#marv channing
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"Essays Into The Supernatural: The Werewolf", Red Circle Sorcery #6, April 1974, written by Marv Channing, art by Gray Morrow
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Henry Hobson
Mad House #97: The Vampire Hunter
by Marvin Channing and Frank Thorne
Archie
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September 1974. For a brief period in the mid-1970s, Archie Comics branched out into "straight" horror comics under the Red Circle imprint, edited by Gray Morrow with consistently excellent art and decent (if often overly wordy) short horror stories. This story from MADHOUSE #95, drawn by Doug Wildey, features a British rock band called the Happy Dead, whose gimmick is pretending to be vampires. A girl named Linda has been following them around for a while, trying to convince her to let her try out for the band — which turns out rather differently than they expect. It's an entertaining twist, although it would probably work better if the band were more visually aligned with contemporary "shock rock" acts (e.g., Alice Cooper or KISS); Wildey draws them to look kind of like late-stage Beatles, which tends to obscure the satiric intent.
#comics#madhouse#archie comics#red circle#marv channing#doug wildey#gray morow#vampires#obviously the group's name is a grateful dead allusion#but there's nothing about them that otherwise suggests the dead#those feratu
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Marvel Two-in-One #35 (Wolfman/Chan, Jan 1978). Happy new year! A test flight flings Ben back in time to relocate Skull the Slayer, MIA for a couple years now…
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Justice for Brandon Routh: Everything Cut From Superman Returns that makes it Great
Ultimately it's good Superman Returns didn't get sequels because of Bryan Singer & Kevin Spacey, but I'm kinda obsessed with the forgotten middle-child of Supes' movies, and it's infuriating how the movie's thematic spine and most of its best character-beats got cut.
The Theatrical Cut of Returns is literally half a movie. Brandon Routh deserved so much better.
Sources:
Deleted scene compilation (+Return to Krypton)
The Shooting Script (available to buy)
Superman Homepage deleted shots Page 1 and Page 2
Novelisation by Marv Wolfman (this, the graphic novel & junior novelisation all used the 2005 shooting script.)
Superman Returns: The Visual Guide (available to buy)
Chew Chan comic art
Requiem for Krypton: Making Superman Returns
Prequel Comics (based on scenes from early drafts, with stories by writers Singer, Dougherty & Harris):
Prequel Comic #2: Ma Kent
Prequel Comic #3: Lex Luthor
Prequel Comic #4: Lois Lane
Comic book recap
‘78 opened with a boy narrating an issue of Action Comics. Returns pulled back red theatre drapes on a comic narrated by Clois’ son, Jason.
Actor Tristan Lake is recording the voiceover in Requiem for Krypton
From the Script (p.1):
RED THEATRE CURTAINS, drawn shut. The kind found in classic movie houses of yesteryear. The slowly open ... the film flickers to life, fading in on an old comic-book
SUPERMAN. A BOY'S HAND reaches into frame and opens it.
JASON (V.O.): On a distant planet orbiting a red sun, a wise scientist predicted his world's imminent destruction. Despite overwhelming evidence, his pleas to evacuate the planet were ignored, leaving him and his wife no choice...
He turns the page to a panel of JOR-EL and his wife, LARA
JASON (V.O.) (CONT'D): ...but to place their only son into a spaceship and launch it to another galaxy, in hopes of finding the child a new home. A child destined to become Earth's greatest protector...
“In Golden Age style art, Kal-El is placed in the rocket by Jor-El and Lara, comes to Earth, grows up with the Kents, & learns that he possessed amazing powers.”
The script cuts the Smallville part because it’s covered later in flashback.
5 years on, Superman has been mythologised. In-universe, to kids he seems as make-believe as comic books are to us.
This develops Jason’s POV of Superman. He was supposed to have this comic (from 'Uncle Jimmy') when he meets Clark in The Daily Planet
This could be why Smallville was cut; the public only knows about Krypton
The opening scene of Gertrude Vanderworth’s death was originally replaced by:
Prequel: Lex in prison
Lex’s cell is covered in Daily Planet clippings. He nonologues to henchman Stanford
LEX: I didn’t get you visiting privileges to my private suite so I could repeat myself … My work was more than mere greed … It’s a calling. Why can’t they see the danger? He’s a vanguard for an invasion of super-powered beings. I knew. I always knew. Making sure there was a line of defence against him. The Conquistadors carried a plague that decimated entire civilisations. Who knows what kind of spaceborne diseases he carried? Oh, they may not appreciate my genius now, but they will worship me for delivering them from this menace they so affectionately embrace.
Kitty Kowalski & Gertrude Vanderworth
Lex has a medical exam before his release. His henchwoman Kitty is the nurse. She flirts with him but complains Superman is all Lex thinks about
Lex burns his old toupé to “cleanse” himself
In flashback, Kitty sees Lex kill an inmate in self-defence. Lex threatens her to protect his perfect record. But Kitty says she’s his “biggest fan” & anger becomes lust
This is in The Visual Guide (p.26):
"She witnessed Lex murder a fellow inmate. Kitty refused to squeal to the guards, and she and Lex made clear their attraction for each-other."
Kitty is the Vanderworth widow's maid & suggests Lex write to her
She doesn’t like the name Kitty: “My name is Katherine”
An imaginary Superman hovers above, watching Lex leave prison.
Gertrude Vanderworth is waiting outside:
LEX: Gertrude! I’m dying in here. I’m dying without you. Please, take me home. If only you could imagine the grotesque living conditions I’ve been exposed to, dear, sweet Gertrude. You’ve rescued me from Dante’s Inferno, from the depths of human depravity.
Shows how prison changed Gene Hackman’s Lex into Returns’ philosophical maniac
Characterizes Kitty as Lex’s ‘Harley Quinn-lite’ & makes her more active
Stronger explanation for Lex's escape than Clark missing his court date
The comic's final panel is Lex looking up at the imaginary Superman in the sky, zooming out into space, then leading into...
The Opening Titles as Clark’s journey to Krypton:
(from the Script):
“Stars interspersed with DAILY PLANET HEADLINES tracing Superman’s history, many by LOIS LANE;
“METEOR SHOWER BAFFLES SCIENTISTS”
“CAPED WONDER STUNS CITY”
“I SPENT THE NIGHT WITH SUPERMAN”
“SUPERMAN STOPS CRIMINAL MASTERMIND, LEX LUTHOR”
“LEX GETS LIFE THANKS TO MAN OF STEEL: SWEARS REVENGE”
“ASTRONOMERS DISCOVER KRYPTON INTACT – SIGNS OF LIFE FOUND”
And then the biggest headline of them all:
“SUPERMAN DISAPPEARS”
More headlines follow as the world is besieged … war, famine, crime. Soon, these headlines push Superman to the back pages. Within years, he’s all but faded from public consciousness. Finally, one last headline:
“WILL HE EVER RETURN?”
IS IT KRYPTON? (p.12), LUTHOR GETS LIFE (p.24) & VANDERWORTH TOPS THE FORTUNE 500!! (p.22) are in The Visual Guide
This gives the indulgent title-sequence a purpose. It sets up the consequences of Clark leaving, his history with Lois & Lex, Krypton’s discovery, and the Vanderworth fortune Lex will steal
This transitions into:
Return to Krypton
Concept art by Ben Proctor
The script describes “the remnants of this great civilisation… cities, monuments… all made from the same crystal technology” not in the filmed scene
Clark finds the House of El crest in the “VALLEY OF THE ELDERS . . . a VAST CANYON OF CRYSTAL MONOLITHS arranged in a circle” with more family crests.
Clark's escape is more visceral (Script pp.2-3):
“GIANT SLABS whiz by ... thousands of pieces of glowing kryptonite are hurtling towards him ... Parts [of Clark’s ship] shatter and break off ... The crystal immediately GROWS BACK ... more kryptonite smashes against the window, cracking it. Crystals work quickly to repair the damage, but it keeps coming.”
The filmed version puts Vibes over story:
The Valley of Elders returns on Lex’s New Krypton in the finale.
Without the other House crests the El one feels random
Showing Krypton's achievements validates Lex’s plan to resurrect it.
Clark’s ship self-repairing introduces ‘growing’ crystals immediately
Opening an action beat is important because the next one isn’t for 40 mins
Famously, this scene cost $10 million. Videographer Rob Burnett said:
“This was always meant to be the original opening [it] explained why he was so weak when Martha found him [&] that Kal-El sweats in the presence of kryptonite which Luthor notices later ... It wasn't cut until some last-minute test screenings … people unfamiliar with Donner's Superman films & Kryptonian crystals/tech found this dialogue-less opening confusing & uninteresting”
To solve this dialogue problem it was suggested Clark bring his mother Lara's memory crystal with him. She would narrate Krypton's history as Clark explored, contrasting its past glory with its current ruin. But the scene was already finished & Singer decided:
I didn’t feel it ... No-one told me to do it. I had no time restrictions or pressure whatsoever. I just felt the movie doesn’t need this."
But Marv Wolfman did something similar when retelling Jor El and Lara sending Clark away in Chapter 1 of his novelisation:
“It had been a timeless city, strong and powerful. It survived the vast armies of three great nations waging war on its bloodied streets. It stood proud as the signing place of an everlasting peace . . . [Lara] spent her early years dreaming of living where Krypton’s earliest founders had once walked, did not want to believe that this magnificence and all it stood for would soon be gone.
She had spent her first year out of university touring the city . . . She trekked out to the Valley of the Elders . . . the fabled roads that Sor-El, Kol-Ar and Pol-As, the chosen representatives from the three warring nations, must’ve taken when they created the original laws of humanity that governed Krypton.
From the ground, those crystal monolith towers, reflecting the full spectrum of light, looked to Lara like hands raised in reverential prayer.
Kryptonopolis had been grown from a single crystal more than 10,000 years before ... shaped by the earliest Kryptonians into vast cities millions of buildings strong"
The Visual Guide also explains the Valley of the Elders is “Where Sor-El, Kol-Ar, and Pol-Us established the laws that governed Krypton" (p.79)
This is a great parallel to ‘78's opening. That was Clark’s origin. Returns is him mourning
Seeing Krypton contextualizes Clark’s arc. We understand his alienation instead of being alienated by him
It bookends the movie with New Krypton, and gives Returns’ oft-mocked climax ‘Superman Lifts a Big Thing’, thematic weight: Clark is excising the grief that drove him from Earth
Lara's narration about the wonders of Krypton both heightens the tragedy & establishes what their tech can achieve, crucial to Lex's plan
Writer Dan Harris said:
“Lex Luthor’s trying to turn this world [Earth] into the dead world, the place [Clark] can’t live, so it becomes a person’s search for identity and home and their place in the universe.” (The Shooting Script interviews p.27)
Martha Kent and Ben Hubbard play Scrabble
Martha spells ‘Alienation’ (THEMES!!) & touching Clark’s name carved into the table is lovely visual storytelling
Ben is there when Clark crashes. Martha stops him calling the cops.
BEN: Martha-
MARTHA: (firm) Tomorrow. Bingo.
She looks at him, stonefaced. He takes another look outside – and at her, and realizes what’s happening. He sighs and shakes his head.
BEN: A meteorite?
She nods.
BEN (CONT’D): Martha Kent, I knew you’d be trouble
There’s a blooper of this scene in Requiem for Krypton & it's mentioned in The Visual Guide (p.20)
Gertrude Vanderworth's death, and Lex stealing her fortune, is shown after Clark passes out in Martha’s arms when he crashes, followed by Lex taking the yacht to the Arctic
Lex Finding the Fortress
Cool details about the Fortress' warm crystals & creating protective weather patterns, explaining the storm around New Krypton in the finale
While exploring the Fortress they find Clark's garage:
From The Visual Guide:
"Lex lingers in a cavernous chamber he dubs 'the garage', where he sees evidence of the construction and launch of Superman's spaceship"
KITTY: So did he?
LEX: Did he what?
KITTY: Take off for his homeworld?
LEX: (looking at Stanford) Well… We gave him a little push.
In the novelisation (p.89)
Lex’s First Experiment
After plundering the Fortress, Lex would test the crystal immediately- “he created a kind of giant Fortress of Solitude in the ice” (Script interviews p.28), destroying the original. Such a great way to raise the stakes!
Extended Clark waking in his childhood room
Clark waking to his starry ceiling & the Kent family photos give his return more emotional heft
Extended Young Clark’s first flight,
Which leads into…
“Little Secret”- Clark finds the Kryptonian ship as a boy
From The Visual Guide (p.11): “When he holds the Father Crystal, Clark feels a primal connection to the vanished world of his ancestors”. Martha’s prequel comic shows Jor El & Lara reflected in the crystal.
The Father Crystal is the key to Lex’s plan, so it's important to see its importance to Clark.
'Little Secret' leads into:
Martha Kent Prequel: The Kents tell the truth
The Kents find Clark on the cellar steps with the Father Crystal, staring at his ship.
They talk in the kitchen:
MARTHA: … I wish we could tell you more… well, anything about your real parents
CLARK: You are my real parents. Those other people, the ones that gave me away… They mean nothing to me. [he bends a fork in half]
JONATHAN: I understand that you feel that way now, Clark. But I have something to show you. [He leaves the room to get something]
CLARK:Ma, I- I… Am I even human? Am I some sort of monster?MARTHA: Clark Kent, bite your tongue! You are our son and we love you. That’s all that matters.
JONATHAN: Clark? This is yours. You were wrapped in it when we found you.
He gives Clark the cloth he was wrapped in when they found him - blue fabric with the “S” shield
This is a big change from ‘78, where Clark didn’t find the Father Crystal until after Jonathan dies. Martha wasn’t there & they didn't discuss it. The Fortress of Solitude made his suit.
Clark's anxiety is more in-line with MoS (“Can’t I just keep pretending to be your son?” / “You are my son.”). Rejecting Krypton is important, as his adult desire for a home drives him from Earth
Here we see Clark feel the alienation he fears for Jason in his final speech ("you will be different..."). Parenting is a big theme of Returns
Clark reads Why the World Doesn’t Need Superman in the Kent barn
In the script, Clark taking the tarp off his ship leads into the Little Secret flashback- which the deleted scene cuts around. The shots following him back to farmhouse include this voiceover (Script pp.13-14):
LOIS LANE (V.O.): For five long years, the world has stared into the sky, waiting, hoping, and praying for his return. We have spent our days asking where he went, debated why he left, and wondered if he’s even alive…
People have always longed for gods, messiahs, and saviors to swoop down from the sky and deliver them from their troubles. But in the end, these saviors always leave, and we are faced with the same troubles that were there from the beginning.
So, instead of facing them ourselves, we wait for the savior to return. But the savior never does, and we realize it was better had he never come at all.
Reading WTWDNS is referenced in The Visual Guide (p.29)
Articulating Lois’ POV makes her more than a bitter ex. Even the Junior novelisation has this!
In the Theatrical Cut Clark returns to the Daily Planet trying to reclaim the old status quo, until he learns Lois has a family. Here, he faces consequences for leaving before learning Lois has moved on, so he’s less selfishly motivated, and returns to the Planet to actively reconcile with her
Parallels Young!Clark finding the Father Crystal- the inciting moment of ‘78’s plot
Martha encourages Clark to return to Metropolis / Clark meets Ben Hubbard
This is a cute scene, humanizing Clark
Martha is selling the farm & moving to Montana
(Script p. 76), cut dialogue in purple
MARTHA: Clark, dear… No one will ever replace your father. But, Ben and I have found something special. Together. And, well, this might all come as a shock…
Clark gives her a look. Just level with me.
MARTHA: I’m selling the farm. We’re moving to Montana.
CLARK: Montana?
MARTHA: The lakes are great. And we love the fishing.
CLARK: Fishing?!
MARTHA: Clark, you’ve been gone a long time. And not even you can stop the world from spinning.
In the novelisation (p.76)
Building this subplot from a background character from ‘78 is neat.
It expands Returns’ narrow emotional scope: It's not just Lois moving on
Superman suit in Clark’s case & changing in The Daily Planet closet
As Clark puts his suitcase in the janitor’s closet he opens it, revealing his Superman costume & a Kent family photo.
So, when he rips his shirt open there’s "NOTHING. Where's his suit? He panics, then remembers." . He must change in the Daily Planet janitor’s closet. As he leaves he "catches a glimpse of his reflection in a window -- he's still wearing GLASSES" (the Script p.44)
Love Superman in glasses as a metaphor for the transition from Clark to Supes.
The Theatrical cut emphasizes Lois’ POV of Superman’s return but this is more balanced & impactful for Clark
Lex and Stanford discuss Superman’s return
When Lex learns Superman is back he & Stanford discuss luring him away. You can see Stanford running to catch up with Lex before the Theatrical scene cuts away. Deleted dialogue in purple:
STANFORD: So, what are we going to do?
LEX: You’re going to modify it and attach it to the stern, I don’t care of the instructions are in Russian
STANFORD: You know what I mean, Lex. He’s not stupid. How long do you think it’s going to take him to trace all that stuff back to me– and you. He was supposed to die up there.
Stanford paces. Lex clenches, obviously stressed. He hears the WHIMPERING of Gertrude’s dog.
Infuriated, Lex hurls the newspaper at it but misses. Enraged, Lex snatches a heavy crystal off the desk, when he STOPS. He stares at something on the NEWSPAPER
Lex bends down and picks up the paper. He smiles, and hands it to Stanford.
LEX: Stanford, you worry too much.
Stanford looks at the article, intrigued.
“WORLD’S LARGEST COLLECTION OF METEORITES TO EXHIBIT AT METROPOLIS MUSEUM OF NATURAL HISTORY”
Lex & Stanford faking Krypton’s discovery makes all Clark's problems his fault. Clark did nearly die, & it makes Lex a more formidable villain
It makes the plot more cohesive
Clark being tricked by his nemesis > ‘he just left lol’
Lex’s desperation gives him depth. Stealing Kryptonite is now a response to Superman, where in the Theatrical cut it’s so underplayed it seems like just the next step of his plan.
Stanford and The Daily Planet
I can’t find it, but Mr. Sunday Movies cites an interview where the actor revealed Stanford was a disgraced Daily Planet science correspondent, & wrote the articles about Krypton.
More plot cohesion, connecting The Daily Planet & Lex plots. If Lois recognises Stanford when she’s on Lex's yacht, she could figure out Clark was tricked, helping her forgive him.
Extended Clois outside The Daily Planet
Deleted dialogue in purple, (Script pp.58-60):
CLARK: Well … Maybe saying goodbye was so hard because he didn’t know whether it would be goodbye for a little while … or goodbye forever.
Lois doesn’t seem to be listening
CLARK (CONT’D, QUIETER): And maybe he had to go and he wanted to say goodbye, but he couldn’t find the guts to do it, because maybe if he saw you, even one last time… Well, maybe he was afraid that if he even looked at you just… once… he would never be able to… leave (beat) Maybe it was too difficult for him.
. . .
CLARK: So… Do you want to grab a quick bite? Catch up? My treat.
LOIS: Oh I’d love to, but Daddy took the car and it’s my turn to ‘cook’ the family dinner, which means I’ve got just enough time to get back to the ‘suburbs’ and order the Chinese
CLARK: Suburbs?
LOIS: Yeah, we have a really nice place on the river. You should drop in sometime.
CLARK: I’d love to.
Brandon performs this dialogue for a screentest in Requiem for Krypton
Much better reason for Clark not saying goodbye. Corny, but if your gonna justify an OOC decision, do it with the romance at the heart of your movie.
Lois is much nicer & less dismissive of Clark. Theatrical Lois seems to actively dislike him.
Hints Lois feels stifled as a suburban mom
Lois Prequel: Writing Why The World Doesn’t Need Superman
The ‘Lois at home’ scene begins with a flashback:
Perry tells Lois to write a piece for the 5th anniversary of Superman leaving. She struggles with writer’s block at home, & goes out to smoke. She thinks Clark blows out her lighter, but she’s imagining it & realizes she must move on. That night she writes WTWDNS
Then Richard asks about I Spent the Night With Superman, then Clark is revealed to be watching at the end of the scene.
[After Clark flies away, Script p.63]
Lois picks up some food, then suddenly stops and turns to the window, staring into their backyard. Beat.
RICHARD: Lois? You okay?
Lois snaps out of it.
LOIS: Yeah, sorry. Hey, didn’t I have four won-ton’s?
Jason stuffs a won-ton into his mouth.
LOIS (CONT’D): JASON!
Lois & Richard dive, trying to snatch it from his mouth
A cute Jason moment, & Lois ‘sensing’ Clark makes his spying a little less creepy, selling their 'stracrossed lovers' connection
Superman On Patrol
Two scenes are omitted from the script (p.64) before the ‘Bulletproof’ bank robbery. Presumably they formed a full crime-fighting montage, like in ‘78.
The Visual Guide describes two cut sequences that perfectly fill that gap (p. 60):
“In Switzerland, he saved 12 stranded climbers from the peak of the Matterhorn. In Venice, he prevented the famous canals from flooding the city streets. Superman seems to be everywhere at once, but nowhere is he more prominent than in Metropolis…”
Full Deli Robbery Segment
MONTAGE REPORTER #3: Sir, after he captured the men trying to rob your Deli, did he do or say anything?
DELI OWNER: He tried the hummus. He said he liked it – and Superman never lies!
More action! More wholesome Superman! Expanding the scope of the movie beyond Metropolis!
Lex’s Plan
Higher-key Kryptonite heist where Lex’s gang fool guards and witnesses
The movie needs more energy. Like the stolen missile earlier, in the Theatrical Cut Lex’s plan is afterthought bullet-points
When Kitty returns to Lex after Superman saves her, the stolen missile is being disassembled. Lex takes its explosive & the kryptonite he’ll stab Clark with
Lois Prequel: Why she resents Superman and meeting Richard
After Perry demands Lois interview Superman we flashback to him doing the same thing after Krypton was found:
But Superman never shows. Months pass until “the world had to admit” he was gone.
The world turned to Lois as their 'Superman expert.'
JIMMY: Miss Lane. You okay?
LOIS: I will be once Perry lets me cover something over than Superman. He left. He's gone, and maybe he's never coming back. How many different ways can I write that?
JIMMY: I know Miss Lane. I miss him too.
The world refusing to let Lois move on by pigeon-holing her as ‘Superman’s Girlfriend’ is important context.
Now Perry refusing to let Lois cover the blackout is part of a sexist cycle she’s fought for years
Lois escapes to the roof for a smoke: "Even as the days kept passing, I held out hope. I mean, he never disappointed me before, right?'
Richard White introduces himself just like Clark:
RICHARD: Those things will kill you, you know. Hello, Lois. I'm Richard White.
LOIS: White, huh? Did Perry even read past your last name on your resume?
RICHARD: I won't deny what it looks like, but my uncle hired me because I'm damn good at what I do. And with you I see wasted talent. The Superman story is old news. The Planet's best reporter should be used elsewhere.
LOIS: You're certainly more insightful than you look, White.
Directly parallels Richard and Clark
And contrasts the rooftop interview with Superman immediately afterwards; we now know she waited here for Clark to return every night until she met Richard
Clark Visits the Fortress of Solitude
When Clark visits the Fortress of Solitude he has cut voiceover (Script p.89):
SUPERMAN (V.O.): Father... It’s been a long time since I’ve come to you… But I’ve never felt so alone.
EXT. FORTRESS OF SOLITUDE - SAME TIME
Superman lands & approaches the console. The crystal has been taken. WITH A VOICE ECHOING THROUGH THE ARCTIC LIKE THUNDER:
SUPERMAN: FATHER!!!
FATHER!!! Is OTT but important when Superman has so little dialogue
Clark is now clearly driven to the Fortress by Lois’ rejection. In The Theatrical Cut, he just checks in because it’s time for Plot to happen.
Losing Jor-El emphasizes the theme of parenthood- Clark loses a father as he gains a son- & justifies Jor El’s voiceover later
Lex's Fortress
In an earlier draft, Clark found the new Fortress Lex grew in his first experiment, and "Clark sunk it and put it underwater"
Originally “Richard & Lois flew there with Clark to investigate & take pictures" (Script interviews p.28) but later on these became satellite pictures that were delivered to the Planet. Lois saw them & understood what Clark had lost.
Lois seeing & understanding Cark's losses is important
Clark destroying Lex's Fortress would be an impressive action beat & Returns is desperate for those. Showing Lex's impact through action!
Extended dialogue on the yacht explaining Lex’s plan
LEX: It’s not just an island. It’s an entirely new continent. Virtually indestructible and self-sustaining. For lack of a better name, it’s Krypton. An extinct world, reborn on our own.
LEX: I’ll have ADVANCED alien technology thousands of years beyond anything anyone could throw at me. Weapons, vehicles, you name it.
Gives New Krypton more credibility & makes Lex's plan more concrete, especially after Return to Krypton showcased Kryptonian tech
Saving Metropolis
Earlier drafts of the ‘Saving Metropolis’ sequence had “monster waves surging in every direction” (The Visual Guide p.70) Dan Harris also mentioned "waves coming in" and Clark “pulling a subway train out [of the ground]”. (Script interviews p.28) The script omits several sections that could fit these moments.
The script includes Clark saving people from cars set on fire by the gas explosion.
Again, Returns copies ‘78, but that earthquake was way bigger - a dam explodes, a bridge collapses, a train derails. Clark shifts tectonic plates to stop it.
Perry White meets Superman
I understand why this was cut but it’s still cool
The Missile Explosive
After Jason kills Brutus, the deleted scene of Lex finding Brutus’ body is followed by (Script pp.113-114):
INT. YACHT - PANTRY Lois & Jason sit against the far wall, exhausted & worried. The door swings open, revealing LEX. He looks at Jason & winks.
LEX: Catch.
He tosses SOMETHING into the room, wrapped in the handkerchief. It rolls towards Jason’s feet. LOIS CHARGES just as Lex slams the door. Jason removes Lex’s handkerchief, revealing the EXPLOSIVE from the missile.
LOIS: Honey… don’t move.
Lois is panicked, searching for any way to get rid of the explosive. Finally; a SMALL AIR DUCT. She kneels & pulls at the VENT COVER. It won’t budge. She looks around & finds a LARGE METALLIC SOUP LADLE. SHE JAMS THE LADLE INTO THE VENT, using it like a crowbar.
JASON: Mommy?
LOIS: JASON DON’T MOVE!
Lois strains to pry the vent away. After what seems like an eternity, it finally pops off. She approaches Jason VERY CAREFULLY.
LOIS (CONT’D): Okay Honey, stay still…
Lois THROWS IT into the air duct … grabs Jason & rushes him to the other side of the room. The explosive drops down a series of air ducts … Silence. Lois and Jason open their eyes, relieved.
Then – BOOOOOOM! THE BLAST ROCKS THE ROOM. A burst of flame shoots from the vent. Lois shields Jason. The flames are followed by a GEYSER OF SEAWATER. The room is tipped upward. Water is streaming in. Lois tumbles backwards into the water, struggling to reach Jason, but she’s STUCK.
ANGLE UNDERWATER: Lois’ leg tangled in a LIFE PRESERVER.
LOIS: HELP ME! Oh God…
Water floods into her mouth. She disappears under the surface when the DOOR is RIPPED OPEN, AND THE SILHOUETTE OF A MAN STEPS INTO THE ROOM. He dives underwater.
The man rips Lois’ leg free from the cables and pulls her to safety. Lois finally opens her eyes and comes face to face with… RICHARD. She and Jason are stunned.
LOIS (CONT’D): How –How did you get here?
RICHARD: (obviously…) I flew.
Lex’s response to Superman’s son here is more appropriate & threatening.
Another setup & payoff with the missile explosive gives the film more structure. Plot, y'know?
Makes Lois more active
Richard/Clark parallels
Jason recognizes Clark
[in the seaplane after Superman saves them from the yacht]
Jason curiously looks up at Superman.
JASON: Hey, you look just like–
SUPERMAN: (Cutting him off) Can you fly?
For a moment, it looks like Superman is speaking to Jason – then he turns his head to Richard.
Also in the novelisation (p.285)
More Jason/Clark connection & more payoffs (Jason suspected Clark's identity after seeing him next to Superman on TV earlier)
Context: New Krypton
The script describes it as “almost identical to the ruins of Krypton ... Unlike the ruins, this place feels like it could be full of life – what he hoped to find when he went to Krypton,” with buildings “resembling the Fortress of Solitude”. made of the Fortress’ glowing white crystals, presenting the facade of life.
Clark confronts Lex in “an exact reproduction of the Kryptonian VALLEY OF ELDERS" (where we saw the El Crest in Return to Krypton). Flickering x-ray vision reveals “IN THE GROUND AND WALLS are pockets and veins of kryptonite”
From The Visual Guide (p.79):
“New Krypton recreates its planet of origin according to an ancient blueprint, beginning with the vanished capital of Kryptonopolis ... [it] will eventually replicate the towering face of Mount Argo, the bottomless depths of the Xan Chasm, & the polished dome of the Krypton Science Council”
Superman hears something else in the wind, coming from inside the structure: a VOICE. Faint, but familiar. Maybe JOR-EL? LARA? It’s joined by other ghostly whispers before another familiar voice calls out:
LEX (O.S.): See anything familiar?
The ghostly whispers are a cool detail
Now New Krypton is literally a ‘dead world resurrected’, not just some land, & will terraform the whole planet. It brings the movie full-circle- Krypton followed Clark home
After beating a powerless Clark, Lex reveals the truth
LEX (CONT’D): Look, buddy. We sent you there to die, but ya’ had to come back…
Superman looks at Lex, his expression turning from agony to realization.
LEX (CONT’D): Oh yeah. All those photos? Those stories about Krypton still existing? It was me. (Beat) And him.
ANGLE ON: Stanford.
LEX (CONT’D): Thankfully the press doesn’t check facts like they used to. (Beat) Hey, you took away five years of my life. I just returned the favor.
In the novelisation (p.297) & literally every other adaptation of the story. Why the fuck would you cut it?
As Clark drowns:
“Crystals are growing towards him from every direction. ALL GLOWING GREEN from Kryptonite. He tries swimming to the surface, but he’s too weak. He’s trapped ... A mesh of crystal walls are closing in around him, over him like a tomb."
The tomb is a thematically resonant image (New Krypton = graveyard) & heightens the crystals’ threat
Jason ‘senses’ Clark instead of seeing him from the plane window
In the script, Jason wants to help Clark too- not just Lois & Richard deciding.
Jason looks out the window, pointing down to the water.
JASON: There.
He turns to Lois. Beat. She can’t see anything.
LOIS: You’re sure?
Jason nods. He’s certain.
While Clark in hospital, Lois names ‘New Krypton’
it's gone “into orbit somewhere between Mars & Jupiter. Supposedly it’s laced with Kryptonite & still growing”.
Again, creates a thematic bookend with 'Old Krypton' in the beginning
Outside the Hospital
Ben Hubbard waits with Martha Kent- you can see his shoulder next to her in the Theatrical Cut
There are shots of Lois, Jason & Martha talking while they're in the crowd- presumably Martha offering support without Lois knowing who she is
Martha meets her grandson! The two mothers of Kryptonian sons talk!
Bringing Martha & Ben back ties the Smallville section of the movie back into the plot
Final Clois Exchange
SUPERMAN: Thank you, Lois.
Tears well in her eyes, struggling for something to say.
SUPERMAN (CONT’D): It’s alright.
It’s what she’s wanted and needed to hear for years.
It’s such a small thing, but gives Clois closure, and Clark more lines
OTHER CHANGES
Color-grade: Returns’ drab sepia look ruins beautiful cinematography. The original color-grade in the teaser trailer (which is like 70% deleted footage) is much better, as is this color-corrected shuttle sequence
A tighter edit to compensate for the action-light script. They went for a classic, unhurried edit, but you could shave multiple seconds off most shots without losing anything. The Superman Restored fanedit re-inserts 25 mins of deleted scenes and is still 8 mins shorter than the Theatrical Cut
Tldr;
Returns is inherently slow-paced. Even with a faster edit, adding all this would push it past 3 hours. Regardless, Singer shot his own film in the foot because his priorities were wrong: Outlined above is a more balanced, cohesive story with richer themes. The Lex and Krypton subplots are complete. Clark feels like the main character, & Lois is more sympathetic.
Brandon deserved so much more.
#superman#superman returns#brandon routh#clark kent#lois lane#clois#cbm#richard donner#superman: the movie#superman ii#deleted scenes#krypton#lex luthor#martha kent#dc comics#dc movies
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Accepted Shorts List
This list will be updated as shorts are selected, and will become a masterdoc for entries.
Piper, dir. Alan Barillaro (Available on Disney+)
Dissolve, dir. Carina Heller
Sharp Teeth, dir. David James Armsby
Tar Boy, dir. James Lee
Moses of Prosthesis, dir. Gagame
Quasi at the Quackadero, dir. Sally Cruikshank
Welcome to Hell, dir. Erica Wester
Friendly Shadow, dir. David James Armsby
The Acorn Princess, dir. Kris Yim
Drawn to You, dir. Eleanor Davitt
Scattershot, dir. Jade Smania
Ramshackle, dir. Zi Chen
Paperman, dir. John Kahrs (Available on Disney+, Amazon, iTunes, Google Play)
Loop, dir. Erica Milsom (Available on Disney+)
Jinxy Jenkins & Lucky Lou, dir. Michael Bidinger and Michelle Kwon
Kitbull, dir. Rosana Sullivan
Out, dir. Steven Clay Hunter
In a Heartbeat, dir. Beth David and Esteban Bravo
Ice Merchants, dir. João Gonzalez
Diamond Jack, dir. Rachel Kim
Lackadaisy (Pilot), dir. Fable Siegel
The Cat Came Back, dir. Cordell Barker
Fuelled, dir. Michelle Hao and Fawn Chan
The Man Who Planted Trees, dir. Frédéric Back
My Friends Take the Night Bus, dir. Sofi
Wallace & Gromit: The Wrong Trousers, dir. Nick Park
The Naked King -What a Beautiful Life-, dir. rapparu
Coming Out, dir. Cressa Maeve Beer
Dear Girl, dir. Choi Ji-eun
Jibaro, dir. Alberto Mielgo (Available on Netflix, Love Death + Robots S3E9)
The Witness, dir. Alberto Mielgo (Available on Netflix, Love Death + Robots S1E3)
The Legend of Pipi, dir. Julia Schoel and Birgit Uhlig
The Cameraman's Revenge, dir. Wladyslaw Starewicz
What's Opera, Doc? dir. Chuck Jones
The Dover Boys at Pimento University; or, The Rivals of Roquefort Hall, dir. Chuck Jones
Kitty Kornered, dir. Bob Clampett
A Wild Hare, dir. Tex Avery
Everything Will Be OK, dir. Don Hertzfeldt
Yankee Doodle Daffy, dir. Friz Freleng
Duck Dodgers in the 24½th Century, dir. Chuck Jones
Long Gone Gulch, dir. Tara Billenger and Zach Bellissimo
I Love to Singa, dir. Tex Avery
Opal, dir. Jack Stauber
Scaredy Cat, dir. Chuck Jones
I Should Leave This Mall I Think, dir. Noodle
Porky's Duck Hunt, dir. Tex Avery
Bambi Meets Godzilla, dir. Marv Newland
Porky in Wackyland, dir. Bob Clampett
Rabbit Seasoning, dir. Chuck Jones
One Froggy Evening, dir. Chuck Jones
Don vs. Raph, dir. Jhonen Vasquez
Cat City, dir. Victoria Vincent
Roller Coaster Rabbit, dir. Rob Minkoff
Tummy Trouble, dir. Rob Minkoff
Trail Mix-Up, dir. Barry Cook
Blood Bound, dir. Lyly Hoang
Ciao, Alberto, dir. McKenna Harris (Available on Disney+)
Blackfly, dir. Christopher Hinton
Charlie the Unicorn: The Grand Finale, dir. Jason Steele
Free Apple, dir. Ian Worthington
Bigtop Burger Season 1, dir. Ian Worthington
There's a Man in the Woods, dir. Jacob Streilein
Llamas with Hats: The Series, dir. Jason Steele
Welcome to my Life, dir. Elizabeth Ito
Duck Amuck, dir. Chuck Jones
We Can't Live Without Cosmos, dir. Konstantin Bronzit
Geri's Game, dir. Jan Pinkava
Have to change the format cause tumblr has a limit to text in a single list
68. Snow-White, dir. Dave Fleischer
69. DAICON IV Opening Animation, dir. Hiroyuki Yamaga
70. Rooty Toot Toot, dir. John Hubley
71. SHOP: A Pop Opera, dir. Jack Stauber
72. Rabbit of Seville, dir. Chuck Jones
73. The Cat Concerto, dir. Joseph Barbera and William Hanna
74. My Little Goat, dir. Tomoki Misato
75. Asparagus, dir. Suzan Pitt (Available on the Criterion Channel)
76. Puparia, dir. Shingo Tamagawa
77. The Cybernetic Grandma, dir. Jiří Trnka
78. Captain Yajima, dir. Ian Worthington
79. Agoraphobia, dir. Victoria Vincent
80. Donald in Mathmagic Land, dir. Hamilton Luske, Wolfgang Reitherman, Les Clark and Joshua Meador
81. Joy Street, dir. Suzan Pitt (Available on the Criterion Channel)
82. The Old Man and The Sea, dir. Aleksandr Petrov
83. The Dream of a Ridiculous Man, dir. Aleksandr Petrov
84. Vincent, dir. Tim Burton
85. World of Tomorrow, dir. Don Hertzfeldt
86. World of Tomorrow Episode 2: The Burden of Other People's Thoughts, dir. Don Hertzfeldt (pay per view of Vimeo)
87. The Magic Portal, dir. Lindsay Fleay
88. The Golden Chain, dir. Adebukola Bodunrin and Ezra Claytan Daniels (available on the Criterion Channel)
89. Black Soul, dir. Martine Chartrand
90. Hedgehog in the Fog, dir. Yuri Norstein
91. Dreams of the Rarebit Fiend: The Flying House, dir. Windsor McCay
92. Around is Around, dir. Evelyn Lambart and Norman McLaren
93. Popeye the Sailor Meets Sinbad the Sailor, dir. Dave Fleischer
94. Historia Naturae (Suita), dir. Jan Svankmajer
95. Still Lost I Guess, Here's a Tunnel, dir. Dario Alva
96. Kapaemahu, dir. Joe Wilson, Dean Hamer and Hinaleimoana Wong-Kalu
97. Long-Haired Hare, dir. Chuck Jones
98. Muto, dir. Blu
99. Windy Day, dir. John and Faith Hubley
100. Bully for Bugs, dir. Chuck Jones
101. The Haunted Hotel, dir. J. Stuart Blackton
102. Destino, dir. Dominique Monfery (Available on Disney+)
103. Fantasy, dir. Vince Collins
104. To Beep or Not To Beep, dir. Chuck Jones
105. Pixillation, dir. Lillian Schwartz
106. Goodbye Jerome!, dir. Chloé Farr, Gabrielle Selnet and Adam Sillard (Available on the Criterion Channel)
107. Betty Boop's Halloween Party, dir. Dave Fleischer
108. Jumping, dir. Osamu Tezuka
109. Baby Fingers, dir. Adrian Dalen
110. On Your Mark, dir. Hayao Miyazaki
#favorite animated short#animation#animated short#pixar#looney tunes#charlie the unicorn#llamas with hats#lackadaisy#love death and robots#in a heartbeat#don hertzfeldt#tom and jerry#worthikids#filmcow#bugs bunny#daffy duck#bigtop burger
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https://archiveofourown.org/works/45865297/chapters/135716686
RIP Marv-chan.... and he's in trouble with Ahim too so double RIP
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Marve-chan hands Cirno a four-leaf clover. Then.... pinches her. "Marvelous~!"
“ You hand me something lucky…but then pinch me? Is that some sort of mix up surprise attack!? “
She doesn’t get it, but hey, it’s all cool!
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Luka: Gai… is that a pin-up calendar of those Kamen Riders?
Gai: Hmm, oh yeah! I just bought the latest calendar, they had Disney Villains as a theme.
Ahim: I especially love Natsumi-chan as Prince Hans. *reveals her own copy of the pin-up calendar*
Marvelous: Oi, oi, why do you have a Rider merchandise in the GokaiGalleon?
Joe: It’s not like its prohibited.
Luka: Eh, so they have two versions, one with the men, and one with the women.
Doc: They have three, and Gai buys all three.
Marvlous: Three, are they also doing child-friendly versions?
Gai: Actually, yes!
Gai: And these are selling like ice cream on summer
Gai: Besides, its one of the best ways to get updated on what has happened on Earth every time we go off Earth.
Ahim: The Kiramagers also have their own magazine.
Marvelous: The ones with the sparkling powers?
Ahim: Hai, they’re also part time models, a way to keep their Kiramager identities a secret. *shows the recent copy of the magazine*
Luka: How are they keeping it a secret when they’re distributing magazines with their mugs on it
Luka: They’re even wearing their colors in it
Joe: Hiding in plain sight.
Joe: It’s pretty clever.
Personally, I feel like as soon as Marv finds out about the calendar he takes the opportunity to use it to make the Riders' (read: Tsukasa's) life as miserable as possible.
Which is to say, he uses his connections to try and skew the theme for the Pink Menace's costumes in directions that are questionable at best, and horrifyingly humiliating at worst.
And since Tsukasa's antics does earn the ire of his peers, they can't help but give into the temptation Marv offers, if only to give Tsukasa a taste of his own medicine on occasion.
As for himself... he'd rather die than volunteer for such a thing, except if he gets to dress up in a badass outfit. Or just go in his usual outfit lol
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Tomb of Dracula II
Tomb of Dracula #7-8 written by Marv Wolfman and pencilled by Gene Colan #7 inked by Tom Palmer and #8 inked by Ernie Chan
Here I am again to discuss issues #7-8 of the Tomb of Dracula! Marv Wolfman wrote these issues (and apparently he writes the rest of the series which gets me excited cause now there’ll be a consistent story. Well I hope.) and Gene Colan pencilled them and continues to be one of my favorite artists from this era. I love how his art on this book is full of shadows and almost has a sketchy look to the art. This book is so engrossing with the amount of reading involved but I can see it turning a lot of comic fans off.
Issue #7 opens with Dracula returning to London on a snowy night on the prowl for a new victim. His victim this night was going to be Edith Harker, granddaughter of one of his enemies, Jonathan Harker. We see that Dracula can control rats when his plan fails cause Edith had a crucifix at the ready. She’s saved by her father Quincy Harker and his dog Saint who then calls Rachel Van Helsing to let her know that Dracula is back.
I love how Colan draws the snow, it almost looks painted. I also love the introduction of Quincy and how he’s basically the armory for the other vampire hunters. I can’t get enough of this team man. I love Rachel, Frank and Taj and now Quincy. This book has some of the best supporting characters in a comic. Usually I don’t care much about supporting characters but they all serve a purpose here. I also can’t wait for Clifton Graves to get his. I took a sick satisfaction from Dracula smacking him. Dracula hypnotizes a whole group of kids playing ball. I’ve said this previously but Dracula has to be the best villain out of the comics I’m currently reading from this era. He’s intelligent, cunning, vicious, and sadistic. He has all the traits that make a great villain. I love that he always has a plan. He even has a bunch of rats feed on a poor homeless man. This dude is a garbage fire but I can’t take my eyes off this comic! Our heroes fail to use their garlic nets to capture Dracula because he uses his power to turn into mist. I don’t see how he’s going to be stopped, he has such an arsenal of awesome powers and there seem to be new reveals all the time. They find Dracula’s mansion and wait for him to go to sleep so they can break in and stake him in the heart. BUT like I’ve said already, Dracula makes preparations upon preparations and when our heroes break into his mansion and find his coffin, it’s not Dracula, it’s someone made up to look like him. He then reveals his plan and calls upon the hypnotized kids to kill the heroes. It’s a great plan because he knows that they weren’t going to hurt the kids but that doesn’t mean the kids aren’t going to kill them. Before Dracula gets away, Quincy hits him with a poison dart as the kids close in.
Issue #8 starts with Dracula seeking out a doctor by the name of Heinrich Morrte to help remove the poison inside Dracula. Morrte is revealed to also be a vampire which leads to a fucking awesome fight at the end of this issue.
The heroes use the cover of darkness to escape the kids and when everything seems dire, Edith shows up in a helicopter using a sonic device to knock out the kids. Dracula takes Morrte to a cemetery with his invention, the Projector which will bring dead vampires back to life. Morrte has a daughter who doesn’t know he’s a vampire and when Dracula threatens her at the cemetery, Morrte turns into a bat and takes the Projector and Vlad does the same and they fight in the sky. Morrte breaks the Projector and ends the fight by impaling himself on a fence. It’s brutal and one of my favorite things that’s happened in this book so far. I will say the Projector didn’t make much sense and kinda came out of nowhere.
Dracula continues to be so tactical and at this point, undefeatable. So I’m very curious to see where this goes next and plus, I’m waiting with bated breath for Blade to show up. I can’t wait. Marvel knows how to make Horror books. Honestly the weakest one so far has been Ghost Rider. Next up we’re back to Werewolf By Night!
#marvel#marvel comics#tomb of dracula#count dracula#vlad Dracula#70’s comics#70s comics#horror comics
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Battle of Wits (Fought by Fools) {@sicktember}
AO3 l!nk in comments
Ships: Basco ta Jolokia/Captain Marvelous
Rating: T
Warnings: None
Description: When Marvelous is sick he attempts to hide it from his shipmates. Unfortunately, Basco is much more observant than Marvelous would like.
{Sicktember 2022 Day 16: Care Package}
Being sick on the Galleon was hell. Marvelous wasn’t even sure how he’d caught whatever ailment had afflicted him. Being sick probably wouldn’t have been as bad had it not been for the fact that showing such vulnerability was an instant no-go.
He couldn’t let Akared or especially Basco know that a measly cold could take him out so hard. But somehow it really had. The constant coughing felt like it was tearing at the insides of his lungs while each sneeze made the ache in his head throb painfully. He could only hope that it would be gone soon before anyone really took notice. Unfortunately, that was not the case.
“Marv~ey~chan,” cooed the familiar voice from the kitchen doorway.
Marvelous turned to meet Basco’s gaze. The other looked at him with a knowing smile. Marvelous only turned away from the other. “What do you want?” he rasped. He mentally cursed himself at the sound. His voice came out as if someone had shoved sandpaper down his throat.
“You sound like shit,” Basco mused. He didn’t step farther into the kitchen. Probably for the best.
“I have a cough,” Marvelous grunted. “So what?” His words were punctuated with coughs of their own which he tried to muffle as best he could.
“Just a cough?” Basco asked, crossing his arms. “It sounds to me like someone’s sick.”
“And it sounds to me like you should mind your own business,” the younger snapped back. He downed the rest of his water (that he was hoping would help his throat) and shoved past his shipmate.
Basco only shrugged as the other walked past. “I guess if you’re not sick then you don't want my help.”
Marvelous stopped long enough to let out a laugh that he quickly regretted. “Like I need your help. Even if I was sick, what could you do?”
Basco only smiled. “Guess since you’re not sick it doesn’t matter.” He then walked away.
Basco always acted like he knew more than he said. He always had this air of untold knowledge or secrets. It was actually really fucking annoying. Marvelous wasn’t even sure if he actually had any knowledge or if he was just an arrogant prick. Unfortunately both being true was also an annoying possibility.
This all made being sick an even worse experience than previously perceived. Not only was Marvelous struggling to continue his daily work but now he had to deal with Basco’s smugness fully directed onto him.
The other was clearly alluding to some sort of remedy or tip he had that he would only reveal if Marvelous would admit to being sick. It was unspeakably frustrating. It wasn’t that they didn't get along. In fact they tended to get along pretty well at times. It was more so that both of them were horribly hard headed and slamming two rocks directly into each other isn’t going to soften anything.
If anything, Marvelous was determined to stubborn the cold away. If he just ignored it, it would stop. Right? It would be worlds better than giving Basco the satisfaction of winning whatever asinine battle of wills currently going on between them.
However, the satisfaction of waiting it out wasn’t granted to the younger pirate as Basco wasn’t the only one to have caught onto his state.
While on the couch, forcing himself to hold back a sneeze, Marvelous noticed Navi looking over at him from her perch.
It was possibly the cold making him more snippish than normal; but he eventually snapped out, “What are you looking at, Bird?”
Navi gave a squeak of surprise from being caught. “I’m not a bird!” she hissed out, insulted. She flicked out her wings for a moment before tilting her head. “You don’t look so well! You could be sick!”
Marvelous stilled at the accusation. He looked over at Basco from the corner of his eye. The other was at the table wiping down his gun. Marvelous could only hope he wasn’t paying much attention, but the likelihood of that was actually pretty low.
“I’m not sick,” Marvelous snapped back.
“Are you sure?” Navi questioned, hopping closer. “You’ve been coughing and sneezing so much lately. You’ve also been much more sluggish than normal along with your voice sounding off.”
It took him off guard that she’d noticed all of that. He thought he was covering up well enough. He supposed he could have tried harder…
“If Marvey-chan isn’t sick, then he isn’t sick.”
Marvelous looked over to Basco who hadn’t even given them the time to look up as he spoke.
“But-“
“But nothing,” Marvelous hissed, cutting her off. “I’m fine.”
“You’re not fine!” Navi cried out. “You’ve hardly eaten anything the past few days! And your face is as red as this ship!”
“So what if I am sick huh? What’s it even matter?” He finally snapped back. “If I’m not fine now, which I am, then I’ll be fine in a few days. Either way doesn’t matter.”
The two’s arguing stopped when the sound of laughter hit them. They both turned to look over at Basco. “You’re so hardheaded, Marvey-chan,” he chuckled. “You’re never gonna get anywhere if you can’t trust your fellow crew.”
Marvelous’ fist clutched at his side. “And why are you making such a big deal about this?” He hissed out with an accusatory tone.
“Well I was hoping you would come to me so I could give you this,” Basco explained as he chucked a small box at him.
Marvelous caught it and looked it over. It was nothing more than a little wooden box, clearly purchased, or stolen, at a market somewhere. “What is it?”
“Think of it as a care package I put together for those nasty germs of yours,” he said with a wink.
Marvelous paused for a moment. A care package? He was about to ask if there were some sort of strings attached to it. If this was some sort of trick. But asking something like that felt more like he was about to prove Basco’s point to himself and now he just had a headache from overthinking it all. How the fuck did Basco get under his skin so easily? It drove him mad.
Instead, he just frowned and pulled the box open. Inside was a small bag of what looked like crushed up leaves and roots. Along with a little bottle of tablets.
“The tea bag is perfect for opening up sinuses faster than anything I’ve ever found at least. It’s a bit spicy but I’m sure you’re strong enough to take it,” he chuckled. “The tablets are flavorless but are supposed to be good for coughs and sore throats.” Basco stood from his seat and flicked his wrist back at the other. “Enjoy. And make sure to get some rest before you fall off the side of the ship.” He then left.
Marvelous stood looking at the spot Basco once sat. He clutched the box and its contents in his hand tighter than what was really necessary. Till, finally, he ripped the bottle open and swallowed down a tablet.
#kaizoku sentai gokaiger#captain marvelous#basco ta jolokia#sickfic#sicktember#sicktember 2022#fan fic#fan fiction#mywriting#i forgot to post this yesterday lmaoo
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"Essays Into The Supernatural: Horror Movies", Red Circle Sorcery #10, December 1974, written by Marv Channing, art by Gray Morrow
#Comics#Archie#Horror#Movies#Red Circle Sorcery#Gray Morrow#Phantom of the Opera#Frankenstein#Frankenstein's Monster#Dracula#Werewolf#Lon Chaney#Bela Lugosi#Boris Karloff#Lon Chaney Jr.
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Deadpool 3 Gambit Channing Tatum Returns Announcement Breakdown and Marv...
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April 1974. Gray Morrow cover for one of the Red Circle horror books he edited during this period. The cover illustration references, "Face of Love – Face of Death," by Marv Channing and Vicente Alcazar, about a late-night DJ whose sexy on-air voice attracts the wrong kind of fan. The climax is marred by over-wordiness; I think Channing was new to comics (my guess is he was someone Morrow knew) and hadn't yet learned to pare down his dialogue and captions to a digestible length.
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Marvel Two-in-One #36 (Wolfman/Chan, Feb 1978). Ben brings Skull the Slayer and some rogue pteradons back to the present, where Reed gets one last chance to wallow in his stretchy limitations.
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The Way To a Man's Heart is Through Chlamydia
by hellboundll
Дин не ожидает встретить своего любовника на одну ночь, также как и узнать, что у него ИППП. Иногда жизнь преподносит сюрпризы.
Words: 3852, Chapters: 1/31, Language: Русский
Series: Part 1 of Cupcakes and Chlamydia
Fandoms: Supernatural
Rating: Explicit
Warnings: No Archive Warnings Apply
Categories: M/M
Characters: Dean Winchester, Castiel, Jessica Moore, Sam Winchester, Mary Winchester, John Winchester, Balthazar (Supernatural), Becky Rosen, Gadreel (Supernatural), Naomi (Supernatural), Gabriel, Bobby Singer, Benny Lafitte, Ash (Supernatural), Jo Harvelle, Marv, Hael (Supernatural), Ellen Harvelle, Cuthbert Sinclair, Garth Fitzgerald IV, Kevin Tran (Supernatural), Channing Ngo
Relationships: Castiel/Dean Winchester, Jessica Moore/Sam Winchester, John Winchester/Mary Winchester, past Dean/others, past Castiel/Others - Relationship
Additional Tags: Unsafe Sex, Past Infidelity (not Dean or Castiel), Mild Gore, mentions of past attempted noncon, Barebacking, abuse of sitcom tropes, Animal Attack, author's liberal agenda, Homophobia, John Winchester's A+ Parenting, Chlamydia, Comedy, Bottom Dean, Bottom Castiel, Possessive Castiel, Homophobic John, Panty Kink, Semi-Public Sex, Accidental Voyeurism, alternative universe
Read it on AO3 at https://ift.tt/Snw1NUG
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