The superhero porn analogy 25 words or less.

Marvel conquered by being Penthouse to DC's Playboy.

Now DisMarvel is Hustler (and getting worse) and DC is Playboy trying to be edgy- and failing.

Deadpool movie in turnaround? Flashback

Deadpool

Attached: Ryan Reynolds
Status: Can one man anchor two different superhero franchises for two different comic book companies simultaneously? That's what we may find out with "Deadpool," which stars "Green Lantern's" Ryan Reynolds as Marvel's "Merc With a Mouth." Reynolds, of course, debuted the character of Deadpool in 2009's "X-Men Origins: Wolverine," though that version of fast-talking mercenary Wade Wilson ended up losing his head at the end of the film -- literally. Just how they'll work around that little problem is unclear, but hey, it's comic books. Nobody really stays dead anyway.

David Evans explains the skeptics case (YouTube)

Sentry still controversial after death « BW Media Spotlight

Sentry still controversial after death « BW Media Spotlight

So this scene ends up making the hinted at “menage a trois” between Hal Jordan, Huntress, and Lady Blackhawk in DC’s Cry For Justice look tame in comparison.

Ragnell of the Written Word blog summed the problem up best.

The point is that since human contact was such a rare and idealized experience for Rogue, an event like the loss of her virginity is certifiably a Big $$%#%$# Deal. It is a monumental experience for this character. It is her story more than anything else, because it is a moment that she has been denied all her life. It is a Rite of Passage that long boarded off to Rogue (with little detour signs leading to “Experience Prejudice”, “Prove One’s Valor in Combat”, and “Absorb the Memories, Powers and Life Force of An Entire Other Person”), and she expresses the pain of that roadblock in every appearance. Breaking through that roadblock, whether it’s through a temporary depowerment, or a forcefield, or a character powerful enough that she doesn’t completely absorb him, is a major life experience for Rogue. It is something that should affect her for the rest of her appearances, making the event she can never experience now be something she misses and giving her a comforting memory when confronted by the cold reality that she can’t even shake hands.
It is noteworthy enough that it deserves a three-issue mini-series with romance-novel style covers, a lush exotic locale, a tender build-up of affections and at the very least a soft silhouetted kiss then a fade to black. Then, most importantly, the fallout. The incredibly important reason why she did not stay with the person that could actually touch her every day for the rest of her life. Was it his choice or her choice? If it was his choice, how did she take it? If it was her choice, why? Because the reason for giving up the thing you want more than anything else in your life says a hell of a lot about what kind of person you are.
Even now that she can control her powers (again, not sure how long this will last before someone wants tragic Rogue back), the loss of her virginity is still an important event for her because physical intimacy is something that was denied to her so long. It is at the very LEAST something that needs to be covered in her own book and not any other character’s. We’re talking about the fulfillment of a lifelong dream of Rogue’s here, something more special for her than the other character who might be involved for a laundry list of reasons.
But instead this event is implied not in any of Rogue’s wistful memories, not in the most private thoughts that comfort her in her darkest moments, but in a half-page tribute to the $#%$#%#$%# Sentry.

This scene, like when the Thing says he was consoled by the Sentry after witnessing a supervillain destroy a bus full of children (Chris Sims said it best: “Welcome the Heroic Age, everybody”) or Tony saying the Sentry helped him when he was dealing with alcoholism (I’m surprised he’s stayed sober for so long, considering how often it gets brought up) serves only to make Robert Reynolds look as super-awesome as possible. Heck, a simple line like “No, I don’t think it went that far” would have been a good idea. First, there is that one little nagging detail that…

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If Stan Lee and Jack Kirby had wanted to do a Superman character, they'd have done one. It would have been a terrible idea, so they didn't. Along comes zombie marvel aka Disney Comics and the Sentry slides out.

Happy Easter

A question of cybernetics

I read about an Eskimo hunter who asked the local missionary priest, 

'If I did not know about God and sin, would I go to hell?' 

'No,' said the priest, 'not if you did not know.'

'Then why,' asked the Eskimo earnestly, 'did you tell me?'

 Annie Dillard, Pilgrim at Tinker Creek, 1974

Stop The Planet Of The Apes, I Want To Get Off

The Vetting: Obama 1995: ‘Scapegoat’ the ‘Top 5%’

The Vetting: Obama 1995: ‘Scapegoat’ the ‘Top 5%’

In a newly-uncovered interview from the Hyde Park Citizen newspaper circa December 28, 1995, Barack Obama explains his philosophy on income inequality in the United States, especially in light of economic difficulties:

In an environment of scarcity, where the cost of living is rising, folks begin to get angry and bitter and look for scapegoats. Historically, instead of looking at the top 5% of this country that controls all the wealth, we turn towards each other, and the Republicans have added to the fire.

In that interview, Obama explains that his perspective on the “top 5%” was shaped by his experiences abroad:

It's about power. My travels made me sensitive to the plight of those without power and the issues of class and inequalities as it relates to wealth and power. Anytime you have been overseas in these so-called third world countries, one thing you see is the vast disparity of wealth of those who are part of power structure and those outside of it.

These comments are reminiscent of both the most radical Occupy Wall Street rhetoric and Obama’s infamous comments in San Francisco in April 2008 in which he stated that Americans suffering difficult economic times “get bitter” and “cling to guns or religion or antipathy to people who aren’t like them.”

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DIA / CIA script- dust it off use it again.

And why DID Barry have so many fake social security numbers? Why hasn't his fake selective service documentation not been the subject of FBI and state probes?

Why do all his gay lovers keep shooting themselves through the back of the head in clear cases of suicide?

An undistinguished comicbook adaptation of Do Androids Dream Of Electric Sheep? was produced. It has many problems, the main one, central to its failure is simple.

In the irregular light the bounty hunter seemed a  medium man, not impressive. Round face and hairless, smooth features; like a clerk in a bureaucratic office.  Methodical but informal. Not demi-god in shape; not at all as Isidore had anticipated him.

Above is a quote from the actual book.

Illiterate people shouldn't adapt books. Illiterate people should learn to read.

Comicbook stereotyping has rarely been as effusively offensive as the act of making the characters in Do Androids Dream Of Electric Sheep? heroic idealised superhero style figures. It isn't a superhero story, in any remote way. And even a casual, let alone detailed, reading of the book would impart sufficient information to do the comicbook properly.

That simple process completely eluded the producers of that comicbook.

It was doomed ab initio.