Let’s give the Proverbs a week off and talk about Secret Empire. For those who haven’t followed, this was Marvel’s annual shitty summer crossover, this time with the premise that history has been rewritten to make Captain America a Hydra sleeper agent who has now taken over the US. So basically, “what if Captain America were secretly a Nazi?” This has been widely panned, even moreso than Marvel’s summer crossovers usually are. On the one hand, this is entirely appropriate, as Secret Empire is not only one of the worst-written crossovers in superhero history but also one of the most flatly evil. On the other, relatively few people have actually articulated this, with an alarming number of critiques of the comic instead being exercises in point-missing far almost as epic than the crossover itself.
Perhaps the most spectacularly off-base thing to be frequently said about the comic is that its premise is an insult to the legacy of Captain America co-creator and avowed Nazi-puncher Jack Kirby. It is difficult to entirely grasp the value system under which making a fictional character he drew forty-three issues of into a fascist is an insult to his legacy but the basic existence ...
At long last, here is Drunken Whocast 3.
Myself, Daniel, James, and Kit, gathered on Skype to discuss Series 3 while getting progressively sozzled. This time we avoided getting drawn into speculations about the orgasms of prominent right-wingers, but still managed to fly off in all sorts of irrelevant and awful directions. Many things were said, with all the authority of drunk white guys, that were very wrong - in both senses. (The actual libels have been removed - even the true ones.) Even so, there's a fair bit of good, solid Doctor Who talk here. We all find Series 3 pretty interesting, it seems.
I must apologise for my posts being sporadic at the moment. I'm desperately trying to finish off some other (non-postable) projects while coping with a real life that is increasing frantic on both a work and personal level. I'm grateful to all of you for being patient - and especially to those Patreon sponsors of mine who are, at the moment, basically giving me money for nothing. Bless you all. If you want to give me money for nothing, go here.
Over the summer, I posted a rough draft of what I called a “Reading Guide” for Tom and Jerry. You know. The cat and mouse cartoon. I've since rewatched the series and revised my picks and criteria, so here's “Version 2”.
(Also, apparently something happened with the latest DTV Tom and Jerry movie? Apparently it went mememtic this summer without me noticing?)
I've been thinking a lot lately about the history of animation, particularly during the Golden Age, these past few months for a variety of reasons. I used to watch theatrical shorts all the time on Cartoon Network and I have a real affinity for that genre, but I think I've come to the conclusion now that Tom and Jerry is probably my favourite out of all the Golden Age series. Naturally, it's the most controversial one.
YAKIMONO: A course of flame-grilled meat. There are a number of episodes this would be a sensible title for, none of which are this one.
MIRIAM LASS: I remember a dream about drowning. Then being awake. And not awake. Being myself, and not myself. I remember I could smell salt air. We were by the sea. For weeks. Months. Longer. Days and evenings blurred, I'd wake up to the smell of fresh flowers and the sting of a needle. I wasn't afraid. Fear and pain were so far away, on the horizon, but not close. Never close.
Miriam’s description is loosely adapted from a description of Hannibal’s brainwashing of Clarice from Hannibal.
ALANA BLOOM: They found a witness. A survivor. The only victim of the Chesapeake Ripper who lived to tell.
HANNIBAL: Is this witness watching me now?
ALANA BLOOM: Yes.
HANNIBAL: It seems I am the usual suspect.
ALANA BLOOM: I keep having angry, imaginary conversations with Jack Crawford about that. I wish I could tell you why this is happening.
Why are Alana’s conversations imaginary? She showed no hesitation in picking a fight with Jack in season one, nor at the beginning of season ...
I was just popping by to tell you lot about a brilliantly fun new entry in the Amicus podcast from myself and Lee Russell, which you'll find here http://pexlives.libsyn.com/city-of-the-dead-14-asylum and will offer you just the tonic. If you like old Doctor Who, this sort of stuff is right up your alley. And if you don't, you'll probably dig it too.
I was just going to do that and be on my way, but I noticed that there was no Friday post from that wine chugging layabout J. Graham, so I thought I'd be your subsitute leftist for the week and post this recent essay that had previously been exclusively available to those who support me on Patreon. Feel free to throw paper airplanes and leave tacks on my chair in the comments below.
All over the world, white supremacists are flexing their pale, flabby muscles in this new age of online organising. In America, an emboldened, far-right Republican party controls the government. The Southern Strategy has made the Republican Party as hard right, as racist, and as popular as it is now. The strategy was (and is) the winking and ever ...
FUTAMONO: A soup dish served in a lidded pot. Most obviously a reference to the final scene, in which Jack discovers Miriam in a covered hole.
WILL GRAHAM: You're moving smoothly and slowly, Jack, carrying your concentration like a brimming cup.
Another case of using one of Thomas Harris’s characteristically vivid similes in an unexpected context - originally it is Francis Dolarhyde who thusly carries his concentration as he sets up to peruse home movies and decide on his next victim.
JACK CRAWFORD: And then you told him to kill Hannibal Lecter.
WILL GRAHAM: Nothing I said made that happen, Jack. It just happened.
JACK CRAWFORD: Don't seem too broken up about it.
WILL GRAHAM: There is a common emotion we all recognize and have not yet named. The happy anticipation of being able to feel contempt.
Two Thomas Harris lines in rapid succession. This one comes from Hannibal, where the emotion play across the face of Margot Verger as she’s preparing to introduce Clarice to her brother. Its poetry comes from the fact that we do not, in fact, quite recognize the emotion, as the act of recognizing an emotion is in a large part coextensive with the ...
Being aro/ace is queer. End of story! To say that anyone who’s not cishet normative doesn’t belong at the queer “table” (as if being queer were some kind of banquet, Hannibal?) doesn’t really understand what it is to be queer at all. So let’s pick up the harp and let’s dance.
“radical”: late 14c., in a medieval philosophical sense, from Late Latin radicalis "of or having roots," from Latin radix (genitive radicis) "root" (see radish ). Meaning "going to the origin, essential" is from 1650s.
Here’s what being queer, in any sense, often entails:
In other words, nothing nice.
These are all things that ace people have experienced. These are all things that gays and lesbians have experienced. These are all things that bisexuals have experienced. These are all things that trans people have experienced. These are all things that intersexed people have experienced. Why? Because we’re all queer. Because ...