discovers her step-father was the Star-Spangled Kid’s sidekick, Stripesy. Like all smart, precocious comic book teen-age characters, she wants to become a costumed superhero. Stripesy, being her dad, is not keen on the idea but seeing as how he’s got a huge Transformers-wannabe robot suit gathering dust in the garage, he supervises his stepdaughter while on the fly.
I loved the series. I was annoyed it got shitcanned after 15 issues… the last being #14, remember? I’m a jaded old fart — that goes hand-in-hand with being an August Contrarian — and I think Geoff did a wonderful job bringing teen-age angst into the story in a fashion that makes the reader root for the kid while still sympathizing with the concerns of her parents.
So I was quite pleased that the greater Warner Bros. empire chose Stargirl as the newest wing in the DCU mansion, but I was a hell of a lot more pleased that Geoff Johns created the teevee series, is writing it, and is an executive producer. That’s pretty damn rare; off-hand, I can’t recall that happening since The Many Loves of Dobie Gillis, a show so ancient that some readers might need to IMBD it. Television scripts always go through a lot of hands and by the time it’s being filmed it’s got more notes than Gustav Mahler’s Symphony No. 3. Remarkably and to its credit, the shows I saw still maintain the feeling of Johns’ work, as well as his story.
I’m not letting any cats out of my collection of trick bags when I say that JSA fans of all… stripes… likely will enjoy the hell out of the third episode. It pleased my Li’l Fanboy heart to no end.
Like all DCU-CW series (and now, post-Crisis, much of the rest of their sundry media universes), Stargirl is fraught with continuity possibilities. I’m not saying she’ll show up in the next big-ass crossover, and I doubt the Powers That Be will let Stargirl get too close to John Constantine. That’s reasonable, but if Geoff wants to consider that a challenge, hey, who am I to pour cold water on a jail bait story?
I do have one question. If you’ve read any new Superman family stories over the past few years, you’ve seen the legend “Created by Jerry Siegel and Joe Shuster. By special arrangement with the Jerry Siegel family.” The creator credit also appears on the Supergirl CW show as well as other media derived from The Man of Steel. This was part of the end result of about 70 years of legal wrangling, and all accurate creator credits are well-deserved. Jerry Siegel also created the Star-Spangled Kid and Stripesy. Shouldn’t there be a creator credit for Jerry as well?
Yeah, I know. But I’ll ask again when Steve Amell returns as The Spectre.
The Mayor and Corporation / Have declared such jubilation / ‘Cos the stork has brought / A son and daughter / For Mr. and Mrs. Mickey Mouse / Pluto’s giving a party / And before the fun begins / He’ll present a golden dollar / To the father of the twins — Mickey’s Son and Daughter, written by Tommie Conner and Eddie Lisbona, as recorded by the Bonzo Dog Doo Dah Band 1967.
To no one’s surprise, last week The Disney Company “furloughed” 100,000 workers due to ramifications of the coronavirus plague, a move which is supposed to save The House of Mouse some $500,000,000 a month.
As horrific it is to at least 100,000 families, this is understandable. Disney makes movies, but most theaters are closed… for the moment. Disney operates theme parks, which also are closed… for the moment. Their many television operations are doing fine (well, ESPN not so much) because reasonable people are trapped at home.
I suspect their overall advertising revenue might be down some. However, I should note cable teevee revenue is less dependent upon advertising than it is on payments from cable operators, and streaming revenue is not particularly ad-dependent. Still, Uncle Scrooge doesn’t have quite as deep a money bin as he did last New Year’s Day.
You are most likely aware of many of the company’s jewels. To name but a few: the Disney movie and television empires, the Disney theme parks worldwide, ABC television, the Disney Channels (there are several), the Disney Plus streamer, Marvel Comics, Lucasfilm, The Simpsons, Pixar, Disney Radio, the Muppets, Narnia, the Disney Cruise Line, 80% of ESPN, half of A&E, half of Lifetime, 10% of Vice Media, and enough merchandising and licensing operations to warrant a seat at the United Nations Security Council. Continue reading “Brainiac On Banjo #083: Why Mickey Mouse Only Has Four Fingers” →