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The Spirit (October 6, 1940) “The Mastermind Strikes”
Will Eisner (editor, script, pencils, inks)
Joe Kubert (colors)
Sam Rosen (letters)
The Spirit tries—very gently—a “whodunit,” with the reader getting as much information as Spirit or the cops; more, actually. The whodunit aspect seems half-baked, similar to the rest of the strip. While The Mastermind avoids any of Spirit’s problematic pitfalls, it’s also barely a story.
The strip opens with a mayoral candidate’s aide dying by poison gas, which the coroner can’t figure out. When the candidate visits Dolan to demand action, the Spirit shows up and the candidate remembers Spirit’s wanted for that murder from months ago. The candidate demands Dolan arrest the Spirit, but obviously the Spirit escapes.
One more murder and then the “Mastermind” is after the Spirit too, hiring a kid to deliver a bomb to him. Spirit will enlist the kid’s help, intentionally putting him in harm’s way at one point, as he unravels the case. Except he’s just operating off that early clue the reader also got, so it’s not a lot of unraveling.
The last few pages have the Spirit getting in a fight with the villain. Lots of empty backgrounds as they punch it out. Even the finish is slight, with Eisner and studio wrapping the whole thing in the last couple panels, including the villain’s motives. Given the strip starts promising a “Mastermind”—standing over a pile of skulls on the splash page—having the villain not just be a done-in-one, but also be far from devious and really just in possession of explosives and poisons the cops can’t identify.
There are some nice establishing shot panels of the city—long shots with good angles and nice line work. The action at the end is fine; it just dawdles through action and hurries through the exposition.
Even as the least impressive of Spirit so far, it’s still rock solid work, technically speaking. Eisner just seems like he’s run out of things to try this one.
Outside that gorgeous splash page, of course.
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All-Star Comics (1976) #61
Gerry Conway (editor, script)
Keith Giffen (layouts)
Wally Wood (pencils, inks)
Al Sirois (inks)
Carl Gafford (colors)
Ben Oda (letters)
Paul Levitz (assistant editor)
Writer Gerry Conway likes deus ex machinas so much, he flies one in on a spaceship for this issue. The issue’s got multiple comes and goings, like there was only so much time each hero got in each subplot. For instance, when the deus ex machina lands, the only superhero going to intercept is Power Girl, ducking out on another scene.
She ducked out just after Mrs. The Flash came to the burned up headquarters from last issue and told Jay it’s time to come home because he’s not young anymore. It’s very strange. Especially since other heroes then arrive to bring the numbers back up.
The majority of the issue involves the JSA trying to take down Vulcan, having discovered he’s the rogue astronaut gone mad with power. Or maybe he went mad first; doesn’t end up mattering. Conway must’ve decided even though the All-Star heroes are a bit squarer than their Earth-One counterparts, the comic’s going to get unexpectedly and unnecessarily dark from time to time.
There’s oddly more internal griping from Green Lantern this issue, too. It’s like Conway’s got his various character personality bits to get in—Star-Spangled Kid going on about his cosmic rod, Wildcat being a shallow bully, Power Girl (usually accurately) finding misogyny everywhere. Alan Scott, the Green Lantern, is a petulant man-child narcissist who cannot stop thinking about himself. Even when Dr. Fate runs into trouble, Green Lantern centers himself entirely in the panic.
There’s some setup for next issue with Hawkman’s alter ego’s museum-related subplot. And Dr. Mid-Nite shows up to do some doctoring, but also do be the only one with x-ray (close enough) vision. Conway’s got everything very neatly arranged, even if all the details are bland.
Power Girl does get a relatively decent solo mission intercepting the spaceship and its pilot. There’s a multi-page punch-out with penciller Keith Giffen doing some elaborate page layouts. Wally Wood keeps up on the finished art, of course, but when Giffen actually gets to do a busy, creative page, it works out.
It’s not a particularly compelling read, however. Giffen’s few pages of Power Girl versus space invader, which has panels ranging from the most sci-fi superhero comic fight to a journey through the mind, are very welcome. Except there’s no pay-off because the timer’s gone off, and Conway’s ready for the next batch of characters.
Despite saving the planet every other issue, the book doesn’t seem at all necessary.
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The Spirit (September 29, 1940) “Oriental Agents”
Will Eisner (editor, script, pencils, inks)
Joe Kubert (colors)
Sam Rosen (letters)
Despite the (already) ominous title, Oriental Agents’ main cringe-factor doesn’t involve the titular spies. Instead, wow, does The Spirit think very little of Ellen Dolan, and in general, the female of the species.
The strip begins with Ellen dumping Homer Creep (née Creap) because he’s not the Spirit. Homer goes off and gets drunk, gets picked up by a spy, and kidnapped. Ellen’s mortified at the thought of him… finding another woman. Just because she doesn’t want him doesn’t mean she wants some other girl having him.
This generally gross vibe continues throughout the strip, whether when Ellen tries to tag along with the Spirit to investigate or when she gets to the resolution and finds no one cares about her feminine wiles.
The spies—from the “Asiatic Embassy”—kidnapped Homer to hypnotize him and get him to kill an industrialist. Despite them being the title characters, until the Spirit arrives at their lair—a remote castle—they’re barely around. Most of the time is spent with Ellen, Homer, or the Spirit. Dolan’s got a little time fretting over Ellen’s romantic decisions and expositing about Homer being a murderer (he’s not the first guy they’ve hypnotized into murder). Ebony’s also around for a few panels; he was out doing investigating for the Spirit, who isn’t as disinterested in the case as he conveys to Ellen. He just doesn’t want to be cleaning up her love life.
Once it’s clear their cases are entwined, Spirit will relent and take Ellen along in his pursuit. That pursuit will involve the Spirit putting on a disguise. The disguise is on his face: muss to make him look old and a ruffled hat. Otherwise he does not change his blue suit. No one can recognize him with that face makeup, despite him wearing the same suit as the scene before.
It’s an okay strip, certainly the least in a while. While the Oriental aspects of the story seem like they should be in the spotlight, they’re very mild. Ellen being an unlikable, shallow harpy, however, is a problem. Especially since the strip itself seems to dislike her.
Big “he-man woman haters club” energy here.
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Briefly, TV (23 July 2025)
The Gilded Age (2022) s03e02 “What the Papers Say” [2025] D: Deborah Kampmeier. S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. Thanks to some semi-twists, fantastic acting (Baranski gets to flex), and a killer cliffhanger, the episode distracts from the fast resolutions to outstanding plot threads. The continuing ones seem fine–including setting up Coon for a big season, even though she’s been queenmaking behind the scenes until now–but AGE is finite. Exceptionally good gowns this episode, too.
The Gilded Age (2022) s03e03 “Love Is Never Easy” [2025] D: . S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. Lots of great soapy scenes distract from the wheel spinning as far as plot arcs are concerned. Most of the first act’s conflicts are completely resolved by the third–it’s still too soon (is it, though) to figure out Coon’s season arc or anyone’s; except maybe Benton’s. Her story–about classism affecting her potential love life–is the highlight.
The Gilded Age (2022) s03e04 “Marriage is a Gamble” [2025] D: . S: Carrie Coon, Morgan Spector, Louisa Jacobson, Denée Benton, Taissa Farmiga, Cynthia Nixon, Christine Baranski. It’s Farmiga’s wedding episode so it’s unfortunate she never gets centered. Lots of subplots perturb (or seeming resolve) and the show seems to be positioning Coon for a boring villain arc. Good acting, especially Benton and Baranski. It’ll probably all be fine but there’s too many perfunctory closures occurring at once.
Poker Face (2023) s02e10 “The Big Pump” [2025] D: Clea DuVall. S: Natasha Lyonne, Jason Ritter, Patti Harrison, Method Man, Natasha Leggero, Myra Lucretia Taylor, Laith Wallschleger. Guest star Ritter’s angry he’s not seeing enough fitness results and blames other guest star Method Man. Do they both have secrets worth dying for? Delightful performances–from everyone, particularly Method Man and Harrison as Lyonne’s sidekick–make up for a generally inert, way too easy mystery. However, Brooklyn’s the longest Lyonne’s been in a location; the bit’s ripening.
Poker Face (2023) s02e11 “Day of the Iguana” [2025] D: Ti West. S: Natasha Lyonne, Simon Helberg, Patti Harrison, Lili Taylor, Justin Theroux, Haley Joel Osment, Taylor Schilling. Harrison and Lyonne are buddies working a wedding where mysterious assassin Theroux is after groom Osment. Harrison thinks Theroux’s cute. Also Helberg’s back for another episode as Lyonne’s FBI body. Lots of intricate setup for very little unraveling, as it turns out it’ll all play into the season finale next episode. Really good performances (and good bits) carry it fine.
Poker Face (2023) s02e12 “The End of the Road” [2025] D: Natasha Lyonne. S: Natasha Lyonne, Rhea Perlman, Simon Helberg, Patti Harrison, Lili Taylor, Taylor Schilling, Adam Arkin. Season–or is that series–finale is simultaneously accomplished, predictable, and divine. Lyonne and Harrison are trying to find mob-boss-in-witness-protection Perlman so they can escape hit man Theroux. Meanwhile, FBI guy Helberg is trying to find them, too. Beautifully done (though there’s a big BTS question mark at the end), with fantastic performances. Big wow.
Resident Alien (2021) s04e04 “Truth Hurts” [2025] D: Brennan Shroff. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Tudyk spends most of his episode with returning guest star Edi Patterson, who he loves but finds revolting physically now because he’s just human. Will he or won’t he tell her? Meanwhile, Wetterlund can’t help getting the currently independent subplots closer together. Great episode for very funny Tudyk and Reynolds (who’s learning to love believing in aliens).
Resident Alien (2021) s04e05 “The Human Condition” [2025] D: Sydney Freeland. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Tudyk gets a lot of good material as he tries to figure out how to live as a human who used to be an alien, rather than an alien impersonating a human. Tomko’s got a lot going on (albeit reacting to everyone else). Reynolds, Bowen, Fiehler, Garretson all seem ready to combine plot threads. Great Jenna Lamia showcase, too.
Resident Alien (2021) s04e06 “Soul Providers” [2025] D: Sydney Freeland. S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Absurdly sappy episode–which should’ve gotten through as Capracorn–stumbles its way to a lovelily acted conclusion. Tudyk’s on trial at space court and discovers he’s got a soul; meanwhile, Wetterlund tries to find Tomko’s bank deposit, which she drunkenly lost. The episode keeps the laughs coming while going from syrupy to content warning to sincere. Bad directing, though.
Resident Alien (2021) s04e07 “Daddy Issues” [2025] D: . S: Alan Tudyk, Sara Tomko, Corey Reynolds, Alice Wetterlund, Levi Fiehler, Elizabeth Bowen, Meredith Garretson. Stephen Root guest stars as Tudyk’s alien dad in human form and brings the right energy. The part itself is a little thin. They argue and make faces. Good stuff. Meanwhile, the humans are all in crisis, mostly alien-related but also serious human drama. The show definitely seems to be setting up for a finish. A strong okay.
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Briefly, Movies (23 July 2025)
Adventure in Sahara (1938) D: D. Ross Lederman. S: Paul Kelly, C. Henry Gordon, Lorna Gray, Robert Fiske, Marc Lawrence, Dick Curtis, Stanley Brown. Solid enough quickie about American Kelly who up joins the French Legion. Abusive captain Gordon is terrorizing his troops–sometimes worse–and Kelly’s kid brother’s in his crosshairs. Nice production values, even if Lederman doesn’t bring much directing-wise. Kelly’s a sturdy lead, Gordon’s a great bastard; Gray’s good as the (unlikely) girlfriend. Way too short ending, though.
Allan Quatermain and the Lost City of Gold (1986) D: Gary Nelson. S: Richard Chamberlain, Sharon Stone, James Earl Jones, Henry Silva, Robert Donner, Martin Rabbett, Aileen Marson. Better looking sequel has Chamberlain and Stone teaming up with Jones (who skillfully avoids embarrassing himself) and Hopper (a New Jersey white man in brown face as an Indian con artist holy man) to find long lost brother Rabbett. And a LOST CITY OF GOLD. Layers and layers of racism and sexism. Including Stone disappearing for the third act.
Conan the Barbarian (1982) D: John Milius. S: Arnold Schwarzenegger, James Earl Jones, Max von Sydow, Sandahl Bergman, Cassandra Gava, Gerry Lopez, Mako. Overlong but well-mounted adaptation of the Robert E. Howard character. Jones kills Schwarzenegger’s parents, setting him on a lifelong revenge arc. Along the way he makes friends and enemies, with warrior woman Bergman his love interest. Milius’s direction quickly finds its limits and not having a lead who can deliver dialogue regularly hurts. Very good special effects, though.
Conan the Destroyer (1984) D: Richard Fleischer. S: Arnold Schwarzenegger, Grace Jones, Wilt Chamberlain, Mako, Tracey Walter, Sarah Douglas, Olivia d’Abo. Unnecessarily problematic sequel has Arnold escorting (yes, intentionally) Lolita princess d’Abo on a quest. Way too cartoony, with director Fleischer indifferent to the performances. The action has its moments, but the special effects disappoint. Jones and Mako give solid performances. No one else, though Arnold’s at least game. It’s just a silly production. Oh, and Walter’s godawful.
The Congress (2013) D: Ari Folman. S: Robin Wright, Harvey Keitel, Jon Hamm, Danny Huston, Paul Giamatti, Kodi Smit-McPhee, Sami Gayle. Despite some strong sequences and a fantastic performance from Wright (playing an alternate, Penn-less version of herself), this adaptation of a Stanislaw Lem novel sputters. Mainly because more than half the movie is (albeit nicely) animated, and Wright’s not a particularly distinct voice actor. Plus, it consistently and uncritically positions the ostensible protagonist, Wright, in the male gaze.
Cool Breeze (1972) D: Barry Pollack. S: Thalmus Rasulala, Judy Pace, Lincoln Kilpatrick, Sam Laws, Margaret Avery, Pam Grier, Paula Kelly. Blaxploitation (scripted and directed by white guy Pollack) adaptation of THE ASPHALT JUNGLE keeps the “criminals are scum” messaging and proceeds to make all the Black characters… criminals. And the racist cops are heroes. Despite those big yikes (and the rampant misogyny), there’s some excellent acting, and Andrew Davis’s photography is often strong. Bad directing and editing don’t help.
Fight or Flight (2025) D: James Madigan. S: Josh Hartnett, Charithra Chandran, Marko Zaror, JuJu Chan, Julian Kostov, Sanjeev Kohli, Katee Sackhoff. Perfectly serviceable ultra-violent action picture about disgraced Secret Service agent and certified badass Hartnett trying to apprehend an infamous global terrorist on a plane full of his enemies. Certain aspects (production and narrative) are a little cheap, but some great action. Hartnett and his flight attendant sidekick Chandran are solid; shadowy spy boss Sackhoff not so much.
Heist (2001) D: David Mamet. S: Gene Hackman, Danny DeVito, Delroy Lindo, Sam Rockwell, Rebecca Pidgeon, Ricky Jay, Patti LuPone. Mamet overdoes Mamet with Hackman as a master thief, Lindo as his right-hand, Jay as the funny man, and Pidgeon as the wife. He’s got to do one last job for DeVito, who throws nephew Rockwell into the mix. Far from the most original caper (or plot twists), but beautifully acted and produced. Hackman, Rockwell, and Lindo excel.
Hercules (1983) D: Luigi Cozzi. S: Lou Ferrigno, Sybil Danning, Brad Harris, Rossana Podestà, Ingrid Anderson, Mirella D’Angelo, William Berger. Cannon production of an Italian sword, sandals, and sorcery has dubbed Ferrigno as the mythical demigod, trying to save humanity from the gods. Bewilderingly imaginative in its combination of rip-offs and elaborate (and bad) special effects. The dubbing acting is mostly bad, but Ferrigno looks right and does well with his dialogue delivery faces. Danning’s especially trying, however.
Homefront (2013) D: Gary Fleder. S: Jason Statham, James Franco, Izabela Vidovic, Winona Ryder, Rachelle Lefevre, Kate Bosworth, Clancy Brown. Widower and ex-DEA badass Statham just wants to settle down in rural but scenic Louisiana and ride horses with daughter Vidovic. Except then she gets into it at school, pissing off meth head mamma bear Bosworth, who sics meth dealer brother Franco on Statham. Good Statham lead, righteous action, and some (manipulative) thrills. Ryder’s comically atrocious.
King Solomon’s Mines (1985) D: J. Lee Thompson. S: Richard Chamberlain, Sharon Stone, Herbert Lom, John Rhys-Davies, Ken Gampu, June Buthelezi, Sam Williams. Terrible colonizers’ adventure in Africa (yes, they still call it “darkest” in 1985) is packed with action but none of it’s good. Chamberlain’s version of camp is mostly just being a jackass. Stone’s his client; they’re trying to find her dad, but not her impressively consistently disappearing shorts. Rhys-Davies and Lom are the baddies. Embarrassing Jerry Goldsmith score.
KPop Demon Hunters (2025) D: Maggie Kang. S: Arden Cho, May Hong, Ji-young Yoo, Ahn Hyo-seop, Yunjin Kim, Ken Jeong, Lee Byung-hun. Beautifully animated supernatural action comedy musical about a K-pop group who are also hunting demons. The leader, Cho, has some secrets, which threaten the group and the fate of the known universe. Some solid laughs, great action, good songs, and likable performances. Ahn is particularly good as the bad boy (demon) who vexes Cho. Delightful stuff.
Mechanic: Resurrection (2016) D: Dennis Gansel. S: Jason Statham, Jessica Alba, Tommy Lee Jones, Michelle Yeoh, Sam Hazeldine, John Cenatiempo, Toby Eddington. Ostensible sequel has Statham doing a James Bond, John Wick, MACGYVER, HITMAN video game adaptation. He’s trying to stay out of the assassinating life but childhood enemy Hazeldine. Alba’s appealing as the love interest, Yeoh’s fun in a quick part. Jones is not. Okay for a violent but not bloody programmer, though the finale misfires.
Mickey 17 (2025) D: Bong Joon Ho. S: Robert Pattinson, Naomi Ackie, Steven Yeun, Mark Ruffalo, Toni Collette, Anamaria Vartolomei, Patsy Ferran. Supremely human sci-fi black comedy epic about “Expendable” Pattinson, who gets reprinted (cloned) with memories after he dies in one various dangerous situation (or experiment). He’s on a colony ship run by evangelical numbskull grifter Ruffalo and his devoted, psychotic wife Collette. Ackie’s Pattinson’s girl, but also the film’s action lead. Great performances. More singular work from Bong.
Minority Report (2002) D: Steven Spielberg. S: Tom Cruise, Samantha Morton, Colin Farrell, Max von Sydow, Lois Smith, Tim Blake Nelson, Peter Stormare. Frankly embarrassing Spielberg near future sci-fi outing has Cruise on the run for a murder he hasn’t (yet) committed. Spielberg bellyflops as a cyberpunk Hitchcock, somehow directing live action CGI composite stuff worse than pure CGI. Cruise’s barely okay, Farrell’s bad (but eventually gets a little traction). Lois Smith’s got an awesome cameo; Morton’s (as ever) phenomenal. Adapted from a Philip K. Dick short story and originally intended to be a TOTAL RECALL sequel, which would’ve been preferable.
Night Alarm (1934) D: Spencer Gordon Bennet. S: Bruce Cabot, Judith Allen, H.B. Warner, Sam Hardy, Betty Blythe, Tom Hanlon, Harry Holman. Low budget, occasionally amateurish quickie about reporter Cabot being stuck on the gardening beat when he really wants to track an arsonist. Allen’s the girl with a secret who wants his job. Hardy (reuniting with Cabot from KONG) is the editor; he’s great. Warner’s good as the pissy businessman, too. The fire fighting sequences are the highlights.
Poison for the Fairies (1986) D: Carlos Enrique Taboada. S: Ana Patricia Rojo, Elsa Maria Gutierrez. New girl Gutiérrez starts hanging out with troubled orphan Rojo, who’s decided she’d really like to be a witch. And if she’s got to bully Gutiérrez into helping her under threat of violence… well, we don’t know because writer-director Taboada avoids character development. Great performances, and Taboada has some moments, but the affected stylizing is too much.
Scarecrow (1973) D: Jerry Schatzberg. S: Gene Hackman, Al Pacino, Dorothy Tristan, Ann Wedgeworth, Richard Lynch, Eileen Brennan, Penelope Allen. Beautifully done character study of drifters (with a purpose) Hackman and Pacino. Hackman’s an ex-con with a dream, Pacino’s just out of the Navy with a kid he’s never met. They start in California and head east, running into various misadventures (usually caused by Hackman’s temper). Great performances, wondrous Vilmos Zsigmond photography. It’s a slow, rending burn.
Superman (2025) D: James Gunn. S: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Nathan Fillion, Skyler Gisondo, Pruitt Taylor Vince. Successfully crowd-pleasing start to writer-director Gunn’s DC movie universe hinges entirely on Corenswet’s winning performance as the Man of Steel. Gathegi’s also essential to hold up the non-Superman stuff, with Brosnahan just scrapping by as Lois. Hoult (eventually) does okay as Lex. Surprisingly good special effects, terrible flat characterization (though Gunn weaponizes against ladies). Awful music.
Trouble Man (1972) D: Ivan Dixon. S: Robert Hooks, William Smithers, Paul Winfield, Ralph Waite, Paula Kelly, Jeannie Bell, Julius Harris. Cool, tough, good guy (and master pool player) Hooks deals with racists, cops, and crooks as he tries to suss out his latest job gone wrong. Beautiful L.A. location shooting, a truly delightful supporting cast, and a nice hard-boiled plot–all surrounding Hooks’s confident, charismatic lead–helps TROUBLE deliver. Lots of great 1970s supporting actors show up throughout.