Week of Review - Mutant X

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A key evolution of the modern age of superhero blockbusters is that more and more the story of a film has become the story of the film’s behind the scenes drama.  Whether it’s the corporate mismanagement of the Amazing Spider-Man films, Josh Trank’s prima donna antics on Fant4stic, or the family tragedy & directorial scarpering of Justice League the behind the scenes stories are now the stories of those films.  

The oldest and largest looming example of this is the Fox/Marvel feud, a war between companies that’s raged for well over a decade.  The two absolutely loathe each other, to the point Marvel has canceled publishing Fantastic Four comics because Fox owns the movie rights and Fox, in turn, was willing to waste everyone’s time and money with Fant4stic.  But where did all this animosity come from, what’s the origin of their feud?  Well, it all goes back to a little show from 2001 called Mutant X- let’s dive in. 

Week of Review - Generation X

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In 1991 ­X-Men volume 2 #1 came out and became the highest selling single issue of all time.  It was a huge milestone for Marvel comics as well as the entire decade, cementing the ‘90s as a time for comic book opulence and speculator driven sales.  More pertinently, it was the comic that launched the X-Men from a popular franchise into a moneymaking juggernaut that would dominate the next half of the decade.  Within a year Marvel had partnered with Fox to produce X-Men the animated series and its toy line, one of the most successful brand exercises in the entire superhero genre. 

Of course, this kind of success can’t last forever and by 1996 the X-Men were a lot less stable a franchise.  They were still producing hits, like that year’s Age of Apocalypse story, but the writing was very much on the wall for them and for Marvel, with bankruptcy right around the corner.  Still, they managed to produce one last hurrah for the X-Men franchise in 1996 with a live-action pilot film for a proposed X-Men TV show: Generation X. 

5 DC Films That Might Join Justice League 2 in 2019

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Edited by Robert Beach

On Tuesday, I talked about movies DC had already announced we might see in their open slot in October 2018. Today, I set my sights even further forward to the fall of 2019 where DC has another unclaimed movie slot for November 1^st.  Given how far out that movie is, it’s a lot less likely to be tied up with the various pre-announced films or tied to the recent crop of DC movies. 

Even though WB isn’t working to Marvel’s “phase” scheduling system, they are subconsciously structuring their films in groups of set-up with every movie from now to the end of 2018 spinning out of Man of Steel. 2019 looks to be the start of something new for WB with movies like Shazam and Green Lantern Corp on the horizon. As such, whatever film we’re getting in 2019 will probably be a new feature, something removed from the current crop of DC features. 

What's Next for the Suicide Squad?

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So, Suicide Squad is now a bona fide hit.  Granted a lot of that was the result of an exceptionally weak summer season and a middling box office response for most of the blockbuster flicks of the year but money is money, as WB’s new motto goes, and this movie made enough money that they’re counting it as the first real success of the DC Entertainment Universe.  While that success and the adoption of the “it made cash, that’s a win” philosophy mean a lot of things for WB, like the revival of Man of Steel 2 on the release slate, I’m looking now at what this could mean for the individual Squad members.  

After all, the whole point of a shared universe is that you can have characters from one movie appear somewhere else, that was the whole point of Batman and the Flash being in this movie so it stands to reason the assembled villain of Suicide Squad would appear in other people’s movies as well.  So, here’s where we might next see the members of the Suicide Squad.

Panel Vision - The Case for a Batman Movie Universe

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As I write this we are approximately one month out from the Suicide Squad movie upon which DC and WB have hung their collective hopes for a cinematic universe.  We’re all still reeling from the sucker punch that was Batman v. Superman ending up something closer to a fever dream farce than a solvent blockbuster and even though the slow drip of new information on WB’s prospective slate of future superhero blockbusters has been encouraging there’s a lot of uncertainty going forward. 

It’s starting to seem more and more like Batman films really are the only superhero movies that WB can actually do well, a concept which got me thinking.  If WB is so committed to its Batman franchise they’re willing to constantly run back to the Bat well when things get rough, why not just cut out the middleman and produce a Batman shared movie universe. 

Cover Story - Top 10 Black Canary Covers

Edited by Robert Beach

Hello, and welcome to Cover Story, diving as little into the world of comics as we can. Legends of Tomorrow is still blowing up our screens, and as such, we’ve got another Cover Story to celebrate their team. This week’s episode had a major emphasis on White Canary. Because that character doesn’t exist in the comic, I’m showcasing Black Canary, which is pretty much the next best thing, especially for Arrow fans.  

While Black Canary has only enjoyed an ongoing comic once in the history of DC, she’s been featured on plenty of Justice League and covers and throughout the Birds of Prey book that helped make her a standout name in the late ‘90s and early 2000s. With that said, let’s dive into the shallow end and get the cover story on one of the biggest female heroes of DC comics. 

Week of Review - Birds of Prey

Edited by Robert Beach

Yesterday, I talked about one of DC/WB’s more successful endeavors to preserve their television presence into the 21^st century; today, I’m focusing on a less successful example. Before we discuss Birds of Prey and what I think of it, we’ve got to go back and talk about a little show from 1997 known as Buffy the Vampire Slayer. Buffy the Vampire Slayer took the world by storm in 1997 with its winning combination of genre tropes and aesthetics and girl power. Buffy was the last of the popular genre trinity that had started with Star Trek: The Next Generation in ’89 and been cemented by The X-Files in ’93. 

There had been plenty of genre shows before like the original Star Trek in the ‘60s, 6 Million Dollar Man in the ‘70s, and V in the ‘80s, but these three shows demonstrated there was a chance for widespread, mainstream appeal within previously geek genre markets. When DC decided to re-enter the realm of TV after the conclusion of Lois & Clark: The New Adventures of Superman in 1997, they decided to stick with the Buffy aesthetic, which is how we got Smallville. With Smallville’s success, WB wanted to create a sister show that was more female centric as they’d had a lot of success from that mold with Charmed. In 2002, they created The Birds of Prey, one of my all time favorite superhero shows.