You know, funny story: There’s this craft store called Michaels. Look, my sister knits, and she goes to Michaels. So my sister called me and she’s like, “Oh my god, I’m at Michaels, picking up yarn. You have a poster at Michaels.” I’m like, “What?” She’s like, “There’s a poster, there’s a Falcon poster at Michaels.” I’m like, “Holy s**t!” She’s like, “I’m gonna come and pick you up, and we’re gonna see your poster in this store.” So she picks me up and we go to Michaels.
We go in, and I see the poster and I’m like, “Oh, this is….” She’s like, “I know, I know.” I said, “I’m gonna sign these posters.” I was like, “That would be amazing, you buy a poster and it’s like, actually signed by the Falcon.” Like, it would blow my mind. So I go to the front, I buy a Sharpie, I run back to the back of the store. And she’s like, “I’m gonna take a picture of you signing it.”
I’m in this store and I’m signing all the posters. The manager comes out, he’s like, “Hey, whatcha doing?” I was like, “Oh man, I’m signing these posters so when people buy ‘em, they’re signed.” He’s like, “Well, people are not gonna buy ‘em if they’re signed.” And I was like, “No, no, no, it’s cool. I’m pretty sure there won’t be a problem.” And he goes, “Yeah, but it is gonna be a problem, you’re messin’ up my inventory.” And I’m like, “No, my man, trust me. I mean, I’m the Falcon, that’s me!” And he goes, “Yeah, right. You’re gonna buy those posters.” I said, “What?” He’s like, “You’re gonna buy all those posters or I’m gonna call the police.”
He rolls up all the posters and goes to the front of the store. And I had to buy like 60 Falcon posters that I signed in Michaels.
Anthony Mackie getting in trouble for signing his posters at a Micheals (x)
Do y’all know how striking this scene in an action movie was to me? Main lead, who is young and gorgeous and the whitest of whites, oversteps his bounds. He touches a commanding officer. In any other action movie the dressing down would not be this severe (Elba’s adlibbing on this is terrifying…forget kaijus, Raleigh looks more scared by him than anything that crawls out of the breach and half the audience squirmed in chastened sympathy because WOW). And the thing is, Raleigh is right. His initial argument that Stacker is holding back Mako is for all intents and purposes, the correct assessment. He’s RIGHT. But he isn’t in a position to tell that to a commanding officer, especially the way he does. So Stacker puts him back in his place. Raleigh KNOWS he went out of line the minute he touched Stacker and rather than argue or shout “you know I’m right” or storm off or IGNORE a commanding officer like any other action movie would have the hero do, Raleigh backs down. Stacker doesn’t even let him get away with just the nod and choked back frustration, he makes him VERBALLY back down as well. There is no question who is in charge here. Raleigh is obviously angry and frustrated and still riding the testosterone high of kicking Chuck’s face, but he FREAKIN’ BACKS DOWN LIKE ANYONE WITH SENSE IN THE MILITARY WOULD. It’s always baffled me that main rodeo cowboy hero of every movie can just walk all over rank and command and not pay for it because he’s “special”. Raleigh only sort of does this once (and remember, his argument is valid) and he’s immediately reminded that’s not what he’s there for. And he KNOWS because he never complains about it, never goes off and stews about how unfair Stacker is, never holds it against Stacker later. He knows he crossed a line and he belly crawls back across it because it’s all about respect and he overstepped.This is something 9 out of 10 action movies wouldn’t address.
This is carried through in really fucking interesting ways throughout the movie, actually. You remember the scene where we get introduced to Stacker? The Becket boys are joking with Tendo about his disaster of a love life, and it’s cute and fun and casual and dude shenanigans — and then it gets announced that the Marshal is on deck. The camera happens to be on Tendo, and you see him — you see on-fucking-screen how his shoulders straighten and he sits up and his tone of voice changes and goes professional. And you see it again, too, in the post-double event scene where people are in a joyous, packed crowd around Mako and Raleigh — and then Stacks shows up at the door, and a path fucking parts for him like he is smoking-hot Moses in a double-breasted suit.
That’s presence, folks. That’s charisma, and even more than that, it’s people respecting a natural fucking leader who has earned respect.
It’s been pointed out that people disobey Stacker in PacRim all the fucking time. You’ll note that it’s not something undertaken for shits and giggles, though. Instead, it’s because they’ve made an evaluation in the field and disagree because they think it’ll cost lives — each time, it’s presented in a sympathetic light, and each time, the movie shows that their disobedience Does Not Get What The Disobedient Ones Want. Remember that Yancy and Raleigh disobey Stacker’s order to stay back, and Yancy gets dead (and it’s not clear that they actually manage to save the dudes on the ship). Chuck and Herc disobey the order to stay back because they’re trying to save the other Jaeger pilots, which they not only fail to do, but they get hit with an EMP pulse from the kaiju. If Mako and Raleigh don’t arrive when they do, both it would’ve been a long, long fall into water for two Aussie pilots, and the world would have been well and truly fucked.
The movie underscores this with what I consider to be the goddamn climax of the whole thing. I mean, what’s the biggest command that Stacker gives? Like, the single biggest one?
To me, it’s gotta be when he tells Mako (Mako! Specifically!) during Pitfall that she can do this. She can finish it. And Mako does it, even though it clearly fucking costs her not to try and go to Striker’s aid, even though it isn’t phrased as an order. Stacker knows he doesn’t have to phrase it that way, because he knows that he has been Mako’s fixed point since she was ten years old. He knows that she knows what should happen. And he knows that he is right. And that Mako agrees, too, because again: fixed point for how many years now? The command doesn’t need to be verbalized as such. It doesn’t even need to be entirely articulated, because the Drift that Mako and Stacker share isn’t a physical one inside a Jaeger with a Pons mechanism. Instead, it exists because Stacker and Mako found each other in the wreckage of Tokyo. Stacker raised Mako, and they share the same value system and the same way of looking at the world and the same fierce pride and devotion and willingness to lay down personal attachments to other lives if it means saving the motherfucking world.
That’s their Drift.
So Stacker tells Mako that she can make this sacrifice — his life, for the world. It’s a parallel to the situation that Yancy and Raleigh have to make in Alaska, with the fishermen versus the city of two million, and the one that Herc and Chuck have in Hong Kong, with the lives of their fellow Rangers versus one of the few great coastal cities left. Yancy and Raleigh and Herc and Chuck choose to disobey, and each time, not only does it not get them what they want, but it’s got shitty consequences.
This time, instead of laying it down as an order, Stacker tells Mako that she can finish it. She’ll always be able to find in him in their particular version of the Drift.
And Mako obeys because she agrees with him.
And they save the world.
Let me emphasize that: the world gets saved without further loss of life because Mako and Raleigh follow Stacker’s directive to Mako.
Stacker fucking Pentecost, everyone. This fucking movie, everyone.
oh my god yes, like, all of this
okay so how many times in a movie have you seen the hot shot get all riled up like this and his commanding officer, like, rewards him by sharing something personal to create some kind of bond of sympathy and buy the hot shot’s loyalty
but Pentecost explicitly says “you will never understand where I come from and your opinion means nothing to me, you are here to do your job and your job is what I say it is”
this is allied with Raleigh’s earlier response to Mako’s disapproval of his fighting history, where he’s like “in combat you make decisions” where I was expecting some kind of defensive “you don’t know, man, who are you to judge me” thing — but he isn’t interested in that. he’s just like “yeah, you know, sometimes you fuck it up and then you have to deal with it, you’re probably right about me but I have to try to do better this time”
basically del Toro took all the cinematic fighter-pilot tropes (because that’s obviously what we’re doing here, I mean, flight jackets and logos and pinup girls on the jaegers) and said “what would these look like if the lead wasn’t a cocky asshole” and it’s great
A comiXologist Recommends:
Coleman Engle recommends Lumberjanes #1
Lumberjanes is an awesome new series from BOOM! Studios’ new imprint BOOM! Box that showcases the tremendous talents of numerous up and coming women in the industry.
The story, written by Noelle Stevenson (gingerhaze) and Grace Ellis (ohheygrace) is about a small group of friends and their time at a summer camp for “hardcore lady types”. With this first issue we are introduced to the main members of The Roanoke Cabin: Mal, Molly, April, Ripley and Jo. Out late one night, they come across three-eyed foxes, a cryptic message and an agitated camp counselor…all in a day’s work! While the girls are off getting into trouble, magic and mystery flicker around the panels. It’ll be exciting to see what’s in store for them!
The artwork is done by Brooke Allen (brookeallen) whose incredible sense of line weight, storytelling and attention to detail make each page a knockout. Allen (who put out a book called A Home For Mr. Easter with NBM, which can be downloaded on comiXology) is no stranger to cartooning, taking inspiration from Blutch, Akira Toriyama, and Jeff Smith and creating her own engaging and stellar worlds.
Adding to the charm of each page are beautiful colors by Maarta Laiho and hand lettering by Aubrey Aiese. The marriage of Allen’s art, Laiho’s colors and Aiese’s bubbly, playful words seems effortless.
If this first issue is telling of how the series is going to be, we should all be super stoked to see more! Like, SUPER stoked!
Coleman Engle is a cartoonist from Virginia currently living in Brooklyn. He works at comiXology as a Digital Editor.
YOU GUYS!! Thank you to EVERYONE who picked up a copy of LUMBERJANES #1 this week! We’re all so excited with the response. And if you haven’t gotten yours yet, it’s not too late!!
- If you’re interested in finding it at a local shop, www.findacomicshop.com. A lot of stores have sold out, but if you request one, they should order more for you! And remember that pre-ordering from a comic shop is THE BEST way to ensure a copy for yourself and support the series.
- It’s available digitally on comixology!
- Or if you’re interested in print copies arriving at your door step, get it from BOOM!
You guys have all heard of Lumberjanes by now, right?
I’m happy to say that my exclusive cover for Lumberjanes #1 is for sale at Challengers Comics in Chicago (my hometown!) coinciding with Noelle's signing there this past weekend. I think the whole Lumberjanes crew is ace and I'm excited to have contributed to such a girl-positive comics series, drawn and written by awesome ladies!
I’ve been watching a lot of River Monsters and I really liked the idea of setting the Lumberjanes off on a canoeing adventure with an unexpected catch. I’ve since been informed that the canoe I drew totally looks like a vagina. It was unintentional, but I’m more than ok with that! By ladies for ladies, amirite??