On February 21, 2011, the world lost a legend. Dwayne McDuffie passed away at the age of 49, leaving behind a towering legacy in comics and television. McDuffie was one of the founding fathers of Milestone Media, a prominent writer for DC Comics, and the brains behind DC TV Classics like Justice League, Justice League Unlimited, and Static Shock. His influence on comics and superhero storytelling reverberate to this day. One writer who was inspired by McDuffie is David F. Walker, currently writing Occupy Avengers for Marvel and has previously written Cyborg for DC. David joins Keith and Desiree (Britney is out this week) to remember the life and times of Dwayne McDuffie.
Originally posted at A Latina’s Media Musings
Firstly, as an almost disclaimer of sorts, I’ve never been a fan of Arrow. Even in the show’s heyday of seasons one and two when it was praised and lauded as a great show and comic book adaptation. Though it bares moderate similarities to Green Arrow: Year One overall, it just wasn’t for me. However, I can look back on the show’s beginning seasons and see a clear pattern of character arcs that were leading to a greater picture. A picture that would create an adapted vision of the classic Green Arrow comics mythology.
Needless to say, that from season three onward, Arrow did not only continuously strive away from that proposed picture, but did so almost gleefully. It often felt at times that the show was more interested in using the brand names of “Green Arrow” and the original materials (or should I say Batman’s original materials) for the sake of hollowed out Easter eggs, than truly adapting them in interesting and creative ways. One of the best examples of this is the show’s depiction — and mishandling — of the Black Canary, aka Dinah Laurel Lance.
It has not been a great couple of weeks (years?) on the DC Films front.
After Dawn of Justice and Suicide Squad failed to live up to most people’s expectations last summer, Warner Brothers looked like it was starting to right the DCEU ship. Triumphant teasers for Wonder Woman and Justice League made DC the talk of San Diego, and fans were stoked for directors like James Wan, Rick Famuyiwa, and Ben Affleck to lend their visions to DC supeheroes. Well, less than a year later, 60% of those directors have been dropped and now, Ben (maybe?) doesn’t even want to be Batman anymore. And in the most WTF move yet, Warner has approached an actual misogynst, anti-semitic racist to helm a movie with the initials S.S.!
But, taking a page from Vulture’s always awesome
For the better part of a decade, this has become an annual tradition for yours truly.
From January to December I compile a list of the best, artistic and most progressive films, television shows, and music albums. One of the reasons I do this is to provide resources to readers who are looking for cerebral, fun, and progressive media. It does exist as my lists have continued to prove. Don’t say I never gave you anything. You’re welcome.
In the summer of 2008, there I was: A fresh-faced, 19-year-old pharmacy school dropout, a few months removed from stepping off the plane from humble Oregon and on to hopeful California soil. I had no direction of where I was going or knowledge of how to accomplish my lofty goals, but I knew I wanted one thing and one thing only: I wanted to be a part of cinema.
One of my first — and one of my favorite — jobs was when I worked as a film projectionist at a local movie theater. It was one of those summer jobs that lasted well beyond the summer. Even though the pay was trash and I hated some of my managers, I had access to free movies that were actually projected on 35mm film (which is on the verge of becoming an extinct format). I made sure to watch everything I could get my hands on from big budget action blockbusters to independently produced prestige dramas. Since I didn’t have the money to go to a traditional film school like USC or UCLA, the movie theater became my film school.
Everything that I have absorbed about appreciating and deconstructing cinema up to that point came to a climatic crescendo in the form of a tiny little art house flick called The Dark Knight, and it altered my perception of sights and sounds, forever.
“I ran back in time because Zoom and my dad and things and I got to live with my parents and it was all good but then it wasn’t so I came back but everything is different and I want everything to change back.” – Barry Allen during this week’s panicked voiceover
Barry flips his shit so hard that he flips it all the way to Star City. All over Felicity. Who, like us, is like, “You just, like, run back in time? All the time?”
With Supergirl’s second season officially kicked off (recap coming soon!), NOC Denny Upkins and I decided to chat all things Supergirl. Join us on this inaugural edition of NERD OUT.
We’re back! I think? Barry Allen is living an alternate reality with both of his parents. He’s retained his powers, but he’s spent the last three months laying low, summoning courage to speak to Iris West, hugging his mom and dad, and watching a yellow-clad Flash take care of Central City for a change.
This weekend, I’m proud to announce that I have teamed up with the DCTV Podcast network to launch their newest bi-weekly show: DCTV Classics, where we will be reminiscing about iconic and classic TV shows such as The Adventures of Superman, Batman ’66, Wonder Woman, Lois & Clark: The New Adventures of Superman, Smallville, Batman: The Animated Series, and more.
I tweeted this over a month ago from The Nerds of Color handle, when I was excited about the Zendaya news and wanted to quickly hop on the celebrations. Suffice to say the tweet raised some eyebrows. The tweet fails to mention other recent castings or acknowledge the other women of color who came before them, in both film and TV. And from a feminist point of view, the inclusion of romance in a film is often considered a disservice to the female character (coughBruce/Natcough). The complex ways in which women of color are portrayed on screen is worth exploring, so let’s take a closer look at that now. How far have we come in terms of representation? And what does it mean to show a woman of color being loved?