There is no denying that the DC Cinematic Universe looks to be darker than the Marvel Cinematic Universe. Fans have discussed and criticized both the latest Batman v Superman trailer, and Superman’s most recent outing, questioning everything from Superman’s morals to the color palette. Yesterday, Charles Moss of “The Atlantic” released an essay that takes a closer look at Superman’s roots, his morals, and the criticism that fans have given Zack Snyder’s “Man of Steel”. Moss wrote, “But what many fans don’t realize is that Superman hasn’t always been the Big, Blue Boy Scout they’ve come to know and love. In fact, in the very early stages of the character’s development, he wasn’t a hero at all, but a villain. And even after Superman became an enforcer of good in his earlier years, his brand of justice was as gray, morally speaking,...
- 5/25/2015
- ComicBookMovie.com
At Vulture, we love comic books. We think that they matter, that they’re fun, and that they deserve our attention and not just our snark (though some of that’s cool, too). But the proliferation of big brooding men in masks, what some call the Frank Miller Effect, has become tiresome; that self-serious Batman v. Superman trailer probably needs to speak with a therapist, it’s so melancholy. And yet, the notion that super heroes have only become mean and dark in recent years, that Superman has traditionally been a nice, smiling savior, is erroneous. Truth is they’ve always been kinda mean.Over at The Atlantic, Charles Moss has penned an excellent essay that vivisects Superman’s morally ambiguous origins. As with Bob Kane’s Batman, who began life as a guy in a mask who threw thugs off of rooftops and hanged people by the neck from his Batplane,...
- 5/24/2015
- by Greg Cwik
- Vulture
David E. Durston, a writer and director best known for the 1970 cult horror classic "I Drink Your Blood," died May 6 in his West Hollywood home of complications from pneumonia. He was 88.
Durston wrote for such ground-breaking TV shows as "Playhouse 90," "Studio One," "Rheingold Playhouse," "Tales of Tomorrow" -- one of the earliest science-fiction anthology shows -- "Kraft Theater" and "Danger."
He also produced the NBC musical variety show "Your Hit Parade" as well as the annual broadcast of the Tournament of Roses Parade for all three major TV networks during the late 1950s. Durston continued to write and develop original screenplays into his late 80s.
In the mid-'60s, he made the jump into directing his own low-budget, independent features. The first of these was "The Love Statue," a 1966 black-and-white fantasy that explored the effects of LSD on a group of Greenwich Village bohemians.
Later, Jerry Gross of distributor...
Durston wrote for such ground-breaking TV shows as "Playhouse 90," "Studio One," "Rheingold Playhouse," "Tales of Tomorrow" -- one of the earliest science-fiction anthology shows -- "Kraft Theater" and "Danger."
He also produced the NBC musical variety show "Your Hit Parade" as well as the annual broadcast of the Tournament of Roses Parade for all three major TV networks during the late 1950s. Durston continued to write and develop original screenplays into his late 80s.
In the mid-'60s, he made the jump into directing his own low-budget, independent features. The first of these was "The Love Statue," a 1966 black-and-white fantasy that explored the effects of LSD on a group of Greenwich Village bohemians.
Later, Jerry Gross of distributor...
- 5/18/2010
- by By Mike Barnes
- The Hollywood Reporter - Movie News
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