This Column Has Seven Days #046 // Marvel’s Not Ready For Prime-Time Players

This weekend I took advantage of a couple of the sales on ComiXology, including picking up about a half-dozen Marvel comics collections. I thought a few of those series were worth talking about, because while they aren’t perfect they are at least interesting examples of what comes from corporate comics that try to look like boutique books.

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Going Solo, or “What I Got At The Marvel Digital Sale”

When Marvel announced their “All-New Marvel Now” branding across a slew of titles in early 2014, it seemed to me like they were trying a little too hard. There were a few books I was interested in, but seeing the “All-New” descriptor tagged to the initiative made it smell of desperation and hucksterism. I tried out a few of the new series, including Moon Knight, Ms. Marvel, and Silver Surfer, and enjoyed each of them a great deal, but my choices were based far more on my interest in the creative teams than on the characters themselves. I took advantage of this weekend’s digital sale to pick up some other books, which promised some new takes on solo, “street level” characters: The Punisher, Black Widow, and Iron Fist: The Living Weapon.

The Punisher, Issue 5.

Let’s start with The Punisher. I have some very specific criteria when it comes to enjoying a Punisher comic book. Basically, if it’s written by Garth Ennis then I’m gonna like it; if it’s someone else, then it’s a crap shoot. In the first two volumes of the new Punisher series (Black and White and Border Crossing), writer Nathan Edmondson and artist Mitch Gerads move Frank Castle from his home in New York City and send him to Los Angeles on the trail of the Dos Sols gang. This being a Punisher comic book, though, things get a little more complicated than that. The Punisher encounters the Dos Sols’ secret weapon, and is secretly hunted by the American military in the form of the black ops version of the Howling Commandos. In the second volume Frank finds himself in a South American prison, then later runs into Black Widow (more on her later) and ends up doing some dirty work for her in exchange for her not turning him in.

I enjoyed the team’s take on The Punisher as a tactician and soldier while still firmly entrenched in the Marvel Universe. Frank’s not going out guns a-blazing and heading at super-villains head on; he’s mindful of collateral damage and is actually taking steps to be brutally efficient without making a spectacle of himself. Moving him to Los Angeles also provides Edmondson and Gerads with some interesting story potential, as well as the ability to establish a few new supporting cast members. Gerads’ art is clean and uncluttered, and he gives a flow to fast-paced scenes so I was never confused about how the action in one panel led to another, an important thing in a Punisher book. However, there were times where I had to actively stop comparing certain stories or situations to the Garth Ennis run; it’s not fair to Edmondson and Gerads to compare their work to some of my favourite Marvel comics of all time. I definitely would have an easier time reviewing this series if I could have stopped negatively comparing it to Ennis’ run, but at times I just couldn’t help it. Despite my own personal attachment to and opinion of the character, overall this new series is a smart, violent, and engaging book, like The Punisher is supposed to be, even if I couldn’t get out of my own way and just accept it.

Black WidowThe next comic, also written by Edmondson, is Black Widow, with art by Phil Noto. Out of the three series, this is the closest spiritual cousin to the critically acclaimed Hawkeye; though it doesn’t quite hit the same artistic highs as that series, Black Widow is a look at what an Avenger gets up to when she’s off the clock. From the first issue, Edmondson lays out his take on Black Widow: a woman who’s not running from the mistakes of her past, but rather using it as motivation for her current actions. I think the first volume, The Finely Woven Thread, is a good introduction to the character (speaking as someone who has never felt a particularly strong attachment to her). It starts with a few self-contained chapters establishing Natasha Romanoff’s globe-trotting espionage adventures and then closes with a multi-part story that establishes a conspiracy inside the Marvel Universe’s greatest spy agency. The dialogue gets a little rough at times, and towards the end of the collection the plot feels as though it is being stretched a little thin. On the strength of the writing alone, Black Widow would simply be an acceptable book. However, Noto’s art turns it into a much more interesting read; surprisingly, given his thin lines, his action scenes have real energy and the way he lays out the talking heads scenes help the pacing and actually elevate the dialogue. I was pleasantly surprised at how much I enjoyed Black Widow, and will definitely get the next volume to see how the seeds Edmondson and Noto plant in these early issues take root.

Iron Fist

My favourite of the three new-to-me series, however, was Iron Fist: The Living Weapon, with Kaare Andrews taking care of both writing and art duties. The first volume, Rage, takes everything that has previously been established about Danny Rand, the Iron Fist, and deconstructs it. I don’t want to get into plot details, as revealing anything about the events of the plot (aside from the whole “Things will never be the same again!” hook) would spoil the read. However, I have to single Andrews out for making a book that looks absolutely gorgeous. His varying colour palette establishes just the right tone for each of the different settings, his faux-distressed and faded art for the flashback scenes strikes a good balance against the present day’s crisper line, and his action scenes are vibrant with Iron Fist moving through panels like a torrent of boiling water. Furthermore, the way he lays out each page is creative and eye-catching; some pages have a number of smaller panels against a larger backdrop, geographical details in one scene become panel borders in another, and his splash pages give the reader a chance to breathe while expanding the scope of the issue. I have no idea where Iron Fist: The Living Weapon is going, and though I am not sure I will like the final result from a plot and character perspective, I will love watching it happen.

Each of these new series scratches a different genre itch — action, espionage, martial arts — while never abandoning their identity as corporate superhero comics. That’s both a blessing and a curse — the use of established characters helps give them an audience but it also means that any significant changes are unlikely to remain in continuity after the current team leaves or the series wraps up. Taken for what they are, warts and all, all three are worth a read if only as attempts to shake up and reintroduce old characters to new readers, and the art on all three makes them worthy of a second look.

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I wasn’t just a Marvel zombie this past week, though. I also managed to dig deep into the origins of one of television’s biggest creative juggernauts — for good or for ill — of the last 40 years.

The Not Ready For Prime-Time Players circa 1975.
The Not Ready For Prime-Time Players circa 1975.

Television: I didn’t watch the Saturday Night Live 40th Anniversary Special earlier this month, mostly because like a stereotypical goon I dislike most of what SNL produced after I turned 19. However, I thought that the 40th anniversary was as good a reason as any to take my Season One DVDs off the shelf and give them a watch for the first time. After watching the first nine episodes I am still floored at how different the show was in its early days. It makes sense that a late-night sketch variety show would have a few growing pains when starting out, but the first few episodes feel wildly different than the format that is so familiar to today’s viewer. The first episode has host George Carlin (who only does monologues and never interacts with the Not Ready For Prime-Time Players), comedian Valri Bromfield, musical guests Billy Preston and Janis Ian (each of who does two songs), Andy Kaufman doing his Mighty Mouse routine, some original work from Jim Henson’s Muppets (which were an absolutely terrible fit for the program, as much as it pains me to say), and a film by Albert Brooks. All that plus some truly weird and wonderful sketches. It’s a fascinating watch, even if some of Carlin’s bits are de-fanged due to the combination of nerves and television standards, but watching the show evolve over the next eight episodes is absolutely fascinating. The second episode, hosted by Paul Simon, is basically a musical show with a few sketches, including a bizarrely hilarious film where he plays one-on-one basketball against former Harlem Globetrotter Connie Hawkins. Simon sings a few songs on his own, then gets Art Garfunkel to come back to sing a few of their classics (and also to verbally Garfunkel on television).

The show really starts coming into its own when Candice Bergen hosts the fourth episode. She’s the first host to participate in sketches with the cast, and the show even has her in unscripted conversation with Gilda Radner, which is wonderfully sweet and sad. It is easy to see that everyone involved in the evening is having fun; the cast seems grateful and happy to have someone who’s willing to play along with them, and Bergen is up for trying anything. It’s the first glimpse of what the show would eventually turn into, and as much as I like the Carlin episode with its everything-but-the-kitchen-sink approach, the Bergen episode is the first to border on legitimately great. Lily Tomlin’s and Richard Pryor’s episodes are even better, each tailored to best highlight their personas and skills. Even though the show can appear clumsy, sweaty, and dated at times, it’s also exciting and fresh and vibrant, and I can’t wait to get through even more episodes and then on to Season Two when things apparently get really interesting.

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That’s it for me this week. Until next time, try your luck at one of those Marvel series, or at least track down the Saturday Night Live “Racist Word Association” sketch with Pryor and Chevy Chase and marvel that it was on broadcast television in the ’70s. I’ll see you in seven days.

Doctor Whooch // Episode 046 // Loveable Grumpus

In which we wish you a Happy Who Year!

It’s the first episode of 2015, and we’ve dishing on this year’s Christmas special, “Last Christmas”. There’s a lot to talk about in this episode, from the surprising return of a character we thought was gone, to our feels on The Doctor and Clara’s new dynamic. Also: Santa! Bojack Horseman! Racism! Wait, maybe that last one shouldn’t have an exclaimation point. Oh, and Brandon over-corrects and is not nearly drunk enough.

Outro music is “Dream On” by Noel Gallagher’s High Flying Birds


Doctor Whooch // Episode 043 // Apocalypse Sex

In which there’s actual baby death.

We’re back to bi-weekly in this week’s installment, and our livers thank us. And we thank them. With liquor. It’s vicious cycle. This week, we head back to Torchwood for the first two episodes of Series Two, “Kiss Kiss, Bang Bang” and “Sleepers”. Along the way Max also gets half in the bag (a plastic bag), we talk about British diversity, and Danica cries and cries and cries. Hurray!

Outro music is “Super Pretty Naughty” by Buck 65.



Doctor Whooch // Episode 042 // Drunk Hero 2

In which we talk waaaay too much about Passions.

This week’s episode! An ending! Specifially, the ending of Series 8, and there’s lots to talk about. Did we end up liking what Moffat was throwing down after a rough season? Who knows! We were drunk! Also: stuff with Danny Pink (oh my god Danny Pink) leads to a pack of lies and we gab about Big Hero 6, probably. And yeah, Passions, but whatever.

Outro music is “Robots” by Flight of the Conchords



Doctor Whooch // Episode 041 // The Whole Pezzle

In which the pieces all fall into place. In the pezzle.

This week, we’re in finalé territory, and things are getting very serious. Like “audibly gasping at the tv” serious. So if you’re ready for some slurred “Dark Water” spoilers, we’re here for you. If you’re not, I think you might want to consider your life choices. And we’re saying that as hosts of a podcast wherein we get drunk and watch episodes of Doctor Who.

That all said, we hope you enjoy the episode. It was a Steven Moffat written episode that we really, really liked? That didn’t have (too many) weird gender-y body image slams? What’s that all about?

Outro music is “Mistress” by Inara George


Doctor Whooch // Episode 040 // Cody Party!

In which we have a guest and get drunker than ever before. EVER. BEFORE.

In this week’s special BONUS SIZED episode, we have Moneyballah$ co-host Cody F. Schmidt on the show, thus completing our collection of two out of two of the Moneyballah$. Also, we talk about everything. And I mean everything, except for maybe this week’s episode of Doctor Who. (Actually, we talk a little bit about that. Sometimes.) But for the most part, we delve into musical theatre (a little) and an untold amount of slurry tangents that get subsequently weirder and weirder until we stop.

Whooch Fights

Oh, and we wore costumes! Awesome, right? You’re jealous. You know you are.

Outro music is “Parents Just Don’t Understand” by DJ Jazzy Jeff and The Fresh Prince


Doctor Whooch // Episode 039 // Companions


This week’s episode was recorded live in Banff the day after we got married because we’re adults. Want to hear our thoughts on “Flatline”? There’s some of that in there. Want some details about our wedding and how we met? That’s in there too. Want to hear about one and not the other? Well, tough, you’re going to get both, and you’re going to like it. Or, you’re going to fast forward through some bits and/or turn off the podcast, because WHO DO WE THINK WE ARE, trying to tell you what you can and can not listen to. This isn’t the 60s anymore, mom.

Outro music is “I’m Gonna’ Be (500 Miles)” by Sleeping at Last


Doctor Whooch // Episode 038 // Punching Angels

In which Clara’s life decisions make us sad. And that’s coming from a pair of people who do a drunk Doctor Who podcast.

This week, there’s a “Mummy on the Orient Express”, which is cool. Also, it’s in space, so double cool. The Doctor once again wisks Clara off on an adventure and is kind of a dick about it. But hey, this is their last adventure together, and they can quit at any time, right??? RIGHT??? Hmm.

Oh and there’s tequila.

Outro music is “Best Friend” by Foster the People


Doctor Whooch // Episode 037 // Moon Shaming

In which there are glitter kittens and beard slaps!

This week we watched KILL THE MOON in which the moon may or may not have been killed. It’s a mystery! That is solved by watching that episode of Doctor Who. Also: lots of white dudes die and misandry is enjoyed by all. TEAM CLARA 4 LYFE!

Outro music is “Fancy (feat. Charli XCX)” by Iggy Azalea


Doctor Whooch // Episode 036 // Deep South With Whiskey

In which there is no basket of kittens. WHY IS THERE NEVER A BASKET OF KITTENS?

We’re halfway through this series and more than halfway into the bottle, which is pretty apparent by the time Brandon starts going full fake Irish when attempting a Scottish accent. He doesn’t apologize. We also watch “The Caretaker”, the Series 8, Episode 6 of the show, and we like it, which is good. Romps are fun, kids! More romps in the midst of the episodes that are dour as hell! Thaaaaaaaanks.

Outro music is “Danger Zone” by Gwen Stefani