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All-Star Comics (1976) #66
Paul Levitz (script)
Joe Staton (pencils)
Bob Layton (inks)
Elizabeth Safian (colors)
Joe Orlando (editor)
If I take back the things I said about Wally Wood being mid last issue, can he come back retroactively and save me from Joe Staton and Bob Layton? We can keep Paul Levitz finding his sexism towards Power Girl and embracing it: turns out he needed Star-Spangled Kid to creep on her like a lech.
But Levitz does get a couple points for Earth-Two (maybe not when Gerry Conway was writing the book, incidentally) no longer having an apartheid South Africa. The exposition also mentions superheroes started on Earth-Two in the forties, not the fifties; maybe the extra ten years ground out the fascist, racist trash.
Anyway. Back to Joe Staton and Bob Layton. Staton’s figures are often bewildering, and Layton inks into the “curve.” There are a handful of okay close-ups, including Bruce Wayne (who seems to be a character Levitz might actually want to write; time will tell), but the bodies—and especially the extremities—are bad; real bad.
Levitz opens the issue in a flash-forward so he can wrap up the cliffhanger from last time (no Shining Knight, again; his agent obviously told him to stay away from All-Star Comics), which basically means Superman going off on his own so he won’t just save the day. Before Superman leaves, Power Girl is not nice enough to him, and she regrets it. However, she does not regret whining there are too many male heroes for her to compete with.
These character moments are nowhere near the most unpleasant. Star-Spangled Kid gropes her and gets away with it, then at one point pervs on her instead of saving Wildcat. It’s a lot. Especially since Kid’s in the silly power belt (and also, the colorist at one point gives him white outside undies), he’s just a creep—and Levitz’s lead character on that plot line.
The story has the JSA trying to save Hourman and Wildcat; the reunited Injustice Society has captured them. Injustice Society’s been after the heroes for a few issues now, starting during Conway’s tenure, and one has to wonder if their motivations were always the same. Levitz hasn’t got a lot of time for them. They’re disposable, easy-to-defeat villains, especially once Dr. Fate comes back.
Levitz also seems to like writing Dr. Fate, who he characterizes as taking over the human host with no concern for its well-being, even having Mrs. Dr. Fate plead with Fate not to leave. It’s an all-right bit.
All things considered.
The ending sets up (adult) Robin coming back into the book–maybe—while Power Girl, Kid, and Wildcat (the book’s most obnoxious grouping, presumably worse now) going on an adventure together.
Swell.
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The Spirit (December 29, 1940) “The Leader”
Will Eisner (editor, script, pencils, inks)
Joe Kubert (colors)
Sam Rosen (letters)
The Spirit gets his first mission as a special government agent: identifying enemy powers’ fuel depots on the Mexican coastline. The military doesn’t want to let the Mexican government know about it because then they’d want to investigate and they don’t want to investigate themselves because gunboats will scare off the other bad guys. So they send the Spirit, who meticulously plots his jump point from the military plane, but fails to expect armed sentries.
By this time in the war, Italy had joined on the Axis side. Eisner and studio had plenty of possible ways to go with the enemy forces. They went with “Nargoff,” which is neither German nor Italian. According to the Internet, it’s either Norwegian or Jewish. And Germany had been occupying Norway for months at this point. Maybe he’s Norwegian; Nargoff, the enemy leader.
He’s also an author, who’s written a book about world politics with gems about larger countries having the right by size to take smaller ones. Spirit helps Nargoff understand that system on a personal level later in the strip.
First, Spirit’s got to disrupt the submarine fuelingS station, which he’s able to do rather conveniently because it’s made out of wood—and wood burns.
The strip goes through three distinct sets of stakes in its eight pages. The Spirit’s got to investigate and resolve the possible fueling station. Then the stakes move to Nargoff having to survive that resolution. And then there’s Nargoff having to survive, well, the Spirit.
When the Spirit’s adversaries die, they rarely do so with the Spirit directly involved. In many cases, he may not even be present. And he generally turns the crooks in alive. So despite the lively, colorful art—lots of blues—and the energy to the action, the strip’s third act is dark. The Spirit’s solution for the situation is just a little unexpected given his… amiable vibe.
But, it’s not wrong about how you deal with fascists.
The strip’s got lumps and bumps; also, some rather solid moments. Spirit’s first mission as agent could’ve gone a lot worse.
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The Spirit (December 22, 1940) “Christmas Spirit of 1940: Black Henry and Simple Simon”
Will Eisner (editor, script, pencils, inks)
Joe Kubert (colors)
Sam Rosen (letters)
For Christmas, the strip does a story without the Spirit. He shows up in the bookends; at the beginning—with some lovely art—Spirit and Ebony discuss Christmas plans. Ebony had been expecting Spirit to go after some known crooks, but instead, Spirit’s going to leave it up to the “Spirit of Christmas.”
The action cuts to those known crooks, who’ve decided to rob a bank. It’s Christmas Eve, people are busy, and the bank’s just gotten a ten thousand dollar deposit (from the Spirit, actually); perfect night for a heist.
They even dress up as Santas to pull it in the holiday spirit.
The robbery itself goes swell, but when the crooked Saint Nicks are on their way out of town, they slow to listen to the tranquil sound of Christmas carols from a nearby church. Worse, the kindly priest comes out and invites them in—after all, they’ve spent their whole day working with the needy or whatnot.
After some consternation, the crooks agree to attend, and get a dose of the true meaning of Christmas. In addition to the church having a peaceful vibe, their fellow attendees show them kindness, which softens our crooked Santas a little. They just get softer when they hear the money they stole was going to get needy orphans their first ever Christmas presents (and Christmas dinners).
The crooked Krises Kringle scurry out, the guilt too much.
Their individual (and, eventually, joint) resolutions will get the strip to its appropriate Christmas vibes, with the Spirit and friends returning for the finish. They’re still not involved in the case—they’re just reading about it in the paper on Christmas morning. It’s interesting to see who makes the regular cast at the Dolan house—Dolan, Ellen, Spirit, Ebony, and Finnegan, one of Dolan’s coppers (who I’m pretty sure at least once tried to railroad Spirit). However, Finnegan’s just there as a gag, not participating in the revelry.
It’s a good strip. Lots of dotty inking but not too severe. Little cloying but it’s Christmas, after all. It’s the time of miracles. And spirits.
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The Spirit (December 15, 1940) “Slim Pickens”
Will Eisner (editor, script, pencils, inks)
Joe Kubert (colors)
Sam Rosen (letters)
This strip’s an incredibly (and intentionally) didactic tale. A young prisoner is about to be paroled and plans on joining the Slim Pickens gang. But just before his parole, wouldn’t you know it, he’s got a new cellmate… Slim Pickens.
Pickens regrets his successful life of crime. To convince the kid crime doesn’t pay, he gives his life story, starting with robbing a grocery warehouse and selling the produce on the street. That robbery includes killing the grocery store owner (who Slim worked for), which proves rather crucial later in Slim’s tale.
Then we get a recounting of Slim’s rise to power. Whenever he finds someone in his way, he just knocks them off and keeps knocking them off until he’s a-number one. Commissioner Dolan, the Mayor, and the Spirit are the only people he can’t bribe or kill.
When the Spirit finally comes knocking, looking for evidence to lock up Slim, everything starts going wrong. Not for the reader, who gets the treat of Spirit taking out Slim’s entire office of thugs in a beautifully rendered sequence. This strip’s got a bit too much of the dotty inks (with some very nice line work, too), but that page where the Spirit two-fists his way through the gangsters is sublime.
Minus some occasional Spirit observations, the strip sticks with Slim. We don’t follow the Spirit chasing him, but Slim running from the Spirit. He finds himself in an utterly contrived situation, and it convinces him he should’ve just stayed straight and not become a crook.
After Slim finishes telling his story, the postscript drives home the “crime doesn’t pay” message, just in case any readers missed it the other three times.
It’s a decent enough strip. The didacticism isn’t a surprise (or even particularly cloying) and the way Eisner constructs the narrative, the various reveals work well enough.
The dotty inking hurts some pages worse than others, but never enough to drag it down.
Spirit’s found a very reasonable minimum level. Even when the story’s a little simple, there’s always enough creativity in the art—if not the narrative—to keep things running well enough.
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Briefly, TV (25 August 2025)
Alien: Earth (2025) s01e01 “Neverland” D: Noah Hawley. S: Sydney Chandler, Alex Lawther, Essie Davis, Samuel Blenkin, Babou Ceesay, Adarsh Gourav, Timothy Olyphant. The ALIEN franchise gets a Disney-fied horror, action, sci-fi Prestige Format television show, set just before the first movie. Creator, teleplay writer, and showrunner and (this episode’s) director Hawley’s take is homage-heavy, but all very thoughtfully done. There are a handful of plotlines (and characters for each), which will inevitably congeal as the season progresses.
Alien: Earth (2025) s01e02 “Mr. October” D: Dana Gonzales. S: Sydney Chandler, Alex Lawther, Essie Davis, Samuel Blenkin, Babou Ceesay, Adarsh Gourav, Timothy Olyphant. Not many surprises–until cliffhanger’s “ALIEN monster acts differently than ever before”–but solidly okay. The acting helps–Chandler and Olyphant are outstanding as the main synthetics, while writer Noah Hawley hovers between deft (the main cast isn’t ALIEN food) and safe (Hawley’s very deliberately focusing the audience’s concern). But is it much ado about nothing?
Alien: Earth (2025) s01e03 “Metamorphosis” D: Dana Gonzales. S: Sydney Chandler, Alex Lawther, Essie Davis, Samuel Blenkin, Babou Ceesay, Adarsh Gourav, Timothy Olyphant. After resolving the cliffhanger (with more new ALIEN behavior), the episode deemphasizes Chandler and wanders amongst the characters, recovering from their adventure. On one hand, Lawther is also deemphasized and he’s–politely–ineffectual. Impolitely, he might crash the show with his performance. Olyphant’s great. It seems early for a bridging episode, especially such an inert one. Where’s the show?
All Creatures Great & Small (2020) s05e01 “To All Our Boys” [2024] D: Brian Percival. S: Nicholas Ralph, Samuel West, Anna Madeley, Rachel Shenton, James Anthony-Rose, Patricia Hodge. The war’s still on, but things at home are finding a new normal, especially with a baby and a baby vet around. Meanwhile, Ralph’s adventures are either stranger than fiction or just very well-threaded fiction. Madeley’s subplot about getting more involved with the war effort–and her identity as a (war not animal) vet–is outstanding stuff.
The Gilded Age (2022) s03e05 “A Different World” [2025] D: Deborah Kampmeier. S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. Lots happens–presumably setting up the second half of the season–with Spector’s business dealings getting rockier, Farmiga’s introduction to England flopping, and Benton making an unpleasant re-acquaintance. Richardson also gets a bunch, and various supporting cast members check in for the subplots. It’s good stuff, but the finish leaves Coon in an all-too-easy villain position.
The Gilded Age (2022) s03e06 “If You Want to Cook an Omelette” [2025] D: Deborah Kampmeier. S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. Inordinately soapy episode–almost all the subplots have an element, except Coon’s trip to England to support Farmiga. That subplot works out fantastic thanks to the acting and Coon not having a villainous demeanor. Lots of commotion for Jacobson and Benton; we’ll see on the Jacobson story, but the Benton one already delivers. Good episode for Nixon, in particular.
The Gilded Age (2022) s03e07 “Ex-Communicated” [2025] D: Salli Richardson-Whitfield. S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. Excellent episode puts all the soap to good effect, with various storylines getting new developments with some big surprises. Great episode for most of the cast, in particular Coon, Nixon, and Jacobson. Blake Ritson gets more showcasing than usual (to excellent effect) before disappearing from the very busy second half. Great direction from Richardson-Whitfield, as usual.
The Gilded Age (2022) s03e08 “My Mind Is Made Up” [2025] D: Salli Richardson-Whitfield. S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. Great season finale resolves a bunch of season threads (and themes) while setting the table for a rather eventful nest season. Baranski finally gets some growth instead of gags, Benton’s got a phenomenal episode, Coon and Spector, too. It keeps the soap suds but they’ve got all sorts of heft. And the gowns are, of course, spectacular.
My Life Is Murder (2019) s05e01 “Gimme An M” [2025] D: . S: Lucy Lawless, Ebony Vagulans, Dean O’Gorman, Iana Grace, Eden Hart, Sally Stockwell, Evander Brown. Lawless and Vagulans are back and investigating the death of a fitness influencer and how his cheerleader girlfriend figures in. Over enthusiastic (character not performance, performance is delightful) Louise Jiang’s cheerleader teammate is trying to undercover the truth. It’s mostly Lawless irritating the suspects, without a lot of outside activity. But great locations and solidly engaging as ever.
My Life Is Murder (2019) s05e02 “Catfish” [2025] D: . S: Lucy Lawless, Ebony Vagulans, Martin Henderson, Jackson Gallagher, Yvie Harvie-Salter, Mike Edward, Xana Tang. Complicated solution to a dead aquarium manager (who ended up in one of the tanks), which includes Lawless considering romancing the prime suspect (studly marine biologist Edward). Martin Henderson’s back–and down on his luck, as usual–as Lawless’s brother, setting up his season arc. Lots of fun with the investigation, too, both surf and turf.
My Life Is Murder (2019) s05e03 “For The Love of Dog” [2025] D: . S: Lucy Lawless, Ebony Vagulans. This episode’s mystery is so complicated Lawless even comments on it. It starts being about dogs, then is about a millionaire dating club, then ends as combination of the two. Vagulans gets a strange arc (as much as anyone gets an arc). It’s okay enough, but the pay-off’s not worth the (intentionally) convoluted trek.
Resident Alien (2021) s04e08 “Mine Town” [2025] D: Nastaran Dibai. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. All sorts of plot threads tie together as various revelations have repercussions. Tudyk gets a scene with pretty much everyone, usually to outstanding effect. Good episode for Tomko and Wetterlund, too, but–again–it’d help to lean harder on a Capracorn angle. Oh, and a great episode for Reynolds, who gets a new partner (of sorts).
Resident Alien (2021) s04e09 “Tunnel Vision” [2025] D: Robert Duncan McNeill. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Superb penultimate episode opens with a large set piece conclusion to last episode’s cliffhanger, then reveals this episode’s stakes, which do increase as things progress. McNeill’s direction’s absurdly good, letting the episode get away with gravitas from performances deservedly and not. Gary Farmer’s got a phenomenal showcase. Everything’s beautifully set for next time and the grand finale. Cool.
Resident Alien (2021) s04e10 “The End Is Here” [2025] D: Robert Duncan McNeill. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Okay (enough) series finale gins up a bunch of apparently easily resolvable, somewhat deep-cut conflicts to get away from just doing a farewell episode. But Tudyk and Tomko are both planning on leaving, so there definitely could’ve been more goodbyes than red herrings. Reynolds’s send-off is particularly pat. It doesn’t flop, but doesn’t do much either.