Suicide Squad has only been in theaters for a week, but it’s already become a flashpoint for fan discussion. (And yes, that was a DC pun, thank you very much.) Does the movie’s plot make sense? Does it matter? How much of David Ayer’s original vision wound up in the theatrical cut? And maybe the most contentious debate of all: Is the movie better than Warner Bros.’ previous entry in the DC Extended Universe, Batman v Superman: Dawn of Justice?
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More than most, the mantle of The Flash is defined by legacy and by family. Jay Garrick wore the name proudly through the Golden Age, but it was a successor stepping in that kicked off the Silver Age and revitalized superhero comics on the whole. This week we look at the men and women to ride the lightning as The Flash.
The box-office records it demolished over the weekend aren’t the only broken parts of Suicide Squad. For all its admittedly impressive financial success, the movie’s story is shockingly incoherent, and that’s when the film has a story at all. Sure, Will Smith was great and Margot Robbie made an impressively committed Harley Quinn. But in much the same way the Suicide Squad is held hostage in Midway City by sinister bureaucrats, Smith, Robbie, and company are trapped in a movie that gives them very little play and makes even less sense.
This looks like a job for Superman. Too bad he’s dead.
Batman is a straight male power fantasy. His daylight veneer is one of a playboy billionaire. His nighttime identity is that of a sculpted superhero all clad in black. In either take, he is a masculine bulwark against the evil in Gotham — which is why his villains are so often feminine, queer, flamboyant, and robed in bright colors.
Hopefully Supergirl and National City can provide a more inclusive and subversive space for the feminine, the gender nonconforming, the queer. Kara is one of the few superheroes more often portrayed as feminine; she derives her strength equally from her own compassion as she does Earth’s yellow sun.
Since the dawn of the Silver Age, legacy characters have been a staple of superhero fiction, and having a new character step into a well loved role can open up new opportunities for writers and artists to tell different kinds of stories. In The Replacements, we’ll look back at the notable and not-so-notable heroes and villains to assume some of the most iconic mantles in the superhero genre.
The Mighty Thor is a hero as old as time and a founding Avenger, but The Prince of Asgard is not the only person to bear that moniker. Over time there have been other heroes and villains who have attempted to claim the name of Thor, and not all of them were considered worthy.
Ever since WB released the first teaser for Suicide Squad, one thing has been abundantly clear: Margot Robbie’s Harley Quinn is the star of David Ayer’s DC super-villain ensemble piece. But for those unfamiliar with The Joker’s occasional sidekick and love interest, the beautifully bonkers and charmingly crazy villain is a bit of a mystery. To help you out, we’ve created a brief primer for The Dark Knight’s most delightful baddie, revisiting some of the character’s most notable moments and tracing her history from breakout Batman villain to Suicide Squad.
Most anime is adapted from manga, often produced by the manga publisher to raise awareness and sell it overseas. But what about the anime shows or film that go the other way, adapted from the screen to the page? How do those works hold up, and what changes or stays the same? That’s what Screen & Page aims to explore.
This week, we're talking about an anime that set the internet on fire because of all the ways that it does --- and doesn't --- break the magical girl genre: Puella Magi Madoka Magica!
As someone who thought she was a dude in the late 1990s, Preacher was the comic I looked forward to every month more than any other. As someone who knows she isn’t a dude in the mid-2010s, I’m looking back on this series and examining what still works, what doesn’t work, and what its lasting legacy is.
This week, it's a break from the regular series as writer Garth Ennis and editor Julie Rottenberg assemble a series of one-shots set in the Preacher expanded universe. What will different artistic styles bring to the table, and what can the tone of each one --- from frivolous to a serious as a tombstone --- tell us about how well fiction ages?
It's Star Trek's 50th anniversary and between the well-received Star Trek Beyond, the fact that all of Trek is available streaming basically everywhere, a new TV show coming next year, and the continued release of new novels and comics, it's a good time to be a fan of the USS Enterprise and its brethren.
Comics have been a part of Trek lore from almost the very start. Beginning in 1967, when the original Trek was wrapping up its first season on NBC, Gold Key published a series that only had two consistent features: an irregular publishing schedule, and an almost total disregard for how the characters actually looked.