A person who asks that I identity him (or her, I suppose) as "A. Nonymous" sent me the following…

I know you have been to every San Diego Comic-Con since the first one in 1970 but have you been to every day of every one? Have you ever paid to get in? If you did, what did it cost back then? Have you ever known the sad feeling of not being able to get tickets to one or not being able to get a hotel room? How many panels do you think you've hosted? Have you ever been a panelist on a panel someone else hosted?

But my main question is this. A friend of mine insists that you are paid a handsome fee for hosting all those panels you host. I told him he was wrong but he did seem sure of it. Can you set one of us straight?

Boy, you ask lot of questions, A. To be technically accurate, I have been to every Comic-Con International in San Diego even before they were called that with these exceptions: I did not attend the one-day mini-con they held on March 21, 1970 as kind of a test and fundraiser for the first full-out convention, which was held August 1–3 later that year. I was at that one for Saturday only.

I also did not attend a small con they did in November of '75 to raise money. The receipts from the convention in August of that year were stolen and they needed to make up those funds somehow if the con was to continue. I also didn't go to the "Special Edition" con they had right after Thanksgiving last year.

I have not attended every day of every con since then. I believe my pal Scott Shaw! has been present for every day of every con except for the one year he had to miss for medical reasons. Scott has been to more days of San Diego Cons than I have and there may be a few others who have. There have been a few years when I skipped the first day or the last day for various reasons. One year, a TV show I wrote was taping on the Thursday that the con opened so I went down to San Diego that evening.

In 1988, the Writers Guild was convening on Sunday, August 7 to vote to end its 153 day strike. That was the last day of that's year Comic-Con but I wanted to be at the strike meeting and I wasn't doing as many panels back then so I didn't have one on Sunday. I checked out of my hotel Saturday night, stashed my gear in my car, then spent the evening with friends and at parties. Around 2:30 AM, I hopped on the freeway and made excellent time getting back home to Los Angeles. I got a little sleep and was at the Strike Meeting at 11 AM.

And there were a couple of other years around then when I began getting a little bored with the con so I'd skip the first day or the last day. This year, my lady friend and I drove down Thursday evening. We skipped Preview Night and Thursday, thereby reducing the number of days we were risking exposure to a certain well-publicized dread disease.

When I attended my first Comic-Con in 1970 — logo above — I was a guest by virtue of being Jack Kirby's assistant. So I had a free invite and after that, I got more such invites informally until 1975 when the con presented me with an Inkpot Award. An Inkpot includes admission to the convention forever…so I've never really known what it costs to get in, nor have I had to sweat getting a badge or a hotel room. They need me there to host all those panels so they make sure I have a place to sleep. Each year, a certain number of people are designated as Special Guests and I'm usually among them. Special Guests get their hotel rooms, meals and travel expenses covered.

I have no idea how many panels I've hosted but it's gotta be more than 200, maybe 300. Each year, I'm usually on one or two I don't moderate.

No, I am not paid anything — a handsome fee or even an ugly one — for what I do there. There are people who host panels and are paid but they're not paid by the convention. They're paid by some company which has arranged a panel to promote some product of theirs.

To conclude all this Full Disclosure: I do get some perks but I do all those panels because I enjoy doing them. I also just enjoy being at the convention…but I don't sell anything, I don't want to sit behind a table signing much of what Sergio has signed — boy, does he sign a lot of stuff — and my knees could never take 4.5 days of wandering around that building. Doing panels gives me a place to be and something to do and I feel like I'm contributing something.

Thursday and Sunday badges for Comic-Con 2023 are now sold out also. Congrats to those of you who got in. The convention may put some more memberships up for auction on eBay as a fund-raising move but if they do, those will not be cheap.  There may be a few other ways to secure admission but I'm not an expert on them.

Sales started a little after 9 AM so they sold out in about 75 minutes.  That's probably a function of how smoothly the software handled orders but it still indicates a massive, impossible-to-serve-everyone demand.  There are people who saw the notice and (of course) gave up while still getting the notice that their wait was "more than an hour."

I have a number of e-mails from folks with theories as to why Johnny Carson didn't have Jonathan Winters on his show more often. A couple of folks speculate that Johnny was uncomfy with having Mr. Winters on the premises because Johnny's "Aunt Blabby" character was so blatantly derived from Jonathan's "Maude Frickert." That might be a good reason to never have Jonathan Winters on the show but it doesn't explain having him on only occasionally. I've decided that there is no explanation that we're likely to discern these days.

I also have a lot of e-mails asking me about recent political matters. Sorry but I'm not paying enough attention right now to the news. I have voted because that's something I can do influence the direction of things, however infinitesimally…but there are times when I think it's good for my health and work to not spend much of my time and stomach lining on following the news. This is one of those times.

So I just peeked into the Open Registration for Comic-Con International that's taking place right now. The wait time to get into the registration area where you actually get to purchase badges is, the screen says, "more than an hour." Preview Night, Friday and Saturday are sold out so I would guess that "more than an hour" means you ain't getting badges today. I feel bad for those who want to go and can't…but the con can only hold so many bodies and there are way more than that number that want to be there. It's one of those sad facts of life.

I'm going to spend today writing stuff and some of it will be for this site, whether I post it today or not. Remember to set whatever clocks and timers you have that don't automatically adjust themselves back an hour tonight.

Sorry to hear of the passing of Danny Bulanadi, a fine comic book illustrator who was born in 1946 in Manila, Philippines. He broke into the field as many did — as an assistant for Tony deZuñiga working for all the top-selling "komiks" in the Philippines until he relocated to the U.S. in 1975. DC and Marvel put him to work, primarily as an inker but I employed him as a penciler and inker for some foreign Tarzan comics I edited around the time he got here and I was very happy to let him do the entire job. His work was quite good and it was always on time.

In 1988, he moved to Southern California and worked a lot as a storyboard and designer, primarily for Hanna-Barbera (and especially on Jonny Quest) and for Marvel Productions (especially on The Transformers) and a great many videogames. He did just about everything a comic book artist can do and even dabbled in painting nature and old west scenes. The industry could use more people who are that versatile and that dependable.

• I wish the Kroger company would start a 2nd Customer Service Hotline where you could instantly connect with someone to complain about how you can't reach anyone on their 1st Customer Service Hotline.

B. Monte read what I wrote about how Jonathan Winters didn't appear that often with Johnny Carson even though those appearances always went well…

I can think of one reason that might explain why Johnny didn't have Jonathan on more often.

You have written about how Johnny tightly controlled the show and that almost every impromptu story and surprise stunt was pre-approved. While the Winters segments were very entertaining, I can imagine that Carson had a love/hate relationship with having Winters on the show — they were great segments, but Johnny had no control over what would happen (and had no chance of regaining control).

I dunno. Johnny had Rodney Dangerfield on as often as he could get him and Rodney was pretty much on auto-pilot. If you watched Rodney on talk shows, he came out with a list in his head of the jokes he wanted to tell and the order he was going to tell them. A host could knock him off his script by trying to get him to not go straight on to the next one. All Johnny would do was to interject a quick question like, "Have you seen your doctor lately?" and Rodney would say, since the doctor jokes came later, "I'm going to the doctor later" and plunge right into the next joke on the list.

Other hosts tried to actually participate in Rodney's "act" and to actually interview him. It killed his rhythm. And Johnny did the same thing in that clip with Jonathan: just laid back and let the guest soar. He also did it when Robin Williams was on and he let guests like Charles Grodin control the conversation if the audience was laughing.

One of the things Carson learned from Jack Benny — one of the things that kept Johnny on the air for so long — was the principle that if the audience is laughing and it's your show, it doesn't matter who's getting the laughs. Benny let Don Wilson get the laughs. He let Dennis Day get the laughs. He let Mary Livingstone, Mel Blanc, Frank Nelson and all the others — and especially Rochester — get the laughs. Johnny loved it when a Don Rickles or a Mel Brooks got on a roll.

And you can see how delighted he was with Jonathan in that clip. I'm wondering if Jonathan didn't resent what The Tonight Show paid and turned down requests to come on the program…and only accepted them every so often when he felt the need to remind the industry that he was still around and still funny.

Then again, the guy loved to perform. I once saw him do 20 minutes for customers in a Honeybaked Ham shop on Riverside Drive. So like I said…I dunno.

This turned up on Max Maven's Twitter feed this morning…

I made my life about words, reading them and writing them. I wish I had a more elegant way of telling you all that I love you.

I had a good run, made wonderful friends, shared many laughs, and I learned a great many things. I learned that magic allows us to be so much bigger than we are. I learned we should be kind to one another and forgive people for being flawed and prideful.

The one thing I know is that we can all do better, and I think we will.

Elon Musk will probably try to charge Max's ghost for this.

Later this month, the acclaimed production of Fiddler on the Roof in Yiddish will reopen at the off-Broadway New World Stages on West 50th Street in New York. I know about eight words of Yiddish but I think I also know Fiddler on the Roof — on stage and screen — well enough to know what the actors are saying up there.

It's not my favorite musical and it might not even make my Top Ten…but I'm fascinated with the fact that this show, which its makers felt would have a limited run playing only to a niche market, has been the worldwide, universal success it's been. They never thought it would play in any city without a hefty Jewish population but before long, it was a smash hit in Japan, for God's sake! And everywhere else.

Even after it opened on Broadway in 1964, they didn't know. Zero Mostel was the first Tevye and when his initial contract was nearing expiration, he demanded a huge increase to stay on, confident the producers knew that he was the show and that it would close quickly without him. They said no and after he left, it ran another seven years and has had six Broadway revivals since then. It may be the most-produced musical of all time.

Here's a little video of rehearsals for the reopening. All the things the actors say about how universal it is and how it speaks to everyone — that's all true but when the show was first produced, no one suspected that. They just thought it would run until every theater-loving Jew within commuting distance of Manhattan had seen it…

Someone asked me recently what Jonathan Winters was like off-camera. In my experiences, he was very much like Jonathan Winters on-camera. For some of the time I had an office at Hanna-Barbera, I was located right outside the recording studio and when a Smurfs voice session ended, Mr. Winters would go prowling in search of an audience. He learned he could often find one in my office where other writers were known to congregate. I didn't go into the studio every day but for a while, I would try to be there when The Smurfs was recording, just in case Jonathan was in and wanted to play.

There'd be three or four writers in my office and when he poked his head in, we'd never greet him by name. I'd say, "Hi! Are you the local game warden" or something like that…and Jonathan would instantly become the local game warden and commence a lecture about how to not have a bear eat your face off. Once in a while when he was Jonathan Winters and not a character, he would tell show biz stories. The ones I recall best were the ones that expressed his distaste for Bob Hope…

…and when you think about it, he and Hope were pretty much opposites. Jonathan could not work with pre-scripted lines and cue cards while Hope — at that age — couldn't perform without them.

Here's Jonathan on with Johnny Carson. The date is 12/8/1988 and I doubt you'll ever see anyone do better sitting in Carson's guest chair…and you can see the delight on Johnny's face throughout. And yet I wondered why he didn't have Jonathan on very often. Winters at the time was living in Toluca Lake, I think…literally about a five-minute drive from where Johnny taped. And Jonathan was rarely unavailable. You'd think that when a guest scored this well, Johnny would tell his people, "Let's have that guy on every three or four weeks." But I'd be surprised if Jonathan was on more often than once every other year or so.

Don't ask me why. I have no idea…

Earlier today, I told reader-of-this-site Kevin Krieg that some of the old Warner Brothers TV shows he yearned to see were on the MeTV+ Channel and that a letter-writing campaign might get them to pick up Sugarfoot. Well, apparently my post today was so effective that it prompted all you folks to write in letters weeks ago because they are running Sugarfoot at times…and all the other shows Kevin asked about seem to be on some channel somewhere. Just Google and ye shall find.

Max Maven died last night surrounded by friends…and he had many. Max was one of the smartest people I ever had the pleasure of knowing. People called him a "Walking Encyclopedia of Magic" and he was that but he also knew an awful lot about other topics. He performed as a "mentalist," a kind of magic I usually find very phony and demeaning to the audience but Max's act was anything but that. It presupposed that we were smart enough to grasp concepts, not that we were dumb enough to believe someone could read minds. He invented some of the best tricks, including one that was in my repertoire back when I did magic for friends and before I had ever met Max.

He was also one of the few magicians who could pull off those photos of looking mystic and perhaps Satanic without looking silly. That had a lot to do with his commanding presence, his eloquence as a speaker and the fact that deep down, he was just a wonderful human being. Everyone in the magic community knew him and trusted him. From time to time, two magicians would get into a quarrel over whether a given effect was proprietary (the moral property of someone) or public domain. Often, those arguments would be settled by asking Max to play Judge Judy. And everyone would accept his judgement because he was wise and honest and he would probably be embarrassed by what I'm writing here so I'll tone it down.

He'd been ill and in frequent isolation for some time. I called him a few times, most recently about two weeks ago. In years past, a conversation with Max could last an hour — and that would have been one of the shorter ones. But in that last chat, he oh-so-politely got off the phone in five minutes. That's how bad-off he was. If you'd like to actually eavesdrop on a conversation of ours that lasted close to two hours, there's one online.

His website has a much better overview of his life and career than I could possibly assemble for you. I just wanted you to know how much this man was respected and admired and loved. If and when there's a memorial service, it's gonna be jammed. And it won't surprise me if he has left us something that we could believe was a message from beyond.

Mark Coale wrote to ask…

Why did Filmation decide to do live action Saturday morning shows in the mid 1970s? I know they had done animation/live action hybrids (like Fat Albert) in the early 1970s. So why do things like Ghost Busters and the other shows?

Because CBS (or any network) wanted them and the guys at Filmation thought they could make money doing them. And I think also there's that "don't put all your eggs in one basket" principle. If any network were to suddenly think, "Let's buy less animation and more live-action," most cartoon studios didn't want to be shut out.

The first two sales I ever made to Hanna-Barbera were both live-action projects…and for a while after that, I couldn't get them to give me work on the cartoons because Joe Barbera thought of me as a live-action writer. At that time — it changed now and then — he felt live-action writers kind of automatically didn't know how to write for animation. Once he was convinced I could do both, I was a candidate for more work than if I could only do one. At the same time, he was trying to convince the networks that his studio could do both…for the same reason.

And I should also mention: Some folks in the industry who'd scold you if you said animation isn't "real television" or "real movies" the way live-action is quietly harbor a longing to work in live-action. There can be more money and more prestige and it feels glamorous to be on the set which a whole crew and actors and everything. That's some folks, not all.

Steven Elworth wants to know…

When Jack Kirby moved from Marvel to DC, did work for both overlap?

In 1970 when Jack left Marvel for DC, he sent in (from California) an issue of Fantastic Four, waited until it had arrived at the Marvel offices in New York, then phoned Stan Lee and told him it was his last issue and that he'd signed with DC. He did no more work for Marvel until 1975 when his DC contract expired and he returned to Marvel. In '75, he sent off what DC knew was his last issue of Kamandi and then started fulfilling his new Marvel contract the next day.

This gets some readers confused if they don't realize that all the comics that come out in one month weren't all written and drawn in the same month. Sometimes, one book is way ahead of another in production.

In '70 when Jack quit Marvel, they had several issues of Fantastic Four and Thor by him that were still going through the process of scripting, lettering, inking and coloring. They also had stories of The Inhumans Jack had written and drawn for a book called Amazing Adventures and a couple of Ka-Zar stories he'd drawn for Astonishing Tales, plus a couple short ghost-type stories for their fantasy comics and some covers for various titles. Most of this was released before any of his DC material hit newsstands but Marvel could have held some of it until later — and did with one Kirby issue of Fantastic Four — and DC could have released his new books for them earlier if they'd wanted to.

So there could have been a real overlap but it would not have been because Jack was working for both companies at the same time. He didn't. The overlap could have come from the publishers' decision of when to publish material they had on hand.

When Jack went back to Marvel in '75, DC had six or seven completed issues of Kamandi by Jack on the shelf and I think one or two of Our Fighting Forces. So there was an overlap there, not in terms of when Jack did the work but because of when the publishers published things. After he did his last Kamandi, he was assigned a batch of covers for various Marvel titles and he did several issues of Captain America and a lot more covers before they had him do anything else.

This is also the answer to the question someone asked me as to why Joe Kubert did the covers on the last seven issues of Kamandi by Jack. Covers then were done whenever Carmine Infantino — the publisher but he also supervised cover designs — got around to them. In this case, by the time he did, Jack was no longer working for DC.

For about six months, new Kirby work was coming out from both publishers, which might have made some think he was simultaneously working for both firms. But he wasn't.

Lastly, Kevin Krieg wrote to ask…

Enjoying high quality B&W prints of Rawhide and Wagon Train on INSP. Do you have any insight on why classic WB shows (77 Sunset Strip, Hawaiian Eye, Surfside Six, Sugarfoot, Maverick, Colt 45, Lawman, etc.) are never shown anywhere?

77 Sunset Strip, Hawaiian Eye and Lawman are all running currently on MeTV+. Here's a PDF of their current schedule.) I would imagine that channel may pick up some of the others when they feel some of their current offerings are losing audience shares.

When there's discussion of some channel picking up the reruns of some old series, there are two questions, one being whether the channel thinks its viewers will tune in to see the show. Some programs simply rerun better than others. Some programs have some appeal for that purpose because they haven't been seen in a while.

The other question then becomes whether the outfit that owns the show can provide decent prints or all or most of its episodes. Sometimes, they can't. I don't know if the situation has changed but a few years ago, whoever owns My Living Doll did not have decent copies of about half the episodes. It can cost a lot of money to restore shows for rerun purposes and there are probably a lot of old shows where they don't have decent prints and/or don't think it's worth the investment to restore what they have.

I think though Kevin that the shows you're asking about may all be available if/when someone wants to run them. Years ago, I used to say that writing with programming suggestions to CBS, NBC and ABC was a waste of time. They were reaching so many viewers than the interests of a few didn't matter to them. But these days, a lot of cable channels — the kind that run the kind of shows that interest you — might be highly responsive to a few dozen letters. If you can get rally enough Sugarfoot fans to write in, it might make a difference.

And that's it for this time.

Speaking of Freedom of Speech — as we were — here's Devin Stone (aka The Legal Eagle) talking about a case that will be of interest to those of you who practice the kind of Free Speech known as "parody." It's twenty minutes but you may find it's worth it…

I finished the script I had to finish. Here's a tip for those of you who struggle with this: I've found there sometimes comes a point of fatigue — both physical and mental — where I need to stop and sleep. Earlier in my career, I thought it was heroic to stay up all night, soldiering through, not giving in to the demands of my brain and body. I eventually learned that while that made me feel noble on some level, I was not writing very fast and I was not writing very well. If, however, I slept…well, then when I woke up I would do better work and get more done per hour.

So last night, I wrote 'til I reached that fatigue point and then I slept five hours — which is about what I usually sleep — and when I got up, I not only felt more competent at what I was doing, I went back and rewrote much of what I wrote in the last hour or so before I knocked off last night.

There are times when you can't do that; when the work absolutely has to be in before you go beddy-bye. But when you can stop and renew your energy, it helps to do that. It took me way too long to learn this.

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I'm not following politics much these days. I'm especially avoiding articles that purport to tell us what the outcome will be of the voting next week because it's fairly clear to me that everyone's projections and predictions are all over the place this time. All you can say with any confidence is that a lot of those pieces will be proven wrong.

Still, I couldn't help following the story about the man who broke into the home of House Speaker Nancy Pelosi and physically battered her husband Paul, intending to do worse to Ms. Pelosi if and when she came home. It was shocking someone did that and it was shocking how rapidly a certain section of the public came up with a completely bogus counter-narrative.

San Francisco Police Chief William Scott said, "There is absolutely no evidence that Mr. Pelosi knew this man. As a matter of fact the evidence indicates the exact opposite." Now, I wouldn't suggest taking anything any police officer says as inarguable truth but at least, his officers were in the house to arrest the assailant, they interrogated him, they investigated his past, etc. The counter-narrative was just made up by some folks who for political reasons, wanted the real story not to be the real story. They weren't there. They never knew the attacker. I can't see where they had any more information than I would if I announced what you ate for dinner last night.

And then many people felt justified at spreading this phony explanation because "Some people are saying that…"

"Some people" saying something does not mean there's any truth in the matter. "Some people" are saying Martians walk among us and that Elvis and J.F.K. Junior are alive. "Some people" even think cole slaw is edible.

Elon Musk even spread a little of the baseless counter-narrative, then thought better and deleted the Tweet in which he spread it. This man is now in control of Twitter, pledging a new era of Free Speech. I believe in Free Speech but a lot of people who say they do only really believe in it when it accomplishes something for them. I have the feeling I'm not going to be on Twitter much longer.

"Hey, Evanier," no one has said to me lately, "What's your friend Frank Ferrante doing these days?" Well, he's as busy as ever, of course. I refer you to the photo at above left…and no, he's not a bellhop now. He's in character as Forte, a bellhop who serves as the host of "Luminaire," the popular dinner show from Cafe Zazou. Cafe Zazou is not unlike Teatro Zinzanni, the long-running producer of similar dinner shows, many of which have featured Frank in the past.

"Luminaire" is performed in Chicago in an exquisite setting and what you do is you buy tickets for it here, then on the night of your tickets, you and your companion(s) get a little dressed-up and you go for an evening of fine food and fine entertainment with Frank Forte as your Master of Ceremonies. There are jugglers and acrobats and music and comedy and audience participation…and I haven't seen this production but I saw Frank do this in San Francisco and the reviews here are even better.

He's there through the end of April and if I can overcome my reticence to get on a plane before then, I'm going to go back and have what I'm sure will be a wonderful time.

And before you ask: No, he is not forsaking his role Groucho Marx in his one-man-and-a-piano-player show, An Evening With Groucho. Yes, it's the one I've been touting on this blog for decades now. If you saw the show broadcast recently on PBS, you're probably dying to see it in person now…and you can if you're near Chicago on the evening of November 22. Frank's using his night off from "Luminaire" to do his Groucho show in the same room and tickets are available from the same place. If I were back there then, I'd go see him one night in one show and the next night in the other…kind of a Ferrante double-header.