
Ricardo Serrano Denis
Writer at The Beat
I’m a writer for the Comics Beat, a Social Studies teacher, and the co-creator of the Se Habla Comics podcast for Spanish-speaking comic readers.
Articles
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1 week ago |
comicsbeat.com | Ricardo Serrano Denis
With the Fantastic Four-N-One pizza offer up and running, Little Caesars has released a spectacular trailer to help spread the word in a way that is sure to make fans of Jack Kirby blush. The trailer, directed by First Steps production designer Kasra Farahani, features a clever recreation of the 1961 cover for Fantastic Four #1 illustrated by the King of Comics himself, Jack Kirby.
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1 week ago |
comicsbeat.com | Ricardo Serrano Denis
Getting into zombie horror is a two-step process. The first step belongs to George Romero’s Dead Trilogy (Night, Day, and Dawn) given the fact it established and then built upon the modern zombie. Simply put, they’re the gold standard. From Night of the Living Dead (1968) onward, reanimated corpses owe a debt to the master of horror that brought them to the big screen. Anyone asks where to start, you point them to Romero.
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1 week ago |
comicsbeat.com | Ricardo Serrano Denis
Fantastic Four #1 and Little Caesars are but two years apart from their first appearances on the public sphere. Marvel’s first family debuted in 1961. The house of “Pizza, Pizza” opened its doors in 1959. It has taken decades, but the need for merchandise and promotional partnerships have finally brought these two giants together.
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2 weeks ago |
comicsbeat.com | Ricardo Serrano Denis
Argentina went through one of the most violent and shocking dictatorships of the twentieth century in Latin America. From 1974-1983, the country was run by a military junta that would install Jorge Rafael Videla as president (a man that would later be convicted of stealing the babies of mothers that were illegally held in detention facilities so that members of his regime could adopt them).
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2 weeks ago |
comicsbeat.com | Ricardo Serrano Denis
Joe LoDuca is the composer behind the highly underrated The Evil Dead score. His approach to the1981 Sam Raimi-directed project didn’t go for the outlandishly loud, nor did it rely on synthesizers or other sound effects that were to become signature in 80s horror. If anything, it’s surprisingly subdued.
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