SPOILER Magazine August 2021

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OUR TEAM Editor-in-Chief Galaxy Print Editor Art Director Sara Hope Kent Klarks Design and illustration Supervisor Ronald Garcia Design Manager Zerologhy Copy Editor Ethan Brehm

INSIDE OUR y UNIVERSE x a l a

by G Welcome back to another amazing issue of SPO!LER!

Staff Writers The Greatest Writing Team in Our Universe Ethan Brehm Tom Torme Matthew Mclachlan Vanessa Bellew Robert Napolitano David Grand Phuong Pham Natalie Reade Kim Koo Moses Gamer

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Few brands evoke the kind of nostalgia that G.I. Joe does. This month we not only celebrate the release of the latest film Snake Eyes, but interview one of its stars, Andrew Koji, who plays Storm Shadow, and bring you the history of the toy line and multimedia franchise as a whole. G.I. Joe was the very first action figure, establishing the standard for every other toy franchise that followed in its footsteps.

We want to congratulate Andrew on this huge role as well as the season 3 announcement of HBO Max’s Warrior, in which he stars. And we’d also like to acknowledge and congratulate Tim Rozon, who stars in his own brand new show SurrealEstate on Syfy. Recently ending his phenomenal four-season run as the mustachioed Doc Holliday on Wynonna Earp, which concluded this past April, Tim could be very well embarking on his biggest role yet.

This latest issue is jam packed with movie, TV, and comic book reviews, as well as some other creative articles by our very own staff!

This month will also see the launch of our brand new entertainment website SpoilerMagazine.com, an expansion of this wonderful magazine and a daily dose for all of our supporters out there.

With conventions returning, we’re putting together our very own seven-state fan experience tour, where we’re coming to a city near you in order to help you properly celebrate your love for the fandom universe. So look out for more information regarding that in the coming weeks.

We’re also close to the release of my brand new book Comic Con, which serves as a history of these giant fan conventions as well as an essential guide to surviving some of the most incredible weekends each year.

Thank you all again for your undying love and support all this time. Make sure to subscribe on our website and follow on social media to get all the latest updates on what we have in the pipeline. We can’t wait to share it with you!

I Love You All...

Galaxy Galaxy EDITOR-IN-CHIEF @ComicConRadio may 2021|

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table of contents

FEATURES

54 andrew koji exclusive interview

SPOILER MAGAZINE TABLE OF CONTENTS

28 janet kidder

46 the history of G.I. joe

the watch 12 dawn of the dead

18 it came from the video store!

74 tim rozon

102 who is yelena belova?

118 the muppets

a retrospective 10 years later

the base 84 at the movies

64 top 5 snake eye 40 glorious and storm shadow perspective

106 Comic Book Review www.spoilermagazine.com | Follow us on Instagram: @SpoilerMedia

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remaking a film as groundbreaking as George A. Romero’s Dawn of the Dead is pretty ballsy, even if you aren’t a brand new filmmaker. So Zack Snyder’s intent on reimagining the 1978 classic wasn’t just a testament to the young director’s tenacity and confidence, but some would have even called it stupid.

Although, with great risk comes great reward, and despite its flaws, Snyder’s 2004 version of Dawn of the Dead is very much a worthy remake and addition to the zombie genre.

But the filmmaker did have some help.

James Gunn, who in 2004 was mostly known for writing the liveaction Scooby-Doo movie, was hired to pen the new horror script. Gunn is a smart writer in his own right, but his talents were much more raw at that time compared to his later films.

The original 1978 Dawn of the Dead follows a group of four survivors of the zombie apocalypse as they take shelter in the attic of an indoor shopping mall. Their new life there is indefinite and the meandering zombies that roam the mall floor are easily avoidable.

Snyder’s version is the same

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Dawn of the Dead (1978)/United Film Distribution Company/George A. Romero/Dawn of the Dead (2004)/Universal/Zack Snyder

BY ETHAN BREHM

in concept only. After a zombie outbreak in Wisconsin, a nurse, Ana Clark (Sarah Polley), tries to leave town by car. She crashes, getting knocked out, and is later revived by a police officer, Kenneth Hall (Ving Rhames), and together they meet another trio of survivors, Michael (Jake Weber), Andre (Mekhi Phifer), and his pregnant wife Luda (Inna Korobkina). Together they find refuge in a shopping mall.

This is where the story is taken in a different direction entirely from

Romero’s. From here, the group of survivors slowly grows. The five characters soon discover a small team of mall cops, led by the militant C.J. (Michael Kelly), and are forced to remain locked inside one of the stores. Eventually C.J. is overthrown and put into a holding cell. Later on, a truck filled with more survivors arrives and the mall quickly turns into a commune of sorts.

Snyder’s version is successful at standing on its own as a solid zombie movie with its own identity, but the original is so iconic that the comparisons are unavoidable. The original Dawn of the Dead is a horror movie in almost every regard, but it’s also very much a product of where the genre was in 1978. The scares are fueled more by tension build-up, and the characters benefit from lessthreatening, slow-walking zombies.

In the remake, Snyder won’t be accused of building too much suspense as he continuously provides us with thrills and action.

While Snyder’s Dawn of the Dead wasn’t the first to incorporate fast-running zombies, the undead

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The original Dawn of the Dead is a horror movie in almost every regard, but it’s also very much a product of where the genre was in 1978.

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portrayed in the film were among the most aggressive we’d seen on screen by 2004 and, combined with Snyder’s brand of kinetic camerawork, created a panic unlike anything we had seen at the time. The result is not only an effective horror movie, but an equally demanding action flick.

This is a stark contrast to Romero’s original, where the zombies walk around comedically brainless, which worked for the slower pacing of the film, as well as its commentary on the mindlessness of American consumerism. The zombies were metaphors for people.

Where Romero’s film is slow and pensive, Snyder’s leaves the characters not much time to think.

With the faster pace, they become less strategic. We hardly hear them mulling over their problem, mostly reacting to it. Gunn might be perfect for the job as his screenplay, too, only ever touches upon its themes.

Romero treats the world outside of the mall’s walls as a crucial element of subtext, using his characters as a mirror for what’s going on elsewhere. Gunn sees those details as a mere formality, glossing over

them just as quickly. There’s some richness beneath the surface here, but these characters hardly ever feel connected to the outbreak itself, except of course on a surface level, such as when they literally become infected and turn into zombies.

Even though characters aren’t necessarily developed much individually, we see how they’ve grown through their experience. The themes aren’t as focused on isolation, but how duty and responsibility can change a person. Kenneth, initially, was going to flee to find his brother in another state, but soon realizes that he’s needed more in the mall, and so he stays despite his own personal desires. Conversely, just look at Andre. He sees the birth of his child as a chance to right all the wrongs he’s done in his life. His duty, while under the pretense of selflessness, is actually driven more by his own selffocus, and thus his situation results in disaster. He panics and starts doing things for the wrong reasons.

Again, the development happens on a broad level, blanketing on top of the circumstance rather than targeting any one idea specifically.

Gunn seems haphazard with his themes. Early on there’s an obsession

with screens and media, but then the writer, along with Snyder, goes nowhere with it. He does this a few times elsewhere. He toys with the idea of finding the will to live even when things seem hopeless in a world that doesn’t seem worth living in. Again, this is to no avail and almost feels obligatory rather than profound.

There are also a few hints of religious notions, but if anything, the writer seems more focused on presenting an array of philosophies by the characters; showing all sides, rather than holding an opinion himself. It’s also possible that he just doesn’t quite have enough grasp on faith to believably comment on it. You always think he’s going in the logical direction with his commentary, but then just deadends abruptly.

There are some intriguing ideas that occur more inherently within the plot, such as the journey of catastrophe—the ups and downs of a bad situation. On one hand, there’s bonding through the reality of the circumstance, going through it together. On the other, there are characters becoming stir-crazy and demanding some sort of may 2021|

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Where Romero’s film is slow and pensiv e, Snyder’s leaves the chara cters not much time t o think.

With the faster pace, they become less str ategic.

life, it doesn’t matter the details behind someone’s conversion, rather his willingness to change in the first place. Gunn plays with levels of antagonism here, and C.J., who starts out as the most virulent human villain, experiences one of the most unexpected redemption arcs in “recent” cinema.

Rhames’ Kenneth is another standout character, keeping to himself most of the time, but serving as a father figure to the others through his protectiveness and stoicism. The actor totally understands his character and what purpose he serves to the film, even

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resolution or change. It’s interesting, going through a much more tame pandemic this past year, there are definitely emotional and mental highs and lows just the same. In one sense, it’s nice bonding with those who you’re stuck at home with, but there’s also something tethering you to your previous expectations of normalcy in life.

The one character Snyder’s film cares to develop is C.J., the wound up mall cop with a chip on his shoulder (as we assume most mall cops to have). You can tell he wants to be a real police officer and goes at Kenneth (a real police officer) right away. C.J. barks orders, waves a gun around, asserts dominance—all of which are easy to do if you’re safe inside of a mall. However, it’s not until he goes through the fire and flames with the others that he’s faced with the reality of the situation and is able to find his own reality as well. And so, a man who once refused to put forth any effort in saving outsiders, letting them die instead, is now risking his life for his comrades.

What makes this arc so compelling is how subtly it’s presented. C.J., himself, even has an unawareness of his own change—much like this film, he has no time to stop and reflect.

It’s the immersion in the chaos that brings about his redemption. He’s suddenly faced with reality—no longer just watching disaster on TV, but living through it. As in real

in all its minimalism. Kenneth’s rooftop bond with the owner of a gun store across the parking lot is a lot of fun to watch. It’s the relationship that changes him, even though the two men never talk and only communicate via whiteboards and binoculars.

Polly is great as our lead, and her despair is quiet, but palpable.

She understands the emotional limitations that a situation like this can reveal, and instead of forcing herself to expand upon it, the actress is able to justify its narrowness.

Snyder picked a good film to remake. Romero’s horror was always more idea-based. Snyder, on the other hand, has more of a focus on style and pacing—entertainment in the most literal sense. And in 2004, here’s a director who hasn’t yet

Dawn of the Dead (1978)/United Film Distribution Company/George A. Romero/Dawn of the Dead (2004)/Universal/Zack Snyder

overwhelmed his films with his visual style, as he would with his very next endeavor, 300. Snyder keeps things relatively tame, despite the occasional use of his trademarked slow motion. The style is enough to add to the experience and make it feel fresh, but doesn’t take over the movie or detract from the story per se. In fact, considering some of the incoherent camerawork during the action sequences, I wish he had actually used more slow motion so the viewer could have better understood the details of the scenes where characters are the most immersed in the undead. Despite being an action-first horror film, the action cinematography is perhaps the weakest aspect.

There’s not a ton of symbolism behind the camera either, and where we think it lies, it doesn’t. Both the slo-mo cigarette and the bullet falling to the ground turn out to be merely gratuitous. There are fun allusions to the original film and Romero’s follow-up Day of the Dead, as well as nods to The Shining and even the Romero-adjacent Italian film Zombi 2.

At times Snyder and Gunn are at odds with one another, working on different pages entirely. The director seems to desire something a bit

more austere and dark—perhaps even thoughtful—and his penchant for an angrier approach to action is evident even with his debut.

However, his writer has a hard time balancing sympathy with his own preferred near-comedic frankness, opting almost always for the latter.

Any attempt at sympathy comes across as insincere, such as a sequence when a young woman’s father has to be executed after getting bitten.

On the other hand, it’s as though both men needed each other to make this movie work. The wonky tone is somewhat interesting and both men value the art of escapism, working together hand in hand in that regard. It’s just interesting to see two entirely contrasting approaches to the same end goal.

Not all movies feature a balance between director and screenwriter, but here that imbalance speaks more about the stubbornness of the creatives themselves. As we’ve seen with the trajectories of these men’s careers, they’re both very domineering forces, each with his own individual vision.

Dawn of the Dead can definitely be viewed as style over substance, yet also one of the more enjoyable examples of such. There’s a dishonesty to its depth in places, but also there’s a very earnest approach to its sensationalism, embracing it at all costs. Despite a head-scratching sequence involving a dog at the end of the 2nd act, which cheapens the plot and brings down the narrative integrity, the storyboarding in this film is solid overall, and only really hiccups in that one moment.

As an aside, there’s a store in the mall called Metropolis, which I found as an uncanny foretelling for where Snyder’s career would soon be heading. He even makes a note

to focus on the sign in a prolonged wide shot at one point.

Like the 1978 original, Snyder’s version was influential in its own way with its integration of action into horror and the conventions it innovates in order to do so. If anyone finds flaws in Romero’s version it’s probably because the movie has a lot of room to breathe and think. Snyder’s version is quite the opposite. Flaws go undetected because there’s so much going on.

If Snyder and Gunn had tried to copy Romero’s film more closely—or closely at all—it would never have worked. Fortunately, they took very few notes, yet still came up with a brilliant storyboard in their own right. It’s the confident vision both men had of establishing a new angle and new identity that allows for this remake to retain its value, even all these years later. While not nearly as great as the 1978 predecessor, 2004’s Dawn of the Dead is very much justified in its existence.

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following john carpenter’s iconic 1978 slasher Halloween, the floodgates opened up for a whole new style of horror movie, and one that would be copied to no end throughout the following decade. By 1980, the genre had already started to be drilled into oblivion, but the fact that moments of brilliance were still prevalent during this time is a testament to the true power of creativity, even within these unwritten parameters. 1980 itself was a particularly high-volume year, with the likes of Friday the

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Terror Train/20th Century Studios

BY ETHAN BREHM

13th, Prom Night, Maniac, Christmas Evil, New Year’s Evil (I swear I’m not making these up), and one that many claim tops them all: Terror Train.

As the story goes, producer Daniel Grodnik had a foretelling dream one night after watching a double feature of Halloween and the 1976 actioncomedy Silver Streak. He woke up and said to his wife, “What do you think about putting Halloween on a train?” She responded with, “That’s terrible.” He jotted down the title “Terrible Train” and wrote a 22-page spec the next morning, making a deal with fellow producer Sandy Howard that same day.

The premise is simple, but the execution evolved into something deceptively elaborate. The film opens with a bunch of college fraternity members playing a prank on a freshman pledge, Kenny (Derek MacKinnon), by convincing him that he’s going to get lucky with a girl, which turns out to be a dead corpse from the morgue. The now-unlucky freshman goes into hysterics and we fast forward three years to the same fraternity renting out a train for a New Year’s party their senior year. Doc (Hart Bochner), the ringleader of the bunch, invites all of his friends, including his girlfriend Mitchy (Sandee Currie), his confidant

Mo (Timothy Webber), and Mo’s girlfriend Alana (Jamie Lee Curtis).

The train winds up being packed, just like a real frat party, with everyone wearing costumes and masks.

Other than a fun take on the slasher genre, Terror Train has something almost no other horror film has: magic. Doc hires a magician, played by David Copperfield in his only acting role where he’s not playing himself.

Copperfield shows us authentic tricks, both close-up and grandiose.

Right away, one of Doc’s friends, Ed (Howard Busgang), who’s wearing an already-creepy-looking Groucho Marx mask, gets murdered before the train even departs. We see a hand grab the mask and hide Ed’s body underneath the train. Now, with the killer disguised, no one on the train is safe. Throughout the film, the villain dons different masks and picks off Doc’s friends one by one.

Terror Train does something interesting in that it establishes both a “conceptual killer” and a “personified killer” and plays with the relationship between those

two elements. The film blatantly implies that the killer is indeed the humiliated freshman, Kenny, from three years ago. Director Roger Spottiswoode then takes this transparency one step further by having us infer that Copperfield, known only as “The Magician,” is actually Kenny when he has his mask off, performing for all the guests, much to their delight, never knowing that he’s the one responsible for the deaths of their friends. And yet, despite everything that we think we know for sure, we’re continuously engaged in this movie and how it’s going to play out. The tension comes from the discrepancy between the conceptual killer and the personified killer, and the conflict of whether those two people will line up to be the same person by the end of the film.

Part of our enjoyment also comes from wanting to see the obnoxiously cocky Doc get his comeuppance.

But we’re also invested in Curtis’ Alana and the drama between her and her boyfriend. Alana was also part of the prank played on Kenny, but reluctantly so and has regretted it ever since. Mo had informed her that the train party was his idea, because if she found out that Doc had planned the whole thing she wouldn’t have agreed to show up.

She doesn’t want anything to do with him ever since he traumatized Kenny.

Spottiswoode, with a screenplay

by T. Y. Drake, makes sure to develop this story outside of the slasher framework. Unlike something such as Friday the 13th or even Halloween, we really get to know these characters. The benefit that a lot of these early slashers had was in not being so locked into a particular

formula or blueprint. The side effect is that some of these films had a problem figuring out how to fill up time. But what makes Terror Train so good is how it’s able to develop its story regardless of the murders going on elsewhere—something very few from that era could do naturally.

This starts with Jamie Lee Curtis (who starred in three horror movies in 1980 alone) in one of her best roles.

Curtis’ performance here would be the sturdiest of her trio in 1980.

While not necessarily as laid out as Kim in Prom Night or as physically tough as Elizabeth in The Fog, Alana in Terror Train feels more lived in, where the depth doesn’t need tragedy to be cultivated, and where physical toughness becomes excavated from the already-present mental toughness. Her character isn’t just one big, singular note, but one with nuance that lies beyond the

specific plot points that she’s lived through. There are even moments where she eclipses her iconic performance from 1978’s Halloween, including how she handles the tumultuous stand-offs with the killer.

In one of the more evenly-distributed slashers in terms of kills, Terror Train—unlike Halloween—builds on the actual moments of terror along the way rather than suspense that only ever passively leads up to the action, which allows a Scream Queen like Curtis to truly shine.

Veteran actor Ben Johnson is another highlight among the cast as the older train conductor, Carne, who discovers these bodies early on and does his own detective work. He and Alana form a friendship over the course of the plot. Johnson holds the movie together and also has an immunity from our murderer.

Unlike a lot of slashers, our killer seems to have personal limits— principles even. He only targets those involved with the incident three years ago, and so he becomes

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Terror Train/20th Century Studios/Nostalgia Video

calculated. Like a magician, Terror Train intentionally shows us its hand while setting up the illusion just outside of our vantage point.

The murderer hides in plain sight, allowing the filmmakers to develop him casually, compared to if he were to remain an unsympathetic, speechless psychopath void of any thought or emotion. It also makes his duality all the more creepy.

My favorite moment of the film comes in one of the first scenes where the killer, under the Groucho mask, is approached by one of the frat guys who think that he’s Ed. We see him give an ominous glare towards the unsuspecting victim.

The built-in smirk on Groucho’s face contrasted against these menacing eyes makes for a haunting image burned into our brains. The killer is at his best with the Groucho mask, which he doesn’t wear for nearly long enough, devolving into less scariness with each new costume.

However, this disguise rotation helps justify the partygoers’ inability to pinpoint the suspect.

The train setting also provides for an environment conducive to new ideas. Eliminating the possibility of exiting the train has also eliminated a big slasher foible in that the audience can no longer expect the victims to just run away. We see that this killer is very capable of killing discreetly amidst a crowd just as he is one-on-one inside of a bathroom.

He deliberately causes commotion so that other people can’t hear his victims scream.

Credit to Spottiswoode and his legendary cinematographer John Alcott for the atmospheric camerawork which helps to capture a certain mood that sets it apart from all the other slasher fare of the time.

Alcott worked with Stanley Kubrick on some of his most iconic projects, such as The Shining and 2001: A Space Odyssey. For Terror Train, he ensures that the claustrophobic premise goes far beyond mere gimmick. Instead, every detail of what we’re looking at adds to the nature of this train setting. The train’s hallways, for example, utilizing either realistic and/or minimalistic lighting in different moments (some done so with Christmas lights), are a major factor for increasing the

audience’s sense of suffocation.

Alcott uses different techniques at different times, but maintains the stylistically-crude mise-en-scène for the entirety of the film. With each and every kill, the lighting seems to get dimmer and dimmer, ultimately leading up to the genuinely chillinducing, noir-esque finale.

Alcott obviously knows this is a horror film, but almost benefits from not knowing that it’s supposed to be a shameless Halloween rip-off from its conception. There’s less concern with the details of the kills than there is with the objectivity of the camera.

We can see the killer up close and, thus, can notice things about him that others aren’t able to—it also helps that we know certain details about him that the other characters don’t. Without having to resort to the slasher cliche of a first-person POV, we still feel like we’re part of the killer’s perspective.

The heart-pounding musical score

by John Mills-Cockell also adds to this ambiance, starting with a traditional slasher baseline, but filling it with some intricate, almost atonal cues, and deliberately uncertain melodies. There’s a delicate tinge of synthesizer just for color, and some other interesting instrumentation going on as well.

The flaws in the third act initially don’t work because of what we think

is going on with the plot. And then once the twist is finally revealed, the decisions make much more sense. And yet, in many films, the flaws would then expose the very twist that follows. But here they add another layer of conflict for an even more heightened resolution.

The terrifying simplicity of the final scene solidifies Terror Train as an inspired and engaging slasher that gets the job done with far less blood and guts than its contemporaries. A compelling story about a vendetta— even though you might know who’s responsible—the film always manages to keep driving forward.

At first glance it may seem like Terror Train is just another revengeinspired slasher. And while it does adhere to much of the formula, the filmmakers infuse the story with these magic elements, which end up playing into the narrative as a whole, including misdirects, sleight of hand, and careful detail to ensure that the overarching trick is not only justified, but makes perfect sense.

The film uses its premise to subvert expectations and break some rules, while also becoming a more-thanworthy addition to the genre.

COLLECTOR SPOTLIGHT: Nick from Nostalgia Video has built his own retro video store in his basement.

Don’t get too excited though—it’s not open to the public. Although, feel free to virtually browse Nick’s collection of all your favorite ‘80s and ‘90s movies on his Instagram page. From the tufted carpet—you know the kind—to the rack of giant sized snacks, just perusing through his photos will instantly send you back in time to a simpler era where box art—and Jim Carrey— was king. The collector tells us how he got inspired and gives us a small glimpse behind the scenes.

NOSTALGIA VIDEO: The inspiration 100% goes to James Rolfe, better known as the Angry Video Game Nerd on YouTube. He had built a store in his basement a few years prior and I just thought it was the coolest idea ever. So all the credit goes to James. My local video store growing up was a Blockbuster, so that’s where my family and I went to rent tapes. That’s why the Blockbuster theme is present throughout Nostalgia Video.

ETHAN: Have you been collecting since you were young? Or did it resurge after a hiatus?

NOSTALGIA VIDEO: My family and I had our little bundle of VHS tapes in the house from when we were kids, and they were always in use, but I started getting serious about collecting tapes around 2013 or 2014. My brother and I got heavily into collecting retro video games around 2011, and once we neared the end of the road for that venture, VHS tapes just seemed like a natural transition. For me personally, once I got started, I was completely hooked.

ETHAN: I like your collection because of its variety. I know horror is a big genre among collectors, but you really hit all the corners of nostalgia. Was that the plan from the beginning or did it evolve to that?

NOSTALGIA VIDEO: I definitely wanted to make it resemble an ‘80s/’90s style Blockbuster as best as I could, so I included as many different sections as possible. From kids’ comedy, to sci-fi, to music, to

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ETHAN: What about your rarest?

NOSTALGIA VIDEO: WWF In Your House: The Lumberjacks (1995). documentaries, to an “edgy ‘90s” section, there’s a lot to choose from. But my favorite genres to collect are horror, wrestling, and Ninja Turtles. You’ll see those three sections have a very heavy presence in the store.

ETHAN: How many tapes are in your collection?

NOSTALGIA VIDEO: I don’t have an exact total at the moment but I’m sure it could be calculated with a little bit of time and effort. On our website, nostalgiavideo.net, I created a massive database that logs all of the tapes within the collection.

They are all numbered but it’s broken into sections. So to get a final total, all of those sections would just need to be added up.

ETHAN: Do you have a plan for when you run out of shelf space?

NOSTALGIA VIDEO: I think the very last bit of remodeling I’d be able to pull off within the store to free up space would be to add one last shelf within the “library” section of the store, which has a good number of tapes all side by side. Other than that, it’s just going to come down to being very selective when buying tapes. Tough decisions have to be made at some point, unfortunately.

ETHAN: How do you organize your collection?

NOSTALGIA VIDEO: I go by genre, and then it varies from there. I like to group similar movies together in the horror section so there’s a nice flow. Within the comedy and action sections I like to go by actor (Arnold, Stallone, Jim Carrey, etc.). It really just all comes down to personal preference and what you think looks nice. I don’t ever remember Blockbuster organizing alphabetically, just by genre, so that’s what I do with the shelves.

ETHAN: Do you have a favorite tape?

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ETHAN: What’s your most recent acquisition?

NOSTALGIA VIDEO: I recently was able to (finally) track down the three ultra-rare Teenage Mutant Ninja Turtles cartoons that came out around 1997. They are the last ones to be produced, and hardly ever pop up for sale. I was ecstatic to finally nab them!

ETHAN: Favorite box art?

NOSTALGIA VIDEO: Street Trash and The Video Dead.

ETHAN: Do you have a favorite distribution label?

NOSTALGIA VIDEO: Vestron Video.

ETHAN: What’s your weirdest find or the most so-bad-it’s-good?

NOSTALGIA VIDEO: Weirdest, and possibly one of the rarest finds has to be the Warrior Workout VHS tape produced by the Ultimate Warrior himself. It came out during his time away from wrestling, and I believe it was issued to you when you bought his workout kit. The video isn’t really instructional as it is just the Warrior working out like a maniac

Nostalgia Video

NOSTALGIA VIDEO: The Monster Squad. The copy I have is from when I was about 3- or 4-years-old. It came from a local video store, where I rented it so often that the employees just decided to give it to me!

and grunting. The fact that I pulled that tape out of a random box at a flea market still boggles my mind to this day.

ETHAN: Do you have any movies with an absurd amount of duplicates?

NOSTALGIA VIDEO: I have about 6 copies of Son in Law, which is a bit embarrassing. For as big of a Son in Law fan as I am, I’m ashamed I don’t have more.

ETHAN: Which tape are you still on the lookout for—your holy grail?

NOSTALGIA VIDEO: I’m currently trying to track down Video Violence 2. It’s quite an amazing cover.

ETHAN: If you could have a VHS version of a modern movie, which one would it be?

NOSTALGIA VIDEO: I would love it if The Wrestler (2008) got a VHS release in an old style Coliseum Home Video clamshell.

ETHAN: What keeps you wanting to collect?

NOSTALGIA VIDEO: There’s definitely a bit of an addiction aspect to it. The thrill of getting new tapes and finding rare ones that have been on your list is like nothing else. But I find

it to be a healthy addiction and a way to express my passion for these old relics that I grew up with. VHS is just so comforting to me. It’s akin to listening to music on vinyl. It sets such a beautiful ambience, whether you’re intently watching what’s in the VCR, or have something on for background noise. There’s

nothing quite like popping in an old Nickelodeon tape on a Friday or Saturday night, and then following it up with a horror movie or two afterwards.

ETHAN: What’s your favorite thing about the hobby?

NOSTALGIA VIDEO: It’s a very therapeutic form of escapism.

It allows you to reconnect with simpler times, and shut your brain off from all of the problems in the world, and your own personal adult responsibilities. Those things are important, and it’s important to take care of them, so I look at this hobby as sort of a reward for a job well done. When I take care of my adult responsibilities, I allow myself to relax with some of my favorite tapes, or go on the hunt for new ones.

ETHAN: Why do you like physical media? What’s the biggest benefit over streaming, if any?

NOSTALGIA VIDEO: The ability to pick up, touch, hold, feel, and examine the box and its artwork right in front of you just brings a different and more satisfying experience than scrolling through thumbnails on streaming services. may 2021|

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beginning of its resurgence right now. It could continue to gain steam, or maybe this is as hyped up as it’ll get. Time will tell.

ETHAN: Have you learned anything through collecting?

NOSTALGIA VIDEO: Buy in bulk to save, and if a rare tape pops up that you’ve been after for a long time, don’t be afraid to pull the trigger if it’s a few bucks over what you were hoping to snag it at. Saving 5 to 10 bucks means possibly not having another chance at it for years.

ETHAN: Do you think physical media will ever truly die?

NOSTALGIA VIDEO: Physical media will always have its place in some way. Speaking specifically about movies, physical media is sort of like, “break the glass in case of an emergency.” If a streaming service fails, shuts down, etc.—then what?

Time to dust off the tapes!

ETHAN: Do you think VHS will make a comeback in the way vinyl has?

NOSTALGIA VIDEO: Very hard to say. We might just be at the

ETHAN: What would you want noncollectors to know, if anything?

NOSTALGIA VIDEO: In my experience, those who don’t collect VHS find it very difficult at first to understand why those who do, do.

The easiest way I can describe it is that it’s the same thing as why some people prefer listening to music on vinyl, which is a little more accepted by the mainstream now.

It’s just personal preference. I prefer to watch horror movies in a bit of a lower, grainy, static-y, almost dirty quality. It enhances the experience

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for me. When it comes to comfort movies, the dull hum of the VCR enhances my experience in that respect too. Most people, after a little bit of initial apprehension, do start to understand that point of view when it’s explained to them.

ETHAN: Any tips for new collectors?

NOSTALGIA VIDEO: Don’t pay more than 50 cents or $1 for those classic Disney clamshells!

Check out more of Nick’s collection @nostalgia.video on Instagram

Nostalgia Video

That’s just my personal preference.

Streaming services do have a ton of benefits and they’re obviously very convenient.

Meet your new sidekick gita is a first-of-its-kind hands-free robot that follows you and totes your gear.

SPOILER MAGAZINE

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INTERVIEW BY GALAXY INTRO BY ETHAN BREHM

leader Osyraa on Star Trek: Discovery and the conniving mayor Ruvé Adams on Arrow, Janet Kidder is no stranger to either the fandom world or playing treacherous characters, and does so very well. However, she just as easily brings to life the strong, confident Lila on The Man in High Castle with her dominating, yet warm presence every time she’s on screen.

The actress has enjoyed a prolific career that’s spanned back to the ‘90s, including roles on shows like Continuum, Earth: Final Conflict, and Limetown, and films such as Bride of Chucky, Ginger Snaps 2: Unleashed, and last year’s Operation Christmas Drop.

With a career that’s spanned 30 years, the Canada native has recently taken time off from being on set to teach acting to a new generation of talent.

She says she’s found fulfillment in a way she never imagined. Unlike the work she does on screen, which is satisfying on a more personal level, teaching feels good because of how she’s able to watch others grow.

Janet chats with Galaxy about some of her most notable roles, as well as her history with fan conventions and her aversion to social media.

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Janet Kidder/Star Trek Discovery/CBS/Roddenberry Entertainment/(cover image):Janet Kidder/Kristine Cofsky/The Portrait Sessions

Known for her roles as the green-faced villainous

erview erview SPOILER: I hear a little British twang in your voice. Where are you from originally?

JANET KIDDER: I was born in Canada, but I left when I was just 2-years-old. And then I was raised in England and came back to Canada when I was 18. So my accent is a real mix of the two.

And I never really know from one minute to the next how I’m gonna sound [laughs]. Depending on the time of day or how tired I am, or whatever it is, my accent changes quite profoundly. It’s very interesting. I’ll be midway through a sentence or a conversation and I’ll say something that’s frightfully British. It’s very interesting how our mind functions in that way.

When I first came to Canada when I was 18, I had a really, really thick, not quite Cockney, but southern English accent—no one could understand a word I said so I really had to quickly change the way I spoke so I could actually function in Canadian society.

SPOILER: Does your voice change pitch when you speak in a given accent?

JANET KIDDER: I think it does. I

Janet kidder

think I speak lower when I speak in my native British. I think when I’m American, it’s more of a singsong dialect, so I might speak a little bit higher. But I do notice a difference, yes.

SPOILER: You’re on so many different shows and films. Which medium is your favorite?

JANET KIDDER: It kinda depends.

Working on something like Star Trek felt like you were melding both those [mediums] into one. It was like being on a film set making this TV show. And I kinda like that.

Working on TV, it’s very quick and you know what the day is gonna hold and you’ve got a mission to get to the end of your scenes.

Whereas film, there’s this sense of a slightly more luxurious pace. You need to delve deeper into a scene. I don’t really know. Both of them tick different boxes. I just love doing it so much, I don’t really care how it happens.

SPOILER: How was it working on The Man in High Castle?

JANET KIDDER: What a surreal, strange show. Again, it was like you’re involved in this other world.

It was wonderful to work on it. We had the pleasure of there being a readybuilt set out here in B.C. that they sort of manipulate depending on what show is being shot there.

So every day you turn up on set and you’re already in this world. So that always adds so much to being in a show. You’re not walking into sets and pretending like you have a dining room. It’s like, we walked into this fully functional, fantastic, beautiful world. I loved working on that show. Very dark, very heavy.

But wonderful people and an interesting premise. I’m glad it was just a show. But it really leaves you thinking. And I guess that’s what a good show does, right?

SPOILER: Amazon’s shows are very good. They just hit the mark. You were also on a show on Facebook called Limetown. How was that?

JANET KIDDER: Limetown was a really wonderful experience.

Listening to the podcast after booking the role, I was like, “Ooo, this is good! This is really dark and exciting!” There was a real buzz to being on that set because it all happened so quickly for these two young guys who did the podcast, and suddenly they had Stanley Tucci and Jessica Biel on their show. So it was just a very exciting set to be on from beginning to end.

Working with Jessica and Stanley was a dream. There was no sense of rushing through this. We were really dedicated to getting the best, most realistic performances that we could. I thoroughly enjoyed that whole experience and loved that character. I love the sort of bad ladies that I play. It was really fun.

SPOILER: You mention Jessica Biel and Stanley Tucci, but people are thrilled to be working with you too.

How does that feel?

JANET KIDDER: Fantastic! I mean I just want everyone to be having a good time. If working with me is a memorable experience, then that’s wonderful. It makes me happy to hear.

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janet kidder SPOILER: What was it like being at your first convention?

JANET KIDDER: I’ll be honest, the only convention that I did was many years ago for Earth: Final Conflict in Toronto. Because the Star Trek convention we were meant to go to came at the same time as COVID, so everything got pushed back. And actually my first Star Trek convention won’t be until [this month] in Las Vegas. So that’s gonna be wetting my nose in that kind of arena. I haven’t been to something that large before.

SPOILER: You are going to be wowed and amazed. I’m so excited for you.

JANET KIDDER: My aunt [Margot Kidder] talks about these conventions all the time. But what I do remember from way back from Earth: Final Conflict was an incredible amount of very passionate people who could tell you that you had your elbow on the table in this scene and that they loved the shirt you were wearing in this scene. They are very dedicated fans and I’m sure that I won’t have experienced anything like a Star Trek fan. I’m sure that Margot had the Superman fans, and this is gonna be a whole other world.

SPOILER: Have you seen a difference on social media for you since working on these fandom shows?

JANET KIDDER: So I’m possibly the worst actress in the world [at social media]. I don’t do social media. I actually consciously don’t do it. So I’m afraid I don’t know. I know that it’s a world that if I were to get into would be phenomenal businesswise and that people would really appreciate it. I’m a mom with two kids and I’m on my own with them.

And I find that keeping up with social media is almost like another job.

I just haven’t done it yet, much to the chagrin of several of the people involved in my career. But I stick by my guns unfortunately and I’ll just stay here with no social media [laughs].

SPOILER: Well you’ve got a pretty good following on your hashtag.

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JANET KIDDER: [laughs] It’s working without me even being there! How do people keep up with it all? You have to dedicate several hours of your time every day to be on top of that stuff.

SPOILER: It’s a lot. Do you think with social media it’s too easy to connect with actors and celebrities?

JANET KIDDER: A little bit. Maybe it’s interesting. Maybe it’s a juxtaposition. But as an actor, I find that what you do is already so public that, me personally, I guess I’m just way more private. And I kinda like it that way. I’m sure that I could encourage more jobs coming my way if I were more active. But this just fits me better. I do my work and people see that, but they just don’t necessarily see behind my scenes.

SPOILER: A lot of the mystery’s gone nowadays. Sometimes I think it’s good to keep certain things to yourself to preserve that mystique.

Do you think if someone knows you too well they’re affected differently by the series or movie?

JANET KIDDER: I wonder. I hope that the work would stand for

itself. I hope that they would enjoy the person you would bring to the screen regardless of their connection to you as a human being. Maybe it would be more exciting for people to go, “Oh, I know her!” Maybe they’ll feel like they have a more personal connection when they watch the show. I don’t know. If we get to meet in person that’s great, but otherwise, there’s my heart and soul out there on the screen. That’s me, really.

SPOILER: One of your new projects is Two Sentence Horror Stories. How was that? It’s very different from your norm.

JANET KIDDER: It’s really different.

It’s a local Canadia producer, which is nice. I’ve never had the pleasure of working with her before, so it felt like a really nice local thing to be involved in. It was a very interesting, fun role—this demonic janitor. It was really nice. It was lowkey. A very interesting project to be involved in— the subject matter that they tackled, the social ideas that are explored in the show are really interesting to me.

It had a real family feel to that [set].

And I really enjoyed working on it. I hope they continue to do really well.

Janet kidder Janet Kidder/Star Trek Discovery/CBS/Roddenberry Entertainment/Kristine Cofsky/The Portrait Sessions

more rewarding than I ever thought it would be. So I’m concentrating on that and helping my kids get through the end of school. It’s been a really tough time to be a kid these days. I think it’s underestimated, the effect of COVID on our young people.

Obviously I intend to get back into the acting seat again, but I don’t have any projects that I’m working on at the moment. But I’m playing an acting teacher [laughs].

SPOILER: You were so creepy!

Nobody could have done that but you.

JANET KIDDER: [laughs] It was so fun! The contacts were a little bit of an issue sometimes to have those jet black eyeballs, but I thoroughly enjoyed myself.

SPOILER: How is it having children and pushing your career? Does it make you more picky about roles in order to set an example for them?

JANET KIDDER: As I’m getting older, I’m definitely getting choosier. If I’ve done something before, I don’t necessarily need to do a similar role again. Honestly, my kids are so unenthusiastic with what I do [laughs]. I think Star Trek may have triggered some excitement in them because their friends watched it. But otherwise, they’re not particularly interested. They don’t wanna watch what I do, but I know that one day they probably will. I can’t just go where this job calls me anymore. I have to really consider beforehand.

I have two teenagers and it changes things. And they don’t wanna come with me when I go anywhere [laughs]. It’s a real, real challenge.

Anyone who says it’s a piece of cake—I don’t believe it. Having kids and having a career—any kind of career—mostly as a single mom, is really tough. So it does change the landscape. There’s just more to consider.

SPOILER: What’s an ideal project for you? Your most favorite genre?

JANET KIDDER: Honestly I’m not a sci-fi person, but I would play Osyraa for the next 20 years because I think she’s just a phenomenal character and I loved her so much. I’m more of the thriller ilk. I’d love to be on another show like that. Maybe a detective show like True Detective.

That’s my favorite thing to watch, and so to be involved in a project like that would be super cool. I played a detective here in a series years ago, but it was more white collar, political crime. I’d rather get down and dirty and get involved in murders and all sorts of stuff like that. And if anyone from Star Trek ever wanted to bring Osyraa or Osyraa’s twin back, then I’d be all over that in a heartbeat.

SPOILER: If you had a choice would you pick DC or Marvel?

JANET KIDDER: You know I have this discussion with my children, who have much more knowledge of these things. I feel like I should say DC, but… Oh man, this could change everything for me. Let’s say 50-50 [laughs].

SPOILER: Is it hard teaching?

JANET KIDDER: I find it difficult.

And it’s pretty tiring. You put out so much energy, because I’m so passionate about this business. I find my classes, which last about four hours, I spend a lot of time getting very excited and very animated.

At first I found it quite a daunting process, like, “I don’t really know how to approach this.” But then when you start, you realize that after being in the business for 30 years, you do know quite a bit. And helping these young people discover things about themselves, and enabling them to breathe deeper and not shy away from fearful emotions, is really wonderful. And incredibly inspiring.

I’m getting wonderful feedback from the people I teach and it’s something that I think I’m gonna focus on more and more if I have the opportunity, because I do like the idea of giving back. Acting is so incredibly wonderful. We give the world characters to enjoy, but ultimately I act because it feels good to me to do it. And teaching feels good to me because I’m helping other people discover things about themselves.

SPOILER: What’s in the works for you right now?

JANET KIDDER: I’ve actually taken some time off and I’m teaching acting right now, which is something I’ve thought about for a long time.

And I’m actually finding it much

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SPOILER: What advice can you give to an actor trying to get into the business?

JANET KIDDER: “Take some classes.

Watch movies. Choose actors you really like and study them; watch what they do. And know that you’ve got the goods. Acting is just about telling the story. So just relax and tell the story.”

I think it’s a really wonderful world to enter into as long as you know that it’s gonna be tough. You’ve got to really love what you’re doing or else you may very well not make it through the years.

But man, it’s just the best feeling in the world when you’re on set. Any actor that I’ve spoken to is like, “There is no other place that feels like home than when you’re working.” The luxury of being able to do something that you love so much and to be able to support your family is such a gift and a blessing.

If a tiny percentage could enjoy going to work as much as I do, then the world would probably be a much happier place. So I tell these young people to go for it. Maybe have a backup plan, but sink yourself into it and play. It’s all meant to be fun.

SPOILER: Do you think someone’s success is attributed more to their ability or because of the opportunities that get presented to them?

JANET KIDDER: I think it’s because of the opportunities. I think there are an equal number of incredible actors who may never be discovered or get to work as there are actors out there who do this for a living and are successful at it. I think it’s luck, it’s time, it’s all those things. And it’s where you are. The opportunities are going to be vastly different for people who go down to Los Angeles than actors like myself who are staying in Canada. You have to be conscious of your expectations and be realistic in terms of your choices.

But some actors get a break and other actors don’t. But that’s the way of the world, isn’t it? In any profession, some people make a success out of it and other people work just as hard and are just as talented, but maybe don’t get recognized.

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SPOILER: Does it help knowing the business side of things as well?

JANET KIDDER: Yes. More successful, I don’t know, but certainly more aware.

More able to navigate those waters and make choices so they know they’re not just going into something that’s going to be a very passionate hobby. If you want to be successful at this then you have to look at it like a business.

And there are certain things about it that you can’t escape from in terms of that. If they go into it with as much knowledge about that side of it then they can make choices that can possibly put them in a better position in the long run. Know what to look for and know what not to look for.

SPOILER: Is it harder to select actors with tapes versus in-room auditions?

JANET KIDDER: I think so. For me it is because I love to be in the room. I think there’s a connection you make with directors and producers that you just can’t do through a tape. It’s sad that that personal connection is lost. But people are adjusting. If they feel like casting through tape is the only way to do it right now, then we have to do that.

But I think something’s been lost for sure.

SPOILER: How can fans get a hold of you?

JANET KIDDER: I have my publicist and I usually get mail through my agent, and it’s always lovely to get those letters.

And I always send people photos and stuff. All that information is out there.

SPOILER: Is there anything you want to tell your fans?

JANET KIDDER: “Thank you so much for all the support. I hope I’ll be able to meet some of you in person. And just live your best life and hopefully there will be more stuff coming out that you’ll be able to enjoy soon!”

Janet Kidder/Kristine Cofsky/The Portrait Sessions

janet kidder

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F A N T O U R E X P E R I E N C E T O U R 2 0 2 1

THE TOUR Welcome to the COMIC CON RADIO + SPO!LER MAGAZINE FAN EXPERIENCE TOUR 2021!

This year we’re headed to seven amazing cities, visiting the top conventions across the United States in order to give attendees the memories they deserve. Reaching millions of fans with a unique experience in a way that only Comic Con Radio + SPO!LER can do, this year’s tour will be like no other.

Helping to make each event more memorable than they’ve ever been, what we’re doing has never been done before.

CONVENTION TOUR MAP Washingtong

new york

utah

california

Illinois

texas

florida

F A N

E X P E R I E N C E

T O U R

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OUR VISION Our designated area at each convention will be one of the biggest there, and the one where the most excitement will be happening. Celebrities will clamor to get their chance to be featured on our stage and, even better, fans will flock to see them, with your brand front and center.

At each stop on our tour, our area will consist of a raised stage and a giant screen for everyone to watch the excitement. We are the epicenter of each convention we’re a part of. But this is only the foundation for the creative interactive experience we’ve planned, which will be unlike anything these fans have ever seen: • Interviews with Celebrities • Sponsor Demonstration Areas • Giveaways: cash prizes, tickets, toys, t-shirts, and other goodies • Contests and Games: cosplay contest, scavenger hunts, trivia game shows, celebrity Q&A • Photo Ops • A Unique SPO!LER Magazine Issue for Each Location • Fun Convention After Parties

SPOILER MAGAZINE

BY KIM KOO

The opening for marvel’s miniseries loki

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bodies like the DMV, multiple departments/people handle niche steps that culminate in a relatively anticlimactic action. At one step Loki finds the fine Asgardian leather clothes he is wearing vaporized by a robot; at another he is forced to sign a transcript of every word he’s ever uttered. We are brought up to speed as to why Loki has been brought in for a trial from a 4:3 aspect ratio video featuring old-fashioned graphics and a talking clock (the defendant in the video is sweating—which doesn’t Loki/Marvel/Disney

hypnotically plinks out a mysterious and ominous tune to the pulsing cycle of “L,” “O,” “K,” and “I” through assorted fonts. Alternately bulging out to a rhythmic symphony, the shifting shapes mirror the shape shifting and fluid nature of Loki, while ticking and tocking with periodic dramatic low notes that herald enigmatic events. The enthralling 19-second tune encapsulates the essence of the show succinctly. It draws you in Pied Piper style and the first season does not disappoint.

Season 1 takes us for a confounding ride on a bureaucratic trip with our favorite mischievous Marvel character. Loki Laufeyson, played by Tom Hiddleston, finds himself questioning many things after being apprehended by the Time Variance Authority (TVA) for (Avengers: Endgame spoiler alert!) escaping with the Tesseract.

We start to learn about the TVA as Loki is dragged, pushed, and dropped through their quirky processing procedure. Much like our experience with governmental

look promising for people finding themselves in that position). The TVA protects a timeline referred to as the Sacred Timeline. SWAT teams of minutemen ensure there are no divergents to this Sacred Timeline by pruning “chaotic alterations of a predetermined timeline.” Any such event gets reset before its impact can cause permanent change to the Sacred Timeline. Things move from surreal to real when Loki witnesses the vaporization of a disobedient defendant. When Loki finally stands in a courtroom before Judge

Ravonna Renslayer (Gugu MbathaRaw) to plead his case, we learn that the Norse God of Mischief’s powers don’t work in the TVA. We meet Agent Mobius M. Mobius (Owen Wilson) who saves Loki from his guilty sentence by suggesting the TVA use this Loki to capture another Loki—and so begins the introduction to an amalgamation of temporal concepts that challenge all the dendritic connections your brain previously created about time and existence.

Owen Wilson and Hiddelston are a delightful pair to watch. Tom Hiddleston strikes the key notes of the mythological Loki, balancing a questionable yet sympathetic character that is neither good nor bad. With equal conniving/ vulnerable-lost-boy face and comedic aplomb, Hiddelston plays off Wilson’s seen-too-much, slightly patronizing but earnest and well-meaning Agent Mobius.

Their prisoner/guard relationship transforms into a friendship through the episodes as they work together to solve an evolving puzzle.

So what exactly is going on?

A battle where a multiverse of timelines created such chaos that everything basically broke is the genesis for the creation of the TVA. The Ancient One explains in Avengers: Endgame that the removal of Infinity Stones created parallel timelines, or a multiverse (How does that even work? Binary fission, with our bodies dividing and forming a perfect duplicate like bacteria? When does that occur?

So. Many. Questions). Therefore, the Infinity Stones create order.

Right? Not exactly, it turns out. TVA employee Casey has a stash of Infinity Stones in his desk’s junk

drawer, like loose paper clips. Like Loki’s powers, they are powerless in the TVA. Loki’s presentation of time travel is overarchingly rational. One can use time traveling devices called TemPads to open a portal to whatever point in time one wants, but, as always, the devil’s in the details.

Loki doesn’t quite explain the temporal anomalies in Avengers: Endgame. It does throw an amalgamation of temporal travel into the mix. Unlike the Simpsons’ time traveling toaster proposition, there isn’t much of a butterfly effect since time traveling agents “reset” moments of their appearance.

However, Mobius does acknowledge that anything they do can impact the course of history when they are out time traveling. Like the mindbending déjà vu loop in 12 Monkeys, we witness an event from the same person as both a child and adult, turning time, conventionally understood to be linear, into a loop in a way that still pretzels my brain.

Mobius explains a scaled-down version of this device called the Time-Twister, which can send a person forward or backward through their timeline. Are we stuck in a loop of repeating events leading to prevetted outcomes? Is the pre-vetted outcome in the loop? When older Spock met younger Spock in Star Trek it seemed more linear and less loopy. But then if that younger Spock met his future self, his future self would know that he would meet and guide his younger self. If there is a pre-vetted outcome, looping seems a bit futile.

The notion that we could possibly revisit or preview events, as if

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Loki/Marvel/Disney

they are subway stops we can ride to at any time, seems oddly… conceivable. But this must render “past,” “present,” and “future” as futile. To believe in time travel is to question the very definition of existence. What does it mean to “exist”? Can physicality be disassociated? If everything is destined for imminent destruction, does anything preceding matter? And choice—forget about it.

That is simply an illusion. Everything is ultimately meaningless.

The rule for time travel machinations is, “Anything goes.”

Why not? Who’s to say what’s valid or invalid? Once you accept the plausibility of transporting yourself to different points in time, anything is fair game. Who’s to question what happens when one opens portals to different time zones and what the temporal ramifications might be?

But if you could go back and forth and change outcomes to be more favorable, would you?

The action in Loki is simple; the story perplexing. The more we learn in each episode the more questions arise. Who is behind the TVA? How do they determine the events that belong on the Sacred Timeline?

Where are they and what does it all mean? And why does this body that knows all choose to use rotary phones and standard definition?

That may be more a commentary on how long it takes to change things in a bureaucracy, because they do have very futuristic tech such as TemPads, robots that can vaporize only the clothes off you, and awesome vaporizing “pruning” wands. And a talking clock hologram named Miss Minutes (voiced by Tara Strong) capable of independent thought. In episode 2, Loki asks, “Can you hear me? Are you a recording, or are you alive?” “Uh, sorta both,” Miss Minutes replies.

She’s definitely an advanced version of Alexa.

The series lays the foundation for upcoming Marvel projects such as Doctor Strange in the Multiverse of Madness, as well as its own— season 2 Loki has been confirmed.

How will our brains handle layering more alternate versions and parallel universes on top of the time travel? I can’t wait to find out.

SPOILER MAGAZINE

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dominating the film and toy industries, but it was changing the playing field. The standard had been raised for world-building and kids now had a mythology attached to their play. The deluge of action figures and playsets that had come out over the past five years was not only redefining the idea of merchandising but had successfully reinvented the wheel.

The wheel it was reinventing, of course, was first introduced by Hasbro in 1964. The toy was called

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G.I. Joe and it was the world’s first action figure.

A year earlier in 1963, licensing agent Stan Weston approached the executives at Hasbro, then known for Mr. Potato Head, with his conceptual prototype for a military doll, similar to Barbie, but aimed at the boys’ market. At the time, America was still feeling the patriotic fumes following the end of World War II nearly two decades prior, and soldiers were perennially looked at as real-life heroes.

Nevertheless, Weston’s presentation didn’t wow CEO Merrill Hassenfeld. However, head of research and development Don Levine was interested in the idea but admitted that there needed to be more to it. Up until that point there was no doll for boys, so Weston’s idea had to have a better hook.

One day after passing an art supply store, Levine spotted a wooden artists’ mannequin. He decided that if Hasbro made their new military doll with jointed,

posable physiques—with 19 points of articulation—then they might have something special. And so Levine and his team developed an 11.5” (later 12”) accurate military replica doll, weapons included. The new prototype impressed Hassenfeld so much that he made an offer to Weston for $100,000, but with no royalties, which the inventor later regretted accepting.

Hasbro had a potential hit on their hands, but it needed a name. And then one night, Levine was watching TV when the movie The Story of G.I. Joe came on. He knew it was fate

G.I. Joe/Hasbro/(cover image): G.I. Joe/Snake Eyes/Viacom/Paramount Pictures/Hasbro

the year was 1982. star wars was not only

and thus had a name for the new toy.

G.I. Joe stuck.

There was still a lot of skepticism about whether boys would buy the toy, mainly because of the feminine connotation associated with the word “doll.” So Levine and his team came up with the term “action figure” instead, with the slogan, “America’s movable fighting man,” on the packaging. Ironically following the same business model as Barbie, where they would sell one base figure, with various outfits and accessories sold separately, Hasbro was still taking a big risk with the release. But lo and behold, the G.I. Joe action figure was a hit.

G.I. Joe tapped into the way boys were hardwired to play, and parents were willing to fork over the extra bucks because of the obvious quality of the toy and the detail that was included (minus the anatomicallyincorrect thumbnail). Needless to say, Hasbro would have their fair share of copycats and ensuing legal battles, but still they remained the standard.

However, time would tick by and as the late ‘60s loomed and the conflict

in Vietnam waged on, the country’s attitudes on war would shift. War was stigmatized and soldiers were being thrown out with the proverbial bathwater. Sales dropped after outcries from antiwar activists who saw buying a G.I. Joe as supporting, if not glorifying, war.

This squeaky wheel forced Hasbro to shift the toys from the battlefield milieu to that of more comic book-y concepts with political sensitivity included by the end of the decade.

And by 1970, G.I. Joe was fully rebranded as “Adventure Team.”

Over the next several years, new characters were introduced, such as Bulletman and Mike Power, Atomic Man (to compete with the popularity of the Six Million Dollar Man figures), as well as new features such as lifelike flocked hair, “kung-fu grip” with bendable fingers, and “eagle eyes” that shifted back and forth. There were also commanders that talked.

By 1976, Hasbro introduced The Intruders, the line’s first antagonists: caveman-like aliens from outer space.

Throughout this time, sales continued to flourish. That is, until they didn’t. Hasbro eventually struggled to retain interest and the line was ultimately cut in 1978.

Hasbro was almost out of business as well, until then-president Stephen D. Hassenfeld, Merrill’s son, turned the company around after the release of Hungry Hungry Hippos.

In 1981, Ronald Reagan became president and suddenly patriotism was trendy again. Cold War commentary dominated an era of American pop culture, and so Senior VP of boys’ toys Bob Pruprish thought the time was ripe for G.I. Joe to make its return and spearheaded a team for the relaunch.

Designer Ron Rudat partnered with product manager Kirk Bozigian and R&D manager Steve D’Aguanno to create concepts for a brand new G.I. Joe relaunch. Instead of the 12” figures of old, they would model the new line after the 3.75” Star Wars figures from Kenner.

Due to the evolution of toys and media since Star Wars’ domination a few years prior, Hasbro needed to figure out a way to make sense of a relaunched G.I. Joe line. Hassenfeld wanted to maintain his father’s legacy but didn’t believe that the toy had any mythology to grab onto. He wasn’t wrong.

Proving necessity to be the mother of invention, Hasbro came up with an innovative transmedia approach; a triangle incorporating

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second. The new, shorter figure size allowed for more capabilities for the elaborate vehicles, accessories, and playsets, including one aircraft carrier that was over 7-feet in length.

The figures themselves had more range of motion than other action figures of the time, with arms, waists, and legs that swiveled and rotated. Kids loved them and G.I. Joe was once again a household name.

Wanting to parlay this massive hit into something even bigger, Hassenfeld thought that an animated TV show would be the next logical step and hired veteran sitcom writer Ron Friedman to develop it. Friedman thought that a five-part miniseries was necessary to open up the world and introduce these characters and the dynamics between them. And so in September 1983, the first episode of G.I. Joe: A Real American Hero aired, later to be known as “The M.A.S.S. Device” miniseries, under Marvel Productions

and Sunbow Productions.

Despite some fans and creatives thinking the show watered down the violence from the comics (with bullets being replaced by colored lasers and fighter pilots always escaping via parachute prior to crashing), its ratings surpassed

G.I. Joe/Hasbro/Marvel Productions/Sunbow Productions/DiC

merchandise, comic books, and television. Since restrictions limited toy ads to only 7 seconds of animation or effects, advertiser Joe Bacal had the unorthodox idea to make a commercial for a comic book, as there were no such regulations. Partnering with Marvel, Hasbro put out the first issue of G.I. Joe: A Real American Hero in June of 1982, written by former Army engineer Larry Hama, based on character designs by Rudat. Instead of referring to a single character, the name “G.I. Joe” now referred to the military unit. And suddenly the much-needed mythology was coming together.

Still working their way out of the red, Hasbro needed to cut costs for their new line before it even launched. The choice was either to take off a little bit of paint application from each figure, or all the paint application off of just one figure.

They chose the latter and thus Snake Eyes, the faceless, colorless figure, was born.

Hama kept track of all the characters with his own system of file cards, containing the personality and fictional history of each one.

These bios were eventually placed onto the cardboard backings for the toys and were a major selling point. There was only one problem: There were no villains. While Hasbro inexplicably didn’t want to sell an antagonist, Marvel understood that it was an obvious necessity to build a comic book story around. And so then-ambiguous enemy force Cobra was created from the mind of Marvel editor Archie Goodwin. Rudat designed the Cobra logo and then developed characters to go around it.

The commercials introduced these characters of good and evil, each spot teasing the next commercial that would introduce yet another toy or vehicle. The groundbreaking strategy proved to be a success and Hasbro made over $50 million in its first year, doubling that in its

expectations and even those of the most popular Saturday morning cartoons. This led to a second fivepart miniseries in 1984, also written

by Friedman, called G.I. Joe: The Revenge of Cobra.

In the age of hyper-commercialism of the ‘80s, the animated series served as an embodiment of these toys put into action in a way that the comics couldn’t, validating collectors who longed to see G.I. Joe be given the credibility that it deserved.

In 1985, the comic became Marvel’s top selling subscription title, and on the TV end, G.I. Joe: A Real American Hero was promoted to a full syndicated series, with 55 more episodes being delivered for a first season, kicking off with a third five-part miniseries, “The Pyramid of Darkness.” A second season consisting of 30 more episodes debuted in 1986.

As popular as Star Wars was, G.I. Joe also maintained strong popularity throughout that era, able to expand their universe with their ongoing series—and kids’ imaginations—in a way that Star Wars, connected to a beloved set of

finite movies, couldn’t necessarily do, at least not at the time. Where the toys for Star Wars became a tangible way of connecting fans to the film universe, the world of G.I. Joe was the opposite: A show was made in order to sell the toys. It was one instance where putting the cart before the horse actually worked.

On Hasbro’s end, toy sales continued to boom. The vehicles, which saw a higher profit margin than the figures, drove the numbers up. The show and comics kept coming out with storylines that would introduce new characters.

At one point, the demand for new figures became so high that Hasbro started basing characters off their own employees. Also, to move even further away from the realities of war, the newer sets saw even more of an increase in sci-fi and futuristic themes that would only get heightened in the years to come.

At the height of its popularity, G.I. Joe was close to getting the cinematic treatment itself.

That is, until the failed box office performances of 1986’s The Transformers: The Movie and My Little Pony: The Movie. So in 1987, G.I. Joe: The Movie was sent straight to video. With plans for the film to set up a season 3 for the TV series, Marvel and Sunbow lost the license to animation company DiC and a third season never happened.

Instead, DiC created a second incarnation of G.I. Joe: A Real American Hero, which debuted in 1989. The series, while getting a new theme song and largely new voice cast, followed the continuation from the previous one. However, it focused more on introducing new characters than preserving old favorites. After 44 episodes, this

series aired its final in 1992.

Stephen Hassenfeld passed away in 1989 at only 47 years of age and Hasbro saw a mishandling of the G.I. Joe brand throughout the next decade that tarnished the potential staying power of the property as it had been.

As the ‘90s were well underway, G.I. Joe’s grounded and more patriotic approach didn’t really match the goofier, irreverent ethos that was being ushered in during that era. Competing with the likes of the subversive, pizza-loving Teenage Mutant Ninja Turtles, G.I. Joe just couldn’t garner enough new fans, and older fans were moving onto things such as Super Nintendo.

In 1994, with no cross-platform TV show to support it, the comic book series saw a steep drop in sales and Marvel was forced to cancel it after a 12-year run. That same year, Hasbro acquired Kenner, their former competitor and maker of the Star Wars toys, in a deal that would make G.I. Joe figures second fiddle to their new flagship line.

Before long G.I. Joe: A Real American Hero toy line was canceled as well, with a failed attempt to revitalize the brand with Sgt. Savage and his Screaming Eagles, a World War II-era toy line that drew inspiration from the ‘60s figures (and ripped off Captain America’s mythology). With wartime enthusiasm being almost nonexistent with youngsters in the ‘90s, Sgt. Savage was canceled after only a year.

Lasting much longer than most thought that it would, the generational G.I. Joe: A Real

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American Hero ended up producing over 500 figures and 250 vehicles— unheard of at the time and even now. The toys were not only a massive success, but changed the way kids looked at their imaginative play and challenged other brands to up their game as well.

Hasbro tried once again to breathe new life into the brand with G.I. Joe Extreme and concurrent TV show of the same name (now back with Sunbow). The property was given an overhaul with a new look, additional characters, and a brand new villainous organization called S.K.A.R., led by the elusive Iron Klaw.

The revamped figures increased the height from 3.75” to 5”, which allowed for greater detail.

1996 saw the release of a subsequent comic book title, this time by Dark Horse Comics as Marvel was in the middle of their own financial troubles. The four-

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issue miniseries, simply called G.I. Joe, was written by Mike W. Barr, known for his work in Star Trek literature, with art by Tatsuya Ishida and Scott Reed. Comic legend Frank Miller did the cover for issue #1, which did surprisingly well, even though by issue #4 sales had dropped significantly.

The figures were also not as successful, with much worse articulation and mobility than the brand had been known for only a decade earlier. G.I. Joe Extreme was canceled in 1997.

Throughout the next few years, Hasbro’s G.I. Joe output was almost exclusively reproductions of their older figures, aimed at collectors rather than kids. There were some exceptions, however, such as 1999’s futuristic line The Adventures of G.I. Joe 2010 and the more realistic 2001 line G.I. Joe: Double Duty, both of

which were marketed to boys and were fairly successful, proving to Hasbro that Joes could still resonate with kids.

In 2001, Devil’s Due Publishing and Image Comics released a second volume of G.I. Joe: A Real American Hero comics, which continued Larry Hama’s stories from the Marvel title.

Beginning as a four-issue limited series, this reboot was so popular that it got upgraded to an ongoing series that ultimately lasted for four years, with a subsequent relaunch that ran for an additional three.

This would all spark new interest in the franchise and pave the way for the first major relaunch of the toy in 2002 with G.I. Joe vs. Cobra, which was a continuation of G.I. Joe: A Real American Hero, bringing back classic characters and introducing new ones. The series was a hit and lasted for three waves (including Spy Troops and Valor vs. Venom) and two accompanying direct-to-video animated movies until ultimately getting replaced in 2005 with the divisive Sigma 6 line.

On one hand, Sigma 6 and its accompanying animated show reestablished G.I. Joe to a new generation of kids, but the question was: Were they into it?

The figures, now standing at 8” tall, while emphasizing an even greater amount of articulation and intricacy, were also pricing out their target demographic. Older fans and longtime collectors saw the futuristic style of the Sigma 6 figures, along with their anime look, as very much of-the-time and largely

G.I. Joe/Hasbro/Paramount Pictures/Claster Television/Dark Horse Comics

passed. The line was short-lived, ending in 2007.

However, the same year that Sigma 6 saw its demise, Hasbro released their “25th Anniversary” series of the original G.I. Joe: A Real American Hero line, returning to the 3.75” stature. These were a huge hit among fans, who loved the increased articulation and updated construction of their favorite characters from their youth. As it turned out, the hardcore G.I. Joe collectors were the exact target demographic that Hasbro needed.

Now much older and with money in their pockets, longtime fans’ support was enough to justify continuous releases from then on. The kid market would catch on tangentially or through parents who were collectors. And thus, this has been the trend for nearly every new G.I. Joe line since.

Life had been breathed into the franchise once again and enthusiasm was at yet another high for G.I. Joe, but this time in the form of nostalgia. Following a highly successful Transformers movie in 2007, Hasbro was set to release their first ever live-action G.I. Joe film, even though it had technically been in-development since 2003. Based

on G.I. Joe: A Real American Hero, the project had onlookers excited to see how it would turn out. But after an early draft of the script was leaked, fans lambasted it. The entire Cobra Organization was nonexistent, and Scarlett was married to Action Man, based on the toy originally released by Palitoy in the ‘60s as a licensed copy of G.I. Joe. So after that, Larry Hama was brought on board as a creative consultant and the script was rewritten.

Channing Tatum was cast as Duke and Marlon Wayans as Ripcord.

Stephen Sommers, known at that time as the director of the 1999 film The Mummy starring Brendan Fraser, was brought on to helm the new project. And in 2009, G.I. Joe: The Rise of Cobra got its release.

The movie was a commercial

success and garnered a 2013 sequel/ soft reboot, G.I. Joe: Retaliation, directed by Jon M. Chu and starring Dwayne Johnson and Bruce Willis.

Both this film and The Rise of Cobra got corresponding toy lines. Despite mediocre reviews, the sequel was yet another financial success and a direct follow-up was planned, but never materialized.

However, the idea for a Snake Eyes origins film took off, beginning production in 2018. Ray Park, who had played the character in the two previous outings, would be replaced with Henry Golding, with Andrew Koji cast as Storm Shadow and Robert Schwentke signed on to direct. This past July saw the film’s release, with a much better response than the previous two movies.

Among upcoming projects are a live-action G.I. Joe television show for Amazon—the first ever—as well as G.I. Joe: Ever Vigilant, which has been in development for some time now, and a follow-up movie to Snake Eyes.

The future for G.I. Joe in media is now brighter than ever. With a more astute sense of fandom cinema these days and a better grasp and love of source material from a creative standpoint, the results are guaranteed to be much more respectable.

Long before lightsaber-wielding Jedis and cars that could transform into alien robots, G.I. Joe was there.

Representing freedom and justice for all, the toys set the trends and standards, whether consciously or subconsciously, for everyone else who followed. If it weren’t for their 19 points of articulation, the Kenner Star Wars figures would be rather boring. If it weren’t for their expansive vehicles and accessories, the Ninja Turtles line wouldn’t have seen the same scope. Throughout the years, G.I. Joe, in all of its incarnations, has become one of the most collected toys of all time.

The first action figure, G.I. Joe’s key to survival was its willingness to evolve—and boy did it—and to push the envelope, even if it didn’t always work. After all, that’s how the franchise changed the industry in the first place. may 2021|

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If nothing else, Andrew Koji knows all about the rewards of being patient. Ready to quit acting altogether prior to landing the starring role in HBO Max’s Warrior several years back, the actor is now starring in the upcoming David Leitch film Bullet Train, alongside Brad Pitt, and also the most recent entry in the G.I. Joe cinematic universe, Snake Eyes.

Andrew plays Storm Shadow, the title character’s friend-turnedarchnemesis. The latest movie hopes to breathe life back into the world of G.I. Joe with several more sequels and spin-offs in the works as well.

Of course, the actor still stars as Ah Sahm in Warrior, which recently got

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greenlit for season 3. SPO!LER has been nothing but supportive of the show since its debut, and is absolutely thrilled to see its transition to the streaming service a successful one.

An actor’s actor, Andrew is very much along the lines of that old school, Heath Ledger, Marlon Brando, Daniel Day Lewis mentality, where he simply wants his acting to speak for itself. Although, he also acknowledges that—in today’s world especially—he has to play the game. Preferring the one-on-one interactions with authentic fans over an extravagant red carpet event any day, he can’t wait for the return of conventions, where he will undoubtedly be a big hit with countless fans finally getting to meet him for the first time.

Andrew chats with us about his latest role in Snake Eyes, his fears about aging, and of course, Warrior season 3.

Andrew Koji/Snake Eyes/Viacom/Hasbro/Paramount Pictures

CONCEPT INTERVIEWBY: BYGALAXY GALAXY WRITTEN ETHAN BREHM INTRO BY BY ETHAN BREHM

erview erview

interview interview

Andrew koji SPOILER: I remember last time you had talked about how you were thinking about quitting acting prior to Warrior.

And now you’re starring in the newest G.I. Joe movie! What’s been the biggest transition you’ve had to make with this increased notoriety?

ANDREW KOJI: I’m not very good at the social media stuff, man. I tend to shy away. I had to hire a publicist for the first time for the G.I. Joe movie, which feels weird. I’m not very much into self-promotion [laughs]. It’s weird because it’s part of the industry and the business. I’m learning that if people play the publicity game in their career they can get further ahead. Whereas if you’re very talented but don’t play the publicity game, you won’t get the same opportunities. I always thought, “Nah, I want my work to speak for itself!” But you’ve got to play the game sometimes, don’t you? And then they’re talking about stylists and groomers and stuff. I’m just like, “Don’t touch me with that!” [laughs] It’s part of the territory though, I’m learning. I guess that’s the showbiz world rather than the acting world. Essentially after the film’s shot, you become a spokesperson for the film.

I always thought, “I’d rather not do that.”

But I’m getting comfortable speaking out.

SPOILER: It’s funny because people tend to take that the wrong way. But someone like you, you just want people to see your talent for what it is. You’re a pure actor in that sense. This is a job for you.

ANDREW KOJI: Yeah, what I’ve been told is, “It’s part of the game so just play it like a game.” And then hopefully along the way you’ll meet some genuine souls and good people. But it’s an interesting time.

SPOILER: What’s the most interesting thing that’s happened so far now that you’re being noticed for Warrior?

ANDREW KOJI: I’ve only been back in England now for like a month and a half. A good friend and I walked around London, and I didn’t know how Warrior was received in England. And I’ve got short hair now, and I’m getting recognized out and about. I didn’t think that would happen in England.

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Andrew Koji/Snake Eyes/Viacom/Hasbro/Paramount Pictures

SPOILER: How does it feel when that happens?

ANDREW KOJI: Umm, it’s weird. I don’t know how to describe it. I guess you feel a little bit like your anonymity isn’t there. It’s gonna be interesting after these films come out and further down the line. But I guess it’ll just take time to get used to it. Sometimes it’s nice actually. We got into a nice bar the other night because the bouncers recognized me—they were martial arts guys. Because of the nature of the show, I just think someday someone might come up to 58 I

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me and go, “Can you really fight?! Let’s go!” [laughs] I’m waiting for that. I hope that doesn’t happen.

SPOILER: I think after these movies it’s only going to get even bigger.

Kids are going to be looking up to you for years.

ANDREW KOJI: Yeah, that’s fun. It’s interesting because my friend and I were talking about social dynamics and your perceived social status in a certain industry, and being treated in a slightly different way. And I think the main thing behind that is, if it helps me work with different people and progress and grow and learn, and hopefully bring good contribution to the work I want to do, and help greenlight things I want to see made—that’s the thing I’m excited about.

SPOILER: I remember when we were talking hypothetically about a season

3 for Warrior, you were saying everything has to be right for it to happen. Do you think everything’s in order for this next season?

ANDREW KOJI: I hope so. I’m definitely already planning to go back even stronger and more evolved. All the people behind it, Jonathan Tropper the showrunner, the producers and the writers, they all really wanna go back to Warrior.

I think pretty much all of the cast is confirmed to come back. I spoke to some of the cast, Joe [Taslim] and Dean [Jagger], and we feel like now we know the importance of the show—the fact that we almost lost it. A show where—and this is very rare—it feels that we’re uniformly on the same page. We all have this very minimal selfishness about the whole show. I think the way we’re talking about it now is that everyone’s hungry to go back for sure. What would you like to see in season 3?

SPOILER: What I would like to see is more of the problematic stuff within the city between the different sectors. I know it’s messed up to say, but it’s part of the history back then.

It’s what really affected the times.

ANDREW KOJI: I do wonder. In the show we’re just a couple years away from the Chinese Exclusion Act, so I do wonder if we’re ever gonna get to that. I wonder if we’re gonna acknowledge that gap. I think I’ve hardly ever seen it covered that much [in TV or film]. But thank you for the support, man. It probably wouldn’t have come back if not for you guys and the fans.

SPOILER: You’re very welcome.

We’re gonna do something even bigger for season 3! So tell us about

Andrew koji do the fight scene from beginning to end. That was tricky, because sometimes you wanna know which camera you’re playing to. Also stamina wise, Henry [Golding] and I were exhausted for most of it. The real hardest fight scene was the fight in the rain, because that was freezing cold rain! Then you’ve got a wetsuit underneath that restricts your movement. And then you’ve got water flying in your eyes and you’re still trying to look like you know exactly what you’re doing [laughs].

G.I. Joe. You play Storm Shadow, who is Cobra Commander’s right hand man. How does it feel going from playing the good guy in Warrior to the bad guy here?

ANDREW KOJI: Well this is an origins story. You can’t have Snake Eyes without Storm Shadow. We started off with him as a good guy. He’s still got his strong ties to the Arashikage.

I did really enjoy exploring that status of entitlement. He sacrificed his whole life to train and go on missions and serve the Arashikage in Japan. It was about trying to layer in his psyche slowly breaking as people get the better of him and all that. So towards the end is when he will become the Storm Shadow that people know. [The film is] the origins of Storm Shadow as well. It was interesting thinking about what makes someone snap.

SPOILER: Was it hard playing Storm Shadow? Did you have to change your voice?

ANDREW KOJI: With [my character] Tommy, he’s Japanese, and we had this backstory where he’s been educated but he’s also born and bred in that Japanese warrior culture— very stoic. But then Tommy has this air of nobility to him. So he’ll be

stern, with a soft Japanese accent, but the darkness comes out with the voice, hopefully you’ll hear, trying to be noble and polite but then sometimes he’ll lower his voice.

SPOILER: What was the hardest part about playing Storm Shadow?

ANDREW KOJI: I think, from my limited experience working on a blockbuster film—Warrior is a tightknit family, smaller production, making 10 hours of TV for half the budget—so I think the hardest part is having all these “chefs,” and then having to dilute that. You don’t know what the film’s going to be like when you’re making it. You don’t know the tone, the music—much like Warrior in the beginning. So with this, it’s figuring out how to play this guy as honestly and truthfully as I can. And then I think about how I can make him entertaining in the world that it’s set in.

And then the fight scenes are filmed very differently. In Warrior, there are very specific shots and angles that we use. There’s almost no change from the final version of the rehearsal to the filmed product.

Whereas on G.I. Joe, there are 20 cameras everywhere and you just

SPOILER: Did you watch G.I. Joe as a kid? Was that your era?

ANDREW KOJI: In England it was called Action Force. But no, it wasn’t big for me at all. I think my only experience with G.I. Joe was the first two films. I was very much aspiring to be Daniel Day Lewis, Joaquin Phoenix, Philip Seymour Hoffman, and so when I saw those, it wasn’t for me at the time. Louise Mingenbach, the costume designer—she’s a lovely, lovely woman who did the previous films as well—I had a lot more input collaborating with her than I thought I would, down to the ninja tabi shoes and all that stuff. At first I think there were different drafts where it was a lot more modern. And through this weird process, we all went to this really almost traditional Japanese samurai warrior style. And when I put it on, it felt custom-made—it felt nice [laughs]. It felt like [Storm Shadow].

SPOILER: Did you feel invincible?

ANDREW KOJI: Yes and no. Yes because it was good for general movement—the lower part of the body, the legs and all that. But the shoulder pads made it very hard to lift your arms. And when you’re doing the sword action and you can’t lift your arms, it makes it a bit harder.

Also, another fun fact for ya: The sword’s behind you, and you actually can’t reach up and grab it. So they have to always [make a] cut. You get that first shot where you go to grab it, and then they cut to taking it out. [laughs] Because you can’t literally

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Andrew koji grab it. But I really like what Louise did with that costume. If a sequel does happen, I would love to go fullon Storm Shadow. I was talking a lot with the fans—they were extras on set and I would pick their brains here and there. A lot of the dialogue we managed to tweak—we were asking the fans, “What do you think they would say in this moment?” But I would love to see the hood design, and I would love to see him use his bow and arrow in the sequel.

SPOILER: I know the timeline’s different, but was your character Ah Sahm in Warrior trying to capture the essence of Bruce Lee? Was that what you were going for?

ANDREW KOJI: Yeah, definitely.

Early on in the scripts it felt a lot more like it was Bruce Lee, or a caricature of Bruce Lee. Again, I think it was something that happened organically over time. I think Jonathan Tropper and Shannon [Lee] went, “Oh, Andrew can do his own spin on this character from himself, but also intertwine those Bruce Lee mannerisms.” At the beginning of the pilot episode, I have stubble because [my character’s] been on the ship for about 4 or 5 weeks.

But then they ended up liking it and wanted to keep it. They wanted to make the character, visually, not the typical Bruce Lee guy. But there’s moments you will see it. I think it’s an origin, in a different time period, of a Bruce Lee story.

SPOILER: Yeah, how did you have such nice hair coming off that boat?

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ANDREW KOJI: [laughs] I do wish that he was dirtier coming off the boat.

year, so I just think I’ll be a bit old to get in that kind of shape and stamina needed to film a TV show.

SPOILER: Do you know when season 3 is coming out?

ANDREW KOJI: I actually don’t know.

We’re going to find out very soon. A lot of the producers are on different shows. But I keep hearing that we’re going to film it in the spring or summer of next year. And then hopefully it will come out at the end of next year.

SPOILER: So are you getting back in shape already?

ANDREW KOJI: The gym just reopened about a month ago so I’m back in training. It took a while.

You know, we got all the big muscle groups, but then all the tiny little tendons, those felt really rusty. I forgot my form. Metabolism’s okay [laugh].

SPOILER: Would you want to be part of it if it keeps going after that?

ANDREW KOJI: Oh yeah, I would have to. It does fill me with a lot of fear, because if they did seasons 3 and 4 back to back—I’ll be 34 next

SPOILER: Maybe if you had had this succes a decade ago, you wouldn’t have the same maturity to handle it mentally.

ANDREW KOJI: Oh yeah, I was the typical actor personality: troubled,

Andrew Koji/Snake Eyes/Viacom/Hasbro/Paramount Pictures

tormented soul. And I think it wasn’t until the past 3 or 5 years ago where I was able to break free of certain demons and have perspective.

Absolutely, if it happened 10 years ago, it would’ve been a different story [laughs].

SPOILER: If Snake Eyes blows up and becomes a super huge series and that spirals into other things, how are you going to manage that? You’re becoming a TV star and a movie star. Down the road will you have to choose between those two worlds?

ANDREW KOJI: I’ll work my ass off [to make it happen]. I live for my work. It’s kinda sad to say, but I could do it every single day and I wouldn’t mind if I didn’t have a break. But I haven’t heard plans for the G.I. Joe universe. I think they’re going to start branching out all the different characters. But no one knows at this point. The film industry is in such flux right now. It’s really hard for people to gauge if a film is popular because people like it or because of the lack of new content right now.

I do like Tommy. There’s more to discover with him for sure.

SPOILER: You haven’t really done a real red carpet event yet. Are you ready for that?

ANDREW KOJI: It’s gonna be weird.

All the red carpet and showbiz stuff doesn’t appeal to me. I just don’t wanna wear a suit and pretend like I’m the coolest thing in the world [laughs]. But I’m gonna eventually have to do that.

SPOILER: Are you practicing poses right now?

ANDREW KOJI: Nah, I’m gonna be the opposite. If you remember Heath Ledger back in the day, he was just himself on the red carpet. He didn’t do any of that. He was just like, “Whatever,” [laughs] and that was it.

That’s gonna be my style.

hope it’s less filtered and just more honest. Also, with all those press junkets, you’re selling hype. But when you’ve got a good journalist, it’s more just honest and personal.

You don’t have to go, “Yeah! This is the most kickass thing in the world!” [laughs] SPOILER: What else is in the works other than Snake Eyes and Warrior?

ANDREW KOJI: Well when we were talking last time, I was doing Bullet Train with David Leitch, Brad Pitt, Aaron Taylor-Johnson, Hiroyuki Sanada, Michael Shannon—it was

SPOILER: I can’t wait for you to start doing the convention circuit. Do you think it’s cool that fans are so close to their favorite actors?

ANDREW KOJI: I think so. It works for me because I’m more of the quiet introvert. Panels and all that stuff make me want to just close up. But now we can converse one-to-one. I

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Andrew koji surreal, man. I was like, “What’s my life??” I’m not really too much into celebrity culture, but it’s probably the closest thing to becoming star struck. But Brad Pitt, I was like, “Whoa, I never thought I’d be talking to you and discussing scenes.”

SPOILER: Did you tell him that?

ANDREW KOJI: Oh yeah. For me he’s a legend.

The work he does producing as well. So many great films, diverse films. Every time I see a film that I love and at the end it says, “Plan B Entertainment,” I’m like, “You did it again, my guy!” [laughs] But I really, really enjoyed Bullet Train and working with David and the cast.

David gave me so much freedom to play that character. He’s still a Japanese character, but he’s very different from Tommy. I think that’s coming out at the beginning of next year.

I also just produced my first short film in a while. That’s all I wanted to do. I wanted to make it in this industry here so I can eventually develop and direct my own films. So I managed to come back from LA to England and help produce and invest in a friend of mine’s short film that he and I acted in; helping get something made that wouldn’t otherwise get made.

SPOILER: How does it feel producing?

ANDREW KOJI: It’s surreal, man. I was hustling for so many years, and then suddenly I’m a big dog on a set [laughs]. But that’s the thing, all this celebrity, or perceived status, is very transitory. So it’s nice to be able to do it when I’m doing it. I’m very grateful that I managed to be in a position where I can help make that film possible. Hopefully I can do it more.

SPOILER: Anything else you got in the works?

ANDREW KOJI: Well I might be working with Robert [Schwentke] again, the director of Snake Eyes, on a different independent film. Don’t know how much I can say about that, but it’s a nice role. And then I’m just in the edit for the other film. I’m being very selective [right now].

ANDREW KOJI: “Thank you for supporting. I hope everyone’s well.

The main important life lesson: Don’t be a d-i-c-k [laughs]. That’s my current philosophy. Just be a good person.”

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Andrew Koji/Snake Eyes/Viacom/Hasbro/Paramount Pictures

SPOILER: Is there anything you wanna say to the fans?

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sibling rivalry, whether those siblings

are related by blood or not, is a captivating theme that has spanned millennia. G.I. Joe’s core conflict exists between our heroes, the highly trained Special Missions force, and the villainous Cobra, a terrorist organization determined to rule the world. Within this larger quarrel we find the brotherly rivalry between Snake Eyes and Storm Shadow. Whether it’s the cartoon, comic book, or cinematic series, akin to Cain and Abel, Snake Eyes and Storm Shadow are seemingly destined to fight each other. Here are the top 5 G.I. Joe stories that explore their enduring rivalry/brotherhood.

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1 Storm Shadow, whose real name is Thomas S. Arashikage, debuted in 1984’s Marvel Comics published G.I. Joe: A Real American Hero #21 “Silent Interlude” written and drawn by the legendary team of Larry Hama and Steve Leialoha. The issue was created hastily by the team due to the loss of the original issue 21 before it went to print. Hama thought leaving out dialogue would speed up the process.

Not only did they make it to press on time, but they created a book that is continually lauded as one of the best comics ever written. In the closing panels of the book, the torn shirts of Snake Eyes and Storm Shadow reveal the identical red band tattoo of the Arashikage Clan. Hama added the tattoos due to his displeasure with the composition of the panels. He felt something was missing. In doing so he created the brotherly rivalry between the two characters.

1984’s G.I. Joe: A Real American Hero #26 “Snake-Eyes: The Origin” explores the relationship between Snake Eyes and Storm Shadow through flashbacks to the Vietnam War. It is revealed through the accounts of G.I. Joe Stalker that Tommy and Snake Eyes, whose real name was unknown and was enigmatic even then, got along well and had served closely together.

While the three soldiers were about to board a helicopter they came under fire. Snake Eyes was hit and believed to be dead. Tommy risked his own life to save his wounded friend, carried him through crossfire and made it back to the helicopter where Tommy tended to Snake Eyes’ wounds, ensuring his survival. A similar scene is set to play out in the Snake Eyes movie with a reversal of roles. This time it’s Storm Shadow who is saved. The alterations to the background apparently have the blessing of Larry Hama.

G.I. Joe/Hasbro/Marvel Comics/IDW/Snake Eyes/Viacom/Paramount Pictures

BY TOM TORMEY

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3 2012’s IDW series G.I. Joe: Snake Eyes and Storm Shadow was an ongoing series that continues after Snake Eyes #12 and concludes with Snake Eyes’ apparent death (again). The series, written by Chuck Dixon of ‘90s Batman comic fame, follows the blood brothers as they seek out revenge against Zartan for the death of Hard Master, the man who had trained both Snake Eyes and Storm Shadow. Through present day events and flashbacks, the series skillfully explores the complexity of the relationship between the titular characters.

4 G.I. Joe: Sigma 6 was Hasbro’s attempt to reinvent the Joe franchise for a new generation of fans who were unfamiliar with either the Marvel comic series or the original cartoon. Hasbro had tremendous success reinvigorating life into their Transformers line with 2002’s Armada series. However, Sigma 6 proved to be unsuccessful for the company and was canceled after two years. The animated series did an extraordinary job focusing on the relationship between Storm Shadow and Snake Eyes. Their relationship was a key component to the plot and was presented in dramatic fashion as opposed to the original Joe series in which their brotherhood was never explored.

2021’s Snake Eyes origins movie is not the first time the relationship between Snake Eyes and Storm Shadow is explored. It’s not even the first movie called “Snake Eyes,” although I doubt many G.I. Joe fans will confuse the new film with the (non-G.I. Joe-related) 1998 Nicolas Cage-led conspiracy thriller. G.I. Joe made its live action debut in 2009’s G.I. Joe: The Rise of Cobra. It also garnered a sequel: 2013’s G.I. Joe: Retaliation. There was a lot to be disappointed by with these two outings but arguably one of the best aspects of the films are its faithful depiction of the relationship between Storm Shadow and Snake Eyes. The films themselves depart heavily from most source material but their depiction of the blood brother relationship is very comic-accurate.

That being said, don’t expect the events of these two films to impact Snake Eyes’ solo cinematic outing and, if you haven’t watched them, it’s okay to skip them all together.

The success of Snake Eyes: G.I. Joe Origins will undoubtedly determine the future of the Joe franchise as well as the potential for a Hasbroverse, akin to the Marvel Cinematic Universe. If G.I. Joe played an important part of your childhood or you’re new to the franchise, the relationship between Storm Shadow and Snake Eyes is timeless. Now you know five great places to explore it... and knowing is half the battle.

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INTERVIEW BY GALAXY INTRO BY ETHAN BREHM

Tim Rozon/Manfred Baumann/SurrealEstate/Syfy/Blue Ice Pictures

Tim Rozon saw the end of Wynonna Earp this

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past April after its four-season run. The series in which he played Doc Holliday had its fair share of setbacks since its debut back in 2016, but became a benchmark for the power of fandoms as their own “Earpers” rallied behind the series and helped get the fourth and final season greenlit, with closure for their characters and an ending that they deserved.

Of course, Tim has been staying pretty busy over the last two decades. As much as he would very much love to come back and play Doc if the opportunity presented itself, he’s also landed his first lead role on Syfy’s SurrealEstate, debuting this past month, where he plays Luke Roman, a real estate agent for haunted houses.

With a potential hit on his hands, Tim looks to be leveling up once again in his long, prolific career. As much as he fits so well into the Doc Holliday character with the iconic mustache and the wry humor, the actor’s ability to immerse himself into any role that comes his way is on display once again with his latest series.

Perfectly balancing insanely-cool and downto-earth, Tim is one of the most satisfying people to talk to. The actor admits that not much has changed in his outlook throughout life. He’s still the same positive, motivated, grateful dude that he was when he was younger. However, with the birth of his son last year, he admits that he now has a new way of prioritizing the roles that he takes. And he misses his family very much when he’s away filming.

Tim takes time away from being on set in Italy to talk to us, where he speaks on his new responsibilities as a parent and his latest show, and also a little bit on his career as a writer.

interview interview

Tim Rozon the way we wrapped up the show was beautiful—just perfect. What a way to end the show. Don’t get me wrong, man, if you called me tomorrow to come back, I’m in. But I am proud that we got an ending.

A lot of shows don’t get an ending, they get cut, like Vagrant Queen. I loved Vagrant Queen, but we didn’t get a second season. That’s just the way it is sometimes. For any fan of that show, we didn’t get any closure.

It ended on a cliffhanger. But at least Wynonna Earp wrapped up all the stories beautifully. The Earpers got an ending.

SPOILER: Vagrant Queen was a great show. I thought it was gonna go at least three seasons.

TIM ROZON: That’s just the way it goes sometimes. It was a network show, but unfortunately we weren’t pulling in network numbers. I was really proud of that show and I think a lot of people would’ve liked it if they actually watched it. It’s a fun show and I thought it was really wellwritten.

SPOILER: How was it taping that last show of Wynonna Earp?

TIM ROZON: It took us almost 5 years to film 4 seasons. It wasn’t easy. We almost lost the show at one point and then we got it back.

We filmed about halfway through the season when the coronavirus pandemic hit, and then we had to leave. Then, who knew if we were ever gonna come back and finish.

But we were one of the luckiest shows because we were the first to go back to filming. There were all kinds of hurdles in that sense because there were a lot of eyes on us. It was also the first time we ever filmed Wynonna Earp in the summertime. So I had this feeling going in that this could very well be the last time I was gonna get to play this cowboy. I was just aware

of that and I tried to enjoy every minute for what it was. I tried to enjoy the time I had with the cast and crew, but it’s just such a great character. What a gift I got to get Doc Holliday—the story that Emily Andras, our showrunner, and those writers gave me over four years, it’s just epic. It was fun, it was hard, but I kinda knew maybe that this would be the end.

I’ll tell you this, if any show is capable of ever coming back after being told they’re done, it’s this show, because that’s already happened too. I was just preparing myself just in case.

The live tweet during the finale, I had to wake up at 4 a.m. Italy time just to be a part of it [laughs].

There was no way I was gonna miss it. Anyone who saw that finale,

SPOILER: You’re in a show called SurrealEstate that’s coming out.

TIM ROZON: I just saw the first episode finished and I was blown away. I can’t tell you how excited I am for people to see this. I’m gonna call it now: I’m not nervous about not getting a second season. It’s so good, man! It’s got the right level of thriller, creepiness, comedy—it’s got everything. We sell houses, but we don’t sell normal houses. We’re paranormal investigators, and some of us may or may not have some sort of supernatural connection to the other world. But it can also be really scary. I was just really proud of the way it’s shot. It’s got its own vibe, it’s own feel. The comedy, you’ve got Sarah Levy from Schitt’s Creek—she’s hilarious! Our creator, George Olson, is a very, very smart man and a really good writer. And that really comes across.

SPOILER: You play this character named Roman who deals with ghostinhabited houses. Is it pretty scary?

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movies where people try to find some island to escape to.

TIM ROZON: Go to Newfoundland, Canada!

Tim Rozon

SPOILER: How many seasons do you predict SurrealEstate going for?

SPOILER: I’m so excited about this new show. The company who produced it, Blue Ice Pictures, they’re really coming up with some cool projects.

TIM ROZON: Oh big time! I did Vagrant Queen with them in Cape Town, South Africa. We were filming [SurrealEstate] in Newfoundland,

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which is a little island off the east coast of Canada. And there’s actually no COVID there. The protocol that they had to get on and off the island was pretty strict. It was weird because I went from working in Calgary, Alberta doing Wynonna Earp, where the numbers were really high, to then shooting in Newfoundland where restaurants were still open. Don’t get me wrong, on set our protocols for COVID were really strict—as it should be. But there were just no cases there. It was incredible!

SPOILER: It’s like those apocalyptic Tim Rozon/SurrealEstate/Syfy/Blue Ice Pictures/Smallz & Raskind/Getty Images

TIM ROZON: I think so. I mean, I was scared of the pilot. The cool thing is, we got the right people. We got Paul Fox as the first director—this guy loves The Exorcist and The X-Files, so he brought that vibe right away.

And then our other director, Paolo Barzman is from Wynonna Earp, and also Melanie Scrofano from Wynonna Earp, who not only directs two episodes, but also guest stars.

As sad as I was that Wynonna ended, two months later I was working with Melanie anyway! And then we got Danishka [Esterhazy] from Vagrant Queen, who is just one of my alltime favorites. She’s not only director but also co-showrunner. If I could work with anybody, it would be her. She just understands all these [elements]: the thriller, the comedy.

She’s just so good and such a kind person. She’s just my favorite.

TIM ROZON: I don’t know. When I signed the contract, I signed for four years. If it goes for four years, I’ll be the happiest guy in the world. If it goes for ten years, I’ll be even happier. I like to work on certain shows and this is one of them. I like to be on shows that I like to watch.

Wynonna Earp is one of them, Vagrant Queen is another, Schitt’s Creek is another. I love being a part of those shows because I love watching them. Lost Girl was another one! I’ve been lucky, man. I’ve been on some cool shows that I really like.

SPOILER: How does it feel being you right now with all these cool projects that have come your way?

TIM ROZON: [laughs] Just gratitude, you know? Humility. I’m just grateful.

It took time. I’ve been doing this for over 20 years. It wasn’t always like this. Now that I’m working a lot, I’ll never take it for granted. I’m happy

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just to work and be on set. I’m on set right now in Italy. I’m grateful to be working on a project—I can’t talk about what it is [yet]—but if I can keep working I’ll be the happiest guy in the world.

But good news, the comic book creator of Wynonna Earp, Beau Smith and I just started working on something comic book-wise.

We’ve got a lot of different things we wanna do, so right now we’re just trying to figure out which one we wanna go with. Working with Beau, nothing beats it, man. Just collaborating with him, I think he gets as much of a kick out of it as I do, that’s why we love it. It’s just a cool way to work and create and write comic books. He’s one of the guys who started Image Comics.

He’s been doing this for a long time.

To have him as a mentor and learn from him, and not only that, but to know that I inspire him from time to time—it’s the best feeling in the world.

I have one more thing I’m working on writing and I can’t say anything about it, but I want to so bad!

SPOILER: In a few years, you’re not just gonna be, “Tim Rozon, the actor,” but also, “Tim Rozon, the author and comic book creator.”

TIM ROZON: I don’t think about any of those things, man. I just enjoy the moment. I’m grateful that I get to create and I get to work.

Sometimes I forget, and I’ll be at home and find a graphic novel that I wrote [laughs], and I’m like, “Oh s**t, I wrote a graphic novel!” And then I think about what that means to me throughout my life, just growing up on comic books and knowing that I created my own graphic novel. It’s just overwhelming. But most of the time I just gotta go with the flow.

SPOILER: You’re so good as an actor and get so immersed in these roles that we forget that it’s you under there.

TIM ROZON: That’s just the job. I’m an actor and it’s my job to become

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the characters. You need to commit to these roles. One of the reasons why Doc resonated with people is that I just had that Doc Holliday look. It was important for me to grow the real mustache. I would have it eight months out of the year.

Plus, I couldn’t do too many other projects because nobody wants to hire you with that freakin’ mustache!

But I think it was worth it. It helps get into the character. People don’t even believe that I’m that guy. The fans do, but I’ll show other people pictures and they’ll say, “That’s not you.”

SPOILER: In 20 years in this industry, has acting changed your outlook?

TIM ROZON: I don’t think I’ve changed too much. I still watch the G.I. Joe cartoon. I still watch Transformers and don’t know why they killed off Optimus Prime.

Nothing’s changed too much in how I view life.

TIM ROZON: Well the main thing in my life right now is fatherhood.

I became a father last year. My family, who I’m not with right now, I miss. My wife and I are really good friends, so we’re able to have a relationship that, before, if I had to go somewhere, or she had to do her thing—she’s a professional equestrian—it was just very cool. But now we got the little guy and I miss him. It sucks. I couldn’t fly them out to Italy because of the pandemic.

I was very fortunate that for SurrealEstate I was able to fly them out to Newfoundland and they stayed with me the entire time. I’m never not gonna take a job that I wanna do, but now I gotta think about how long it is and how I can get them to be with me at some point. This movie here is about a month, which is very quick for a movie actually, but I think that’s a perfect amount of time. It’s just different now. I miss my family more than ever.

SPOILER: What else are you up to besides the project in Italy?

SPOILER: Were you nervous with him being born during the pandemic?

Tim Rozon/Manfred Baumann/SurrealEstate/Syfy/Blue Ice Pictures/Parade

Tim Rozon

Tim Rozon crazier than the things we’re doing on these shows!

TIM ROZON: Well he was born three months before COVID, and thank goodness for that. For people who had to go through childbirth during the pandemic, my heart goes to them, because it’s already a hard thing to go through as a human being. It’s crazy. I was fortunate that we were able to be together. It was a real blessing because when COVID hit during Wynonna Earp, we went on hiatus for four months and I was home that whole time. I’ve never been home four months straight in over a decade. So in that sense, the pandemic was a real blessing for me.

I was home the whole time and I love that. I was very fortunate to have that time. And hopefully things will get better and we can get back to the way things were before.

He’s at that age where he doesn’t talk too much. It’s gotta be difficult for children who are a little bit older. See I didn’t know these things before, but now that’s all I think about. There’s a massive amount of stress for people with kids. It’s not easy.

SPOILER: Are you gonna be more careful on the roles you choose because you wanna be a good role model for your kid?

TIM ROZON: I mean, yes and no. But at the same time, if I’m gonna play a villain in a DC or Marvel movie, I’m doin’ it!

SPOILER: Are you scouting out one of those projects?

TIM ROZON: I’m not scouting, but I did go out for something in that ballpark not too long ago. I’m waiting to see if we get greenlit for season 2 of SurrealEstate—that’s where my head’s at. I’m ready to do it, and that’s more than enough for me. To get to do a movie now in between is incredible. I’m very lucky. But if SurrealEstate doesn’t go, I’m down to do whatever.

SPOILER: What do you compare it to?

TIM ROZON: I’ve never seen anything like it before. This is something different. You ever see the old movie by Peter Jackson, The Frighteners with Michael J. Fox? Incredible movie, by the way—very underrated. I got some Frighteners vibes with this show.

SPOILER: Are you confident that things are getting back to normal?

TIM ROZON: I don’t know, man. It’s hard. Don’t forget, I’m Canadian.

You guys are doing great with your vaccine rollout, but we’re not. We’re nowhere near having the amount of population vaccinated yet. But I hope so. I have other businesses that have been greatly affected by COVID. I’ve been busy, but other parts of my life have been affected quite negatively

by COVID. I do all these sci-fi shows, but this global pandemic is even

SPOILER: Are you planning on heading to Comic Con? TIM ROZON: It depends on the vaccination and what I’m allowed to do and what the rules are. But that’s my goal, to actually see people. I’ve had some offers to do the virtual cons. And I did a couple as a charity event to help the first responders.

But it’s tough for me to do a virtual con on the weekend, which is the only time I’ve got to learn lines.

With acting, you gotta do the work, that way you can play all week. I’m that kinda guy. I’m never gonna be unprepared for my week of work.

I take it very seriously. It’s not fun, but that’s what you gotta do. So I’m ready to get back and be in a room with people for real. Right now I’m signing up for all the cons that are real, but many of them are for 2022 right now. But my goal is to be there in the room with people. I can’t wait!

There’s gonna still be Earp Cons.

Just because the show ends, doesn’t mean the fandom ends.

SPOILER: Well that makes us feel even more special that you’ve taken the time on a Sunday to talk with us.

Is there anything else you wanna say to your fans?

TIM ROZON: “I’m not saying, ‘Goodbye,’ I’m just saying, ‘Thank you.’ I’m forever your cowboy. I’m always an Earper. Earper for life. Nothing changes for me. Nothing.”

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A Quiet Place Part II/Paramount Pictures

a quiet place part ii Directed by: John Krasinski Cast: Emily Blunt, Millicent Simmonds, Cillian Murphy

2018’s A Quiet Place surprised many of us. The horror genre was given yet another worthy entry, by following conventions all the while taking away one crucial element: the scream.

Perhaps even more surprising was John Krasinski’s talent, not just as a star, but as a writer and director.

Krasinski returns three years later with his follow up.

Like the best sequels, A Quiet Place Part II is able to exude the same exact spirit of the original while taking its story into a logical direction.

Krasinski’s biggest accomplishment here is making two films that, if played back to back, feel like one continuous story. Of course, this

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latest installment expands upon the post-apocalyptic world that the Abbott family has been living in for about a year and a half.

The film opens up on Day 1, when a fireball crashes on Earth as the Abbotts are attending the Little League baseball game of their son, Marcus (Noah Jupe). The game gets halted just as he steps up to bat, and chaos ensues.

This 12-minute opening sequence shows us what Krasinski can do when the concept gets more generalized.

For this short period, we’re not experiencing the slow, contemplative tone of the first film, but that of a disaster movie; an alien invasion.

If Krasinski put on display his keen attention to detail the first time around, here he shows us his range and what he can do with absolute mayhem.

The director ensures that every step of the way is just as thoughtful and meaningful, yet through wellcomposed action instead of insidious suspense. People run amok in the streets and many get snatched up by these giant, blind alien creatures.

The fluid movement of the camera

makes these gruesome deaths look like ballet, much like they were in the first film. But here in this opening act, there’s a lot more of it at once.

There’s one moment that’s particularly impressive where Emily Blunt’s character, Evelyn Abbott, attempts to flee with her two sons in her station wagon, dodging pedestrians in the street, as well as the aliens who are using their sense of hearing to hunt their victims.

We get a POV shot inside the car as it tries to evade a runaway bus, and it’s one of the most immersive experiences I’ve ever had in an invasion/disaster movie.

After the 12 minutes are over, we’re all caught up to the events of

dare I say it, Coppola-esque.

It all leads to a wonderful finale that mirrors and bookends the beginning, just in case anyone thought that the opening scene was somehow out of place. If anything, A Quiet Place Part II shows us how this film universe is capable of evolving beyond the ostensibly, and wonderfully, limited premise of the first movie, taking us into amazing new directions, even if we never realized we wanted to go there. What Krasinski has done is exactly what studios and directors aim to do by filming some of their big budget blockbusters back to back, but are seldom successful in bringing congruity while also giving each film an identity of its own.

All four stars are excellent in their own right. Simmonds and Jupe get even more of a chance to show their evolution as both confident and vulnerable performers, with veterans Blunt and Murphy fulfilling the final two necessary quadrants of this dynamic—all four of their characters required to unlock something inside of them, each discovering his or her own unique role in their survival, whether together or miles apart.

“Silence is not enough.” Has a tagline for a sequel ever been more true? It not only encapsulates the reason for the film to exist, but provokes a curiosity that makes us desperate to know more. Maybe not quite as “perfect” as its predecessor, A Quiet Place Part II is still the perfect sequel, and proof that the first was no fluke.

“

The fluid movement of the camera makes these gruesome deaths look like ballet, much like they were in the first film. But here in this opening act, there’s a lot more of it at once.

“

“

the previous film. It’s Day 474 and the Abbott family, now consisting of Evelyn, Marcus, Regan (Millicent Simmonds), and their newborn baby, packs up their belongings and ventures out to find more humans following the death of their patriarch, Lee (Krasinski), at the end of the last movie.

Regan, who is deaf, has also discovered that the high-pitch frequency made from her hearing aid can incapacitate these aliens long enough to get away or shoot them in the head. They soon encounter a family friend, Emmett (Cillian Murphy), who’s become hardened following the death of his entire family. He insists that the Abbotts leave, but Evelyn begs him for his help. Meanwhile, Marcus discovers a repeated radio broadcast of Bobby Darin’s “Beyond the Sea,” which Regan figures out is a message from an island not far off the coast.

A Quiet Place Part II is another beautiful example of modern visual storytelling at its finest. Krasinski continues to push the limits of linear narrative capabilities all while making us feel safe in his hands and giving us an unpredictable story that unfolds naturally. Late in the second act, there’s a trio of simultaneous sequences that play out at once, and it’s the first time in either movie where he does, in fact, make us question the direction of the film.

However, the ultimate payoff at the end is unbelievably rewarding and,

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fatherhood Directed by: Paul Weitz Cast: Kevin Hart, Alfre Woodard, Lil Rel Howery matter, able to ground this story about grief and single-parenting with a realism to its heartbreak without cheapening any aspect of the tragedy. Misery porn this is not.

It’s not difficult to stay focused when there’s so much nuance to both losing a spouse and being a parent—especially combined—and Weitz and Stevens never stray, even when we expect them to. The movie enjoys an even pace up until the rushed 3rd act, which it doesn’t really transition into effectively enough. But what

sets this film apart from the rest is how it gives this sweet and simple story such magnitude through meaningful editing and an astute script, even if it can’t quite achieve the same amount of weight with its finale. I suppose the film can’t go on forever, even though these types of journeys never truly end, and the desire for more may just be a testament to how grounded and relatable Fatherhood truly is.

The only time the movie

Fatherhood/Netflix

Kevin Hart has come a long way since 2004’s Soul Plane.

His first starring vehicle, which was as incompetent as it was irreverent, at least solidified one thing: Its leading man could definitely carry a film in any capacity. Since then, of course, the comedian has become a household name and one of the biggest stand-up acts in the world. While his roles in movies have typically stayed within the range of his personality on stage, he first showed some true dramatic chops in 2017’s comedy-drama The Upside, even if he still got a chance to go a little wild with the premise.

However, in 2021’s Fatherhood, the actor is required to show us an entirely new level of control.

Hart plays Matt Logelin, a new father who lost his wife in childbirth. Despite the pressure of family and friends around him to relinquish parentage of his daughter, Maddy, to his in-laws, Matt decides to raise her on his own. Throughout the film, we experience Matt’s emotions as he deals with becoming a widower, and how Maddy (Melody Hurd), as she grows into a 5-year-old, handles life without a mother. Matt tries to evolve into a father that his wife could’ve been proud of, while simultaneously navigating the new challenges that continue to arise due to his and Maddy’s situation.

Director and co-writer Paul Weitz (with Dana Stevens) takes this straight-forward premise and, instead of avoiding the typical tropes that you would expect to come with it, utilizes them to his advantage. He finds the essence of each scenario and conveys it as candidly and authentically as possible.

While obviously appealing to a wide audience with its glossy coloring and occasional broad humor, Fatherhood finds the darker sides of its subject

ever really falters in the first two acts is when taking chances with its comedy—but not from Hart himself.

In an attempt to inject humor into the film, Matt’s friends (played by Lil Rel Howery and Anthony Carrigan) never have any tact when talking about his deceased wife. The irrational insensitivity rocks the otherwise steady tone.

Hart is superb here, reaching a level of emotion that most comedians can’t, and grasping all the complexities that come with his situation. While having his moments of levity, the actor becomes more controlled in his straight-man role, with his vulnerabilities becoming sincere and natural. Where most actors with little experience in drama would operate in the highs and

lows of emotion, Hart often finds the middle ground as well, at times allowing himself to well up in his eyes without actually crying, somehow seeming to tap into the mindset of Matt unwaveringly.

He has help from Weitz, who always manages to catch candid moments and organic reactions from everyone and everywhere, even the extras in a few scenes. When characters’ emotions evolve over the course of a scene, the director shows us that shift, rather than cutting away and back again. He even allows us to hear off-camera reactions at times as characters give authentic and impromptu murmurs in response to what their scene-mate is divulging.

The film also finds brilliance from two prolific character actors, Alfre Woodard and Frankie Faison, who

play Matt’s in-laws. Faison’s character is the voice of reason throughout the story, even if he’s not in it as much as we’d like, but he provides a comfort for Matt and the audience as well.

Likewise, Woodard shines in her role as the nagging mother-in-law, Marian, but has incredible depth as a mother who is also grieving.

One of the more beautiful arcs of the film is the reconciliation between Matt and Marian. He and his motherin-law are constantly at odds about raising Maddy, and their relationship ebbs and flows over the course of the film. Early on, Marian tries to convince him to let her take care of his daughter back in Minnesota. Matt lives in Boston and is determined to be successful as a full-time dad. Their understanding and sympathy for one another comes and goes, and is sometimes never reciprocated by the other. Sometimes one of them will be right, sometimes both of them, and other times neither. But Weitz’s focus here isn’t usually on right or wrong, but how the characters come to their conclusions—or the best versions of them.

Parenting isn’t typically black and white. There are a lot of ideas and opinions to consider—and from everyone. And sometimes (a lot of times) there’s never a right or wrong answer. Even when you only consider doing what’s best for your child, and your child alone, it’s often difficult to know what that truly is—especially may 2021|

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Hart is superb here, reaching a level of emotion that most comedians can’t, and grasping all the complexities that come with HIS SITUATION.

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Fatherhood/Netflix/No Sudden Move/HBO Max/Warner Bros.

making the best out of it—as long as you always put your child first.

Spending most of the film trying to play both father and mother simultaneously, Matt realizes that he can only adequately fill one of these roles. He has a steady girlfriend (DeWanda Wise), but they break up after an incident that convinces him that he’s not ready to move on yet. Matt then toys with the idea of Maddy living with her grandmother, which she does for a little while. But then he never gets to see her.

The film never outright says this (which is forgivable because of the very fact that much of its themes operate implicitly), but Matt, too, realizes that the importance of a good, strong motherly figure in Maddy’s life is greater than any selfish reason to deprive her of that—as long as she doesn’t lose her strong fatherly figure in the process.

The very fact that Matt perseveres as a father is what makes Maddy such a wonderful little girl. We come to find out that Matt’s determination to be a great dad is driven by the lack of a father figure in his own life. In a society that continuously tries to downplay the role of fathers in a child’s life, Fatherhood shows how they’re just as important as mothers—and in a totally different and unique way.

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when you don’t have a spouse to bounce ideas off of.

The movie obviously needs its more prominent plot points to drive the narrative forward. However, Weitz doesn’t just find magnitude through these big moments alone, but by infusing them with granular ideas. Woodard’s character says that, as parents, we need to relish in the little victories. The successes will never be as big as the mess-ups. But it’s also the little mistakes that can eat at us the most, such as forgetting to say, “I love you,” at bedtime, or missing a phone call from the school telling you that your child got hurt.

But of course, it’s not about failing or succeeding as much as it is giving your child the best shot possible— not necessarily with their school or their neighborhood, but by playing the hand that’s dealt to you and

no sudden move Directed by: Steven Soderbergh Cast: Don Cheadle, Benicio Del Toro, David Harbour Steven Soderbergh, the man who directed 2001’s Las Vegas heist movie Ocean’s Eleven, now brings us a different type of heist altogether.

One where the plan is less premeditated than it is spontaneous and improvised. In his latest, No Sudden Move, the director trades the glitzy modern milieu for that of a drab 1954 Detroit.

Two small-time criminals, Curt (Don Cheadle) and Ronald (Benicio del Toro), find themselves as pawns in a large conspiracy. Strangers at first, they both take a “babysitting” job, partnering with the skittish Charley (Kieran Culkin), where they’re tasked with invading the home of General Motors employee Matt Wertz (David Harbour) and taking his family hostage as he steals plans for a catalytic converter from his boss’ safe. The document isn’t there and Curt soon realizes that Charley’s new directive is to kill everyone in the house, including him and Ronald. And so he kills Charley first.

With the plans suddenly changing, Curt and Ronald, along with Matt, pay a visit to Matt’s boss’ house to take the plans themselves. Unaware of—and unconcerned with—the importance of the document, Curt decides to work his way up the ladder to find the person responsible for initiating the heist to begin

with so that he can maximize the money he gets from the deal. As he gets higher and higher up, the payout becomes increasingly larger.

Although, with a bounty put on his and Ronald’s heads by local crime lords, their strategy becomes more complicated.

Where most heist films rely on an exact plan—or some semblance of it—being executed in order for a payoff, No Sudden Move sees the plans around its two leads changing almost constantly. The script, written

by Ed Solomon (Bill & Ted’s Excellent Adventure), is more of a reverseheist, with a step-by-step storyboard that uncovers more and more of this elaborate scheme with every passing minute, continuing to go in unexpected directions, even up to the finish. Curt and Ronald don’t know much more than we do, and yet their smarts serve them well as they make their way to the top, showing that their wit and determination are not all that different from that of these corporate executives—perhaps they were just born into a different circumstance.

A master of steady narratives, Soderbergh ensures that, even during the moments when his film becomes dry and the dialogue verbose, the plot stays focused and always survives the overly-intricate details that it presents to us. As the world inside of it seems to crumble, the film maintains its even pace. He occasionally employs the dark humor of some of his past films, but the tone here is very much grim, with a frankness that typically avoids any sort of comedic irony or tongue-incheek.

The director does, however, use a pretty persistent fisheye lens throughout the entire movie, which can be distracting—a subtlety that continues to take us out of the story itself.

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smaller and smaller percentage of the payout. A genre that offers very little in terms of recent innovations, Soderbergh makes a worthy entry, simultaneously showcasing his everexpansive range yet again.

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flick in the Coens’ Miller’s Crossing.

However, nearly as well crafted, the themes are a lot more personal here, showing how corporate rewards and the livelihood of regular people are inherently constructed to drift further and further apart. This is not lost on Matt Damon’s small role as the top automotive executive who finds it insouciantly funny how he’s now striking a deal with two small-time mobsters despite his routine efforts to put in place several middlemen.

Modern gangster films are typically free of this kind of political commentary, usually focused on the characters themselves and the toxicity of corruption, but No Sudden Move subverts these ideas and presents the corporate bigwigs as the real gangsters, with those at the bottom who find themselves doing all the dirty work, yet mere chess pieces, bearing most of the consequences as well as seeing a

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assembled, with different characters popping in and out for extended periods of time, but the two leads stay the same. Cheadle’s typical gentle cadence gets a bit subverted here as he plays a much rougher role than we’re used to seeing him in. The actor carries the film as the emotional force and gives us a character to empathize with. There’s something driving Curt and a reason why he wants this money.

At times the themes get buried amidst the intricacies of the plot, which make them seem looser than they really are, but the ending wraps things up nicely for our protagonist, even if it retains a dark cynicism. The payoff in the finale won’t give you the same kind of exuberant feeling as, say, Ocean’s Eleven, but that’s very much the point.

The intentionally-chaotic unraveling may call to mind David O. Russell’s heist movie American Hustle, or a similar low-key gangster

this is not lost on Matt Damon’s small role as the top automotive executive who finds it insouciantly funny how he’s now striking a deal with two small-time mobsters despite his routine efforts to put in place several middlemen.

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in the heights Directed by: Jon M. Chu Cast: Anthony Ramos, Corey Hawkins, Leslie Grace Most iconic musicals feature that one massive musical number, where the entire ensemble sings together and dances in some elaborate fashion, and the audience, watching along, taps their feet and gets filled with the kind of energy that makes them want to jump out of their chairs. In the Heights, based on the Tony Award-winning musical by Lin Manuel Miranda, opens with its own version of that particular number, with its cast filling the streets of the Manhattan neighborhood of Washington Heights. It’s invigorating and nearly gets us out of our own chairs. Yet, what’s even more impressive is that there are several more song and dance numbers just like it.

Each song seems to top the previous one, not just melodically, but with superb choreography and production design that all work together to provide both melodic and visual conflict and resolution.

Director Jon M. Chu helps make the transition to screen seamless, with an energy that runs through the entire film and drives even the weakest points of the narrative.

Miranda, who produced the film and whose songs are all featured here, has a clear knack for catchy toplines with an amazing sense of cadence and interval, his songs alternating between strict verse-chorus melodies and stream-of-conscious recitative, all with pulsating syncopations and beautiful melodic interplay between characters. He constructs a sort of Latin jazz opera where characters have singsong conversations, each saying different things at the exact same time, just like listening to a quartet where two different soloists are playing on top of one another—discordant on the outside, but harmonious when you step back to hear the piece as a whole. Underneath it all is the instrumentation of live-band hip hop, creating a vibe that perfectly matches this evocative milieu.

If you haven’t gotten the chance to see one of Miranda’s Broadway productions in person, the only real way you would have already known his prowess as a songwriter and composer is by either watching last year’s 2 hour and 40 minute filmed stage production of his mega-hit, Hamilton, or the Disney animated movie Moana. In the Heights is the first proper adaptation of one of his musicals, and hopefully just the first.

It follows the lives of three young adults living in Washington Heights. Usnavi (Anthony Ramos), a young bodega owner who plans on moving to the Dominican Republic to reopen his deceased father’s old business, narrates their stories to his own daughter and her friends some years later. His crush, Vanessa (Melissa Barrera), is an aspiring fashion designer looking for her newest inspiration. His friend Nina (Leslie Grace) returns home for the summer after her first year of college in California. To everyone in the neighborhood, she’s the one who made it out and is living her dream, but she secretly feels like a failure; like she doesn’t belong out there in the real world.

Anyone who’s moved away for college from a small community can understand the feeling of suddenly becoming a small fish in a big pond, even if, when they go back home, they’re looked at as a success story.

It can take a while for most people to acclimate to a new, vastly different situation and find success. But to those who will only ever dream of moving away, the very fact that they left is success enough.

This is juxtaposed with the neighborhood matriarch, Abuela Claudia (Olga Merediz), an elderly woman who came to Manhattan from Cuba as a little girl decades

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Outside of the song and dance numbers, Ramos is the key ingredient to the film’s watchability. Adding a crucial presence, the actor oozes with charisma and affability, and it’s noticeable when he’s not there.

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grandiose musical numbers have any right to be in a story this simple. Nina’s story is easily the most intriguing, yet her arc essentially gets wrapped up in two scenes. And Vanessa’s dream of becoming a fashion designer isn’t even interesting if you can relate to it.

Usnavi’s story merely feels like a loose framework, carried only by the actor himself.

Outside of the song and dance numbers, Ramos is the key ingredient to the film’s watchability. Adding a crucial presence, the actor oozes with charisma and affability, and it’s noticeable when he’s not there.

The rest of the cast is more than serviceable, but none of them have the ability to drive this film beyond the impressive theatrical bravado Filmed mostly on location, Chu gives us a great feel for the hot and sweaty neighborhood setting. The director utilizes the stunning photography of Alice Brooks and kinetic choreography of Christopher Scott to make literally every scene so intricate and engaging that you don’t want to take your eyes off the screen.

In the Heights isn’t the first musical to struggle with its plot. Yet, the beauty of this genre is in how the audience can be entertained regardless. Musicals can be just as much about the story as they are the collaboration of all the other elements that come together to form a complete identity, and the feeling that gets evoked from that. The identity here is nothing if not firmly established—and beautifully constant— and serves as the heart and soul of a film that just wants you to know what it feels like to live in the heights.

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ago. Back then, she was looked down on as an outsider, but has since helped to establish a community of outsiders, given a much more fair chance to succeed against others in a similar situation. Usnavi wants her to go with him to the Dominican, but she struggles with leaving all of the progress she’s made behind her.

For her, making it in America was her dream. For those raised here, however, their dreams lie elsewhere.

In the Heights is no less a celebration of dreams than it is of culture. Usnavi is of Dominican ancestry, yet he comes together with friends of different Latin American backgrounds, forming the melting pot that is Washington Heights—the type of neighborhood where you know the legends based on who’s painted on the murals outside. The film serves as a love letter to these small communities and the tricky dynamic that comes with wanting to venture out on your own.

As a movie, In the Heights is highly entertaining, and as a presentation of themes, it’s inspiring and thought-provoking, but in terms of story, there’s not much there.

Oftentimes the film presents itself with interesting ideas, but then just plops them down for us to observe.

The conflict of wanting to leave town, yet romanticizing about the streets that raised you isn’t exactly original (SEE: Any Bruce Springsteen song). Attempting to be one of those movies with small stories that seem big to those who lived them, In the Heights fails to make us feel like the

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good on paper Directed by: Kimmy Gatewood Cast: Iliza Shlesinger, Ryan Hansen, Margaret Cho It’s not fun to realize you’ve been long-conned—especially by your significant other. In Good on Paper, comedian Ilza Shlesinger plays a fictionalized version of herself who’s going through a bad relationship in an autobiographical account of something that actually happened to her in real life.

A successful comedian struggling to break into the TV and film world, Andrea Singer (Shlesinger) meets Dennis (Ryan Hansen), a supposed hedge fund manager and Yale alum who, she explains, is “simultaneously pompous and humble.” He brags about himself just enough to make conversations a little weird, like he’s simply overcompensating for his lack of social skills, but then repurposes them as modesty when necessary. Essentially, he fabricates his strengths and makes them seem like weaknesses.

Right away, this guy’s practically launching red flags out of a t-shirt

cannon, and yet Andrea, who’s not really attracted to him anyway, doesn’t really seem to notice or care.

That is, until she starts developing feelings for him. Her best friend, Margot (Margaret Cho), gets in her head that she needs to open herself up to love. After all, she does like all the attention Dennis gives her.

Comedians want nothing but your attention, and Dennis is nothing if not clingy and over-attentive. So she gives him a chance and finds that she really likes the person she’s becoming because of it. However, as she gets to know more about Dennis, she notices that things he’s said aren’t adding up and he always seems to be keeping her at a distance.

From the early going, you can tell something’s always a little off with Dennis. But rather than playing his lies as a twist to be revealed, the film, along with Andrea, wants us to know the truth from the beginning. Dennis is such a bad liar that he might be able to fool the protagonist, but not the audience— the filmmakers know this and wisely decide to get in front of the situation so that Andrea can give reflective commentary along the way. Even though this immediately places our protagonist in a position where we start questioning her judgement, scratching our heads about why she

can’t see the truth for herself, the story is told without trying to fool the viewer along with her. She very well admits that she should have seen it coming, but works backwards to justify it rather than doing damage control later on.

Director Kimmy Gatewood, in her feature film debut, has a firm grasp on just how creepy this scenario actually is and never attempts to detract from that, doing a great job isolating the inconspicuous horror elements amidst the straightforward comedy, utilizing Hansen’s acting and a clever score by Jonathan Sanford that slyly trickles in some dissonance to the music when appropriate.

Shlesinger, who pens the script, gives her film a structure that seems less concerned with the niceties of formula than it does taking her story into logical, albeit unanticipated, directions. However, in this instance, her lack of screenwriting experience actually makes the film better.

Shlesinger has just enough familiarity with the rules and structures to toy with them, but not too much so as to overthink how to operate within them at the expense of her story. While telegraphing some of her beats, the stream-of-conscious approach allows for a good amount of spontaneity within the plot.

However, the film does falter a bit as it fails to create any sort of

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keeps this thing down-to-earth.

Shlesinger is very funny and does an excellent job carrying the film and giving us a worthy protagonist to root for. Her comedic charisma single-handedly keeps every moment enjoyable and funny even during the low points. Hansen, as her counterpart, masters the creepy pathological liar role with a smarmy smile and unreadable eyes. Although we know the truth about him, we’re still never quite sure if Dennis is just a really bad actor or a psychopath who truly believes all the lies he’s telling.

Unfortunately the two stars never really have a believable chemistry, even when their relationship is at its apex. We don’t ever buy into the fact that she’s in love with him, which surprisingly makes this pseudo-horrorcomedy all the more unsettling, especially when she first confronts her creepy boyfriend in bed, at night, about his grand lies.

Good on Paper isn’t as sleek and lean as most of its contemporaries, but it actually uses this to its advantage.

With a wonky structure and wandering script that end up working in its favor, the film wisely never commits to a tone, which only allows it to stand out more in the endless sea of comedies out there.

Most comedy capers revel in the lunacy that their premises lend to, but with this film, even its most outrageous moments stay grounded in some level of plausibility

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desperation for its main character. We see how Andrea is struggling with her career, but she never seems like she’s in dire straits or on the verge of losing everything. Likewise, she doesn’t start to fall for Dennis because she’s in the gutter, but because she thinks he is. Where a typical movie would have most things in its protagonist’s life either going up and down together or contrastingly, this one often seems like it’s struggling to find cohesion.

Andrea just landed the TV gig of her dreams and her career is finally going up, yet things with Dennis are in a constant state of fluctuation, never seeming tied to the career that’s ostensibly subtextualizing her love life.

Good on Paper shares some of its DNA with an adjacent movie, Ingrid Goes West, where Aubrey Plaza plays a pathological liar as she tries to befriend an internet influencer.

The roles are reversed as Plaza’s character is the deceitful one. But where the 2017 film subtly finds the common thread between both of its characters, this one keeps having to remind us. The truth is, real life is often less poetic than the movies, and the difference between the two films is as simple as: One is crafted from the ground up while the other is based on true events.

However, it’s that personal touch that makes Good on Paper so charming. Shlesinger’s comedic wit jumps off the screen and, like even the best stand-up sets, has some rocky transitions—especially when the comic starts going off-script. But that also gives it the non-fiction feel she’s going for. It finds its themes, but is still more focused on telling Andrea’s story than hyper-analyzing it.

Most comedy capers revel in the lunacy that their premises lend to, but with this film, even its most outrageous moments stay grounded in some level of plausibility. Gatewood imbues her movie with touches of farce, including exaggerated caricatures and the occasional nonsequitur. But ultimately it’s the blunt, unpretentious leading lady who

black widow Directed by: Cate Shortland Cast: Scarlett Johansson, Florence Pugh, David Harbour Regardless of your feelings about superhero blockbusters themselves, the Marvel Cinematic Universe has always done a great job of making each of its movies feel singular. And even though the studio has done the impossible by constructing a world that connects dozens of different characters over 23 installments since 2008, they’ve simultaneously managed to make every one of those installments feel self-contained. That is, until their 24th: Black Widow.

The latest entry in the MCU is also the one that requires the most knowledge of the rest of the films in the Marvel lineage. Set after the events of Captain America: Civil War, Black Widow references events and specific dynamics that the audience may have forgotten about, especially if the last time they saw the 2016 movie was in theaters. And

by the way, there are 10 (!) releases separating the two films. Forgive us if we haven’t revisited some of these in the meantime—especially Civil War, one of the weaker entries in the franchise. This kind of Fast & Furious-like timeline hasn’t really been attempted before in the MCU, and I honestly hope it doesn’t become a regular thing as present day storylines come to an end and we’re forced to explore stories set in the past.

More than any MCU character, Natasha Romanoff has had a troublesome trajectory. A superhero without superpowers, the master combatant has never had the charisma of Tony Stark, or the insane backstory of Steve Rogers or Captain Marvel, or even an intriguing adversary such as Thor’s Loki. She was always just…there. In 2019’s Avengers: Endgame, the hero, in her eighth appearance, got the arc she deserved and we were finally given a reason to care about her character. She was one of the main focuses in the film and ultimately sacrificed herself for her best friend.

However, while executed well, the audience could only feel so much

for the fallen Avenger. After all, she’d only ever played a supporting role in these stories up until then—and an uninteresting one at that, despite best efforts.

Her first solo film begins in 1995 as Natasha spends her childhood in Ohio, where she and her little sister are being raised by her parents, Melina and Alexei (Rachel Weisz and David Harbour). Except that it’s all a facade. Her parents are deep undercover Soviet agents with two surrogate daughters— unbeknownst to them—and plans to steal intel from S.H.I.E.L.D. Once they make their escape, Alexei gives the girls up to his boss Dreykov (Ray Winstone), who puts them through his notorious Red Room program, turning them into lethal, brainwashed fighters.

21 years later, Natasha, played by Scarlett Johansson, is now a member of the Avengers, who have just gone through a sort of civil war, and finds herself reconnecting with her little sister, Yelena (Florence Pugh), who has recently been given an antidote that removes Dreykov’s mind control from her system. The two women now set out to discover secrets about their past while trying to take down Dreykov once and for all.

While never boring or stagnant, Black Widow, directed by Cate Shortland with a script by Jac

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Schaeffer and Ned Benson, is also kind of a mess. The intricacies of the actual origins for the character are never fully realized, with details simply thrown at us to blindly accept. We never dive deep enough into the Red Room itself and the way it manipulates its young victims—and thus themes regarding mind control and free will are only ever lightly touched on.

Keeping the audience at a distance early on, we eventually get answers to the burning questions we’re meant to be asking, such as, “Who are Natasha’s real parents?” or, “Why were her fake parents in Ohio to begin with?” Except our characters don’t ever seem to be as curious about getting these answered as we are. The mystery of Natasha’s past and origins are never the central focus of the film. Instead, it remains stubbornly concerned with her taking down the bad guy. For a character who’s been used as a mere chess piece in some of the most grandiose storylines and biggest

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action sequences in cinema history, it would have been nice to see her personality fleshed out a bit more.

After eight, and now nine, movies, we should at least know who Natasha is and how she’s coded. We know she’s willing to sacrifice her life for others, but so are the rest of the Avengers. However, we still don’t have a firm enough grasp. You’d think after her own solo film we’d warm up to her more, but somehow her arc in Endgame serves her much better than anything here does. Never really taking the time to settle down and establish who Natasha is, Black Widow does less for its character than it does in just adding extra context to her story.

Luckily the supporting cast is pretty good. David Harbour is the comedic relief as the idiot Russian with super-soldier abilities, a la Captain America, but with none of the self-awareness or earnestness.

Ray Winstone as the villain is interesting as well, even though he gets minimal screen time, which is rare for an antagonist in a Marvel movie—or comic book movie of any kind for that matter.

Florence Pugh is the standout as Natasha’s sidekick and little sister, proving to be the more interesting of the two characters. With charisma, solid acting chops, and a natural, dry, comedic wit, the actress is a better fit in the role and the perfect candidate to carry the torch somewhere substantial in future

Black Widow/Marvel/Disney

installments. Pugh has so much control over her every word and emotional inflection that she’s able to take this film to a whole new level just by being in it. Simply put, if she’s not part of this movie then there’s nothing really to watch.

It would be understandable to think that a Black Widow solo film would’ve served the rest of the MCU movies much better if it had come out, say, five years ago. But honestly, I don’t think that could’ve been done either. There would have simply been no way to justify its release.

It would never have stood up well next to the likes of the time-altering Doctor Strange, or the incredibly deep themes of Black Panther, or the long-awaited reboot of Spider-Man. The fact of the matter is, Black Widow, the character, needed to establish her footing in all these other films first in order for us to want to know more about her story.

I hate to say it but, she needed to die before we could care. But then, that’s it. That symbolic death doesn’t change the fact that she’s just not really an interesting character. Her “hook” isn’t all that intriguing either, or even clever: a mind-controlled assassin from birth.

This Black Widow solo movie had to sweep us off our feet. It had to give us a reason to care outside of its hook. And it almost gets there, but never really establishes any identity outside of a few important, albeit unrealized themes. At its core, there’s something really deep happening, with some interesting ideas about finding legitimacy in a family—and a childhood—that

wasn’t real. Because your memories are real, even if you later realize it was all a facade. These are themes often covered in child abduction movies, but here, the birth parents willfully give their children away to the Soviets and the fake parents are simply hired on to fulfill a mission.

They’re creepy, but they’re not kidnappers.

Inherently, Black Widow is working with a unique premise, of which it not only fails to recognize and execute, but also never allows the protagonist to fully experience.

We see this adequate perspective through the eyes of Yelena, not Natasha, which relegates our title character’s story to that of dry,

formulaic motivations. Any other themes are a little too difficult to grasp. And there’s something about fireflies that I didn’t quite catch onto.

But there’s definitely something special with these familial themes.

It’s the reason why the ending is so emotional despite some wonky development beforehand. I think we can all relate to striving to find normalcy in and validation for our own messy families.

We wish Black Widow had more emphasis on the rest of its motifs like it does with this storyboard, which is more peculiar and odd than it is clunky. There’s a prolonged dinner sequence that plays out as the “awkward Thanksgiving” trope from a family that actually does feel like they were cobbled together by an evil dictator. And then later on when Natasha finally confronts her villain, she engages in a surprisingly off-putting exchange of insults and verbal beat-downs. It’s weird, and unstable, and somehow plays as dark

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The fact of the matter is, Black Widow, the character, needed to establish her footing in all these other films first in order for us to want to know more about her story...she needed to die before we could care.

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and twisted, and a little humorous.

With jarring tonal shifts that span anywhere from all-out comedy to dark family drama, Black Widow never finds its cohesion, but also the uneasiness that comes from that just might be what sets this film apart.

Moreover, the entire movie feels like the very middle of a story; a perennial second act; like we’re constantly just jumping into the story late and then leaving before it’s over. At the beginning, we’re kept in the dark just enough that the intense moments are given absolutely no weight. We’re not even told who these characters are exactly—just that we’re supposed to care about what’s happening, regardless of why it’s happening.

The first MCU movie in over two years, Black Widow is one of the most underwhelming in the franchise. Fans of the character might feel like this adds to her story, but there’s also evidence here that perhaps there’s just not anything to expand on in the first place. There may be a good story worth telling about the hero, but this is not it.

Despite Marvel’s best efforts, this film, while entertaining, funny, and even interesting, doesn’t give anyone the impression that Natasha Romanoff is all that interesting of a character.

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a

Black Widow/Marvel/Disney/Pig/Neon/Luca/Disney/Pixar/Vicious Fun/Shudder/Gunpowder Milkshake/Netflix

Other Notable Releases b+

A b

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BY PHUONG PHAM

a beloved fixture in the Marvel Cinematic Universe since her introduction in Iron Man 2, but with Marvel’s latest Black Widow, there’s definitely a breakout star and new fan favorite in Florence Pugh’s Yelena Belova. But what do we know about her exactly?

The new film depicts Yelena as being the “younger sister” of Natasha Romanoff in the fake nuclear family constructed by Red Room supervisor, Dreykov. Living in an Ohio suburb, this picturesque unit, consisting of Yelena, Natasha, and their stand-in parents, Alexei and Melina, was actually a family of sleeper cell agents from Russia.

Black Widow gives a limited view of Yelena Belova but the character actually has quite a rich history in Marvel Comics.

Yelena’s literary introduction in 1999 begins with her shadowing Natasha, who is in hot pursuit of Yuri Stalyenko. She’s determined to foil Romanoff’s plans of retrieving a

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bio-weapon: the “Deathless Frenzy” serum. Yelena was also a graduate of the Red Room and was said to have higher scores than the Black Widow herself. Because of this, she was always extremely competitive and looking to outdo Natasha. With Yelena constantly interfering with her missions, the Avenger set out to teach her a lesson about being a spy in the most drastic way possible: Natasha switched faces with Yelena so she could see what it would be like to fill her shoes. The ordeal was extremely distressing to Yelena, with her going as far as to describe the event as a “rape of her identity.”

Following all this, Yelena has an incredibly varied life and career, going as far away from the spy game as becoming a lingerie supermodel with an underwear empire, and becoming a Super-Adaptoid: a being that can mimic the abilities of others.

The Yelena we see in the recent Black Widow film is an incredibly

different character. First of all, the eventual Red Room assassin grows up alongside Natasha during the early years of her childhood with two surrogate parental characters in the form of Alexei and Melina.

Little does Yelena know who her “family” really is. This is incredibly different from the massive age gap of Yelena and Natasha in the comics. Furthermore, their hostility and rivalry are settled by the film’s end when both defeat Taskmaster (also given a revamp for the movie) and take down the Red Room.

The changes to both Yelena and Taskmaster in Black Widow are interesting reinterpretations for the characters and it’ll be interesting to see how their stories transpire within the Marvel Cinematic Universe.

Black Widow is currently playing in theaters and available to stream on Disney+ with Premier Access.

Black Widow/Marvel/Disney

Although natasha romanoff has been

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Geiger #1 created by: Geoff Johns and Gary Frank | colors by: Brad Anderson | Letterer: Rob Leigh

what’s it about?

Geiger/Image Comics

Geiger takes us deep into a radioactive apocalyptic wasteland where surivivors of a nuclear holocaust fight for control of territory and remaining resources.

There are whispers of a man who walks without a suit. He goes by many names like “Joe Glow” and “the Meltdown Man.” We come to know him by his true name: Tariq Geiger, family man, survivor, neon-glowing radioactive protector.

the good

Geoff Johns and Gary Frank are legends in the industry with such amazing works as Superman: Secret Origin, Batman: Earth One and the limited series Doomsday Clock under their belt. Geiger is their first creator-owned outing.

It’s a fun read from start to finish that introduces us to a world populated by different groups vying for supremacy as supplies begin dwindling to nothing. The art, writing, and characterization are top notch. Getting your hands on Geiger #1 is going to be hard.

Image Comics is releasing a trade

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score

8.5 paperback this December which will collect issues #1 through #6.

the bad

There aren’t many reasons to put this down, especially considering how hot this book is.

geiger #2 created by: Geoff Johns and Gary Frank | colors by: Brad Anderson | Letterer: Rob Leigh

what’s it about?

This issue is all about universebuilding in the world of Geiger.

We learn a lot more about the motives and reasoning behind the walls of Las Vegas inside the Kingdom of Camelot. We learn that the boy King is seeking his Holy Grail, a nuclear football found aboard the remains of Air Force One. Not only is he eager to keep it aways from the Glowing Man, but we learn about the King’s personal vendetta against Geiger. The King is moments away from getting his hands on the Grail, but not everyone wants to see him possess a weapon of mass destruction.

the good

The second issue of a series is always very telling. The first issue needs to hook us, which Geiger #1 definitely does. The second issue needs to keep us hooked.

Geiger #2 perfectly accomplishes this mission. I’m hooked! Geiger sporactically appears throughout issue #2 but it’s just enough to deliver that “oh, wow!” moment.

Once again, the art and writing

are spot on. Geiger #2 does not disappoint. I love how the rest of the world thinks of Geiger as a boogeyman of sorts.

the bad

As I mentioned, Geiger’s barely in it. That is a testament to Geoff Johns’ ability to flesh out supporting characters and make you care for someone you just met. However, it also may be enough to keep people off of the book. If you hadn’t read Geiger #1, much of what you’re seeing here lacks context. We spend a good portion of the issue following a brave and devoted mother by the name of Carolina. We also meet her children, who flee Vegas and encounter Geiger. I’m hoping we see more of them in later issues and learn the answers to a lot of other questions like, “What happened to Geiger’s family?”

score

9.0

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Teen titans academy #4 Artist: Steve Lieber | written by: Tim Sheridan | Colors by: Dave Stewart | letterer: Rob Leigh

the good

This book is a lighthearted blast. I didn’t think I would enjoy this series as much as I am. I was initially thrown off by the amount of characters that were introduced in the first issue but as the series goes on, characters like the Bat Pack are given ample opportunity to shine. There’s a great series of panels where Stitch, a Ragman legacy character, breaks the fourth wall to remind us not to smoke as his hand is engulfed in flames.

Within the confines of the Roy Harper Titan’s Academy, three students calling themselves the Bat Pack (Chupacabra, Bratgirl, and Megabat) cull through a series of clues and events in an effort to discover the identity of Red X. The Pack runs through a list of suspects, putting their burgeoning detective skills to use and serving detention along the way. There’s also an interesting side story concerning Billy Batson and his inability to summon the powers of Shazam.

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the bad

My faith in DC Comics to create and flesh out new and interesting characters wanes with the seemingly endless number of reboots that have befallen the DCU. I love that Red X makes the move from the small screen to the comic book universe and the Bat Pack shows immense potential, however, I don’t see myself investing my attention or money in characters that will most likely disappear with the next major event.

score

6.5 Teen Titans Academy/Sweet Tooth/DC Comics

what’s it about?

sweet tooth:

compendium

artist: Jeff Lemire | Written by: Jeff Lemire | Colors by: Pat Brosseau | Inks by: Jose Villarrubia

what’s it about?

Gus is a hybrid: half human and half deer. Gus and Big Man are thrown together by unexpected circumstances as they try to endure the hardships of a post-apocalyptic world in which a plague is wiping out mankind. The same plague that is destroying all of humanity also leads all women to give birth to half-human/half-animal hybrids.

The 900-plus page Sweet Tooth compendium collects the 40 issue run of the titular series that was initially published under DC’s now-defunct Vertigo imprint back in 2009.

the good

4, 2021 to critical and fan acclaim.

If you enjoy post-apocalyptic tales, unusual and interesting characters, and large quantities of over-the-top violence, this is your series. Sweet Tooth #1 can sell for hundreds of dollars but the collected series will run you no more than $45. It’s a great deal for a great series.

the bad

If you fell in love with Gus, Big Man, and secondary characters like Bobby, the adorable groundhog hybrid, through the Netflix series you might be disappointed or confused by the Sweet Tooth: Compendium. Like most graphic novels when they’re

developed for the big screen or television, a number of thematic changes occur.

Whereas the television series is something you can enjoy with your family due to its sense of wonder and hopefulness, the Vertigo series is most certainly intended for a mature audience and is persistent in its pessimism regarding the nature of the human race. It’s best to think about the television series and comic series as completely different entities with little connection between them.

score

7.5

I’m not ashamed to admit that the initial run of Sweet Tooth went well under my radar. It wasn’t until the development, filming, and distribution of the Sweet Tooth series on Netflix that I was exposed to the hopelessly optimistic Gus. The series, which was developed by Susan and Robert Downey Jr.’s Team Downey along with Warner Bros.

Television, was released on June may 2021|

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something is killing the children #17 artist: Werther Dell’Edera | written by: James Tynion IV | colors by: Miquel Muerto | letterer: Andworld Design

Monsters are real. Erica Slaughter, whose diminutive size is balanced by her bravery and tough-as-nails attitude, is a monster hunter in a world where, you guessed it, something is killing the children.

Erica’s initiation into the Order of Saint George in the House of Slaughter is about to begin. It won’t be easy. The initiation is one in which Erica must confront a monster and her own fears. Will she survive?

the good

Something is Killing the Children is one of the hottest books out right now. Dell’Edera’s art and Tynion’s writing are easy on the eyes as well as the mind. The storytelling is reminiscent of Clive Barker’s Thief of Always novel.

This book is selling out with every print, so when I found a single copy of issue #17 I snatched it up like a monster in a child’s bedroom. This book has great potential and I can easily see why Boom! Studios upgraded it from a limited series to an ongoing one.

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the bad

My only problem with this issue is that it isn’t necessarily “new user” friendly. There’s a lot going on in this book that, if you’re new to the series, you won’t understand.

Rewarding your readers and not bogging them down in exposition is important, but with a book that has tremendous word-of-mouth popularity like Something is Killing the Children, it would’ve helped to include a few editor’s boxes to fill new readers in on crucial plot points they may not have been privy to.

score

8.0

Something is Killing the Children/Boom! Studios/The Nice House on the Lake/DC Comics

what’s is about?

the nice house on the lake #1 artist: Alvaro Martinez Bueno | written by: James Tynion IV | colors by: Jordie Bellaire | letterer Andworld Design

the good

what’s it about?

A mysterious benefactor named Walter has invited a team of ten young and talented New Yorkers to his lake house. Each invitee was assigned a codename, like the Artist or the Reporter, and a symbol. Ryan Cane met Walter a few months prior to her arrival at the lake house. In that time, both she and Walter enjoyed each other’s company as they discussed several topics, but primarily how the world would end. Now Ryan and nine others are about to learn Walter’s true intentions and the nature of his extended invitation to his secluded property. Their lives, and the rest of the world, will never be the same again.

From the introduction to the arrival of the guests to the issue’s shocking conclusion, this is a master class in storytelling and art. We’re introduced to eleven characters by the time the issue ends but at no point does it feel overwhelming. The panels and pages devoted to notes, emails, and correspondence between Walter and his guests assist with the understanding of the characters and their motivations. I’m anxious to watch the evolution of the cast and learn more about Walter and his mysterious motives.

the bad

If your expectations for comic books are limited to capes and tights then you may want to put this issue back. If atmospheric suspense and mystery are appealing to you then this is your book! I was hooked from page 1, so I’m struggling to find a reason why anyone would want to put this book down. If horror is not your genre then this book is definitely not for you.

score

9.0

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artists: Eduardo Pansica, Joe Prado, and Julio Frerreira | written by: Robbie Thompson colors by: Marcelo Maiolo | letterer: Wes Abbott

the good

what’s is about?

Deep within the confines of Belle Reve, Amanda Waller is using her own brand of enhanced interrogation techniques to elicit information from and uncover the identity of Red X. Peacemaker and Waller don’t see eye to eye on what should be done with Red. Peacemaker doesn’t trust him or his motives after he betrayed them on the Squad’s last mission.

Waller is ready to torture Red X to get what she wants, but as we’ve seen in Suicide Squad and Teen Titans Academy, X is always three moves ahead of everyone else.

Red X reveals that he allowed himself to be captured. Why? He wanted to send Waller a message and, as we soon find out, it’s not a message she’s going to want to hear.

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The Sucide Squad, directed by James Gunn, is set for release on HBO MAX and in theaters this August. If you aren’t familiar with Task Force X, aka the Suicide Squad, this is a great time to jump on the Squad’s bandwagon. Peacemaker is front and center in this book as he will be in the film played

by John Cena. Also, next issue promises the arrival of Bloodsport, Idris Elba’s character from the film. Add Superboy and Red X to the mix and you’ve got some heavy-hitters and an awesome team. This is certainly an action-packed issue that brings us deeper into the mystery that is Red X. This is definitely an easy book for a new reader to jump into.

the bad

The new Suicide Squad series is clearly designed to mimic the upcoming film and I’m completely at peace with that. The downside of that of course is that the success of the film will definitely affect the durability of this series. I’m also aware that, despite how cool I think Red X is, we’re on the verge of suffering from X-overload. The mystery of Red X is compelling but I’m not sure it’s got strong enough legs to carry both Teen Titans Academy and Suicide Squad.

score

6.5

Suicide Squad/DC Comics/America Chavez/Marvel Comics

suicide squad #4

america chavez:

made in the usa #1

artist: Carlos Gomez | Written by: Kalinda Vazquez | colors by: Jesus Aburtov | letterer by: Travis Lanham

what’s it about?

America Chavez hails from the Utopian Parallel, where her mothers sacrificed their lives to save their dimension. America, in an effort to live up her mothers’ ideals, became a hero and hooked up with teams like the Teen Brigade, Young Avengers, and the West Coast Avengers. Not only can America create portals and throw wicked punches, she can also shatter social barriers. She is the first Latin-American LGBTQ character to star in an ongoing series for Marvel Comics and she’s coming home to keep her friends and family safe.

the good

If you’re going to start your first issue with a giant bioengineered mole attacking the city, you’ve already got my attention! Gomez’s art is so smooth and fluid in this issue and not oversexualized like some of his previous work. With a killer cast of characters, deeper insight into America’s arrival and upbringing on Earth, and a special appearance by our

friendly neighborhood SpiderMan, this was a solid first outing for America. This is an excellent time to get to know Miss America before she makes her big screen debut in the next Doctor Strange movie.

the bad

America is a relatively new character in the Marvel Universe, debuting in 2011. Marvel has a tendency to pile on exposition and make assumptions about your knowledge of their characters’ mythologies.

Fortunately, that’s not needed to

enjoy this issue. The only aspect of the book that troubled me is that when we do see Spider-Man, one of the most powerful, intelligent, and popular characters in the Marvel Universe, he is relegated to a largely insignificant role. His cameo was basically unnecessary. Spider-Man could have been omitted or replaced by any Marvel character.

score

7.0

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Thor & loki:

double trouble #3 artist: Gurihiru | written by: Mariko Tamaki | letterer: Ariana Maher

what’s is about?

the good

Tamaki skillfully weaves a story that exploits my favorite part of Loki and Thor’s relationship: their sibling rivalry. Gurihuru’s art is so

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outlandish and cartoonish you may feel like you’re watching a classic Looney Tunes episode, but it fits the storytelling perfectly.

Although it would be helpful to have a good understanding of who the brothers of Asgard are, it’s certainly not a requirement to enjoy this book no matter your age.

the bad

The storyline and art are extraordinarily beautiful and simplistic. Extremely young readers will no doubt love this book but older readers may find it too puerile. I enjoyed the story and art but believe that both Tamaki and Gurihuru are capable of better work. I prefer Gurihuru’s work on Avatar and Mariko Tamaki’s work on She-Hulk to this.

score

6.0 Thor & Loki/The Immortal Hulk/Marvel Comics

Loki and Thor are Asgardian royalty... and they’re falling through a seemingly infinite void all because Loki had to steal, use, and lose a magical orb! This allages tale sees the god of Thunder and the god of Mischief travel to a different universe where they meet the goddess of Thunder and the goddess of Mischief (who have the orb our brothers seek).

Thor and Loki take on Mountain Giants, each other’s nerves, and an arm wrestling contest between the god and goddess of Thunder!

the immortal hulk #47 Written by: Al Ewing | Pencils by: Joe Bennett | colors by: Paul Mounts | letterer by: Cory Petit

what’s is about?

It’s Hulk versus the Avengers in Downtown Manhattan!

Hulk’s rage and power are immeasurable and, as was demonstrated throughout this series, so too is his intelligence.

Hulk systematically takes down Avengers like Blade and Thor with relative ease using his ability to reason and strategy more than his brute strength. The introduction of Gamma Flight only adds to the chaos. She-Hulk has to choose between familial obligation and team loyalty. Which side will she pick?

the good

Did I mention it’s the Immortal Hulk versus the Avengers? Steve Rogers’ leadership abilities are on full display throughout the entire issue. The encounter between Blade the Daywalker and Hulk is particularly amusing.

The encounter between Thor and Hulk is quite disturbing and rendered beautifully by the art team. Hulk fighting the Avengers is something we’ve seen before.

However, this issue is able to

make it feel both intimate and terrifying at the same time.

the bad

The art is brilliant, the panel layouts are unconventional, and the storytelling is organic and creative. The only flaw with a book of this size is that you always feel like it’s just one piece of a very large puzzle and you need several issues to complete it. This book feels more like an event comic connected to multiple titles than an enjoyable issue within its own series.

score

8.0

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BY ETHAN BREHM

The Muppets was not only the first theatrical Muppet movie in 12 years, but in 2011 brought the franchise out of the rut it had experienced since the ‘90s. The Muppet Show, running from 1976 to 1981, was Jim Henson’s attempt at breaking free from children’s entertainment and appealing to an older crowd, following his highly-successful (and still-running) preschool series Sesame Street. And whether or not the idea of Muppets, itself, is one that is inherently “for kids,” he greatly succeeded with that series, as well as his next handful of movies, creating something entertaining for everyone in the process.

However, Henson died in 1990 and Disney came on board to produce the next three projects: The Muppet Christmas Carol, Muppet Treasure Island, and Muppets Tonight, a more

Muppets in TV & Film:

Sam and Friends (1955 - 1961)

family-oriented version of the variety show from the ‘70s. And just like that, the Muppets were now largely aimed at children instead of people in general, with storylines simplified, buying into the whole “puppets are for kids” mentality. The 1998, Sony-produced Muppets from Space seemed to be a step in the right direction, as it possessed an oldschool Muppet charm, even though it lacked the vaudevillian comedic flair and is still the only Muppets movie that’s not a musical. Yet, the damage had already been done and we wouldn’t see another Muppet movie for 12 years.

That’s not to say that 2011’s The Muppets isn’t basically a completely clean and innocent entertainment experience, but since when does “clean and innocent” need only apply to kids’ movies? The humor here is more sophisticated and witty (sans the “fart shoes” gag)—much similar to the original TV series and subsequent films during the next decade—and fits itself a little better into a modern comedic sensibility while never losing that unique

The Muppet Movie (1979)

The Muppet Show (1976 - 1981)

The Muppets Take Manhattan (1984)

The Great Muppet Caper (1981)

Muppet spark; that perfect blend of wholesomeness and coarseness that had all but withered away since the ‘80s.

In Muppet cinema tradition, we follow a brand new Muppet character, Walter, who lives with his human brother, Gary (Jason Segel), in the idyllic Smalltown, USA. He’s always felt like an outsider due to his felt skin and diminutive stature, and has longed to be an official member of the Muppets ever since he was a kid watching The Muppet Show on TV. Walter and Gary are extremely close and their relationship feels very real, despite their cosmetic differences. When Gary and his girlfriend, Mary (Amy Adams), plan their anniversary trip to Hollywood, they invite Walter to join them so he can finally get a chance to meet his heroes.

The first 20 minutes almost play like a high-concept nonMuppet movie, but then the film quickly morphs into a full-fledged Muppet extravaganza once the characters arrive in Hollywood. The

The Jim Henson Hour (1989)

Muppet Babies (1984 - 1990)

The Muppet Christmas Carol (1992)

The Muppets/Disney/Jim Henson Company

Truman Show atmosphere that we experience in Walter and Gary’s home town provides a utopian milieu which serves to juxtapose the dogeat-dog show business world of Los Angeles, and one that was similarly put on display in such classics as 1979’s The Muppet Movie and 1984’s The Muppets Take Manhattan.

The Muppets is very much filmed on location in LA. Director James Bobin utilizes the city in a way where Hollywood actually becomes a very important part of the story.

Similar to something like La La Land, but without the same level of composition and production design, the setting is palpable and crucial

Muppet Treasure Island (1996)

Muppets Tonight (1996 - 1998)

for maintaining our subconscious connection to the original 1979 film and its own Ode to Hollywood.

Once Walter, Gary, and Mary arrive, they discover that Muppet Studios is at risk of being torn down and bought by evil oil tycoon Tex Richman (Chris Cooper) if the Muppets, now estranged from each other and scattered across the globe, don’t come up with $10 million by the time their original contract—the one they signed in the first movie—expires. They find that Kermit the Frog is still living in Los Angeles, but hasn’t seen the others in years. And so together they set out to find the rest of the Muppets.

Their quest to collect the other characters (traveling “by map”) might very well be the best part of the whole film and the most fun, intriguing aspect of the plot.

However, not enough time is spent on this piece of the story, and we never end up seeing what some of our favorites have been up to all this time. Instead, each star only gets a truncated bit of dialogue (if that) explaining where they were the past

Muppets from Space (1999)

12 years, only really elaborating on Gonzo, Fozzie, and Miss Piggy. This montage could very well have been a movie unto itself, but here it serves as a small piece to a greater puzzle.

Once assembled, the Muppets, along with Walter, must fix up their old theater and rehearse for their first show in years. Walter has now found where he belongs, which causes a short rift between him and Gary. Gary has always dedicated his life to Walter and making sure that he’s not left out. But with his brother finally happy with his own kind, Gary now feels like he no longer has a purpose or place himself. Over the years, he, too, has become a “Muppet of a man.”

If anything, The Muppets is a sequel to the original Muppet Movie more than any other endeavor The Jim Henson Company has produced since its 1979 release. The Muppet universe has never held a true continuity from film to film, but this is the closest we ever get, with a strong attempt to show where the characters are now over 30 years later.

Screenwriters Segel and Nicholas Stoller have the right amount of distance from the usual Muppets creative team to pull this off. Segel, especially, has a strong affinity for

Muppets Now (2020 - Present)

Muppets Most Wanted (2014)

The Muppets (2011)

The Muppets (2015 - 2016)

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The first 20 minutes almost play like a high-concept non-Muppet movie, but then quickly morphs into a fullfledged Muppet extravaganza once the characters arrive in Hollywood. escapades with his old gang. “Man or Muppet” won the Oscar that year, undoubtedly because of its emotional depth, but is nowhere as catchy as some of its fellow tunes.

A couple of the songs feel like parody, such as Amy Adams’ “Me Party” or Chris Cooper’s rap spoof “Let’s Talk About Me,” the former of which could have been removed entirely, and the latter of which had a longer version that was cut, even though it actually developed the villain a bit more, explaining his motives and hostility shown throughout the film.

The Muppets is filled to the brim with ingenious comedy bits and homage-inspired Easter eggs, but Segel and Stoller also attempt to tap into the level of self-awareness that the first film employed so well, albeit justified through framing itself as a biographical film-within-a-film. Here, the self-awareness merely feels like a pastiche and admittedly fits the intended tone, but doesn’t make much sense otherwise once you start to think about it.

Although it’s easy to pick out how The Muppets is less-than its predecessors, eventually we come to find that it’s actually on par with most of them, including the 1979

original in some places. While both are flawed, Segel and Stoller’s version features a crisper tone and a more realized intent.

This film gives Henson’s creations the love and praise they’ve always deserved. It builds and effectively showcases the legacy of the Muppets and you feel that weight. Even if it holds a slightly quixotical view of these characters and what they’ve meant to our culture throughout the decades, it maintains the same idealism that lives just to please, with passion underneath that drives everything it does, informing us that that very passion might actually be all that matters in entertainment. I think Jim Henson would have agreed. The creative genius was definitely onto something all those years ago. He never paid much mind to standard conventions or cinematic rules, instead made up his own and held onto his principles if nothing else. At the center of 2011’s The Muppets is this same vision that very much falls in line with the spirit of Jim Henson.

He would have loved this movie and the emotion and heart that exudes from its every fiber.

The Muppets/Disney/Jim Henson Company

the Muppets and you can tell he writes his script from a place of both love and understanding of the characters and their tendencies.

The film definitely benefits from its tunnel vision—even its subplots are highly conducive to the main plot. There’s an overall purpose being served here, to revitalize the Muppets and remind us all of why we love them, finding depth even within those confines—we don’t want or need any more than that.

Much like Walter, the audience is experiencing this immersion into the world of the Muppets—one that Segel has also been dreaming of his whole life and has now brought us along to experience. This is never more uniquely depicted than during the opening number of the gang’s final performance where we get to see Kermit’s nerves right before popping through the letter “O” and welcoming the audience.

The musical numbers, written by Bret McKenzie, are a big highlight.

While nothing’s as notable or memorable as Paul Williams and Kenneth Ascher’s “The Rainbow Connection” (which is brilliantly brought back for this film) or “Movin’ Right Along” from the original Muppet Movie, the standards for the new installment have become memorable in their own right. The wonderfully gleeful “Life’s a Happy Song” provides the same effect as the latter, with a reprise in the finale as well, and Kermit’s lament, “Pictures In My Head,” just might be the unassuming highlight during a reflectively poignant moment in the movie where he walks the halls of his Beverly Hills mansion and sees images on the wall of his past