#comic market 83

[cantsayidont]

July–August 1970. Between 1969 and 1975, Alex Toth drew a total of 42 stories for DC Comics. Very few were superhero-related — a two-part Black Canary story from ADVENTURE COMICS and an unusual Batman story in DETECTIVE COMICS in 1974 — the rest being romance, war stories, straight (non-costumed) adventure, horror/mystery, and even the occasional bit of humor (like an amusing Steve Skeates-scripted Hugh Hefner parody in PLOP!).

The visually stunning page shown above is from "Mask of the Red Fox," a supernatural horror story in THE HOUSE OF MYSTERY #187, which helps to illustrate why Toth has long been a favorite artist of artists: tightly controlled storytelling characterized by a mastery of visual space and evocative atmosphere. Ironically, Toth, by all accounts a difficult man, was his own worst critic, relentlessly picking apart any perceived flaws in his past work, whether of his own making or due to the scripters, letterers, or (in particular) colorists. It's true that from the standpoint of story and character, a lot of this material is very slight, but artistically, it's magnificent.

Toth had done various earlier work for DC in the 1940s and 1950s, beginning when he was still a teenager, and then some Eclipso stories in the early '60s, but it's not nearly as artistically accomplished as his 1969–1975 work, which comprises, by my count, about 430 story pages (plus interstitials and intros). Only a few of those stories have ever been reprinted; every so often, DC will toss one into an anthology, but that's about it.

I'm sure DC regards the stuff from this period as being of low commercial value, since very little of it features their flagship characters and it's mostly standalone stories in genres at which the modern comics market turns up its nose, but the fact that they haven't collected this material in some kind of "DC Work of Alex Toth" compilation is criminal. Granted, I'm not sure they'd have the rights to reprint Toth's contributions to the licensed HOT WHEELS series of 1970, but the rest is yet another worthy segment of the enormous body of work DC owns (for the better part of the next century, at least) and rarely if ever does anything with.

Here's a checklist, in order by cover date:

“Eternal Hour” (scripted by Alex Toth), The Witching Hour #1 (February/March 1969)

“When Love Is Gone” (scripter unknown), Young Love #73 (March 1969)

“Hide Your Love” (scripter unknown), Young Love #74 (April 1969)

“The Turn of the Wheel” (scripted by Don Arneson, inked by Dick Giordano), The Witching Hour #3 (June/July 1969)

“The Devil’s Doorway” (scripted by Jack Oleck), House of Mystery #182 (September/October 1969)

“The Stuff That Dreams Are Made of” (scripted by Marv Wolfman), House of Secrets #83 (December 1969/January 1970)

“Next Door to Love [Part 1]” (scripted by Robert Kanigher), Young Romance #163 (December 1969/January 1970)

“Next Door to Love Part Two” (scripted by Robert Kanigher), Young Romance #164 (February/March 1970)

“20 Miles to Heartbreak Part 1” (scripted by Barbara Friedlander, inked by Vince Colletta), Young Love #78 (January/February 1970)

“20 Miles to Heartbreak [Part 2]” (scripted by Barbara Friedlander, inked by Vince Colletta), Secret Hearts #141 (January 1970)

“20 Miles to Heartbreak Part III” (scripted by Barbara Friedlander, inked by Vince Colletta), Secret Hearts #142 (February 1970)

“20 Miles to Heartbreak [Conclusion]” (scripted by Barbara Friedlander, inked by Vince Colletta), Young Love #79 (March/April 1970)

“Masquerade” (scripted by Barbara Friedlander), Secret Hearts #143 (March 1970)

“Wipe-Out at Le Mans” (scripted by Joe Gill, inked by Dick Giordano), Hot Wheels #1 (March/April 1970)

“Comput/err” (scripted by Alex Toth), The Witching Hour #8 (April/May 1970)

“Dragstrip Finals” (scripted by Joe Gill, inked by Dick Giordano), Hot Wheels #2 (May/June 1970)

“Mask of the Red Fox” (scripted by Robert Kanigher), The House of Mystery #187 (July/August 1970)

“Stakeout” (scripted by Joe Gill, inked by Dick Giordano), Hot Wheels #3 (July/August 1970)

“Hold Softly, Hand of Death” (scripted by Gerry Conway), The Witching Hour #10 (August/September 1970)

“Eye of the Storm” (scripted by Len Wein), Hot Wheels #4 (September/October 1970)

“The Mark of the Witch” (scripted by Jack Oleck, inked by Bill Draut), The Witching Hour #11 (October/November 1970)

“The Case of the Curious Classic” (scripted by Alex Toth), Hot Wheels #5 (November/December 1970)

“Double Edge” (scripted by Steve Skeates), The Witching Hour #12 (December 1970/January 1971)

“David!” (scripted by Gerry Conway, inked by Dick Giordano), Secret Hearts #149 (January 1971)

“Fright!” (scripted by Robert Kanigher), House of Mystery #190 (January/February 1971)

“Glory Boys” (scripted by Robert Kanigher), Our Army at War #235 (August 1971)

“Born Loser” (scripted by Jack Oleck), The House of Mystery #194 (September 1971)

“Soldier’s Grave” (scripted by Robert Kanigher), Our Fighting Forces #134 (November/December 1971)

“Bride of the Falcon” (scripted by Frank Robbins, partly inked by Frank Giacoia and Doug Wildey), Sinister House of Secret Love #3 (February/March 1972)

“Dirty Job” (scripted by Bob Haney), Our Army at War #241 (February 1972)

“Black Canary [Part 1]” (scripted by Denny O’Neil), Adventure Comics #418 (April 1972)

“Black Canary [Part 2]” (scripted by Denny O’Neil), Adventure Comics #419 (May 1972)

“White Devil…Yellow Devil” (scripted by Robert Kanigher), Star Spangled War Stories #164 (August/September 1972)

“Anachronism” (scripted by Don Kaar), Weird Western Tales #14 (October/November 1972)

“The Wings of Jealous Gods” (scripted by Lynn Marron), Adventure Comics #425 (December 1972/January 1973)

“Who Is Haunting the Haunted Chateau?” (scripted by Sheldon Mayer), Weird War Tales #10 (January 1973)

“The Tally” (scripted by Robert Kanigher), Our Army at War #254 (February 1973)

“Burma Sky” (scripted by Archie Goodwin), Our Fighting Forces #146 (December 1973/January 1974)

“Is a Snerl Human?” (scripted by Sheldon Mayer), Adventure Comics #431 (January/February 1974)

“Death Flies the Haunted Sky” (scripted by Archie Goodwin), Detective Comics #442 (August/September 1974)

“A Connecticut Ice Cream Man in King Arthur’s Court” (scripted by Michael Fleisher), House of Secrets #123 (September 1974)

“Plop!” (scripted by Steve Skeates), PLOP! #11 (March 1975)

#comics #house of mystery #robert kanigher #alex toth #mask of the red fox

[nerds-yearbook]

Marvel's first entry into the Direct Comic Market was Dazzler 1#. DC comic's first Direct Market comic was Superboy Spactacular 1, with a cover date of March, 1980. The issue was mostly made up of stories reprinted from Superboy 67, 78, 79, 83, and 88. ("The Origin of Superboy's Costume", "The Dreams of Doom", Life on Krypton!", "The One-Man Team!", "The Three Secret Indentities of Superboy", "The Man Who Destroyed Krypton", "The Puzzle of the Disappearing Pitcher!" Superboy Spectacular 1, DC Comic Event)

#nerds yearbook #real life event #comic book #dc comics #dc #march #1980 #superboy #superboy spectacular #john sikela #jerry siegel #george papp #robert bernstein #otto binder #al plastino #bill finger #e nelson bridwell #curt swan #ma kent #pa kent #smallville #jonathon kent #martha kent #kryptonite kid #kryptonite dog #mr mxyzptlk #jor el #lana lang #klax ar #bash bashford

[is-jan-jan-is]

Best comics by publisher:

I am bored and autistic and gay and so I've compiled an objectively subjective list of the 'best' books from each publisher. You're welcome, America.

IDW-honestly the current Star Trek run is phenomenal and we all love TMNT but I gotta give it to Atomic Robo.

Scout-Metal Shark Bro is so good that it honestly skewed my expectations for the entire publisher. They truthfully have two solid lines and the rest is an odd marketing campaign. The Black Caravan stuff was fun, though.

Boom!-SIKTC is undeniably amazing and 'We Only Find Them When They're Dead' is objectively top tier but for me, it's all about Coda. The art, the writing, the straight dude getting dunked on by his orc paladin wife-perfection. The first issue of the continuation just dropped and reading it was like returning home.

Ahoy!-Penultiman is pretty good but I think 'The Wrong Earth' is clearly their best title.

Valiant-hear me out, hear me out. I've collected ALL of Valiant's reboot, 2012-present. Unfortunately I must report that peak Valiant is X-O Manowar: Retribution. 1993 was a good year for whacky sci-fi comics. There is a scene wherein Aric of Darcia proclaims:"he must be like those men who prefer other men. I do not understand these men; but damn, do they make the best wizards!" That's peak fiction.

Dark Horse-look Hellboy is great. It's so good that I almost gave it to Mike Mignolia just on merit and industry influence alone. Unfortunately, Jeff Lemire exists. Black Hammer is perfect in every way. MIND MGMT was a strong second.

Image-Astro City. The characters are deep, emotional beings. Their stories breathe in the most human way. Most other titles conflate grit with maturity while AC makes you feel without several arcs of trauma porn. Also, im happy to see creators who remember that comic books are the home of wackiness. Its a slice of life hero series-10/10. Also Alex Ross. This (image) was annoying to choose because-despite suffering the unforgivable scourge of Robert Kirkman- Image has so many other good titles. Bitch Planet, Savage Dragon and Spawn (obligatory, obvi), Rumble, Chew, Outer Darkness, Descender/Ascender, etc .. not to mention Radiant Black. I still want to give it to Saga. Due to all the confusion with inage/wildstorm/dc having some claim to Astro City I almost skipped it entirely which is a shame but, yeah-Astro City.

TKO Studios-honestly, I'm not sure that this company is still kickin'. They were a fun little experiment though, with several enjoyable titles. I can't say any of them really blew me away. But, if I had to pick a 'best' I'd give it to 'Sentient'. Jeff Lemire can do no wrong.

AWA-they're too new for a selection to have any real meaning but 'The Resistance' is pretty good. It's been a couple years and I hope they produce something else that's quality because E-Ratic was a pretty big let down.

D.C.-Crisis on Infinite Earths. It's a given. There is something to be said about the cultural impact of Crisis. Originally, 'crisis' stories were crossovers of varying stakes. The comic gods(Perez and Wolfman) changed the game with this one. Also,every Crisis story which follows was similarly silly and serious. The pseudo science wackiness and over the top theatrics gets me every time. No other comic company gets it right. D.C. has been getting progressively better and better these last couple years, especially now with the phenomenal 'Dawn of D.C.' stuff. But if I was stranded on an island and could only bring one D.C. title it would be Crisis. ('83 New Teen Titans is of course a strong second)

Oni Press- their Rick and Morty stuff was a guilty pleasure (because it's really quite good but that means I have to spend money on Rick and Morty) and 'The Sixth Gun' was well made. Regardless, their best title was clearly 'Pink Lemonade'. Its chaotic indie fun that doesn't make sense and doesn't have too.

Massive/Whatnot Inc: these guys are really new, started 2022 I think. Not really sold on them yet but one of their first titles, quested, was lots of fun. Pretty small selection so far but what they do have is quality. 'Best book' goes to Plot Holes. Not only did Sean Murphy give us the most tolerable Bruce Wayne, he also gave us this creative joyride. It's equal parts wacky and sincere and best of all, it's in the Murphy style. Even though its early on in the run it's one of those titles you look forward to. throughout the month.

Marvel-Marvel peaked in 1999 with Earth X. Don't get me wrong, I love a great deal of Marvel books. Al Ewing's Ultimates (NOT Bendis) was great. Personally, my favorite Avengers story was the Celestial Madonna saga of the sixties, but Waid's run was great(obvi) and Hickman's was too. Hickman's Xmen stuff...also happened. Cates and Jason aaron had good Thor runs. The first and last of Aaron's avenger arcs were great. Peter David's many 'Spider' runs were fun and Dan Slott sure does exist. The Sam Wilson cap runs were all phenomenal, especially the Symbol of Truth run-and Kelly Thompson's run on Carol was one of the best ever. Good Marvel books have been dwindling lately but Jed McKay's 'Avengers' is honestly one of the best books out there. Unfortunately, none of that good stuff comes close to Earth X. The prose, the thorough examination of human nature, the Alex Ross of it all. Earth X was an ode to Marvel lore which read better than most of Marvel history. 'Nuff said.

#comics #autism #comic books #dc comics #marvel #image comics #dark horse comics #idw comics #scout comics #astro city #the avengers #teen titans #atomic robo #radiant black #alex ross #black hammer

[fucked-up-character-tournament]

Tentative list for best horror and thriller girls:

1. Maria from Mad Father

2. Reiko Mikami from Another

3. Bridget, from the webtoon Nonesuch,

4. Ha-Im, from webtoon Never-ending Darling.

5. Riot Maidstone (from Hello From The Hallowoods),

6. Martha from Ravenous 1999

7. Grace, from Ready or Not (2019).

8. Regan Abbott (A Quiet Place)

9. Ava (Ex Machina)

10. Beatrice (Over the Garden Wall)

11. Jennifer from Jennifer’s Body

12. Rozy from the guy upstairs

13. Rachel (Rachel Rising comic book series)

14. Amanda Young, SAW,

15. Wendy Torrance, “The Shining” movie

16. Pannochka - Viy

17. Blind Mag (Repo! The Genetic Opera)

18. Sasha from the magnus archives

19. Mina Harker (Dracula

20. Lex Foster from Black Friday.

21. Charlotte from Hello Charlotte!

22. Carrie White, Carrie

23. Scarlet, I’m the Grim Reaper

24. So Jung-hwa, Strangers from Hell

25. Dana Scully, The X Files

26. Akane Tsunemori, Psycho Pass

27. Mima Kirigoe, Perfect Blue

28. Nina Fortner, Monster

29. Eva Heinemann, Monster

30. Edith Cushing, Crimson Peak

31. Lucille Sharpe, Crimson Peak

32. Ellen Ripley, Alien

33. Clarice Starling, Silence of the Lambs

34. Lisa Reisert, Red Eye

35. Laurie Strode, Halloween

36. Kayo Hinazuki, Erased

37. Hondomachi, ID Invaded

38. Yonaka Kurai, Mogeko Castle

39. Ib, IB

40. Re-L Mayer, Ergo Proxy

41. Kyun Yoon, Bastard

42. Jisu, Sweet Home

43. Lauren Sinclair, Purple Hyacinth

44. Nita, Market of Monsters series

45. Rose the Hat from Doctor Sleep (2019 movie and Stephen King book)

46. Sidney Prescott from the original Scream movies,

47. Jade Daniels, Indian Lake Trilogy/My Heart is a chainsaw by Stephen Graham Jones

48. Villanelle, killing eve

49. Harrow from gideon the ninth/Locked Tomb

50. Maggie, Everything is Fine

51. Chaerin Eun, Surviving Romance

52. Finn, I’m Dating a Psychopath

53. Rayne Liebert, Homesick

54. Ha-im Yun, Never Ending Darling

55. Ashlyn Banner, School Bus Graveyard

56. Chae-ah Han, Trapped

57. Jeongmin Choi, Dreaming Freedom

58. Frankie, Stagtown

59. India Stoker, Stoker

60. Nam-ra, All of Us Are Dead

61. Ji-woo, My Name

62. Nanno, Girl From Nowhere

63. Emerald, Nope

64. Jessica Jones

65. Susy, Wait Until Dark

66. Margot, The Menu

67. Vera, Just Like Home

68. Rosemary, Rosemary’s Baby

69. Gertrude Robinson, The Magnus Archives

70. Alex, Oxenfree

71. Margaret Lanternman/The Log Lady, Twin Peaks,

72. Audrey Horne, Twin Peaks,

73. Su-an, Train to Busan

74. Ji-a, Tale of the Nine Tailed

75. Cha Ji-won, Flower of Evil

76. Coraline

77. Helen Lyle, Candyman

78. Nancy, Nightmare on Elm Street

79. Mrs. De Winter, Rebecca

80. Mrs. Danvers, Rebecca

81. Shiki Ryougi, Garden of Sinners

82. Kirsty Cotton, Hellraiser

83. Pearl, Pearl

84. Take-ju, Thirst

85. Suzy Bannion, Suspiria

86. Lain, Serial Experiments Lain

87. Asami Yamazaki, Audition

88. Naru, Prey

89. Eli, Let the Right One In

90. The Girl, A Girl walks home alone at night

91. Cecilia, Immaculate

92. Evie Alexander, The Invitation

93. Maren, Bones and All

94. Michelle, 10 Cloverfield Lane

95. Thomasin, The VVitch

96. Emma, None Shall Sleep

97. Contestanta, A Dowry of Blood

98. Brigid O’Shaughnessy, Maltese Falcon

99. Sandra Voyter, Anatomy of a Fall

100. Lisa, Rear Window

#polls

[kitausuret]

I posted 1,934 times in 2022

That's 1,142 more posts than 2021!

196 posts created (10%)

1,738 posts reblogged (90%)

Blogs I reblogged the most:

@oliveroctavius

@brw

@seek--rest

@reaperlight

@kitausuret

I tagged 1,835 of my posts in 2022

Only 5% of my posts had no tags

#flash thompson - 246 posts

#venom - 244 posts

#peter parker - 199 posts

#eddie brock - 154 posts

#harry osborn - 134 posts

#asked and answered - 99 posts

#mj watson - 83 posts

#wanda maximoff - 71 posts

#symbiot3 - 56 posts

#felicia hardy - 31 posts

Longest Tag: 139 characters

#'yeah hating things is sexy & cool but you take it too far. why are you spending so much time angry on the internet please just smoke weed'

My Top Posts in 2022:

#5

Andrea Benton and April Parker, AKA Mania and Mayhem! Commission by the incredible Fiti on Twitter! All of his commission and portfolio information is right here.

They are hanging out and having a great time together. 💕 They are siblings, of a sort!

(posted with permission from the artist)

73 notes - Posted April 27, 2022

#4

616!Eddie Brock should not be allowed on Twitter because he'd see something like "would love to see more mlm romance in media 😔" and he would immediately launch into a 12-tweet-long thread about how we should NOT be romanticizing multilevel marketing schemes and how they are a way for the rich to get richer and how instead we should boost stories about small business owners and on and on

until approximately one hour later he quote-tweets himself saying "I have been informed that 'MLM' is a more versatile acronym than I originally thought. My apologies for the misunderstanding and let me also clarify my unwavering support for the queer community of this city.

"However, if you would like more information on multilevel marketing and pyramid schemes and how to avoid them, please see the sources below: (links)"

84 notes - Posted March 25, 2022

#3

still thinking about the fact that one of my mutuals didn't even technically tag me in a thing about Spider-Man 3, she just did a casual little "@ kita" without making it a real "@" and somehow I still managed to come across it in my massive dashboard. the universe is conspiring against me. she knew that somehow I'd see it. she manipulated the energies of reality and so now here we are and against all good reason I want to rewatch SM3 and by that I mean suffer.

94 notes - Posted June 2, 2022

#2

Behold, the power of Peter's one pair of non-white underwear:

Amazing Spider-Man #298

See the full post

120 notes - Posted September 27, 2022

My #1 post of 2022

I think my favorite kind of comics-based fanfics are the ones where you can tell the writer went into it with at least 200 issues of whatever they're writing behind them because they have a lot of good characterization and reference to multiple events in canon and tons of knowledge

but they have very obviously cherry picked what they did and didn't like to create the story THEY want to see the whole time I'm reading with tears streaming down my face yelling "yes.... YES!!!" because they're so galaxy brained for that

215 notes - Posted May 14, 2022

Get your Tumblr 2022 Year in Review →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review #personal #this was fun!

[skeletap]

flea market acquisitions. original battle armor skele and a '83 pencil case. the mini comic has a child's name handwritten on it, so there was probably a little girl in the 80s names Lynn who begged her parents for a battle damage skeletor.

(i also got so passionate about talking about motu collecting the guy gave me a discount... lmao)

#skeletor #motu #he man

[amazildoessomethingstupid]

Chapter 83: Small Fry

Oh you were a sneaky bitch for this one Taeshi.  Oh you slippery toad you dirty for this one, hiding one of the most pivotal character moments, and heartfelt scenes in this comic, tucked away in what is on the surface an average run-of-the-mill forgettable nothing chapters, and you hid it pretty well!

Small Fry’s basic premise is that it’s Paulo’s birthday and ya boi is movin’ AND shakin’. He is hyped as hell as he is going to throw his hat in the job market and find what sticks.  The result of which is revealed to us and the rest of the characters by way of…

WAIT HOLY SHIT… TESS?!  WHAT ARE YOU DOIN’ HERE?

Holy hell girl, where ya been?! YO THE OG GOLDEN GIRL IS BACK BABY! Ohmygodohmygodohmygod YES! OH MAN I’VE MISSED YOU SO MUCH, LOOK GUYS IT’S TESS! WE FINALLY GET TO TALK ABOUT TESS! OH WE GOTTA TALK ABOUT HER RIGHT N-

N-next chapter! Uhhh Next chapter we will talk about Tess of course! I-I would never ever want to draw attention away from bestest girl in the world Rachel! Especially not to talk about Tess of all characters, no-no-no never! I would not dream of putting a whole 2 paragraph aside about how amazing Tess was in this chapter segment specifically reserved for Rachel ha-ha ha… But for real Tess’ appearance isn’t all that important than as she’s mostly pushed aside and used for setting up Paulo’s new job working in fast food which to be fair…

Is fucking great.  God I love this chapter, I love these jokes, and I love the Paulo show so much.  The scenario in general is just perfectly Paulo.  He’s got a simple entry-level job doing dirty work, and while it is hard and stressful he’s happy, he’s proud and making the most of it.  It’s endearing as hell, and highlights one of the key aspects of his character.  But where does Rachel factor in to this?  Well, it turns out Paulo isn’t just set on improving his employment status but also his driving status.  And it just so happens that the only person willing and able to help him out in this endeavor is…

Rachel! Yes, finally indeed we get to gush about the best girl Rachel.  She’s come a long way from her roots as one of the more annoying and one-note characters in BCB.  Similar to Stacy she was initially pigeon-holed into being a stereotypically bitchy popular cheerleader in Volume 1, and it didn’t help her case when all she ever seemed to be used for was bashing on the OG Golden Girl: Tess. Even after discovering that there was good reason for her to be bitchy about Tess, it was hard to get behind Rachel as a character even though Volume 2 tried hard to sell her as a big side-character it was hard to shake that stigma; not helping matters was her involvement in one of the most controversial chapters in Back and Forth which while set up her crush on Paulo that follows through here, really only solidified the notion that she was a dumb silly slut character with a bit of emotional baggage.  It wasn’t until Volume 3 rolled around that we got our first real sympathetic moment with her in Pillow Talk where she became more of a fleshed out and well-rounded character.

Showing that underneath that ditzy slutty stupid veneer was a great big heart of gold, and actually getting to see the pain Tess caused helped pull sympathy towards this character that a lot of people (myself included) overlooked. She revealed herself to be a character that exuded a lot of heart, and in her own way… maturity. And for every bit of praise I lump onto the Paulo Show, every single part of it is owed to the handling of this one fantastic character.  I didn’t mention it, but the one shining moment in Volume 4 that I honestly can not knock too hard on was Chapter 77 Study Buddy, which set the stage for Rachel to come in as Paulo’s new girlfriend.  In a time in the comic where we weren’t sure what was going to happen, with Lucy being lost and Paulo being a wreck, Rachel stepped in and seamlessly put the comic on her back by being the emotional rock this comic needed.  When everything was falling apart, and all hope was lost, she was the one person to look at these sad sap cats and say,

It'll be okay. And a cynical part of me at the time couldn’t enjoy it for a reason I’ve talked about before in Witch Hunt in reference to Jordan… The more a character is put into the foreground, the more likely it is that they’re going to get hurt.  Rachel could’ve lived happily as a side-character legend among the greats like McCain, and Tess, but what she was doing in getting a relationship with Paulo was putting herself directly in the crosshairs of drama to come in and destroy her, to join the line of bodies that thought they could fix him. Tess tried it and she failed despite being one of the strongest characters in the comic, Jasmine tried but she was too weak of a character and couldn’t elevate herself beyond being a narrative cockwarmer to substitute for Tess.  And while Rachel had all that strong character development, sympathy and relatability, who was to say that the same fate wouldn’t befall her too? It almost seemed inevitable that her relationship with Paulo would end badly, and that she was going to be burned as well so why should we put any emotional investment into this relationship? Why would we ever think that this time it would be different? Well… Because Rachel isn’t like Jasmine, and I’d be damned if I said she was like Tess. The problem with Tess was that she loved Paulo, but she wanted him to change who he was and grow up when he wasn’t ready for that.  Paulo loved Jasmine, but despite him trying to be understanding, changing his behavior, and trying his hardest to be good enough, she just wasn’t ready for the serious relationship she thought she wanted.  Rachel on the other hand… Never asked him to change.  She accepted and loved him for who he was, she knew exactly what he needed.  He didn’t need someone to tell him to change his ways, he didn’t need to bend over backwards to please the person he loved.  All he needed was someone to be there for him, an emotional rock to support him and remind him that he’s worth it.  But what set her apart from all those that came before her. More than her fantastic appearance in Study Buddy… was this scene. Where Rachel teaches Paulo to drive at a drive-in theater, and reality comes bearing down.

In a moment of vulnerability, the weight of Paulo’s feelings come down on him as he recognizes how unfair his relationship with Rachel is.  He realizes that he still loves Lucy and dating Rachel even unofficially is only going to end in pain.  But the thing is…

Rachel understands.  She understood that long before Paulo did.  But it didn’t matter.  She didn’t even mean for their relationship to get serious, she just wanted to help him.  This one moment is what set her apart from every other character in this comic.  She knew she was diving on top of a ticking time bomb.  She knew this relationship wasn’t going to last.  But she didn’t care.  All she ever wanted to do was be there for Paulo.  To help him through the worst period of his life, and show him that he was good enough just the way he was.  She served as a beacon of stability when emotions were high, and everything seemed so chaotic.  This one character rode the ship, and if it wasn’t for her influence in jumping on the grenade and being in a relationship with Paulo… There was no way these chapters would be half as good as they are.  She steered him right, by letting him steer on his own.  She helped rebuild his confidence, after Lucy’s suicide attempt shattered him. If it wasn’t for Rachel, Paulo would’ve been lost.  Probably falling into the extreme of leaning more into his faux playboy persona to fuck the pain away, or resigning to the depression and becoming… well… Mike.  But this one character.  This one moment.  This one relationship.  Saved us all.  Take Heart made me cheer again for BCB.  Local Area made me laugh with BCB… But Small Fry… Rachel… made me care again.  In her, I too felt that it was okay.  That while it may not be safe, I was willing to strap back in. Ignore the bomb under my seat.  And just… Enjoy the ride.

10/10

Thank you for your service, Slut Pup.

#bittersweet candy bowl #rant

[frnzzjyxx]

Critique Paper

Title: Diary of a Wimpy Kid Dog Days

Author: Jeff Kinney

Characters:

 Greg Heffley

 Susan Heffley

 Rowley Jefferson

 Sweetie

 Roderick Heffley

 Manny Heffley

 Frank Heffley

Characterization:

Greg is portrayed as a self-righteous narcissist, who has little-to-no moral compass, is only looking out for himself, and has an obsession with becoming rich and famous. He steals, lies, cheats, and is a bully to the few less popular than him at Westmore Middle School.

Summary:

As summer vacation begins, Greg Heffley keeps a detailed account of his vacation. His parents are frustrated that he spends so much time indoors playing video games. His father is annoyed that he sleeps all through the day as well. Mrs. Heffley starts a book club for the neighborhood boys, but when she doesn’t approve of the books selections the boys choose, the book club dwindles to just Greg and Rowley, and not long after, Rowley backs out of the book club as well. Greg and his friend Rowley begin their summer hanging out at the country club Rowley’s family belong to. They order smoothies and charge them to Mr. Jefferson’s, Rowley’s father, account, but are unaware that they’re racking up a sizeable bill. Eventually, Mr. Jefferson comes to collect the $83 dollars the boys owe. The boys must find a way to repay the money and decide to start a lawn care service, but have trouble sticking with their marketing strategy. When they finally get a client, the boys have a falling out and Rowley walks off the job, leaving Greg to finish. Greg doesn’t do a good job and his father has to complete the job for him. As a result, Greg is still without the money he owes Mr. Jefferson. During his birthday party, Greg’s mom collects all of his birthday money to pay Mr. Jefferson. Mrs. Heffley takes all three of her sons to the pet store and Greg and his older brother Rodrick both get a pet fish. During a family trip to the water park, Greg’s fish dies. During a conversation with his dad and Grandpa, Mr. Heffley learns that how his dog died when he was a kid. Angry with his own father, Mr. Heffley decides to get the family a dog. The dog takes a liking to Greg, even if Greg is less-than-thrilled with it. The Heffley family starts hanging out at the public pool and Greg juggles his disgust at the men’s locker room showers and doting on his crush Heather Hills, a high-school aged lifeguard. Meanwhile, Mrs. Heffley and Mrs. Jefferson conspire to reunite their sons. Greg is invited to join the Jeffersons on their summer vacation. The boys reconnect, but the vacation doesn’t go swimmingly. Greg is bored from the lack of television and video games and sends an email from Mr. Jefferson’s laptop to his mother that he needs to get out of there. His mother thinks the email is from Mr. Jefferson and Greg is found out. Instead of getting angry, Mr. Jefferson takes the family to the boardwalk where Greg can finally fulfill his wish to ride the Cranium Shaker. After he spends all of his money on carnival games, Greg is able to go on the ride. It proves too much for him and nearly makes him sick. Afterwards, Greg and Rowley harass some teenagers and later some smaller kids with a dollar bill prank that Rodrick taught Greg. When Mr. Jefferson learns of their actions, he sends Greg home early from the vacation. Greg later mistakes a plan for Greg and his father to bond for the family trying to get rid of Greg. Father and son make amends over their mutual hatred of a comic and Greg’s mother gives him a photo album showing Greg he had a better summer vacation than he might think.

Moral Lesson:

The moral lesson is not to be selfish because while paying the fruit smoothie bill. Greg is very selfish and then his best friend. Friendship is always more important than anything because they are the one who will stay by side and always there for you.

[jasonblaze72]

[happylaw]

Yuugen - Butterfly Line - Madoka Magica Fanbook (Comic Market 83)

#artbook #doujinshi #yuugen #butterfly line #puella magi madoka magica #madoka magica #pmmm #madoka kaname #kaname madoka #sayaka miki #miki sayaka #mami tomoe #tomoe mami #homura akemi #akemi homura #kyouko sakura #sakura kyouko #comic market 83 #C83 #comiket 83

[sweetbabyprincey]

[Comic Market 83] (OrangeCoffee) The Lounge Map 1 - morning coffee set

#comic market 83 #orange coffee #morning coffee set #the lounge map 1 #music #instrumentals #jazz #instrumental

[fyeahzettairyouiki]

(Via)

#ia #vocaloid #comic market #comic market 83 #feathered wings #frilled collar #frilled dress #identity angel #lace trim #pineapple21729 #purple flower #white feather #fyzr2D

[synthhorror]

Im interest in your Cult AU but I'm lost? Can you explain me, pliz?

You are most likely not the only one, so I’m using this ask as an explanation post! Hope you don’t mind lol!

I’m going to try and not ramble on and make this post miles long, but bare with me!

So, I guess I should start by saying that the Cult AU is technically an umbrella term for several little aus that I have that exist at the same time as each other. The first being the “crossover AU”, which is the events of the The Walten Files, FNAF, and eventually Harmony and Horror (possible Mandela Catalogue but I don’t want to force that into the writing and make this a “multiverse” because that’s just too much. So I’d need to sit with it for longer as a concept) happening at the same time and overlapping. William and Henry were familiar business partners with Jack and Felix. They wanted to do a lot of marketing and co- performances with Bon’s and FredBear’s. They may or may not help cover up each other’s murderers Their kids are all friends with each other! While Jack and Felix didn’t really want to get too involved, William was also entertaining the idea of a toy line for marketing Fredbears characters with Martin Greywhinder’s toy company. Without going to much into that (since I’m saving a lot of that content for the comics), there’s the cross over AU.

The second AU would be the “Evan is Gregory AU” I guess. I have an explanation for this one here if you want to read up on that!

And now finally we have the “Cult of Malhare AU”. So, I’m sure the fandom is familiar with the Vanny/ Reluctant follower concept with glitchtrap. Though, in this AU she is anything BUT reluctant. But I wanted to expand on that and make it feel a bit more “culty”, and bring in some more familiar faces. William was experimenting with remnant way back in college when he initially met Henry. Once they started getting closer Will shared his research with Henry and got him in on it. Later on when Will married Clara she learned about it by accident when she found some stuff she was not suppose to see in his office. While neither Henry nor Clara participated in the murders, they helped Will hide them, and Clara acted as an accomplice multiple times. It’s important to note also that back in the day, Jeremy, Fritz, and Sammy (yes Sammy from the books, he’s alive and older than Charlie here) were Michael’s 3 other friends in ‘83. Remember that for later. You fast forward a little bit to Henry and William having their super dramatic and messy break up with the business and Henry opening up his own diner with the Toy animatronics, where he hires Jeremy and Fritz as night guards. Henry knew Jeremy and Fritz were still friends with Michael in college and trusted them. After days of stalking, multiple break in attempts into the diner as scare tactics, and patience, William murders both Jeremy and Fritz and collected their remnant. This attracts the attention of young, private detective Sammy Emily, who wants to help his dad put William in prison and get revenge for Charlie’s death. How Sammy dies and has his remnant collected by William, that’s for a future comic 👀 After William dies, Jeremy and Fritz’s spirits are trapped with Will up until he makes contact with Vanessa and glitchtrap is able to form. Jeremy and Fritz are now able to materialize as well. Jeremy presents himself as living to Vanessa as a beta tester to help lure her closer and closer to Glitchtrap, and she only learns about Jeremy being dead this whole time when he finally allows her to see his “true” state. I.e. when Vanessa thinks Jeremy spilled ink on himself wearing a Halloween mask in the VR tapes. Vanessa has always been hiding some “dark secrets” and now with the exposure to the cult, and after a series of trials, she commits herself happily to Malhare. At this point, William has created a massive virtual space to keep his followers, including Henry and Clara, who’s souls he’s trapped in his own personal digital hell with him. Now skipping to the present, Michael and Charlie are back having survived the fire and having been in hiding, only coming to the plex when Charlie felt compelled to by the other spirits. They try to help Gregory and eventually the spirits of Evan and Elizabeth, but as they spend more time in the plex though, the old animatronics begin to come back as well. This includes Cassidy and some of the others, wanting to make sure William stays in his VR purgatory, but the Funtime animatronics have been rematerialized by Malhare, and they are fully invested in their creator’s daughter as they are given a second life and chance to do Afton’s bidding. Michael is also being haunted by Jeremy, Fritz, and Sammy as they try to get him, Gregory/ Evan, Elizabeth, and Charlie to join the cult and reunite with their family.

I have a reference post here for the “Malhare follower’s faces and masks, but they correlate with the masks that the boys wore in ‘83.

I’m still working out a real title for this mess of a series, but I’m running with the Cult Au for now, since they all sort of end up together again even after death with the Waltens, since Michael and Sophie are “really close friends” and inevitably make their families run into each other again.

Ok, I hope this helps! Please feel free to keep asking questions, it honestly helps me solidify concepts. And of course, let me know what you guys think!

#fnaf #five night at freddy's #fnaf au #crossover

[daisyachain]

#illyana rasputina is clearly a lesbian and never has been anywhere near a male love interest but marvel's chosen her as the white character #to market so they're not going to go there in the new series. sam and roberto have amazing chemistry and are far less high-profile #but hickman's the idiot who farmed sam off to an oc between chapters in the first place so we won't have anything on that front. #dani's also been bi since '83 and is a low enough profile character for the higher-ups to let slide but what'shisface also made her say the #words 'i'm straight' in 03 so there's that down the drain #kelsey liveblogs comics #and yet. and Yet. i get so caught up in the inherent [umbrella]ness of the new mutants that i forget the inherent straight-ness of the world #we do have xi'an which i am glad of. girl hasn't had a decent arc since marjorie liu #but it's so frustrating to have dani illyana rahne doug and tabs all heavily coded since the 80s #and sam and berto arguably since the 90s and definitely in all their recent stuff #and have nothing. they're not even popular! why can't we just have textual stuff! anyone under the age of 30 reading them #is gay anyway so why not just pander to the damn fanbase and give us what's there

[geekcavepodcast]

“Marvel: June 1962 Omnibus” to Celebrate Many Marvel Milestones

What happened in Marvel Comics in June 1962? Spider-Man debuted in Amazing Fantasy #15. Thor first wielded Mjolnir. Hank Pym became Ant-Man. The Fantastic Four were facing off with Namor and Doctor Doom. And so on and so forth.

Marvel: June 1962 Omnibus will collect Journey into Mystery (1952) #83, Amazing Fantasy (1962) #15, Tales to Astonish (1959) #35, Kathy #18, Life with Millie #18; Patsy Walker #102, Kid Colt, Outlaw #106, Fantastic Four (1961) #6, Linda Carter, Student Nurse #7, Millie the Model #110, Strange Tales (1951) #100, Tales of Suspense (1959) #33, Love Romances #101, Incredible Hulk (1962) #3, Gunsmoke Western #72, Patsy and Hedy #84, and Rawhide Kid (1955) #30. 

Marvel: June 1962 Omnibus, featuring a main cover by Javier Rodriguez and a direct market variant cover by Steve Ditko, goes on sale in June 2022.

(Image via Marvel Comics - Javier Rodriguez’s Cover of Marvel: June 1962 Omnibus)

#marvel june 1962 omnibus #marvel comics #javier rodriguez #steve ditko #spider-man #thor #fantastic four #ant-man #journey into mystery #amazing fantasy #tales to astonish #kathy #life with millie #patsy walker #kid colt #linda carter student nurse #millie the model #strange tales #tales of suspense #love romances #incredible hulk #gunsmoke western #patsy and hedy #rawhide kid #TGCLiz

[shewhoworshipscarlin]

Hattie McDaniel

Hattie McDaniel (June 10, 1893 – October 26, 1952) was an American actress, singer-songwriter, and comedian. She won the Academy Award for Best Supporting Actress for her role as "Mammy” in Gone with the Wind (1939), becoming the first African American to win an Oscar.

In addition to acting in many films, McDaniel recorded 16 blues sides between 1926–1929 (10 were issued) and was a radio performer and television star; she was the first black woman to sing on radio in the United States. She appeared in over 300 films, although she received screen credits for only 83.

Encountering racism and racial segregation throughout her career, McDaniel was unable to attend the premiere of Gone with the Wind in Atlanta because it was held at a whites-only theater, and at the Oscars ceremony in Los Angeles she sat at a segregated table at the side of the room; the Ambassador Hotel where the ceremony was held was for whites only, but allowed McDaniel in as a favor. When she died in 1952, her final wish--to be buried in Hollywood Cemetery--was denied because the graveyard was restricted to whites only.

McDaniel has two stars on the Hollywood Walk of Fame in Hollywood: one at 6933 Hollywood Boulevard for her contributions to radio;  and one at 1719 Vine Street for acting in motion pictures. She was inducted into the Black Filmmakers Hall of Fame in 1975, and in 2006 she became the first black Oscar winner honored with a U.S. postage stamp. In 2010, she was inducted into the Colorado Women's Hall of Fame.

McDaniel, the youngest of 13 children, was born in Denver in 1893 to formerly-enslaved parents in Wichita, Kansas. Her mother, Susan Holbert (1850–1920), was a singer of gospel music, and her father, Henry McDaniel (1845–1922), fought in the Civil War with the 122nd United States Colored Troops. In 1900, the family moved to Colorado, living first in Fort Collins and then in Denver, where Hattie attended Denver East High School (1908-1910) and in 1908 entered a contest sponsored by the Women’s Christian Temperance Union, reciting "Convict Joe", later claiming she had won first place. Her brother, Sam McDaniel (1886–1962), played the butler in the 1948 Three Stooges' short film Heavenly Daze. Her sister Etta McDaniel was also an actress. 

McDaniel was a songwriter as well as a performer. She honed her songwriting skills while working with her brother Otis McDaniel's carnival company, a minstrel show. McDaniel and her sister Etta Goff launched an all-female minstrel show in 1914 called the McDaniel Sisters Company. After the death of her brother Otis in 1916, the troupe began to lose money, and Hattie did not get her next big break until 1920. From 1920 to 1925, she appeared with Professor George Morrison's Melody Hounds, a black touring ensemble. In the mid-1920s, she embarked on a radio career, singing with the Melody Hounds on station KOA in Denver. From 1926 to 1929, she recorded many of her songs for Okeh Records and Paramount Records in Chicago. McDaniel recorded seven sessions: one in the summer of 1926 on the rare Kansas City label Meritt; four sessions in Chicago for Okeh from late 1926 to late 1927 (of the 10 sides recorded, only four were issued), and two sessions in Chicago for Paramount in March 1929.

After the stock market crashed in 1929, McDaniel could only find work as a washroom attendant at Sam Pick's Club Madrid near Milwaukee. Despite the owner's reluctance to let her perform, she was eventually allowed to take the stage and soon became a regular performer.

In 1931, McDaniel moved to Los Angeles to join her brother Sam, and sisters Etta and Orlena. When she could not get film work, she took jobs as a maid or cook. Sam was working on a KNX radio program, The Optimistic Do-Nut Hour, and was able to get his sister a spot. She performed on radio as "Hi-Hat Hattie", a bossy maid who often "forgets her place". Her show became popular, but her salary was so low that she had to keep working as a maid. She made her first film appearance in The Golden West (1932), in which she played a maid. Her second appearance came in the highly successful Mae West film I'm No Angel (1933), in which she played one of the black maids with whom West camped it up backstage. She received several other uncredited film roles in the early 1930s, often singing in choruses. In 1934, McDaniel joined the Screen Actors Guild. She began to attract attention and landed larger film roles, which began to win her screen credits. Fox Film Corporation put her under contract to appear in The Little Colonel (1935), with Shirley Temple, Bill "Bojangles" Robinson and Lionel Barrymore.

Judge Priest (1934), directed by John Ford and starring Will Rogers, was the first film in which she played a major role. She had a leading part in the film and demonstrated her singing talent, including a duet with Rogers. McDaniel and Rogers became friends during filming. In 1935, McDaniel had prominent roles, as a slovenly maid in Alice Adams (RKO Pictures); a comic part as Jean Harlow's maid and traveling companion in China Seas (MGM) (McDaniels's first film with Clark Gable); and as the maid Isabella in Murder by Television, with Béla Lugosi. She appeared in the 1938 film Vivacious Lady, starring James Stewart and Ginger Rogers. McDaniel had a featured role as Queenie in the 1936 film Show Boat (Universal Pictures), starring Allan Jones and Irene Dunne, in which she sang a verse of Can't Help Lovin' Dat Man with Dunne, Helen Morgan, Paul Robeson, and a black chorus. She and Robeson sang "I Still Suits Me", written for the film by Kern and Hammerstein. After Show Boat, she had major roles in MGM's Saratoga (1937), starring Jean Harlow and Clark Gable; The Shopworn Angel (1938), with Margaret Sullavan; and The Mad Miss Manton (1938), starring Barbara Stanwyck and Henry Fonda. She had a minor role in the Carole Lombard–Frederic March film Nothing Sacred (1937), in which she played the wife of a shoeshine man (Troy Brown) masquerading as a sultan.

McDaniel was a friend of many of Hollywood's most popular stars, including Joan Crawford, Tallulah Bankhead, Bette Davis, Shirley Temple, Henry Fonda, Ronald Reagan, Olivia de Havilland, and Clark Gable. She starred with de Havilland and Gable in Gone with the Wind (1939). Around this time, she was criticized by members of the black community for the roles she accepted and for pursuing roles aggressively rather than rocking the Hollywood boat. For example, in The Little Colonel (1935), she played one of the black servants longing to return to the Old South, but her portrayal of Malena in RKO Pictures's Alice Adams angered white Southern audiences, because she stole several scenes from the film's white star, Katharine Hepburn. McDaniel ultimately became best known for playing a sassy, opinionated maid.

The competition to win the part of Mammy in Gone with the Wind was almost as fierce as that for Scarlett O'Hara. First Lady Eleanor Roosevelt wrote to film producer David O. Selznick to ask that her own maid, Elizabeth McDuffie, be given the part. McDaniel did not think she would be chosen because she had earned her reputation as a comic actress. One source claimed that Clark Gable recommended that the role be given to McDaniel; in any case, she went to her audition dressed in an authentic maid's uniform and won the part.

Upon hearing of the planned film adaptation, the National Association for the Advancement of Colored People (NAACP) fought hard to require the film's producer and director to delete racial epithets from the movie (in particular the offensive slur "nigger") and to alter scenes that might be incendiary and that, in their view, were historically inaccurate. Of particular concern was a scene from the novel in which black men attack Scarlett O'Hara, after which the Ku Klux Klan, with its long history of provoking terror on black communities, is presented as a savior. Throughout the South, black men were being lynched based upon false allegations they had harmed white women. That attack scene was altered, and some offensive language was modified, but another epithet, "darkie", remained in the film, and the film's message with respect to slavery remained essentially the same. Consistent with the book, the film's screenplay also referred to poor whites as "white trash", and it ascribed these words equally to characters black and white.

Loew's Grand Theater on Peachtree Street in Atlanta, Georgia was selected by the studio as the site for the Friday, December 15, 1939 premiere of Gone with the Wind.  Studio head David O. Selznick asked that McDaniel be permitted to attend, but MGM advised him not to, because of Georgia's segregation laws. Clark Gable threatened to boycott the Atlanta premiere unless McDaniel were allowed to attend, but McDaniel convinced him to attend anyway.

Most of Atlanta's 300,000 citizens crowded the route of the seven-mile  motorcade that carried the film's other stars and executives from the airport to the Georgian Terrace Hotel, where they stayed. While Jim Crow laws kept McDaniel from the Atlanta premiere, she did attend the film's Hollywood debut on December 28, 1939. Upon Selznick's insistence, her picture was also featured prominently in the program.

For her performance as the house slave who repeatedly scolds her owner's daughter, Scarlett O'Hara (Vivien Leigh), and scoffs at Rhett Butler (Clark Gable), McDaniel won the 1939 Academy Award for Best Supporting Actress, the first black actor to have been nominated and win an Oscar. "I loved Mammy," McDaniel said when speaking to the white press about the character. "I think I understood her because my own grandmother worked on a plantation not unlike Tara." Her role in Gone with the Wind had alarmed some whites in the South; there were complaints that in the film she had been too "familiar" with her white owners. At least one writer pointed out that McDaniel's character did not significantly depart from Mammy's persona in Margaret Mitchell's novel, and that in both the film and the book, the much younger Scarlett speaks to Mammy in ways that would be deemed inappropriate for a Southern teenager of that era to speak to a much older white person, and that neither the book nor the film hints of the existence of Mammy's own children (dead or alive), her own family (dead or alive), a real name, or her desires to have anything other than a life at Tara, serving on a slave plantation. Moreover, while Mammy scolds the younger Scarlett, she never crosses Mrs. O'Hara, the more senior white woman in the household. Some critics felt that McDaniel not only accepted the roles but also in her statements to the press acquiesced in Hollywood's stereotypes, providing fuel for critics of those who were fighting for black civil rights. Later, when McDaniel tried to take her "Mammy" character on a road show, black audiences did not prove receptive.

While many black people were happy over McDaniel's personal victory, they also viewed it as bittersweet. They believed Gone With the Wind celebrated the slave system and condemned the forces that destroyed it. For them, the unique accolade McDaniel had won suggested that only those who did not protest Hollywood's systemic use of racial stereotypes could find work and success there.

The Twelfth Academy Awards took place at the Coconut Grove Restaurant of the Ambassador Hotel in Los Angeles. It was preceded by a banquet in the same room. Louella Parsons, an American gossip columnist, wrote about Oscar night, February 29, 1940:

Hattie McDaniel earned that gold Oscar by her fine performance of 'Mammy' in Gone with the Wind. If you had seen her face when she walked up to the platform and took the gold trophy, you would have had the choke in your voice that all of us had when Hattie, hair trimmed with gardenias, face alight, and dress up to the queen's taste, accepted the honor in one of the finest speeches ever given on the Academy floor.

Academy of Motion Picture Arts and Sciences, fellow members of the motion picture industry and honored guests: This is one of the happiest moments of my life, and I want to thank each one of you who had a part in selecting me for one of their awards, for your kindness. It has made me feel very, very humble; and I shall always hold it as a beacon for anything that I may be able to do in the future. I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel, and may I say thank you and God bless you.

McDaniel received a plaque-style Oscar, approximately 5.5 inches by 6 inches, the type awarded to all Best Supporting Actors and Actresses at that time. She and her escort were required to sit at a segregated table for two at the far wall of the room; her white agent, William Meiklejohn, sat at the same table. The hotel had a strict no-blacks policy, but allowed McDaniel in as a favor. The discrimination continued after the award ceremony as well as her white co-stars went to a "no-blacks" club, where McDaniel was also denied entry. Another black woman did not win an Oscar again for 50 years, with Whoopi Goldberg winning Best Supporting Actress for her role in Ghost. Weeks prior to McDaniel winning her Oscar, there was even more controversy. David Selznick, the producer of Gone With the Wind, omitted the faces of all the black actors on the posters advertising the movie in the South. None of the black cast members were allowed to attend the premiere for the movie.

Gone with the Wind won eight Academy Awards. It was later named by the American Film Institute (AFI) as number four among the top 100 American films of all time in the 1998 ranking and number six in the 2007 ranking.

In the Warner Bros. film In This Our Life (1942), starring Bette Davis and directed by John Huston, McDaniel once again played a domestic, but one who confronts racial issues when her son, a law student, is wrongly accused of manslaughter. McDaniel was in the same studio's Thank Your Lucky Stars (1943), with Humphrey Bogart and Bette Davis. In its review of the film, Time wrote that McDaniel was comic relief in an otherwise "grim study," writing, "Hattie McDaniel, whose bubbling, blaring good humor more than redeems the roaring bad taste of a Harlem number called Ice Cold Katie". McDaniel continued to play maids during the war years for Warners in The Male Animal (1942) and United Artists' Since You Went Away (1944), but her feistiness was toned down to reflect the era's somber news. She also played the maid in Song of the South (1946) for Disney.

She made her last film appearances in Mickey (1948) and Family Honeymoon (1949), where that same year, she appeared on the live CBS television program The Ed Wynn Show. She remained active on radio and television in her final years, becoming the first black actor to star in her own radio show with the comedy series Beulah. She also starred in the television version of the show, replacing Ethel Waters after the first season. (Waters had apparently expressed concerns over stereotypes in the role.) Beulah was a hit, however, and earned McDaniel $2,000 per week; however, the show was controversial. In 1951, the United States Army ceased broadcasting Beulah in Asia because troops complained that the show perpetuated negative stereotypes of black men as shiftless and lazy and interfered with the ability of black troops to perform their mission. After filming a handful of episodes, however, McDaniel learned she had breast cancer. By the spring of 1952, she was too ill to work and was replaced by Louise Beavers.

As her fame grew, McDaniel faced growing criticism from some members of the black community. Groups such as the NAACP complained that Hollywood stereotypes not only restricted black actors to servant roles but often portrayed them as lazy, dim-witted, satisfied with lowly positions, or violent. In addition to addressing the studios, they called upon actors, and especially leading black actors, to pressure studios to offer more substantive roles and at least not pander to stereotypes. They also argued that these portrayals were unfair as well as inaccurate and that, coupled with segregation and other forms of discrimination, such stereotypes were making it difficult for all black people, not only actors, to overcome racism and succeed in the entertainment industry. Some attacked McDaniel for being an "Uncle Tom"—a person willing to advance personally by perpetuating racial stereotypes or being an agreeable agent of offensive racial restrictions. McDaniel characterized these challenges as class-based biases against domestics, a claim that white columnists seemed to accept. And she reportedly said, "Why should I complain about making $700 a week playing a maid? If I didn't, I'd be making $7 a week being one."

McDaniel may also have been criticized because, unlike many other black entertainers, she was not associated with civil rights protests and was largely absent from efforts to establish a commercial base for independent black films. She did not join the Negro Actors Guild of America until 1947, late in her career. McDaniel hired one of the few white agents who would represent black actors at the time, William Meiklejohn, to advance her career. Evidence suggests her avoidance of political controversy was deliberate. When columnist Hedda Hopper sent her Richard Nixon placards and asked McDaniel to distribute them, McDaniel declined, replying she had long ago decided to stay out of politics. "Beulah is everybody's friend," she said. Since she was earning a living honestly, she added, she should not be criticized for accepting such work as was offered. Her critics, especially Walter White of the NAACP, claimed that she and other actors who agreed to portray stereotypes were not a neutral force but rather willing agents of black oppression.

McDaniel and other black actresses and actors feared that their roles would evaporate if the NAACP and other Hollywood critics complained too loudly. She blamed these critics for hindering her career and sought the help of allies of doubtful reputation. After speaking with McDaniel, Hedda Hopper even claimed that McDaniel's career troubles were not the result of racism but had been caused by McDaniel's "own people".

In August 1950, McDaniel suffered a heart ailment and entered Temple Hospital in semi-critical condition. She was released in October to recuperate at home, and she was cited by United Press on January 3, 1951, as showing "slight improvement in her recovery from a mild stroke."

McDaniel died of breast cancer at age 59 on October 26, 1952, in the hospital on the grounds of the Motion Picture House in Woodland Hills, California. She was survived by her brother Sam McDaniel. Thousands of mourners turned out to celebrate her life and achievements. In her will, McDaniel wrote,

"I desire a white casket and a white shroud; white gardenias in my hair and in my hands, together with a white gardenia blanket and a pillow of red roses. I also wish to be buried in the Hollywood Cemetery".

Hollywood Cemetery, on Santa Monica Boulevard in Hollywood, is the resting place of movie stars such as Douglas Fairbanks and Rudolph Valentino. Its owner at the time, Jules Roth, refused to allow her to be buried there, because, at the time of McDaniel's death, the cemetery practiced racial segregation and would not accept the remains of black people for burial. Her second choice was Rosedale Cemetery (now known as Angelus-Rosedale Cemetery), where she lies today.

In 1999, Tyler Cassidy, the new owner of the Hollywood Cemetery (renamed the Hollywood Forever Cemetery), offered to have McDaniel re-interred there. Her family did not wish to disturb her remains and declined the offer. Instead, Hollywood Forever Cemetery built a large cenotaph on the lawn overlooking its lake. It is one of Hollywood's most popular tourist attractions.

McDaniel's last will and testament of December 1951 bequeathed her Oscar to Howard University, where she had been honored by the students with a luncheon after she had won her Oscar. At the time of her death, McDaniel would have had few options. Very few white institutions in that day preserved black history. Historically, black colleges had been where such artifacts were placed. Despite evidence McDaniel had earned an excellent income as an actress, her final estate was less than $10,000. The IRS claimed the estate owed more than $11,000 in taxes. In the end, the probate court ordered all of her property, including her Oscar, sold to pay off creditors. Years later, the Oscar turned up where McDaniel wanted it to be: Howard University, where, according to reports, it was displayed in a glass case in the university's drama department.

The whereabouts of McDaniel's Oscar are currently unknown. In 1992, Jet magazine reported that Howard University could not find it and alleged that it had disappeared during protests in the 1960s. In 1998, Howard University stated that it could find no written record of the Oscar having arrived at Howard. In 2007, an article in The Huffington Post repeated rumors that the Oscar had been cast into the Potomac River by angry civil rights protesters in the 1960s. The assertion reappeared in The Huffington Post under the same byline in 2009.

In 2010, Mo'Nique, the winner of the Oscar for Best Supporting Actress in Precious, wearing a blue dress and gardenias in her hair, as McDaniel had at the ceremony in 1940, in her acceptance speech thanked McDaniel "for enduring all that she had to so that I would not have to". Her speech revived interest in the whereabouts of McDaniel's Oscar.

In November 2011, W. B. Carter, of the George Washington University Law School, published the results of her year-and-a-half-long investigation into the Oscar's fate. Carter rejected claims that students had stolen the Oscar (and thrown it in the Potomac River) as wild speculation or fabrication that traded on long-perpetuated stereotypes of blacks. She questioned the sourcing of The Huffington Post stories. Instead, she argued that the Oscar had likely been returned to Howard University's Channing Pollack Theater Collection between the spring of 1971 and the summer of 1973 or had possibly been boxed and stored in the drama department at that time. The reason for its removal, she argued, was not civil rights unrest but rather efforts to make room for a new generation of black performers. If neither the Oscar nor any paper trail of its ultimate destiny can be found at Howard today, she suggested, inadequate storage or record-keeping in a time of financial constraints and national turbulence may be blamed. She also suggested that a new generation of caretakers may have failed to realize the historic significance of the award.

https://en.wikipedia.org/wiki/Hattie_McDaniel

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