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The Magnum P.I. reboot is officially set to come to an end on NBC with the release of Season 5, Part 2 in 2024.

As broken by Deadline, NBC has opted not to order more episodes of Magnum P.I. beyond the 20-episode fifth season it picked up last year. The outlet reports that NBC is expected to “mount a sizable campaign” for what will be marketed as the show’s final chapter, consisting of the remaining 10 episodes.

Based on the 1980-1988 series of the same name, Magnum P.I. initially premiered on CBS in 2018. The series stars Jay Hernandez as Thomas Magnum, a role occupied by Tom Selleck in the original ’80s incarnation. Due to licensing fee disagreements with Universal, CBS canceled the Magnum P.I. reboot in 2022 after four seasons. Shortly after, NBC revived the show for a 20-episode fifth season, which would be split into two parts.

Why did NBC just cancel Magnum P.I.?

The 10 episodes that make up Magnum P.I. Season 5, Part 1 aired on NBC from February 2023 to April 2023. Season 5, Part 2 is currently expected to air as part of the 2024 midseason. However, Deadline reports that the new episodes could potentially arrive earlier, depending on the impact of the ongoing Writers Guild of America (WGA) strike.

While Magnum P.I. Season 5, Part 2 isn’t slated to air until next year, the options on the cast expire in just a matter of days on June 30. According to Deadline, this “forced the issue now.” Evidently, NBC had three options: give the show an early Season 6 renewal, extend the options on the cast, or release the cast and end the show.

An early Season 6 renewal was unlikely, given the fact that networks are hesitant to hand out pickups during the aforementioned WGA strike. Meanwhile, extending the options would have imposed a long hold on the cast, since — in that scenario — NBC wouldn’t have to make a Season 6 renewal decision for another year. As such, the network ultimately went with option number three.

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The Magnum P.I. reboot is officially set

For a film or TV composer, the most difficult assignments are often documentaries. There is usually very little money, and finding the right tone and musical approach can be a weeks- or months-long challenge.

Three of this year’s entries in the Emmy category for original documentary score are exemplary for their musical depiction of people and places: John Powell’s music for “Still: A Michael J. Fox Movie,” about the actor and his Parkinson’s condition; Blake Neely’s score for “Pamela, a Love Story,” about former “Baywatch” star Pamela Anderson; and Erica Procunier’s music for the three-part nature series “Great Lakes Untamed.”

“Still” was the first doc ever tackled by Powell, whose big-screen scores include the “How to Train Your Dragon” trilogy and the “Bourne” action series, and who wanted to work with director Davis Guggenheim (“An Inconvenient Truth”).

“Davis wanted music that was joyful, that was celebrating a life,” Powell says of the Apple+ film. Guggenheim told him that when Fox agreed to do the doc, the “Family Ties” star insisted “no violins” – apparently concerned that a string section might sentimentalize scenes of Fox’s growing physical difficulties as a result of Parkinson’s disease.

Powell settled on an 11-piece ensemble that included guitars, keyboards, harp and clarinet (and, intriguingly, two violins), for a “musically transparent” sound. He spent “four or five months (and) treated it like an opera or concert work.”

Neely’s approach to Netflix’s “Pamela, a Love Story,” was different. “I wanted it to be synthetic, because I was going for an ’80s, ’90s pop sound,” reflecting the era when she became a star, Neely says. “I felt like strings and woodwinds would be too much. It’s not a sad story, and to put strings or an oboe under her just didn’t work for me.”

This was Neely’s 10th film for director Ryan White (“The Case Against 8,” “Good Night Oppy”) who, the composer says, “loves music.” So the 112-minute film has about 85 minutes of music, all played by Neely on piano and synths. “It was all about trying to find warm sounds; I thought live musicians might feel a little bit saccharine.”

He also liked the “hopeful ending” of the Anderson story, as she stars in the “Chicago” revival on stage, but as often happens in documentary filmmaking, that ending came at the last minute, as the team was shooting that while he was scoring.

Canadian composer Procunier (“Ghostwriter”) scored an estimated 145 minutes of music for the Smithsonian Channel doc “Great Lakes Untamed” in about three months, a huge job for the three-hour film about the five-lake watershed shared by the U.S. and Canada.

“The music really had to take on all the different personalities of the water itself, the inertia of this massive force,” she says. “I was tasked with not only the diversity of the ecosystems but the range of how the water changes over its whole journey, how it changed and progressed.”

Procunier created most of the score in her studio (“five minutes away from Lake Huron,” she notes) but added guitar, fiddle and cello for an “organic, of-the-earth feeling.” Her main theme, she added, needed to be “flexible but powerful and recognizable” for use throughout the series.

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For a film or TV composer, the

Varnell Harris Johnson, who held senior executive roles at Capitol-EMI, Blue Note, Jive, Island, Elektra Records and more throughout his career in music and who was president of the Living Legends Foundation, has died. He was 76.

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Johnson — or “VJ,” as his peers knew him — passed away on Wednesday (June 21) at 6 p.m. ET of congestive heart failure, Billboard has learned.

Johnson has been credited for recruiting several Black executives, including many women, into key music industry positions. He had an ear for talent and had a hand in bringing Tina Turner over to Capitol Records as a solo artist, and brought the Isley Brothers with him from Elektra to Island. With his knowledge of how influential gospel music was to the community, he helped establish the gospel-focused Verity Records.

“This is a major loss,” says David C. Linton, friend of Johnson and chairman of the Living Legends Foundation. “At the time he broke into the industry, he was able to work in every aspect of the business. Varnell was one of the first Black executives to have total autonomy within the label system. He not only signed some great artists, but he also hired other Black executives and molded so many of our careers. He had a lot of ‘firsts’ in his career. He was always caring, he promoted women, and you could always call him for advice – he was that great link.”

Living Legends Foundation vice president Jacqueline Rhinehart, a marketing professional, remembers him as “the quintessential record man. He was a straight shooter and someone who was great at maintaining relationships at all levels of the industry … He never lost his role as an influencer — it wasn’t reliant on what job he held at what label.”

“He was a people person, a good person to know,” Ray Harris, a veteran record promotion executive and a founding member of the Living Legends Foundation, says. “And I have such a deep appreciation for him because he got on board with the Living Legends Foundation right from the beginning. The organization grew substantially thanks to his participation and leadership. He was always a voice of common sense, wisdom, and calm, and we’re going to miss that voice.”

Johnson was born in Philadelphia. He played football and basketball at Simon Gratz High School and graduated at 16. He then enlisted in the Army at 17, serving as a combat medic in the Vietnam War. Following an honorable discharge, he went to Temple University and graduated with a marketing and advertising degree. Harold Childs, a Philadelphia neighbor, influenced Johnson to get into the music business.

His career in music started as a gofer at A&L Record Distributors before becoming general manager for Philly Groove Records. His was then hired as a marketing/promotion director at GMC, which led to him landing at EMI/United Artists’ newly formed R&B division in Los Angeles in 1979.

Johnson moved to parent company Capitol Records as vice president of A&R, working with artists including René & Angela, A Taste of Honey, Maze featuring Frankie Beverly, George Clinton, Freddie Jackson, Natalie Cole, Peabo Bryson, Roberta Flack, Tina Turner and Ashford & Simpson. His next gig, as vice president of promotion and marketing at Capitol’s Manhattan/Blue Note Records division, brought him back to the East Coast. There, he worked with Dianne Reeves, Bobby McFerrin, Phyllis Hyman, The O’Jays and Shirley Jones.

Johnson was hired as vice president of marketing and promotion at Jive Records in 1992. He worked with R. Kelly, A Tribe Called Quest, KRS One and Aaliyah at Jive. Next, he made his mark at Elektra Records, where he served as vice president and worked with Keith Sweat, Kut Klose and Ron Isley, and then was offered the position of senior vice president and general manager for Island Records’ Black music division; the Isley Brothers followed him, joining a roster with Dru Hill, Karen Clark Sheard and Kelly Price.

Johnson went on to run Junes Entertainment Inc., his own consulting firm, and most recently resided in New Jersey. He is survived by his wife Darlene, son Varnell, (nicknamed “June”) and daughter Tracey.

Funeral arrangements will be announced at a later date.

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Varnell Harris Johnson, who held senior executive

PALM SPRINGS SHORTFEST 2023 REVIEW! You sometimes can’t help but think about current events when watching a film that mirrors what’s happening in real life. The missing Titan submersible has been all over the news lately, so watching writer/director Boris Vesselinov’s short film about a deadly submarine dive called Sunless definitely has some eerie similarities. The film stars Ben Holtzmuller as Arthur, and Erik Scilley as James, two men trying to set a submersible dive record by going “deeper than Everest,” as James says.

The men are giddy with excitement and give each other a proud hug over their soon-to-be accomplishment. Right after that is, of course, when the proverbial crap hits the fan, and they get stuck at a mere fifty meters short of their goal. Do they push the limits of their submarine to break the record or go to the surface to live another day? Arthur reminds James that the Russians will be diving the next day.

“…a deadly submarine dive…”

The two-member cast does a fantastic job of showing a range of emotions within the small eight-minute window of this movie. I also love the little directorial touches of tension with creepy, creaking sounds while the actors are freaking out. We can all imagine such a harrowing experience, and Sunless brings it to life perfectly.

This film also feels like a spiritual prequel to the Oscar-nominated Narcosis. That movie, from the Netherlands, is about a family dealing with the grief of a father not coming back after trying to set a deep dive record but does not show what happened. I immediately imagined Sunless to be the events that transpired. Both are excellent films that make a nice pairing of tension, excitement, and despair together.

Sunless premiered at the 2023 Palm Springs Short Fest.

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PALM SPRINGS SHORTFEST 2023 REVIEW! You sometimes

The 21st annual Peach City Beach Cruise did not disappoint the thousands of people who travelled to Penticton’s Lakeshore Drive.

The three-day event is one of the largest car shows in the valley, bringing 800 cars, hot rods and classic cars to Penticton’s downtown core.

“It’s Nostalgia,” said Wayne Wood, president of the  Peach City Beach Cruise. “People have not lost their fascination with vehicles.”

Greg McDonald drove his 1970 Pontiac GTO Judge from Saskatchewan for the show.

“We own a car that we drive and there’s no reason having it if you don’t,” said McDonald.

The car show is more than a car show, there’s also live music, pancake breakfasts and an awards ceremony.

Wood says that over the three days more than 10,000 people will have come to the car show. To see every car on display it’ll take you at least two and a half hours to see it all.

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The show continues through to Sunday, June 25 for more information about the event visit http://www.peachcitybeachcruise.ca

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Kourtney Kardashian and Travis Barker Share Their Baby’s Sex With a Rockstar Reveal: Watch | Entertainment Tonight
































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Before surprising fans with a performance of “Dear John” during Saturday’s stop of the Eras Tour, Taylor Swift gave a speech, asking fans to act with “kindness and gentleness” on social media ahead of the release of Speak Now (Taylor’s Version).

The Grammy-winning singer noted that she gets to “stand on this stage every single night of this tour and watch some of the most beautiful things happen,” including fans interacting with kindness in the crowd, and she urges her fans to continue that same positivity online when the album is released July 7.

Swift’s request comes amid widespread speculation that her song “Dear John,” which is featured on the Speak Now album, is believed to be about her relationship with John Mayer.

Although she didn’t name anyone specifically during the onstage speech at U.S. Bank Stadium in Minneapolis, MN, Swift added, “I’m 33 years old. I don’t care about anything that happened to me when I was 19, except the songs I wrote…”

She continued, “I’m not putting this album out so that you can go and should feel the need to defend me on the internet against someone you think I might have written a song about 14 million years ago.”

In May, the singer revealed during a Nashville show that the 2010 album would be her next re-recorded studio album, following Fearless (Taylor’s Version) and Red (Taylor’s Version), both of which were released in 2021. Since 2019, Swift has been open about her plans to re-record her first six studio albums after being unable to buy the master recordings of her back catalog of music. By re-recording them, she will be able to own the masters.

Swift, who is currently on her Eras Tour, has also been surprising fans at each stop with a performance of a different song that’s not included in the tour’s set list. “Dear John” and “Daylight” were the surprise songs during Saturday’s concert in Minneapolis.

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Before surprising fans with a performance of

Sony Pictures Entertainment’s Motion Picture Group chairman and CEO Tom Rothman likes to make strong statements to project his confidence in the company in defense of the theatrical business. “We are not fucking around here,” he said at a CinemaCon presentation in April, in the process of unveiling footage from upcoming Sony releases like Ridley Scott’s “Napoleon” and “The Equalizer 3.” 

However, in a recent conversation for our Screen Talk podcast, Rothman did his best to clam up on the most pertinent topic facing the industry today: the WGA strike. The studio head told us at the start of the conversation that due to an agreement with the AMPTP, the entity negotiating with the writers guild on behalf of the studios, he was not allowed to discuss the current situation. Nevertheless, when it came to one of the more contentious subjects related to the strike, Rothman did say, “I believe AI is scary as shit. For a period of a time in my life, I was working on a movie with Steven Spielberg called ‘Robopocalypse.’ Trust me, bad shit can happen. You seriously think a computer can’t figure out the nuclear codes?” 

The WGA has been insisting that any AI materials assigned to a writer by a studio must give the writer original credit for the idea. While Rothman didn’t weigh in on that specific demand, he did imply that the studio wasn’t looking to supplant writers with AI. “A lot of the panic about this is overwrought,” he said. “I don’t believe that AI can replace creative genius.”

As for the studio’s recent output, while the raunchy new Jennifer Lawrence romp “No Hard Feelings” may not reignite the commerciality of the R-rated comedy, Rothman had a different recent success to embrace: Animated sequel “Spider-Man: Across the Spider-Verse” has already grossed more than a half billion dollars at the global box office, which makes it the third-highest grossing movie of the year so far and already ahead of the $384 million box office that 2018’s “Into the Spider-Verse” made during the same period pre-pandemic.

“It was a collection of a tremendous amount of talent, and money, and time,” Rothman said. “I believe movies in movie theaters are a vibrant, strong, viable, leisure choice for movie audiences, have been and will be. That’s an underpinning of the philosophy at this company.”

At the same time, Sony has been a beneficiary of the streaming economy. Unlike other studios, Sony has no in-house streaming entity, which means that it can sell its productions on the open market. “We are in business with everyone because we are content makers,” he said, adding that the studio plans to release “Napoleon” in partnership with Apple on Thanksgiving weekend. “That’s a movie Ridley [Scott] made at Apple for Apple and they have determined that it is in the collective interest of their ecosystem to have a theatrical release. I believe these ecosystems can co-exist. I’ve always felt that.”

When other companies rushed to change their models during the early months of the pandemic, he said, “People were making conclusions about long-term in a short-term crisis. When other entertainment companies were laying off thousands or in some cases tens of thousands of people, we did not. We invested in our people and we invested in our content.”

He’s proud of the global box office performance of live-action “Spider-Man: No Way Home” in 2021, well before “Top Gun: Maverick” became the box office savior of 2022. “Everyone says that Tom Cruise saved the box office,” Rothman said. I can tell you that ‘Spider-Man’ was before that and it showed that movies in movie theaters are enduring.” 

Yet the Sony chief acknowledged one major area where the market had shifted significantly — the specialty business. Rothman, who founded Fox Searchlight in 1994 and oversees Sony Pictures Classics heads Michael Barker and Tom Bernard, said that the traditional platform release is no longer as viable as it once was. “I think in truth that the traditional long rollout, what I did for many many years at Searchlight, I actually think that is in peril,” he said, “not because those movies aren’t good, they are, not to say they don’t make cultural impact, they do to a certain segment of the audience, but actually the delivery mechanism for that is better at home.”

He added that “Everything Everywhere All at Once,” with its successful platform release in 2022, was the exception that proves the rule. “Obviously that happened, so it can happen, but it’s far less typical,” he said. “A bunch of more traditional older-skewing ‘Tars’ and ‘Banshees’ movies don’t break through to the box office levels that they used to. You have to learn to monetize them in other ways.”

Rothman also shared his perspective and admiration for movie stars like Jennifer Lawrence, his first producing credit from his indie days, and the rip-roaring story of how he convinced elusive A-list director Peter Weir to take the helm of “Master and Commander.”

Watch the full episode above or listen to it below.

Screen Talk is produced by Azwan Badruzaman and available on Apple Podcasts, Stitcher, and Spotify, and hosted by Megaphone. Browse previous episodes here, subscribe here, and be sure to let us know if you’d like to hear the hosts address specific issues in upcoming editions of Screen Talk. 

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Sony Pictures Entertainment’s Motion Picture Group chairman

A new photo from Mortal Kombat 2‘s cast is seemingly teasing the look of Karl Urban’s Johnny Cage. The upcoming sequel to 2021’s Mortal Kombat will see Johnny Cage make his debut in the rebooted movie franchise after being teased during its predecessor’s ending, where Cole Young (Lewis Tan) travels to Los Angeles to look for Cage. Linden Ashby and Chris Conrad previously portrayed the character in 1995’s Mortal Kombat and 1997’s Mortal Kombat Annihilation, respectively.

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Producer Todd Garner has taken to twitter to share a picture of Mortal Kombat 2’s main cast hanging out at a restaurant, as the movie has recently begun filming.

Fans were also quick to spot Urban pictured above with his beard shaven and having frosted tips in his hair, seemingly for his Johnny Cage look. Naturally, many are losing their minds, subsequently sharing their excited responses to The Boys star bringnig the iconic character to life. Check out some of the reactions below:



Everything We Know About Mortal Kombat 2

While the plot details of Mortal Kombat 2 aren’t currently known, the movie is bringing back Simon McQuoid to the directorial chair, whilst Moon Knight‘s Jeremy Slater wrote the screenplay, taking over duties from Greg Russo & Dave Callaham, who wrote the 2021 reboot. Cinematographer Stephen F. Windon has also taken the reins from Germain McMicking, and given his contributions to the Fast & Furious franchise, it would be interesting to see how his style translates to the video game movie sequel’s action sequences.

Returning for Mortal Kombat 2 are Cole Young’s Lewis Tan, Sonya Blade’s Jessica McNamee, Kano’s Josh Lawson, Jax’s Mehcad Brooks, Raiden’s Tadanobu Asano, Liu Kang’s Ludi Lin, Shang Tsung’s Chin Han, Sub-Zero’s Joe Taslim, and Scorpion’s Hiroyuki Sanada. In addition to Urban joining the sequel as Johnny Cage, Mortal Kombat 2 will also feature Jade, Kitana, Shao Khan, King Jerrod, Queen Sindel, and Quan Chi, respectively played by Tati Gabrielle, Adeline Rudolph, Martyn Ford, Desmond Chiam, Ana Thu Nguyen, and Damon Harriman.

Currently, no release date has been announced for Mortal Kombat 2, though with production having begun this month and expected to conclude in September, save for any stoppages from the WGA writers strike or potential SAG-AFTRA strike in July, it seems likely the sequel will hit theaters in 2024. With the promise of a focus on Johnny Cage, based on the first movie’s ending, and an expanded roster of fan-favorite characters, the sequel seems primed to capture the same level of success that the 2021 reboot enjoyed.

Sources: @Todd_Garner & Various/Twitter [see links above]

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A new photo from Mortal Kombat 2's

From “Invasion of the Body Snatchers” to “Enemy,” the doppelganger film is a genre with plenty of existential heft. After all, what could be more destabilizing — or terrifying — than encountering your own mirror image?

“They don’t just look like us,” says pregnant driving instructor Farzaneh (Taraneh Alidoosti) of the apparent carbon-copies of herself and her husband Jalal (Navid Mohammadzadeh) who she’s spotted living in a different section of Tehran. “It’s like we’re clones.” Seeing is believing: after getting a peek at the look-alikes in question, skeptical but sympathetic Jalal can only agree that something spooky is going on. What he’s supposed to do about it, however, is another question entirely.

A standout at last fall’s Toronto International Film Festival, where it competed for the prestigious Platform prize, “Subtraction” is the work of Iranian writer-director Mani Haghighi, who studied philosophy at McGill University in Montreal and adapted a short story by Alice Munro into a 2007 film called “Canaan.” Haghighi has collaborated with award-winning, internationally recognized countrymen like Abbas Kiarostami and Asghar Farhadi, but his filmmaking approach is closer to the commercially accessible, transnational style cultivated by Farhadi in Oscar winners like “A Separation” or “The Salesman.”

The film — which plays at the TIFF Bell Lightbox until June 26 — takes the form of a lean, pressurized urban thriller, complete with a late nod to Alfred Hitchcock’s “Strangers on a Train” (1951), with which it shares a theme of criss-crossing fates. Without treading too far into spoiler story, it can be said that Farzaneh and Jamal not only meet their opposite numbers — a less happily married couple named Bita and Moshen, who have a child and financial problems — but become dangerously inveigled in their lives.

The plot of “Subtraction” depends on the quartet’s superficial interchangeability and the possibility of deception that enters into their arrangement: how well do the women know their husbands and vice versa?

Such is the stuff of suspense filmmaking, but where “Subtraction” excels is in its subtext, which manifests in the subtle — and occasionally — brutal contrasts between the two households, particularly when it comes to gender roles and expectations.

One common denominator for significant Iranian cinema is its commitment to social portraiture, and the picture that emerges in “Subtraction” is of a country riven by divisions of individual and economic power that only deepen behind closed doors; that Haghighi was denied permission to fly to a screening in London by government authorities places him alongside other Iranian filmmakers imperiled for embedding political statements into their artistry.

Allegory is a tricky thing in cinema: get too abstract and an audience is liable to tune out, especially if a story lies culturally or geographically outside its frame of reference. “Subtraction” closes that distance through careful craftsmanship and excellent acting — both leads show real, shape-shifting finesse in their dual performances.

It also excels through the decision — risky and ultimately rewarding — to never fully clarify the uncanny nature of what’s going on: there are no explanations or rationalizations for how two sets of identical spouses could exist or even if their situation is an isolated case. By treating his surreal scenario matter of factly, Haghighi paradoxically enhances its believability, to the point that we come to care more about the fates of the characters than the enigma of their mutual existence. Our bewilderment, meanwhile, turns us into their doppelgangers — an unsettling place to be.

Correction — June 23, 2023: This article was updated to correct the spellings of writer-director Mani Haghighi and actor Navid Mohammadzadeh’s surnames.

“Subtraction” opened Friday at the TIFF Bell Lightbox and plays until Monday.

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From “Invasion of the Body Snatchers” to

An artistic change in Sony Pictures’ Spider-Man: Across the Spider-Verse retconned a key moment in Spider-Gwen’s Earth-65 origin story.

Across the Spider-Verse significantly broadened the universe established by its predecessor. While Into the Spider-Verse primarily centered around Miles Morales‘ transformation into a wall-crawling hero, the follow-up shifted the spotlight to Hailee Steinfeld’s Gwen Stacy and introduced another diverse group of Spider-People. 

By placing greater emphasis on Gwen, the film allowed viewers to delve deeper into her thoughts and emotions as she navigated her personal connections and responsibilities as Spider-Woman. 

New Captain Stacy Design Retcons Spider-Verse 1

Sony Pictures Animation

During Gwen Stacy’s introduction in Spider-Man: Into the Spider-Verse, she saves her dad from being shot. This has technically been retconned in Spider-Man: Across the Spider-Verse due to Captain Stacy having a revamped design for the sequel.

In this case, the retcon is a piece of new information that imposes a different interpretation on previously described events, typically used to facilitate a dramatic plot shift or account for an inconsistency.

captstacy2
Sony Pictures Animation

This different interpretation could be analyzed in a few ways. During Into the Spider-Verse, the initial version of Stacy could have been what Miles was imagining based on Gwen’s story. This would mean the Across the Spider-Verse rendition is what actually happened.

From a production standpoint, Sony Animation seemingly had more leeway to fully flesh out Gwen’s origin story, just as it did with the retelling (and retconning) of Earth-65’s Peter Parker.

How Sony Is Re-Imagining Spider-Verse

If it wasn’t already clear before, Across the Spider-Verse made it obvious how many Variants of Peter Parker there are throughout the Multiverse.

With that being said, it’s easy for audience members to understand that different events happen in different universes, but canon events are what Spider-Man 2099 (Miguel O’Hara) is trying to protect (and ensure that they happen).

The variance from universe to universe can spread wide, so watching a retelling of a story fans already saw on Earth-65 isn’t a crazy concept to grasp.

Focusing on Gwen’s story and her relationship with her father was at the heart of Across the Spider-Verse, but viewers could see another new retelling when an alternate version or two of the character appears in Beyond the Spider-Verse.

Spider-Man: Across the Spider-Verse is now playing in theaters and has already grossed over $500 million worldwide.

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Several comic book movies from both Marvel and DC have been plagued by trouble productions and behind-the-scenes drama over the years. Modern superhero films are among Hollywood’s most profitable projects. As a result, superhero films are usually synonymous with big-budget, hight-stakes projects, which sometimes can lead to complicated productions.


The list of superhero films that had troubled production is not limited to a specific franchise and includes the MCU, the DCEU, non-MCU Marvel movies, and non-DCEU DC projects. Creative differences, budget issues, and other problems are among the reasons why these films had such difficult productions. From Ant-Man to Justice League, here are 12 comic book movies plagued by behind-the-scenes drama.

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12 Ant-Man

Ant-Man premiered in 2015 as part of the MCU’s Phase 2, yet plans for an Ant-Man movie go back to the 1980s when Stan Lee himself tried to bring the character into the big screen. A more solid Ant-Man movie project began to take form in 2001 when Edgar Wright wrote a treatment for a heist-like Ant-Man story. Edgar Wright continued attached to the Ant-Man movie for years to become, yet the project didn’t become part of Marvel’s Phase 1 slate leading up to The Avengers. Unlike the comics, neither Ant-Man nor the Wasp were part of the Avengers’ first lineup in the MCU.

Edgar Wright’s Scott Lang-centered Ant-Man movie continued to be in development even after The Avengers. Some test footage sequences of Scott Lang in his Ant-Man suit had been made, and the movie was eyeing a July 2015 release date. However, just before filming started, Edgar Wright exited Ant-Man due to creative differences with Marvel Studios. While directors exiting blockbuster films due to creative differences would become quite common in major franchises, Wright exiting Ant-Man was significant news for a franchise that had seen mostly successful productions up until that point. Peyton Reed helmed Ant-Man instead and the film made it to its July 2015 release date.

11 Superman II

Superman in the Fortress in Superman 2.

Superman is often listed as one of the best superhero movies of all time, but its sequel, Superman II, had a very troubled production. Richard Donner was fired from Superman II following a clash with the producers, and Richard Lester was hired to complete the sequel. However, a significant portion of what was meant to be Superman II had already been filmed during the making of Superman. The idea was for Lester to reshoot the scenes Donner had already filmed, according to what the Directors Guild of America establishes. However, Lex Luthor actor Gene Hackman and Jor-El actor Marlon Brando reportedly refused to film those scenes.

As a result, Superman II had to combine scenes Richard Donner had filmed with the new ones directed by Richard Lester. In 2006, almost 30 years after Superman II premiered, Superman II: The Richard Donner Cut was released. This version of the film restored as much footage from Donner’s time at the production as possible, although it had to use some scenes Lester filmed for Superman II for the movie to work. The Donner Cut of Superman II is quite different from the theatrical cut, and it summarizes how complicated the production of the Superman sequel was.

10 The Flash

The Flash in the Flash movie

Even without considering the Flash movie projects from before the DCEU, The Flash had one of the most troubled productions in recent Hollywood history. A Flash movie set in the same continuity as Man of Steel and Batman v Superman: Dawn of Justice was announced in late 2014 as part of Warner Bros.’ plans of creating a cinematic universe centered on the DC characters. Seth Grahame-Smith was the first director to be attached to this version of The Flash, yet the filmmaker exited the project on April 2016. A story treatment for The Flash had been previously written by Phill Lord and Chris Miller.

Related: Complete Breakdown Of Ezra Miller’s Allegations & Controversies (With Updates)

Rick Famuyiwa replaced Seth Grahame-Smith as The Flash’s director, with the movie set to begin filming on January 2017. However, Famuyiwa also exited the project, with creative differences between the filmmaker and the studio pointed out as the reason. It was then reported that John Francis Daley and Jonathan Goldstein would direct The Flash, which by that point had already become a tricky production. Daley and Goldstein also existed in The Flash due to creative differences. Finally, Andy Muschietti was hired to direct The Flash with a script from Christina Hodson. Before The Flash‘s release, actor Ezra Miller became involved in a series of allegations and controversies.

9 The New Mutants

Anya Taylor-Joy as Magik in The New Mutants surrounded by strange supernatural lights with her eyes glowing bright blue

The New Mutants had several release dates attached to it, ranging from April 2018 to its eventual theatrical release on August 2020. The New Mutants’ successive delays can be attributed to many reshoots due to reportedly poorly reviewed test screenings. The X-Men spinoff was originally announced as a horror superhero movie, yet the tone of the film went through major changes before it finally premiered. Disney’s acquisition of Fox – which meant new plans for the X-Men IP – followed by the COVID-19 pandemic also played a role in The New Mutants’ historical number of delays. The New Mutants grossed $49.2 million at the worldwide box office on a $67 million budget.

8 Blade: Trinity

blade trinity starring wesley snipes as eric brooks

The first two Blade movies helped define modern comic book adaptations, yet Blade: Trinity was a very complicated production. After multiple directors were attached to the project, David S. Goyer, who wrote Blade and Blade II, was hired to helm the movie. Blade star Wesley Snipes reportedly clashed with Goyer on set, with the actor reportedly refusing to interact directly with the director. David S. Goyer addressed the Wesley Snipes rumors, stating that “It was a very tortured production” and that he and the actor were “not friends anymore.” One example of how this affected the movie is the infamous Blade: Trinity scene where Blade has CGI eyes.

Related: Why Wesley Snipes Has CGI Eyes In One Blade: Trinity Scene

7 Spider-Man: Across The Spider-Verse

Miles Morales and Ben Reilly in Across the Spider Verse

Spider-Man: Across the Spider-Verse’s great reviews and box office performance were followed by an extensive report by Vulture detailing Across the Spider-Verse’s working conditions. The report featured an interview with an artist, under the pseudonym of “Stephen,” who claims “Over 100 people left the project because they couldn’t take it anymore.” The source mentions last-minute changes made to the film and months of work not “coming out the other side” due to the constant changes. As of the writing of this article, Spider-Man: Beyond the Spider-Verse is still scheduled to release on March 29, 2024, only 10 months after Across the Spider-Verse premiered.

6 Spider-Man 3

venom suit in spider-man 3

The success of Spider-Man and Spider-Man 2 led to Spider-Man 3 happening right away. While Sam Raimi returned for a third Spider-Man movie, the director and the studio were not on the same page regarding what the film would cover. It is widely known that producer Avi Arad wanted Venom to be in Spider-Man 3, even though Raimi was not a fan of the character and did not understand its appeal. Venom ended up being in Spider-Man 3 anyways, as did Gwen Stacy, which reportedly was something the studio wanted as well. On-set injuries and other creative clashes also happened. The Spider-Man franchise would be rebooted shortly after Spider-Man 3.

5 X-Men: The Last Stand

Magneto surrounded by mist in X-Men: The Last Stand.

Bryan Singer did not return for X-Men: The Last Stand and helmed Superman Returns instead. James Mardsen, who played Cyclops in the original X-Men movies, was cast in a supporting role in Superman Returns. This led to Cyclops being killed off at the beginning of The Last Stand. Matthew Vaughn was brought in to replace Singer in The Last Stand. However, the director exited the project due to the movie’s rushed schedule, eying a May 2006 release date. Vaughn would later return to the X-Men franchise to helm X-Men: The First Class with a lot of creative control. Brett Ratner replaced Vaughn in a production that continued to be troubled.

4 Suicide Squad

suicide squad in 2016

Unlike projects like The Flash, which had several versions before finally happening as part of the DCEU, Suicide Squad came to be around the birth of the DC Extended Universe. The Suicide Squad movie was rushed to join the DCEU slate for a 2016 release, the first movie to be released after Batman v Superman. However, Batman v Superman’s poor reviews led the studio to course-correct the entire franchise, starting with Suicide Squad. The first Suicide Squad trailer was very different from the final movie in terms of tone, for example. Director David Ayer has confirmed that his cut of the movie is different from the theatrical one.

This has led to campaigns for Warner Bros. to “Release the Ayer Cut,”similar to how Zack Snyder’s Justice League was released on HBO Max. Among the differences between the Ayer Cut and the theatrical cut is the presence of an original score, more of Jared Leto’s Joker, more of Ben Affleck’s Batman, a romantic subplot with Deadshot and Harley Quinn, and no Flash scene setting up Justice League.

3 X-Men: Dark Phoenix

sophie turner as jean grey in x-men dark phoenix

X-Men: Dark Phoenix was directed by Simon Kinberg, a long-time producer in the X-Men franchise that had directed some scenes for X-Men: Apocalypse and the 2015 Fantastic Four reboot. Kinberg had also co-written The Last Stand, which adapted Marvel Comics’ Phoenix Saga. The X-Men franchise tried once again to adapt this Jean Grey storyline with Dark Phoenix. Reshoots for Dark Phoenix were planned following early test screenings, yet Disney’s acquisition of 20th Century Fox had begun. With the X-Men characters now available for Disney’s Marvel Studios to use, Dark Phoenix became the end of its franchise before it even premiered. Dark Phoenix grossed $252 million at the box office.

2 Fantastic Four (2015)

Doctor Doom in Fantastic Four 2015

To maintain the movie rights to the Fantastic Four, Fox would have to release another Fantastic Four movie sooner rather than later. Fantastic Four: Rise of the Silver Surfer premiered in 2007, and a Fantastic Four reboot by Josh Trank entered production in 2014. While Fant4stic was inspired by the Ultimate Fantastic Four comics, director Josh Trank and original writer Jeremy Slater clashed over the film’s tone, leading to Slater leaving the project. There were also significant creative differences between Trank and the studio, leading to last-minute changes and major reshoots reportedly helmed by Simon Kinberg. After the film premiered, Trank claimed he once had a different version of it.

1 Justice League

Justice league snyder cut superman meeting alfred

Justice League was already in production when Batman v Superman premiered, leading the studio to course-correct the team-up movie based on Batman v Superman’s reviews and second-weekend box office drop. Before that, the originally announced two-part Justice League movie had become a standalone Justice League film, with director Zack Snyder returning after Man of Steel and Batman v Superman. Snyder had to exit the film in May 2017 due to a family tragedy. Joss Whedon was brought in to complete the movie, with several reshoots and rewrites also incorporated. The theatrical Justice League movie was very different from what Snyder intended, as seen in Zack Snyder’s Justice League.

Related: Justice League: All FOUR Versions (Including Snyder Cut) Explained

The Snyder Cut was released on HBO Max on March 2021 after years of fan campaigns for the studio to release Zack Snyder’s four-hour version of the film. Some Justice League actors, including Ben Affleck and Gal Gadot, also joined the campaign. Actor Ray Fisher, who played Cyborg in Justice League, accused Joss Whedon of abusive behavior during the Justice League reshoots, leading to an official investigation on the matter. The tent-pole comic book movieJustice League ended up having a budget of $300 million and grossed $657.9 million at the worldwide box office.

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Several comic book movies from both

Bethesda announced The Elder Scrolls VI five years ago at , but the new fantasy RPG is still “five-plus years away,” according to Phil Spencer. The chief of Microsoft’s Gaming division revealed the game’s potential release timeframe during day two of the hearing where the Federal Trade Commission (FTC) is seeking an injunction to .

“I think we’ve been a little unclear on what platforms it will launch on given how far out the game is. It’s difficult for us right now to nail down exactly what platforms that game will launch on,” Spencer said in response to questioning by an FTC lawyer, as reported by . “As I said with Elder Scrolls VI, it’s so far out it’s hard to understand what the platforms will even be at this point. It’s the same team that’s finishing , which comes out this September. So we’re talking about it being likely five-plus years away.”

If you’ve been following any bit of news Bethesda has shared about The Elder Scrolls VI, the game’s distant release date should come as no surprise. Back in 2020, Pete Hines, the publisher’s senior vice president of marketing and communications, said Bethesda wouldn’t have anything substantial to share about the title for another few years. “It’s after Starfield, which you pretty much know nothing about,” he . “So if you’re coming at me for details now and not years from now, I’m failing to properly manage your expectations.” Based on Spencer’s comments, The Elder Scrolls VI may skip the current generation of consoles entirely. Last week, Bethesda Game Studios Creative Director Todd Howard said the Elder Scrolls VI “” of his career.

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Bethesda announced The Elder Scrolls VI five

Like all good stories, the story of creating Monochromatic is one grounded in personal reality supported by historical facts.

This post was written by Karen Bryson.

I felt compelled to write Monochromatic as a response to the murder of George Floyd and the subsequent BLM movement in 2020. I wanted to write a piece about the inevitable moment when a Black child realizes the world operates with bias when it comes to the color of
their skin.

I began speaking with my Black friends and my family about their experiences as children. Many, like me, remembered a defining moment while for others it wasn’t as clear cut. 

That led me to the nature of memories. Here’s a question: Do you ever see yourself in a memory? 

Another question: Do you remember whole conversations from those memories?

My answer would be no on both counts! That leads to why I chose to film it entirely from Grace’s (Kenedy McCallam-Martin) POV during the final scene. It wasn’t a cheap gimmick, but rather something I gave considerable thought to. I couldn’t shake it. 

We tend to remember the moments in our lives that have an impact. That fed into the non-linear nature of Monochromatic, fragments of pinnacle moments. What we see as an audience is what the innocent Grace chooses to focus on, juxtaposed with the brutality of an often-hostile UK in 1977, the period Monochromatic is mainly set in. It is an environment her parents desperately try to protect her from.

A period piece, on a short film budget, is always going to throw up major challenges. We needed as many mechanisms to push the narrative so I decided to shoot in a 4:3 aspect ratio (standard ‘70s TV format). 

I also wanted to tackle and explore little Grace experiencing racism for the first time in a visceral way by creating an immersive experience for an audience. For it all to land and have an impact, we needed to see Grace early on in the film and glimpses throughout. That’s where the idea of reflections came in–a technique widely used in 1970s film. This, and shooting in 4:3, helped tremendously in recreating London 1977’s Wood Green.      

Storyboarding was essential for a project of this nature. With the time constraints that come with a short film making having this structure meant we didn’t veer too far off-piste. 

I had very specific visuals that were critical to getting a sense of Grace’s character without really seeing her, aside from the reflections. From there our brilliant DoP, Tristan Chenais, and I discussed, along with our VFX team, the various ways we could achieve the desired outcome.

Kenedy McCallam-Martin as Grace in ‘Monochromatic’Credit: Flying Color Productions

Even with rigorous prep, I found most of directing is problem-solving, sometimes on the spot. There were several moments we had to go from plan A to plan B and even C. Being in the moment and discovering something spontaneous felt like magic. In hindsight, I found it quite exciting. 

The producers and I were aware of the importance of putting together a diverse “killer team.” We struck lucky across the board both in front and behind the camera. They all had a connection with the work and every person involved gave a piece of their creative heart and talent, which I believe is palpable in Monochromatic. 

From working with the incredibly talented editor Rebecca Lloyd to our fantastic post-production team, our composer, our songwriter, and our sound designer, seeing all the pieces of the creative puzzle falling into place is thrilling.

Monochromatic was certainly an unconventional and ambitious short film to make for a first-time writer/director like me. 

However, with decades of experience as an actor and an incredible team including an exceptional cast, the wonderful producers from Mono Films, Shakyra Dowling, and Lorraine Bhattachary, who completely believed in me and my vision. With the invaluable support of Flying Colours Productions, David Harewood, and Rajita Shah, I think we made a special film, which makes me proud.     

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Like all good stories, the story

The late legendary trailblazer Tina Turner is set to be honored at this year’s Macy’s 4th of July Fireworks Spectacular in New York City.

During the “Golden Mile” display, thousands of golden-hued shells will create a dramatic cascade effect stretching across the East River to honor the singer, who died in May at 83 years old.

Ashanti, Bebe Rexha, Ja Rule, Jelly Roll, Lainey Wilson, LL Cool J featuring DJ Z-Trip and The Roots, and more will also perform at the 47th annual event, hosted by Hot Wheels: Ultimate Challenge’s Rutledge Wood and Access Hollywood’s Zuri Hall.

The broadcast will also feature a flyover along the coastline conducted by an all-female flight crew to celebrate the 50th anniversary of women flying in the Navy. 

In addition, Caleb McLaughlin (Stranger Things), George Lopez (Lopez vs Lopez), Mayan Lopez (Lopez vs Lopez), Raymond Lee (Quantum Leap) and Team USA gymnasts will make appearances during special segments throughout the event.

“Every year this remarkable telecast manages to both inspire and awe audiences, lighting up the New York skyline with a fireworks display that’s second to none,” said Jen Neal, executive vice president, live event and specials, NBCUniversal entertainment and streaming. “It’s this type of live programming event that unites us as a country and makes both our NBC and Peacock brands so unique.”

The star-studded event and fireworks spectacular, which is taking place between East 26th and East 40th streets along the East River, will air live on July 4 from 8-10 p.m. ET/PT on NBC and will stream on Peacock. 

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The late legendary trailblazer Tina Turner is set to

Amid Netflix’s recent action success streak, Gal Gadot offers an exciting update on Red Notice 2‘s script. Netflix has an major slate of action movies on the horizon and is already finding success with Chris Hemsworth’s well-received Extraction 2 and Jennifer Lopez’s The Mother, which pushed Martin Scorsese’s The Irishman out of the streamer’s Top 10. Red Notice came in the early days of this genre success, with its record-breaking numbers leading to two sequels being greenlit to film back-to-back with Gadot, Dwayne Johnson and Ryan Reynolds returning.

SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT


While speaking with Collider to discuss her promotion of her next Netflix action adventure Heart of Stone, Gadot was asked about the in-development Red Notice 2. Though keeping her lips sealed on what the sequel’s story will entail, she did confirm having received the first of the two follow-ups’ script and indicated talks are underway to potentially begin filming soon. Check out her statement below:

We’re all talking about it. I don’t know if I can say anything! I already read the second script and it’s… whoo! We’re all very excited about it!


What To Expect From Red Notice 2

Gadot’s update is a very promising one considering that the last Red Notice 2 update dates back to October when producers Beau Flynn and Hiram Garcia, confirmed the script was indeed complete and that Red Notice 3‘s was nearly complete. Since two sequels were greenlit, the goal has been to film the movies back to back, however, the producers have acknowledged that these goals were subject to change and largely depended on how the cast and crew felt about the scripts and their increasingly busy schedules.

Since Flynn and Garcia confirmed that they were taking the actors’ feedback into account, it’s especially heartening that Gadot expressed excitement about the script. If it has earned the approval of its major players in the film, it seems likely production would be able to start soon. That being said, given writers are not able to be on set to contribute new material for their productions amid the ongoing Writer’s Guild of America strike, production may need to be delayed due to director Rawson Marshall Thurber penning both scripts.

While Gadot, Johnson and Reynolds are confirmed to return for Red Notice 2, it’s unknown at the time of writing if any other cast members from the prior movie will appear, namely that of Rita Arya’s Inspector Urvashi Das, who was determined to track the trio of thieves down. Flynn and Garcia have teased both sequels will feature ensemble casts akin to the Ocean’s franchise, though with the sequel facing skepticisim after the poor reception to the first movie, one can hope the creatives are just as focused on overcoming these issues for an improved sequel.

Source: Collider

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Amid Netflix's recent action success streak, Gal

For Kelsey Grammer, bringing Frasier Crane back to Boston on an upcoming Paramount+ series isn’t just an opportunity to revive an iconic character. It’s a spiritual calling.

In a new interview with The Independent, Grammer opened up about the impact that playing Frasier Crane through nine seasons of “Cheers” and 11 seasons of “Frasier” has had on his life. He said that he has always tried to use the character to promote virtue and morality — something he hopes the upcoming batch of episodes will continue to do.

“The ethics of ‘Frasier’ – the study of good, let’s say – was important to us,” Grammer said. “It seemed important to all the people that were involved in the original one, and it has remained important in the show today.”

He took things a step further by saying that playing the pretentious psychiatrist is a form of ministry for him, as he sees the character as an opportunity to spread his values to the world.

“’Frasier’ has been my ministry, you could say,” he said. “He’s trying to spread the good word, to put some love in the world – and tolerance, true tolerance. Those are powerful words, but most people use them to manipulate. I think tolerance is a beautiful, beautiful concept. Not particularly realised in behaviour in our country, but still a good goal.”

When asked about the details of the upcoming Paramount+ reboot, Grammer maintained his position that it’s less of a continuation of “Frasier” than a third unique show about the character of Frasier Crane.

“This isn’t really a spin-off,” he said. “It’s more of a third act, or fourth act. A spin-off of a spin-off.”

Grammer also heaped praise on some of the new cast members and hinted that he thinks the new show has the potential to meet — or even exceed — the standard set by “Frasier” and “Cheers.”

“At first, you cast these people, you’ve never seen them before,” he said. “And boy, by about the middle of the second show, I thought, ‘Son of a gun. He’s actually doing it. He’s like Frasier’s kid. Wow.’ So I think it’s gonna be a great discovery for people. There’s some new people on the show to really fall in love with, and arguably it may even be funnier.”

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For Kelsey Grammer, bringing Frasier Crane back

Debbie Gibson Looks Back at Her Iconic Career Moments — From ’80s Hits to ‘The Masked Singer’ (Exclusive) | Entertainment Tonight

































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Throughout the years, Little Richard has been referred to as the king, queen, architect, quasar and founder of rock ‘n’ roll.

While experiencing racism, homophobia, industry exploitation and struggling with his faith, Little Richard still managed to create music and an overall style that have become fundamental elements of Western pop culture.

This article explores the music that influenced him and the hit songs that made him a legend.

1. “Strange Things Happening Every Day” by Sister Rosetta Tharpe

In order to fully characterize Little Richard’s legacy, we must first understand his influences.

Little Richard was born Richard Wayne Penniman in Macon, Georgia. He was raised in a Black Pentecostal household, growing up around gospel music. It’s in this sonic atmosphere that Little Richard grew to admire and look up to the singing evangelist Brother Joe May, where he honed his signature whoop while listening to the Clara Ward Singers and where he learned the descant-like vocalizations of Mahlia Jackson. Perhaps most importantly, its where he first became interested in the mélange of spiritual songs and swinging secular sounds pioneered by Sister Rosetta Tharpe as can be heard in her rendition of “Strange Things Happening Every Day,” which in 1945 was the first gospel song to be placed on the R&B charts (then called “race” charts).

Tharpe’s influence on Richard goes beyond her unique style. She gave 14-year old Penniman his first paying gig as her opener in Macon after hearing him singing backstage. At the time, Little Richard likely didn’t know that Tharpe took same-sex lovers or that her music was often intended to rebel against the strictures placed upon women within the church, however, that nonconforming spirit is something Little Richard incorporated into his life, career and legacy.

2. Esquerita and “One Mint Julep” by The Clovers

After his father threw him out of his home for his flamboyance at the age of 14, Little Richard joined the Chitlin’ Circuit – a traveling group of performers who performed at Black (and often queer) nightclubs around the American South. It’s here where he met Esquerita, a six foot two Black queer performer with a towering pompadour and bedazzled clothing (sound familiar?). Not only did Esquerita inform much of Richard’s fashion, he also informed his piano technique. On the night they met, Esquerita played Richard “One Mint Julep” by the Clovers. Richard recalled that “[Esquerita] was one of the greatest pianists, and that’s including Jerry Lee Lewis, Stevie Wonder or anybody I’ve ever heard…” After that night Little Richard asked Esquerita to teach him everything he knew about playing piano. Richard was later quoted saying, “I learned a whole lot about phrasing from him. He really taught me a lot.”

3. Tutti Frutti

After cutting his teeth on the Chitlin’ Circuit for several years, Little Richard yearned for a larger stage. By sheer force of persistence, in 1955 he was offered a recording session with Specialty Records in New Orleans. After recording some blues standards, everyone in the room (including Richard) was a bit dubious of the trajectory of the session. However, during their lunch break, Little Richard got on the stage of the nearby Dew Drop Inn and sung the original version of “Tutti Frutti.” The lyrics included explicit references to anal sex:

Tutti Frutti, good booty
If it don’t fit, don’t force it
You can grease it, make it easy

The Specialty Records producers in the audience immediately recognized the potential of the song’s hook and rhythm. They exchanged the references to “good booty” and lubrication for the common colloquialism “aw rooty” and a hit was born!

In a panel discussion about Little Richard’s influence, Jason King describes Richard’s groundbreaking sound, “He updated Fats Domino’s cool New Orleans R&B, and he gave you boogie-woogie bass shuffle in his left hand piano playing. And on the right hand, he gave you hard-driving, percussive, eighth-note octaves—a sort of ‘pounding’ on the keys. And those two things together helped create a unique sound. Add to that his gritty gospel voice, and you have the recipe for a heart-shaking, rib-quaking, high-voltage rock ‘n’ roll. It literally made you rock.”

3. Long Tall Sally

The success of “Tutti Frutti” was tainted when it was almost immediately covered by the white pop singer, Pat Boone, whose version of the song garnered many more record sales than Richard’s. Richard commented on the racism that allowed this to happen by saying “the white kids would have Pat Boone up on the dresser and me in the drawer ’cause they liked my version better, but the families didn’t want me because of the image that I was projecting.”

As retaliation, Little Richard’s next single “Long Tall Sally” was much faster in an attempt to be “uncoverable.” Little Richard’s producer at the time, Bumps Blackwell recalls “we decided to up the tempo on the follow-up and get the lyrics going so fast that Boone wouldn’t be able to get his mouth together to do it!” But in the words of Pat Boone, “if I could sing ‘Whop-bop-a-loo-bop-a-bop-bop-bop’ I could sure sing ‘Long Tall Sally,’” so he covered the song anyway.

Regardless, “Long Tall Sally” became Richard’s biggest hit and the best-selling record in the history of Specialty Records.

4. The Girl Can’t Help It

In 1956, the animator and comedy writer Frank Tashlan brought the zany physical comedy of the Looney Tunes to the jukebox musical “The Girl Can’t Help It.” The film was an attempt to capture (and satirize) the raising influence of rock ‘n’ roll. Starring Jayne Mansfield in her first major film role, the film is packed with performances from some of rock’s early royalty including Fats Domino, Julie London, Eddie Cochran, the Platters, Gene Vincent and Little Richard who performs the film’s titular song, “The Girl Can’t Help It.”

For many people, including teenaged John Lennon and Paul MacCartney, the film was the first time they were able to see their rock ‘n’ roll icons on screen or otherwise. The Beatles credit the film as being a major influence on their pursuit of rock ‘n’ roll stardom.

Notably, Fergie sampled the hook of the titular song in her 2006 hit, “Clumsy.”

5. Lucille

In a 1999 interview with Mojo magazine, Richard explained: “The effects and rhythms you hear on my songs, I got ’em from the trains that passed by my house. Like ‘Lucille’ came from a train – Dadas-dada-dada-dada, I got that from the train.” Released in 1957 when Little Richard’s popularity was reaching an all-time high, “Lucille” was his fourth million selling record.

While at this point Richard had already laid the groundwork for rock ‘n’ roll with his percussive piano playing on songs like “Tutti Frutti” and “Long Tall Sally,” the rhythm of “Lucille” that Richard credits to the train foreshadowed the heavy baselines and slower tempos characteristic of 1960s rock music.

6. Good Golly Miss Molly

Released in 1958, like much of Richard’s early music, “Good Golly Miss Molly” is a rock ‘n’ roll standard and has been covered hundreds of times. In the early-1950s, when Richard performed live, he often performed to a segregated audience. However, the infectious nature of the music paired with his effeminate persona, helped to break down these barriers. Producer H.B. Barnum told Richard’s biographer, Charles White, that “Little Richard brought the races together. Although they still had the audiences segregated in the building… by the end of the night they would all be mixed together.”

Richard continued fighting for civil rights more formally later in his career when he would advocate for artists of color who’d been taken advantage of by their record companies – seeking royalties and industry reparations.

7. It Takes Everything to Serve the Lord

In October 1957, the Russian satellite Sputnik returned to Earth’s atmosphere leaving a bright streak across the sky. While performing in Sydney, Australia Little Richard saw this phenomenon and interpreted it not as one of Man’s latest trifles, but as an omen from God directed at him specifically. The message was that rock ‘n’ roll and homosexuality were sins and Richard needed to repent to secure his immortal soul a place in the Kingdom of Heaven. After this event, Richard gave up rock ‘n’ roll and his wild ways to pursue a life as a pastor and gospel singer. He didn’t, however, give up his trademarked confidence, releasing an album entitled “The King of the Gospel Singers,” which included Richard’s rendition of “It Takes Everything to Serve the Lord.”

8. Great Gosh A’Mighty

One of the more complicated aspects of Little Richard’s legacy is his relationship with Christianity. For the remainder of his career, Little Richard would adopt and renounce rock ‘n’ roll music in favor of his faith several more times. However, after the success of his biography “Quasar of Rock: The Life and Times of Little Richard” (1985), Richard decided he could unite the seemingly disparate influences of his life by creating faith-based rock music. “Great Gosh A’ Mighty” was his attempt to do exactly that. The song has the bumping rhythm of a classic Little Richard track, however, upon closer inspection of the lyrics, the song is unmistakably religious.

From his flamboyance, camp and unapologetic self-expression to his bumping rhythms and baselines, Richard’s influences can be seen in almost every modern performer.

You can see Little Richard’s influence in Prince’s “Kiss,” David Bowie’s “Let’s Dance” and even Lil Nas X’s “HOLIDAY.” All of these musicians and more have Little Richard to thank for opening doors and creating an art form.

For more music from Little Richard and others, check out the official soundtrack to American Masters – Little Richard: The King and Queen of Rock and Roll.

 

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Throughout the years, Little Richard has been

Yevgeny V. Prigozhin, the head of the Wagner private military company, led an armed rebellion in Russia on Saturday and claimed that his forces came within 125 miles of Moscow. Here is how the events unfolded.

1 11 a.m. Friday Prigozhin questions war rationale

In a 30-minute video released at 11 a.m. on Friday, Mr. Prigozhin challenged the wisdom of the Russia-Ukraine war.

Telegram

In a series of posts on social media starting at 11 a.m. Friday Moscow time, Mr. Prigozhin questioned the Kremlin’s motives for the war in Ukraine and accused the Russian defense minister, Sergei K. Shoigu, of ordering deadly airstrikes on Wagner fighters. “The evil borne by the country’s military leadership must be stopped,” he said in a voice recording posted around 9 p.m.

2 Just after midnight Friday Russia orders Prigozhin’s arrest

Russia’s security agencies denounced Mr. Prigozhin in a series of announcements on state media. The Federal Security Service, Russia’s main intelligence agency, opened an investigation against Mr. Prigozhin for armed rebellion.

Videos circulating on social media showed armored vehicles from the military and national guard being deployed in Moscow and Rostov-on-Don, where Mr. Prigozhin said his fighters were approaching.

3 7:30 a.m. Saturday Wagner forces take Rostov-on-Don

Despite the defense measures, Wagner forces took Rostov-on-Don with little resistance. Around 7:30 a.m., Mr. Prigozhin posted a video from the regional military headquarters, claiming to have control of key city installations. Videos on social media showed armed Wagner fighters blending into the metropolis’s bustle: controlling traffic at key intersections, walking around the city with takeout coffee and ordering fast food.

Wagner armored vehicles in Rostov-on-Don on Saturday.

Reuters

4 Saturday morning Wagner forces push to Moscow

As Wagner consolidated control of Rostov-on-Don, its forces pushed north toward Moscow. One column of armored and personnel vehicles appeared to depart from Rostov. Another column crossed from occupied Ukraine into Russia’s Voronezh region further north. They met little resistance and appeared to have shot down a number of Russian military aircraft along the way.

5 10 a.m. Saturday Putin addresses the nation

Mr. Putin made a televised address to the nation, asking for unity in the face of what he called a war against Ukraine and its allies. “Actions that split our unity,” he said, “are a stab in the back of our country and our people.”

6 Early Saturday afternoon Wagner convoy reaches Elets

Wagner’s armored columns pushed through the Voronezh region without entering major cities and stopped on the side of the highway in Elets, a town in the Lipetsk region about 250 miles south of Moscow. The column included mounted tanks, armored vehicles, at least one self-propelled rocket launcher and numerous personnel trucks. It had met little resistance to this point.

7 8:30 p.m. Saturday A surprise deal

Belarus state media unexpectedly announced that the country’s president, Alexsandr G. Lukashenko, had negotiated Mr. Prigozhin’s agreement to halt his forces’ advances. Mr. Prigozhin said in an audio message that his forces had come within 125 miles of Moscow and were “turning around” to head back to their training camps.

8 11 p.m. Saturday Prigozhin leaves Rostov-on-Don

Wagner forces left Rostov-on-Don as some residents came out to show their support. Mr. Prigozhin was among those leaving, driving out of the city in a heavily guarded black S.U.V.

Alexander Ermochenko/Reuters

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Yevgeny V. Prigozhin, the head of the

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A magical material that could effortlessly conduct electricity at room temperatures would likely transform civilization, reclaiming energy otherwise lost to electrical resistance and opening possibilities for novel technologies.

Yet a claim of such a room-temperature superconductor published in March in the prestigious journal Nature, drew doubts, even suspicion by some that the results had been fabricated.

But now, a group of researchers at the University of Illinois Chicago reports that it has verified a critical measurement: the apparent vanishing of electrical resistance.

This result does not prove that the material is a room-temperature superconductor, but it may motivate other scientists to take a closer look.

Ranga P. Dias, a professor of mechanical engineering and physics at the University of Rochester in New York and a key figure in the original research, had reported that the material appeared to be a superconductor at temperatures as warm as 70 degrees Fahrenheit — much warmer than other superconductors — when squeezed at a pressure of 145,000 pounds per square inch, or about 10 times what is exerted at the bottom of the ocean’s deepest trenches.

The high pressure means the material is unlikely to find practical use, but if the discovery is true, it could point the way to other superconductors that truly work in everyday conditions.

The claim was met with skepticism because several scientific controversies have swirled around Dr. Dias, and other scientists trying to replicate the results had failed to detect any signs of superconductivity.

Dr. Dias has founded a company, Unearthly Materials, to commercialize the research, raising $16.5 million in financing so far from investors.

The new measurements, revealed in a preprint paper posted this month, come from a team led by Russell J. Hemley, a professor of physics and chemistry at the University of Illinois Chicago. Dr. Hemley declined to comment because the paper had not yet been accepted by a scientific journal.

Nonetheless, he is well regarded in the field, and his report could lead to a more positive reconsideration of Dr. Dias’s superconducting claim.

“It may convince some people,” said James J. Hamlin, a professor of physics at the University of Florida who has been a persistent critic of Dr. Dias’s research. “It makes me think there might be something to it.”

Dr. Dias’s material is made of lutetium, a silvery-white rare earth metal, along with hydrogen and a little bit of nitrogen. Using a sample provided by Dr. Dias, Dr. Hemley’s laboratory performed independent measurements of the electrical resistance as the material was cooled under high pressure.

Dr. Hemley and his colleagues observed sharp drops in electrical resistance in the material. Although those occurred at temperatures of up to 37 degrees Fahrenheit, about 30 degrees cooler than Dr. Dias described, that would still be warm compared to other superconductors. The transition temperatures varied depending on how tightly the material was squeezed.

“They have done the electrical resistance measurements to confirm our results,” Dr. Dias said in an interview. “It does show the pressure dependence of the transition temperature, which goes very well with what we reported in our Nature paper in March.”

Dr. Hemley’s measurements do not provide proof of superconductivity. It is possible that the material is simply a very good conductor and not a superconductor.

The report did not include measurements to determine whether there were zero magnetic fields inside. That phenomenon, known as the Meissner effect, is considered to be definitive evidence of a superconductor.

Some of Dr. Dias’s earlier papers have provoked heated debate. Critics including Dr. Hamlin say crucial details were sometimes left out about how data from experiments were processed. The journal Nature even retracted a paper published in 2020 that made an earlier superconductor claim despite the objections of Dr. Dias and the other authors who say the findings remain valid.

Dr. Hamlin has also pointed out that swathes of Dr. Dias’s doctoral thesis at Washington State University in 2013 were copied, virtually word for word, from the work of other scientists, including Dr. Hamlin’s own doctoral thesis.

Dr. Dias acknowledges that he copied other people’s work in his thesis, saying he should have included citations. He denies scientific wrongdoing in his earlier papers.

“I have never knowingly or intentionally engaged in any act of plagiarism of anybody’s scientific work,” Dr. Dias said. “It was an oversight.”

The results of the research from Dr. Hemley’s team argue that Dr. Dias has indeed discovered something new in the lutetium-hydrogen-nitrogen material.

Lilia Boeri, a professor of physics at Sapienza University of Rome, said it was evident that this was not a repeat of a scientific scandal two decades ago when it turned out that J. Hendrik Schön, a researcher at Bell Labs in New Jersey, had made up his data in claiming a series of breakthrough discoveries.

“This is a completely different story in the sense that he, for sure, has produced something and measured something,” Dr. Boeri said of Dr. Dias.

But, she added, “It’s really unclear whether this is an indication of superconductivity or simply that he has found some interesting electronic transmission of some type.”

In recent years, materials known as hydrides have proved promising in the search for superconductors that work at warmer temperatures, although so far they all require crushing pressures. Dr. Dias said it was hydrides that led him to the lutetium-hydrogen-nitrogen mixture.

However, Dr. Boeri said that while other hydrides fit with the standard theory of superconductivity, Dr. Dias’s substance does not.

An earlier paper, by Dr. Hemley, along with Adam Denchfield, a graduate student in physics at the University of Illinois Chicago, and Hyowon Park, an assistant professor of physics at the same university, attempts to explain why, saying researchers have overlooked subtleties in the electronic structure of the lutetium-hydrogen-nitrogen compound that could provide an explanation of a higher superconducting temperature.

They propose that the elements in Dr. Dias’s material could be configured in different structures. The most prevalent structure could be responsible for the color change and other observed properties, while the superconducting currents flow through a smaller amount of a different structure in the compound. That could explain why not all of the samples, not even all of those created in Dr. Dias’s laboratory, are superconducting.

But Dr. Boeri is not swayed.

“The theoretical arguments are completely strange,” she said. Dr. Boeri said a material with high superconducting temperature, at least one that follows the conventional theory, requires a very stiff lattice structure that this material does not possess, and the paper does not discuss this issue.

Eva Zurek, a professor of chemistry at the University at Buffalo who has collaborated with both Dr. Hemley and Dr. Dias on other projects, was initially skeptical but now has partially changed her mind.

Numerical simulations of superconductors include simplifications to make the calculations. Dr. Hemley’s paper argues that the calculations should be performed somewhat differently, and when Dr. Zurek’s group tried those modifications, they arrived at the same answers.

“I realized it’s not impossible,” Dr. Zurek said. “I wouldn’t rule it out right away, let’s put it like that.”

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A magical material that could effortlessly conduct

The process of picking that all-important thumbnail for your latest YouTube video might be getting a lot easier soon. YouTube says it’s conducting early testing of a feature it’s calling “Test & Compare,” which lets creators upload up to three thumbnails for a single video and let YouTube experiment behind the scenes to see which one performs the best. 

In a video announcement, YouTube says it’s currently testing the feature with “a few hundred creators,” but plans to roll out a beta version in the coming months to thousands more ahead of a broader launch next year.

YouTube says the functionality, which is often known as A/B testing, has been a “top requested feature” by its users. A video’s thumbnail plays a vital role in drawing in viewers, meaning there’s pressure to make it as appealing as possible. A screenshot of the in-development YouTube feature shows how its Test & Compare feature will report back each thumbnail’s “watch time” as a percentage once it completes an A/B test.

Over the years third-party tools have popped up that advertise letting users A/B test YouTube thumbnails and I’ve also seen creators polling their Twitter followers to try and work out which image might perform better. “Thumbnail science to please The Algorithm is scarily important, and I need all the help and advice and dos/don’ts as I can get,” YouTuber Jay Foreman wrote alongside one such poll last year.

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The process of picking that all-important thumbnail

4

Being African American, something happens when you don’t moisturize your skin. You get what we call in the community “ashy,” where you can draw “D-R-Y” across your skin and it just stands out (#notagoodlook). So I drink a lot of water and I moisturize. I keep my skin as supple as I possibly can. Because the alternative for someone with a deeper shade of soul is you look like you’ve been walking around kicking flour.

5

My wife and I have been married 17 years, and we’ve known each other since we were 18. The love that you have deepens over time with your partner. But what can suffer is the spontaneity and that spark that you had in the beginning. Esther has given us a couple of tools and insights. Just because we’ve been together this long doesn’t mean that passion has to die.

6

Alexa is Encyclopaedia Britannica, basically. If you want something quick-quick, Alexa gives you a fast answer, and then will ask you, “Did that help?” And you’ll be like, “Yes, Alexa, that did. Thank you very much.” I try to be polite. Listen, as A.I. is continuing to develop, and we don’t know if we’re making ourselves extinct to any potential sentient being, Brown is on his best behavior.

7

There can be an inferiority complex that becomes internalized when you don’t get a chance to see yourself presented to the world as beautiful. In “The Bluest Eye,” Toni Morrison encapsulates that internalization in the most profound, poetic and incredible way.

8

You’re taking the story of Hamlet, you’re putting it in a backyard barbecue in the South with a young, queer, Black male protagonist. It is such a faithful following of Hamlet until it’s not. Then it’s such a delightful departure.

9

I played basketball, football, soccer, track, a little bit of Ultimate Frisbee. The joy of watching your children accrue skills and be able to engage with you in something that was such a big part of your own childhood is great.

10

The first Broadway show that I ever saw, in 1998, was “Ragtime.” Audra McDonald came out and sang “You have your daddy’s hands.” And I was like, “Is this woman an angel? Is she a real human being?” You want to see Sterling cry? Then I had the privilege of working with Renée Elise Goldsberry. If she sings “It’s Quiet Uptown” [from “Hamilton”] — child, please. I am a mess.

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4Cocoa ButterBeing African American, something happens when

In 2016, when the prolific, award-winning Broadway lyricist Sheldon Harnick was 92, I asked him if he knew the secret to his longevity. “No,” replied the man who brought us the lyrics to such beloved musicals as “Fiddler on the Roof,” “Fiorello!” and “She Loves Me.” “But I’m grateful for it.”

While many of us assumed he just might live forever, Harnick died Friday morning at age 99 of natural causes, reported his publicist Sean Katz, at his longtime apartment on New York’s Upper West Side.

Harnick long lived on Central Park West, where his sunlit living room hosted several paintings by his wife of 58 years, artist and photographer Margery Gray Harnick, as well as gorgeous views.

I first spoke with Harnick when I wrote an article for The Times about “Fiddler on the Roof” in 2002, but I got to know him best when I wrote a book about the show in 2014. He was warm, welcoming, very amusing and his memory was razor sharp.

The child of parents born in Eastern Europe, Harnick grew up on the northwest side of Chicago, playing the violin and thinking he would become a violinist. But after going to Northwestern University, where he seriously studied violin, he was also seriously drawn to writing for the school’s lavish student revues, and “by the time I graduated, I knew my heart was with the theater, not the violin.”

Actually, he probably knew it even before college. His mother “celebrated every occasion with a poem,” he once told me. And pretty soon, he too was writing poems, then song lyrics, sketches and parodies in high school and college. Later, in the army, he would write songs and sketches to entertain the troops.

Harnick’s first show with Joseph Stein and Jerry Bock was 1958’s “The Body Beautiful,” which ran just six weeks on Broadway — Harnick liked to quip that it would have run seven weeks but there was a blizzard—but its score impressed producer/director Harold Prince. It indirectly led to 1959’s “Fiorello!”, the musical tale of New York Mayor Fiorello La Guardia, which Prince co-produced with a score by Bock and Harnick and a book by writers Jerome Weidman and George Abbott; it went on to win the Pulitzer Prize for Drama. Bock and Harnick wrote seven Broadway scores together, including “She Loves Me” in 1963 and “The Apple Tree” in 1966.

While nearly all of Harnick and Bock’s shows have done well over the years, their biggest hit was “Fiddler.” It opened on Broadway on Sept. 22, 1964. While its first review, from noted critic Walter Kerr, wasn’t very good, it hardly mattered. The next day, there were lines around the block, and nearly eight years and 3,300 performances later, it became the longest-running show on Broadway at the time. It won nine Tony Awards, including best musical, and was still on Broadway when United Artists released Norman Jewison’s film of the same name in 1971. There have been stage productions all over the world, as well as in thousands of schools, community centers and regional theaters.

Harnick was also very organized, lucky for me. He kept all the lyrics for “Fiddler on the Roof” in a thick pale-blue three-ring binder, and after going off to another room to get it during our interview, he started calling out titles for songs going back to 1961, and laughing aloud at some of them.

Consider Fiddler’s first song, originally called “We’ve Never Missed a Sabbath Yet.” Its first opening lines were about getting ready for the Sabbath — cleaning the house, plucking the chicken for supper and such. It eventually became “Tradition,” one of musical theater’s best-known songs.

Harnick, Bock and Stein had written nearly a complete show before meeting with director Jerome Robbins, Harnick once told me, and Robbins kept asking them what the show was about. “We would say it’s about this dairy man and his daughters,” Harnick told me, until finally Harnick said, “It’s about tradition.” Robbins replied, “That’s it. Write that.”

So they did. Other songs, too, came and went. There was a discarded song written for the butcher, and another, also discarded, for Motel the tailor, called “Dear Sweet Sewing Machine,” which featured the tailor’s promise to love, honor and keep polished his new sewing machine.

Harnick would write lyrics on hotel stationery, scraps of paper and simply in his head. One time he was concentrating so hard on putting lyrics to a melody that Bock had written, he stepped right in front of a truck. “The driver slammed on the brakes and honked his horn,”Harnick told me. “I looked up, startled and then kept right on walking, working on the song. Jerry told me to be more careful.”

Barbara Isenberg is a former Times staff writer and the author of “Tradition! The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of ‘Fiddler on the Roof,’ the World’s Most Beloved Musical.”

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In 2016, when the prolific, award-winning

The general ethos surrounding Marvel’s “Secret Invasion” is steeped in misdirection, malleability, and deception.

The show follows super-spy Nick Fury as he uncovers a plot by the shape-shifting alien Skrulls, who have taken on the form of various humans in an attempt to overthrow the Earth’s governments.

Secret Invasion

Photo: Marvel

True to the overall feel of the show, Secret Invasion’s opening credits look like a surreal watercolor rending of the key players and themes of the show.

The credits include a discordant, ominous sequence of Skrull Green taking over more and more of the world.

Secret Invasion

Photo: Marvel

Marvel Uses AI

As it turns out, the intro sequence was designed by Method Studios using artificial intelligence. The prompt used was something akin to “Skrull cubism”.

According to executive producer Ali Selim, the AI-generated intro sequence was specifically chosen as it plays into the very themes of the show.

Secret Invasion

Photo: Marvel

“When we reached out to the AI vendors, that was part of it. It just came right out of the shape-shifting, Skrull world identity, you know? Who did this? Who is this?” Selim says.

Setting A Tone

Like most of us, Selim admits he doesn’t really understand how AI works. What he soon found out, however, was that the AI could translate the sense of foreboding he wanted for the series.

Secret Invasion

Photo: Also Marvel

“We would talk to them about ideas and themes and words, and then the computer would go off and do something. And then we could change it a little bit by using words, and it would change.”

Method Studios Responds

Method Studios has previously worked on Marvel shows including “Ms. Marvel”, “Loki”, and “Moon Knight”. The studio insists that “no artists’ jobs were replaced by incorporating these new tools”, In a statement to The Hollywood Reporter, the studio explained:

Secret Invasion Credits

Photo: Also Marvel

The production process was highly collaborative and iterative, with a dedicated focus on this specific application of an AI toolset. It involved a tremendous effort by talented art directors, animators (proficient in both 2D and 3D), artists, and developers, who employed conventional techniques to craft all the other aspects of the project. However, it is crucial to emphasize that while the AI component provided optimal results. AI is just one tool among the array of toolsets our artists used.

The entire process, guided by expert art direction, encompassed the initial storyboard phase, illustration, AI generation, 2D/3D animation and culminated in the final compositing stage.”

Secret Invasion

Photo: Marvel

While the concept of AI art is a hot-button topic at the moment, with a bevy of concerns behind it, in the case of Secret Invasion Saelim says he was excited about what the AI studio brought to the show.

“It felt explorative and inevitable, and exciting, and different,” he said.

Secret Invasion

Image Credit: Marvel

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The general ethos

Review: Nightwing #105
[Editor’s Note: This review may contain spoilers]

Writer: Tom Taylor
Art: Bruno Redondo
Colors: Adriano Lucas
Letters: Wes Abbott

 

Reviewed by: Matthew B. Lloyd

 

Summary

Dick and Babs wake up to smelly dog breath and phone call from Dick’s sister, and thus begins an exciting chase through Bludhaven for a vaccine to save a country.

Positives

I guess the place to begin is by putting it right out there that Nightwing # 105 jumps to the top of the list for next year’s awards, Eisner’s etc…, you name it, this issue is right there…in ALL categories.  Now for the details….

Dick and Babs as a couple continues to be wonderful, it’s been a main element of this series since this creative team too over the title back in the Spring of 2021.  It grounds the book to something other than super-heroics.  And, while Nightwing #105 isn’t a “date” or “relationship” issue, it’s at the core of who Dick Grayson is and it informs how he operates, and more importantly, how Taylor writes him.  It’s very much like how Jeremy Adams used Wally West’s family in his run on The Flash.  

If you didn’t read the solicit for this issue, you’re probably not aware that this is a POV issue.  We see everything through Dick’s eyes.  Like Nightwing #87 that was a single continuous panel, Nightwing #105 is a real visual treat and an amazing artistic triumph for Bruno Redondo.  It’s a different type of framing when one has to see everything through the protagonist’s eyes, it takes a completely different approach to create the same types of exciting and engaging storytelling choices when limited to one POV.  There are so many clever uses of mirrors and reflective surfaces as well as things that only Nightwing could see.  Plus, I’m guessing that it’s Redondo and not colorist Adriano Lucas, but I love the use of Ben Day Dots.  It ads something nostalgic, and of course the shading that it’s supposed to be.  Lucas has created a unique palette for Nightwing, much like Sarah Stern over in Batgirls.  Keeping this consistent despite a change in artists or colorists gives a series a unique feel and look.  This fits Nightwing perfectly as it allows the lightness of his character to come through even if he was born and raised in a type of darkness.

 

Positives Cont’d 

Some readers aren’t going to like the subtle political jabs that Taylor makes in this issue.  While I can understand that it may take away from the pure fun of such an issue, at the same time, it also gets to the heart of the motivation for all these long-underwear characters since The Phantom first put on his brown/purple jumpsuit back in the funny papers in 1936.  These characters have always existed to fight for the moral right even if it isn’t the legal right.   It’s tough for people to come to terms with the fact that sometimes laws don’t uphold the moral right.  It would be easy to point to something in the past, like slavery and make a point about it, however, a topical issue like the vaccine in Nightwing #105 has a lot more impact and will, perhaps, challenge some readers.

Taylor also nicely brings Heartless back into this issue (Mr. Wing meet Mr. Hole, LOL! Taylor even manages to ad just the right amount of humor.).  Including Heartless connects the reader back to what was going on in the series before all the Dark Crisis interruptions.  It seems very likely that Heartless will again be the antagonist in future issues.  Taylor has played the long game with Heartless and it may be partly because he’s had to incorporate the rise of the Titans into this series.  It’s completely logical as Dick is the leader of the Titans, but readers do want to see where the Nightwing / Heartless storyline goes.  Or, that it at least goes somewhere.  This issue also works as a one off.  Any reader could pick this up and have a great time with it.  It doesn’t rely on a lot of previous knowledge.  Heck, you don’t really need to know anything.  It’s that solid a jumping on point.

Negatives

No disrespect meant to the artists who have been working on Nightwing while Bruno Redondo wasn’t (who approved his vacation?) because it’s not like those were bad issues, but Redondo brings something special.  As stated above, the inclusion of the Titans was logical and necessary, but having this be about Dick and Babs just feels…RIGHT.  So, not really negatives, just that the strength of this issue will make you forget how much you enjoyed the previous couple storylines.

Verdict

Nightwing #105 is a guide in how to make a great modern comic book.  Quite literally it has everything- an exciting story that’s character driven, maintains the fun but, also makes a statement that elevates, beautifully illustrated and colored, creative in its storytelling, fits into the overall run while also being enjoyed as a one-off and is accessible to new readers.  As Power Girl would say-

Power Girl missing something DC Comics News

Look for this to win awards next year.  We need a graphic for 6/5!

 

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448 Review: Nightwing #105[Editor’s Note: This review may contain

It appears that Sonic Superstars will be released just three days before Super Mario Bros Wonder, pitting the legendary mascots head-to-head once again.

As reported by Sonic Stadium, a listing on US retailer Target’s website says the game’s release date will be October 17.

This was later given further weight when an October 17 release date was also spotted on the game’s listing on retailer GameStop.

If the date is accurate, it means Sonic and Mario will be going head-to-head, with Super Mario Bros Wonder releasing just three days later on October 20.

Target’s listing also notes that the game’s pre-order bonus will be a Lego Eggman in-game character skin, as well as an acrylic display stand and a reversible game cover.

Both games feature traditional side-scrolling 2D gameplay, and both include co-op play for up to four players (for the first time in Sonic’s case).

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Sonic Superstars, which lets players control either Sonic, Tails, Knuckles or Amy Rose, is being developed by Arzest, the Japanese studio run by the mascot’s original creator Naoto Ohshima.

According to Sega’s description: “Sonic and his friends’ journey starts on the beautiful North Star Islands, a mystical place offering never-before-seen environments, as well as a mysterious story waiting to unfold.

“Enormous creatures, exhilarating adventures, and evil plans from Dr Eggman await Sonic and his friends, who can now obtain brand-new abilities known as the Emerald Powers when Chaos Emeralds are collected.”

Super Mario Bros Wonder, meanwhile, is the first entirely new 2D Mario adventure in 11 years, following New Super Mario Bros U in 2012.

The game’s main gimmick is the Wonder Flower. According to Nintendo: “When you touch a Wonder Flower in the game, the wonders of the world unlock – pipes could come alive, hordes of enemies may appear, characters might change their looks, for example – transforming the gameplay in unpredictable ways.”