Podcast appearances and mentions of hollis mason

Today we cover two people donning the same identity, Nite Owl. First created by Hollis Mason, and later Dan Dreiberg after Mason's retirement. And honestly both of them are just good guys trying to do the right thing.Apologies if the episode feels rushed I only had 45 minutes of recording time left and 2 hours to record and upload the episode before the cutoff. Support the show

Esther and company are back with our discussion on Watchmen, Chapter 8: "Old Ghosts." Dan and Laurie team up on a mission, Rorschach takes an extended bathroom break, and Hollis Mason opens his door to the wrong visitors.

Episode 6's title is “This Extraordinary Being” and which takes its title from an excerpt of the in-universe Hollis Mason autobiography "Under The Hood." The episode finally gives us the origin of Hooded Justice! Make sure you again check out the latest in the Peteypedia Pages of extended material that answer a lot of questions that weren't answered directly in the episode and expands on the VERY detailed world building this show is doing! Follow us on Twitter @nerdcyclopedia, leave us feedback at watchingwatchmen@nerdcyclopedia.com and we'll try to get that read on the podcast! Join our facebook group Sam and Scott are Watching Watchmen and visit our website www.nerdcyclopedia.com!

Ol' Hollis Mason takes a trip down Memory Lane. Laurie and Dan embark on a mission to spring Rorschach out of prison. And our missing comic writer is found on a private island! Matt and Pete revisit Chapter VIII: “Old Ghosts.”Share your thoughts about Watchmen on HBO--and the graphic novel, by reaching out to Phantastic Geek on Twitter, Facebook, and PhantasticGeek on Gmail.As always, our podcasts are made possible by those who supports us on Patreon.com/PhantasticGeek.MP3Apple Podcasts

Watchmen Minute 110 - Hollis Mason, you’re my hero. Minute 110 starts with Dan talking about his dad and ends with Laurie talking about secret identities. Guest: Eric Deutsch from Flash Gordon Minute   Find us online: Twitter: https://twitter.com/WatchmenMinute Facebook: https://www.facebook.com/watchmenminute/ Website: http://watchmenminute.libsyn.com/ Merch: https://www.teepublic.com/user/watchmenminute Visit http://moviesbyminutes.com/ to find other ‘Movies by Minutes’ podcasts.   Travis Bow - https://twitter.com/thatTravisBow Eric Nash - https://twitter.com/luckymustard   Music: Pruit Igoe & Prophecies by Philip Glass Ensemble Composed by Philip Glass

Watchmen Minute 017 - “Mask up too!” Minute 017 starts with Officer Kirkpatrick looking at an empty broken window and ends with Hollis Mason being drunk and telling stories. Guest: Niall McGowan from BatMinute ’89.   Find us online: Twitter: https://twitter.com/WatchmenMinute Facebook: https://www.facebook.com/watchmenminute/ Website: http://watchmenminute.libsyn.com/ Merch: https://www.teepublic.com/user/watchmenminute  Visit http://moviesbyminutes.com/ to find other ‘Movies by Minutes’ podcasts.   Travis Bow - https://twitter.com/thatTravisBow Eric Nash - https://twitter.com/luckymustard   Music: The Times They Are a-Changin' by Bob Dylan Written by Bob Dylan

In this episode: Dr. Peter Coogan joins the crew to discuss his theory that the sequel to Watchmen doesn't need to be written, because it already has... Clues to the sequel to Watchmen By Peter Coogan This reading of Watchmen was inspired by a comment by Sara J. Van Ness in Watchmen as Literature (McFarland, 2010). She pointed to the excerpt from Under the Hood in chapter 1 and the paperclipped note on its first page, “‘We present here excerpts from Hollis Mason’s autobiography, UNDER THE HOOD, leading up t the time when he became the masked adventurer, Nite Owl. Reprinted with permission of the author’ (27). This ‘we’ is the novels only reference to the narrator” (p. 61). This comment inspired me to track down the identity of the narrator and it led to a series of discoveries about the novel. Read through these clues and see if you can figure out why there is no need for a sequel to Watchmen. How did Moore and Gibbons build the sequel into the text? These clues assume that Watchmen has been published diagetically (diagetic = in the world of the story). What does the diagetic publication of Watchmen imply about Veidt’s status in 1986? Who probably owns DC Comics in the world of Watchmen and what does that probable imply or indicate? I.9.4. What do Under the Hood and Gladiator have in common? What book is missing from Hollis Mason’s bookshelf? How is Hollis Mason’s authorship of Under the Hood connected to the authorship/source of the diagetic Watchmen? D1-1. Under the Hood excerpt. In the paperclipped note, who is “we”, where is “here”, and how do they have the permission of the author, Hollis Mason, who is dead? Who has inherited Hollis Mason’s copyright of Under the Hood. IV.15. Who has access to this conversation between Hollis Mason and Dr. Manhattan after Mason’s retirement? D-6. Who would have the ability to get Kovac’s arrest report and various childhood files? Or Malcom Long’s notebooks? VII.13-15. Who has access to the story of Dan and Laurie’s failed lovemaking? D-7. Why is “Blood from the Shoulder of Pallas” included? It doesn’t reveal anything about the background of the characters. It doesn’t supply any real information that contributes to an understanding of the larger story. IX. Who has access to Jon and Laurie’s conversation on Mars? This is a crucial conversation (more so than some of the invented conversations discussed below in the “Problems” section) because it explains why Jon returned to Earth and would therefore offer a real selling point for the book. D-9. Who has access to Sally Jupiter’s scrapbook? D-10. Who could have taken a picture of Veidt’s desktop, with calendar? XI. Who has access to Veidt’s discussions with Dan and Rorschach at Karnak? XII. Who has access to the events at Karnak? XII.20 What does the publication of Watchmen mean about Dan and Laurie’s agreement to keep Veidt’s plan secret? Problems with this theory: It seems unlikely that Moore and Gibbons intended this reading of Watchmen as they initially only planned 6 issues and originally intended to run letter pages after issue three and so included Under the Hood excerpts only as a placeholder until letter pages started. Moore originally planned to use MLJ’s Mighty Crusader characters and so started the story with the death of the Shield. All of these arguments are versions of the intentional fallacy (http://en.wikipedia.org/wiki/Intentional_fallacy). Watchmen was published in September 1986, so the turnaround time from October of 1985 is problematic, but not impossible. Some of the depiction of the characters has to be declared fictional or speculative under this theory: All the Bernie/Bernard interaction at the newsstand, the Shea/Hira interaction on the island and the freighter, the police officers interaction in chapter 5 (and elsewhere), Godfrey and Seymour at the New Frontiersman, Veidt’s interactions with his servants and his role in their deaths. But some of these interactions could have been recorded by Veidt in his bugging and so might have been found. And other interactions might have come out of Congressional testimony, other investigations, or interviews published as part of the coverage of the revelations of Veidt’s role in the squid attack (such as the war room in chapter 10). Likely the inclusion of Tales of the Black Freighter is symbolic, either on the part of the source or “Moore” and “Gibbons” (the diagetic versions of Alan Moore and Dave Gibbons). It’s also likely that many of the other texts mentioned in the book (e.g. The Day the Earth Stood Still, “The Architects of Fear”) are also symbolic.

In this episode: Dr. Peter Coogan joins the crew to discuss his theory that the sequel to Watchmen doesn't need to be written, because it already has... Clues to the sequel to Watchmen By Peter Coogan This reading of Watchmen was inspired by a comment by Sara J. Van Ness in Watchmen as Literature (McFarland, 2010). She pointed to the excerpt from Under the Hood in chapter 1 and the paperclipped note on its first page, “‘We present here excerpts from Hollis Mason’s autobiography, UNDER THE HOOD, leading up t the time when he became the masked adventurer, Nite Owl. Reprinted with permission of the author’ (27). This ‘we’ is the novels only reference to the narrator” (p. 61). This comment inspired me to track down the identity of the narrator and it led to a series of discoveries about the novel. Read through these clues and see if you can figure out why there is no need for a sequel to Watchmen. How did Moore and Gibbons build the sequel into the text? These clues assume that Watchmen has been published diagetically (diagetic = in the world of the story). What does the diagetic publication of Watchmen imply about Veidt’s status in 1986? Who probably owns DC Comics in the world of Watchmen and what does that probable imply or indicate? I.9.4. What do Under the Hood and Gladiator have in common? What book is missing from Hollis Mason’s bookshelf? How is Hollis Mason’s authorship of Under the Hood connected to the authorship/source of the diagetic Watchmen? D1-1. Under the Hood excerpt. In the paperclipped note, who is “we”, where is “here”, and how do they have the permission of the author, Hollis Mason, who is dead? Who has inherited Hollis Mason’s copyright of Under the Hood. IV.15. Who has access to this conversation between Hollis Mason and Dr. Manhattan after Mason’s retirement? D-6. Who would have the ability to get Kovac’s arrest report and various childhood files? Or Malcom Long’s notebooks? VII.13-15. Who has access to the story of Dan and Laurie’s failed lovemaking? D-7. Why is “Blood from the Shoulder of Pallas” included? It doesn’t reveal anything about the background of the characters. It doesn’t supply any real information that contributes to an understanding of the larger story. IX. Who has access to Jon and Laurie’s conversation on Mars? This is a crucial conversation (more so than some of the invented conversations discussed below in the “Problems” section) because it explains why Jon returned to Earth and would therefore offer a real selling point for the book. D-9. Who has access to Sally Jupiter’s scrapbook? D-10. Who could have taken a picture of Veidt’s desktop, with calendar? XI. Who has access to Veidt’s discussions with Dan and Rorschach at Karnak? XII. Who has access to the events at Karnak? XII.20 What does the publication of Watchmen mean about Dan and Laurie’s agreement to keep Veidt’s plan secret? Problems with this theory: It seems unlikely that Moore and Gibbons intended this reading of Watchmen as they initially only planned 6 issues and originally intended to run letter pages after issue three and so included Under the Hood excerpts only as a placeholder until letter pages started. Moore originally planned to use MLJ’s Mighty Crusader characters and so started the story with the death of the Shield. All of these arguments are versions of the intentional fallacy (http://en.wikipedia.org/wiki/Intentional_fallacy). Watchmen was published in September 1986, so the turnaround time from October of 1985 is problematic, but not impossible. Some of the depiction of the characters has to be declared fictional or speculative under this theory: All the Bernie/Bernard interaction at the newsstand, the Shea/Hira interaction on the island and the freighter, the police officers interaction in chapter 5 (and elsewhere), Godfrey and Seymour at the New Frontiersman, Veidt’s interactions with his servants and his role in their deaths. But some of these interactions could have been recorded by Veidt in his bugging and so might have been found. And other interactions might have come out of Congressional testimony, other investigations, or interviews published as part of the coverage of the revelations of Veidt’s role in the squid attack (such as the war room in chapter 10). Likely the inclusion of Tales of the Black Freighter is symbolic, either on the part of the source or “Moore” and “Gibbons” (the diagetic versions of Alan Moore and Dave Gibbons). It’s also likely that many of the other texts mentioned in the book (e.g. The Day the Earth Stood Still, “The Architects of Fear”) are also symbolic.