Do I need to add more? Really? It's Batman doing Planet Of The Apes for cryin' out loud!
Sunday, November 29, 2009
Why Bob Haney Is Awesome #791
Do I need to add more? Really? It's Batman doing Planet Of The Apes for cryin' out loud!
Saturday, November 28, 2009
See what they did there?
Nipple rings? Get it?
Kind of makes you wonder if DC missed a golden marketing opportunity, doesn't it?
But, of course, this being the Internet, there's drama about that above image (which was
Monday, November 23, 2009
Classes...
Over at the Babble website, I've just posted a piece about the creation of the lead character, Carrie. One thing I left out, though, was my desire to make her working class.
Now, don't worry, this isn't going to turn into a massive rant about the class system in the UK (which still fucking exists, no matter what people will tell you), it's more of an explanation about why I wanted to do it.
See, one of my main bug bears about media - and TV especially - is the total reliance on stereotypes; it's a lazy way of writing and creating new characters, and it's becoming more and more accepted that introducing a working class character into a drama or Sci-Fi show automatically makes them a charv (yes, charv, not chav!). Skins and E4's new series Misfits both fall immediately into that category; Doctor Who did it to a lesser extent when it came to Rose Tyler and her family, and it led me to criticising Russell T. Davies very harshly to anyone who would listen to me. Her character, and her entire family, were simplistic stereotypes, what Davies imagines most working class families to be like.
For the record, I grew up on a council estate; many of my friends did, too, but we're nothing like the 'working class' portrayed on TV. Yes, a lot of us are on the dole, but we've also been in and out of work for most of our lives; we've held down decent jobs, had great relationships, a decent education and, maybe more importantly, a decent upbringing.
[As an aside, it used to bug the shit out of me that there was so much political emphasis put on the breakdown of the family and it fucked me off no end when Tory politicians tried to peddle the line that most petty crimes were committed by kids from single parent families. All I can say to that now is: I grew up in a single parent family, I've got no criminal record and now I've got a fucking graphic novel deal. So fuck you, Mr Conservative.]
Yes, you can make the argument that we're from a different generation - the generation that spawned the current one, if you want - but that doesn't excuse the media's habit of painting the working classes with the same brush. I'm not going to vote for the BNP simply because of my class status, as some sections of the media would have you believe (I actually find myself leaning more toward Anarchy rather than any political party as I get older), nor have I got a litter of children scattered across the streets and claim benefits for them (I can't fucking stand kids, and don't want any of my own).
So, the decision to make the lead character a working class girl was done to try and re-dress the balance in some small way, to make a point that the working classes can be intelligent, articulate and compassionate, and not looking to stab you up if you look at them funny in the street. We don't all wear the uniform of tracksuits, hoodies and baseball caps, and most of us have more than just the world "fuck" in our lexicon.
Will this make a difference in the grand scheme of things? Of course it fucking won't. I'm not fooling myself for a second. This is a graphic novel, for crying out loud, not a major literary work, no matter what I'll end up telling myself when it's out.
The entire concept of stereotypes are far too entrenched in the media now and we won't be seeing them removed any time soon. I mean, after all, it's much easier to fall back on to a stereotypical character than to try and create one with depth, isn't it?
Now, don't worry, this isn't going to turn into a massive rant about the class system in the UK (which still fucking exists, no matter what people will tell you), it's more of an explanation about why I wanted to do it.
See, one of my main bug bears about media - and TV especially - is the total reliance on stereotypes; it's a lazy way of writing and creating new characters, and it's becoming more and more accepted that introducing a working class character into a drama or Sci-Fi show automatically makes them a charv (yes, charv, not chav!). Skins and E4's new series Misfits both fall immediately into that category; Doctor Who did it to a lesser extent when it came to Rose Tyler and her family, and it led me to criticising Russell T. Davies very harshly to anyone who would listen to me. Her character, and her entire family, were simplistic stereotypes, what Davies imagines most working class families to be like.
For the record, I grew up on a council estate; many of my friends did, too, but we're nothing like the 'working class' portrayed on TV. Yes, a lot of us are on the dole, but we've also been in and out of work for most of our lives; we've held down decent jobs, had great relationships, a decent education and, maybe more importantly, a decent upbringing.
[As an aside, it used to bug the shit out of me that there was so much political emphasis put on the breakdown of the family and it fucked me off no end when Tory politicians tried to peddle the line that most petty crimes were committed by kids from single parent families. All I can say to that now is: I grew up in a single parent family, I've got no criminal record and now I've got a fucking graphic novel deal. So fuck you, Mr Conservative.]
Yes, you can make the argument that we're from a different generation - the generation that spawned the current one, if you want - but that doesn't excuse the media's habit of painting the working classes with the same brush. I'm not going to vote for the BNP simply because of my class status, as some sections of the media would have you believe (I actually find myself leaning more toward Anarchy rather than any political party as I get older), nor have I got a litter of children scattered across the streets and claim benefits for them (I can't fucking stand kids, and don't want any of my own).
So, the decision to make the lead character a working class girl was done to try and re-dress the balance in some small way, to make a point that the working classes can be intelligent, articulate and compassionate, and not looking to stab you up if you look at them funny in the street. We don't all wear the uniform of tracksuits, hoodies and baseball caps, and most of us have more than just the world "fuck" in our lexicon.
Will this make a difference in the grand scheme of things? Of course it fucking won't. I'm not fooling myself for a second. This is a graphic novel, for crying out loud, not a major literary work, no matter what I'll end up telling myself when it's out.
The entire concept of stereotypes are far too entrenched in the media now and we won't be seeing them removed any time soon. I mean, after all, it's much easier to fall back on to a stereotypical character than to try and create one with depth, isn't it?
Sunday, November 22, 2009
Inglorious Basterds by Jack Kirby!
Harry Knowles of Ain't It Cool News fame somehow stumbled through to an alternative dimension where Jack Kirby did the 5 issue comic adaption of Tarantino's Inglorious Basterds...
Actually, I have no idea who did these are or where Knowles got them, but I'd love them to be real...
Actually, I have no idea who did these are or where Knowles got them, but I'd love them to be real...
Saturday, November 21, 2009
Wednesday, November 18, 2009
Ink Trailer
Saw this trailer earlier in the week, and I really want to get excited by it, but I just can't seem to muster the enthusiasm for it. Still, might be worth tracking down to watch if it gets released over here.
Over at Film School Rejects, the makers of Ink give an insightful take on the rampant piracy of the film.
Over at Film School Rejects, the makers of Ink give an insightful take on the rampant piracy of the film.
Monday, November 16, 2009
Saturday, November 14, 2009
Best Halloween mask ever...?
OK, OK, so I'm late posting this, considering Halloween's been and gone, but this is quite possibly the greatest Halloween costume ever!
It was made by Eric Testroete, a Vancouver based 3D artist, and if you head on over to his website, he'll show you how he made it.
So, yeah, that's my Halloween costume for next year sorted, then...
It was made by Eric Testroete, a Vancouver based 3D artist, and if you head on over to his website, he'll show you how he made it.
So, yeah, that's my Halloween costume for next year sorted, then...
Wednesday, November 11, 2009
"Titans Will Clash!"
I actually believed that this was the real Clash Of The Titans remake trailer, but watching it, it's clearly just bits from Troy, Lord Of The Rings and Gladiator, all mashed together, with a bit of Pan's Labyrinth thrown in for good measure...
Wait... It's the REAL trailer?! Jesus, Hollywood, don't you think it's time you stopped ripping off your own back catalogue and make something original?
Wait... It's the REAL trailer?! Jesus, Hollywood, don't you think it's time you stopped ripping off your own back catalogue and make something original?
Saturday, November 07, 2009
Friday, November 06, 2009
Tuesday, November 03, 2009
Sunday, November 01, 2009
Random Thoughts from the weekend...
Maybe against my better judgement, I've decided to blog about some randomness from the weekend...
"Don't Go, Stephen!"
Biggest story of the weekend - a story so big, it actually merited the front page of the BBC news site! - was Stephen Fry's threats to quit Twitter.
I'll admit, I'm one of Fry's 90,000 followers. I find his tweets charming and nowhere near as inane as other celebrity Tweeters, but him getting into an on-line scuffle and then threatening to quit the site is not news. I'm sorry, BBC, but it's not. And it's still not news when he patches things up with the guy.
To me, that whole thing comes across as two things:
(And that's before we even get into the tone of the articles, which seem to suggest that we're not actually allowed to criticise Fry, lest we be branded unpatriotic or something. I mean, could this be the beginning of Fry's dictatiorship? "One Nation Under Fry!")
However, BBC, someone should probably point out that if it was a headline every time that two people disagreed on the Internet, there wouldn't be any room on your servers or in your news broadcast for, you know, real news.
"That makes you relevant."
Against my better judgement, I have - I admit - caught myself watching a bit of X-Factor over the last two weeks. There's nothing much I can add that hasn't already been said about the utter shiteness of the show, but there's something I feel I have to point out: it's a Karaoke contest, people! And, judging by the "performers" on last night, you could probably find better singers down your local pub.
It's an interesting collection of "judges" there, too, with not one of them having any idea about music at all - which, considering that this is meant to be a music-based show, you'd think they'd have someone on there who knew something.
There's Simon Cowell, a man with more money than God (but still can't seem to get himself a decent haircut) who sits there watching the contestants, clearly counting in his head how much money he can make off them. I swear, he's seeing sacks of money holding microphones. There's also Louis Walsh, a music mogul who's only claim to success is putting together Boyzone (a cheap, Irish knock off of Take That) and Westlife (a cheap Irish knock off of Boyzone), who throws media friendly hissy fits over the choices of songs the other judges "make" for their contestants. We also have the voluptuous Dannii Minogue (aka Kylie's sister). Apparently, having a lovely pair of breasts and being related to someone infinitely more famous is enough to get you on that show. Well, it certainly wasn't her musical career, was it?
And then we have Cheryl Cole, the only judge I'd put stock in, simply because she'll be able to tell the winners about the gruelling schedules, endless media training and total personality make overs that they'll have to go through to make Simon Cowell even more money.
Oh, and let's not forget the special celebrity guests (aka whoever has a new album out to plug that week). Last week was Michael Buble, a - and I do use the term loosely here - crooner. The amount of fawning the contests and show did over him was actually sickening; one of them actually said "When you think of "Big Band", you think of Michael Buble." Really? I'd bet good money that you'd never actually heard of Michael Buble until they handed you that script.
So, yeah. All every week they do a theme, but all that's actually for is prove that these contestants can suck the life and emotion out of any song they're given - even when they're given bad cover versions of the original song to perform (those two Irish fuckwit twins doing the Five/Queen version of We Will Rock You, for example).
Still, I can see why it's so popular: because it's so bad you just can't stop watching.
"And at Number 1..."
I know that I'll get flak for this, but that's OK. You, dear reader, are allowed to be wrong on occasion.
I had the misfortune to listen to a bit of the newly re-fitted Radio 1 Chart Show over the weekend, and it made me think about how little the pop charts actually mean any more. For me, the Chart Show was always about music - you can argue the toss about that as much as you want, but it was probably the only show on Radio 1 where they had to put music before the inanity of the presenter. No matter what, they had to play those 40 tunes in that allotted time. Unfortunately, that's not the case any more.
When it was announced that Fearne Cotton and Reggie Yates were taking over, I stopped listening completely. Why? Because they're fucking idiots. They take inanity to a whole new level. Cotton alone re-defines the entire concept of inane; she's a fucking personality vacuum, a walking, talking void. While Yates... Well, he is what he is: a children's TV presenter who doesn't know how to play in the grown up media.
Since Cotton's been given a daytime slot during the week, I can't listen to Radio 1 any more without wanting to tear my own lungs out and throw them at the radio. My only other sensible option would be to switch over to 6 Music, but as long as they continue to have Legendary Knob George Lamb on that station, I will refuse to listen to that, too.
Still, it's all a good excuse to plumb the depths of Spotify and start hunting through my CD collection again.
"Don't Go, Stephen!"
Biggest story of the weekend - a story so big, it actually merited the front page of the BBC news site! - was Stephen Fry's threats to quit Twitter.
I'll admit, I'm one of Fry's 90,000 followers. I find his tweets charming and nowhere near as inane as other celebrity Tweeters, but him getting into an on-line scuffle and then threatening to quit the site is not news. I'm sorry, BBC, but it's not. And it's still not news when he patches things up with the guy.
To me, that whole thing comes across as two things:
- Lazy Journalism
- Trying to jump early onto the next big Twitter controversy
(And that's before we even get into the tone of the articles, which seem to suggest that we're not actually allowed to criticise Fry, lest we be branded unpatriotic or something. I mean, could this be the beginning of Fry's dictatiorship? "One Nation Under Fry!")
However, BBC, someone should probably point out that if it was a headline every time that two people disagreed on the Internet, there wouldn't be any room on your servers or in your news broadcast for, you know, real news.
"That makes you relevant."
Against my better judgement, I have - I admit - caught myself watching a bit of X-Factor over the last two weeks. There's nothing much I can add that hasn't already been said about the utter shiteness of the show, but there's something I feel I have to point out: it's a Karaoke contest, people! And, judging by the "performers" on last night, you could probably find better singers down your local pub.
It's an interesting collection of "judges" there, too, with not one of them having any idea about music at all - which, considering that this is meant to be a music-based show, you'd think they'd have someone on there who knew something.
There's Simon Cowell, a man with more money than God (but still can't seem to get himself a decent haircut) who sits there watching the contestants, clearly counting in his head how much money he can make off them. I swear, he's seeing sacks of money holding microphones. There's also Louis Walsh, a music mogul who's only claim to success is putting together Boyzone (a cheap, Irish knock off of Take That) and Westlife (a cheap Irish knock off of Boyzone), who throws media friendly hissy fits over the choices of songs the other judges "make" for their contestants. We also have the voluptuous Dannii Minogue (aka Kylie's sister). Apparently, having a lovely pair of breasts and being related to someone infinitely more famous is enough to get you on that show. Well, it certainly wasn't her musical career, was it?
And then we have Cheryl Cole, the only judge I'd put stock in, simply because she'll be able to tell the winners about the gruelling schedules, endless media training and total personality make overs that they'll have to go through to make Simon Cowell even more money.
Oh, and let's not forget the special celebrity guests (aka whoever has a new album out to plug that week). Last week was Michael Buble, a - and I do use the term loosely here - crooner. The amount of fawning the contests and show did over him was actually sickening; one of them actually said "When you think of "Big Band", you think of Michael Buble." Really? I'd bet good money that you'd never actually heard of Michael Buble until they handed you that script.
So, yeah. All every week they do a theme, but all that's actually for is prove that these contestants can suck the life and emotion out of any song they're given - even when they're given bad cover versions of the original song to perform (those two Irish fuckwit twins doing the Five/Queen version of We Will Rock You, for example).
Still, I can see why it's so popular: because it's so bad you just can't stop watching.
"And at Number 1..."
I know that I'll get flak for this, but that's OK. You, dear reader, are allowed to be wrong on occasion.
I had the misfortune to listen to a bit of the newly re-fitted Radio 1 Chart Show over the weekend, and it made me think about how little the pop charts actually mean any more. For me, the Chart Show was always about music - you can argue the toss about that as much as you want, but it was probably the only show on Radio 1 where they had to put music before the inanity of the presenter. No matter what, they had to play those 40 tunes in that allotted time. Unfortunately, that's not the case any more.
When it was announced that Fearne Cotton and Reggie Yates were taking over, I stopped listening completely. Why? Because they're fucking idiots. They take inanity to a whole new level. Cotton alone re-defines the entire concept of inane; she's a fucking personality vacuum, a walking, talking void. While Yates... Well, he is what he is: a children's TV presenter who doesn't know how to play in the grown up media.
Since Cotton's been given a daytime slot during the week, I can't listen to Radio 1 any more without wanting to tear my own lungs out and throw them at the radio. My only other sensible option would be to switch over to 6 Music, but as long as they continue to have Legendary Knob George Lamb on that station, I will refuse to listen to that, too.
Still, it's all a good excuse to plumb the depths of Spotify and start hunting through my CD collection again.
Subscribe to:
Posts (Atom)
