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Jackson) and the main character (Brie Larson)—where the performances click, the comic chemistry catalyzes, the dialogue buzzes, and everything in this latest million-dollar superhero blockbuster seems downright ... breezy.\u003c/p>\n\u003cp>Now: It's a \u003cem>practiced \u003c/em>breeziness. A \u003cem>studied \u003c/em>breeziness. A breeziness that doesn't feel forced, exactly, but that certainly feels \u003cem>en\u003c/em>forced. Because as they trade quips and cracks and grins while expositing about an intergalactic war between two alien races, you react to the quips and cracks and grins with a sense of satisfaction, as down deep in your forebrain, your unconscious knows that this right here is the part of the Marvel superhero movie where they do the quips and cracks and grins. And that they will soon get interrupted by the bad guy. And that there will then be some (quite good) fight choreography. And that some venerated veteran actor (why, hello, Miss Annette Bening!) will show up in a goofy outfit to deliver hokey dialogue at precisely 23% of their ability and stand around looking just you know \u003cem>wildly \u003c/em>incongruous.\u003c/p>\n\u003cp>You know all this not because you saw the trailers (though the trailers give away all the best stuff, including far too much of the plot), but because Marvel has been churning out million-dollar superhero blockbusters for over a decade now. They know how to do them—and you know how to watch them. And that means knowing, for example, that when the Big Reveal shows up to kick off the third act, right on schedule, it'll be neither big nor particularly revelatory. It never is. And that's fine.\u003c/p>\n\u003cp>It's fine, because we have arrived at a cultural moment when audiences enter a million-dollar superhero blockbuster with a set of tacit expectations, a series of boxes to be checked, and \u003cem>Captain Marvel\u003c/em> dutifully checks them. And if that sounds less than ambitious, consider the very real and substantial sense of satisfaction that a well-checked box engenders. It's not \u003cem>surprising\u003c/em>, no. But it's not nothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z1BCujX3pw8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Co-directors Anna Boden and Ryan Fleck (who wrote the screenplay with Geneva Robertson-Dworet) hail from the world of talky indies like \u003cem>Half-Nelson\u003c/em> and \u003cem>Sugar\u003c/em>, which might explain why their film about a doughty space-warrior that features so many space-dogfights and space-explosions feels most at home on Earth.\u003c/p>\n\u003cp>There's an extended chase scene, for example, that takes place on the surface streets of Los Angeles' wholesale district—the very same sun-blasted, bleached-out asphalt across which so many brown-suited guys in Dodge Chargers once chased Jim Rockford, Steve Austin, the A-Team, and all six of Charlie's Angels.\u003c/p>\n\u003cp>It's one familiar element among many that make \u003cem>Captain Marvel\u003c/em> feel smaller than you'd think, given its intergalactic scope: There are the Kree, see, a proud warrior race locked in a war with the shifty—and shape-shifty—Skrulls. (For those scoring at home: The Kree look like Jude Law, the Skrulls look like if Nosferatu and a Gila Monster had kids.) Our hero is a Kree. (Nobody calls her \"Captain Marvel\" in the movie; most of the time she goes by \"Vers,\" pronounced \"Veers\"—which is weird, but less weird than her fellow Kree soldiers who get stuck with names like Minn-Erva, Yon-Rogg and ... wait for it ... Mar-Vell.)\u003c/p>\n\u003cp>Captain Marvel lands on Earth in the mid-1990s (a fact the film has \u003cem>just \u003c/em>enough fun with), runs into a still-binocular Nick Fury, and the two promptly (very promptly! more promptly than seems wise, frankly!) set about looking for exactly the kind of glowy energy-core thingy you fully expect them to, because you've seen a damn Marvel movie before.\u003c/p>\n\u003cp>Now if you're a filmmaker looking to check the \"bad guy\" box, you could do a hell of a lot worse than checking it with Ben Mendelsohn. Yeah, the guy's been racking up the sci-fi bad guys on his IMDB page lately, but here, as Talos the Skrull, he gets to relax a bit, and have some fun. So do we. (Put it this way: The Skrull homeworld must have an East London.)\u003c/p>\n\u003cp>Of course, amid all the familiar hallmarks, the genre tropes, the checked boxes, one thing about the Marvel superhero blockbuster \u003cem>Captain Marvel\u003c/em> is legitimately new: the fact that its star is a woman. And while the filmmakers spend some time underlining this in all the ways you anticipate (both Hole \u003cem>and \u003c/em>Heart on the soundtrack guys!) they've carefully crafted the film to supply at least some young women with the kind of onscreen, butt-kicking, name-taking proxy young boys have enjoyed for decades. It outfits our hero not with a blandly handsome male romantic partner, but with a supportive, badass female friend (Lashana Lynch) with whom to ace the Bechdel test like they swiped the answer key.\u003c/p>\n\u003cp>Some will begrudge the filmmakers this liberty; some are wrong.\u003c/p>\n\u003cp>Larson imbues her character with a confidence that shades into cockiness, especially around Jackson's Nick Fury, but doesn't quite sell us on the film's Big Reveal, or its lesser emotional beats. It's tough to emote when you're lit up like a flying Christmas tree, I suppose.\u003c/p>\n\u003cp>Larson's Captain Marvel will of course return in next month's \u003cem>Avengers: Endgame\u003c/em> where, one assumes, female empowerment will take a back seat to powers of the zappy-explodey kind. In the meantime, we've got \u003cem>Captain Marvel\u003c/em>—a little bit \u003cem>The Right Stuff\u003c/em>, a little bit\u003cem> Top Gun\u003c/em>, a little bit \u003cem>Guardians of the Galaxy\u003c/em>, a little bit \u003cem>Men in Black\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=afyrnrocULM\u003c/p>\n\u003cp>Oh, and one more: There's a scene near the end, the big one, the one in which the film's themes of toughness and resilience get driven home. The music swells and we watch our hero ... do something. (If you've seen the trailers, you know the moment I mean.) And it's supposed to stir us. It's supposed to make us cheer. But it doesn't, quite.\u003c/p>\n\u003cp>It should, it's \u003cem>trying \u003c/em>to, but it doesn't.\u003c/p>\n\u003cp>Because that moment, like so many things about \u003cem>Captain Marvel\u003c/em>, is something you've seen before. So sure, it's satisfying, in that unconscious, soothingly familiar way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the \u003cem>first \u003c/em>time you saw it? On the \u003cem>Buffy the Vampire Slayer\u003c/em> series finale? That—now \u003cem>that \u003c/em>was something.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Captain+Marvel%27+Takes+Flight+%E2%80%94+Through+Very+Familiar+Skies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The movie finally gives young women the kind of onscreen, butt-kicking, name-taking proxy young boys have enjoyed for decades.","status":"publish","parent":0,"modified":1551817828,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1128},"headData":{"title":"'Captain Marvel' Checks Every Superhero Movie Box AND Passes the Bechdel Test | KQED","description":"The movie finally gives young women the kind of onscreen, butt-kicking, name-taking proxy young boys have enjoyed for decades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Captain Marvel' Checks Every Superhero Movie Box AND Passes the Bechdel Test","datePublished":"2019-03-05T20:30:28.000Z","dateModified":"2019-03-05T20:30:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"109932 https://ww2.kqed.org/pop/?p=109932","disqusUrl":"https://ww2.kqed.org/pop/2019/03/05/captain-marvel-checks-every-superhero-movie-box-and-passes-the-bechdel-test/","disqusTitle":"'Captain Marvel' Checks Every Superhero Movie Box AND Passes the Bechdel Test","nprByline":"Glen Weldon","nprImageAgency":"Marvel","nprStoryId":"700046148","nprApiLink":"http://api.npr.org/query?id=700046148&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/05/700046148/captain-marvel-takes-flight-through-very-familiar-skies?ft=nprml&f=700046148","nprRetrievedStory":"1","nprPubDate":"Tue, 05 Mar 2019 09:00:00 -0500","nprStoryDate":"Tue, 05 Mar 2019 09:00:51 -0500","nprLastModifiedDate":"Tue, 05 Mar 2019 09:00:51 -0500","path":"/pop/109932/captain-marvel-checks-every-superhero-movie-box-and-passes-the-bechdel-test","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are several moments in \u003cem>Captain Marvel\u003c/em>—most of them intimate two-hander scenes between Agent Nick Fury (a digitally de-aged Samuel L. Jackson) and the main character (Brie Larson)—where the performances click, the comic chemistry catalyzes, the dialogue buzzes, and everything in this latest million-dollar superhero blockbuster seems downright ... breezy.\u003c/p>\n\u003cp>Now: It's a \u003cem>practiced \u003c/em>breeziness. A \u003cem>studied \u003c/em>breeziness. A breeziness that doesn't feel forced, exactly, but that certainly feels \u003cem>en\u003c/em>forced. Because as they trade quips and cracks and grins while expositing about an intergalactic war between two alien races, you react to the quips and cracks and grins with a sense of satisfaction, as down deep in your forebrain, your unconscious knows that this right here is the part of the Marvel superhero movie where they do the quips and cracks and grins. And that they will soon get interrupted by the bad guy. And that there will then be some (quite good) fight choreography. And that some venerated veteran actor (why, hello, Miss Annette Bening!) will show up in a goofy outfit to deliver hokey dialogue at precisely 23% of their ability and stand around looking just you know \u003cem>wildly \u003c/em>incongruous.\u003c/p>\n\u003cp>You know all this not because you saw the trailers (though the trailers give away all the best stuff, including far too much of the plot), but because Marvel has been churning out million-dollar superhero blockbusters for over a decade now. They know how to do them—and you know how to watch them. And that means knowing, for example, that when the Big Reveal shows up to kick off the third act, right on schedule, it'll be neither big nor particularly revelatory. It never is. And that's fine.\u003c/p>\n\u003cp>It's fine, because we have arrived at a cultural moment when audiences enter a million-dollar superhero blockbuster with a set of tacit expectations, a series of boxes to be checked, and \u003cem>Captain Marvel\u003c/em> dutifully checks them. And if that sounds less than ambitious, consider the very real and substantial sense of satisfaction that a well-checked box engenders. It's not \u003cem>surprising\u003c/em>, no. But it's not nothing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Z1BCujX3pw8'\n title='//www.youtube.com/embed/Z1BCujX3pw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Co-directors Anna Boden and Ryan Fleck (who wrote the screenplay with Geneva Robertson-Dworet) hail from the world of talky indies like \u003cem>Half-Nelson\u003c/em> and \u003cem>Sugar\u003c/em>, which might explain why their film about a doughty space-warrior that features so many space-dogfights and space-explosions feels most at home on Earth.\u003c/p>\n\u003cp>There's an extended chase scene, for example, that takes place on the surface streets of Los Angeles' wholesale district—the very same sun-blasted, bleached-out asphalt across which so many brown-suited guys in Dodge Chargers once chased Jim Rockford, Steve Austin, the A-Team, and all six of Charlie's Angels.\u003c/p>\n\u003cp>It's one familiar element among many that make \u003cem>Captain Marvel\u003c/em> feel smaller than you'd think, given its intergalactic scope: There are the Kree, see, a proud warrior race locked in a war with the shifty—and shape-shifty—Skrulls. (For those scoring at home: The Kree look like Jude Law, the Skrulls look like if Nosferatu and a Gila Monster had kids.) Our hero is a Kree. (Nobody calls her \"Captain Marvel\" in the movie; most of the time she goes by \"Vers,\" pronounced \"Veers\"—which is weird, but less weird than her fellow Kree soldiers who get stuck with names like Minn-Erva, Yon-Rogg and ... wait for it ... Mar-Vell.)\u003c/p>\n\u003cp>Captain Marvel lands on Earth in the mid-1990s (a fact the film has \u003cem>just \u003c/em>enough fun with), runs into a still-binocular Nick Fury, and the two promptly (very promptly! more promptly than seems wise, frankly!) set about looking for exactly the kind of glowy energy-core thingy you fully expect them to, because you've seen a damn Marvel movie before.\u003c/p>\n\u003cp>Now if you're a filmmaker looking to check the \"bad guy\" box, you could do a hell of a lot worse than checking it with Ben Mendelsohn. Yeah, the guy's been racking up the sci-fi bad guys on his IMDB page lately, but here, as Talos the Skrull, he gets to relax a bit, and have some fun. So do we. (Put it this way: The Skrull homeworld must have an East London.)\u003c/p>\n\u003cp>Of course, amid all the familiar hallmarks, the genre tropes, the checked boxes, one thing about the Marvel superhero blockbuster \u003cem>Captain Marvel\u003c/em> is legitimately new: the fact that its star is a woman. And while the filmmakers spend some time underlining this in all the ways you anticipate (both Hole \u003cem>and \u003c/em>Heart on the soundtrack guys!) they've carefully crafted the film to supply at least some young women with the kind of onscreen, butt-kicking, name-taking proxy young boys have enjoyed for decades. It outfits our hero not with a blandly handsome male romantic partner, but with a supportive, badass female friend (Lashana Lynch) with whom to ace the Bechdel test like they swiped the answer key.\u003c/p>\n\u003cp>Some will begrudge the filmmakers this liberty; some are wrong.\u003c/p>\n\u003cp>Larson imbues her character with a confidence that shades into cockiness, especially around Jackson's Nick Fury, but doesn't quite sell us on the film's Big Reveal, or its lesser emotional beats. It's tough to emote when you're lit up like a flying Christmas tree, I suppose.\u003c/p>\n\u003cp>Larson's Captain Marvel will of course return in next month's \u003cem>Avengers: Endgame\u003c/em> where, one assumes, female empowerment will take a back seat to powers of the zappy-explodey kind. In the meantime, we've got \u003cem>Captain Marvel\u003c/em>—a little bit \u003cem>The Right Stuff\u003c/em>, a little bit\u003cem> Top Gun\u003c/em>, a little bit \u003cem>Guardians of the Galaxy\u003c/em>, a little bit \u003cem>Men in Black\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/afyrnrocULM'\n title='//www.youtube.com/embed/afyrnrocULM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oh, and one more: There's a scene near the end, the big one, the one in which the film's themes of toughness and resilience get driven home. The music swells and we watch our hero ... do something. (If you've seen the trailers, you know the moment I mean.) And it's supposed to stir us. It's supposed to make us cheer. But it doesn't, quite.\u003c/p>\n\u003cp>It should, it's \u003cem>trying \u003c/em>to, but it doesn't.\u003c/p>\n\u003cp>Because that moment, like so many things about \u003cem>Captain Marvel\u003c/em>, is something you've seen before. So sure, it's satisfying, in that unconscious, soothingly familiar way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the \u003cem>first \u003c/em>time you saw it? On the \u003cem>Buffy the Vampire Slayer\u003c/em> series finale? That—now \u003cem>that \u003c/em>was something.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Captain+Marvel%27+Takes+Flight+%E2%80%94+Through+Very+Familiar+Skies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/109932/captain-marvel-checks-every-superhero-movie-box-and-passes-the-bechdel-test","authors":["byline_pop_109932"],"categories":["pop_51"],"tags":["pop_3426","pop_3155","pop_3489","pop_2889","pop_965","pop_756","pop_3488"],"featImg":"pop_109937","label":"pop"},"pop_104864":{"type":"posts","id":"pop_104864","meta":{"index":"posts_1591205157","site":"pop","id":"104864","score":null,"sort":[1533055056000]},"guestAuthors":[],"slug":"happy-birthday-franklin-peanuts-first-black-character-turns-50","title":"Happy Birthday, Franklin! 'Peanuts' First Black Character Turns 50","publishDate":1533055056,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Fifty years ago, Charlie Brown lost his beach ball.\u003c/p>\n\u003cp>It was found and returned to him by a boy named Franklin, and the two proceeded to build a sandcastle together.\u003c/p>\n\u003cfigure id=\"attachment_104865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104865\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-800x167.jpg\" alt=\"\" width=\"800\" height=\"167\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-800x167.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-160x33.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-768x160.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1020x213.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1200x250.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1920x400.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1180x246.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-960x200.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-240x50.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-375x78.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-520x108.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist Charles Schulz debuted his comic strip Peanuts' first black character, Franklin, on July 31, 1968.\u003c/figcaption>\u003c/figure>\n\u003cp>The simple encounter of two boys on a beach was how cartoonist Charles Schulz introduced the first black character in his widely read comic strip, \u003ca href=\"https://www.peanuts.com/\">\u003cem>Peanuts. \u003c/em>\u003c/a>It was July 31, 1968 — just months after Martin Luther King Jr.'s assassination — and the newest member of the \u003cem>Peanuts\u003c/em> gang was a big deal.\u003c/p>\n\u003cp>It was especially defining for a 6-year-old Robb Armstrong, author of \u003ca href=\"https://www.amazon.com/Fearless-Cartoonists-Guide-Robb-Armstrong/dp/1621452875\">\u003cem>Fearless: A Cartoonist's Guide to Life\u003c/em>\u003c/a> and creator of \u003ca href=\"https://en.wikipedia.org/wiki/Jump_Start_(comic_strip)\">\u003cem>JumpStart\u003c/em>,\u003c/a> one of the most widely syndicated black comic strips ever.\u003c/p>\n\u003cp>\"1968 is a very vivid year for me,\" Armstrong told NPR's Renee Montagne in an interview for \u003cem>Weekend Edition\u003c/em>. Two months after King was killed, Bobby Kennedy was assassinated at the Ambassador Hotel in Los Angeles. Armstrong's older brother also died that year, just 30 days before Franklin's debut.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Armstrong, a young black boy who declared to his mother at the age of 3 that he was going to be a cartoonist, Franklin's inclusion was extraordinary.\u003c/p>\n\u003cp>Schulz, however, had been wary of including a black child in the \u003cem>Peanuts \u003c/em>gang and was concerned that it would come off as patronizing. That's what perhaps contributed to the wholesome, almost-too-perfect character of Franklin: He was a good student and kind to everyone and was even, \u003ca href=\"https://www.nytimes.com/2018/01/13/opinion/sunday/peanuts-franklin-charlie-brown.html\">as some critiqued\u003c/a>, a bit bland.\u003c/p>\n\u003cp>But to Armstrong, Schulz's inclusion of Franklin was an honest introduction, even if he lacked the quirks of other \u003cem>Peanuts \u003c/em>characters.\u003c/p>\n\u003cp>\"I think Schulz played it smartly,\" said Armstrong. \"He was always very thoughtful into how he treated his characters.\"\u003c/p>\n\u003cp>\u003cstrong>\"He knew he had inspired me\" \u003c/strong>\u003c/p>\n\u003cp>When Armstrong was signed onto United Feature Syndicate, the same service that distributed Schulz's work, he made a request to his editor to meet his childhood hero. She told him no but recommended that Armstrong send Schulz a comic strip instead.\u003c/p>\n\u003cp>Armstrong did just that, sending Schulz a \u003cem>JumpStart\u003c/em> comic of Marcy Cobb, one of the main characters, incorrectly singing the popular 1960s song \"Hang On Sloopy\" in the shower, swapping the word \"Sloopy\" for \"Snoopy.\"\u003c/p>\n\u003cp>A year and half later, Armstrong finally received an opportunity to visit and meet Schulz, and received a shocking surprise: Schulz had framed and hung Armstrong's comic above his workspace, on the wall of his uncluttered studio.\u003c/p>\n\u003cp>\"I was aghast,\" Armstrong said, recalling how Schulz complimented \u003cem>JumpStart\u003c/em>'s characters, predicting Armstrong's long and successful career.\u003c/p>\n\u003cfigure id=\"attachment_104867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104867\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-800x239.gif\" alt=\"\" width=\"800\" height=\"239\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-800x239.gif 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-160x48.gif 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-768x229.gif 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-240x72.gif 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-375x112.gif 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-520x155.gif 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A JumpStart strip by Robb Armstrong.\u003c/figcaption>\u003c/figure>\n\u003cp>\"On some level, he knew he had inspired me and that I would be speaking about this black family in ways he never could,\" Armstrong said, remarking that Schulz understood that he didn't know a black child's life enough to write about it in an authentic way.\u003c/p>\n\u003cp>It was the reason why Schulz supported Armstrong's career, and the momentous meeting was the start of Armstrong and Schulz's close friendship, one that lasted until Schulz's death in 2000.\u003c/p>\n\u003cp>In the 1990s, Schulz called Armstrong with a special request: Schulz was coming out with a video and realized that Franklin did not have a last name. Schulz asked for his permission to make \"Armstrong\" Franklin's last name. It was a moment Armstrong called \"moving.\"\u003c/p>\n\u003cp>\"I was so taken aback because my mother never lived to see any of this,\" Armstrong said, remembering her confidence in him and the diligence she took to enroll him in exclusive, mostly white art programs as a kid. \"It all came together when he said, 'Could I name him Franklin Armstrong?' \"\u003c/p>\n\u003cp>To this day, Armstrong remains in awe of the \"tremendous honor\" of having Franklin carry his last name and Schulz's influence on his career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"He inspired a kid. I don't think there's a higher calling in this life,\" said Armstrong. \"He inspired some kid 3,000 miles away ... it's incredible what happens when you inspire a kid, and that's what Schulz did.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Peanuts%27+First+Black+Character+Franklin+Turns+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Charles Schulz introduced Franklin just months after Martin Luther King Jr's assassination—and his impact was sizeable.","status":"publish","parent":0,"modified":1533073113,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":718},"headData":{"title":"Happy Birthday, Franklin! 'Peanuts' First Black Character Turns 50 | KQED","description":"Charles Schulz introduced Franklin just months after Martin Luther King Jr's assassination—and his impact was sizeable.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Happy Birthday, Franklin! 'Peanuts' First Black Character Turns 50","datePublished":"2018-07-31T16:37:36.000Z","dateModified":"2018-07-31T21:38:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"104864 https://ww2.kqed.org/pop/?p=104864","disqusUrl":"https://ww2.kqed.org/pop/2018/07/31/happy-birthday-franklin-peanuts-first-black-character-turns-50/","disqusTitle":"Happy Birthday, Franklin! 'Peanuts' First Black Character Turns 50","nprByline":"Cecilia Lei and James Delahoussaye","nprImageAgency":"Peanuts Worldwide LLC","nprStoryId":"633544308","nprApiLink":"http://api.npr.org/query?id=633544308&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/07/29/633544308/peanuts-character-franklin-turns-50?ft=nprml&f=633544308","nprRetrievedStory":"1","nprPubDate":"Sun, 29 Jul 2018 22:13:00 -0400","nprStoryDate":"Sun, 29 Jul 2018 08:02:05 -0400","nprLastModifiedDate":"Sun, 29 Jul 2018 22:13:22 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2018/07/20180729_wesun_peanuts_franklin_turns_50.mp3?orgId=1&topicId=1047&d=413&p=10&story=633544308&ft=nprml&f=633544308","nprAudioM3u":"http://api.npr.org/m3u/1633544309-9e06e4.m3u?orgId=1&topicId=1047&d=413&p=10&story=633544308&ft=nprml&f=633544308","audioTrackLength":414,"path":"/pop/104864/happy-birthday-franklin-peanuts-first-black-character-turns-50","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/wesun/2018/07/20180729_wesun_peanuts_franklin_turns_50.mp3?orgId=1&topicId=1047&d=413&p=10&story=633544308&ft=nprml&f=633544308","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, Charlie Brown lost his beach ball.\u003c/p>\n\u003cp>It was found and returned to him by a boy named Franklin, and the two proceeded to build a sandcastle together.\u003c/p>\n\u003cfigure id=\"attachment_104865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104865\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-800x167.jpg\" alt=\"\" width=\"800\" height=\"167\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-800x167.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-160x33.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-768x160.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1020x213.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1200x250.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1920x400.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-1180x246.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-960x200.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-240x50.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-375x78.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/franklin-first-appearance-pe680731_custom-5422a729ec2b8b8af6d7b50796dc74dbb26137b6-520x108.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist Charles Schulz debuted his comic strip Peanuts' first black character, Franklin, on July 31, 1968.\u003c/figcaption>\u003c/figure>\n\u003cp>The simple encounter of two boys on a beach was how cartoonist Charles Schulz introduced the first black character in his widely read comic strip, \u003ca href=\"https://www.peanuts.com/\">\u003cem>Peanuts. \u003c/em>\u003c/a>It was July 31, 1968 — just months after Martin Luther King Jr.'s assassination — and the newest member of the \u003cem>Peanuts\u003c/em> gang was a big deal.\u003c/p>\n\u003cp>It was especially defining for a 6-year-old Robb Armstrong, author of \u003ca href=\"https://www.amazon.com/Fearless-Cartoonists-Guide-Robb-Armstrong/dp/1621452875\">\u003cem>Fearless: A Cartoonist's Guide to Life\u003c/em>\u003c/a> and creator of \u003ca href=\"https://en.wikipedia.org/wiki/Jump_Start_(comic_strip)\">\u003cem>JumpStart\u003c/em>,\u003c/a> one of the most widely syndicated black comic strips ever.\u003c/p>\n\u003cp>\"1968 is a very vivid year for me,\" Armstrong told NPR's Renee Montagne in an interview for \u003cem>Weekend Edition\u003c/em>. Two months after King was killed, Bobby Kennedy was assassinated at the Ambassador Hotel in Los Angeles. Armstrong's older brother also died that year, just 30 days before Franklin's debut.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Armstrong, a young black boy who declared to his mother at the age of 3 that he was going to be a cartoonist, Franklin's inclusion was extraordinary.\u003c/p>\n\u003cp>Schulz, however, had been wary of including a black child in the \u003cem>Peanuts \u003c/em>gang and was concerned that it would come off as patronizing. That's what perhaps contributed to the wholesome, almost-too-perfect character of Franklin: He was a good student and kind to everyone and was even, \u003ca href=\"https://www.nytimes.com/2018/01/13/opinion/sunday/peanuts-franklin-charlie-brown.html\">as some critiqued\u003c/a>, a bit bland.\u003c/p>\n\u003cp>But to Armstrong, Schulz's inclusion of Franklin was an honest introduction, even if he lacked the quirks of other \u003cem>Peanuts \u003c/em>characters.\u003c/p>\n\u003cp>\"I think Schulz played it smartly,\" said Armstrong. \"He was always very thoughtful into how he treated his characters.\"\u003c/p>\n\u003cp>\u003cstrong>\"He knew he had inspired me\" \u003c/strong>\u003c/p>\n\u003cp>When Armstrong was signed onto United Feature Syndicate, the same service that distributed Schulz's work, he made a request to his editor to meet his childhood hero. She told him no but recommended that Armstrong send Schulz a comic strip instead.\u003c/p>\n\u003cp>Armstrong did just that, sending Schulz a \u003cem>JumpStart\u003c/em> comic of Marcy Cobb, one of the main characters, incorrectly singing the popular 1960s song \"Hang On Sloopy\" in the shower, swapping the word \"Sloopy\" for \"Snoopy.\"\u003c/p>\n\u003cp>A year and half later, Armstrong finally received an opportunity to visit and meet Schulz, and received a shocking surprise: Schulz had framed and hung Armstrong's comic above his workspace, on the wall of his uncluttered studio.\u003c/p>\n\u003cp>\"I was aghast,\" Armstrong said, recalling how Schulz complimented \u003cem>JumpStart\u003c/em>'s characters, predicting Armstrong's long and successful career.\u003c/p>\n\u003cfigure id=\"attachment_104867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-104867\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-800x239.gif\" alt=\"\" width=\"800\" height=\"239\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-800x239.gif 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-160x48.gif 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-768x229.gif 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-240x72.gif 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-375x112.gif 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/07/6a00d8341c5f3053ef019b004f5531970b-800wi-520x155.gif 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A JumpStart strip by Robb Armstrong.\u003c/figcaption>\u003c/figure>\n\u003cp>\"On some level, he knew he had inspired me and that I would be speaking about this black family in ways he never could,\" Armstrong said, remarking that Schulz understood that he didn't know a black child's life enough to write about it in an authentic way.\u003c/p>\n\u003cp>It was the reason why Schulz supported Armstrong's career, and the momentous meeting was the start of Armstrong and Schulz's close friendship, one that lasted until Schulz's death in 2000.\u003c/p>\n\u003cp>In the 1990s, Schulz called Armstrong with a special request: Schulz was coming out with a video and realized that Franklin did not have a last name. Schulz asked for his permission to make \"Armstrong\" Franklin's last name. It was a moment Armstrong called \"moving.\"\u003c/p>\n\u003cp>\"I was so taken aback because my mother never lived to see any of this,\" Armstrong said, remembering her confidence in him and the diligence she took to enroll him in exclusive, mostly white art programs as a kid. \"It all came together when he said, 'Could I name him Franklin Armstrong?' \"\u003c/p>\n\u003cp>To this day, Armstrong remains in awe of the \"tremendous honor\" of having Franklin carry his last name and Schulz's influence on his career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"He inspired a kid. I don't think there's a higher calling in this life,\" said Armstrong. \"He inspired some kid 3,000 miles away ... it's incredible what happens when you inspire a kid, and that's what Schulz did.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Peanuts%27+First+Black+Character+Franklin+Turns+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104864/happy-birthday-franklin-peanuts-first-black-character-turns-50","authors":["byline_pop_104864"],"categories":["pop_1537"],"tags":["pop_3262","pop_965","pop_1124"],"featImg":"pop_104870","label":"pop"},"pop_84803":{"type":"posts","id":"pop_84803","meta":{"index":"posts_1591205157","site":"pop","id":"84803","score":null,"sort":[1496778044000]},"guestAuthors":[],"slug":"can-wonder-woman-offer-a-superhero-soundtrack-that-sticks","title":"Can 'Wonder Woman' Offer A Superhero Soundtrack That Sticks?","publishDate":1496778044,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\"I guess every superhero need his theme music,\" \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener noreferrer\">sang Kanye West\u003c/a> seven years ago. The sentiment is right, the pronoun is ... questionable. That Wonder Woman's triumphant big-screen debut this weekend comes 39 years after Superman's and 28 years after Batman's is a travesty — her comic-book debut followed those of her fellow DC Comics heroes by three years and two, respectively. But at least she can claim to have at least one thing that Iron Man still doesn't, never mind Black Widow: a memorable cue.\u003c/p>\n\u003cp>By way of example, take the teaser trailer for next year's \u003cem>Deadpool\u003c/em> sequel. It's built around one major gag: The mutant mercenary witnesses a mugging and ducks into a phone booth to prepare for battle. But Lycra is clingy, and by the time Ryan Reynolds has shimmed into uniform, the victim is dead and his killer has escaped.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLeGWcVeIZ4\u003c/p>\n\u003cp>Mocking Deadpool's ineptitude under all this is \u003ca href=\"http://www.npr.org/artists/15003640/john-williams-composer\" target=\"_blank\" rel=\"noopener noreferrer\">John Williams\u003c/a>' stirring march from \u003cem>Superman: The Movie\u003c/em> — the first big-budget, big-screen comic-book adaption, from 1978. Its ad campaign promised disillusioned post-Vietnam, post-Watergate audiences, \u003cem>You'll believe a man can fly. \u003c/em>Williams' \u003cem>Superman: The Soundtrack\u003c/em> was one big reason they did.\u003c/p>\n\u003cp>\u003cem>Superman\u003c/em> was a huge hit that spawned fast-declining sequels, but it did not produce a wave of films derived from comic books. The next big one took a little over a decade to arrive, but Tim Burton's \u003cem>Batman\u003c/em> became the biggest domestic hit of 1989. Although the movie's first trailer, strikingly, featured no music at all, Danny Elfman's brooding, Wagnerian score bat-signaled to audiences that this take on the character would be more gothic and less campy than the Bat-tusi-ing '60s TV Batman that was — at least to people who didn't read comics, where Batman was having a huge resurgence in the late '80s — the version that had stuck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(There was also, you know, a whole separate soundtrack album comprising \"Batdance\" and other original tunes by Warner Brothers recording artist \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener noreferrer\">Prince\u003c/a>. Dig if you will the picture / You and I engaged in a mercantile act of corporate synergy.)\u003c/p>\n\u003cp>DC's forever rival Marvel Comics tried mightily to get their heroes turned into hit movies, but for the longest time all they got were TV movies or unintentionally hilarious, low-budget versions that often didn't even get released at all. That changed in 2000, when Bryan Singer's \u003cem>X-Men \u003c/em>x-ceeded Fox's expectations for its gross. Then came Sam Raimi's \u003cem>Spider-Man,\u003c/em> in 2002. I saw them both in theaters, more than once. I bought the DVDs. I eagerly awaited their sequels, which did not disappoint.\u003c/p>\n\u003cp>I could not hum a bar of music from either one to save my life.\u003c/p>\n\u003cp>Marvel stopped outsourcing its filmmaking and got into the game itself with 2008's \u003cem>Iron Man,\u003c/em> the start of a four-year campaign of solo adventures building up to 2012's Marvel team-up \u003cem>The Avengers.\u003c/em> The movie was written and directed by Joss Whedon, a man who likes musicals so much that he actually wrote the web series \u003cem>Dr. Horrible's Sing-Along Blog\u003c/em> (with his brothers Zack, a TV writer, and Jed, a composer) just to keep himself busy during the 2007-8 writer's strike.\u003c/p>\n\u003cp>But even his superhero epic — scored by Alan Silvestri, whose credits included \u003cem>Back to the Future \u003c/em>— sounded bland. Instead of all those post-credits scenes, \u003cem>The Avengers \u003c/em>should've ended with a song with lyrics describing each hero's special powers. There's an excellent model for this: Paul Francis Webster and Robert Harris' \u003ca href=\"https://www.youtube.com/watch?v=SUtziaZlDeE\" target=\"_blank\" rel=\"noopener noreferrer\">theme song\u003c/a> to the mid-'60s Spider-Man cartoon. You know a tune has staying power when it's been covered by \u003ca href=\"http://www.npr.org/artists/15180457/the-ramones\" target=\"_blank\" rel=\"noopener noreferrer\">The Ramones\u003c/a> \u003cem>and\u003c/em> Michael Bublé. (Composer Michael Giacchino has hinted that the song will be paid homage in his music for \u003cem>Spider-Man: Homecoming \u003c/em>later this summer.)\u003c/p>\n\u003cp>The two \u003cem>Guardians of the Galaxy\u003c/em> films are each helped along by an \"Awesome Mix\" of '70s FM. \u003ca href=\"http://www.npr.org/2017/03/02/517009491/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan\u003c/em>\u003c/a> ended with \"The Man Comes Around,\" one of the last songs \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Cash\u003c/a> wrote before he died. (It was perfect.) But these are exceptions. Clearly, a crisis is upon us. Superhero movies are everywhere. Superhero music is in decline. Who will help us? Who?\u003c/p>\n\u003cp>This guy.\u003c/p>\n\u003cfigure id=\"attachment_84805\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-84805\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Gregson-Williams composed the score for Wonder Woman.\u003cbr>Photo: Courtesy of the composer\u003c/figcaption>\u003c/figure>\n\u003cp>His name is Rupert Gregson-Williams, mild-mannered composer of scores for prestige television (\u003cem>Veep\u003c/em>, \u003cem>The Crown\u003c/em>) and film (\u003cem>Hacksaw Ridge\u003c/em>). Last summer's \u003cem>The Legend of Tarzan\u003c/em> was the closest thing on his resume to a superhero film until \u003cem>Wonder Woman\u003c/em> director Patty Jenkins tapped him to write the music.\u003c/p>\n\u003cp>Well, most of it. Gal Gadot's Wonder Woman had already been introduced in last year's \u003ca href=\"http://www.npr.org/2016/03/24/471035756/batman-v-superman-superheroes-adrift-in-a-grim-sea-of-studio-money\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Batman v Superman: Dawn of Justice\u003c/em>\u003c/a>\u003cem>.\u003c/em> When she shows up in uniform near the film's climax, composers \u003ca href=\"http://www.npr.org/artists/15399647/hans-zimmer\" target=\"_blank\" rel=\"noopener noreferrer\">Hans Zimmer\u003c/a> and Junkie XL give her a distinctive riff. (It sounds like an electric guitar, but it's actually performed on the electric cello by \u003ca href=\"https://twitter.com/Tinaguo\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Guo\u003c/a>.) Gregson-Williams understood that his score would have to include that instantly memorable theme.\u003c/p>\n\u003cp>\"That was a Wonder Woman that had arrived at the peak of her powers,\" he says. \"She knows her strengths, and the theme really reflected that. It's rocking.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=261&v=S176AKQhcCk\u003c/p>\n\u003cp>I asked Gregson-Williams flat-out why so little of the music of our current era of superhero saturation has distinguished itself.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>There's a generic language, musically, that's grown up,\" he says. \"In the same way, there are other types of film — Westerns or sci-fi — where there's a generic language which is difficult to shake off. And I guess it's down to the depth of character that you're writing for. If they have some depth, or if there's something different about their powers or about their character or their emotions, I guess it would make it easier to shake that that language off.\"\u003c/p>\n\u003cp>That's fair. Superheroes, like characters in any genre, are defined by their conventions. And this is the first Wonder Woman movie, not the inflated sequel or the back-to-basics reboot.\u003c/p>\n\u003cp>My theory is that music is especially critical to superhero films — and I'll include literary creations like Sherlock Holmes and James Bond, and cinematic homages like Indiana Jones in this category — because the character is larger than any one story. They're fixed in perpetuity. A great score can help give them that immortality.\u003c/p>\n\u003cp>Superman had been around for 40 years when Williams sat down to compose; he's been around another 40 since. In his music, Williams reflected perfectly that film's balance of innocence and sophistication.\u003cem> Wonder Woman, \u003c/em>happily, has that same cocktail of attributes; the same unabashed romanticism and the same understated romance. (Gadot and Chris Pine, who's as fine a foil to her as Margot Kidder was to Christopher Reeve in \u003cem>Superman,\u003c/em> have a chemistry that fairly bubbles.)\u003c/p>\n\u003cp>\"Patty made a film that is much more on the classic side,\" Gregson-Williams says. \u003cem>\"\u003c/em>And so we could get get involved with more lyricism and melody in parts for the score. With some movies, you back off melody because these days it feels like we're trying too hard.\"\u003c/p>\n\u003cp>The movie begins and ends in the present, but most of the story is set about a century ago, during the first World War. In fact, it's in a trench warfare sequence that Princess Diana — Wonder Woman's Amazonian name — first reveals her powers to the world. The title of this composition is \"No-Man's Land.\" Gregson-Williams says it was important to nail that scene exactly, and that Jenkins sent him back to the composing board several times.\u003c/p>\n\u003cfigure id=\"attachment_84806\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-84806 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman director Patty Jenkins consults with composer Rupert Gregson-Williams.\u003cbr>Photo: James Gillham / Sting Media\u003c/figcaption>\u003c/figure>\n\u003cp>\"That was an exciting moment to write,\" the composer says. \"It was quite painful to write because I didn't get it right first time, or the second, third or fourth time.\"\u003c/p>\n\u003cp>Getting it right came down to Jenkins directing the composer as she would an actor. \"Patty would act out what Diana was thinking for every single move. That really instructed me, rhythmically and tempo-wise, how she wanted it.\"\u003c/p>\n\u003cp>And of course, there's a fine line between honoring convention and being a hack.\u003c/p>\n\u003cp>\"There are certain moves, musically, that you can't help but muster for a certain emotion,\" Gregson-Williams admits. \"And you can tear yourself apart by trying to find a new answer to that musical harmony that says to you: This is a beautiful and proud moment.\"\u003c/p>\n\u003cp>Those moments are what we turn to this genre for, however. It's the part when Superman takes flight for the first time. It's the scene in \u003cem>Captain America: The First Avenger \u003c/em>— my favorite Marvel movie, and the one that \u003cem>Wonder Woman\u003c/em> most resembles — when skinny Steve Rogers throws himself on top of the grenade.\u003c/p>\n\u003cp>Not that camp or irony is all bad. I do miss the lyrics from the 1970s \u003cem>Wonder Woman\u003c/em> TV theme by Charles Fox and Norman Gimbel — the funky encomium to the Amazonian who's \"fighting for her rights in her satin tights / And the old red, white and blue.\" Does Gregson-Williams think lyrics might make a return to the super-music game?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I don't see too much future in it,\" he laughs. \"Certainly not from my pen.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can+%27Wonder+Woman%27+Offer+A+Superhero+Soundtrack+That+Sticks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"As Wonder Woman makes her triumphant big-screen debut this weekend, she brings something that's been missing from years of superhero films: a memorable cue.","status":"publish","parent":0,"modified":1496778044,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1632},"headData":{"title":"Can 'Wonder Woman' Offer A Superhero Soundtrack That Sticks? | KQED","description":"As Wonder Woman makes her triumphant big-screen debut this weekend, she brings something that's been missing from years of superhero films: a memorable cue.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Can 'Wonder Woman' Offer A Superhero Soundtrack That Sticks?","datePublished":"2017-06-06T19:40:44.000Z","dateModified":"2017-06-06T19:40:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"84803 https://ww2.kqed.org/pop/?p=84803","disqusUrl":"https://ww2.kqed.org/pop/2017/06/06/can-wonder-woman-offer-a-superhero-soundtrack-that-sticks/","disqusTitle":"Can 'Wonder Woman' Offer A Superhero Soundtrack That Sticks?","nprImageCredit":"Clay Enos","nprByline":"Chris Klimek","nprImageAgency":"Courtesy of Warner Brothers","nprStoryId":"531279553","nprApiLink":"http://api.npr.org/query?id=531279553&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/2017/06/03/531279553/can-wonder-woman-offer-a-superhero-soundtrack-that-sticks?ft=nprml&f=531279553","nprRetrievedStory":"1","nprPubDate":"Sat, 03 Jun 2017 21:10:00 -0400","nprStoryDate":"Sat, 03 Jun 2017 18:26:26 -0400","nprLastModifiedDate":"Sat, 03 Jun 2017 18:26:26 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/06/20170603_atc_can_wonder_woman_offer_a_superhero_soundtrack_that_sticks.mp3?orgId=1&topicId=1106&d=303&p=2&story=531279553&t=progseg&e=531397391&seg=7&ft=nprml&f=531279553","nprAudioM3u":"http://api.npr.org/m3u/1531397434-dcf8ac.m3u?orgId=1&topicId=1106&d=303&p=2&story=531279553&t=progseg&e=531397391&seg=7&ft=nprml&f=531279553","path":"/pop/84803/can-wonder-woman-offer-a-superhero-soundtrack-that-sticks","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/06/20170603_atc_can_wonder_woman_offer_a_superhero_soundtrack_that_sticks.mp3?orgId=1&topicId=1106&d=303&p=2&story=531279553&t=progseg&e=531397391&seg=7&ft=nprml&f=531279553","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"I guess every superhero need his theme music,\" \u003ca href=\"https://www.youtube.com/watch?v=L53gjP-TtGE\" target=\"_blank\" rel=\"noopener noreferrer\">sang Kanye West\u003c/a> seven years ago. The sentiment is right, the pronoun is ... questionable. That Wonder Woman's triumphant big-screen debut this weekend comes 39 years after Superman's and 28 years after Batman's is a travesty — her comic-book debut followed those of her fellow DC Comics heroes by three years and two, respectively. But at least she can claim to have at least one thing that Iron Man still doesn't, never mind Black Widow: a memorable cue.\u003c/p>\n\u003cp>By way of example, take the teaser trailer for next year's \u003cem>Deadpool\u003c/em> sequel. It's built around one major gag: The mutant mercenary witnesses a mugging and ducks into a phone booth to prepare for battle. But Lycra is clingy, and by the time Ryan Reynolds has shimmed into uniform, the victim is dead and his killer has escaped.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLeGWcVeIZ4'\n title='//www.youtube.com/embed/wLeGWcVeIZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mocking Deadpool's ineptitude under all this is \u003ca href=\"http://www.npr.org/artists/15003640/john-williams-composer\" target=\"_blank\" rel=\"noopener noreferrer\">John Williams\u003c/a>' stirring march from \u003cem>Superman: The Movie\u003c/em> — the first big-budget, big-screen comic-book adaption, from 1978. Its ad campaign promised disillusioned post-Vietnam, post-Watergate audiences, \u003cem>You'll believe a man can fly. \u003c/em>Williams' \u003cem>Superman: The Soundtrack\u003c/em> was one big reason they did.\u003c/p>\n\u003cp>\u003cem>Superman\u003c/em> was a huge hit that spawned fast-declining sequels, but it did not produce a wave of films derived from comic books. The next big one took a little over a decade to arrive, but Tim Burton's \u003cem>Batman\u003c/em> became the biggest domestic hit of 1989. Although the movie's first trailer, strikingly, featured no music at all, Danny Elfman's brooding, Wagnerian score bat-signaled to audiences that this take on the character would be more gothic and less campy than the Bat-tusi-ing '60s TV Batman that was — at least to people who didn't read comics, where Batman was having a huge resurgence in the late '80s — the version that had stuck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(There was also, you know, a whole separate soundtrack album comprising \"Batdance\" and other original tunes by Warner Brothers recording artist \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener noreferrer\">Prince\u003c/a>. Dig if you will the picture / You and I engaged in a mercantile act of corporate synergy.)\u003c/p>\n\u003cp>DC's forever rival Marvel Comics tried mightily to get their heroes turned into hit movies, but for the longest time all they got were TV movies or unintentionally hilarious, low-budget versions that often didn't even get released at all. That changed in 2000, when Bryan Singer's \u003cem>X-Men \u003c/em>x-ceeded Fox's expectations for its gross. Then came Sam Raimi's \u003cem>Spider-Man,\u003c/em> in 2002. I saw them both in theaters, more than once. I bought the DVDs. I eagerly awaited their sequels, which did not disappoint.\u003c/p>\n\u003cp>I could not hum a bar of music from either one to save my life.\u003c/p>\n\u003cp>Marvel stopped outsourcing its filmmaking and got into the game itself with 2008's \u003cem>Iron Man,\u003c/em> the start of a four-year campaign of solo adventures building up to 2012's Marvel team-up \u003cem>The Avengers.\u003c/em> The movie was written and directed by Joss Whedon, a man who likes musicals so much that he actually wrote the web series \u003cem>Dr. Horrible's Sing-Along Blog\u003c/em> (with his brothers Zack, a TV writer, and Jed, a composer) just to keep himself busy during the 2007-8 writer's strike.\u003c/p>\n\u003cp>But even his superhero epic — scored by Alan Silvestri, whose credits included \u003cem>Back to the Future \u003c/em>— sounded bland. Instead of all those post-credits scenes, \u003cem>The Avengers \u003c/em>should've ended with a song with lyrics describing each hero's special powers. There's an excellent model for this: Paul Francis Webster and Robert Harris' \u003ca href=\"https://www.youtube.com/watch?v=SUtziaZlDeE\" target=\"_blank\" rel=\"noopener noreferrer\">theme song\u003c/a> to the mid-'60s Spider-Man cartoon. You know a tune has staying power when it's been covered by \u003ca href=\"http://www.npr.org/artists/15180457/the-ramones\" target=\"_blank\" rel=\"noopener noreferrer\">The Ramones\u003c/a> \u003cem>and\u003c/em> Michael Bublé. (Composer Michael Giacchino has hinted that the song will be paid homage in his music for \u003cem>Spider-Man: Homecoming \u003c/em>later this summer.)\u003c/p>\n\u003cp>The two \u003cem>Guardians of the Galaxy\u003c/em> films are each helped along by an \"Awesome Mix\" of '70s FM. \u003ca href=\"http://www.npr.org/2017/03/02/517009491/logan-is-the-best-at-what-it-does-and-what-it-does-is-gritty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan\u003c/em>\u003c/a> ended with \"The Man Comes Around,\" one of the last songs \u003ca href=\"http://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Cash\u003c/a> wrote before he died. (It was perfect.) But these are exceptions. Clearly, a crisis is upon us. Superhero movies are everywhere. Superhero music is in decline. Who will help us? Who?\u003c/p>\n\u003cp>This guy.\u003c/p>\n\u003cfigure id=\"attachment_84805\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg class=\"size-full wp-image-84805\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125.jpg 200w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/rupert-gregson-williams_sq-a77cf8012bec32c5f615847beee2f991085b8125-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Gregson-Williams composed the score for Wonder Woman.\u003cbr>Photo: Courtesy of the composer\u003c/figcaption>\u003c/figure>\n\u003cp>His name is Rupert Gregson-Williams, mild-mannered composer of scores for prestige television (\u003cem>Veep\u003c/em>, \u003cem>The Crown\u003c/em>) and film (\u003cem>Hacksaw Ridge\u003c/em>). Last summer's \u003cem>The Legend of Tarzan\u003c/em> was the closest thing on his resume to a superhero film until \u003cem>Wonder Woman\u003c/em> director Patty Jenkins tapped him to write the music.\u003c/p>\n\u003cp>Well, most of it. Gal Gadot's Wonder Woman had already been introduced in last year's \u003ca href=\"http://www.npr.org/2016/03/24/471035756/batman-v-superman-superheroes-adrift-in-a-grim-sea-of-studio-money\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Batman v Superman: Dawn of Justice\u003c/em>\u003c/a>\u003cem>.\u003c/em> When she shows up in uniform near the film's climax, composers \u003ca href=\"http://www.npr.org/artists/15399647/hans-zimmer\" target=\"_blank\" rel=\"noopener noreferrer\">Hans Zimmer\u003c/a> and Junkie XL give her a distinctive riff. (It sounds like an electric guitar, but it's actually performed on the electric cello by \u003ca href=\"https://twitter.com/Tinaguo\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Guo\u003c/a>.) Gregson-Williams understood that his score would have to include that instantly memorable theme.\u003c/p>\n\u003cp>\"That was a Wonder Woman that had arrived at the peak of her powers,\" he says. \"She knows her strengths, and the theme really reflected that. It's rocking.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S176AKQhcCk'\n title='//www.youtube.com/embed/S176AKQhcCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I asked Gregson-Williams flat-out why so little of the music of our current era of superhero saturation has distinguished itself.\u003c/p>\n\u003cp>\u003cem>\"\u003c/em>There's a generic language, musically, that's grown up,\" he says. \"In the same way, there are other types of film — Westerns or sci-fi — where there's a generic language which is difficult to shake off. And I guess it's down to the depth of character that you're writing for. If they have some depth, or if there's something different about their powers or about their character or their emotions, I guess it would make it easier to shake that that language off.\"\u003c/p>\n\u003cp>That's fair. Superheroes, like characters in any genre, are defined by their conventions. And this is the first Wonder Woman movie, not the inflated sequel or the back-to-basics reboot.\u003c/p>\n\u003cp>My theory is that music is especially critical to superhero films — and I'll include literary creations like Sherlock Holmes and James Bond, and cinematic homages like Indiana Jones in this category — because the character is larger than any one story. They're fixed in perpetuity. A great score can help give them that immortality.\u003c/p>\n\u003cp>Superman had been around for 40 years when Williams sat down to compose; he's been around another 40 since. In his music, Williams reflected perfectly that film's balance of innocence and sophistication.\u003cem> Wonder Woman, \u003c/em>happily, has that same cocktail of attributes; the same unabashed romanticism and the same understated romance. (Gadot and Chris Pine, who's as fine a foil to her as Margot Kidder was to Christopher Reeve in \u003cem>Superman,\u003c/em> have a chemistry that fairly bubbles.)\u003c/p>\n\u003cp>\"Patty made a film that is much more on the classic side,\" Gregson-Williams says. \u003cem>\"\u003c/em>And so we could get get involved with more lyricism and melody in parts for the score. With some movies, you back off melody because these days it feels like we're trying too hard.\"\u003c/p>\n\u003cp>The movie begins and ends in the present, but most of the story is set about a century ago, during the first World War. In fact, it's in a trench warfare sequence that Princess Diana — Wonder Woman's Amazonian name — first reveals her powers to the world. The title of this composition is \"No-Man's Land.\" Gregson-Williams says it was important to nail that scene exactly, and that Jenkins sent him back to the composing board several times.\u003c/p>\n\u003cfigure id=\"attachment_84806\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-84806 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/patty-jenkins-rupert-gregson-williams_sq-e446da19378d4504769131cc35ec67bda104de4f.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman director Patty Jenkins consults with composer Rupert Gregson-Williams.\u003cbr>Photo: James Gillham / Sting Media\u003c/figcaption>\u003c/figure>\n\u003cp>\"That was an exciting moment to write,\" the composer says. \"It was quite painful to write because I didn't get it right first time, or the second, third or fourth time.\"\u003c/p>\n\u003cp>Getting it right came down to Jenkins directing the composer as she would an actor. \"Patty would act out what Diana was thinking for every single move. That really instructed me, rhythmically and tempo-wise, how she wanted it.\"\u003c/p>\n\u003cp>And of course, there's a fine line between honoring convention and being a hack.\u003c/p>\n\u003cp>\"There are certain moves, musically, that you can't help but muster for a certain emotion,\" Gregson-Williams admits. \"And you can tear yourself apart by trying to find a new answer to that musical harmony that says to you: This is a beautiful and proud moment.\"\u003c/p>\n\u003cp>Those moments are what we turn to this genre for, however. It's the part when Superman takes flight for the first time. It's the scene in \u003cem>Captain America: The First Avenger \u003c/em>— my favorite Marvel movie, and the one that \u003cem>Wonder Woman\u003c/em> most resembles — when skinny Steve Rogers throws himself on top of the grenade.\u003c/p>\n\u003cp>Not that camp or irony is all bad. I do miss the lyrics from the 1970s \u003cem>Wonder Woman\u003c/em> TV theme by Charles Fox and Norman Gimbel — the funky encomium to the Amazonian who's \"fighting for her rights in her satin tights / And the old red, white and blue.\" Does Gregson-Williams think lyrics might make a return to the super-music game?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I don't see too much future in it,\" he laughs. \"Certainly not from my pen.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can+%27Wonder+Woman%27+Offer+A+Superhero+Soundtrack+That+Sticks%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/84803/can-wonder-woman-offer-a-superhero-soundtrack-that-sticks","authors":["byline_pop_84803"],"categories":["pop_51"],"tags":["pop_965","pop_2954","pop_756"],"featImg":"pop_84804","label":"pop"},"pop_47823":{"type":"posts","id":"pop_47823","meta":{"index":"posts_1591205157","site":"pop","id":"47823","score":null,"sort":[1479304916000]},"guestAuthors":[],"slug":"prince-of-cats-melds-comics-hip-hop-and-shakespeare","title":"'Prince Of Cats' Melds Comics, Hip-Hop And Shakespeare","publishDate":1479304916,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>Editor's note: We identified \u003c/em>Slave Punk\u003cem> and \u003c/em>Sunset Park \u003cem>as already published; they were announced in 2015 but are not yet out.\u003c/em>\u003c/p>\n\u003cp>Nonstop, jittery energy seems to rattle every panel of \u003cem>Prince of Cats\u003c/em>, Ronald Wimberly's Shakespearean street tale. Few artists can strike the kind of sparks that electrify these pages, and yet Wimberly's powerful draftsmanship is only one aspect of a head-to-toe remarkable book. Focusing on Tybalt, the \"Prince of Cats\" in \u003cem>Romeo and Juliet\u003c/em>, Wimberly conjures a distinctive vision of the early '80s in the inner city. First published in 2012 by DC/Vertigo, \u003cem>Prince of Cats\u003c/em> went out of print and has been more-or-less unavailable ever since. Now Image Comics is releasing it in hardcover.\u003c/p>\n\u003cp>Wimberley, whose other Image projects include \u003cem>Slave Punk\u003c/em> and \u003cem>Sunset Park\u003c/em> — unabashedly demands recognition with this nervy work\u003cem>. Prince of Cats\u003c/em> is packed with allusions: to Greek myth and Japanese folklore, \u003cem>The Warriors\u003c/em> and \u003cem>Rosencrantz and Guildenstern are Dead,\u003c/em> video games and action movies and the '80s art scene. Of course, the most significant of Wimberly's grab bag of references is the Bard himself. Wimberly's characters all speak in a mix of high-flown poetry and gritty, down-to-earth images — just as Shakespeare's characters did. Here, Juliet describes the scene from atop a Coney Island Ferris wheel:\u003c/p>\n\u003cblockquote>\u003cp>Look, Tybalt, the shimmering\u003c/p>\n\u003cp>window show. When evening\u003c/p>\n\u003cp>swallows Apollo's light The yellow\u003c/p>\n\u003cp>lamps and blue TV glow doth\u003c/p>\n\u003cp>the projects Milky Way ignite.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly is hardly the first to make a connection between comics and hip hop culture. In the 1980s, both Marvel and DC Comics incorporated rapping characters into some of their books. In the early '90s, Marvel published books about KRS-One and Onyx and a nine-issue series starring Kid 'n Play. Other artists who've appeared in comics include Public Enemy, Wu-Tang Clan, Eminem and Run-DMC's Darryl McDaniels — the latter of whom launched his own comics company in 2014. Ed Piskor's series \u003cem>Hip Hop Family Tree\u003c/em> has already become a classic. And in October Marvel issued a hardcover collection of more than 70 hip hop-themed covers by such artists as Adam Hughes, Tim Bradstreet and Brian Stelfreeze.\u003c/p>\n\u003cp>But Wimberly is out to do something more than just combine elements from two compatible genres. He's clearly aiming to translate the mechanics of hip hop composition into a visual form. In \u003cem>Prince of Cats'\u003c/em> introduction, University of California media professor John Jennings calls Wimberly a \"See-Jay:\" Wielding his pen the way a DJ mixes, he mashes up wildly diverse elements into a fresh creation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wimberly's rhymes tend to have a rough, jazzy rhythm that offsets their formality. Commenting on his friends' fighting abilities, one character says:\u003c/p>\n\u003cblockquote>\u003cp>Petruchio's sword game was gutter born,\u003c/p>\n\u003cp>Top form, yet Romeo delivered his fall. And\u003c/p>\n\u003cp>while you starched and pressed your school uniform,\u003c/p>\n\u003cp>Petruchio uniformly pressed Montague to the wall.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly's perhaps at his cleverest when he repurposes Shakespeare's original lines to fit an African American context. \"What, dost thou make us minstrels?\" one character demands angrily. \"And thou make minstrels of us, look to hear nothing but discords.\"\u003c/p>\n\u003cp>His method has its successes and failures, but the sheer fun of his concept — and that vigorous, sparky artwork — make the latter mostly insignificant. As in Shakespeare, the poetry sometimes obscures what's going on. The narrative doesn't have a lot of pull; even when the characters duel bloodily with samurai swords (That's the kind of world this is: The homeboys fight with Japanese weaponry) there isn't a sense of urgency. At least, not until the grim conclusion.\u003c/p>\n\u003cp>But much of Wimberly's tale is purely delightful — as with one character's paean to an ice-cream truck:\u003c/p>\n\u003cblockquote>\u003cp>When heat doth bind gelled sandal to sidewalk, listen —\u003c/p>\n\u003cp>For song that parts summer's writhing miasma\u003c/p>\n\u003cp>And calls forth God's wandering children\u003c/p>\n\u003cp>To the chariot of Mr. Soft-e.\u003c/p>\u003c/blockquote>\n\u003cp>Not many comic artists have as much fun with words as they do with lines. But Wimberly clearly relishes the opportunity to stretch in different directions at once. The heart of \u003cem>Prince of Cats\u003c/em> might well be a single, short sentence midway through the book. A graffiti artist is surveying his latest rooftop creation, a tag of dazzling complexity, the ultimate melding of image and sign. \"See,\" he remarks, \"a man caught in words can live forever.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Prince+Of+Cats%27+Melds+Comics%2C+Hip-Hop+And+Shakespeare&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Ron Wimberly's energetic re-working of \u003cem>Romeo and Juliet\u003c/em> focuses on Tybalt, the \"Prince of Cats.\" It mashes up wildly diverse elements into a fresh creation, the visual equivalent of a DJ's mix.","status":"publish","parent":0,"modified":1479250301,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":765},"headData":{"title":"'Prince Of Cats' Melds Comics, Hip-Hop And Shakespeare | KQED","description":"Ron Wimberly's energetic re-working of Romeo and Juliet focuses on Tybalt, the "Prince of Cats." It mashes up wildly diverse elements into a fresh creation, the visual equivalent of a DJ's mix.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Prince Of Cats' Melds Comics, Hip-Hop And Shakespeare","datePublished":"2016-11-16T14:01:56.000Z","dateModified":"2016-11-15T22:51:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"47823 http://ww2.kqed.org/pop/?p=47823","disqusUrl":"https://ww2.kqed.org/pop/2016/11/16/prince-of-cats-melds-comics-hip-hop-and-shakespeare/","disqusTitle":"'Prince Of Cats' Melds Comics, Hip-Hop And Shakespeare","nprByline":"Etelka Lehoczky","nprImageAgency":" ","nprStoryId":"500419553","nprApiLink":"http://api.npr.org/query?id=500419553&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/2016/11/13/500419553/prince-of-cats-melds-comics-hip-hop-and-shakespeare?ft=nprml&f=500419553","nprRetrievedStory":"1","nprPubDate":"Mon, 14 Nov 2016 18:34:00 -0500","nprStoryDate":"Sun, 13 Nov 2016 19:05:00 -0500","nprLastModifiedDate":"Mon, 14 Nov 2016 18:34:32 -0500","path":"/pop/47823/prince-of-cats-melds-comics-hip-hop-and-shakespeare","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor's note: We identified \u003c/em>Slave Punk\u003cem> and \u003c/em>Sunset Park \u003cem>as already published; they were announced in 2015 but are not yet out.\u003c/em>\u003c/p>\n\u003cp>Nonstop, jittery energy seems to rattle every panel of \u003cem>Prince of Cats\u003c/em>, Ronald Wimberly's Shakespearean street tale. Few artists can strike the kind of sparks that electrify these pages, and yet Wimberly's powerful draftsmanship is only one aspect of a head-to-toe remarkable book. Focusing on Tybalt, the \"Prince of Cats\" in \u003cem>Romeo and Juliet\u003c/em>, Wimberly conjures a distinctive vision of the early '80s in the inner city. First published in 2012 by DC/Vertigo, \u003cem>Prince of Cats\u003c/em> went out of print and has been more-or-less unavailable ever since. Now Image Comics is releasing it in hardcover.\u003c/p>\n\u003cp>Wimberley, whose other Image projects include \u003cem>Slave Punk\u003c/em> and \u003cem>Sunset Park\u003c/em> — unabashedly demands recognition with this nervy work\u003cem>. Prince of Cats\u003c/em> is packed with allusions: to Greek myth and Japanese folklore, \u003cem>The Warriors\u003c/em> and \u003cem>Rosencrantz and Guildenstern are Dead,\u003c/em> video games and action movies and the '80s art scene. Of course, the most significant of Wimberly's grab bag of references is the Bard himself. Wimberly's characters all speak in a mix of high-flown poetry and gritty, down-to-earth images — just as Shakespeare's characters did. Here, Juliet describes the scene from atop a Coney Island Ferris wheel:\u003c/p>\n\u003cblockquote>\u003cp>Look, Tybalt, the shimmering\u003c/p>\n\u003cp>window show. When evening\u003c/p>\n\u003cp>swallows Apollo's light The yellow\u003c/p>\n\u003cp>lamps and blue TV glow doth\u003c/p>\n\u003cp>the projects Milky Way ignite.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly is hardly the first to make a connection between comics and hip hop culture. In the 1980s, both Marvel and DC Comics incorporated rapping characters into some of their books. In the early '90s, Marvel published books about KRS-One and Onyx and a nine-issue series starring Kid 'n Play. Other artists who've appeared in comics include Public Enemy, Wu-Tang Clan, Eminem and Run-DMC's Darryl McDaniels — the latter of whom launched his own comics company in 2014. Ed Piskor's series \u003cem>Hip Hop Family Tree\u003c/em> has already become a classic. And in October Marvel issued a hardcover collection of more than 70 hip hop-themed covers by such artists as Adam Hughes, Tim Bradstreet and Brian Stelfreeze.\u003c/p>\n\u003cp>But Wimberly is out to do something more than just combine elements from two compatible genres. He's clearly aiming to translate the mechanics of hip hop composition into a visual form. In \u003cem>Prince of Cats'\u003c/em> introduction, University of California media professor John Jennings calls Wimberly a \"See-Jay:\" Wielding his pen the way a DJ mixes, he mashes up wildly diverse elements into a fresh creation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wimberly's rhymes tend to have a rough, jazzy rhythm that offsets their formality. Commenting on his friends' fighting abilities, one character says:\u003c/p>\n\u003cblockquote>\u003cp>Petruchio's sword game was gutter born,\u003c/p>\n\u003cp>Top form, yet Romeo delivered his fall. And\u003c/p>\n\u003cp>while you starched and pressed your school uniform,\u003c/p>\n\u003cp>Petruchio uniformly pressed Montague to the wall.\u003c/p>\u003c/blockquote>\n\u003cp>Wimberly's perhaps at his cleverest when he repurposes Shakespeare's original lines to fit an African American context. \"What, dost thou make us minstrels?\" one character demands angrily. \"And thou make minstrels of us, look to hear nothing but discords.\"\u003c/p>\n\u003cp>His method has its successes and failures, but the sheer fun of his concept — and that vigorous, sparky artwork — make the latter mostly insignificant. As in Shakespeare, the poetry sometimes obscures what's going on. The narrative doesn't have a lot of pull; even when the characters duel bloodily with samurai swords (That's the kind of world this is: The homeboys fight with Japanese weaponry) there isn't a sense of urgency. At least, not until the grim conclusion.\u003c/p>\n\u003cp>But much of Wimberly's tale is purely delightful — as with one character's paean to an ice-cream truck:\u003c/p>\n\u003cblockquote>\u003cp>When heat doth bind gelled sandal to sidewalk, listen —\u003c/p>\n\u003cp>For song that parts summer's writhing miasma\u003c/p>\n\u003cp>And calls forth God's wandering children\u003c/p>\n\u003cp>To the chariot of Mr. Soft-e.\u003c/p>\u003c/blockquote>\n\u003cp>Not many comic artists have as much fun with words as they do with lines. But Wimberly clearly relishes the opportunity to stretch in different directions at once. The heart of \u003cem>Prince of Cats\u003c/em> might well be a single, short sentence midway through the book. A graffiti artist is surveying his latest rooftop creation, a tag of dazzling complexity, the ultimate melding of image and sign. \"See,\" he remarks, \"a man caught in words can live forever.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Prince+Of+Cats%27+Melds+Comics%2C+Hip-Hop+And+Shakespeare&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/47823/prince-of-cats-melds-comics-hip-hop-and-shakespeare","authors":["byline_pop_47823"],"categories":["pop_1537","pop_1548"],"tags":["pop_2889","pop_965"],"featImg":"pop_47826","label":"pop"},"pop_21265":{"type":"posts","id":"pop_21265","meta":{"index":"posts_1591205157","site":"pop","id":"21265","score":null,"sort":[1458572426000]},"guestAuthors":[],"slug":"daniel-clowes-on-time-travel-a-changing-oakland-and-patience","title":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'","publishDate":1458572426,"format":"image","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ","status":"publish","parent":0,"modified":1461877503,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":47,"wordCount":3359},"headData":{"title":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience' | KQED","description":"On the heels of his first new book in five years, the renowned comics artist takes stock -- of his own work, his home, and his (lack of) desire to change the past. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'","datePublished":"2016-03-21T15:00:26.000Z","dateModified":"2016-04-28T21:05:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"21265 http://ww2.kqed.org/pop/?p=21265","disqusUrl":"https://ww2.kqed.org/pop/2016/03/21/daniel-clowes-on-time-travel-a-changing-oakland-and-patience/","disqusTitle":"Daniel Clowes On Time Travel, a Changing Oakland, and 'Patience'","path":"/pop/21265/daniel-clowes-on-time-travel-a-changing-oakland-and-patience","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's a cliché because it's true: Life can change in an instant. Often, of course, we can’t tell which choices will shape our lives until they’re years away in the rearview mirror, given weight and color by the present. So it’s oddly fitting, perhaps, that \u003cem>\u003ca href=\"http://www.fantagraphics.com/patience/\" target=\"_blank\">Patience\u003c/a>\u003c/em>, Daniel Clowes’ first book in a half-decade -- the renowned graphic novelist’s most ambitious, reflective, weighty work yet, and one that took him five long years to birth -- is obsessed with events that take place in a matter of seconds.\u003c/p>\n\u003cp>Clowes was one of the first comics artists to propel the graphic novel into the mainstream literary world. Though a devoted, far-flung fan base had been following his delightfully weird \u003ca href=\"http://www.fantagraphics.com/complete8ball/\" target=\"_blank\">\u003cem>Eightball\u003c/em> series\u003c/a> for a nearly a decade, it was the bleak comedy of 1997's coming-of-age story \u003cem>Ghost World\u003c/em> that, for many, cast a whole new light on what comics could be. (The screenplay adaptation of that book earned Clowes an Oscar nomination, revealing a new talent of his, as well.)\u003c/p>\n\u003cp>In the nearly two decades since, Clowes has become something of a \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\">respected elder figure within the comics scene\u003c/a> (no matter how uncomfortable that delineation might make the 54-year-old) as his art fills retrospectives and museum exhibits alongside current \u003cem>New Yorker \u003c/em>covers. But his hallmark remains: an uncanny ability to imbue a seemingly dull interaction between characters with a level of nuance that leaps off the page, not in spite of but because of its quietude: the simple melancholia and hilarity of everyday existence, the hopes and pitfalls of loners and weirdos, are rendered with as much urgency as any bank robbery or high-speed car chase.\u003c/p>\n\u003cfigure id=\"attachment_21317\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg class=\"wp-image-21317 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc3.jpg\" alt=\"dc3\" width=\"650\" height=\"435\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc3-400x268.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>In a departure from much of his earlier work, \u003cem>Patience\u003c/em> (Fantagraphics; $29.99) sees Clowes blending literal action -- ray-gun fight scenes, seedy gambling dens straight out of\u003cem> Blade Runner\u003c/em> -- with his usual subtle human drama. Over the course of 180 bright, color-saturated pages, the reader follows a couple (the titular Patience and her husband Jack) on a surrealist, time-traveling adventure; Jack fixates on the past, attempting to change the course of history in order to ensure his family’s future.\u003c/p>\n\u003cp>Clowes, who lives in Piedmont with his own wife and son, made some time to chat about the book ahead of \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">his appearance on Wednesday, March 23 at Green Apple Books on the Park in San Francisco\u003c/a>. (This interview has been edited and condensed, if you can believe that.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>KQED Pop: One thing I’ve always admired about your earlier work is the degree to which you experimented and changed styles between comics, even within a single issue of \u003cem>Eightball\u003c/em>. So I’m curious what it felt like to work on one cohesive project for five long years?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daniel Clowes:\u003c/strong> You put the proper gravitas in that question. It’s funny, because I know the book looks fairly uniform, but I’ve gotten to the point where there are all these subtle shifts in style that made it seem jarringly different from page to page, and that’s in no way perceptible to anybody but me. But that was enough to keep me from feeling like I was stuck in a method I got bored with.\u003c/p>\n\u003cp>Also somehow I knew that this was going to be a book that was all about the coloring. In the past, all my color books started out, like, ‘This could still be black and white, or maybe just one color,’ and then I morphed into color mode by the end. In this one, I knew what I wanted it to look like. I think the color brings it all together and you don’t really notice the slight stylistic shifts from scene to scene.\u003c/p>\n\u003cp>[In terms of the narrative], carrying all the initial inspirations all the way through over five years really was that feeling of carrying a lit match across a windstorm.\u003c/p>\n\u003cfigure id=\"attachment_21314\" class=\"wp-caption aligncenter\" style=\"max-width: 538px\">\u003cimg class=\"size-full wp-image-21314\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/dc1.jpg\" alt=\"Panels from 'Patience'\" width=\"538\" height=\"484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1.jpg 538w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/dc1-400x360.jpg 400w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Panels from 'Patience.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With some of the action sequences, I was thinking about in \u003cem>Calvin and Hobbes\u003c/em>, when Bill Watterson would use Spaceman Spiff to let out that adventure-action comic strip he always wanted to do. Are these images things you’d been wanting to draw for years, and this was your chance?\u003c/strong>\u003c/p>\n\u003cp>There are a few things I’ve wanted to [do] for a long time -- not necessarily specific images in my head that I wanted to get on paper. But I love that idea of seeing a little bit of the workings of the universe behind the visual reality that we all see every day. I’ve always felt that presence, that there’s some infinite mathematical void that’s in the wings behind the stage, behind that play that we’re looking at as our reality, and thought about how to best depict that. There are [other] comic artists that allude to that -- mostly guys from the '50s, post-war guys with PTSD, looking at the world in a bigger way than their stories would indicate. I was always very inspired by that.\u003c/p>\n\u003cp>\u003cstrong>The time-travel stuff, the ability to go back and change a specific moment in the past -- did that come out of anything in particular for you?\u003c/strong>\u003c/p>\n\u003cp>Well, the notion of examining your past very carefully ... the last 10 years or so, I’ve had a whole bunch of retrospective projects, which are the kind of thing I normally just run from. I really don’t want to go back in time. But I got roped into doing a museum show of my work, and that led to a monograph, and then at the same time I had agreed to do a reprint of all the early \u003cem>Eightball\u003c/em>s, and that box set. It was all stuff that I thought, ‘Okay, I’ll let somebody else do that and I’ll work on my own thing.’ Then, of course, I got really drawn into the whole process and found myself in this odd dialogue with this younger version of myself. And in some ways it seemed like no time had passed at all, and in other ways it seemed like I was talking to a different person, in a different era, and it wasn’t myself at all. I didn’t even recognize myself in some of it.\u003c/p>\n\u003cfigure id=\"attachment_21272\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-21272 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg\" alt=\"Patience, in 'Patience.'\" width=\"500\" height=\"331\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_o380a6psMB1s2tgut_500-400x265.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Patience, in 'Patience.' \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I heard that \u003ca href=\"http://museumca.org/exhibit/modern-cartoonist-art-daniel-clowes\" target=\"_blank\">Oakland Museum exhibition\u003c/a> was great, but it also sounds a little bit like being eulogized before your time?\u003c/strong>\u003c/p>\n\u003cp>It absolutely felt like that. It was like attending your own funeral and hearing what people say about you -- which was all very nice. There’s a movie called \u003cem>Scarlet Street\u003c/em> that opens with Edward G. Robinson going to his retirement dinner, and he’s presented with this gold watch and everybody pats him on his back and then that’s it. He leaves and he has no friends or life after that. It really did feel like that. It was weird. I disassociated myself from it and started to just think of myself as a collector of Daniel Clowes artwork after a while, because you’d see name tags on things like they were on loan from a collector -- but it was ‘on loan from Daniel and Erica Clowes.’ I would be so proud. Like, wow, I have artwork loaned to a museum!\u003c/p>\n\u003cp>\u003cstrong>Are there works you specifically noticed that, if you could go back, you would change?\u003c/strong>\u003c/p>\n\u003cp>The time in my life I most thought about going back and changing things was when I was much younger. Like, “I wish I could go back to Thursday and not have said that stupid thing in class.” You know, the whole “If I could only do it again, I’d have the perfect comeback for that guy.” Stuff like that. And then as you get older, you have so many of those moments you couldn’t really pick one. It would be your entire life. [Laughs.]\u003c/p>\n\u003cp>I also sometimes think, when I look at my old comics, “If I could redo that now, I could make it really perfect.” But that would be such a terrible idea. A, it would make it worse, no matter how well you drew it or wrote it, and B, it would crush your life as it is now. It’s just not a good way to think. The more I got into the story, the more I realized that I have no desire whatsoever to do that, and I embraced the way that events unfold in a way you can’t really imagine.\u003c/p>\n\u003cfigure id=\"attachment_21275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-21275\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg\" alt=\"Dan Clowes, a self-portrait.\" width=\"800\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-800x963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-400x482.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-768x925.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1440x1734.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1920x2312.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-1180x1421.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/DanClowesPortrait-960x1156.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Clowes, a self-portrait. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With a lot of artistic depictions of dystopian futures, there’s usually a nostalgia about the past, a romanticism about decades gone by, and I really didn’t get that in \u003cem>Patience\u003c/em>. It seems like Jack is pissed off to be in the '70s or whatever. “This sh*t, really?”\u003c/strong>\u003c/p>\n\u003cp>[Laughs.] Yeah, if somebody sent me back to 1985, I would just be \u003cem>so sad\u003c/em>. It’s funny, because I really love certain past aesthetics, and I’ve always felt that the way history just steamrolls the past, especially art history -- the way there’ll be a perfectly good method of painting or writing or something and then the next thing will come along and destroy that. I’ve always been interested in going back and finding these old modes that were cast aside too soon and seeing what there is in them and combining them with other modes, things like that. I’m certainly not someone who’s 100 percent forward-minded. But I don’t have any desire to go back to any other time. I think as crazy and chaotic as things are, things are always slightly improving in some way.\u003c/p>\n\u003cp>\u003cstrong>That’s a message I think a lot of people could use right now.\u003c/strong>\u003c/p>\n\u003cp>And I didn’t really want to depict the future as a dystopia. I think people always have the feeling that they’re in the end times and everything is crumbling. I don’t know that that’s necessarily true. I feel like it’s just getting more fragmented and hard to grasp.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-21319\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/Patience-24-650x371.jpg\" alt=\"Patience-24-650x371\" width=\"650\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371.jpg 650w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/Patience-24-650x371-400x228.jpg 400w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003c/p>\n\u003cp>\u003cstrong>Since you mentioned the, uh, end times: there’s a kind of blowhard evangelical political TV personality in the book. Was that based on anyone in particular?\u003c/strong>\u003c/p>\n\u003cp>I just like that kind of American demagogue character. Of course, now it seems really prescient that we’ve got actual people like that vying for the White House. At the time, I was writing it and I thought ‘What would it take for a guy like this to become president?’ I thought that seemed really far-fetched, and now it seems much less so. But yeah, he came out of guys like Glenn Beck and people like that, who are clearly not speaking truthfully to their audience, projecting an image that’s not necessarily true in any way.\u003c/p>\n\u003cp>\u003cstrong>I’ve read that you didn’t show this to anyone as you worked?\u003c/strong>\u003c/p>\n\u003cp>I did not let anybody read it. People come in and out of my studio all the time, and pages are out; pages are there. People who saw it had no idea what was going on, and I think a lot of them thought I had lost my mind when they were just looking at the art. My wife wants to read it all at once -- which, I would never want her to be reading something and go “hmm.” That would throw me off so intensely. Just a little “what?” And then that’s all I would think about. Zero response is the best. Then when it’s done, I’m more than happy to hear anything, negative or positive, but not while I’m in the throes of it.\u003c/p>\n\u003cfigure id=\"attachment_21276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg class=\"size-full wp-image-21276\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/clowes_eightball15.jpg\" alt=\"From 'Caricature,' Eightball #5. \" width=\"750\" height=\"648\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15.jpg 750w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/clowes_eightball15-400x346.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">From 'Caricature,' Eightball #5.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m interested in your relationship to feedback in general, because the reader feedback you used to publish -- the letters section in \u003cem>Eightball\u003c/em> -- was always so entertaining. Even the hateful letters made it such a hilarious little community to be a part of.\u003c/strong>\u003c/p>\n\u003cp>That was such a fun era. And I felt a responsibility back then, because there was no internet; there was no forum where people who read these comics or were interested in this stuff could connect with each other. I would set people up -- literally, I’d get letters from two different people in Danbury, Connecticut, and I would [write back] saying “There’s this girl who lives in town. You should call her.” I felt like I had to write back to everybody. Anybody who did any comics at all, I’d write them encouraging letters.\u003c/p>\n\u003cp>When I talk to other artists from my era, like the Hernandez Brothers [of \u003cem>Love and Rockets\u003c/em>], we all talk about how we basically knew 40 percent of our readers by name. On this recent tour a woman came out who had been at a signing I did in 1993, and I completely remembered her name, because she’d written me.\u003c/p>\n\u003cp>\u003cstrong>Is there a modern version of that? Do you keep up with what fans are saying on the internet? It seems like once you open that door it’s another thing entirely.\u003c/strong>\u003c/p>\n\u003cp>Yeah, it’s too overwhelming. I can’t get involved in it. It’s just different: there was an ease to it. You’d send a letter and then you’d wait three weeks and get a letter back… every Sunday I spent an hour doing it. I wish I could go back to the old way. It was the ideal scenario, and it was fun: I’d go to my mailbox once a week and it was like Christmas every time. Now, I just have no connection because it’d be too much. But that’s why I really do actually enjoy going on book tours and signings, because you see the demographics. You see, \"Oh, good, I still have young people showing up.\"\u003c/p>\n\u003cp>\u003cstrong>You \u003ca href=\"http://boingboing.net/2016/02/17/daniel-clowes-remembers-publis.html\" target=\"_blank\">posted a sweet piece about your friend and assistant Alvin\u003c/a>, who recently passed away. I thought it was such a great note to end on that he took your social media passwords with him.\u003c/strong>\u003c/p>\n\u003cp>Yeah. He was a wonderful guy, just a kind soul and a really good friend of mine. I miss him every minute. And yeah, he was very protective of that stuff. He took it on himself --\"I'm making you an Instagram page.\" \"Okay.\" I never asked for any of it. And he hated social media!\u003c/p>\n\u003cfigure id=\"attachment_21277\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg class=\" wp-image-21277\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg\" alt=\"Detail from a New Yorker cover by Clowes, May 2009. \" width=\"504\" height=\"365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/tumblr_inline_nbncq074HH1s2tgut-400x290.jpg 400w\" sizes=\"(max-width: 504px) 100vw, 504px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a New Yorker cover by Clowes, May 2009.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Have you had to wade into the social media waters yourself since then?\u003c/strong>\u003c/p>\n\u003cp>No, I immediately tried to get somebody else to take over. [Laughs.] I want people who are looking for info about the book to be able to find it, but I have no desire to craft little jokes and post four times a day or whatever. That seems hopelessly sad to me, to imagine people I really like and respect sitting there and racking their brains to think of a little joke, to get that little jolt of dopamine or whatever. I just feel bad for them that they feel like they have to do that. And you see people who have done 200,000 tweets and you think, that’s just all gone. That’s buried. Nobody will ever, ever look at anything before yesterday. I couldn’t face that. It seems really Sisyphean.\u003c/p>\n\u003cp>\u003cstrong>I wanted to talk about setting a bit -- I know you live in Oakland, and your love for it came through so clearly in \u003cem>Wilson\u003c/em>, your last book. But the city’s obviously changed a lot since that came out in 2010, even.\u003c/strong>\u003c/p>\n\u003cp>Right. So, they’re working on a movie of \u003cem>Wilson\u003c/em> -- it’s pretty much done, actually -- and I tried so hard to get them to shoot in Oakland. I wrote the whole script with specific Oakland locations; every one is a real place. But because of regulations it was almost impossible to shoot a movie here. So they shot in St. Paul, Minnesota, which is really weirdly like a version of Oakland from about five or six years ago, before it got the five-star restaurants and all that. It was a good solution, but disappointing.\u003c/p>\n\u003cfigure id=\"attachment_21316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-21316 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg\" alt=\"A panel from 'Wilson,' set at Lake Merritt. \" width=\"800\" height=\"771\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-800x771.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-400x386.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-768x740.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/03/wilson_0-e1458345053601.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from 'Wilson,' set at Lake Merritt.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you feel like the city’s changes have seeped into your work at all?\u003c/strong>\u003c/p>\n\u003cp>Well, I’m always responding to stuff much later than it’s actually happened. If I were doing a daily strip or something I’m sure it’d be all about the weird developments in Oakland, but it’s stuff that seeps into the work after the fact. I’m guessing my next book will have quite a bit of that, because every single day I find I’m talking to my friends about, “Oh my god, that place went out business and now there’s this new thing.” It’s bizarre, because Oakland seemed so stagnant for the first 15 years I lived here. I used to go downtown all the time and just walk around the abandoned parts of downtown Oakland and think \"How can this be? How can this big structure for commerce just be sitting empty?\"\u003c/p>\n\u003cp>\u003cstrong>Can you imagine having moved here now? There’s obviously a different situation than you moved into, for artists and creative people trying to make a living.\u003c/strong>\u003c/p>\n\u003cp>I’m pretty aware that there will probably never be a community of young cartoonists here, which really bothers me. You go to a place like Portland, which I’m sure will wind up like Oakland in about five years, but there’s just hundreds of cartoonists there, and it feels like this real community. Here, it’s just daunting. I wouldn’t even recommend anybody who wants to do something like cartooning live here. You can do it anywhere! I guess if you’re somebody who’s really skilled with tech stuff you could get an easy job and then do it in your spare time or something... but most cartoonists aren’t really tech people. It’s a very different part of your brain.\u003c/p>\n\u003cp>\u003cstrong>Do you have a sense of what’s next for you after the tours for this book are over? Do you have the itch do shorter things after working on something so lengthy?\u003c/strong>\u003c/p>\n\u003cp>My whole goal after this was to take a month off, not think about anything, just read books and hang out. And after about two days of that, I was going insane. I started to feel like, I have this limited time on the planet and every day is precious. I have that Midwestern work ethic drummed into me, I think. So I started jotting down ideas for a new story. I always look through my old notebooks and see if anything pops out that I maybe dismissed earlier, and I came up with a couple things that hold my interest. I’m piecing something together. But it’ll probably be a while! We’ll see.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Daniel Clowes discusses \u003c/em>Patience\u003cem> at Green Apple Books on the Park on Wednesday, March 23 at at 7:30pm. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-daniel-clowes\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/21265/daniel-clowes-on-time-travel-a-changing-oakland-and-patience","authors":["7237"],"categories":["pop_1548"],"tags":["pop_2840","pop_965","pop_966"],"featImg":"pop_21271","label":"pop"},"pop_18270":{"type":"posts","id":"pop_18270","meta":{"index":"posts_1591205157","site":"pop","id":"18270","score":null,"sort":[1446037376000]},"guestAuthors":[],"slug":"subverting-gender-norms-through-cosplay-at-santa-rosas-toy-con","title":"Subverting Gender Norms through Cosplay at Santa Rosa's Toy Con","publishDate":1446037376,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>By Rachel Dovey\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/IMG_6652-e1443489105959-273x600.jpg\">\u003cimg class=\"size-full wp-image-18757 alignright\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/IMG_6652-e1443489105959-273x600.jpg\" alt=\"spider man\" width=\"273\" height=\"600\">\u003c/a>“I’m Spider-Man, not Spider-Girl,” my daughter says, fists on her hips in A-plus superhero form.\u003c/p>\n\u003cp>She’s three, dressed in a full-body Spider-Man suit with padded biceps and pecs. A pull-over mask presses her blonde hair to her neck. And the way she says it — “Spider-MAN” — she sounds like she’s arrived. She’s platinum level. She’s VIP.\u003c/p>\n\u003cp>“OK,” I reply, turning away so she won’t see that I’m upset.\u003c/p>\n\u003cp>Normally, I would encourage her gender play. Whomever she wants to embody — from Spider-Man to Queen Elsa, minion to mermaid — works for me. But she loves Spider-Girl. She tells me to call her Spider-Girl. Some days, she spends hours winding our living room with yarn to make a “Spider-Girl web.” So I’m worried her announcement has more to do with limitation than desire. I’m worried she’s Spider-Man because she doesn’t have a choice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a Saturday in September and we’re preparing for the \u003ca href=\"http://santarosatoycon.com\">Santa Rosa Toy Con\u003c/a>, a local Comic-Con-like event with an emphasis on cosplay. I’d spent all of the previous day trying to find a Spider-Girl costume. Because she’s a minor \u003ca href=\"http://marvel.wikia.com/wiki/Earth-982\">Marvel Comics 2\u003c/a> character — Peter Parker’s daughter from an alternate future — I hadn’t expected to pull a children's size 3 off the front rack of our closest Spirit Halloween store, but I’d hoped to find something, even a female take on the iconic red-and-blue. Aside from Wonder Woman, though, princesses and their tulle-puff ilk ruled the girls’ section of every store. Spider-Man the Body Building Toddler was as close as I could get.\u003c/p>\n\u003cp>I know. I shouldn’t have been surprised. Spider-Man and Spider-Girl are part of a world written (and, increasingly, \u003ca href=\"http://blogs.indiewire.com/womenandhollywood/marvel-ceo-doesnt-believe-in-female-superheroes-20150504\">directed and produced\u003c/a>) by and for men in \u003ca href=\"http://fivethirtyeight.com/features/women-in-comic-books/\">ratios\u003c/a> that make \u003ca href=\"https://www.washingtonpost.com/news/innovations/wp/2014/02/14/silicon-valleys-gender-imbalance-in-one-chart/\">Silicon Valley look good\u003c/a>. Of course \u003cem>he\u003c/em> is going to inspire a bitchin’ costume and \u003cem>she\u003c/em> isn’t. Of course my daughter is going to see that costume, gasp and drop a whole sentence composed of one repeated word: “Awesome.” And of course she’s going to put it on and tell me, ever-so-proudly, that she isn’t Spider-Girl.\u003c/p>\n\u003cp style=\"text-align: center\">~~~\u003c/p>\n\u003cp>Santa Rosa Toy Con takes place at the Sonoma County Fairgrounds, the entrance guarded by a three-story inflatable Hulk. Holding my miniature Spider-Man’s hand, I scan the hanger-sized Grace Pavilion, where most of the vendors have set up shop. Batman poses near the Hulk’s feet. Replicas of \u003cem>Ghostbusters\u003c/em>’ Ecto-1, the \u003cem>Jurassic Park\u003c/em> Jeep and Dr. Who’s TARDIS sit on the showroom floor. R2-D2 navigates the crowd, blinking and whistling, and Darth Vader follows, cape billowing ominously behind.\u003c/p>\n\u003cfigure id=\"attachment_10984859\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_0112.jpg\">\u003cimg class=\"wp-image-10984859 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_0112-450x600.jpg\" alt=\"Edith Dovey as Spider-Man and Legacy Batman\" width=\"450\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Edith Dovey as Spider-Man and Legacy Batman\u003c/figcaption>\u003c/figure>\n\u003cp>I’m not in costume. I’m here for my daughter, a fangirl by way of her dad. He’s the one who showed her pictures of \u003ca href=\"http://www.angelfire.com/mi2/mc2/spideygal.html\">May Parker scaling buildings\u003c/a> and got her hooked. He would be comfortable here. The Fantastic Four action figures, Lone Ranger collectables and plastic sniper rifles with working telescopic sight would be nostalgic symbols of adolescence to him. To me, they signify boredom and exclusion. They remind me of the way I feigned interest in \u003ci>Lord of the Rings\u003c/i> and, yes, \u003cem>Spider-Man\u003c/em> as a teenager to look \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls#.icK4mVqW1\">J-Law Cool Girl hot\u003c/a>, even though the shortage of complex female characters had me quitting part way through \u003cem>Fellowship\u003c/em> and falling asleep in the theater during Tobey Maguire's debut.\u003c/p>\n\u003cp>“Look at all this man stuff,” I hear a passing woman say, and I couldn’t agree more. I hurry to the \u003ca href=\"http://www.eternalpress.biz\">one vendor\u003c/a> I see selling romance novels and buy six.\u003c/p>\n\u003cp>But as more cosplayers fill the room, I notice the crowd becoming less male — and less white — even though many of the characters depicted were originally drawn and cast as Caucasian men. I see Peter Parkers and Peter Venkmans with darker skin than Tobey Maguire, Andrew Garfield or Bill Murray. I see a female Khal Drogo from \u003ci>Game of Thrones. \u003c/i>I see a female Rufio from \u003ci>Hook\u003c/i>. I see a male \u003ca href=\"http://lolirock.wikia.com/wiki/Auriana\">Princess Auriana\u003c/a> from the French cartoon \u003ci>Lolirock. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_10984852\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6681-e1443488897923.jpg\">\u003cimg class=\"size-medium wp-image-10984852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6681-e1443488897923-350x600.jpg\" alt=\"Bonnirose Hunt as Daenerys and Julie Hartley as Khal Drogo\" width=\"350\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bonnirose Hunt as Daenerys and Julie Hartley as Khal Drogo\u003c/figcaption>\u003c/figure>\n\u003cp>I approach Khal Drogo (a.k.a. Julie Hartley), who’s standing still as a woman depicting Daenerys paints blue stripes on her back. I ask about her gender-bending costume.\u003c/p>\n\u003cp>“I read the books and watch the show and I just thought: I have to look like that,” she says.\u003c/p>\n\u003cp>Turns out, her sentiment isn’t uncommon. Cosplay, \u003ca href=\"http://www.themarysue.com/comic-book-artist-slams-cosplay-again/\">writes Sam Maggs\u003c/a> for \u003cem>The Mary Sue\u003c/em>, “opens up the world of comics — a world which has overwhelmingly felt exclusionary to girls and women — in a whole new way.”\u003c/p>\n\u003cp>That’s partially because it’s the ultimate pop art, \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/12/why-comic-book-guys-are-quivering-at-cosplay-gender-insecurity/383617/\">writes\u003c/a> Noah Berlatsky for \u003cem>The Atlantic\u003c/em>. It’s a kind of fan-fiction, a way to subvert and remake the DC/Marvel-verse (in which, if you're a woman or person of color, you're wildly under-represented) with your own costumed, made-up body.\u003c/p>\n\u003cfigure id=\"attachment_10984853\" class=\"wp-caption alignright\" style=\"max-width: 277px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6683-e1443488861417.jpg\">\u003cimg class=\"size-medium wp-image-10984853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6683-e1443488861417-277x600.jpg\" alt=\"Alex Hood as Auriana of Lolirock. \" width=\"277\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Hood as Auriana of Lolirock.\u003c/figcaption>\u003c/figure>\n\u003cp>The same goes for the LGBT community, says Alex Hood, dressed as Princess Auriana. Due to the prevalence and relative acceptance of “cross play,” he adds, cosplay \"can be about making an environment for self identification.\"\u003c/p>\n\u003cp>It’s a definite contrast — the mostly white hetero cisgender maleness of the posters, bobbleheads and comic book displays next to the cosplayers. And judging by recent backlash from \u003ca href=\"http://www.telegraph.co.uk/culture/books/booknews/11275179/pat-broderick-facebook-cosplay-rant.html\">venerable old (mostly white hetero cisgender male) gatekeeping types\u003c/a>, it’s a contrast not everyone likes.\u003c/p>\n\u003cp>“There’s often a cultural perception that you should dress your size and race,” says Hartley, who’s also a \u003ca href=\"http://www.antipretty.com/photos/goddess-jules-cosplay-poison-ivy/\">professional costume designer\u003c/a>.\u003c/p>\n\u003cp>I ask her what it’s like, psychologically, to step outside those boundaries.\u003c/p>\n\u003cp>“It can be scary,” she replies. “People say terrible things on the Internet.”\u003c/p>\n\u003cp>“But,” she adds, “haters gonna hate.”\u003c/p>\n\u003cp style=\"text-align: center\">~~~\u003c/p>\n\u003cp>Two hours after arriving, my daughter has a sagging bag full of trains, Legos and comic books (Spider-Woman this time). She’s met Batman and R2-D2 and pretended to drive the \u003cem>Jurassic Park\u003c/em> jeep.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As we leave the pavilion, I no longer feel anxious about her costume. She’s been working it. I’ve taken photos of her flexing and growling like the Hulk, striking a runway-esque hip bump and extending her left hand in a perfect imitation of Spider-Man’s upside down “rock on.” Yes, her choices may have been limited, but she’s practicing the art of cosplay. She’s filling out that ridiculous muscle suit (and everything it represents) with her own lively 3-year-old form. Spider-Man or Spider-Girl, she's making something new.\u003c/p>\n\n","blocks":[],"excerpt":"Cosplay is sending a message that the world of comics isn't just for straight white men.","status":"publish","parent":0,"modified":1446156010,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1262},"headData":{"title":"Subverting Gender Norms through Cosplay at Santa Rosa's Toy Con | KQED","description":"Cosplay is sending a message that the world of comics isn't just for straight white men.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Subverting Gender Norms through Cosplay at Santa Rosa's Toy Con","datePublished":"2015-10-28T13:02:56.000Z","dateModified":"2015-10-29T22:00:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"18270 http://ww2.kqed.org/pop/?p=18270","disqusUrl":"https://ww2.kqed.org/pop/2015/10/28/subverting-gender-norms-through-cosplay-at-santa-rosas-toy-con/","disqusTitle":"Subverting Gender Norms through Cosplay at Santa Rosa's Toy Con","path":"/pop/18270/subverting-gender-norms-through-cosplay-at-santa-rosas-toy-con","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rachel Dovey\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/IMG_6652-e1443489105959-273x600.jpg\">\u003cimg class=\"size-full wp-image-18757 alignright\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/IMG_6652-e1443489105959-273x600.jpg\" alt=\"spider man\" width=\"273\" height=\"600\">\u003c/a>“I’m Spider-Man, not Spider-Girl,” my daughter says, fists on her hips in A-plus superhero form.\u003c/p>\n\u003cp>She’s three, dressed in a full-body Spider-Man suit with padded biceps and pecs. A pull-over mask presses her blonde hair to her neck. And the way she says it — “Spider-MAN” — she sounds like she’s arrived. She’s platinum level. She’s VIP.\u003c/p>\n\u003cp>“OK,” I reply, turning away so she won’t see that I’m upset.\u003c/p>\n\u003cp>Normally, I would encourage her gender play. Whomever she wants to embody — from Spider-Man to Queen Elsa, minion to mermaid — works for me. But she loves Spider-Girl. She tells me to call her Spider-Girl. Some days, she spends hours winding our living room with yarn to make a “Spider-Girl web.” So I’m worried her announcement has more to do with limitation than desire. I’m worried she’s Spider-Man because she doesn’t have a choice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a Saturday in September and we’re preparing for the \u003ca href=\"http://santarosatoycon.com\">Santa Rosa Toy Con\u003c/a>, a local Comic-Con-like event with an emphasis on cosplay. I’d spent all of the previous day trying to find a Spider-Girl costume. Because she’s a minor \u003ca href=\"http://marvel.wikia.com/wiki/Earth-982\">Marvel Comics 2\u003c/a> character — Peter Parker’s daughter from an alternate future — I hadn’t expected to pull a children's size 3 off the front rack of our closest Spirit Halloween store, but I’d hoped to find something, even a female take on the iconic red-and-blue. Aside from Wonder Woman, though, princesses and their tulle-puff ilk ruled the girls’ section of every store. Spider-Man the Body Building Toddler was as close as I could get.\u003c/p>\n\u003cp>I know. I shouldn’t have been surprised. Spider-Man and Spider-Girl are part of a world written (and, increasingly, \u003ca href=\"http://blogs.indiewire.com/womenandhollywood/marvel-ceo-doesnt-believe-in-female-superheroes-20150504\">directed and produced\u003c/a>) by and for men in \u003ca href=\"http://fivethirtyeight.com/features/women-in-comic-books/\">ratios\u003c/a> that make \u003ca href=\"https://www.washingtonpost.com/news/innovations/wp/2014/02/14/silicon-valleys-gender-imbalance-in-one-chart/\">Silicon Valley look good\u003c/a>. Of course \u003cem>he\u003c/em> is going to inspire a bitchin’ costume and \u003cem>she\u003c/em> isn’t. Of course my daughter is going to see that costume, gasp and drop a whole sentence composed of one repeated word: “Awesome.” And of course she’s going to put it on and tell me, ever-so-proudly, that she isn’t Spider-Girl.\u003c/p>\n\u003cp style=\"text-align: center\">~~~\u003c/p>\n\u003cp>Santa Rosa Toy Con takes place at the Sonoma County Fairgrounds, the entrance guarded by a three-story inflatable Hulk. Holding my miniature Spider-Man’s hand, I scan the hanger-sized Grace Pavilion, where most of the vendors have set up shop. Batman poses near the Hulk’s feet. Replicas of \u003cem>Ghostbusters\u003c/em>’ Ecto-1, the \u003cem>Jurassic Park\u003c/em> Jeep and Dr. Who’s TARDIS sit on the showroom floor. R2-D2 navigates the crowd, blinking and whistling, and Darth Vader follows, cape billowing ominously behind.\u003c/p>\n\u003cfigure id=\"attachment_10984859\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_0112.jpg\">\u003cimg class=\"wp-image-10984859 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_0112-450x600.jpg\" alt=\"Edith Dovey as Spider-Man and Legacy Batman\" width=\"450\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Edith Dovey as Spider-Man and Legacy Batman\u003c/figcaption>\u003c/figure>\n\u003cp>I’m not in costume. I’m here for my daughter, a fangirl by way of her dad. He’s the one who showed her pictures of \u003ca href=\"http://www.angelfire.com/mi2/mc2/spideygal.html\">May Parker scaling buildings\u003c/a> and got her hooked. He would be comfortable here. The Fantastic Four action figures, Lone Ranger collectables and plastic sniper rifles with working telescopic sight would be nostalgic symbols of adolescence to him. To me, they signify boredom and exclusion. They remind me of the way I feigned interest in \u003ci>Lord of the Rings\u003c/i> and, yes, \u003cem>Spider-Man\u003c/em> as a teenager to look \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls#.icK4mVqW1\">J-Law Cool Girl hot\u003c/a>, even though the shortage of complex female characters had me quitting part way through \u003cem>Fellowship\u003c/em> and falling asleep in the theater during Tobey Maguire's debut.\u003c/p>\n\u003cp>“Look at all this man stuff,” I hear a passing woman say, and I couldn’t agree more. I hurry to the \u003ca href=\"http://www.eternalpress.biz\">one vendor\u003c/a> I see selling romance novels and buy six.\u003c/p>\n\u003cp>But as more cosplayers fill the room, I notice the crowd becoming less male — and less white — even though many of the characters depicted were originally drawn and cast as Caucasian men. I see Peter Parkers and Peter Venkmans with darker skin than Tobey Maguire, Andrew Garfield or Bill Murray. I see a female Khal Drogo from \u003ci>Game of Thrones. \u003c/i>I see a female Rufio from \u003ci>Hook\u003c/i>. I see a male \u003ca href=\"http://lolirock.wikia.com/wiki/Auriana\">Princess Auriana\u003c/a> from the French cartoon \u003ci>Lolirock. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_10984852\" class=\"wp-caption alignleft\" style=\"max-width: 350px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6681-e1443488897923.jpg\">\u003cimg class=\"size-medium wp-image-10984852\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6681-e1443488897923-350x600.jpg\" alt=\"Bonnirose Hunt as Daenerys and Julie Hartley as Khal Drogo\" width=\"350\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bonnirose Hunt as Daenerys and Julie Hartley as Khal Drogo\u003c/figcaption>\u003c/figure>\n\u003cp>I approach Khal Drogo (a.k.a. Julie Hartley), who’s standing still as a woman depicting Daenerys paints blue stripes on her back. I ask about her gender-bending costume.\u003c/p>\n\u003cp>“I read the books and watch the show and I just thought: I have to look like that,” she says.\u003c/p>\n\u003cp>Turns out, her sentiment isn’t uncommon. Cosplay, \u003ca href=\"http://www.themarysue.com/comic-book-artist-slams-cosplay-again/\">writes Sam Maggs\u003c/a> for \u003cem>The Mary Sue\u003c/em>, “opens up the world of comics — a world which has overwhelmingly felt exclusionary to girls and women — in a whole new way.”\u003c/p>\n\u003cp>That’s partially because it’s the ultimate pop art, \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/12/why-comic-book-guys-are-quivering-at-cosplay-gender-insecurity/383617/\">writes\u003c/a> Noah Berlatsky for \u003cem>The Atlantic\u003c/em>. It’s a kind of fan-fiction, a way to subvert and remake the DC/Marvel-verse (in which, if you're a woman or person of color, you're wildly under-represented) with your own costumed, made-up body.\u003c/p>\n\u003cfigure id=\"attachment_10984853\" class=\"wp-caption alignright\" style=\"max-width: 277px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6683-e1443488861417.jpg\">\u003cimg class=\"size-medium wp-image-10984853\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/IMG_6683-e1443488861417-277x600.jpg\" alt=\"Alex Hood as Auriana of Lolirock. \" width=\"277\" height=\"600\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Hood as Auriana of Lolirock.\u003c/figcaption>\u003c/figure>\n\u003cp>The same goes for the LGBT community, says Alex Hood, dressed as Princess Auriana. Due to the prevalence and relative acceptance of “cross play,” he adds, cosplay \"can be about making an environment for self identification.\"\u003c/p>\n\u003cp>It’s a definite contrast — the mostly white hetero cisgender maleness of the posters, bobbleheads and comic book displays next to the cosplayers. And judging by recent backlash from \u003ca href=\"http://www.telegraph.co.uk/culture/books/booknews/11275179/pat-broderick-facebook-cosplay-rant.html\">venerable old (mostly white hetero cisgender male) gatekeeping types\u003c/a>, it’s a contrast not everyone likes.\u003c/p>\n\u003cp>“There’s often a cultural perception that you should dress your size and race,” says Hartley, who’s also a \u003ca href=\"http://www.antipretty.com/photos/goddess-jules-cosplay-poison-ivy/\">professional costume designer\u003c/a>.\u003c/p>\n\u003cp>I ask her what it’s like, psychologically, to step outside those boundaries.\u003c/p>\n\u003cp>“It can be scary,” she replies. “People say terrible things on the Internet.”\u003c/p>\n\u003cp>“But,” she adds, “haters gonna hate.”\u003c/p>\n\u003cp style=\"text-align: center\">~~~\u003c/p>\n\u003cp>Two hours after arriving, my daughter has a sagging bag full of trains, Legos and comic books (Spider-Woman this time). She’s met Batman and R2-D2 and pretended to drive the \u003cem>Jurassic Park\u003c/em> jeep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we leave the pavilion, I no longer feel anxious about her costume. She’s been working it. I’ve taken photos of her flexing and growling like the Hulk, striking a runway-esque hip bump and extending her left hand in a perfect imitation of Spider-Man’s upside down “rock on.” Yes, her choices may have been limited, but she’s practicing the art of cosplay. She’s filling out that ridiculous muscle suit (and everything it represents) with her own lively 3-year-old form. Spider-Man or Spider-Girl, she's making something new.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/18270/subverting-gender-norms-through-cosplay-at-santa-rosas-toy-con","authors":["2421"],"categories":["pop_1041"],"tags":["pop_965"],"featImg":"pop_18272","label":"pop"},"pop_14011":{"type":"posts","id":"pop_14011","meta":{"index":"posts_1591205157","site":"pop","id":"14011","score":null,"sort":[1415310801000]},"guestAuthors":[],"slug":"captain-marvel-the-surprising-history-of-how-female-superheroes-came-to-be","title":"Captain Marvel: The Surprising History of How Female Superheroes Came to Be","publishDate":1415310801,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cstrong>By Matthew Jent\u003c/strong>\u003c/p>\n\u003cp>Marvel Studios recently announced their \"phase three\" line of feature films. Phases are a thing the Marvel Studios folks like to break their movies down into, roughly broken up by new \u003cem>Avengers\u003c/em> movies. Phase two introduced \u003ca href=\"http://en.wikipedia.org/wiki/Guardians_of_the_Galaxy_%28film%29\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> this summer, \u003ca href=\"http://www.forbes.com/sites/markhughes/2014/10/07/guardians-of-the-galaxy-could-cross-800-million-at-box-office/\">which proceeded to make all of the money in the world\u003c/a>. Along with a few more \u003cem>Avengers\u003c/em> movies, a \u003cem>GotG \u003c/em>sequel, and a sorcerous franchise-starter called \u003cem>Doctor Strange\u003c/em>, Marvel \u003ca href=\"http://www.bleedingcool.com/2014/10/28/marvel-announces-phase-three-from-2016-including-black-panther-and-thor-ragnarok/\">also announced a 2018 movie called \u003cem>Captain Marvel\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Good name! But who \u003cem>is\u003c/em> Captain Marvel?\u003c/p>\n\u003cp>She (!!!) will be Marvel’s first female headliner of her own movie. After several franchise-spanning appearances by Scarlett Johnasson’s Black Widow, \u003ca href=\"http://www.comicbookresources.com/?page=article&id=54522\">Marvel Studios President Kevin Feige said, “It comes down to timing,”\u003c/a> with regard to a female-led superhero movie. Apparently that time is 2018, \u003ca href=\"http://deadline.com/2014/10/kevin-tsujihara-time-warner-investor-day-warner-bros-ceo-presentation-851823/\">just a year after Warner Bros. releases a \u003cem>Wonder Woman\u003c/em> film\u003c/a>.\u003c/p>\n\u003cp>Captain Marvel's secret identity is Carol Danvers and, in the comics, she was an Air Force officer who was friendly with “Mar-Vell,” an alien who was Marvel’s \u003cem>first \u003c/em>Captain Marvel. In 1977, she became Ms. Marvel (“This Female Fights Back!”), \u003cem>then\u003c/em> she became a half-alien called Binary, \u003cem>then\u003c/em> her consciousness was absorbed by Rogue (\u003ca href=\"http://img2.wikia.nocookie.net/__cb20120402025147/xmenmovies/images/4/4e/Anna-paquin-xmen-rogue.jpg\">Anna Paquin in the \u003cem>X-Men\u003c/em> movies\u003c/a>), \u003cem>then\u003c/em> she was an alcoholic member of the Avengers called \u003ca href=\"http://uncannyxmen.net/sites/default/files/images/crossover/livekree3.jpg\">Warbird\u003c/a>, and finally in 2012 she became, by name, Captain Marvel. Phew!\u003c/p>\n\u003cfigure id=\"attachment_14013\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers.jpg\">\u003cimg class=\"wp-image-14013 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a more thorough history of \u003ca href=\"http://comicsalliance.com/captain-marvel-history-carol-danvers-mar-vell-shazam/\">Marvel’s Captain Marvel over on Comics Alliance\u003c/a>. Of note? For a few years in the 1980s, Captain Marvel was an African-American woman and leader of the Avengers. \u003ca href=\"http://www.comicbookresources.com/?page=article&id=55178\">There was also \u003cem>another\u003c/em> Captain Marvel, currently published by DC Comics, who most folks know as Shazam\u003c/a>. That character is getting his own movie in 2019. Marvel has the trademark for “Captain Marvel” through some legal juggling explained in the links above, but the short version is -- they snapped up the trademark for the character without actually having a character called Captain Marvel and, since the late 1960s, occasionally published a \u003cem>Captain Marvel\u003c/em> series in order to keep the trademark active.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Captain Marvel started out as a male, silver-blonde, albeit alien superhero. But Marvel has a storied history of creating female versions of their characters for trademark purposes. Aside from Wonder Woman (\u003ca href=\"http://www.thedailybeast.com/articles/2014/11/03/wonder-woman-s-creation-story-is-wilder-than-you-could-ever-imagine.html\">whose own story is covered in an excellent new book called \u003cem>The Secret History of Wonder Woman\u003c/em>, by Jill Lepore\u003c/a>), a lot of female superheroes are gender-swapped versions of existing male heroes.\u003c/p>\n\u003cp>In the late 1970s, \u003ca href=\"http://en.wikipedia.org/wiki/The_Incredible_Hulk_%281978_TV_series%29\">\u003cem>The Incredible Hulk\u003c/em>\u003c/a> was a hit TV show for Marvel and CBS. It was an action-adventure series for boys, not dissimilar to \u003ca href=\"http://en.wikipedia.org/wiki/The_Six_Million_Dollar_Man\">\u003cem>The Six Million Dollar Man\u003c/em>\u003c/a>, which was about a cyborg solving people’s problems. \u003cem>The Six Million Dollar Man\u003c/em> was spun off into \u003ca href=\"http://en.wikipedia.org/wiki/The_Bionic_Woman\">\u003cem>The Bionic Woman\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had its parent program’s same premise except with, you know, a lady. Marvel’s contract with the \u003cem>Hulk’s\u003c/em> production company said that any new characters created for the TV show would be owned by the production company, and not Marvel. So before they could scoop Marvel with a Hulk Woman, Marvel created the \u003ca href=\"http://en.wikipedia.org/wiki/She-Hulk\">She-Hulk\u003c/a>.\u003c/p>\n\u003cp>As \u003ca href=\"https://twitter.com/the_moviebob\">Bob Chipman\u003c/a> breaks down more fully in \u003ca href=\"http://www.escapistmagazine.com/videos/view/the-big-picture/9260-She-Hulk-Shaming\">this Big Picture video\u003c/a> called “She-Hulk Shaming,” She-Hulk became one of Marvel’s “quietly subversive creations … sort of progressive, and after a fashion even feminist.” Though, at first, she was called the “Savage She-Hulk,” the character evolved into something much more interesting over the decades. While the, um, He-Hulk turns into a green monster who doesn’t know his own strength, She-Hulk retains her intelligence and memories when she turns green. In most of her appearances, she even retains her profession (when she’s not engaged in superheroics with the Avengers, she’s a practicing attorney).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg\">\u003cimg class=\"alignleft wp-image-14014 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg\" alt=\"03 She-Hulk 2014 excerpt\" width=\"400\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-800x615.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-1440x1107.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg 1600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>While the name “She-Hulk” remains unfortunate, and while the character’s powers are a cut-and-paste job of her cousin the Hulk’s, the fact that she retains her agency and intelligence is progressive. As Chipman says, “A woman in comics who gets powers and doesn’t really suffer for them? That \u003cem>is\u003c/em> new, that \u003cem>is\u003c/em> interesting.”\u003c/p>\n\u003cp>Marvel’s \u003ca href=\"http://en.wikipedia.org/wiki/Spider-Woman_%28Jessica_Drew%29\">Spider-Woman\u003c/a> was introduced in 1978 for similar reasons. \u003ca href=\"http://en.wikipedia.org/wiki/The_Amazing_Spider-Man_%28TV_series%29\">\u003cem>The Amazing Spider-Man\u003c/em>\u003c/a> was a short-lived, live-action series that aired around the same time as \u003cem>The Incredible Hulk\u003c/em>, and then-publisher (\u003ca href=\"http://youtu.be/kLVBcCkVWb0\">and current cameo king\u003c/a>) Stan Lee explained, “I suddenly realized that some other company may quickly put out a book like that and claim they have the right to use the name, and I thought we’d better do it real fast to copyright the name. So we just batted one (out) quickly.”\u003c/p>\n\u003cfigure id=\"attachment_14015\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01.jpg\">\u003cimg class=\"wp-image-14015\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01-400x610.jpg\" alt=\"04 SW01\" width=\"200\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01-400x610.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01.jpg 800w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike She-Hulk, Marvel didn’t try to connect Spider-Woman to her male counterpart. But the downside to that was a character who didn’t have a very solid foundation. In her first appearance, Spider-Woman is literally a spider who has turned into a woman\u003cem>.\u003c/em> This was \u003ca href=\"http://en.wikipedia.org/wiki/Retroactive_continuity\">retconned\u003c/a> to be a memory implant and she was recast as a spy (later a double-agent {later still, a triple-agent}). Her series didn’t last long, but, like most superheroes, she appears and reappears with new powers, new secret identities, and a new number-one-issue every few years. Most recently, \u003ca href=\"http://popwatch.ew.com/2014/08/20/spider-woman-derriere-posterior-rump/\">she was briefly controversial for being something of a contortionist\u003c/a>.\u003c/p>\n\u003cp>Copyrights and trademarks are hella complicated, but even though Marvel recently cancelled She-Hulk’s latest monthly series, it won’t be too long before it returns. They have to use the trademark to retain it, and using trademarks is not something they have trouble doing.\u003c/p>\n\u003cp>So after all of this, with so many female superheroes to choose from, why is Captain Marvel the first from Marvel Studios to headline her own feature? \u003ca href=\"http://carolcorps.tumblr.com/\">Enter the Carol Corps\u003c/a>.\u003c/p>\n\u003cp>Both Carol Danvers and Captain Marvel have been around since the late 1960s, but Carol \u003cem>as \u003c/em>Captain Marvel is a relatively new creation. The upside to having to regularly use a trademark like Captain Marvel, even though the character has never found much success, means Marvel is willing to try something new every few years. Carol graduated from Ms. Marvel to Captain Marvel in 2012 with a cool new costume and design. She left her one-piece swimsuit and thigh-boots behind and got a really cool haircut. Cosplayers, a growing and sizable audience at comics conventions, started showing off some equally impressive Captain Marvel outfits pretty much right away.\u003c/p>\n\u003cp>Earlier this year -- before the movie was announced -- \u003ca href=\"http://www.wired.com/2014/04/captain-marvel-carol-corps/\">Wired\u003c/a> talked to former \u003cem>Captain Marvel \u003c/em>writer \u003ca href=\"https://twitter.com/kellysue\">Kelly Sue DeConnick\u003c/a> about the Carol Corps and the new Captain Marvel.\u003c/p>\n\u003cp>“It is not a formal organization,” she said. “There are no rules. People write and ask me all the time, ‘How do I join the Carol Corps?’ You join Carol Corps by saying you are Carol Corps.”\u003c/p>\n\u003cfigure id=\"attachment_14016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int.jpg\">\u003cimg class=\"wp-image-14016 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s the key to the new Captain Marvel’s popularity: inclusivity. If the stereotype of a superhero fan is pointlessly academic arguments about who is stronger, the Hulk or the Thing, the Carol Corps is about being part of a group, and -- finally -- seeing a character who looks like you in the comic books you like to read.\u003c/p>\n\u003cp>A \u003cem>Captain Marvel\u003c/em> reader and Carol Corps member named Jennifer DePrey told Wired she, “always kind of avoided superhero comics. If I was looking for a superhero that I felt was like me, her costume was a bikini and thigh-high boots or had a boob window.”\u003c/p>\n\u003cp>But that changed with the Carol Danvers Captain Marvel.\u003c/p>\n\u003cp>“One issue in, I was like, ‘This is my superhero. This is the character I wish I’d had when I was 12.”\u003c/p>\n\u003cfigure id=\"attachment_14017\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover.jpg\">\u003cimg class=\"wp-image-14017\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg\" alt=\"Photo: Marvel\" width=\"200\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-800x1230.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover.jpg 954w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>With Carol as Captain, and since no trademark must lay fallow in the field, there’s a new Ms. Marvel, too. Her secret identity is Kamala Khan, and she’s a sixteen-year-old Pakistani-American Muslim. Marvel, which does not release hard digital sales numbers, says \u003ca href=\"http://comicsbeat.com/ms-marvel-is-marvels-1-digital-seller/\">\u003cem>Ms. Marvel\u003c/em> is their #1 digital seller\u003c/a>. Maybe this version of Ms. Marvel only exists to retain the trademark, but no matter the reasoning, there is a teenage Muslim superhero being published by Marvel Comics. That’s not just “quietly subversive” -- that’s crazy cool.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel a little weird wading into the business side of art, but Marvel is owned by Disney, and superheroes are big business. And if maintaining trademarks, growing brand awareness, and corporate synergy can lead to the representation -- on the comics page or the silver screen -- of folks who aren’t used to seeing themselves portrayed as fully realized characters with emotional depth and really rad superpowers? Well, that’s kind of hard to argue with, isn’t it?\u003c/p>\n\n","blocks":[],"excerpt":"How something as corporate/boring as maintaining trademarks led to better representation of women in comic books.","status":"publish","parent":0,"modified":1415310802,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1539},"headData":{"title":"Captain Marvel: The Surprising History of How Female Superheroes Came to Be | KQED","description":"How something as corporate/boring as maintaining trademarks led to better representation of women in comic books.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Captain Marvel: The Surprising History of How Female Superheroes Came to Be","datePublished":"2014-11-06T21:53:21.000Z","dateModified":"2014-11-06T21:53:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"14011 http://ww2.kqed.org/pop/?p=14011","disqusUrl":"https://ww2.kqed.org/pop/2014/11/06/captain-marvel-the-surprising-history-of-how-female-superheroes-came-to-be/","disqusTitle":"Captain Marvel: The Surprising History of How Female Superheroes Came to Be","path":"/pop/14011/captain-marvel-the-surprising-history-of-how-female-superheroes-came-to-be","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Matthew Jent\u003c/strong>\u003c/p>\n\u003cp>Marvel Studios recently announced their \"phase three\" line of feature films. Phases are a thing the Marvel Studios folks like to break their movies down into, roughly broken up by new \u003cem>Avengers\u003c/em> movies. Phase two introduced \u003ca href=\"http://en.wikipedia.org/wiki/Guardians_of_the_Galaxy_%28film%29\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> this summer, \u003ca href=\"http://www.forbes.com/sites/markhughes/2014/10/07/guardians-of-the-galaxy-could-cross-800-million-at-box-office/\">which proceeded to make all of the money in the world\u003c/a>. Along with a few more \u003cem>Avengers\u003c/em> movies, a \u003cem>GotG \u003c/em>sequel, and a sorcerous franchise-starter called \u003cem>Doctor Strange\u003c/em>, Marvel \u003ca href=\"http://www.bleedingcool.com/2014/10/28/marvel-announces-phase-three-from-2016-including-black-panther-and-thor-ragnarok/\">also announced a 2018 movie called \u003cem>Captain Marvel\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Good name! But who \u003cem>is\u003c/em> Captain Marvel?\u003c/p>\n\u003cp>She (!!!) will be Marvel’s first female headliner of her own movie. After several franchise-spanning appearances by Scarlett Johnasson’s Black Widow, \u003ca href=\"http://www.comicbookresources.com/?page=article&id=54522\">Marvel Studios President Kevin Feige said, “It comes down to timing,”\u003c/a> with regard to a female-led superhero movie. Apparently that time is 2018, \u003ca href=\"http://deadline.com/2014/10/kevin-tsujihara-time-warner-investor-day-warner-bros-ceo-presentation-851823/\">just a year after Warner Bros. releases a \u003cem>Wonder Woman\u003c/em> film\u003c/a>.\u003c/p>\n\u003cp>Captain Marvel's secret identity is Carol Danvers and, in the comics, she was an Air Force officer who was friendly with “Mar-Vell,” an alien who was Marvel’s \u003cem>first \u003c/em>Captain Marvel. In 1977, she became Ms. Marvel (“This Female Fights Back!”), \u003cem>then\u003c/em> she became a half-alien called Binary, \u003cem>then\u003c/em> her consciousness was absorbed by Rogue (\u003ca href=\"http://img2.wikia.nocookie.net/__cb20120402025147/xmenmovies/images/4/4e/Anna-paquin-xmen-rogue.jpg\">Anna Paquin in the \u003cem>X-Men\u003c/em> movies\u003c/a>), \u003cem>then\u003c/em> she was an alcoholic member of the Avengers called \u003ca href=\"http://uncannyxmen.net/sites/default/files/images/crossover/livekree3.jpg\">Warbird\u003c/a>, and finally in 2012 she became, by name, Captain Marvel. Phew!\u003c/p>\n\u003cfigure id=\"attachment_14013\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers.jpg\">\u003cimg class=\"wp-image-14013 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a more thorough history of \u003ca href=\"http://comicsalliance.com/captain-marvel-history-carol-danvers-mar-vell-shazam/\">Marvel’s Captain Marvel over on Comics Alliance\u003c/a>. Of note? For a few years in the 1980s, Captain Marvel was an African-American woman and leader of the Avengers. \u003ca href=\"http://www.comicbookresources.com/?page=article&id=55178\">There was also \u003cem>another\u003c/em> Captain Marvel, currently published by DC Comics, who most folks know as Shazam\u003c/a>. That character is getting his own movie in 2019. Marvel has the trademark for “Captain Marvel” through some legal juggling explained in the links above, but the short version is -- they snapped up the trademark for the character without actually having a character called Captain Marvel and, since the late 1960s, occasionally published a \u003cem>Captain Marvel\u003c/em> series in order to keep the trademark active.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Captain Marvel started out as a male, silver-blonde, albeit alien superhero. But Marvel has a storied history of creating female versions of their characters for trademark purposes. Aside from Wonder Woman (\u003ca href=\"http://www.thedailybeast.com/articles/2014/11/03/wonder-woman-s-creation-story-is-wilder-than-you-could-ever-imagine.html\">whose own story is covered in an excellent new book called \u003cem>The Secret History of Wonder Woman\u003c/em>, by Jill Lepore\u003c/a>), a lot of female superheroes are gender-swapped versions of existing male heroes.\u003c/p>\n\u003cp>In the late 1970s, \u003ca href=\"http://en.wikipedia.org/wiki/The_Incredible_Hulk_%281978_TV_series%29\">\u003cem>The Incredible Hulk\u003c/em>\u003c/a> was a hit TV show for Marvel and CBS. It was an action-adventure series for boys, not dissimilar to \u003ca href=\"http://en.wikipedia.org/wiki/The_Six_Million_Dollar_Man\">\u003cem>The Six Million Dollar Man\u003c/em>\u003c/a>, which was about a cyborg solving people’s problems. \u003cem>The Six Million Dollar Man\u003c/em> was spun off into \u003ca href=\"http://en.wikipedia.org/wiki/The_Bionic_Woman\">\u003cem>The Bionic Woman\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had its parent program’s same premise except with, you know, a lady. Marvel’s contract with the \u003cem>Hulk’s\u003c/em> production company said that any new characters created for the TV show would be owned by the production company, and not Marvel. So before they could scoop Marvel with a Hulk Woman, Marvel created the \u003ca href=\"http://en.wikipedia.org/wiki/She-Hulk\">She-Hulk\u003c/a>.\u003c/p>\n\u003cp>As \u003ca href=\"https://twitter.com/the_moviebob\">Bob Chipman\u003c/a> breaks down more fully in \u003ca href=\"http://www.escapistmagazine.com/videos/view/the-big-picture/9260-She-Hulk-Shaming\">this Big Picture video\u003c/a> called “She-Hulk Shaming,” She-Hulk became one of Marvel’s “quietly subversive creations … sort of progressive, and after a fashion even feminist.” Though, at first, she was called the “Savage She-Hulk,” the character evolved into something much more interesting over the decades. While the, um, He-Hulk turns into a green monster who doesn’t know his own strength, She-Hulk retains her intelligence and memories when she turns green. In most of her appearances, she even retains her profession (when she’s not engaged in superheroics with the Avengers, she’s a practicing attorney).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg\">\u003cimg class=\"alignleft wp-image-14014 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg\" alt=\"03 She-Hulk 2014 excerpt\" width=\"400\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-800x615.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-1440x1107.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg 1600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>While the name “She-Hulk” remains unfortunate, and while the character’s powers are a cut-and-paste job of her cousin the Hulk’s, the fact that she retains her agency and intelligence is progressive. As Chipman says, “A woman in comics who gets powers and doesn’t really suffer for them? That \u003cem>is\u003c/em> new, that \u003cem>is\u003c/em> interesting.”\u003c/p>\n\u003cp>Marvel’s \u003ca href=\"http://en.wikipedia.org/wiki/Spider-Woman_%28Jessica_Drew%29\">Spider-Woman\u003c/a> was introduced in 1978 for similar reasons. \u003ca href=\"http://en.wikipedia.org/wiki/The_Amazing_Spider-Man_%28TV_series%29\">\u003cem>The Amazing Spider-Man\u003c/em>\u003c/a> was a short-lived, live-action series that aired around the same time as \u003cem>The Incredible Hulk\u003c/em>, and then-publisher (\u003ca href=\"http://youtu.be/kLVBcCkVWb0\">and current cameo king\u003c/a>) Stan Lee explained, “I suddenly realized that some other company may quickly put out a book like that and claim they have the right to use the name, and I thought we’d better do it real fast to copyright the name. So we just batted one (out) quickly.”\u003c/p>\n\u003cfigure id=\"attachment_14015\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01.jpg\">\u003cimg class=\"wp-image-14015\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01-400x610.jpg\" alt=\"04 SW01\" width=\"200\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01-400x610.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01.jpg 800w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike She-Hulk, Marvel didn’t try to connect Spider-Woman to her male counterpart. But the downside to that was a character who didn’t have a very solid foundation. In her first appearance, Spider-Woman is literally a spider who has turned into a woman\u003cem>.\u003c/em> This was \u003ca href=\"http://en.wikipedia.org/wiki/Retroactive_continuity\">retconned\u003c/a> to be a memory implant and she was recast as a spy (later a double-agent {later still, a triple-agent}). Her series didn’t last long, but, like most superheroes, she appears and reappears with new powers, new secret identities, and a new number-one-issue every few years. Most recently, \u003ca href=\"http://popwatch.ew.com/2014/08/20/spider-woman-derriere-posterior-rump/\">she was briefly controversial for being something of a contortionist\u003c/a>.\u003c/p>\n\u003cp>Copyrights and trademarks are hella complicated, but even though Marvel recently cancelled She-Hulk’s latest monthly series, it won’t be too long before it returns. They have to use the trademark to retain it, and using trademarks is not something they have trouble doing.\u003c/p>\n\u003cp>So after all of this, with so many female superheroes to choose from, why is Captain Marvel the first from Marvel Studios to headline her own feature? \u003ca href=\"http://carolcorps.tumblr.com/\">Enter the Carol Corps\u003c/a>.\u003c/p>\n\u003cp>Both Carol Danvers and Captain Marvel have been around since the late 1960s, but Carol \u003cem>as \u003c/em>Captain Marvel is a relatively new creation. The upside to having to regularly use a trademark like Captain Marvel, even though the character has never found much success, means Marvel is willing to try something new every few years. Carol graduated from Ms. Marvel to Captain Marvel in 2012 with a cool new costume and design. She left her one-piece swimsuit and thigh-boots behind and got a really cool haircut. Cosplayers, a growing and sizable audience at comics conventions, started showing off some equally impressive Captain Marvel outfits pretty much right away.\u003c/p>\n\u003cp>Earlier this year -- before the movie was announced -- \u003ca href=\"http://www.wired.com/2014/04/captain-marvel-carol-corps/\">Wired\u003c/a> talked to former \u003cem>Captain Marvel \u003c/em>writer \u003ca href=\"https://twitter.com/kellysue\">Kelly Sue DeConnick\u003c/a> about the Carol Corps and the new Captain Marvel.\u003c/p>\n\u003cp>“It is not a formal organization,” she said. “There are no rules. People write and ask me all the time, ‘How do I join the Carol Corps?’ You join Carol Corps by saying you are Carol Corps.”\u003c/p>\n\u003cfigure id=\"attachment_14016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int.jpg\">\u003cimg class=\"wp-image-14016 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s the key to the new Captain Marvel’s popularity: inclusivity. If the stereotype of a superhero fan is pointlessly academic arguments about who is stronger, the Hulk or the Thing, the Carol Corps is about being part of a group, and -- finally -- seeing a character who looks like you in the comic books you like to read.\u003c/p>\n\u003cp>A \u003cem>Captain Marvel\u003c/em> reader and Carol Corps member named Jennifer DePrey told Wired she, “always kind of avoided superhero comics. If I was looking for a superhero that I felt was like me, her costume was a bikini and thigh-high boots or had a boob window.”\u003c/p>\n\u003cp>But that changed with the Carol Danvers Captain Marvel.\u003c/p>\n\u003cp>“One issue in, I was like, ‘This is my superhero. This is the character I wish I’d had when I was 12.”\u003c/p>\n\u003cfigure id=\"attachment_14017\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover.jpg\">\u003cimg class=\"wp-image-14017\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg\" alt=\"Photo: Marvel\" width=\"200\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-800x1230.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover.jpg 954w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>With Carol as Captain, and since no trademark must lay fallow in the field, there’s a new Ms. Marvel, too. Her secret identity is Kamala Khan, and she’s a sixteen-year-old Pakistani-American Muslim. Marvel, which does not release hard digital sales numbers, says \u003ca href=\"http://comicsbeat.com/ms-marvel-is-marvels-1-digital-seller/\">\u003cem>Ms. Marvel\u003c/em> is their #1 digital seller\u003c/a>. Maybe this version of Ms. Marvel only exists to retain the trademark, but no matter the reasoning, there is a teenage Muslim superhero being published by Marvel Comics. That’s not just “quietly subversive” -- that’s crazy cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel a little weird wading into the business side of art, but Marvel is owned by Disney, and superheroes are big business. And if maintaining trademarks, growing brand awareness, and corporate synergy can lead to the representation -- on the comics page or the silver screen -- of folks who aren’t used to seeing themselves portrayed as fully realized characters with emotional depth and really rad superpowers? Well, that’s kind of hard to argue with, isn’t it?\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/14011/captain-marvel-the-surprising-history-of-how-female-superheroes-came-to-be","authors":["2421"],"categories":["pop_51"],"tags":["pop_965","pop_197","pop_756","pop_1044"],"featImg":"pop_14018","label":"pop"},"pop_12993":{"type":"posts","id":"pop_12993","meta":{"index":"posts_1591205157","site":"pop","id":"12993","score":null,"sort":[1406304158000]},"guestAuthors":[],"slug":"5-essential-things-i-learned-at-comic-con","title":"5 Essential Things I Learned At Comic-Con","publishDate":1406304158,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_12995\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-12995\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/800px-Chicago_Comic_Con.jpg\" alt=\"Photo: Wikipedia\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/800px-Chicago_Comic_Con.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/800px-Chicago_Comic_Con-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Chicago_Comic_Con.jpg\">Wikipedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cstrong>By Kimra McPherson\u003c/strong>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003ca href=\"www.comic-con.org\" target=\"_blank\">\u003cspan class=\"Hyperlink__Char\" style=\"color: #0000ff\">\u003cspan class=\"Hyperlink__Char\">Comic-Con International\u003c/span>\u003c/span>\u003c/a>\u003cspan class=\"Normal__Char\">, the annual celebration of fan culture, is under way in San Diego. From the outside, it looks like a blur of costumes, superhero news, TV and movie gossip, and maybe a graphic novel or two. But there's plenty happening at Comic-Con that you wouldn't necessarily discover unless you entered nerddom's most hallowed halls. As a two-time veteran of Comic-Con (2008 and 2010), I've still only seen a sliver of the sprawling event, which continues to expand beyond the San Diego Convention Center walls and gobble up every hotel ballroom in its sights. But those trips were enough to discover these five essential things about Comic-Con that I wouldn't have known had I not experienced them for myself.\u003c/span>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">\u003cimg class=\"alignright size-thumbnail wp-image-12996\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/comic-con-lines-360x270.jpg\" alt=\"comic-con lines\" width=\"360\" height=\"270\">A lot of Comic-Con is standing in lines.\u003c/span>\u003cspan class=\"Normal__Char\"> Lines to get into the convention center. Lines to get into panel rooms. Lines to get free posters. Lines to buy stale pretzels. Lines to get things signed. Lines to get the shuttle back to the hotel (that is six blocks away). Lines that intersect in such complicated ways that there's a whole system of hallway crossings. Once, when I was trying to get into a \u003cem>Mystery Science Theater 3000\u003c/em> panel, security guards capped the official line — so then there was a line to get in line. But the lines aren't all bad. They're where some of the best socializing happens — since once you get inside a panel room, you're mostly not talking — and there can be a \"we're all in this together\" vibe, a collective realization that waiting for hours to see famous people very far away talk about a movie you haven't seen yet is kind of dumb, but you're all going to do it anyway.\u003c/span>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">Comic-Con programming reveals any gulf between something's perceived popularity and its actual fan support.\u003c/span>\u003cspan class=\"Normal__Char\"> Granted, Comic-Con doesn't cater to every audience, so it's not a representative sample. But it's still interesting when something in a smaller room draws three times the crowd that can actually fit inside, or when something in one of the huge rooms barely gets warm bodies in half the seats. It can be a first sign that a once-beloved property is dying or that a previously ignored one has suddenly grabbed a new audience. A couple of years ago, many of the biggest TV shows got showcases in the Con's largest hall, a sign of TV's cultural ascendency (or, just a sign that it wasn't a great year for movies). It's not a perfect cultural barometer, but it's a pretty good survey of those most inclined to be obsessive when they love something.\u003c/span>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">You have to sit through a lot of things you don't care about just to get to the one you do. \u003c/span>\u003cspan class=\"Normal__Char\">Let's say the one thing you want to do, more than anything, is to see the panel for \u003cem>True Blood\u003c/em> (this year, Saturday at 5 pm). Because of the aforementioned lines — and because once you're in a room, you've got your seat for the day, since nobody kicks the crowd out between sessions — the only way to guarantee your spot is to get in early. The price of your coveted Ballroom 20 seat? Sitting through panels on things you might not even enjoy, like \u003cem>American Dad\u003c/em> or \u003cem>Grimm\u003c/em>. That said, ballroom-squatting is where some of the best discovery at Comic-Con happens. Since you can't really leave, you might as well find your new favorite thing while you wait for your old favorite thing to take the stage.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">\u003cimg class=\"alignleft size-thumbnail wp-image-12997\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/klingon-takeover--270x360.jpg\" alt=\"klingon takeover\" width=\"270\" height=\"360\">If you don't know what it is, it's probably marketing. \u003c/span>\u003cspan class=\"Normal__Char\">Foam people floating in the sky? Marketing. Rubber wristbands with mysterious initials on them? Marketing. Guys wearing Secret Service-looking suits and earpieces handing out manilla envelopes with codes in them? Marketing. Street sign in Klingon? Marketing. Random obstacle course in a hotel courtyard? Marketing. Novelty food truck? \u003cspan class=\"Normal__Char\" style=\"font-style: italic\">Definitely\u003c/span> marketing. For what? Who knows. By the end of any four-day stint at Comic-Con, I could probably only understand 30% of the stuff that got handed to me on the street.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">There are multiple Comic-Cons within Comic-Con.\u003c/span>\u003cspan class=\"Normal__Char\"> When I was preparing for my first Comic-Con, I encountered a lot of think pieces lamenting the evolution of the Con into a promotional vehicle for television and movies. The cry would come: \"But where are the \u003cspan class=\"Normal__Char\" style=\"font-style: italic\">comics\u003c/span>?\" But oh, the comics are still there. They're just one element of many Cons-within-a-Con: Comics people. Gamers. Cosplay-ers. Fans of all vampire things. Indie artists. Nerd-comedy TV people. Sci-fi TV people. Animated TV people. Steampunks. Gleeks. Everyone's there together in one weird mixed-up soup of fandom — and that's one of the things that makes Comic-Con special.\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Things you would only know if you have been to Comic-Con.","status":"publish","parent":0,"modified":1406304158,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":2,"wordCount":854},"headData":{"title":"5 Essential Things I Learned At Comic-Con | KQED","description":"Things you would only know if you have been to Comic-Con.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 Essential Things I Learned At Comic-Con","datePublished":"2014-07-25T16:02:38.000Z","dateModified":"2014-07-25T16:02:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"12993 http://blogs.kqed.org/pop/?p=12993","disqusUrl":"https://ww2.kqed.org/pop/2014/07/25/5-essential-things-i-learned-at-comic-con/","disqusTitle":"5 Essential Things I Learned At Comic-Con","path":"/pop/12993/5-essential-things-i-learned-at-comic-con","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12995\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-12995\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/800px-Chicago_Comic_Con.jpg\" alt=\"Photo: Wikipedia\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/800px-Chicago_Comic_Con.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/800px-Chicago_Comic_Con-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://commons.wikimedia.org/wiki/File:Chicago_Comic_Con.jpg\">Wikipedia\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cstrong>By Kimra McPherson\u003c/strong>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003ca href=\"www.comic-con.org\" target=\"_blank\">\u003cspan class=\"Hyperlink__Char\" style=\"color: #0000ff\">\u003cspan class=\"Hyperlink__Char\">Comic-Con International\u003c/span>\u003c/span>\u003c/a>\u003cspan class=\"Normal__Char\">, the annual celebration of fan culture, is under way in San Diego. From the outside, it looks like a blur of costumes, superhero news, TV and movie gossip, and maybe a graphic novel or two. But there's plenty happening at Comic-Con that you wouldn't necessarily discover unless you entered nerddom's most hallowed halls. As a two-time veteran of Comic-Con (2008 and 2010), I've still only seen a sliver of the sprawling event, which continues to expand beyond the San Diego Convention Center walls and gobble up every hotel ballroom in its sights. But those trips were enough to discover these five essential things about Comic-Con that I wouldn't have known had I not experienced them for myself.\u003c/span>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">\u003cimg class=\"alignright size-thumbnail wp-image-12996\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/comic-con-lines-360x270.jpg\" alt=\"comic-con lines\" width=\"360\" height=\"270\">A lot of Comic-Con is standing in lines.\u003c/span>\u003cspan class=\"Normal__Char\"> Lines to get into the convention center. Lines to get into panel rooms. Lines to get free posters. Lines to buy stale pretzels. Lines to get things signed. Lines to get the shuttle back to the hotel (that is six blocks away). Lines that intersect in such complicated ways that there's a whole system of hallway crossings. Once, when I was trying to get into a \u003cem>Mystery Science Theater 3000\u003c/em> panel, security guards capped the official line — so then there was a line to get in line. But the lines aren't all bad. They're where some of the best socializing happens — since once you get inside a panel room, you're mostly not talking — and there can be a \"we're all in this together\" vibe, a collective realization that waiting for hours to see famous people very far away talk about a movie you haven't seen yet is kind of dumb, but you're all going to do it anyway.\u003c/span>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">Comic-Con programming reveals any gulf between something's perceived popularity and its actual fan support.\u003c/span>\u003cspan class=\"Normal__Char\"> Granted, Comic-Con doesn't cater to every audience, so it's not a representative sample. But it's still interesting when something in a smaller room draws three times the crowd that can actually fit inside, or when something in one of the huge rooms barely gets warm bodies in half the seats. It can be a first sign that a once-beloved property is dying or that a previously ignored one has suddenly grabbed a new audience. A couple of years ago, many of the biggest TV shows got showcases in the Con's largest hall, a sign of TV's cultural ascendency (or, just a sign that it wasn't a great year for movies). It's not a perfect cultural barometer, but it's a pretty good survey of those most inclined to be obsessive when they love something.\u003c/span>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">You have to sit through a lot of things you don't care about just to get to the one you do. \u003c/span>\u003cspan class=\"Normal__Char\">Let's say the one thing you want to do, more than anything, is to see the panel for \u003cem>True Blood\u003c/em> (this year, Saturday at 5 pm). Because of the aforementioned lines — and because once you're in a room, you've got your seat for the day, since nobody kicks the crowd out between sessions — the only way to guarantee your spot is to get in early. The price of your coveted Ballroom 20 seat? Sitting through panels on things you might not even enjoy, like \u003cem>American Dad\u003c/em> or \u003cem>Grimm\u003c/em>. That said, ballroom-squatting is where some of the best discovery at Comic-Con happens. Since you can't really leave, you might as well find your new favorite thing while you wait for your old favorite thing to take the stage.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">\u003cimg class=\"alignleft size-thumbnail wp-image-12997\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/klingon-takeover--270x360.jpg\" alt=\"klingon takeover\" width=\"270\" height=\"360\">If you don't know what it is, it's probably marketing. \u003c/span>\u003cspan class=\"Normal__Char\">Foam people floating in the sky? Marketing. Rubber wristbands with mysterious initials on them? Marketing. Guys wearing Secret Service-looking suits and earpieces handing out manilla envelopes with codes in them? Marketing. Street sign in Klingon? Marketing. Random obstacle course in a hotel courtyard? Marketing. Novelty food truck? \u003cspan class=\"Normal__Char\" style=\"font-style: italic\">Definitely\u003c/span> marketing. For what? Who knows. By the end of any four-day stint at Comic-Con, I could probably only understand 30% of the stuff that got handed to me on the street.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"Normal\" style=\"color: #000000\">\u003cspan class=\"Normal__Char\" style=\"font-weight: bold\">There are multiple Comic-Cons within Comic-Con.\u003c/span>\u003cspan class=\"Normal__Char\"> When I was preparing for my first Comic-Con, I encountered a lot of think pieces lamenting the evolution of the Con into a promotional vehicle for television and movies. The cry would come: \"But where are the \u003cspan class=\"Normal__Char\" style=\"font-style: italic\">comics\u003c/span>?\" But oh, the comics are still there. They're just one element of many Cons-within-a-Con: Comics people. Gamers. Cosplay-ers. Fans of all vampire things. Indie artists. Nerd-comedy TV people. Sci-fi TV people. Animated TV people. Steampunks. Gleeks. Everyone's there together in one weird mixed-up soup of fandom — and that's one of the things that makes Comic-Con special.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/12993/5-essential-things-i-learned-at-comic-con","authors":["2421"],"categories":["pop_51","pop_1041"],"tags":["pop_1645","pop_965"],"featImg":"pop_12994","label":"pop"},"pop_12290":{"type":"posts","id":"pop_12290","meta":{"index":"posts_1591205157","site":"pop","id":"12290","score":null,"sort":[1401980543000]},"guestAuthors":[],"slug":"wanted-movie-superheroes-who-arent-straight-white-men","title":"Wanted: Movie Superheroes Who Aren't Straight White Men","publishDate":1401980543,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_12348\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/storm-phantom-marvel/\" rel=\"attachment wp-att-12348\">\u003cimg class=\"size-full wp-image-12348\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/storm-phantom-marvel.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/storm-phantom-marvel.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/storm-phantom-marvel-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Superman. Batman. Iron Man. Captain America. Wolverine. All beloved comic book superheroes with big screen adaptations that live up to their legends. And all heterosexual white guys.\u003c/p>\n\u003cp>Not that there's anything wrong with heterosexual white guys (some of my best friends are heterosexual white guys), but when the world is made up of a significant amount of different kinds of people, why aren't there more big screen heroes to reflect that? It's a question that I pondered especially hard when I found out that Ant-Man is getting his own movie. Yes, Ant-Man; another heterosexual white guy and a third-string hero at best (apologies, diehard Ant-Man fans). Why are we resorting to an Ant-Man film when comic books have some great heroes to choose from that reflect the rest of the population with compelling stories of their own?\u003c/p>\n\u003cp>Here are some of the best superheroes beyond the usual heterosexual white guys, who deserve a big screen outing of their own. Some are classics (Storm, The Question) and some are a little less known (Apollo and Midnighter), but all are needed to bring a little diversity to the current crop of caped crusaders on screen today.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Black Panther (Marvel Comics, African American)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12341\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/phantom-marvel/\" rel=\"attachment wp-att-12341\">\u003cimg class=\"size-full wp-image-12341\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/phantom-marvel.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/phantom-marvel.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/phantom-marvel-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Black Panther has the distinction of being (arguably) the first African American superhero. Before the Falcon, Storm, Luke Cage or the John Stewart-era Green Lantern, there was T'Challa, a.k.a. the one and only Black Panther. T'Challa's story starts in Africa, where he is the chief of the panther tribe of Wakanda and defender of his hidden nation. As chief, the Panther has access to magical artifacts and herbs that enhance his agility, strength and senses to superhuman heights. Later in his career, he joins the Avengers, but not before he meets his true love, a girl from a neighboring tribe named Ororo Munroe, a.k.a. Storm. The two are eventually married, making for one of the best superhero couplings since forever. Another fun fact: Black Panther's publication actually predates the founding of the Black Panther Political Party by about four months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mantis (Marvel Comics, Vietnamese and German) \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12340\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/mantis_1970s_avengers_h1/\" rel=\"attachment wp-att-12340\">\u003cimg class=\"wp-image-12340\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Mantis_1970s_Avengers_h1.jpg\" alt=\"Mantis_1970s_Avengers_h1\" width=\"640\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/Mantis_1970s_Avengers_h1.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/Mantis_1970s_Avengers_h1-400x232.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>The half-Vietnamese, half-German Mantis has a celestial backstory more complicated than even Wolverine's amnesia plotlines (at one point, she's thought to be some kind of outer-space Madonna primed to birth an alien messiah, you know, as one does). Her powers include a mastery of martial arts, advanced control over her autonomic functions (heartbeat, blood loss, body temperature) and an ability to astral project. Mantis is such a powerful empath she's even able to find weakness in Norse God Thor and quickly overpowers him. One of her more compelling character arcs is a period as a sex worker in Vietnam. Let's see \u003cem>that\u003c/em> in the next \u003cem>Avengers\u003c/em> movie (a team Mantis eventually joins).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Storm (Marvel Comics, African)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12342\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/3207391-storm/\" rel=\"attachment wp-att-12342\">\u003cimg class=\"wp-image-12342\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/3207391-storm-1024x607.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"380\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>I know that Storm has already technically had four big screen outings in the X-Men series (five if you count her childhood cameo in \u003cem>X-Men: First Class\u003c/em>), but seriously, let's talk about an underused character. Mystique and Jean Grey aside, most of the women in X-Men are criminally underused. If ever there was a Marvel woman worthy of a spin-off, it's Storm. Between her childhood divided as a orphan pickpocket in Egypt and a weather witch worshipped by an African tribe as a goddess, her superior superpowers (seriously, she could end this drought in twenty minutes with a white-eyed summoning of heavy rain) and one of the most iconic heroine looks in all comiclandia, she's got more than enough heft to carry an entire film. What makes Storm's underuse all the worse is that Academy Award winner Halle Berry keeps coming back to the part \u003cem>desperate\u003c/em> to do something other than play sidekick to the men. Bryan Singer, please consider a standalone Storm feature. I want to see Halle \"let it go\" like that chick in \u003cem>Frozen\u003c/em> and freeze an entire slew of baddies in a magical CGI blizzard. If Halle is tired of the role, wouldn't \u003cem>Scandal\u003c/em>'s Kerry Washington be a great new choice? She's got the acting chops, the attitude and she's already a sort of heroine on TV.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Vixen (D.C. Comics, African)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12343\" class=\"wp-caption aligncenter\" style=\"max-width: 545px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/vixen_002/\" rel=\"attachment wp-att-12343\">\u003cimg class=\"wp-image-12343 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Vixen_002.jpg\" alt=\"Vixen_002\" width=\"545\" height=\"432\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/Vixen_002.jpg 545w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/Vixen_002-400x317.jpg 400w\" sizes=\"(max-width: 545px) 100vw, 545px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: D.C. Comics\u003c/figcaption>\u003c/figure>\n\u003cp>From the minute I saw Lupita Nyong'o, I hoped that Hollywood would wake up and cast her as one of the best black heroines since Storm. Since then, there's been a few rumors this might actually come to pass! Vixen's powers and backstory are tied to her African roots, making African born Nyong'o a match in more ways than just her incredible resemblance to some incarnations of the character. Born Mari Jiwe McCabe in the fictional nation of Zambesi, Mari is the latest in a long line of Tantu descendants to wield the power of the legendary Tantu Totem, which gives her the power to assume animal abilities to protect the innocent. To get the totem, she first has to battle her warlord uncle and (gasp) survive life in the fashion industry as a model. A superheroine of color who also serves as an indictment on the white-ideal-obsessed modeling industry? Yes, please! In the meantime, let's just hope Nyong'o's role in the new \u003cem>Star Wars\u003c/em> film contains enough action that D.C. decides they'd be fools not to build a Vixen series around her.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Aztek (D.C. Comics, Latino) \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12344\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/aztek_011/\" rel=\"attachment wp-att-12344\">\u003cimg class=\"wp-image-12344\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Aztek_011-1024x364.jpg\" alt=\"Aztek_011\" width=\"640\" height=\"228\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: D.C. Comics\u003c/figcaption>\u003c/figure>\n\u003cp>Not since Wonder Woman's origins in Greek mythology has a superhero used existing myths and legends to such great effect. Aztec was born Uno, a child raised to one day be the champion of the god Quetzacoatl to battle the evil Tezcatipoca. Like Wonder Woman, he uses a magic suit of armor handed down by the gods to enhance his powers and abilities. His superpowers include flight, god-like strength, body camouflage, as well as manipulation of his body mass. Another cool aspect of this hero is that he was blind for a while (like Daredevil before him), adding him to the list of differently-abled heroes that includes the great Charles Xavier.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Apollo and Midnighter (Wildstorm, Gay Couple)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12345\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/apollo-midnighter/\" rel=\"attachment wp-att-12345\">\u003cimg class=\"wp-image-12345\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Apollo-Midnighter.jpg\" alt=\"Apollo-Midnighter\" width=\"640\" height=\"269\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/Apollo-Midnighter.jpg 658w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/Apollo-Midnighter-400x168.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Wildstorm\u003c/figcaption>\u003c/figure>\n\u003cp>Authority members Apollo and Midnighter are as close as superhero partners can get. Well, actually...they're closer. If Batman and Superman were in a romantic relationship, they'd basically be Apollo and Midnighter, the gay superhero couple from Wildstorm's \u003cem>Stormwatch\u003c/em> series. The gritty, not always clearly moral characters (there's far more killing in Wildstorm comics than in Marvel and D.C.) are dark and conflicted, but never waver in their marriage. I wish all gay little boys could get their hands on some Apollo and Midnighter comics. Not only would they learn heroes come in all forms and sexualities, but they'd also get to hope to one day meet an Apollo or Midnighter of their very own.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Question/Renee Montoya (D.C. Comics, Latina, Lesbian)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/87_reneemontoya/\" rel=\"attachment wp-att-12346\">\u003cimg class=\"wp-image-12346\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/87_ReneeMontoya.jpg\" alt=\"87_ReneeMontoya\" width=\"640\" height=\"283\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/87_ReneeMontoya.jpg 628w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/87_ReneeMontoya-400x177.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: D.C. Comics\u003c/figcaption>\u003c/figure>\n\u003cp>I know the lesbian Batwoman Kate Kane is the most obvious choice for a gay female superhero film, but I've always had an overwhelming admiration for her lover, former Gotham City police detective Renee Montoya in her mantle as The Question. Although not the first to take up the blank face, Montoya is a great metaphor for all the faceless women of color she gets to represent in her vigilante incarnation. Hardened by her police work and her past, the recovering alcoholic Montoya is complicated and a bit of a loner at times, but her intentions are always in the right place. Plus, Montoya's Question has some of the best gadgets in Gotham, including a non-fatal energy pistol and that iconic blank mask that protects her from poison gasses.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Northstar (Marvel Comics, First Superhero to Come Cut as Gay)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12347\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/astonishing-x-men51-0011/\" rel=\"attachment wp-att-12347\">\u003cimg class=\"wp-image-12347\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/astonishing-x-men51-0011.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"355\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/astonishing-x-men51-0011.jpg 519w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/astonishing-x-men51-0011-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a kid, there was always something about Alpha Flight/X-Men member Northstar that drew me to him... When he came out of the comic closet in 1992 (the first comic book character to do so), it all made sense. We were compatible, so to speak. The French Canadian hero has a great backstory: he was a one-time Olympic athlete and he's super close to his twin sister Aurora, who's another character worthy of the big screen. In addition to being the first out comic character, Northstar (real name Jean-Paul Beaubier) also adopted an HIV-positive infant, who was abandoned at birth in one of the first major comic storylines addressing the crisis. His powers are also remarkable; Northstar can channel his kinetic energy into his body for super speed, super power and even super stamina and endurance. In 2012, Northstar had another comic first: he married his longtime partner, Kyle Jinadu, in \u003cem>Astonishing X-Men #51\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"As studios mine the dregs of comic books for straight white heroes, here are some minority, LGBT and female heroes who deserve the spotlight.","status":"publish","parent":0,"modified":1401925705,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1507},"headData":{"title":"Wanted: Movie Superheroes Who Aren't Straight White Men | KQED","description":"As studios mine the dregs of comic books for straight white heroes, here are some minority, LGBT and female heroes who deserve the spotlight.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Wanted: Movie Superheroes Who Aren't Straight White Men","datePublished":"2014-06-05T15:02:23.000Z","dateModified":"2014-06-04T23:48:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"12290 http://blogs.kqed.org/pop/?p=12290","disqusUrl":"https://ww2.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/","disqusTitle":"Wanted: Movie Superheroes Who Aren't Straight White Men","path":"/pop/12290/wanted-movie-superheroes-who-arent-straight-white-men","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12348\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/storm-phantom-marvel/\" rel=\"attachment wp-att-12348\">\u003cimg class=\"size-full wp-image-12348\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/storm-phantom-marvel.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/storm-phantom-marvel.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/storm-phantom-marvel-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Superman. Batman. Iron Man. Captain America. Wolverine. All beloved comic book superheroes with big screen adaptations that live up to their legends. And all heterosexual white guys.\u003c/p>\n\u003cp>Not that there's anything wrong with heterosexual white guys (some of my best friends are heterosexual white guys), but when the world is made up of a significant amount of different kinds of people, why aren't there more big screen heroes to reflect that? It's a question that I pondered especially hard when I found out that Ant-Man is getting his own movie. Yes, Ant-Man; another heterosexual white guy and a third-string hero at best (apologies, diehard Ant-Man fans). Why are we resorting to an Ant-Man film when comic books have some great heroes to choose from that reflect the rest of the population with compelling stories of their own?\u003c/p>\n\u003cp>Here are some of the best superheroes beyond the usual heterosexual white guys, who deserve a big screen outing of their own. Some are classics (Storm, The Question) and some are a little less known (Apollo and Midnighter), but all are needed to bring a little diversity to the current crop of caped crusaders on screen today.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Black Panther (Marvel Comics, African American)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12341\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/phantom-marvel/\" rel=\"attachment wp-att-12341\">\u003cimg class=\"size-full wp-image-12341\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/phantom-marvel.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/phantom-marvel.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/phantom-marvel-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Black Panther has the distinction of being (arguably) the first African American superhero. Before the Falcon, Storm, Luke Cage or the John Stewart-era Green Lantern, there was T'Challa, a.k.a. the one and only Black Panther. T'Challa's story starts in Africa, where he is the chief of the panther tribe of Wakanda and defender of his hidden nation. As chief, the Panther has access to magical artifacts and herbs that enhance his agility, strength and senses to superhuman heights. Later in his career, he joins the Avengers, but not before he meets his true love, a girl from a neighboring tribe named Ororo Munroe, a.k.a. Storm. The two are eventually married, making for one of the best superhero couplings since forever. Another fun fact: Black Panther's publication actually predates the founding of the Black Panther Political Party by about four months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Mantis (Marvel Comics, Vietnamese and German) \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12340\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/mantis_1970s_avengers_h1/\" rel=\"attachment wp-att-12340\">\u003cimg class=\"wp-image-12340\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Mantis_1970s_Avengers_h1.jpg\" alt=\"Mantis_1970s_Avengers_h1\" width=\"640\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/Mantis_1970s_Avengers_h1.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/Mantis_1970s_Avengers_h1-400x232.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>The half-Vietnamese, half-German Mantis has a celestial backstory more complicated than even Wolverine's amnesia plotlines (at one point, she's thought to be some kind of outer-space Madonna primed to birth an alien messiah, you know, as one does). Her powers include a mastery of martial arts, advanced control over her autonomic functions (heartbeat, blood loss, body temperature) and an ability to astral project. Mantis is such a powerful empath she's even able to find weakness in Norse God Thor and quickly overpowers him. One of her more compelling character arcs is a period as a sex worker in Vietnam. Let's see \u003cem>that\u003c/em> in the next \u003cem>Avengers\u003c/em> movie (a team Mantis eventually joins).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Storm (Marvel Comics, African)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12342\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/3207391-storm/\" rel=\"attachment wp-att-12342\">\u003cimg class=\"wp-image-12342\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/3207391-storm-1024x607.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"380\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>I know that Storm has already technically had four big screen outings in the X-Men series (five if you count her childhood cameo in \u003cem>X-Men: First Class\u003c/em>), but seriously, let's talk about an underused character. Mystique and Jean Grey aside, most of the women in X-Men are criminally underused. If ever there was a Marvel woman worthy of a spin-off, it's Storm. Between her childhood divided as a orphan pickpocket in Egypt and a weather witch worshipped by an African tribe as a goddess, her superior superpowers (seriously, she could end this drought in twenty minutes with a white-eyed summoning of heavy rain) and one of the most iconic heroine looks in all comiclandia, she's got more than enough heft to carry an entire film. What makes Storm's underuse all the worse is that Academy Award winner Halle Berry keeps coming back to the part \u003cem>desperate\u003c/em> to do something other than play sidekick to the men. Bryan Singer, please consider a standalone Storm feature. I want to see Halle \"let it go\" like that chick in \u003cem>Frozen\u003c/em> and freeze an entire slew of baddies in a magical CGI blizzard. If Halle is tired of the role, wouldn't \u003cem>Scandal\u003c/em>'s Kerry Washington be a great new choice? She's got the acting chops, the attitude and she's already a sort of heroine on TV.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Vixen (D.C. Comics, African)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12343\" class=\"wp-caption aligncenter\" style=\"max-width: 545px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/vixen_002/\" rel=\"attachment wp-att-12343\">\u003cimg class=\"wp-image-12343 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Vixen_002.jpg\" alt=\"Vixen_002\" width=\"545\" height=\"432\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/Vixen_002.jpg 545w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/Vixen_002-400x317.jpg 400w\" sizes=\"(max-width: 545px) 100vw, 545px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: D.C. Comics\u003c/figcaption>\u003c/figure>\n\u003cp>From the minute I saw Lupita Nyong'o, I hoped that Hollywood would wake up and cast her as one of the best black heroines since Storm. Since then, there's been a few rumors this might actually come to pass! Vixen's powers and backstory are tied to her African roots, making African born Nyong'o a match in more ways than just her incredible resemblance to some incarnations of the character. Born Mari Jiwe McCabe in the fictional nation of Zambesi, Mari is the latest in a long line of Tantu descendants to wield the power of the legendary Tantu Totem, which gives her the power to assume animal abilities to protect the innocent. To get the totem, she first has to battle her warlord uncle and (gasp) survive life in the fashion industry as a model. A superheroine of color who also serves as an indictment on the white-ideal-obsessed modeling industry? Yes, please! In the meantime, let's just hope Nyong'o's role in the new \u003cem>Star Wars\u003c/em> film contains enough action that D.C. decides they'd be fools not to build a Vixen series around her.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Aztek (D.C. Comics, Latino) \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12344\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/aztek_011/\" rel=\"attachment wp-att-12344\">\u003cimg class=\"wp-image-12344\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Aztek_011-1024x364.jpg\" alt=\"Aztek_011\" width=\"640\" height=\"228\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: D.C. Comics\u003c/figcaption>\u003c/figure>\n\u003cp>Not since Wonder Woman's origins in Greek mythology has a superhero used existing myths and legends to such great effect. Aztec was born Uno, a child raised to one day be the champion of the god Quetzacoatl to battle the evil Tezcatipoca. Like Wonder Woman, he uses a magic suit of armor handed down by the gods to enhance his powers and abilities. His superpowers include flight, god-like strength, body camouflage, as well as manipulation of his body mass. Another cool aspect of this hero is that he was blind for a while (like Daredevil before him), adding him to the list of differently-abled heroes that includes the great Charles Xavier.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Apollo and Midnighter (Wildstorm, Gay Couple)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12345\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/apollo-midnighter/\" rel=\"attachment wp-att-12345\">\u003cimg class=\"wp-image-12345\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/Apollo-Midnighter.jpg\" alt=\"Apollo-Midnighter\" width=\"640\" height=\"269\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/Apollo-Midnighter.jpg 658w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/Apollo-Midnighter-400x168.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Wildstorm\u003c/figcaption>\u003c/figure>\n\u003cp>Authority members Apollo and Midnighter are as close as superhero partners can get. Well, actually...they're closer. If Batman and Superman were in a romantic relationship, they'd basically be Apollo and Midnighter, the gay superhero couple from Wildstorm's \u003cem>Stormwatch\u003c/em> series. The gritty, not always clearly moral characters (there's far more killing in Wildstorm comics than in Marvel and D.C.) are dark and conflicted, but never waver in their marriage. I wish all gay little boys could get their hands on some Apollo and Midnighter comics. Not only would they learn heroes come in all forms and sexualities, but they'd also get to hope to one day meet an Apollo or Midnighter of their very own.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>The Question/Renee Montoya (D.C. Comics, Latina, Lesbian)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/87_reneemontoya/\" rel=\"attachment wp-att-12346\">\u003cimg class=\"wp-image-12346\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/87_ReneeMontoya.jpg\" alt=\"87_ReneeMontoya\" width=\"640\" height=\"283\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/87_ReneeMontoya.jpg 628w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/87_ReneeMontoya-400x177.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: D.C. Comics\u003c/figcaption>\u003c/figure>\n\u003cp>I know the lesbian Batwoman Kate Kane is the most obvious choice for a gay female superhero film, but I've always had an overwhelming admiration for her lover, former Gotham City police detective Renee Montoya in her mantle as The Question. Although not the first to take up the blank face, Montoya is a great metaphor for all the faceless women of color she gets to represent in her vigilante incarnation. Hardened by her police work and her past, the recovering alcoholic Montoya is complicated and a bit of a loner at times, but her intentions are always in the right place. Plus, Montoya's Question has some of the best gadgets in Gotham, including a non-fatal energy pistol and that iconic blank mask that protects her from poison gasses.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Northstar (Marvel Comics, First Superhero to Come Cut as Gay)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12347\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/05/wanted-movie-superheroes-who-arent-straight-white-men/astonishing-x-men51-0011/\" rel=\"attachment wp-att-12347\">\u003cimg class=\"wp-image-12347\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/astonishing-x-men51-0011.jpg\" alt=\"Photo: Marvel\" width=\"640\" height=\"355\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/astonishing-x-men51-0011.jpg 519w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/astonishing-x-men51-0011-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a kid, there was always something about Alpha Flight/X-Men member Northstar that drew me to him... When he came out of the comic closet in 1992 (the first comic book character to do so), it all made sense. We were compatible, so to speak. The French Canadian hero has a great backstory: he was a one-time Olympic athlete and he's super close to his twin sister Aurora, who's another character worthy of the big screen. In addition to being the first out comic character, Northstar (real name Jean-Paul Beaubier) also adopted an HIV-positive infant, who was abandoned at birth in one of the first major comic storylines addressing the crisis. His powers are also remarkable; Northstar can channel his kinetic energy into his body for super speed, super power and even super stamina and endurance. In 2012, Northstar had another comic first: he married his longtime partner, Kyle Jinadu, in \u003cem>Astonishing X-Men #51\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/12290/wanted-movie-superheroes-who-arent-straight-white-men","authors":["2436"],"categories":["pop_51"],"tags":["pop_965","pop_385","pop_714"],"featImg":"pop_12348","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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