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Blake Mills started working with the jazz musician Chris Weisman on the soundtrack for the Amazon Original series Daisy Jones & the Six. Their assignment was a weird one—make a fake Laurel Canyon album for a fictional band—but it seems to have struck up a rewarding creative partnership, which pays off on “Skeleton Is Walking,” the first song from Mills’ upcoming solo record, Jelly Road.

Mills co-wrote the album with Weisman, and the two virtuosos work up a rumpled groove, the guitars falling ever-so-slightly out of phase with each other while the drums drift around an uncertain rhythmic center. It was likely the result of painstaking rehearsal, but it feels like a jam session in the back of a crowded pub. Mills’ small voice offers dreamy musings that float like torn journal scraps: someone’s building a fire, someone’s getting flayed. The song seems to be coming over a hill, forever about to come into focus, until a guitar solo like heat lightning sends it scuttling back away, just out of reach.

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Blake Mills started working with the jazz

In 2016, documentary director Cynthia Hill received a LinkedIn message from Stephen Pandos, a man who believed that his parents were responsible for the 1987 disappearance of his 15-year-old sister, Jennifer Pandos.

Hill remembers reading the message and thinking, “there must be a story there.”

So the director of “Private Violence” and “What Happened, Brittany Murphy?” began filming Stephen.

“When you start a project you are never sure if there’s going to be anything there or not,” she says. “But we thought it was at least worth doing a test shoot.”

That test shoot was followed by seven-and-a-half years of filming Stephen as he launched his own investigation into what might have transpired at his parents’ house the night his sister vanished. While the investigation into the case threatens to destroy Stephen’s family, new leads emerge, calling into question everything that he believes.

Stephen’s strenuous journey for the truth is captured in Hill’s four-part HBO docuseries, “Burden of Proof.”  The director spoke to Variety about using recreations, tracking down subjects and acting as both a director and mediator on the project.

You said that you don’t watch true crime docus, so what drew you to this one?

What drew me to the story was this emotional rollercoaster that Stephen had already been on and that he was continuing to be on.

Why do you think Stephen reached out to you 29 years after the disappearance of his sister?

He really wanted to find out what happened to his sister, and he was convinced that his father was responsible. We tended to believe that as well. That’s what the cops were telling us and the case file that we had access to led us all to believe that that likely was the scenario. So, for us it was not necessarily a whodunit. We weren’t trying to prove that (the father) did it. It was more about trying to just witness this destruction of this family and how you come out of that? Then of course there is this unexpected turn, and everything becomes even more complicated.

Was it always the plan to interview not only Stephen but his parents, as well as police involved in the case and numerous other central figures?

When we started filming, we had this list of must-haves. One was that Stephen’s mother and father must participate. Another one was that the police must participate. All of these things were musts for us to feel like we had something that was worthy of pursuing. Slowly but surely, we were able to check off all those boxes.

Was it difficult to convince people so close to the case to participate?

It took us maybe two years to get everybody.

In addition to Jennifer Pandos’ immediate family, you also spoke to her friends, relatives, and former boyfriend. How did you find all of these people?

I ended up bringing on a former investigative reporter who had worked for the Raleigh News & Observer. She came on board to really help us navigate the crime components and help us locate people, because I had never done anything like that before.

In the series you are a mediator of sorts between Stephen and his parents. Was that hard?

Yes. We actually ended up splitting the family members. I was responsible for mom. (Producer) Christine Delp spoke to Stephen a lot. I spoke to dad. Another producer, Andrea Weigl, was speaking to the cops. So we partitioned them off so that we could keep a little bit more perspective.

You rely on recreations to tell this story. What was that like?

I’m not a fan of recreations. I did not want to fall into that trap of using them because we don’t have B-roll. The recreations had to serve a purpose. I wanted that content to really emphasize the unreliableness of memory. Everybody has a different idea of what transpired. Also, everybody had different descriptions of Jennifer. That to me was super fascinating. I thought it was really important to convey that to the audience early on in the series. Also, I wanted to give the audience, hopefully, the idea that what we were showing in these recreations, for lack of a better word, is not what we consider truth. I didn’t ever want it to be mistaken for truth. I wanted it to be obvious for the audience that it is a visual interpretation from us, the filmmaking team.

The first two episodes of “Burden of Proof” debut on HBO June 6. 

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In 2016, documentary director Cynthia Hill received

Outfest has lined up its opening and closing night films.

The Los Angeles LGBTQ film festival — scheduled for July 13-23 and presented by Warner Bros. Discovery and Genesis Motor America — will open with Aitch Alberto’s Aristotle and Dante Discover the Secrets of the Universe at the Orpheum Theatre and close with Sav Rodgers’ Chasing Chasing Amy at the Montalbán Theatre.

The selections mark the first time in the fest’s history that both the opening and closing night films come from trans filmmakers. Furthermore, both Alberto and Rodgers hail from Outfest’s artist development programs. Alberto participated in the Outfest screenwriting lab in 2007 and has since served as a mentor to young filmmakers in Outfest programs, while Rodgers participated in Outfest’s OutSet filmmaking lab and mentorship program as well as the screenwriting lab in 2021.

Based on Benjamin Alire Sáenz’s young adult novel, Aristotle and Dante Discover the Secrets of the Universe centers on the friendship between two teenage Mexican-American boys in 1987 El Paso who explore a new, unusual friendship and the difficult road to self-discovery. Max Pelayo and Reese Gonzales star in the lead roles with Eugenio Derbez, Eva Longoria, Veronica Falcón and Kevin Alejandro rounding out the cast.

The film is produced by Dylan Sellers and Chris Parker of Limelight Prods., Big Swing Prods.’ Valerie Stadler, Ben Odell and Eugenio Derbez of 3Pas Studios, and Lin-Manuel Miranda’s 5000 Broadway Prods. Limelight funded the film along with Boies/Schiller Entertainment. Zack Schiller, David Boies, Kyra Sedgwick, Meredith Bagby served as executive producers on the film along with Alberto. The film premiered at the Toronto International Film Festival and will be released in the U.S. by Blue Fox Entertainment.

Chasing Chasing Amy, set for a world premiere at Tribeca Festival in June, follows Rodgers as he investigates the history and legacy of Kevin Smith’s 1997 indie hit Chasing Amy, a film that changed the trajectory of Rodgers’ life. It features the participation from Kevin Smith, Joey Lauren Adams, Jason Lee, Guinevere Turner and LGBTQ+ notables including former Outfest executive director Christopher Racster, Andrew Ahn, Princess Weekes, Trish Bendix and Bob Hawk. Chasing Chasing Amy is a Yeehaw Pictures, Spacestation and Professional Amateur production produced by Alex Schmider, Carrie Radigan, Lela Meadow-Conner, Matthew C. Mills and Rodgers.

A still from the film Chasing Chasing Amy directed by Sav Rodgers.

Courtesy of Outfest 2023

 “The power of filmmaking can inspire, uplift, and unite audiences, and this is something that our community needs now more than ever as our rights are being attacked and restricted across the country,” said Damien Navarro, executive director of Outfest. “To make history while we celebrate the power and creativity of our community with these two incredible filmmakers gives us hope that our voices can encourage future generations of artists.”

About opening the fest, Alberto said, “I stand as an example that anything is possible when we move with intention, resilience, and purpose to show that we are more than what you define us as. How fitting to get to do it with this story, a story rooted in the invitation to see the love around us and to stand in our very truth. I can confidently say that on Outfest’s opening night I will be standing in my truth. I’m forever grateful to this important organization and for this opportunity to celebrate.”

Rodgers said Outfest has been invaluable to his development as a filmmaker and he called the selection “the honor of a lifetime.” Added Rodgers: “Over the last 41 years, Outfest has been a platform for so many brilliant queer films including some from our own filmmaking team. I can’t think of a better homecoming to showcase a film that celebrates and critiques how our community has been represented over time.”

Outfest tickets and passes will be available beginning June 20.

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Outfest has lined up its opening and

EXCLUSIVE: As Ukraine appears to be embarking on a major counteroffensive against Russia’s invasion, a new film about the war is set to make its world premiere at the Tribeca Festival.

Rule of Two Walls, directed by David Gutnik and executive produced by actor Liev Schreiber, creates a “visceral and vital portrait of today’s Ukraine through the lens of artists.” We have your first look at the film in the trailer above. 

“Rule of Two Walls is an intimate look at the war in Ukraine, as seen through the eyes of Ukrainian artists who remain in their country to make art as a defiant act in the face of aggression,” according to a description of the film. “Using live music performance, painting, street art, and the act of filmmaking itself, it illuminates the war’s psychological frontlines: how to go to a restaurant or bar amid the near-constant blare of air-raid alarms and missile strikes; how to process, react and resist, while having to go about the rhythms of daily life. Blurring the lines between what is seen in front of and behind the camera, the film probes what it means to make cinema in a time of war.”

‘Rule of Two Walls’

2Brave Productions/Park Pictures/Stacey Reiss Productions

The film, playing in Documentary Competition at Tribeca, premieres on Thursday evening, with a Q&A to follow featuring Gutnik, Schreiber and film participants from Ukraine. Additional Tribeca screenings are happening on Friday, June 16 and Sunday, June 18 (with Q&As to follow each show).

“The film’s subjects are Gutnik’s intimate collaborators in exploring what it means to navigate the jarring rhythms and surreal juxtapositions of life under the shadow of war,” writes Robert Winn in the Tribeca program. “A young couple wakes to air raid sirens and has tea on their balcony. Neighborhoods lie in ruins, and the community comes together to sweep up broken glass and rubble. Scenes of utter devastation provoke insomnia and numbness — yet friends gather to relax in a bar, an art center pushes ahead with a new exhibition, and artists redouble their commitment to their craft.”

Director David Gutnik

Director David Gutnik

2Brave Productions/Park Pictures/Stacey Reiss Productions

Rule of Two Walls is written, directed and edited by Gutnik, a Ukrainian-American filmmaker whose feature debut, Materna, won awards for Best Cinematography and Best Actress at the 2020 Tribeca Festival. Producers of Rule of Two Walls are Olha Beskhmelnytsina, Sam Bisbee and Stacey Reiss. Cinematography is by Volodymyr Ivanov and David Gutnik, with original music by Andrew Orkin. Executive Producers are Liev Schreiber, Natalia Libet, Lance Acord, Jason Weinberg, Brett Etre, Jackie Bisbee, Michelle Booso, and Gil Elbaz. Emily McCann Lesser is co-producer.

Watch the trailer above.

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EXCLUSIVE: As Ukraine appears to be embarking

Almost a century later, SAG-AFTRA and others have worked to strengthen the original law to better protect the assets of child actors. In 2000, California law changed to ensure that any income minors made from the entertainment industry was their property, and did not belong to their parents. In California and many other states, parents and guardians are required to set aside 15 percent of child actors’ gross earnings in a trust for their future use. In addition, most states have laws that regulate child actors’ employment, with some of the strictest, like California’s, restricting how many hours a child can work and other provisions.

None of these laws, though, apply to children making money on the internet. That’s a problem, writes Marina Masterson in a 2020 piece on “kidfluencers” for the University of Pennsylvania Law Review. “Because kidfluencers have no legal right to these earnings or safe working conditions, the risk of exploitation is extreme and immediate,” Masterson writes.

Masterson, however, acknowledges the issue is complicated to fix. After all, even regulating child actors has been a struggle, with a “patchwork” of state laws regulating the industry rather than a federal mandate, she says. Regulating kidfluencers, who are most of the time being filmed or photographed in their own homes by their parents, is even more complicated.

As Masterson writes, “Certain common child actor regulations, like those involving work permits and workplace conditions, are difficult, if not impossible, to impose on kidfluencers.” This is due to the nature of how the content is produced and filmed. There’s no set, no working hours, and no script. Rather, the filming is spontaneous, in their own home, generally without a set schedule.

For example, some states dictate how many hours a child can be on set in a typical film production, which is pretty easy to enforce. But it’s much trickier to enforce a work hour limit, Masterson writes, when the “set” is the child’s own home. “Even if the state set an hour limit that these children can work, the only way to enforce that rule would be to monitor the families within their own homes, which would be an overstep by the state,” she writes.

Thus, trying to make Coogan Law protections apply to kid influencers would be “largely unworkable in the fast-paced social media context, which is generally confined to the family unit,” she writes. “Financial protection is immediately possible through Coogan Laws, but regulating the content production itself presents new and challenging questions that require states to consider the specific needs of the social media industry.”

Ultimately, Masterson says she believes that at the very least, Coogan-style financial protections should be enacted to protect kidfluencers. But she concedes that the other issues are complicated, recommending lawmakers “continue to research and refine the appropriateness of other regulations.”

As of now, though, she writes, kids and parents are mostly on their own to regulate themselves: “Children spend hours per day producing high-valued content at the direction of their parents with no financial or personal protection besides the good will of their parents.”

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Almost a century later, SAG-AFTRA and others

With the “Transformers” franchise clearly at a crossroads, its latest protectors have turned to their deep bench of characters. But just adding more robots won’t transform this tired series.

“Transformers: Rise of the Beasts” returns the franchise to its galaxy-wide self-importance after taking a nice detour with 2018’s smaller “Bumblebee.” We have a new cast of animal robots and a very evil enemy in the planet-eating Unicron, but they’re not used right and the movie limps from fight to fight.

The key to the film is actually a key, some sort of ancient glowing shaft that will open a portal in space and time. Everyone wants it — to go home, to kill planets or to save planets. The audience may also want to use it to beam into a more interesting movie.

Directed by Steven Caple Jr. — using a screenplay by Darnell Metayer, Erich Hoeber, Jon Hoeber and Josh Peters based on a story by Joby Harold — “Transformers: Rise of the Beasts” is a big swing that seems to portend a multi-film arc nestled in time after “Bumblebee” and before the first live-action “Transformers” movie.

The problem with “Transformers: Rise of the Beasts” is the same problem faced by all of the installments — balancing the humanity with the metal. “Bumblebee” got the ratios right by bringing the machine down to size.

But a wide gulf between the humans and the giant space robots immediately appears in the new movie, with Optimus Prime being his classic, anal drill sergeant self — “If we are to die, then we will die as one,“ he’ll intone. As the movie stutters on, the robots seem to soften only when the beasts show up for the last third — they mourn, get angry, feel protective, love even.

The filmmakers also have tried to bridge the divide with none other than Pete Davidson, who voices the juvenile robot Mirage, a wisecracking, fist-bumping silver Porsche 911 with a less rigid way of expression: “Don’t mess with my boy!” and “Prime, you got to learn how to relax, my man.” It mostly works — best line: “I’m not scared. That’s just engine oil!” — but Davidson seems trapped inside that steel.

The special effects are astounding but sometimes numbing at the same time. The beasts — especially a nostril-flaring gorilla — are gorgeously realized and the baddies look cool as they control elements in space and time, like building sky walkways as they move on them.

Setting the movie in 1994 gives the filmmakers some vintage fun, like adding beepers and references to O.J. Simpson, plus a soundtrack including A Tribe Called Quest and LL Cool J. But even here they get stuff wrong, like using Biggie’s “Hypnotize,” which came out in 1996, and having a character sing “Waterfalls” by TLC a year before it came out.

The Autobots are represented by Optimus Prime (voiced by veteran Peter Cullen), Bumblebee and Arcee (voiced by Liza Koshy). Then there are the Terrorcons, led by Scourge (Peter Dinklage), who controls swarms of horrifying insect robots and says things like: “Rip the flesh from their bones.”

On the puny human side, Anthony Ramos plays an ex-military electronics expert from Brooklyn named Noah, who has a sick younger brother — Dean Scott Vazquez, the best actor of the bunch — and is tempted to criminality to get him proper care. On his first heist, he accidentally gets into Mirage and, after an excellent high-speed chase, meets the rest of the Autobots.

Looking for the portal key, he meets Elena, played by Dominique Fishback, a museum intern with an astonishing ability to recognize everything from a fake Leonardo da Vinci painting to an Nubian sculpture even though she’s never been outside New York. Soon she’ll be roaming ancient tombs in Peru like Indiana Jones.

Real-life friends Ramos and Fishback have talked about their chemistry, but none of it made it onto the screen. Just like the robots, their scenes are overly heightened and overacted, like an intense bubble of distilled humanity between giant robot fights. It’s not clear even what their relationship is — more siblings? Would-be-lovers?

Much too late come the titular stars of the show — the beasts. There’s Optimus Primal, a 13-foot-tall metallic silverback gorilla voiced by Ron Perlman; Cheetor, a cheetah the size of a small truck voiced by Tongayi Chirisa; Airazor, a peregrine falcon who shoots fire, voiced by Michelle Yeoh; and Rhinox, a battering ram on legs, voiced by David Sobolov. The film comes to life with them.

They’ve been hiding out on Earth, too, and a lot longer than the Autobots. They’ve even become sort of fans of us humans: “There is more to them that meets the eye. They are worth saving,” says Optimus Primal.

We Earthlings turn out to have been housing an awful lot of secret sentient robots and this latest clutch arise from the shadows like cicadas at a time when A.I. and ChatGPT are a societal worry. Look, maybe we should be anxious. ChatGPT clearly could have a written a better movie.

“Transformers: Rise of the Beasts,” a Paramount Pictures release which arrives in theaters Friday, is rated PG-13 for “intense sequences of sci-fi action and violence, and language.” Running time: 127 minutes. One star out of four.

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MPAA Definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

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Online: https://www.transformersmovie.com

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Mark Kennedy is at http://twitter.com/KennedyTwits

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With the “Transformers” franchise clearly at a

The “Angry Birds” universe just became one series bigger. Amazon Prime Video and Amazon Kids+ has picked up “Angry Birds Mystery Island” to series from Eric Rogers (Futurama) and Titmouse.

“We’re excited to work with Amazon to add a new chapter to the Hatchlings’ story in ‘Angry Birds Mystery Island,’” said Rovio’s head of Brand Licensing, Hanna Valkeapää-Nokkala. “I’m sure fans of the Hatchlings will be eager to see them in their own series, with speaking voices for the first time.”

The 24-episode first season will follow three new hatchlings — Mia, Rosie, and Buddy — and a foreign-exchange piglet named Hamylton on their all-expenses-paid island getaway, where they find themselves mistakenly catapulted onto an uncharted island. Left to explore the exotic sights, smells, and unexplained phenomena of their new environment without any adults around, the ragtag bunch quickly learns that, in order to survive and make it back home, they will need to unlock the mysteries of the island together.

Harvey Guillén (“What We Do in the Shadows”), Kate Micucci (“Scooby-Doo!”), Dominic Monaghan (“The Lord of the Rings”), and Nasim Pedrad (“Saturday Night Live”) make up the voice cast on the animated series.

Eric Rogers, showrunner, head writer, and executive producer adds: “Working with such a dream team and cast has been the highlight of my career. Together, we are hatching a series full of comedy, heart, and binge-worthy mystery, filled with laugh-out-loud moments.”

“It’s exciting to expand the ‘Angry Birds’ universe with endearing new characters and multilayered storytelling that speaks equally to kids and kids at heart,” says Veronica Pickett, head of Original Series at Amazon Kids+.

Chris Prynoski (“The Legend of Vox Machina”), Shannon Prynoski (“Fairfax”), Antonio Canobbio (“Arlo the Alligator Boy”), and Ben Kalina (“Harriet the Spy”) at Titmouse will executive produce alongside Rogers. “Mystery Island” is the first Angry Birds series created with Amazon.

“’Angry Birds’ captivated people of all ages and became a global phenomenon with the debut of their first game, and their cultural presence has remained steadfast,” says Melissa Wolfe, head of animation, Amazon Studios. “We are excited by the opportunity to expand the Hatchlings’ world into a family series for our global customers to enjoy even more stories around these beloved birds.”

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The “Angry Birds” universe just became one

Some amazing new Limited Release pins were just spotted in two of the parks this morning!

As summer is kicking into full gear, our MickeyBlog reporters are in the parks finding some awesome new merchandise available. 

Pin Trading

At Pin Traders in Epcot…

As you’re heading into Epcot this morning, stop by Pin Traders in the Camera Center by Spaceship Earth to check out some Limited Edition new releases!

Pin Traders Camera Center

Photo: Also Disney

Our reporter found three new pins this morning!

First, check out the nostalgic Animal Cracker Day Pin. This pin reminds us of the boxes of animal crackers we loved as kids. 

pin trading

But these aren’t just any animals – this pin features some of our favorite Disney animals, like Dumbo and Baloo! This pin is priced at $17.99.

For the princess-loving pin collectors, check out this Disney Darlings pin! 

Disney Darlings, Luca

This pin features Aurora, one of the original Disney Princesses, curtseying next to her royal bed. This pin is available for $19.99.

In honor of summer, the Limited Release Pixar Pin features Luca holding an ice cream cone. 

But don’t. miss the Donald Duck doll in his arms! This unique pin is $17.99.

Heading over to Magic Kingdom…

Our reporters spotted more Limited Release pins at Magic Kingdom today! 

Disney World

Disney World

Fantastic Four pins made their way to the Magic Kingdom this morning and can be found at Frontier Trading Post. Of course, there are four different pins!

If you’re a fan of the Fantastic Four, you’ll love the representations of each of these, and they’re available for $17.99.

First, there’s Mr. Fantastic. himself! His pin pairs well with Invisible Woman.

Add to your Fantastic Four pin collection with the Human Torch and Thing! 

You can try buying one at a time and building your Fantastic Four collection, but keep in mind these are all Limited Release, and they will sell out!

Have you seen the new Pixar movie Elemental? If you have and you love it, don’t miss this next pin!

This pin features the four Elemental characters, and is available for $17.99.

Pin Trading and Pin Collecting

Pin trading has been a popular activity for Disney-goers since the late-90s. 

It’s a fun activity for both kids and adults. Pin traders can sport their lanyards around the parks and trade their pins with Cast Members at select locations to change their collection.

For some, there are pins they have found they just don’t want to trade. Limited Edition Pins like those our reporters found today are ones many want to keep.

Make sure you. head to the parks to grab these pins now!

Ready to plan your next Disney Vacation? MickeyTravels can help. Contact me at mcook@mickeytravels.com for your FREE, no-obligation quote today! 

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Some amazing new

Retro Review: Power Girl TPB (2006)
[Editor’s Note: This review may contain spoilers]

Writers: Geoff Johns, Paul Levitz, Paul Kupperberg
Art: Amanda Conner, Joe Staton, Mary Wilshire, Peter Snejbjerg, Patrick Gleason, Jimmy Palmioti, Dick Giordano, Joe Orlando, Christian Alamay
Colors: Paul Mounts, Adrienne Roy, Jerry Serpe, Carl Gafford, John Kalisz
Letters: Rob Leigh, Ben Oda, Shelly Leferman, Albert T. DeGuzman, Ken Lopez

Reviewed by: Matthew B. Lloyd

 

 

Summary

Who is Power Girl?  Is she Superman’s cousin from Earth-Two?  Is she the granddaughter of Arion, Lord of Atlantis?  Is she all of them or none of them?  It’s the definitive history of Karen Starr, Power Girl.

Positives

Some characters have simple histories and status quo’s and others have more complex stories.  After Crisis on Infinite Earths, DC Comics found it necessary to come up some retroactive continuity for certain characters in order for them to make sense in the new unified DC Universe- worlds lived, worlds died and there was only a single universe that survived.  Power Girl was one of those characters. With the elimination of Earth-Two from continuity, she could no longer be the cousin of a Superman who had never existed.  This Power Girl trade paperback collects the stories that not only provide her original origin story from Showcase #97-99 and her retconned post-Crisis Atlantean origin, but most importantly the story from JSA: Classified #1-4 that returned Kara Zor-L to her roots.  Not only does it make sense of Power Girl’s history, but it also sets the stage for her future adventures in her first and only ongoing solo series which would launch after Infinite Crisis.

These stories give the reader the full picture of Power Girl.  Not only do we get the narrative, but we also get the characterization.  If the reader doesn’t know what Power Girl is like it’s all in this collection.  From the first story that is reprinted from Showcase #97, it’s clear that Kara Zor-L is a brash, independent and confident young woman.  Right out of the gate she is unwilling to let reporter Andrew Vinson have any amount of control over her story.  This continues through the reprinted stories and excerpts.  Even in her Atlantean origin from Secret Origins #11 (1987) when she is questioning her origins she feel like the same character.  The story itself explains why she believes she’s a Kryptonian from an alternate universe, and also depicts her attitude aligned with her established characterization.

Power Girl Arion DC Comics News

Positives Cont’d

Before getting to the JSA: Classified reprints, the Power Girl TPB utilizes a few pages from JSA which set up the problems that Kara’s been having with her powers.  Even these few pages give the reader the confident self-assured character.  Geoff Johns and Amanda Conner bring it all together as Kara’s true origins are revealed in a story that reconciles her now erroneous Atlantean origin.  Along the way, the Psycho-Pirate torments Power Girl with multiple incorrect origins for her.   It’s a fun diversion as Johns draws on characters from DC’s larger continuity.   Ultimately, she lands with her mind intact, even if she has questions about her place.  But, she does acknowledge that the JSA has been like a family to her, and earlier in the story she recalls how happy she was on Earth-Two.  (I was happy on Earth-Two also!).  

Power Girl Happy on Earth-Two DC Comics News

The three main artists in Power Girl TPB all give the reader a sense of how the character’s look has developed over the years.  While she had some very different looks in her days with Justice League International, over the years she keeps coming back to something based on her original and now classic costume which debuted along with her in All-Star Comics #58.  This collection proves that classic is best for both her history and costume.  While Joe Staton and Mary Wilshire provide great work on the PG of their respective eras, Amanda Conner’s work is the artistic standout of the collection.

This of course leads to a possibly controversial discussion about her appearance.  Of course, I am referring to her bust size.  What started out as a visual gripe by Wally Wood about how he was being treated has become one of the most recognizable and talked about aspects of the character.  Is she overly sexualized?  As she once said said she’s “just a healthy woman?”  While this aspect isn’t addressed in the reprints from the ’70’s or ’80’s, by the time JSA: Classified #1 came out in 2005, it had become an issue.  The stories acknowledge it by allowing Power Girl to embrace her physical appearance.  She’s aware of how she looks, and she’s ok with it.  She’s aware of how she’s perceived by others both positively and negatively.  She’s supremely confident.

Power Girl JSA Family DC Comics News

When first introduced, she was young, blond and buxom- attributes associated with unwarranted stereotypes in a male dominated medium by both creators of the content and the characters in the comics. Her characterization was designed to contrast against these biases as well as the attitudes of her own JSA teammates. She almost has to be busty and blonde for her to work. It’s visual hyperbole. It’s a case of subverting expectations that isn’t clichéd and works because deep down we know that the stereotypes are inaccurate.  It’s the old “don’t judge a book by it’s cover.”  She looks how she looks, and she should be treated with dignity and respect.  It’s even possible to flip it the other way in terms of body shaming.  People look how they look and it’s not a reason for derision or disrespect.

Negatives

As a fan of Power Girl since the late ’70’s it’s hard to find a fault with this collection.  

Verdict

If you’re a fan of Power Girl, then Power Girl TPB (2006) is the place to start.  It’s also the perfect starting point for the uninitiated.  Power Girl is one of the first overtly feminist characters created in the midst of the Women’s Liberation Movement of the ’70’s.  Her confidence and sense of self are integral to understanding the character.  She’s stood up  to Superman, the JSA and anyone else who would seem to minimize her or hold her back.  Amanda Conner proves with her work included from JSA: Classified that she is THE iconic Power Girl artist of the 21st Century and arguably all-time.

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51 Retro Review: Power Girl TPB (2006)[Editor’s Note: This review

Sony Interactive Entertainment has released June’s first batch of PlayStation Plus games.

This month’s PlayStation Plus Essential games are NBA 2K23 (PS5, PS4), Jurassic World Evolution 2 (PS5, PS4) and Trek to Yomi (PS5, PS4).

Subscribers can claim the games until July 3.

Essential is the entry-level PlayStation Plus membership tier, which offers subscribers access to a few ‘free’ games every month.

Players can continue to play these games even after they’re no longer available to claim at the end of the monthly period as long as they continue to subscribe to PlayStation Plus Essential (or a higher tier).

Once their membership ends, they’ll no longer be able to play these games unless they resubscribe.

May’s PlayStation Plus Essential games were GRID Legends (PS5, PS4), Chivalry 2 (PS5, PS4) and Descenders (PS4).

Sony Interactive Entertainment CEO Jim Ryan said last month that 30% of PlayStation Plus users are subscribed to the more expensive Premium and Extra tiers, which were introduced last summer.

Sony’s ongoing Days of Play sale includes discounts on PlayStation Plus subscriptions. For both new and current members, all 12-month plans (Essential, Extra, and Premium/Deluxe) have been discounted by 25%.

Current PlayStation Plus Essential and Extra members can also get 25% off 1-month, 3-month, or 12-month memberships when upgrading to a higher tier.