#but also he deserves a fun burt reynolds

[thecorgayarts]

The latest issue of Vestiges Magazine!

I love fake zines. This is my contribution to @artists-guild-of-exandria calamity event. I'll post individual pics of everyone, WIP/Process, and detail shots later.

First is the cover, then some interior ads.

[throwmethatcello]

My favorite moments from each member of Vox Machina.

Grog

- The whole trash talk pre-battle against Kevdak. Travis WOW.

- "Grand Poobah de Doink of all Thisanthat" and everything that came with that title.

- When he asked Pike to teach him how to read and I ugly cried + "I spend the following years learning how to read" in the epilogue and I also ugly cried.

- “The Grog and Craven Edge show”

- When he was sad because he didn't have a role in Vex and Percy's wedding and then they asked him to be the flower girl and he was.just.so.happy.and.proud.of.himself. “Can I have this job??” Groooog why are you so wholesome :'(

Vex

- "I thought he'd never leave" - No explanation needed

- "I open the door COMPLETELY NAKED" - Behold the supreme queen of powerplays, we are not worthy and we'll never be.

- When she went find Kaylie after Scanlan died and convinced her to go see him + Later when Allura told her the resurrection ritual succeeded and she was so happy but she was all alone in that tavern so she just started buying everyone drinks (and spending money????? !!!!!!) and flirting with people out of habit but then she kinda remembered she was with Percy and backed off and went to sleep, lmao what a journey.

- Her wedding vows. Laura Bailey will you please let me live.

Vax

- The time the Briarwoods caught him spying on them and he serious and genuinely attempted to fuck his way out of there and in all fairness who can blame him. Truly the bisexual representation I deserve, god bless this dumb horny boy.

- GUYS. WHERE. IS. LARKIN!!!

- “let's go, you bastard!” and kissed Percy. Thank you Liam O’Brien for my life.

- He really went straight to Percy’s bathroom and got into the tub with him just to share an awkward silence and tell him that he’s like a brother to him and then showed him his ass as he left. Vax’ildan what the actual fuck, brothers don’t do that kind of shit and you know it, why are you like this!!!

Percy

- *Masterfully parlays with an ancient green dragon and keeps his cool until the very moment she leaves the room. Proceeds to have a panic attack* Also pretty sure he kinda wanted to fuck the dragon. Anyways this scene is sexy af and I stan a badass bitch with severe trauma and valid kinks.

- When he literally inflicted damage to himself with a kettle full of fantasy menthos to win a cannonball contest.

- Wasted! Percy (ft. Keyleth and the weird marquesian drink)

- "SYLAS!!!!"

- This motherfucker, this absolute agent of madness went and signed yet another soul-binding contract with a demon under the galaxy brain reasoning that "I already sold my soul once, so if I sell it again worst case scenario I get to watch 2 demons fighting over my soul and that would be very entertaining" I'm-

Tary

- “It’s going to be FUN, FUN, FUN!”

- Flashcards class with Pike. Just. Amazing. Outstanding. Sam Riegel what you have is called TALENT. 

- “...and it was the METRIC SYSTEM!”

- The time Taryon Darrington spent his first night in company of a lady and immediately decided it was going to be the last one. 

- His “fuck you dad” speech was absolutely beautiful and his explanation on how Vox Machina showed him what it meant to be a family. Sam you can’t just fucking do this kind of shit to unsuspecting watchers, I’m soft. 

Keyleth

- "We are basically gods!" *proceeds to jump off a cliff and die" WE LOVE A DUMBASS QUEEN.

- When she went off on Raishan, just omg Keyleth, the raw power of it all!!!

- "Hey percy you know what would be fun, if I turned into a fucking elephant and you got on top of me so we can go deliver this mask/helmet to Grog in a cool classy fashion. *turns into an elephant* Oh shoot I forgot doors exist, it sure would have been a good idea to polimorph after leaving the room, well whatever, here goes nothing *starts to fucking smash the door with her elephant body* Oh, here comes Grog and Scanlan, hey guys! Wait, why are you attacking me it's me, your good friend Keyleth! Ouch! Ok you know what now I'm pissed, let's fucking go!! If I shall go down in this form so be it. *Rages against Grog and Scanlan and gets fucking decked*

- Keyleth’s epilogue was just beautiful and the perfect way to close the campaign. Much feels. Much cry.

Pike

- *Takes a sip of the weird Markesian drink* "Haha I don't feel anything" *Takes another sip of the weird Markesian drink. Passes out automatically*

- Pike: Maybe we should sleep together and see how it goes

Scanlan: O- OKAY????

Pike: No just kidding lol sorry

- “Guiding bolt up his butt” 

- "Sometimes I talk to Scanlan through the earring even though I know he can't hear me" like, Ashley stop. And then she gets drunk and starts actually talking to him like, ASHLEY STOP.

Scanlan

- "You'll leave when Burt Reynolds tells you to leave!"

- "Do you spice?" or "Scanlan spends a whole episode in a quest for drugs. Ends up getting a bag of baking soda for like 400G. Lives with the shame for the rest of his life" Perfect. Spectacular. You just can't write shit this good.

- When he apologizes to Pike for being a fuckboy.

- Every single counterspell this motherfucker has ever casted.

- Basically the whole battle against Vecna was endless epic content from Scanlan.

- You know what, every single Scanlan moment is iconic and we all know it. Let's not pretend we can just pick a few.

[mikiruma]

okay i'm snapping what the hell is saints row about. who's the dude with the giant titties you keep thirsting over and who's the mcdonalds emo. i need some answers bc i don't know shit.

ill edit this w a readmore bc it got Very wordy and im on mobile but i promise you. this series is a mess, i live for it, i could go ON abt it for days but this response was long enough fhwkfhejhfnd

1) so basically the premise in most of the games is like. you are a member (leader as of sr2) of a street gang (the third street saints!) and though the story is tweaked slightly for each installment, the overall goal is the same- control different neighborhoods in your city, squash the other gangs, be badass. i *call* it a grand theft auto clone but tbh i havent played gta, the gameplay's similar enough though. the first two games are more uhh... grounded? than the later 3? the plotlines are darker, deaths & events are more fucked up in a heavier/moral sense, etc etc. but the last 3 are way more silly i think. the entire series is kinda packed with crude/sexual humour and essentially responding to a punch with a flamethrower, but it goes over the top in the newer games which is.. why i always liked em lol.

but its just funny in general to think of the plot progression. oh i witness a gang war so im recruited in a gang whose current leader... wants to end gang violence. oh that leader tried to kill me and arrested/killed everyone else so i am going to go apeshit on this city until i find him and kill him back. oh somehow we are international celebrities and do crime as publicity stunts, i am gonna ask mayor burt reynolds to help us with this zombie invasion. oh now i am president of the united states, time to get the earth blown up by an alien warlord and do it with whats left of my gang every survivor plus an ai in a ball.

ive seen Some Shit abt the general timeline but tbh ive always tried to piece it together like. ok these games take place in/around whatever year they were released. besides sr4 which would be... 2019 if my math is correct? i just felt like mentioning that bc i am not touching any canon timeline

OH ALSO the main reason i even got into the series. i literally bought sr3 because of the character customization. the body mods could.... use a lot of work imo but what you can do for your protags face is BANANAS... and changing voice pitch in sr4 was fun too bc male 1 was ok for my boss but having it just a teensy bit higher REALLY made it

tldr; i cant help you there i am just along for this ride

2) im assuming you mean johnny gat not bc theres any competition but like. theres so many dudes like that in this game

his role is actually pretty consistent in that he stays a lieutenant, and hes one of the rare characters (besides. the protag i think?) who's been in every single game. he's the designated badass of the saints and is really good at coming up with plans that involve lots of guns or blowing stuff up. if i typed everything i liked abt him right now this post would be a mile long but trust me he is an excellent man, even tho he might be the scariest motherfucker ever and i probably would be afraid of him irl, he fully deserves that. hes loyal to the saints and his boss which i absolutely respect. still bitter abt sr3 "killing" him bc cmon. he cannot die. does that count in the spoiler? its the literal first mission after u customize your character so i dont think so// whatever ive been posting untagged spoilers for the other games bc theyve been out for a decade

3) IM STILL LOSING MY MIND OVER THAT SJSDHADDHSI mcdonalds emo.... thats his legal name now....

but seriously matt miller is like. one of my fav characters from sr3. he's the leader of one of the rival gangs, the deckers, and they specialize in hacking & money laundering and stuff like that. matt specifically is 16 in his debut game which is really funny to learn bc imagine being a ballsy ass kid repeatedly nae naeing the us government because you can.

anyway i like him bc instead of killing the other gang leaders like usual, u just fight him in a vr world and ur both sick ass dragons and he decides "actually i dont wanna go brain dead. ill give u either weapons or car discounts" then he fucks off back to england. then it lets him come back for sr4 and yall are friends now :D yes yall tried to kill each other but whats past is past. i would be his friend irl honestly hes great. also im still firm on the autistic matt train bc of how often he shares his love for nyte blayde & im WEAK over the boss eventually getting into it as well

[mylistlife]

The Man with Bogart’s Face (1980) [New Beverly Cinema / January 15]

Robert Sacchi plays--get this--a man who makes himself look just like Bogie, gives himself the name Sam Marlowe, and then opens his own PI agency. And that’s before it gets weird. 

Heat (1987) + Malone (1986) [New Beverly Cinema / February 26]

Burt Reynolds, whose work I devoured this year, plays two troubled figures in these pugilistic treats. In one, he kicks out a hanging light in order to set a baddie on fire (Heat), but in the other (Malone) he does genuinely over-the-top stuff. 

Trapped (1949) + The File on Thelma Jordon (1950) [Egyptian Theater / March 29] 

Opening night of Noir City is always a delight----hell, they serve Bogart’s estate’s booze at intermission. And it’s for that reason, and a few too many finger sandwiches and whiskey sours, that I can’t fully tell you what I enjoyed about these films beyond, you know, their noir-ness. 

Sudden Fear (1952) [Egyptian Theater / March 31]

Every year at Noir City, there’s one I-didn’t-see-it-coming highlight, and this was it. Joan Crawford plays a maniacal actress placed in serious peril by her deadly lover, the even more maniacal Jack Palance. This is a Cinema of Hysteria par excellence, where it feels like Palance had his mug sculpted for extra-meanness. 

Playgirl (1954) [Egyptian Theater / April 2]

If there’s a runner-up for my previous proviso, it’s this stunning firecracker that features Shelley Winters playing the ultimate woman scorned. I still think of the scene where she trashes her apartment in a drunken rage about once a week. 

Eagle’s Claw (1978) + The Hot, The Cool, and the Vicious (1977) + Fists of Fury 2 (1977) [New Beverly Cinema / April 23]

A trio of martial arts films by Lee Tso-Nam, this triple sported varying styles (drunken master, battle royales, mortal combat, etc.), and, as importantly, a high quota of stunning fight sequences to relative runtime. 

After the Fox (1966) + The Heartbreak Kid (1972) [New Beverly Cinema / April 28]

A duo of Neil Simon-penned films, I went 1) to see Peter Sellers in anything, and 2) to finally see The Heartbreak Kid (this shouldn’t be as difficult as it’s become). The big reveal here is that THK left me cool--in fairness, the protagonist is meant to be unpleasant, and I'm cautious about the mushrooming cult around Elaine May--while ATF, which I found to be a kind of semi-lame Italian farce, has continually grown in my estimation in retrospect. See that movie. 

The Driller Killer (1979) [Egyptian Theater / May 17]

This was actually a triple feature, but as I’d seen the other two before--The New York Ripper (1982) + Nightmare (1981)--only this one fits on this list. Strange enough, it’s also the only one that deserves to! It’s supreme grime from Abel Ferrara that gives you the gross (eating a hamburger and chugging milk) and the grosser (eviscerating a rabbit corpse with an electric drill). 

The Bitter Tears of Petra von Kant (1972) [New Beverly Cinema / June 6]

This was an especially bleak movie on an especially sad day for me. A remarkably human--in the worst ways (angry; callow; bitter)--film that is also a major work of art. (Added bonus, Obama’s daughter, Malia, was allegedly at our screening.) 

 Your Vice is a Locked Room and Only I Have the Key (1972) [USC School of Cinema / August 21] 

Mean-spirited but not as vulgar or thoughtlessly cruel as many giallos. Big plus for Edwige Fenech being Edwige Fenech. 

Killer Crocodile (1989) [Egyptian Theater / September 27] 

I appreciate any killer animal film that is not bashful about showing off that killer beast. And I'm a sucker for Italians playing Americans (in front of and behind the camera). 

Jennifer’s Body (2009) [Egyptian Theater / September 29] 

Yes, it was misrepresented during its inaugural run. But, as importantly, it’s a wickedly funny and gnarly horror film. 

Mooch (Goes to Hollywood) (1971) [Egyptian Theater / October  2] 

It’s not every day you get to see the long-overdue theatrical premiere of a made-for-TV lark featuring the dog from Benji mixing it up with Vincent Price and Zsa Zsa Gabor’s voiceover. (Unless you live in L.A.)

Asylum (1972) [Dynasty Typewriter / October 12]

This was actually one of my least favorite horror anthologies in what proved to be a joyously fun night of them--except The Twilight Zone (1983), which I hate for reasons that are mine (and many others). Asylum gets the nod, however, because it’s the only one I hadn’t seen, and it’s a night worth remembering. Plus, I did love the little wind-up dolls packed with blood and guts because of course I did. 

Ruby (1977) [Aero Theater / October 26] 

Love me some Horrorthon, and the lineup this year was tremendous. Butcher, Baker, and Nightmare Maker (1982) was the gonzo highlight, but (like most of the lineup) I'd seen it before. Therefore, by default, the inferior Ruby gets the nod from me. (The other feature I’d never seen, Demonoid: Messenger of Death, 1981, I slept through too much to consider--that and the fact that what I saw was excruciatingly bad.) I also mostly slept through this one, but it had Uncle Leo (Seinfeld) as a gangster and a drive-in that only plays Attack of the 50 Foot Woman so it gets my cautiously emphatic (yes, that) recommendation. 

Nightmare on Elm Street Part 2: Freddy’s Revenge (1985) + The Uninvited (1988) [New Beverly Cinema / October 30]

This celebration of the actor Clu Gulager at the New Beverly felt like old home week; he’s been a fixture at the theater for years. Yet on this particular night I found out that all the rumors of NES2 are true (it deserves its cult!) and that The Uninvited makes for just about the best neo-schlock horror film you can watch with an avid crowd. 

Walking the Edge (1983) [New Beverly Cinema / November 12]

Robert Forster--another actor whose oeuvre I took a deep dive into this year--got his fair shake at the New Beverly last month, and this film may have been the (feature film) highlight. It was part of a triple with Stunts (1977), a great film I’d already seen, and  Kinky Coaches and the Pom Pom Pussycats (1981), a film that features a wonderfully bonkers Forster sex scene and just about nothing else. This Bronson-esque exploitation vehicle for Forster and Nancy Kwan (!!!), however, was engrossing and quirky in all the best ways.  

Banyon (1971) [New Beverly Cinema / November 25]

Since I cheated with Mooch, I'll cheat here with another made-for-TV night out at the theaters. (And how great is it that L.A. allows you to have multiple nights out watching made-for-TV movies on actual celluloid?) The pilot movie of Forster’s short-lived PI TV series was screened at the front of a celebration of Forster’s life. It was a magical night with an electric room, as the event was invite-only for his friends, family, and colleagues...and any of us who attended other Forster features that month. Banyon earned its place on this list because it was quite good for a no-fuss gumshoe movie mystery.

Nightfall (1956) [New Beverly Cinema / December 4]

Aldo Ray as the ultimate lug-sap, in a moody Tourneur grinder with a gruesome--even by our jaded modern standards--denouement. Yes. 

[fromtheringapron]

WWF WrestleMania X

Date: March 20, 1994.

Location: Madison Square Garden in New York City, New York. 

Attendance: 18,065

Commentary: Vince McMahon and Jerry Lawler. 

Results: 

1. Owen Hart defeated Bret Hart. 

2. Bam Bigelow and Luna Vachon defeated Dink the Clown and Doink the Clown.

3. Falls Count Anywhere Match: Randy Savage defeated Crush (with Mr. Fuji).

4. WWF Women’s Championship Match: Alundra Blayze (champion) defeated Leilani Kai. 

5. WWF Tag Team Championship Match: Men on a Mission (Mo & Mabel) (with Oscar) defeated The Quebeccers (Jacques & Pierre) (champions) (with Johnny Polo) via count-out. 

6. WWF World Heavyweight Championship Match: Yokozuna (champion) (with Mr. Fuji and Jim Cornette) defeated Lex Luger via disqualification. Mr. Perfect was the special guest referee. 

7. Earthquake defeated Adam Bomb (w/Harvey Whippleman). 

8. Ladder Match for the WWF Intercontinental Championship: Razor Ramon (champion) defeated Shawn Michaels (with Diesel). 

9. WWF World Heavyweight Championship Match: Bret Hart defeated Yokozuna (champion) (with Mr. Fuji and Jim Cornette) to win the title. 

Analysis 

I’m probably not telling you anything you don’t already know, but WrestleMania X is one of the best WrestleManias in history. This is largely contributed to the fact that the show boasts not just one but two of the most iconic and influential bouts of all time: the battle of the Hart brothers and the ladder match. But while those two matches certainly deserve all of the accolades, I think where the show truly succeeds is its ability to tell an emotional, succinct story regarding the trials and tribulations of Bret Hart.

I feel like I’ve said this before, but Bret is the main character of the New Generation Era and this show is a big help in firmly establishing that. In the previous 12 months, he’d been shoved to the sidelines by Hulk Hogan and Yokozuna, forced to deal with Jerry Lawler’s repeated humiliation of his family, and even saw his younger brother turn on him. The show plays on our knowledge of what a hellish year it’s been for the Hitman, starting off with him hitting an absolute low⎯wrestling against his own brother and losing. And not just losing to his brother, but having that loss rubbed in his face in front of millions of people. It’s sad, but it’s all just setup for one of the happiest moments of Bret’s onscreen career and the entire era as a whole.

Bret’s WWF run works best when you look at it as one continuous saga and, honestly, it may be the best story ever told in wrestling. It’s one that’s filled with both heartbreak and disappointment, where Bret is constantly overlooked by both management and his peers. But that’s exactly what makes his moments of triumph so rewarding. Bret emerging victorious at the end of this show, with the previously loss and leg injury and so on, is such a wonderful way to end this particular chapter in his tenure. The mass celebration at the end is just the cherry on top. It’s an acknowledgement that all the pain he felt, all the family drama, in the previous year had somehow been worth it. The good times won’t last. They never do. In fact, Owen is right around the corner ready to challenge him. But, for now, it’s nice just to soak in the moment.

I should probably say something about the ladder match, although I’m not sure what new insight I could possibly add. I will say it took me awhile to fully on board with it, as I’d seen plenty of other ladder matches before watching this one. The action can understandably seem tame to those of us who are used to seeing someone like Jeff Hardy kill himself on ladders for our enjoyment, but it’s all about the historical context. While this was far from the first ladder match in history, and not even the first in the WWF, this is the first one the audience at large had ever seen. Once framed in that context, it’s amazing. Some of the ladder spots we take for granted now were completely fresh at this point. The audible gasps from the crowd in MSG are reminders of just how brutal they truly are. Plus, only a few images in WrestleMania history are as iconic as Shawn Michaels jumping off the ladder.

For a show that’s commonly written off as “The Harts, the ladder match, and nothing else,” I find myself entertained by the whole lot of it. Everything in between the big matches is kept light and fun. There’s a little something for everyone here. It does start to run into some timing issues in the last third or so, leading to a huge 10-man tag getting cut from the show entirely. It’s a weird decision, considering the show ultimately still runs well under three hours anyway and it’s not like the card was overcrowded to begin with. Even the best New Generation shows can leave you wanting more, I guess.

But that’s all fairly minor in the grand scheme of things. That the tenth WrestleMania is such a success is still a bloody miracle. By 1994, the WWF was in some deep trouble. Vince McMahon was just months away from the steroid trial that could’ve nearly sealed his fate, business had taken a turn for the worst, and many of the previous era’s top stars had disappeared. And yet here we have a show like this that proves, even in its darkest hour, the WWF is capable of change and offering something new. That, above all else, may be this WrestleMania’s most enduring legacy.

My Random Notes

Did someone accidentally set off the fireworks before the opening match? Even Vince seems a little caught off guard by it.

Shout out to the thick wad of saliva around Owen Hart’s mouth, no doubt a tribute George Welles’ iconic frothing at WrestleMania 2.

Oh, man, that glass case of Hasbro figures in the Fan Fest segment is everything I dreamed about as a kid.

I think the selection of celebrities for this show is pretty good. Burt Reynolds and Little Richard are obviously two of the most famous people they’ve ever managed to get, and Jennie Garth and Donnie Wahlberg are inspired time-period appropriate choices. Sy Sperling, though? Herb-levels of obscure. Vince’s mid-life crisis must’ve played a role in selecting the president of the Hair Club for Men. I can’t think any of another reason why he thought the kids in the audience would relate to him.

The Bill Clinton impersonator seems random at first, but then I realize it falls right in line with the various jabs the super conservative McMahons took at the Clinton administration. It’s a reoccurring theme throughout these ‘90s pay-per-views. Remember how they brought in Gennifer Flowers four years later just for the sake of trolling?

“Hmmm, how can I look like your culture-appropriating aunt while also looking like I could be in a Heart music video circa 1987?” - Leilani Kai in the lead-up to WrestleMania X.

Man, those 10-man tag guys must’ve been so pissed about getting cut from the show. “At least Shawn and Razor got time to put on a classic!” said none of them, presumably.

It’s taken me this long to realize he’s named Johnny Polo because he carries around a polo mallet. Embarrassing.

It’s a shame the Lex/Perfect feud never went anywhere after this because it’s such a great bit of continuity to have Perfect screw over Lex given everything that transpired between them the previous year. And I don’t really fault Perfect either. Why should he just forget that Lex is the prick who knocked him out?

Speaking of Lex, I definitely think he and Yokozuna would’ve benefited from swapping heel/face alignments shortly after this show. For as much as this show is a huge step forward for Bret, the other two guys in the title picture didn’t quite have the same aura after this.

Love, love, love the mass babyface celebration at the end. Wrestling really needs to bring it back. Plus, here it makes it look like Bret just played a monolithic beast and the fearful townspeople can finally come out of hiding to celebrate.

[mrmichaelchadler]

A Look Back at Those We Lost in 2018

Below is a full index of our tributes from 2018, celebrating the unforgettable talent we lost like Penny Marshall, Stan Lee, Aretha Franklin, Burt Reynolds, and more. Each tribute includes a passage from the obituary, a credit to the respective author, and a link to the full piece. 

John Mahoney (1940-2018) 

“Whether it was in film, on TV, or on stage, John Mahoney found a way to always feel like he was present in a scene, listening to the actor opposite him and not just waiting to say his rehearsed lines. I was lucky enough to see him at the Steppenwolf, and he was so completely captivating that he stole nearly every scene he was in. What he did was so subtle—whether it was in “Frasier,” “Barton Fink,” or on stage—that it probably didn’t get the attention it deserved, but he’s one of those rare actors about which one can honestly say that he made everything he was in just a little bit better. And sometimes a lot.” (Brian Tallerico) [link] 

Jóhann Jóhannsson (1969-2018) 

“He leaves behind an incredible discography, made from his sensibility to tell stories with minimalist melodies, grandiose arrangements and meditative pacing that challenged the conventions of music composition. Aside from his own accomplishments as a nearly unclassifiable composer, his film work was pivotal to helping numerous movies deeply resonate with audiences.” (Nick Allen) [link] 

Steven Bochco (1943-2018) 

“On the Mt. Rushmore of TV creators next to faces like Norman Lear and David Chase, there should be a spot reserved for Steven Bochco, the man who changed the medium of television drama in the way he emphasized ensemble over star vehicles and multi-episode arcs over standalone stories. Shows like “Hill Street Blues,” “L.A. Law,” and “NYPD Blue” earned Bochco a stunning 10 Emmy awards, along with prizes from the Directors and Writers Guilds of America and four Peabody Awards. In 1996, he was inducted into the Television Hall of Fame. He should probably have his own wing.” (Brian Tallerico) [link] 

Isao Takahata (1935-2018) 

“As a producer, he co-founded the legendary Studio Ghibli with the legendary Hayao Miyazaki and would go on to collaborate with him on a number of his internationally celebrated films as a producer. […] Without his efforts and influence over the years, it is safe to say that the animated film industry would be a markedly different beast than it is now, and definitely a less interesting one to boot.” (Peter Sobczynski) [link]

Milos Forman (1932-2018)

Milos Forman, the Czech-born filmmaker who helped revolutionize cinema in his home country before moving to America and becoming one of its most celebrated directors as well, has died. The man behind such celebrated films as “One Flew Over the Cuckoo’s Nest” (1975) and “Amadeus” (1984), both of which won Oscars for Best Picture and earned him prizes for Best Director, passed away from what was described as a short illness at the age of 86 at his home in Connecticut. Mixing together surreal humor, documentary techniques and an interesting blend of cynicism and affection, Forman helped put Czech cinema on the map. When he applied those same techniques to the projects produced in his adopted country, the result was some of the most incisive, knowing and most profoundly American films of his era. (Peter Sobczysnki) [link]

R. Lee Ermey (1944-2018) 

“Ermey was fun to watch. He became an actor by playing himself, a rare breed of man who was familiar as himself—an American, a Marine and later, an actor. While many scream over Hollywood's liberal slant or other preconceived notions, Ermey's presence on screen was an example talent always wins out. We're all winners for having the Sarge in our viewing life.” (BJ Bethel) [link] 

Anne V. Coates (1925-2018): 

“Throughout a career spanning over 60 years, she worked on over 60 films, receiving numerous accolades that included two Oscars and four additional nominations, and is credited with creating perhaps the most famous single cut in movie history. [...] In 2003, she was named an Officer of the British Empire by the Queen in celebration of her career. In 2007, the British Academy of Film and Television Arts, who had in the past nominated her work on “Murder on the Orient Express,” “The Elephant Man,” “In the Line of Fire” and “Erin Brockovich," presented her with a Lifetime Achievement Award. She received her second Oscar, a Lifetime Achievement Award, in 2017.” (Peter Sobczynski) [link] 

Margot Kidder (1948-2018) 

“She was a spiky brunette with a sexy low voice, but she had her goofy side. Her “Superman” director Richard Donner once said that Kidder was so physically maladroit that if she walked into an empty room with a small trashcan in it she would somehow find a way to get her foot caught in that trashcan.” (Dan Callahan) [link] 

Tom Wolfe (1931-2018) 

“As a journalist, he would take subjects that I would ordinarily have little interest in—Southern California car culture, LSD, the early days of the space program—and attack them with both a zingy writing style that was practically novelistic in nature. He had an enormous depth of detail that made the subjects come to life in the most memorable and unexpected of ways. Later on, Wolfe applied those same techniques in the service of narrative fiction and came up with a series of best-sellers that included one of the most popular and influential novels of the second half of the 20th century.” (Peter Sobczynski) [link] 

Philip Roth (1933-2018) 

“Early novels like Goodbye, Columbus and later novels like The Humbling might show differences in relative aggressiveness but they grow from the same work aesthetic and the same desired relationship with the reader. Much like the greatest films, they pick you up, they draw you in, they show you a world—and the world, usually, is not the world you would have dreamed up. It is a world in which you are morally and intellectually uncomfortable.” (Max Winter) [link] 

Harlan Ellison (1934-2018) 

“That said: if you want to send Ellison off in style, do as he encouraged, and not just as he wrote: read more; talk back to any authority figure within earshot; raise a stink if you feel like you're being taken advantage of, even if it's by a friend; value your time, and don't be afraid to walk away from somebody you love if they don't; respect artists by paying for their work; denounce superstition whenever you can, especially when it seems harmless; reject platitudes, and don't let anybody tell you that your informed opinion doesn't matter. Life may be a series of confrontations, as Ellison said at least once, but you can't let the bastards get you down.” (Simon Abrams) [link] 

Claude Lanzmann (1925-2018) 

“The 1985 documentary “Shoah” was a movie whose critical reception, at least in its United States incarnation, was defined by a slight paradox. The nine-and-a-half hour movie about the Holocaust, specifically the Nazi death camps operated in Poland, was a work utterly defined by the personality, the aesthetic, and the moral determination, and determinations, of its director, Claude Lanzmann. [...] Lanzmann’s flame was an uncommon one. Filmmakers and people of conscience and compassion the world over would do well to keep its memory close by.” (Glenn Kenny) [link]

Tab Hunter (1931-2018) 

"And yet, it was the very things about him that the system sought to repress—such as a sly, self-effacing sense of humor and his homosexuality—that helped breathe new life into his career a couple of decades down the line. Now that he has left us, three days before his 87th birthday, Hunter will be remembered not just as a pretty face with an admittedly memorable name. He'll also be celebrated as a trailblazer whose accounts of his experiences as a gay matinee idol in Hollywood at a time when such things were unheard of helped pave the way for acceptance." (Peter Sobczynski) [link]

Aretha Franklin (1942-2018)

“Her lyrics told you to think, but her voice taught you to feel. She was a fountain of useful knowledge, too: She could tell you who was zoomin’ who, where Dr. Feelgood’s office was and the exact speed limit on the Freeway of Love. She also knew that the only path to immortality was through her art, so she infused every one of her performances with an otherworldly staying power.” (Odie Henderson) [link]

Neil Simon (1927-2018) 

“Neil Simon’s work was often about human connection. It was a message often hidden in humor, but he was clearly a playwright and screenwriter who believed in empathy and compassion, bringing together disparate personalities to ask a simple but crucial question: If Felix and Oscar can get along, can’t we all?” (Brian Tallerico) [link] 

Burt Reynolds (1938-2018) 

“His screen persona often fused the strong-silent jock-adventurer with the anti-establishment wiseass, a combination that had never been attempted in movies before, at least not to such staggering effect. In the '70s and early '80s, Burt (that's how you referred to him, as Burt) was the biggest movie star in existence.” (Matt Zoller Seitz) [link] 

Scott Wilson (1942-2018) 

“Every time I got to talk to him, he was unfailingly kind and open and, best of all, filled with great stories. I mention all of this here upfront because as you read this, I want to stress the fact that he was not just a great actor but a great guy as well. [...] Because of his association with “The Walking Dead,” it was ensured that his passing would not go unnoticed and I can only hope that the renewed interest in the man will inspire some to go looking at some of his past work to see what a truly gifted and memorable actors he was. He may not have been the most famous of actors but when it comes to the things more important than fame—little things like talent and decency—what he left behind will more than stand the test of time." (Peter Sobczynski) [link] 

Stan Lee (1922-2018) 

“It is impossible to fully grasp the influence Stan Lee had over the world of popular culture since he first achieved fame in the Sixties. As a writer, editor and publisher of comic books, he, along with an extraordinary group of collaborators, revolutionized and expanded what could be said and done in that particular art form in ways that reverberate to this day.” (Peter Sobczynski) [link] 

William Goldman (1931-2018) 

“William Goldman changed the perception of the screenwriter in Hollywood, often refusing to give in to studio or directorial demands—his list of “unproduced screenplays” is as long as the ones that got made. He was an icon in his industry that helped pave the road for well-known screenwriters that would follow him like Aaron Sorkin and Cameron Crowe. Movies wouldn’t be the same without him.” (Brian Tallerico) [link] 

Nicolas Roeg (1928-2018)  

“Roeg was one of the least celebrated influential filmmakers of the last half-century. In terms of the techniques that he helped refine, he's as important as Orson Welles or Stanley Kubrick. And if you judged contemporary cinema purely in terms of the grammar that it has borrowed and retained from past masters, you might have to give Roeg the edge, because of how he told stories.” (Matt Zoller Seitz) [link] 

Ricky Jay (1946-2018) 

“He was a sleight-of-hand magician whose illusions startled and amazed audiences throughout the world; a student of the history of magic who used his extensive knowledge to pen several books, and put together a number of museum exhibitions and lectured extensively on the subject; an actor whose cagey screen presence made him a favorite with such filmmakers as David Mamet and Paul Thomas Anderson; a crucial man behind the scenes who helped create a number of the screen’s most celebrated illusions.” (Peter Sobczynski) [link] 

Bernardo Bertolucci (1941-2018) 

“Bertolucci was the opposite of austere, providing the element of danger in these movies—this was dependent on plumbing a sub-conscious that could be seen as out-of-date in some areas, but that was part of taking such risks. Sometimes it felt like Bertolucci was providing the idea of a certain type of Italian film director of his time, and that idea was meant to be more than the sum of his filmography.” (Dan Callahan) [link]

Penny Marshall (1943-2018) 

“To some, she was the co-star of one of the most popular sitcoms of its era and a familiar face/voice on any number of shows over the years. To others, she was a trailblazing filmmaker who became the first American woman to direct a movie that made over $100 million at the box office, a feat she would repeat for a second time just a few years later. Whichever side of the camera she was working on, Penny Marshall was a consummate entertainer who could handle everything from the broadest slapstick comedy to serious drama.” (Peter Sobczynski) [link] 

from All Content http://bit.ly/2TogguT

[racingtoaredlight]

Profiles in IMDb Greatness: Jim Beaver

I love the Internet Movie Database. The people keeping track of who appears on Cinemax adult programming so dedicated masturbators can follow their favorites from show to show are doing the lord’s work. As such I enjoy looking over random performer pages and arbitrarily judging the scope and quality of their careers to determine if they merit entry into my vaguely defined IMDb Hall of Fame. Today’s enshrinee: Jim Beaver

You might be thinking to yourself “Hey, are you just doing this to keep with the theme Clyde started with covering beavers” and, sure, you’d be right, but shut up. The only reason Jim Beaver wasn’t inducted long ago is because I’m not very good at this since he need only appear as a rogue Soviet agent on The Americans and as just about anyone on Fargo to land in all my favorite TV shows (for real, Jim Beaver needs to be in Fargo). Possessing a sort of rugged, folksy western charm, Beaver’s been appearing in everything you’ve seen for coming up on 40 years, here’s to another 40.

First Listed Role: How am I only just now learning that there’s another football movie starring Burt Reynolds? Is Semi-Tough (Beaver’s uncredited according to IMDb) one of those pictures that’s slipped through the cracks or time, never to appear on cable television? There aren’t that many football movies to begin with so you’d think this would have come up at some point in all the pointless rankings of football films that I’ve read over the years. I need to remedy this immediately.

Also curious to know what the story is behind Burt Reynolds wearing #22 in both this and The Longest Yard, it wasn’t even his number at Florida State. So many questions.

Most Recent Finished Work: An episode of Criminal Minds: Beyond Borders. Unfortunately there’s no episode description on IMDb for me to do my usual bit with these appearances.

Feels like I’ve had a string of enshrinees that I’d said are the hardest working people in TV but goodness does Jim Beaver stay busy spanning from Dallas to NYPD Blue to NCIS today. We’ll dig into it more in my most favorite section coming up here but it might be quicker to just list the network dramas he hasn’t appeared on (Ally McBeal’s loss, really).

CSI/Law & Order/NCIS Guest Spots: *Cracks knuckles*

Appeared in two episodes of CSI: Original Recipe back in 2004. The first episode was called Fannysmackin’ so I went into the episode recap hoping to find our heroes investigating Jim Beaver running a shady brothel that caters to spanking fetishists but alas. It’s just about a roving band of street thugs who beat the crap out of the wimpy CSI guy. I found a video of it but doesn’t appear to be Jim Beaver doing the beating so tough to say what his role is here.

I don’t remember their being a Law & Order: LA (Skeet Ulrich! Alfred Molina!) but Jim Beaver found his way onto an episode titled Hollywood. The detectives suspect a young actress of burglarizing celebrity homes but get it wrong, possible that Beaver was playing an older actor going on OJ Simpson-esque rampages across Los Angeles to reclaim repossessed property.

An NCIS episode followed involving pirates. I was hoping that Beaver was the pirate captain since his character’s name is Captain Tom O’Rourke but the above photo suggests he’s the captain of some boring ass, non-pirate vessel. Someday perhaps, I think Jim Beaver would serve nicely as a pirate captain, he could just dust off the old Deadwood profanity to use as needed.

And finally a 2014 episodes of NCIS: New Orleans where he sadly is a different character and not Captain Tom O’Rourke who since his exploits with Mark Harmon has broke bad and is now a pirate captain sailing through the Gulf of Mexico and plundering treasure and beads.

Hall of Fame Ballot Submissions:

Blue Chips (sure to come up again in Penny Hardaway’s IMDb HOF induction ceremony), That 70′s Show, The West Wing (I’d actually planned on watching this and took in the first two episodes on election night and after that decided I didn’t need a show about a lovey-dovey president in the wake of current events), Deadwood, Big Love (leave me alone, this was in the second season when the show was still good and we in IMDb HOF land are still mourning Bill Paxton and are happy to honor his work at any turn), Justified, and of course as the arms dealer on both Breaking Bad and Better Call Saul.

Depending on your feelings about Turner & Hooch throw that into the mix as well. That ‘stache!

I could have just listed the Holy Trinity of TV that I adore and it would have been more than enough. He’s now the third member of Team Deadwood to receive this prestigious honor along with W. Earl Brown and John Hawkes and I’ve long since exhausted the accolades that show deserves. Beaver’s character Ellsworth was tremendous, not quite a lovable loser since he usually seemed to have his shit together and when he was (uh, spoiler for a show that went off the air over a decade ago) shot by George Hearst’s goons even previously warring factions in the town could all agree that this was some bullshit.

And like so many Deadwood alumni he turned up as an important character in Justified as the sheriff who was supposed to be a puppet regime but had his own ideas. In looking over Beaver’s IMDb page there’s a lot of sheriffs and lawmen in there, always get a kick out of the character actors who so perfectly fit those types of roles and keep landing them. Wonder if they ever get bored though. Probably makes being the gunman in the Vince Gilligan universe all the more enjoyable, the scene with him and Mike is great even without a purchase being made. Just two old pros playing two old pros and not messing around. Hope there’s still room for him to pop up here and there as Better Call Saul progresses.

Miscellaneous Credits: I don’t know how or why this has become my bag in these but I always like pointing out when the great character actors we cover were in soap operas and Jim Beaver is the Chris Chandler of soaps, he’s played for all of them (and I’m not counting Melrose Place here).

Santa Barbara, The Young and the Restless and Days of our Lives all get checked off the list. Shame Passions is no longer with us and he can battle that demonic doll that would come to life. I’m curious about the Santa Barbara stint whether these are multiple characters or just the progression of one man.

He clearly did well enough as the uncredited rapist to be given the name Andy but did Andy the Rapist then become a Motel man? Motels are awfully inviting for the careful rapist and even while Jim Beaver can disappear into a role you’d think a multiple episode arc about a rapist would have the audience recognizing him a year later if he was just some non-rapist motel man. I think my mom watched that show back in the day, I’ll ask if she remembers Andy the Rapist.

Highest Rated IMDb Entry: Coming in at a robust 9.7 is a short film called Injection that looks interesting. I should make more of an effort to seek out these short films that win awards and what have you, I keep complaining that the big timey movies (and sporting events for that matter) are too long anymore and wouldn’t mind a wee story to entertain me.

Bigger upset here is the rest of the top 20 not featuring any Deadwood. It’s all Supernatural, Breaking Bad and Justified. Having never seen Supernatural I’m still going to be upset about this. ELLSWORTH DIDN’T (uh, again, spoiler for a long ended show) DIE FOR THIS.

Lowest Rated IMDb Entry: At the end of the 20th century there existed a show called Pensacola: Wings of Gold starring James Brolin which presented an episode unfortunately including Jim Beaver that only earned 3.7 stars from the voting public. Apparently this elite group of fighter pilots or whatever they are were known as the Sea Dragons which has me thinking we reinvent this show but the Sea Dragons are a Korean baseball team and Jim Beaver their crusty manager. If James Brolin wants back in we’ll find something for him to do.

IMDb Fun Fact: Wow, turns out that this enshrinement is extra special since Jim Beaver is himself a power user of IMDb.

As of 7/7/07, was the seventh most prolific writer of IMDb plot summaries and the seventh most prolific writer of IMDb mini biographies.

Although I would refer to the above where I was left hanging out to dry with no Criminal Minds: Beyond Borders episode recap to riff off of, you’re slipping Mr. Beaver.

IMDb HOF Members: Been since 10/13/16 since I did one of these (and please don’t revisit that Gary Cole one since there’s a smart ass joke about how James Franklin will never win a Big Ten title at Penn State in there), maybe doing one annually will add to the gravitas of being enshrined.

Bob Balaban

Jim Beaver

Clancy Brown

W. Earl Brown

Reg E. Cathey

Gary Cole

Keith David

Cary Elwes

Noah Emmerich

Jami Gertz

John Hawkes

John Michael Higgins

Toby Huss

Allison Janney

John Carroll Lynch

Margo Martindale

David Morse

Joe Morton

Robert Patrick

Bill Paxton

Jon Polito

Alan Rickman

Stephen Root

Alan Ruck

Peter Stormare

Daniel von Bargen

Next Time: Who knows what the world of 2018 will look like, let’s just be happy if there’s still internet and running water.

(adsbygoogle = window.adsbygoogle || []).push({});

[aion-rsa]

Latour Predicts an Action Packed 2017 for Southern Bastards

The fictional setting of Jason Aaron and Jason Latour’s Eisner-winning “Southern Bastards,” Craw County, Alabama is a powder keg waiting to explode. The fuse was lit in 2014’s series’ opening arc when Euless Boss, the local crime lord and high school football coach, murdered a man named Earl Tubb. It’s been a slow burning fuse, especially in 2016, when the series only released three issues. But Earl Tubb’s Marine Corps member daughter Roberta has finally arrived in Craw County, and will soon enact her plans for vengeance.

RELATED: Latour On Finally Tying Up His Loose Ends with Brunner & Renzi

2017 is sure to be a big year for the series, as Boss contends with Roberta, several new and soon to be introduced power players, and his team’s losing streak. We spoke with Latour about the plans for the book, why Roberta Tubb was given a slow burn introduction into the larger story he and Aaron are telling, and how important it is for him to have a book to draw, especially now that he’s known for his work as a writer on books like Marvel Comics’ “Spider-Gwen.”

CBR: There were only three issues of “Southern Bastards” published in 2016, and I imagine that’s partly because you and Jason Aaron are really busy guys. Was it also because you guys want to give the series the time it deserves?

Jason Latour: Yeah, we went into this never expecting anybody to really buy our football-murder comic. [Laughs] We knew we had a chance to do something interesting because we were both so invested in it, and because people who knew Jason A’s work knew that “Scalped” was really good. But the book has been about 10,000 times more successful than I ever thought it would be.

Part of staying the course, to keep it on the level of what we both expect and get out of it, is to put the comic out that we feel comfortable with. Like you said, both of us are very busy with our careers, so we’ve got a lot of fingers in a lot of pies. That hasn’t helped our schedule, no, but there was definitely an organic story-centric need for a recharge at the end of arc number three.

We’re just very committed to making sure this comic is served when the meal is ready. [Laughs] There’s a lot of comics out there that people can consume like fast food. They can get them on demand. They can get them when they’re greedy for them, but this is a comic we try to treat exactly like good barbecue. You cook the pig until it’s right; when the pig is done, it’s done. When it’s gone, it’s gone, and you close up for the day. I’m certain that frustrates some people, but I’m also confident in the product and the effort that goes into making the comic that only we make, the way only we can make it.

That said, I really thank people for being patient because the readers that have been loyal to this comic have gone above and beyond normal fandom. I can’t speak highly enough about their passion for it. It’s really endearing and gratifying and energizing.

November’s #15 focused primarily on the imploding world of Coach Boss, but we did see a little more of Roberta Tubb, who is in Craw County doing recon. What made you and Jason want to give her such a slow burn introduction? And will we finally see what Roberta is capable during the current arc?

Yes, the end of this arc is probably conceived as the most action packed thing we’ve done. It will heavily involve bringing Roberta to the forefront and her enacting the first step of her plan. Hopefully, everything draws together, and by the end this story will have one of the most explosive arcs we’ve done to date.

Easing Roberta into the story was really necessary, because this is a story where the premise has always been that the bastards have won the day. They’re in charge. Wanting to see people like Coach Boss toppled, or feeling conflicted about Coach Boss and not knowing if you want him to fail or not is all very important to the way this comic works. That needed to be set up slowly.

We sort of introduced a white hat early in Earl Tubb, but introducing the real protagonist so soon would have done the comic a disservice, especially considering that, thematically, a big part of this story revolves around setting up this a very toxic and masculine environment. You have to see the consequences of that and get to know the players and the lay of the land before you introduce the person who could potentially up end it in Roberta Tubb.

It was a big gamble on our part where we knew that our fourth issue threw people a curve ball, and then we asked them to wait a long time for any real release. But I think the small releases people have experienced do seem amplified by that.

With “Southern Bastards,” you can always expect us to be true to the story that we’re telling, whether that takes a little longer to actually make the comic, or it takes a little longer to play out some elements. Sometimes what you expect isn’t necessarily what you’re going to enjoy.

Issue #15 also introduced readers to a new power player in Craw County, the mayor’s wife, Leddy. What can you tell us about her? How big a role will she play in the series moving forward?

We’ve plotted through a lot of the next two arcs, and more and more, Leddy keeps popping up in conversations. Where she comes from and her actual hold over things are stuff that certainly needs to be explored. She’s an interesting antagonist or foil for Coach Boss. I am a little hesitant to go into how much we’ll see of her, but she’s definitely going to be a player moving forward. In many ways, she seems like a good mirror for Roberta.

I’m curious about another new character who appears on the cover of “Southern Bastards” #17. He looks a lot like an older Burt Reynolds, and appears to have a pet monkey. Who is he?

[Laughs] That’s Colonel Quick McCluskey. He is a character who we both very quickly (pun embraced) have fallen in love with. I told Jason Aaron that there will be a point in the future where people might look back on this comic and instead of saying that’s where the book jumped the shark, they’ll say that’s where they introduced the monkey. [Laughs]

He is a rival crime boss that supports a rival football team. I’ll leave it at that. He’ll definitely be a major player in this next arc, and maybe even moving forward beyond that. He’s been a lot of fun.

When things are very serious, they sort of reflect how absurd life is. So to me, McClusky fits that sort of Coen Brothers vibe we’re both big fans of. So ridiculous, he’s terrifying. We’re always trying to feed stuff like that into this comic because that’s the way I think we both feel about real life.

One of the things we’ve been reminded of throughout “Southern Bastards” is how big an impact the past has on the present. It looks like March’s issue #18 will show how the past impacts Roberta.

Yes. It was Faulkner who said, “The past is prelude.” That’s the most educated book learned thing you’re going to ever hear me say. [Laughs] I think that’s true of both “Southern Bastards” and “Loose Ends” [a series by Latour, Chris Brunner]. Both Southern fiction and Crime fiction share this obsession with how the ripples of past mistakes can become this tidal wave in the present.

Issue #18 is by me and Chris Brunner. That’s a chapter I’m writing and he’s drawing. What Roberta is going to be weighing in that issue is just how much her father, Earl Tubb, actually got what he was looking for in the end. And how much of the impact he made on her growing up has led her to Craw County — and to this seemingly inescapable momentum that’s put her on a collision course with Coach Boss.

Chris is drawing issue #18, but you’re the regular artist. How does it feel to have a book where you can go and draw when you’re doing so much writing these days?

It’s very difficult, but also invaluable. As somebody who’s drawn his whole life I need that gear shift. Writing is something that I take very seriously, and I’m very fond of . . . when it’s going well. [Laughs]

For me, there’s sort of a meditative quality to drawing. Once I’ve done a lot of thinking about the storytelling on the page I then actually have to execute it. That’s a very time intensive process where you have to sit there and basically break your back over the board for a couple hours every night. It can be almost mechanical at times— but I think it really helps me think through what I want to do creatively. So writing and drawing are two things that are very intrinsically linked for me. I may eventually scale back on drawing some (as if it’s even possible for me to do less, right?) because it’s a lot harder, but I don’t ever want to quit. It’s all storytelling, and that’s what I love.

Does being a working artist improve the collaborations on the other books you’re writing?

I definitely think it has. I’m very fortunate to say that I’ve done every single creative task when it comes to making comics, except being an editor… at least formally. I even lettered “Loose Ends” by hand. I’ve done every one of the jobs on both a creator-owned and professional basis, and I’ve done them to varying degrees of success.

It certainly helps when you’re collaborating on a comic, because on one hand, you know what you’re talking about, and on the other hand you know how it feels to sit in that chair and be that other person. I imagine there have been some times when my experiences doing those other tasks have gotten in the way, but more times than not they’ve helped with communication and the empathy you need to keep those relationships alive.

You know how they say directors should take acting classes so they know exactly what to yell at the actors? [Laughs] That’s sort of what it’s like.

What else does 2017 holds for “Southern Bastards?” The Image site suggests the next issue will hit in January and we’ll be getting one issue a month for the next several months.

That will be the attempt. We don’t want to have too many long gaps on this next arc. Issue #15 is out now. Issue #16 has gone to the printer. There’s issue #17 and then Chris Brunner is drawing #18 from a script I wrote. The last two parts make the arc an even six issues, and will put us to right around the end of Spring for the conclusion.


Then there’s talk of me potentially tackling a floating issue all by myself, on both writing and art. If that happens or not is contingent on lots of stuff, but it’s something I’m very excited about. Then we’ll probably take a break and assess when we’ll come back for Volume 5 from there.

So I can’t stress enough that we’re far from done with this comic. 2017 is hopefully going to be a more productive year. I’ve been joking that we did less issues in 2016 because we knew it was gonna be a bad year and we want people good and ready to tear shit up in 2017.

Truthfully, I’d say we’re roughly approaching the midway point to the series and I’m very hopeful and excited about what’s to come because every time Jason and I have creative jam sessions about where we’re headed, I leave feeling more and more excited about it. Which is strange for me, given that I never thought I’d draw a comic bigger than a one shot. [Laughs]

So staring down the barrel at a series that could potentially run 30-40 issues is really intimidating, but also exciting. I’m just very grateful for everybody who supported us at this point and I hope they continue to enjoy the little football murder comic that could.

The post Latour Predicts an Action Packed 2017 for Southern Bastards appeared first on CBR.com.

http://ift.tt/2ilaxTN