WARNING: There will be plenty of spoilers in this frank and open discussion of the fourth season premiere of Mad Men, “Public Relations.” So hold onto your hams, because here we go.
BENJAMIN: I’ll just start off by saying that it’s going to be tough to be objective about the entire episode when it ended on such a ridiculously high and thrilling note. Seeing Don grasp the spotlight with both hands with the zeal we’ve previously only seen him have for finding translations for “Hilton” was a practically fist-pumping moment. Nashville Teens’ booming “Tobacco Road” didn’t …

The year is 1994. I’m sitting in someone’s basement with about thirty other people. Three bands you’ve probably never heard of are playing: Brainiac, Lazy and Honeyburn. Even sixteen years later, I’ll be hard pressed to think any bands now that were better than they were then. But that’s the way music works. When it’s landing, hitting you at the right time and the right place, it’s not hard for you to figure that no experience before or since will ever be as good, or …

Marvel Boy #4, p. 5. By Grant Morrison, J.G. Jones, Avalon Studios, Matt Milla, Richard Starkings & Wes Abbott.
Marvel Boy #4 features what is probably a more well known sequence, just a few pages after this one. Marvel Boy and Oubliette chase each other up a building in a phenomenal two pages made up of 12 Panel Grids. It’s truly fantastic, no doubt, but something about Page 5 resonates just a little bit more with me.
First of all, you’ve got the first two panels, which are just …

In what will be an ongoing feature on this site, I’m going to take a rather in depth look at some of my favorite and most inspirational individual pages throughout the great pantheon of my lazily-strewn-about-my-office comics collection.

From The Punisher #13 by Rick Remender,  Tony Moore, Mike Hawthorne,  Dan Brown, and Joe Caramagna
In a medium that gets its fair share of bad raps, the latest storyline in The Punisher gets its own volatile breed of bad rapsterism from many fans.  Write Rick Remender had the audacity to kill Frank Castle, …

On the making-of documentary included with the “Experience Edition” of Gorillaz’ latest album, Plastic Beach, band creator (and former Blur front man) Damon Albarn bemoans the state of the cohesive album in the age of iPods and Random Play.  It’s a legitimate problem, and one that the first two Gorillaz albums tended to accommodate.  Collections of relentlessly catchy singles alongside more esoteric pieces, neither Gorillaz’ self-titled debut nor their follow-up Demon Days ever really cohered as an album.  You’d start one, get hung up on listening to “Feel Good Inc.” …