SDCC 2024: A Triumphant Return with Tony Stark, Unforgettable Offsites, and Comic-Con Magic

So, Tony Stark is back. That will be the big takeaway for those who didn’t attend the 2024 edition of San Diego Comic-Con (SDCC). For those who waited in line after line to attend the Marvel panel on Saturday, it was probably a fantastic moment. But that’s only 6,000 of the 130,000 who enter the exhibition hall on Saturday. That’s not including the 100,000s outside taking part in offsites, parties, signings, etc. So, while we always enjoy a little bit of Robert Downey Jr. in our lives, this year’s SDCC had a lot more for those who may not have wanted to spend Friday in a line in the hopes of waiting in line on Saturday.

In my prior wrap-ups of SDCC, I made note that the COVID-19 pandemic and writer’s strike seemed to hamper things, whether it was the attendees, the celebrities or everyone. 2024 is by no means perfect, there were plenty of messes left and right, but this was the first time since 2019 that things began to feel normal. Yes, there were people wearing masks, but to each their own when it comes to safety. Yes, there was a strike called by SAG-AFTRA against major video game publishers, but the festivities went on, delighting young and old, geeky, nerdy, dorky, and even the local passerbys of San Diego.

While we didn’t make it to the exhibition floor for Wednesday’s preview night, we did make it to several fantastic offsites. While the swag wasn’t available for the press preview, Adult Swim made it’s triumphant return after a one-year hiatus with a pirate party, featuring games and photo opportunities from shows like “Rick and Morty” and “Smiling Friends.” Adult Swim, as they always do, cranked the fun up to 11 in coming days with live wrestling events, daily DJs and swag that might be too big to fit into your carry-on. We also checked out Paramount+’s Lodge, which showcased some upcoming shows, like “Dexter: Original Sin” and “Tulsa King” while celebrating 25 years of Spongebob. Wait…25 years…geez I’m getting old. While both were fantastic events, especially the free drinks and pizza at the Lodge, the “Kingdom of the Planet of the Apes” activation was a combination of “Apes” history and the magic of modern special effects. Not only did they have a museum of Ape film artifacts, highlighting the rich history that stretches back to 1968, but several actors and crew from the latest film were on hand to talk with fans and press. If you attended, you also could had a few drinks and hors d’oeuvres with them.

The action kept rolling Thursday, although the day began with a bit of a whimper. Focus Features was celebrating 20 years of “Shaun of the Dead” with a Winchester Tavern pop-up. The only problem was, there was no air-conditioning and the free beer couldn’t be consumed on-site. As soon as word spread, it became one of the least frequented offsites of the weekend. Thankfully FX and Hulu’s Animayhem offsite activations were up next and offered some decent swag and reprieve from the heat. Knowing that they’d be under the blaring California sun, FX offered free, customized umbrellas (even if the line was an hour long) before exploring various other portions of their activation. However, FX was a mixed bag as many thought the wait to get into “The Bear” activation wasn’t worth it. Hulu managed to help fans beat the heat by setting up misting fans and overhead awnings to ensure those waiting in line for their activation didn’t leave with a wicked sunburn. The activation featured various activities, food and a collection of pins that fans of “Solar Opposites,” “Futurama” or “Hit Monkey” will treasure forever. While the day could have ended with a load of panels, instead MediaMikes’ first panel of the day hosted by Fandom, ended with us going to Fandom’s 20th anniversary party. You can read more HERE.

With offsites out of the way, Friday and Saturday was loaded with exploring the exhibition hall and attending various panels. The exhibition hall reminds us that while the big players, LEGO, Marvel, and others, take up the most space on the sales floor, fans will always find that small booth, that tiny artist, or that one thing stowed away that will ultimately bring the biggest smile to their face. For me, it was a photo with Lloyd Kaufman. The legendary director/writer/everything gladly talked with those who knew Troma, ensuring everyone who stopped by will remember him as Uncle Lloyd. One stand-out panel from the day was the audiobook preview of “Red Dead History” with Arthur Morgan (voiced by the highly personable Roger Clark) attending the panel and snapping selfies with fans of the 2018 game. While I could continue to gloat about the various panels with their various surprises, it would become a long winded article of me bragging.

What is the big takeaway from this year’s SDCC? Was it perfect? No. Was it amazing despite its flaws? Yes. It usually is. SDCC offers enough unique experiences so that you won’t be bored. Want to check out board games that could one day become the next “Axis and Allies?” SDCC has got you. Want to check out some independent films? SDCC has got you. I say all this because there were rumblings, just like in prior years, that SDCC could go somewhere else. But it’s hard to beat San Diego weather and the Gaslamp district’s amenities. While it’s impossible to do everything, it’s possible to get a life changing experience, no matter who you are or what you enjoy. Scout out those panels, ask those questions when attending, compliment the cosplayers, talk to strangers about the great time or to get some insight on other happenings and most important, put on some sunscreen. As a Midwesterner, where an average summer day feels like Satan breathing down your neck, the mid-to-upper 70s can trick you into thinking you won’t crisp up in a few hours.

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Filed Under: Commentary, Conventions, Misc Tagged With: adult swim, dexter, futurama, hulu, jeremy werner, planet of the apes, ...

SDCC 2023: More Hurdles to Overcome


Last year I wrote the following in my post-San Diego Comic Con 2022 write up, “Here at MediaMikes, we’re fairly confident SDCC 2023 will be better.” I’m glad I didn’t say that we’re fairly confident things will get back to a chaotic normal. SDCC 2023 could be summarized as last-minute disorganized chaos. From 2020-2022, it was the pandemic that rattled things in San Diego, but now it’s the strike.

First off, we’re not blaming the writers or actors. What they’re doing is noble and they deserve the pay and respect that they’re demanding. We even got to talk to a few striking writers and actors at SDCC and they expressed their utmost appreciation and admiration for the convention. But what that did to the studios attending, as well as the fans attending, is what really caused some of the more massive headaches at this year’s iteration of SDCC. I don’t want this to be a negative piece, so I’ll start with some of the positives we witnessed at SDCC.

Because the infamous Hall H didn’t have Marvel or big names, a lot of the people who would most likely be spending their weekend in line for Hall H had plenty of time to visit a busy exhibit floor, which we assumed translated to more cash for those selling their merchandise; and there was plenty to go around. From the usual comics and art, we saw a fascinating array of goods directed at all nerds, including those who aren’t. If those Hall H line people weren’t going to the sales floor, they were going to smaller panels where some much deserved unknowns got some well-deserved attention. In the few smaller panels we attended, we definitely noticed rooms filling to capacity which meant more eyeballs on small studios and products. We think that’s great for independent artists and others who were still able to attend.

The lack of Hall H luster also meant that SDCC offsites were busier. Some of the studios and entities really stepped up their game this year with free goodies that were worth their weight (and wait) in gold. For instance, “Only Murders in the Building” had fans solving puzzles for Selena Gomez make-up products (which aren’t cheap) while Paramount+ showcased a wide variety of their programs with goods along-the-way, including an actual “Good Burger,” spray-on tattoos, and “1923” photo ops. For Trekkies, you also got your chance to sit in THE captain’s chair. Hulu also managed to hand-out boxes of TV show pins that delighted hardcore fans of “Futurama,” “Solar Opposites,” and other animated shows. As for the best offsite, it really goes to “Interview with the Vampire,” by AMC+. The immersive offsite offered food, drink, goodies, posters and a near bite on the neck.

Unfortunately though, not all that glitters is gold. A24 may have a mess on its hands because of its “Talk to Me” screening. Nothing against the directors or actors, but A24 really bungled the secret screening, leaving hundreds and hundreds of upset fans, some of whom had waited all day to see the movie. While A24 movies may be fantastic, their PR and handling of the screenings are abysmal. That being said, the people behind SDCC have plenty of blame as well. Because of the strike, the biggest name attending this year was Jamie Lee Curtis who was touting her new comic book. Instead of moving her to Hall H, they kept her in a significantly smaller room which led to one of the longest lines of the entire con. They also have failed to bring back one vital thing for those who stand and walk all day, carpet. The floors would have been less merciful if fans got to actually stand on something that wasn’t concrete.

All in all, SDCC continues to be my geeky love/hate relationship. While I look forward to it every year and get excited with each passing day, the hate in the relationship sometimes boils over during or after the convention itself. As I become a hardened con goer, I’ve learned to pick and choose my battles every year. Even though I still go home licking my wounds, I also go home with fond memories and goodies. So even though my feet are sore, my skin is burnt and at times I found myself looking from the outside in on various things I wanted to attend, SDCC remains a flawed geek mecca. As for next year…let’s just hope the old phrase, “bad things come in threes,” doesn’t come to fruition for SDCC 2024.

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Filed Under: Conventions, Misc Tagged With: a24, amc, comic con, comicon, futurama, hall h, ...

DVD Review “Futurama: Volume 7”

Creator: Matt Groening
Cast: Billy West, Katey Sagal, John DiMaggio
Rated: NR (Not Rated)
Studio: 20th Century Fox
DVD Release Date: December 11, 2012
Run Time: 286 minutes

Film: 3.5 out of 5 stars
Extras: 4 out of 5 stars

When this show got canceled back in 2003, I was dying for more “Futurama”. Between me and you, I like this show far better than “The Simpsons”, post-90’s. This volume contains the first 13 episodes of the seventh season of the show. This season has some really good episodes. This season touches base on everything happening in pop-culture this year from the Maya Calender to the election to even Bender having a baby. Some of the best episodes of the series here and a real improvement from season six. These episodes also have a great replay value and only get funnier. If you want more “Futurama”, the second half of season seven begins in June 2013.

Official Premise: Crank up the gravity and put your head safely in a jar! It’s Volume Seven of FUTURAMA – the animated sci-fi comedy from The Simpsons creator Matt Groening. Crammed with a whole new dimension of extras not shown on TV, this cosmic collection includes 13 bizarre and brilliant episodes involving ancient prophecies, Presidents’ heads, robot gangsters, angry butterflies, and of course, sausage-making. It’s a shipload of futuristic fun!

The episodes includes in this volume are: The Bots And The Bees; A Farewell To Arms; Decision 3012 ; The Thief Of Baghead; Zapp Dingbat; The Butterjunk Effect; The Six Million Dollar Mon; Fun On A Bun; Free Will Hunting; Near-death Wish; 31st Century Fox; Viva Mars Vegas and Naturama.

The special features are A-MAZING! There are commentary tracks on all of the 13 episodes from this season.  There is even a bonus commentary on the second episode “A Farewell To Arms” from the Animators of Rough Draft Studios.  These are worth the price of the release alone! There is an alternate ending for the fifth episode “Zapp Dingbat”. I am a big fan of the score from “Futurama” and there is a nice feature on the composer “Christopher Tyng’s Big Score”, read our interview with Christopher here. There is a funny sing-along with the character in “Futurama Karaoke”.  Lastly there is a funny infinite loop for “Möbius Trip” and some really great collection of deleted scenes in “Too Good For TV”.

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Filed Under: DVD/Blu-Ray Reviews Tagged With: 7, dvd, futurama, review, volume

Christopher Tyng talks about scoring the TV series “Futurama”

Christopher Tyng is a composer that has worked on various television series including “Futurama”, “Suits” and “Rescue Me”. With Volume 7 of “Futurama” hits Blu-ray and DVD this month, he is releasing a brand new remix version of the “Futurama” theme on iTunes. Media Mikes had a chance to chat with Christopher about working on the show and his influences over the years.

Mike Gencarelli: How did you originally get involved composing for “Futurama”?
Christopher Tyng: It all started with Matt Groening when he was searching for the style of music for the show. He has heard some of the stuff that I had done prior. He called and asked for a meeting. He was getting a lot of demos from other musicians but I guess they liked what they heard on mine. The rest is history, as I have been with this show for the last 10 years. Matt is a great person to work with.

MG: What is some of your inspiration that you pull from for this show?
CT: The visual aesthetics of the show goes back to the 50’s/60’s idea of what the future will be like. So we really wanted the music to reflect the same thing. We were looking at the hey-day of bachelor pad space age music. That was the music version of what they thought the future would be. The synthesizers were just started to get popular. There was this whole new pallid of sounds. People were also trying to stretch the boundaries of what music was then. We looked at what was happening with music at that time, so some of the influences were Les Baxter and Martin Denny. Of course then the show also takes place in the year 3000, so even though it has that visual aesthetic of that 50’s/60’s era, it takes place way in the future. We wanted to take those influences and modernize them a bit. Matt has always been a bit component of having a orchestra and doing it live. I was able to go back and do some remixing with electronica music, so we brought in that element as well. It is really a nice hodge-podge of elements in our influence.

MG: How do you do to differentiate the score season to season?
CT: That is a really good question! What is really great about “Futurama” – and different from any other show that I have worked on – is that in each episode, the story is set in the future where anything in possible. The show gets its story lines from pop culture reference over the years. Every episode is like a different journey. That has actually made the music different from episode to episode. We have this big orchestral sound with this bachelor pad space-age sound. They go back to ancient Egypt and the music takes on that tone. What is really fun for me is that when I go in to record, I really don’t know what I am writing for the next week. Due to that aspect, my job has never gotten stale since it is always changing.

MG: Tell us about the new extended remix for the “Futurama” theme available on iTunes?
CT: We wanted something that was going to play at a longer length for the iTunes release. We are excited that all the fans of “Futurama” are finally going to be able to own this piece of music in their collection. The TV scenes always tend to be a little shorter and don’t play the full single track. Some parts of the remix actually go back to the original premiere of the show at Griffith Observatory, which is this circular dome at the top of Hollywood. They had a DJ there and I decided to come up with some music for the DJ to spin. So there is actually some stuff on this single that I did way back then that was never able to been released. We were able to take all those elements and made it into a really great single length release.

MG: How composing for a cartoon compare to your other TV work?
CT: For shows like “The Simpsons” and “Futurama”, it isn’t the traditional cartoon music like the old-school Warner Bros. In the show there might be an epic space battle with deep comedic irony involved. But the music will always stay like it is an epic space battle. I thought originally that getting involved with a cartoon would be a totally different mindset. In truth though, the shows aims to play the aspects of the music like they are completely legitimate. If they are doing an emotionally intense moment, then the orchestra swells in a “Braveheart” sort of way. We are treating the show like we are scoring an epic movie even though the characters are doing something so ridiculous. That is what makes “Futurama” such an interesting project to work on due to the fact that it has such a wide set of influences.

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Filed Under: Interviews, Music Interviews Tagged With: christopher, futurama, scoring, series, talks, tv, ...
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