#Andrew Wylie

[dk-thrive]

So what should a writer’s goals be? 

Just on the quality of the work. The kind of ineffable beauty of something extremely well expressed.

— Andrew Wylie, interviewed by David Marchese in "When Ruthless Cultural Elitism Is Exactly the Job" (NY Times Magazine, November 10, 2023)

[mensuited]

[marcogiovenale]

andrew wylie interviewed by guillermo altares for 'el país'

andrew wylie interviewed by guillermo altares for ‘el país’

Among the literary giants included under the letter B on Andrew Wylie’s endless client list are Giorgio Bassani, Jorge Luis Borges, Saul Bellow, Paul and Jane Bowles, Joseph Brodsky, William Burroughs and Roberto Bolaño, eight of the twentieth century’s most important writers. Under C, one finds Guillermo Cabrera Infante, Italo Calvino and Albert Camus. Andrew Wylie, 74, is the world’s most…

[hitchell-mope]

I’m thinking of a new les miserables fancast

This is, in part, a petty response to the, hopefully, well intentioned, albeit poorly thought out and tone deaf diversity of the bbc miniseries from a few years ago. Ie. The one with Lily Collins as Fantine. I mean seriously. All the non white characters were either antagonistic or killed off or both. I call it “The BBC Merlin Problem”.

At any rate. I’m envisioning this as a sort of modern retelling of the musical. Like DiCaprio R&J or Russell T Davies’s midsummer nights dream. What I’ve got so far is:

Idris Elba. Jean Valjean

Laura Harrier. Fantine

Sofia Wylie. Cosette.

Joshua Bassett. Marius

Gaten Matarazzo. Enjolras.

Sophie Anne Caruso. Eponine

Andrew Barth Feldman. Grantaire

Christian Borle. Thenadier

Kathryn Hahn. Mme Thenadier

Jake Gyllenhaal. Javert

Reasonings. I wanted to put in actors who I know can either sing or at the very least carry a tune. I wanted to have Eponine actually resemble parents a little bit. Compared to the miniseries which put in Erin Kellyman as the daughter of Adeel Akhtar and Olivia Colman. And yes. I know Gaten has already been in Les Miserables. That’s why I put him in there. I couldn’t find any age appropriate actors for Gavroche. So I had to leave him out.

Tell me what you think?

[triforcevillains]

Apollo 18 (2011) Die NASA veranlasst 1974 eine weiteren Flug zum Mond. Drei Astronauten kommen während des Kalten Krieges ihrer Aufgabe nach, die zunächst problemlos verläuft.

Die Besatzung ahnt jedoch nicht, dass sie sich nicht alleine auf dem Mond aufhalten. (8/10)

[g5mlp]

Summer Holiday, a new G5 soundtrack "mini album" featuring three new songs, is being released on Friday, August 4!

The first new song, "Up", is from the upcoming My Little Pony: Tell Your Tale episode 58, "Sparkle School", and is performed in-universe by Izzy and Misty.

The other two new songs, "Mane Family" and "It All Takes Time", are from future episodes of My Little Pony: Make Your Mark. "Mane Family" is a duet between Hitch and Misty, and "It All Takes Time" features the whole main cast.

All three new songs have "canvas" video clips available on Spotify, which you can watch below. This video includes spoilers for Make Your Mark Chapter 5, which will be released on Netflix on September 18.

The album is on music streaming services including Spotify, YouTube Music and Apple Music. If it isn't August 4 in your time zone yet, you may have to wait several hours for the album to become available for you (or listen to the copy on our YouTube channel).

Track list

Up (1:49)

Iconic (feat. Sofia Wylie) (2:17)

Mane Family (2:47)

Show Me Your Pony Moves (1:40)

Fresh (2:05)

Hooves Together (2:59)

It All Takes Time (2:51)

With Each Other (1:53)

Credits

Lead vocalists: Ana Sani & Bahia Watson (1); Sofia Wylie (2); Bahia Watson & JJ Gerber (3); AJ Bridel, Ana Sani, Jenna Warren, JJ Gerber & Maitreyi Ramakrishnan (4); AJ Bridel, Ana Sani & Jenna Warren (5); AJ Bridel, Elena Juatco, Lexie Galante & Stacey Kay (6); AJ Bridel, Ana Sani, Bahia Watson, Jenna Warren, JJ Gerber & Maitreyi Ramakrishnan (7); AJ Bridel & JJ Gerber (8)

Producers: Aaron Verdonk, Andrew Martino, Jesse Colburn & Jill Godin (1, 4, 7–8); Aaron Verdonk & Jesse Colburn (2–3); Kayla Diamond (5); Aaron Verdonk, Andrew Austin, Igor Correia, Jeff Milutinovic & Jesse Colburn (6)

Composers: Andrew Martino, Jill Godin & Joseph (Jody) Colero (1); Aaron Verdonk & Jesse Colburn (2–3, 6); Andrew Martino & Jill Godin (4, 7–8); Kayla Diamond (5)

Music publisher: Allerton Publishing LLC

[religion-is-a-mental-illness]

By: Graeme Wood

Published: Aug 15, 2022

Ayatollah Ruhollah Khomeini died in June 1989, just months after issuing a fatwa ordering the murder of Salman Rushdie and all others involved in the publication of his novel The Satanic Verses. Fatwas cannot be rescinded posthumously, which is why ever since then, this fatwa has hung in the air like a putrid smell, inhaled deeply for inspiration by devout followers of Khomeini and his successors. On Friday, a man stabbed Rushdie in upstate New York. The suspect is 24, from New Jersey, and reportedly an admirer of Iranian theocratic rule. “The news is not good,” Rushdie’s agent, Andrew Wylie, said in a statement. Rushdie took a hit to the liver and will likely lose an eye. By Saturday night, Rushdie was reportedly off his respirator and talking.

The honorable response is to say that we are all Rushdie now, and that America’s failure to protect him is a collective shame. In the face of this thuggery, Rushdie’s work should be read publicly, and his name thrown in the face of apologists for the regime that once ordered and offered to pay for his assassination. (In 1998, in an effort to normalize relations with the West, Iran canceled the hit but made clear that if some freelancer wanted to get him, Tehran would not be displeased.)

But we are not all Rushdie. And in fact the past couple decades have led me to wonder if some of us are more Khomeini than we’d like to admit.

In 1989, the reaction to the fatwa was split three ways: Some supported it; some opposed it; and some opposed it, to be sure, but still wanted everyone to know how bad Rushdie and his novel were. This last faction, Team To Be Sure, took the West to task for elevating this troublesome man and his insulting book, whose devilry could have been averted had others been more attuned to the sensibilities of the offended.

The fumes are still rising off of this last group. Former president Jimmy Carter was, at the time of the original fatwa, the most prominent American to suggest that the crime of murder should be balanced against Rushdie’s crime of blasphemy. The ayatollah’s death sentence “caused writers and public officials in Western nations to become almost exclusively preoccupied with the author’s rights,” Carter wrote in an op-ed for The New York Times. Well, yes. Carter did not only say that many Muslims were offended and wished violence on Rushdie; that was simply a matter of fact, reported frequently in the news pages. He took to the op-ed page to add his view that these fanatics had a point. “While Rushdie’s First Amendment freedoms are important,” he wrote, “we have tended to promote him and his book with little acknowledgment that it is a direct insult to those millions of Moslems whose sacred beliefs have been violated.” Never mind that millions of Muslims take no offense at all, and are insulted by the implication that they should.

Over the past two decades, our culture has been Carterized. We have conceded moral authority to howling mobs, and the louder the howls, the more we have agreed that the howls were worth heeding. The novelist Hanif Kureishi has said that “nobody would have the balls” to write The Satanic Verses today. More precisely, nobody would publish it, because sensitivity readers would notice the theological delicacy of the book’s title and plot. The ayatollahs have trained them well, and social-media disasters of recent years have reinforced the lesson: Don’t publish books that get you criticized, either by semiliterate fanatics on the other side of the world or by semiliterate fanatics on this one.

It is unfair to pick on Carter, because many who have less excuse for these atrocious opinions have agreed with him. These include professional writers. (Carter is a writer and poet, but his writing is more an unfortunate hobby than a real calling.) Like Carter, these writers have condemned murder, to be sure, but hastened to change the subject to the apparently equally urgent problem of the victims’ own sins.

In 2015, after jihadists killed eight members of the staff of Charlie Hebdo, PEN America, a venerable institution promoting the interests of writers and of free expression—and one that Salman Rushdie himself once led—presented the survivors with an award for their courage. Fanatics had warned them for years that they’d be killed for their cartoons, but they published anyway. After the slaughter, hundreds of PEN members, led by Teju Cole and Francine Prose, doubted whether they deserved an award, and objected in a sententious, scolding open letter. (I joined PEN that year, and where the application asked my reasons, I wrote “to cancel out the vote of Joyce Carol Oates,” another one of the signers.)

Today, with Rushdie sliced to ribbons in a hospital bed in Erie, it is impossible to read their letter without noticing how fully they surrendered to this cult of offense and took the side of those offended against those slain.

How awful that the Charlie Hebdo artists and writers were shot to death, the signers said. But should we really applaud them? “​​There is a critical difference between staunchly supporting expression that violates the acceptable,” they wrote, “and enthusiastically rewarding such expression.” They then proceeded to explain (after, to be sure, a statement that mass murder is not acceptable) that Charlie Hebdo’s ridiculing of the “marginalized, embattled, and victimized” was also not acceptable. In 1989, Team To Be Sure had betrayed its philistinism by reducing Rushdie’s novel, one of the greatest by a living writer, to an “insult.” PEN’s critics of Charlie Hebdo declared that its “cartoons of the Prophet must be seen as being intended to cause further humiliation and suffering.” The letter did not even attempt to criticize Charlie Hebdo on literary grounds.

It takes nerve to describe artists and journalists who were recently shot in the face as having themselves caused “suffering.” To do this in one’s capacity as a PEN America member speaks to a larger faltering of the culture, in its confidence that the liberty of individuals is worth fighting and dying for. (I note that since the attempt on Rushdie's life, almost no one has advanced these arguments. I am not sure why successfully killing several cartoonists contemptuous of religion gets to be sure treatment, but trying to kill a novelist contemptuous of religion does not. In any case I welcome into the ranks of the sensible whoever wishes to join.)

V. S. Naipaul called Khomeini’s fatwa “a most extreme form of literary criticism”—a macabre joke that seemed at the time to come at Rushdie’s expense. Today it sounds just as macabre but hits a worthier target: those who muddle the distinction between offense and violence, and between a disagreement over ideas and a disagreement over whether your head should remain attached to your body.

Now that Rushdie’s head has been partially detached, and on American soil, I hope these distinctions will need no further elaboration, and that those who elided them will swallow their full helping of shame. Rushdie has survived long enough to see free expression debased in the name of free expression. Survive a bit longer, Salman, and we’ll see this cause restored to the status it deserves.

==

Rushdie was betrayed by people who not just should have known better, but did know better, but instead threw away their principles - and him under the bus - to, literally, save their own necks.

[readerbookclub]

A Year in Books - January Booklist

Hello everyone! For this book list, I thought it would be nice to look back at some of the books published this past year. A final goodbye to 2022! 

As always, there is a link to vote for our next read at the bottom of the post :) And now onto the books.

The Overnight Guest, by Heather Gudenkauf

She thought she was alone… True crime writer Wylie Lark doesn’t mind being snowed in at the isolated farmhouse where she’s retreated to write her new book. A cozy fire, complete silence. It would be perfect, if not for the fact that decades earlier, at this very house, two people were murdered in cold blood and a girl disappeared without a trace. As the storm worsens, Wylie finds herself trapped inside the house, haunted by the secrets contained within its walls—haunted by secrets of her own. Then she discovers a small child in the snow just outside. After bringing the child inside for warmth and safety, she begins to search for answers. But soon it becomes clear that the farmhouse isn’t as isolated as she thought, and someone is willing to do anything to find them.

Fairy Tale, by Stephen King

Charlie Reade looks like a regular high school kid, great at baseball and football, a decent student. But he carries a heavy load. His mom was killed in a hit-and-run accident when he was ten, and grief drove his dad to drink. Charlie learned how to take care of himself—and his dad. Then, when Charlie is seventeen, he meets Howard Bowditch, a recluse with a big dog in a big house at the top of a big hill. In the backyard is a locked shed from which strange sounds emerge, as if some creature is trying to escape. When Mr. Bowditch dies, he leaves Charlie the house, a massive amount of gold, a cassette tape telling a story that is impossible to believe, and a responsibility far too massive for a boy to shoulder. Because within the shed is a portal to another world—one whose denizens are in peril and whose monstrous leaders may destroy their own world, and ours. In this parallel universe, where two moons race across the sky, and the grand towers of a sprawling palace pierce the clouds, there are exiled princesses and princes who suffer horrific punishments; there are dungeons; there are games in which men and women must fight each other to the death for the amusement of the “Fair One.” And there is a magic sundial that can turn back time.

Sea of Tranquility, by Emily St. John Mandel

In 1912, 18-year-old Edwin St. Andrew crosses the Atlantic, exiled from English polite society. In British Columbia, he enters the forest, spellbound by the beauty of the Canadian wilderness, and for a split second all is darkness, the notes of a violin echoing unnaturally through the air. The experience shocks him to his core.

Two centuries later, Olive Llewelyn, a famous writer, is travelling all over Earth, far away from her home in the second moon colony. Within the text of Olive’s best-selling novel lies a strange passage: a man plays his violin for change in the echoing corridor of an airship terminal as the trees of a forest rise around him.

When Gaspery-Jacques Roberts, a detective in the black-skied Night City, is hired to investigate an anomaly in time, he uncovers a series of lives upended: the exiled son of an aristocrat driven to madness, a writer trapped far from home as a pandemic ravages Earth, and a childhood friend from the Night City who, like Gaspery himself, has glimpsed the chance to do something extraordinary that will disrupt the timeline of the universe.

Seven Empty Houses, by Samanta Schweblin and translated by Megan McDowell

The seven houses in these seven stories are strange. A person is missing, or a truth, or memory; some rooms are enticing, some unmoored, others empty. But in Samanta Schweblin’s tense, visionary tales, something always creeps back in: a ghost, a fight, trespassers, a list of things to do before you die, or the fallibility of parents. Seven Empty Houses offers an entry point into a fiercely original mind, and a slingshot into Schweblin’s destabilizing, exhilarating literary world. In each story, the twists and turns will unnerve and surprise: Schweblin never takes the expected path and instead digs under the skin and reveals uncomfortable truths about our sense of home, of belonging, and of the fragility of our connections with others. This is a masterwork from one of our most brilliant modern writers.

Tomorrow, and Tomorrow, and Tomorrow; by Gabrielle Zevin

On a bitter-cold day, in the December of his junior year at Harvard, Sam Masur exits a subway car and sees, amid the hordes of people waiting on the platform, Sadie Green. He calls her name. For a moment, she pretends she hasn't heard him, but then, she turns, and a game begins: a legendary collaboration that will launch them to stardom. These friends, intimates since childhood, borrow money, beg favors, and, before even graduating college, they have created their first blockbuster, Ichigo. Overnight, the world is theirs. Not even twenty-five years old, Sam and Sadie are brilliant, successful, and rich, but these qualities won't protect them from their own creative ambitions or the betrayals of their hearts. Spanning thirty years, from Cambridge, Massachusetts, to Venice Beach, California, and lands in between and far beyond, Gabrielle Zevin's Tomorrow, and Tomorrow, and Tomorrow is a dazzling and intricately imagined novel that examines the multifarious nature of identity, disability, failure, the redemptive possibilities in play, and above all, our need to connect: to be loved and to love. Yes, it is a love story, but it is not one you have read before.

Vote for our next book here.

[brokenpiecesshine]

Paramore on Instagram, 09/12/2022.

“The News,” directed by Mike Kluge & Matthew DeLisi.

DP: Matthew DeLisi @matthewdelisi

Producer: Mike Kluge @m.k.a.v

Production Co: COUR DESIGN @courdesign

VFX: BRAINCHILD VFX @brainchild.vfx

Titles/Additional VFX: Mike Kluge @m.k.a.v

Edit: Matthew DeLisi @matthewdelisi & Mike Kluge @m.k.a.v

EP: Kirk Slawek @kirkslawek

Colorist: Brett Price @coloristbrettprice

Robot Op: John Spencer @johnedwinspencer

Robot Op: Justin Wylie @jtwylie

Cinema Robotics: Shift Dynamics @shiftdynamics.co

1st AC: Rocky Linderman @rockylinderman

G/E: Patrick Wilson @wilson_precision

Studio Manager: Skylar Galayda @skylargalayda

Studio: Arc Studios @arcstudios.tv

Art Director: Elise Lacret @elise_lacret

Stylist : Lindsey Hartman @lindseyhartman

HMU: Brian O'Connor @colormebrian

Video Commissioner: Andrew Reid @andrew_thomas_reid

BTS Photos: Ryan Green @30mileswest

[dustedmagazine]

Comet Gain — The Misfit Jukebox (Tapete)

Photo by Phil Bower

The Misfit Jukebox by Comet Gain

Over the past year Comet Gain founder David Christian has been releasing digital only collections of the band’s archive of outtakes, demos, live tracks, covers and rarities on Bandcamp. The Misfit Jukebox compiles 17 tracks on vinyl and CD for the first time and is a pure delight for fans and a great place to start for anyone into noisy, scruffy indie guitar music. From noisy wig-outs to acoustic balladry via inspired covers, alternative versions of old favorites and unreleased songs, this a record packed with uncut gems that span the years and many incarnations of a band whose relative obscurity continues to confound.

At the center is Christian, heart on his sleeve, pocket stuffed with a dog-eared copy of “The Outsider,” one hand clutching a box of obscure 7” singles, the other gesticulating enthusiastically to musings on art, love, literature and the redemptive joys of music. In many ways Comet Gain are the platonic idea of band as gang and like other odd English evangelistic gang leaders like Kevin Rowland and Pete Wylie, Christian finds a like-minded cohort whose members come and go while the essence remains. 

“He stayed in the joints with his own kind/The incurables/The boys who felt the itch to discover something” And we’re away, “The Weekend Dreams (Doble Vida Version)” comes on in a tumble of guitars and clattering drums chasing Christian’s rush of bittersweet romantic idealism, a glorious messy rush of a song all the better for the rough edges. A buoyant cover of the Would-Be-Goods’ “Pinstripe Rebel,” the Velvet Underground wig-out of “Herbert Huncke Part 3” (has ever a subject, band and performance fitted so well?), Sarah Bleach’s vocals on “Only Happy When I’m Sad” with an Aztec Camera like guitar solo, a lovely acoustic demo of “The Fists in the Pocket” and previously unreleased “Your Just Lonely” and “When?!” with The Clientele’s Alasdair MacLean and Lupe Núñez-Fernández on vocals are all revelations. The release of these songs alone make The Misfit Jukebox essential. 

If you haven’t had the pleasure, I envy your first listen and if you think a collection of outtakes and demos might be an odd place to start, The Misfit Jukebox has enough energy, inspiration and musical goodness to convince you that Comet Gain need to be part of your life. 

Andrew Forell

[ulkaralakbarova]

In 1863, Mississippi farmer Newt Knight serves as a medic for the Confederate Army. Opposed to slavery, Knight would rather help the wounded than fight the Union. After his nephew dies in battle, Newt returns home to Jones County to safeguard his family but is soon branded an outlaw deserter. Forced to flee, he finds refuge with a group of runaway slaves hiding out in the swamps. Forging an alliance with the slaves and other farmers, Knight leads a rebellion that would forever change history. Credits: TheMovieDb. Film Cast: Newton Knight: Matthew McConaughey Rachel: Gugu Mbatha-Raw Moses Washington: Mahershala Ali Serena Knight: Keri Russell Daniel: Jacob Lofland Sumrall: Sean Bridgers Lieutenant Barbour: Brad Carter Miss Ellie: Jane McNeill Prosecuting Attorney: Gary Grubbs Jasper: Christopher Berry Amos Deason: Joe Chrest Quitman: David Jensen Injured Soldier: Kurt Krause Confederate Color Guard: Carlton Caudle Freedman 1: Martin Bats Bradford Matthew Yates: Matt Lintz Mary: Kerry Cahill Annie: Jessica Collins Confederate Soldier: Juan Gaspard Junie Lee: Liza J. Bennett Polling Station Clerk: David Maldonado Schoolgirl: Serenity Neil Chester: Lawrence Turner Mrs. Deason: Lara Grice Col. Robert Lowry: Wayne Pére Farmer 1: Jim Klock Town Folk: Emily Bossak Sergeant: P.J. Marshall Third Man: Ritchie Montgomery Stillman Coleman: Mattie Liptak Aunt Sally: Jill Jane Clements Col. McLemore: Thomas Francis Murphy Old Man: Johnny McPhail Lt. Barbour: Bill Tangradi First Man: William Mark McCullough Edward James – Cotton Field Worker: Sam Malone Boy at Alice Hotel: Kylen Davis Farmer 2: Will Beinbrink George: Troy Hogan Confederate Soldier: Cy Parks Ward: Dane Rhodes Second Woman / Yeoman Farmer: Lucy Faust Yeoman Girl: Stella Allen Older Coleman Brother: Cade Mansfield Cooksey Maroon (uncredited): Tahj Vaughans Davis Knight: Brian Lee Franklin Film Crew: Casting: Debra Zane Production Design: Philip Messina Costume Design: Louise Frogley Editor: Juliette Welfling Producer: Jon Kilik Supervising Art Director: Dan Webster Editor: Pamela Martin Director of Photography: Benoît Delhomme Producer: Scott Stuber Executive Producer: Oren Aviv Set Decoration: Larry Dias Writer: Gary Ross Executive Producer: Robert Simonds Executive Producer: Robin Bissell Art Direction: Andrew Max Cahn Sound Re-Recording Mixer: Paul Hsu Executive Producer: Wang Zhonglei Executive Producer: Stuart Ford Prosthetics: Gary Archer Foley: Marko Costanzo Makeup Department Head: Nikoletta Skarlatos Executive Producer: Wang Zhongjun Co-Producer: David Pomier First Assistant Director: Eric Heffron Assistant Costume Designer: Meagan McLaughlin Foley: Eric Milano Second Unit Director: Garrett Warren Visual Effects Editor: Gershon Hinkson Executive Producer: Michael Bassick Makeup Artist: Kris Evans Executive Producer: Bruce Nachbar “B” Camera Operator: Jerry M. Jacob Executive Producer: Matt Jackson Additional Camera: Michael Watson Executive Producer: Christopher Woodrow Hairstylist: Felicity Bowring Casting: Meagan Lewis Music Editor: John Finklea Executive Producer: Jerry Ye Set Designer: Randall D. Wilkins Still Photographer: Murray Close Sound Re-Recording Mixer: Mike Prestwood Smith First Assistant “A” Camera: Chad Rivetti Special Effects Coordinator: David K. Nami Hair Department Head: Jules Holdren Key Hair Stylist: Melizah Anguiano Wheat Set Costumer: Adriane Bennett Costume Supervisor: Carlane Passman Prosthetic Makeup Artist: Matthew O’Toole Visual Effects Producer: Lisa Beroud Key Hair Stylist: Theraesa Rivers Executive Producer: Russell Levine Additional Camera: Greg Morris Set Costumer: Tom Cummins Art Department Coordinator: Wylie Griffin Supervising Dialogue Editor: Branka Mrkic Visual Effects Supervisor: Kelly Port Second Assistant “C” Camera: Griffin McCann Set Costumer: Lisa Magee Wigmaker: Khanh Trance Art Direction: Chris Craine Gaffer: Bob Bates Original Music Composer: Nicholas Britell First Assistant “C” Camera: Wade Whitley Co-Producer: Diana Alvarez Second Second Assistant Director: Marvin Williams “A” Came...

[ragingphantom666]

Marvel Worlds project plan: Deadpool/Spider-Woman (Vol. 1)

This series is not an assured project. It is a concept that can still be changed or scrapped.

Synopsis

To witness how heroes of order and chaos will do against evil, the Beyonder creates Battleworld to test a Deadpool and Spider-Woman against villains from across the multiverse. Who will win and claim the great prize?

Characters

Wylie Wilson/Deadpool - The daughter of Deadpool from an alternate reality. She has all his powers and his unstable personality. Her main weapon is a scythe that can detach and become a sword.

Mayday Parker/Spider-Woman - The daughter of Peter Parker and Mary Jane Watson from a reality nearly identical to Earth-521. She is brought to Battleworld with the promise that her family will be resurrected.

The Beyonder - A powerful interdimensional being who created Battleworld for his experiments.

Maximus the Mad - An Inhuman from Earth-1922. He can control technology with his mind. He was brought to Battleworld and promised that he would be the unquestioned king of the Inhumans if the villains won.

Kevin MacTaggert/Proteus - A mutant from Earth-521 with powers that include telekinesis, telepathy, teleportation, and matter manipulation. He was killed by Wolfsbane and the X-Men of her universe. He is restored to his prime by the Beyonder and promised that the X-Men will be killed if the villains win.

Brandon Keel/Black Goblin - An enemy of the Spider-Man of Earth-521 and step-father of Mary Jane Watson. He tried to kill all Inhumans, seeing them as a danger to the world. He is brought to Battleworld by Beyonder and given the various Goblin tech. If the villains win, the Beyonder promises that he will get his old life back and a chance to be Mary Jane's father again.

Andrew Grimm/Deathrow - The father of the Deadpool of Earth-1922 and his enemy. He is promised immense wealth if the villains win Battleworld.

Ben Furnace/Infernal - A mutant with powerful pyrokinetic powers from a universe where he was hunting a group of young mutants. He is brought to Battleworld and promised greater powers if the villains win Battleworld.

Other Information

The story is inspired by the Spider-Man/Deadpool and Secret Wars storylines from the comics.

Mayday Parker was originally supposed to appear in one of my stories in one of my scrapped Marvelverse stories.

Maximus the Mad was supposed to appear in two of my scrapped Marvel Chronicles stories: Avengers Academy and Inhumanity.

Proteus was a recurring enemy in my Marvelverse series X-Men: Wolfsbane.

Black Goblin is an original character. He was the final villain of the second season of my Marvelverse series Spectacular Spider-Man.

Deathrow is an original character. He was created to be an enemy of Deadpool. In the Marvel Chronicles series Deadpool, he was made to be the father of a teenage Deadpool and a parody of Ryan Reynolds's Deadpool, despite the character being a human.

Infernal was an original character I used in one of my early canceled projects Generation X.

Wylie Wilson is an amalgamation of Deathpool and Lady Deadpool.

Wylie is pansexual.

Mayday is bisexual.