|OLD-TIME RADIO AND COMICS HEROES BURST BACK ONTO THE SCENE!03/28/12 @ 4:15 pm EST
Source: USA TODAY | Comments (0) | E-mail Article | Add a Comment
Who knows what evil lurks in the hearts of men? (Hint: The guy dresses up in a cape and runs around at night. And it's not Batman.)
AH, SO THE TOTALLY AWESOME HULK IS AMADEUS CHO AFTER ALL09/04/15 @ 11:06 am EST
The Shadow still knows — as do Flash Gordon, the Lone Ranger, the Green Hornet and other heroes of 1930s and '40s radio shows, pulp magazines and movie serials.
These good guys are making a comeback, though mainly in comics and feature-length movies. Next month, The Shadow receives a comics reboot courtesy of Dynamite Entertainment, which also publishes ongoing series starring Flash Gordon and Green Hornet plus a new title with pulp hero The Spider that's due in May.
On the big screen, a masked Seth Rogen stung bad guys in last year's The Green Hornet. And in The Lone Ranger, in production for release in 2013, Armie Hammer rides tall as the title cowboy with Johnny Depp as his sidekick Tonto. Baby Boomers grew up watching the Clayton Moore TV series in the '50s, although the saga began as a 1933 radio show in Detroit.
Though these characters may not be as well known as today's comic-book superheroes or the Star Wars and Harry Potter clans, they were the bee's knees for a generation that was decades away from the Internet and iPods.
Before Batman, there was the alter ego Lamont Cranston donning the shadowy mask and hat while haunting radio waves as The Shadow, voiced by Orson Welles in the late '30s.
And before Superman and Captain America there was Flash Gordon, an all-American space adventurer who tussled with planetary tyrant Ming the Merciless in sci-fi comic strips by Alex Raymond and serial films starring Buster Crabbe.
"The '20s and '30s are seen as a very romantic age, with the criminal underworld of urban America and high adventure of exotic foreign locations providing a bit of an edge," says Garth Ennis, who is writing the new Shadow comic. "The reality, I'm sure, would have been mostly a lot more mundane and occasionally quite grim."
He's crafting The Shadow as a dangerous champion of law and order with a flair for the dramatic, and he is embracing one of the vigilante's oldest and most famous traits: his habit of laughing as he consigns his enemies to their doom.
"I decided to be fairly sparing with it," Ennis says. "If he started howling every time he threw a punch or fired a shot, it would get old fast. So I decided to preserve the laugh for moments of deep, dark, extreme humor."
His take on The Shadow comic is a bloody affair, where the mysterious figure dispatches bad guys with violent aplomb. More than 70 years ago, though, audiences had to visualize with their imagination what was going on during the radio-show exploits.
The popularity of the old Shadow and Green Hornet radio shows and their ilk in their heyday is best compared to programs children flock to today, such as Hannah Montana and Dora the Explorer, says Martin Grams Jr., a radio-show historian and author.
Back then, kids and adults would read books, pulps and comics because they were a cheap form of entertainment, and radio was an even bigger medium because it was free.
Some adaptations tank
While movies measure success with box-office receipts, commercial sponsors would gauge ratings of radio shows based on the number of giveaway premiums offered during the commercial breaks — such as various Lone Ranger rings and badges. They were then used to persuade sponsors to stick around because of a large listener base.
It wasn't just kids, either. Housebound and disabled people "who couldn't go visit their local movie theater had the opportunity to enjoy action and adventure with the turn of their dial," Grams says.
"The business of pop culture was defined during the 1930s and 1940s when movie producers snatched up the screen rights to popular radio programs and produced motion pictures, serials and film shorts based on the properties."
Since then, movie studios, TV networks and comics publishers have attempted adaptations of those characters, with varying results.
The Lone Ranger TV series began in 1949, ran eight seasons and defined the character for many. Flash Gordon sped off to space with live-action and animated shows, and a 1980 film became a cult classic with Sam Jones clad in a white shirt bearing the word "Flash."
But two more recent movies, The Shadow (1994) with Alec Baldwin and the 1996 Billy Zane vehicle The Phantom (based on the comic strip from the '30s), were not exactly heroic at the box office. And Disney's new big-budget John Carter, based on the Edgar Rice Burroughs pulp sci-fi hero, has thus far tanked.
"My theory is that modern audiences have a hard time accepting un-ironic heroism unless it's presented just right," says Eric Trautmann, writer of Dynamite's Flash Gordon: Zeitgeist series. (A devotee of the era, Trautmann has a Maltese Falcon on his desk, a statue of Humphrey Bogart as Sam Spade, a Buck Rogers blaster and a replica 1930s radio.)
He concedes that pulp is difficult to write because it requires a certain innocence. Nazis show up in his series, but when they're the evil-doers du jour, modern audiences can't help but think of the Holocaust, "a sort of demise of innocence for the Western world." That makes it a lot harder to take the proceedings seriously.
'We're all geeks in a way'
"The obvious inclination is to keep things a little more self-referential and cartoony, tongue firmly in cheek," Trautmann says, "and that kind of thing really works against the story, the character, and readers' and viewers' embracing the tale."
Those characters of yesteryear, however, remain important in the history of pop-culture heroes, says comic-book artist Alex Ross, one of the creative spearheads of Dynamite's pulp series.
"Seeing how a character like The Shadow would influence every other flamboyant costumed hero in history was very interesting to me," he says. "A load of the earliest superhero fashions came from the artists swiping from Alex Raymond's Flash Gordon."
Heroic fiction draws from a lot of the same wells. Without John Carter in 1917, Trautmann feels we probably don't get Flash Gordon in 1934, a quintessentially American protagonist whose "unflappable 'can do' attitude and unshakable optimism would resonate in almost any era." Without Flash, there's no Luke Skywalker or Han Solo in Star Wars, and without that, we don't get Avatar.
"Even Star Trek owes a debt to period literature —Captain Kirk as Horatio Hornblower in space," Trautmann says. "Heroic fiction shares those archetypes and themes, so that influence is probably so ingrained now that a modern practitioner might not even be aware of what influenced the sources he or she is drawing inspiration from."
Affection for heroic pulp specifically — as with old-school sci-fi, fantasy and mystery stories — seems to be cyclical, Trautmann says. But the resurgence of these characters is also being helped by an overall nostalgia for the early- to mid-20th century, from Boardwalk Empire to Mad Men.
"It's been a rough decade or two," he says. "Looking back on what seems to be a simpler, less complicated time is certainly appealing."
Curiosity and a drive to seek knowledge are probably the main reasons people like to revisit historic pop culture, Grams says.
"We're all geeks in a way, trying to intake all the information we can on a comic-book character or movie, then digest, then recollect to friends to show how much more we know than they do."
The historian enjoys seeing kids introduced to heroes that were a seminal part of their grandparents' lives. He says it's a good bet they know tons more about The Hunger Games and Twilight than old Shadow magazine tales, and have no idea of the existence of Lone Ranger radio shows of yore.
"In my experience," Ennis says, "these characters tend to be pretty strong to begin with: They go through periods of revival, then slump due to overindulgence, then lie dormant, then undergo the next revival. But they always come back."
And, Grams notes, "the oldies are still the goodies."
Source: Bleeding Cool | Categories: Hulk | Comments (0) | E-mail Article | Add a Comment
MARVEL’S ‘DAREDEVIL’ CASTS STEPHEN RIDER AS NEW REGULAR FOR SEASON 209/04/15 @ 10:59 am EST
It was the worst-kept secret in comic books.
Entertainment Weekly has confirmed that the star of the upcoming Totally Awesome Hulk
by Greg Pak
and Frank Cho
is indeed his semi-occasional sidekick and terribly intelligent fellow, Amadeus Cho.
Source: Deadline | Categories: Daredevil | Comments (0) | E-mail Article | Add a Comment
MIKKI KENDALL TALKS SWORDS OF SORROW: MISS FURY / LADY RAWHIDE09/04/15 @ 10:47 am EST
Daredevil will be introducing another character from the Marvel comic book universe in Season 2. Deadline is reporting that Stephen Rider (Lee Daniels’ The Butler) will be joining the Netflix superhero series as a new regular.
He will play Blake Tower, a District Attorney for New York City who helps Charlie Cox’s Daredevil — a lawyer in his civilian identity as Matt Murdock — with information to help track down and capture criminals.
Source: Bleeding Cool | Categories: Dynamite | Comments (0) | E-mail Article | Add a Comment
WRITER’S COMMENTARY – SWORDS OF SORROW: MISS FURY / LADY RAWHIDE09/04/15 @ 10:44 am EST
Writer Mikki Kendall
talks about her addition to the Swords of Sorrow
summer event from Dynamite
. Swords of Sorrow: Miss Fury / Lady Rawhide
special includes art byRonilson Freire
and a cover by Mirka Andolfo
. The book is on sale now.BYRON BREWER: How does it feel to be a part of this all-female character/writer event?MIKKI KENDALL:
The She-vengers are amazing. It’s a very talented group who have been incredibly patient with all of my newbie questions. Also we have cupcakes. I’d tell you more, but the rest is a secret.BB: What was the main challenge (time and space notwithstanding, lol) in bringing the characters of Miss Fury and Lady Rawhide together in a “team-up”?MK:
There’s such a wide disparity in technology between the two eras so it was a lot of fun to play with the anachronisms, but I had to be careful what I inserted. Far easier to explain a car in one panel than an airplane. The space constraints of this medium were something that I definitely had to adjust to, but I enjoyed the challenge.BB: After plotting this one-shot and getting into its script, have you found a favorite in one character over the other, and why?MK:
My favorite is actually one of the villains. Voodoo was a lot of fun to resurrect. She’s aChaos!
heroine, but I got to twist her a little for this story, and have a reluctant villain. Of the two heroines Rawhide is probably my favorite because she subverts expectations. Reformed villain who still has an edge is always fun to write. I … might have a thing for villains.BB: Would you be interested in doing a solo book starring this femme fatale?MK:
I would love to do a solo run for Voodoo. I think she’s got a lot of story potential, and she’s got that mix of courage and darkness that makes for a great anti-hero.BB: How has it been working with artist Ronilson Freire?MK:
It was great. Very straight forward process and his work is gorgeous.
For more information on the Swords of Sorrow: Miss Fury / Lady Rawhide
special, click here
Source: Bleeding Cool | Categories: Dynamite | Comments (0) | E-mail Article | Add a Comment
CORINNA BECHKO DOES COMMENTARY FOR ALIENS / VAMPIRELLA #109/04/15 @ 10:38 am EST
If you picked up the new Swords of Sorrow: Miss Fury / Lady Rawhide
special yesterday you got to see a cover by Mirka Andolfo
, interior art by Ronilson Freire
and a story by Mikki Kendall
. This was Kendall’s first time doing a comic book and now we get an idea of what she was thinking with this writer’s commentary.Pages 3-5
I’m a prose writer, and with this being my first comic book I tried not to waste any time getting readers into the story. 22 pages isn’t a lot of space to tell a complete story. But I think the revolving door in the desert worked really well to accomplish the transition between Rawhide’s world and Miss Fury’s. Plus who doesn’t love a good fight scene in the first few pages? Kudos to Friere for making such an odd concept pop on the page.Page 7-8
I love the way the Courier’s face is drawn in this scene. Imagine having to intervene in one argument after another, just to hand over the Swords Of Sorrow, and explain very quickly that there wasn’t time for them to be fighting with each other. Then you have to leave them to sort it out. I assumed he’d be frustrated, and also mildly perplexed by their behavior. After all, the universe is in danger, does it even matter who started the fight? Lady Rawhide and Miss Fury are pros, but they are still humans with human foibles and I think that part would absolutely perplex the Courier.Page 10-11
When two worlds are literally colliding, you really get to let your imagination run wild. Fortunately Ronilson is a mind reader and drew exactly what I was thinking. This is a Where’s Waldo of anachronisms, and I thought the two suns was a perfect touchPages 14-15
Writing the action in this set of pages, I knew it had to feel frenetic with very few words. If the world is falling apart there isn’t going to be time to sort everything out. Rawhide and Fury don’t know what’s going on, but they don’t have to have all the answers to get to work. Also I love the way that Purgatori’s wings fill the page, and that Voodoo’s arm muscles are so clearly defined.Pages 17-18
Apocalypses make for strange bed fellows. For these heroes (and villains) it’s not so much whether or not they want to work together, as it is they don’t have any other choice. Purgatori and Voodoo were so much fun to write, in part because they absolutely loathe each other. I wanted that tiny bit of realism in the middle of this, that sometimes you have to work with people you can’t stand just to get things done. Ronilson did an amazing job with their facial expressions here. Fighting is hard work, and painful so of course they don’t just look pretty. It’s pulp, but it’s not necessarily cheesecake.Pages 20-21
Voodoo is a reluctant participant, and I wanted her to give Rawhide at least a little bit of the missing information. In the middle of a fight there might not to be time for details, but there’s certainly time for a few facts. Lots of buildup, lots of action with all of these women, and the people around them who are impacted by what’s going on getting in on the action. I had a really good time writing all of these characters, and setting up a world where it makes sense for a priest and a bruja to work together. No questions asked, just deal with the demon and hope the rest sorts itself out.
Source: Bleeding Cool | Categories: Dynamite | Comments (0) | E-mail Article | Add a Comment
Dynamite and Dark Horse have released the first issue of a new series combining two horror icons… Vampirella and Aliens. The series is written by Corinna Bechko, drawn by Javier Garcia-Miranda and has a cover by Gabriel Hardman. Here we have the writer’s commentary for the first issue by Bechko.HINDU GROUP PROTESTS AGAINST DOCTOR WHO COMIC09/04/15 @ 10:31 am EST
Page 1 – I figured everyone would be waiting for the two title characters to show up, and that would mean a lot of expectations about what would be in the first issue. So why not put a little mystery up front instead? It’s obvious that neither of these guys is Vampirella, so hopefully the reader is already asking questions and wants answers.
Page 2 – Aha! There’s the first half of our equation! It’s important that the introduction of our main monster be frightening, and that just what Javier delivers here. The mystery remains though. Where is the vampire?
Page 3 – Action! These people are fighting for their lives, and the battle is violent. If you’ve read this far you know that you’re in for some serious bloodshed.
Page 4 – A big reveal on the page turn, one that Javier and I discussed quite a bit. Here’s a vampire, but it’s not Vampirella. Suddenly, the fight seems a bit more fair. Well, for a moment anyway. Readers of Nancy Collin’s run on Vampirella will recognize this guy as a Nosferatu, which will hopefully make them ask even more questions. People who haven’t read those earlier comics won’t be lost though, since it’s clear that he’s a vampire of some sort, a point that will be very important later.
Page 5 & 6– Mars! Now we know where we are. And here’s our second important character. Javier did such a lovely job of introducing her in that close up.
Page 7 – Hmm, this base seems to have a human crew. Not a vampire in sight. I felt that it was important to have some characters that were recognizably not alien since our hero is a bit of a monster, and our villain is very much a monster.
Page 8 – After that lovely shot of Vampirella in her iconic outfit, Javier and I decided that she should wear something more practical when actually on Mars. She still totally, confidently owns it though.
Page 9 – Some more introductions, and a bit more information about what’s going on, including a hint about just how different Vampirella is from the humans that she’s been hired to help. One of the challenges of writing a miniseries is making sure that the stakes are established pretty quickly, but not swamping the first issue with a bunch of exposition at the expense of action and mystery. It’s a fine line sometimes.
Page 10 – The mystery deepens. I love how Javier handled that spooky second panel
Page 11 – Here’s a good example of how the art really has to carry the story in a comic. All the dialogue in the world couldn’t get across how weirded out Vampirella is by what she’s seeing in these catacombs.
Page 12 – Some very creepy stuff here, and now Vampirella gives voice to what’s worrying her. But the reader knows that she was concerned even before seeing these mummies. And that hopefully builds the tension better than a simple shock.
Page 13 – A bit more exposition, but coupled with something active. I feel like it’s important to never do a big info dump all at once. This is comics, after all. People want to see more than words on a page.
Page 14 – Here’s a bit of a trick. The reader already knows the horror that this page represents, but our characters don’t just yet. It took me a little while to figure out a way for the scene to retain tension and not bore the reader, since they know what to expect and are waiting for it now, but at the same time allow the characters to act naturally as they discover the facts for themselves. Hopefully it worked.
Page 15 – My solution was to inject a little levity while ramping up the threat. But none of that would have worked if Javier hadn’t done such a good job with the body language of the characters.
Page 16 – The trap is sprung and our title characters finally meet! I wanted Vampirella to do something heroic right away, so that the reader could see where she stood in relation to the humans. This will be important later on when things get a bit testier.
Page 17 – And… Now we see, right away, that even Vampirella isn’t up to this fight. These creatures are dangerous! The reader knows this, but I felt like it was important to reestablish the stakes, and at the same time do something unexpected. In a book like this everyone is waiting for the big fight. I figured if we got it out of the way in a hurry, and it went badly, everyone could sit back and relax into the story from here on out.
Page 18 – A dream sequence! Yes, everyone loves to pick on them, but I think they can work if they help the pacing and the mood. Plus, it gives Javier a chance to create a really disturbing page.
Page 19 – 20 – Another place where fans of Alien will be way ahead, and that’s okay. This is a downbeat, threat-is-past moment, except that it hopefully feels very tense because everyone reading knows what’s coming. In the scripting stage, I had forgotten to specify that there should be dead “husks” on the ground near the group, but Javier and I talked about it when he was doing layouts and so they were included after all. It’s really helpful when writers and artists can collaborate like that, and it makes for a better book.
Page 21 – Unlike film, comics don’t have sound to clue you into the mood and to ratchet the tension, but they do have their own language of color that can sometimes work in the same way. As this scene progresses we know something is horribly wrong, and the shift from cool colors to warm ones telegraphs the fact that things are about to go to hell, exactly as a soundtrack would.
Page 22 – The chestburster scene in Alien scared me to death when I was a kid, so of course I’m happy that I got to write my own version here. Javier gave it great impact, and I love how you can compare the teeth on Vampirella and on the chestburster. So pointy, so wicked! Traditionally, a lot of Vampirella art is about looking at her chest, so I’m pleased that Javier and I found a new reason for that to be the focal point of a splash page.
For more information on Aliens / Vampirella #1, click here.
Source: Bleeding Cool | Categories: Doctor Who | Comments (0) | E-mail Article | Add a Comment
HEAR ‘THE FORCE AWAKENS’ VILLAINS KYLO REN AND CAPTAIN PHASMA SPEAK FOR FIRST TIME09/04/15 @ 10:19 am EST
The Oye Times in Canada and Eurasia Review report that an American Hindu group is objecting to the publication of a Doctor Who
comic last year, The Twelfth Doctor
#3, over its website description,Kali, oldest and deadliest of these creatures, was thought defeated long, long ago; her body scattered throughout time to prevent her return.
There is no evidence that any member of this group has read the comic in question, however. Or even knows that it’s a Doctor Who
, President of Universal Society of Hinduism, in Nevada, has called for Titan Comics it withdraw the comic, both from stores and online, and offer a public apology from all those responsible.
And states that the goddess Kali was meant to be worshipped in temples or home shrines and not to be thrown around loosely in reimagined versions for dramatic effect in comics. And that calling her a “creature” was hurtful to her devotees.
It is reported that Rajan Zed stressed that Hindus are in favor of free speech as much as anybody else, if not more so. But this statement is followed by the word “but” which, as usual, means that this former statement is not always true, and then says that faith is something sacred, and any attempts at belittling faith hurts the devotees.
Doctor Who fan site Kasterborous reviewed the subsequent issue #4, saying,The Kaliratha are like the demon Raktabija, an innumerable threat that seems to increase in size whenever one of its horde falls. Unlike Raktibija, however, the Kaliratha are the servants of Kali, Goddess of time and death. One would be hard pressed to find a more apt villain for a Doctor Who story taking place in India.
It may be worth reminding readers that free speech, if it is worth anything, includes that which you object to or are offended by in others in order to preserve your own.
However Titan Comics did want to issue this response. They told Bleeding Cool,Titan comics apologise for any offence caused by the representation of Kali in this comic. This particular character is an alien that uses the iconography of Kali to infiltrate India in the 1800s. The story eventually reveals that this entity is not the goddess of the Hindu faith. Titan‘s Doctor Who comics draw inspiration from historical events and cultural traditions from all over the globe.
Source: Comic Book Resources | Categories: Star Wars | Comments (0) | E-mail Article | Add a Comment
Warning: Potential spoilers follow for “Star Wars: The Force Awakens.”MEET POP CULTURE ICON WILLIAM SHATNER AT FIVE WIZARD WORLD COMIC CONS09/04/15 @ 8:28 am EST
Lucasfilm and director J.J. Abrams have managed to maintain a shroud of mystery around “Star Wars: The Force Awakens” — particularly the key villains, who have yet to even speak in the trailers. But with Force Friday now unleashing wave after wave of “Star Wars” merchandise upon a grateful planet, we now get to hear Kylo Ren and Captain Phasma speak for the first time.
On Twitter, David Popineau has posted brief videos of talking masks featuring lines delivered by actors Adam Driver and Gwendoline Christie. As io9.com notes, at this point we can only presume it’s dialogue from the film.
Video 1: https://pbs.twimg.com/ext_tw_video_thumb/639561103261999104/pu/img/z6BsE2pKzpROUyhz.jpg
Captain Phasma’s lines aren’t particularly revealing: “Move, to your ships now”; “On my command”; “Fire FM 2187″; and “Submit your blaster for inspection.” However, Kylo Ren’s? Well, judge for yourself: “I feel it too”; “You know what I’ve come for”; “Together, we will destroy the Resistance and the last Jedi”; “Don’t fight it, you know you can’t”; “I’m immune to the light” ; and “Who will step in the way?”
Video 2: https://pbs.twimg.com/ext_tw_video_thumb/639560599869984768/pu/img/mLA-epBqOyIXPZnj.jpg
IGN also found a talking Kylo Ren figure that adds more dialogue to the mix: “I’ve been waiting for this for a long time”; “Is it true? You’re just a scavenger?”; “Don’t be afraid”; and “That weapon is mine.”
Vidoe 3: https://youtu.be/Y4D0wnze6ZI
Let the speculation commence (or, rather, re-commence). “Star Wars: The Force Awakens” opens Dec. 18.
Source: Wizard World | Categories: Marvel | Comments (0) | E-mail Article | Add a Comment
DISNEY SUES OVER EDIBLE CAKE FROSTING FEATURING MARVEL, LUCASFILM CHARACTERS09/04/15 @ 8:26 am EST
Whether you know him best as Captain Kirk, T.J. Hooker, Denny Crane or even the Priceline Negotiator, William Shatner
has been a dominant figure in pop culture for a half century.
Always a hugely popular Wizard World guest, Shatner will appear five Wizard World shows in the coming months. He'll meet fans, sign autographs, pose for photo ops and conduct an always entertaining Q&A panel.
"Beam" over to meet him in Pittsburgh
(Sept. 11-12), Columbus
(Sept. 18-19), Fort Lauderdale
(Oct. 2-3), New Orleans
(Jan. 8-9) and Portland
Source: The Hollywood Reporter | Categories: MIsc | Comments (0) | E-mail Article | Add a Comment
FEIGE THREATENED TO LEAVE TO FORCE MARVEL SHAKE-UP09/04/15 @ 8:19 am EST
On Wednesday, Disney and Sanrio teamed up to file a copyright and trademark infringement lawsuit against the operator of a business who is selling "unlicensed and counterfeit edible cake frosting sheets and related items, which incorporate unauthorized likenesses of animated or live-action characters or other logos."
According to the complaint in California federal court, Michigan resident George Wilson
is creating cakes bearing plaintiffs' intellectual property. The complaint isn't particularly specific, but Disney and Sanrio note they have created such characters as Hello Kitty, Luke Skywalker, Iron Man and Captain America.
The lawsuit is being handled by J. Andrew Coombs
, who has carved out quite a practice area in recent years on behalf of clients Disney, Sanrio and Warner Bros.
Some intellectual property lawyers specialize in pursuing typeface font infringement while other attorneys appear to have identified graffiti infringement as the next great legal hot zone.
Coombs handles lots of cases in the area of unauthorized kitsch. In the past, he's represented studios over unlicensed cellphone charms, pet paraphernalia, party goods and supplies, vinyl bracelets, and more. His recent case over Darth Vader cufflinks was settled this week with defendants agreeing to a permanent injunction — a pretty typical outcome in the kitsch IP game — while his most famous case, involving replicas of the Batmobile, is awaiting a decision by the 9th U.S. Circuit Court of Appeals on whether Batman's car is a "character" protectable under copyright law.
Now, add edible cake frosting to his plate. The trademark claims are premised on consumers being confused about official sponsorship or endorsement by the studios while the copyright claims attack too-similar reproductions of creative authorship. Among other demands, the lawsuit wants authority to seize "any molds, screens, patterns, plates, negatives, machinery or equipment used for making or manufacturing" the counterfeit cakes.
Source: ICv2 | Categories: Marvel | Comments (0) | E-mail Article | Add a Comment
Marvel Studios head Kevin Feige, one of the most successful film-makers in Hollywood, threatened to leave the studio before Disney CEO Bob Iger approved the reorganization that moved Marvel Studios from the control of Marvel CEO Ike Perlmutter to Walt Disney Studios head Alan Horn.
Feige and Perlmutter clashed most recently over the making of Captain America: Civil War, which has taken on outsize scale, with a huge cast that includes most of the heroes of the Marvel Cinematic Universe, leading to the kind of increased costs that are anathema to Perlmutter. The dispute also involved tensions between Feige and the Marvel Creative Committee, which consists of Marvel Publishing CEO and Marvel Entertainment President Alan Fine, Marvel Publisher Dan Buckley, Marvel Chief Creative Officer Joe Quesada, and writer Brian Michael Bendis.
With Feige threatening to leave, Iger acceded to his wishes and changed the reporting structure for Marvel Studios. As another result of the reorganization, the Marvel Creative Committee’s influence over the film side of the business will be reduced to a nominal level, according to the report.
Budgets may not be the only area in which Marvel movies will change in the wake of the reorganization. Perlmutter was opposed to the idea of female stars for superhero movies, for example, even though the numbers for Marvel movies show a strong female audience. Could we see stronger female characters, and more of them in future Marvel movie slates?
Latest News1. AH, SO THE TOTALLY AWESOME HULK IS AMADEUS CHO AFTER ALL
Updated: 09/04/15 @ 11:06 am
2. MARVEL’S ‘DAREDEVIL’ CASTS STEPHEN RIDER AS NEW REGULAR FOR SEASON 2
3. MIKKI KENDALL TALKS SWORDS OF SORROW: MISS FURY / LADY RAWHIDE
4. WRITER’S COMMENTARY – SWORDS OF SORROW: MISS FURY / LADY RAWHIDE
5. CORINNA BECHKO DOES COMMENTARY FOR ALIENS / VAMPIRELLA #1