Once again our old friend the White House is humiliated, this time in G.I. Joe: Retaliation.
“GI Joe: Retaliation”: a Big-Budget, Old-Fashioned Military Cartoon
Tag Archives: entertainment
Our C2E2 2012 Photo Archive, Part 1 of 3: the Movie Tributes
We’re now two weeks away from this year’s C2E2, the fourth installment of Chicago’s up-‘n’-coming comic-book-’n’-entertainment convention that hopes someday to achieve the size and reach of the San Diego Comic Con if enough of us Midwesterners support it.
Every C2E2 has plenty of activities for the hobby enthusiast: entertainment guests signing autographs; popular comic book creators speaking at panels, holding Q&As, and likewise autographing for fans; aspiring young creators gathering in Artists Alley and hoping to sell you on their own proud efforts; comic-shop owners and SF collectors selling vintage back issues, rare toys, and bargain-box oldies by the pound; booths representing the major comics publishers, including Marvel and DC; and — most noticeable of all — fans attending in costume, resplendent in their creativity and/or audacity.
Part 1 of MCC’s C2E2 2011 retrospective has a much longer intro with more information about the con and its history. As with that two-part miniseries, the following photo collection, to be curated and presented here in three parts, was previously shared elsewhere online last year, two weeks before Midlife Crisis Crossover was born. (Someone should remind me sometime to tell the story of how C2E2 was indirectly responsible for MCC’s creation in the first place…) For the sake of bringing my works under a single, unified creative banner, it’s my pleasure to present to you, the Viewers at Home, this memory parade of our second time at C2E2.
We commence with the wider-appeal characters first to stress that the ‘E’ in “C2E2” stands for “entertainment”. Comics are a major part of the proceedings, but there’re more to most comics fans’ interests than graphic storytelling alone. Exhibit A: the outlandish stylings of Effie Trinket and Caesar Flickerman from The Hunger Games.
“Community”: Subjective Observation of Carcharodon Hurdling Symptoms
I’ve tried to watch the fourth season of Community with an open mind. I promise I have. I wanted the privilege of cheering it on as it defied the cliché of the TV series that falters after the departure of its creator. I wanted to witness a strong group collaboration surviving the loss of a single participant, no matter how integral he was. I wanted to see a show continue defying convention and seeking eccentric storytelling methods within the corporate IP context. I wanted more of the same Community whose first three seasons had repeatedly surprised and outsmarted me.
Perhaps I wanted too much. Perhaps I wanted all the wrong things. All I know for sure is that I didn’t want an ordinary sitcom. With each passing week the evidence keeps pointing in that disappointing direction, no matter how hard I wish for the opposite.
“Room 237” Asks: Was “The Shining” About ALL the Things?
One of my least favorite moments in college was sitting in an intense English class and concentrating on maintaining a straight face while a classmate explained his theory of how the scene from Edgar Allan Poe’s “The Murders in the Morgue” in which a gorilla stuffs a victim up a chimney somehow, in his mind, represented a return-to-the-womb motif. I have no idea how he thought that related to the rest of the story at all. After the few first few sentences my mind turned to white noise in self-defense.
This evening I had flashbacks to that moment while watching Rodney Ascher’s thought-provoking new documentary Room 237, an examination of hidden meanings in Stanley Kubrick’s film adaptation of Stephen King’s novel The Shining. Whether you hated or loved either or both, few would accuse Kubrick of taking a slapdash approach to the project, regardless of the lengthy list of differences between it and the book. Room 237 is narrated by five Shining enthusiasts: ABC News war correspondent Bill Blakemore; playwright/novelist Juli Kearns; author/conspiracy theorist Jay Weidner; history professor Geoffrey Cocks; and Excepter frontman John Fell Ryan. Each one has their own interpretation of the recurring motifs and subliminal imagery buried in the mix, all adding up to a grand design on Kubrick’s part in their minds. The nature of that grand design, though, varies wildly by viewer…very wildly, in this case.
“Revolution” 4/8/2013 (spoilers): Charlie vs. Neville vs. Neville
“No one’s a good guy.”
Thus does our hero Miles Matheson (Billy Burke) sum up the current state of mankind in the final minutes of tonight’s new Revolution episode, “The Song Remains the Same” (another Led Zeppelin song title, for annotation fans). If the power is restored for one and all, to oppressors and oppressed alike, who’s to say the warring factions of the country formerly known as America would set aside their differences and reunite for the good of mankind? If adversity wasn’t enough to inspire peaceful cooperation, why should we expect the restoration of power access to be any less divisive?
It’s a question worth asking, in light of the surprise revelation about the true nature of Ben and Rachel Matheson’s secret invention responsible for the worldwide blackout. Bets were won and high-fives were exchanged for any viewers who guessed that the correct answer is…
…insert drumroll here….
…redundant pause for tension effect…
…one last pause for no good reason…
Our C2E2 2011 Photo Archive, Part 2 of 2: Villains in Chicago
Previously on Midlife Crisis Crossover:
The following photo collection, to be curated and presented here in two parts, was previously shared elsewhere online [in 2011], but never on a site I could call my own…until now. Midlife Crisis Crossover wasn’t created until a few weeks after C2E2 2012; thus it’s my pleasure to present to you, the Viewers at Home, this retrospective of our first C2E2 — chiefly, pics of some of the most interesting costumes we witnessed. For the average con attendee, the costumes are one of the most fascinating, creatively engaging aspects of the convention experience.
Last time we focused on some of the good-guy costumes we encountered. Now it’s the bad guys’ turn. Darkseid, Shredder, and Dr. Doom bid you welcome and insist that you submit or else.
Siskel & Ebert at/and/with/for/vs./because of the Movies
photo credit: Articulate MediaWorks via photopin cc
I can’t remember what impressionable age I was when I first encountered their popular syndicated movie-review series Siskel & Ebert at the Movies. Our local affiliates sometimes aired it on Saturday afternoons, sometimes in the dead of night, and occasionally found it useful for filling any programming holes outside primetime. I’d never seen anything like it; thirty minutes of two movie fans sitting in a deserted theater balcony and telling viewers whether they thought the latest movies were good or bad. It sounded like a dull concept for a TV show. I could imagine the fun if they were brandishing weapons, but just sitting there? Talking? Why?
Our C2E2 2011 Photo Archive, Part 1 of 2: Heroes in Chicago
This year my wife and I are gearing up to attend our third consecutive C2E2 comic-book-‘n’-entertainment convention up in Chicago, happening April 26th-28th, 2013. We missed the inaugural year in 2010 due to a schedule conflict, but I’ve made a point of prioritizing it on my calendar ever since. I rather like the idea of someone attempting a Midwest version of the San Diego Comic Con.
Most people in our hobbies are familiar with the longer-running Wizard World Chicago con, whose present incarnation emphasizes its celebrity autograph show while casually including some comics on the side. Though C2E2’s 2013 guest list implies that their entertainment-guest budget has been exponentially increased, they nonetheless attract a much wider lineup of comic-book writers, artists, and fans as well. C2E2 has one major advantage in my book: the major comic companies — Marvel, DC, Dark Horse — have sided with C2E2 over WWC, appearing each year at the former while having sadly eschewed the latter for years.
* * * * *
C2E2 is nowhere near the size of San Diego, but obviously dreams of being such someday. It presently uses only one section of Chicago’s enormous McCormick Place convention center, which has plenty more room to offer if Reed Exhibitions decided they needed some value-added sprawling space. 2012 attendance was pegged at 41,000, up from 32,000 in 2011 and well above its 2010 debut of 27,500. San Diego could still beat up C2E2 and steal its lunch money, but I’m eager to see it keep growing.
The following photo collection, to be curated and presented here in two parts, was previously shared elsewhere online at the time, but never on a site I could call my own…until now. Midlife Crisis Crossover wasn’t created until a few weeks after C2E2 2012; thus it’s my pleasure to present to you, the Viewers at Home, this retrospective of our first C2E2 — chiefly, pics of some of the most interesting costumes we witnessed. For the average con attendee, the costumes are one of the most fascinating, creatively engaging aspects of the convention experience.
(Not that it was all about costumes. Your humble author and his even humbler wife were each allowed a moment to strike our own poses courtesy of Dark Horse Comics.)
“Revolution” 4/1/2013 (spoilers): Charlie vs. the Humvees of Hate
Tonight’s new episode of Revolution, “Ghosts”, divides its time between two primary threads, each about former partnerships torn asunder but looking for common ground to reunite, and finding it in the form of evil armed henchmen. Nothing mends fences like common foes.
Of the episode’s two halves, more interesting and personal is the tension between Charlie and Rachel, as mother and daughter grieve the loss of son/brother Danny in last week’s mismatched showdown between a pair of working helicopters and one thermal-guided surface-to-air missile launcher. As the Rebel Alliance relocates its Annapolis base from its now-missile-ridden digs to a nearby former hospital, Rachel wallows in guilt and blame (when she’s not busy drawing electrical diagrams of the mysterious blue-light device she retrieved from her dead son’s innards last week), while Charlie rebuffs her and instead looks for opportunities for action, doing whatever she can for the resistance so that Danny’s death won’t be as much in vain as his hard-fought rescue from Independence Hall ultimately was. She storms off without Mom’s permission to assist in an overnight militia raid and returns the next day with an ugly shoulder wound, rebuking any attempts at assistance and talking back in hardcore Wolverine tough-guy whispers. Their argument ends with Rachel slapping Charlie. That doesn’t help, and seems unnecessary now that Tracy Spiridakos’ performance is showing signs of improvement.
Grumpy Cat Signs Three-Year $5 Million Deal to Join “The View”
In the wake of recent conflicting headlines regarding the revolving-door employment status of its longtime participants, ABC’s The View announced a new initiative to move forward into a bold new era by hiring Internet sensation Tardar Sauce, star of the massively popular “Grumpy Cat” meme, as new co-host to represent for furry, nonhuman, and hatemonger minorities. The arguably photogenic Ms. Sauce will replace outgoing co-host Joy Behar and has sinister plans to drive out the three survivors until none remain. ABC executives are on board with this dramatic plan in hopes of boosting viewership in the precious young-adult-male demographic from its current double-digit negative ratings share.
Viewers who were Grumpy Cat fans before Grumpy Cat was cool are cordially invited to share her official site or her official Facebook page with bandwagon jumpers to show how superior you are to them, even though she hates you and newcomers equally.
“White House Down” Trailer: Starring the Jean Grey of American Landmarks
We saw the White House blow up in Independence Day. We saw it blow up again in 2012. As I type this it’s being blown up yet again in theaters in Olympus Has Fallen. Add your own memories here of the White House’s repetitive history of exploding again and again and again at the movies, whether at the hands of terrorists, invaders, or bad weather.
Now add one more death scene to the list, as director Roland Emmerich, the White House’s arch-nemesis, has directed yet another film in which the poor, beleaguered establishment takes a discouraging beating for entertainment’s sake. In the trailer for Emmerich’s new film White House Down, the President’s workspace is targeted neither by aliens nor by Mother Nature. This time the bombs are coming from inside the country:
“Revolution” 3/25/2013 (spoilers): Charlie vs. the Whirlybirds of War
Tonight on Revolution: EXPLOSIONS! GUNFIRE! MAJOR DEATH! BAZOOKAS! PUNCHING! Behold the end results of a three-month retooling hiatus.
We rejoin Our Heroes for the new episode, “The Stand” (I don’t have to explain the reference, right?), quickly resolving last winter’s cliffhanger that saw them facing the world’s first working helicopter in fifteen years, its cannons fully loaded, its pendant-powered generator in working order, its pilot ordered to kill. Fortunately everyone outruns the flying death machine, scampers into the abandoned (fictional) restaurant pictured above, and escapes death by hiding in the freezer until the chopper stops firing missiles into the joint. If a refrigerator can save Indiana Jones from atomic warfare, it stands to reason than an entire walk-in freezer would be just as impervious a bunker.
Yes, There’s a Scene After “The Croods” End Credits
As unimpressed as I was with the trailer, The Croods turned out to be an unexpected delight, with a sincere message for parents who want to protect their children from the world, but struggle with the knowledge that someday that job won’t be theirs anymore. (Says the nervous guy counting down the days until his son begins college.)
My Former Life as a Kickstarter Junkie
Top to bottom: Ashes (art by Richard Pace); Jamal Igle’s Molly Danger; Neil DeGrasse Tyson, interviewee from Fight for Space; and Great Pacific (art by Martin Morazzo).
I loved the idea of artists, writer, musicians, inventors, designers, and other makers of stuff bypassing the corporate processes that normally rule their respective fields and obtaining the necessary funding to self-publish, self-release, or otherwise bring their works to life through the magic of crowdfunding, which in most cases works a lot like pre-ordering an item except you’re also adding a generous tip.
At the end of 2012 I drew a line because I realized I’d gone overboard. I have disposable income set aside each month for doing fun things such as comics and movies, but Kickstarter was devouring more than its fair share and compromising my hobbies. With my son preparing to start college this coming fall, the time has come to batten down the hatches, tighten the belts, and find ways to slash our budget, unless some wealthy benefactor wants to start donating enormous sums in care of this humble blog.
Consequently, one of the first extravagances on the chopping block was my Kickstarter patronage. I like philanthropy. I like helping creators create. I like watching success stories in action. But other priorities have come a-callin’. My last pledge was in December 2012 (a Bob Mould tribute concert film); I can’t swear it’ll be my final use of the site, but any future contributions will have to be severely limited, judiciously selected, frugally committed, and wildly recompensed with endless freebies.
Thus I bid farewell-for-now to my active Kickstarter status with a look back at our history together thus far. The following are past campaigns about which I’ve posted here previously, with updates about their subsequent progress:
* Rich Burlew’s phenomenal Order of the Stick reprint drive. A year after the fact, Burlew is still working hard to fulfill the remaining supporter perks that were delayed due to a severe hand injury. I’ve already received everything I was expecting and then some. (The OotS notepad used for a previous MCC entry was made possible by Kickstarter.)
* The Fight for Space documentary, about mankind’s retreat from the stars. Project mastermind Paul Hildebrandt wisely set a distant but realistic delivery date of December 2013; as of January 2013 his team was still conducting interviews with relevant parties in Washington D.C., making the most of their surplus funding.
* Jamal Igle’s Molly Danger graphic novel. Counting down to the release date later this year, Igle has provided backers with frequent updates and exclusive preview materials, including a heads-up that an eleven-page preview that will appear in Action Lab’s Free Comic Book Day 2013 sampler.
The Scooby-Doo/Captain Caveman Crossover That Changed My Life
One of the commonest ice-breaker questions between comic book fans getting to know each other or merely shooting the breeze between major-event discussions is, “What was your first comic book?” I have faint memories of having a handful of comics before first grade, but none of them survived the innocent ravages that come with being owned by a child, even one who learned to read at preschool age.
My official answer to that question, barring those ancient entrants disqualified due to loss of existence, is the oldest surviving comic from that era remaining in my collection to this day. Pictured at left is my personal copy of Scooby-Doo #9, dated February 1979, purchased for me when I was six years old. I found a mint-condition copy posted online, CGC-rated 9.6, if you want to view the original cover in all its undamaged glory for art appreciation purposes, but the image posted here (click to enlarge!) has one unbeatable advantage: this one is mine.
“Star Wars: the Clone Wars”: a Few Kind Words at the Funeral
What do you call a Clonetrooper with a Gatling laser? The winner.
Fans are hoping the completed season-six material is allowed to see the light of day in some fashion (as DVD extras? as exclusive online content? as a Disney XD miniseries? as convention bootlegs alongside The Star Wars Holiday Special?), but no promises have been made. The final episode, “The Wrong Jedi”, gave cold comfort and depressing closure to the Jedi training of the series’ central figure, young Ahsoka Tano, providing one last twist of fate that would allow her a gateway into potential further adventures, either in season six or in other media. Now that Episode VII has become Lucasfilm Job One, Ahsoka fans probably shouldn’t get their hopes up.
“The Private Eye”: Digital Comics, Respected Creators, Optional Pricing
Vaughan. Martin. The Private Eye.
Two major names in the comic book business have teamed up for an experiment with this same shopping paradigm. North American writer Brian K. Vaughan (creator of Y: the Last Man, Ex Machina, and Saga) and South American artist Marcos Martin (whose exhilarant work graced the pages of Amazing Spider-Man and Daredevil) launched their new joint project today called The Private Eye. If all goes according to plan, the webcomic maxiseries will be released in ten monthly installments via their own new site, Panel Syndicate. If actual money is exchanged in sufficient quantities, the duo may see fit to launch other creator-owned ventures through the site, potentially other creators’ as well as their own. On the other hand, if everyone downloads it for free, I’m sure the work-for-hire galleys would welcome them back with open arms and diluted contract terms.
“Following”: the Last Gap in Your Christopher Nolan Collection
As of this weekend, I can now say I’ve seen every full-length motion picture directed to date by Christoper Nolan. In December 2012 his debut, Following, earned a Criterion Collection re-release. Shot in 1998 in 16mm black-and-white, it was minimally restored for this edition, with the original aspect ratio and much of the old-media grittiness retained for historical verisimilitude. Its seventy speedy minutes contain an amateur no-star cast (as well as crowds of unwitting “extras” captured on the fly) and were shot for just five thousand dollars, a bargain compared to other self-financed B&W debut films from the same decade (e.g., Kevin Smith’s Clerks, Robert Rodriguez’ El Mariachi). With such budgetary constraints and no established names involved in the creative process, a casual browser would expect Following to feel like a young-adult vanity project fit only for YouTube.
Shame on that casual browser, then, with so little faith in the Nolan brand name. Continue reading
“Veronica Mars: the Motion Picture”: My List of Demands
File Photos Guaranteed Not to be Used on Anyone Else’s Veronica Mars Article #49: the time she went undercover as a gamer.
I later caught up with the DVDs and stuck with the show to the bitter end, by which I mean I was bitter. Eventually I moved on, but I’m not opposed to revisiting Veronica’s world if the occasion warrants.
The March 22nd issue of Entertainment Weekly summarizes creator Rob Thomas’ planned premise:
Set a decade after the show’s third and final season, the plot has Veronica returning to her hometown of Neptune, Calif., after much schooling (a bachelor’s from Stanford; a Columbia Law School degree) when she gets a distress call from ex-boyfriend Logan: His pop-star girlfriend has been murdered, and he’s the prime suspect.
“Veronica Mars” Kickstarter Success Raises Unreasonable Hopes in Fans of Every Canceled Series Ever
Just as Star Wars fans spent weeks celebrating in the streets at the news that their beloved childhood franchise will return to theaters, so is another fan base breaking out the party hats this week…and, more importantly, their wallets.
In a first for a major-studio intellectual property, Warner Bros. has allowed producer/creator Rob Thomas to use the power of crowdfunding to extract Veronica Mars from mothballs and feature her in a major motion picture. Thomas launched a Kickstarter campaign less than 48 hours ago with a lofty goal of $2,000,000.00. As Thomas describes the conditional deal with Warner Bros.:
Of course, Warner Bros. still owns Veronica Mars and we would need their blessing and cooperation to pull this off. Kristen and I met with the Warner Bros. brass, and they agreed to allow us to take this shot. They were extremely cool about it, as a matter of fact. Their reaction was, if you can show there’s enough fan interest to warrant a movie, we’re on board. So this is it. This is our shot. I believe it’s the only one we’ve got. It’s nerve-wracking. I suppose we could fail in spectacular fashion, but there’s also the chance that we completely revolutionize how projects like ours can get made. No Kickstarter project ever has set a goal this high. It’s up to you, the fans, now. If the project is successful, our plan is to go into production this summer and the movie will be released in early 2014.
Thomas worried for naught. Pledges from tens of thousands of fans reached that formidable goal in a record-setting, jaw-dropping twelve hours, leaving 29½ days for slower fans and curious bandwagon-jumpers to keep adding to the budget in hopes of upgrading the film from niche project to wide-release underdog, maybe even with action scenes and trained stuntmen. At the rate the pledges are accumulating, they’ll have enough money to set it in 2030 and equip Veronica and her dad with robot sidekicks.
Midlife Crisis Crossover! 