One week from tonight is Preview Night at the 2026 gathering of Comic-Con International. I hope no one's getting in line yet to get into Hall H but someone probably is.

Among the many things that fascinates me about the event is how so many people come to it with different goals and expectations — and if those are realistic and they plan right and make some effort, they get what they seek. I'm seeing folks online who think it's only about being in Hall H as much as possible…or snagging certain "exclusive" collectibles that will be offered. Others seem focused on attending as many parties as they can or seeing each and every cosplayer. There are many other single-minded goals that have never, in all the cons I've attended, interested me.

Which is fine, of course. I just like the "something for everyone" aspect of the whole thing.

My schedule of what I'm doing has changed a bit since I first posted it and may change a bit more in the coming days. Last year, I hosted or was on nineteen panels. This year, I'll be taking it easier with 16-18, which is fine.

Everyone asks me why I do this and the answer's pretty simple: I like doing it. I like being at the convention but I don't want to —

• Wander around the exhibit hall for 4.5 days. Even before my current knee problems, I couldn't physically do that.
• Sit behind a table. I don't want to sell stuff and I get really bored signing my name over and over and over for more than an hour or so.
• Not be at the convention.  It's too much fun to be around that energy and to see so many people I like or would enjoy meeting.

If I didn't host or sit on all those panels, I'd be attending panels the whole time.  And if I host them, then I can make them be about what interests me, plus I have a guaranteed seat.  And I feel like I'm making a contribution.  That's really all there is to it.  I couldn't live at that pace all the time but for 4.5 days a year, it's fun.  And I'll keep going until I can't go any longer.  And besides, I have an unblemished attendance record to maintain.

Fred Kaplan, whose observations I trust on matters of war, explains where we are with Iran — and the phrase "without a paddle" comes to mind.  An excerpt…

President Trump's decision to resume and escalate the war in Iran makes even less sense than his decision four and a half months ago to start the war in the first place. More jarring still, Trump announced on Monday that he would also take control of the Strait of Hormuz and charge a 20 percent toll to all ships passing through — which, besides defying credulity, blows to bits the tiny shred of moral claim that he had held against Iran's government.

Anyone who thinks "we" (the U.S.) have a coherent strategy for this war has to be horrified at how quickly our Dear Leader changes courses every day. It's getting harder for them to deny that the only thing wrong with the Joint Comprehensive Plan of Action — better known as the J.C.P.O.A. — was that it had Obama's name on it.

This is the entirety of a Tonight Show that Johnny Carson did back on December 6, 1973.  The show was 90 minutes back then and the whole feel and pace of it was, as you'll see if you watch even a little of it, much more leisurely than the hour-long talk shows of today..  It was even different from the hour-long ones Johnny did after it was trimmed in September of 1980.

The guests announced at the beginning are Sammy Davis, Diane Keaton, columnist Erma Bombeck and a brand-new comedian, Freddie Prinze.  Diane Keaton talks with Johnny and does a song.  Then Sammy Davis does a song, talks with Johnny, then does another song.  In an episode after the show went to an hour, there would have been only one song.  There also would probably not have been a number from the band.  Late in this show, Johnny introduces one instead of bringing out Erma Bombeck who wound up being bumped.  I would love to know how and why that decision was made.  The hour shows almost never stopped to let Doc and the boys play for a few minutes.

This episode is historic because of Freddie Prinze's five minutes of standup.  A lot of books and articles will tell you it was his TV debut but he'd actually appeared earlier that year on Jack Paar Tonite.  That was Mr. Paar's short-lived attempt on ABC to return to late night television.  In fact, it's said that it was his appearance with Paar that called him to the attention of Carson's talent bookers.

That may not be so because I've also heard that NBC had already taken an interest in Prinze before he first appeared with Johnny.  He was already destined to be in a new sitcom for the following season.  In that version of the story, his appearance with Carson was arranged to begin the process of making him a star.  A couple years later when I was a writer for Welcome Back, Kotter, it was for the same company that did Chico and the Man and that's where I heard the allegedly "real" story.

Prinze's appearance on this episode was one of the most-cited examples of how important a good spot on Johnny's show was to the career of a new stand-up.  If he — they were almost all guys — got on The Tonight Show and scored, he had a career.  If he bombed or couldn't get on the show at all,  he might as well forget about comedy and apply for a job stocking the shelves at a Walmart.

The biggest success was if, after his set, Johnny had him come over and join the panel instead of taking a bow and disappearing behind the curtain.  At The Store, I heard comics say that Freddie was the first young stand-up to be so honored after his first appearance and that he was surprised,  Watching that moment in this show, it seems pretty obvious to me that Freddie knew that when he finished his set, he was supposed to walk over and join the panel.

I later saw other comics finish their routines, then look hopefully to see if they'd be waved over.  Prinze didn't wait for a signal.  It was all pre-arranged.

At the Comedy Store and a few other local clubs then, I saw a lot of great comedians before they hit big — Leno, Letterman, Seinfeld, etc. Freddie Prinze was one who never impressed me much and I had one run-in with him and it was not pleasant.  I'll tell that story here one of these days.  Here's the episode and maybe you'll like him more than I did…

Hey. you remember the game show, Win Ben Stein's Money?  Here's an episode from a long time ago which is notable because the three players were all correspondents for The Daily Show back then and one of them was Stephen Colbert.  This is probably where he and Jimmy Kimmel first met…

Fred Kaplan looks into the career of the recently-deceased Lindsey Graham and wonders how he changed from opposing almost everything Donald Trump was for to becoming one of Trump's most loyal sycophants. Here's an excerpt…

In the early days of the 2016 presidential campaign, Graham denounced Trump as a "race-baiting, xenophobic religious bigot" and said, "You know how you make America great again? Tell Donald Trump to go to hell." He later said that he voted for third-party candidate Evan McMullin rather than cast a ballot for Trump or Democratic nominee Hillary Clinton. But his tune changed after Trump unexpectedly won. Before and after, during Trump's first and second terms, Graham stood by Trump constantly, defending his views even when they differed from his own.

Fred doesn't go into the reason a lot of people have voiced on the 'net: Blackmail. Obviously, I have no idea if there's any truth to that and you don't, either. But I can certainly buy the premise that a lot of Republicans accepted that Trump was going to rule their party whether they liked it or not and they had a simple choice: Kiss his ass or kiss your career goodbye.

I have a special e-mail address to which most advertising goes and right now, it's filled with messages from Olive Garden, telling me not to miss out on the return of their "Never-Ending Pasta Pass." Apparently, only 10,000 of these are about to go on sale and they don't want me to miss the opportunity to snag one. This makes me wonder: If they're so sure these are going to sell out quickly, why do they care if I get one? They're going to sell all 10,000 of 'em whether I get one or not.

Also, how is it that something called the "Never-Ending Pasta Pass" expires in thirteen weeks? It's good from August 24 until November 22. If this week, a magic genie granted you a never-ending life, wouldn't you expect it not to have, like the Kennedy presidency, a November 22nd expiration date?

According to the ad, if I were to score one of these cards, I could walk into any Olive Garden during those thirteen weeks and get all the soup, salad and pasta that I craved. Oh…and the breadsticks! Don't forget about the breadsticks! But then I looked at the fine print and it says in part…

Present pass to server at time of ordering. Named Passholder may redeem for unlimited Never Ending Pasta Bowl® (NEPB) meals 8/24/26 – 11/22/26. Each "NEPB meal" consists of pasta, sauce and a single topping serving from the promotional NEPB menu. All other entrees excluded.

Hmm…nothing in there about soup, salad or breadsticks but I guess they're an undefined part of the "meal" that's not specified in writing, as is the fact that the "bowl" you get might also include a couple of salad bowls, soup bowls and pasta bowls.

The pass costs a hundred bucks and without one, the N.E.P.B. sells for $14.99. So the pass would be a bargain if I wanted to go into Olive Garden 7+ times in 13 weeks and not have the Chicken Parm or the Calabrian Steak & Shrimp Bucatini or even a plate of pasta with two toppings. And I'd have to eat it there — no "to go" option, no delivery.

I think I'll pass on the pass. I sometimes like Olive Garden but there are three or four Italian restaurants closer to me which I like better…and my food allergies won't let me eat their salad or any of their soups. If I didn't have those allergies and I lived or worked across the street from an Olive Garden, I might go for it.

• THURSDAY •

Thursday, July 23 – 10 AM to 11 AM in Room 9
ANIMATION HISTORY WITH JERRY AND MARK
This panel features two guys who know a lot about cartoons answering questions from the audience about cartoons. Jerry Beck is one of the foremost experts on animation history, and he even teaches classes about it. Mark Evanier has seen a lot of cartoons, written a lot of cartoons, and worked in the industry for 50 years. Bring your questions, and they'll give you answers, maybe even the right ones.

Thursday, July 23 – 11AM to NOON in Room 9
TALES FROM MY SPINNER RACK LIVE
In 1975, after five incredibly creative — and frustrating — years at DC, writer-artist Jack Kirby returned to Marvel. Over the next few years, he would create titles such as The Eternals and Devil Dinosaur, while also working on Captain America and Black Panther, two characters he co-created. This is the beginning of the final years of the King of Comics' 50+ year career, which also saw him work in animation in Hollywood and introduce brand-new characters for companies like Pacific Comics and Topps. Moderator Gary Sassaman (former director of programming and publications for Comic-Con) talks to Kirby experts Mark Evanier (author, Kirby: King of Comics) and John Morrow (editor-publisher, Jack Kirby Collector) about the final years of the King, including details on Morrow's new book, Marvelmation: Jack Kirby's Final Act in Comics & Animation. Free Tales from My Spinner Rack! bookmark and set of collector's cards to the first 100 attendees.

Thursday, July 23 – NOON to 1 PM in Room 9
GREAT CARTOONISTS AND COMEDIANS WE HAVE KNOWN
Film expert Leonard Maltin and writer Mark Evanier have thousands of years of showbiz between them and have met, and sometimes even worked with, some of the cleverest, funniest men and women. They share their experiences with people like Groucho Marx, Chuck Jones, Bob Clampett, Bob Hope, Jerry Lewis, and as many others as they can squeeze into the time they have.

Thursday, July 23 – 1 PM to 2 PM in Room 9
GOOD GRIEF!  THE ENDURING LEGACY OF PEANUTS
An all-star panel of Peanuts experts, historians, and editors celebrates Charlie Brown, Snoopy, and the enduring legacy of Charles M. Schulz's beloved comic strip. Mark Evanier (The Essential Peanuts), Chip Kidd (Only What's Necessary: Charles M. Schulz and the Art of Peanuts), and Charles Kochman (editor-in-chief of Abrams ComicArts) explore the past, present, and future of Peanuts, from classic comics and publishing projects to the characters' lasting impact on popular culture, with video and images from the archives. Moderated by Alexis E. Fajardo (editorial director at the Charles M. Schulz Studio). Plus, be among the first to hear a special Peanuts announcement.

• FRIDAY •

Friday, July 24 – 11:00 AM to NOON at Booth 1216
me SIGNING STUFF
I'll be at the booth from Abrams ComicArts signing my recent book, The Essential Peanuts by Charles M. Schulz: The Greatest Comic Strip of All Tiime.

Friday, July 24 – 12:30 PM to 1:30 PM in Room 10
THE GROO PANEL
It's 75 percent of the crew that brings you the bumbling adventures of Groo the Wanderer, talking about what they do and why they do it. Stan Sakai talks about how he lettered this comic, and he may talk a little about the one-man show that is Usagi Yojimbo. Carrie Strachan discusses how she colors this comic. Mark Evanier explains whatever the heck he does on this comic to warrant his not being paid. And they may have to phone Groo creator Sergio Aragonés to clue Mark in.

Friday, July 24 – 1:30 PM to 2:30 PM in Room 10
FOCUS ON JENNY BLAKE ISABELLA
This year's in-person recipient of the Bill Finger Award for Excellence in Comic Book Writing used to be known as Tony Isabella, famous for Black Lightning and many, many comics for Marvel (like The Champions, Tigra, Luke Cage, It, the Living Colossus, and more) and other publishers. These days, she's Jenny Blake, who tonight will be presented with an award she so richly deserves. For this hour, she will be interviewed about her life and times by her longtime friend, Mark Evanier (administrator of the Bill Finger Award).

Friday, July 24 – 2:30 PM to 3:30 PM in Room 10
TWO MARKS EXPLAIN EVERYTHING
If you want to know anything about comic books — how they're made, who did what, why your favorite comic was canceled, anything — this is the panel for you. If longtime comic book writers Mark Waid and Mark Evanier don't know it, there's a good chance no one does. Questions are welcome. And be prepared to learn the secrets behind the comics.

Friday, July 24 – 3:30 PM to 4:30 PM in Room 10
WALT KELLY AND POGO
Cartoonist Walt Kelly gave the world many great cartoons and characters, but the most enduring and beloved are the inhabitants of the Okefenokee Swamp — Pogo Possum, Albert the Alligator, Churchy LaFemme, and all the rest. Fantagraphics Books is now reprinting Pogo in its entirety, and Kelly's work will be discussed on this panel by Maggie Thompson, writer Paul Dini, cartoonist Jeff Smith (Bone), Kelly archivist Jane Plunkett, and moderator Mark Evanier.

• SATURDAY •

Saturday, July 25 – 10:30 AM to 11:30 AM in Room 29C
ABRAMS SPOTLIGHT PANEL
A first look at upcoming graphic novels, comics, and illustrated books from Abrams ComicArts, Abrams Fanfare, and Abrams. Editors Charles Kochman (editor-in-chief, Abrams ComicArts), Charlotte Greenbaum, and Connor Leonard, along with creators Mark Evanier (The Essential Peanuts), Mariko Tamaki and Nicole Goux (This Place Kills Me), Shay Mirk (Making Nonfiction Comics), Meggie Ramm (Batcat 4: Seeing Stars), and Sequoia Blankenship and Rob Thompson (Feo the Chupacabra), discuss their latest projects and the books they are bringing to readers in 2026 and 2027. From middle-grade comics and nonfiction comics to literary graphic novels and classic comic strip collections, this panel offers an inside look at the creators, editors, and books shaping the future of comics publishing at Abrams.

Saturday, July 25 – 11:45 AM to 12:45 PM in Room 6BCF
QUICK DRAW!
It's the fastest, funniest panel in the whole convention. Once again, your Quick Draw quizmaster Mark Evanier pits three super-speedy cartoonists against one another with dueling Sharpies as they create great cartoon art right before your very eyes. Competing this year are, as usual, Scott Shaw! (Sonic the Hedgehog), Tom Richmond (MAD magazine), and editorial cartoonist Lalo Alcaraz, plus a couple of highly surprising surprises.

Saturday, July 25 – 1:00 PM to 2:30 PM in Room 6BCF
CARTOON VOICES SATURDAY
Each year, moderator Mark Evanier gathers a bevy of the most talented cartoon voice actors working today and invites them to explain and demonstrate their artistry. This year's lineup includes Eric Bauza (Bugs Bunny, Daffy Duck), Shelby Young (LEGO Star Wars: The Skywalker Saga, Princess Leia), Michael Scott Action (The Seven Deadly Sins: Four Knights of the Apocalypse), Jon Allen (Rick and Morty, Heroes of Goo Jit Zu), Stephanie Southerland (Veggie Tales), and  Sean Giambrone (The Loud House, Solar Opposites), and maybe other members of the vocal majority.

Saturday, July 25 – 3:00 PM to 4:00 PM in Room 6DE
SPOTLIGHT ON FRANK MILLER
Comic-Con special guest and legendary cartoonist Frank Miller, one of the most important comic book creators of the last half-century, returns to San Diego to discuss his new masterclass memoir, Push the Wall, and share a lifetime of creative wisdom and knowledge with fans. Attendees get a glimpse of Miller's life story, including how he went from a 19-year-old Vermonter freshly arrived in 1970s New York to becoming an innovative comic book artist and writer who reimagined Daredevil and Wolverine, rescued and reimagined Batman, and created original characters. Mark Evanier, interviewer.

• SUNDAY •

Sunday, July 26 – 10:00 AM to 11:15 AM in Room 5AB
THE ANNUAL JACK KIRBY TRIBUTE PANEL
This is the annual panel about Comic-Con's first superstar guest, the man they still call "The King of Comics," Jack Kirby. Jack left us in 1994, but his influence on comics, film, and this convention has never been greater. Discussing the man and his work this year are Mike Royer (Kirby's favorite inker), Jack's grandkids Tracy Kirby and Jeremy Kirby, Roy Schwartz (who spearheaded the recent renaming of a New York intersection as Jack Kirby Way), attorney Paul S. Levine, and maybe a few others. Naturally, it's moderated by former Kirby assistant Mark Evanier.

Sunday, July 26 – 11:45 AM to 1:15 PM in Room 6A
THE SUNDAY CARTOON VOICES PANEL
With the smash-hit success of yesterday's Cartoon Voices I panel, there's no choice but to do another one, with different but equally talented actors from the world of animation voice work. Once again, moderator Mark Evanier has assembled an all-star dais that will include Fred Tatasciore (The Hulk, The Thing, Devil Dinosaur), Kaitlyn Robrock (Minnie Mouse, Star Wars Rebels), Roxana Ortega (The Casagrandes, The Loud House), Kimoy Lee (Rooster Fighter), Rob Paulsen (Teenage Mutant Ninja Turtles), and Maurice LaMarche (Pinky and the Brain).

Sunday, July 26 – 2:00 PM to 3:00 PM in Room 7AB
COVER STORY: THE ART OF THE COVER
What does it take to make a great cover for a comic book? Let's ask three of the top artists…all folks who've created some of the best.  Nicole Goux (This Place Kills Me), Steven Butler (Sonic the Hedgehog), Dan Jurgens (The Death of Superman), and maybe someone else talk shop. Moderated by Mark Evanier.

Sunday, July 26 – 3:00 PM to 4:00 PM in Room 7AB
THE BUSINESS OF CARTOON VOICES
Interested in a career doing voices for animation and video games? There are plenty of people around who'll take your money and give you expensive, not-the-best advice on how to go about it. But here's absolutely free advice from folks who work actively in the field. Cartoon voice actors Debi Derryberry (Jimmy Neutron) and Gregg Berger (Transformers), talent agent Melissa Berger Brennan (CESD Talent), and moderator Mark Evanier (The Garfield Show) discuss the field.

And I just might turn up as a Surprise Guest discussing the history of fandom on…

Sunday, July 26 – 4:00 PM to 5:00 PM in Room 7AB
SPOTLIGHT ON MAGGIE THOMPSON: FAN EXPERIENCE
Pop culture has produced creative fans, and long-time fan Maggie Thompson is joined by three of them. Daughter Valerie Thompson, grandson Devon Jaruk, and friend Arthur Kyle, son of science fiction author and historian David Kyle, share memories and resources about fan activity.

---

The time, place and/or personnel for all panels could change and more panels may be added to this list.  I suggest arriving early for the panels in the bigger rooms — the ones whose numbers start with a "6" — as they usually have the greatest instances of overflow. Apart from the one signing listed above, I will only be signing items after each panel, time permitting, and only for people who sat through the panel. I don't charge for a reasonable number of items. The entire Programming Schedule can be accessed at this link.

• SATURDAY •

Saturday, July 25 – 10:30 AM to 11:30 AM in Room 29C
ABRAMS SPOTLIGHT PANEL
A first look at upcoming graphic novels, comics, and illustrated books from Abrams ComicArts, Abrams Fanfare, and Abrams. Editors Charles Kochman (editor-in-chief, Abrams ComicArts), Charlotte Greenbaum, and Connor Leonard, along with creators Mark Evanier (The Essential Peanuts), Mariko Tamaki and Nicole Goux (This Place Kills Me), Shay Mirk (Making Nonfiction Comics), Meggie Ramm (Batcat 4: Seeing Stars), and Sequoia Blankenship and Rob Thompson (Feo the Chupacabra), discuss their latest projects and the books they are bringing to readers in 2026 and 2027. From middle-grade comics and nonfiction comics to literary graphic novels and classic comic strip collections, this panel offers an inside look at the creators, editors, and books shaping the future of comics publishing at Abrams.

Saturday, July 25 – 11:45 AM to 12:45 PM in Room 6BCF
QUICK DRAW!
It's the fastest, funniest panel in the whole convention. Once again, your Quick Draw quizmaster Mark Evanier pits three super-speedy cartoonists against one another with dueling Sharpies as they create great cartoon art right before your very eyes. Competing this year are, as usual, Scott Shaw! (Sonic the Hedgehog), Tom Richmond (MAD magazine), and editorial cartoonist Lalo Alcaraz, plus a couple of highly surprising surprises.

Saturday, July 25 – 1:00 PM to 2:30 PM in Room 6BCF
CARTOON VOICES SATURDAY
Each year, moderator Mark Evanier gathers a bevy of the most talented cartoon voice actors working today and invites them to explain and demonstrate their artistry. This year's lineup includes Eric Bauza (Bugs Bunny, Daffy Duck), Shelby Young (LEGO Star Wars: The Skywalker Saga, Princess Leia), Michael Scott Action (The Seven Deadly Sins: Four Knights of the Apocalypse), Jon Allen (Rick and Morty, Heroes of Goo Jit Zu), Stephanie Southerland (Veggie Tales), and  Sean Giambrone (The Loud House, Solar Opposites), and maybe other members of the vocal majority.

And then I'll be on one more panel on Saturday afternoon but I seem to be booked on two at the same time.  So we have to figure things out before I can list one of them here.  Watch this space.

It's closed now but Music Theatre Wichita recently mounted a production of Hello, Dolly! which got rave reviews. Here's a video of the "Put On Your Sunday Clothes" number. Near the end, Dolly Levi makes a brief appearance…and guess what! Dolly was played in this production by my oft-mentioned-on-this-blog friend, Christine Pedi. I'm sure she was sensational in it…

And one of the reasons I'm so sure Christine was great in the show — apart from the fact that she's been great in every show in which I've seen her — is this video of her singing a number from the show while not onstage. I talked to her right after the show ended its run and she was still kvelling from how wonderful the experience and all her castmates were…

• FRIDAY •

Friday, July 24 – 11:00 AM to NOON at Booth 1216
me SIGNING STUFF
I'll be at the booth from Abrams ComicArts signing my recent book, The Essential Peanuts by Charles M. Schulz: The Greatest Comic Strip of All Tiime.

Friday, July 24 – 12:30 PM to 1:30 PM in Room 10
THE GROO PANEL
It's 75 percent of the crew that brings you the bumbling adventures of Groo the Wanderer, talking about what they do and why they do it. Stan Sakai talks about how he lettered this comic, and he may talk a little about the one-man show that is Usagi Yojimbo. Carrie Strachan discusses how she colors this comic. Mark Evanier explains whatever the heck he does on this comic to warrant his not being paid. And they may have to phone Groo creator Sergio Aragonés to clue Mark in.

Friday, July 24 – 1:30 PM to 2:30 PM in Room 10
FOCUS ON JENNY BLAKE ISABELLA
This year's in-person recipient of the Bill Finger Award for Excellence in Comic Book Writing used to be known as Tony Isabella, famous for Black Lightning and many, many comics for Marvel (like The Champions, Tigra, Luke Cage, It, the Living Colossus, and more) and other publishers. These days, she's Jenny Blake, who tonight will be presented with an award she so richly deserves. For this hour, she will be interviewed about her life and times by her longtime friend, Mark Evanier (administrator of the Bill Finger Award).

Friday, July 24 – 2:30 PM to 3:30 PM in Room 10
TWO MARKS EXPLAIN EVERYTHING
If you want to know anything about comic books — how they're made, who did what, why your favorite comic was canceled, anything — this is the panel for you. If longtime comic book writers Mark Waid and Mark Evanier don't know it, there's a good chance no one does. Questions are welcome. And be prepared to learn the secrets behind the comics.

Friday, July 24 – 3:30 PM to 4:30 PM in Room 10
WALT KELLY AND POGO
Cartoonist Walt Kelly gave the world many great cartoons and characters, but the most enduring and beloved are the inhabitants of the Okefenokee Swamp — Pogo Possum, Albert the Alligator, Churchy LaFemme, and all the rest. Fantagraphics Books is now reprinting Pogo in its entirety, and Kelly's work will be discussed on this panel by Maggie Thompson, writer Paul Dini, cartoonist Jeff Smith (Bone), Kelly archivist Jane Plunkett, and moderator Mark Evanier.

Georgi Mihailov writes to ask…

Why is it that Daws Butler, who almost everyone considers to be one of the best voice actors, is still sans a star on the Hollywood Walk of Fame? This is bizarre considering the fact that his contemporaries like Mel Blanc, Bea Benaderet and June Foray already have one. Do you know why that is?

Yes, I know why that is. It's because no one with deep pockets has ever gotten behind such an effort. Once upon a time, those stars appeared because someone with a connection to the Hollywood Chamber of Commerce suggested someone was deserving and others there agreed. Now, it involves a lot more politics and a lot more money. It doesn't just happen because someone is deserving.

First of all, someone has to nominate the person and this must be done during an announced window of opportunity. The time to nominate someone to get a star in 2027 has just passed. The nomination must be accompanied by a lot of paperwork and if the person is alive, there must be some commitment by them or their representative that the star will appear for the ceremony. In the case of a posthumous star, it is not specified in the rules but it's kinda understood that you have to guarantee that some famous, crowd-drawing celebrities will appear for the ceremony.

The nomination, in order to be considered, must be accompanied by a $275 application fee. I believe that with someone like Daws whose nomination is not time-sensitive, it is often necessary to submit them several times (and pay the fee several times) unless someone with some clout pushes for it. For example, if Steve Martin — to pick a celebrity at random — were to say, "I believe Daws Butler deserves a star and I'll show up for the ceremony," that might hurry things along.

And then once accepted, someone would have to pay the fee for the installation of the star and the unveiling ceremony. At the moment, that fee is $85,000 and it seems to be increased every few years.

Just who pays that fee is usually a secret but it's believed that some celebs actually pay for their own stars but most often, it's a promotional expense for some movie or TV show or CD that's coming out. Sally Superstar has a new movie coming out so the company behind it is going to spend a few million dollars promoting and advertising it.  Thus, someone decides to spend some of that money to get Sally a star on the Hollywood Walk of Fame. Or when she signed to do it, she had her agent demand that as part of her compensation for doing the movie. And then they schedule the installation ceremony to coincide with the film's release.

So as you can see, that process would not cause a star for Daws to miraculously appear.

I believe Mel Blanc and Bea Benaderet got their stars back at a time when the process was simpler and cheaper and the idea that someone deserved the honor had more bearing on it. Stan Freberg got his when Capitol Records — the company releasing his records — had a lot of influence with the Hollywood Chamber of Commerce.

I attended the star ceremony for June Foray and I happen to know the story behind it. Warner Brothers — or whatever the company was called then — wanted Chuck Jones to do some things for them. Chuck made it a condition of his agreeance that they'd use their clout and pocketbook to get June a star on the Hollywood Walk of Fame and they did. It also helped that June was alive then, willing (make that "eager") to attend the ceremony and they got Freberg, Steve Allen and some other folks to agree to attend. (That's me in the above photo, back when I had more hair and body mass.  Leonard Maltin took the photo of us that day at the ceremony and then I took one of him with Steve and Stan.)

The cost of a star then was more like $30,000 and Warner gladly paid it to make Chuck and June happy. I would imagine they also paid for Bob Kane's star a few years ago.

Daws Butler was a terrific talent and one of the nicest, most wonderful human beings it has ever been my privilege to know. He absolutely deserves that honor as do Paul Frees, Don Messick and a dozen others we could all name. I don't expect it to ever happen.

Oh — and I explained all this at least once before on this blog but it felt like a good time to do it again. I'll explain it again in a few years when the price of a star will be over $100,000.

• THURSDAY •

Thursday, July 23 – 10 AM to 11 AM in Room 9
ANIMATION HISTORY WITH JERRY AND MARK
This panel features two guys who know a lot about cartoons answering questions from the audience about cartoons. Jerry Beck is one of the foremost experts on animation history, and he even teaches classes about it. Mark Evanier has seen a lot of cartoons, written a lot of cartoons, and worked in the industry for 50 years. Bring your questions, and they'll give you answers, maybe even the right ones.

Thursday, July 23 – 11AM to NOON in Room 9
TALES FROM MY SPINNER RACK LIVE
In 1975, after five incredibly creative — and frustrating — years at DC, writer-artist Jack Kirby returned to Marvel. Over the next few years, he would create titles such as The Eternals and Devil Dinosaur, while also working on Captain America and Black Panther, two characters he co-created. This is the beginning of the final years of the King of Comics' 50+ year career, which also saw him work in animation in Hollywood and introduce brand-new characters for companies like Pacific Comics and Topps. Moderator Gary Sassaman (former director of programming and publications for Comic-Con) talks to Kirby experts Mark Evanier (author, Kirby: King of Comics) and John Morrow (editor-publisher, Jack Kirby Collector) about the final years of the King, including details on Morrow's new book, Marvelmation: Jack Kirby's Final Act in Comics & Animation. Free Tales from My Spinner Rack! bookmark and set of collector's cards to the first 100 attendees.

Thursday, July 23 – NOON to 1 PM in Room 9
GREAT CARTOONISTS AND COMEDIANS WE HAVE KNOWN
Film expert Leonard Maltin and writer Mark Evanier have thousands of years of showbiz between them and have met, and sometimes even worked with, some of the cleverest, funniest men and women. They share their experiences with people like Groucho Marx, Chuck Jones, Bob Clampett, Bob Hope, Jerry Lewis, and as many others as they can squeeze into the time they have.

Thursday, July 23 – 1 PM to 2 PM in Room 9
GOOD GRIEF!  THE ENDURING LEGACY OF PEANUTS
An all-star panel of Peanuts experts, historians, and editors celebrates Charlie Brown, Snoopy, and the enduring legacy of Charles M. Schulz's beloved comic strip. Mark Evanier (The Essential Peanuts), Chip Kidd (Only What's Necessary: Charles M. Schulz and the Art of Peanuts), and Charles Kochman (editor-in-chief of Abrams ComicArts) explore the past, present, and future of Peanuts, from classic comics and publishing projects to the characters' lasting impact on popular culture, with video and images from the archives. Moderated by Alexis E. Fajardo (editorial director at the Charles M. Schulz Studio). Plus, be among the first to hear a special Peanuts announcement.

This is from some group called The Gypsy Guitar Academy…

For some reason, I've recently received a lot of questions about the digest-sized comics that Western Publishing Company once published under its Gold Key logo.  Most of those questions can be answered in this post from back in 2003 that I've already rerun once before here.  If I was writing it today, I would make more of the success that the Archie company has had over the years with their digest line. I'm told it kept that company alive for a long time and the fact that it no longer works as well as it once did is why they're floundering about, trying stunts to refurbish a very old, outta-date property.

I would also include a remark I once heard from Jack Kirby. Jack liked things big. He liked big comics and big panels and big scenes and big concepts. When DC started their "super-size" lines of comics with a larger-than-usual page size, he was thrilled with the concept…and disappointed that they started by filling them with reprints of old comics, thereby not taking advantage of that bigger canvas.

Anyway, one time Jack looked at a Gold Key Digest and he said, speaking just of the page size, "That's a terrible thing to do to comics." He wasn't wrong but I still find something fun about those books.

Back in the sixties, Western Publishing Company (Gold Key Comics) began to have increasing problems getting their comics distributed. All the publishers were having this problem but it was most acute for Western. DC and Charlton owned their own distribution companies so they were able to push a little harder and at least they were paying their distribution fees to themselves. Marvel was distributed by DC until they jumped to a company owned by the same conglomerate that owned Marvel. The other companies, like Archie and Harvey, were hurt…but they (like DC and Marvel) were largely using their comic book publishing as a loss leader for the merchandising of the properties depicted in their comics. DC didn't consider it fatal when sales on the Batman comic went down since they were making money off Batman t-shirts and games and spatulas and such.

Western, however, did not control their own distribution, nor did they make any money off the merchandising of most of the characters in their comics. They had the Disney properties, Bugs Bunny, Woody Woodpecker, etc. — all properties owned by others. The few comics Western did own did not yield any real licensing money.

So they began hustling to find a way to sell comics in other venues — bookstores, toy stores, anywhere. They explored other forms of distribution and to this end began experimenting with different sizes and shapes of comics. Long before anyone at DC or Marvel was ready to break from the conventional funny book format, Western tried oversize comics, paperback comics, comics bundled in plastic bags and a few other ideas. Some received limited test marketings or never made it that far. Others came out and were widely ignored. The one thing that did well for a time was the digest comic — a little paperback about 6 and 3/4" tall with (usually) a little under 200 pages. Today, the Archie people have done quite well with their digests and the rumor is that other companies are gearing up to try them — especially for "funny" comics, whose less-detailed pages suffer less when reduced in size.

I don't believe this format will ever catch on big. Archie's success with it has largely been a matter of skillful (and expensive) marketing. They've managed to get excellent display in airports and at supermarket checkout counters. It often costs a lot of money to get your wares into those locations…which can accept very limited amounts of product. I also think there's a fundamental problem with the format in that its very size makes comics look cheap and unimportant.

One thing that some publishers seem to have missed is a lesson that Western learned when they were the only publisher doing them. When the digests were successful, they were only successful in stores that were completely isolated from regular-size comics. If a store had both sizes, no one bought the digests. If a store didn't carry regular-size comics but the one across the street did, no one bought the digests. I forget the actual sales numbers I was shown but it was something like this: When no regular-sized comics could be purchased nearby, a store that carried the digests might expect a 75% sale, which was very good. If the same store had regular comics, the digests would sell 10%. Therefore, Western was in the odd position of trying very hard not to distribute one of their products to some outlets. This they did until the digests died out in the early-seventies — about the time DC and Marvel were both enjoying some success with larger-than-normal comics. Western's distribution was crashing anyway by then but I've often wondered if the appearance of the tabloid "super-size" comics made the digests just look so puny that they helped finish them off.

My friend Gary Sassaman shares some tales of his early days in comic book fandom and convention-attending, and also tells the story of how he almost had work in a Marvel comic…

Gary is hosting a panel at Comic-Con all about Jack Kirby's return to Marvel in 1975 after he made the painful decision that he'd be better off there than remaining at DC. John Morrow, publisher of The Jack Kirby Collector, and I will be joining Gary. It's Thursday, July 23 in Room 9 at 11 AM.