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Originally posted by Animalman:
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Originally posted by Dave:
I looked for the "Hulk smash Freddie Prinze Jr" reference, but at no stage does the Hulk actually say that. Which is a shame, as its quite a funny line.
It's on the last page of the issue where the Hulk first appears in real time(i.e not in a flashback). Like #5 or #6.
I hate to nitpick... [wink] ....but he doesn't actually say "HULK SMASH FREDDIE PRIZE JR". He says something about Freddie Prinze Jr, but not "Hulk smash".

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Pop culture references put the book in its place, as being contemporary. It stands out from the seemingless timeless/ageless irrelevance of the regular Avengers book. Its very "now", and relevant.
It dates it, but it certainly doesn't make it any more "relevant". Now, if it actually dealth with issues and concerns of this era(like terrorism, or violence in schools, or homophobia), then it would be an updated and more relevant take.

The only real "issue" he touches on(albeit briefly, and in typical shock-shlock form), is spousal abuse, which the previous Avengers series discussed, as well.

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Millar is presenting a challenge to DC. The JLA continue to pretend to exist with 1950s moral strictures living in the 1980s or some unspecified decade so the material will not date. The Ultimates exist in a real universe, with famous people from that real universe, dealing with real issues.
Correct me if I'm wrong...but the latest arc involves aliens, doesn't it? How is that a "real issue"? How is it any different from what goes on in the JLA?
I haven't read the most recent arc, so I don't know, but I think what you've said kind of misses my point.

The isuse is not so much the fact that there are notable causes in the world which need attention drawen to, but that from a marketing perspective the story sounds fresh and new.

Superman does not usually interact with Hollywood stars or contemporary politicians. He operates in his own little reality bubble. 9/11 didn't even occur in Superman's reality.

Millar has deliberately avoided this. He invoke pop icons (or at least second tier icons) to paint the story as firmly set in reality, and at odds with the traditional approach of superheroes being timeless and detached. And this has the advantage of making the title seem "new" or cool. People like to buy "new" or cool stuff.

It has two significant collateral benefits: it gives the characters some Hollywood glitz, which assists Millar to tell the story of how superhumans would actually be famous and screwing starlets if they actually existed.

Second, it draws upon the Hollywood glitz to promote the title itself: it is the comic where Hollywood stars make guest appearances. That has a strong commercial pull - it almost acts as a product endorsement by Freddie Prinze Jr and Shannon Elizabeth of the title. Which assists in the cool factor: the rabid fanboys will think that the girl with the great body from American Pie likes this comic because she appeared in it. And like it or not, that's the way good marketing works.