The Dark Knight at 10: 10 ways it Introduced a Little Anarchy

Batman The Dark Knight at 10

“Why so Serious?”

Heath Ledger’s Joker, disappearing pencils, Harvey’s lucky coin, love triangles, Batpods and a Caped Crusader having to cross the line. Cinema’s greatest comic book adaptation was released 10 years ago.

It’s a decade since the majestic centre point of Chris Nolan’s Dark Knight trilogy simultaneously elevated the perception of what comic book films could be on film and set a tone, whether resisted or followed, for a genre making its way to the top of the box office.

Perhaps it’s no coincidence that the year of The Dark Knight’s release also saw the launch of the Marvel Cinematic Universe, imperceptibly starting on its own journey to redefine Hollywood blockbusters. That behemoth began rather inauspiciously with the double-bill of an unstoppable force of chaos and a super crime fighting multi-millionaire playboy. Although there was little appreciation that the billion dollar box office barrier The Dark Knight smashed through would soon become de rigueur for the flagship films of DC’s great rivals.

Nolan’s vision soon proved to be definitive to the point of irony in the fast-growing comic book genre.

A decade on, The Dark Knight stands tall as Batman’s finest celluloid hour. That’s saying something for a film that’s part of a rigid, isolationist trilogy and for a character whose live action pedigree stretches across multiple iterations and 70 years. Nolan’s vision soon proved to be definitive to the point of irony in the fast-growing comic book genre. The trilogy was an impossible springboard for an expanded film universe, but it set the tone under the light guiding hand of Chris Nolan for the difficult DC Extended Universe that followed in the past decade.

The Dark Knight wasn’t the first comic book film that strove for a level of realism or ‘darkness’, but it’s effect was immediate. Given the successful but unfashionable steps to colour that DC’s big hitters Superman and Batman had taken in the 1960s and 1970s, in the 21st century their incarnations would be set by The Dark Knight. The DCEU that duly emerged half a decade later was dark, gloomy, robust, powerful and hard-hitting. This was the universe of gods, eager to set a strong and lofty tone that comic pages could translate to screen. It now seems odd now that this sprang from the grounded and gritty Dark Knight trilogy as much as Nolan’s film’s became a watchword for darkness (read ‘not kids films’) without being mired in it, unlike Batman versus Superman or Man of Steel.

There have been few disasters in the DC films that followed. 2011’s Green Lantern may be the true exception, although that came mid-Dark Knight trilogy. But there have been plenty of disappointments, a far cry from the heights of The Dark Knight and The Dark Knight Rises. The impact of Nolan’s trilogy on the DCEU is still difficult to call. On the anniversary of The Dark Knight’s release this weekend, Warner Brothers premiered trailers at San Diego Comic Con for two new DC films that broke their so-called dark curse: Shazam and Aquaman. Alongside those was an early glimpse at the New Romantic-set sequel to one of last year’s great comic film successes, Wonder Woman.

Wonder Woman may have felt like a fresh slice of quality amid other major DC output from the last few years, but it’s storytelling style, reach and multiple levels owed much to Nolan’s trilogy, proving that Batman’s greatest celluloid moment, has a legacy as complex as its narrative.

To celebrate the modern comic classic, Jokerside presents 10 ways The Dark Knight broke the mold and unexpectedly gave us one of the most influential films of all time.

Dark Knight at 10 - Batman

1. It’s extraordinarily faithful

“I think you and I are destined to do this forever”

A struggle with origins have long dragged down the comic book medium, and the rot set into Batman’s modern film existence as soon as Tim Burton’s 1989 classic let a rather homicidal Dark Knight avenge his parents’ death. 2005’s Batman Begins made its more mature intent clear: there were no easy answers, and the crux lay in the battered tussle between Bruce Wayne and Batman.

It was a broad canvas ready to be explored in the sequel, but what was extraordinary was Nolan’s faithfulness to the source material. Joker was no stranger to public consciousness, but his film credentials were tied up in Jack Nicholson’s definitive 1980s take. The rather obvious idea of directly translating many great and classic storylines from the pages of comic books has only settled in over the past decade. After Begins Nolan had his sights set on the very beginning of Batman’s much explored and interpreted nemesis, and adapting an origin lost over decades of character development.

In the run-up to the film, eyebrows raised at Nolan’s assertion that his Joker would follow the character’s original 1940 comic book appearance. But there it is. The chillingly cool opening bank robbery, albeit to a different end, shows the same effective big dollar robber. Working alone for the most part, this Joker is quite at home with physical altercation, even if he doesn’t quite match his early comic book counterpart who could best Batman in a scrap. He comes from nowhere, with no identity but an intelligence to match the otherworldly comic horror of his appearance. And just as in Batman #1 the Joker issues warnings before commiting crimes. Now in a different medium, and not so clearly because he’s obsessed with his own brilliance, he still remains a man of his word. Read more…

Marvel’s Inhumans: Partial Eclipse of the Big Screen?

Marvel's Inhumans hit the IMAX

There’s no hiding place now. Marvel’s moon dwelling Inhumans have evaded live screen adaptation for years. But now it’s caught up with them. Jokerside visits their comic past and reviews their television future. At the cinema, of course.

It can’t really be that bad, can it? Well… Shh, the King’s about to speak…

It’s no King’s Speech…

The show’s apparent existential crisis couldn’t deter fans from a rarity

PICTURE THE HEART OF A METROPOLIS, WHERE HUGE STACKED BLOCKS AND GEOMETRIC SHAPES LIE SCATTERED ACROSS A BROAD TARMAC BANK LIKE ROLLED DICE. Asymmetric inroads, sheared by irregular narrow alleys and broad lanes that somehow loop to a centre; channels of asphalt that loop and swirl around a central monolith. Underground, a warren of tunnels spiral from that structure’s base, marking each compass point of its rounded walls, providing quiet foundations to the lit, glass and metal column as it soars through and past ground level.

No, not Attilan, the moon surface city and home to Marvel’s Inhumans. This was BFI IMAX in London’s Waterloo, home to a crucial, further step on those same Inhumans’ biggest leap into mainstream pop-culture.

But while seeds of this leap, and their existence in the Marvel Cinematic Universe were laid the franchise’s longest continuing storyline, via Marvel’s Agents of SHIELD, Inhumans’ route to adaptation has been tortuous. In recent months, the mini-series format Marvel settled on for its moon-based regulars has met with mockery. For its posters, promos… And then a legendary screening of a new trailer at this year’s San Diego Comic Con that was met with laughter. And they say, not the good kind. Mockery was becoming the default…

We caught our ticket on the opening night of the Inhumans IMAX outing – the opening two episodes shot especially for the format and edited together for a limited run. Surely a nod to the middle ground of the ever-extending web of the MCU on small and big screens, but risky given the run-up. Notably, the screening wasn’t near selling out earlier in the day, booking only popping up on listings shortly before. But on the night, while not a full-house, the show’s apparent existential crisis couldn’t deter fans from a rarity: An exclusive, cinema-shot limited release Marvel film. Really, that’s what it amounted to.

This was the moment that Inhumans’ journey reached its end. Two weeks before the small screen premiere of the eight-part ABC television series that developed from a once-announced film adaptation, a limited run of the first two episodes at IMAX cinemas across the world. In all, it’s a confusing start, if not inauspicious, for what Marvel’s know is one of their hidden gems.

Enter the Mist

The Inhumans properly appeared in the 45th issue of the Four’s comic in December 1965

There may have been a clue to this adaptation in the Inhumans mid-1960s four-colour introduction. Then, two prominent Inhumans, Medusa and Gorgon found their way in the pages of Fantastic Four in early 1965. Of course, that premier family of the House of Ideas has struggled to make it on the big screen, under Fox’s watch, over two instalments. Following the two heralds, the Inhumans properly appeared in the 45th issue of the Four’s comic in December 1965. But just as they’ve popped up in many off-screen chats since the emergence of the MCU powerhouse, the seeds for this impossibly close-to home new race, was actually sewn two decades before. It was in the pages of Captain America Comics #1 (March 1941), a story penned and drawn by Jack Kirby, that the city of Attilan was first mentioned – populated by a nearby race that had advanced its civilisation while humans floundered in the Stone Age.

Come 1964, was the inkling of a mysterious new super villain named Madame Medusa apparently aided a group of the Fantastic Four’s foes. By 1965, the hoofed powerhouse named Gorgon came into opposition with the Four as he pursued that mysterious Medusa. But the fear not  True Believers! Soon both were revealed to be members of the Royal elite of Attilan, and the wonderfully punctuated tales, Those Who Would Destroy Us! and Beware the Hidden Land! had the Fantastics unite with these freshly revealed Royal Inhumans. Gorgon and Medusa, Queen to the recently dethroned King Black Bolt, working to seize back control from the despotic, and wonderfully named Maximus the Mad – none other than the king’s brother. The readership, along with young Johnny Storm were most taken by Medusa’s sister, Crystal and her gigantic teleporting dog Lockjaw.

Alien interference

So was another example of the great staple of a lost or unknown civilisation unlocked through the adventures Marvel’s premier family, under Stan Lee’s pen. But it was in the pages of Thor #146 to #152, over the winter of 1967 to 1968, that the Inhumans’ origins was revealed. Tying directly into key Marvel-mythos, the moon-dwellers were the result of experiments by the alien Kree, abandoned when a prophecy foresaw the experiments’ role in the destruction of the Kree Empire. The Inhumans evaded death, but in leaving Earth to hide on its satellite, forced an acceleration beyond their human cousins that any reasonable comic book character would anticipate as leading to an inevitable confrontation.

What’s most intriguing is that this society long separated from humans developed strictly imposed societal constraints, quite at odds with those fast-emerging on the less advanced Earth by the time the two cultures came into contact with each other.

Their society is predominantly dictated by power, with the ruling Royal family sitting atop a city where citizens are assigned a specific place, based on their abilities. The meritocratic caste-system is unbreakable: Once assigned, an Inhuman cannot change their place, standing, nor mix with any other species to any great degree. Except, of course for members of the Royal family as Crystal proved by marrying the mutant Quicksilver.

From monarchy to revolution

Elevated by Kree science, Inhumans are well named.

Since their emergence, the Inhumans have had a chequered publication history of cancellation and major arcs. Frequently embroiled in the fate of the Fantastic Four, their soap opera led to a short-lived series of their own in the 1970s, before they went missing in action for much of the 1980s. Later decades saw them back in vogue, with the introduction of many more Inhumans and the complication of NuHumans – an off-shoot among others not helped by things like Terrigan bombs and secondary terrigenesis – and taking point on major maxi-arcs.

Elevated by Kree science, Inhumans are well named. Through exposure to Terrigen Mist Inhuman powers are revealed, select physical, mental or other abilities beyond humans. Depending on your perspective, the process was transformative or unlocked the inner Inhuman that was always there. But most important of all, the Inhumans are downright comic book crazy. They are literally out of this world, their difference exacerbated by the close proximity to humans.

A race apart

The outlandishness that the Inhumans tapped into would precede Kirby’s quest

A genetically enhanced race, rather than the generation X evolution of Earth, when we met these moon-dwellers, the only family association equivocal with Xavier’s school or the X-Men themselves was the ruling elite. It’s a reversal, but one that kept the Inhumans, in spite of their outlandishness, in Marvel’s second tier. In laying the earliest hints of their existence, the legendary Jack Kirby helped shape the Inhumans journey on the page – even though their initial storyline was quickly wrapped up to make way for Kirby’s soon to be seminal Galactus storyline. The outlandishness that the Inhumans tapped into would precede Kirby’s quest to promote the truly, jaw-droppingly, seminally bonkers – from Marvel’s Eternals in the early 1970s to DC’s Fourth World later in that decade.

Leap forward five decades from their advent and the Inhumans arrive on screen at a crucial time. Ahead of the release of back-to-back Avengers films, as Marvel Studio’s switch to a three film per annum release schedule, the MCU’s continued ascendance on the big screen is matched by profligacy on the small screen. Cancellations are to be excepted – poor old Peggy Carter – but their first real misstep came with the fifth Marvel Netflix series Iron Fist. It was all the more apparent as  And there’s a larger concern. The film expansion of the DC Expanded Universe, as ever Marvel’s direct rival, has at its heart the wealth of Kirby’s Fourth World barminess. Those adaptations will face many of the gaping holes that Inhumans does and…  Manages to fall into.

The Series

*And here flow the spoilers for episode one and two thick and fast*

Marvel’s Inhumans may have many precursors in the pages and rushes of Marvel history, recent and old, but the rumours that have hounded the property since a film was first mooted have coalesced like an untypical Terrigen Mist. It has to be noted off the bat that, quite astonishingly, nothing in this adaptation happens for any reason whatsoever. That in itself makes it a bit of an MCU oddity. In fact, reason is willfullyy misunderstood. When events kicks off and Crystal reasonably asks her cousin Karnak why Maximus is taking over Attilan, he replies, “it’s a coup”. It’s happening, because of what it is. And that comes shortly after Karnak’s made an unsubtle speech predicting the very same. Yes, the script struggles, and that doesn’t help a simultaneously simple and  muddled narrative.

There’s a shame and an inevitability in that. Because as much as it follows the Inhumans earliest comic appearance, it makes some changes that at best border on the detrimental and at their worst play up the bland.

The first-misstep reads like a terrible joke: in the opening Earth-bound scene we not only meet a wrong Inhuman, we watch her get slain like a red shirt red herring. Triton’s there, a fleeting, failed appearance for a Marvel mainstay, but before we can marvel at the sense behind immediately killing off a freshly-transformed Inhuman who Triton fails to save (a double-fail), or indeed Triton’s make-up, we’re propelled to the moon and the Inhuman status quo cascading from its Royal Family. Compared to their mystery-packed arrival in the comics of 1965, it manages to make the whole affair a great deal more impenetrable, while diluting the mystery.

Calling the bad guy

The Richard III, conniving underdog, mould

Maximus is the big bad. Well, in a Richard III, conniving underdog, mould. There isn’t enough time in the early scenes to pull much interest from him, despite Karnak’s warnings. On one level Maximus case is helped by the need to right the wrongs of an, on the face of it, imbalanced society, and the fine niggling motivation that terrigenisis failed to affect him, yet has kept him in a privileged position tantalisingly close to the throne. His nominal goal, drawing on the will of the similarly disenfranchised people, is to betray his brother and break what he calls “Black Bolt’s meritocracy” – where generally, the terrigenisis-failed-’humans’ are sent to the mines while Inhumans enjoy the perks. It’s blunt and shallow, as the pilot attempts a short-hand for the rigid caste system that the comics spent years building up. We shouldn’t buy into the lie that lays the blames at his brother’s feet – after all, we first see the regal first couple imagining their life before they were called to the throne – but there’s really very little time to dig into it.

Quite what the non-Royal Inhumans get up to in their lower castle dwellings is unclear, but on screen it amounts to swanning around just above the humans, especially helpful if you’re gifted wings.

The trigger for Maximus’ long-gestating coup, unbelievably isn’t simply that there’s a coup. It’s the very real threat from Earth as humans develop. He plays up this threat as a moon buggy crashes into the invisibility wall that hides the city, although it soon becomes evident that in one of the many wasted twists that he’s pulling strings on two spheres. The Inhumans are not immune to activity on Earth, thanks to their inexplicable regal feeds, to the point that the stranded Queen Medusa later enquires after a Hawaiian bus.

Maximus the not quite mad

Way to endear the main characters to an entirely human audience

We’re left in no doubt that Maximus is evil, if not quite mad as his name suggests in the comics. But the depths of his plotting are left to ferment as he tries the outlandish and obvious move of stealing his brother’s wife at a moment of not-terrible crisis.

But regardless of his actions, it’s difficult to argue for the society that’s presented, as shallow and dull as it is. Crystal, Medusa’s sister is one of the characters of interest, yet plays the spoilt princess, truly living in her ivory tower. And crucially, for all her bouts of bravery and loyalty as she resists the usurper while her family are stranded on earth, she loses a great deal of empathy when she spits at Maximus that he’s human. Way to endear the main characters to an entirely human audience. Even if there’s a slither of intriguing greyness in there, the opening two episodes leave little space to manoeuvre.

Into the Mist

Judged and monitored by the silver cloaked genetic council

Terrigenesis takes the form of a regally sanctioned ritual on the moon, but presented in a  split-broadcast season with Agents of SHIELD, it’s unlikely many of its audience will be unfamiliar with the concept. The comics have presented a mixed history for the brutal terrigenesis cocoons that added an element of tension and surprise to SHIELD, but here they make way for a hideous debutant awkwardness. Like the more familiar structures of Krypton – itself the subject of a brewing eponymous proto-show which will also have to deal with many of the problems Inhumans faces – the subjects (in many ways) are judged and monitored by the silver cloaked genetic council… A council we crucially never get to see.

The dialogues suggest that they will turn up before long. Yet, the ritual is an early example of narrative strain. Maximus, seeking to comfort an apparently failed-Terrigenesis subject, is the only one who notes his emerging prophetic powers. But still, he lets someone who many might consider a very promising apprentice head to the mines, even after he seizes the throne. These niggles are frequent as scene after scene fails to live up to its promise, harshly back-lit against broad sets that betray a disappointing budget. When the Queen is captured, the shaving of Medusa is symbolic, horrifically so given its blatant and layered subtle connotations. Yet, the merest threat the Queen can level against Maximus for his betrayal is that she will never forgive him.

While Medusa’s torture may have some logic it underlines how the needs of the characters override the narrative. Maximus’ coup breaks after the earlier, rather weak, prophecy comes through, while the episode’s greatest twist – that he is linked to Inhuman-hunting death squads on Earth- is held back to throwaway a few scenes later. It’s left to his underlings, descending stairs to greet Karnak and proclaiming themselves envoys of “King Maximus”. It’s weak, and clearly twisted to parallel the responses from two of King Black Bolt’s loyalist lieutenants, Gorgon on Earth and Karnak in Attilan. That we don’t see the issuing of any Order 66 is just one element that, dictated by the need to a twist the dramatic flow of events, is perplexing. No wonder Crystal was confused. It’s a coup! That the series can continue, and Maximus’ coup face any opposition at all is down to the strategy-dissolving fact that Maximus didn’t deal with Crystal’s sweet but under-engineered teleporting dog LockJaw first.

None of the character’s powers are explained. Scenes are heavily chopped, fleeting and a few served up merely for show or to provide a backdrop for some dialogue dripping in exposition. No doubt aided by the budget constraints, it undermines its character’s abilities almost as wilfully, as it lets Hawaii become an increasingly distracting backdrop (“Stupid dog”, as Karnak remarks of Lockjaw when left on cliff peak for half an episode). And the splitting of the party breaks the welcome comic relief of Karnak and Gorgon. It may have sat uneasily with the rest of proceedings, but the close of episode two suggests it won’t be making a comeback for some time.

Aside from the wasted characters littered around the 50th State, Inhumans great mistake is misreading the true heart of the story: the Inhuman leader – absolute ruler though he may be – Black Bolt.

The quietest heartbeat

From Fox letting their hair down… To Marvel fumbling

While character’s powers range from the laboured (Gorgon, Medusa) to the inexplicable (Crystal, and comic-defyingly, Karnak), the flashback to Black Bolt’s evisceration of his parents is notably brief and chilling. But perversely, it can’t shout the trick it misses loud enough. The last full debut of a Marvel property was the willfully obtuse, eccentric and thoroughly brilliant Legion. That was Fox letting their hair down, but this is Marvel fumbling. It’s a huge step back for their small screen properties. The challenge set by a lead who can’t speak is a great opportunity, particularly given his pivotal role in the comic storylines of the past two decades.

While the sign-language invented for his live-action debut is a marvellous balance to the thought bubbles of the comics – neither could work in the other media – the show should have saved the Royal soap of the moon for flashbacks and cantered on his confused arrival on Earth. Imagine the scope of following this mute, alien and noble ruler through our reality… At least then there may have been a notion to expand the Hawaiian adventures of the second episode to something more than arrest for shoplifting (three police cars arrive to deal with that, no less) and being called a “freak”.

In Black Bolt a bold, inventive premise far removed from the staid and poorly sketched betrayal of family members that’s been tackled with far greater success elsewhere. After two episodes, it’s sad to think that wherever the show goes it faces a struggle. And to think it’s cutting the episode count of its parent. The endlessly inventive SHIELD that itself emerged from an ignoble opening half season.

Wasted

An unfair comparison when creating a feuding and fraternal web is Game of Thrones

There’s little mystery to these big or small screen Inhumans, and that’s a travesty for a huge, undiscovered, and fantastic corner of the Marvel universe. An unfair comparison when creating a feuding and fraternal web, as with any new pretenders, is Game of Thrones. That show established an enviable and immersive world for all its stumbles. But any comparison set by Inhumans’ opening forest hunt and Throne’s original and bloody prologue sortie beyond the Wall, ends with the blood.

The concept of Inhumans was shouting out for a local story, told through either a king, or the lowest of the caste, to bridge the inner-Gormenghast with the wider-Marvel universe and set the stage for the wealth of its kingdom. Where Guardians of the Galaxy rooted the fantastic in an ‘80s obsession, it’s proved an anomaly as much as Inhumans reinforces the difficulty of establishing a Marvel universe on screen that can fuse all the facets of its comic properties. The hard, political and solid pinnacle set by Captain America 2: the Winter Soldier (oh gosh, it’s so good), looks harder to breach than ever.

That said, some of the clues to helping the struggling Inhumans have already made it to the screen in the affecting tale of Steve Rogers. He proved more than anyone that the comic drama needs to be character driven. It needs to be personal. As Maximus and Black Bolt respectively, Iwan Rheon and Anson Mount wring phenomenal promise from some narrowly sketched characters. But that’s not enough. What Inhumans really needed was a Jon Snow; apparently they only got the Ramsey Bolton side of the equation.

Read more MARVEL at Jokerside.

Jokerside’s Top 10 Posts of the Year: 2016

jokerside's Top Posts of 2016

The results are in – which posts from the Jokerside were the most read in 2016? From A New Hope to much-missed Bowie, Psychotic comic book stars to 1966, there was something for everyone… And a mere five visits between the fist and second spot!

  1. “The Frankenstein Murders” – Frankenstein on TV and Film AD 2016 (January 2016)

Victor Frankenstein 2016 ADA romantic start, well, Jokerside’s version of it. It had been two years since our look at how Mary Shelley’s most famous creation was faring on screen, from the Munster‘s one-off come-back to the I Frankenstein‘s collapse. So for the leap Month’s  Valentine’s Day we galvanised ourselves into an update. The creature is going stronger than ever from big-spending ITV’s curious The Frankenstein Chronicles (surely the one series that even a Sean Bean would struggle to kill his character off in) to the bold, hugely anticipated but hugely flawed Victor Frankenstein

“The major let-downs are so destructive to this Frankenstein adaptation that it’s unbelievable they got through. Just as Frankenstein’s early claim about Igor’s hands seems misplaced, the film never displays Frankenstein’s genius. There’s the sketching, but little hands on work that previous adaptations have managed so well. That’s an unnecessary difficulty, but the real horror comes on the far too ‘logical’ solution to creating life. In creating a literal superhuman with two hearts, two lungs, super-strength and a gigantic physique, Frankenstein may be tapping into the supernaturally Promethean aspect, but the film completely misses the point, particular when framing it around the Doctor’s need to reanimate the idea of his lost brother. The point is that he creates man, not a superman.”

Yes, Frankenstein, as ever, has parts of various quality… Read more

If you liked that in 2016: Where there’s Jokerside there’s horror – stay tuned for the return of science-fiction’s most infamous scientist in a slightly different guise in 2017

  1. David Bowie: The Man Who Fell to Earth – Station to Station at 40 (January 2016)

David Bowie Station to Station at 402016 was riddled with confusion, shock and horrid irony from the start. Having kicked off the year with a light-hearted look at two muppet-powered movie classics, one inevitably featuring David Bowie himself, it was as horrific to find the great man had fallen away from the planet just days after the release of his sublime Blackstar album as that it came just days before the 40th anniversary of one of his finest years. It was with a heavy heart in a month dominated by the one-time Thin White Duke that Jokerside took a two-part glimpse at The Man who Fell to Earth and then the extraordinary album that surfaced that same year. Legendarily one that Bowie couldn’t remember recording…

“The Thin White Duke is as difficult to analyse as the album he apparently narrates, sometimes argues. It’s easy to dismiss the character as Bowie’s most ruthless, even evil – yes, even more than the Goblin King – but any analysis is difficult because of the amount of distraction built into the Duke. Unlike Ziggy Stardust, he’s less prevalent in a shorter album. He also appears more “normal” than those early ‘70s glam avatars. Impeccably stylish, simply cabaret, emotionful and emotionless in equal measure. The Duke may actually be Bowie’s most eroding character. And at times, there’s seems to be a real conversation taking place between the searching Bowie and the Duke – particularly in the title track that mixes first, second and third person perspectives.

The Man who Fell to Earth had sowed the seeds of a character that could carry a knowing and necessary transition and complete some of the greatest music of Bowie’s career. Not bad for a film that, as he said, “he didn’t really know what was being made at all”. But what’s crucial is the speed with which this character came to dominate his mind, just a catalyst of the clashing components in his mind and the Station to Station LP, and a character that took up less than year of Bowie’s incredibly prolific mid-1970s period.” Read more

If you liked that in 2016: Stay tuned for more David Bowie as Jokerside celebrates another of the chameleon’s incredible works as it passes a significant landmark this January…

  1. 1966: Invasion Earth 2150 – Movie Daleks at 50 (August 2016)

1966 Dalek Invasion Earth 2150 at 50“Changes (to the original television serial) are to a certain extent inconsequential in a condensed story that works almost beat for beat to the original template. It’s a heady mix of The Time Machine, 50s B-movies and the intrinsically British television show it adapted.

“The real change came in the spectacle. And of course, that was in the full employ, for the first time of colour. It would be seven years before the Daleks broke into colour on the small screen, and they’ve never looked better than in their big screen outings. The Daleks are utterly transformed as technicolour beasts…

“Sadly, this was to be the last live appearance of Peter Cushing’s alternate Doctor. On television, the character was to regenerate in a few short months, only to face the Daleks in his first adventure, away from the pen of Terry Nation. On screen, Dr Who leaves on a high. His first cell-break aboard the Dalek saucer is wonderful,. As he immediately fails, unlike Dortmun’s inability to cope with his frustrated situation, Cushing opens his eyes to Dalek eye-stalks with a meek “Back in the cell?” Read more

If you liked that in 2016: It’s time for the creator… In 2017 Jokerside will turn the microscope on the most fascinating Doctor Who villain, Davros…
Read more…

FICTIONSIDE 103: Who needs a shared cinematic universe?

Fictionside 003 Shared Universes

 

To mark Jokerside’s fourth birthday, another Fictionside. This time exploring the one thing that everybody in Hollywood wants: A shared universe.

Framed in 10 questions…

 

SOME THINGS START WITH SUPERMAN AND END WITH SUPERMAN. AND THAT’S HOW THIS ANNIVERSARY POST WILL PAN OUT. That legend of the alien child, dispatched to Earth as the last son of his dying planet is one of the great pop culture stories of the 20th century. While Big Blue’s character took shape over a number of years, gaining powers of flight and heat vision until he became the cultural pinnacle of those abilities, it took a mere two for him to bump into a fellow comic character. That would be young pretender, by one year, Batman. The two first stood next to each other on the cover of 1940 New York World’s Fair comic book with only a Robin in-between.

That was the first time any two comic characters had appeared together, and of course it was the light and dark, then in happier guises and brighter colours. Although they’d fail to interact inside, it set a precedent for the extended Super-Family and the growing Bat-family join other parts of the burgeoning and acquiring publishing universe that would become known as DC.

The Teen Titans, the Suicide Squad, the Justice League. The latter would later inspire the envious eyes a stone throw’s away in Midtown Manhattan. As just one of the highlights of his extraordinary mid-1960s productivity, Stan Lee assembled his own super team from fresh and veteran characters in the marvel fold because DC had done the same. So why not him? And 50 years on, it’s those assembled Avengers who lead the charge in a different media.

Where did it start?

On paper – straight from the pen

Many universes have been expanded from a creator’s original sprawling world by other willing hands… And that’s the point

Jplerside Fictionside #2 The RulesOf course, shared universes didn’t start with comics, that’s just a nice four-colour example. Expanded universes are so innate to the prose world that their late appropriation by new-fangled art-forms of the 19th and 20th centuries could be page-curlingly embarrassing. And that’s within genre and without. Expanded universes stretch as far as the might of Lovecraft’s Cthulhu mythos, Frank Herbert’s Dune, Richard Scarry’s Busytown, Edgar Rice Burroughs fantastic and rip-roaring adventures… Many of these universes have been expanded from a creator’s original sprawling world by other willing hands eager to explore the potential, often posthumously. And that’s the point.

What’s a shared universe?

Choose your collaboration carefully

This is shared, not expanded or expanding…

An overarching work where more than one creator independently contributes segments that stands alone while complying with the joint development of a greater storyline or world. That’s the definition of a shared universe. Distinct from a collaboration, a cross-over or string of sequels, spin-offs or the interlinking work of one auteur: it’s a definition ready-made for the ambitions of Hollywood’s studio model.

Hannibal meets Penny DreadfulOn the big screen Quentin Tarantino has built a loose connectivity between his films, through throwaway references and characters, as has Kevin Smith. Bryan Fuller has had great success doing the same thing on the small screen, through often cruelly curtailed series. The same is true of Joss Whedon. But the Whedonverse, Fullerverse and Tarantinoverse don’t count, no matter the involvement of other creators, as theirs are slotting into a singular vision. The involvement of separate properties and distinct creative forces is crucial. This is shared, not expanded or expanding.

It’s no new idea, but while the first major developments came on the page, it wasn’t from the great weight of published genre that shared universes became a public commodity. Hollywood didn’t shirk on seizing the potential.

What’s the Monster in the Room?

The days of Universal Studios

The ensemble that kick-started Hollywood’s original gigantic shared universe

In September 1923, 93 years ago, Universal Studios produced an adaptation of Victor Hugo’s The Hunchback of Notre Dame, a lavish film that became their highest grossing silent movie. Read more…

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