May 28, 2023

THE SECRET HISPANIC

In 1938, Action Comics published a tale of an orphaned infant, sent away from everything he knew to have a chance at a better life, raised in a culture not his own, taught a language not his own, struggled to belong as someone “different,” and through it all wanted nothing more than to be accepted and give back to the home that adopted him.

He was the ultimate immigrant — and a refection of creators Jerry Siegel and Joe Shuster’s idea of the immigrant experience. Something in that story took hold and resonated with the time in which it was told. It made Superman seem universal. Since he was not “from here,” he was able to be emotionally adopted by readers from all over the globe who also felt out of place. The hero who just wanted to belong now belonged to everyone.

Soon there were translations of the comic books into other languages. Children in Argentina thrilled at the adventures of “Superhombre: El Hombre de Acero” (The Man of Steel). In Mexico there was “Supermán y Sus Amigos” (and His Friends). The Kirk

Alyn original movie serial “Atom Man vs. Superman” became “Superman Contra el Hombre Atomico.”

George Reeves spoke Spanish and stopped crime weekly on television. There were Spanish language books, cartoons, card albums…anything publishers could think of to capitalize on the the craze. Just as in America, Superman had become a Latin phenomenon. It is also no surprise that phenomenon inspired generations of Spanish-speaking children across continents who would grow up to contribute back to their hero as writers, artists, editors, actors, costume designers – bringing cultural points of view and creative visions to the character that became a part of Superman’s DNA. They quietly, over decades, infused him with a universality that seemed “right” somehow – shaping him into the Superman we all think of today –and we never knew it.

Few people can claim the level of pop culture contribution as the woman who literally put the ‘S’ on Christopher Reeve’s chest.

Costume designer Yvonne Blake not only defned the look of Superman for decades of moviegoers worldwide, her own life embodied his spirit of giving one’s all to an adopted home.

Originally born in Manchester in 1940, by the late ’60s Yvonne found herself working in Madrid on two flms – and falling in love with both the assistant director and his country. She married the assistant director and by the time she worked on “Superman: The Movie” in 1976 she had long since decided Spain was where she would give her heart and spend the rest of her life.

Regarding the process of making “that” suit, she had this to say in a 1980 interview:

SEE INTERVIEW • PAGE 2 ▶︎

Creating an Underwater World for Disney’s ‘The Little Mermaid’

Audiences once again became part of Ariel’s world when “The Little Mermaid,” a live-action reimagining of the studio’s Oscarwinning animated musical clas sic, swam into theaters this weekend.

Directed and produced by visionary shall, Disney’s The Little Mermaid is an intimate story set against an epic backdrop—including a stun ning, photorealistic world under the sea. Ambitious in scale but grounded in reality, the Halle Bailey as Ariel, a spirited mermaid with a beautiful voice and a thirst for adventure—one that will take her above the surface to another world, inhabited by humans.

“There are two different worlds in our story: the above world, which is the very real world, and the underwater world, which is our magical world where mermaids exist, crabs sing, and diving birds like Scuttle speak,” Marshall said. “The underwater world is entirely digital, and above the water, everything is

real and constructed in the way a classic period flm is.”

Because visual effects supervisor Tim Burke had to digitally create the underwater scenes in post-production, each one needed to be mapped out in advance.

“We started by doing pre-vis animation that calculated and designed and created the entire way that the scenes would play out,” executive producer and unit production manager Jeffrey Silver explained, “and then we looked at

every shot to decide how it could best be accomplished.”

Ultimately, the f lmmakers opted for a “dry-for-wet” approach, in which the actors would f lm their underwater scenes on land in a blue-screen environment, utilizing a series of state-of-the-art rigs that included wires, teeter-totters, and tuning forks. The actors were often hooked into a harness with a

MINNEAPOLIS— In celebration of Pride Month 2023, the Minnesota Historical Society (MNHS) is “proud to celebrate” LGBTQIA+ history with its new exhibit, “Going Out, Coming In: LGBTQ+ Spaces in Downtown Minneapolis,” at Mill City Museum.

“Going Out, Coming In” brings to life the sights, heart, and energy of Downtown Minneapolis’s LGBTQIA+ community spaces in their frst decades. The exhibit immerses visitors in queer resistance, love, and community as it tracks the neighborhood’s evolution from the 1940s to 2000.

The exhibit features information and visual elements of various sites where queer Minnesotans organized or created community while addressing the systemic challenges of legal and extralegal discrimination, urban renewal, and the HIV/AIDS crisis.

“One of the key goals of ‘Going Out, Coming In’ is to deepen understanding of the people who lived, visited, and worked in downtown Minneapolis,” said Gale Research Fellow Noah Barth. “We hope visitors leave with an

By WB

History Tours developed by MNHS and TC Pride in 2022. This exhibit is made

Why I support the ‘Fake News Bill:’ A Brazilian’s perspective on online regulation and responsibility

By Erika Atayde Daily Planet Writer

have used Telegram for about seven years now. I still have an account on this messaging app, even though it has become a spoilage of far-right extremists, conspiracy theorists and disinformation peddlers in Brazil. I remained there because the service was good, I had friends there, and it was good enough for me to use. I never cared for anecdotal speeches about Telegram being a last beacon of free speech. I don’t trust it’s founder, Pavel Durov, a Russian exile who claims to champion

freedom and privacy while ignoring court orders and enabling hate speech, and I do not believe he cares about actual freedom and the common good. I don’t trust its encryption, its bots or its channels.

But I do care about Brazil. I care about its democracy, its institutions, and its people. And that’s why I support Bill 2630, also known as the “fake news bill,” which aims to regulate online platforms and protect users from misinformation and abuse.

The bill, which has passed the Senate and is awaiting a vote in the lower house of Congress, is not perfect. It has faws that need to be fxed. It has been criticized

by some who fear it could harm freedom of expression and privacy. It has been opposed by tech companies the likes of Google and Facebook, who argue it could stife innovation and competition. But it is also a necessary and urgent response to a grave threat that Brazil faces now, and that the rest of the civilized world shall face too: the spread of online disinformation and hate speech that undermines democracy and public order.

We have seen the devastating effects of this phenomenon in recent years. We have seen how President Jair Bolsonaro and his SEE BRAZIL • PAGE 3 ▶︎

a big deal because we went to the states [San Diego, California] for their comic book convention in ’76. I was showing off my initial design renderings in a slideshow. People loved it, but more than a few Superman fans came up afterwards and said “that’s not Superman’s costume. He doesn’t wear dark gold coloring and there’s no ‘S’ on his buckle.” So, we went back to London, back to the drawing boards and redesigned it, using the same ideas for materials: lycra, leather, wool/poly-blend for the cape, and resin/plastics for the belt. Things further came to a head during early costume Christopher [Reeve]. The actor de manded another redesign because he didn’t like the fake muscles built into costume and hated the shininess on the belt. I started to wonder what he was on about, frankly. It’s not the actor’s job. He just has to perform. Well, Christopher and Richard Donner, the director, brought me and my team about four dozen comic books and I poured over them, again, just as I had done during my frst designs. I realized what I need ed to do was alter until every dimension, every length and height, was just right. I learned a lesson on Superman and it’s that, not only does the costume have to work for the actor, it has to look just how the millions of Superman fans expect it to look. Christopher had to look attractive and manly, and credible as Superman. We didn’t want him looking like a muscled ballet dancer. In the end, I think Christopher was right to come to us because a collaboration proved necessary for the good of the flm.”

By the end of her illustrious career which included an Oscar, a second Oscar nomination, four BAFTA nominations, a National Cinematography Award, and four Goyas (the Spanish equivalent of an Oscar), she had become a national treasure and gave back to her beloved land by accepting the role of President of the Spanish Academy of Motion Arts and Sciences, where she fought to strengthen the impact of Spanish cinema internationally. In true Superman spirit, she never took any money for that position.

kitten from a tree, and make Lois feel like a princess after catching her in mid-air.

José’s Superman helped Santa deliver toys at Christmas.

If you saw a lunchbox, pillowcase, milk glass, puzzle, sticker set, store standee, poster, school valentine, get-well card, gift wrapping, or any one of a slew of instant classic comics themselves from 1975 on, you have seen “his” Superman.

So popular was his version that in 1982, at the height of the success of “Superman: The Movie” and “Superman II,” Warner Communications Inc. (owner of DC Comics) chose José to create the offcial style guide for Superman, Batman, Wonder Woman, and practically every major character in the DC universe – including Superboy, Supergirl, and Krypto the Superdog.

His art style was not only dynamic and incredibly skilled, he perfectly captured what was

known then as DC’s “Silver Age” of comic book heroes – modern, bright, hopeful helpers of humanity perfectly suited for a new generation of children.

Without fanfare, the work of a quiet, humble Argentine from Pontevedra, Spain had created a standard for products that would be Superman world-wide. And then, in 1985, he achieved a pinnacle of success nearly unmatched by any other artist of the time – his art became the basis for the character styles of a Saturday morning superhero cartoon.

Christopher Reeve (Above) in 1979 discussing Superman at the offces of DC Comics with then President Sol Harrison. Art by José Luis García-López (Displayed below). Courtesy of DC Comics and Warner Communications Inc.

“The Little Mermaid” stars Mellisa McCarthy as the legendary villain, Ursula.

Photo by Disney

ARIEL CONTINUED FROM PAGE 1

counterweight on the backside that would simulate movement underwater. “Everything had to be choreographed very specifcally with a large team of stuntmen and women, who helped maneuver our characters around,” Marshall said.

To help support the dry-for-wet approach, “The Little Mermaid’s" director of photography, Dion Beebe, decided he would need to design complex lighting effects to simulate the appearance of being underwater.

“My gaffer and I created water trays for theatrical moving lights that we could suspend above the sets, through which light could be projected,” he explained. “We then had our SFX team build a stirring apparatus to disturb the water and create the caustic lighting we wanted for sequences that were beneath the ocean surface.”

Silver added, “Water caustics are usually done through refection, through mylar, but Dion designed the most organic method of creating underwater lighting that I’ve ever seen, which translates to flm very well.” Marshall says he was thrilled with Beebe’s “brilliant” artistry, saying, “He understands the subtlety of light and movement in a way that few do. His approach for the underwater work was to understand the actual depth of the water for each scene and then paint with color and shadow to achieve a photorealistic world.”

Christopher Reeve’s Superman is back, and still relevant after 45 years

If you haven’t looked up at a marquee this month and seen what might have been a bird or a plane, you may not be aware that select theaters worldwide have been offering special showings of the 1978 classic “Superman: The Movie” — starring Christopher Reeve in his genre-defning debut as the iconic champion of truth, justice and the American way. These mild-mannered metropolitan screenings were not widely publicized. Some were in Europe. Some in New York. And one was in Texas, in the very same don’t-blink-or-you’ll-drivepast-it unassuming little movie house where authorities once captured Lee Harvey Oswald.

By Daniel Sanchez Daily Planet Reporter

you see his Superman, he’s proud, tall, shoulders up. He doesn’t change his voice like Batman, but he has those characteristics where his body goes through that transformation, like ‘now I’m Superman,’ or ‘now I’m Clark Kent.’ You see a lot of actors copy that. I can’t think of a better compliment of your work. He was the template that everyone seems to follow in some way.”

For Andrew Menchaca, age 30, the flm brings back wonderful father-son memories.

“the father becomes the son, and the son the father” rings true to me as I am the father of an only son, with whom I’ve always enjoyed a close relationship. In Jonathan Kent, Clark has a nononsense, but loving, mentor who instills in his foster son a basic sense of morality and purpose. Any parent can see that basic desire to inspire their child to do the right thing.”

allies have used social media to spread lies about COVID-19, the electoral system, their political opponents and the Supreme Court. We have seen how they have incited violence and hatred against social minorities, journalists, activists and anyone who dared to disagree with them. We have seen how they have mobilized their online supporters to storm government buildings in a failed attempt to overturn Bolsonaro’s election defeat to Luiz Inacio Lula da Silva in 2022 in a pathetic display of coup d’Crotte.

We have also seen how some social media platforms have failed to act against this menace or have acted too late or too little. We have seen how they have allowed Brexiteers, MAGAs and Bolsonaro and his cronies to violate their own terms of service and community guidelines with impunity. We have seen how they have resisted or ignored court orders to remove illegal or harmful content or to provide data on users involved in criminal activities.

“The Little Mermaid” trailer received some criticism for the noticeable “lack” of color, something the movie proved wrong. Halle Bailey as Ariel.

Meanwhile, production designer John Myhre and the art department were spending countless hours researching and reviewing nautical footage, documentaries, and still images of actual underwater worlds, which would ultimately infuence the aesthetic of each underwater set. Each has its own design scheme, with subtly different color palettes and tones—from the lighter blue of the ocean’s surface near Ariel’s grotto to the dark purple tones that conceal Ursula’s sinister world in the ocean’s depths. King Triton’s underwater kingdom was designed with a jewel-tone-like color palette inspired by real corals and anemones. Myhre designed it to resemble a busy city, with a nod to the 1930s Manhattan skyline, where everything was made from beautiful, oversized coral pillars, anemones, reefs, and other materials.

“We didn’t want it to look like a manmade or futuristic kingdom, but to feel like it actually comes from something very real,” Myhre ex plained. “We wanted to try and keep it as natural as possible, so everything underwater actually comes from the sea.”

That, Marshall says, was the key to reimagining “The Little Mermaid” for live-action.

“Even though it’s a magical world that we created, our goal was to not let it look animated in any way. We wanted to reimagine our underwater space in a photorealistic style so that it would come to life in a live-action way,” the director said. “That was really important to us.”

A block of First Avenue North closing to traffc for weekends

MINNEAPOLIS— Weekend closures involving a block of First Avenue North begin this Friday and will last through October. These closures are for Warehouse District Live: an enhanced public space for nightlife in downtown Minneapolis Friday and Saturday nights.

From Memorial Day weekend through the end of October, First Avenue North from Fifth Street to Sixth Street will close to motor vehicles beginning at 9 a.m. Fridays. The block will reopen to traffc by 10 a.m. Sundays.

Throughout the summer, Warehouse District Live will have food trucks, seating and portable restrooms. The temporary street closures add space to the entertainment district and help create a welcoming and safe zone that’s more friendly to people on foot. dailyplanetdc.com

Within that appropriately named Texas Theatre gathered families, children, husbands, wives, boyfriends, girlfriends, best friends; seemingly someone from just about everywhere. More than a few drove considerable distances, many brought their friends and loved ones to experience the movie for the frst time, and almost everyone had this night on their calendar from the moment they knew of its existence. What was it about this re-release that inspired such a turnout? The 4K remastering?

The tie-in with Warner Brothers 100-year celebration? The chance to see an easily-streamable movie on a big screen? Not if you asked the crowd that night. For them it went deeper, and their reason much more pure: This version of Superman is a friend, and they wanted to see their friend again.

“It’s been a childhood movie from the day I was born, practically.” he says. “My dad was a Superman fan. He had it on VHS. We watched it until the tape wore out. There’s a scene where Lex Luther comes out to the guys that are surrounding the missile and says, “Heck of a day, isn’t it?” That was like great banter between me and my dad going back and forth. Like when we were not supposed to be doing something, or be somewhere, that was our in-joke. Our father-son thing.”

Chad Pierce, age 33, works at the Texas Theatre and is an avid flm buff and superhero fan. He also has VHS to thank for his love for Superman.

A super-homecoming

John Rodgers, age 67, a retired thespian and English teacher from Pilot Point, Texas, played the love theme from “Superman: The Movie” at his wedding. He marveled at the heart and soul of the flm when he watched it repeatedly in theaters upon its debut in 1978. But most of all, he admired Christopher Reeve’s breakout performance itself.

“The choices Reeve made while playing the role,” John said, “brought a naturalistic approach to the character. It wasn’t the stilted delivery of Clayton Moore’s Lone Ranger or the overacted posturing of Adam West’s Batman. For the frst time, we got a superhero who acted like a real person. I remember Reeve saying on a talk show that he would change the wording of a line if it didn’t feel right. An example is near the end when Superman says to Lois and Jimmy, “Look, there’s something I’ve got to do.” According to Reeve, the line was written “There’s still one piece of un to.” This naturalness gave the character an accessibility that still resonates.”

ney, Texas, agrees.

f model to follow. Christopher Reeve’s Clark Kent, you can tell when he transforms: he’s got the slouch look, and the hat. He looks very meek. But as soon as

“When I frst saw it, I was probably 12 or 13. It was a bootleg copy off television. Someone in my family taped it. We all liked movies. The superhero genre today is entirely different than it was then. In television, there was this concept of ‘happy-go-lucky’ tv shows, where nothing ever got super-serious. It was all very blue skies. Modern superhero movies are not that. Reeve’s version is a solid thing between the two of them. It never got incredibly serious, but it was mostly a lighthearted superhero movie. It carries its weight, of course, but it’s more in the spirit of the golden age of comics than modern comic movies. Those movies are very dark, their focus is on the grittiness of life and they seem to want to dwell in the darkness, but that’s not what the golden age of comics is about. Superman was relatively lighthearted back then. It’s refreshing to be able to see the golden age in cinema again in a world of darkness and negativity.”

Guy Chapman, age 47, Founder and Editor of the Navarro County Gazette, grew up to be a legitimate newsman and real-life Perry White. He feels that same attempt to show the hero as a beacon of light is the main virtue the flm still has to offer us today.

“I think he embodies hope. He inspires in the rest of us what we hope to be: his selfessness and courage. And kindness, which I think is important. I think Christopher Reeve’s version shows us what being a better person can accomplish. Of all comic book characters, he’s one of the ones that is the most pure. I think everyone wants to be as brave as Superman, because of what he embodies. That selfessness. It’s reminded me a few

Frank Alaniz became a boardcertifed prosthetist and orthotist, helping those experiencing polytrauma and requiring rehabilitation. He says the lessons of Reeve’s Superman go deep, and infuenced him more than he realized.

“Beyond my work itself, I try to stick up for what’s right. Don’t let someone bully other people, even if you know you’re going to get a whipping from someone else. I just try to be a good person. Recently, I chose to leave a job because of things I discovered. The things weren’t illegal, they weren’t hurting anybody, but I didn’t like the ethics of it. I think that’s the spirit of Superman. Knowing what’s right, and then doing what’s right.”

Andrew Menchaca also lives the hero life when he gets up each morning. “I have idolized Superman to be something that I implement in my everyday life. I’m a Roadside Assistance driver and do tow trucks, and I honestly love pulling up and saving people.”

And we have seen how Telegram has become the most permissive and problematic platform of all. Unlike Google and “Meta”, which have representatives in Brazil and have established partnerships with Brazilian authorities to combat online disinformation, Telegram has no presence or accountability in the country. It has refused to cooperate with judicial and police authorities in several cases, such as when it was asked to provide data on neo-Nazi groups known to be fuelling school violence or to suspend the account of blogger Allan dos Santos, a prominent Bolsonaro supporter who is under investigation for spreading disinformation.

Telegram has also launched a campaign against Bill 2630, calling it an “attack on democracy” and a threat to free speech. It has sent messages to its users warning them about the bill and urging them to oppose it. It has claimed that the bill will increase surveillance, reduce privacy and limit access to information.

But these claims are false and misleading. The bill does not give the government censorship powers without prior judicial oversight. It does not require users to provide their real identities or personal data. It does not prevent users from accessing any information they want.

What the bill does is to establish some basic rules and responsibilities for online platforms and users. It requires platforms to verify users’ identities using anonymized tokens that protect their privacy. It requires platforms to store users’ data for three months in case they are needed for legal purposes. It requires platforms to remove illegal or harmful content within 24 hours of notifcation by a court or an independent body. It imposes fnes and sanctions for platforms that fail to comply with these rules.

These are reasonable and proportionate measures that are consistent with international standards and best practices. One could even make the case they aren’t even severe enough. They are not meant to stife free speech or innovation, but to protect them from abuse and manipulation. They are not meant to favor or harm any political party or ideology, but to ensure a fair and transparent online environment for all.

That’s why I support Bill 2630. Not because I want to “punish” Telegram or any other platform. But because I want to defend my country and its people from those who want to destroy them with lies and hatred. I can’t in good faith leave the fate of humanity in the hands of borderless corporations the size of countries. I choose to take back control, and so should you.

Is ‘Superman: The Movie’ relevant today?

As a simple theater-going experience, the audience — including those seeing it for the very frst time — seemed to think so. They laughed as Clark Kent glanced at (and then quickly dismissed) the idea of changing in a barely-there phone booth. They cheered at the “helicopter catch.” There was not a sound in the house during the Lois Lane death scene. And they clapped rousingly at the fnal charming Superman smile fyby.

However, there was an additional tone to the night that ran much deeper. One might describe it as the reaffrming quality of revisiting a much-needed wellspring. After 45 years, what struck the audience was not the change in cars, clothing, or movie-making. Reeve’s performance was just as heart-warming as ever, but truly that was not a surprise. What resonated was what this Superman embodied then and still does now — a timeless offering we all need, in every age, that is perhaps best summed lm again, what strikes me most about Reeve’s Superman is he’s sincere. He believes in what he stands for. Even when he gives an aside after saving Lois from the helicopter, he’s not lecturing. It’s more of a comforting, “Just thought you should know.” He’s not too big to be helpful in even the smallest

“He makes you believe things

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HGTV readies iconic ‘Brady Bunch’ house for sale after renovations

By Daily Planet News, reviews and more made from collected materials

HGTV has put the famous “Brady Bunch House” in Los Angeles, with its instantly recognizable street view, on the market for immediate sale. In 2019, the network sparked a new era of ‘Brady-mania’ for millions of fans when, as part of its series, A Very Brady Renovation, it transformed the real home located in North Hollywood into a replica of the original set design from The Brady Bunch television series. As part of the massive renovation, HGTV invested $1.9 million and added 2,000 square feet to the property’s original footprint, including a full second story. Standout features in the completed home include the iconic foating staircase, the burnt orange-and-avocado green kitchen, the kids’ Jack-n-Jill bathroom and a backyard with a swing set, teeter totter and Tiger’s dog house. The listing price is $5.5 million.

HGTV plans to use a portion of the proceeds from the sale of the home to help provide up to 250,000 meals for Turn Up! Fight Hunger, an initiative that helps kids living with hunger in the U.S. through No Kid Hungry. The home and many of its contents, including customized pieces such as the green foral living room couch and the credenza with a 3-D printed horse sculpture, will be available for sale beginning this month. The real estate listing will be managed by Danny Brown at Compass.

“During A Very Brady Renovation,” which attracted more than 28 million viewers according to parent company Warner Bros. Discovery, HGTV stars, including the series hosts Drew and Jonathan Scott, worked alongside the cast members who played the six Brady kids to meticulously recreate every detail of the legendary home. HGTV’s next pop culture-inspired series is Barbie Dreamhouse Challenge, in which the network changes a Southern California home into a real-life dreamhouse inspired by Mattel’s Barbie. The series is set to air this summer.

Christopher Reeve as Superman in “Superman: The Movie” (1978)

Photo by Disney

Photo by Tony Nelson

Photo by Ivan Radic

Twin Cities Con is a celebration of comics, toys, TV, film, art, cosplay, games, and all things nerdy. If you're a fan of Batman, the Avengers, Doctor Who, Star Wars, LEGO, Disney, Star Trek, the Walking Dead, Power Rangers, Game of Thrones, etc., you'll probably fit right in at TCC! TCC is run by fans! TCC was founded by Ben Penrod, also the founder of Awesome Con, Central Florida Comic Con, Annapolis Comic-Con, Southern Maryland Comic-Con, Sugoi Expo, Des Moines Con, and co-founder of Alaska ComiCon. Ben has been obsessed with superheroes his entire life and has been running comic cons full time since 2011. Check out www.twincitiescon.com for a guest and vendor list, hotel accommodations, and more.

Twin Cities Con

November 3-5, 2023

Friday 12 pm -7 pm

Saturday 10 am - 7 pm

Sunday 10 am - 5 pm

Minneapolis Convention Center 1301 2nd Ave S Minneapolis, MN 55403 info@nerdstreet.net