Podcasts about judge anderson

Today, I'm delighted to speak with artist Anna Morozova! You may recognize her work from 2000AD and Judge Dredd comics, but she recently made her American comics debut with Barbarella #1 from Dynamite Entertainment! Check out this interview to hear how Anna left behind the prospect of a lucrative tech career to follow her passion instead, the types of comics she loves to read, and what she hopes to acheive with Blake Northcott on Barbarella. About Anna:Anna Morozova is a comics artist and illustrator currently working for 2000 AD and the Treasury of British Comics in the UK plus Glarien in the US. Her published work includes Future Shocks, Terror Tales, Tales from the Black Museum, Judge Anderson, Viva Forever, Lowborn High and Rocky of the Rovers for Rebellion, plus the creator owned Star-Nav written by Alan Hebden and published in the Pandora comic anthology.She has previously worked for Comichaus, DC Thomson Heritage Comics, ODEON Luxe/Engine Mischief PR, Panini, University of Dundee and the Scottish Government.She holds an MDes in Comics and Graphic Novels and a BSc in Digital Interaction Design, both from the University of Dundee.For more from Anna, visit http://annamorozova.uk For More from Comics Are Dope:Get This Week in Comics, our weekly e-mail newsletter: http://thisweekincomics.comSubscribe on YouTube: http://youtube.com/@comicsaredopeJoin our online Discussion Communities:Facebook - http://bjkicks.link/communityDiscord - http://bjkicks.link/discord

A thrilling new game was discovered in today's episode of the Nation of Jake where we read a crime occurred in Memphis with all the details and predict how Judge Bill Anderson would handle it. You get a ROR, you get a ROR, everyone gets an ROR! Also on the show, we talk about the suggest tax increase in the city by Mayor Paul Young and why it's a terrible idea for young Memphians to choose to remain living here. See omnystudio.com/listener for privacy information.

Judge Matthew Anderson: Bridging Justice & Compassion | The Hopeaholics PodcastJoin us for an enlightening conversation as Judge Anderson sheds light on the pivotal moment when he presented Chad with a life-altering choice: prison or rehab. As Chad's drug court judge, Judge Anderson opens up about the complexities of balancing justice and compassion, offering a unique perspective on the intersection of the legal system and addiction recovery.Judge Anderson's commitment to justice with a compassionate touch has made a significant impact on the lives of individuals facing addiction. In this episode, he shares not only the challenges within the court system but also the strategies and initiatives aimed at fighting the battle against drug addiction.Explore with us as Judge Anderson discusses the importance of offering rehabilitation as an alternative to incarceration, the successes and struggles within the drug court system, and the collaborative efforts to support individuals on their path to recovery. Hit the like button, subscribe for more thought-provoking content, and share this episode with those passionate about reshaping the narrative around addiction and justice. Connect with us on social media to join the Hopeaholics community!Follow us on all our social media platforms down belowINSTAGRAM : https://www.instagram.com/thehopeaholics/?igshid=Mzc1MmZhNjY%3DSPOTIFY: https://open.spotify.com/show/4diCrlmIyqrkE2e22mFgU1?si=2df7f5920f944098FACEBOOK: https://www.facebook.com/thehopeaholicspodcast/TREATMENT : https://www.hopebythesea.com

General Session Judge Bill Anderson tells Sen. Brent Taylor to stay out of his business. See omnystudio.com/listener for privacy information.

What does this 2012 film, based upon the UK comic book series Judge Dredd, tell us about its world's form of government (the “Judge System”), a pared down police state which consolidates the powers traditionally vested in different elements of government? What does it tell us about the effects of extreme population pressure on Democratic governance in its post apocalyptic America? Why does a majority of this world's United States population vote to consolidate and pare down governmental functions to the most basic core; provision of security? Why is the police force vested with the roles of judge, jury and executioner? Is it likely or unlikely that American governance will tend toward consolidation of powers in police forces as is portrayed in this dystopian film? How does the interplay between the two protagonists, Judge Dredd and Judge Anderson, provide commentary on the role that compassion has in meting out justice?

Space Spinner 2000 takes us to Mars as Conrad Leiden returns with the further adventures of Judge Anderson from Psi Division. Spoiler alert early on for a big character reveal in this story.This episode was recorded before the sad passing of Alan Grant, stay tuned for a book club tribute to Alan later in the year. Tune in to Space Spinner 2000 and the Big Meg One wherever you get your podcasts. You can find the Childhood's End story in Psi Files volume 2You can find a list of episodes so far and all the upcoming books on the Facebook page, follow the podcast on Twitter, and on instagram, or email me comments and suggestions to MCBCpodcast@gmail.comMusic used in this episode is Circuit Breaker by the artist Robodub.If you cannot see the audio controls, listen/download the audio file here Or Download hereRight click and choose save link as to download to your computer.

First up, we lost Alan Grant last night and I want to say how sorry we are to hear this, his contribution to comics was immense and we are forever in his debt. His work has meant everything to me, from Dredd, to Johnny Alpha, Judge Anderson, his acclaimed Batman runs, his fantastic Lobo work - and so much more. Please enjoy this episode. Think of Alan and the wonderful artwork of Steve Dillon. We are thinking of Alan's family in this time of his passing. Please support the show on Patreon! Every dollar helps the show! https://www.patreon.com/SignalofDoom Follow us on Twitter: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost Follow Dave on Twitter: @redlantern2051

Freeze, creep! This week, we're checking out the 1995 and 2012 attempts to bring Judge Dredd to American movie audiences. Spoiler alert: It didn't work out like the studios hoped.  ----more---- [00:00:00] Mike: That's a little too thirsty, I think. Welcome to Tencent takes the podcast where we violate Mega City One's judicial codes, one issue at a time. Coming at you live from the hot box of my closet; I have not showered in 24-hours, and I smell fantastic. I'm Mike Thompson and I am joined by my co-host, the princess of pain, Jessika Frazer. Jessika: Yaar! I'm also - Mike: How are you smelling? Jessika: God, I'm in a hotbox of pain at the very least, I had to go to work like physically into the office today. So I actually, you know, had to be decent enough to be around people that are masked, so the deodorant had to at least be applied, but. Mike: No hard pass. I work out of my bedroom now, you're lucky if you get pants. Jessika: Well, that's nice. [00:01:00] Mike: Would you like to explain why we are here? Jessika: You know, we're here because we love comics. Mike, Mike: True. Jessika: We love comics. We want to talk about all the comics. We want to do deep dives about our favorite comics and their heroes, and where they came from. And wild little stories that we find out about them and bringing in nefarious characters like Eric Estrada. He's not a nefarious. Mike: He's a little nefarious. He was involved in a really weird kind of scammy land sale thing. He did also endorse Trump on Twitter. Remember that where he was like - Jessika: Oh God. He is nefarious. Gosh, darn I, why do I always want to give Eric Estrada so much credit? I'm like way too nice to the guy. I don't even know him. I do follow him on Twitter now, but. Mike: No. He literally told Donald Trump on Twitter that he should run for president because he tells it like it is. So thanks, Eric. Thanks. Appreciate that. Jessika: No. That was a bad idea. Like, for [00:02:00] the record, I don't know if anyone else knows that. Everyone else knows that, every other country knows that. Mike: They do now. Jessika: Oh man, we're going to get into some hot topics today, too. This is already a good start. Mike: Yeah. So before I interrupted you, is there anything else that we'd like to cover or talk about or look at? Jessika: Oh, their video games, all the related media movies. Everything, everything comics related, we want to talk about it. Mike: Fair. Jessika: Yeah. Mike: Well, today we are going to hop on our Law Masters and cruise the Cursed Earth as we check out both the cinematic adaptations of Judge Dredd. But, before we do that, before we dive into this episode, we'd like to acknowledge a small milestone because this is our 10th episode and we've received over 500 downloads. So, you know, that may not sound like anything major compared to a lot of podcasts out there, but we're incredibly proud of what we've been able to achieve and how far we've gotten so far. And if you're listening to us, we're super [00:03:00] grateful that you've just given us your time. We really appreciate it. So to celebrate, we're going to do a giveaway. If you go to our page on Apple Podcast and leave a rating, and then email us a screenshot of said rating and a review, but that's only if you're inclined, really, we just care about the rating. We'll enter you to win a $25 gift card from NewKadia. NewKadia actually offers international shipping too. So, even listeners outside of the continental us are eligible. Jessika: That's super exciting! Mike: Yeah. Jessika: So Yeah. Rate us, review us. We appreciate you all. Mike: Even you. Yeah. So I'm talking to you right through your car stereo right now. Jessika: We're there with you driving along. Hey, watch the road. Mike: All right. We're at the point of the episode where we like to start off with one cool thing that we've read or watched lately, do you want to start off? Jessika: Yeah. Yeah, absolutely. So I needed a little bit of a palate cleanser after watching the [00:04:00] 2012 dread film so much gore. So I ended up watching Guardians of the Galaxy 2, which I hadn't seen before, and it was super fun. Loved the music as always characters had a really good chance to further develop. Okay. But I have to say, dude, I like still Stalloned myself. I did not know he was in that movie. And then he just shows up and I was like, what the fuck? Cause I literally had just watched them both in a row. And so I literally had just seen Stallone like the movie before that. And then he shows up again and I was like, good lord. Mike: Well, and you know that his crew is like the original Guardians of the Galaxy from the comic books. Jessika: I do. Yeah.I do. Now. I know I looked that up afterwards and I was like, oh, okay. All right. Mike: Yeah. And it was like Michael Rosenbalm, who did the voice of Superman and was Lex Luther in Smallville and the Michelle Yeoh and Ving Rhames. I was totally here for that cameo. That was great. [00:05:00] Jessika: Yeah. It was, once I looked that up, I was like, oh, that makes more sense. Cause I wasn't aware of that. Mike: Yeah. Jessika: it was super fun, but then I Stalloned myself again because I today a guest hosting of trivia for North Bay Trivia in Santa Rosa, at Shady Oak Barrel. And they have like a little arcade game. That's Stallone on the front. And I can't remember, I sent it to you, I think, cause I frickin' Stalloned myself again, secondary Stallone. Mike: I feel like you did. And I can't remember what it was. Jessika: I'd have to look it up, but I'm too lazy to look through my phone. So we'll just leave it. Anyone knows I don't, I don't care anymore. Mike: Fair. Jessika: So, back to the Guardians of the Galaxy after that Stallone detour, I really, really liked the evolution of Gomorrah, Nebula's relationship. Mike: I love that. I thought it was fantastic. Like I thought honestly, Almost all the characters had really nice [00:06:00] development, except really, I mean, I don't know. I feel like Peter didn't actually develop that much as an actual character. Jessika: No, he was just taken on some Shamaylan twists and turns. Mike: Yeah. But yeah, the whole bit where, Yondu is yelling at Rocket about, you say that I don't know you, but like you're me. And it was oh, oh. Jessika: Gosh. I definitely cried during that movie. I'm not going to lie, but I'm a crier. Mike: There's a lot of feels. There's a lot of feels in that movie. Jessika: Yeah. Oh, it was so good. So overall two thumbs up. Mike: Yeah. Jessika: What about you? What have you been reading? Watching? Mike: Yeah. So, Sarah and I started watching Loki because that just began airing last week, and ahead of that I wound up reading a couple of old issues of Thor, specifically Thor 371 and 372, which are the issues that actually introduced the Time Variance Authority. And the funny thing is that these issues also introduced a character who [00:07:00] may look a little familiar to you, especially as we've been prepping a bit for this particular episode. So check out the cover and tell me if he reminds you of anyone Jessika: Okay. That looks like a, that's so funny. That looks like Captain America, but it also looks like one of those those Doctor Who, like, what are those things called? Mike: The Daleks. So if you take a closer look at that guy that is so his character, his name is Justice Peace. And if you look at the shape of his helmet and he's actually on a sky cycle. Jessika: Oh shit. Mike: But, yeah, it's a pastiche of Judge Dredd. Jessika: He does look like Judge Dredd. You know what threw me was the bright colors, because Judge Dredd has darker tones. So I kinda got drawn more to that kind of vibe, but you're right. He's got the helmet across his face. You can see one of his eyes and the other one looks like it's probably bionic. And it's kind of like a samurai helmet, it looks like. It's, I think it's supposed to be shaped like more of a samurai style. If I'm not mistaken. Mike: Kind [00:08:00] of which - Jessika: It's big. Mike: Like actually the, Jessika: I don't. Mike: The old school Judge Dredd helmets, actually, like some of them have actually taken on that look too. Like they've kind of played with the shapes, but anyway, I thought it was just kind of a funny, a funny, a full circle moment. Jessika: He's got some arm bandoliers too. Mike: Yeah, man. Those were big in the eighties. Jessika: I guess. So, dang dude, I'm loving this. Mike: Yeah. It's a lot of fun. We are going to be talking about Judge Dredd in general. We're not going to do a deep dive on the comics, but we're going to talk a bit about the background. And so before we actually do that, I felt like we should take a minute and talk about how of us have grown up with pretty close connections to law enforcement. Do you want to go first? Jessika: No. Sure, sure, sure, sure. So my dad was a police officer for, I think, close to 30 years. And for a lot of it he worked in public safety, which is really like policing and [00:09:00] firefighting and they rotate duties. So you have to know both, you go through both academies. It's supposed to be that you're a little bit more well-rounded and involved, and I don't know, it was. At the time the community was a lot smaller and it probably made more sense, but it's getting bigger. And, I don't know how much sense it makes, but I'm also not an expert. And I haven't lived there for a while, so I don't know what the politics there are these days surrounding that as much as I used to. As far as police officers go, I do know a few really decent people who are police officers and, you know, growing up, I had mostly good experiences. However, that hasn't been the case for everyone. And my privilege of being raised white and a child of a law enforcement officer has absolutely shielded me from so many of the issues and policing that plagues our country. Mike: Yeah. Jessika: And I have to say like, unironically, my dad was a decent cop. He's still alive. But when he was still in law enforcement, he was a decent cop and [00:10:00] he definitely let his ethics guide him, and he left positions based on his moral compass. And I'm really proud of him for leaving organizations that were more on the corrupt side or that weren't doing things that he thought they should be doing and abiding by their own rules. However, he's also the one who taught me about profiling, which is a conversation I remember having with him around 9 or 10 years old, maybe earlier than that. And that's just such a racist tactic that has never really sat right with me. And that I adamantly oppose now that I'm older and I have a better understanding of how we as a society, villainize people of color just for existing. Mike: Yeah. Jessika: So without getting too far into what is a really, really massive conversation and discussion, the judicial system in this country is absolutely broken, and we statistically arrest convict and give longer incarceration timeframes to people of color. Mike: Yeah. I mean, there's, [00:11:00] that's just a fact. Jessika: It's a fact. There, there are numbers, you can look it up, you know, it's yeah. Mike: Yeah. Jessika: So, I know, on that fun note, whatever, I'm such a downer. Mike: That's okay. I should have known better than to start us off on this, you know, really positive note for the episode. Jessika: I already got fired up. I'm already going to have to edit out my mumbling. Mike: That's all right. You know, it's funny because I have to wonder if my uncle actually knew your dad because my uncle was in the same area and works in public safety as well. So, he always did the firefighting and police work as well. My uncle is the guy that I grew up idolizing when I was a kid. He was the cool uncle to me. He taught me the basics of photography. And I worked as a freelance photographer for awhile. He was a forensic specialist dealing with fingerprinting. So you and I [00:12:00] grew up in the 90's in the Bay Area. So Polly Klaas is a name that any, anyone who was here during that time knows, and she was a girl who was kidnapped out of her home, basically just taken while she was having a sleep over with some friends out of her home in Petaluma. And the FBI apparently came in and did a Palm print, but they use some fluorescent powder that the local PD couldn't read, but my uncle had the training and I guess the equipment, I don't quite know all the details, but so he worked the Polly Klaas case. He and my aunt are both retired police and they were both so incredibly cool to me when I was growing up. And I've since had to reckon with the fact that, you know, not all cops are good, and I'd hope that they were great. I hope that they were the bar that other cops were measured against, but who can say it, this. Jessika: Yeah. Mike: So we, we both have connections to law enforcement, and I think it's safe [00:13:00] to say that we're approaching Judge Dredd from a perspective that is influenced both by our backgrounds, as well as the current environment that's going on because we're recording this in June of 2021 when things are still real bad in a lot of ways. Jessika: Yeah. Mike: So now that we've got that highlight out of the way. I'm curious, what was your awareness of Judge Dredd prior to this. Jessika: You know, besides name recognition, I didn't know much about the plot line, other than some vague notion that it was futuristic or post-apocalyptic. So, I came into this super fresh, and I'm super excited to learn more now. Mike: Yeah. So, I definitely have a lot more familiarity with the character. I read some of his stuff in the 90's and 2000's. I would just kind of randomly find things and I thought he was pretty cool. When I was in roller derby, my roller derby name actually wound up being Judge Dreadful. [00:14:00] And so I've since then bought a number of collections. I've read most of the big storylines that they did from the 70's up until the mid-90's. And then I also read one of the more recent American series as well. I've seen all the movies. Dred is still one of my favorite movies of all time, even though we'll talk about that later on, it's got its own issues through today's lens. I guess the best way I can describe myself is: I'm more than a casual fan, but I'm not a diehard fan. Part of it is just because there's so much lore at this point. So, I have an unfair advantage in terms of familiarity, I guess. Sorry. Jessika: No, that's okay. That's why you're hosting this episode. Not me. Mike: Yeah. So, we're going to do some basic background. Dredd was originally created in 1977 for this newly launched comics anthology called 2000 AD. There was this guy, he was an editor named Pat Mills and he brought on a writer that he'd worked with named John Wagner to create new content for this magazine. [00:15:00] And, basically comics, anthology magazines, they were printed on like newspaper stock. They were magazine format. And what it was very kind of, you know, old school pulp magazine, like where it was serial stories usually, or a little one-offs. So it'd be four to five pages, usually of content per story. And then a lot of times they would end on a cliffhanger so that, you know, the readers would come back the next week. And that's generally how British comics have worked. At least that's my understanding of it. That's how a lot of them are. And actually when they were trying to do US style sized comics, supposedly they didn't do as well because they would get covered up basically and overshadowed by the sheer size of these magazines, which were much bigger and flashier. So Wagner came into 2000 AD. He'd had a lot of success writing this Dirty Harry kind of character called One-Eyed Jack for another anthology series called Valiant, and both he and Mills realized that 2000 AD needed [00:16:00] a quote unquote, a hardcore cop character as part of the magazine's content. So, Wagner has since then described, dread as a psycho cop with no feelings. And then he worked with this artist named Carlos Escuera to create the character and then Escuera wound up designing a character who reflected that kind of hardcore, no feelings ideal. He actually died a couple of years ago and the Guardian ran a really, it was really nice ,tribute talking about his accomplishments and his style, but there's this really great quote, which I think you should actually read out. And it gives us a lot of background in a nutshell of Dredd and who he is. Jessika: Escuera started his career drawing war comics in Barcelona before moving to the UK and working for the anthology 2000 AD and others, He brought the iconography of fascist Spain to Dredd's extremely weird and [00:17:00] vivid design and combined it with his experiences of living in Croydon through the 70's and 80's, the punk movement on his doorstep and TV images of policemen, charging striking miners. The Eagle motif and helmet were drawn from fascism, the permanently drawn truncheon from police on the picket line. The zips chains and knee pads from punk. I was living in Franco, Spain, he told an interviewer last year, but also I was living in Mrs. Thatcher's England. Mike: I think that kinda tells us all we need to know about what they're going for with the vibe of Judge Dredd. Jessika: Yeah. No, that, that definitely showed. I was thinking that about the Eagle. Mike: Yeah. Jessika: When they were showing the big building and it was super, everything was just cement and. Mike: Yeah. It's got that brutalist kind of architecture. Yeah. Jessika: Yes. Mike: Yeah. So Dred exists in this world. That's left standing after World War III, and [00:18:00] most of the planet's just been devastated. America is largely uninhabitable, say for a couple of what are called Mega Cities, which are these autonomous city states that housed hundreds of millions of people. At one point in the comics, I think it's up to 800 million and they've had different events where they've kind of knocked it down repeatedly, Jessika: Yikes. Mike: And at one point it got as low as like 120 million or so I think that was kind of after I stopped reading though. But anyway, mega city one was originally going to be a future version of New York City. But that was quickly retconned to that specific part, being some sort of capital area for this urban sprawl that covers most of the Eastern seaboard. And from the get-go, Dredd stories were kind of this extreme form of satire. It was presenting the society where democracy basically failed, and the office of the president of the United States has been retired, and society now runs under this, to be honest, terrifying gaze of the Judges. How would you sum up the [00:19:00] Judges based on what we saw in the movies? Jessika: As a whole, they were pretty robotic and unfeeling. They were doling out the letter of the law as it happened and per their protocol, and their justice is swift and immediate, which is really terrifying. Like you said to imagine. Mike: Yeah. Jessika: And what's even scarier is that all crimes were treated the same. You are either sent to a prison called an isopod, or killed right then and there. There was, there were no middle grounds between those points. It was like, you're hauled off then, you serve a sentence, or you're just killed. Mike: Yeah. I mean, that's really not that different from the comics. Jessika: And then, as far as their appearance, as with most uniforms, they dress the same with helmets and body armor and they are just armed to the gills and they look just as scary as they act. Mike: Yeah. And, I think a safe way to describe the system of Mega City [00:20:00] one is to call it authoritarian, but it's just a little bit different than what we normally associate with that term. Jessika: Yeah. I wonder if there's some sort of like a law-tarian like judiciatarion. I don't know, somebody is going to @ me and tell me how stupid I am, but that's fine. I already know. Mike: I like, I like, I liked judicialtarion. I think that's, uh, if that's not a word we should make it one. Jessika: Here we are, TM TM. Mike: Yeah, we're just going to sit back and let the royalties roll in after this. Yeah, but in spite of all this, there's this very weird, dry, British humor that kind of makes the whole narrative a little more palatable. So like one of the early stories is focusing on how robots were doing most of society's work and that's resulted in rampant, unemployment and boredom, so citizens of the mega blocks start engaging in what they call block wars, where neighboring blocks basically just start opening fire on each other because they want something to do. There's another story where the Dark Judges, who [00:21:00] are, they're effectively movie monster versions of the Judges as we know them crossover into Dredd's reality. And then they start slaughtering people, indiscriminately, because all crime is committed by the living. And, thus the sentence for life is death. Jessika: Yikes. Mike: Or, there's also the idea that recycled food is, what they call it, is how they eat these days. But recycled food is actually made from people you know, it's Soylent Green Jessika: Oh, How Soylent Green. Yeah. Mike: Yeah. The Dredd comics always have this kind of underlying tone of absurdity. It's that slight bit of levity that makes this really brutal comic actually pretty enjoyable because it becomes ridiculous. It's a comic of extremes. Over time, the comics gone on to deal with things like Dredd having to resolve how the system that he represents is actually problematic, and it needs some kind of reform. The ramifications of how the push to move back to democracy fails and, [00:22:00] you know, actually fleshing him out as a character who occasionally has feelings, not all the time, but just sometimes. He goes from being kind of a lawful neutral character to a lawful kind of good alignment, like sort of good, kind of, some of the time. There's only so long that you can have a character be a robot for justice, if nothing else before, you know, people are going to sour on them. Jessika: You mean a veritable killing machine? Mike: Yeah. The other thing is that the core Dredd stories haven't really been reset. They're still going from 2000 AD, so at this point we have nearly 50 years of stories that are all canon. And the other thing is that they keep on aging Dredd in realtime. So, at this point he's absurdly old and they hand wave it away by he spends time in the Rejuva-pods or whatever they are. But as a result, he's the same guy who has seen everything that has gone on in the comics. [00:23:00] And as a result, he's matured and changed a bit. And it's kinda neat. So in the UK Dredd's a pretty big deal, but his presence in America isn't quite the same. Like UK comic magazines back then were very different from comics here in the states. So, when they decided to bring them over here across the pond, 2000 AD wound up working with this guy named Nick Landau, who a couple of years earlier had created tightened books to publish comic collections of Judge Dredd in the UK, and then was publishing more collections of other things. Landau had just created Eagle Comics to collect and publish Dredd stories and other 2000 AD stuff. Uh, here in the States in 1983, the Eagle series lasted for about three-ish-is years, and then it moved on to another publisher. And this is pretty much how Dredd existed in the states in the 80's and 90's; a publisher would pick up the rights, and then try to make them click with American readers, and then the [00:24:00] series would get canceled, and then someone else would pick them up and try to do it again. And arguably his most quote unquote mainstream moment was when DC comics published an 18 issue series from 94 to 96. I've only gotten through a couple of these issues and they don't quite bite like the originals. They feel more like an action sci-fi series. Some weird kind of sarcastic humor, but it doesn't quite translate the same way. It feels like a knockoff product, to be honest. I mean, honestly the best American adaptation I've seen is from the 2012 series that IDW did. And that condensed several of the iconic Dredd storylines from the original British run. So they were a little bit more palatable for American audiences, but basically American awareness of the characters generally stayed that level of, oh yeah, that sounds kind of familiar. And then he's never really been a household name, which was what the 1995 movie was trying to change. [00:25:00] Jessika: Yeah, well, it didn't change it for me, but I was also, you know, I was also nine in 1995. So. Mike: *Sigh* I was 14. Jessika: You're only a few years older - you say that like you're 90 now, by the way, every one for the record, Mike is 90. Mike: I am. Jessika: Since he's making a huge deal out of it. Mike: I'm waiting on my Rascal. Scooter Just gonna, just gonna drive through downtown Petaluma with my dogs in my side car. We're all gonna be wearing goggles and flight helmets. And you'll see me go by and just gol “RASCAL!” Jessika: My dude, you can do that now. Mike: Sarah has told me I can't do that yet. We've had this discussion. Jessika: Oh, that's too bad. Mike: Now that we've got the background out of the way, why don't we actually talk about what we're here to talk about? Which is the 1995 Judge Dredd movie. [00:26:00] Jessika: Here we are. Mike: Yeah. Do you remember those TV schedules that used to be in the back of the newspaper, they would show you like A) what was on the air that night and B) provide one sentence summaries of what the movies were? Do you remember those? Jessika: I do because I loved reading those. Mike: I know I did too. How would you summarize Stallone's Judge Dredd, if you were writing it up in that format? Jessika: Oh, need a throat clear for that. In a world where chaos reigns, one man stands between justice and lawlessness. But what happens when the Judge becomes the judged? Find out this Wednesday at 6:00 PM Pacific standard time, 9:00 PM Eastern on Spike TV. I just assume Spike TV would play that. Mike: Spike TV would be all over this. Are you kidding? Jessika: Yeah, no, exactly. That was the first television channel that I thought of that was like, yeah, they would [00:27:00] absolutely have this on like they'd have a Dredd marathon. Mike: God, what an absolute time capsule of a TV channel - is, Spike TV isn't around still, is it? I don't know. Jessika: I have no idea. I was my, my 90's brain just woke up and was like, this is what you say. Mike: God. I remember that was such a mid to late aughts TV channel. It was basically toxic masculinity, the TV channel. Jessika: Yeah. It was, it was either super masculine movies like this, or it was just a game show about people falling all over each other and just laughing at people. Mike: Oh yeah. Was it Most Extreme Challenge? Jessika: Most Extreme Elimination Challenge Yep. As I sit here and I know exactly what it, cause I didn't watch a million episodes of that. Mike: No I'm, that was the only reason that I would turn that fucking channel on. Jessika: Yeah. It's true. My brother and I would roll. Mike: No, so, okay. I just looked it up and we don't need to [00:28:00] actually record the sorry, uh, Paramount Network, formerly Spike, which is still used for the Dutch in Australian feed as an American, but you know, whatever, fuck Jessika: The Australians don't even listen to us. I'm leaving all of this in, and the Australians don't listen to us, yet. Oh God. They're going to listen to us now. And they're going to be like, oy yes we do. I can't, I'm not even going to try, not even to try to do some like, incredibly offensive Australian accent. Mike: No, no, don't do it. Jessika: No, no, I know about it. Mike: Okay. Let's go for an actual movie summary now. Jessika: Sure set in a, oh, sorry. Regular voice, Jessika. Set in a dystopian future complete with a densely populated metropolis and flying cars, order is dictated and carried out by people called Judges, whose job is to convict, judge, and punish those moving outside of the law. The punishments [00:29:00] are severe, being jailed or even killed for their transgressions. Stallone, who plays Judge Joseph dread is seemingly one of the most feared and respected judges until he is framed by a maniacal and presumed to be dead ex-judge Rico. Dredd has to prove his innocence in order to continue providing his particular brand of justice. Oh, and how can I forget about Rob Schneider? Whose main role in this film was to say Dredd's named really loudly. So they would get caught when they were trying to be covert. I mean, at least that's how it felt. Mike: Yeah, whenever I talk about this movie, I always sit there and reference how Robert Schneider is the worst choice to provide, you know, it's not even comic relief. It's like air quotes, comic relief. Schneider was really big at that time. Like, he had just come out of SNL and I never found them really to be all that funny. But, this was like at the [00:30:00] start of his whole 90's. I don't know. What would you call that movement? Jessika: God, it was like the stupid humor movement. Mike: Yeah, it was that Adam Sandler. Jessika: I talk like I'm a baby. Adam Sandler. I can deal with, to a certain extent. There are some movies, I'm just like, whatever, but I've liked him in some things even, but I feel like Will Ferrell is a result of Adam Sandler. I feel like Adam Sandler, birthed will Ferrell and I'm not happy about it. I do not like Will Farrell Mike: Man, I. Jessika: @ me Will Ferrell. I do not like you. Mike: Just watch, he's going to like angrily tweet and then we're going to get a bunch of, you know, I guess, angry gen X-ers I'll all up in our DMS. Jessika: OPress? Oh, I'm sorry. I didn't realize that bad press wasn't just good press also, because it is. Mike: Yeah. And I mean, this was before Schneider was given starring [00:31:00] roles in movies like Deuce Bigalow, which I have yet to see a Rob Schneider movie that I don't find absolutely abhorrent for a number of reasons. Yeah. Jessika: Especially in retrospect. Mike: Yeah. I mean, he's not offensive in this movie, he's just not very funny and kind of useless, even though he's supposed to be the plucky comic sidekick, which, I mean, this was part of that era of buddy action cop movies, except just in a different setting. Jessika: Yeah. I don't know. It was just very grating. The humor Mike: Yeah. , Jessika: And forced. Mike: Yeah. So, your summary is spot on. There's also detours into the Cursed Earth where Dredd is wrongfully convicted. And then, this is something where they diverged from the comic lore, but they're traveling to the penal colony in Aspen, when actually the penal colonies are all off-world. So it's, you basically get sent there for hard labor, off-planet and it's not exactly described what, and then he has to come back from the Cursed Earth, after dealing with the [00:32:00] cannibalistic Angel Gang. And then there's the reveal that he's a clone, which at this point in time is not really a big deal. Like, everybody knows it in the lore and yeah, we get a climactic battle at the statue of Liberty. Also, Joan Chen shows up for no real reason other than to be a woman for Diane Lane to fight. Jessika: Yeah, exactly. Mike: But yeah, it's not a great movie. Jessika: No, no. Mike: But there are parts of it that I still really enjoy. Sarah and I wound up watching it together and all of the practical, special effects that they did are still so good and they look so good. And, and honestly the action scenes are pretty decent for, you know, a mid 90's movie, even where there's that bit with the flying motorcycles, where they're being chased and they knock off one of the Judges chasing them that bit, where he's falling into the bottomless abyss of Mega City looked [00:33:00] really good and I couldn't help, but think of Ninja Turtles 3, where on the other hand, the bad guy getting knocked off into the ocean looks like garbage. Jessika: Yeah, no, that, I was really impressed by that. Especially considering the timeframe it was in. Mike: Yeah. So this movie really tried to smash together a lot of those classic Dredd moments from the comic book. And it was trying to basically create something new while giving fans a lot of nods that they would appreciate. The funny thing is that it was really focusing on the story of Rico Dredd after he comes back from serving his prison time, but in the comic, he only shows up for a one-shot serial story. If I remember right where he comes back from serving prison time in a colony on Saturn's moon of Titan. So if I remember this, right, he's just this kind of one-off character who shows up pretty early in the Dredd stories. Like, I, [00:34:00] I don't think the Dredd stories had even been published for a year by that point. It's like the 30th issue or so, and then he's shot down by Dredd in a duel and the whole, the logic behind it is that he tries to get the drop on Dredd, but his reactions are slower because he's been operating in lower gravity for a while. Jessika: Interesting, but he's still supposed to be a clone, right? Mike: Yeah, he's he, it's originally noted that he's Dredd's brother. And then there's the whole club thing that, that shows up later on and all that, but he also looks way different from Armand Assante in the movie, I'm sending you an image, you can take a quick look and see what Rico Dredd looks like after his prison time in the comic. Jessika: Oh, you would not get those two confused. Mike: Yeah. It's um. Jessika: This guy's got this, guy's like a metal face. Now he's got a nice little head band with probably a laser coming out the top. And then he's got like, no nose any longer. He's just got metal over his nose. There's metal stuff going into his mouth. And like [00:35:00] half of his face just doesn't have skin anymore. And you can tell one of his eyes is blind. It's pretty wild. His hair is all crazy. He's not having a good hair day. It's a look. Mike: It's a look. Yeah. So the whole idea is that when you get shipped off to these colonies, you are basically surgically modified to survive in the environment. Jessika: Oh. Mike: Yeah. So, definitely not what we got in the movie. Jessika: No. You had a guy that actually looked a lot like Stallone. They did a pretty good job of that, if they were going for lookalikes. Mike: Yeah. They were both very fit dudes who had those very strong chin lines. And then they also gave them cosmetic contact lenses so that they would actually have blue eyes, which is why. Jessika: That's what I thought. Mike: When you look at Stallone, you're like, mm, pretty sure God didn't make those eyes. That color. Jessika: Yeah. It's not so bad from certain angles, but other ones you're like, wow, Snowpiercer what's up. Mike: Yeah, it looks [00:36:00] very weird when you're, especially when you're watching it in high-def these days, it looks unnatural. I'm not sure how it would look on a TV or in a movie theater in 1995. I'm a little curious because I didn't get to see it. I was too young to go see an R-rated movie back then, womp womp. But yeah, so likewise, the character of Hershey, who is Diane Lane's character, she first appeared in a 1980 story called the Judge Child, which is this it's this cool thing where it starts off as a road trip across the Cursed Earth, and the Angel Gang who we see in the movie shows up, and then it becomes this weird space opera as Dredd winds up chasing after the Angel Gang and the kidnapped Judge Child across multiple star systems, which again, talking about the weird absurdity of Judge Dredd. So, it's weird to see her in this movie because I always associate Diane Lane with Under the Tuscan Sun. I mean, I've never even seen that movie, but that's just always what I [00:37:00] think of when I see her. Jessika: Oh, same. I definitely see her in an Italian villa and I have not seen that either. Mike: Yeah. Although she did play Superman's mom in the DCEU. Jessika: Oh yeah. Mike: So there was that, her finest role, you know, when she gets sad about Superman with Lois Lane, and then it turns out to be a Martian green dude. Jessika: We're going to have so many movie stars, not happy with us. Mike: I know. Jessika: They'll just be crying in all of their money. It's fine. Mike: Oh, no two lame nerds on the internet were mean to me. I just, uh. Jessika: My nightmare. Mike: They made vaguely negative remarks about me. All right. Jessika: Oh, let me use this 50 to dry my tears. Mike: Anyway. Yeah, so [00:38:00] Diane Lane shows up in Judge Dredd, and she's like way more of a damsel in distress and then weirdly a romantic interest for Dredd than anything else. And that was really bizarre to see, because with the hindsight of the comics, that character in Dredd A) Hershey is like a bad-ass cop. She is a hardcore street Judge. But she and Dredd actually have often had kind of an antagonistic relationship based on differing perspectives about how the justice system should operate. Jessika: Oh, interesting. Mike: Yeah. And eventually, she goes on to be the Chief Judge. Jessika: Oh, good for her. Mike: Yeah, you know, she busted through that glass ceiling. Jessika: Man. It just took, you know, going through a third world war, ladies, this is what we have to look forward to. Just wait for the flying motorcycles. We'll be there. Mike: Well, you know, you don't have to cook because we're just recycling people at that point. So, you know, frees up a lot of time. [00:39:00] Jessika: Oh, perfect. Mike: You don't have to, don't have to stand in the kitchen and make all of us men folk roasts all day. Jessika: Oh, perfect. Well, dang. What will I do? Mike: Okay. overthrow the patriarchy, I guess. Jessika: Let's do it. Mike: Yeah. And then additionally, you know, Dredd himself was pretty different from what we had in the comics. The movie violated this key component of the character by spending a lot of time focused on Dredd out of uniform, which means that we got to see his face. And it's such a known thing that this is not something that Dredd does, but it's actually one of the first points in Dreads, Wikipedia article, if you would be so kind. Jessika: Sure. Dredd's entire face is never shown in the strip. This began and is an unofficial guideline, but soon became a rule. As John Wagner explained, it sums up the facelessness of justice. [00:40:00] Justice has no soul, so it isn't necessary for readers to see Dredd's face. And I don't want you to. Mike: Which I mean, I think that's actually a really cool defining aspect of the character. Jessika: And it's always scarier if you can't see what you're fighting. Mike: Yeah. Agreed. Jessika: I mean, that's basic horror film rule, you know, it's always scarier if you can't see what's chasing you. Mike: Yeah. I kind of equate it to the recent Alien movie that they did. Alien Isolation, where they explained the origin for the alien species. And I was sitting there and going, there is nothing that you could tell me that would be worse than what I come up with in my mind when you've got a really nebulous origin. Jessika: Exactly. Mike: And then I watched the movie and I was like, that's dumb. I'm going back to my original design. I like that better. Jessika: Yeah. It's like Signs was really scary until they brought that stupid alien life being in. And then I was like, well, there it goes. Mike: Yeah. [00:41:00] Curse you, Shamaylan! Judge Dredd is one of those movies where when you watch it, it feels like the people that were involved with making it really had a lot of fun, and were really passionate about what they were doing. Like I've got the making-of book, and you can actually see the set that they built basically on a patch of farmland that became the street for Mega City One. And it's crazy. It wound up having hundreds of neon signs after they built it. It looked like a living, breathing street from this strange city in the future. It was really cool. And likewise, there's that ABC warrior robot that we get to see a couple of times who looks absolutely incredible. And the costume designs are really cool. They don't quite work because you know, it's spandex, but it's very faithful to the comic. And, even the final scenes in the Statue of Liberty where you're in the lab and you've got all those clones being grown, I don't quite understand why the clones are [00:42:00] mostly grown, but we can still see their intestines, but they look really cool. Jessika: I agree. Yeah. Mike: That said, the movie had a lot of production problems. And in fact, it actually had to get re-cut and submitted to the NPAA five times in order to get just an R rating down from an NC 17. Jessika: Dang. Mike: And by the way, we need to talk about the fact that this movie is rated R and if you watch it, it does not feel like an R rated movie. It feels like maybe a PG 13 movie at this point, maybe. Jessika: Maybe, I mean, and that would just be for the violence, Mike: I mean, yeah, but, compared to what gets rated PG 13 these days? Jessika: Yes. Mike: I think if I remember right, one of the Aliens vs Predator movies, maybe both of them are rated PG 13 and they're way more violent and gory. Jessika: Really? Wow. Mike: I mean, I could be completely wrong. Jessika: Who rates these movies? I mean, not a real question. We don't need to get into that, but that's wild to me. Mike: We'll go on a very tiny side tangent, but. Highly recommend you watch the movie. This [00:43:00] film is not yet rated, which talks about the NPAA and the ratings board and how weird and secretive it is. And just a how dumb and arbitrary their system is. Jessika: I might watch that tonight. Mike: It's great. I highly recommend it. So there was an interview with Steven D'Souza, who was the guy who actually wrote the script for Judge Dredd. e was talking to Den of Geek, he shed some light on how the movies, problematic production wound up leading to this mess that we wound up receiving, if you would be so kind. Jessika: Why sure. Judge Dredd was actually supposed to be a PG 13 movie, the production company at the time, Synergy, they were having some financial troubles, so they didn't have any UK executives on location in England. And in their absence, the director, Danny Cannon, wanting to make it true to the comic book, was making everything more and more and [00:44:00] more violent. So when the movie was delivered to be cut, it was rated X and it was rated X four times. They say you can't appeal after four, four is all you get. Somehow the producer, Ed Pressman, managed one more time to get it rated R which actually wasn't a victory because this was supposed to be PG 13. They had made a deal with Burger King, oop. I think, and a toy company. And you can't advertise toys for an R-rated movie and no hamburger plays, wants toys for an R-rated movie. So they hamburger people and the toy people turned around and sued Disney, the distributor whoop. Mike: Hmm. Oops. Jessika: Well, Disney then said, we'll take this out of the director's hide because he signed a piece of paper saying he would deliver a PG 13, but Synergy who was releasing it through Disney at that point had never done [00:45:00] anything, but an R-rated movie, nobody in the entire company had ever had the experience of putting that piece of paper in front of a director. So they had to pay him. They couldn't withhold his salary for violating a legal promise they never asked him to make. Mike: I kind of love that. Jessika: Blunders. Mike: Yeah. That interview also notes that the scene where the reporter gets killed by Rico and he's framing Dredd. It was way more violent and gory, and it looked like something out of Robocop. And then additionally, there was the bit where Rico tells his robot to tear off the arms and legs of the council of five Judge that he's been working with. And he says, rip off his arms and legs and then save his head for last. And so it was originally supposed to be a scene where basically it cuts away to Rico walking away or something like that or shadows or something, and then you just hear the screams and that's it. But [00:46:00] apparently they made a full animatronic robot that had the arms and legs actually getting ripped off and like spewing blood. Jessika: Yikes, no. Mike: Yeah. Jessika: Guys. Mike: Yeah. So this was clearly one of those things desires were not clearly communicated. So Stallone gave an interview to Uncut Magazine in 2008. And he talked about a bunch of the things that, that went wrong with that movie, including this weird story about Danny Cannon, where he said, I knew we were in for a long shoot when for no explainable reason, Danny Cannon, who's rather diminutive, jumped down from his director's chair and yelled to everyone within earshot. Fear me, everyone should fear me. Then jumped back up to his chair as if nothing happened. The British crew was taking bets on his life expectancy. Jessika: Yikes. Yeah, the guy's going to give himself a coronary. Holy moly. Mike: It reminds [00:47:00] me a little bit of the stories that were coming out of the Suicide Squad set. Jessika: Oh. Yeah, I'm hearing more and more stories of just things that actors are being put through on set, and it's just, I don't care who you are, you shouldn't have to deal with this bullshit while you're working. Mike: I don't envy them. Jessika: Yeah, I don't either. I mean, there has to be ways that doesn't hurt people to entertain us. Mike: Yeah. Back onto this topic of Judge Dredd itself, it was this movie that costs $95 million and that's in 1995. So adjusting for inflation, that's roughly $190 million in 2021 dollars. Jessika: Whew. Mike: For reference there's a bunch of MCU flicks that when adjusting for that inflation costs less than Judge Dredd did. The R rating in turn, and kind of the lackluster end product, resulted in $113 million at the box office worldwide. And that was a lot less than Stallone, and really everyone else, was hoping for, [00:48:00] they were legit hoping that this was going to be just a blowout success story, and they could make a franchise out of it. So we've already talked about how they were trying to make this into something that they can market to kids. And we still got some products that show that was the plan. There were a couple of associated products, like a junior novelization, and a comic adaptation of the movie from DC comics itself. And then a video game that's actually, it's not bad. It's like a side scroller and the movie story ends about, I think, halfway through. And then you go on to a bunch of different worlds and end up fighting those Dark Judges that I was talking about earlier, which is kinda cool. Yeah. It's fine. But anyway, none of these tie-in products really seemed to land. How did you feel about this film overall? I'm curious. Jessika: Is it bad to say a came across as a little cheesy? Mike: No, not at all. [00:49:00] Jessika: Like a nice wholly Swiss cheese. There were some mega plot holes that were very apparent. That kind of took me out of the experience saying that a lot this episode, but way to go guys. And it made me really overthink aspects of the storyline. Mike: Yeah. Jessika: Like the whole, how did you not know where were clones? Did you not accidentally ever pick up the other person's gone and we're like, why can't I use this? If you have the DNA testing, it just, it didn't make a lot of sense. And how can you sequence two different guns if you only have one sequence of DNA? I don't get that either. Mike: Yeah. Part of that is just because it was 1995. DNA was still like a really hot topic for plots. It was new science. It was really exciting. I mean. Jessika: That's fair. Mike: We were in the throws of the OJ Simpson trial, and so DNA evidence was a really big thing there, but yeah. Jessika: Hot button item. You're right, I think, buzzword. Mike: And so that kind of goes into the whole [00:50:00] idea of clones as well, but that's an established plot line of Dredd itself. But I mean, like I remember, there's a bit where they focus on the flying Law Master motorcycle and they say, well, if you can ever get it to work, it will be yours. And they bust out and then there's several other flying Law Masters chasing after them. Jessika: Well, when they're talking about those motorcycles, I think they're trying to liken them to really bad quality, government issue, like these things are a piece of shit, but you can probably get em into the air, and have the worst model sitting there for the newbies to fuck around with. But I don't know, that's that was my takeaway from it just because I also remember, not that the cars are bad necessarily, the police cars, but it's like, they're stripped down to nothing, they're just like a car. Mike: Yeah. Jessika: None of the fancy shit. Mike: Yeah. Those, those good old Crown Vics. Jessika: Oh Yeah. And I think that part of it for me was the serious scenes, like the courtroom scene, especially mix in Rob Schneider in any of [00:51:00] those situations. And it was just a little much. Mike: Yeah, absolutely. Stallone played it really straight and really intense and it doesn't quite work. It feels almost like a high school drama production where you're watching those kids onstage, they're acting too hard. They've turned their acting dials up to 11 and you're like, okay buddy, we needed it like a seven. Jessika: I'm just imagining a man, like a child on stage, shaking. His arm is shaky. He's got a skull in his head and he was just screaming out lines from Hamlet. You're like, ooh, buddy, calm down. Mike: Yeah. Yurick can't hear you Hamlet. He's already dead. I think it's okay. Jessika: Womp womp. Mike: Yeah. My take on it, aside from the fact that it's a little bit too faithful and too earnest is that this reminds me of that situation where you take a bunch of different ingredients that you think are going to taste amazing and you've slapped them together into a sandwich. And then you realize the combination doesn't work, but yet you end up eating it anyway. [00:52:00] Jessika: Been there. Mike: Like, we talked about the sets, the makeup, the costumes, even the special effects, those are all great, but the script and then Stallone's performance really kind of do it a disservice, and even Sly has acknowledged that the movie missed the mark. So that earlier interview that I mentioned with Uncut Magazine, he had a really great point where he talks about how it didn't work. Jessika: I loved that property when I read it, because it took a genre that I love what you could term the action morality film, and made it a bit more sophisticated. It had political overtones. It showed how, if we don't curb the way we run our judicial system, the police may end up running our lives. It dealt with archaic governments. It dealt with cloning and all kinds of things that could happen in the future. It was also bigger than any film I've done in its physical stature and the way it was designed, all the people were dwarfed by the system and the architecture. It shows how insignificant [00:53:00] human beings could be in the future. There's a lot of action in the movie and some great acting, too. It just wasn't balls to the wall. But I do look back on Judge Dredd as a real missed opportunity. It seemed that lots of fans had a problem with Dredd removing his helmet because he never does in the comic books. But for me, it is more about wasting such great potential there was in that idea, just think of all the opportunities there were to do interesting stuff with the Cursed Earth scenes. It didn't live up to what it could have been. It probably should have been much more comic, really humorous and fun. What I learned out of that experience was that we shouldn't have tried to make it Hamlet. It's more Hamlet and eggs. That's so funny that I brought up Hamlet! I didn't read ahead. Mike: I was laughing about that actually. Yeah. And I mean, he's not wrong. I think he played it too straight and too serious. And they also tried to make it an action buddy comedy [00:54:00] movie, which it just, it doesn't quite work. Like the, the tone with Dredd is you have to walk a really fine line. They didn't stick to it this time. Yeah. I feel like it was trying to be extremely faithful to the source material, which always walked this very fine line tonally, and then it blew past it to create something that's just it's way too earnest. And over the top, it kind of reminded me of Jupiter Ascending. If you remember that movie. Jessika: I do. Mike: Yeah. It's this movie that has crazy high production values, a pretty great cast actually, and a really big story. And then it all combines into something that's honestly kind of underwhelming. Jessika: And forgettable, cause I kind of forget what that whole plot line of that movie is. And I think I've seen it twice cause I was like, I don't think I've seen this before. And I sat through the whole thing again. It's one of those movies. Mike: I just remember a lot of shirtless Channing Tatum and. Jessika: Oh, yeah, he wasn't at sea. I don't even know. Mike: Yeah. Do you have any more thoughts before we move on to [00:55:00] the 2012 remake kind of, it's not really a remake. It's just the 2012 movie. Jessika: No let's Rob Schneider, our way out of this. Mike: I'm not sure I liked that verb. Jessika: I was using it as: do something really stupid to get out of a situation. And I think I did it just by saying that. Mike: All right. How would you describe this movie? Give it, give another quick summary. Jessika: Mega City One. The future. There are still flying cars, but less of them. In a packed city rife with violence, Judge Joseph Dredd is assessing a new potential recruit to the force. This recruit isn't like the others. However, she is psychic; a mutant! In answering their first call, they inadvertently get themselves involved in a large scale drug operation and have to kill or be killed in order to survive. This film has no sympathy for innocent bystanders, who are killed by the dozens each [00:56:00] scene. And the Judges are swift to kill any who might oppose them. They finally escape using their wits and these psychic's ability, all while taking down a drug ring. Ta-da, all in a day's work. Mike: Dread came out right around the same time, I think a little bit after, as this movie out of, I think Thailand called The Raid. Which it's about a police force. That's basically working their way up through a skyscraper. And it's another really intense action movie. It's got really kick-ass action scenes. It's really good. And the sad thing is it's just that and Dredd have a similar plot based on that, but it's also very different. So there were a lot of unfair comparisons to that at the time. Jessika: I see. Mike: How do you feel this movie compares with the Stallone one? Jessika: It was definitely more serious and more bloody, for sure. It really leaned into the death and carnage aspect [00:57:00] becoming more and more creative and destructive as the film progressed. Like was it strictly necessary to aim towards and blow up an entire floor of a densely inhabited building? I dunno. It was kind of hard to watch some times, it was pretty graphic. I did like that it took on a more serious tone though. And I think the reason that it's so hard to watch for me is more for the social implications. Like, when the film made it clear that vagrancy could carry a similar sentence to other more serious crimes. Mike: Right? Jessika: Which was really wild. Mike: Yeah, it's interesting because I feel like it did a lot more subtle world-building with moments like that, or when they're describing the Mega Block that they're investigating and it's noted that there's only a 3% employment rate. It's weird because it's such a violent movie and don't get me wrong, I think the action scenes are just incredible. They look great. But at the same time, it's a more [00:58:00] subtle movie in a lot of ways than the Stallone one was. Jessika: Yeah. Definitely it's scarier. Like the idea of it is more, it seems more real and in your face, and for me, it definitely put a spotlight on how scary policing can be to targeted groups. Mike: Yeah. Jessika: And this might be an extreme example, but how extreme is it really? Mike: Yeah. And it's interesting because you and I talked about this before, this is a movie that is very, it's very binary with its morals. Like there's only the good guys and the bad guys. This isn't this, isn't one of those movies where you sit there and you watch it and are really given a lot of moral things to consider. There's not a lot of philosophy here, but it doesn't sit there and say that Dredd and the Judges themselves are in the right. It's basically showing that there is a force who is basically the gang that is running the apartment block that they are in, which is headed up by a fucking terrifying Lena Headey and A), [00:59:00] they really uglied her up. Which, I was actually really impressed. I didn't recognize her because this came out right after game of Thrones had just had its first season. I think maybe its second season had hit, but I mean what a stark contrast between her in the mama role and then Cersei Lannister. Jessika: Stark. I like what you did there. Mike: Hey, was totally intentional. Or that was totally, that was totally intentional. I totally did that on purpose. Jessika: Okay. Mike: Like I said, there is no wiggle room. They sit there and they basically say no, this woman is a monster, and she does need to be taken down. You know, to the movies credit, the judges, don't really mow down innocent bystanders, it's all the thing of, no, they're going up against bad guys who have guns and are trying to kill them. But at the same time, it does also acknowledge how they aren't completely in the right either. Like there's a scene where they take shelter in an apartment. And Olivia Thirlby's character reads the mind of this woman who they're basically holding up to give them shelter for a few minutes. [01:00:00] And she realizes that, oh, this woman's baby daddy is one of the gang members that they just killed a few minutes ago. Jessika: She herself had killed that guy. Mike: Yeah. And I appreciated that. There are those moments where it takes a more mature look at, maybe everything that's going on isn't great. And then there's that moment at the end where Anderson sits there and talks about how, when she lets the hacker character go, because she realizes that he is just as much of a victim as a lot of the other people in the block are, even though he's been aiding Ma Ma. Jessika: Yeah. And then I like how Dread tries to call her on it. She's like, I've made the judgment. He's a victim. Mike: Yeah. And I thought that was great. Also, that actor is the guy who played General Hux in the Star Wars movies that we got recently. Jessika: I thought I recognized him and I could not place him, and I was too lazy to go on IMDB. Mike: But yeah, thought it was a much more, it's weird to call that movie subtle, but I felt like there were a lot of nice little subtle moments in it. [01:01:00] And I really liked how A) Ma Ma was a genuinely frightening villain, especially because you never see her flying off the handle or being over the top or anything like that. She delivers everything with this really kind of scary, calm, in which we see in the first few minutes, when she tells her officer to skin, some guys who were selling drugs on her territory without her permission. Jessika: Yeah. Mike: And then the order is given after they've been skinned, to be given hits of slow-mo, which is the drug throughout the movie that slows down perceptions of time. So they were thrown off the top story of this apartment block. And basically they have this long, awful, painful plummet into the courtyard below. Jessika: God, that's gotta be so terrifying. Mike: And that really set the tone for who we were dealing with, which I thought was incredibly effective. Jessika: I thought they did such a nice job on the cinematography on that, by the way, when they did those scenes with the slow-mo and they [01:02:00] had it kind of shimmery and they put you in the mindset of the person having used the slow-mo, and I thought that was such a good technique. Mike: So yeah, and the whole thing was that they released this movie in 3D. So, you can tell that those scenes were filmed specifically for 3D cinematography. Jessika: That makes so much sense. Mike: I actually saw this movie opening night in the theaters and A) I remember tweeting about it and saying that movie was way too good for the theater to be that empty on a Friday night. But I remember that was the first, and really that's the only time, I've ever enjoyed a movie in 3D because I felt the 3d actually added something as opposed to just being a cheap gimmick to ring an extra couple of bucks out of my wallet. Jessika: That's usually how I feel about it. Mike: Yeah. But I liked how Olivia Thirlby's character Judge Anderson was actually way less of a damsel in distress than Diane Lane's character Judge Hersey. And then on top of that, a lot of the [01:03:00] superhero movies rely on that whole female heroes have to fight female villains trope that it always feels like they don't get to participate in the end boss battle. And I thought it was really cool how Anderson wound up using her powers to A) escape, her captors, B) actually rescue Dredd, and then C) really be a giant aid to him throughout the movie. She felt like a viable, real character as opposed to just kind of, window trim. Jessika: Yeah. Agreed. I was nodding vigorously when you were talking about that, because I am an absolute agreement. I was a little worried when she first got captured, cause I was like, oh, here we go, so fucking typical. But then when she was actually using her powers and she was getting out of the situation herself, it was like, okay, fine. You got this. You're fine. Mike: Yeah. On top of that, the intro to the movie we get is so tight and efficient. And aside from the intro where we get a chase scene, where we see slow-mo and effect, we see how brutal Dredd is himself. We also get [01:04:00] the intro to Anderson, where she's demonstrating her powers by basically reading the mind of Dredd from behind a two way mirror. And there's that great line about like, oh, well, you know, there's another Judge with you. He's male. I sense control and anger and then something, something more something. And then the judge cuts her off just like, that's enough, that's fine. And I'm like, cool. So we've got a really good summary of who Dredd himself is. Okay. We get it now. This is all we need. Jessika: Yeah. It was a really good narrative tool. I did like that. Mike: Yeah. And then, in the comics, Anderson actually won is a pretty big ally of dread himself. And she's also never romantic interest, but she winds up being key to defeat those monster movie versions of the Judges. And actually, it's been a little while since I read this, but if I remember right when she first confronts Judge Death, who is the leader of the Dark Judges, she winds up, trapping him inside her own mind because he's this psychic entity. And so I was really happy that they took a strong character and [01:05:00] kept her really strong. Jessika: It's good to hear that she also had a really strong role within the comics. Mike: And then the other thing is that I kind of liked how they had Dredd himself be a little bit more subtle. Like, Hey, we never haven't take off his helmet, which I thought was great. And I thought Karl urban, I mean, how did you feel about Karl Urban as Dredd compared to him? Jessika: I thought he was great. And I think I, it would've made less sense if he had taken off his helmet just as far as the character goes. And honestly, I think in this situation, there wasn't much room for him as a character to have his helmet off because they were pretty in a battle mode. Mike: Yeah. Jessika: The whole movie, truly, except for the introductory first few minutes. Mike: Yeah. And I liked the bit where, so Anderson loses her helmet pretty early on and Dredd actually calls her out on it. And he says, you're not wearing your helmet. And she goes, oh, well, the helmet interferes with my psychic abilities and you just go solo bullet and then that's it. That's Jessika: Yup. Mike: I thought that was great. Jessika: Yup. He'll give her the advice he will give, but he's not going to [01:06:00] tell her to do it, which I thought was good. Mike: Yeah. I'm curious. We're going to get to this in a minute about like how it is through the 2021 line. But did you enjoy the movie? Jessika: I think for me, because I'm such an empath, it was a little bit too much innocent blood death. Mike: Okay. Jessika: Even just like, they didn't need to kill the vagrant, it, that was a very like, oh, the gates closed. And the Vagrant just happened to be sitting there and he got squashed and they both kind of looked at it like, well, guess we don't have to deal with that. And I was like, well, fucking hell guys, come on. Mike: Yeah. And I mean, at the same time, from my perspective, and I understand where you were coming from with this, but from my perspective, it was kind of the embodiment of that weird absurdist, gallows humor that is often prese

It’s the fascinating sixty-eighth episode of The 2000 AD Thrill-Cast Lockdown Tapes!An artist who should need no introduction, Arthur Ranson was a stalwart of British comics from the 1970s with work on licensed properties for Look-in before moving to 2000 AD in the 1980s and quickly establishing himself as one of the seminal artists on Judge Anderson’s solo adventures. His meticulously detailed style brought atmosphere and depth to his work, whether it was adding verve to adaptations of TV classics such as Sapphire & Steel or rendering the gritty streets of Mega-City One in Judge Dredd. In the 1990s, he co-created the noir crime thriller Button Man with John Wagner and the fantastical Mazeworld with Alan Grant, while drawing some of the most pivotal and moving moments in Judge Anderson’s life. He has since retired, but collections of his work have brought on re-evaluations of his work for new generations of comics fans, drawn to the rich detail and extraordinary influences of his work. In this interview from 2018, Molch-R chats with Arthur about his life, his work, and his choices both creative and personal.We then revisit the Thrill-Cast roundtable about Arthur's career and legacy, when Rebellion Publishing’s Head of Books and Comic Books Ben Smith, Hollywood Reporter geek culture correspondent Graeme McMillan, comics journalist John Freeman, and photographer and artist Ellen Rogers join Molch-R to talk about what Arthur’s work for 2000 AD and beyond means to them, why it deserves wider awareness, and the influence it has had on generations of readers and creators.Over the coming weeks the Thrill-Cast will continue to broadcast every week, with both new episodes and favourite interviews from the past six years – so make sure you’re keeping yourselves and your loved ones safe, and stay tuned for more from the Galaxy’s Greatest Podcast!Got a theme or interview you’d like to hear? Let us know at thrillcast@2000AD.comThe 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic with creator interviews, panels, and more! You can subscribe to the Thrill-Cast on your favourite podcast app, iTunes, Stitcher, and Spotify. You can also listen now at 2000AD.com/podcast or you can watch at youtube.com/2000ADonline

In our thrilling two hundred and forty-ninth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 760-763 of 2000AD, covering December 1991. This episode Dredd learns about Geomancy, Judge Anderson learns about her past, Strontium Dogs reaches it’s climax, Bix Barton goes to the bog, and Durham Red goes Gothlord! … Continue reading ep 249 – Progs 760-763

In our thrilling two hundred and forty-eighth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 756-759 of 2000AD, covering November 1991. This episode ABC Warriors, Robo-Hunter, and Universal Soldier reach their climaxes, Dredd fights the flab, Feral goes to war, and Judge Anderson is back to solve some Engrams! … Continue reading ep 248 – Progs 756-759

The second week of January 2021 has come and gone, leaving Graeme McMillan and  Jeff Lester wandering among the wreckage. But whatever else future generations must grapple with about this week, they still will not have done the same level of grappling about the seventh and final issue of Death Metal that we do.  Yes, our bete noire comes to a open-quote rousing close-quote open-quote conclusion close-quote and we spend eighty minutes of our two hours talking about the big wrap up to the Scott Snyder, Greg Capullo, Jonathan Glapion, tie-in-creators a-go-go event, and still somehow squeeze in a bit of extra talk about Just Imagine Stan Lee Created the DC Universe, Chainsaw Man, Future State: Batman, and four volumes of Judge Anderson the Psi Files! Comments on the show are available at waitwhatpodcast.com, we welcome your questions at WaitWhatPodcast@gmail.com, and we invite you to look out for us on Twitter, Tumblr, Instagram, and Patreon!

This week, Trey Gowdy shares stories from his clerkship on a Federal Court in South Carolina with Judge Ross Anderson. He explains why Judge Anderson decided to take a chance on him, how the trying moments he faced in clerking for the Judge prepared him for his future and how friendship was an important aspect of a relationship with Judge Anderson, rather than politics. Later, Trey reflects on the recent passing of Judge Anderson and expresses gratitude for his friendship and mentorship. Follow Trey on Twitter: @TGowdySC

Listen at 2000AD.com - 2000ad.com/podcast Listen on Spotify - bit.do/thrillcastspotify Subscribe on iTunes - bit.do/thrillcastitunes Welcome to the thirty-eighth of The Lockdown Tapes as The 2000 AD Thrill-Cast continues to broadcast the joys of Thrill-power during the COVID-19 pandemic! Got a theme or interview you’d like to hear? Let us know at thrillcast@2000AD.com With his pop art sensibilities, and use of photo references and bold colours, Steve Sampson's work was a regular fixture of the Judge Dredd Megazine and 2000 AD in the 1990s; starting with Brit-Cit Babes and then creating a significant body of work on the Judge Anderson series, Sampson's style had both fans and detractors. The Thrill-Cast talks to him about his life and career, from ditching art college to illustrating for men's magazines, from working in a sheet metal factory to moving into the video games industry. The Thrill-Cast is increasing its broadcasts during this difficult time, so make sure you’re keeping yourselves and your loved ones safe – and stay tuned for more from the Galaxy’s Greatest Podcast! The 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic! As well as interviewing top creators and famous fans, we bring you announcements, competitions, and much more! You can subscribe to the Thrill-Cast on your favourite podcast app, iTunes and Spotify, you can listen now at 2000AD.com/podcast or you can watch at youtube.com/2000ADonline

MEC President and CEO Scott Waller interviews Judge Reuben Anderson, one of the most respected leaders in the state of Mississippi. Judge Anderson, a past MEC chairman, was the first African-American to serve on the Mississippi Supreme Court. Most recently he chaired the Committee to Redesign the Mississippi State Flag. Judge Anderson oversaw the nine-member committee that in two months reviewed more than 3,000 submissions for the new flag after the old flag was retired July 1. The committee's choice, the In God We Trust Flag, will be on the ballot in November. Should it receive a majority of the votes, the design will become the new state flag. Truly a landmark day in Mississippi.

In the fourth mega episode of our Judge Dredd Megazine Primer series Eli and Conrad are looking at some classic Dredd adventures to learn more about the Lawman of the Future.  we’re talking about one of Judge Dredd’s greatest allies, and his direct opposite, Psi Judge Cassandra Anderson! In the last primer we met Judge … Continue reading Big Meg One – Primer 4 – Judge Anderson

Welcome to the twenty-sixth of The Lockdown Tapes as The 2000 AD Thrill-Cast continues to broadcast the joys of Thrill-power during the COVID-19 pandemic! Got a theme or interview you’d like to hear? Let us know at thrillcast@2000AD.com Rory McConville is one of the new generation of 2000 AD writers, a previous winner of the Future Shock pitching competition at the Thought Bubble convention and now a regular feature in 2000 AD and the Judge Dredd Megazine, the Thrill-Cast talks to Rory about his career so far and how his work has evolved in their pages. We then do another deep-dive, this time into Alan Grant and Arthur Ranson's Judge Anderson story, Shamballa, with comics critic Adam Sherif, as he and Molch-R discuss the story's rich symbolism, stunning artwork, and bold message. The Thrill-Cast is increasing its broadcasts during this difficult time, so make sure you’re keeping yourselves and your loved ones safe – and stay tuned for more from the Galaxy’s Greatest Podcast! The 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic! As well as interviewing top creators and famous fans, we bring you announcements, competitions, and much more! You can subscribe to the Thrill-Cast on your favourite podcast app, iTunes and Spotify, you can listen now at 2000AD.com/podcast or you can watch at youtube.com/2000ADonline

In our thrilling two hundred and fifth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 641-644 of 2000AD, covering August and September of 1989. This episode Judge Anderson and Judge Dredd deal with old enemies, it’s a psychic duel in Moon Runners, the Survivor is on the run, and … Continue reading ep 205 – Progs 641-644

In this episode, Judge Anderson shares a variety of experiences including serving as a freshman member of the General Assembly and being mentored as a new judge by Billy Wilkins and G. Ross Anderson. Support the show (https://scbarfoundation.org/)

Judge Anderson shares stories of serving as chief judge of the district, building the federal courthouse, and the artwork in his chambers. Support the show (https://scbarfoundation.org/)

Judge Anderson concludes his interview by reflecting on the changes in the law and technology, judicial activism, and the cases he will never forget. Support the show (https://scbarfoundation.org/)

In our thrilling hundred and ninety-sixth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 612 to 615 of 2000AD, covering February of 1989. This episode Tanner heads to the roof, Judge Anderson goes clubbing, Swifty returns and crashes TWO parties, Strontium Dog peeks in, and we’ll see the revenge … Continue reading Space Spinner 2000 ep 196

In our thrilling hundred and ninety-fifth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 608-611 of 2000AD, covering December of 1988. This episode  Nemesis is heading out, Tanner is on the case, Judge Anderson is making contact, Hap Hazzard is filling space, Zippy Couriers arrive in style, and Judge … Continue reading Space Spinner 2000 ep 195

In our thrilling hundred and ninety-third episode we continue our journey through the Galaxy’s Greatest Comic with the 1988 Winter Special of 2000AD. This Special has some great stories featuring Zenith, Luke Kirby, classic Rogue Trooper, and an Alan Grant Power Hour featuring Judge Dredd, Johnny Alpha, and Judge Anderson! This episode Conrad is joined … Continue reading Space Spinner 2000 ep 193

In our thrilling hundred and ninety-second episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 604-607 of 2000AD, covering December of 1988. This episode we’re limping to the end of the year with an astonishing twelve different thrills! Tyranny Rex, Moon Runners, and Zenith end; Night Zero and Judge Anderson … Continue reading Space Spinner 2000 ep 192

In the future, Mega City 1 is inhabited by over 8 million people, a city forged by crime and drugs. In this world, the police must be judge, jury, and executioner and the best they have is Judge Dredd. Followed by his psychic mutant partner, Judge Anderson, they embark on a journey to bring to justice a drug kingpin known as Ma-Ma in the apartment area known as Peach Tree. An adrenaline-pumping action film with some great visuals we take the time to hop on the Lawmaker motorcycle, reload the Lawgiver and discuss why judge Dredd is THE LAW! 

We look at the origins of Judge Death, The Dark Judges, Psi Division, and Judge Anderson in the classic stories "Judge Death" and "Death Lives".

In our thrilling hundred and fifty-first episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 475-478 of 2000AD, covering June and July of 1986. This time Strontium Dog heads to the mines, Bad City Blows, Judge Anderson makes a hard decision, and Ace Trucking can’t stop here, this is Rambo … Continue reading Space Spinner 2000 ep 151

For the past few years, the Abaddon Books imprint of Rebellion Publishing has been exploring the early years of Judge Dredd, Judge Anderson, and even Justice Department itself in a series of novels and novellas. The latest is Judge Anderson: Devourer by new author Laurel Sils and the 2000 AD podcast welcomed Laurel along with fellow Anderson writer Maura McHugh and Abaddon editor David Moore to chat about everyone's favourite psychic future cop, how you tackle 40+ years of back story, bridging the divide between comics and prose, and what's in store for Anderson as she moves towards one of the defining moments of her life. The 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic! As well as interviewing top creators and famous fans, we bring you announcements, competitions, and much more! You can subscribe to the Thrill-Cast on your favourite podcast app, or you can listen now at 2000AD.com/podcast

In our thrilling hundred and forty-ninth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 467-470 of 2000AD, covering April and May of 1986. This week Ace Trucking catches us up, Judge Anderson exorcises, the citizens of mega City one are mental, Strontium Dog has feels some rage, and Michael … Continue reading Space Spinner 2000 ep 149

In our thrilling hundred and thirty-fourth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 427-430 of 2000AD, covering July and August of 1985. This week Judge Anderson gets her man, Rogue gets sandy, Ace Garp gets bad news, and Super Surf 7 gets underway! WRITE HIS NAME IN BLOOD … Continue reading Space Spinner 2000 ep 134

In our thrilling hundred and thirtieth episode Fox and Conrad continue their journey through the Galaxy’s Greatest Comic with Progs 416-418 of 2000AD, covering May of 1985. This week it’s the big spring relaunch, with a new story for Dredd, the return of Strontium Dog, and the debut of Judge Anderson’s solo strip! Thrills Covered: … Continue reading Space Spinner 2000 ep 130

In our thrilling hundred and sixteenth episode we continue our journey through the Galaxy’s Greatest Comic with the 1985 Judge Dredd Annual. This is the fifth Dredd Annual, and once again we have Carlos Ezquerra drawing three new full color Dredd stories, as well as classic Dredd, some features, and more ghost punching by Judge Anderson. … Continue reading Space Spinner 2000 ep 116

The 2000 AD Sci-Fi Special 2018 lands next week - the first ever title from 2000 AD with exclusively female creators is on sale on 20 June, with new voices working on some of the Galaxy's Greatest Comics biggest characters, including Judge Dredd, Judge Anderson, Rogue Trooper and more! The 2000 AD Thrill-Cast talks to Emma Beeby, Leah Moore, Katy Rex, Liana Kangas, and Alex De Campi about their stories for the Sci-Fi Special and what it means to have women working on such classic characters, many of them for the first time. The 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic! As well as interviewing top creators and famous fans, we bring you announcements, competitions, and much more! You can subscribe to the Thrill-Cast on iTunes or on the podcast app of your choice, or you can listen now at www.2000ADonline.com/podcast

In the second part of our two-part interview with artist Arthur Ranson, we delve further into a career that spanned four decades and took him from Cosgrove Hall to the shores of America. Arthur chats about portraying an ageing Judge Anderson, his experiences of working with writers John Wagner and Alan Grant, how he nearly ended up redesigning Marvel's Ronan the Accuser, and how he feels looking back on his career now. Make sure you listen to episode one before diving into this episode! The 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic! As well as interviewing top creators and famous fans, we bring you announcements, competitions, and much more! You can subscribe to the Thrill-Cast on iTunes or on the podcast app of your choice, or you can listen now at www.2000ADonline.com/podcast

An artist who should need no introduction, Arthur Ranson was a stalwart of British comics from the 1970s with work on licensed properties for Look-in before moving to 2000 AD in the 1980s and quickly establishing himself as one of the seminal artists on Judge Anderson's solo adventures. His meticulously detailed style brought atmosphere and depth to his work, whether it was adding verve to adaptations of TV classics such as Sapphire & Steel or rendering the gritty streets of Mega-City One in Judge Dredd. In the 1990s, he co-created the noir crime thriller Button Man with John Wagner and the fantastical Mazeworld with Alan Grant, while drawing some of the most pivotal and moving moments in Judge Anderson's life. He has since retired, but collections of his work have brought on re-evaluations of his work for new generations of comics fans, drawn to the rich detail and extraordinary influences of his work. In the first of a two part interview, Molch-R chats with Arthur about his life, his work, and his choices both creative and personal.

2000 AD Prog 2073 is the ideal issue for new readers, with seven top-notch Thrills - some complete and others at part one! So if you've ever wanted to start reading 2000 AD but didn't know where to start, then this is the issue for you - and the official 2000 AD podcast takes you under the hood as we talk to some of the creative minds behind this latest jumping on Prog! Rob Williams chats the return of the murderous Judge Pin in Judge Dredd: Fit For Purpose, Dan Abnett and Steve Yeowell discuss the new Sinister Dexter story The Salad of Bad Cafe, and we talk to Emma Beeby about her Judge Anderson story with David Roach, Undertow. Plus we welcome the winners of 2017's Thought Bubble script and art competitions, Laura Bailey and Paul Williams, to talk about their first Future Shock for 2000 AD and what it's like to stand in front of an audience and have your work critiqued! The 2000 AD Thrill-Cast is the award-winning podcast that takes you behind-the-scenes at the Galaxy’s Greatest Comic! As well as interviewing top creators and famous fans, we bring you announcements, competitions, and much more! You can subscribe to the Thrill-Cast on iTunes or on the podcast app of your choice, or you can listen now at www.2000ADonline.com/podcast

**Dredd (2012)** , Directed by Pete Travis. _Dystopia done right = cult hit._

Dredd (2012) , Directed by Pete Travis. Dystopia done right = cult hit.

Chris McAuley is my guest to discuss the first volume of Judge Anderson's solo adventures, and to talk about his own site Talking ComicsAnd you can find more of his reviews on the Sector House 13 blogGet your copy of the Psi Files from the 2000AD online store.You can find a list of episodes so far and all the upcoming books on the Facebook page, follow the podcast on Twitter, or email me comments and suggestions to MCBCpodcast@gmail.com  If you cannot see the audio controls, listen/download the audio file hereDownload hereRight click and choose save link as to download to your computer.

I've persuaded Duncan Nimmo to take us slightly off topic as we discuss a book by two of Tharg's greatest droids. Listen in for madcap mutants, a terrfying monster, and a British super-hero whose heart is in the right place even though his brain sometimes lags behind.You can find Duncan's work for Futurequake press here, including his recent Judge Anderson strip.Please get in touch through Facebook, Twitter, or email MCBCpodcast@gmail.com  If you cannot see the audio controls, listen/download the audio file hereDownload hereRight click and choose save link as to download to your computer.

This week writer Emma Beeby stops by to talk about some of her recent work for the folks over at "2000 AD." Along with artist Nick Dyer, Emma is working on the latest installment of "Anderson, Psi-Division," Which is her second crack at one of the magazine's highest profile characters. How exactly did she come to write Anderson? What are the tricks to dialoguing a conversation between psychics? Emma gets into all of that, as well as some of her other works like "Survival Geeks" and "The Alienist." Programming note: we'll finish up our dive into the Previews catalog next week. We'll also probably spend more time talking about Marvel than we usually do. Robots From Tomorrow is a weekly comics podcast recorded deep beneath the Earth's surface. You can subscribe to it via iTunes or through the RSS feed at RobotsFromTomorrow.com. You can also follow Mike and Greg on Twitter. This episode is brought to you by Third Eye Comics. Enjoy your funny books.

The second half of our in-depth chat with writer Emma Beeby about Judge Dredd, Judge Anderson, breaking into 2000 AD and representation in comics.

Writer Emma Beeby joins us on the first 2000 AD Thrill-Cast 'Supplemental' episode for a two-part interview where we talk in-depth about Judge Dredd, Judge Anderson, breaking into 2000 AD and representation in comics.

MAJOR ANNOUNCEMENT + we take to the theaters and tell you what to think of Dredd 3D and talk Tales of a Checkered Man (www.thecheckeredman.com)! Join us on Monday October 1st at EchoRift.com for the release of HURRY THE RABBITOID KNIGHT: PRELUDE TO EPILOGUE Radio Free Echo Rift is a pirate broadcast transmitted from a secret location deep beneath the city of Philadelphia. Don and Mike discuss comics, movies, and the comics that they make based on what they see in the mysterious Echo Rift. New Episodes every Wednesday and most Fridays. Subscribe and rate us on iTunes! Download Episode 28 - Judged! Episode 28 - Judged 00:36 - Intro01:16 - Announcement! Hurry The Rabbitoid Knight Prelude to Epilogue October 1st!01:58 - Denver Brubaker's Tales of a Checkered Man (www.thecheckeredman.com)08:33 - Judging Dredd 3D10:01 - Dredd is a Cop Story11:51 - Familiarity with Judge Dredd Comics13:22 - Which of the Two Movies are Most Like the Comic?14:25 - Karl Urban as Judge Dredd17:21 - Olivia Thirlby as Judge Anderson - the Heart of the Movie19:28 - Dredd Costumes and Setting20:24 - Lena Headly as the villan MaMa21:50 - A movie out of time26:32 - Dredd's Jeopardy27:20 - Dredd as Morality Play28:42 - Outro Call-in number: 856-208-RIFT Letters: letters@echorift.com Follow @echorift for podcast and comic updates Follow @Don_Garvey and @Mike_Connelly

After almost a year of the North East accents, squabbles and over-the-top jingles, the festivities end with North East Geek Feast episode 8… STARTER - Daniel and Lily introduce the last episode of North East Geek Feast and thank everyone that helped out with the podcast over the last year. MAIN COURSE - The fan-favourite artist of Button Man and Judge Anderson, Arthur Ranson, grants North East Geek Feast the first audio interview of his career. Recorded in November to celebrate the successful ‘Let’s Get Mazeworld Back in Print’ Facebook campaign, Arthur chats openly about his work for Look-In, 2000AD and Marvel and DC. Dessert - The ‘Ultimate Crisis of Comics’ with Martin Eden. With all the comics in the universe being wiped out of existence, Spandex and O Men creator, Martin, is given the opportunity to save 4 single comic book issues to treasure forever - and one issue he would make sure gets destroyed. What will he pick? Well, listen and find out… Find North East Geek Feast on Facebook or email Daniel and Lily at northeastgeekfeast@hotmail.com Find the presenters and guests on Twitter @comicsdaniel, @terracottalily Find previous episodes of NEGF at http://northeastgeekfeastshow.mevio.com and any occasional future episodes.   Links to guests   Arthur Ranson - www.arthurranson.com   Martin Eden - www.spandexcomic.com, www.twitter.com/spandexcomic   Check out all the other great podcasts on the Geek Syndicate Network.

In this one the guys look at progs 1663-65 as well as checking out the new Judge Anderson collection. After complaints received last time Flint is much nicer about stuff this time round (and even likes Necrophim!) and Richard is back on the beer.As always expect spoilers throughout and language not suitable for the kiddies.