All the Supergirls, all at Once

 Supergirl: Rated “PG-13” Runtime 1h 48m

Director:  Craig Gillespie

Stars:  Milly Alcock, David Corenswet, Eve Ridley, Matthias Schoenaerts, Jason Momoa

Back in June the new Supergirl film dropped. It was based on the DC comicbook series which was originally published in 2021. The collected graphic novel came out in February 2022, which is where I came aboard with this story. So, before I get into the film itself, I need to take a couple of little side trips. According to IMDB the story for the film is about how Superman’s cousin, Kara Zor-El, A.K.A. “Supergirl, joins forces with an unlikely companion on an interstellar journey of vengeance and justice when an unexpected adversary strikes too close to home.”

    To be sure, while The Woman of Tomorrow story from the comic is—at its core—the same as the story from the film, it does take a different track once the base story is established. (We’ll get to how in a bit,) Needless to say—as much as I liked and thoroughly enjoyed the film, The comic from which it was adapted is so much incredibly better that the film that came out of it. In fact, I’ll go further and say that The Woman of Tomorrow story is far and away the finest Supergirl story I have ever read. It has depth, subtly, nuance, character development, and, what’s most important, A story that keeps you hooked from beginning to end. Kudos to Tom King for penning a most amazing story.

When I started reading comics in the early ‘60s I read my fair share of Supergirl comics, so what follows will (hopefully) make sense). In 2016 Scarlett Johansson guest hosted on SNL and the sketch comedy show used her appearance to skewer her upcoming role headlining the Black Widow movie (be patience, this will all tie in shortly). What they produced was a faux trailer for the film Black Widow Age of Me where Johansson as Black Widow spent the entire three-minute trailer worrying about her hair, her clothes (she breaks a heel walking in NYC) and her dating life. All of which pretty much sums up the majority of the Supergirl comics that I read back then. When Supergirl first came to CBS (2015) and then to the CW in (2016) on her own TV show many of the early episodes also seemed to concern her worrying about her hair, her clothes, her dating life.

She did seem to grow out of that, but still…Interestingly enough, when the Black Widow film dropped, it was nothing short of a slam-bang action/adventure spy film and nothing at all like either the Supergirl comic,

    After the success of the Christopher Reeves Superman films (1978, 1980, 1983) Tri-Star Pictures decided to make a Supergirl film, casting the 18-year-old Helen Slater in the title role. Unfortunately, what they delivered was what I now (after watching it again) consider quite possibly the worst superhero movie ever made. From what I was able to determine, there was little if any story, barely a plot, and absolutely no quality control of DC comics overseeing the final product, because no matter how silly the Supergirl comics of the 1960s were, this film was worse.

It starts out with her on Argo City (the chunk of Krypton that got blown off of and thus saved from destruction when the planet exploded). The domed city itself looks like it was cobbled together with cast off props and sets from 1976’s Logan Run, and even though the cast was stocked with film luminaries like Faye Dunaway, Peter O'Toole, Mia Farrow, and Brenda Vaccaro, all of their very impressive talents were wasted on what passed for this drivel that was this script. From Argo City she went to Earth winding up in an all-girl’s boarding school, the sole purpose of which was to catch her classmates in various states of undress. Farrow plays a sorceress who comes into possession of a supposedly “magical” globe from Argo City that Kara went to Earth to retrieve. (“Any sufficiently advanced technology is indistinguishable from magic.” Arthur C. Clarke)

That film ends with her saving the day and flying off into space to save Argo City. And yet, even before the new Supergirl film had come out there were cries from the peanut gallery of how Slater was a better Supergirl than Milly Alcock (who wasn’t “pretty enough” to be Supergirl—personally, we happen to think that Alcock is drop-dead gorgeous). But enough of all that.

Here in this modern version of Supergirl, we are given a deeper look into the maid of steel. We see a woman who watched her world die…twice, came of age on a world alien to her, with everyone she once knew now dead, living in the shadow of her world-famous cousin, with little if anything to call her own. While the story bounces back and forth between Argo City, Earth, and deep space, we see the pieces of her life much akin to the scattered pieces of a jigsaw puzzle that don’t quite fit together in any way that makes sense.

    At 25, she has been traveling off world to planets circling a red sun so that she can drink herself into sensory numbness in order to escape the emptiness and pain of her own unfulfilled life. Traveling with her dog Krypto, she lands on Holzherr where she crosses paths with the Brigand Krem of the Yellow Hills. Krem has recently murder the family of Ruthye Knoll. He was looking to acquire swords from Ruthye’s father, but wound up killing everyone save for Ruthye, who manages to secure the help of Kara to extract her revenge on Krem.

Kara and Ruthye follow Krem to Bilquis where they—along with Lobo (Jason Moma)—brawl with Krem and his brigands before ultimately confronting them on Barenton (a planet orbiting a pair of suns, one yellow and one green, which is toxic to Supergirl) where they have their final showdown. Now while the film’s story is shorter, and less complex than the comic, it is no less thrilling. To be sure, the film has added a human trafficking of young girls element to the storyline that wasn’t in the comic (perhaps current real-world concerns bled into the script). Or it was added to the mix simply to speed up the final confrontation and ultimate resolution who can tell. Either way it added an air of immediacy to the story which wound up playing out in a very different conclusion to the film than to the comic.

It goes without saying that we very much enjoyed the initial brawl in the bar, the the fight on Bilquis, as well as the final confrontation on Barenton , as well as the dust up with the space tech pirates, giving the film all of the action we have come to expect in a superhero film, but it also gave us all of the emotional content an actual story needs, Kara's connection to Krypto, her interactions with her cousin Kal-El, and even How she interreacted with Ruthye. We could tell that Ruthye's grief and need for revenge was real, and how Kara's own grief initially kept her from recognizing Ruthye's. We even rather liked how when Superman gave her her costume telling her “It's so people will know we're good” wasn't just a schmaltzy line, but a call back to the last thine Kara's mother said to her. “to be good” (not nice, but good), showing that the writers knew what they were doing when they wrote that line. 

    In the final analysis, none of that actually matters. The film was good, Alcock was amazing in the role of Supergirl, and Moma was fun with his cameo of Lobo. Finally, while we mourn the loss of seeing Sasha Calle play Supergirl (Kara Zor-El from the 2023 superhero film The Flash we do look forward to seeing Alcock fill the role in upcoming DCU films.

 

The Man of Steel Stands Tall Against the Klan

The graphic novel, Superman Smashes the Klan (DC, May 12, 2020) was actually inspired by the 1940s Superman radio serial Clan of the Fiery Cross. Beginning in 1940 New York City's WOR radio station began broadcasting The Adventures of Superman. The radio program was based on the best-selling character from creators Jerry Siegel and Joe Shuster. While the serial itself originally aired from 1940 to 1951. In 1946 the serial ran a storyline entitled The Clan of the Fiery Cross, which was a thinly veiled takedown of the Ku Klux Klan. As could be expected, this storyline elicited cries from listeners that it caused Superman to become too political. However, instead of detracting from Superman’s popularity, the serial proved to be a so successful, that it actually helped in reducing the Klan’s real life recruitment efforts.

In 2019, New York Times bestselling author, Gene Luen Yang (American Born Chinese, Boxers and Saints, The Terrifics, New Super-Man) along with artist Gurihiru (Avatar: The Last Airbender, The Unstoppable Wasp) began a personal retelling in comicbook form, a serialized version of that story. Then in 2020, the three-issue limited series was collected into a 240, square-bound format and re-issued, along with the essay Superman and Me by Yang.

This Superman story takes place in 1946 and centers around teenage siblings, Roberta and Tommy Lee as well as their parents who have recently moved from Chinatown to the center of Metropolis, home to Superman. Tommy, who is older, is the more outgoing of the pair, quickly makes friends in the neighborhood, while Roberta, who is shy, longs for home. The story opens up with Superman facing off against Atom Man, a German soldier that is by designed by Nazi science but powered by Kryptonite. While Superman manages to take him out, the Kryptonite makes him woozy until Inspector Henderson (a Black man, and yes, this becomes important later in the story) takes both it and Atom Man away. As it turns out, both Lois Lane and Jimmy Olsen are also there to witness the fight.

Upon moving into town, Mr. Lee takes a job as a scientist in the Metropolis Center while Tommy hooks up with the local youth baseball team. Unfortunately, by joining the team he inadvertently shows up the team’s star pitcher, Chuck who heads home to his Uncle Matt. As it turns out Uncle Matt, is not only something of a racist, but a member of the Clan of the Fiery Cross. Meanwhile, Clark Kent is having some odd visions as a result of being exposed to the Kryptonite (even though he doesn’t yet realize it). Clark is also seeing a pair of weirdly alien creatures (a distorted view of his Kryptonian parents). Over at the Lee’s their house is attacked by several members of the Clan of the Fiery Cross, who burn a cross on their lawn. Fortunately, the police arrived in time to break things up. Unfortunately, there are other, far more deadly things afoot as the Clan plans on wrecking even more havoc in Metropolis. 

One of the interesting aspects of this story is that, as it takes place in the past, this version of Krypton’s Last Son is a bit different than the version from the character we are used to seeing. This Superman can’t yet fly but can "run faster than a locomotive" and “Leap tall buildings in a single bound”. So for all intents and purposes he is very much the Superman of the 1940s, mostly unaware of his true Kryptonian origins, and not quite as strong as we know him to be in this era. Needless to say, other things are different, Inspector Henderson (who didn’t appear until the Superman TV show in the ‘50s running from ’52 to ’58). Still, he’s enough like the Superman we now to successfully carry the book.

To return to the story, the members of the Clan of the Burning Cross return to the Lee’s to do more damage, kidnap Tommy, and plant a bomb and all sorts of other nasty mischief. Fortunately, Superman, the Lee children, Jimmy and Lois are around to help out, bringing the story to a happy, and successful conclusion. There is also a sub-plot involving Mr. White as well as Inspector Henderson and Chuck’s nasty Uncle who feels it necessary to unload quite a bit of “white purity” with an extra helping of racial hate directed at the Inspector (told you that his skin color was going to come into play).

As stated at the beginning of this article, Gene Yang rounds out this wonderful graphic novel with a very in-depth, historical essay about not only his own personal history with the Man of Steel, but on his history of growing up as a Chinese-American on the West Coast intermingled with what racism was like for both Blacks in the South an how that mirrored some of what he and other Asians dealt with on the West Coast. He compared and contrasted how the hatred and exclusion from how “regular” Americans were treated. Offering up some very enlightening insights to what being non-White in this country is seen by those who aren’t.

All-in-all, the stories of Superman Smashes the Klan, the Lees, Gene Yang, other non-whites in America, young Tommy and his hateful racist uncle, as well as Superman himself all spin together into a similar tale, one that should provide a bond for all of us to live together in a land where we are all immigrants, descendants of immigrants or slaves, or indigenous peoples. I know when I was growing up we were taught that this country is a melting pot where all races and peoples mixed together. Unfortunately, it is sad to learn that some folks never bothered learning that lesson. Hopefully, with more books like this one, perhaps others will come to learn this as well.

Interestingly enough, this 2020 graphic novel hits on several points also made by James Gunn's 2025 Superman film, including immigration, inclusion, and (oddly enough, a bit of my own mantra, that of Power and responsibility), making this a much more powerful, and importantly unifying message across the DCU. 

 

 

 

Let's hear it for James Gunn!

We honestly have to give Director James Gunn top marks for finally producing a superhero movie that I, personally, have been waiting years to see. He has developed the “initial” movie in a planned ongoing mythology that bypasses the (so-called) “mandatory” (re)telling of the hero’s origin when the lead actor has been replaced and does what I’ve been talking about for quite some time now. Just tell a story.  In one interview, Gunn said it himself. “We don’t need to go there.” Gunn’s statement acknowledges that—for all intents and purposes—we all know the basic elements of Superman’s origin and his arrival here on Earth.

Needless to say, while there certainly are many superhero characters who are not known by the general public, there are quite a few whose origins are already known or already explained in previous films. As I’ve pointed out elsewhere (over and over) retelling a character’s origin is something oddly specific to superhero films. Rebooting a story and retelling the main character’s origin is just bad storytelling. By way of example, Let’s look at the cinematic history of James Bond, perhaps one of the most well-known fictional characters who doesn’t wear spandex.

Since his debut film, Dr. No in 1962, there have been 29 Bond films (including the original Casino Royal and Never say Never), seven actors (including David Nivin) who have played Bond, and some 27 villains. Further, we never got an actual origin story for Bond until Daniel Craig portrayed him in Casino Royal (2006). Compared to Lex Luthor appearing in five of the seven solo live action films; Green Goblin appearing in three of the Eight solo live action Spider-Man films; Magneto appearing in eight of the 14 X-Men films; and the Joker appearing in seven of the 13 Batman films.

My point here is that many of these comicbook characters have been around for 87 (Superman) to 62 (X-Men) years, and yet the films keep going back to the same legacy villains when each of the various heroes has around 100 (or more) villains, not every film has to go back to the same small group of villains when each of them have such a wide wealth of a rogues gallery. This is why Marvel introducing movies with The Guardians of the Galaxy (under Gunn), Ant Man, and Dr, Strange, are important.

Hopefully, now that Gunn has brought the Guy Gardner Green Lantern, Metamorpho, and The Engineer into the DC Cinematic Universe (with the promise of more of the same) we can all move past that there are only a few heroes with only one villain each.

 

Truth, Justice, and a Better Tomorrow: A Superman Story

So, we just came from watching the new James Gunn Superman flick—which we thoroughly loved—and we wanted to talk a little bit about it. This isn’t our review, we’ll be writing and posting about that later (We’ll link back here to hook you up with that review as soon as it is written, posted, and approved). But for now, what we want to do here is to talk a little bit about how there are reports on social media about how Gunn turned Superman “Woke” and they don’t like it.

To those people who feel this way, all I have to say (as someone who has been reading comics since 1961, working in the field as a journalist since 1981, and as a comicbook creator since 1986) You have no idea what you are talking about here. And trust me, as I’m something of an expert in this.

But first, allow me to go back a few years when the first Wonder Woman film came out in 2017. Back then a pair of conservative talking heads whined on-air about how disrespectful it was that the film changed her uniform from red, white, and blue like Superman’s. This without clearly realizing that her costume was never red, white, and blue, and neither was Superman’s. Hers has always been red, gold, and blue, while Superman’s was red, Yellow, and blue. Further, neither of them are actually Americans, Wonder Woman is from the mythical island of Themyscira, while Superman (Kal-El) was born on the planet Krypton and is (technically) on Earth (and in the U.S.) illegally.

Next up, in 2022 other conservative TV talking heads (probably from the same network) were griping that Marvel has gone woke by creating a female Hulk, without realizing that She-Hulk first appeared some 43 years earlier in her own Marvel Comicbook. According to information at the time, the character was created to protect the company’s trademark on the green-skinned Hulk character’s name. In fact, there is a video clip of a reporter interviewing Bill Bixby (who played David Banner on the TV show. That clip is shown below.

My point with these first couple of paragraphs is that quite often, the folks on (pretend) TV news shows very often don’t know, or even understand, even the simplest of things (which can be looked up) on which they are reporting, and if they can get simple (not important) things like those I cited wrong, then how can we trust them getting actual important news correct.

Then there is the case of Dean Cain (who played Clark Kent/Superman) in the CBS TV show Lois & Clark, The New Adventures of Superman (1973–1977). Sometimes, proving that even when they have some understanding of who the character is because they actually played them on TV. Cain re-entered public awareness recently with his negative assessment over Gunn’s film (without even having seen the film). Cain claimed that the film is too woke because it celebrates Superman as an immigrant (somehow forgetting that only is he an illegal immigrant, but that there was an episode of Lois & Clark that dealt with the same topic.

Another issue the conservative Cain mentioned about the film is Gunn’s changing the long-standing mantra first associated with Superman m the 1950s TV show, stands for “Truth, Justice, and the American way” to “Truth, Justice, and a better tomorrow”. Well, two things here. First, under our current administration, America isn’t as welcoming to immigrants as we were in the ‘50s. Second (and more relevant to the character) those of us who actually read comics already know that back in 2011 (Action Comics #900), Superman addressed the full council of the UN and renounced his U.S. citizenship and declared himself to be a citizen of the world. Thus, making the “…for a better tomorrow” a far more reasonable pledge.

THIS JUST IN!

Shortly after posting this article, we learned that Dean Cain (who is Japanese American and whose father's entire family was interned in a camp in Idaho during WWII) has recently announced that he is joining ICE! 

Having written all that, we have seen the new Superman film and let us state that we fully enjoyed it and state that it is easily one of the best stand-alone Superman films ever made (and the presence of Krypto certainly helped in that regard). Further, the appearance of the Justice Gang (especially Metamorpho, an old favorite of ours) added to the film’s fun. Plus, the addition of Nicholas Hoult as Lex Luthor was simply brilliant. Ultimately, we believe that a large part of the misunderstandings covered in this article stem from the fact that many folks still believe that superhero films, and the comics from which they are based, are still “junk” or “kiddy” fare, and not legitimate literature or cinema. And frankly, as far as we’re concerned, that’s simply a crying shame.

* * *

Oh, and just to let all’y’all know that I know what I’m talking about, in 1961 I moved from reading syndicated newspaper comic strips to reading comicbooks. Around 1978 I joined comicbook fandom and began to contribute to an APA (Amateur Publishing Alliance). In 1981 my first comicbook article was published in Amazing Heroes #5. In 1986 my first comicbook (Agent Unknown: Renegade Press) was published. I spent the next 15-20 years working as a journalist in comics, writing for virtually all of the magazines that covered the comicbook industry. Currently I still post about comics both here and over at HubPages, I also still write comics at Dark Fire Press, and other indie publishers. 

 

ShieldMaster to the Rescue

While comicbooks themselves (one word, not two, we’ll explain later)[i] can be trace back to Geneva, Switzerland back in 1837 then then jumping to appear in the UK and the U.S. in the 1840s. Here in the U.S. the recognized dawn of comicbooks in the States began in 1897, with the publication of The Yellow Kid in McFadden’s Flats has long been considered to be the first U.S. comic book (still one word, more later), insomuch that it actually bore the phrase “comic book” on its back cover. Still, it wasn’t until 1938 and the debut of Superman in Action Comics #1 that the Golden Age of comics truly began. This Golden Age ran from ’38 ‘til ’51, with the resurgence of comics as viable pop culture medium occurring during the Silver Age which ran from 1956 through 1970[ii].

Throughout the intervening years, comics have morphed into various changes, altering size, price point, format, delivery methodology, and even ultimately jumping from the static page to TV, Film, and currently living on the internet. Still, for those of us who were first introduced to comics in their “All in color for a dime”, 32-page, episodic original incarnation; even those of us (your humble narrator included) who came of age during the second (third?) great age of comics; The Silver age which ran from 1956 through 1970[i].

Needless to say, there were some folks who were there during the Golden Age, who stuck around and/hoor were still influential in one form or another. One of those people was Joe Simon, who was the partner of Jack Kirby who has been credited with founding the look of the Marvel Universe. It is no secret that one of Joe and Jack’s greatest creation has been Captain America, who, in his first cover appearance was depicted as punching Adolf Hitler in the Jaw on the cover of Captain America #1 in 1941 a full nine months before the U.S. entered the war.

Now some 80+ years later, Jesse Simon, the Grandson of Joe, along with his father Jim (Jo’s son) have brought a new set of heroes into the fold, all reminiscent of his grandfather’s greatest hero. ShieldMaster is a comicbook about four teenagers from Montauk, NY just off the eastern end of Long Island. The teens wander onto a decommissioned military base and come across a set of extra-dimensional shields that imbue them with supra-normal powers and abilities, transforming them into the incarnations of powerful warriors that once protected another world in another dimension. The first two issues of ShieldMaster initially appeared as an Illustrated graphic album entitled ShieldMaster Comics Phoenix Project and was then continued as ShieldMaster Comics in an anthology comic, packaged with The Fly in a new story by Jim Simon as well as a Blue Bolt reprint by his grandfather, Joe.

Upon reading the series, the first thing readers will see is the similarity in art style between the that of Reed Man’s and the art of many of the popular comics from the Golden age. Another aspect of the series is the rather simplistic storytelling style. To be sure, this is not so much of a slam as it is an observation of a comics historian with 50 years of first-hand knowledge of the field, from multiple angles; from that as a fan, a journalist covering the field, as well as a professional working for both major and minor publishing houses, plus publishing my own comics.  

One of the aspects of ShieldMaster (as well as Golden Age) comics is the shear simplicity of the storytelling; heroes are good guys because they do the right things, while villains are bad because they do bad things. There was little if any subtility to the storytelling during that era, some of which spilled over into the early days of the Silver Age with the appearance of the original Brotherhood of Evil Mutants in X-Men #4 (March 1964), because truthfully, no real world organization would actually use the word “evil” as part of their name. As the medium evolved, subtilty and layers of storytelling were added to what was once believed to be solely a child’s medium. Needless to say, this simpler, straightforward style of storytelling is not entirely without its charm. Plus, for all of its layered subtility, a simpler, more to-the-point style of telling a story is probably more effective for a small publisher without a clear, regular publishing schedule.  

Having said all of that, as someone who spent the Lion’s share of his life reading, and working in and around comics, seeing the scion of a comicbook legend entering the field is a most amazing, and heartfelt sensation. (Back in 2010 Jason Goodman, (another third-generation offspring, the grandson of Martin Goodman (who founded Atlas, which became Marvel) and the son of Chip Goodman (who launched Atlas/Seaboard back in ’74) attempted to bring Atlas Comics back into the funnybook publishing industry with the characters from the ’74 re-launch.

In conclusion, we wish Jason and Jim all the best in their noble endeavor to keep Joe’s legacy alive in the field that he help found.

For more information about ShieldMaster, check them out on Facebook, or Twitter.

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[i] Stan Lee once stated that “comicbooks” should be written as one word because they are neither either “comical” or “books” but by combining them into a single word, they actually become an entirely new genre. Hence we have since referred to our medium of choice by the nomenclature that Stan laid on it.

[ii] The accepted eras for comics are as follows:

1 Platinum Age (1842-1938)

2 Golden Age (1938- c. 1951)

3 Silver Age (1956 -c. 1970)

4 Bronze Age (c. 1970 – c. 1985)

5 Iron/Modern Age (c. 1985 - present)

 

A question of Suns

OK, so I was just watching the most recent episode of Supergirl on the CW (1/22/18 — Fort Rozz). In this episode she needs to travel to the Kryptonian prison, Fort Rozz, which is currently orbiting a blue sun.

Now, while I totally understand the concept of different colored suns (as well as the comicbook legacy that Kryptonians gain powers under yellow suns) it has always bothered me as to how Supergirl (man) is able to maintain her/his powers when out in space.

I'm sure that this must have been addressed in the comics over the years, only I don't actually recall.

I mean, is it that all Kryptonians actually have power, only the rays of a red sun somehow negate them? Do they only have powers under a yellow sun? (Do they have additional or alternate powers and/or abilities under different colored suns?)

What?

Anyone want to weigh in on this?

I mean, it’s not like this is keeping me up at night, but I really do kinda want to know.

Thanks

More Superhero Hot Wheels cars from McDonald’s

OK, we totally checked out the Batman v Superman: Dawn of Justice film last night and then today we (once again) headed over to McDonald’s to score some more superhero-themed Hot Wheels toys.

There are two more cars to this set and I hope to score them over the weekend.

Batman Vs Superman: General Mills Edition

OK, we just posted about how the new Batman/Superman film is appearing at McDonald’s with Hot Wheels superhero cars, well it is also appearing in General Mills Cereals with a quartet of pint mini comics. Here re the first two:

OK, now I have issue #3 as well!

Batman vs Superman @ McDonald’s

OK Kids, unless you’ve been living in a Spider hole for the last couple of cycles y’all already know about the big upcoming Batman/Superman slug-fest that is coming up soon enough (Thu, Mar 24). Well, in the meantime while you are still waiting for the film to drop, you can head over to McDonald’s to score some superhero-themed Hot Wheels toys.

The promotion apparently just started, so you should be able to score a full set. Here is what I grabbed up so far.

Here are the four cars I currently have are Flash, Superman, Green Lantern, and Batman

In addition to the Superhero Hot Wheels cars there are Barbies.

So, yeah, I picked up my toys this morning, and grabbed me a Shamrock Shake in the process.

JLA is at Sonic Drive-ins

I know that it has been a while since we last posted, but it has been a while since we’ve had something to say, and now we do.

We’ve just discovered that there are Justice League of America toys are currently popping up at Sonic Drive-In Restaurants.

As you can see there are six toys in this set. So far I have five of them: The toys are a series of cardboard Villain stand-ups that you knock down with superhero projectiles.

Green Lantern/ Sinestro

Cyborg vs. Darkseid: Flash vs. Captain Cold: Aquaman vs. Black Manta:
and Wonder Woman vs. Cheetah 

The only pair I’m missing at the moment is Superman vs. Lex Luthor, but I hope to score that soon.

This is not the first time that Sonic has partnered with DC Comics to bring the JLA to the Drive-In, It did so previously in February 24, 2012 with a set of JLA plushes. 

DC toys at Wendy's

Yep it looks like DC toys are at Wendy’s.

Need to get me some!

How It Should have Ended

OK, this stuff is hilarious. Check it out.

Lego Avengers

Batman vs. Superman

Too, too funny!

Mount Rushmore: Geek style!