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Monday, November 2, 2015
Sunday, November 1, 2015
"Preacher" trailer arrives from AMC
The first trailer has arrived for AMC's adaptation of the 90's Vertigo comics series, Preacher.
Here you go:
The series was written by Garth Ennis with art by Steve Dillon for, I believe, every regular issue and most of the Preacher one-shots, back when DC had a wing that was responsible for actually doing some fairly creative things under the watchful eye of Vertigo mastermind Karen Berger.
I don't write about his work a lot, and I probably should, but sometimes I think Garth Ennis is the last of that 90's-era bunch who has managed to stick it out, continue to get better specifically at comics writing, and is the last of the generation that believed comics were on an upward climb toward telling stories that people would care about rather than churning through nostalgia, giving comics form to internet memes, and maybe becoming a respectable form of literature rather than pop-culture artifact and detritus.
Sure, he dabbles in some of that, too, but even when Ennis has written superheroes, he's written some really damn good superheroes, from his stint on Hitman (his Superman/ Tommy Monaghan interactions were pure gold), and he did some excellent work with Punisher. I may not have found The Boys particularly my thing, but, man, any war comic he does is well worth the read. War Stories and Battlefields are both just absolutely stellar titles, as well as his work with Enemy Ace at DC and Phantom Eagle at Marvel.
He's able to swing effortlessly between some jet black gallows humor, shocking violence and genuinely heartfelt moments, often all in the same comic.
In short - he's one of the best writers working today, and maybe ever, in comics.
To say that Preacher spoke rather well to me when it hit the stands while I was in college is a bit of an understatement. Between Preacher and Morrison's Invisibles, I felt like I was getting made-to-order comics, or - more realistically - comics that gave me something new I didn't know I'd be interested in.
Where The Invisibles sometimes lost me in British or dated references I couldn't yet follow, Preacher - despite (or especially because it was) the fact that the creators weren't American or Texan - made a hell of a lot of sense to me. Scenes took place all over, but the heart of the comic was in Texas, with roots in Louisiana. Scenes took place on Congress Avenue in Austin and just outside The Alamo in San Antonio. I, too, had out of control friends and whatnot.
In retrospect, I hate to say how much influence Preacher and The Invisibles had on my 1997-penned screenplay for Screen Writing class, The Hypothetical Elevator. I was absolutely unaware of the influence at the time, but, boy howdy - yes.
I'm not sure what to think of a TV series. Of course I'll give it a shot, and I trust AMC to try to do something interesting with the ideas from the series. I can see bits and pieces of the characters in the trailer, even if it's clear, already, that they have no intention of sticking with the comics on a page-to-screen basis. That's fine, it's worked out okay for The Walking Dead. And you really don't want everyone spoiling the TV series by just picking up the comics - which ran about 75 issues if you include the specials, I guess, and had a concrete conclusion. No need to get folks deciding that they don't need to watch the show already.
Sure, I will absolutely be tuning in. Should be colorful stuff if they do anything like the comics, but it's going to be some seriously MA-Rated TV in the process.
Here you go:
The series was written by Garth Ennis with art by Steve Dillon for, I believe, every regular issue and most of the Preacher one-shots, back when DC had a wing that was responsible for actually doing some fairly creative things under the watchful eye of Vertigo mastermind Karen Berger.
I don't write about his work a lot, and I probably should, but sometimes I think Garth Ennis is the last of that 90's-era bunch who has managed to stick it out, continue to get better specifically at comics writing, and is the last of the generation that believed comics were on an upward climb toward telling stories that people would care about rather than churning through nostalgia, giving comics form to internet memes, and maybe becoming a respectable form of literature rather than pop-culture artifact and detritus.
Sure, he dabbles in some of that, too, but even when Ennis has written superheroes, he's written some really damn good superheroes, from his stint on Hitman (his Superman/ Tommy Monaghan interactions were pure gold), and he did some excellent work with Punisher. I may not have found The Boys particularly my thing, but, man, any war comic he does is well worth the read. War Stories and Battlefields are both just absolutely stellar titles, as well as his work with Enemy Ace at DC and Phantom Eagle at Marvel.
He's able to swing effortlessly between some jet black gallows humor, shocking violence and genuinely heartfelt moments, often all in the same comic.
In short - he's one of the best writers working today, and maybe ever, in comics.
To say that Preacher spoke rather well to me when it hit the stands while I was in college is a bit of an understatement. Between Preacher and Morrison's Invisibles, I felt like I was getting made-to-order comics, or - more realistically - comics that gave me something new I didn't know I'd be interested in.
Where The Invisibles sometimes lost me in British or dated references I couldn't yet follow, Preacher - despite (or especially because it was) the fact that the creators weren't American or Texan - made a hell of a lot of sense to me. Scenes took place all over, but the heart of the comic was in Texas, with roots in Louisiana. Scenes took place on Congress Avenue in Austin and just outside The Alamo in San Antonio. I, too, had out of control friends and whatnot.
In retrospect, I hate to say how much influence Preacher and The Invisibles had on my 1997-penned screenplay for Screen Writing class, The Hypothetical Elevator. I was absolutely unaware of the influence at the time, but, boy howdy - yes.
I'm not sure what to think of a TV series. Of course I'll give it a shot, and I trust AMC to try to do something interesting with the ideas from the series. I can see bits and pieces of the characters in the trailer, even if it's clear, already, that they have no intention of sticking with the comics on a page-to-screen basis. That's fine, it's worked out okay for The Walking Dead. And you really don't want everyone spoiling the TV series by just picking up the comics - which ran about 75 issues if you include the specials, I guess, and had a concrete conclusion. No need to get folks deciding that they don't need to watch the show already.
Sure, I will absolutely be tuning in. Should be colorful stuff if they do anything like the comics, but it's going to be some seriously MA-Rated TV in the process.
Saturday, October 31, 2015
Happy Halloween from The Signal Watch!
As we now conclude every Halloween, let's wrap it up with the Queen of Halloween! Ladies and Germs... Elvira, Mistress of the Dark!
Franken-Watch: The Bride of Frankenstein (1935)
This year on the 80th anniversary of the release of The Bride of Frankenstein (1935), I wrote a post celebrating the film. You're welcome to check out what I said there about the movie.
Each Halloween I now make it a habit to watch a string of horror films from across the past hundred years, and while the rest of what I'll watch I might change up, I always include the first two Frankenstein films from Universal Studios, Frankenstein and The Bride of Frankenstein. Of course I just watched Frankenstein (and I really do recommend catching these movies in the theater, when possible), but I found no listings for the movie here in Austin, so I busted out my BluRay copy.
Friday, October 30, 2015
Halloween Watch: Elvira - Mistress of the Dark (1988)
I'm a firm believer that the 1988 film Elvira: Mistress of the Dark is both underrated and was ahead of its time. Fortunately, in the ensuing 20-something years, the movie found its audience on VHS, cable and DVD.
While certainly there were female-centric comedies in the 1980's (see: the career of Goldie Hawn), Elvira's persona was considered something more to gawk at during her first wave of popularity when seen through the filter of media like The Tonight Show than it was seen for its own merits or as something folks were bothering to pay attention to. Sure, she had genuine fans out there, and the oddly specific nature of Elvira translated surprisingly well to beer ads, etc...
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