• The Spirit (January 19, 1941) “Pancho de Bool and Peppi Tamale”

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    Eisner wastes no time getting this strip started—the first panel has Commissioner Dolan asking daughter Ellen what ever happened with her former beau, Homer Creep (né Creap). She hasn’t seen him since he was last in the strip, getting some loving attention from a nurse after Ellen threw him over for the Spirit; she never wants to see him again.

    So, of course, he knocks on the door with a wife in tow, one Peppi Tamale. Eisner and studio are introducing Cubans this strip, which—outside making fun of the accent—doesn’t require much buckling up.

    Homer and Peppi got married in Havana and are now on the run from her murderous thug brother, Pancho the Bull (spelled Bool because accents are funny). Pancho is on his way to Central City to find the man who’s run off with his sister.

    Hearing all this drama, Commissioner Dolan orders police protection for his house (Peppi’s going to stay with them until things blow over). The Spirit (and Ebony) hear that order on the police scanner and, thinking Ellen’s in danger—despite telling Ebony she’s a “silly” and not a love interest—Spirit zooms to her rescue.

    At the same time, the gangs in Central City are running up against Pancho and his men. And losing. So they all plan to band together and take out Pancho, except the cops know they’re planning on banding together. Dolan’s able to counter their attempted attack properly.

    Meanwhile, things at the Dolan house get complicated when Ellen pretends she’s the one in danger to get the Spirit to swoon over her—Ellen and Peppi sadly don’t pass Bechdel, but it’s nice for Ellen to have a pal for once. Except then one of the gangsters comes to the house, actually looking for Ellen as retribution for Dolan launching the counterattack on the gangs. And Ebony may not know what he’s looking for when standing guard for Pancho.

    There’s a lot of iffy sight gags for the finale (Eisner’s got a bit lined up for Pancho, not racial; the strip thinking the accent’s a laugh riot doesn’t help the bit), but also some absolutely beautiful action pages, as well as just great narrative building. It’s the first strip of the year to flex, albeit in some problematic ways. It also gives Dolan a full arc separate from his Spirit jealousy, which is nice. Well, maybe not for Dolan. The last page’s a lot of fun.

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  • All-Star Comics (1976) #68

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    Writer Paul Levitz makes a twelfth-level intelligence move with this issue; it’s not a great script—Wildcat’s “docks” accent is forever obnoxious—and the stakes are haywire, but the reveal is about the only way All-Star could move forward.

    Psycho-Pirate has been micro-dosing the Justice Society with negativity for ages. How long? Long enough to cover all their jerk moves in All-Star, which started in the first issue with the sexism? Don’t ask, just be glad it’s getting resolved. Presumably.

    And, at first, it doesn’t seem like they’re resolving anything. The heroes get back home from last issue and start bickering with Dr. Fate, who’s got no time for their malarkey. Power Girl then reminds them they’re supposed to act like teammates, and Flash whinges about it. Luckily, Fate’s got a mission to interrupt them–stopping Green Lantern from destroying the Gotham International Airport.

    Lantern’s destroying the airport in an attempt to extort money from the city, which hasn’t done enough to appreciate him as a superhero over the years. The big team fight reveals Psycho-Pirate as the real villain, and he and Green Lantern escape to parts unknown.

    After another team member defects to the other side, the good guys figure out where they’re hiding and mount an offensive.

    The subplot for the issue is Dick Grayson and Hourman getting back to Gotham City and meeting up with Police Commissioner Bruce Wayne, whose fears about Green Lantern breaking bad now seem founded. Of course, Wayne’s on a righteous crusade, and he may be blinded to the truth (hopefully it won’t turn good men cruel). If he’s even willing to listen. All-Star frequently hinges on this team of superheroes refusing to communicate with one another; maybe it’s just the way Earth Two works.

    The way Levitz has gotten the comic working has been fairly simple—if this issue does prove a turning point, anyway–because the whole thing hinges on Dr. Fate, who doesn’t have the most personality. But then no one has personality, except general sexism on the part of the boys, with some dismissiveness of the youth thrown in for good measure. Power Girl and Fate “lead” the team and feature into most of the action—one forgets Star-Spangled Kid is even there—but they’re not the leads of the story. The characters have lost their personal stakes, which allows Levitz to make every issue a good jumping on (or off) point.

    Even if the actual content of the comic, good storytelling mechanics aside, is still fifty-something white guys yelling at those damned kids, while always being proven wrong.

    Also this issue, throw in penciller Joe Staton committing to showcasing Power Girl’s… ahem… physique more. Except only in action scenes where she’s just taken a hit. Because there’s always got to be something else off; Staton and inker Bob Layton don’t bring much, but they do make one forget Wally Wood was ever on this book.

    Still—thanks to Levitz—the book seems poised for a not negative turn. Fingers crossed.

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  • The Spirit (January 12, 1941) “The Silk District Beat”

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    The strip’s a simple outing—Spirit helps young copper Dan Gorman, who runs afoul of the hoods on his new beat. There’s a great action sequence with the Spirit and Dan knocking heads; lots of great movement. Otherwise, the most interesting thing about Silk District is how little the Spirit’s in it.

    He’s around a bit more than he’s active—in one of his disguises (this one much better than his previous efforts, which usually just had him putting on a pair of glasses)—but Eisner takes a more global view of the story. It opens with Dan and his mom, Mom full of pride, and a local thug showing up to pay him off.

    From there, the strip shows the hoods framing Dan to get away with their latest robbery, leading to his immediate dismissal, and the Spirit interceding because he witnessed the frame-up.

    In order to be a witness (including showing up at the police station to give a witness statement), Spirit had to be hanging around the Silk District. Why didn’t he just foil the robbery or track the robbers himself? Very unclear. Other than there needed to be a “help your neighbor” message to the strip.

    While Spirit and Dan are planning to apprehend the robbers and clear Dan’s name, Commissioner Dolan is contending with the shady Squire Sampson. Sampson’s a recurring character, the legit front for numerous rackets around Central City; Dolan can’t prove anything, however, so he has to put up with it. Spirit, on the other hand, takes multiple opportunities to manipulate Sampson—positioning the strip’s narrative dominos.

    The Sampson angle adds approximately a page to the strip, which struggles to make it to the eight pages (minus one for the lovely, spoiler-y splash page). The final page of the strip has a “ladies will talk” trope, and then Spirit providing a brief recap of his adventure to Ebony. There’s also a lot of rumbling from Dolan about how he’s just got to solve the case before the Spirit.

    All very solid, with nothing distinct about it. Maybe the Spirit’s disguise is supposed to be doing more. The disguise does have certain elaborate aspects to it—and they make the Spirit uncomfortable—but they never figure into the narrative.

    Again, at least it’s not just a pair of spectacles.

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  • Briefly, TV (3 September 2025)

    Alien: Earth (2025) s01e04 “Observation” D: Ugla Hauksdóttir. S: Sydney Chandler, Alex Lawther, Essie Davis, Samuel Blenkin, Babou Ceesay, Adarsh Gourav, Timothy Olyphant. Strong comeback kicks off the science, espionage, manipulation, deceit, and danger arcs, all entwined and engaging. It also reveals it doesn’t matter if Lawther can’t deliver: Chandler, Olyphant, and Davis are giving the only real performances. Everyone else is tediously mid. It’s fine as long as the one of the trio’s there, however. EARTH’s Michael Crichton’s ALIENS, but sure.

    Alien: Earth (2025) s01e05 “In Space, No One…” D: Noah Hawley. S: Babou Ceesay. Hawley’s back directing (and writing) with a breathtaking homage to the 1979 ALIEN, albeit far more STAR WARS-aware than the original. It’s also Ceesay’s profile episode; we find out his tragic backstory, which has multiple reveals, as the flashback reveals what happened aboard the crashing ship before it crashes. Very smart, very well-directed, very safe.

    All Creatures Great & Small (2020) s05e02 “Holding the Baby” [2024] D: Brian Percival. S: Nicholas Ralph, Samuel West, Anna Madeley, Rachel Shenton, James Anthony-Rose, Imogen Clawson, Tony Pitts. Everyone gets something to do–Ralph tries to learn how to be a dad while on a vet call (with Anthony-Rose along), Shenton and sister Clawson catch up (with dad Pitts about), and West and Madeley run into complications with her Home Guard supervisor, guest star Jeremy Swift. Shenton’s arc’s maybe the best, but they’re all real good.

    All Creatures Great & Small (2020) s05e03 “Homecoming” [2024] D: Stewart Svaasand. S: Nicholas Ralph, Samuel West, Anna Madeley, Rachel Shenton, Callum Woodhouse, Imogen Clawson, Tony Pitts. The show has to resolve one of its great unresolved plot threads, and does so with aplomb. Amidst that additional chaos, the household is already preparing for Ralph and Shenton’s baby’s christening, which has brought family in town. Shenton and mother-in-law Gabriel Quigley have an awkward time together. Plus a couple fun, gentle veterinary cases.

    All Creatures Great & Small (2020) s05e04 “Uninvited Guests” [2024] D: Stewart Svaasand. S: Nicholas Ralph, Samuel West, Anna Madeley, Rachel Shenton, Callum Woodhouse, James Anthony-Rose, Patricia Hodge. Woodhouse is trying to adjust to being back home and isn’t particularly pleased brother West is indifferent to his discomfort sharing his room with Anthony-Rose. But, first, snake-hunting. Meanwhile, Ralph’s having his own adjustment as people keep asking about his medical discharge. Great episode for Woodhouse. Hodge also figures in with a nice arc. Excellent episode.

    My Life Is Murder (2019) s05e04 “Top Two Inches” [2025] D: . S: Lucy Lawless, Ebony Vagulans. Awesome–season best, in the series best–episode has Lawless and Vagulans crashing a trivia night for the Auckland elite. The intrigue plays out not quite real-time but tightly consecutively, involves a returning pest (Benedict Wall), and gives guest star Marta Dusseldorp an excellent part. Especially when opposite Lawless. Great performances all around. The format really works.

    My Life Is Murder (2019) s05e05 “Thirteen O’Clock” [2025] D: . S: Lucy Lawless, Ebony Vagulans. Very fun, often cute episode has Lawless and Vagulans investigating a mysterious death at a mysterious party at a toy maker’s mysterious mansion. The investigation is all about unraveling an unrelated secret, so there are lots of hijinks. There’s also a creepy doll, a romantic subplot for Vagulans, and… well, not much else. It’s briskly and assuredly executed.

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  • All-Star Comics (1976) #67

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    For this issue of “your favorite Golden Age superheroes hate working with each other and helping people in general,” the bickering is once again the main plot. The story opens with Power Girl trying to convince Wildcat and Star-Spangled Kid to investigate a giant hole in the Earth where the supervillains were suspiciously hanging out. The subterranean creatures who come out of the hole and attack the heroes convinces Star-Spangled Kid he doesn’t want to investigate.

    Power Girl has to knock him out to get him to go quietly. He had been arguing for going into the giant hole because he thought Wildcat was just being an old sexist during that first argument (of three or four throughout) with Power Girl. What changed Kid’s mind? Apparently, there definitely being bad guys in the hole. It’s unclear. The issue occasionally feels like writer Paul Levitz can’t keep track of the heroes’ petty grievances, which makes sense. The bickering never leads to anything, even when it’s potentially deadly.

    But before that level of bad teamwork, there’s Bruce Wayne’s plot line. He’s now the Gotham City Police Commissioner, and he’s got city leaders upset Green Lantern is having hissy fits and causing property damage. Wayne’s conservative in his plans, cautious. He assumes bringing in Golden Age superhero Green Lantern for police questioning will lead to Green Lantern killing police officers to avoid capture. How chill.

    Robin sends Wayne a telegram about how all the Justice Society members are acting like a bunch of jerks, which just confirms Wayne’s suspicions. Of the heroes being jerks and bad teammates. There’s no higher drama.

    Back in the main story, Power Girl activates her distress beacon, calling the team away from a nosy Robin and their latest hospitalized teammate. Flash, Hawkman, and Doctor Fate go down to help, but then Doctor Fate leaves immediately upon arrival. Presumably, Fate knew the “Middle Earth” adventure was less important than him going to visit Commissioner Wayne and telling Wayne to relax. Wayne’s internal turmoil over his friends being a bunch of jerks is unsettling the cosmic balance.

    Once the team meets up, Flash and Hawkman decide they’re not going to help Power Girl, after all. They don’t think going into the hole to investigate the supervillains was a good idea. So she can just go get killed to learn her lesson.

    Things do get to a more positive resolution, but only because Levitz manages to make Power Girl wrong in her reckless behavior despite being the only responsible adult. He doesn’t write anyone chastising her for that behavior, at least, which is a not insignificant win for this strange comic book about quinquagenarian misanthropes.

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