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How Mad Magazine’s humor created a revolution

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How Mad Magazine's humor created a revolution

Nestled the rolling hills of rural Massachusetts. swathed by manicured grounds, sits the Norman Rockwell Museum. And there, side-by-side with the wholesome works of America’s most beloved illustrator, is the world’s dumbest cover boy: Alfred E. Neuman.

“It’s sacrilegious! It’s an outrage!” laughed political cartoonist Steve Brodner. “But I do think if Norman Rockwell were here, he’d laugh his head off. He’d think this was fantastic.”

These hallowed halls are now home to the world’s largest exhibit of artwork from Mad Magazine, co-curated by Brodner. “I was formed by Mad,” he said. “My idea of comedy, humor, irreverent drawing comes from this.”

mad-magazine-exhibition-at-norman-rockwell-museum.jpg
A view of the exhibition, “What, Me Worry? The Art and Humor of Mad Magazine,” at the Norman Rockwell Museum in Stockbridge, Mass.

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Mad began in 1952 as a comic book that made fun of other comic books. But if you came of age during Mad’s peak – the sixties, seventies and eighties – you know what it became: A hilarious guide to the hypocrisy of the authority figures in your life, whom Mad kept characterizing as idiots. “I know! Isn’t that marvelous?” said Brodner.

Mad made fun of dumb ads, and dumb politicians, and dumb trends:

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From Mad Magazine’s “The Lighter Side of the Me Generation.” Written and drawn by Dave Berg.  

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© and TM E.C. Publications, courtesy of DC


And, of course, dumb movies.

mad-magazine-twilight-cover.jpg

© and TM E.C. Publications, courtesy of DC

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They made fun of the government, corporations, and even parents. “That’s why parents were really not too pleased with Mad,” said John Ficarra, who was the editor of Mad for 33 years

Writer Dick DeBartolo was around even longer: “I have been in every issue for about 55 years, and I got paid for about half of them,” he laughed.

DeBartolo wrote hundreds of movie parodies, including “The Da Vinci Coma,” “Star Bores: The Empire Strikes Out,” and “TryPanic.”

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From the Mad Magazine parody “Star Bores: The Empire Strikes Out.” Writer: Dick DeBartolo. Artist: Mort Drucker. 

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© and TM E.C. Publications, courtesy of DC


Pogue said, “I remember, as one of those readers, not understanding all the jokes. Sometimes you were making fun of stuff that were over my head.”

“Well, that was sort of the charm,” said Ficarra. “And we figured, either kids’ll get it or they won’t, and they’ll look it up and find out. Or, five years later they’re looking at old Mads and, Oh, now I get that joke.

Mad’s artists and writers called themselves “the usual gang of idiots.” And when they said usual, they meant it; they tended to work for Mad for decades, including Al Jaffee, whose art appeared in every issue but one for 65 years. He died last year at 102.

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In 1978 Jaffe told CBS’ “30 Minutes,” “People have been doing satire one way or another throughout the ages. The only difference is, most of them wound up in dungeons, and we wind up on the newsstand.”

Brodner called Jaffee one of the geniuses of Mad, who concocted the interior back page, which turned into a “fold-in.”

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This Mad Magazine “fold-in” saved the punchline for when an illustration about the job prospects of young people was folded together. 

© and TM E.C. Publications, courtesy of DC

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But one Mad artist gets a whole museum room: Mort Drucker, who died in 2020. “Everything is experimentation,” Drucker once said. “And that’s the fun of it all, once you get a handle on what a good artist is supposed to be and do.”

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Mort Drucker’s caricatures of the cast of “The Godfather.”

© and TM E.C. Publications, courtesy of DC


“He really loved people, and I think that’s why he was such a successful caricaturist,” said Mort Drucker’s daughter, Laurie Drucker Bachner. “Because he, like, inhaled the persona of somebody, and wanted them to be realized in the best way possible.”

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Oddly enough, Drucker did not have professional training. “He did go to Parsons for three months, and they told him he really was ‘not cut out to be an artist,’” said his daughter. “He was pretty devastated, you know, ’cause he always thought of himself as an artist.”

Drucker went on to draw for Mad for over 50 years.

At its peak in 1974, Mad sold 2.1 million copies. It was wildly profitable, even though Bill Gaines (its publisher from the magazine’s founding until his death in 1992) refused to accept advertising. “This is just a thing with me: I’ve always been against ads,” Gaines told “30 Minutes.” “It’s a good thing to publish, if you can, without any outside help, so you’re not beholden to anybody.”

But eventually, readership began to decline. People have all kinds of theories as to why: magazines began dying off, the ‘usual gang of idiots’ began dying off, the internet happened.

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And then, there was the ownership problem, according to Ficarra: “Bill sold it to a guy who owned another magazine that was losing money. They sold it to, I think, a holding company. We became part of Warner Publishing. And then, just as I was leaving, AT&T bought the company, really screwed it up (please don’t cut that out!), and sold it again now to Discovery.”

DeBartolo said, “For a very brief time, I think it was just a month, it was Smucker’s Jams and Jellies! We thought, ‘How did we get there?‘”

Mad’s last regular issue came out in April 2018; the Mad exhibition runs through the end of October. But the Mad influence still runs strong, its impact acknowledged by “The Simpsons,” Weird All Yankovic, Stephen Colbert and Jon Stewart. Laurie Drucker Bachner said, had there been no Mad, “You think there would have been ‘SNL’? Or any of the standups?”

Brodner said, “Mad actually created a revolution in the United States. People are still saying, ‘I don’t believe that. I’m gonna investigate this and see what the truth of it is.’ And I think that’s what Mad is saying: Don’t buy the con, you know?

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For more info:

  • Mad Magazine
  • Exhibition: “What, Me Worry? The Art and Humor of Mad Magazine,” at the Norman Rockwell Museum, Stockbridge, Mass. (though October 27) | Exhibition magazine
  • Cartoonist Steve Brodner
  • MAD and all related elements © and TM E.C. Publications. Courtesy of DC
  • Norman Rockwell images courtesy of Norman Rockwell Museum. © SEPS, Curtis Licensing and/or Norman Rockwell Family Agency
  • Norman Rockwell Museum video footage © Norman Rockwell Museum; all rights reserved. Used with permission.
  • Drone & aerial footage by Richard Sands & Terry Holland

     
Story produced by Robert Marston. Editor: George Pozderec. 

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Facehuggers to Headbites: The Many Ways a Xenomorph Can End You

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Facehuggers to Headbites: The Many Ways a Xenomorph Can End You

The longstanding sci-fi horror franchise, Alien, is going back to basics in the upcoming release of Alien: Romulus by highlighting just how fragile we squishy humans are compared to the indomitable alien nightmare fuel known as the Xenomorphs. How deadly you say? Well, you’d think being deadly was deadly enough, but since you asked, check out our video to learn all the terrible ways a Xenomorph can end you.

Check out Alien: Romulus when it hits cinemas on August 16th

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Killer Erik Menendez accuses Netflix’s ‘dishonest’ Monsters of ‘disheartening slander’

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Killer Erik Menendez accuses Netflix’s ‘dishonest’ Monsters of ‘disheartening slander’


Erik Menendez has described the new Netflix series Monsters: The Lyle and Erik Menendez Story as a “dishonest portrayal” of the crimes he committed with his brother Lyle, accusing the show’s creator Ryan Murphy of “disheartening slander.”

The Menendez brothers were convicted of the 1989 murders of their parents, José and Kitty. They were arrested for first-degree murder and conspiracy to commit murder outside their home in March 1990 and sentenced to life in prison in 1996. In 2024, new evidence emerged that has the potential to set them free.

The siblings are serving life sentences at the RJ Donovan Correctional Facility in San Diego, California.

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Monsters stars Javier Bardem and Chloë Sevigny as José and Kitty, with Nicholas Chavez and Cooper Koch as the brothers. The drama includes the harrowing sexual abuse that Lyle and Erik alleged to have been perpetrated by their father, but Erik Menendez has accused Murphy of distorting the truth.

Menendez responded to the series in a statement posted to X/Twitter by his wife, Tammi. It reads: “I believed we had moved beyond the lies and ruinous character portrayals of Lyle, creating a caricature of Lyle rooted in horrible and blatant lies rampant in the show. I can only believe they were done so on purpose.

“It is with a heavy heart that I say, I believe Ryan Murphy cannot be this naive and inaccurate about the facts of our lives so as to do this without bad intent.

Erik Menendez pictured during a pre-trial hearing in Los Angeles on December 29, 1992

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Erik Menendez pictured during a pre-trial hearing in Los Angeles on December 29, 1992 (AFP via Getty Images)

“It is sad for me to know that Netflix’s dishonest portrayal of the tragedies surrounding our crime have taken the painful truths several steps backward – back through time to an era when the prosecution built a narrative on a belief system that males were not sexually abused, and that males experienced rape trauma differently than women.

“Those awful lies have been disputed and exposed by countless brave victims over the last two decades who have broken through their personal shame and bravely spoken out. So now Murphy shapes his horrible narrative through vile and appalling character portrayals of Lyle and of me and disheartening slander.

He continued: “Is the truth not enough? Let the truth stand as the truth. How demoralizing to know that one man with power can undermine decades of progress in shedding light on childhood trauma. Violence is never an answer, never a solution, and is always tragic.

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“As such, I hope it is never forgotten that violence against a child creates a hundred horrendous and silent crime scenes darkly shadowed behind glitter and glamor and rarely exposed until tragedy penetrates everyone involved. To all those who have reached out and supported me, thank you from the bottom of my heart.”

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The Independent has contacted Murphy’s representative for comment.

Since the series arrived on Netflix on Thursday, viewers have been cautioning others on social media about the graphic nature of the violence depicted in the show.



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Hunt: Showdown 1896 Sets A New Rocky Mountain High For The Bounty Hunting FPS

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Hunt: Showdown 1896 Sets A New Rocky Mountain High For The Bounty Hunting FPS

For six years now, Hunt: Showdown has been delighting players with intense and action-packed bounty hunting gameplay. Thousands of players have entered Stillwater Bayou and the other locations to hunt down the big bosses and collect that sweet hunter’s fee. Now, Crytek is taking the hunt even further with Hunt: Showdown 1896, which brings a new map, new look, and new features to the game on August 15.

1896 shifts the story forward one year–into, you guessed it, 1896–while also moving the action west, leaving the Louisiana bayou behind for the crisp, clean air of the Rockies in Colorado. The new locale does not mean the feeling of the hunt will change, as 1896 will still provide the “supernatural-meets-dark-realism” aesthetic players have grown to love.

Take 1896’s first map, Mammon’s Gulch, as a prime example. The Gulch adds literal layers of ground to work with during each hunt, as it will take you over the massive mountains of the Rockies, as well as into the depths of the earth in mines dug deep below the mountaintops. Whether you’re deep below the ground or climbing the highest peak, be careful: you never know who, or what, is lurking in the shadows.

Enter the Hellborn, one of 1896’s new major enemies. This fiery creep stalks Mammon’s Gulch silently, though its movements can be heard by listening in Dark Sight–a bounty hunter’s primary mechanic for finding clues. When startled, the Hellborn explodes with molten menace and attacks, and while that’s bad enough, the noise it makes can call enemy hunters to your location to take one less competitor out of the game.

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1896 still provides the first-person gunslinging PvPvE gameplay of the original Showdown, but it immerses you in the world of the hunt better than ever. That’s thanks to CryEngine 5.11, which offers heightened visual fidelity and a crisp 60 FPS frame rate on consoles, along with reduced loading times and more responsive input.

Hunt: Showdown 1896 begins with the Scorched Earth event, which runs from August 15 to October 7. Three Pacts will be available to players during this event, and details on each one are below:

  • The Wilderness Pact offers Surefoot, which allows you to sprint while using a First Aid Kit or priming a throwable weapon; Beastface, which negates broken branches and animal triggers; and Frontiersman, which offers an extra Pledge Mark for the first 30 Event Points collected in a mission.
  • The Lawful Pact unlocks two traits which enhance looting: Peacekeeper restores health after looting a dead hunter, while Packmule finds extra ammo from the looted loser. This Pact also unlocks the Vigilant trait, which doubles Dark Sight’s range.
  • The Demented Pact boosts melee damage with the Berserker trait, temporarily increases speed when at critical health with the Adrenaline trait, and restores health with every successful hit on a target with the Ghoul trail.

Despite the name change and new setting, this is still the same Hunt: Showdown experiences players have come to love. Even though there are dangerous monsters running around trying to end your hunt before it even begins, this universe still has roots in realistic human behavior. The choices you make–how to hunt, who to help, and who to betray–all hold weight, and every action will hold dire consequences for you and your team.

Hunt: Showdown 1896 is out now for Xbox Series X|S, PlayStation 5, and PC. If you’re interested in the game grab yourself a copy so you can try your bounty hunting hand during the Scorched Earth event.

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lg tv startup and shut down sounds + screens

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Fandom Launches Superman Vs. The KKK Serialized Podcast

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Fandom Launches Superman Vs. The KKK Serialized Podcast

Nearly eight decades ago, The Adventures of Superman radio show pitted the Man of Steel against the forces of hate and white supremacy while exposing the inner workings of the Ku Klux Klan. Now, Fandom is releasing a new five-part serial podcast, looking at the creation and historical significance of Superman vs.The KKK, which is available now.

The podcast–which is partially inspired by author Rick Bowers’ book, Superman vs. The Ku Klux Klan–chronicles the way that the 1946 storyline, “Clan of the Fiery Cross” confronted the entangled history of the KKK in American life, and disavowed the reality of its racist violence; offering a new, powerful version of “The American Way” that would last for generations.

The podcast explores the inception and rise in popularity of both Superman and the Klan, how they each used the tools of the media to brand and sell their version of what it means to be “100% American,” and how the two became intertwined in this iconic story arc. In this series, we discover how the clash between these two versions of “The American Way”–and the ensuing battle for the heart’s of the United States citizens–developed, and why that fight has never been more relevant. It’s a fascinating exploration for anyone who is a fan of the Man of Steel, comic-book culture, and the complexities of American history.

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Executive producer Roth Cornet hosts the podcast alongside celebrated journalist, writer, and podcaster Marc Bernardin.

“This story is an incredible mix of journalism, brand activism, and the power of pop culture to change the world,” said Cornet. “We live in an era where fans identify themselves by the things they love, so there is incredible power in harnessing this passion to make an impact.”

Even after 80 years, Superman remains a stalwart fixture at the forefront of pop culture as we await DC studios newest iteration of the iconic hero. Whether another version of Superman can ever again cross from his fictional universe to impact ours, remains to be seen.

Episodes of Superman vs. The KKK are available now on all podcasting platforms, including Apple, iHeartRadio, and Spotify.

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Blair Marnell

Freelance writer for almost every major geek outlet, including Fandom!

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Can Colin Farrell Handle The Dramatic Transformation into The Penguin?

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Can Colin Farrell Handle The Dramatic Transformation into The Penguin?

The next chapter of Matt Reeves’ Batman Saga is almost here, and like an umbrella stand at the Iceberg Lounge, there’s a lot more going on than you’d expect. For one, it’s set in a grittier Gotham that brings Reeves’ noir vision to the small screen. But perhaps the most talked-about element of The Penguin is its immaculate casting for the lead role of Oswald Cobblepot. Colin Farrell is set to return as the ringleader of Gotham’s criminal underworld and while we got a peek into his life and approach to his work only briefly in The Batman, the series is set to offer us a chance to peel back the curtain and see the inner workings of the festering underbelly of the city, all through the lens of the man who intends to call the shots. What seems to be the greatest draw, though, is learning who exactly Oz Cobblepot is, and how Reeves intends to bring the kingpin to life. Here’s all you need to know about the quietly menacing Cobblepot, and exactly what Colin Farrell can bring to the role.


Oswald Cobblepot

We’re all familiar with the monocle-wearing criminal mastermind, Oswald Cobblepot, brought to life in cartoonish detail in the comics and transformed into a sewer-dwelling wretch in Batman Returns. But the Penguin we meet in The Batman is a new direction to fit with Reeve’s modernised and bleak Gotham. Oz has a peculiar charm about him that tells you he’s a bad person, but not necessarily a bad guy (or at the very least, a guy we’d want to keep an eye on). He meets Batman with grace and candour, and though he certainly has plenty to hide, he doesn’t resist the opportunity to resolve things quietly. His greatest power though, is his reputation: years of running the streets of Gotham and remaining a key figure in the criminal underbelly of the city have granted him incredible protection and a target on his back in equal measure. But it’s his deceit and ruthlessness – along with a willingness to get his hands dirty – that has made him so fearsome that few dare to test him.


In the Penguin trailer, we also see another side to Cobblepot when he comes face-to-face with Sofia Falcone; his facade slips away to reveal a paranoia and vulnerability which threatens to consume him. Oz certainly isn’t invincible, but his determination to give his mother a better life and dominate the drug ring that rules the city makes him vicious and unpredictable. And few actors are as well equipped to bring the complicated man to life as Colin Farrell.


Melancholy

Colin Farrell has played various roles throughout his career which have allowed him to connect with a range of personalities, from charming to terrifying. The Batman depiction of Oz carries the same polarising attributes and with Farrell’s repertoire of character portrayals, it will be interesting to see how he embodies Oz in The Penguin.


There is a sadness lurking in the heart of the crime boss, and it’s a melancholy that draws him to his determination. Penguin’s guilt over not being able to provide enough for his mother is a key driving force behind his ferocity and it’s safe to say that there will be more going on with the character than what has been revealed so far.

With roles like The Banshees of Inisherin’s Pádraic Súilleabháin and The Killing of a Sacred Deer’s Steven Murphy – in which both characters bury emotions they refuse to confront – Farrell has proven he can access the sadness buried beneath the rage of Oz. We’re likely to see The Penguin during his most vulnerable moments in this series, and this sadness is set to come tumbling through his devised smoke and mirrors.

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Rage

Anger is key to Oz’s fearsomeness. When we see him let loose with a machine gun in The Batman, it’s his fury that he needs to thank for his murderous outburst. The Penguin is violently ambitious and Farrell’s experience as an unpredictable villain with no remorse will be an important asset as the series unravels Oz’s inner workings. The quietly ferocious Mister Graves of Fantastic Beasts and Where to Find Them and even Bullseye in the early 00s’ Daredevil has made Farrell fit to bring such a menacing figure to life in the most chaotic, frenzied way.

Colin Farrell as Henry Drax, The North Water, 2021

But it’s the barely suppressed desire for violent retribution that creates the uneasy feeling that you’re never safe around Penguin. Farrell’s recent stint as the terrifying Henry Drax in The North Water is the perfect example of how he – once known for being adorable Irish eye candy – has the range to bring a subtly horrific character to life.

Charm

A good handshake can go a long way in disarming potential foes, and The Penguin’s Oz has these in droves. He’s an incredibly charming man who would appear to be well-meaning if you perhaps didn’t know that he was king of Gotham’s underworld. Colin Farrell is more than charismatic enough to complement Oz’s charm, as well as bring a few laughs.

His work on In Bruges, Horrible Bosses, and even Scrubs proves that the snarky and humorous side of Oswald Cobblepot isn’t going to be set aside in favour of total moodiness. Though we certainly wouldn’t laugh in his face, we’re bound to get some precise comedic moments from the snide, sarcastic crime boss.


While this variation of Penguin is likely to go light on trick umbrellas and jaunty top hats, what we are getting is the most fleshed-out Oswald Cobblepot we’ve ever seen. He’s not just a fearsome crime boss but also a complex man who has used violence to shelter himself from misery. While Farrell might be visually unrecognisable under all those prosthetics, there’s no denying that Cobblepot wouldn’t have the same level of depth without him.

Watch The Penguin when it arrives on Sky and NOW on September 20.

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Joseph Kime

Entertainment Journalist, author of Building A Universe, big Greta Gerwig stan

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