Ask Art Anything #1

In an effort to keep things lively around here, I signed up for Formspring, which will pass questions along to be answered both here and on my twitter account. Here goes nothing ...

What music are you listening to today?

As usual, it's a hodge-podge of stuff, but if you look on my blip.fm page, "The Metro," by Berlin, is the most recent track.

Ask me anything

2010 A.D.: Arturo vs. Doctor Who: The End Of Time!

SPOILERS AHEAD

Everybody knew The End Of Time was all about one thing: the final moments of David Tennant as The Tenth Doctor - a perfect 10, for this new (re)generation of Whovians. Much like Ten, it's hard to imagine many of us thought about a season where he wouldn't be guiding some well-meaning sap, and us, through time and space. Life After David? Even Inigo Montoya would have called it Inconceivable even a year ago.

But, again, much like this Doctor, we've had a teeth-gnashing few months to prepare for the inevitable. The end of his Song had been signed and sealed. All we could hope for was a fittingly grand delivery. And Tennant was more than up to the task. The problem was, show-runner Russell T. Davies - penning his own swansong as well as Tennant's - came up way too short in swinging for the fences one last time.

Most of the two hours preceding Tennant's final moments in the TARDIS revolved around The Doctor seemingly facing three different threats, but the sum of his three adversaries was decidedly less than each of the parts: The creepy neo-futurist Naismith family stuck out like Week 6 baddies in over their depth, solely introduced so they could introduce the latest thingaMacguffin. And for all the bluster and gravitas Timothy Dalton provided as Chancellor PalpatineLord President Rassilon, the emergence of a war-crazed, nihilistic batch of Time Lords was good for nothing more than a two-minute scare. After the events of The Stolen Earth, it was more surprising the average Londoner didn't see Gallifrey hovering above, shrug and huff off complaining about why it's always Saturday when the nutters come out.

In reality, the Doctor's last dance partner was, fittingly, John Simm's Master, resurrected by a horribly disposable set of worshippers as a binge-eating, energy-blasting cross between Goku and Agent Smith, particularly when he uses the Macguffin Ray to go John Malkovich across the whole planet.

"What would I be without you?" Ten asks the Master at one point, in one of the little moments they share just before each shuffles off. And it's in those moments where the story, such as it is, stops to breathe and feels more natural as a result. Those bits of humanity also resurface in the conversations between The Doctor and good old Wilfred Mott, where the Doc finally releases the guilt that's been building at least since The Waters Of Mars. He also tells Wilf, and us, why the thought of this death rattles him so, when it would likely lead to another Regeneration, anyway.

"Even if I change, it feels like dying," Ten sniffs, fighting his sadness and anger at once. "Everything I am dies. Some new man goes sauntering away. And I'm dead." When the mysterious Four Knocks signalling his death finally come, at the hands of a trapped Wilf, the Doctor actually hesitates before coming to the rescue, complaining, "I can do SO MUCH MORE!"

And it's those moments which finally set up the end of his road, making the rest of the story's misfires and unanswered questions - who was the woman coming to Wilfred? Where did the Master and the Time Lords end up? How could Donna's mental block survive this whole thing? etc. - tolerable, if nothing else.

Because for all that went wrong with this story, and with this Doctor, the heart just kept shining through. This Doctor loved life seemingly more than all his other incarnations, making his final few words truly heart-breaking. But time must move on, even if Time Lords don't, and here comes a new era, bounding in with big hair, a burning TARDIS and a "GERONIMO!" ...

Turn Wrong: Arturo vs. Doctor Who: The Waters Of Mars!

SPOILERS AHEAD AND IN THE LINKS POSTED HERE

There's a moment in "The Waters Of Mars" where we see The Tenth Doctor doing his ... well, his Thing: working another last-ditch plan that he knows is going to save everyone, and you know it's going to save everyone, and so does the person he's rescuing.

But what makes this episode work is that, even as we see the Doc at his most life-affirming, his most ambitious moment yet, both you and the rescuee - in this case, the formidable Capt. Adelaide Brooke - know that he is absolutely wrong.

As we learn nearly immediately upon Ten's arrival on the Red Planet, the case of Capt. Brooke and her crew represents, like Pompeii did, a "fixed point" in time, which has come to be short-hand for an awful thing that Must Happen. Brooke's death, he confesses, is the impetus for all tomorrow's star treks: "Your death creates history," he tells Adelaide, who must realize she spent her whole life building up to its' end.

Once again, The Doctor isn't there to save anyone, merely to bear witness. And this time, the Doctor - a truly Lonely God, without a Companion to buoy him or his fellow Time Lords to rein him in - cracks. Seemingly on the side of good, initially, as he gets Adelaide and some of her staff out of harm's way, but the slope is already slippery; as she chides him for breaking his own rules, his only response is a raised eyebrow and one word: "Tough."

If all this sounds like it's ignoring the baddie of the week or the rest of Adelaide's crook, well, it kinda is. They're not bad, as "mid-season" episode groups of characters go - the unnamed lifeform that picks off the crew is clever enough to up the ante as need be - but the episode turns on the final 10 minutes, when Ten goes off the rails and realizes it too late. The Cloister Bell is tolling for him. And this time, both he and you know the end is coming.


Top image courtesy of oneGemini Studios

FRIDAY MORNING TACVBA II!

We'd previously talked about Cafe Tacvba here, but on this most somber of mornings, a bit of whimsy couldn't hurt. Enjoy a special 5-song set.

FRIDAY MORNING MALDITA!

What with Mexican Independence Day approaching, I figured the most enjoyable way to get into the spirit of things this month would be to share some rock from the Motherland. Kicking things off is a set from the mighty Maldita Vecindad. Enjoy!

Is May Parker the next Hannah Montana?

From Disney's perspective, the storylines that set so many fanboy hearts and message boards aflutter don't particularly matter. It's the properties (read: characters) they contain, and what Disney can do with those properties, that count.

Because Disney's real business is the business of Doing Things With Properties. This deal is about what will get made from the raw material those characters represent, through licensing: toys, TV, movies, games, sleepwear and thrill rides.
- Glen Weldon, NPR

Even if the coverage of the Marvel/Disney deal focuses on how Marvel can help Disney market itself better to young men - and, man, is it creepy to read professionals talk about Disney's "Boy Problem" - I can't help but think of that as too narrow a strategy. Because Marvel has too many characters who could also hook Disney's existing female viewership.

Let's not forget, the Distinguished Competition has dominated the TV/DVD animated boys' market for years, arguably from the moment any of us watched the opening of Batman: The Animated Series. From there we got the Justice League series, more straight-to-video Bat-flicks, and recent stories featuring Green Lantern and Wonder Woman, and the adaptation of Darwyn Cooke's New Frontier. That's a sizable head start, even if Marvel's recent animated fare hasn't been bad.

But, should Marvel and Disney decide to give girls a wider range of heroine than usual, that could shift the balance of power on the DVD racks. Consider Spider-Girl up there: a character with an existing fanbase - one that had saved her book from cancellation several times, and perhaps best of all, a character with a more malleable continuity to work with, since she's an "alternate-future" character. One good animated film or TV series and voila! Mayday backpacks fit in perfectly alongside their plain ol' "Princesses."

As if by coincidence - or was it? OMG CONSPIRACY! - Marvel offered up another prime candidate for multimedia exposure in the X-Men's Pixie, who's slated to get her own mini-series later this year. The X-Franchise, in fact, could yield a treasure-trove of "new" stars: Kitty Pryde, Storm, Illyana Rasputin, and even Wolfsbane come to mind right off the bat. Outside of Xavier's School, you've got Araña; Ms. Marvel, the Runaways and She-Hulk potentially waiting in the wings.

So while we've been assured that "sparks will fly" after the initial meetings between Marvel and Pixar, as a fan, I'm hoping we get more than the umpteenth animated Wolverine or Iron Man - hell, Logan and Tony are already going to be in anime, so we're good. As a fan, and a consumer, I want to see innovation, I want to see diversity, I want to see Pixar finally listen to Linda Holmes. I want this deal to result in more work for male and female voice-actors and animators. I want this deal to kick DC in the ass enough to give me a Blue Beetle animated film. I want this to really, truly change the game beyond the boardroom. And, hell, even if I'm an old fanboy, I want my friends who have daughters and sons to see that the little girls don't have to look up only to the girl with the glass shoe, or the blonde wig - the one with the web-shooters can make just as good of a heroine.

Thoughts on Disney/Marvel Part I

If nothing else, I'm happy Disney bought Marvel yesterday because it's already yielded enough LULz for the rest of the year, what with people calling out for stuff like WALL-E: Herald Of Galactus, Mulan, Agent of SHIELD, Ducktales Noir and the like.

Like a lot of folks, though, I was initially skeptical of the theory that the merger won't affect Marvel's content - after all, that theory was seemingly based on the Everything Is Always Fine In Comics school of thought.

After reading reactions and updates throughout the day, though, I do agree that there's reason to believe the Mouse House will play nice with the House Of Ideas - and not just because of the Disney/Miramax connection. One clue might in fact come from the Distinguished Competition.

After all, DC's long been a subsidiary of Warner Brothers, and that hasn't appeared to slow down Vertigo or WildStorm. And DC's main imprint has, in recent years, been centered on events like Identity Crisis, Infinite Crisis and now Blackest Night, which all drew criticism for their subject matter and violent imagery. And titles like Judd Winick's run on Outsiders and Secret Six are closer to, say, a series on FX than something on Kids' WB. And, hey, the quality control can't be that strict if we're still getting Cry For Justice. (rimshot)

So no, I don't think we're going to see Deadpool forced to shoot only for the kneecap, or The Punisher work for angels again (though even that can't be as bad as the previews I've seen for FrankenCastle.) At least, I don't think so. If X-Force or Deadpool seem to quietly slip away, or if Shatterstar seems to suddenly ditch Rictor for a girl, the questions will come back again.



Top image courtesy of Bleeding Cool