Stan Lee (1922-2018). News today that comics legend Stan Lee has passed away. There will only ever be one Stan Lee in the comics industry. You will hear that today and in the days and years to come. As a kid in the ’70s, I have fond memories of the iconic figure of Stan Lee. He was the guy leading the Marvel Comics Bullpen. He was the guy who was always yelling out, “Excelsior!” He was part salesman and part creative genius. This, in no way, takes away from the collaborative work he did with such greats as Jack Kirby and Steve Ditko. At the end of the day, Stan Lee was Stan Lee, a force of nature and an integral part of Marvel Comics and comics in general. May he rest in peace.
Tag Archives: Television
I love quirky stuff and this hits the spot: a comedy about inept ghost hunters. Ghost Squad is a new project by Andy Kushnir, a staff writer for the popular game, Cards Against Humanity. Kushnir recently directed and co-wrote with his writing partner, Carley Moseley, this mockumentary pilot which releases to the public on October 1st.
Our story begins with a lead-in narration by head paranormal investigator, Desperado Miller (Abby McEnany). You can think of her as Michael Scott, the manager from The Office, played by Steve Carell. McEnany is hilarious as the ill-tempered and insecure psychic detective. Her ragtag team of misfits are either out for themselves or too self-absorbed to be of much help.
One scene, to give you a taste, has one of our misfit investigators, Zorba Dinkel, (Jo Feldman) entranced by a vibe that leads her to a cupboard. She is transfixed by a pulsing energy that leads her to a bag of chips and, ultimately, to a jar of salsa! She has made quite a tasty connection with the other side. Very funny stuff.
This series gets to juggle a variety of tropes: office sitcom, reality-tv, and a touch of horror. The results are pleasing. Ghost Squad is definitely something to watch this October which, of course, is the kickoff to our cavalcade of holiday season entertainment.
Ghost Squad is the creation of Andy Kushnir and Carley Moseley. I look forward to more of their collaborative work.
ACE Comic Con is coming to the Pacific Northwest! From June 22 – 24, you can see Tom Holland (Spider-Man), Elizabeth Olsen (Scarlet Witch), Paul Bettany (Vision), and Hayley Atwell (Agent Peggy Carter – “Captain America”) of Marvel’s Cinematic Universe will join previously announced talent Chris Hemsworth (Thor) and Tom Hiddleston (Loki) at the WaMu Theater & CenturyLink Field Event Center, Seattle.
UPDATE: Unfortunately, Chris Hemsworth has cancelled. Hemsworth tweeted his apologies citing last-minute scheduling conflicts that would prevent him from attending the first-ever ACE Comic Con at the WaMu Theater and CenturyLink Field Event Center in Seattle. ACE said that two Marvel Avengers have been assembled to take Hemsworth’s place: Sebastian Stan (Winter Soldier) and Anthony Mackie (The Falcon).
Other confirmed guests include Grant Gustin (Barry Allen/The Flash) of CW’s “The Flash,” cast member Camila Mendes (Veronica Lodge) of CW’s “Riverdale,” and WWE Superstars Shinsuke Nakamura, Carmella and Becky Lynch.
A sneak peek sample of special programming for the weekend includes:
A solo panel with Spider-Man’s Tom Holland
Vision & Scarlet Witch panel with Paul Bettany and Elizabeth Olsen
Thor panel with Chris Hemsworth and Tom Hiddleston
A solo panel with “Riverdale” star Camila Mendes
WWE Superstars discussing their journeys in and out of the ring
If you are in Seattle this weekend, be sure to visit ACE Comic Con.
Fred Rogers did it right and we can gain from his sage advice and guidance. I’ve always admired Mister Rogers. Is it really that difficult for a man to be gentle and sensitive? I am certain a lot of us don’t think so. The age of Trump, with its unkind and insensitive mindset, is a travesty. There is nothing courageous about it. And then you take a look at what can be accomplished when you listen to a child and do something positive.
Fred Rogers managed to do quite a lot of good in his day, don’t you think? Well, this upcoming documentary, WON’T YOU BE MY NEIGHBOR?, appears to offer up a lot to be joyful and inspired about. As is the case with many documentaries and books of this nature, the timing is perfect. 2018 marks the 50th anniversary of the first broadcast of “Mister Rogers’ Neighborhood” on PBS.
WON’T YOU BE MY NEIGHBOR? will be in select theaters as of June 8, 2018.
Emerald City Comicon is and integral part of the fabric of Seattle. It is a tradition that has grown and developed into an impressive and highly anticipated annual event. ECCC is one of the first, if not the first stop, for many creatives as they embark upon their comics convention tours–and a most welcome one. That has a lot to do with ReedPOP‘s leadership. And, of course, it has a lot to do with so many loyal fans of a uniquely Pacific Northwest celebration of pop culture. Maybe folks are more polite and mellow in this region. We won’t dissect it any further and just be grateful. Now is the time to get ready and to keep an eye out for updates on all things ECCC.
Whether it is a chance to see two of the legends from “Back to Future,” Christopher Lloyd (Doc Brown) and Tom Wilson (Biff Tannen) or a favorite talent at Artist Alley, there is something for everyone at ECCC.
As usual, Comics Grinder will venture out and report back from various panels, activity on the showroom floor, and whatever should catch the eye. If you are in Seattle, and love comics and pop culture, then make sure to be part of Emerald City Comicon.
As cannabis steadily moves from counterculture to mainstream, the time is perfect for 420TV, the new hub for cannabis news and entertainment, set to launch in early 2018. One of the new shows on 420TV will be a first-run animated series from long-time director of “The Simpsons,” David Silverman. Created for mature audiences, “SUPER SLACKERS” is a comedy about a group of lazy friends unwittingly thrust into the life of superheroes.
Another distinctive feature of this show is that it will be voiced by a a veritable “who’s who” of social influencers whose combined following tops 35 million. “SUPER SLACKERS” features hip-hop artist/actor Jerry Purpdrank; video/music producer & infamous slap-cammer Max Jr.; martial artist, dancer & comedian Dan Nampaikid; professional soccer player-turned-actor, director & content creator, Jon Paul Piques; Smosh YouTube star Olivia Sui; stand-up comedian/writer Arantza Fahnbulleh; and traditional actor/comedian Mickey Gooch, who was recently featured in the hit movie “How to Be Single,” and the indie comedies “Clapper” and “Deported.”
The animated series’ six-episode first season follows a group of friends who discover they have superpowers after their weed is switched with a new strain being used in a government experiment. When a Professor Xavier-type shows up to train them, they have no interest in saving the world. They agree to move into a rent-free government compound, but all they want to do is watch TV and play video games. The Professor is convinced he can turn them into the heroes that the world needs — but can he do it before their infectious laziness spreads to the rest of the agents?
“SUPER SLACKERS” is created and directed by David Silverman (“The Simpsons”), written by Joelle Sellner (“Sonic Boom”) and animated by Mike Blum (Pipsqueak). Executive Producers are Mickey Gooch (Skit Bags Entertainment), Warren Zide (“American Pie”), digital entertainment manager/attorney Ash Venkatram and entrepreneur Ranajit Chaudhury. Usman Shaikh is Co-Executive Producer. The series was introduced to 420TV by talent manager Leanne Perice.
“‘SUPER SLACKERS’ is the first original animated series from a director in the traditional space that leverages the talents and audience of household digital stars,” said Ash Venkatram. “By choosing a racially diverse cast and throwing them into the culture of cannabis, we hope to give viewers a refreshing change from the vanilla content they normally consume on linear television.”
“420TV is thrilled to be offering the latest animated comedy created by David Silverman, a wonderfully gifted animator who has a long history of producing tremendously successful shows. His new, first-run series, which will make its global premiere on 420TV, is equal parts funny, twisted and cool. ‘SUPER SLACKERS’ is also a perfect complement to our lineup, as we look to create and secure cannabis-friendly content for both the converted and the curious,” said Alex Nahai, a partner in 420TV.
Added David Silverman: “I couldn’t imagine a more fitting home for ‘SUPER SLACKERS’ than 420TV, with its appeal to a very open-minded, socially connected audience.”
Debuting in early 2018, and initially available through 420TV.com and its mobile applications, 420TV is a premium 4K video-on-demand network devoted to all things cannabis. It will deliver original programming produced exclusively for the multi-platform channel, in addition to acquired long and short-form entertainment. Content categories in development include news, information, food, fashion, comedy, music and animation, as well as acquired feature films, documentaries, music and live streaming events. 420TV was developed by 420 Entertainment Group, comprised of OWNZONES Media Network, Genesis Media and Alex Nahai Enterprises. For more information, follow www.420TV.com.
Jerome Charyn concludes his Isaac Sidel mystery series with the recently published “Winter Warning.” In this interview, we begin with discussing the crime fiction genre and quickly gravitate to the strange resemblance between Charyn’s President Sidel and our current American president. Both men are prone to go it alone in the extreme. Mr. Charyn has some choice words to share on his view of the current political landscape as well as the art that can emerge from troubled times
Henry Chamberlain: Would you share with us your thoughts on the American roots to crime fiction and how it was perhaps inevitable for you to make your own contribution to this genre?
Jerome Charyn: I’ve always felt that all novels are crime novels and I just didn’t realize it. Of course, my brother was a homicide detective. And, once I’d read Dashiell Hammett, after having read Hemingway and Faulkner, I began to feel that Hammett had invented a new kind of language: a poetry of crime. To some degree, Hemingway also wrote crime stories. There’s one called “Fifty Grand.” I was overwhelmed by Hammett and not so much by Chandler. Chandler was recognizable in terms of his literary qualities. But Hammett was a true original. We had never had another writer like him, an actual Pinkerton, who described what it was like in that world, and the craziness of that world really mirrors the craziness of the world we’re living in now.
I don’t know if you’ve seen this series, “Berlin Station.”
No, I haven’t.
You should. It’s excellent. It’s about a CIA station in Berlin. And it has the same kind of madness that you would find in my own fiction. So I was very happy to watch it. I think after the discovery of Hammett, and particularly his novel, “Red Harvest,” I felt that this was a world that I had to enter as fast as I could. Also, I had read Ross McDonald but after a while, his novels became repetitive whereas it was Hammett who had invented a new kind of language for the 20th century. And, it seems to me, he has never received the recognition he deserves.
You have a terrific hook in “Winter Warning” with a renegade president. What some readers may not be aware of is that you had already laid down the groundwork for Sidel’s political rise to power in the two previous Sidel novels, “Citizen Sidel” and “Under the Eye of God.” With the latest novel, “Winter Warning,” you have Sidel as an accidental president. And you find yourself with the added bonus of the current president.
I wrote this before the election of Trump and, like everyone else, I didn’t anticipate that Trump would win.
Is it a bonus or is it more of a distraction in a way?
It’s certainly not a distraction as much as a mirror, a crazy funhouse mirror of what is actually going on in the world today. There are many resemblances between Trump and Sidel. Republicans and Democrats hate them both. They both have to maneuver on their own. They both have a kind of poetry. Isaac is tenuous. And Trump is not. There are certain similarities: the sense of the maverick, the person who goes his own way.
I imagine you followed current political trends while tapping into timeless qualities of the contemporary American presidency.
I was particularly fascinated with the presidency after writing a novel about Lincoln. And I also wrote a novel about Teddy Roosevelt just as he’s about to become an accidental president after McKinley dies. So, it was very much on my mind as to how the office shapes the man and the man shapes the office—because, in some way, the American presidency will never be the same after Trump. Never. It can never go back to what it was.
It is a very sobering thought. The pieces on the geopolitical chessboard are being jostled with by Trump. With Obama, we had a good role model. With Trump, I think, we have some sort of throwback.
It’s not simply that he’s a throwback. We never realized before the powers that the president had. With the separation of powers, with the Supreme Court, with the Congress, there seemed to be some limits on his powers. But there are no limits. He does what he wants, when he wants, as he wants. He says what he wants. He retrieves what he says. He denies what he says.
And, also, we’ve never had a president who tweets. I mean, it is a kind of crazy poetry. One has to give him that particular credit. He stays up in the middle of the night and tweets his platform. We’ve never seen this. We don’t know how to deal with it. And, obviously, the Democrats, who should have won the election, are completely bewildered—and didn’t know what to do with him. And we still don’t know what to do with him.
I think there is a strange resemblance between “Winter Warning” and the current situation. As I said, I didn’t write it with Trump in mind.
It’s interesting how the timeline for the Sidel series puts us in 1989, or an alternate 1989, I should say. In some ways, that was a more quiet time but the world is always changing and we are right on the cusp of the implosion of the Soviet Union.
Yes, as the so-called Soviet Union implodes, separates into separate nations; it is the end of the Cold War but it’s the beginning of a different kind of war. To some degree the secret agents that were in place, on both sides, remained in place even after the end of the Soviet Union, the coming down of the Berlin Wall, and so on. It’s very difficult to determine what is real and what is not real these days as we have a constant variation on the truth, or a constant multiplication of the truth. The truthful lie. I don’t know how else to describe it. Sidel isn’t like that. He’s a very moral person. But, remember, he’s killed his way to the top. He would never have gotten to where he is without his Glock.
I look at “Winter Warning” as a political thriller and a thinking person’s world-weary journey so, in that sense, Trump seems to me to be a distraction. He’s not in the equation to this novel and yet there is an undeniable connection.
He isn’t in the equation except that he is also a kind of accidental president. And Sidel has to go his own way because he’s so isolated in the White House. I particularly like the two trips he makes – to Prague and to Riker’s Island, where he tries to settle a war between the inmates and the guards. New York is still very much in the narrative frame. And everyone around him seems to want to kill him! (laughs)
There are some presidents who will always lend themselves well to fiction. Lincoln stands out.
Lincoln is quite fascinating. I did a great deal of research on him for my novel. He really grew in the office. He had the prejudices of his own time. The presidency made him great and he made the presidency great. It was a strange evolution. When he talks about the better angels of our nature, there’s real poetry in what he wanted to say. He was our resident poet in the White House. I was hoping that Obama would be the same kind of poet but, in the end, he wasn’t. His speeches didn’t hold up in the same way. We don’t have a Gettysburg Address, which is overwhelming. It’s a kind of tone poem. Everyone was expecting Lincoln to give an hour speech and he spoke for four or five minutes.
Lincoln haunts Isaac Sidel’s White House because, of course, he haunts my own head. We will never see another man like him. I don’t think so. Teddy Roosevelt, in his own way, did a lot of great things but he wasn’t anywhere as poignant as Lincoln.
Of course, I wanted Isaac to be poignant. On the other hand, after completing forty years of work, I didn’t want to have a musical climax or crescendo. It’s just the end. His life can go on. It was the end of a jagged symphony. It was the last twisted movement.
I didn’t want to sum things up. But, on the other hand, I wanted him to end as a sitting president, to go all the way up the American ladder of success. He went from a deputy chief inspector to chief inspector to first deputy commissioner to police commissioner to mayor to vice president, although he never served as vice president. I did think of having him in that job (vice president) but it would have seemed a bit artificial to me. I wanted him to dig right into the dirt.
Without having to give anything away, will the upcoming animated series, “Hard Apple,” based upon the Sidel books, (art by Asaf and Tomer Hanuka) be able to cover all the books?
Well, we will start with “Blue Eyes.” It takes several months to do one episode of animation. I would like it to follow Isaac Sidel’s career. I wouldn’t work on all the books but perhaps six or seven and have Sidel end up all alone in the White House.
Do you think that Trump will make as satisfying a fictional villain as, say, Nixon? Or will people have soured so much on Trump that it will somehow not work?
One never knows. We’re living in such a strange time that I wouldn’t even want to make any kind of prediction. It would be very interesting to write about him just as a phenomenon because that’s all that one can say. He’s a kind of hurricane passing through the entire world. And we don’t know quite what to do. We don’t know how to be prepared for it. And yet, there he is.
If one were to deal with him fictionally, well, you must have seen Saturday Night Live. That’s probably the best fictional representation of him, with Alec Baldwin. I don’t think you can get any better than that. So maybe humor and parody are the way to deal with Trump. Anyway, the relationship between fiction and reality is so tenuous that one can’t anticipate what future writers will do in terms of Trump or how he will be treated.
For example, when we used to think about World War II, we had certain novels like “The Naked and the Dead” and “From Here to Eternity” and then suddenly in the Sixties, we had “Catch-22,” which was a completely different take on the war and the madness of war. It took a long time to re-envision what the nature of war was like.
We would never have thought of war in that particular way. And when Heller tried to do a a sequel, it didn’t really work. The original was too much a product of its own time. In other words, it was the Vietnam War superimposed upon World War II and that’s what made it so interesting.
I think it will take a very long time before we can fictionalize the world as it is unfolding today.
For someone who seems so unintellectual, Trump does play the most devious mind games. There is his strategy of lying where he flips the lie and makes the accuser appear to be the liar—it’s a Russian technique.
He’s very shrewd in his own way. While Hillary was preparing for her victory at the Javits Center, he was out campaigning on the very last night. He was a man who stood there alone. Whether he believed he was going to win or not, we have no way of knowing. It’s not that easy to figure him out. Certainly, I think the tweets are brilliant. And when he uses the term, “Rocket Man,” for example, he does have a kind of poetry.
You were part of the Writers and Editors War Tax Protest in 1968 protesting against the Vietnam War. Do you think that today’s protests get the same kind of attention?
Well, it wasn’t exactly the way it sounds. What I did was help to educate people. I went door to door in California. I wasn’t trying to convince anyone about how they should feel about the war but just provide them with some history.
That is why I’m a little disappointed with the new Ken Burns documentary on Vietnam because it was a more complicated matter, with opposition coming from within the government, but those details got glossed over.
Johnson himself knew that we could never win the war. And we lost the war the first time American soldiers appeared on the ground. It was a very sad epic. And when you think of what we were able to do in World War II and how we rebuilt Europe. We brought these countries back into the world. So, it was a very different kind of strategy, the way Americans used power. And now, I haven’t got the slightest idea. For example, I wouldn’t be able to write about the current situation. But I did write a novel about the Vietnam War and felt comfortable doing it.
There are two films about the current situation, “The Hurt Locker” and “Zero Dark Thirty,” that really capture the craziness in the world. You have these young American soldiers, who haven’t traveled much, and then find themselves in a world where they can’t read the signs or the signals.
What I found most interesting about Vietnam was the lingo that Americans produced. The way that they combined colloquial French and a sort of Broadway slang, to create a whole new language for Vietnam was extraordinary. But the war itself was never winnable, no matter what we did.
All of the characters in “Winter Warning” are colorful and interesting. One that stands out for me is Ariel Moss, the former prime minister of Israel. As a kid, I remember paying attention to the Camp David Peace Accords so I know that Moss is inspired by Menachem Begin.
I didn’t want to use the name. I wanted to invent a Begin-like character and evoke the sadness he went through after his wife died. Then there’s Camp David. And I had fun researching the presidential helicopter service, Marine One. I knew that Camp David and Marine One were going to create the thrust for the novel. I read whatever I could about Marine One and the squad of pilots and how each president leaves his own stamp on Camp David.
Franklin Roosevelt first used Camp David as a retreat. Lincoln had his own summer retreat. He’d go to the Old Soldiers’ Home and then ride back to the White House. After writing about Lincoln embodying that world, it was a little bit easier for me to see Sidel in that same house in Lincoln’s shadow. There’s also the way Truman described the White House as the “little white jail.” All of those takes are interesting.
Could you name any of the French and Broadway combinations of lingo that emerged from Vietnam?
I wrote a novel called, “War Cries Over Avenue C.” For instance, for “city,” they would use the word, “ville.” I would have to go back and look at the novel. Once I’m out of a world, it’s not easy to go back. It is lingo like you see coming out from this war. You have that in “The Hurt Locker,” just think of the terms themselves. “Black Sites.” “Zero Dark Thirty.”
Like I said, I think “Berlin Station” is very powerful. I think some of the best writing is being done in episodic television. The movies now are for twelve-year-olds. But, in terms of HBO, Amazon, and Netflix, we’re getting exciting options. Think back to “The Wire.” Did you ever see that?
I have yet to see it.
You should. “The Wire” is one of the very best. There are others. “Deadwood” is another one. A lot coming out of the BBC, like “The Singing Detective.” That was probably one of the most creative things I’ve seen on television. It’s the writer-producer who creates the show. In that sense, you can have some very good things as well as bad.
As I wrap up, I just want to say that I enjoyed “Winter Warning” very much and I am going back to read the other books. I am currently enjoying “Marilyn The Wild.”
The series, at the beginning, was very different. It evolved as I evolved as a writer. You never think that you’ll finish all twelve. I consider them three quartets. The only reason I was able to complete the Sidel books is because my editor/publisher at Liveright, Bob Weil, spent a long time on each draft. I’d be working on the Sidel books while he was working on Lincoln, or the book on Emily Dickinson. I had a strange surreal time between novels, trying to keep the distinct voices inside my head.
What I like best about the Sidel books is that you can read any title without knowing anything about the others. It will enrich the experience if you do read the others but each stands alone.
In Germany, they have been republishing each of the Sidel books with a photo of me on the cover that coincides with the time I wrote each book. It’s an interesting idea.
The main thing is that you want to keep working as a writer. I feel that we’re living in a time that is hostile to the writer. You have to have an inner resource to sustain yourself. Writing was something I always wanted to do from the time I finished high school. I never thought in terms of failure or success. I just thought in terms of how to sustain myself. I was very lucky, as my generation was the first that welcomed creative writers to teach at the universities. It had never been the case before. And then I stopped teaching and moved to Paris. And soon I began to teach there. I started a film department at the American University in Paris. As with anything, you also need a tremendous amount of luck.
Yes, luck and will power.
Well, you can have all the will power in the world but if you don’t have any kind of luck, then you defeat yourself. You need some kind of acknowledgement. The books I’ve written are there for people to read. Some of them may survive and some of them may not. One never knows.
Also, the graphic novels that I wrote are very important to me. I was the first American novelist in Europe to work with a French artist and then other French writers began doing it too. I grew up with comics, as you already know. We’ve talked about it.
You have so many portals that one can slip into. You have so many outlets for people to discover your work.
Well, if they take the time. The problem is you don’t have as much time to read anymore. Everything moves so quickly, but if you can take the time to read then you can take the time to discover.
When I went to college, reading was the central occupation of what we did as students. You didn’t do anything but read books. You were much better equipped to deal with the outside world having had these dialogues with writers, with having had Plato inside your head.
Today it’s more of a juggling act. A student’s attention is divided between reading and engaging with social media.
It is in social media where people do their discovering. And, going back to Trump, it’s with his tweets where he’s so brilliant. Maybe you need a child-like manner to do it. I don’t really know. But he has a sort of brilliance with his tweets that very few people have. (laughs)
It’s a very different world. And it has evolved very quickly. What place there will be for books, I don’t know. I don’t feel very optimistic about the future of books.
I feel there are a lot of dedicated readers. My daughter, at 21, prefers to read in print. I like both print and digital equally. There’s a healthy community of readers out there.
It’s not a question of a lack of readers. It’s about the lack of venues for these readers. For example, it’s so much more expensive to put out a print book. When I first started writing, if a publisher liked your work, he knew that you’d have a library sale of between 1,500 to 2000 copies so that you could easily sell four or five thousand copies. That would be enough to do a second book and a third book.
But now the library sales have disappeared; the book clubs have disappeared; and the paperback houses have disappeared so the avenues for income are not there. The only avenue you have left is the translation of a book into a film—and that may be more prominent that it was before. Or a television series. One or the other. And that may be what rescues fiction.
As long as I still get pleasure from books, I will write them. There are fewer book reviews, fewer publishing outlets, so it’s hard to reach the reader.
I think people are reading as much as ever but what they’re reading, I don’t know. Also, someone has to make predictions based upon book reviews. If you look back at the last fifty to sixty years, most of those predictions have been wrong.
What seems to be wonderful isn’t so wonderful. I’m not talking about myself. I am talking about how books can come out of obscurity. For example, “Call it Sleep,” by Henry Roth. It was published in the ‘30s and disappeared. Then it was republished in the ‘60s and it was a phenomenal hit. These things do happen but they happen much less frequently.
That’s the same case with “The Great Gatsby.”
That’s absolutely true. Fitzgerald died at a very early age. He was only 44. He was completely forgotten. It was only because of Edmund Wilson’s essays in The New Yorker that he was revived as a writer. In his own lifetime, Fitzgerald had disappeared into the void, his fame all eaten up.
It’s odd which writers are recycled, which writers come back to haunt us, and which writers speak to us in our own generation.
Thank you, Jerome.
Thank you, Henry
You can listen to the podcast conversation by clicking below:
It is another night of bright lights in the big city when a tall dapper gentleman strides into Musso & Frank Grill, Hollywood’s legendary restaurant, frequented by stars of today and ghosts of yesteryear. This is Martin Olson: comedy writer, TV producer, bestselling author, playwright, stage director, composer and poet. Here I am, with a reservation at the Three Stooges booth, across from the Charlie Chaplin booth and the Marilyn Monroe booth. I wave Martin over to join me and Jennifer. We’re in town for a bit and honored at the chance to get together for this interview. Mr. Olson is a very busy, very talented, and very nice guy. If you see a publicity photo of him frowning (see above), that’s part of an act. He is really nice. I don’t know if I should be telling you this, but I’m putting it out there just so you know.
By the way, among the various credits that Mr. Olson can point to, he will forever enjoy a place in pop culture history as the voice of Hunson Abadeer (aka the Lord of Evil), ruler of the Nightosphere, and father of Marceline the Vampire Queen (Olson’s daughter, Olivia, is voice talent) on the legendary animated series, “Adventure Time” on Cartoon Network.
“Encyclopedia of Hell,” Olson’s popular and critically-acclaimed satirical book will continue in a new book in 2018. We chat about that. We discuss the Boston Comedy Scene which Olson helped form. And another fun item is a reunion of the original cast of the landmark animated series, “Rocko’s Modern Life.” Olson was part of the writing team behind a new one-hour TV special that will run in 2018.
When the subject of writing, or any form of creativity comes up, people usually seek some insights and tips. We tackle that sort of stuff here too. So, sit back and enjoy this podcast. Given the nature of our talk, more in tune with a conversation over a meal, it is split into two sections: one before dinner and the other after dinner. Oh, dinner was great, if you were wondering.
Click the two links below to go to Part One and Part Two:
Visit Martin Olson right here.
If you have not heard of this book yet, then let me introduce you to one of the new landmarks in graphic novels, “My Favorite Thing Is Monsters,” by Emil Ferris, published by Fantagraphics. Maybe you have heard of it. Or maybe, like me, you weren’t sure what to make of it at first. Certainly, one quick look through its pages, and you can tell this is something weird and wonderful. And, at 386 pages, this ain’t a book you’re gonna miss sitting there on the shelf.
As a cartoonist myself, the book is also a bit intimidating. All this awesome stuff to process–that I didn’t write and draw! As a reviewer, this is the sort of book that everyone comes out of the woodwork to review. People who never read graphic novels now suddenly have an opinion to express on the next big thing. But, don’t get me wrong, it is exciting to see a book like this gain the spotlight. That said, a number of things make this book significant and worthy of a long life after the current buzz.
The best way to enjoy this book is to find a cozy seat and explore the pages for a while. Then just settle into it. Ferris has an uncanny sense for narrative flow. In a comic that she did about promoting the book, she included an observation by comics legend Art Spiegelman. He declared that Ferris had tapped into a new rhythm for comics. To be sure, Ferris has a distinctive approach. She beautifully alternates among various possibilities: from full page drawings to panel sequences; from just a hint of color to full color; from lots of text to minimal text. This exquisite contrast propels the reader into worlds unknown.
Our story begins in Chicago on Valentine’s Day, 1968. There’s been a murder, or maybe a suicide, or God only knows what. Something happened upstairs. 10-year-old Karen Reyes has lost her dear friend, her upstairs neighbor in the apartment right above her: the elegant and enigmatic Anka Silverberg. She was shot in the heart. But her apartment door was bolted shut from the inside. So, yes, it was a suicide, right? Well, that’s what the police say. But Karen senses that just can’t be right. And so begins Karen’s investigation. Karen, the little girl who thinks she’s a monster. Yes, she really believes she’s some werewolf girl. And the only thing more scary than that is the M.O.B., that’s short for people who are Mean, Ordinary, and Boring.
Ferris fuels her work of magical realism with magical kid logic. Karen’s quest to get to the bottom of the death of Anka Silverberg, a holocaust survivor, becomes a multi-layered journey. Narrated by Karen, the reader becomes privy to a child’s inner world in a similar fashion to Jonathan Safran Foer’s celebrated novel, “Extremely Loud & Incredibly Close.” 10-year-old Karen ponders over the validity of monsters and concludes that they have as much right to exist as other unseen marvels like germs and electricity. Karen’s fanciful innocence clashes with harsh reality. Her older brother, Deeze is engrossed in various sexual conquests with little to no discretion as to whether Karen is around to hear it or see it. As a way to protect herself, Karen can always revert back to her own whimsical concerns, like whether or not tulips get homesick for Holland.
This is a genuine must-read resonating with aficionados and the general public alike. Many of the pages in the book have become iconic, particularly the monster magazine portraits. This is a tale that intertwines the tumult of the 1930s and 1960s and ends up casting a mirror to our own very troubled era. The alternating formats that Ferris uses are the hallmark to this most innovative work. Ferris steadily modulates the narrative having the reader swim to the deep end and read passages suitable for a prose novel all the way to deceptively simple comic strip sequences. All the while, everything is held together cohesively with the consistent use of ball point pen rendered art on a background of notebook paper–that and one of the most compelling voices to grace the page.
As I say, in my video review, it is a hard thing to do in a graphic novel where a cartoonist creates something truly fresh that has the reader seeing things in a whole new way:
This is one of those rare books that can safely be called an instant classic. It is a long work in comics that truly makes good use of a high page count. In fact, a second volume is due out as early as Valentine’s Day of 2018. For more details, visit Emil Ferris right here. And visit Fantagraphics right here.
If you subscribe to Netflix, you have seen or may plan to see “To The Bone.” As a major movie with a prominent star performer, the pressure is on to strike an authentic chord on the theme of eating disorders. One key factor in all this is that, if someone with an eating disorder is viewing this, they will know better than anyone else if only lip service is being paid or if something real is being said. Anyone in crisis wants to experience something real. Those who are loved ones, are certainly eager to understand and to help, but, in the end, it is always going to be up to that person who is struggling to find his or her own way out. What a movie like “To The Bone” does well is not to pretend to have all the answers. The movie is not there to magically solve anything. At best, the movie is there to open a window into a world, offer some perspective, offer up a look but make no claim to providing the ultimate solution. In all this, “To the Bone” succeeds.
Ellen (Lily Collins) is a 20-year-old anorexic girl who believes she has her eating disorder under control. She does not seem to want to listen to anyone’s advice on what and how to eat and yet she does not seem to completely close the door either. In a word, Lilly Collins gives a performance that is powerful. No doubt, she commands the screen with her gentle presence. Make no mistake, “To The Bone” is the sort of movie that matters. If one could only see every individual viewer reaction, it would light up the night sky. Collins is authentic. And writer/director Marti Noxon gives us an authentic screenplay and movie. It’s done by evoking that spontaneous feeling of sink or swim: giving the character room to fail so that she can summon the strength to turn the corner of her own free will.
This is a story all about free will. Eating disorders are a form of addiction, a way to control. Recovery is about finding a way out but it ultimately won’t work if the person in crisis is not in the driver’s seat. This movie works with all of this in mind. What we see is a series of stops, starts, falls, and attempts to get back up. The pace is slow because there is no magical cure to instantly bring one back from the brink. That said, we end up coming right back to the main character of Ellen in an intriguing cyclical fashion. Family tries to help. A charismatic therapist (Keanu Reeves) steps in with a tough love approach. There’s even a blossoming romance with a new boyfriend (Alex Sharp). But, in the end, we keep coming back to Ellen, alone–and yet not alone, processing things bit by bit.
Part of Ellen’s backstory involves her posting drawings about her anorexia on Tumblr that end up going viral. Not only that, one anorexic female fan of Ellen’s art kills herself. Her parents send Ellen the suicide note. It is a perfect example of how there are no easy answers, no one simple explanation to why this or that happens. It is in that spirit that this movie shines.
However, if there is a problem attached to this movie, it is simply that eating disorders are not simple matters nor is anything involving them. The obvious difficulty in making a movie about this subject is inherent in the process: Lily Collins had to undergo a severe, and life-threatening, weight loss. Sure, one can say it was a highly monitored process and the actor and the director took every precaution. Ultimately, there is no easy explanation to the ethics involved. On the one hand, the movie succeeds in opening a window. On the other hand, it opens up other issues about what such a movie owes its audience. Well, the movie is on Netflix for all to see so that train has left the station. Viewers will need to make their own call. The good news is that the movie itself does have something real to say.