#scripts: marv wolfman
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Teen Titans Drug Special
#straight friends
#publisher: dc#comic: the new teen titans#issue 2#character: roy harper#character: speedy#scripts: marv wolfman#pencils: george perez
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Tales of the Teen Titans #50 (1985) Marv Wolfman, George Pérez Script, Art by George Pérez, Marriage of Wonder Girl and Terry Long
#TalesoftheTeenTitans #50 (1985) #MarvWolfman & #GeorgePérez Script, Art by George Pérez, Marriage of #WonderGirl and #TerryLong, 1st Appearance of Joseph Richani from Earth-0, Death of #Gnarrk from Earth-0 (Pre-Crisis). "We Are Gathered Here Today..." It is Terry and Donna's wedding day, and at Dayton Estates, a besieged Gar Logan frantically supervises the preparations. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA https://www.rarecomicbooks.fashionablewebs.com/Tales%20of%20the%20Teen%20Titans.html#50 #KeyComicBooks #DCComics #DCU #DCUniverse #KeyIssue #TeenTitans
#Tales of the Teen Titans#50 (1985) Marv Wolfman#George Pérez Script#Art by George Pérez#Marriage of Wonder Girl and Terry Long#key comic books#rare comic books#dc comics#dc universe#key comics
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The Epic Saga Concludes with Part Three of the Highly Anticipated Trilogy!
Justice League: Crisis on Infinite Earths – Part Three
Based on DC’s iconic comic book limited series ‘Crisis on Infinite Earths’ by Marv Wolfman and George Pérez, join DC Super Heroes from across the multiverse in the action-packed conclusion of the three-part DC animated film Justice League: Crisis on Infinite Earths – Part Three. The eagerly awaited film brings to a close the thrilling trilogy that marks the end to the Tomorrowverse story arc.
Produced by Warner Bros. Animation, DC and Warner Bros. Home Entertainment, the all-new, action-packed DC animated film features some of DC’s most famous Super Heroes from multiple universes including Batman, Superman and Wonder Woman, who come together to stop an impending threat of doom and destruction. Justice League: Crisis on Infinite Earths – Part Three will be available to purchase exclusively on digital on July 16 and on 4K UHD in limited edition steelbook packaging and Blu-ray on July 23.
Fans of this superhero adventure will also be able to indulge in a range of bonus features including interviews with the filmmakers on how they created a comprehensive universe across seven films.
Justice League: Crisis on Infinite Earths – Part One and Justice League: Crisis on Infinite Earths – Part Two are currently available on Digital, 4K UHD and Blu-ray.
Justice League: Crisis on Infinite Earths – Part Three features returning popular voice cast members: Jensen Ackles (Supernatural, The Boys, The Winchesters) as Batman/Bruce Wayne, Emmy winner Darren Criss (The Assassination of Gianni Versace: American Crime Story, Glee) as Superman & Earth-2 Superman, Aldis Hodge (Straight Outta Compton, Black Adam) as Green Lantern/John Stewart, Meg Donnelly (Legion of Super-Heroes, High School Musical: The Musical: The Series,) as Supergirl & Harbinger, and Stana Katic (Castle, Absentia) as Wonder Woman & Superwoman, along with Corey Stoll (Ant-Man, Black Mass) as Lex Luthor.
The star-studded ensemble voice cast also includes Gideon Adlon as Batgirl, Ike Amadi as Martian Manhunter/J’Onn J’Onzz, Geoffrey Arend as Psycho Pirate/Charles Halstead, Troy Baker as The Joker & Spider Guild Lantern, Brian Bloom as Adam Strange & Sidewinder, Matt Bomer as The Flash, Ashly Burch as Nightshade & Queen Mera, Zach Callison as Earth-2 Robin & Robin/Damian Wayne, Kevin Conroy as Earth-12 Batman, Alexandra Daddario as Lois Lane, Brett Dalton as Bat Lash & Captain Atom, John Dimaggio as Lobo, Ato Essandoh as Mr. Terrific, Keith Ferguson as Doctor Fate & Two-Face, Will Friedle as Batman Beyond & Kamandi, Jennifer Hale as Hippolyta & Green Lantern Aya, Mark Hamill as Earth-12 The Joker, Jamie Gray Hyder as Hawkgirl & Young Diana, Erika Ishii as Doctor Light/Dr. Hoshi & Huntress, David Kaye as The Question & Cardonian Lantern, Matt Lanter as Blue Beetle, Liam McIntryre as Aquaman, Cynthia Kaye McWilliams as Dr. Beth Chapel & The Cheetah, Lou Diamond Phillips as The Spectre, Elysia Rotaru as Black Canary & Black Canary II, Matt Ryan as Constantine, Katee Sackhoff as Poison Ivy, Keesha Sharp as Vixen, Jimmi Simpson as Green Arrow, Jason Spisak as Blue Lantern Razer & Hayseed, Armen Taylor as The Flash/Jay Garrick, Gas Soldier & Executioner, and Dean Winters as Captain Storm.
Justice League Crisis on Infinite Earths – Part Three is produced by Jim Krieg and Kimberly S. Moreau and executive produced by Butch Lukic, Sam Register, and Michael Uslan. The film is directed by Jeff Wamester from a script by Jim Krieg. Casting and voice direction is by Wes Gleason. The film is based on characters from DC and the graphic novel “Crisis on Infinite Earths” by Marv Wolfman and George Pérez
Justice League Crisis on Infinite Earths – Part Three will be available on July 16 to purchase digitally from Amazon Prime Video, AppleTV, Google Play, Vudu and more. On July 23 the film will be available to purchase on 4K Ultra HD in limited edition steelbook packaging and Blu-ray Discs online and in-store at major retailers. Pre-order your copy now.
Additionally, the Justice League Crisis on Infinite Earths Trilogy will be available on July 16 to purchase digitally from Amazon Prime Video, AppleTV, Google Play, Vudu and more, and features an exclusive special feature - An Epic Challenge: Crisis in Comics and Animation.
SYNOPSIS:
Now fully revealed as the ultimate threat to existence, the ANTI-MONITOR wages an unrelenting attack on the surviving Earths that struggle for survival in a pocket universe. One-by-one, these worlds and all their inhabitants are vaporized! On the planets that remain, even time itself is shattered and heroes from the past join the Justice League and their rag-tag allies against the epitome of evil. But as they make their last stand, will the sacrifice of the superheroes be enough to save us all?
SPECIAL FEATURES INCLUDE:
Justice League: Crisis on Infinite Earths – Part Three - Physical and Digital
A Multiverse of Inspiration
Jon and John: Stewart and Constantine
Justice League: Crisis on Infinite Earths Trilogy (Digital only)
An Epic Challenge: Crisis in Comics and Animation
Running Time: 98:06
Rated PG-13 for some violence and language.
*Digital version not available in Canada
Available exclusively on Digital on July 16
4K UHD in limited edition steelbook packaging and Blu-ray arriving on July 23
Justice League: Crisis on Infinite Earths Trilogy Also
Available exclusively on Digital on July 16
Preorder at Amazon.
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BHOC: FANTASTIC FOUR #203
This issue of FANTASTIC FOUR doesn’t at first glance appear to be anything special, just another one-off story in this run. But it has an interesting story behind it. You see, writer/editor Marv Wolfman had been friends with FANTASTIC FOUR co-creator Jack Kirby since Marv was a child. He knew about Kirby’s reluctance to draw the scripts of others, feeling (rightly) that his own plotting…
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Justice for Brandon Routh: Everything Cut From Superman Returns that makes it Great
Ultimately it's good Superman Returns didn't get sequels because of Bryan Singer & Kevin Spacey, but I'm kinda obsessed with the forgotten middle-child of Supes' movies, and it's infuriating how the movie's thematic spine and most of its best character-beats got cut.
The Theatrical Cut of Returns is literally half a movie. Brandon Routh deserved so much better.
Sources:
Deleted scene compilation (+Return to Krypton)
The Shooting Script (available to buy)
Superman Homepage deleted shots Page 1 and Page 2
Novelisation by Marv Wolfman (this, the graphic novel & junior novelisation all used the 2005 shooting script.)
Superman Returns: The Visual Guide (available to buy)
Chew Chan comic art
Requiem for Krypton: Making Superman Returns
Prequel Comics (based on scenes from early drafts, with stories by writers Singer, Dougherty & Harris):
Prequel Comic #2: Ma Kent
Prequel Comic #3: Lex Luthor
Prequel Comic #4: Lois Lane
Comic book recap
‘78 opened with a boy narrating an issue of Action Comics. Returns pulled back red theatre drapes on a comic narrated by Clois’ son, Jason.
Actor Tristan Lake is recording the voiceover in Requiem for Krypton
From the Script (p.1):
RED THEATRE CURTAINS, drawn shut. The kind found in classic movie houses of yesteryear. The slowly open ... the film flickers to life, fading in on an old comic-book
SUPERMAN. A BOY'S HAND reaches into frame and opens it.
JASON (V.O.): On a distant planet orbiting a red sun, a wise scientist predicted his world's imminent destruction. Despite overwhelming evidence, his pleas to evacuate the planet were ignored, leaving him and his wife no choice...
He turns the page to a panel of JOR-EL and his wife, LARA
JASON (V.O.) (CONT'D): ...but to place their only son into a spaceship and launch it to another galaxy, in hopes of finding the child a new home. A child destined to become Earth's greatest protector...
“In Golden Age style art, Kal-El is placed in the rocket by Jor-El and Lara, comes to Earth, grows up with the Kents, & learns that he possessed amazing powers.”
The script cuts the Smallville part because it’s covered later in flashback.
5 years on, Superman has been mythologised. In-universe, to kids he seems as make-believe as comic books are to us.
This develops Jason’s POV of Superman. He was supposed to have this comic (from 'Uncle Jimmy') when he meets Clark in The Daily Planet
This could be why Smallville was cut; the public only knows about Krypton
The opening scene of Gertrude Vanderworth’s death was originally replaced by:
Prequel: Lex in prison
Lex’s cell is covered in Daily Planet clippings. He nonologues to henchman Stanford
LEX: I didn’t get you visiting privileges to my private suite so I could repeat myself … My work was more than mere greed … It’s a calling. Why can’t they see the danger? He’s a vanguard for an invasion of super-powered beings. I knew. I always knew. Making sure there was a line of defence against him. The Conquistadors carried a plague that decimated entire civilisations. Who knows what kind of spaceborne diseases he carried? Oh, they may not appreciate my genius now, but they will worship me for delivering them from this menace they so affectionately embrace.
Kitty Kowalski & Gertrude Vanderworth
Lex has a medical exam before his release. His henchwoman Kitty is the nurse. She flirts with him but complains Superman is all Lex thinks about
Lex burns his old toupé to “cleanse” himself
In flashback, Kitty sees Lex kill an inmate in self-defence. Lex threatens her to protect his perfect record. But Kitty says she’s his “biggest fan” & anger becomes lust
This is in The Visual Guide (p.26):
"She witnessed Lex murder a fellow inmate. Kitty refused to squeal to the guards, and she and Lex made clear their attraction for each-other."
Kitty is the Vanderworth widow's maid & suggests Lex write to her
She doesn’t like the name Kitty: “My name is Katherine”
An imaginary Superman hovers above, watching Lex leave prison.
Gertrude Vanderworth is waiting outside:
LEX: Gertrude! I’m dying in here. I’m dying without you. Please, take me home. If only you could imagine the grotesque living conditions I’ve been exposed to, dear, sweet Gertrude. You’ve rescued me from Dante’s Inferno, from the depths of human depravity.
Shows how prison changed Gene Hackman’s Lex into Returns’ philosophical maniac
Characterizes Kitty as Lex’s ‘Harley Quinn-lite’ & makes her more active
Stronger explanation for Lex's escape than Clark missing his court date
The comic's final panel is Lex looking up at the imaginary Superman in the sky, zooming out into space, then leading into...
The Opening Titles as Clark’s journey to Krypton:
(from the Script):
“Stars interspersed with DAILY PLANET HEADLINES tracing Superman’s history, many by LOIS LANE;
“METEOR SHOWER BAFFLES SCIENTISTS”
“CAPED WONDER STUNS CITY”
“I SPENT THE NIGHT WITH SUPERMAN”
“SUPERMAN STOPS CRIMINAL MASTERMIND, LEX LUTHOR”
“LEX GETS LIFE THANKS TO MAN OF STEEL: SWEARS REVENGE”
“ASTRONOMERS DISCOVER KRYPTON INTACT – SIGNS OF LIFE FOUND”
And then the biggest headline of them all:
“SUPERMAN DISAPPEARS”
More headlines follow as the world is besieged … war, famine, crime. Soon, these headlines push Superman to the back pages. Within years, he’s all but faded from public consciousness. Finally, one last headline:
“WILL HE EVER RETURN?”
IS IT KRYPTON? (p.12), LUTHOR GETS LIFE (p.24) & VANDERWORTH TOPS THE FORTUNE 500!! (p.22) are in The Visual Guide
This gives the indulgent title-sequence a purpose. It sets up the consequences of Clark leaving, his history with Lois & Lex, Krypton’s discovery, and the Vanderworth fortune Lex will steal
This transitions into:
Return to Krypton
Concept art by Ben Proctor
The script describes “the remnants of this great civilisation… cities, monuments… all made from the same crystal technology” not in the filmed scene
Clark finds the House of El crest in the “VALLEY OF THE ELDERS . . . a VAST CANYON OF CRYSTAL MONOLITHS arranged in a circle” with more family crests.
Clark's escape is more visceral (Script pp.2-3):
“GIANT SLABS whiz by ... thousands of pieces of glowing kryptonite are hurtling towards him ... Parts [of Clark’s ship] shatter and break off ... The crystal immediately GROWS BACK ... more kryptonite smashes against the window, cracking it. Crystals work quickly to repair the damage, but it keeps coming.”
The filmed version puts Vibes over story:
The Valley of Elders returns on Lex’s New Krypton in the finale.
Without the other House crests the El one feels random
Showing Krypton's achievements validates Lex’s plan to resurrect it.
Clark’s ship self-repairing introduces ‘growing’ crystals immediately
Opening an action beat is important because the next one isn’t for 40 mins
Famously, this scene cost $10 million. Videographer Rob Burnett said:
“This was always meant to be the original opening [it] explained why he was so weak when Martha found him [&] that Kal-El sweats in the presence of kryptonite which Luthor notices later ... It wasn't cut until some last-minute test screenings … people unfamiliar with Donner's Superman films & Kryptonian crystals/tech found this dialogue-less opening confusing & uninteresting”
To solve this dialogue problem it was suggested Clark bring his mother Lara's memory crystal with him. She would narrate Krypton's history as Clark explored, contrasting its past glory with its current ruin. But the scene was already finished & Singer decided:
I didn’t feel it ... No-one told me to do it. I had no time restrictions or pressure whatsoever. I just felt the movie doesn’t need this."
But Marv Wolfman did something similar when retelling Jor El and Lara sending Clark away in Chapter 1 of his novelisation:
“It had been a timeless city, strong and powerful. It survived the vast armies of three great nations waging war on its bloodied streets. It stood proud as the signing place of an everlasting peace . . . [Lara] spent her early years dreaming of living where Krypton’s earliest founders had once walked, did not want to believe that this magnificence and all it stood for would soon be gone.
She had spent her first year out of university touring the city . . . She trekked out to the Valley of the Elders . . . the fabled roads that Sor-El, Kol-Ar and Pol-As, the chosen representatives from the three warring nations, must’ve taken when they created the original laws of humanity that governed Krypton.
From the ground, those crystal monolith towers, reflecting the full spectrum of light, looked to Lara like hands raised in reverential prayer.
Kryptonopolis had been grown from a single crystal more than 10,000 years before ... shaped by the earliest Kryptonians into vast cities millions of buildings strong"
The Visual Guide also explains the Valley of the Elders is “Where Sor-El, Kol-Ar, and Pol-Us established the laws that governed Krypton" (p.79)
This is a great parallel to ‘78's opening. That was Clark’s origin. Returns is him mourning
Seeing Krypton contextualizes Clark’s arc. We understand his alienation instead of being alienated by him
It bookends the movie with New Krypton, and gives Returns’ oft-mocked climax ‘Superman Lifts a Big Thing’, thematic weight: Clark is excising the grief that drove him from Earth
Lara's narration about the wonders of Krypton both heightens the tragedy & establishes what their tech can achieve, crucial to Lex's plan
Writer Dan Harris said:
“Lex Luthor’s trying to turn this world [Earth] into the dead world, the place [Clark] can’t live, so it becomes a person’s search for identity and home and their place in the universe.” (The Shooting Script interviews p.27)
Martha Kent and Ben Hubbard play Scrabble
Martha spells ‘Alienation’ (THEMES!!) & touching Clark’s name carved into the table is lovely visual storytelling
Ben is there when Clark crashes. Martha stops him calling the cops.
BEN: Martha-
MARTHA: (firm) Tomorrow. Bingo.
She looks at him, stonefaced. He takes another look outside – and at her, and realizes what’s happening. He sighs and shakes his head.
BEN: A meteorite?
She nods.
BEN (CONT’D): Martha Kent, I knew you’d be trouble
There’s a blooper of this scene in Requiem for Krypton & it's mentioned in The Visual Guide (p.20)
Gertrude Vanderworth's death, and Lex stealing her fortune, is shown after Clark passes out in Martha’s arms when he crashes, followed by Lex taking the yacht to the Arctic
Lex Finding the Fortress
Cool details about the Fortress' warm crystals & creating protective weather patterns, explaining the storm around New Krypton in the finale
While exploring the Fortress they find Clark's garage:
From The Visual Guide:
"Lex lingers in a cavernous chamber he dubs 'the garage', where he sees evidence of the construction and launch of Superman's spaceship"
KITTY: So did he?
LEX: Did he what?
KITTY: Take off for his homeworld?
LEX: (looking at Stanford) Well… We gave him a little push.
In the novelisation (p.89)
Lex’s First Experiment
After plundering the Fortress, Lex would test the crystal immediately- “he created a kind of giant Fortress of Solitude in the ice” (Script interviews p.28), destroying the original. Such a great way to raise the stakes!
Extended Clark waking in his childhood room
Clark waking to his starry ceiling & the Kent family photos give his return more emotional heft
Extended Young Clark’s first flight,
Which leads into…
“Little Secret”- Clark finds the Kryptonian ship as a boy
From The Visual Guide (p.11): “When he holds the Father Crystal, Clark feels a primal connection to the vanished world of his ancestors”. Martha’s prequel comic shows Jor El & Lara reflected in the crystal.
The Father Crystal is the key to Lex’s plan, so it's important to see its importance to Clark.
'Little Secret' leads into:
Martha Kent Prequel: The Kents tell the truth
The Kents find Clark on the cellar steps with the Father Crystal, staring at his ship.
They talk in the kitchen:
MARTHA: … I wish we could tell you more… well, anything about your real parents
CLARK: You are my real parents. Those other people, the ones that gave me away… They mean nothing to me. [he bends a fork in half]
JONATHAN: I understand that you feel that way now, Clark. But I have something to show you. [He leaves the room to get something]
CLARK:Ma, I- I… Am I even human? Am I some sort of monster?MARTHA: Clark Kent, bite your tongue! You are our son and we love you. That’s all that matters.
JONATHAN: Clark? This is yours. You were wrapped in it when we found you.
He gives Clark the cloth he was wrapped in when they found him - blue fabric with the “S” shield
This is a big change from ‘78, where Clark didn’t find the Father Crystal until after Jonathan dies. Martha wasn’t there & they didn't discuss it. The Fortress of Solitude made his suit.
Clark's anxiety is more in-line with MoS (“Can’t I just keep pretending to be your son?” / “You are my son.”). Rejecting Krypton is important, as his adult desire for a home drives him from Earth
Here we see Clark feel the alienation he fears for Jason in his final speech ("you will be different..."). Parenting is a big theme of Returns
Clark reads Why the World Doesn’t Need Superman in the Kent barn
In the script, Clark taking the tarp off his ship leads into the Little Secret flashback- which the deleted scene cuts around. The shots following him back to farmhouse include this voiceover (Script pp.13-14):
LOIS LANE (V.O.): For five long years, the world has stared into the sky, waiting, hoping, and praying for his return. We have spent our days asking where he went, debated why he left, and wondered if he’s even alive…
People have always longed for gods, messiahs, and saviors to swoop down from the sky and deliver them from their troubles. But in the end, these saviors always leave, and we are faced with the same troubles that were there from the beginning.
So, instead of facing them ourselves, we wait for the savior to return. But the savior never does, and we realize it was better had he never come at all.
Reading WTWDNS is referenced in The Visual Guide (p.29)
Articulating Lois’ POV makes her more than a bitter ex. Even the Junior novelisation has this!
In the Theatrical Cut Clark returns to the Daily Planet trying to reclaim the old status quo, until he learns Lois has a family. Here, he faces consequences for leaving before learning Lois has moved on, so he’s less selfishly motivated, and returns to the Planet to actively reconcile with her
Parallels Young!Clark finding the Father Crystal- the inciting moment of ‘78’s plot
Martha encourages Clark to return to Metropolis / Clark meets Ben Hubbard
This is a cute scene, humanizing Clark
Martha is selling the farm & moving to Montana
(Script p. 76), cut dialogue in purple
MARTHA: Clark, dear… No one will ever replace your father. But, Ben and I have found something special. Together. And, well, this might all come as a shock…
Clark gives her a look. Just level with me.
MARTHA: I’m selling the farm. We’re moving to Montana.
CLARK: Montana?
MARTHA: The lakes are great. And we love the fishing.
CLARK: Fishing?!
MARTHA: Clark, you’ve been gone a long time. And not even you can stop the world from spinning.
In the novelisation (p.76)
Building this subplot from a background character from ‘78 is neat.
It expands Returns’ narrow emotional scope: It's not just Lois moving on
Superman suit in Clark’s case & changing in The Daily Planet closet
As Clark puts his suitcase in the janitor’s closet he opens it, revealing his Superman costume & a Kent family photo.
So, when he rips his shirt open there’s "NOTHING. Where's his suit? He panics, then remembers." . He must change in the Daily Planet janitor’s closet. As he leaves he "catches a glimpse of his reflection in a window -- he's still wearing GLASSES" (the Script p.44)
Love Superman in glasses as a metaphor for the transition from Clark to Supes.
The Theatrical cut emphasizes Lois’ POV of Superman’s return but this is more balanced & impactful for Clark
Lex and Stanford discuss Superman’s return
When Lex learns Superman is back he & Stanford discuss luring him away. You can see Stanford running to catch up with Lex before the Theatrical scene cuts away. Deleted dialogue in purple:
STANFORD: So, what are we going to do?
LEX: You’re going to modify it and attach it to the stern, I don’t care of the instructions are in Russian
STANFORD: You know what I mean, Lex. He’s not stupid. How long do you think it’s going to take him to trace all that stuff back to me– and you. He was supposed to die up there.
Stanford paces. Lex clenches, obviously stressed. He hears the WHIMPERING of Gertrude’s dog.
Infuriated, Lex hurls the newspaper at it but misses. Enraged, Lex snatches a heavy crystal off the desk, when he STOPS. He stares at something on the NEWSPAPER
Lex bends down and picks up the paper. He smiles, and hands it to Stanford.
LEX: Stanford, you worry too much.
Stanford looks at the article, intrigued.
“WORLD’S LARGEST COLLECTION OF METEORITES TO EXHIBIT AT METROPOLIS MUSEUM OF NATURAL HISTORY”
Lex & Stanford faking Krypton’s discovery makes all Clark's problems his fault. Clark did nearly die, & it makes Lex a more formidable villain
It makes the plot more cohesive
Clark being tricked by his nemesis > ‘he just left lol’
Lex’s desperation gives him depth. Stealing Kryptonite is now a response to Superman, where in the Theatrical cut it’s so underplayed it seems like just the next step of his plan.
Stanford and The Daily Planet
I can’t find it, but Mr. Sunday Movies cites an interview where the actor revealed Stanford was a disgraced Daily Planet science correspondent, & wrote the articles about Krypton.
More plot cohesion, connecting The Daily Planet & Lex plots. If Lois recognises Stanford when she’s on Lex's yacht, she could figure out Clark was tricked, helping her forgive him.
Extended Clois outside The Daily Planet
Deleted dialogue in purple, (Script pp.58-60):
CLARK: Well … Maybe saying goodbye was so hard because he didn’t know whether it would be goodbye for a little while … or goodbye forever.
Lois doesn’t seem to be listening
CLARK (CONT’D, QUIETER): And maybe he had to go and he wanted to say goodbye, but he couldn’t find the guts to do it, because maybe if he saw you, even one last time… Well, maybe he was afraid that if he even looked at you just… once… he would never be able to… leave (beat) Maybe it was too difficult for him.
. . .
CLARK: So… Do you want to grab a quick bite? Catch up? My treat.
LOIS: Oh I’d love to, but Daddy took the car and it’s my turn to ‘cook’ the family dinner, which means I’ve got just enough time to get back to the ‘suburbs’ and order the Chinese
CLARK: Suburbs?
LOIS: Yeah, we have a really nice place on the river. You should drop in sometime.
CLARK: I’d love to.
Brandon performs this dialogue for a screentest in Requiem for Krypton
Much better reason for Clark not saying goodbye. Corny, but if your gonna justify an OOC decision, do it with the romance at the heart of your movie.
Lois is much nicer & less dismissive of Clark. Theatrical Lois seems to actively dislike him.
Hints Lois feels stifled as a suburban mom
Lois Prequel: Writing Why The World Doesn’t Need Superman
The ‘Lois at home’ scene begins with a flashback:
Perry tells Lois to write a piece for the 5th anniversary of Superman leaving. She struggles with writer’s block at home, & goes out to smoke. She thinks Clark blows out her lighter, but she’s imagining it & realizes she must move on. That night she writes WTWDNS
Then Richard asks about I Spent the Night With Superman, then Clark is revealed to be watching at the end of the scene.
[After Clark flies away, Script p.63]
Lois picks up some food, then suddenly stops and turns to the window, staring into their backyard. Beat.
RICHARD: Lois? You okay?
Lois snaps out of it.
LOIS: Yeah, sorry. Hey, didn’t I have four won-ton’s?
Jason stuffs a won-ton into his mouth.
LOIS (CONT’D): JASON!
Lois & Richard dive, trying to snatch it from his mouth
A cute Jason moment, & Lois ‘sensing’ Clark makes his spying a little less creepy, selling their 'stracrossed lovers' connection
Superman On Patrol
Two scenes are omitted from the script (p.64) before the ‘Bulletproof’ bank robbery. Presumably they formed a full crime-fighting montage, like in ‘78.
The Visual Guide describes two cut sequences that perfectly fill that gap (p. 60):
“In Switzerland, he saved 12 stranded climbers from the peak of the Matterhorn. In Venice, he prevented the famous canals from flooding the city streets. Superman seems to be everywhere at once, but nowhere is he more prominent than in Metropolis…”
Full Deli Robbery Segment
MONTAGE REPORTER #3: Sir, after he captured the men trying to rob your Deli, did he do or say anything?
DELI OWNER: He tried the hummus. He said he liked it – and Superman never lies!
More action! More wholesome Superman! Expanding the scope of the movie beyond Metropolis!
Lex’s Plan
Higher-key Kryptonite heist where Lex’s gang fool guards and witnesses
The movie needs more energy. Like the stolen missile earlier, in the Theatrical Cut Lex’s plan is afterthought bullet-points
When Kitty returns to Lex after Superman saves her, the stolen missile is being disassembled. Lex takes its explosive & the kryptonite he’ll stab Clark with
Lois Prequel: Why she resents Superman and meeting Richard
After Perry demands Lois interview Superman we flashback to him doing the same thing after Krypton was found:
But Superman never shows. Months pass until “the world had to admit” he was gone.
The world turned to Lois as their 'Superman expert.'
JIMMY: Miss Lane. You okay?
LOIS: I will be once Perry lets me cover something over than Superman. He left. He's gone, and maybe he's never coming back. How many different ways can I write that?
JIMMY: I know Miss Lane. I miss him too.
The world refusing to let Lois move on by pigeon-holing her as ‘Superman’s Girlfriend’ is important context.
Now Perry refusing to let Lois cover the blackout is part of a sexist cycle she’s fought for years
Lois escapes to the roof for a smoke: "Even as the days kept passing, I held out hope. I mean, he never disappointed me before, right?'
Richard White introduces himself just like Clark:
RICHARD: Those things will kill you, you know. Hello, Lois. I'm Richard White.
LOIS: White, huh? Did Perry even read past your last name on your resume?
RICHARD: I won't deny what it looks like, but my uncle hired me because I'm damn good at what I do. And with you I see wasted talent. The Superman story is old news. The Planet's best reporter should be used elsewhere.
LOIS: You're certainly more insightful than you look, White.
Directly parallels Richard and Clark
And contrasts the rooftop interview with Superman immediately afterwards; we now know she waited here for Clark to return every night until she met Richard
Clark Visits the Fortress of Solitude
When Clark visits the Fortress of Solitude he has cut voiceover (Script p.89):
SUPERMAN (V.O.): Father... It’s been a long time since I’ve come to you… But I’ve never felt so alone.
EXT. FORTRESS OF SOLITUDE - SAME TIME
Superman lands & approaches the console. The crystal has been taken. WITH A VOICE ECHOING THROUGH THE ARCTIC LIKE THUNDER:
SUPERMAN: FATHER!!!
FATHER!!! Is OTT but important when Superman has so little dialogue
Clark is now clearly driven to the Fortress by Lois’ rejection. In The Theatrical Cut, he just checks in because it’s time for Plot to happen.
Losing Jor-El emphasizes the theme of parenthood- Clark loses a father as he gains a son- & justifies Jor El’s voiceover later
Lex's Fortress
In an earlier draft, Clark found the new Fortress Lex grew in his first experiment, and "Clark sunk it and put it underwater"
Originally “Richard & Lois flew there with Clark to investigate & take pictures" (Script interviews p.28) but later on these became satellite pictures that were delivered to the Planet. Lois saw them & understood what Clark had lost.
Lois seeing & understanding Cark's losses is important
Clark destroying Lex's Fortress would be an impressive action beat & Returns is desperate for those. Showing Lex's impact through action!
Extended dialogue on the yacht explaining Lex’s plan
LEX: It’s not just an island. It’s an entirely new continent. Virtually indestructible and self-sustaining. For lack of a better name, it’s Krypton. An extinct world, reborn on our own.
LEX: I’ll have ADVANCED alien technology thousands of years beyond anything anyone could throw at me. Weapons, vehicles, you name it.
Gives New Krypton more credibility & makes Lex's plan more concrete, especially after Return to Krypton showcased Kryptonian tech
Saving Metropolis
Earlier drafts of the ‘Saving Metropolis’ sequence had “monster waves surging in every direction” (The Visual Guide p.70) Dan Harris also mentioned "waves coming in" and Clark “pulling a subway train out [of the ground]”. (Script interviews p.28) The script omits several sections that could fit these moments.
The script includes Clark saving people from cars set on fire by the gas explosion.
Again, Returns copies ‘78, but that earthquake was way bigger - a dam explodes, a bridge collapses, a train derails. Clark shifts tectonic plates to stop it.
Perry White meets Superman
I understand why this was cut but it’s still cool
The Missile Explosive
After Jason kills Brutus, the deleted scene of Lex finding Brutus’ body is followed by (Script pp.113-114):
INT. YACHT - PANTRY Lois & Jason sit against the far wall, exhausted & worried. The door swings open, revealing LEX. He looks at Jason & winks.
LEX: Catch.
He tosses SOMETHING into the room, wrapped in the handkerchief. It rolls towards Jason’s feet. LOIS CHARGES just as Lex slams the door. Jason removes Lex’s handkerchief, revealing the EXPLOSIVE from the missile.
LOIS: Honey… don’t move.
Lois is panicked, searching for any way to get rid of the explosive. Finally; a SMALL AIR DUCT. She kneels & pulls at the VENT COVER. It won’t budge. She looks around & finds a LARGE METALLIC SOUP LADLE. SHE JAMS THE LADLE INTO THE VENT, using it like a crowbar.
JASON: Mommy?
LOIS: JASON DON’T MOVE!
Lois strains to pry the vent away. After what seems like an eternity, it finally pops off. She approaches Jason VERY CAREFULLY.
LOIS (CONT’D): Okay Honey, stay still…
Lois THROWS IT into the air duct … grabs Jason & rushes him to the other side of the room. The explosive drops down a series of air ducts … Silence. Lois and Jason open their eyes, relieved.
Then – BOOOOOOM! THE BLAST ROCKS THE ROOM. A burst of flame shoots from the vent. Lois shields Jason. The flames are followed by a GEYSER OF SEAWATER. The room is tipped upward. Water is streaming in. Lois tumbles backwards into the water, struggling to reach Jason, but she’s STUCK.
ANGLE UNDERWATER: Lois’ leg tangled in a LIFE PRESERVER.
LOIS: HELP ME! Oh God…
Water floods into her mouth. She disappears under the surface when the DOOR is RIPPED OPEN, AND THE SILHOUETTE OF A MAN STEPS INTO THE ROOM. He dives underwater.
The man rips Lois’ leg free from the cables and pulls her to safety. Lois finally opens her eyes and comes face to face with… RICHARD. She and Jason are stunned.
LOIS (CONT’D): How –How did you get here?
RICHARD: (obviously…) I flew.
Lex’s response to Superman’s son here is more appropriate & threatening.
Another setup & payoff with the missile explosive gives the film more structure. Plot, y'know?
Makes Lois more active
Richard/Clark parallels
Jason recognizes Clark
[in the seaplane after Superman saves them from the yacht]
Jason curiously looks up at Superman.
JASON: Hey, you look just like–
SUPERMAN: (Cutting him off) Can you fly?
For a moment, it looks like Superman is speaking to Jason – then he turns his head to Richard.
Also in the novelisation (p.285)
More Jason/Clark connection & more payoffs (Jason suspected Clark's identity after seeing him next to Superman on TV earlier)
Context: New Krypton
The script describes it as “almost identical to the ruins of Krypton ... Unlike the ruins, this place feels like it could be full of life – what he hoped to find when he went to Krypton,” with buildings “resembling the Fortress of Solitude”. made of the Fortress’ glowing white crystals, presenting the facade of life.
Clark confronts Lex in “an exact reproduction of the Kryptonian VALLEY OF ELDERS" (where we saw the El Crest in Return to Krypton). Flickering x-ray vision reveals “IN THE GROUND AND WALLS are pockets and veins of kryptonite”
From The Visual Guide (p.79):
“New Krypton recreates its planet of origin according to an ancient blueprint, beginning with the vanished capital of Kryptonopolis ... [it] will eventually replicate the towering face of Mount Argo, the bottomless depths of the Xan Chasm, & the polished dome of the Krypton Science Council”
Superman hears something else in the wind, coming from inside the structure: a VOICE. Faint, but familiar. Maybe JOR-EL? LARA? It’s joined by other ghostly whispers before another familiar voice calls out:
LEX (O.S.): See anything familiar?
The ghostly whispers are a cool detail
Now New Krypton is literally a ‘dead world resurrected’, not just some land, & will terraform the whole planet. It brings the movie full-circle- Krypton followed Clark home
After beating a powerless Clark, Lex reveals the truth
LEX (CONT’D): Look, buddy. We sent you there to die, but ya’ had to come back…
Superman looks at Lex, his expression turning from agony to realization.
LEX (CONT’D): Oh yeah. All those photos? Those stories about Krypton still existing? It was me. (Beat) And him.
ANGLE ON: Stanford.
LEX (CONT’D): Thankfully the press doesn’t check facts like they used to. (Beat) Hey, you took away five years of my life. I just returned the favor.
In the novelisation (p.297) & literally every other adaptation of the story. Why the fuck would you cut it?
As Clark drowns:
“Crystals are growing towards him from every direction. ALL GLOWING GREEN from Kryptonite. He tries swimming to the surface, but he’s too weak. He’s trapped ... A mesh of crystal walls are closing in around him, over him like a tomb."
The tomb is a thematically resonant image (New Krypton = graveyard) & heightens the crystals’ threat
Jason ‘senses’ Clark instead of seeing him from the plane window
In the script, Jason wants to help Clark too- not just Lois & Richard deciding.
Jason looks out the window, pointing down to the water.
JASON: There.
He turns to Lois. Beat. She can’t see anything.
LOIS: You’re sure?
Jason nods. He’s certain.
While Clark in hospital, Lois names ‘New Krypton’
it's gone “into orbit somewhere between Mars & Jupiter. Supposedly it’s laced with Kryptonite & still growing”.
Again, creates a thematic bookend with 'Old Krypton' in the beginning
Outside the Hospital
Ben Hubbard waits with Martha Kent- you can see his shoulder next to her in the Theatrical Cut
There are shots of Lois, Jason & Martha talking while they're in the crowd- presumably Martha offering support without Lois knowing who she is
Martha meets her grandson! The two mothers of Kryptonian sons talk!
Bringing Martha & Ben back ties the Smallville section of the movie back into the plot
Final Clois Exchange
SUPERMAN: Thank you, Lois.
Tears well in her eyes, struggling for something to say.
SUPERMAN (CONT’D): It’s alright.
It’s what she’s wanted and needed to hear for years.
It’s such a small thing, but gives Clois closure, and Clark more lines
OTHER CHANGES
Color-grade: Returns’ drab sepia look ruins beautiful cinematography. The original color-grade in the teaser trailer (which is like 70% deleted footage) is much better, as is this color-corrected shuttle sequence
A tighter edit to compensate for the action-light script. They went for a classic, unhurried edit, but you could shave multiple seconds off most shots without losing anything. The Superman Restored fanedit re-inserts 25 mins of deleted scenes and is still 8 mins shorter than the Theatrical Cut
Tldr;
Returns is inherently slow-paced. Even with a faster edit, adding all this would push it past 3 hours. Regardless, Singer shot his own film in the foot because his priorities were wrong: Outlined above is a more balanced, cohesive story with richer themes. The Lex and Krypton subplots are complete. Clark feels like the main character, & Lois is more sympathetic.
Brandon deserved so much more.
#superman#superman returns#brandon routh#clark kent#lois lane#clois#cbm#richard donner#superman: the movie#superman ii#deleted scenes#krypton#lex luthor#martha kent#dc comics#dc movies
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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)
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Cyborg
Tales of the Teen Titans #42: The Judas Contract, Book One: The Eyes of Tara Markov
by Marv Wolfman (plot, script); George Perez (plot/Pencils); Dick Giordano (I.); Adrienne Roy (C.) and John Costanza (L,)
DC
#dc comics#tales of the teen titans#george perez#dick giordano#adrienne roy#john costanza#marv wolfman#victor stone#comic book
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DC Comics Presents Annual 1, “Crisis on Three Earths!” 1982, script marv wolfman, pencils rich buckler, inks dave hunt, colors carl gafford, letters john costanza
#your blorb-el sadclark panel of the day#clark kent#featuring earth 1 clark kent and earth 2 clark kent
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This is kind of a weird question, but do you have any tips for meeting Marv Wolfman? I remember you saying you've met him at a con in the past. I'm going to a con in the fall where he's scheduled to appear and I'm so nervous!! How did meeting him go for you?
Oh gosh, I'm not an expert on the man or anything! But he was so cool to meet! I'm excited for you!
I was super overwhelmed by the convention and also very nervous about meeting him (kinda starstruck by the time I got to his table). But he seemed understanding. I met him in cosplay of 80's Raven and he complimented it, specifically said he liked that I got the fingers on the gloves right because he felt it was very important with her healing for her to be able to touch, he didn't mention the missing rings (which I had tried to create and was embarrassed about not having), and he was happy to talk about the comics he'd written. (I wish I didn't have such social anxiety back then and had actually had a better conversation with him!)
I honestly think he spoke more words than me, genuinely half the words I got out was the word "awesome". And he seemed genuinely happy to be there.
Also, I forgot to ask for a picture at the table but I found him right before a panel he was in and asked for a picture then, and he seemed happy to do so. He was very respectful and didn't get uncomfortably close. And I think when my phone rang (aloud) during the panel and I rushed off (again, in Raven cosplay), he was the one that made a joke about the Teen Titan going to save the day.
It was overall a very positive experience, and if he ever comes to Ohio again, I'd like to meet him again! And maybe pick his brain a bit. He was happy to sign things (I became the proud owner of an autographed copy of Tales of the New Teen Titans #2!), he didn't charge for it, and he was selling scripts and issues and a few other things at his table.
If you're like me and you get tongue-tied, a trick I've learned is to come prepared already knowing what you want to say, bring notes so you don't forget, or if there's a lot or you're bad at verbalizing your thoughts, write a physical letter to give!
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Reading the Wolfman Nightwing issues in the lead up to Resurrection and it’s REALLY obvious Marv hadn’t been a primary Dick writer in over a decade.
It’s just constant “remember when?” looking backwards style stories.
I mean it’s not a bad idea to use Wolfman in a period when Dick’s in New York? But gosh it feels like “scripts from 1992 I never got to use”.
(I do like Dick teaching at a gym though. Coaching is always a good in-between-things job for Dick, both personality and schedulewise)
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Marvel’s Dracula meets the cast of Star Trek
STAR TREK #4
1980, Marvel Comics
Marv Wolfman script, Dave Cockrum pencils, Klaus Janson inks
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Teen Titans Drug Special
...keebler presents.
#character: roy harper#character: speedy#character: raven#issue: 2#comic: the new teen titans#scripts: marv wolfman#pencils: george perez#publisher: dc
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Teen Titans #20 ("Titans Fit the Battle of Jericho") was originally a script by Marv Wolfman and Len Wein which would have debuted DC Comics' first Black superhero, named Jericho. Editor Carmine Infantino nixed the idea, and assigned Neal Adams to rewrite and redraw the issue. Jericho was changed to Joshua (seen in the center of this page), and made white instead of Black. The issue still features the fine artwork and dynamic panel layouts which were Neal Adams' trademarks, so it's not a total loss, but still a missed opportunity. Wolfman, when writing The New Teen Titans years later, would introduce a character named Joseph Wilson, alias Jericho... who was also white. Ah, well.
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Justice League: Crisis on Infinite Earths – Part Two
Available on Digital on April 23
4K UHD in limited edition steelbook packaging and Blu-ray also arriving on April 23
Based on DC’s iconic comic book limited series ‘Crisis on Infinite Earths’ by Marv Wolfman and George Pérez, join DC Super Heroes from across the multiverse in the second of three parts in DC’s new animated film Justice League: Crisis on Infinite Earths – Part Two, which continues the trilogy that marks the beginning of the end to the Tomorrowverse story arc.
Produced by Warner Bros. Animation, DC and Warner Bros. Home Entertainment, the all-new, action-packed DC animated film features some of DC’s most famous Super Heroes from multiple universes including Batman, Superman and Wonder Woman, who come together to stop an impending threat of doom and destruction. Justice League: Crisis on Infinite Earths – Part Two will be available to purchase on digital and on 4K UHD in limited edition steelbook packaging and Blu-ray on April 23.
Fans of this superhero adventure will also be able to indulge in a range of bonus features including interviews with the filmmakers on how they created a comprehensive universe across seven films.
Justice League: Crisis on Infinite Earths – Part One is available now on Digital, 4K UHD and Blu-ray.The final part of the trilogywill be available later in 2024.
Justice League: Crisis on Infinite Earths – Part Two features returning popular voice cast members: Jensen Ackles (Supernatural, The Boys, The Winchesters) as Batman/Bruce Wayne, Emmy winner Darren Criss (The Assassination of Gianni Versace: American Crime Story, Glee) as Superman & Earth-2 Superman, Meg Donnelly (Legion of Super-Heroes, High School Musical: The Musical: The Series,) as Supergirl & Harbinger, and Stana Katic (Castle, Absentia) as Wonder Woman & Superwoman.
Aside from the returning voice cast, the star-studded ensemble voice cast includes Jonathan Adams as Monitor, Gideon Adlon as Batgirl, Geoffrey Arend as Psycho Pirate/Charles Halstead & Hawkman, Troy Baker as Joker, Zach Callison as Robin, Darin De Paul as Solovar, Ato Essandoh as Mr. Terrific & Anti-Monitor, Keith Ferguson as Dr. Fate & Atomic Knight, Will Friedle as Batman Beyond & Kamandi, Jennifer Hale as Alura & Hippolyta, Aldis Hodge as John Stewart, Jamie Gray Hyder as Hawkgirl, Erika Ishii as Doctor Light/Dr. Hoshi & Huntress, David Kaye as The Question & Satellite, Matt Lanter as Blue Beetle, Liam McIntyre as Aquaman, Lou Diamond Phillips as Spectre, Matt Ryan as Constantine, Keesha Sharp as Vixen, Harry Shum Jr. as Brainiac 5, and Jimmi Simpson as Green Arrow.
Justice League Crisis on Infinite Earths – Part Two is produced by Jim Krieg and Kimberly S. Moreau and executive produced by Butch Lukic, Sam Register, and Michael Uslan. The film is directed by Jeff Wamester from a script by Jim Krieg. Casting and voice direction is by Wes Gleason. The film is based on characters from DC and the graphic novel “Crisis on Infinite Earths” by Marv Wolfman and George Pérez
Justice League Crisis on Infinite Earths – Part Two will be available on April 3 9 to purchase digitally from Amazon Prime Video, AppleTV, Google Play, Vudu and more. On April 30 23 the film will be available to purchase on 4K Ultra HD in limited edition steelbook packaging and Blu-Ray Discs online and in-store at major retailers. Pre-order your copy now.
SYNOPSIS:
An endless army of SHADOW DEMONS bent on the destruction of all reality swarms over our world and all parallel Earths! The only thing opposing them is the mightiest team of metahumans ever assembled. But not even the combined power of Superman, Batman, Wonder Woman, Green Lantern and all their fellow superheroes can slow down the onslaught of this invincible horde. What mysterious force is driving them? And how do the long-buried secrets of the Monitor and Supergirl threaten to crush our last defense?
SPECIAL FEATURES INCLUDE:
Physical and Digital
Voices in Crisis
The Bat-Family of the Multiverse
Justice League Crisis on Infinite Earths – Part Three Sneak Peek
Preorder now at Amazon.
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PRINCESS OF ALL THE NEARBY PLANETS -- MODELING PLANET-SHATTERING SWIMWEAR.
PIC(S) INFO: Spotlight on a splash/introductory page of Princess Kory, a.k.a., Koriand'r, a.k.a., "Starfire" of DC Universe superteam, the Teen Titans, from "Tales of the Teen Titans" Vol. 1 #42. May, 1984. DC Comics.
Resolution at 2520x2040 & 1315x2048.
Story/script: Marv Wolfman
pencils: George Pérez✝
Inks: Dick Giordano
Colors: Adrienne Roy
Source: www.kirbyskids.com/2022/09/kirbys-kids-super-special-george-perez.html.
#Starfire#Koriand'r#Tamaranean#DC#Space Art#Women of DC#Good Girl Art#Princess Koriand'r#Tamaran#Sci-fi Fri#Ladies of DC#DC Ladies#Sci-fi Art#Sci-fi#Tales of the Teen Titans Vol. 1#Space Babe#Tamaranean Species#DC Women#Splash page#Swimwear#80s#George Pérez#George Pérez Art#Swimsuit#Summer Mood#1980s#80s DC#Summer Vibes#Teen Titans
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2022 comics reading log
In the early days of last year, I was inspired by some twitter mutuals to post my comics reading in the new year and kept it up from Jan 1 2022 till just about the bitter end. Something about it really helped keep me invigorated by the medium even in some pretty bleak times, so I’m going to keep it going this year, but here at Longboxd instead of on twitter, which I'm trying to spend less time at. Before I can do that though, I want to archive the 2022 entries in a spot that’s more permanent/less twitter-iffic, so here we go—pretty much every comic I read in 2022! (As transcribed from here)
Part 2: 22-38 (of 387)
(I can "only" post 30 images at a time here, so that’ll dictate the length of these catch-up posts)
22) Silver Star #1 by Jack Kirby & Mike Royer - Kirby’s Blubber? Very Beto vibes—very Lynchian, held together by spit and nonsense.
23) Shattered Earth #1 - The best story in this anthology has a horny dog that gets cucked by a wandering wasteland hippie.
24) Sun Runners #2
25) Shade, The Changing Man #50
26) True Lives Of The Fabulous Killjoys: NATIONAL ANTHEM - Narratively, it’s firmly in the "halcyon days of vertigo" mold, and that’s cool, but between Romero and Bellaire this is one of the more stunning art showcases I’ve seen in a while. God-tier coloring, IMO!
27) The Terminator #1 (1990) - Chris Warner tha gawd with nice chunky inks from Paul Guinan, and a script by DH genre MVP John Arcudi that swings between terse and pleasantly purple. This and the Predator series the year before (also drawn by Warner) set the mold for decades of movie tie-in books.
28 & 29) Blood n’ Guts #1 & 2 - These are very bad comics by a weird, probably bad dude who's weird & not always bad comics I grew up with. Not much to them (this is from one of Blair's big firehose-of-comics periods) other than a *great* logo I assume was made by Dave Cooper.
30) Alien Worlds #7 - I loved this series as a kid—it's mostly an art showcase (Corben, Morrow, Anderson & Perez in this issue!) but Bruce Jones' short stories are trashy scifi paperback anthology style fun, routinely see-sawing btwn kind of hokey & total bleak nihilism, often on the same page. one story, theoretically concerned w/recreating The Thing inside an implied sketch of a Wally Wood/EC planet setting, mostly actually focuses on infidelity leading to murder (a common Jones trope). In the end everyone dies after the revelation that their parkas are hungry aliens.
31) Eclipse Monthly #2 by various
32) Sensation Comics #6 - This is the pure, uncut shit.
33) Head Lopper #15
34) Marvel Team-Up #101 - Robot hippies and Peter Parker favorably compares the trauma of Nighthawk killing his girlfriend in a drunk driving incident to Uncle Ben’s death.
35) The Swamp Thing: Becoming TPB
36) Head Lopper #16
37) Skull, The Slayer #1 - Sorta standard Th’unda etc white adventure guy thrown into a prehistoric setting to fight dinosaurs kinda thing, (the twist being that this guy? He’s a real piece of shit!) but Steve Gan does impressive work, and Marv Wolfman’s colors are surprisingly effective.
38) The Man-Thing #8 - I haven’t read many of these. Pacing is slow if not deliberate, vampy gothic vibes. With Ploog’s squishy art, it kinda reads like a Golden Age Underground.
_______
To be continued! Read Part 1 here
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