It’s highly unusual for the geek and nerd crowd to be gathering at the San Diego Convention Center with a nippy chill in the November morning air, but that is exactly what happened on Friday, Nov 26th, 2021.
Most of us didn’t think it was going to happen at all, never mind the fact that SDCC was insisting they’d somehow make it work, many of us had managed to purchase tickets, and programs were being put together, costumes prepared, plans made. The Covid pandemic is still a giant concern, and the good people at San Diego Comic-con were determined to accomplish two major challenges to a collective horde of eclectic folk – proof that all con-goers are vaccinated against Covid, and insisting every single last person mask it up. How to accomplish such a monumental task though?
The volunteers of Comic-con, the line-wranglers, the direction-givers, the staff with their thankless jobs, the celerity handlers, and definitely the security peoples, are never given enough credit, but this year, in particular, they all went above and beyond what could be asked of them. Regular people are suffering all sorts of varied exhaustions, but the volunteers of SDCC sat in open-air booths outside and checked ID after ID, all the vaccination cards, and dispensed the red wristbands that proved I had proven I was, indeed, vaccinated against Covid. For those who wanted to brave the thought of a vaxx reaction at the Con, there were even private booths where one could receive the vaccination. I and all the Con-goers were obligated to wear the red wristband every single day we went to SDCC, in point of fact, one cannot get into the convention center building AT ALL unless one is wearing both the Comic-con badge and the red wristband.
Many many Con folk gleefully wore matching masks to their costumes, or proudly displayed fashionable home-made ones (like I did), or sported the common hospital-like PPE mask that one can pick up pretty much anywhere now, and many of the Con staff could happily reach under the desk and toss a pre-packaged mask to a geek who didn’t have one. The matching masks for the Star Trek uniforms (complete with rank pips), or the part-of-the-cosplay shots of the likes of Mileena from Mortal Kombat, the functioning masks for guys from Borderlands, Star Wars, and all manner of other fashionable nerd-doms, was just another way for us to flaunt our fan-doms, and not a single person complained.
Honestly, we were all so very surprised to actually have Comic-con Special Edition come to fruition, and most of us are suffering exhaustion from the various issues that stem from all things Covid, so the thought of complaining wasn’t ever really raised, within my earshot at least. Everyone was SO (genuinely) polite and kind and civil to each other because everyone seemed to feel that tiny underlying threat that, perhaps if we don’t follow the rules made for our health and safety, we may not get another SD Comic-con at ALL.
The day commonly known in America as ‘Black Friday’, for its present shopping deals the day after Thanksgiving, spread the monetary insanity inside the convention hall’s regular exhibit area, with plenty of ‘Black Friday’ deals for all and sundry. Actually, it seemed as though many of the merchants had holiday shopping deals for their art or merch that went all weekend-long, never mind just Friday. The crowds that normally swarm and take over the entire Convention Center en masse were considerably smaller this time, reminding many of us of a time when we were much younger Comic-con attendees when it was smaller, more intimate, and definitely less commercial. SDCC Special Edition lacked the giant displays of the likes of Disney and WB, but also the horrendous lines that usually accompany such a flash. One could actually stretch one’s arms out completely and turn in a circle without hitting another person in the exhibit hall shopping area, and that hasn’t happened to me at regular Comic-Con in more than a decade of going.
All sorts of panels were put on, in a true Comic-Con manner, but it was strange for San Diego’s sun to set around 4:30-5 and there were still plenty of panels and SDCC-related con events happening. The chill in the air didn’t go away pretty much all day, which was a nice if odd circumstance. As the exhausted but giddy con-goers made their ways home or back to the hotel for the night, full to the brim of seriously-missed companionship and fellowship of their fellow humanoids (and aliens and magical creatures, yes yes, we’re all-inclusive here sorry), a tired-but-happy feeling pervaded the air. The magic, that sorely missed and needed feeling of being with one Tribe, one people, settled over a small part of the world and we, the geeks and nerds who will inherit the Earth, felt happy for the first time in almost two years.
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.
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