First hardcover edition of BILLI 99 coming from Clover Press

Clover Press Presents The First Hardcover Edition of BILLI 99, an Early Creator Owned Comic Drawn by Tim Sale, Now Coloured by José Villarrubia

Tim Sale was one of the most celebrated and beloved comic book artists of his generation. Frequently collaborating with writer Jeph Loeb, Tim illustrated seminal stories featuring Batman, Catwoman, Superman, Spider-Man, Captain America, Hulk, and Daredevil as well as the cult favorite TV series Heroes. Now Clover Press is publishing the first-ever hardcover edition of Sale’s first full-length comic book work, the Eisner Award-nominated BILLI 99, written by Sarah Byam. This new edition, which is being crowdfunded on Kickstarter, features glorious colors by the award-winning and fan-favorite color artist José Villarrubia.  

First published by Dark Horse in 1991 as a four-part mini-series, BILLI 99 is a cautionary tale about corporate greed and a corrupt government. It asks: what is power when everything has been taken away? The book contains 196 pages of breathtaking, lovingly painted, duo-shade art, and the hand lettering that would become Tim Sale’s signature font. The story introduces the teen vigilante hero. Billi Chadam takes up her late father’s sword to bring down the powers of oppression and give the people of her city back their lives. BILLI 99 is a story of hope and inspiration.

“A few years before Tim passed, he, editor Patty Jeres, and I tried to finance a hardcover, color version of BILLI 99 and were repeatedly frustrated, but the idea of printing a definitive version of the book remained steadfast,” said writer and co-creator Sarah Byam. “BILLI 99 was a favorite of Tim's and it's important to us to do it justice, as we introduce this early and important work to a whole new audience.”

“Sarah Byam’s BILLI 99 is a unique perspective on the comic book hero,” writes Tim Sale’s widow, Susan Bailey in her new essay for the book. “It’s as fresh today as it was in 1991 when it was first published. You’ll see why Tim was proud to be part of the telling of this twist on the typical comic book hero, especially if you knew him personally, after reading the book. I hope you enjoy it as much as I did when Tim first introduced me to Billi.”

"Along with everyone else who knew him, worked with him or simply enjoyed his work, I was very saddened by the passing of Tim Sale,” said José Villarrubia. “ I had admired his work for years and had had the opportunity to work with him several times, including in Superman for All Seasons, SOLO, and Batman/Catwoman: The Wedding Album. I missed BILLI 99 when it was first published in black and white. I am very thankful to Sarah for bringing me into this project. I think that readers are going to be very surprised by it. For me, this is a splendid opportunity to rend homage to a great comics artist."

“Tim and Sarah felt like there never was a version of BILLI 99 that fully reflected their final vision,” said Clover Press Publisher Hank Kanalz. “It is a great honour for Clover Press to publish the definitive edition of BILLI 99.”

The Clover Press Edition of BILLI 99 includes multiple extras, including a portrait tribute of Tim Sale by legendary artist Bill Sienkiewicz, an essay by Susan Bailey, and pin-ups by Matt Wagner, Rick Hoberg, Andy Kuhn, and Tomm Coker.

 

Praise for BILLI 99:

“BILLI 99 is a compelling graphic journey; with a must-read story by Sarah Byam and stunning must-see artwork by the late great Tim Sale. In short, this is a must-have collection. Period.”— Bill Sienkiewicz (Stray Toasters, Elektra Assassin)

 

“Before I found my way into the glory of Tim Sale's artwork, an equally talented writer named Sarah Byam had the good fortune of finding Tim. This is the story that launched him into the public eye. Part Zorro, part great female hero, and all incredibly original, BILLI 99 is finally collected here with stunning colors by Jose Villarrubia.  Tim is gone now, but his legacy lives on through his talent and BILLI 99 is a must have for your collection.” 

—Jeph Loeb (Batman: The Long Halloween, Spider-Man Blue)

 

“In BILLI 99, Tim Sale showed the world the sort of epic comics artist for which he would become so renowned, while Sarah Byam delivers a strong, believable and utterly compelling female adventure character. BILLI 99 is at once an irresistible mixture of power and rage, sympathy and grace.”— Matt Wagner, (Grendel, Dracula: The Impaler)

“Atmospheric visuals and a compelling narrative — an inspired vision of America’s future that feels like an observed reality.”—Dave Gibbons (Watchmen, The Originals)

 

To support the project, visit the Kickstarter here. For updates, follow Clover Press on Instagram, X and Facebook. You can subscribe to the Clover Press newsletter here. 

 

How 'Ted Lasso' helped me take a look at myself

Heads up there are a few spoilers for Ted Lasso season two in this blog.

The TV show Ted Lasso is an oddity. The concept isn’t something I should be interested in, and on paper it shouldn’t work. I’m not a fan of football in the slightest, and it being based on a series of comedy commercials, history tells us it should have become a series of shallow jokes about a fish out of water. It should have failed with the first season. However, it has become a phenomenon, and rightfully so. In a world divided, confused, and scared for the future comes a show that is willing to wear its heart on its sleeve and be a positive force.

That’s not to say it’s devoid of conflict or that its saccharine in its chirpy happiness. What makes Ted Lasso special is its honesty. Often when that term is used for a TV show, it’s a hard hitting drama about the worst life has to offer. While I appreciate those shows are important, showing a glimpse of how some people are forced to live, I do believe the incessant grimness has been a contributing factor in the global emotional and psychological decline. Oddly contributing to further despair, without providing suggestions for a solution.

I will acknowledge that Ted Lasso is about a football club and people that earn millions of pounds. However, it doesn’t dwell on rich people problems, or diminish the people that aren’t in the same tax bracket. The football and the money are barely a consideration or a factor in the show. Yes, they inform elements and the framing but at its heart its about people from very different backgrounds working together to raise each other up, and every week it raises me up to.

The show has covered a number of topics and themes, and I think there are great articles to be written about the portrayal of women in business, the complexity of relationships, grieving and creating a positive working environment. What I want to focus on is how it has broken down and helped me address my own toxic masculinity.

As I reach 40, I have taken a look back at my life and, like everyone else, there are things I know I could have done better at or dealt with differently. One of those things is my own relationship with my emotions and mental health. I grew up in the 80’s and 90’s and my fictional role models were action stars and superheroes who dealt in actions rather words. Greif was an opportunity for revenge and lashing out. If a wrong was identified in the world it was an opportunity to blow stuff up. There was no room for emotions. John Rambo starts by exploring his PTSD and trauma to then being dropped back into war for entertainment. Not great therapy, and the way to work through those pesky trauma nightmares was to kill more baddies.

In the 90s, during my teen years, I was swamped by Lad Culture. Get drunk and be loud, with a side of obnoxious. It was an extension of the 80s yuppie culture, work hard, play harder. I was pretty good at that. Over the years I became more worldly, and I like to think more balanced. I have had some hard lessons about how to manage and work with people. I have tried to be better and be a positive influence on people I know and work with.

I grew up with prejudices that I have addressed, and I’m embarrassed I ever held them, but somethings are harder to work on than others. My understanding and acceptance of the wider world, and the wonderful array of people that live In it, has always been tempered by how I have perceived myself and what I feel.

I have trouble with my weight and will often work ridiculous hours to get work done. I take on too much and when I get frustrated, I let it build up into anger. Then when things don’t work out, or I have too many plates spinning I get annoyed at myself for not being able to keep everything moving. This then results in the behaviour that contributes to my weight issues. It becomes a cycle. I know this, and have done for years, but to admit it, to let others know that I know this, would be the biggest failure. To admit that I can’t do any more, or that I have hit my limit when I know that others are under pressure as well is, as far as I have seen it, a sign of weakness, and so I carry on. Not wanting people to think less of me. I’m a man and I should be able to shoulder this burden. Just grab another snickers and knuckle down harder. During the pandemic this behaviour has been worse than ever.

But that may all be in the past.

Ted Lasso season two has made me stop and take a step back. Football clubs are often portrayed as hives of competition and alpha males. Ted Lasso has taken a different tact and shown how this team supports each other. In this season three elements have made me take stock.

Jamie Tart dealing with the pressure to succeed from his Father and supporters has been fascinating to watch. The internalisation of the fear of failure and the constant push for you to the be the sole winner of a team game struck home. The moment he punched out his Dad was stunning. A full stop moment. Yes, it was frustration spilling out, but it was not for him, it was for him as part of the team. A moment to say, ‘no more’ and I am part of this team, and they are there for me. The fact the punch was followed by a hug from Roy Kent was perfect. We often work as a team, in life and in work. within in that team we have responsibilities, but we are not responsible for the whole team. Be good at what you are good at and help the others to do the same and positive results are a lot more likely.

Let’s talk about Roy Kent. He should be the worst offender, but they have under-cut this perfectly and created a new modern role model. The curmudgeonly Roy has a life and reputation built on aggression and machismo. However, his arc has led him to become a great example of the ability and need to adapt and try new things, especially as we move from one stage of life to the next. His desire to change, adapt and learn for the people he loves is an inspiration. They are the people we need to be better for the most. I now stop an ask WWRFD: What Would Roy Fucking Do?

The most important is Ted and his anxiety attacks. His relationship with Dr Fieldstone has also made me question some of my own habits and what may have caused them. I’m not going to delve into my life story here (you can wait for the book J), but Ted discussing how the suicide of his father has shaped his approach to life and the emotional impact this has had, when he is forced to have to give up on things, stopped me in my tracks. The question I asked was, who am I trying to impress? What am I getting from the hours given up and why am I doing this? The waking up at 4am with anxiety isn’t a sign I care about my work, it’s a sign my work is damaging me. This isn’t something that I am going to address overnight, but these questions have started a chain reaction that has allowed me to stop and say, ‘Yes, I am struggling, and I need to take a breath’. What comes next I still need to figure out, but I know that I do need to figure it out.

Everyone behind Ted Lasso should be proud. Not only are they creating a funny show with heart, but they are also creating role models that show young (and some not so young) men, that being a man isn’t about being stoic, bearing the burden and keeping going. It’s not macho to just keep going and wash down the negativity. Being a man is about being a part of the world, being who you are, but knowing that we can all be better and being willing to explore ways of achieving that. It doesn’t mean the world and life will be easier, but it does mean that we don’t have to do it alone.

I’m heading into middle age, and I am scared of it. I am scared I won’t be able to keep up. I am scared that things are getting on top of me. I am scared that I won’t be relevant anymore. Ted Lasso came at the right time and has helped put some things in perspective for me. It’s fine to be sacred of these things, the world can be fucking scary, but its not helpful to keep those fears to myself. WWRFD? he’d begrudgingly talk to Keely, and they would work it out together, whether it’s easy or hard.

I’m about to be 40 and its time to make some changes.

Hellier, synchronicities and the wider weird

I think we can all agree that it’s a funny old world, and I’m fascinated by why it’s so odd and the different ways people perceive it. Recently I watched a documentary series, Hellier. A It follows a paranormal research group after they receive an email about Goblins being spotted in the caves and abandoned mines of a small town in Kentucky, Hellier. Goblins are one thing but after the initial investigation the story starts to spiral; following a series of further emails, findings, and synchronicities they are taken on a mystic journey that may or may not result in a magical rite to open a gate for the god Pan to re-enter the world.

It’s a brilliantly made show and well worth your time if you are interested at all in the weird or wider supernatural. However, whether you believe some of the conclusions that the team, and show, reaches I will leave to you. I’m not sure what I believe, but then I’m not sure the people in the show entirely believe what they are seeing and experiencing either. I’m not going to comment on the larger story that manifests, what I would like to consider is the repeated synchronicities that occur.

Let’s start by trying to explain what a synchronicity is. In essence it’s a coincidence, two or more events that don’t appear to be causally linked but can be considered linked by the person that experiences them. A simple example would be thinking about someone and then bumping into them later in the day. Your thinking of them did not have a causal impact on your chance of seeing that person later in the day. So how do these differ to synchronicities?

The key would be that synchronicities have more meaning, or at least perceived meaning, for the experiencer. Usually driving a personal narrative or purpose forward. Take the same example, if what you were thinking about the person was that you wanted to confront them about something. Bumping into that person has given you the opportunity for confrontation. The event has personal meaning.  

The other thing to note about synchronicities is that they often appear to happen in bursts. This burst, in itself, is noticeable to the experiencer.

After watching Hellier I took more interest in this subject and started reading and listening to other things about synchronicities and some of the wider supernatural elements. I was (and still am) questioning if these synchronicities in the show were of any value or just a manufactured narrative trick to get to the next twist.

So, what happens when you start questioning coincidences and synchronicities? Do you experience more, or are you more likely to notice the things in life that fit the bill but were already likely to happen?

Well in the last week I have experienced three synchronicity type events, but how should they be perceived?

The first noticeable event happened at the start of last week (Monday 21st June). I have been moaning about my job and have discussed with Alex (my wife) about whether I should start looking for other jobs. I hadn’t made any active progress to start looking, no changes to LinkedIn or status updates on social media. However on the Monday and Tuesday I was contacted by two separate agencies about job opportunities that I would be able to apply for and have a strong chance of getting.

The second was about my second vaccine jab. I had my first on May 15th and on Thursday morning I sat in bed thinking that I really needed to follow up and try and book my second jab before I go on holiday. Within 3 hours I received a text message with a link to book my second jab, It’s now booked and I’ll be fine to travel to Scotland.

The final one happened the day after. My bike has been in for repairs for a several weeks, waiting on a part. I talked to Alex about giving the shop a call to chase up the repairs. Again, within a few hours, I was sent a message from the shop letting me know that they had found a way of doing the repair without the part and my bike was ready to pick up.

Yeah, I agree these all pretty mundane, but they have an impact on what happens next in my life, on different levels. They do impact my personal narrative

I could explain that as we exit the lockdown period there are going to be more job opportunities, coming up and therefore agencies reaching out. Or that the timing for the vaccine was a natural body clock, I knew how far it is between the two jabs and it popped into my mind just as it was my time. Each taken on their own is a lucky coincidence, a fortuitous event, but they didn’t happen on their own. They all happened in a 5 day period, while I had started to think about, and research, synchronicities and the wider weird of Hellier.

A part of me could write this off as nothing. My brain filling in gaps between events that have no meaning. Another part however is curious. I asked the question, in my own mind at least. Is something giving me a glimpse of an answer? I’m not expecting, or wanting, a grand journey but I am going to push things a little further.

I’ve ordered a book on Sigil magic and one on the secret cipher of the ufonaughts, the higher beings Aleister Crowley was allegedly in contact with. Over the summer I’m going to conduct a couple of experiments and document them in this blog. Let’s see if there is something more out there and if they are interdimensional Praying Mantis.

Hellier is available on Amazon Prime and on YouTube on the Planet Weird Channel (https://www.youtube.com/channel/UCH2NwCAEpwXKuHIc2v6jgXw )

Advanced Review of the BBC's The City and The City adaptation

I recently had the opportunity to watch the first two episode of the BBC Two adaptation of China Miéville's novel The City And The City which will start on April 6th.

In the last year we have had some amazing high concept sci-fi shows come our way. I’m a big fan of WestWorld, Altered Carbon and Black Mirror. All the American shows have a gloss and sheen but we brits like to have a grimier cynical take, which is why Black Mirror always stands out. This same approach is taken with The City and The City. This is a European noir murder mystery wrapped in a high concept sci-fi world.

The high concept in The City and The City is that two cities, Besźel and Ul Qoma, exist in the same space but in different phases of existence. Citizens of both cities can travel to the other across a heavily guarded boarder. Each city has its own history and social structures, as well as a heated rivalry.

The press release describes the series as:

The body of a foreign student is discovered in the streets of the down at heel city of Besźel. Cases like this are run of the mill for Inspector Tyador Borlú (David Morrissey) of the Extreme Crime Squad - until his investigations uncover evidence that the dead girl had come from another city called Ul Qoma. But the relationship between the two cities defies comprehension and will challenge everything Borlú holds dear.

The show plays with this concept brilliantly in its use of design, colour pallet and cinematography. The city of Besźel is established as a 1980s Eastern European former communist state, all drab concrete and crap cars. The city of Ul Qoma on the other hand is a modern cityscape of steel and glass. Establishing this concept and the world quickly is useful because you are dropped into this world and expected to keep up with what is going on.

The police procedural element is standard enough and easy to follow. Confusion creeps in as you’re escorted around Besźel and its complex political and social structure. While they are talking English for the most part non-English words and phrases are used, to highlight that this is a different world, with little to no explanation. Further to this, the story moves along the dank corrupt corridors of power in the city of Besźel and the viewer needs to keep up to understand who has authority over whom.

Half way through the first episode I was a little lost, however by the end I was so absorbed by the world and the details that were being presented that it didn’t matter. I understood that the show was making me part of the investigation. I didn’t need to know everything at the start because enough information will be parceled out as the story progressed. It’s up to me to be quick enough to pick it up and keep it straight in my head.

This world and story is brought to life by a great cast. David Morrissey brings a gravelly gravitas to the core of the show, which is what I would expect from him. The rest of the cast is led by Mandeep Dhillon as the fun and sweary Besźel Constable Corwi. She and Morrissey are great foils for each other, an anchor for the viewer and representations of a culture that is changing over generations. They are joined in the second episode by Maria Schrader as Senior Detective Dhatt of the Ul Qoma police force. She is more than a match for Morrissey, carrying a level and air of authority with ease. Having German born Schrader representing Ul Qoma is a great move; she brings a modern European sensibility and energy as the story progresses.

What I have seen so far is strong; it pulled me into the mystery and the world. I’m itching to watch the rest of the series. The second episode ends on a cliff hanger that will take the story in a different direction and if it is as textured and well thought out as the start, it’s going to be ace. I have also purchased a copy of China Miéville's novel so I can enjoy the source material as well, but won’t be reading it until I have watched the full series. There is so much depth and detail to this world that I’m expecting to get very different experiences from the different mediums.

In summary, this is a strong show that I really hope finds an audience on the BBC. It will have you talking about it the next day. The concept and the ideas that have been fleshed out deserve discussion and attention. The City and The City showed me that British Sci-fi can compete and I hope you try it out.  

I recently had the pleasure of being invited to the Madame Tussauds Blackpool Marvel Experience opening night. It was a fun evening and I left feeling impressed with the quality of the experience and all the exhibits.

Being a podcast about 20th Century Pop Culture this kind of thing is perfect for me. I got to get a photo with Sid Rotten, Freddie Mercury and the Two Ronnie’s. I was a happy little nerd to begin with.  So to top it off with the main reason I was there was awesome.

The exhibit is split into four areas each focused on different parts of the comic experience. The first is a faux comic book shop displaying a wide array of modern Marvel comics, many of which I have read. However the thought struck me that this was a missed opportunity. The racks could have been used to demonstrate the evolution of the Marvel universe from its Birth in the early 60’s to the Modern Marvel Cinematic Universe (MCU), which the exhibits focus on. Although this may be filled differently when open to the public.

Moving past this you enter the second zone with a smouldering Hemsworth Thor. The statue is excellent, not only is the face spot on the Thor Avengers movie costume is perfect. Set up like an ice cave you also get to see if you are worthy by trying to lift the Asgardian war hammer Mjolnir.

Beyond this is zone 3, an open area with several excellent Marvel Heroes and photo opportunities. The goliath Hulk looks incredible (see what I did there!). He is accompanied by the meanest mother fu… er, greatest spy master Sam Jackson’s Nick Fury and your friendly waxwork Spider-man.

Hulk 1.jpg

In my opinion, the best is saved for last where you will have the chance to have a picture with a full size Groot. It looks stunning and who doesn’t want to join the Guardians of the Galaxy.

It’s not the largest exhibit but it is an excellent celebration on the modern Marvel Universe. All the displays are great with (mostly) life like statues and loads of interactive elements. They are a slice of British pop culture heritage and to have this joined by some of the most iconic characters in modern pop culture is wonderful.

I congratulate the team that worked on this for capturing the essence of wonder and imagination that Marvel and the MCU inspires.  It’s a well worth a visit for anyone holidaying in Blackpool.

Excelsior!

The “Circus Theory” of entertainment, Or why Marvel need more fire eaters

When I spent my spare time dressing in lycra and throwing other men around a squared circle I learnt a lot about how to organise a show to maximise the enjoyment of the audience. It’s a simple theory that my close friend and co-host Mike has quoted at me so many times – a show should always be like a circus. In itself it sounds a bit daft, so let me explain.

The Circus is a single show, you sit down and for an hour or more you are entertained. However, the key is that during that time you will experience so many different acts. It could be the acrobats swinging through the air, the Clowns tumbling, the stunt bikers or the fire eaters risking their lives, if you don’t like one you will like the next, or the next. There will be something that keeps you on the edge of your seat and you will go away thinking about.

We applied the same idea to a wrestling show. You would have a hard hitting match between two technical experts, a fast paced highflying stunt-fest, a dramatic tag team match, a comedy match and finish with a no holds barred hard-core match. They were all wrestling matches but we added in variety so that there was always a match that would stand out for everyone in the audience. 9 times out of 10 this worked perfectly (as long as the matches were good!).

In essence … variety is the spice of life.

So how does this apply to Marvel? I have read Marvel comics on and off for years and enjoyed quite a lot of what I have read. In the last few years however I would say that the majority of what they have to offer is stale and cookie cutter bland. It’s not for want of trying; they have introduced new characters and had some interesting and talented creators work for them. The problem is the majority of the output is a homogenous mass of superhero noise with a couple of outliers that try, sometime successfully, to break the mould (Jeff Lemire’s Moon Knight, Tom King’s Vision, Jason Aaron’s Mighty Thor). They are all slight variations of the simplest of acts; flashy crisis / event driven cartoons with snappy dialogue and humour. This sounds like a good comic, right? It would be but when it makes up 95% of the companies output it gets very boring.

Even when they start with a flair for something different, like Jason Aarons Doctor Strange run, they soon fall back into the standard fare. It’s like the “House Style” leaks into everything and eventually makes it all the same. They have the their “Fresh Start” coming in May 2018 which I am sure will be a loud and fabulous tidal wave of more of the same.

DC isn’t completely free of this but they keep it contained and seem to have found a way of using it. Batman, Superman, Green Lantern and Wonder Woman, the stories often run in cycles and they will never push the boundaries too far. At least in the main run. They use it like a warm blanket, a patchwork quilt of continuity and nostalgia. The difference is that they are actually different characters. The Superman books always feel different from the Batman books which feel different from the Green Lantern books etc.

That wouldn’t be enough on its own, the house style does leak in. So what has kept them a step above? They acknowledge that variety is important. They have multiple worlds they dip into time and time again and use them to try something different; Earth 2 in the New 52 era was interesting for this. They have Else World stories, like the current “Batman: White Knight” story that is playing out an idea that could never be used in the main Batman book. In addition to that they have created imprints that have stretched the possibilities of comics and the superhero world. Swamp Thing, Constantine and Sandman all pushed the boundaries in ‘Vertigo’ during the 90s. More recently they have created the new Imprint ‘Young Animal’ which has allowed creators to push the boundaries of imagination with Shade the Changing Girl, Doom Patrol and Mother Panic, all of which can and do interact with the main DC continuity.

So what we have is two companies producing very similar products:

The first company producing a large quantity of similar products centred on a central style. They rely on customer good will and nostalgia or the love of specific characters that then appear in almost every book (Deadpool at the moment). The result is that customers start to drop off as they tire of not being challenged or being given something slightly different.

The second seems to have learnt a lesson. They also court the sense of nostalgia that exists for their top tier characters and have a habit of over saturation for hot property characters (Harley Quinn, we’re looking at you!). However they have also found a way to challenge those ideas and concepts. Moreover, they have created avenues for creators to really push the boundaries of imagination. A sandpit part of the universe that not only has Batman and Wonder Woman but also a snarky English magician con-man and a team of heroes that live on a teleporting transvestite street called Danny.

I will always want something fun and exciting from my nostalgia character superhero books. They are the bread and butter of the comic book industry and when done well can be great, we all love the acrobats. These are not always enough, for me at least, sometimes I want something different like a fire eater. Then I will look to the fringes and check out something like Doom Patrol or Hellblazer. That means my money is going to go the company that will provide me a Variety Show in their superhero offerings.

Does a hero stop being a hero when they kill?

When you’re a kid you are taught basic black and white rules of morality. Don’t steal, don’t lie and of course don’t kill. As you get older you start to understand that there are moral grey areas. Situations when these steadfast rules of right and wrong are called into question. When certain wrongs could be right. This can start an interesting debate about how best to react to a situation. What is the best moral stance?

Action movies often (if not always) throw these ethics out the window and hope that you, as viewer, are happy to just go along with the ride. You are given a protagonist who is thrown into a situation and must fight for their life or save someone. Simple.

Ok so let’s talk Die Hard. John McClane is trapped in a building with armed men, willing to kill to get what they want. They put him and others under threat. Throughout the film McClane responds with deadly force. In this situation we can accept that killing is inevitable and in this case acceptable, as it is his only way of survival.  

In both Rambo First Blood (1982) and Terminator 2 (1991) we get a direct response to the need to kill. In First Blood Rambo uses brutal but non-lethal methods to take down the police. Rambo is highly skilled and able to use those skills to prevent the killing and lets the Sheriff know that it could have been different. This is a change from the book and makes Rambo a smarter and more dangerous character. The holding back displays a humanity that I think is missing from some actions heroes.

In Terminator 2 it is established that the T800 has detailed files on human anatomy to make it a more efficient killer. However, when given a directive that it should not kill it is able to do so, again using non-lethal (if sill crippling) force.

We can take from this that being skilled in killing means that the hero should be less likely to kill. They need to demonstrate a restrain and have an ability to disarm and stop an attacker, rather than just kill them. Going back to John McClane, we can see that being a New York cop in a desperate situation and not a skilled one-man army the killing is an act of survival rather than attack. Morally, McClane is in a different situation.

You then have the satire of the situation. Robocop is programmed to be a skilled one-man army machine. It is demonstrated in the film that he can disarm a perp without killing when the woman is held at gun point. He has pinpoint accuracy. Plus, he is mostly bullet proof, which reduces the threat level. So, when he walks into a dug den and starts wantonly killing everyone in sight I have ask whether this is satire or if Robocop is failing as a hero.

Taking this to the extreme we get to Batman or as Tim Burton would have us see him, Murderman. In the 1989 Batman film he blows up a chemical factory that we have just seen is manned by goons and quite possibly unwitting factory workers. Not to mention the fact that he has just released god know what into the environment to affect anyone living in the area around the factory. Later he opens fire on a parade with a level of accuracy that would make a Storm Trooper proud. Bullets and shrapnel flying everywhere. Don’t tell me people weren’t hurt after that! In Batman Returns (1992) he has taken it to the next level when he just drops sticks of dynamite down some baddies trousers. This is supposed to be the most skilled martial artist in the world yet he can’t resist a bit of killing.

Ok, I know that Batman is more fantasy but the principle stands. If John Rambo and the Terminator can take the moral high ground over you, you’re in trouble. Spiderman has it right, with great power comes great responsibility. If you are skilled killer, then you should be skilled enough not to kill. I really do think that falling back on just killing in action films is a fault of the writers. The best and most interesting heroes are not just machines they know that lives matter.

I’m not saying I want the cheesy white bread characters of the early 20th century. What I am saying is that we have moved past the killing and destruction without consequence of the 80’s and 90’s. In this day and age, it is more important than ever before for the heroes that are being presented to the world to be shown to consider their actions and the consequences they will have.

Good sequels and Bad

I am really looking forward to seeing The Shape of Water when it released in Feb in the UK. It’s an original film from a fantastically creative film maker and it looks amazing. I must confess though, I am more excited for The Predator, Deadpool 2 and Avengers: Infinity War.

This year there are more than 30 sequels coming out at the cinema and I am sure that I will watch a good portion of them. Although, the way sequels are treated is funny. Fans and movie goers in general, myself included, lament the lack of original movies coming out but we love to see the on-going adventures of characters we know and love. The trick to making a sequel successful is to make it interesting and fresh while not affecting what has gone before or changing what is at the core of the character.

If we look at a couple of movie series that have multiple sequels we can see where some have succeeded and others have failed, at least in my opinion. Now I am going to discount any series based on books (Harry Potter, Hunger Games etc) as they have a template to work from.

To end on a positive note let’s start with two film series that I mostly enjoy but have followed a very similar path and as a result are at a low point. The Terminator and Alien.

They both start with a small sci-fi horror concept, one a haunted house the other a slasher film. Each gained attention and success by creating a complete world and just dropping the viewer in them. The follow ups take that concept and instead of treading the same ground, up the ante. Aliens and T2 are examples of perfect sequels being great movies in their own right, while building on what was established in the first films. James Cameron being the director and creative force behind each is a testament to his talent.

Unfortunately, after that is where its starts to fall apart. In both cases the third film in the franchise tries to do something new, without really respecting the characters that have been established. Both T3 and Alien 3 have uneven tones and do not feel like extensions of the stories that have already been told. In my opinion Alien 3 is a better film that T3. This could have just been a wobble overall but the issues continue.

The fourth instalments in each series (Terminator: Salvation and Alien: Resurrection) are jumps forward in time and force story telling conceits to keep certain characters in play. Both ignore key elements of the past films in favour of trying to standalone. They are shallow and forced. I would even go as far as to say that both have a negative effect on the films that have come before by taking characters in a poor direction.

In both cases this should have been the end. Profits and credibility were low but there was going to be more. In recent years, we have had Prometheus (and Covenant) and Terminator: Genysis which have both tried to rewrite the history of what has come before. I would suggest that that the result is mostly negative and in some ways insulting to fans of the series.

As I say, both are at a low point now but I am sure we will get some form of movie continuation at some point. The only thing I can hope for is that we get a sequel that is honest to what the heart of the franchise is about.

On the flip side is a series of films that have reinvented themselves to become one of the biggest money makers of recent years. Much like Alien and Terminator the Fast and Furious films start with a small and tight concept. It was nothing new but it was fun did better than expected, it was bound to get a sequel. The following two films try different approaches but always keep the core fun, if daft, elements in play … and fast cars, lots and lots of fast cars. The fourth film in the series is the most interesting for me, it goes back to the beginning but starts to grow the focus of the first three. They move from underground racers being involved in crime to crime stories centred on core characters that happen to be excellent race drivers.

This is taken to the next level in 5, with the addition of Dwayne ‘The Rock’ Johnson. 5 through 8 are crazy crime action movies. They have massive set pieces and explosions, and they took a middling franchise into one of the most successful of the 21st century.

Another example of knowing your franchise but keeping it fresh is the Mission Impossible series. Each film since the first in 1996 has had a different director that has brought a different tone and feel but they have kept the similar sense of fun action and big stunts. Doing so they have gone from strength to strength, with the 6th instalment coming in 2018.

I know that these are very different beasts and that the F&F and MI series is are more pulp action nonsense overall. However, there is something very important that the Terminator and Alien franchise can learn from them. People want to see these characters do what they do. It’s why Bond has 25 films, why Rocky never started MMA, it’s also why people get so frustrated with the Hellraiser franchise (that’s a blog for another day).

As movie goers, we cry out for new and fresh concept and characters and stories. These will always excite and intrigue us. However, let’s be honest, as some studios have shown over the decades, if you put time, effort and money into a well thought out sequel you will satisfy fans and bring in new people as well as make a ton of cash.

Christmas Dinner Movie Menu

As we dance and prance towards Christmas day and the break from work and the usual rat race it provides, I know that many of you will be filling your hours with festive traditions. One of the more modern traditions that has taken hold is the watching of Christmas Movies, usually the same few that tap into family appreciation and nostalgia.

We’re no different in my household, I love Christmas movies. Every year my wife marks the start of the festive season by watching ‘Love Actually’. We watch ‘it’s a wonderful life’, ‘Four Christmases’ and ‘Home Alone’ 1 &2 together at some point in the first few weeks of December. My daughter is starting to find her own favourites in ‘Elf’ and ‘Frosty the Snowman’, which we sit and watch with her.

These are all sweet, fun and fill you with the warmth of happiness and the potential of the season. They are great but they all have a Ying to their Yang. I love the sweet but I love savoury as well, like ‘Gremlins’, ‘Batman Returns’ and

So, to celebrate the season I have created a Christmas Day menu of sweet and Savoury Movie treats.

Ladies and Gentleman, what would you like for Dinner?

 

~ Starters ~

Option 1: A small bowl of spicy Gremlins, accompanied by fresh A Nightmare Before Christmas

Option 2: A Home Alone melt with a New York style sequel for dipping

~ Main Meal ~

*Option 1: Several large slices of The Santa Clause, with roasted Grinch and a baked Bad Santa

*Option 2: Poached Krampus, with a cheeky portion of A Miracle on 34th street and matured National Lampoon’s Christmas Vacation

*both served with generous servings of It’s a wonderful life gravy.

~ Dessert ~

Option 1: A scoop of A Muppets Christmas Carol topped with lashings of Elf

Option 2: A slice of Scrooged drizzled with rich dark Batman Returns

~ Coffee ~

Option 1: A smooth cup of Die Hard with a sprinkling of Jingle all the way

Option 2: A hot pot of The Holiday with a choice of creamy computer generated Christmas Carol or a selection of Four Christmases

~ Wine ~

Red: A dark and full bodied Black Christmas

White: A fruity and light White Christmas

~ Beers & Ciders ~

Cider: A dry but fruity bottle of chilled Lethal Weapon

Beer: A Belgian import, a tall glass of In Bruges