Tapbots, the maker of Tweetbot, has released version 6 of the app, introducing a new subscription pricing model along with a handful of timeline and design updates.
The subscription costs $0.99 per month or $5.99 annually. Many of the features previously available as part of the paid app, including multiple account support, advanced filtering, and push notifications, are now subscription-only features. Tapbots says that subscribers will also benefit from future updates as Twitter expands its third-party APIs and ensure Tweetbot’s continued development. You can still download the app to view your timeline if you’re not willing to subscribe, but the free version is read-only, so it isn’t possible to tweet from it.
I can hear pearls being clutched at yet another great third-party application being turned to a subscription model, but really, it’s more Apple’s fault than Tweetbot’s.
Tweetbot is an app I live far too many hours in. It’s everything Twitter was in 2012, but in 2021. No ads, no Fleets, a chronological timeline, and across device timeline syncing. And they’re using the new v2 Twitter API (which does cost $$$) so the app is only going to get better.
You know how everyone says about Twitter, “I can’t believe this site is free?” Yeah, this is worth the $6/year.
Event comics are designed to change the superhero universe they belong to. That’s their fundamental nature, acting as crescendos to recent, notable storylines. They’re also meant to sell comics, of course, but this usually feeds from that same transformative nature. “This story will change everything,” the marketing for each of these titles tells us, again and again.
The problem is this doesn’t always happen. Many events are just big stories with enough oomph to warrant a more significant focus – or even arcs elevated in hopes of goosing orders – rather than something with actual line-wide significance. The rarity of a true universe-changing event, though, can mean that when they do arrive, they have an outsized impact.
One of those – maybe even the biggest of them all – was 2015’s Secret Wars. This nine-part mini-series from writer Jonathan Hickman, artist Esad Ribić, colorist Ive Svorcina, and letterers Chris Eliopoulos and Clayton Cowles was the culmination of not just Hickman’s preceding Avengers and New Avengers run, but arguably the totality of his time at Marvel up until that point. It told the story of Doctor Doom’s reign as a god on a newly remade Battleworld – built from Incursion points of other, destroyed Earths and filled with new versions of old favorites – as Reed Richards, Black Panther, Namor, and a small group of heroes (and villains) who still remembered what once was endeavored to end Doom’s reign and return the Earth to its rightful state.
It was a monster of a series, resulting in the temporary ending of Marvel’s entire line, the destruction of the Ultimate Universe, the migration of Miles Morales (and others) to Marvel’s primary 616 universe, the sunsetting of the bulk of the Fantastic Four for more than two and a half years, and an array of story points that continue onwards in Marvel stories to this day. It wasn’t just a big deal in theory either. It sold like gangbusters and had a deep impact on the Marvel Cinematic Universe, particularly Avengers: Infinity War and Avengers: Endgame. In short?
Secret Wars changed everything.
This is its story.
Another, amazing, comprehensive piece from the madman David Harper at Sktchd. I know, it’s a subscription site, but if you enjoy truly in-depth looks at the comics industry, the guy is doing the lord’s work.
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July 2, 2019. That’s the last time we heard from the Marvel Cinematic Universe.
23 films in, after the greatest team-up that the silver screen has ever seen in Avengers: Endgame and the revelation of Peter Parker’s identity to the world in Spider-Man: Far From Home, the biggest franchise in Hollywood suddenly went silent, as if Thanos himself snapped his fingers and took it all away once again.
And now, in January 2021, the MCU is back. And it’s very, very different.
After the pandemic related postponements of Black Widow and The Eternals out of 2020 into later and later dates in 2021, the first signs of life from Marvel Studios come not from a massive CGI throw down with galactic ramifications, but instead…a black and white sitcom, as the first two episodes of the inaugural Marvel Studios TV series, WandaVision arrived on Disney+ on Friday morning.
Taking two of the lesser featured Avengers, the love-locked reality controlling sorceress Wanda Maximoff (known as the Scarlet Witch in the 4-color world, played by Elizabeth Olsen reprising her big screen role), and her gentleman caller, the wall-phasing android named Vision (Paul Bettany). Of course, this is the perfect duo for a Bewitched-homage, right? First idea you think of, yeah?
Turns out? They kind of are. In these initial episodes, we’re thrust into the suburban setting of Westview, as the Superduo, now apparently married, attempt to settle down into a less dramatic lifestyle. Wanda cooks and cleans as a housewife, and Vision makes himself look like a human so he can clock in at a 9-to-5 in a company called Computational Services, Inc., where not even their boss can describe what they do.
It’s got all the elements of a classic sitcom. A laugh track, a noisy neighbor (played pitch perfect Kathryn Hahn, having the most fun of every one here), recognizable plots from sitcoms of yore (the first episode includes a mix up of an anniversary dinner and having the boss over for dinner), and they’ve even got vintage looking and feeling commercial spots here.
Just, something feels…off. How did they get here? How did they become married? What lead them to Westview? Where is Westview? And why is that thing over there suddenly in color? And how did Wanda get pregnant at the end of that episode?
Yep. This one is a mystery. Critics themselves were only given 3 of the 9 episodes which the series run, so something must be to the mystery, but until then, WandaVision is an absolute curveball from a studio whose formula we thought we had down pat. Turns out the best way to change it is to toss it out completely, and their cast is completely game for the turn, as Bettany and Olsen both ham it up in just the right way.
Bettany in particular shines in the second episode, playing the Vision as a drunk, due to ingesting gum, pretty much stealing that episodes third act in the process. Olsen is more of the straight woman, but it’s quite clear that she’ll be showing the dramatic chops she refined in other projects soon enough, with the cracks already starting to show in these early episodes.
I’m not going to lie to you folks, this is not the Mandalorian-esq extension you’re expecting from the first Marvel Studios series to hit Disney+. All indications are, that’ll be March’s The Falcon and Winter Soldier. In the meantime, though, if you give yourself over to WandaVision’s unique charms, you’ll be looking forward to the next episode every Friday, if only to try to figure out the road ahead.
As the president of DC Films, however, Mr. Hamada, 52, manages the movie careers of Wonder Woman, Batman, Cyborg, the Flash, Superman and every other DC Comics superhero. And the new course he has charted for them is dizzying.
The most expensive DC movies (up to four a year, starting in 2022) are designed for release in theaters, Mr. Hamada said. Additional superhero films (two annually is the goal, perhaps focused on riskier characters like Batgirl and Static Shock) will arrive exclusively on HBO Max, the fledgling streaming service owned by WarnerMedia.
In addition, DC Films, which is part of Warner Bros., will work with filmmakers to develop movie offshoots — TV series that will run on HBO Max and interconnect with their big-screen endeavors.
So, 6 movies a year along with TV spin-offs is the goal.
Meanwhile, Marvel is arguably going “too big” with 3 movies and 3 TV shows a year.
Good luck, gang. If Wonder Woman 1984 was any indication, you need a lot more “no guys” on your staff than “yes men”.