#alex-hoey

[a-man-for-hire-and-his-archives]

Last King of the Cross Returns for Season Two: Here’s Why You Should Be Watching

Photo: Courtesy of Paramount Plus / Daniel Asher Smith

The Australian crime saga set viewing records in its first season. Now it’s back for another season with more action, underworld figures and drama. In partnership with Paramount+, here are the standout reasons to dive into season two.

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Cinematic and stylish, it’s no wonder Last King of the Cross became the most-watched Australian show on Paramount+ on its debut last year. The Sydney-set crime series is fictitous drama inspired by the true story of brothers John and Sam Ibrahim, who escaped as children from war-torn Lebanon and became rising figures in the Australian underworld of the late 1980s and early 1990s.

As the darkly compelling, fictional saga returns from August 30 on Paramount+, the focus switches from Kings Cross to Oxford Street. Season two picks up 18 months after the last season’s white-knuckle climax, with both new and returning characters on board. The second season proves even more suspenseful and perilous – with more punchy action and family drama than before.

We’ve highlighted five key reasons to add the second season to your must-watch calendar. If you haven’t seen season one yet, don’t worry – you’ve still got time to catch up.

Naveen Andrews joins the cast as a formidable underworld figure

Best known for his long-running role on Lost, British-American actor Naveen Andrews joins Last King of the Cross as fictional character Ray Kinnock, the current boss of Oxford Street. That places him in direct opposition to John Ibrahim, who has set his sights on the bustling district to bolster his waning Kings Cross empire. Given Andrews’s track record for playing quirky yet charismatic characters, audiences can expect Ray Kinnock to be an unforgettable antagonist.

Brotherhood sits at the heart of this expanded family story

The first season thrived on the friction between brothers John and Sam, played with gritty conviction by lead actors Lincoln Younes and Claude Jabbour. This season introduces younger siblings Michael and Fadi Ibrahim, played by Dave Hoey and Alex Kaan respectively. While the younger brothers play a smaller role, they complicate the already tense struggle for dominance between John and Sam. That heated family dynamic will be at the centre of season two, as Sam is released from prison and begins to assemble the most substantial bikie chapter in Australian history. Meanwhile, John gets to work re-establishing himself as a key Sydney nightlife figure.

Sydney’s Oxford Street provides an energetic new backdrop

The first season was firmly centred on Kings Cross – but this time we jump to Oxford Street, with the former hotbed of crime and nightlife all but extinguished. The corridor was home to Sydney’s fashion scene and queer culture in the late 1990s, when this season takes place. That makes for a colourful and diverse new location to rival Kings Cross, which was famously recreated with an elaborate set for season one. With new antagonist Ray Kinnock dubbed as “the reigning queen of Oxford Street,” a focus on the street’s lasting queer legacy seems promising. After all, it’s where Sydney’s first Mardi Gras was held in 1978.

Fast-paced action punctuates this high-stakes crime drama

Realistic car chases, shoot-outs and brawls set the tone for Last King of the Cross. That’s especially true of the second season, which ramps up the action and the stakes. As brothers John and Sam each ascend the ladder of Australia’s criminal underworld, their competition won’t go down without a fight. And don’t forget Liz Doyle (played by Tess Haubrich), the driven Sydney detective who has been promoted to senior sergeant and commissioned a new crime taskforce.

John Is a strong addition to television’s modern canon of antiheroes

Modern television is full of memorable antiheroes: think Tony Soprano, Breaking Bad’s Walter White and Mad Men’s Don Draper. This season, John makes a strong case to join their ranks. While Sam and their younger siblings are compelling in their own rights, John moves to centre stage as he wrestles with Ray to gain control of Oxford Street. The tug-of-war between John’s underworld machinations and his family loyalties proves especially gripping this time around.

Season two of Last King of the Cross is streaming August 30 only on Paramount+.

This article is produced by Broadsheet in partnership with Paramount+. Last King of the Cross is a dramatisation inspired by true events from John Ibrahim’s autobiography. Several characters and events represented in the series are fictional. Any similiarity to the name, character or history of any living persons is entirely coincidental and unintentional.

Source: Broadsheet

[brokehorrorfan]

Adam Green’s ArieScope has a new Holliston design by Alex Hoey available for pre-order on on T-shirts ($25) and hoodies ($42). They’re expected to ship by December 15.

[tea-cryptid]

i hope the entire cast of newsies at the muny is having a great day

[goalhofer]

2020-21 Colgate University Raiders Roster

Wingers

#5 Paul McAvoy (Richmond, Kentucky) C

#7 Josh McKechney (Calgary, Alberta) A

#12 Colton Young (Calgary, Alberta)

#13 Matt Verboon (Genève, Switzerland)

#15 Jack Hoey (Fairfield, Connecticut)

#16 Griffin Lunn (Lockport, New York)

#19 Henry Marshall (New Canaan, Connecticut)

#20 Levi Glasman (Lacombe, Alberta)

#22 Tyler Jeanson (Carman, Manitoba) A

#23 Jeff Stewart (Surrey, British Columbia)

Centers

#10 Arnaud Vachon (Ajax, Ontario)

#14 Ethan Manderville (Ottawa, Ontario)

#17 Ross Mitton (Copiague, New York)

#21 Alex Young (Calgary, Alberta)

#25 Evan Tschumi (Calgary, Alberta)

Defensemen

#2 Pierson Brandon (Greenburgh, New York)

#3 Anthony Stark (New York, New York)

#4 Elliott McDermott (Kingston, Ontario)

#8 P.J. Garrett (Duxbury, Massachusetts)

#11 Nick Austin (St. Louis Park, Minnesota)

#24 Trevor Cosgrove (Exeter, New Hampshire) A

#26 Liam Watson-Brawn (Burnaby, British Columbia)

#27 Nick Anderson (Independence, Minnesota)

Goalies

#1 Mitch Benson (Windsor, Ontario)

#31 Andrew Farrier (Montreal, Quebec)

#32 Will Friend (Hamilton, Massachusetts)

#37 Carter Gylander (Beaumont, Alberta)

[smashpages]

Winners announced for the 2019 Eisner Awards

The winners were announced last night for the 2019 Will Eisner Comic Industry Awards.

Tom King and Mitch Gerads, partners on the Mister Miracle series from DC, took home five awards between them. John Allison’s Giant Days and The Prince and the Dressmaker by Jen Wang also took home multiple awards.

The Eisner Awards also inducted 10 people into the Hall of Fame last night: the judges chose Jim Aparo, June Tarpé Mills, Dave Stevens and Morrie Turner, while voters chose José Luis García-López, Jenette Kahn, Paul Levitz, Wendy and Richard Pini, and Bill Sienkiewicz to join the class of 2019.

Other awards given out last night included the The Bill Finger Excellence In Comic Book Writing Award, which was presented to Mike Friedrich and the late E. Nelson Bridwell, and the Russ Manning Most Promising Newcomer Award, which went to Lorena Alvarez.

The 2019 recipients of the Bob Clampett Humanitarian Award were Edgardo Miranda-Rodriguez, for his work on Ricanstruction: Reminiscing & Rebuilding Puerto Rico, and comic artist Tula Lotay, AKA Lisa Wood, for creating the UK-based Thought Bubble Festival. And La Revisteria Comics in Argentina won the Will Eisner Spirit of Comics Retailer Award.

You can see all the Eisner winners below, in bold.

Best Short Story

“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)

“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)

“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)

“Life During Interesting Times,” by Mike Dawson (The Nib), https://thenib.com/greatest-generation-interesting-times

“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)

“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Best Single Issue/One-Shot

Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)

Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)

No Better Words, by Carolyn Nowak (Silver Sprocket)

Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)

The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

Best Continuing Series

Batman, by Tom King et al. (DC)

Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)

Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)

Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)

The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)

Runaways, by Rainbow Rowell and Kris Anka (Marvel)

Best Limited Series

Batman: White Knight, by Sean Murphy (DC)

Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)

Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

Best New Series

Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)

Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)

Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)

Isola, by Brenden Fletcher and Karl Kerschl (Image)

Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)

Skyward, by Joe Henderson and Lee Garbett (Image)

Best Publication for Early Readers (up to age 8)

Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)

Petals, by Gustavo Borges (KaBOOM!)

Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)

This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)

Tiger Vs. Nightmare, by Emily Tetri (First Second)

Best Publication for Kids (ages 9–12)

Aquicorn Cove, by Katie O’Neill (Oni)

Be Prepared, by Vera Brosgol (First Second)

The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)

Crush, by Svetlana Chmakova (JY/Yen Press)

The Divided Earth, by Faith Erin Hicks (First Second)

Best Publication for Teens (ages 13–17)

All Summer Long, by Hope Larson (Farrar Straus Giroux)

Gumballs, by Erin Nations (Top Shelf/IDW)

Middlewest, by Skottie Young and Jorge Corona (Image)

Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)

The Prince and the Dressmaker, by Jen Wang (First Second)

Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)

Best Humor Publication

Get Naked, by Steven T. Seagle et al. (Image)

Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)

MAD magazine, edited by Bill Morrison (DC)

A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)

Woman World, by Aminder Dhaliwal (Drawn & Quarterly)

Best Anthology

Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)

Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)

Twisted Romance, edited by Alex de Campi (Image)

Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)

Best Reality-Based Work

All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)

All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)

Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)

Monk! by Youssef Daoudi (First Second)

One Dirty Tree, by Noah Van Sciver (Uncivilized Books)

Best Graphic Album—New

Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)

Come Again, by Nate Powell (Top Shelf/IDW)

Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)

Homunculus, by Joe Sparrow (ShortBox)

My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)

Sabrina, by Nick Drnaso (Drawn & Quarterly)

Best Graphic Album—Reprint

Berlin, by Jason Lutes (Drawn & Quarterly)

Girl Town, by Carolyn Nowak (Top Shelf/IDW)

Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)

The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)

Young Frances, by Hartley Lin (AdHouse Books)

Best Adaptation from Another Medium

Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)

“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)

Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)

Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)

To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)

Best U.S. Edition of International Material

About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)

Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)

Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)

Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)

A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)

Best U.S. Edition of International Material—Asia

Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)

Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)

Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)

My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)

Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)

Best Archival Collection/Project—Strips

Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)

Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)

Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)

The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books

Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project—Comic Books

Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)

Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)

Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)

Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)

Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)

Best Writer

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)

Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)

Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)

Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)

Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Best Writer/Artist

Sophie Campbell, Wet Moon (Oni)

Nick Drnaso, Sabrina (Drawn & Quarterly)

David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)

Nate Powell, Come Again (Top Shelf/IDW)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Jen Wang, The Prince and the Dressmaker (First Second)

Best Penciller/Inker or Penciller/Inker Team

Matías Bergara, Coda (BOOM!)

Mitch Gerads, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Sonny Liew, Eternity Girl (Vertigo/DC)

Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)

Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Best Painter/Multimedia Artist (interior art)

Lee Bermejo, Batman: Damned (DC)

Carita Lupatelli, Izuna Book 2 (Humanoids)

Dustin Nguyen, Descender (Image)

Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Best Cover Artist (for multiple covers)

Jen Bartel, Blackbird (Image); Submerged (Vault)

Nick Derington, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Joshua Middleton, Batgirl and Aquaman variants (DC)

Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)

Best Coloring

Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)

Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)

Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)

Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)

Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

Best Lettering

David Aja, Seeds (Berger Books/Dark Horse)

Jim Campbell, Breathless, Calexit, Gravetrancers, Snap Flash Hustle, Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge, Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings, Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)

Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)

Best Comics-Related Periodical/ Journalism

Note: There was a tie in this category

Back Issue, edited by Michael Eury (TwoMorrows)

The Columbus Scribbler, edited by Brian Canini, columbusscribbler.com

Comicosity, edited by Aaron Long and Matt Santori,  www.comicosity.com

LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)

PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)

Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)

The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)

Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)

Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)

Best Academic/Scholarly Work

Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)

Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)

The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)

Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)

Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)

Best Publication Design

A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)

The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)

The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)

Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Aztec Empire, by Paul Guinan, Anina Bennett, and David Hahn, www.bigredhair.com/books/Aztec-empire/

The Führer and the Tramp, by Sean McArdle, Jon Judy, and Dexter Wee, http://thefuhrerandthetramp.com/

The Journey, by Pablo Leon (Rewire), https://rewire.news/article/2018/01/08/rewire-exclusive-comic-journey/

The Stone King, by Kel McDonald and Tyler Crook (comiXology Originals)  https://cmxl.gy/Stone-King

Umami, by Ken Niimura (Panel Syndicate), http://panelsyndicate.com/comics/umami

Best Webcomic

The Contradictions, by Sophie Yanow, www.thecontradictions.com

Lavender Jack, by Dan Schkade (WEBTOON), https://www.webtoons.com/en/thriller/lavender-jack/list?title_no=1410&page=1

Let’s Play, by Mongie (WEBTOON), https://www.webtoons.com/en/romance/letsplay/list?title_no=1218&page=1

Lore Olympus, by Rachel Smythe, (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1

Tiger, Tiger, by Petra Erika Nordlund, (Hiveworks) http://www.tigertigercomic.com/

[sky1news]

How thousands of scarce Covid shots could go to waste

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Pharmacies set to administer many of the shots are worried about waste, and cash-strapped state and local health departments say they need more money and direction from the federal government. The federal health department says states have what they need and that the government will backstop any shortages that occur.

“We really don’t want to lose a drop of this stuff, so it’s a concern. And I don’t have all the answers for how we’re going to do this yet,” said Paul Cieslak, Oregon’s medical director for communicable diseases and immunizations.

The vaccine, if authorized on an emergency basis, is expected to be given first to health care workers and the elderly, further complicating planning efforts.

Most of the concern stems from the requirements for the Covid-19 vaccine that Pfizer on Friday submitted for FDA review. It must be kept in ultra-cold conditions and will be shipped in specially designed pizza-shaped boxes that hold a minimum of 975 doses in 195 glass vials. Once a vial is thawed and diluted to make five shots, health workers will be in a true “use it or lose it” situation: If there aren’t enough people ready for the shots within six hours, the vaccine spoils, slowing efforts to stamp out hot spots and save lives.

“That won’t be acceptable,” said Douglas Hoey, CEO of the National Community Pharmacists Association. “Especially early on it will be practically liquid gold.”

Some waste is unavoidable in any large-scale immunization program. But this isn’t the seasonal flu: Any Covid-19 vaccines that are cleared for use will land during a devastating global pandemic that has killed nearly 1.4 million people worldwide — including over a quarter million in the United States — with no signs of stopping. With analysts predicting that it could take months to vaccinate all Americans, minimizing waste will be crucial.

The earliest vaccinations will be concentrated in hospitals, federal health officials say. Even they could struggle to minimize the number of spoiled doses as they vaccinate staff. But the waste issue will loom larger as pharmacies are gradually added into the mix — especially those in rural areas where there are fewer people.

Maryland health officials told the Centers for Disease Control and Prevention that as much as 5 percent of the vaccine the state is allocated could spoil and go unused.

Some rural counties may not be able to use up 975 doses by themselves, said Kurt Seetoo, who manages the state health department’s Center for Immunization. Maryland is exploring creating regional clinics, bringing together high priority groups from different rural counties to vaccinate all at once.

HHS Secretary Alex Azar on Friday told Sirius XM that Pfizer’s more challenging storage requirements make it a better fit for larger institutions like hospitals and big retail pharmacies. Another Covid-19 vaccine maker, Moderna, will soon apply to FDA for emergency authorization of its shot — which can be stored in a refrigerator for up to 30 days and at room temperature for up to 12 hours.

Earlier this week, Gen. Gustave Perna, who leads Operation Warp Speed, the Trump administration initiative charged with bringing a vaccine to market, said CVS and Walgreens know how to do this and that his team has worked with states to “make sure that no vaccine is wasted.”

But Paul Offit, a vaccine researcher at the Children’s Hospital of Philadelphia and a member of the expert panel advising the FDA on Covid-19 vaccines, told reporters Friday that he is “very concerned” about the potential for doses of Pfizer’s vaccine going to waste if it is authorized.

“This is going to be very hard, I think there’s going to be a steep learning curve here,” Offit said. “I think there is going to be a lot of waste, and I think we are going to figure this out over time. There is going to be a lot of stumbling. … You’ve got six hours once reconstituted, that’s unprecedented.”

In Oregon, the state may contract with emergency medical providers to drive around and divvy the vaccine up among remote areas — an attempt to avoid having leftover shots.

And North Dakota wants to repackage the vaccine into boxes with smaller quantities, while encouraging providers to be able to rapidly identify people in the next priority group to come get a shot if there’s any leftover vaccine. The state is also asking facilities to pre-register patients to ensure that no vaccine needs to be tossed. Its vaccine plan acknowledges that this could delay distribution by a day but it is necessary to preserve precious vials. Pfizer says it is working on a smaller pack size, but it won’t be ready until early next year and it is unclear if it will resolve the need to deliver at least five shots within hours.

The varying plans underscore the concerns public health experts have long raised about the hands-off approach the Trump administration has maintained throughout the pandemic. That has held true even for the final leg of the vaccine race, which the president has made the centerpiece of his coronavirus response.

“There’s an enormous leadership vacuum,” said Georges Benjamin, the executive director of the American Public Health Association.

Meanwhile, the Trump administration refuses to share its planning with the transition team of President-elect Joe Biden, who said Wednesday the lack of access could hamper vaccine distribution. Instead, Biden’s team has been in contact with Pfizer and other drugmakers; a Pfizer spokesperson declined to share specifics of the communication.

POLITICO NEWSLETTERS

Tracking the appointments, the people, and the power centers of the next administration.

“There is no excuse not to share the data and let us begin to plan,” Biden said Thursday during a press conference. “If we don’t have access to all this data, it’s going to put us behind the eight ball by a matter of a month or more. And that’s lives.”

Azar disputed the assertion Friday on CBS’ “This Morning,” saying it is “absolutely incorrect.”

Source link

from Sky1 News https://ift.tt/3pQTCMx

[detective-pulp]

La route semée d’embûches des Eisner Awards 2020 vers un palmarès admirable

Les Eisner Awards (Will Eisner Comic Industry Awards de son nom complet) récompense depuis 1988 la crème de la crème de l’industrie du comics book. La cérémonie se tient chaque année conjointement à la San Diego Comic Con. Elle rend hommage au pionnier américain Will Eisner. Il est notamment le créateur de A Contract With God, considéré comme le premier roman graphique, ou encore du personnage de Spirit.

Tout comme la SDCC, les Eisner Awards ont connu une édition 2020 tumultueuse à cause de la pandémie. Les organisateurs de la cérémonie ont dû s’adapter à la tendance actuelle en se servant du numérique. Cependant, comme leur partenaire, cela n’a pas été sans son lot d’incidents.

Le processus de vote du jury officiel a été mis à mal par les restrictions sanitaires, le site de vote était défectueux et une polémique autour du manque de diversité a éclaboussé la présidence. Cependant, tout est bien qui a bien fini, la cérémonie et le palmarès de cette édition ont été un vrai succès.

Elire en période de pandémie

La liste des nommés aux prix a été publiée début juin, incluant les publications du 1er janvier au 31 décembre 2019.

Jackie Estrada, administratrice de la cérémonie depuis 1990, s’est exprimée sur le défis que représentait le processus de vote mis en place en raison du COVID 19 :

« Normalement, les juges se rencontrent à San Diego. Pendant quatre jours, ils échangent entre eux dans une pièce pleine des comics et livres soumis au vote. Avec le confinement, ils ont dû rester chez eux et communiquer via émail, réseaux sociaux et Zoom. Des colis de livres ont été transbahutés dans tout le pays ».

Elle poursuit en précisant :

« Heureusement, nous avons pu travailler avec les gens de comiXology et la plupart des éditeurs pour que tous les juges aient une version digitale des centaines de comics en lice».

Ajoutant :

« Le processus a prix deux mois de plus que d’habitude, la fenêtre de vote a été significativement raccourcie comparée aux années passées. »

A la base, les votes devait être clôturés le 18 juin, ça n’est arrivé que le 30. En cause, une vague de problèmes techniques concernant le site de vote.

Une brèche dans la matrice

Plusieurs professionnels de l’industrie du comics ont détecté des anomalies concernant le site de vote des Eisner Awards. Ils ont constaté la modification de leurs informations personnelles et potentiellement celle de leurs votes. Un problème délicat quand on sait que pour s’authentifier sur le site, il fallait entrer toutes sortes d’informations privées (nom, adresse postale, numéro de téléphone et rôle dans l’industrie).

David Glanzer, Chef de la Communication et de la Stratégie de la San Diego Comic Con, s’est exprimé chez Newsarama :

« Nous avons fermé les votes et lancé une investigation pour éclaircir la situation. Nous ferons une annonce dès que nous aurons des informations supplémentaires. Nous sommes désolés pour la gêne occasionnée aux votants. »

Jackie Estrada a envoyé un mail le 24 juin pour apporter les conclusions de l’enquête :

«En se fiant au résultat de notre investigation concernant les récents reports de problèmes avec le site de vote des Eisner Awards, il semble que ce n’était pas un acte malveillant, mais une erreur informatique de la plateforme. Notre examen du dossier nous mène à croire que le problème était minime et nous n’avons aucune preuve d’altération des votes. Pour plus de précautions, nous avons décidé de refaire les votes sur une plateforme sécurisée. »

Pour plus de précisions, les comptes des participants étaient interconnectés. En modifiant leur compte, ils modifiaient celui des autres et ainsi de suite.

Un imbroglio pas possible poussant à remettre les votes à zéro. Cependant, un bon nombre de votants n’ont pas accédé au second tour, car ils n’ont pas reçu le mail de relance.

En conséquence, des professionnels se sont dédouanés des résultats, voir ont remis en question la légitimité de leur prix, car il est difficile de savoir à quel point les votes ont été biaisés lors de cette édition.

Le vote blanc

Si le comité des Eisner Awards a évolué dans le bon sens pour inclure plus de diversité dans la sélection des nommés, ce n’est pas le cas au sein du jury qui préside.

Le site américain Comic Book Resources a dénoté un manque répété de créateurs de couleur au sein de la présidence. Chaque année, l’équipe de juges est majoritairement composé de « caucasiens ». Exception faite cette année, grâce à la présence du journaliste Simon Jimenez. Jamie Colville, Martha Cornog, Michael Dooley, Alex Grecian, et Laura O'Meara sont les autres membres du jury. On notera une tentative de parité ratée avec la participation de deux femmes sur six.

Pour en avoir le cœur net, j’ai vérifié par moi-même la composition du jury des Eisner Awards de ces cinq dernières années. Et le constat est indéniable. Un schéma évident de sous représentation est répété. Jamais complètement blanc, le jury est toujours composé d’un membre issu de minorité. Coïncidence ou préméditation ?

Une solution simple serait d’augmenter le nombre de juges, tout en faisant un effort sur la sélection des professionnels, en introduisant plus de travailleurs marginaux afin de croiser les expertises.

La cérémonie et le palmarès

La 32ème cérémonie des Eisner Awards s’est tenue le 24 juillet dernier sur Youtube. Elle a été présentée par Phil LaMarr, acteur (Marvin dans Pulp Fiction) et surtout doubleur spécialisé dans les séries animées (Futurama, Justice League, Star Wars Rebels…).

Cette édition a fait la part belle aux éditions indépendantes, tout en respectant une parité exemplaire. Le Big Two (DC et Marvel), sans être absent du palmarès, n’ont pas brillé en comparaison du nombre de publication en 2019. Le palmarès a une portée symbolique, comme une bouteille à la mer, invitant les lecteurs à se pencher sur des travaux moins mainstream.

Les grans gagnants de cette édition sont Mariko Tamaki et Rosemary Valero-O’Connell avec leur roman graphique Laura Dean Is Breaking Up with Me (Mes Ruptures avec Laura Dean en VF, disponible aux éditions Rue de Sèvres), raflant les prix de la Meilleure Publication pour Adolescents, Meilleure Scénariste, Meilleur Dessinatrice/Encreuse.

Retrouvez ci-dessous le palmarès complet des Eisner Awards 2020 (en gras les gagnants + l’éditeur qui le publie en France) :

Meilleure histoire courte

Hot Comb, Ebony Flowers (Drawn & Quarterly) 

How to Draw a Horse, Emma Hunsinger, The New Yorker 

The Menopause, Mira Jacob, The Believer 

Who Gets Called an 'Unfit' Mother?, Miriam Libicki, The Nib 

You're Not Going to Believe What I'm About to Tell You, Matthew Inman, The Oatmeal

Meilleur single/one-Shot

Coin-Op No. 8: Infatuation, Peter and Maria Hoey (Coin-Op Books) 

The Freak, Matt Lesniewski (AdHouse) 

Minotäar, Lissa Treiman (Shortbox) 

Our Favorite Thing Is My Favorite Thing Is Monsters, Emil Ferris (Fantagraphics) 

Sobek, James Stokoe (Shortbox)

Meilleure sérien en cours 

Bitter Root, David Walker, Chuck Brown, Sanford Greene (Image, HiComics en VF) 

Criminal, Ed Brubaker, Sean Phillips (Image) 

Crowded, Christopher Sebela, Ro Stein, Ted Brandt (Image) 

Daredevil, Chip Zdarsky, Marco Checchetto (Marvel) 

The Dreaming, Simon Spurrier, Bilquis Evely (DC) 

Immortal Hulk, Al Ewing, Joe Bennett, Ruy José (Marvel)

Meilleure série limitée 

Ascender, Jeff Lemire, Dustin Nguyen (Image) 

Ghost Tree, Bobby Curnow, Simon Gane (IDW) 

Little Bird, Darcy Van Poelgeest, Ian Bertram (Image, Glénat en VF) 

Naomi, Brian Michael Bendis, David Walker, Jamal Campbell (DC) 

Sentient, Jeff Lemire, Gabriel Walta (TKO)

Meilleure nouvelle série

Doctor Doom, Christopher Cantwell, Salvador Larocca (Marvel) 

Invisible Kingdom (HiComics en Octobre)  , G. Willow Wilson, Christian Ward (Berger Books/Dark Horse)

Once & Future, Kieron Gillen, Dan Mora (BOOM! Studios) 

Something Is Killing the Children, James Tynion IV, Werther Dell’Edera (BOOM! Studios) 

Undiscovered Country, Scott Snyder, Charles Soule, Giuseppe Camuncoli, Daniele Orlandini (Image)

Meilleure publication pour les plus jeunes (- de 8 ans) :

Comics: Easy as ABC, Ivan Brunetti (TOON) 

Kitten Construction Company: A Bridge Too Fur, John Patrick Green (First Second/Macmillan) 

The Pigeon HAS to Go to School!, Mo Willems (Hyperion Books) 

A Trip to the Top of the Volcano with Mouse, Frank Viva (TOON) 

¡Vamos! Let's Go to the Market, Raúl the Third (Versify/Houghton Mifflin Harcourt) 

Who Wet My Pants?, Bob Shea, Zachariah Ohora (Little, Brown)

Meilleure publication pour les enfants (de 9 à 12 ans) :

Akissi: More Tales of Mischief, Marguerite Abouet, Mathieu Sapin (Flying Eye/Nobrow) 

Dog Man: For Whom the Ball Rolls, Dav Pilkey (Scholastic Graphix) 

Guts (Courage,chez Akileos), Raina Telgemeier (Scholastic Graphix) 

New Kid, Jerry Craft (Quill Tree/HarperCollins) 

This Was Our Pact, Ryan Andrews (First Second/Macmillan) 

The Wolf in Underpants, Wilfrid Lupano, Mayana Itoïz, Paul Cauuet (Graphic Universe/Lerner Publishing Group)

Meilleure publication pour adolescents

Harley Quinn: Breaking Glass, Mariko Tamaki, Steve Pugh (DC) 

Hot Comb, Ebony Flowers (Drawn & Quarterly) 

Kiss Number 8, Colleen AF Venable, Ellen T. Crenshaw (First Second/Macmillan) 

Laura Dean Keeps Breaking Up with Me (Mes Ruptures avec Laura Dean chez Rue de Sèvres), Mariko Tamaki, Rosemary Valero-O'Connell (First Second/Macmillan) 

Penny Nichols, MK Reed, Greg Means, Matt Wiegle (Top Shelf)

Meilleure publication humoristique

Anatomy of Authors, Dave Kellett (SheldonComics.com) 

Death Wins a Goldfish, Brian Rea (Chronicle Books) 

Minotäar, Lissa Treiman (Shortbox) 

Sobek, James Stokoe (Shortbox) 

The Way of the Househusband, vol. 1 (La voie du Tablier chez Kana), Kousuke Oono, traduit par Sheldon Drzka (VIZ Media) 

Wondermark: Friends You Can Ride On, David Malki (Wondermark)

Meilleure Anthologie

ABC of Typography, David Rault (SelfMade Hero) 

Baltic Comics Anthology ! #34-37, édité par David Schilter, Sanita Muižniece (kuš!) 

Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival, édité par Diane Noomin (Abrams) 

Kramer’s Ergot #10, édité par Sammy Harkham (Fantagraphics) 

The Nib #2–4, édité par Matt Bors (Nib)

Meilleur adaptation d’une histoire vraie

Good Talk: A Memoir in Conversations, Mira Jacob (One World/Random House) 

Grass, Keum Suk Gendry-Kim, traduit par Janet Hong (Drawn & Quarterly) 

Kid Gloves: Nine Months of Careful Chaos, par Lucy Knisley (First Second/Macmillan) 

Moonbound: Apollo 11 and the Dream of Spaceflight, par Jonathan Fetter-Vorm (Hill & Wang) 

My Solo Exchange Diary, vol. 2 (suite de My Lesbian Experience with Loneliness), par Nagata Kabi, traduit par Jocelyne Allen (Seven Seas) 

They Called Us Enemy (Nous étions les Ennemis chez Futuropolis), George Takei, Justin Eisinger, Steven Scott, Harmony Becker (Top Shelf)

Meilleur album original

Are You Listening? (Sur la Route de West chez Galliamrd) ( , Tillie Walden (First Second/Macmillan) 

Bezimena, Nina Bunjevac (Fantagraphics) 

BTTM FDRS, Ezra Claytan Daniels, Ben Passmore (Fantagraphics) 

Life on the Moon, Robert Grossman (Yoe Books/IDW) 

New World, David Jesus Vignolli (Archaia/BOOM!) 

Reincarnation Stories, Kim Deitch (Fantagraphics)

Meilleur album de réimpressions (TPB)

Bad Weekend, Ed Brubaker, Sean Phillips (Image) 

Clyde Fans, Seth (Drawn & Quarterly) 

Cover, vol. 1, Brian Michael Bendis, David Mack (DC/Jinxworld) 

Glenn Ganges: The River at Night, Kevin Huizenga (Drawn & Quarterly) 

LaGuardia, Nnedi Okorafor, Tana Ford (Berger Books/Dark Horse) 

Rusty Brown, Chris Ware (Pantheon)

Meilleure adaptation d'un autre médium

Giraffes on Horseback Salad: Salvador Dali, the Marx Brothers, and the Strangest Movie Never Made, Josh Frank, Tim Hedecker, Manuela Pertega (Quirk Books)

The Giver, Lois Lowry, P. Craig Russell (HMH Books for Young Readers) 

The Handmaid’s Tale: The Graphic Novel, Margaret Atwood, adapté par Renee Nault (Nan A. Talese) 

HP Lovecraft’s At the Mountains of Madness, vols. 1–2, adapté par Gou Tanabe et traduit par Zack Davisson (Dark Horse Manga) 

The Seventh Voyage, Stanislaw Lem, adapté par Jon Muth, traduit par Michael Kandel (Scholastic Graphix) 

Snow, Glass, Apples, Neil Gaiman, Colleen Doran (Dark Horse Books)

Meilleure édition américaine d'une oeuvre internationale

Diabolical Summer, Thierry Smolderen, Alexandre Clerisse, traduit par Edward Gauvin (IDW) 

Gramercy Park, Timothée de Fombelle, Christian Cailleaux, traduit par Edward Gauvin (EuroComics/IDW) 

The House (La Maison chez Delcourt), Paco Roca, traduit par Andrea Rosenberg (Fantagraphics) 

Maggy Garrisson, Lewis Trondheim, Stéphane Oiry, traduit par Emma Wilson (SelfMadeHero) 

Stay, Lewis Trondheim, Hubert Chevillard, traduit par Mike Kennedy (Magnetic Press) 

Wrath of Fantômas, Olivier Bouquet, Julie Rocheleau, traduit par Edward Gauvin (Titan)

Meilleure édition américaine d'une oeuvre asiatique

BEASTARS, Paru Itagaki, traduit par Tomo Kimura (VIZ Media) 

Cats of the Louvre (Les Chats du Louvre chez Futuropolis), Taiyo Matsumoto, traduit par Michael Arias (VIZ Media) 

Grass, Keum Suk Gendry-Kim, traduit par Janet Hong (Drawn & Quarterly) 

Magic Knight Rayearth 25th Anniversary Edition, CLAMP, traduit par Melissa Tanaka (Kodansha) 

The Poe Clan, Moto Hagio, traduit par Rachel Thorn (Fantagraphics) 

Witch Hat Atelier (L'Atelier des Sorciers chez Pika), Kamome Shirahama, traduit par Stephen Kohler (Kodansha)

Meilleur travail d'archive pour les comic strips

Cham: The Best Comic Strips and Graphic Novelettes, 1839–1862, David Kunzle (University Press of Mississippi) 

Ed Leffingwell’s Little Joe, Harold Gray, édité par Peter Maresca et Sammy Harkham (Sunday Press Books) 

The George Herriman Library: Krazy & Ignatz 1916–1918, édité par R.J. Casey (Fantagraphics) 

Krazy Kat: The Complete Color Sundays (chez Les  Rêveurs), par George Herriman, édité par Alexander Braun (TASCHEN) 

Madness in Crowds: The Teeming Mind of Harrison Cady, Violet et Denis Kitchen (Beehive Books) 

Pogo, Vol. 6: Clean as a Weasel, Walt Kelly, édité par Mark Evanier et Eric Reynolds (Fantagraphics)

Meilleur travail d'archive pour les comic books

Alay-Oop, William Gropper (New York Review Comics) 

The Complete Crepax, vol. 5: American Stories, édité par Kristy Valenti (Fantagraphics) 

Jack Kirby’s Dingbat Love, édité par John Morrow (TwoMorrows) 

Moonshadow: The Definitive Edition, J. M. DeMatteis, Jon J. Muth, George Pratt, Kent Williams (Dark Horse Books) 

Stan Sakai’s Usagi Yojimbo: The Complete Grasscutter Artist Select, Stan Sakai, édité par Scott Dunbier (IDW, chez Paquet en VF) 

That Miyoko Asagaya Feeling, by Shinichi Abe, traduit par Ryan Holmberg, édité par Mitsuhiro Asakawa (Black Hook Press)

Meilleur scénariste

Bobby Curnow, Ghost Tree (IDW) 

MK Reed et Greg Means, Penny Nichols (Top Shelf) 

Mariko Tamaki, Harley Quinn: Breaking Glass (DC, chez Urban en VF); Laura Dean Keeps Breaking Up with Me (First Second/Macmillan); Archie (Archie) 

Lewis Trondheim, Stay (Magnetic Press); Maggy Garrisson (SelfMadeHero) 

G. Willow Wilson, Invisible Kingdom (Berger Books/Dark Horse); Ms. Marvel (Marvel) 

Chip Zdarsky, White Trees (Image); Daredevil, Spider-Man: Life Story (Marvel); Afterlift (comiXology Originals)

Meilleur auteur/dessinateur

Nina Bunjevac, Bezimena (Fantagraphics) 

Mira Jacob, Good Talk (Random House); “The Menopause” dans The Believer (June 1, 2019) 

Keum Suk Gendry-Kim, Grass (Drawn & Quarterly) 

James Stokoe, Sobek (Shortbox) 

Raina Telgemeier, Guts (Scholastic Graphix) 

Tillie Walden, Are You Listening? (First Second/Macmillan)

Meilleur dessinateur/encreur

Ian Bertram, Little Bird (Image) 

Colleen Doran, Snow, Glass, Apples (Dark Horse) 

Bilquis Evely, The Dreaming (DC) 

Simon Gane, Ghost Tree (IDW) 

Steve Pugh, Harley Quinn: Breaking Glass (DC) 

Rosemary Valero-O'Connell, Laura Dean Keeps Breaking Up with Me (First Second/Macmillan

Meilleur peintre ou dessinateur en numérique

Didier Cassegrain, Black Water Lilies (Europe Comics) 

Alexandre Clarisse, Diabolical Summer (IDW) 

David Mack, Cover (DC) 

Léa Mazé, Elma, A Bear’s Life, vol. 1: The Great Journey (Europe Comics) 

Julie Rocheleau, Wrath of Fantômas (Titan) 

Christian Ward, Invisible Kingdom (Berger Books/Dark Horse)

Meilleur artiste de couverture

Jen Bartel, Blackbird (Image Comics) 

Francesco Francavilla, Archie, Archie 1955, Archie Vs. Predator II, Cosmo (Archie) 

David Mack, American Gods, Fight Club 3 (Dark Horse); Cover (DC) 

Emma Rios, Pretty Deadly (Image, chez Glénat en VF) 

Julian Totino Tedesco, Daredevil (Marvel) 

Christian Ward, Machine Gun Wizards (Dark Horse), 

Invisible Kingdom (Berger Books/Dark Horse)

Meilleur coloriste

Lorena Alvarez, Hicotea (Nobrow) 

Jean-Francois Beaulieu, Middlewest, Outpost Zero (Image) 

Matt Hollingsworth, Batman: Curse of the White Knight, Batman White Knight Presents Von Freeze (DC); Little Bird, November (Image) 

Molly Mendoza, Skip (Nobrow) 

Dave Stewart, Black Hammer, B.P.R.D.: The Devil You Know, Hellboy and the BPRD (Dark Horse, Delcourt en VF); Gideon Falls (Image, Urban Comics en VF); Silver Surfer Black, Spider-Man (Marvel, chez Panini Comics)

Meilleur lettrage

Deron Bennett, Batgirl, Green Arrow, Justice League, Martian Manhunter (DC); Canto (IDW); Assassin Nation, Excellence (Skybound/Image); To Drink and To Eat, vol. 1 (Lion Forge); Resonant (Vault) 

Jim Campbell, Black Badge, Coda (BOOM Studios); Giant Days, Lumberjanes: The Shape of Friendship (BOOM Box!); Rocko’s Modern Afterlife (KaBOOM!); At the End of Your Tether (Lion Forge); Blade Runner 2019 (Titan); Mall, The Plot, Wasted Space (Vault) 

Clayton Cowles, Aquaman, Batman, Batman and the Outsiders, Heroes in Crisis, Superman: Up in the Sky, Superman’s Pal Jimmy Olsen (DC); Bitter Root, Pretty Deadly, Moonstruck, Redlands, The Wicked + The Divine (Image); Reaver (Skybound/Image); Daredevil, Ghost-Spider, Silver Surfer Black, Superior Spider-Man, Venom (Marvel) 

Emilie Plateau, Colored: The Unsung Life of Claudette Colvin (Europe Comics) 

Stan Sakai, Usagi Yojimbo (IDW) 

Tillie Walden, Are You Listening? (First Second/Macmillan)

Meilleure antenne de presse sur les comics

Comic Riffs blog, Michael Cavna 

The Comics Journal, édité par Gary Groth, RJ Casey, et Kristy Valenti (Fantagraphics) 

Hogan’s Alley, édité par Tom Heintjes (Hogan’s Alley) 

Inks: The Journal of the Comics Studies Society, édité par Qiana Whitted (Ohio State University Press) 

LAAB Magazine, vol. 4: This Was Your Life, édité par Ronald Wimberly et Josh O’Neill (Beehive Books) 

Women Write About Comics, édité par Nola Pfau et Wendy Browne

Meilleur ouvrage lié au sujet des comics

The Art of Nothing: 25 Years of Mutts and the Art of Patrick McDonnell (Abrams) 

The Book of Weirdo, Jon B. Cooke (Last Gasp) 

Grunt: The Art and Unpublished Comics of James Stokoe (Dark Horse) 

Logo a Gogo: Branding Pop Culture, Rian Hughes (Korero Press) 

Making Comics, Lynda Barry (Drawn & Quarterly) 

Screwball! The Cartoonists Who Made the Funnies Funny, Paul Tumey (Library of American Comics/IDW)

Meilleur design pour un album

Grunt: The Art and Unpublished Comics of James Stokoe, Ethan Kimberling (Dark Horse) 

Krazy Kat: The Complete Color Sundays, Anna-Tina Kessler (TASCHEN) 

Logo a Gogo, Rian Hughes (Korero Press) 

Madness in Crowds: The Teeming Mind of Harrison Cady, Paul Kopple et Alex Bruce (Beehive Books) 

Making Comics, Lynda Barry (Drawn & Quarterly) 

Rusty Brown, Chris Ware (Pantheon)

Meilleure publication sur le design

Grunt: The Art and Unpublished Comics of James Stokoe, designed by Ethan Kimberling (Dark Horse)

Krazy Kat: The Complete Color Sundays, by George Herriman, designed by Anna-Tina Kessler (TASCHEN)

Logo a Gogo, designed by Rian Hughes (Korero Press)

Madness in Crowds: The Teeming Mind of Harrison Cady, designed by Paul Kopple and Alex Bruce (Beehive Books)

Making Comics, designed by Lynda Barry (Drawn & Quarterly)

Rusty Brown, designed by Chris Ware (Pantheon)

Meilleure série en digital

Afterlift, Chip Zdarsky, Jason Loo (comiXology Originals) 

Black Water Lilies, Michel Bussi, adapté par Frédéric Duval et Didier Cassegrain, traduit par Edward Gauvin (Europe Comics) 

Colored: The Unsung Life of Claudette Colvin, Tania de Montaigne, adapté par Emilie Plateau, traduit par Montana Kane (Europe Comics) 

Elma, A Bear’s Life, vol. 1: The Great Journey, Ingrid Chabbert et Léa Mazé, traduit par Jenny Aufiery (Europe Comics) 

Mare Internum, Der-shing Helmer (comiXology; gumroad.com/l/MIPDF) 

Tales from Behind the Window, Edanur Kuntman, traduit par Cem Ulgen (Europe Comics)

Meilleur webcomic

Cabramatta, Matt Huynh 

Chuckwagon at the End of the World, Erik Lundy 

The Eyes, Javi de Castro   

Fried Rice Comic, Erica Eng 

reMIND, Jason Brubaker 

Third Shift Society, Meredith Moriarty

[a-man-for-hire-and-his-archives]

Last King of The Cross – Season 2 trailer

Premieres On Friday, 30 August.

Claude Jabbour as SAM IBRAHIM & Lincoln Younes as JOHN IBRAHIM – Last King Of The Cross – Season 2. Photo by Daniel Asher Smith

Paramount+ has revealed the trailer for Season 2 of Last King of The Cross, the Australian crime series that follows a fictional John Ibrahim in his mission to capture Oxford Street’s late-night empire.

While the series takes some inspiration from the real-life John Ibrahim, who had links to organised crime in Sydney (but was never convicted of any crimes), Last King of The Cross is not a biopic, and is only loosely inspired by real events.

In Season 2, John finally returns to Sydney after hiding out in Ibiza. Once there, he sees that his two younger Ibrahim brothers, Fadi (Alex Kaan) and Michael (Dave Hoey) have grown up, while older brother Sam (Claude Jabbour) remains in prison. The latter is steadily growing a following as he attempts to establish his own Black Flags chapter, which forces John to realise that the Kings Cross he left behind has changed forever.

The once thriving area is all but dead in the wake of the Royal Commission, and John wants in on the new hotspot of Oxford Street. Nightclub owner Ray Kinnock (Naveen Andrews – Lost, The Dropout, The English Patient) employs every trick in his well-connected arsenal to challenge John’s crown, while Dean Taylor (Luke Arnold) and Benny Vasquez (Matuse) emerge as new threats. Meanwhile, Senior Sergeant Elizabeth Doyle (Tess Haubrich) follows his every move.

You can watch the new trailer for Last King of The Cross below:

Original link (only for Australia audiences)

Video credit: Now to Love Au

Source: Screen Hub

[qnewsau]

Last King of the Cross is coming to Oxford Street

New Post has been published on https://qnews.com.au/last-king-of-the-cross-is-coming-to-oxford-street/

Last King of the Cross is coming to Oxford Street

Season two of the hit Paramount+ crime drama Last King of the Cross has begun filming around Sydney and will focus on Sydney’s gay scene and Oxford Street in the early 2000s with a plot line that will have John Ibrahim butting heads with a gay crime boss.

According to a statement by the show’s producers, season two will focus on John Ibrahim setting his sights on “capturing a new kingdom – the glittering prize of Oxford Street, Sydney’s nightclub empire.”

“With it, comes all new challenges and enemies. John is thrown into a struggle for power with the reigning queen of Oxford Street, Ray Kinnock, who is determined to either keep John out, or take him down, while facing the relentless scrutiny of newly promoted Senior Sergeant Liz Doyle and her new taskforce.”

Last King of the Cross is based on John Ibrahim’s 2017 memoir of the same name but takes a fair amount of creative licence in adapting the story for television.

Tim Roth played series one antagonist Ezra Shipman who was loosely based on real Kings Cross identity George Freeman who died in 1990.

Ray Kinnock appears to be a wholly fictional character, but in real life John Ibrahim did buy the DCM (Don’t Cry Mama) night club in the early 2000s as well as seven other clubs along Oxford Street and the second series will focus on that expansion of his business empire outside King Cross 18 months after the events of of the first season.

Transgender actress Janet Anderson’s character of Simone who featured in the plot of season one is also returning for season two and the show put out a call for members of the Sydney LGBTQIA+ community to work as extras on the show in late December.

SVP Content & Programming, Paramount ANZ, Daniel Monaghan said in a statement, “After the phenomenal success of the first season, we’re excited to kick off filming for Last King of The Cross.”

“The second season promises to captivate audiences with a gripping tale of power, loyalty, and the evolving dynamics of Kings Cross with all new challenges on Oxford Street. Get ready for a rollercoaster ride as we delve deeper into these intricate, decadent and dangerous worlds.”

Helium Pictures’ Mark Fennessy said, “We’re super excited to continue the story of Last King of The Cross – bringing more extreme and fascinating untold stories of John Ibrahim and his family.”

“Season 2 will surprise and thrill our audience in unexpected ways as we enter the seductive, dangerous, and ecstasy-fuelled world of the early 2000’s.

“Last King of The Cross promises to once again push the boundaries, showcasing the evolution of our characters against the backdrop of Sydney’s gritty and glamorous nightlife scene where power, sex, crime, and business intersect.”

Lincoln Younes and Claude Jabbour return as brothers John and Sam Ibrahim, while audiences will be introduced to the characters of John’s younger brothers Michael Ibrahim, played by digital creator Dave Hoey (Granny Flat Comedy), and Fadi, played by newcomer Alex Kaan.

Also returning are the characters of Detective Liz Doyle (Tess Haubrich), Big Tony (Matt Nable) and Tongan Sam (Uli Latukefu).

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[brokehorrorfan]

ArieScope has a new Victor Crowley design by Alex Hoey available for pre-order on on T-shirts ($25) and hoodies ($45). They're expected to ship by April 21.

[aion-rsa]

Eisner Awards 2019 Predictions

https://ift.tt/2jSlSS7

Once again we try and predict this year's Eisner Awards winners. Once again, we're probably entirely wrong.

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Happy Comic-Con Eve, all! I had a whole "'Twas the night before Comic Con" bit lined up, but APPARENTLY it's considered a faux pas to reveal the location of the annual SDCC post-Eisners key party on the internet, so you'll have to just hang out here for a while as we pick over the list of nominees for comics' most prestigious awards and tell you why the books we liked most will win! And then come back after the ceremony to tell us why we were completely wrong.

Best Short Story

- “Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)

- “The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD Magazine #4 (DC)

- "Here I Am," by Shaun Tan, in I Feel Machine (SelfMadeHero)

“Life During Interesting Times,” by Mike Dawson (The Nib), Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)

- “The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Institutional bias against webcomics will probably be enough to keep Dawson’s comic from winning, but I would probably give it to “Life During Interesting Times.” It’s a thoughtful look at the world we live in that tries to place it into historical context, simultaneously playing up the urgency of the terrible world we live in and expressing hope for the future. It’s also full of really great storytelling tricks - overlapping panels dissolving into each other telling the same story in multiple times. Dawson’s a talented storyteller who should get some recognition for his work.

Best Single Issue/One-Shot

- Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)

- Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)

- No Better Words, by Carolyn Nowak (Silver Sprocket)

Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)

- The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

I screwed up. I read a ton of comics through my subscription services that are a couple of months behind, and because of that I didn’t read the last issue of Zdarsky’s Peter Parker: The Spectacular Spider-Man until months after it came out. It is the best Spider-Man comic I’ve ever read. It cuts to the core of why this character has endured for so long. It’s an absolutely beautiful book about how the world views Parker that made me cry at least twice, and one of those times was when I was remembering what happened in it. 

Best Continuing Series

- Batman, by Tom King et al. (DC)

Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse) 

- Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)

- Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)

- The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)

- Runaways, by Rainbow Rowell and Kris Anka (Marvel)

There isn’t really a wrong choice in this category: King’s Batman is one of the best sustained runs on the character I’ve ever read; Ewing and Bennett’s Immortal Hulk is my favorite Hulk run of all time; Giant Days is a terrific slice of life YA-adjacent comic; and Rowell should be on a ton of best new comics writer shortlists (despite her being a great everything else writer).

But Lemire’s Black Hammer hits that perfect sweet spot in his work where it captures the surreal eeriness of his indie stuff with his wonderful ability to build staggering, fascinating superhero universes, and Ormston and Tommaso help make that world so rich and beautiful that it’s hard to pass Black Hammer up.

Best Limited Series

- Batman: White Knight, by Sean Murphy (DC)

- Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)

- Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

- X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

If I was placing bets on this category, I’d put a lot of money on Mister Miracle and a small but significant amount on The Snagglepuss Chronicles. I don’t understand how we lucked into a great history of the gay rights movement that’s also got a bunch of colorful Hanna Barbera animals as leads. That’s one of the most amazing accomplishments I’ve ever seen in comics.

However, Mister Miracle is the best comic I’ve bought monthly ever. It’s beautiful, ambiguous, thoughtful, methodical. It’s a masterpiece of form and function that tells a story that takes these bizarre Jack Kirby characters and uses them to tell a real story about mental health, parenthood, work, relationships and love. And it doubles as a love letter to comics history.

Best New Series

Bitter Root, by David Walker, Chuck Brown, and Sanford Greene (Image)

- Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)

- Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)

- Isola, by Brenden Fletcher and Karl Kerschl (Image)

- Man-Eaters, by Chelsea Cain, Lia Miternique and Kate Niemczyk (Image)

- Skyward, by Joe Henderson and Lee Garbett (Image)

I think Walker, Brown and Greene’s Bitter Root will probably eek by. It’s so much fun - a family of monster hunters living through the Harlem Renaissance dealing with family drama and supernatural stuff. Greene is one of the best artists working in comics today, and their Power Man and Iron Fist is one of my favorite superhero books of the era because of the energy he brought to the art. 

Best Publication for Kids (ages 9–12)

- Aquicorn Cove, by Katie O'Neill (Oni)

- Be Prepared, by Vera Brosgol (First Second)

- The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)

- Crush, by Svetlana Chmakova (JY/Yen Press)

The Divided Earth, by Faith Erin Hicks (First Second)

Hicks’ The Divided Earth was one of my favorite books from last year. It’s a perfect all-ages comic: just scary enough, just heavy enough, but bright and vibrant and earnest. When we talked about this as one of our best comics of 2018, I mentioned that I can’t wait to hand this off to young family members, and I’m serious: this series is sitting on my shelf waiting for them to hit the right age.

Best Graphic Album—New

- Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)

- Come Again, by Nate Powell (Top Shelf/IDW)

- Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)

- Homunculus, by Joe Sparrow (ShortBox)

My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image) Sabrina, by Nick

- Drnaso (Drawn & Quarterly)

Green Lantern: Earth One is an outstanding Green Lantern comic, one of my favorite sci-fi books of the last decade. But Brubaker and Phillips’ Criminal comics are Eisner bait the same way that a movie about Hollywood’s golden age is Oscar bait. My Heroes Have Always Been Junkies is the same ridiculously high quality comic we’ve come to expect out of the pair, and it will almost certainly win.

Best Writer

- Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

- Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)

- Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age(Dark Horse); Descender, Gideon Falls, Royal City (Image)

- Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite) 

- Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)

- Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Every single writer on this list deserves to win. Zdarsky’s shift from gross-out absurdism to one of the best superhero writers in the industry should be recognized. Thompson’s Rogue & Gambit/Mr. & Mrs. X is one of the best X-Men runs in recent memory. De Campi has long been one of the best writers in the business. And King and Lemire are perennial favorites.

But if Mister Miracle starts cleaning up, I can see Russell take this category. Every comic he writes has a certain amount of shock value to it - not that the content is itself shocking, but that it even got made at all. Lex Luthor/Porky Pig is razor sharp satire of modern industry and social media, and Lone Ranger is better than it has any right to be. Russell wins this narrowly.

Best Penciller/Inker or Penciller/Inker Team

- Matías Bergara, Coda (BOOM!)

Mitch Gerads, Mister Miracle (DC) Karl Kerschl, Isola (Image)

- Sonny Liew, Eternity Girl (Vertigo/DC)

- Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)

- Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Another killer category, but I don’t see how Gerads doesn’t win. His design work, glitching panels to further the story, is so integral but so outside the norm of what you expect from superhero books, that it almost certainly will be recognized for how innovative it is.

Best Painter/Multimedia Artist (interior art)

- Lee Bermejo, Batman: Damned (DC)

- Carita Lupatelli, Izuna Book 2 (Humanoids)

Dustin Nguyen, Descender (Image) Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)

- Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Bermejo is one of the greats, but he’s probably penalized for showing too much of Batman's batarang. Nguyen is also unbelievably gifted, and try and imagine Descender with a different artist: it moves three thousand copies and nobody notices it in a sea of sci-fi/fantasy robot comics. Descender was instead regularly the most beautiful books on the stands with textured watercolors building a gorgeous universe that was at the top of my to read pile every month.

Best Coloring

- Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)

Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)

- Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)

- Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)

- Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

This is an impossible category to handicap, but I think Bonvillain’s range wins out. Doom Patrol is so vastly different from Alien 3 or Batman, but each book’s story was greatly enhanced by her ability to match pallette to art style. Everyone here should win, but Bonvillain is doing the best work of her career and should be recognized for it.

Best Comics-Related Periodical/Journalism

- Back Issue, edited by Michael Eury (TwoMorrows)

- The Columbus Scribbler, edited by Brian Canini, Jack Wallace, Steve Steiner, and Derek Baxter 

- Comicosity, edited by Aaron Long and Matt Santori,  www.comicosity.com

- LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)

- PanelxPanel magazine, edited by Hassan Otsmane-Elhaou

We're big fans of the work done by Michael Eury on Back Issue, and TwoMorrows continues to be a delightful resource for fans of any era of comics.

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Feature Jim Dandy

Jul 14, 2019

SDCC 2019

eisner awards

DC Entertainment

Image Comics

Dark Horse Comics

Marvel

SDCC

from Books https://ift.tt/2jUbR6M

[smashpages]

2019 Eisner Award nominees announced

The nominees for the 2019 Will Eisner Comic Industry Awards have been announced by Comic-Con International. Image Comics received the most nominations with 19, while DC Comics received 17 nominations (not including the “shared” categories, like colorists who work for multiple companies).

On the creator end, Tom King received the most nominations with six, followed by Alex de Campi and Jeff Lemire with four. Also, if you’re of the betting persuasion, here’s a tip: put your money on an Image series walking away with the Best New Series Eisner.

The announcement follows the list of nominees for the Will Eisner Hall of Fame, which was released in January. The awards will be announced in July at Comic-Con International in San Diego. Check out the complete list of nominees below.

Best Short Story

“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)

“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)

“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)

“Life During Interesting Times,” by Mike Dawson (The Nib), https://thenib.com/greatest-generation-interesting-times

“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)

“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)

Best Single Issue/One-Shot

Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)

Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)

No Better Words, by Carolyn Nowak (Silver Sprocket)

Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)

The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)

Best Continuing Series

Batman, by Tom King et al. (DC)

Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)

Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)

Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)

The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)

Runaways, by Rainbow Rowell and Kris Anka (Marvel)

Best Limited Series

Batman: White Knight, by Sean Murphy (DC)

Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)

Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)

Mister Miracle, by Tom King and Mitch Gerads (DC)

X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)

Best New Series

Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)

Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)

Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)

Isola, by Brenden Fletcher and Karl Kerschl (Image)

Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)

Skyward, by Joe Henderson and Lee Garbett (Image)

Best Publication for Early Readers (up to age 8)

Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)

Petals, by Gustavo Borges (KaBOOM!)

Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)

This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)

Tiger Vs. Nightmare, by Emily Tetri (First Second)

Best Publication for Kids (ages 9–12)

Aquicorn Cove, by Katie O’Neill (Oni)

Be Prepared, by Vera Brosgol (First Second)

The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)

Crush, by Svetlana Chmakova (JY/Yen Press)

The Divided Earth, by Faith Erin Hicks (First Second)

Best Publication for Teens (ages 13–17)

All Summer Long, by Hope Larson (Farrar Straus Giroux)

Gumballs, by Erin Nations (Top Shelf/IDW)

Middlewest, by Skottie Young and Jorge Corona (Image)

Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)

The Prince and the Dressmaker, by Jen Wang (First Second)

Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)

Best Humor Publication

Get Naked, by Steven T. Seagle et al. (Image)

Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)

MAD magazine, edited by Bill Morrison (DC)

A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)

Woman World, by Aminder Dhaliwal (Drawn & Quarterly)

Best Anthology

Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)

Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)

Twisted Romance, edited by Alex de Campi (Image)

Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)

Best Reality-Based Work

All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)

All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)

Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)

Monk! by Youssef Daoudi (First Second)

One Dirty Tree, by Noah Van Sciver (Uncivilized Books)

Best Graphic Album—New

Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)

Come Again, by Nate Powell (Top Shelf/IDW)

Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)

Homunculus, by Joe Sparrow (ShortBox)

My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)

Sabrina, by Nick Drnaso (Drawn & Quarterly)

Best Graphic Album—Reprint

Berlin, by Jason Lutes (Drawn & Quarterly)

Girl Town, by Carolyn Nowak (Top Shelf/IDW)

Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)

The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)

Young Frances, by Hartley Lin (AdHouse Books)

Best Adaptation from Another Medium

Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)

“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)

Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)

Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)

To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)

Best U.S. Edition of International Material

About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)

Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)

Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)

Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)

A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)

Best U.S. Edition of International Material—Asia

Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)

Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)

Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)

My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)

Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)

Best Archival Collection/Project—Strips

Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)

Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)

Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)

The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books

Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)

Best Archival Collection/Project—Comic Books

Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)

Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)

Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)

Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)

Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)

Best Writer

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)

Jeff Lemire, Black Hammer: Age of Doom, Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)

Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)

Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)

Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)

Best Writer/Artist

Sophie Campbell, Wet Moon (Oni)

Nick Drnaso, Sabrina (Drawn & Quarterly)

David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)

Nate Powell, Come Again (Top Shelf/IDW)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Jen Wang, The Prince and the Dressmaker (First Second)

Best Penciller/Inker or Penciller/Inker Team

Matías Bergara, Coda (BOOM!)

Mitch Gerads, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Sonny Liew, Eternity Girl (Vertigo/DC)

Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)

Yanick Paquette, Wonder Woman Earth One, vol. 2 (DC)

Best Painter/Multimedia Artist (interior art)

Lee Bermejo, Batman: Damned (DC)

Carita Lupatelli, Izuna Book 2 (Humanoids)

Dustin Nguyen, Descender (Image)

Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)

Tony Sandoval, Watersnakes (Magnetic/Lion Forge)

Best Cover Artist (for multiple covers)

Jen Bartel, Blackbird (Image); Submerged (Vault)

Nick Derington, Mister Miracle (DC)

Karl Kerschl, Isola (Image)

Joshua Middleton, Batgirl and Aquaman variants (DC)

Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)

Best Coloring

Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)

Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)

Nathan Fairbairn, Batman, Batgirl, Birds of Prey, Wonder Woman Earth One, vol. 2 (DC); Die!Die!Die! (Image)

Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)

Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)

Best Lettering

David Aja, Seeds (Berger Books/Dark Horse)

Jim Campbell, Breathless, Calexit, Gravetrancers, Snap Flash Hustle, Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge, Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings, Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)

Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)

Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)

Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)

Best Comics-Related Periodical/Journalism

Back Issue, edited by Michael Eury (TwoMorrows)

The Columbus Scribbler, edited by Brian Canini, columbusscribbler.com

Comicosity, edited by Aaron Long and Matt Santori,  www.comicosity.com

LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)

PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com

Best Comics-Related Book

Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)

Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)

The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)

Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)

Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)

Best Academic/Scholarly Work

Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)

Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)

The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)

Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)

Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)

Best Publication Design

A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)

The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)

The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)

Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)

Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)

Best Digital Comic

Aztec Empire, by Paul Guinan, Anina Bennett, and David Hahn, www.bigredhair.com/books/Aztec-empire/

The Führer and the Tramp, by Sean McArdle, Jon Judy, and Dexter Wee, http://thefuhrerandthetramp.com/

The Journey, by Pablo Leon (Rewire), https://rewire.news/article/2018/01/08/rewire-exclusive-comic-journey/

The Stone King, by Kel McDonald and Tyler Crook (comiXology Originals)  https://cmxl.gy/Stone-King

Umami, by Ken Niimura (Panel Syndicate), http://panelsyndicate.com/comics/umami

Best Webcomic

The Contradictions, by Sophie Yanow, www.thecontradictions.com

Lavender Jack, by Dan Schkade (WEBTOON), https://www.webtoons.com/en/thriller/lavender-jack/list?title_no=1410&page=1

Let’s Play, by Mongie (WEBTOON), https://www.webtoons.com/en/romance/letsplay/list?title_no=1218&page=1

Lore Olympus, by Rachel Smythe, (WEBTOON), https://www.webtoons.com/en/romance/lore-olympus/list?title_no=1320&page=1

Tiger, Tiger, by Petra Erika Nordlund, (Hiveworks) http://www.tigertigercomic.com/

[bwthefinalproject-blog]

Greek Mythology and Lazy Susan - 13/02/2017

As a group we decided to explore Greek Mythology, especially stories that represent or have present nakedness. I personal don’t know a lot about Greek Mythology and so throughout this session Alex Hoey led the conversation and exploration of this topic. 

The most striking story that Alex raised was about a man who was stranded at see, so the God of the Sea helped him to a beach. Yet, the beach was full of lotus eater which made everyone high, so the male became a naked, high and sexual figure. 

I like the idea of using Greek Mythology as a way to express the idea of nakedness. I think it is a good platform to then explore other topics such as sex, gender and the idealistic view of a male and female. 

Afterwards, I had the idea of using a Lazy Susan, just like Sleepwalk Collective had in Domestica, I feel that, that image is powerful and makes the spectator focus on the body and its movement whilst spinning slowing. I like the idea of admiration due to the performer being put on a platform or that the floor. 

I think that the Lazy Susan can also help with the vulnerability aspect we want to approach, as we could have a naked body on a Lazy Susan and in affect that performer would be on show in terms of flaws and imperfections. 

We also have had the idea of splitting the area into two spaces, one where we can focus on the mental aspect and then another to focus on the physical. This is something that we will explore in a black box space. 

Plans for next session:

collate individual research 

select personal soundtrack

come up with basic plot for the show/ scenes we could use

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La Mirada Negra – Spanish – 17 – 05 – 10

La Mirada Negra – Spanish – 17 – 05 – 10

Programa Del Miércoles 10 De Mayo http://www.herciosdemetal.com/LAMIRADANEGRA/2016-2017/170510_lamiradanegra.mp3

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Lars Larson National Podcast 012918 by The Lars Larson Podcast .... Curtis Ellis - Senior Policy Advisor for America First Policies Brent Skorup - senior research fellow at the Mercatus Center Master Chief Petty Officer (MCPO) Terence B. Hoey USN (Ret.), Matthew Heiman - Chairman of the Regulatory Transparency Project, former National Security Lawyer at DOJ Alexandra (Alex) Smith - Executive Director at America Rising, attorney Robert Knight - Washington Times contributor and author most recently of “Fighting for America's Soul: How Sweeping Change Threatens Our Nation and What We Must Do” Brad Brooks - President of Touchpoint Restaurant Innovations | www.touchpoint.io

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Last King of The Cross season two’s release date has been revealed

Our favourite Australian crime series is returning.

After an outstanding first season, Paramount+ has begun production for its second season of Last King of The Cross with Lincoln Younes reprising his role as John Ibrahim.

The Australian original series is promising “higher” stakes and even greater threats as a new and even more dangerous enemy arises.

Making a return to the underworld is Claude Jabbour as Sam Ibrahim, Alex Kaan as Fadi Ibrahim, Dave Hoey as Michael Ibrahim, Tess Haubrich as Detective Liz Doyle, Matt Nable as Big Tony, Uli Latukefu as Tongan Sam, and Janet Anderson as Simone.

The premise for Last King of The Cross‘ second season follows 18 months after the first, with John lying low overseas and Sam in prison.

John returns ambitious to take over Sydney’s nightclub empire, Oxford Street. But in doing so, he has thrown himself and his family into a world of trouble – a family which could very well become his greatest threat.

Lincoln Younes returns as John Ibrahim. (Image: Instagram)

On one side, John is thrown into a power struggle with Oxford Street’s reigning queen, Ray Kinnock. On another, newly released Sam has built the largest bikie chapter in Australian history, putting John is trouble with the entire criminal empire. Meanwhile, youngest brother Michael grapples between a life full of promise or a like of crime.

In the midst of John’s war, newly promoted Senior Sergeant Liz Doyle has a new taskforce determined to take him down.

“We’re super excited to continue the story of Last King of The Cross – bringing more extreme and fascinating untold stories of John Ibrahim and his family. Season two will surprise and thrill our audience in unexpected ways as we enter the seductive, dangerous, and ecstasy-fuelled world of the early 2000’s,” Heliums Mark Fennessy said.

“The production team is delighted to reunite the exceptional cast and crew that delivered such a stunning first season and welcomes new additions who will contribute even more in elevating our unique world to new heights.

“Last King of The Cross promises to once again push the boundaries, showcasing the evolution of our characters against the backdrop of Sydney’s gritty and glamorous nightlife scene where power, sex, crime, and business intersect.”

The premiere date for Last King of The Cross has officially been revealed as 30 August 2024, with the first two episodes of season two premiering. Episodes will then drop weekly.

Source: Now to Love Au