FROM SUMMER GRAYLING:  True Colours.

Jan Van Der Vaart is a legend. The focus of his magical Talent is pain, and he’s spent years in the military, then as a mercenary, making terrorists, cartels, and governments fear him. Finally, he carved out a safe haven for other Talents, and tried to retire… until one last job, cracking a black lab snatching Talents off the streets, went sideways. He’s left staggering down a rainy coastal highway, thumb out and hoping he’ll catch a lift before the kill team realizes they missed…

Aurelia Brinati is on the run. Having escaped five years of hell as an unwilling lab rat, she has a stolen car and a plan to hide from pursuers by taking passage on a cargo ship headed anywhere else in the world. When she picks up a stray sailor headed the same way, she rapidly discovers she’s out of her depths… and safe in the heart of the storm.

The entire world fears him… except her. Powers are gathering to recapture Aurelia, but they’d best beware. Jan and his friends will do whatever it takes to keep her safe… whether it’s murder, mayhem, or last-minute shopping runs to find something called cream of tartar for her snickerdoodle cookies.

STEALING PEOPLE’S WORK IS UNACCEPTABLE, WHETHER YOU USE AI TO ALTER IT, OR YOU ALTER IT YOURSELF:  Untouchable but real.

No, not all uses of AI are theft, anymore than your learning from published works, then writing your own is theft. BUT this case clearly is, and yes, it’s wrong. I have problems with the copyright law in the US because frankly my kids can make their own money and my grandkids, if and when, ditto. But knowing how long it takes for a career in the arts to pay at all I have to endorse some copyright so the creator (and his/her long suffering spouse) get some compensation for the years of nothing in the dark. Stealing people’s IP outright is wrong. Just wrong. Even when you don’t falsify that person’s pov.

THE LEFT IS NOT EVEN HIDING THEY’RE IN THE PAY OF WEST TAIWAN, ANYMORE:  Enemy Actions.

EVEN I — AND I’M AWARE OF IT — SOMETIMES FALL IN THE TRAP OF EXPECTING REALITY TO BE FASTER AND MORE DRAMATIC THAN REALITY EVER WAS:  Cinematic.

OPEN THREAD: Hump Day.

VARIETY: Paramount Deal and U.S. Film Incentive Reflect Hollywood’s Deepening Ties to Government.

Hollywood has historically been wary of government involvement, whether in the form of censorship or via anti-monopolization efforts. But unions and studio chiefs celebrated last week’s developments.

“In almost every instance, Hollywood by and large resisted and was scared of interference,” Galloway says. “The contrast is that these two moves are by and large welcomed by Hollywood.”

Democrats often decry “corporate welfare,” but have long made an exception for Hollywood studios, which provide union jobs. Now Republicans are coming around too. Last year, Texas increased its state incentive and offered bonuses for “faith-based” projects and films that promote Texas heritage.

“The cultural aspects were used to get more traditional fiscal conservatives on board with something that could be seen as a Hollywood handout,” says Pete Johnson, a media industry researcher and visiting assistant professor at New York University, who sees Texas as a precursor to President Trump’s backing of a federal film incentive.

From the left’s point of view, what’s the problem? I’m so old, I can remember 12 years ago, when Salon wanted to nationalize both the film and the TV news industries.

As Charles Cooke asked the left in 2016, “Herewith, an under-asked question for our friends on the progressive left: ‘Has Donald Trump’s remarkable rise done anything to change your mind as to the ideal strength of the State?’”

 

JIM TREACHER: Green Lantern’s Superpower: Microaggressions.

“We were talking a lot about just the idea of replacement. When do you bow out gracefully? How long do you hold on? Right as we were having the conversation, we had already started talking about it and breaking it. The Democratic National Convention was coming up, and that’s when we were trying to figure out who is going to be the front-runner here. Is it going to be Kamala, or is it going to be Biden?”

Hal Jordan is Joe Biden, and John Stewart is Kamala Harris. I like those actors too much to saddle them with that comparison, but I’m not one of the writers of the show.

So, it all has to do with racism. This woman’s racial obsessions, and her privilege as a woman of color. And she is the one with privilege there.

I just think it’s really soured the show. It’s a weird mishmash. There are glimmers of something better, a better show, a better story. But then it goes right back to “white people are racist, whether they realize it or not.”

It’s a weird blend of detective stories, science fiction, superheroes, and racial grievance politics. It’s just a mess.

What’s wrong with just having a guy with crazy powers fighting crime? Why does it have to be a struggle session? Why do I need to interrogate my whiteness just to watch a show about guys in costumes blasting each other with space rays?

The Critical Drinker dubs Lanterns “A Superhero Show That Hates Superheroes,” but it seems as if all modern showrunners (with the exception of Andor’s Tony Gilroy) want to kill the TV series they’ve been assigned to: