Deep, caring, and entirely sexless brotherly love are great things, and they happen all the time—both in the real world, and on film. Sherlock Holmes simply might not be the best place for finding that kind of platonic friendship.

That's awesome! Was it anything like what she ended up opting for?

And oddly, all of it makes the film dizzyingly erotic instead of cluttered or messy—I think it has a lot to do with the lighting. All the beautiful shit flying around reminds me of the scene in Hardy's Tess of the d'Urbervilles where there are moths and butterflies flying around in everyone's petticoats so that the…

Legend is shockingly good, and I'm embarrassed to say I didn't watch it until last year. It's very 80's fantasy in the same visual style as Labyrinth, but with so much glitter. Tom Cruise is indeed completely inoffensive, and Tim Curry is easily the most intimidating, amazing villain.

This was playing on repeat on my flight today. It looked, meh, okay. Has the pilot officially aired yet?

The problem here, as with a lot of the examples from Gail Simone's Women in Refrigerators is that the forms of trauma visited on female characters in comics are much more specifically gendered than those visited upon male super heroes. The question is not who "who has it worse?/who gets traumatized more often?" but…

Yes, and the chief example of self-abnegation in the Catholic context is the Virgin Mary—especially when we're talking about an icon involved with creative energies, as we are with Phoenix. Hence Phoenix/Dark Phoenix binary is all about the Madonna/Whore binary, as I said in my original post.

Sorry, I wasn't being very clear, and that probably did sound like a fairly glib remark.

Oh gods, the whole run from Chuck Austen was basically an extended "how not to write gender/sexuality in comics" lesson. Austen made Polaris textbook hysterical and pitted her against a Mary Sue he admitted was based on his own wife/mother (yes, both of them). Havok leaves Polaris for Mary Sue and is absolved of all…

I have renewed respect for Chris Claremont, but I also think it's a little too easy to give him the White Knight Award. Yes, he's had a sustained investment in creating multi-dimensional female characters, but he's also made some frequent gaffes on that front too—namely, all the Phoenix nonsense, which made for great…

"As people across the United States debate the appropriate roll of government and money in our lives, Escape From Terra's anarcho-capitalist philosophy is sure to be a controversial one."

It's embarrassing to admit, but when anti-Fracking activism started up in my town, it was remarkably close to the BSG finale, and I earnestly thought the "Leave Us the Frack Alone" protest signs were in retaliation for folks' dissatisfaction with the finale.

I hereby dub this "Akiracebending."

To add to folks' suggestions for films that have already done this shtick (but without the Twilight me-tooism), I would highly recommend Bruce LaBruce's Otto; Or, Up With Dead People.

That is brilliant.

This is really an awesome, helpfully suggestive list overall, and I'm looking forward to seeing the films here that I've regrettably missed. But, as my one vocal objection I have to bemoan the inclusion of Signs.

He's had some low points for sure, although his early stuff for Generation X was gorgeous—check out this one of Jubes from #1. Still look like Piotr?

I'm on the fence about Wolverine & The X-Men for a lot of reasons, but Chris Bachalo art certainly isn't one of them. His work alone makes this new series worth trying out.

I hate to break it to everyone—especially in the context of an interview with someone involved in the production—but this show is all kinds of awful. It's basically a lot of melodrama rife with bad dialogue, nonsensical fight choreography (Cyclops fights a bunch of U-Men robots using a motorcycle with missiles because…

Good lord, it's so haughty—I feel like it must be judging me as ugly while strutting past at Ye Olde Gay Bar.