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The House of Mouse's House of Ideas

What does Disney's Acquisition of Marvel Comics Mean For True Believers Everywhere?

What does Disney's acquisition of Marvel Comics mean for the storied superhero publishing house?

Something, certainly, but it's hard to say what at this point. The fanboy screeds showing up this morning warning of a world in which Donald Duck battles evil alongside Captain America are ill considered and baseless, as fanboy screeds of course tend to be. The people who run Disney aren't stupid, and there's no reason to think they'll muck around with something that's been working as well as Marvel has over the last few years as fat checks have continued to roll in courtesy of blockbuster movies.

And since Marvels deals for those movies -- like Spider-Man, which will stay at Sony, and Iron Man, which Paramount holds onto for the foreseeable future -- remain intact, essentially putting Disney in business with it's own competitors for the coming years, it's a fair bet that Disney is in this deal for the long haul. And for anyone worried about their favorite spandex clad titans being Disney-fied by the merger, that's a good sign that Disney understands what it's bought and isn't eager to jump in ad start gumming up the works.

And as for the argument that Marvel will 'pull a Vertigo' and start publishing edgy, grown up books that can garner critical acclaim without raking in huge sales figures... we'll see. Marvel has always been pretty much a superhero imprint, and even it's more adult themed lines -- like Marvel Knights and MAX -- have been home to what amounts to superhero books that amp up the blood and swearing.

The only real surprise here - that Marvel, a company that seemed to many to be on it's way to becoming a media giant in it's own right, would let itself be bought out. Also kind of surprising? The price of the acquisition. Considering that the acquisition apparently gives Disney the licensing rights for properties like Spiderman and Wolverine, $4 billion seems like kind of a low price tag. The House of Mouse will make $4 billion back in a couple of years from paper plates and birthday party hats alone, so why did Marvel, which seemed like it was a company with nowhere to go but up, sell itself so seemingly short?

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

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Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

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10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

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There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

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