Mike Roe's Newstastic

Writing about pop culture, comedy, improv, journalism, politics, stuff.
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moneystcroix:

If your discomfort with the whole Captain America #22 issue is simply the fact that sex had happened between two consenting adults in the presence of alcohol, this isn’t for you. You’re free and completely entitled to hate that and view it with great disdain but my attitude and problem with the fandom is not because of people finding issue with that overused plot device to get two people to finally be comfortable enough to do it but because of people making claims that Jet Black is 14 years old (when she’s not) and thus stating that despite her even saying she’s beyond those years to dare accuse Remender writing a statutory rape scene and faulting Sam Wilson as a rapist. If you had any of these thoughts, this is for you. Before you continue your crusade, please at least let me provide you with some facts.

Let me first introduce you to Jet Black as she was first introduced in the series (Captain America v.7 #1):

That girl right there with that mischievous look is not a baby as many have claimed. She is clearly in her prepubescent years enjoying the treatment her father, Armin Zola, is providing the capitalist captain. 

Below is her brother as he was first introduced in the same exact page (Captain America v.7 #1 p.14 — cw: syringe/drill and torture):

Clearly the two siblings are not the same age, right? So why are there false rumors being spread around that Jet is 14? I honestly don’t know unless people believe Ian and Jet are the same person, which is silly, right? Apparently, not

Putting the rest beneath a cut because it gets lengthy because of timeline explanation thus is image heavy.

Read More

Great explanation of why that controversial scene in Captain America shouldn’t have been controversial. #readingcomprehension

birdstump:

torisora

batman and his family of birds, bats and heroes

(this was inspired by the japanese scroll, night attack on the sanjo palace, except this isn’t completely about death. and that’s why it reads right to left ahaaa im glad i finally got the chance to draw all of them :3) [texture]

Batman is dark but he’s also a character who’s a symbol of hope. I love art that remembers that.

(via deantrippe)

The friend zone is very real. We have all had someone we were close to that we realized we were crushing on in a big way - but we hated ourselves for it. As much as we hoped and prayed things would change for the better, many of us acknowledged that our love for the other person was going to be detrimental towards the relationship. The people in this kind of friend zone cry while watching romance movies or go out and get drunk and kiss strangers. We make sure to keep a respectful distance between the person we like and ourselves - we are distinctly afraid of fucking things up because of our shitty heart being a complete dickweed and doing the thumpy thing when it shouldn’t.

The Friend Zone is entirely false and is a complete invention made by boys who on one hand get angry if they think you’re soliciting sex by playing video games but on the other hand get angry if you are not soliciting sex just by breathing. The Friend Zone consists rarely of actual friends - instead it’s often people who stare at us in class and make us uncomfortable by constantly trying to talk to us while we’re obviously engaged in something else. These are the people who invade our personal space and aren’t afraid to talk dismissively about the things which we are passionate about - our faith in particular.

These are not kind people. Once I was in a hospital’s waiting room and a woman was quietly saying a prayer for her son. After a few minutes, several other people joined in, linking their hands and bowing their heads. The boy next to me began to talk loudly to me about how disgusting and juvenile it was and how amused he happened to be by the behavior of the “sheep.”

"I’m Catholic," I replied, looking into his eyes, "I think what they’re doing is beautiful."

He looked down my shirt. “You seemed more intelligent than that,” he snorted, “I should have known. Are you even reading that book or are you just skimming?”

I blinked. I wish I had said something like, “No, I’m just breathing in the words and hoping they stick,” but instead I just gave him a dirty look and tried to tune him out. He kept talking to me for the better part of an hour.

Eventually, he got around to asking me out for coffee. I wanted to explain I was waiting for my mother to get out of chemotherapy, that my family was poised on the edge of a terrible end, that I barely knew him and basically already hated him. Instead, I smiled sheepishly and said, “I’d rather not.”

"You bitch," he replied. I watched his face flare hot. "You sluts are all like this. You play hard-to-get faux-intelligent and you lead people on just to hurt them."

"I’m…?" I started. I was scared. He was in my face. His hands were curled into fists.

"You’re all like this," he repeated. At this point, a few of the other people in the room were staring. I was pressed against the side of my chair, trying to get as far from him as I could. He wouldn’t lower his voice. "You fucking friend zone all the nice guys and date shitty asshole men and then come crying to our shoulders when you need someone."

I am not a confrontational person. Panic bubbled in my throat. I felt tears jump into my eyes. I started stuttering again. I was really honestly positive he was going to hurt me - for no other reason than turning down coffee.

This is the difference between the friend zone and the Friend Zone: one is hating yourself for liking the other person. The other is hating the other person for not liking you.

Fascinating piece on what “the friend zone” is — or isn’t.

(via inkskinned)

363,327 plays

svveden:

It’s about time we just replace ALL dubstep with Seinfeld riffs. His jokes, not the theme.

Everything Eliza said about our friend Nathan, but especially this: “Life is short, no matter how it ends. So do everything, dream big, hold tight and when someone tells you your work is remarkable, try to believe them. 

elizaeliza:

I found out that Nathan was an artist the day I caught him stocking one of the piles of mysterious Diamon Lion postcards that had appeared in some theaters around LA. Diamond Lion is my improv group - none of us had any idea where these postacards had come from. I grabbed one and said “Did you make these??” He just sort of nodded and smiled. 

He ended up making a bunch of posters for Diamond Lion. He hand made each of those Rankin and Bass christmas characters (and if you don’t know what we look like,  trust me - he nailed it.) Later he made weekly posters for my stand up show, Big Money. My co-host, DC, and I particularly liked the “weird” one he made us for April Fools Day last year. He also drew me that “ferociously cute” dinosaur - which is one of my favorite things, and is the background to my twitter page.

I wanted to post some of the art that he made for me, and the posters, and some stuff he made I just liked, because I want people to see them. But I don’t feel comfortable showing them to you by linking to his blog, because his suicide note is at the top of it, and I guess now it always will be. Even writing the words “suicide note” feels so personal and dramatic, like taping someone’s underwear to the blackboard. Sorry, Nathan. 

I don’t have any wise words to finish this with, besides life is short, no matter how it ends. So do everything, dream big, hold tight and when someone tells you your work is remarkable, try to believe them. 

"The ethical paradox can wear you down. No one on the white-hat side has ever hidden his or her identity with less than noble intent: to make the fight about something bigger than us. To represent a greater justice, where the focus can be on right and wrong… and not on whether the bad guys will exact reprisal on those close to us. And sometimes you have to lie. Sometimes, someone guesses— ‘Aren’t you really Spider-Man?’ — and you look them dead in the eye and say ‘absolutely not’ because you can justify a lie if lives are riding on it. Even as you fight for, as the saying goes, truth and justice… even if you’re a lawyer who has sworn to live by the truth… you willingly bear false witness. When the Globe came after me, I lied to shield my friends. That’s the truth. It’s not the kind of excuse I’m looking forward to giving St. Peter— a sin is a sin— but maybe he’ll understand. I hope so." - Mark Waid/Daredevil (Writer: Mark Waid)

brianmichaelbendis:

Original splash page by Jack Kirby and Sol Brodsky from Fantastic Four Annual #1, published by Marvel, 1963.

Seeing a map of a headquarters may be my favorite thing in comics, and one by Jack Kirby is so sexy I may not need to date any longer.

voraciousbrain:

(or, “NSFWCORP and the Layoff”)


When I transplanted my family from Florida to North Carolina, hugely pregnant, with just enough cash to finance the move, we were fucked. But Florida was suffocating, I was dying in academia, and there was no way we could stay in roach-infested, moldy,…

Great piece on the pain and pleasure of journalism and freelancing.

- Me really often while recovering from my ankle surgery.

(via cinefamily)

doctorwho:

“People are intimidated. They think that there’s 47 years worth of stuff they need to know before they can enjoy anything. And what you want to say is, No. Look, there is a blue box. It is bigger on the inside than it is on the outside. It can go anywhere in time and space and sometimes even where it’s meant to go. And when it turns up there’s a bloke in it called the Doctor, and there will be stuff wrong and he will do his best to sort it out and he will probably succeed, because he’s awesome. Now sit down, shut up, and watch “Blink.”

                            - Neil Gaiman to Comic Con

I <3 Neil Gaiman!

reblogged as part of our continuing series: Protips! Doctor Who for Newvians

You don’t need to know anything about the 50 years of history to watch Doctor Who. Just go DO it.

catbathchad:

THE END OF AN ERA: A TOUGH LOVE GUIDE TO REMEMBERING WHY WE PERFORM
By Chad Damiani
In the last few weeks, IO West has made some big changes. They’re disbanding 11 of their 12 mainstage Harold teams, with the exception of the popular and long-running King Ten. Those 87 performers will be given a chance to audition for four new all-star Harold teams that will perform Wednesday nights. 
And now another bombshell: IO is re-formatting all shows that take place in their two back theaters. For the indie improv community, this is a major happening.
A quick explanation for people outside of the Los Angeles comedy scene. IO West is one of two major training centers for improvisation. For several years, they have provided the most stage time for improvisers on independent teams (teams created by individuals and not affiliated with a school) in two back theaters known as the DCT and The Loft. These shows were free and either hosted by teams or individuals – most of which with some kind of history with the IO training center.
Starting next month, all of these shows will be terminated. It’s not clear what new shows will take their place, but IO’s Artist Director James Grace wrote this in an email to former hosts: “Just be clear, going forward starting Dec 15th, only shows that are directly related to and sanctioned by the training center will be in the DCT and Loft theaters.” I don’t want to speculate too far, but the final level of IO’s training program is creating a new form. It’s hard to imagine that these teams won’t be given the opportunity to host – although no one seems sure if they will play alone or invite outside indie teams to share their blocks.
There are a lot of performers feeling betrayed by IO, but I’m not writing about that. This community is full of such kind and wonderful people and I have nothing but sympathy for those affected. Losing an opportunity to perform is heartbreaking. But the truth is that there’s a wide perception that IO’s product isn’t of the same caliber as The Upright Citizen’s Brigade. It’s not hard to see why. Just go see the line to get into UCB shows that wraps Franklin Avenue. Perhaps IO could have made more gradual changes, but it’s their theater and they have a right to dictate their content.
Instead, I’d like to focus on some truths that I hope every indie improviser and promoter should take away from these developments.
SOMETIMES WE ALL TAKE A GOOD THING FOR GRANTED
There were quite a few shows I really liked playing at both the DCT and The Loft.  Fun and dynamic hosts that took pride in booking good shows – as well as using the opportunity to grow as a team themselves.  I’m going to miss them.
But there were also a lot of shows in both spaces that felt uninspired. It still shocks me when I see a host/team take the stage with no energy or intention. Everything that happens when the lights go up should be treated like part of the show. There were also clearly host teams that were only together in name only – not practicing or taking advantage the regular (and free) performance time.  If you’re a team of six-eight and can only get two members to attend your own shows, then it’s time to give up the slot to a younger, hungrier squad with more focus.
This blog isn’t about blaming those shows for IO’s new policies. For all I know, this mandate came from IO’s Chicago office. But there’s no denying that the weaker shows in both the DCT and The Loft impacted how people treated those spaces. Indifference breeds disrespect and disrespect abuse – with teams regularly cancelling last minute, leaving early or using those stages as a chance to be sloppy and fuck off.
Of course, any improviser who acted this way was completely wrong. The idea of squandering any offer of performance time boggles my mind.  But that kind of behavior is endemic to the LA improv community as a whole, which brings me my overall point:
 PERFORMING IS A PRIVILEGE
I was talking to a couple of improv friends recently and one of them told a story he’d heard about a booking snafu that led to The Red Hot Chili Peppers performing for some tiny small town crowd – well after the band had become a huge international sensation. The group took the stage and performed a sweat-soaked three-hour set you’d expect them to muster for Texas Stadium.
I responded with a story I’d always loved about a pro wrestler named Shawn Michaels. Legend goes that he worked a house show (no cameras) in the early 90s where less than 50 people were scattered in the stands. Michaels went out and had a 30-minute match where he took multiple falls on the concrete. When one vets made fun of Michaels for limping back to the bus, he told him if one ticket gets sold, that buyer deserves to get his money’s worth.
We’re spoiled here in LA when it comes to stage time. Let this serve as a reminder that could change. So make the most of every opportunity. Always take the stage with purpose. Push to be more present, committed and brave. Cherish your audience and then take pride in being an audience worthy of greatness.
“LIKE” Chad’s JETZO page to learn more about Catsby show line-ups. Stating in December, Catsby runs the second and fourth Sunday of the month at the indie mecca The Clubhouse.
https://www.facebook.com/jetzoimprov

Short version: Chad says smart things about what it means to do improv, how the future could be brighter and more! Sad myself to see indie performance spaces going away, but makes stage time that much more special. I love teams who host shows who do a combination of booking big names while giving opportunities to other groups, and hopefully this means more of that around town.

catbathchad:

THE END OF AN ERA: A TOUGH LOVE GUIDE TO REMEMBERING WHY WE PERFORM

By Chad Damiani

In the last few weeks, IO West has made some big changes. They’re disbanding 11 of their 12 mainstage Harold teams, with the exception of the popular and long-running King Ten. Those 87 performers will be given a chance to audition for four new all-star Harold teams that will perform Wednesday nights.

And now another bombshell: IO is re-formatting all shows that take place in their two back theaters. For the indie improv community, this is a major happening.

A quick explanation for people outside of the Los Angeles comedy scene. IO West is one of two major training centers for improvisation. For several years, they have provided the most stage time for improvisers on independent teams (teams created by individuals and not affiliated with a school) in two back theaters known as the DCT and The Loft. These shows were free and either hosted by teams or individuals – most of which with some kind of history with the IO training center.

Starting next month, all of these shows will be terminated. It’s not clear what new shows will take their place, but IO’s Artist Director James Grace wrote this in an email to former hosts: “Just be clear, going forward starting Dec 15th, only shows that are directly related to and sanctioned by the training center will be in the DCT and Loft theaters.” I don’t want to speculate too far, but the final level of IO’s training program is creating a new form. It’s hard to imagine that these teams won’t be given the opportunity to host – although no one seems sure if they will play alone or invite outside indie teams to share their blocks.

There are a lot of performers feeling betrayed by IO, but I’m not writing about that. This community is full of such kind and wonderful people and I have nothing but sympathy for those affected. Losing an opportunity to perform is heartbreaking. But the truth is that there’s a wide perception that IO’s product isn’t of the same caliber as The Upright Citizen’s Brigade. It’s not hard to see why. Just go see the line to get into UCB shows that wraps Franklin Avenue. Perhaps IO could have made more gradual changes, but it’s their theater and they have a right to dictate their content.

Instead, I’d like to focus on some truths that I hope every indie improviser and promoter should take away from these developments.

SOMETIMES WE ALL TAKE A GOOD THING FOR GRANTED

There were quite a few shows I really liked playing at both the DCT and The Loft.  Fun and dynamic hosts that took pride in booking good shows – as well as using the opportunity to grow as a team themselves.  I’m going to miss them.

But there were also a lot of shows in both spaces that felt uninspired. It still shocks me when I see a host/team take the stage with no energy or intention. Everything that happens when the lights go up should be treated like part of the show. There were also clearly host teams that were only together in name only – not practicing or taking advantage the regular (and free) performance time.  If you’re a team of six-eight and can only get two members to attend your own shows, then it’s time to give up the slot to a younger, hungrier squad with more focus.

This blog isn’t about blaming those shows for IO’s new policies. For all I know, this mandate came from IO’s Chicago office. But there’s no denying that the weaker shows in both the DCT and The Loft impacted how people treated those spaces. Indifference breeds disrespect and disrespect abuse – with teams regularly cancelling last minute, leaving early or using those stages as a chance to be sloppy and fuck off.

Of course, any improviser who acted this way was completely wrong. The idea of squandering any offer of performance time boggles my mind.  But that kind of behavior is endemic to the LA improv community as a whole, which brings me my overall point:

 PERFORMING IS A PRIVILEGE

I was talking to a couple of improv friends recently and one of them told a story he’d heard about a booking snafu that led to The Red Hot Chili Peppers performing for some tiny small town crowd – well after the band had become a huge international sensation. The group took the stage and performed a sweat-soaked three-hour set you’d expect them to muster for Texas Stadium.

I responded with a story I’d always loved about a pro wrestler named Shawn Michaels. Legend goes that he worked a house show (no cameras) in the early 90s where less than 50 people were scattered in the stands. Michaels went out and had a 30-minute match where he took multiple falls on the concrete. When one vets made fun of Michaels for limping back to the bus, he told him if one ticket gets sold, that buyer deserves to get his money’s worth.

We’re spoiled here in LA when it comes to stage time. Let this serve as a reminder that could change. So make the most of every opportunity. Always take the stage with purpose. Push to be more present, committed and brave. Cherish your audience and then take pride in being an audience worthy of greatness.

“LIKE” Chad’s JETZO page to learn more about Catsby show line-ups. Stating in December, Catsby runs the second and fourth Sunday of the month at the indie mecca The Clubhouse.

https://www.facebook.com/jetzoimprov

Short version: Chad says smart things about what it means to do improv, how the future could be brighter and more! Sad myself to see indie performance spaces going away, but makes stage time that much more special. I love teams who host shows who do a combination of booking big names while giving opportunities to other groups, and hopefully this means more of that around town.

Asker Anonymous Asks:
Reading up on a lot on social media on how the comic industry treats female creators as a whole (Terribly, according to the majority of comments). Since you are a seasoned vet in the comic book world and you come off in person as such a knowledgeable person, what are your thoughts on the subject? Is it getting better or worse? Is it really as bad as some of the stories I have read? Or is it just one a few isolated incidents here and there?
mikeroe mikeroe Said:

ruckawriter:

I’m not really sure how to begin to answer this (and that’s not helped by the fact that it’s asked anonymously).

To say that the comics industry in the US is sexist isn’t news. To say that harassment of women, both professionals and fans, occurs is sadly not news, either.

My honest opinion? The only thing that I really think is getting better is that more people are talking about it, and more people are pushing the matter into the light. Awareness is the first step, but not, by far, the only one required. The fact is, the ratio of women to men working in the industry itself is still grotesquely low. There are corners where efforts are being made to improve this. It’s not, in my opinion, enough.

Sexism is part of our culture, both outside of comics and within it; it’s exacerbated exponentially in comics because women have been excluded and/or marginalized for so very long. And I suppose that is the answer to your question as to whether or not it’s “really as bad as some of the stories” you’ve read. No, it’s not that bad. It’s worse. It’s endemic. For every story you’re hearing, there are ten that you’re not. For every instance of poor behavior you’ve heard of from and editor or a creator, there’s another twenty stories about convention trips to strip clubs for “meetings” and the like.

Whether it’s better or worse today than ten years ago, I genuinely cannot say. My sneaking suspicion is not that it’s better, but that the men who are capitalizing on the situation are doing a better job of hiding their behavior.

audiovision:

The public only gets to see a carefully curated version of the collections at natural history museums.

Hidden from view, there’s a second museum, sprawling in scope, full of character and occasionally gross.

No place is more hidden than the Whale Warehouse. Go inside in the first installment of AudioVision.

The Audiovision visual team at my work continues being as delightful and weird as you’d want them to be. Check it out.

explore-blog:

“Male writers tend to get asked what they think and women what they feel. In my experience, and that of a lot of other women writers, all of the questions coming at them from interviewers tend to be about how lucky they are to be where they are – about luck and identity and how the idea struck them. The interviews much more seldom engage with the woman as a serious thinker, a philosopher, as a person with preoccupations that are going to sustain them for their lifetime.”

Eleanor Catton, the youngest winner of the Man Booker Prize.

Pair with Margaret Atwood on literature’s “women problem” and these illustrated biographies of women writers who shaped the literary canon, then consider what makes a great interview.

I don’t know how I feel about that.