So, you may have noticed things have been a bit silent at The Maniacal Geek and That Girl with the Curls podcast for the past month. Honestly, ever since Emerald City Comicon, my personal life has changed dramatically in terms of priorities and an assessment of what I can realistically accomplish in the course of a single day. After some soul-searching, though, I’ve come to the conclusion that the writing aspect of The Maniacal Geek will have to be put on the back burner for the foreseeable future. Between my day job, home life, pop culture writing, podcast, and actual free moments, the pop culture writing is the easiest thing to let go for now.

Keeping up with the Joneses of comic book journalism, reviews, and op-eds is practically a full-time job in and of itself; one that I don’t get paid for and essentially do because I love comics and most of the community that surrounds the industry. Plus, I’m burnt out at the moment. Writing isn’t something I can easily pop in and out of – there’s planning, researching, thinking, and arguing with myself that takes place well before I start writing and even then it can take time to compose thoughts and arguments so I actually sound like I know what I’m talking about. In the long run, the podcast is easier to manage and allows me to express myself in a real-time conversation rather than over-analyzing every sentence committed to paper or screen. For funsies, try to guess how long this sentence took to actually write. You’ll be pleasantly surprised. Or not. That’s not to say that I’m completely separating myself from writing or from the comics community. I still have some article ideas I want to write, but I have a greater need to focus on some ideas for short stories and novels that have been fighting for attention in my brain. At the moment, I’m more than happy to oblige them.

I’ve also recently taken a more hands on approach to the industry by becoming a part-time Event Coordinator for Outsider Comics and Geek Boutique in Fremont, Washington. Jill and Reagan Taplin are an amazing couple who’re setting out to be as involved with the local community as they are with nerds, geeks, and the comic book industry. I’ve been fortunate enough to talk to a lot of amazing people over the last few years, so whatever connections I can bring to the shop, I’m more than willing to exploit! HINT. HINT.

So there you have it. That Girl with the Curls will keep trucking along, but the Maniacal Geek is going to take a back seat, bit of a snooze, for the time being. Hopefully those of you who have stuck with me for the writing will carry on through the podcast, but if that’s not your thing, then no worries. Hopefully I’ll see you at the conventions or at one of Outsider Comics’ events!




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Yes, yes, an envelope and a mix-up, and blah, blah, blah. That’s not important. What’s actually important is that Moonlight, directed by Barry Jenkins, written by Barry Jenkins and Tarell Alvin McCraney, won three golden statues during Sunday’s broadcast. The night kicked off with Mahershala Ali winning for Best Supporting Actor, then Jenkins and McCraney won for Best Adapted Screenplay – the movie was adapted from McCraney’s play, In Moonlight Black Boys Look Blue – and the night ended with the now infamous envelope mix-up.


Nevertheless, Moonlight still won the Oscar for Best Picture. That’s what you need to know. A movie chronicling the life of a gay black man navigating the harsh world of his Miami neighborhood that deftly treats its characters and subject matter with love, respect, and honesty won Best Picture. It is no small feat considering the movies it was up against and the less than stellar record of the Oscars handing out Best Picture awards to less deserving films over, shall we say, more deserving films. And while people often shirk the Oscars and go on about how award shows are irrelevant, the fact of the matter is that the visibility gained by Moonlight‘s win on an international broadcast will bring more eyes towards the film than its initial run in theaters. That boost in viewership has the potential to give Jenkins, McCraney, and all those involved greater opportunities to tell more stories (big or small) through the medium of film. And the more stories they tell, the more black and LGBTQ movie-going audiences have the chance to see themselves reflected in those stories.

It matters.

But it’s not my place to wax poetic about Moonlight anymore than I already have. Instead, you should watch the movie and then read some or all of the links provided below to give you more insight on the movie from those whom it affects most.

Firstly, you can stream Moonlight via the A24 website. Hopefully the film returns to theaters after its win, but at the very least there are plenty of digital platforms from which to watch.

Secondly, read these pieces below:

Renée Graham – ‘Moonlight’ in Donald Trump’s America, The Boston Globe

Michael Cuby – Why Moonlight‘s Oscars 2017 Win Is So Important For Queer Black Men, Teen Vogue

James McConnaughy – Moonlight & The Handmaiden: Two Very Different Takes on Intimacy, The Mary Sue

Vernon Jordan, III – How ‘Moonlight’ Looks Out For the Humanity In Us, The Establishment

Shane Thomas – Moonlight isn’t just a part of the conversation, it is the conversation, Media Diversified

Amanda N’Duka – Tarell Alvin McCraney On ‘Moonlight’s Message: “I Think People Were Hungry For That,” Deadline

Kristy Puchko – Review: Barry Jenkins’ ‘Moonlight’ Is Beautiful, Brutal, and Rare, Pajiba


Thirdly, congrats to the cast and crew of Moonlight! You earned it and you deserve it!






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Do you find the current political climate to be openly volatile? Does your blood boil the second you turn on the news or browse through social media because of the unrelenting slough of incompetence and vitriol coming from the current Administration? Do you scream into your pillow in the futile hope that answers will come to you between gulps of air? Do you long for the halcyon days of George W. Bush’s presidential buffoonery? Bill Clinton’s sex scandals? Barack Obama’s calm and reassuring demeanor in the face of ridiculous amounts of adversity?

Well, I don’t know what to do about all of those feelings I’m you’re having, but I can recommend a podcast about The West Wing! Will it stop the relentless onslaught of anxiety? No. But it will kill an hour of your day while you listen to an engaging discussion about a fictional idealized behind-the-scenes world of politics!

Okay, that’s a gross oversimplification. Here’s the over-explanation.


The West Wing Weekly is a podcast hosted by musician and composer Hrishikesh “Hrishi” Hirway, also the host of Song Exploder, and actor Joshua Malina, currently of the television program Scandal. The purpose of the podcast? To talk about the much beloved West Wing, created by Aaron Sorkin. Week by week, episode by episode, the two recap and analyze the show giving it equal parts praise and critique with some added trivia and real-world examples of the government dealings presented in Sorkin’s fictional White House. Unlike many podcasts devoted purely to talking about a favorite tv show long since cancelled, Malina’s involvement lends the podcast the advantageous position of first-hand access to the actors, writers, directors, and consultants. A friend and frequent player in Sorkin’s tv shows and movies (i.e. Sports Night, The American President, A Few Good Men), Malina also joined the West Wing cast in Season 4 as Will Bailey and stayed until the series’ end.

The dynamic between Hirway and Malina is the real draw of the podcast. Where Malina hasn’t watched an episode since it first aired (17 years ago), Hirway has gone through multiple rewatchings. Where Hirway presents a sunnier, perhaps more optimistic look at Sorkin’s idealized political world, Malina – by his own admission – leans towards a contrarian approach to his analysis. Their outlooks, however, aren’t set in stone. The two frequently change their attitude towards characters, storylines, and dialogue depending on how well conceived the episode ends upon rewatch or how well the other can argue in favor or opposition.

Aaron Sorkin - The West Wing Weekly Twitter photo

Josh Malina, Hrishi Hirway, and Aaron Sorkin

The open discussion and dissection of each episode allows for some poignant and thoughtful moments to emerge. Malina and Hirway analyze The West Wing through a post-9/11 lens with the additional political strife of current and past presidential administrations informing their scrutiny. Their modern-day assessment also takes the show to task for the underlying sexism frequently portrayed by the majority of male characters as well as the unearned victories of complex arguments with no equivalent heft given to the person on the “wrong” side. The most current episode posted as of the writing of this article was “17 People” from Season 2, which originally aired 5 months before 9/11, so it’ll be interesting to see how and if their analysis changes once Season 3 begins. “Isaac and Ishmael” is a nostalgic favorite of mine, but as a response to the terrorist attack on America and its non-canonical placement in the show, there’s definitely aspects of the episode (and the show in general) that haven’t aged well. I’m also looking forward to the day when Malina’s Will Bailey shows up and how he and Hirway navigate their criticism of the episodes. Not that they’d be any less critical, but I can’t imagine it’s easy to take your own performance to task or critique the performance of a friend while they’re sitting across from you.

Other than the hosts, the guests who’ve come on the podcast to talk about The West Wing are a veritable who’s who of Sorkin players, activists, and government officials. Listening to cast members like Bradley Whitford (Josh Lyman), Emily Proctor (Ainsley Hayes), Dule Hill (Charlie Young), Richard Schiff (Toby Ziegler), Janel Moloney (Donna Moss), and Rob Lowe (Sam Seaborn) reveal character motives and behind-the-scenes anecdotes are thrilling to people like me who love those kinds of stories. I’m one of those featurette-watching, commentary-listening types so knowing that Moloney and Whitford played it like Josh and Donna were already in love from the word go makes me happy. Or learning that Dule Hill tap dances to pass the time on set and worked out how to tap along to Yo-Yo Ma’s cello during filming on “Noel” is ridiculously heartwarming. Or that Shonda Rhimes named Malina’s character on Scandal after a character mentioned briefly and early in the first season and was never mentioned again or featured on screen shows just how deep the fandom can go.

attends "Hamilton" Broadway Opening Night at Richard Rodgers Theatre on August 6, 2015 in New York City.

The reach and influence of The West Wing on the world of politics and pop culture shouldn’t be underestimated as evidenced by the amount of love and reverie many of the guests have displayed when they talk about how important the show was personally and professionally. Hearing speech writers, political commentators, NASA engineers, rabbis, crew members, and ambassadors praise and question the machinations of an episode or the subject matter therein offers a new avenue of perspective through which to enjoy or engage with the show. You want more proof? Look no further than the rap created by noted fanboy, Lin-Manuel Miranda (Hamilton: An American Musical, Moana), for the podcast. Miranda, according to Richard Schiff, stated that there would be no Hamilton without The West Wing. The musical is peppered with references and the cast and crew, knowing his love for the show, played the opening theme at the curtain call of his last Broadway performance. Hell, they even did a walk-and-talk style version of “Cabinet Battle #1” when the cast visited the White House.


I told you it was an over-explanation, right?

So, yes, you should totally be listening to this podcast. If you’re a fan of The West Wing, you’ll love the discussion. And if you’re new to the show, you can follow along with Hirway and Malina episode by episode since all seven seasons are now on Netflix. It’s definitely worth your time and a necessity for your health in these trying times. Trust me, I’m an archivist.



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[Author’s Note]: This article was written a while ago and has been edited for the purposes of keeping up-to-date on the current political climate.


I’ve been watching a lot of The West Wing lately. You can probably guess the reason. It’s a comforting show to me, a balm for my anxiety and the ever present empty pit of rage in my stomach. Sadly, the show angers me as well upon rewatch, just not for the reasons you’d think. I miss the fast-paced environment of a White House that never existed. I miss the friendly camaraderie of men and women brought to life beautifully by talented actors. I miss the lofty ideals and passion of a staff dedicated to a United States with a relatively informed populace. If you haven’t guessed, the agitation comes from the fact that The West Wing isn’t real. It’s the product of one man’s imagination that tapped into a need for a governing body to display equal amounts of dedication, determination, and selflessness. It’s an alternate reality that’s painful to watch at times, but I continue to watch because it’s that idealized vision of politics that prevents me from completely succumbing to absolute depression. The kernels of hope and emulation are there as the next generation discovers the show and ponders whether President Bartlet’s America could actually exist.Sorkin on set of West Wing

While there are many and varied critiques of Aaron Sorkin’s work, regardless of how you feel about him, it’s very easy to spot an Aaron Sorkin-created television show. The man has so many ticks and quirks associated with his various projects that there are a multitude of parodies easily found on YouTube. Hell, the man’s even parodied himself on his own shows and on others. Your most basic sign that it’s a Sorkin-joint is that the “action” all takes place behind the scenes. Sports Night, The West Wing, The American President, Moneyball, The Social Network, Studio 60, and The Newsroom are all about the moments leading up to or following an event. Usually it’s something important. One of the easier quirks to spot in this behind-the-scenes world is the “walk-and-talk,” which is fairly self-explanatory. Though walk-and-talks are not an exclusive quirk of Sorkin’s (it’s movie-making 101 to have your character exposit dialogue while moving), he’s definitely become the writer most associated with the trope since every movie or television show since Sports Night has included it.

Coupled with the walk-and-talk is a rhythmic banter between characters often dubbed “Sorkinese” since actors who’ve worked on a Sorkin project have stated that the dialogue is so precise that any changes practically have to be run by him so he can hear how it sounds. And within the banter, whilst doing the walk-and-talk, is an encyclopedic knowledge – by virtually every character – of literature, politics, pop culture (to a degree), and history. If a stanza from Emily Dickinson can hammer a point home, you bet your ass there’s going to be a character who either has an English Lit degree or reads Dickinson for fun so they can throw a line in there and create a profound moment. Pretty much all of The Newsroom’s first season was about quoting or referencing Don Quixote.

West Wing CastWhat this all adds up to, and tends to be the reason people don’t particularly care for Sorkin, is a pretentiously idealized world where every profession is a noble one and all those involved have more passion in their little finger than you’ve ever displayed over the most important event in your life! Unless they’re the “villain” and then they’re just the worst type of person. The easiest example of this is The West Wing. During Sorkin’s four years writing the show, it wasn’t uncommon for a character – any character – to make a passionate speech or a profound statement about the importance of their work in government, the necessity of doing right by the American people, or the almost divine calling that is the office of the President and serving under him.

There was also the occasional history lesson or the quoting of scripture that cemented the show as one of the smartest hours of television during its early seasons. The later seasons were okay after Sorkin left, Season 7 was definitely good television, but Season 5 and half of 6 are hard to get through if you’re a fan of Sorkin’s style and the characters, which I am. The point, though, is that the world of The West Wing was populated by people with passion for their job, who saw what they did as a call to serve their country. Even their “enemies,” both Republican and Democrat, where never entirely vilified, but shown to have just as much passion and a need to do what they thought was best for their constituents. Sorkin essentially elevated government and its employees to a degree that’s nearly laughable when we compare it to how our perception of government has changed within the last decade. Most especially within the last two months.studio60cast

The same attempt was made, less successfully, with Studio 60 on The Sunset Strip where Sorkin attempted to elevate comedy and it’s purpose in American culture. There’s a scene where Tom Jeter (Nate Corddry) is showing his blue collar parents around the theater where Studio 60 is filmed while giving them the history of the theater and its entertainment pedigree. All of this is done in service to highlighting the “culture wars” through Tom’s conservative parents, specifically his father who doesn’t care much for his son’s cushy, “elitist” job of playing in front of a camera while his other son is fighting in Afghanistan. Because…comedy!

As much as I do adore this show, it got really heavy-handed with it’s agenda, more so than most Sorkin shows, which alienated a lot of its audience. It also didn’t help that 30 Rock came out at the same time, on the same network, and was genuinely funny. Sorkin’s writing can be funny, but his humor often comes out of dramatic situations. He’s not exactly a joke writer. But what Sorkin was getting at, I think, is that there is a need for smart television, that the audience doesn’t have to have things dumbed down for them in order for a program to succeed. And comedy, even a variety show, can facilitate ideas or effectively satirize the world we live in. The Daily Show, The Colbert Report, Key & Peele, The Nightly Show with Larry Wilmore, Full Frontal with Samantha Bee, and Last Week Tonight with John Oliver prove that comedy can steer the political and social conversation through the medium of comedy.

The Newsroom, like Studio 60, like The West Wing, is what Sorkin envisions journalism should be; that journalists and news anchors should strive for something more than puff pieces and partisan politics. The opening theme of The Newsroom is a montage of photographs showcasing the history of broadcast journalism from Edward R. Morrow to Walter Cronkite to Dan Rather. Respected and trusted anchors that people turned to for their nightly news. The entire crux of the first episode is MacKenzie Hale’s (played by Emily Mortimer) plea that they can do better, that they are better.

The-NewsroomAnd while some critics may decry Sorkin’s idealistic portrayal of politics, comedy, or journalism, I think what’s important about these worlds he creates is that the characters are imperfect. You’d be hard-pressed to find a character in any of these shows or movies who isn’t fundamentally flawed in some way. Granted, many of these flaws are gendered since a lot of the women seem to have relationship issues and the men are cursed with arrogance and an overabundance or lack of machismo, but they’re still flawed. And yet they yearn for something more. The characters are the ones who create their idealized worlds because they want it to be that way, but it remains unattainable. The West Wing showed it time and time again. No matter how good their intentions, no matter how noble the cause, someone always gets left out, someone always feels betrayed. The Newsroom follows the same model. You can want to be better, you can want to change the world because of some call to destiny, but the world around you won’t shift overnight because you deem it so. You have to change it little by little and fight because you know you have to and it’s the right thing to do.

The Don Quixote metaphor is appropriate because many of Sorkin’s characters could be described as quixotic. But that isn’t necessarily a bad thing. In fact, I’d argue that Sorkin’s idealism is necessary for viewing audiences. If we see ourselves in the characters on television and in movies, if we find common ground, why can’t we also find what we’re missing? It’s not hard toHouse Bartlett identify with a character who desires an idyllic President because, deep down, we probably want the same thing. The same is true of our news anchors. We gravitate towards like-minded reporters, but don’t we wish for someone capable of delivering the news without the nagging suspicion that they’re leading us towards their politics? Shouldn’t we instead want someone with the desire to make us a more informed population?

The downside, and there’s always a downside, is disappointment when something or someone doesn’t live up to your standards. We definitely see that happening a lot these days, but Sorkin still leaves us with the tools capable of weathering such disappointments. Yes, you’re going to get kicked down a lot and you may not get exactly what you want, but hoping and striving for something better, even if it seems unobtainable, is just as noble. We may bend, we may even break, but we eventually shake it off, put ourselves together and start over. Maybe we’re a little wiser, a bit more cynical, but even an iota of idealism is enough to keep us moving forward and asking, “What’s next?”




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