PIN-UP TIME: POLLYANNA, I SALUTE YOU!

Superman and Lois: A New CW (Re)Vision

Superman and Lois is supposed to be the new Lois and Clark, or is it? 

CW has a knack for deforming traditional, DC/WB notions, even though in its own right Lois and Clark took an unorthodox, pedestrian approach to its legendary characters. Still, Superman was Superman and Lois Lane was Lois Lane in that instance, and through Dean Cain and Teri Hatcher, Lois and Clark performed the expected functions. In the CW lay of the land, however, Tyler Hoechlin's Superman has always taken a wishy-washy back seat to Melissa Benoist's Supergirl. Pardon if I sound chauvinistic, but that was never a wise choice for the general fan base.  

On the other hand, the series' publicity photos and trailers do look pretty spiffy. The Superman vibe seems to be inherent. Elizabeth Bitsie Tullock's Lois Lane jives to my eyes (as she did with Grimm), and I bet that Emmanuelle Chriqui's Lana Lang will season things nicely as episodes unfold, even without the fiery hair. Perhaps Wote Park's the Stranger might prove a beneficial (maybe alternate-reality) addition, and (fingers crossed) the duo's offspring (Jordan Elsass and Alexander Garfin) won't get in the crybaby, millennial way and yet...

I want Kal-El to be Kal-El and carry all his essential baggage, no matter the family dynamic or what new characters may or may not emerge. In this regard, I want Clark Kent to be Clark Kent, as well. I'm not talking about a long-term imprint of other interpretations, either. I don't want Hoechlin's nuances stripped or blunted, but rather that the Man of Steel and his humble alias maintain a faithful-to-the-core, save-the-day, All American vantage.

CW tends to blur ideas of right and wrong, to advocate cancel-culture principles, which include the need for male viewers to tap their feminine side, whether they want to or not. I've no inclination to do so, and I'm friggin sick and tired of being told I goddamn should. 

I do hope Superman and Lois rises to the occasion with purity and respect for the subject matter and I come away with praise and not complaint. We'll see how it goes. It premieres tonight, so I won't have long to gauge its philosophical purpose.  

BLACK LION #3 & ALL-STAR PULP COMICS #5 FROM RON FORTIER & CO

Ron Fortier's Black Lion re-enters in the hot-off-the-press, all-color Issue #3, from Redbud Studio and Indy Planet. 

"Mountain Crucible" may be the most exciting chapter yet in the Black Lion saga, with our brave and bold Jamal Lyon held captive by zealous soldiers. It'll take all that the former Navy SEAL can muster to flee his oppressors, in a stretch that combines high tension with a decent dab of steamy seduction.  

Fortier's script is brilliant, and Kevin Johnson's artwork (abetted by Warren Montgomery's lettering and Arrick Church's colors) grants the concept a virtual, cinematic thrust.

In addition to Black Lion #3, Redbud/Indy, along with Airship 27 Productions, has released the long-awaited, All-Star Pulp Comics #5, wherein Fortier's iconic undead avenger, Brother Bones, seizes the spotlight; with Mike W. Belcher's exhilarating Brother Bones/Nightshift crossover cover setting the crime-crushing tone. 

For the sake of "Behind the Mask", Fortier takes Brother Bones into Cape Noir's dangerous depths to topple the testy Tor Crawley, who dares to reveal the face behind our crusader's guise. T. Glenn Bane's moody artwork honors Fortier's concept by stirring the perfect, creepy chill. 

Brother Bones' hair-raising adventure is accompanied by two different, character studies by the author, the first being "A Greater Calling", with snazzy artwork by Belcher, which places the stealthy Nightshift against a gang of gritty, German saboteurs; and for Fortier's third submission, "Death Leaves a Message", Ravenwood, Stepson of Mystery and his investigative pal, Chief Inspector Stagg set forth to crack a murder that flows with the fiendish finesse of a classic, old-time radio show, all enhanced by Sam A. Salas' elegant artwork.  

Rounding out Issue #5 are two more tales, one featuring the courageous Crimson Mask and the other, the pugnacious Dr. Fear.

For the former, Mark F. Davis supplies an eerie script entitled "The Vampire of Broadway", with fantastic artwork by Luis Rivera and crackling lettering by Mike Rickaby. In this instance, Crimson Mask tracks an opponent who appears to have slipped straight out of a classic, horror picture, but is the fiend of actual, supernatural emanation or is there some other strange cause at play? 

For "Fear and Loathing", writer Michael Vance has Dr. Fear and Lady Loathing going to the movies, but instead of enjoying a little, healthy escapism, our dynamic duo becomes enshrouded by the wrath of a taunting, spectral adversary. Brian Cote's sweeping artwork and Montgomery's fine lettering add to the otherworldly circumstance.  

Purchase Black Lion #3 and All-Star Pulp Comics #5 at 

https://indyplanet.com/?s=black+lion+%233 and

https://indyplanet.com/all-star-pulp-comics-5.

RIP, MARTHA (RUTH) STEWART

In a Lonely Place made me your biggest fan, and from there, I couldn't help but seek more of your work. 

As such, I was ecstatic to find The Joker is Wild; Doll Face; Convicted; I Wonder Who's Kissing Her Now; Aaron Slick from Punkin Crick; Are You With it?; Daisy Kenyon; Johnny Comes Flying Home; and Surf Party, as well as your swell guest spots on the Red Skelton Show and the Alfred Hitchcock Hour.

You were also a marvelous singer (having teamed with Perry Como, no less) and a pin-up of unsung virtue: a sweet, sassy siren who held her own with the best of them. I'll miss you, Ms. Stewart, but whenever I feel a chill in my heart, your memory will no doubt be quick to warm it. 

HAPPY BIRTHDAY, FREDDY; BE SURE TO WISH UPON A STAR (LOVE, UNCLE MIKE)

 

RON FORTIER'S BLACK LION RETURNS

Redbud Studio (supported by the prolific Indy Planet) strikes like lightning with an energetic extension to Ron Fortier's Black Lion premiere. 

As such, Issue #2 depicts the further exploits of intrepid Kuwait veteran/Navy SEAL, Jamal Lyon, who's weighed by dangerous odds, but has just the right steeliness to hold his own and then some, while lending a helping hand to anyone in need. 

Fans of tactical action won't be disappointed with this latest effort, as Fortier's storytelling skills are once more in crisp wrong-never-makes-right form. Kevin Johnson, Arrick Church and Warren Montgomery's collective artistry also gives Lyon's saga a textured sense of roughness, empathy and credibility.

Black Lion is just warming up, so fans of Rambo-styled espionage and hard-hitting heroics should jump aboard. This historic foundation shouldn't be missed, but embraced with unconditional avidity and respect. 

Order Black Lion #2 at 

https://indyplanet.com/black-lion-2.

I saw Dolemite is My Name...

Dolemite is My Name (now available for streaming on Netflix) is a marvelous movie, inspired by the life and creative pursuits of Rudy Ray Moore.

Moore, for those unaware, hit stardom in the early '70s with his Redd Foxx-styled, rhythm-and-rhyme comedy albums, and a series of movies followed, sprung from his centerpiece character, the pimp-ish martial artist, Dolemite. 

The bio headlines Eddie Murphy, who also co-produced with John Fox and John Davis. Murphy's portrayal of Moore/Dolemite is spot on (worthy of awards), but then the whole, irreverent package deserves high, courtly praise.

Directed by Craig Brewer and written by Scott Alexander and Larry Karaszewski, Moore's path to fame entails his early years, which are filled with struggles and accidental humor, as well as the eccentric but talented folks he enlists to steer him into the prime public eye. 

These amiable individuals are given depth by such quality performers as D'Vine Joy Randolph, as Moore's spunky, hardworking partner, Lady Reed/Queen Bee; Keegan-Michael Key, as socially conscious writer Jerry Jones; Bob Odenkirk as shrewd, Dimension Pictures producer Lawrence Woolner; and Wesley Snipes as legendary, cult-film actor/director D'Urville Martin. Chris Rock, Snoop Dogg, Craig Robinson, Tituss Burges, TI, Kodi Smit-McPhee, Michael Elliot Epps, Ron Cyphus Jones and Barry Shabaker Henley form the cool, supporting cast. 

Emphasis on Moore's relegation as an underdog/outsider hits its emblematic peak after he views a Christmas screening of Billy Wilder's the Front Page. This gives the comedian the incentive to finance a Dolemite action/comedy film. Getting his blaxploitation vision made, however, becomes a daunting yet uplifting venture, ultimately placing Moore's story on the same creative-misfit par as James Franco's the Disaster Artist, Tim Burton's Ed Wood and Frank Oz's Bowfinger, which also stars Murphy. 

Snipes' interpretation of D'Urville Martin is a major delight for this particular stretch, for he deftly combines snootiness with enthusiastic tolerance, thus adding to the bio's interchanging, one-day-loser/one-day-winner ups and downs. 

For Moore, Murphy delivers heartfelt persistence and credible frustration, which becomes evermore evident when Moore begins to peddle his profanity-laced film for distribution, only then to face rejection by those who misunderstand its intent. However, to counter this arduous period, there's a lovely scene where Lady Reed expresses her gratitude to Moore for making a difference in her life. This injects a compassionate punctuation to the story's events that many real-life movies miss, thanks in large part to its two polished players.  

As history has confirmed, Moore did make his cinematic mark, along with heaps of profits. His rocky journey is what makes his story so fascinating, for in it lies a valuable, against-the-odds lesson to keep fighting the good fight, no matter how many people put one down along the high-falutin way.

Because of its message, performances and palpable devotion, I enjoyed Dolemite is My Name from beginning to end. It's heart is in the sincere right place and because of it, this nostalgic homage resonates with great, Everyman class. (I'm now curious to see what Murphy and Brewer pull off for Coming 2 America. If Dolemite is any indication of their collaborative inventiveness, we're in for a real treat.)  

AIRSHIP 27 PODCAST (JAN '21): READY FOR LIFTOFF

A new year has commenced. and its first month concludes with another Airship 27 Podcast, piloted by the always diligent Captain Ron Fortier and Chief Engineer Rob Davis. 

The focus this time is on two, new Airship 27 releases: an anthology and a novel. 

The former is a spirited, sword-and-sorcery epic by Mike Bullock, entitled Rune Master: Shield Maiden's Blade, rendered in the edgy tradition of Conan and Red Sonja, which includes gusty interiors by Chris Nye and a Frazetta-esque cover by Steve Otis. 

The latter is the Musketeers New Adventures, with stories by Joel Jenkins, Alan P. Porter and Paul Beale, empowered by elegant illustrations from Ed Catto and a sweet, swashbuckling cover by Adam Shaw. (Hope is that this will be the first of many, Airship 27 volumes based on Alexandre Dumas' wondrous crusaders.)

Along with these current-release submissions, the guys discuss such soon-to-be-dispatched entries, as the Mask Rider, Vol 3, which I've been asked to edit; I.A. Watson's new Sherlock Holmes edition; and Nancy Hansen's next Jezebel Johnston, buccaneer novel and upcoming Silver Pentacle, Vol 1.  

Strap in for a grand, New Pulp voyage at 

https://www.youtube.com/watch?v=h3Xw29s60rU&feature=youtu.be

Collectible Time: Mego Christopher Lee Dracula

Those new, 8" Mego (Marty Abrams) monster figures sure are swell. An outstanding case in point is the company's "limited edition" Christopher Lee Dracula, which my wife, Donna, surprised me with on Valentine's Day.

The Hammer tribute is a striking (or make that, biting) one, particularly in the facial department, where Lee is depicted with mouth open and fangs exposed. One can practically hear his thirsty hiss.

The figure holds 14 points of articulation, with an apt, cloth outfit in sync with Lee's iconic (re)interpretation. (I'll likely keep my figure mint-in-packaging, but have included stock photos of the piece unleashed, if only to demonstrate its poseable range.)

I love all things Hammer, in particular Lee's Count. I wish this figure had existed when I was a wee lad, but better late than never that I possess it, thanks to Donna's thoughtfulness. 

SO LONG, SIRRY STEFFEN...

Most often you went by Sigriour Giersdottir, though on the American scene you donned the name, Sirry Steffen. Either way, you delivered mass appeal with your staggering, Miss Iceland frame. 

You had the chance to flaunt your extraordinary charms in The Tom Ewell Show, Michael Shayne and the Beverly Hillbillies, and on the big-screen blossomed in Bedtime Story (featuring David Niven and Marlon Brando), Hitler (with Richard Basehart); Hrafn Gunnlaugsson's Between Us: In the Heat and Weight of the Day; and Herbert L. Strock/Robert F. Robertson's drive-in classic, The Crawling Hand. (As the latter's super-sexy, Swedish exchange student, Marta Farnstrom, you stirred quite a salacious nude scene to satisfy those eager, foreign fans.)  

Though you formed from the land of ice, you'll be remembered with everlasting warmth, endlessly etched with devotion in our indebted hearts.