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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.

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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.

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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.

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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.

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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.

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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.”