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Post by MDG on Dec 24, 2023 8:29:28 GMT -5
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Post by MDG on Dec 23, 2023 10:02:55 GMT -5
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Post by MDG on Dec 22, 2023 10:25:53 GMT -5
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Post by MDG on Dec 22, 2023 7:50:55 GMT -5
What I haven't seen mentioned (though I could easily have missed it) is that WB apparently thought shelving it would give them more money than releasing it. So did it look to them like another Catwoman? I don't think many working on that movie have it on their resume, or would have been sorry if it had been shelved. Possibly the execs thought it looked godawful and was likely a bomb? There was a report of a test screening, with a reference to the film coming off like "An expensive CW pilot", as in that horrid, bargain-basement (with very few exceptions) Arrowverse. If the film was truly on the level of the Arrowverse, that posed some incredibly big problems for a film that was supposed to be part of a franchise / kick off an alternate universe. I listened to a podcast yesterday that touched on some of these issues: slate.com/podcasts/what-next/2023/12/marvels-failed-bet-on-jonathan-majorsAnd, my last word will be to quote the screenwriter William Goldman on how decisions are made in Hollywood: "Nobody knows anything"
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Post by MDG on Dec 21, 2023 11:49:56 GMT -5
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Post by MDG on Dec 21, 2023 9:24:29 GMT -5
I have no underground comics....I'm still trying to differentiate between 'underground' and small-press, I mean would a book with a 200-issue print run for Patreon subscribers be considered underground? If so, then RAGS is underground hehe.... I'm sure there are others better qualified to answer this than I, but to me, underground comix are something that has always been linked to the counter-culture -- particularly the hippie counter-culture of the late '60s and '70s. While they are self-published or small press runs, that's not what defines them, as far as I'm concerned; it's more that they feature subversive, anti-establishment material, often alongside sexually explicit content and open drug use, which would never have been allowed under the watch of the Comics Code Authority. So, it's not just that they had small, self-published runs that defines underground comix; it's much more about the nature of their content and its presence outside the purview of the Comics Code Authority. Since the CCA no longer exists, I'm not really sure its possible today for underground comix as a genre to even exist. Yeah--I see the real undergrounds as being a time-bound phenomena, when really, just the idea of producing material for adults--as well as "adult material"--in the format (size and newsprint) as regular comic books was totally unheard of. Basically, that period ended around '75 or so, with the publication of Arcade magazine, the creation of the direct market, and the growth of comic shops.
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Post by MDG on Dec 21, 2023 8:52:55 GMT -5
For me it's almost less about the flotation devices (goodness knows we've also seen the Balent Catwoman) and more about the combo of broken back and...whatever those things are where most humans would have hips and thighs.
Oh. I always thought those were Harley Davidson lifestyle-branded saddlebags. Maybe the idea for Glory came to the creator after perusing Iron Horse magazine?
Ah yes... the thinking man's Easy Riders magazine.
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Post by MDG on Dec 21, 2023 8:46:27 GMT -5
Except you would have to pay for those stories and that much inventory is going to run up some high bills and someone is going to ask questions, especially after the 50s Atlas, where Goodman fired everyone because Stan had piled up so much unpublished inventory that they didn't need new art for some time. Notice he didn't fire his wife's cousin, who had gleefully stockpiled the whole thing. Stan was a talented editor and writer; but, a little nepotism helped him out at several key junctures in his career. Other EIC's would not have that kind of backside coverage, especially in a publicly traded company, run by venture capital vultures. After hearing how some of these stories expand, it wouldn't be surprising if one or two inventory stories became "a cabinet full" on repeated retellings.
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Post by MDG on Dec 20, 2023 13:24:34 GMT -5
I'm all for slagging corporations and David Zaslav, the head of Warner's, is a jack-wagon of the highest order and has no business overseeing anything creative after he absolutely destroyed The Discovery Channel. But that's America. Spare us your legal mumbo-jumbo!
One thing that's hitting me is that unlike other works that were shelved/cancelled late in the game--Veitch's Swamp Thing meets Jesus story, the original end of Dark Phoenix, and Corman's FF movie come to mind--is that the main arguments seem to be around what fan's want and deserve, rather than fairness to the creatives who made the Batgirl movie.
As I approach middle age ( ) I'm kinda shocked at how much people are wrapped up in "entertainment".
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Post by MDG on Dec 20, 2023 13:03:39 GMT -5
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Post by MDG on Dec 20, 2023 10:23:07 GMT -5
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Post by MDG on Dec 19, 2023 16:45:07 GMT -5
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Post by MDG on Dec 19, 2023 9:48:48 GMT -5
Day Six (#7) Tomahawk’s Rangers (Solo and Origin Stories) "Dan Hunter"?!? What kind of stupid name is that!?
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Post by MDG on Dec 19, 2023 9:35:11 GMT -5
Farrar
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Post by MDG on Dec 19, 2023 9:31:30 GMT -5
Today I learned that Mac Raboy was paid $300/week when he took over the Flash Gordon Sunday in 1949. That’s $3870 in 2023 money. Or just over $200,000 a year. That’s pretty good money. Well, he may have had to pay assistants out of that, and a writer as well (unless the syndicate provided scripts), but as MWGallaher says, it was a desirable job and a lot of folks were livin' the good life in Fairfield County. Magazine illustrators, too, were well paid and often showed up in ads and articles, though a lot of folks today seem to think every magazine cover from 1939 to 1950 was by Norman Rockwell.
Today, I think the biggest benefit seen by cartoonists doing legacy strips is that they know they have a steady gig, though the pay is nothing like it was in the past.
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