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While the odious James Gunn continues to promote himself, he was screenshotted taking a dump on the whole #ReleaseCoyoteVsACME movement.



He seems he couldn't care less, but I bet if this film were to come out he'd certainly take credit for it.

Unfortunately, I've never played "Alien Isolation", so I am not super-familiar with that story line, but I get the idea about the Alien being resilient being something that "Romulus" can take aim at. In doing so, that sort of direction would honestly give even more credence towards Ash's admission of having high regard of the Alien itself as the "perfect organism".   

I definitely recommend you to check out Alien Isolation whenever you can. It takes place around twelve years after the first film and you play Ripley's daughter investigating a distress signal at a space station, who is also trying to find out what happened to her mum. The game contains audio recordings of all the characters from the first film, but trying to find all of them is a challenge. If you get the complete edition, you can play DLC mini-games that recreates key events from the first film e.g. Ripley's dramatic escape from Nostromo.

Tonally, Isolation more inline with Ridley Scott's vision than James Cameron in terms of scenery and atmosphere. As such, the game lives up to the spirit of that film as a survival horror game and weapons don't come into the game until you're about two-thirds into it. The only time it resembles Cameron's Aliens is the moment when you investigate deeper into the space station, where a huge hive nested there and you have Facehuggers popping out everywhere.

As for Romulus, it looks good. It may not reinvent the wheel compared to what we saw before, but that's alright as long as it has that gritty suspense.

Awesome art of Keaton's Batman and the 1990 Ninja Turtles film version. I wish I knew who drew it.

I found these Wizard Magazine scans previewing BTAS before the show was about to debut on TV.







There is another picture of title cards for some of the characters too.



https://www.comicartfans.com/gallerypiece.asp?piece=1927396

Another fascinating video analysing BTAS's film noir and pulp influences.

I saw this post by a concept artist who worked on BvS.

I have so much film work no one's ever seen.

Here are my first pass storyboards for the birth of Doomsday sequence for Batman V. Superman.

Initially, the fight took them to a bridge and had a bald Lex Luthor. Fun to compare/contrast with the final film.

Also, my Doomsday was CHONK.

(Video embedded in the post)

https://twitter.com/JaredPurrington/status/1776316757822841172

I really like the details in this compilation video. The fear shown in Lex's face as his Doomsday creation immediately turned on him made him vulnerable, a mad scientist who realised who got too overconfident after playing God. I don't necessarily mind how Eisenberg reacted in the scene, but I would've liked to see him cower before Superman saved him.

It's too bad that the bit with Superman saving the pilots whose helicopter got destroyed and the bridge sequence never got filmed. My guess is those stupid execs got too sensitive over the overblown backlash to collateral damage in MOS.

[When Superman: The Animated Series first aired, strong female characters weren't the norm in any genre, never mind animation, so how did you feel when you were approached with this layered version of Lois Lane?]

Here is another interview, this time with Dana Delaney aka Lois Lane. These are some of my favourite answers from her:

When Superman: The Animated Series first aired, strong female characters weren't the norm in any genre, never mind animation, so how did you feel when you were approached with this layered version of Lois Lane?

It's funny because I grew up reading Lois Lane comic books. When I was a kid, she actually had her own comic book. I had also watched the TV series when it was on, if you can believe it, in the 1950s [Laughs]. So, my image of Lois Lane was always a strong career woman and that's how I found her. I was really happy when I saw the writing as that matched my image of her and when I auditioned for it, I was just thrilled. Lois had been an icon for me my whole childhood and my whole life and I saw that they had a period feel to it. I immediately pictured Rosalind Russell in His Girl Friday. In the movies from that time and when Superman was introduced, women were really strong. They've just backslid since then.

You've been able to return as Lois since the conclusion of the series on multiple occasions; what has it meant to you to have this character follow you throughout your acting career?

I'm a fan of Superman and that world myself. Like I said, I grew up reading those comics, so that makes sense to me. Also, I feel like what Superman represents - not in a cheesy way - but the original people who drew him, Shuster and Siegel, were doing it in response to Nazis, World War II, and Anti-Semitism. It's always been a world with a political statement rather than just, 'Rah, rah, America!' I was really happy that those guys continued that in our series.

What interested and excited you most about exploring Lois' dynamic in the series both with Clark Kent and Superman?

It's funny because I watched some of the episodes in preparation and I was laughing out loud because I forget about some of the great dialogue in it. I'd forgotten that Lois was the one that names him Superman [Laughs]. What a great honour to have, you know? I think it was the triple episode where Lois was dating Batman and we had the crossover. That was so much fun to make Superman jealous and have Clark not be able to say anything. It makes me laugh when Lois finally realises Batman is Bruce Wayne and says, 'So, when were you going to tell me? The honeymoon?' [Laughs] It was such a great line to say and she really got to say some great stuff. Another thing that I noticed was, yes, Superman saved her a lot, but not until she'd kicked ass herself. They'd let Lois go as far as she could in defending herself until it was a matter of life and death and she was falling out of a building and he had to swoop in and catch her. They really let her fight her own fights that I really appreciated.

https://web.archive.org/web/20230320085503/https://comicbookmovie.com/superman/superman-animated/superman-the-animated-series-interview-dana-delany-on-lois-lanes-legacy-and-a-possible-return-exclusive-a189467#gs.7qkpau

[Spider-Man: No Way Home (2021)]

I betrayed my lack of enthusiasm and gave NWH a go recently. Here is where it ranks.

• Spider-Man 2 (2004)
• Spider-Man (2002)
• Spider-Man 3 (2007)
• Spider-Man: Into the Spider-Verse (2018)
• Spider-Man: Across the Spider-Verse (2023)
• The Amazing Spider-Man (2012)
• The Amazing Spider-Man 2 (2014)
• Spider-Man: No Way Home (2021)
• Spider-Man: Homecoming (2017)

NWH is nothing more than fan-service. Still, I found it more entertaining than Homecoming, and the returning characters from Raimi and Webb's universes made it bearable. The thing is the plot is just not worth dissecting because there are obvious contrivances going on here; it's just exploiting the multiverse but certain moments in the history of the other two Spider-Verses. Only Electro getting lost into Holland's made some sense here.

I do need to give credit to Tom Holland's acting in the third act though. As soon as Aunt May died, his Peter Parker showed some emotional range and broke away from the usual tiresome antics. Maybe if his previous appearances weren't so obsessed with trying to make everything as quippy as possible, I might've warmed up to his character much better.

I still say NWH is not on par with the Spider-Verse stuff. I find myself much more engaged in Miles Morales than Holland's Peter, and the whole multiverse setting feels much larger and more at stake despite NWH bringing Garfield, Maguire and co back.

I'm reading this pretty cool interview with Steve Englehart as he discusses his run on Batman back in the Bronze Age. One of the snippets that caught my attention was he expressed his annoyance growing up while reading how Superman would resist any sexual attraction from Lana Lang or Lois Lane due to some contrived excuse thanks to comics censorship, and as soon as he got his chance to write Batman, he wanted to shape him as an adult with a realistic sex life. At least as far as comics would go, hence his tense relationship with Silver St. Cloud.

Englehart acknowledges The Joker's Five Way Revenge of making the Joker a killer again after being toned down as a harmless character for decades, but claims his version is much crazier. I think they're both insane in their own right, but Englehart's Joker is more ridiculous and over-the-top with his desire to trademark fish. Whereas the Joker that O'Neil and Adams did in that other story was more straightforward by going on a vengeful killing spree.

It's a bit long, but it's worth reading.

https://13thdimension.com/steve-englehart-i-wanted-to-do-the-definitive-batman/

Keaton did a short career retrospective on GQ's YouTube channel, and spoke about his experience and approach to playing the titular character. It's the time I've heard of Keaton mentioning Frank Miller's name as an influence on the film. I guess he must've skimmed through Dark Knight Returns as an idea of what the tone that Burton and co should be aiming for.