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jm watching as jk, part of the mafia, storms his house and jk being totally confused as to why the man looks so unbothered by it, standing at the top of the stairs with an unfazed expression.
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and when jm approaches jk with a walk resembling the grace of an elegant snake, jk feels immediately bewitched by him, watching him come closer with his breath stuck in his throat, unable to move, the weapon in his hand slowly sliding out of his grip when jm pushes him down

by his shoulders to make him sit down on the couch behind him.
"w-who are you," jk can't help but stutter out with wide eyes.
to his bewilderment, the man doesn't move to sit next to him on the couch. feeling the pressure of the mysterious man's hands on his shoulder,

jk gasps as he straddles him instead, the man raising one hand to graze a finger over jk's sensitve neck, making jk shiver in surprise. jk wonders if the soft touch was only an illusion, because the seductive expression falls from the man's face from one second to the other,

and suddenly he's grasping jk's chin between two fingers to harshly tip his head up toward his, pushing their faces dangerously close. jk doesn't dare move a single muscle when he locks eyes with the most beautiful man he's ever seen, even forgetting to breathe. the man fixes him

Many readers have asked me "why do so many pulp covers feature women in ripped red blouses standing in swamps while a man fights off an unusual animal attack?"

The answer is artist Will Hulsey...

Will Hulsey was the undisputed king of the animal attack pulp cover. You name it, he'd paint it attacking you in a pool of stagnant water.

Very little is known about Will Hulsey, but he worked on a number of men's pulp magazines in the 1950s and early 1960s including Man's Life, True Men, Guilty, Trapped and Peril.

Their audience was ex-GIs: during WWII the US Council of Books in Wartime had given away over 122 million books to American servicemen to read; this led to a post-war surge in paperback and magazine sales amongst these newly enthusiastic readers.

As a result the 1950s saw a raft of men's pulp magazines being published to tap into this market - almost 200 different titles!

I've completely fallen down a well of reading crappy superhero comics. (virtually all superhero comics are crappy.)

it's a comfort food thing. takes me back to my ill spent youth.

read a bunch of Dan Slott's she hulk run, which is depressingly sexist, all things considered. (the old, there's something wrong with you if you're a powerful woman who enjoys being powerful trope.)

Gail Simone's Birds of Prey is pretty fun; character interactions are great but she's got trouble figuring out worthwhile plots. all the villains are pretty eh.

read some Bendis avengers and new avengers. he writes fun characters, but the crossover stuff is so omnipresent it's hard for him to develop any narrative cohesion.

The more I think about the Bruce Springsteen Jeep ad, the more disgusted I get. It's allegedly a call for unity, but it is drenched in a very particular culture's iconography: a Christian church (that superimposes the cross on the US flag), farms, rural living, "the middle" ...

... it's all so white. This is the "America" of nationalist fairy tales: rural land, settled by self-reliant white farmers & good Christians. It's all trucks & dust & manual labor & squinting at the horizon while wiping sweat from your brow. This is the kind of "unity" ...

... designed to comfort (or at least not threaten) white people. It says, "let's unify by joining together to reaffirm America's mythical self-conception, despite the real-world violence & repression it has always entailed."

If I'm, I dunno, a latino housekeeper in Vegas or black Uber driver in Sacramento, what's in the commercial for me? What does this kind of "unity" promise me? What can I find in "the (mythical) middle"? Nothing. It's not for me.

If America ever does come together in some kind of social solidarity again (which looks pretty doubtful), it's not going to be around the myths & iconography of 20th century hegemonic white culture in the US. It's going to be around something NEW -- new stories, new icons.