I can understand why an actor might be totally over the whole red carpet thing. But Cate, if you don’t want your dress to be photographed so that viewers and readers can admire the whole thing, then perhaps you could try turning up to the next awards nights in jeans and a T-shirt.

Hope you win the Oscar, by the way. Still think you’re amazing in Blue Jasmine.

Guardian, I love you, but you’re embarrassing yourself (Part 2).

As if the concept of a piece which tries to shame Cate Blanchett for complaining about the objectification of her gender wasn’t bad enough, that last line – the “Still think you’re amazing” – is particularly offensive to me, for some reason; it stands out as particularly patronizing for reasons that I can’t quite pinpoint.

But Moore is right to question some aspects of today’s comics culture. The banal Hollywood industry of turning piquant comics (including his) into mediocre blockbuster films is boring, and there is potentially something absurd about a civilisation that thinks graphic novels are way cooler than actual novels. There’s a smug complacency about, say, the New York Times giving comics masses of review space. Are graphic novels just cultural capital for the university-educated who dig the postmodernity of the medium?

This is why I fell in love with Moore’s comics. Unlike cool graphic novels about urban angst, his comics really are comics with a restless unrespectability. His dark ideas and savage humour make his works less cosy and more dangerous than any rival. He puts the shame back into the grownup comic, and that is as it should be.

Guardian, I love you, but you’re embarrassing yourself (Part 1).

“There is potentially something absurd about a civilisation that thinks graphic novels are way cooler than actual novels.” Ah, the concept of a hierarchy of media – or the primacy of prose, for that matter.

Also, why exactly “should” there be shame in the grownup comic?

The heirs of Superman co-creator Joe Shuster got some bad news on Tuesday when the 9th Circuit Court of Appeals voted not to hold a rehearing in a dispute that challenged Warner Bros.’ grip on the Superman franchise.

But contrary to news reports out there, this isn’t quite the end to a dispute that stretches back decades in many guises.

The Hollywood Reporter explains the current state of the Superman rights case(s). Short version: The Shuster side of things is done. The Siegel side of things, not so much.

do u wanna see lobot in the new star wars movies

bigredrobot:

Sure! I’m not too keen on the new movies being chock full of fan service — I’d rather they moved into uncharted territory instead of constantly going, “Hey, remember when THIS happened?”, ie. the overblown Khan HJs in NuTrek: Into Darkness, which, I should point out, was a film I enjoyed, but the minute they FaceTimed OG Spock, I was making gasface — but I also really love Lobot.

Three words: SON OF LOBOT.

Something of this sort does seem to be at work, with at least some of the criticism to which Moore responds in this interview; this is suggested by the lack of context to this criticism. I can’t help but feel as if Moore might have been manipulated — handed extracted quotes, to which he predictably responds with, among other things, no small amount of anger. If this is the case, Moore still ought to apologize, but a considerable degree of culpability lies with others as well. Not having been involved, I don’t know to what degree this is the case, and I have no evidence of it, outside of how in the interview Moore seems almost completely unaware of anything beyond the excerpts to which he responds.

Short version: Sequart’s Julian Darius realizes who Alan Moore was taking cheap shots at in his interview and, in trying to apologize, really tries to create a situation wherein Moore remains blameless. “I can’t help but feel as if Moore might have been manipulated.”

The full thing, which is worth reading, is here.

I’ve been interested in the ways in which people have reacted to the backlash to Moore’s comments. I’ve seen mention of the comics community “turning on” Moore, which doesn’t ring true to me on a number of levels, as well as commentary along the lines of “Well, he’s justified in being a dick because he’s Alan Moore,” which seems utterly ridiculous to me – no-one deserves that kind of free pass.

The idea that it’s more likely that Moore was “manipulated” feels like more of that. Even more defense of a man who neither deserves, nor needs, it. It’s strange seeing the amount of objectification Moore is getting from his fans over this. Instead of accepting that, hey, he’s a cantankerous old man who is filled with bile and has been for years – see, oh, every single friendship he has cut off for some perceived slight over the last few decades – he becomes some kind of character whose every trespass can be explained away as someone else’s fault, somehow.

Everyone deserves better.

Moore then shifts back to the argument about racism, and here again he sounds a bit like someone who’s new to public life. He recounts how a black woman approached Kevin O’Neill and confronted him about League‘s appropriation of the Golliwogg character. Lots of us have had such experiences, and they can be traumatic. Having someone yelling at you, apparently incapable of understanding that you’re a good person who means no harm, can be a traumatic experience. No matter how irrational the complaint, there’s something deeply upsetting about encountering such anger.

On Alan Moore’s “Last” Interview | Sequart Organization

image

“Apparently incapable of understanding that you’re a good person who means no harm.”