We Have Opinions: TV Edition #5

House of Lies s05e10, “No Es Facil”



This show has had episodes built around a flashback/flash forward structure before, and even if I’m not sure it was necessary then either, at least it served its purpose of creating curiosity - and it worked stylistically. This time it’s confusing and takes us out of the story too many times, especially for a half-hour show and especially when it’s a season finale which is supposed to finish the season’s story arcs in a satisfying way. One exception is the very first flash-forward, with Jeanie and Marty lying on the beach, which is quite beautiful and made me expect a much more interesting episode than what followed. In fact, most of the flash-forwards kicking off the episode created some type of expectation (be it of quality or just drama) that didn’t lead anywhere. There’s a lot of time wasted on cheap laughs and the same old antagonistic banter we’ve seen every season, before getting to the good stuff: Jeanie and Marty and screw capitalism. I really enjoyed how Jeanie just slowly stops paying attention to Marty during the scene with the wedding party (bullshit volume turned down to zero), and the look on her face as she wanders further into the crowd. The idea of Cuba as a place where everyone is spontaneous and happy is a bit cliché, but the payoff in changed perspectives and actions of the main character’s is great. It also makes sense that the people Marty and Jeanie meet on Cuba are happier than them, because they haven’t all made careers out of selling their souls to the devil. The realization that Marty doesn’t want to fuck over Cuba is satisfying to watch, as well as the big fuck you to Skip and Monica but, as it has been throughout the show’s run, it’s the combination of Marty and Jeanie and a good helping of bottled up feelings that steals the show. I don’t even care that it’s a cheesy ending - I loved the proposal scene and I love that those two kids have finally worked it out. If the show had gone on, we would see them mess it all up again, but now we get to imagine them living happily ever after instead!
Tova Crossler Ernström

BrainDead s01e02, "Playing Politics: Living Life in the Shadow of the Budget Showdown - A Critique"


Tax Prom drinking game. Take a big gulp if: A Republican opens his mouth.

Holy shit, why hasn’t anyone thought of doing the “previously” on for a TV show as a song before? Not that this one is particularly amazing (and it doesn’t really work with the show’s tone) - it’s just such an obvious and perfect idea. As is the basic plot for the show: Alien bugs are eating politicians brains and turning them into mindless drones, but no one notices because they already kind of acted like mindless drones before. No, it’s not a complex or fresh analysis of American politics, but it’s perfect for a sci-fi/political drama/satire/comedy show. I would personally have preferred if the bug people were exclusive Republican, but the show seems to be going for a slightly more balanced view of politics. They’ve even got a love interest who’s a Republican! And yes, I’m having major trouble accepting this fact. The guys is charming (or at least smarmy), but it’s just… It’s just not okay. The show clearly acknowledges Trump’s existence and candidacy, and Ritter never expresses any disgust at this possible presidential candidate for his party. Still we’re supposed to be invested in his and Laurel’s romantic tension? Skeptical face, right here.

Tova Crossler Ernström

We Have Opinions: Comics #3

Miss Fury #3

(Written by Corinna Bechko, art by Jonathan Lau, published by Dynamite.)

Marla Drake is invited to her friend Edi’s family home party, and she accepts based on the fact that Edi’s parents seem to be involved with the cult that stole her blueprints. They act suspiciously almost as soon as the girls arrive. It doesn’t take long for Marla to find that occult powers are at play and she may be in over her head.

Once again, the cover is misleading. There is no cheesecake in the book at all, and I worry a little that the skin flashing covers might drive potential readers away. It is almost like no one told cover artist Tula LoTay that Volume 2 is ridding itself of the objectification of Volume 1. Lau’s interior art is tight and dramatic, and the action scenes felt brutal and intense. Once again I admire Marla’s outfits and hair. I particularly love that when her hair is up, it is thick and almost wild. I am so used to tight buns or whip straight pony tails (sorry Vampirella), that such a small detail like that is striking.

This issue has been the most confusing so far, but it is intentional as Bechko is setting up mysteries that will be resolved in future issues. It is frustrating as a reader because it may be a month or two before I understand fully what is going on, but such is the struggle of the monthly collector. I will remind our readers that this is only the third issue, there is time to catch up!

(Megan Crittenden)

Wonder Woman #1 Rebirth
(Written by Greg Rucka, art by Liam Sharp and Paulo Siqueira. Published by DC.)

After ten years, Rucka returns to Wonder Woman, eager to return her to form after the New 52 radically changed both her origin and her character. Affected by the events of Rebirth #1, Wonder Woman realizes that she has been deceived after questioning herself with the lasso to uncover the truth. She is not the God of War, and she suspects that her father is not Zeus. The entirety of the New 52 feels to her a lie.

The story is very meta. Wonder Woman has had her story retold several times since Rucka left the book, and each new writer seems to want to give her a new twist and a new cast. What Rucka seems to be doing isn’t new, but it does feel cathartic as she crushes the supposed helmet of Ares and smashes a mirror reflecting her New 52 events.

The art I feel is a step down from Cliff Chiang’s art, but it is serviceable. I do love the new costume. The skirt is fairly short but it does not feel like fan service. I do not love the sword and shield, but she seems to be using it against machinations only so far.

Wonder Woman: Rebirth #1 is a good jumping point for readers who did not enjoy the changes made to her during the New 52, but brand new readers may be a little lost. Hopefully as the series starts properly, especially with Year One, we will have a good jumping point for those new to Wonder Woman.

(Megan Crittenden)

Vampirella #4
(Written by Kate Leth, Art by Eman Casallos. Cover by Chrissie Zullo. Published by Dynamite.)

Vampirella and Slade finally face off at Slade’s house party, where Vampirella discovers she has befriended many movie monsters. She films them chasing extras and killing them, and sells the footage as horror movies. She offers Vampirella, Tristian and Juliette the same deal. Vampirella however is a vegan vampire and says no dice.

The art remains expressive and fun, but the writing in this issue felt a little off. There were a few great jokes, but the conflict felt a little contrived and as a reader I do not feel particularly invested. Why doesn’t Slade put Vampirella in the unbreakable handcuffs when she has the chance? What was the point of the party except for exposition? The next issue will be the conclusion to this arc, and this one just feels like the lead up to the next rather than one that stands up on it’s own.

Still, the book remains enjoyable and I look forward to the conclusion.

(Megan Crittenden)

We Have Opinions: TV Edition #4

Preacher s01e02, “See”

There’s A LOT to react to and try to make sense of in this episode, but what I was left thinking about is its treatment of personal ethics. Now, I know next to nothing about the original comics, so I don’t know how it dealt with moral issues or what type of philosophical questions it did or didn’t raise. The show seems to focus on Jesse as a “bad man” (which Tulip keeps calling him) trying to be good. He’s constantly being confronted with the darkness of others and his own, and doesn’t know how to deal with it. It’s a simple enough concept, and a good foundation for some human and moral complexity on screen, even in the middle of all the other crazy shit going down.

The problem is that (so far) the questions of ethics being brought up through the situations and interactions on the show haven’t been dealt with in a very sophisticated manner.
When Jesse and Eugene both come to the conclusion that no matter how hard you try you are still the same person on the inside, it’s an idea that makes sense for these characters based on their experiences - even if it isn’t exactly true. But to draw the conclusion that there’s no point in fighting the impulse to hurt people? The inability here to to differentiate between feelings and actions is frustrating, and if this is something the writers are aware of, an intentional part of the character and his skewed perspective, then that could surely have been hinted at in some way. Instead we get a pedophile plot which misses all the exits where it could have headed towards an interesting conversation and goes straight for the daydream-fulfillment of hurting a man so he’ll never hurt a anyone else - even though he may never have done that anyway. And the question of whether the important thing is to be a good person or to do good things, which is very relevant to the plot, isn’t brought up at all.

Of course, we’re only two episodes in and the deep philosophical conversations may simply have been saved for a later date. It’s a possibility.

Tova Crossler Ernström

UnREAL s02e01, “War”

The rules of life: Get money, be a dick, abuse power. That’s what this means, right?

Money, dick, power - that’s quite a mantra! Opening and ending the episode with the tattoos is a clever way to tie the whole thing together. Aside from being aesthetically pleasing, it reminds us that the show’s center (what one would call “heart” when talking about a less cynical show) is located somewhere between Rachel and Quinn, but also that the dynamic between the two women has changed significantly since the show started. Where there used to be constant conflict, there’s collaboration (...and conflict). Where we’ve seen Quinn exerting power over Rachel, and Rachel alternating between abiding and pushing back, they’re now a joined duo alternating between the role of cold-hearted bosses and underdogs in a world of mostly-male assholes. This new friendship is by no means a sure thing, and I assume the camaraderie will go to hell, along with any other positive relationships the characters experience, before the season is over. But it is definitely a change.

What has not changed is that most of the characters on UnREAL are horrible people who do awful things to each other, or that every scene with Rachel doing her job makes me think “Why are you taking part in this? Why don’t you just quit and start your whole life over???”.

Perhaps the answer is simply: Money, dick, power.

Tova Crossler Ernström

House of Lies s05e09, “Violent Agreement”

On last week’s House of Lies, the answer to “Why are the main characters being such awful people?” was explicitly stated as being money. No mention of dicks or power, though there were plenty of powerful dicks present - some of whom return this week.

Here we’re reminded that Skip is the worst (everyone on the show is the worst, but he is the worst), Doug is painfully embarrassing, Clyde is alternately sad and glib and Marty gets angry in a theatrical but also a little nonchalant manner which is satisfying and entertaining to watch. It’s a lot of the same - I even feel like we’ve seen Marty trash someone’s office before - and mostly seems like a pre-game distraction until we get to the Mexico trip the plot started working towards last episode.

The exception may be Jeannie, who is hilariously bored and unstable while spending the day with Phoebe (“How does Rocky Road make me a wet noodle???”) and then gets sad watching an old man with fancy clothes feed the pigeons in the park. Though this doesn’t move the story forwards much, it feels fresh and is the kind of detour the show could have used more of in its last years.

Using Kristen Bell for comedy and heart is actually a general principle people working in TV and cinema should keep in a mind. Kind of like "If you can put Don Cheadle in your movie, put Don Cheadle in your movie" (a supposed Soderbergh quote).

Huh, this show had a lot going for it, didn’t it? Let’s hope it goes out with a bang next week!

Tova Crossler Ernström

We Have Opinions, TV Edition #3

We have opinions about TV shows! Check out the mini-reviews for Legends of Tomorrow, Jane the Virgin, and Faking It below.

Legends of Tomorrow S1E15 - “Destiny” (and also: the rest of the season)

This is how I imagine a conversation between Doctor Raymond Palmer and the rest of the world would go:

Dr. Palmer: “I just want my life to make a difference.”
The world: “You founded a multi-billion dollar company and created world-changing technologies.”
Dr. Palmer: “Yes, but I just want to be remembered, you know?”
The world: “After you apparently died, we renamed an entire city in remembrance of you. To what greater honor could anyone conceivably aspire?”
Dr. Palmer: “I want. To make. A real. Difference.”
The world: “You know for a fact that in the future, the work you have done will be used in robotics—and presumably many other fields—for generations.”

Following this exchange, an obstinate Dr. Palmer would presumably melt into a puddle of self-loathing. — Etienne Domingue




Jane the Virgin s02e21, “Chapter Forty-Three” & s02e22, “Chapter Forty-Four” 

In last week’s episode, Jane and Petra explicitly talk about Petra feeling like a bad mother compared to Jane—but instead of exploring that further, the show carries the theme of competition over into a conflict about whom Rafael listens to more.

I usually think Jane the Virgin manages to dig deep into all of the more relatable relationship issues that balance the dramatic telenovela elements, even when the soapiness is turned up high. When it comes to Petra and Jane’s relationship though, it seems to be constantly overshadowed and pushed aside in order for the rest of the plot to move forward.

It’s a shame, because the show does well with interactions between its complex and varied women. And since the Jane/Petra friend-shipping is strong among the show’s fans (a “fact” I base on the comment sections of three different sites as well as my own opinion, so you know it’s 100% accurate), I imagine more focus on that duo would go over well with the audience.

Let’s hope there’s more of that next season! We all want to know how Michael is, but we also want to know what a long P & J conversation about the challenges of motherhood in a modern-yet-sexist society would sound like.

And perhaps a discussion on who’s the best male feminist ally—Raphael, Michael or Rogelio (#Team Michael #SupportiveFiancésSupportFeminism #TooCoolForMachoDrool). — Tova Crossler Ernström

Faking It s03e09, “Ex-Posed”

Last week, Liam decided to set Lauren up with a guy to make her less testy (sigh) and a more pleasant room-mate. When he finds a suitable match, and introduces the two, the conversation goes like this:

Liam: “Hey, I was just talking to my friend Preston about... What were we talking about?”
Preston: “American Exceptionalism.”
Lauren: “For or against?”
Preston: How could there be a question? For.
Lauren: *surprised chuckle* “I thought I was the only person in this school who believed America has a manifest destiny.”
Preston: “Well, so did I”.

Wow. I wish this post was a direct line to the writers and showrunners of Faking It. In that case I would tell them: I love Lauren. I love her so much I accept that she’s a Republican, because it suits the character (though I happen to believe she would vote for a different party if she were real).

But I think I speak for a big part of your audience when I say: No decent, historically-aware person would use the expression “manifest destiny” about the USA in 2016.

Even if Lauren is all about American exceptionalism, that can be expressed without colonial terms traditionally used to legitimize slavery and genocide. I promise you it’s possible. As the post only reaches its handful of readers (none of whom are working on Faking It, as far as I know) I’m telling you instead. Feel free to comfort me with your wisdom and historical knowledge in the comments! — Tova Crossler Ernström

We Have Opinions, Comics Edition, #2

Vampirella #3

(Written by Kate Leth, art by Eman Casallos, published by Dynamite.)

Vampirella is still reeling from the murder at the theater, and Juliette confesses her demonic origins and glamour powers. Vampy can certainly look past that, as an alien vampire who is she to judge?  

We get to see a lot more of Vampirella’s new costume this issue; the bathing suit is nowhere to be found.  When not in an action scene, she wears an elegant black coat and purple scarf, and Juliette seems to have a grown-up goth’s dream wardrobe. It is always pleasing to see female characters wearing fashion that is actually appealing to women! If Juliette sticks around as a supporting character, she will be a fun project for cosplayers.

Leth continues to weave humour and horror together in a balanced way. There are jokes aplenty but they never diminish the seriousness of the plot. Casallos’s art is shaky in a few panels, but overall continues to match the tone of the story perfectly.

Vampirella #3 raises the stakes for the growing cast, jump on board before the fangs dig in deeper!—Megan Crittenden

Miss Fury #2

(Written by Corinna Bechko, art by Jonathan Lau, published by Dynamite.)

Miss Fury hasn’t found the ship blueprints she was looking for.  Instead, she discovers that the thieves built the entire craft overnight!  Shocked, she explores the ship and finds occult items and symbols that she certainly did not include in the original plans.  She is spotted by mysterious men in masks and forced to make a run for it.  

As Marla Drake, she tries to uncover the origin of the occult symbol she managed to trace.  While some time is dedicated to research, Marla gets her best lead seemingly by coincidence rather than through her hard work (fans of mysteries may find this frustrating).  Still, the plot is intriguing even as occult elements are introduced. We are also treated with flashbacks to Marla’s power's origins, and that is a nice way to introduce her concept to new readers.

The interior art is both solid and atmospheric. Oftentimes in books about female superheros, sex appeal and conventional beauty is a top priority in every panel—but in this issue, Marla makes an unflattering (though very expressive) face at least twice. Given the cheesecake nature of some of the covers in this series, I thought that we might see some torn clothing or compromising poses, but so far Lau's depictions of Marla have been modest.

Truly, if you miss Batwoman, you should be reading Miss Fury. —Megan Crittenden

Deadpool #11

(Story by Gerry Duggan, Art by Matteo Lolli, Marvel Comics.)

This issue of Deadpool concludes the most recent arc, featuring his battle with Sabretooth coming to a bloody end. I enjoyed the insight into Deadpool and Sabretooth’s minds, as well as some neat guest appearances from Doctor Strange and Magneto. Gerry has done a wonderful job of tying together his new revelations from Wade’s past with stories from previous writers.

In addition to providing a conclusion to the current arc, this issue also plants the seeds of future developments. I hope that the writers actually follow through with these plot threads, unlike what they have done with previous hints in recent Marvel Comics history. I would definitely recommend Deadpool #11. While not filled with too many major revelations, it has fine characterization and compelling teases for the future. —Zachary Krishef

We Have Opinions TV Edition #2

House of Lies: Everyone on this show is the worst

 Our mighty writers mini-review series for you: Orphan Black, House of Lies, Jane the Virgin and The Grinder.

Orphan Black s04e04, “From Indistinct to Rational Control”

This is how you keep the show interesting without throwing in males clones and general crazy shit (does anyone even remember what happened last season?). Orphan Black is also staying true to its nature by having comedy between the layers of anxiety and conspiracy. When Tina, the neolution girl from Beth’s investigation, mistakes Alison for Beth she mentions a place called Lifespring Fertility Clinic. After Sarah yells at Alison (oh no, don’t fight seestras!) she agrees to go there and snoop around. Meaning she does all the research and secret spy-type preparations, with color coding, and then send Donnie and Felix in as a couple looking to start a family.

Donnie isn’t quite as down with the whole spy-thing as his wife, so he decides the best way to seem believable is to act the way he thinks gay men do. Oh, Donnie… Luckily Felix shuts that down within seconds, with the use of statistics, common sense and plenty of side-eye.

It’s great how something that might be a longer joke in another show or movie is instead quickly addressed and acknowledged as stupid, by all parties involved. In fact, Donnie being stupid is the joke here - not gay men, or even the fact that a straight main has to pretend to be gay. And how we love to laugh at Donnie being stupid!

Tova Crossler Ernström

House of lies s05e04, “End State Vision”

This is what has happened so far on season five of House of lies:

Veronica Mars had her baby and started dating Vinnie Van Lowe, who is the worst even in this universe. Her new boss, the Angel of death, isn’t that great either. Jean-Ralphio is a douchebag, but his dad is/was a thousand times worse. Vaughn Du Clark is back, and though I can’t remember his role on the show I’m happy just to see his face. Mona-Lisa Saperstein is having anal sex with some hot guy, which the show handles with its usual grace. Grandpa is finally sleeping with someone older than his son: Wanda Freaking Sykes. Henry Higgs is way too much of a hippie to run a company and, in a surprising twist, the gang is going to manipulate him into giving them all of his money. 

In the latest episode, Jeremy Reed somehow manages to be menacing, and proves that while the women on this show are awful human beings, men are still the worst. Cliff Gilbert shows up for a quick second to tell Jean-Ralphio that his crush is a married lesbian but it’s okay because “I’m gonna offer you a job as a political advisor and that’s not the worst idea ever, at all”. The rest of the cast are preparing to screw everything up in their own unique ways.

I apologize if none of this makes sense to you. But if you haven't watched all of Rob Thomas' shows, you really only have yourself to blame. And as for the rest of the references… Google is one of your oldest and dearest friends, right?

Tova Crossler Ernström 

Jane the virgin s02e20, “Chapter Forty Two”
I’m going to focus on the idea of bad mothers yet again, because when does that subject ever get old? (Answer: when the patriarchy is dead.) Petra’s problems with parenting has been an ongoing theme this season, although it has faded into the background more and more. A show that constantly reminds us how okay it is to be human is the perfect place to tell more complex stories about parenthood - and a feminist show can be expected to handle the demands and feelings of inadequacy Petra is experiencing better than if it lacked that point of view. And so it has! Seeing Jane try to help Petra deal with what was likely postpartum depression was great, especially since she is such a poster child for perfect motherhood herself.

With Jane embodying gender neutral aspects of “good parenting” as well as more gender specific societal ideals about mothers, her non-judgemental support of Petra is crucial and, if you’ll excuse the wording, fucking liberating to see. More interactions like this on my TV (or computer) screen, please! Though, as we see hints of in this episode, there may still be a little judgement there. I’m not sure if Jane is judging Petra, as she puts a lot of effort into not making her feel bad - in the short phone conversation with Alma, while talking to Petra about the Mother’s day lunch… But the general consensus among everyone but Anezka (and perhaps Jane) seems to be that Petra is a bad mother. In some ways that’s a fair assessment, but there is also truth to Anezka’s speech about the journey Petra has made.

If you compare the loving, albeit complicated, family Jane grew up in to Petra’s background, the latter’s ability to form bonds, show affection and take care of others almost seems like a superhuman feat.

I think what I’m trying to say is that there is a lot to unpack here, and frankly, I wish the whole episode had centered around the theme. After all, it takes place during Mother’s day! The episode basically writes itself in my head, and written by the people working on Jane the Virgin it would surely be ten times better.

Tova Crossler Ernström

The Grinder S1E21, “Divergence”
  In the penultimate episode of The Grinder, the main cast desperately searches for a side story in order to help the main plot. No, really.

The Grinder is the unholy lovechild of Arrested Development and Community, with extra emphasis on meta humor. Rob Lowe stars as Dean, who played a hotshot lawyer on Fox’s The Grinder. After the show ends, he has to move back in with his family, almost all of whom really are lawyers. He decides to join the firm, despite having no real knowledge of legal matters. To describe the plot of this episode any more would be an injustice to the show. Please, watch the episodes. Ratings for the series are low and we might not get a second season. The season finale is next Tuesday, so let’s rally and help the show!

Grind on, my friends. Grind on.

Zachary Krishef

We Have Opinions TV Edition #1

Limitless, S1E20: “Hi, My Name Is Rebecca Harris”

In this episode of Limitless, we get to have another character ‘narrate’ the episode as Rebecca takes NZT. Going through the episode, it’s amazing how much I like it, considering that I’ve never actually seen the movie. The show managed to fill first-time viewers in fairly quickly. I can best describe Limitless as an action-comedy in the vein of Scrubs. Brian, our protagonist, is an Andy Dwyer-type. I can easily see him being played by Chris Pratt. Due to the mind-enhancing effects of the NZT, a good chunk of the show features him talking to the viewer, subconscious clones of himself, and in one memorable episode, a Barney parody. The most recent episode had some intense moments, thankfully balanced out with some laughs. I implore you to catch up with the show before the first part of the season finale airs on Tuesday.

Zachary Krishef

Girls, S05E08: “Homeward Bound”
The childishness on Girls can be too much sometimes, but the sight of Hannah running away from Fran, and him chasing her around the public restroom, is hilarious. Fran’s outburst when he finally catches up with Hannah isn’t as fun, but still liberating in its own way. It’s a proper Nice Guy rant, and he acts like the childish asshole the show’s been hinting that he (at least partly) is since the beginning of this season. If Fran yelling “fuck you” while driving away in a house car is the last we see of him, it’s a close to perfect goodbye.

On another note: Desi has a friend who is almost as annoying as he is, and she manages to make Marnie a lot more bearable by comparison. Is there anything worse than people who handle others’ anger by speaking in an unnaturally slow and soft voice, all the while maintaining equally unnatural eye contact? *shudders*

On a third note: “You’re an adult. She’s a baby. Why do you need more help than a baby?”

Tova Crossler Ernström

Jane the Virgin, S02E17: “Chapter Thirty-Nine”

Maybe the major takeaway from this episode is how amazing Michael and Jane are for each other, or that Petra would look weird as a brunette... But for me it is that Jane can be cruel just as anyone else, if she feels exhausted and powerless enough. It’s clear that Xiomara needs to get her shit together and that every time she loses control and messes up, or forgets to be a grown up, it hurts Jane. But I also get the feeling that the poison that’s hurting this relationship isn’t only going one way. Family is such a messy thing, where everyone is involved with each other’s lives and decisions. When we disagree with some of those decisions, shame and guilt can become a natural part of how we relate to each other.  It’s also easy to get stuck in roles we’ve had for a long time, because our interactions with people around us reinforce the same patterns (sorry for the pop psychology, but I’m sure you recognize the phenomenon). We’ve seen that Xo’s role in the family is to be the screw up - it’s what’s expected of her. It wouldn’t surprise me if future flashbacks show that this isn’t the first time Jane has made Xiomara feel worthless, though she’s never been as honest about her anger before. Expect a lot of yelling, crying and emotional catharsis in the future.

Tova Crossler Ernström

Faking it, S03E05: “Third Wheels”
On Faking It, everyone is stuck in a loop, as per usual. Lauren’s comment on the reconciliation pretty much sums it up: "Here we go again". Amy is sacrificing her other relationships for Karma, Liam is not an interesting person at all, and the show’s treatment of gender and sexuality is right on the edge between refreshingly progressive and annoyingly clumsy. Next week: Felix is back and we will be reminded that Amy is not confirmed to be either gay or bi, or pansexual, or… anything that could mean some sort of representation for anyone, basically.

Tova Crossler Ernström

We Have Opinions - Comics Edition #1

Vampirella vol 3 #2

(Written by Kate Leth, illustrated by Eman Casallos, published by Dynamite.)

This issue of Vampirella is the second since the title's relaunch. Vampirella got a new costume as part of the relaunch, presumably to entice new readers; cosplayers will find the new outfit (complete with pockets!) easier to make and wear. Her bikini-clad days are not over; she appears in her original costume more often than in her new outfit in this issue. 

The bikini is for Vampirella's public appearances, as she is now an Internet celebrity. The new outfit is for when she does not want to attract attention to herself. Last issue, our intrepid heroine hired a PR agent named Juliette to help with her image. Vampirella tries to explain who she is to Juliette; this provides new readers insight into her cosmic origins while poking fun at her backstory at the same time.

Kate Leth balances humor and story extremely well; the comic has levity, and at times it is clear the writer's tongue is firmly in her cheek. Be that as it may, faithful fans can rest assured: there is still horror amid the laughs. In just two issues, newly introduced character Juliette becomes an interesting mystery herself, and I look forward to learning more about her.

Casallos continues to provide top-notch art. I particularly enjoy that while we see a lot of skin in this issue, it never feels exploitative or objectifying. Vampirella strikes a pose now and then because she’s putting on a show. Casallos has done a great job of portraying a woman who is very comfortable when practically nude; Vampirella isn’t posing arbitrarily to titillate the reader.

Vampirella is strongly recommended for the vampire lovers out there. It is fun, cheeky, sexy, and surprisingly endearing.

Megan Crittenden

Miss Fury vol 2, #1

(Written by Corinna Bechko, art by Jonathan Lau, published by Dynamite)

Miss Fury #1 is the latest in Dynamite’s relaunch effort, attempting to update their heroines and shed the perception that their books are meant solely for men who like excessive amounts of cheesecake. Miss Fury is one of those heroines who is covered from head to toe, but in the past has had her vacuum-sealed clothes ripped up quite often. Her look will remind readers of Catwoman or Batwoman, but she has been rocking it since 1942. She is cat-like, but no copy cat.

Miss Fury is set in 1942, and our heroine is Marla Drake, marine engineer. Her firm is designing a new ship for the war effort (and to help the U.S. government build an alliance with Brazil). When the blueprints are stolen, Drake dons the costume of Miss Fury to investigate the theft and recover her plans.

Bechko gives her characters strong voices. I enjoyed greatly that many characters use time-specific slang, but it does not become overwhelming or cheesy—just another reminder that this is 1942! The mystery is intriguing, even if the clues Miss Fury follows are a little too conveniently set up.

Lau’s designs shy away from cheesecake, New York City feels genuine and gritty, and if you love 50s fashion, he delivers. Sometimes the characters’ proportions seem wrong, and some of the action confuses. Overall the art flows nicely, and only a few panels feel odd.

If you like Bombshells, miss Batwoman, or are just looking for a superhero outside the Big Two, Miss Fury might just be what you are looking for.

Megan Crittenden

Goldie Vance #1

(Written by Hope Larson, illustrated by Brittney Williams and Sarah Stern, published by Boom! Box)

Goldie is the 16-year old daughter of the manager of Crossed Palms Resort in St. Pascal, Florida, and one of its valets. In her spare time, she assists the hotel’s detective, Walter, in his duties; this translates to her solving all of his cases, to his continued amazement. The first issue gives us the case of a stolen necklace—and just might be the start of something bigger.

Goldie Vance #1 focuses mainly on introducing the main character and her supporting cast (the last major member of which is Goldie’s best friend and hotel receptionist Cheryl). Goldie herself is a a welcome addition to the pantheon of teen sleuths. A fun and enjoyable read, Hope Larson's story benefits greatly from the art provided by Brittney Williams, whom you may know from Kate Leth’s Patsy Walker, A.K.A. Hellcat!. Williams’ art is cartoonish and endlessly adorable; Sarah Stern’s bright colors play to these strengths.

It’s a promising start to a joyful new miniseries. I hope it proves popular enough that it ends up continuing in some way.

Dominik Zine

Heartthrob #1

(Written by Christopher Sebela, illustrated by Robert Wilson IV and Nick Filardi, published by Oni Press)

Chris Sebela may not be the biggest name in comics, but he is certainly talented and experienced. With Heartthrob #1, he delivers a story set in the 70s, mixing heart transplants, heists, romance and Fleetwood Mac.

Our main character is Callie Boudreau, whose life sucks. She was born with a congenital heart defect that prevented her from living to the fullest and scared boyfriends away from any commitment. She’s stuck with a job she hates at Archway Insurance. And when she finally gets the heart transplant she dreamed about, nothing changes.

Until it does. She starts drinking more, becomes more confrontational – and more surprisingly, she starts exhibiting skills that she never learned. And then she meets a mysterious man named Mercer, who will change her world.

Heartthrob #1 is primarily focused on introducing us to our main character and her life – both her lives, in fact, prior to the surgery and after it. She’s a compelling character, and the story promises to be a thrilling ride.

Dominik Zine