It’s an excitingly modern world we live in and there’s this new-fangled thing called Facebook that you might have heard of and even use. Apparently, lots of people use it to keep up-to-date with each other, the news, events and what cats have been up to.
Anyway, since RSS feeds and Twitter might not be ‘your bag’, in an effort to give you all as many ways to keep up-to-date with TMINE, I’ve created a Facebook page for it. I’m not sure what to do with it yet – before you know it, I might be organising TMINE (vegan) barbecues there for y’all – but at the very least, it’ll have all the posts so you’ll know whenever I’ve posted anything new.
Hope that helps and that you like it! (Do you see what I did there?)
Yes, it’s Weekly Wonder Woman – keeping you up to date on pretty much anything involving DC Comics’ premier superheroine, including her BO
Wonder Woman‘s continued advance at the worldwide box office has dominated the news of the past week. Propelled largely by women and older movie-goers, it’s now overtaken to Suicide Squad to become the second-highest grossing DCEU movie worldwide and – if you discount anything featuring Batman, Iron Man or Spider-man, it’s the second highest grossing comic book movie ever. Which is nice.
Among the movies it’s now surpassed is Deadpool, something the merc with the mouth has no problems with:
Perhaps trying to nudge the movie over the Batman v Superman finishing line in the record books, we have Gal Gadot releasing some behind-the-scenes footage on Instagram:
There’s already talk of the sequel, too, possibly set in the 80s during the Cold War, possibly even with Steve Trevor. But with Justice League coming later in the year, publicity is as much about that movie as it is about Wonder Woman, which is why the upcoming San Diego Comic Con has most of the cast, including Gal Gadot, scheduled to appear.
But this week also saw something else important: Wonder Woman #26, the first issue by Shea Fontana, who is the first person not called Greg Rucka to write the title since DC’s Rebirth. Want to find out more? Then follow me after the jump, once you’ve watched this interview with Fontana who explains what she’s aiming to do with the title:
You can spend ages trying to work out the hidden meanings of fairy tales. Which Jungian archetypes do they reflect? Were they metaphors told by mothers to their children to explain the nature of patriarchy? Were they mere cautionary tales or did they have historical origins? And did Red Riding Hood really believe that wolf was her grandmother, just because it was wearing her clothes?
You can probably spend ages trying to work out what John Peacock’s Red Riding Hood means, too. A 1973 segment of ITV’s Armchair Theatre strand of plays, it sees Rita Tushingham playing a lonely librarian, struggling to deal with debt and her two bed-ridden relatives – her father and her grandmother. The red-clad Tushingham has little to live for, but one day the rather wolfish Keith Barron, who’s seen her down the library, decides he wants to get to know her. So he visits her grandmother, kills her with her own walking stick then waits for Tushingham to turn up.
After which, things get a little less easy to fathom when Tushingham agrees to spend a fortnight with him for a bit of spaghetti and sex, leaving her poor old dad by himself at home – despite her having more than an inkling of what Barron got up to before she turned up at grandma’s house in her red coat…
Does Red Riding Hood tame the wolf? I won’t spoil the ending for you, but metaphor mixes with reality, sub-text becomes text, and what’s real and what’s imaginary become hard to separate as the play progresses. Peacock, who also wrote the Hammer film Straight On ‘til Morning (which also starred Tushingham), enters similar territory to Dennis Potter’s Brimstone and Treacle here, but takes the plot in a completely different direction that’s all about Tushingham rather than Barron.
Red Riding Hood is this week’s play. I hope you enjoy it – if you like it, buy it on DVD to support the lovely people who made it.
