Tag Archives: Superman

The DC Reboot: new dawn or twilight?

Cover to Justice League #1 (2011)The news that DC will be rebooting its entire superhero line with issue 1s from September has been whizzing through my mind all week. It’s going to have profound ramifications, not just for the DC Universe but for the so-called comics ‘industry’ as a whole.

This promises to be DC’s biggest stab of the reset button since the start of the Silver Age. The Crisis on Infinite Earths resulted in a number of titles going back to basics, most notably in the case of John Byrne’s Superman, but for most of the line it was little more than a hump in the road.

Zero Hour and its Issue Zeroes promised much but ended up being a damp squib. The Infinite Crisis and One Year Later was far better handled but only really offered a jumping on point of existing storylines.

By contrast, the post-Flashpoint DC Universe looks like it may end up more closely resembling the Ultimate Marvel line – and the launch of that line didn’t result in the existing Marvel Universe cancelling at the same time.

Personally speaking, it feels a little too soon. According to Dan Didio’s introduction to the collected Infinite Crisis, Julius Schwartz told him that all comics lines need to refresh themselves every 10 years or so and that sounds about right.  Certainly, DC left it too long last time. On the other hand, ending the current continuity on a high is arguably no bad thing.

And, thinking about it, the series I have enjoyed do appear to be coming to a close. Geoff Johns’ complex ‘Corps Wars’ storyline has pretty much run its course. Very few mysteries remain. Grant Morrison’s Batman run similarly seems to be running out of road; he’s done a good job at answering the question: where do you go after bringing Batman back from a timespanning cosmic odyssey, but does Batman Incorporated really have more than half a dozen issues’ worth of storyline to go?

Better this I suppose than what happened to Superman post-Reign when, having run out of story to tell the strip ended up just recycling plotlines from Lois and Clark and, a little later, Smallville. The setting that John Byrne had established was quite radical in its own way but it ended up collapsing under the weight of its own self-imposed restrictions.

More broadly, the same could be said of the post-Crisis on Infinite Earths DC Universe. They had established for themselves a clear set of rules on time travel and parallel universes all of which fell apart quite quickly for the simple reason that this is a line of superhero comics and they were attempting to tell them with an arm tied behind their back. One hopes that they won’t repeat this mistake with the latest reboot. Somehow I doubt they will (they’ll make all new mistakes) and the fact that they are launching with 52 new number ones may be a clue. I doubt they would be as radical as to set each of the new first issues on a different one of DC’s alternative Earths, but neither do I see them scrapping the multiverse any time soon.

The crucial question though is to what extent the new “main” Earth resembles the current “New” Earth (are you lost yet?). The real problem isn’t so much the main guys: Superman, Batman, Wonder Woman et al won’t be going anywhere. But what of the sidekicks? Specifically, what happens to Robin? Will Dick Grayson be donning the green tights again? Since he grew up and became Nightwing (let alone Batman), we’ve had Jason Todd, Tim Drake, Stephanie Brown and now Damian Wayne.

All this is of fascination to the plans but does rather highlight why it all needs paring down. Something tells me that the current Dick and Damian Batman and Robin won’t be making the cut, which is a shame because they’ve been fun. I’m sure many more fans out there feel a lot more strongly about it than me.

But is it worth getting that energised about? One thing that comic fans don’t appear to have noticed is that just because a character or plotline becomes out of continuity, it doesn’t mean that the comic itself suddenly disappears – plenty of wives and mothers will testify to this fact. The Dark Knight Returns and All Star Superman weren’t any weaker because they were out of continuity.

Regardless of its official status, only real way to understand DC continuity – and comics continuity more generally is Hypertime. I’m quite confident that Damian will be back sooner or later, just as I’m entirely unsurprised that DC are currently publishing a Batman Beyond comic 9 years after that animated series ended.

The final question is: will I stick along for the ride? The risk with jumping on points is that they serve as terrific jumping off points as well. That was certainly the case for me with Zero Hour. Can I really face going through it all over again or should I, as a 36 year old, really use this as a convenient point to move on?

Clearly it depends on what exactly DC have to offer. I’ve become a bit of a fan of Geoff Johns’ work and the creative way in which he manages to weave old and new together, so that is a real plus point for me, so I’m currently inclined to pick up the books with his name attached. Beyond that, I don’t know.

I am however extremely inclined to stop buying the floppies, in favour of going entirely digital. DC’s decision to simultaneously publish online has the potential to be the real game changer here, and that’s what makes this reboot more significant than anything else.

I’ve been reading an increasing amount of my comics online over the past year-and-a-bit and despite the fact that I’ve been reading it all on a non-HD iPod Touch, I have to say I’m a convert. Up until that point I had associated online comics with sitting at my desktop; comics were the things I wanted to read when I wasn’t at my desk. It was clear from the word go however that the iPad was going to change this completely: in terms of both size and function, the thing seems tailor-made for comic reading (far more so than reading prose, which the Kindle does much better).

DC have been experimenting with same-day-as-print since they went onto Comixology, and it would appear that they have been happy with the results. I’d like to be able to reassure Gosh! Comics that I won’t be ditching them to embrace digital, but I can’t. Not only is it more convenient, but it means I can keep my collection in my back pocket rather than in an ever growing pile of boxes in my bedroom.

That doesn’t mean I’m giving up on physical comics entirely. I could never abandon my 2000AD sub and there’s nothing better than a thoughfully produced collection. I took the radical decision of buying all the Starman Omnibuses rather than read them digitally for the simple reason that they look gorgeous. The best stuff that I read online, I will no doubt end up buying an all-the-trimmings physical copy of.

With that said, and here’s the rub, I’ll be doing most of that purchasing online where the prices are typically quite dramatically cheaper. So the question remains: what is to become of shops like Gosh? In the short term, there will still be plenty of things for me to buy there but I can’t see myself continuing in five years time. I feel guilty even writing this, but I’d be lying if I claimed I’d stay loyal. Signings have very little appeal to me. Talks, maybe? I hope they’ll figure something out, but at the end of the day, a comic shop isn’t like a village post-office. There aren’t any obvious pro-social externalities worth hanging onto here and it is a type of business that didn’t even exist 30 years ago.

All in all, then, September 2011 will mark the passing of one age and the start of a new one. Whether this new era is a bright, exciting and happy one remains to be seen.

A Beginner’s Guide To Comics: A Response

I had originally written this as a comment to Andrew Hickey’s Beginner’s Guide to Comics, but I thought I would add it here instead. First go away and read his article and then come back to this:

Andrew’s is a good list which I would broadly agree with. Jaka’s Story was one of those strips which was being hailed during the “Pow! Comics Grow Up!” period of the late 80s. I’d like my older self to give it a read – I certainly remember the ending being very powerful. But as he recognises there is that Dave Sim “ick” factor which stops me from rushing.

All-Star Superman is good but I wouldn’t put it above Morrison’s Invisibles or (more controversially) Doom Patrol. It is however, much shorter than those two.

I re-read Sandman earlier this year. It was actually stronger than I remember, although that was partly due to the fact that I was one of those people who read the monthly comic and thus got alienated by Gaiman during The Kindly Ones when he stopped writing a periodical and switched to novel writing. Reading it as a whole it stands up; as a series of (less than) monthly episodes it really didn’t.

One of the big problems with enticing people into comics is that sometimes they can be quite inaccessible from a visual impairment point of view. I won’t bother trying From Hell on my girlfriend not because of the subject matter but because I’m pretty sure she’d find it impossible to read because of Eddie Campbell’s scratchy lettering.

Alice in Sunderland is a book I suspect I will go back and reread every couple of years for years to come. It is such a rich, dense book. As a meditation about what it means to be English (and in particular Northern English) it is fantastic. It SHOULD be taught in schools in my view. One Bad Rat is currently high on my reread pile.

As for things Andrew missed…

The best non-superhero Alan Moore things would have to be V for Vendetta, Halo Jones and (controversially) Skizz. The latter is ET done properly, even if the South African bashing is a little dated.

For the Buffy fans out there, you should give Joss Whedon’s Astonishing X-Men run a go. It is his best comics work in my view.

I read Mike Carey’s Lucifer in quick succession last year and loved it. As a meditation on the nature of free will it is required reading (for all those libertarian bloggers out there especially – and I’m not taking the piss there). His Unwritten is also shaping up well. There is a lot of Vertigo stuff which started in the early noughties which I missed completely for the simple reason that I had had enough of tiresome Sandman spin-offs.

Overall, 2000AD is a tricky thing to recommend. Dredd is almost certainly an acquired taste and I do appreciate that a lot of the 80s stuff has dated somewhat. I tend to find the “funny” stuff more difficult to justify than the “serious” stuff despite initially being attracted by the former. This is a shame because Wagner deserves much greater recognition than he gets. Far from being a simple fascist cop, the characterisation of Dredd is incredibly rich and yet understated in Wagner’s hands. One gets the impression it has become semi-autobiographical.

Of the relatively self-contained 2000AD stuff I would recommend Nikolai Dante, Caballistics, Inc. and Leviathan.

Finally, I would throw in Kyle Baker’s Why I Hate Saturn and You Are Here and Evan Dorkins Dork! (an acquired taste but brilliant nonetheless).

Nine wishes for 2009 #5: Comics I care about

Yoink! These nine wishes for 2009 were meant to be done and dusted by 31 December. Nevertheless, I shall plough on…

I’m a geek, to paraphrase Nick Clegg, by temperament, by instinct and by upbringing (the latter is all too true – my dad made me watch Alien when I was 8 FFS! He would also blare out War of the Worlds at 11pm. My earliest memories were reading science fiction and horror mags on my parents’ bed and the excitement surrounding Star Wars and Close Encounters – really was there any hope for me?).

So it comes as no surprise that, despite being in my mid-thirties, I have an unusually large comic collection (the only geek I know who doesn’t read comics is Will Howells. Bad Will! No biscuit!). But I have this problem: they aren’t exciting me like they used to.

My first comics were the Beano (but not the Dandy – rubbish!) and the eighties Eagle. From there it was but a short step to 2000AD during its bog paper, black and white glory days and with the eighties UK comics brain drain in full swing, moving onto US comics was all but inevitable. Highlights have included: too many Judge Dredd stories to mention, but in particular Block Mania, Chopper’s escape to Oz and the revelation of the identity of The Dead Man; Nemesis the Warlock; Halo Jones (I could mention loads of Alan Moore stuff, but this is the one that inspired me the most, oddly); Grant Morrison’s greatest hits (Zenith, Animal Man, Doom Patrol, The Invisibles); The Sandman; Preacher; The Adventures of Luthor Arkwright. More recently, Nikolai Dante has had its moments. Morrison’s run on X-Men was good and Joss Whedon’s follow up was great too. I whizzed through Mike Carey’s Lucifer last year after, wrongly, assuming for years that it was just another worthless Sandman spin-off (Vertigo have only themselves to blame for that assumption, but that’s another story).

But the sort of buzz I felt during the late eighties and nineties isn’t there any more. Don’t misunderstand me, I recognise that to an extent I am merely a little jaded and that is unavoidable. And there is still good stuff out there. Buffy Season Eight, while patchy, is generally strong. 2000AD has been consistent (but not amazing) for a good decade now going through a very bad period before. You can’t switch brilliance on like a tap but I don’t think 2000AD can be accused of doing anything to piss on their chips.

I think my dilemma is threefold. Firstly, the demise of Comics International. To be clear (last year I bemoaned the state of the magazine and got ticked off by Burt for my trouble), it does appear to be a going concern and at least one of the problems for its erratic publishing schedule over the past couple of years has been the editor’s ill health, but it is a far cry from the rigorous monthly schedule that Dez Skinn managed to work to for 15 years. I hope that if they do get it back up and running, they go back to basics. When it was launched, CI was a free newsheet printed on newsprint which offered news, reviews, and pretty much nothing else. I don’t miss anything else; I do miss that basic service. It is a bit of an embarrassing thing to admit as somone who likes to think of himself as generally web-savvy, but I can’t get my head around using the web as a news source for my comics. Something does not compute. Nothing feels as natural as a few pages of news I can pore over on the tube home from the shops (I depend on Empire for similar reasons).

Secondly, I find it really hard to get into the indie-scene these days. Even though I’ve never actually lived in the East Midlands, I occasionally used to go to Page 45 for some of their special events. In particular, they ran a great open day in 1996. Ostensibly a day to promote Dave Sim‘s latest UK tour (I continued to collect Cerebus up until it ended even though I basically gave up reading it during the last few years as he seemed to get increasingly bonkers – needless to say I don’t share his views), they invited lots of other independent comic creators as well. Since the queue to get stuff signed by Sim and Gerhard was so long, you ended up going around and talking to all the creators. I ended up buying stuff from pretty much everyone, discovering a passion for, among others, Kane, Sleaze Castle and Dix (the cartoonist on the brilliant Roll Up! Roll Up! which ran in the Guardian a few years ago before they criminally cancelled it. Thanks to the magic of teh internets you can now own a collected edition – buy it now!). But as you’ll have seen by following those links, those particular wells of creative talent have either mutated (Jack Staff is good, but nothing like as good as Kane) or dried up entirely.

Are Page 45 still organising such open days? If they are, I never read about them even when CI was coming out regularly. Back in London these days, the closest to Page 45 is Gosh! – they often do signings, but don’t seem to use them as an opportunity to do something more ambitious. Maybe in 2009, this might change.

My third problem though seems much more intractable. I’ve always tended to read DC more than Marvel. This is simply because DC used 2000AD as a recruitment brochure in the eighties and took a lot of the fanbase with them. Slowly I got sucked in, loving Keith Giffen’s take on the Justice League and the post-John Byrne Superman (an era which effectively ended with the death and rebirth storyline). Having stayed away for a few years, I ended up picking up 52 and some of the other Infinite Crisis spinoffs and tie-ins.

Now, 52 was a well executed and enjoyable series – a year in the life told in real time. The problem is, it was such a success that they immediately issued a sequel – Countdown – which in turn was a prequel of Final Crisis – which in turn was a sequel to Infinite Crisis (and sort of a sequel to Seven Soldiers of Victory) – which in turn was a sequal to the Crisis on Infinite Earths (and that’s just the simplified version). The idea that the Infinite Crisis had created 52 alternate universes (after the Crisis of Infinite Earths destroyed the “infinite” alternates and merged them into one, the revamped eighties DC universe), is essentially lame, lazy and, as you will have seen by reading this paragraph, incredibly confusing. Add to this the “is he? isn’t he?” death of Batman at the end of last year, and an alternate timeline in the latest weekly series Trinity, and you have a terribly stodgy mess. The problem with all these tie-ins, cross-overs and spin-offs is that it utterly alienates the casual reader. DC seems to have decided that their future lies in giving the hardcore dizzyingly complex onanistic wank. I’ve put up with it for a year longer than I should have done and expect to more or less drop all my DC titles later this year.

Marvel also seem to be going out of their way to alienate readers by producing company-wide meta-narrative after company-wide meta-narrative even if by all acounts they are doing it much better. But again, how do you get on board? Browsing through trade paperbacks in Borders and the specialist shops, I haven’t the foggiest where to start with, say, Civil War.

Part of the problem, I suspect, is rooted in the fact that both of these companies have discovered that they have such large back catalogues now that the casual reader has plenty to churn through before running out and wanting to look at the latest stuff. Want to get into Batman? Most “top ten” lists include Killing Joke, Dark Knight Returns, Year One, The Long Halloween and Arkham Asylum. Most of the Marvel films are mining stories from the sixties which you can read in their Masterworks series of books. So even if they did make the new stuff more accessible, I suspect they would get very little out of it in terms of improved sales.

As someone who is more than a casual reader but much less than the hardcore, this is a problem. Are there really so few of us out there though? I just think it is a real shame that as comics finally enter the mainstream, they seem to be having such a creative lull. And while there is undoubtedly good stuff out there to be found, finding it seems to be becoming harder and harder. Anyone got any suggestions?

From Smallville to Metropolis: how Obama represents the American Dream

I sincerely hope this post isn’t seen as being disrespectful to someone who was clearly a remarkable woman, but Madelyn Dunham’s death today has a weird kind of appositeness. I’m hardly the first person to point out the almost fictional-feeling narrative of Barack Obama’s election campaign. He has a background that is almost too perfect, pretty much ticking every box going. He is almost a living cliche. The death of his grandmother just hours before polling (formally) begins sort of caps that off.

The similarities to the West Wing Seasons 6-7 narrative have been well rehearsed (and of course, that plot features an emotionally charged death in the finishing stages as well – which again was a case of reality and art getting mixed up). What is less clearly recognised in the UK are the surreal similarities to the Superman narrative, although this is clearly something not lost on Obama himself. A strange visitor from another continent (work with me here, I’m paraphrasing), who never knew his father yet lives in his shadow, raised by an elderly couple in Kansas, who goes to the big city to make himself… just watch Superman: The Motion Picture (still the best telling of the origin story) to see what I mean. In fiction, everything has a price. It is necessary for Jonathan Kent to die so Clark can become Superman. If you believe in a creator, it is a pretty cruel one who makes Obama pay a similar price on (hopefully) the eve of his victory.

But of course the Superman narrative is about as American as it gets – the outsider who not only integrates into the culture but becomes its paragon. It’s the story that makes non-American cynics like myself capable of forgiving the young country every time. That same optimism that makes Donner’s film so evocative (and which Bryan Singer got so horribly wrong in his poorly-conceived sequel) is what fuels the Obama campaign. By contrast I can see nothing of the American Dream in the McCain-Palin campaign, just something much darker. Even Bush didn’t so self-consciously set out to divide his own country in the way that certainly the Palin camp has done. It is truly scandalous.

I have to admit that at the start of the summer I would enjoy going around winding lefties up by saying I really didn’t particularly mind who won; McCain or Obama. I wasn’t entirely joking – McCain really did represent something different: finance reform, respect for human rights, economic liberalism. At a stroke however he reversed all that by appointing Palin at the end of August and I was able to not so much come off the fence, but leap off it.

So good luck from me Barack. I still have my doubts about your substance, but what you represent is something pretty damn important. You really must win today.

Scrabulous and IP Wars

When I twittered Rory Cellan-Jones to ask why he didn’t mention Wordscraper in his blog post about Scrabulous, he replied “cos i couldn’t be bothered!” Years from now, when British journalism has finally breathed its last, this phrase will be engraved on its tombstone.

The thing is, the Wordscraper thing is about the most interesting thing about this whole sorry saga. Cellan-Jones misses the point. Badly. While Scrabulous did indeed cross the line by using the same look as Scrabble and using a name that was far too close to a trademarked property, the fact is you can’t copyright an idea and they have been free to set up an almost identical game.

Intellectual property law is at its murkiest when it comes to games. History is littered with people who sold their ideas to companies before their games made it big, least of all Scrabble-inventor Alfred Butts. How do you make money out of a boardgame when people can replay it countless times? Ironically, the answer that Mattell and Hasbro have come up with is to produce a whole range of merchandise. You can buy the official Scrabble dictionary of course, and a special turntable for your board. You can get the deluxe edition and if you want a really big game why not try Super Scrabble (unbalanced in my view)? In a hurry? Try Scramble. On the move? Try Travel Scrabble. They’ve even produced a pink edition to raise money for breast cancer research. Scrabulous hardly dented that market – if anything it helped it.

The point is, they’ve already realised that the real money to be made is not in the game itself but in creating a range of branded tat for the fans to buy. With that in mind, getting Scrabulous banned looks like a pretty bad business move. It probably won’t cost them much, but it has created a lot of ill will and has been built around getting people to sign up to their own, flash heavy and vastly inferior Facebook app. Meanwhile, the Agarwalla brothers appear to have got away with it. The big guys may have won, but it is a pretty empty victory.

Ultimately, this isn’t how big businesses are going to survive in the global internet marketplace. The Agarwalla’s may have overstepped the mark, but it isn’t hard to stay on the right side of the law. Frankly, if Mattel and Hasbro had any sense, they’d encourage developers to compete to produce the best internet version of the game, offering a license that would allow people to publish the game with their blessing, so long as it included a prominent link back to the official website (admittedly, contractually they may be prevented from doing this even if they wanted do but given how long it took their developers to produce a Facebook app and the poor job they made of it, it looks like we can safely add this to their list of cock ups). Think of the free advertising! Ironically, at a different end of the empire, Hasbro has been experimenting with something very similar. Their Wizards of the Coast publishing arm, which produces Dungeons and Dragons, positively encourages other publishers to use their system (albeit with restrictions, something which has admittedly caused some bad feeling). The result was to take a failing brand and catapult it right back to the top of the industry.

Not only are intellectual property laws becoming increasingly hard to enforce, in many ways they are becoming a serious hindrance to making money, which is what they exist to do in the first place. Properties such as boardgames that were devised in the middle of the 20th century (and superheroes for that matter) are a particularly interesting cultural battleground because to those of us who have grown up with them, they feel like public property. Ultimately, this becomes a question about who owns popular culture. The corporates won’t be allowed to win that battle, whether they want to or not.

Bad geek humour

I’ve had this joke buzzing around my head all day, and although it isn’t particularly funny and so obscure that possibly only Jerry Seinfeld will understand it, I need to get it off my chest.

Two blokes walk into a bar. One is wearing his underpants over his trousers, the other has a bottle with a model city inside it.

The first man says to the second man: “I admire your Kandor.”

Sorry. I did say it was poor.


I was about to go to bed, only to discover that this blog is the top Google result for the search “similarities korean klingon” and that someone actually found me that way.

I’ve also been impressed by the number of people finding this blog over the last 48 hours because of my post about Kryptonite. It’s good to see people grappling with the really important issues of the day.

Finally, I still get a significant number of visits from Konnie Huq fans. Disgracefully, I suspect this is because of the promise of seeing her “modelling the latest in tweenie fetish wear“.

Where is Lois when you need her?

Appalling media misinformation about kryptonite today.

As any fule kno, kryptonite doesn’t have to be green, that is just the type that kills Kryptonians (not ‘sap them of their powers’ as the BBC and others put it – that’s gold kryptonite). In fact, white kryptonite is supposed to have a lethal effect on plantlife, but it also appears to be useful for stabilising bizarros.

Of course, if you read the small print, it turns out that the story is based on the fact that the newly found compound has ‘almost‘ the same elements as the kryptonite shown in the recent Superman Returns film, except it doesn’t contain fluorine. This is a bit like saying that oxygen is the same as water, except for the fact that it doesn’t contain hydrogen. It’s also a completely different formula to the one in Superman 3:

The chemical composition for the Kryptonite that Richard Pryor’s computer screen reads: Plutonium: 15.08% Tatalum: 18.06% Xenon: 27.71% Promethium: 24.02% Dialium: 10.62% Mercury: 3.94% Unknown: 0.57%.

But the worst thing about this story is that it turns out that Ananova doesn’t know the difference between Serbia and Siberia.
Ananova news item about kryptonite
In fact, on the last count, 24 news sources found via Google News made the same elementary mistake.

Not as super as it should have been (warning: geekfest alert and spoilers)

I’m afraid I was somewhat underwhelmed by Superman Returns, which I saw on Saturday evening. In part, this may be because I built it up too much, being a fan of both the Richard Donner film and Bryan Singer. However, there are a number of ways in which I think the film took a wrong turn. So, Mr Singer, here’s my constructive feedback: Continue reading Not as super as it should have been (warning: geekfest alert and spoilers)

Coming Attractions

Got the latest Empire this evening. A few film related things:

  • In July we are to be treated to both Pirates of the Carribean 2 and Superman Returns (which is either Superman 5 – after the Quest for Peace – 2.5 – sort of set after 2 – or 2 – the spiritual sequel to Richard Donner’s original disregarding the slight hash Richard Lester made of 2 – depending on your point of view). I can’t wait for either of them.
  • The Spider-Man 3 teaser is now online. Got a year to wait for this one. Looking forward to it as I am, I’m not sure about the wisdom of having 3 major villains. Joel Schumacher’s Batman films show what happens when you don’t exercise enough restraint (on the other hand, both Batman Returns and Batman Begins both have three villains in them and cope okay).
  • Richard Kelly’s first film since Donnie Darko – Southland Tales – was apparently panned at Cannes. Kelly himself is robust, arguing that Donnie Darko got the same response at first. I wouldn’t be so complacent. Love Donnie Darko as I do – I saw it on its first release – Kelly made a complete Horlicks of the Director’s Cut. The good news is he’s cutting 45 mins out of this new film, so hopefully he can turn it around.
  • Simon Pegg, Edgar Wright and Nick Frost are back soon in Hot Fuzz. Yay! Intrigued to see Jessica Stevenson claiming they are still planning to make Spaced 3 given how long ago 2 was now. It had entered the part of my brain that is reserved for all those other uncompleted masterpieces such as Halo Jones Book 4 and Sleaze Castle (side fact: Simon Pegg’s character is called Nicholas Angel. I wonder if this is a homage to Shaun of the Dead’s Music Supervisor? I used to know a Nick Angel – I was in a student version of a Midsummer Night’s Dream with him 10 years ago. He went on to edit Matthew Parris’ The Great Unfrocked and I think went on to become some kind of photo-journalist).
  • They’ve cast Lyra for the His Dark Materials films. Looks like they’re actually going to make them. Good news: she’s English. Bad news: she’s called Dakota Blue Richards. Will this series be the next Lord of the Rings or the next Chronicles of Narnia? Only time will tell.
  • Oh, and Empire thinks the Da Vinci Code is shit. Big surprise there then.

Empire also has an interesting looking article about DVD piracy but I haven’t read it yet so can’t comment.