Happy DC’s Supergirl Next Door week, everybody! I hope you got your copies of the book yesterday at the comic store. If you didn’t, you should pause on reading this Newsletter and come back.

Oh you’ve returned already! Welcome back! I hope you got an awesome meal after picking up your comic books. And of course…I hope you enjoyed the comic book.

I have two stellar interviews for you today from creators who contributed to the book. The first interview is with Dylan Dietrich who pencilled the Green Arrow & Black Canary story that I wrote called “I Love You Too” and the second interview is with Dorado Quick who wrote the Jay Garrick story drawn by Laura Braga called “Running on Love.”

Both conversations rule, and I think you’ll enjoy them both. Dive in!

DAVE: Dylan, thank you for doing this, and more importantly, congratulations on your first published DC Comics short story!

DYLAN: Thank you so much. It’s still surreal seeing my name on a DC story. I grew up reading these characters, so this means a lot.

DAVE: I know the feeling well! I am confident that it will be the first of many comic book art jobs for you, you’ve got a big career ahead. 

When our editor, Andrew Marino, said that he was going to offer you this story, I was excited. I have been following your work online for a little bit, you have been doing terrific sample pages and posting them to your social media channels. 

For those who don’t know you, you are a graduate of the prestigious Kubert School for comic book art which has an incredible list of alumnus, but where did wanting to draw comics start for you? And how did you end up at the Kubert School?

DYLAN: I’ve been drawing for as long as I can remember, but comics really grabbed me when I was a kid and later on realized that someone actually made these stories for a living. Seeing the art in comics like Batman and Spider-Man made me want to do that exact thing.

The Kubert School was always the goal once I knew it existed. The idea of learning directly from working professionals and being surrounded by people who were just as obsessed with comics and art as I was felt like the perfect environment. It was intense, challenging, and incredibly rewarding, and it absolutely shaped how I approach storytelling.

DAVE: That’s outstanding, it’s always good to hear a program like that inspires and gets such great work out of people!

This story is about Green Arrow, running through a battle where the Justice League is battling the Secret Society of Super Villains, so he can find Black Canary who he has lost contact with, he assumes the worst has happened and he is running through hell to find her. 

I came up with the pitches before you came on board, and I have done a number of these short stories now…I love them, but…to make each one feel valuable I need to set a creative challenge for myself. The creative challenge here was for eight of the ten pages? There’s no dialogue. I am normally a dialogue-heavy writer, and I could write Green Arrow dialogue in particular all day, so I wanted to not let myself do it. Another challenge I wanted to fulfill with this assignment was to write a short story where every page felt like a short story unto itself. 

This is your first professional comic story. What was your reaction to the script and did you have any specific creative challenges you set for yourself or was just the whole story a creative challenge? 

DYLAN: My first reaction was excitement, followed immediately by a little bit of terror (in the best way). The lack of dialogue really stood out to me, because it meant the storytelling had to be completely clear visually.

My biggest challenge was making sure the emotional theme (Green Arrow’s desperation and urgency) came across on every page. I focused heavily on body language, pacing, and panel flow, since every page needed to feel like its own mini-story.

DAVE: Oh it did. Not only did you draw the heck out of Green Arrow, but he was always centered on the pages and we were always connected to him. 

This is where I make a fanboy confession and people can think more or less of me for admitting it. I had written two Green Arrow stories before this, and I love them both dearly. I wanted to write a story where he was in what to me was his iconic look…his Neal Adams designed costume. I knew this was going to work because when Andrew told me you accepted the story you did a Green Arrow turn-around sheet which I’m going to run in this interview, and it looked fantastic. 

One of the best things you did was you gave his hat structure. You gently modernized it in a very Dan Mora-esque fashion where it’s still the hat Green Arrow’s always worn but you gave it very gentle updates to make it more practical. Am I reading way too much into that and what was the value of doing a turn around sheet for Green Arrow before jumping into the pages for the story? 

DYLAN: You’re not reading too much into it at all! I wanted to respect the Neal Adams design while making it feel functional and grounded for modern storytelling. The hat in particular, is iconic, but it’s also something that can look silly if it’s not handled carefully.

Doing the turnaround sheet helped me lock in the character before jumping into the pages. Once I understood how everything fit together, I could focus entirely on storytelling rather than second-guessing the design from panel to panel.

DAVE: You penciled this story. It is inked by one of the greatest inkers comics has ever had, the phenomenal Wade Von Grawbadger. For comic fans reading this, Wade is probably most famous for two artistic partnerships in particular. His work with penciller Tony Harris in the nineties on Starman, and his immense body of work with penciller Stuart Immonen that went from the early nineties right up until the end of the twenty teens. 

Were you a fan of Wade’s before collaborating with him and what do you learn from seeing someone else ink your pencils? 

DYLAN: Absolutely! Wade’s work has been a part of comics that I’ve loved for years, so getting to collaborate with him was exciting and honestly a little intimidating at first. Seeing his inks over my pencils was an education in itself.

He clarified forms, elevated textures, and brought a confidence to the line that really pushed the pages further. It taught me a lot about how important clear, strong pencils are, and how collaboration can genuinely make the work better than what you’d do alone.

DAVE: That’s how I feel about collaborating too! Another thing about the story is that we basically included everyone who was on the Justice League in the 80’s in the story, and alongside them a ton of iconic DC villains. Who you all drew pretty excellently. Did you have a favorite or did any of them surprise you as you were drawing them?

DYLAN: Green Arrow was obviously the standout, but I really enjoyed drawing the broader lineup of characters of the Justice League and villains colliding. Some characters surprised me with how naturally they fit into the action once I started sketching them. When you’re juggling that many iconic designs, it’s a challenge, but also a lot of fun. But if I had to choose one character besides Green Arrow, it would definitely be the caped crusader himself, Batman.  

DAVE: You drew a great Batman and everyone I showed the pages to in advance pointed out “Wow, that’s a nice looking Batman…” I’m working with another Kubert School alumnus on a project, he’s older than you, and we were talking about breaking into the industry today. He asked me if younger artists still do sample sequential pages. I told him that actually I have seen a resurgence in people doing great sample pages and effectively posting them to their social media, after a few years where all I was seeing was pin-ups and cover material. I was including you when I said that, and there’s a number of your other classmates who I was thinking of as well. You guys have posted some tremendous sequential pages online. 

Now that you’ve drawn a story professionally, and I’m betting the next one is coming up for you soon, do you have any advice for comic artists looking to share their work online to get noticed by editors and what they should be sharing? 

DYLAN: Sequential storytelling is huge. Pin-ups are great, but editors want to see that you can tell a story clearly from panel to panel. Posting sample pages (especially complete sequences) shows that you understand pacing, acting, and composition.

Consistency also matters. Keep posting, keep improving, and don’t be afraid to show growth. You never know who’s looking.

DAVE: All right, I’ve only got a couple more questions left for you here. Who are some of your biggest influences as a comic artist, and are there any artists whose work you have been looking at more recently for inspiration? 

DYLAN: Jim Lee was the first artist who truly caught my eye, shaping my art from the very beginning. Along with Jim, artists like David Finch, Gary Frank, and Jason Fabok established the foundation of my drawing skills. These days, Greg Capullo and Dan Mora are my biggest influences; they’ve really impacted my style. Also Danny Earls continues to inspire me, both on and off the page, and he’s doing phenomenal work!

DAVE: I can see pieces of a lot of those guys in your work and those guys are all hard to follow but I think you’re doing a pretty stellar job studying their work while synthesizing your own style.

As mentioned earlier I threw A LOT of DC characters your way in this story, but what characters, DC, Marvel, anywhere else, are on your bucket list to draw? 

DYLAN: I already crossed off a lot of characters with this story! But I’d still love the chance to draw Nightwing, Spider-Man, Daredevil, Cyclops, or Darth Vader professionally; those would be dream projects!

DAVE: Again, not a character on that list I wouldn’t love to see you draw. Will you ever draw another bow and arrow fight or have you had your fill?

DYLAN: I don’t think I could ever get tired of it. Archery creates such interesting movement and staging opportunities; it’s a fun visual problem to solve. I’d happily draw another one anytime.

DAVE: All right, I might hold you to that in case they ever ask us to do another Green Arrow story together! Thanks so much, Dylan. Again, I am glad we got to work together, and I hope we get to do it again soon. For my readers here, how can we keep up with you online so we know where your next project will be announced? 

DYLAN: Thank you again Dave, I really appreciate it! We gotta do it again soon! The best place to find my work is on my social media, where I post pages, sketches, and announcements for upcoming projects. That’s where I’ll be sharing whatever comes next. Readers can find me on Instagram @dylandietrich.art!

DAVE: Dorado, thanks so much for doing this, and congratulations on the story. I really dug it!

DORADO: Dave, oh, man, that means a lot coming from you. Thank you and congratulations on your story as well. Love Green Arrow and Black Canary, and you told their story so well; you visually empowered the art to lift and carry the emotional weight of the story. You used dialogue deliberately and sparingly to emphasize and dramatize their love, creating an action-packed read. Well done.

DAVE: Thank you so much, that’s incredibly kind! And a great lead in to talking about this anthology about romance. So this comic is called DC’s Supergirl Next Door, and it is an anthology book full of short stories focusing on the great romances of the DC Universe. Your story is about Jay Garrick, The Golden Age Flash, remembering his relationship with his wife Joan as he’s in the midst of a battle.

I love Jay Garrick, love the Flash mythos, and love the JSA, so this story was right up my alley. Were you a fan of any of the above before heading into the story, or was Jay a character suggested for you to take a look at and pitch ideas for?

DORADO: I'm a team Flash all day, every day. And low-key love the Reverse Flash mythos as well. But yeah, I love the Flash family, and I've always admired Jay Garrick as a character.

Particularly because I love mentorship roles in a hero’s journey, but when we look at Jay’s life, he’s been able to evolve from being the guy—the Flash! To now being the wise older sage that the Flash family can always count on, and a speedster who can still teach them a new trick or strategy. He’s relevant and will always be needed. I enjoyed Geoff Johns’ take on Jay Garrick and the JSA, Jeremy Adams’ run on Garrick (Jay Garrick: The Flash with artist Diego Olortegui), and I also really enjoyed actor John Wesley Shipp’s portrayal of the character on The Flash CW Show. So yeah, I swung for the fences and pitched a Jay Garrick story, and they liked it.

DAVE: You have already hit on my next question a little bit in your terrific answer to my previous question…to some, this may sound redundant because we are talking about superhero characters in a superhero universe, but Jay Garrick is one of the best people in the DC Universe. I think of him as the grandfather, uncle, older male figure anyone would want to have had in their life. To some people, that might make him sound boring, but it makes me like him even more. What attributes did you like the most about Jay, and were there any you wanted even more after writing him?

DORADO: Boom! That's Jay Garrick. I've always kind of looked at him as a modern version of Gandalf from LOTR, an older male role model who will give you the advice you need, but also get down in the trenches with you, and sacrifice himself if needed. He's the uncle that you want to have in times of need or distress, but also the first one you go to celebrate your wins. A family member to encourage you, and kind of push you toward greatness. I think the attributes I like most about Jay are his ability to adapt, pivot, and grow. This, paired with his moral compass, fortitude, and humor, makes him a guy you want in your corner. Not only has he grown through the history of the DC Universe and its multiple timelines and universes, but he's grown as a man, a leader, a hero, a husband, and a father, and you can't say that for many characters because it’s rare that characters get to age and have a full life the way he has.

When writing Jay, I researched his trials and tribulations and began to question how a man or person could survive and keep going this long, and what role their partner would play in that life. And how would he view that partner? I think Jay is someone who would be forever indebted and grateful to his wife, Joan, for all that she has done, and that’s why she’s the heart of this story. After writing Jay, I was really honored and hopeful that it would resonate with Flash/Garrick fans, but to further answer your question, I became enamored with his storytelling ability. I think about or question, like how many stories does Jay have at a moment's notice to reflect on, share, or use to inspire his peers or the next generation of heroes? He’s been through it all and is still running!

DAVE: I know in addition to writing comics, you are also a filmmaker, so I was delighted to see that Jay’s flashbacks were framed by film reels, which is also a great shout-out to some other early Flash stories. What inspired that choice? I thought it worked really well.

DORADO: Dave, you really did your research and know your history. The concept of this story was rooted in the challenge of visually bringing to life the saying of watching a life flash before one’s eyes. I thought that would be perfect for a Speedster, especially for Jay, who has witnessed firsthand the evolution of film and storytelling. Then I took visual inspiration from past DC comic covers like DC Showcase #4 Presenting the Flash (1956), The Flash: The Return of Barry Allen (1993), and The Flash: Rebirth #2 (2009), and I wanted to weave this concept into the life of Jay & Joan to experience their life from his perspective through film reels. I wanted to parallel the evolution of film with the evolution of their love and lives together into modern times. I really wanted to push the medium visually by combining these elements into panels designed as film reels and pairing them with splash pages to bring the vision to life. S/o Laura Braga, she nailed our illustrations. I didn’t know if it would work, but I had a feeling it would, and I’m happy to hear it did. Thank you.

DAVE: Man, to say that you did your homework here is a severe understatement, you really thought that out in a big way and your art team executed on a high level. Speaking of them…your art team on this was very familiar to me. The story is drawn by the great Laura Braga, with whom I worked on many DC projects while I was there as an editor, and colored by Pressy, with whom I have worked outside of DC. Laura brings a lot of emotional weight to her characters and storytelling, which was effective here, and more than once in this story, she broke my heart. What was it like collaborating with her?

DORADO: Laura and Pressy both have a history of amazing work, so I was just hoping to make them proud and to write a story they would want to draw and color. I got to speak with Laura briefly, and she instantly resonated with the emotional througlines, and she was touched that we were able to tackle such a big story in so few pages. She enjoyed the script's emotional intensity and was inspired to work on it, which took a lot of weight off my shoulders. As you know, you always want artists to feel inspired and or want them to want to bring your story to life. And she did just that! I didn't get to speak with Pressy, but his work speaks for itself; he's a pro and a comics vet, and he did a stellar job.

DAVE: They crushed this story. You all did. You have done several projects for DC now. What have you learned about working with a creative team, and how does it relate to working on a film project?

DORADO: Really great question. First, I would have to thank our editor, Michael McCallister, for assembling the team. Then I would say it's really all about communicating a clear vision for the story that leaves room for collaboration so that it feels like everyone's story. You want everyone to bring or add a piece of themselves, their expertise, and talent to the project. It starts with the script, which should have everything that everybody needs to understand your vision of the story, its emotional beats, mood, and tone, so they can help you bring the story to life. And S/O our Letterer, Wes Abbott, he’s such a pro and understood the weight of our story and placed our captions and dialogue exactly where we needed them to be. Lettering is an art in itself.

Similarly, you make comics the same way you make films, through collaboration. The format and positions are different, but the process is rooted in being a good communicator and collaborator. When watching the best movies, or the films we love, it’s usually abundantly clear that everybody, including the producer, writer, director, actors, cinematographer, production designer, editor, and so many more are all making the same film! Everybody is on the same page; they understand the characters' wants, needs, the film's message, and what they want the audience to feel at its conclusion. It starts with a script and a clear vision from the director that everyone understands, in which they can all add their talent and expertise to bring it to life in live action. Films, just like comics, need great teamwork, communication, and collaboration.

DAVE: As I mentioned before, you’ve done several DC projects now, and you have written some great characters: Aquaman (Jackson Hyde), Kid Flash (Ace West), John Stewart, Steel (John Henry Irons), and now Jay Garrick. Do you have a desire to return to any of those characters and are there any on the DC Wishlist you have not gotten to work with yet?

DORADO: Oh man, as someone who loves The Flash Mythos, I would love to write a mini-series or ongoing for Wallace “Ace” West. I've got a number of ideas for shaping and evolving Wallace as a Flash, a young man, and a hero. I really think I could help him find his footing in the DC universe. I would also love to return to writing Steel, John Henry Irons; he’s always been a favorite character of mine, and I feel like there's so much he can contribute. As far as the DC wishlist, I'd really like to write Duke Thomas: Signa. I think there's a lot left to be written in his story and development as not only a member of the Bat family but as a metahuman, and rising leader. Lastly, I’ll forever root for and desire to tell a Luke Fox Batwing story. I know he’s been forgotten about and usurped by his long-lost older brother, but I feel he can still find and carve out a lane for himself. But in the efforts of trying to dream bigger, and pairing that belief with my growth as a writer, I’d love to write DC’s premiere heroes. It would be a dream to write Batman, Flash, Superman or Wonder Woman. Writing any of DC’s premiere heroes would be an honor.

DAVE: I would love to read you write all of those characters. You have listed some of my favorites as well. I got to work on a lot of Duke Thomas stuff while I was at DC and I have a great fondness for him.

We both live in Los Angeles, and I get fortunate from time to time and see you at local comic events, and it’s always a delight. And you are rarely by yourself at these. Usually, I see you with one of your contemporaries from the Milestone Talent Initiative you were part of in DC.

In this modern era, where we’re all afraid of being disconnected, I worry that there aren’t as many hives of creative people as there used to be. Still, when I see guys like you, Morgan Hampton, and Nathan Cayanan around LA supporting each other, it makes me feel like there’s still hope for the future of cool, creative people coming up together and having each other’s backs in person. Do you feel like you’re a part of an innovative generation of talent?

DORADO: Man, your questions are hard-hitting. I would absolutely agree with you and absolutely agree that I'm a part of a new or next wave of creative generation of talented creators, writers, and directors. I think that I am on the cusp of the wave of a renaissance of storytelling, and I'm just hoping to play a small part in that and to get to tell some really cool stories with some great people. And we have to include you in there as well. I think with your experience as an editor for multiple publishers, you being an honest, true fan of comics, and making your transition into writing sets you up to deliver a unique POV on the stories we want and need, and I'm looking forward to supporting you on this journey that we're all on together. I am forever grateful to Reggie Hudlin, Denys Cowan, Marie Javins, and Jim Lee for selecting me for DC’s Talent Initiative Program. Not only did I learn and grow as a writer, but I also I was also given the opportunity to grow alongside like-minded creators such as Morgan Hampton and Nathan Cayanan. They’ve been some of the biggest blessings in my life over the last four years.

Wow, I can't even believe it's been four years, well, almost four years lol. This may be a sensitive subject, but I think groups of creatives are needed now more than ever, especially with how social life has been in Los Angeles post-2020/Covid. It's become hard to find tribes, but even harder to find tribes that want to help everybody win and succeed. I'm very grateful for the friendships and brotherhood I’m developing with Morgan & Nathan, and for the way we're all rooting for each other. I think that's very special and hard to find. I believe there is room and space for us to all win, and to do it together.

DAVE: That’s very kind of you to include me in that very stellar group of people, I’m rooting for all of you guys too, sincerely, I think the industry is going to be a lot brighter with all of us working and succeeding.

What got you into comics, and what are some of your favorites, or favorite creators?

DORADO: My uncle got me into comics as a way of keeping me off the streets, out of trouble, providing me a moral compass, and teaching me right from wrong. I grew up in Inglewood, California, back when Inglewood had the nickname always up to no good. There were a lot of things I witnessed as a kid that couldn't be explained and could have sent me down the wrong path. Comics provided me with an escape to dream of and experience the world beyond the blocks in my neighborhood. Back then, my uncle would pick up comic books from 7-Eleven or the liquor store, drop them off to me and discuss them with me. Some of the first Comics I remember reading were Batman, Teenage Mutant Ninja Turtles, and Spider-Man.

As a kid, Brian Michael Bendis' run on Ultimate Spider-Man from Peter Parker into Miles Morales really provided itself as the perfect jumping-on point for me as a young reader. Today, some of my favorite creators and books are Robert Kirkman’s Invincible, David F Walker, Chuck Brown, & Sanford Greene’s Bitter Root, Reginald Hudlin’s Black Panther, Dwayne McDuffie and Denys Cowan’s Milestone books, Ta-Nehisi Coate’s Black Panther, Sean Gordon Murphy’s Batman White Knight Universe, Ryan Parrott’s Rogue Son, Joshua Williamson’s Flash, Bryan Edward Hill, Mark Millar, Scott Synder and Al Ewing. I also have to credit Masashi Kishimoto and Kōhei Horikoshi for Naruto and My Hero Academia, which have had a significant impact on me as a storyteller and, emotionally, as a human being. Personally, I’d like to thank and shout out indie creators Anthony Piper, Stephanie Williams, and Tyler F. Martin. I’ve learned a lot from them and their very supportive.

DAVE: That is a stellar list of creators and influential books, man. And we always love a story about an awesome uncle here at the Weekly Up-Dave. We need great uncles in our comics and outside of them.

What do you think the best and worst things about having super speed would be?

DORADO: Oh, this is always a fun question and debate. And I would love to have more conversations around the pros and cons of super speed. I think one of the best things about having super speed is the ability to travel anywhere in the blink of an eye. I love to travel. I spent two weeks in Japan a couple of years ago, and it changed my life and was so inspiring, and I wish I could go back. Also, you could reach anyone who needs you in seconds. Now if we want to get into the ability to tap into the speed force, where you can travel back in time I think it would give us the ability to understand the lives of friends, families, or lost loved ones and historical figures or people in general and just better understand who they are an what they've been through to better connect with them and create change today. I think it would also give us the ability to repair and mend relationships by going back to see how somebody else experienced something. Now, on the downside of having super speed, I believe the best example is Red Rush from Invincible, or Bart Allen’s Impulse, about how regular life seems like an eternity because it’s moving at such a slow pace. And if we are getting into the bad part of the speed force, there are so many ramifications from simple mistakes when traveling back in time, and the constant temptation to go back and fix things is not for the weak of mind or faint of heart.

But yea run towards your dreams and goals as fast as you can, and hopefully you’ll find a Jay Garrick to drop some knowledge on you so you don’t break the timeline.

DAVE: Thanks again for doing this, Dorado! Where can readers of the Newsletter find you so they can follow you and find out what’s coming up next?

DORADO: Thank you for having me. It’s been a lot of fun to nerd out with you. Readers can follow me and find out what’s coming up next on my IG and portfolio.

IG: Dorado.Quick

Portfolio: DoradoQuickWrites.com

Old Comic I Read: Incognito by Ed Brubaker, Sean Phillips, & Val Staples. I am a diehard Ed Brubaker and Sean Phillips fan, whenever they announce a new project I am always going to get it the first day it comes out. With that being said, I had a few holes in my Brubaker and Phillips library and for Christmas this year my brother had filled them. All projects I had either read or started at one point, but he rightly thought I needed the deluxe hardcovers of these books to complete my collection. One of those books was Incognito, the pulp-inspired project Brubaker and Philips did after Criminal that feels like that project mixed together with their classic Wildstorm series Sleeper. Incognito is a brisk, mean, and darkly funny read. I definitely enjoyed it more than I remembered, I also admittedly have more of an appreciation of pulp stuff than I did when I read this back in the day when it originally came out. Also so much of this comic is about being stuck in your life in a Fight Club-esque way that maybe as a guy who hadn’t had a full-time job yet I couldn’t fully appreciate. Not to say I agree with Zack Overkill (great name) the main character of this book who does a number of messed up things. This comic was colored by Val Staples who hasn’t colored a Brubaker/Phillips project in a long time, it was nice to see those colors again, not that I don’t love the way the books look now.

New TV Show I am Watching: Shrinking Season 3 on Apple TV+. I grew up a big fan of Spin City and Scrubs but am still surprised and delighted that Bill Lawrence, the creator of both of those shows, has become one of the kings of streaming television. Of his many streaming projects Shrinking is my favorite. Lawrence, Brett Goldstein, and Jason Segel have made an amazing hang out show about going through grief and the other obstacles life throws at you with one of the best casts on television. The first season was shaggy but incredibly charming. Each season has gotten better, more confident, and it’s cast more lovable. The hour-long season three premiere highlighted all the best parts of this show: it’s cast, it’s sense of humor, it’s fearlessness talking about sad topics, it’s celebrations of life, and it’s understanding that the clock is ticking for all of us. It’s also a comedy starring Harrison Ford who is as engaged as I have ever seen him, and perfect amongst this cast of skilled comedic tv actors. I love this show and I am happy for twelve weeks it will be releasing new episodes on almost the same cadence The Pitt is. It’s almost like TV is normal again!

Podcast I’m Listening To: Good One Hosted by Jesse David Fox. I have been on the lookout for a podcast to replace WTF with Marc Maron in my rotation, and Good One hosted by Jesse David Fox might be it. His last three episodes: talking to comedian Chris Gethard about corporations corrupting the “DIY” ethos, current Saturday Night Live cast member James Austin Johnson talking about his career, and past Saturday NIght Live cast member Beck Bennett talking about his time on the show. Fox is a comedy expert, he’s written books on modern comedies, and has a lot of opinions on the subject, but always gives his subject room to talk. The interviews are always painfully honest about not only where the subject is but where comedy is. And like a lot of things right now…comedy is in a strange place, and this podcast is documenting that in a way I find very admirable. I’m going to keep listening.

Old Movie I Watched: A Streetcar Named Desire Directed by Elia Kazan. One of the best things about living in Los Angeles is the number of movie theaters that play older films. Earlier this month my friend Nina asked me if I wanted to go see a screening of A Streetcar Named Desire at the New Beverly Cinema and I immediately took her up on the offer. I had never seen it, I only know it by reputation as being one of the great American films, and something I was embarrassed I had not seen. To tell you the truth, outside of Marlon Brando yelling “Stella” I had no idea what the movie was about. I walked out of the movie utterly devastated and impressed. It’s an incredible movie about the cruelty and brutality of men, expectations put on women, the silent contracts between the two, and an exploration of abuse that I was shocked pulled few punches.

That’s it for this week, this was a long post, I had to cut some images out to ensure that it would go out but I think there’s a lot of good visuals in here.

We will be back next week with a new post!

Until then?

Stay safe!

—Dave Wielgosz