“Streaming shows compared with the era of (US) broadcast shows have fewer episodes, fewer seasons and a bigger emphasis on story arcs. ” — Camestros Felapton, who argues this has become a problem for streaming-era Star Trek.
Mark Waid says the late Neal Adams “was a crusader for creators’ rights. He looked out for others and was fiercely protective of his colleagues. He was passionate, he was loud, and he didn’t like bullies. In fact, I say he never left a dollar behind, but that’s not really true — he left lots of money behind over the years because he wouldn’t betray his principles, an admirable trait.”
I’m inclined to agree with Brian Cronin that contrarian positions on movies (“X was the real villain of the story all along!”) are amusing but in most cases shouldn’t be taken seriously.
The Mary Sue argues that if Moon Knight is Jewish, he should be played by a Jewish actor. I don’t agree, but I’ll link to it.
Long before Maus, a 1945 comic-book gave readers visuals of the Holocaust.
James Patterson insists it’s just soooo hard for white men to make it in publishing.
Winnie the Pooh is now public domain, but not 100 percent.
Here’s a bizarre take on character ownership: if you make your characters suffer you deserve to lose the rights to them.
I have no strong opinion on Charlie Jane Anders’ “sweetweird” genre theory but I do like this quote: “he world makes no sense, but we can be nurturing, frivolous and kind. We don’t have to respond to the ludicrous illogic of the world around us by turning mean and nasty, or by expecting everyone else to be horrible. At the very least, we can carve out friendly, supportive spaces in the midst of chaotic nonsense, and maybe help each other survive.”