"Spider-Man, Spider-Man"

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Superman launched comic book superheroes, but Spider-Man made them human. This nerdy teenager from Queens was full of complexities and angst, just like the rest of us. But, he still abided by Stan Lee’s immortal line: “With great power, there also must also come -- great responsibility.”

The film is taking the world by storm during a dark time — two years of a global pandemic, economic uncertainty, political chaos. Will Spider-Man save the day?

STAN LEE'S 98TH BIRTHDAY ON DECEMBER 28

STAN LEE’S 98TH BIRTHDAY DECEMBER 28

Marvel Icon; Saved Comic Books, Lived the American Dream; “Excelsior”

Cincinnati, December 26, 2020 – Marvel icon Stan Lee would have celebrated his 98th birthday on December 28. Although he passed away two years ago, his legacy has far-reaching consequences, from bringing comic books to a new generation of readers in the early 1960s to co-creating some of popular culture’s most enduring characters.

Storytelling

The superheroes that Lee and his co-creators brought to life in Marvel comic books are at the heart of contemporary storytelling. Lee created a narrative foundation that has fueled pop culture for nearly six decades. By establishing the voice of Marvel superheroes and shepherding the comic books to life as the head of Marvel, Lee cemented his place in American history. 

History and context are important in helping people comprehend their worlds. New comic book readers and ardent filmgoers who turn out in droves to see Marvel Universe films should grasp how these influences impact their worldviews.

“Superman launched comic book superheroes, but Spider-Man made them human,” explains Bob Batchelor, cultural historian and Stan Lee biographer. “This nerdy teenager from Queens was full of complexities and angst, just like the rest of us. But, he still abided by Stan Lee’s immortal line: With great power, there also must also come -- great responsibility.”  

Legacy

Stan Lee became one of America’s foremost creative icons. He transformed popular culture by introducing generations of readers to flawed heroes who also dealt with life’s everyday challenges in the familiar New York City setting. Lee did not invent the imperfect hero, one could argue that such heroes had been around since Homer’s time and even before, but Lee delivered the concept to a generation of readers hungry for something new.

The Fantastic Four transformed the kinds of stories comic books could tell. Spider-Man, however, brought the idea home to a global audience. Lee told an interviewer that he had two incredibly instinctive objectives: introduce a superhero “terribly realistic” and one “with whom the reader could relate.”

While the nerd-to-hero storyline seems like it must have sprung from the earth fully formed, Lee gave readers a new way of looking at what it meant to be a hero and spun the notion of who might be heroic in a way that spoke to the rapidly expanding number of comic book buyers.

Spider-Man’s popularity revealed the attraction to the idea of a tainted hero, but at the same time, the character hit the newsstands at the perfect time, ranging from the growing Baby Boomer generation to the optimism of John F. Kennedy’s Camelot, this confluence of events resulting in a new age for comic books. Stan Lee tells the whole story of Lee’s life, which also helps us understand our own culture and times.

In addition, generations of artists, writers, actors, and other creatives have been inspired, moved, or encouraged by the Marvel Universe Lee voiced and helped birth.

Comic Books

Why comic books (still) matter for today’s readers:

1.    Advance their critical thinking abilities

2.   Provide contextual information (history, emotions, politics, beliefs)

3.   Build language skills

4.   Develop visual acuity

5.   Enhance creativity

6.   Spark imagination

7.   Help organize ideas

8.   Identify emotional and developmental concepts

9.   Enrich belief systems: re race, tolerance, empathy, and compassion

10.  Create world views

About Bob Batchelor 

Stan Lee: The Man Behind Marvel (Rowman & Littlefield Publishers), 264 Pages, • Hardback • September 2017 • $22.95 • Paperback • December 2018 • $16.95 • eBook • September 2017 • $16.00

Bob Batchelor is a cultural historian and biographer. He has published books on Stan Lee, Bob Dylan, The Great Gatsby, Mad Men, and John Updike. Bob’s new book Rookwood: The Rediscovery and Revival of an American Icon, An Illustrated History explores the company’s rich history from its 1880 founding to the current day, mixing 300 images with a vibrant narrative. The book provides a perceptive examination of Rookwood’s 140-year legacy as an American icon.

The Bourbon King: The Life and Crimes of George Remus, Prohibition’s Evil Genius won the 2020 Independent Book Award for Historical Biography. Stan Lee: The Man Behind Marvel was a finalist for the 2018 Ohioana Book Award for Nonfiction.

Bob’s books have been translated into a dozen languages and his work has appeared in Time magazine. He has appeared as an on-air commentator for The National Geographic Channel, PBS NewsHour, and NPR.

Bob earned his doctorate in English Literature from the University of South Florida. He has taught at universities in Florida, Ohio, and Pennsylvania, as well as Vienna, Austria. Bob lives in Cincinnati with his wife Suzette and their teenage daughters.

 

 

 

Stan Lee Sues Marvel…And Wins!

In a tale filled with greed, envy, unfulfilled promises, and years of legal scheming, Marvel announced a financial settlement on April 28, 2005, with its most famous employee – comic book legend Stan Lee.

Filed under the heading, “Things No One Ever Expected,” Lee had sued Marvel three years earlier for not fulfilling the terms of his employment contract. The subsequent legal maneuvering created a tense situation for Lee and a public relations headache for the company he had helped build. 

The beguiling battle began in late October 2002, when the popular CBS news program 60 Minutes II aired a segment about the state of comic books and the tremendous popularity of superhero films. The report also examined Lee’s potential skirmish with Marvel regarding language in his contract, specifically certain payments Lee justly deserved based on the surging box office returns of Marvel films after decades of mediocre efforts and failed attempts at bringing the company’s superheroes to the screen.

The new program painted Marvel in an evil light – a greedy corporation making insane amounts of money off the backs of its writers and artists. Lee’s 1998 contract seemed straightforward, but when it was inked no one expected the future to include such wildly successful films – X-Men (2000) earned nearly $300 million worldwide, while Spider-Man (2002) became a global phenomenon, drawing some $821 million.

60 Minutes II correspondent Bob Simon, using a bit of spicy language that seemed uncharacteristic for the venerable CBS show, actually asked Lee if he felt “screwed” by Marvel. Lee toned down his usual bombast though and displayed remorse for having to sue his employer, a situation that he explained “I try not to think of it.” As a result, many Marvel fans sided with Lee in the dispute.

Mere days after the segment aired, Lee sued Marvel for not honoring a stipulation that promised to pay him 10 percent of the profits from Marvel Enterprise film and television productions. Despite his $1 million annual salary as chairman emeritus, Lee’s attorney’s argued that the provision be honored. The grand battle between Marvel and its most famous employee shocked observers and sparked news headlines around the globe. Summing up the public’s general feeling about the controversy, Brent Staples of the New York Times explained: “You can’t blame the pitchman for standing firm and insisting on his due.”

The public nature of the contract and its terms (including his hefty salary for a mere 15 hours of work each week, guaranteed first-class travel, and hefty pension payouts to Lee’s wife Joanie and daughter J.C.) led some comic book insiders to once again dredge up the argument regarding how the comic book artists and co-creators – most notably Jack Kirby – were treated by Marvel (and by extension Lee). Rehashing this notion and the idea that Lee attempted to capitalize off the success of the films turned some people against him. To critics, Lee got rich, while Kirby and others didn’t. The injustice had been done and they weren’t going to change their opinions, regardless of what Lee’s contract stipulated

In early 2005, after the judge presiding over the case ruled in Lee’s favor, he again appeared on 60 Minutes. “It was very emotional,” said Lee. “I guess what happened was I was really hurt. We had always had this great relationship, the company and me. I felt I was a part of it.” Despite the high profile nature of the lawsuit and its apparent newsworthiness, Marvel attempted to bury the settlement agreement with Lee in a quarterly earnings press release.

In April 2005, Marvel announced that it had settled with Lee, suggesting that the payoff cost the company $10 million. Of course, the idea that Lee had to sue the company that he spent his life working for and crisscrossing the globe promoting gave journalists the attention-grabbing headline they needed. And, while the settlement amount seemed grandiose, it was a pittance from the first Spider-Man film alone, which netted Marvel some $150 million in merchandising and licensing fees.

Despite the financial loss, the lawsuit resulted in an unexpected upside for Marvel. The settlement put in motion plans for the company to produce its own movies, a major shift in policy. Since the early 1960s, Marvel and its predecessor companies had licensed its superheroes to other production companies. Back then, the strategy allowed Marvel to outsource the risk involved with making television shows and films, but also severely hindered it from profiting from the creations. This move gave Marvel control, not only of the films themselves, but the future cable television and video products that would generate revenues.

Merrill Lynch & Co extended a $525 million credit line for Marvel to launch the venture (using limited rights to 10 Marvel characters as collateral), and Paramount Pictures signed an eight-year deal to distribute up to 10 films, including fronting marketing and advertising costs.

Interestingly, the details of the settlement between Lee and his lifelong employer shed light on suspect Hollywood accounting practices that film companies use to artificially reduce profitability. For example, for all the successes Marvel films had in the early 2000s, raking in some $2 billion in revenues between 2000-2005, Marvel’s cut for licensing equaled about $50 million. Despite his earlier contract with the company, Lee had received no royalties.

Although Lee received the settlement money and fences were eventually mended at Marvel, the episode is one of the stranger ones in Lee’s long career. In the long run, it transformed Marvel’s film strategy and helped it become a movie powerhouse.