Entertainment
History on the Block-Brother Can You Spare $400 million?
History on the Auction Block…DC Comics 1934 to 2014
As a young comic book collector, I often dreamed of finding a comic book horde.
Not a small pile of books with a few 1940s and 50s books in it, but a real stash, one that movies are written about. A collection of books that as you look through the pile you see Action #1, #2, Detective Comics #27 and Worlds Finest #1, the Flash #1, and Wonder Woman #1. That is the kind of treasure I, along with every collector in North America, wanted to find.
I had an aunt once who did have those books, and she clearly remembered saving them until her parents threw them away. She did say she would have given them to me as I was her favorite nephew….
This week, amidst the Covid 19 panic, pandemonium pandemic, the impossible is about to happen.
Ian Levine, an internationally known comic book and music ephemera collector, is auctioning off EVERY DC Comic book published from 1934 to 2014! The total number of books exceeds 40,000! Now, all of these books are the best possible, they are the most rare, most sought after, most significant of all comics. And ONE person, institution or archive will become caretaker to history.
Many professionals, collecto
rs and fans have spoken of the magnitude of this Sotheby Auction with awe.
Paul Levitz, in his Facebook post, spoke of assisting Levine with his quest:
“So a story of a quiet day at DC…I think it was over the holiday break, before the company closed for those days. Happened on an ad in one of the comics trades, probably Comic Buyers’ Guide, from a guy who was trying to assemble an absolutely complete DC collection. He was down to hunting some pretty obscure stuff, odd issues of romance and war titles, and many of our ‘custom comics,’ the giveaways we’d produce for companies to promote their products (or for good causes like keeping kids from being blown up by landmines). There were quite a few of the listed customs that were basically valueless but hard-to-find things we had large stacks of to use as samples, so I spent a few minutes in the library and my files pulling a bunch together. Sent them to him with a note that said, “Buy 40,000, get 12 free.” The collector was Ian Levine, and he kindly let Taschen use the collection for the photos for 75 YEARS OF DC. He’s now auctioning off the whole collection at Sotheby’s. Hope it goes to someone who’ll love it, or an institution with a giant endowment and great taste.”
With the pound of the gavel, some billionaire (likely) will become protector of the collection of the century.
To steal and paraphrase a line from Marvel and Stan Lee, with such a great collecton comes great responsibility .May it be used wisely.
Click for a link to the amazing catalogue for the collection follows:

Business
Will Paramount turn the tide of legacy media and entertainment?

From the Daily Caller News Foundation
The recent leadership changes at Paramount Skydance suggest that the company may finally be ready to correct course after years of ideological drift, cultural activism posing as programming, and a pattern of self-inflicted financial and reputational damage.
Nowhere was this problem more visible than at CBS News, which for years operated as one of the most partisan and combative news organizations. Let’s be honest, CBS was the worst of an already left biased industry that stopped at nothing to censor conservatives. The network seemed committed to the idea that its viewers needed to be guided, corrected, or morally shaped by its editorial decisions.
This culminated in the CBS and 60 Minutes segment with Kamala Harris that was so heavily manipulated and so structurally misleading that it triggered widespread backlash and ultimately forced Paramount to settle a $16 million dispute with Donald Trump. That was not merely a legal or contractual problem. It was an institutional failure that demonstrated the degree to which political advocacy had overtaken journalistic integrity.
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For many longtime viewers across the political spectrum, that episode represented a clear breaking point. It became impossible to argue that CBS News was simply leaning left. It was operating with a mission orientation that prioritized shaping narratives rather than reporting truth. As a result, trust collapsed. Many of us who once had long-term professional, commercial, or intellectual ties to Paramount and CBS walked away.
David Ellison’s acquisition of Paramount marks the most consequential change to the studio’s identity in a generation. Ellison is not anchored to the old Hollywood ecosystem where cultural signaling and activist messaging were considered more important than story, audience appeal, or shareholder value.
His professional history in film and strategic business management suggests an approach grounded in commercial performance, audience trust, and brand rebuilding rather than ideological identity. That shift matters because Paramount has spent years creating content and news coverage that seemed designed to provoke or instruct viewers rather than entertain or inform them. It was an approach that drained goodwill, eroded market share, and drove entire segments of the viewing public elsewhere.
The appointment of Bari Weiss as the new chief editor of CBS News is so significant. Weiss has built her reputation on rejecting ideological conformity imposed from either side. She has consistently spoken out against antisemitism and the moral disorientation that emerges when institutions prioritize political messaging over honesty.
Her brand centers on the belief that journalism should clarify rather than obscure. During President Trump’s recent 60 Minutes interview, he praised Weiss as a “great person” and credited her with helping restore integrity and editorial seriousness inside CBS. That moment signaled something important. Paramount is no longer simply rearranging executives. It is rethinking identity.
The appointment of Makan Delrahim as Chief Legal Officer was an early indicator. Delrahim’s background at the Department of Justice, where he led antitrust enforcement, signals seriousness about governance, compliance, and restoring institutional discipline.
But the deeper and more meaningful shift is occurring at the ownership and editorial levels, where the most politically charged parts of Paramount’s portfolio may finally be shedding the habits that alienated millions of viewers.The transformation will not be immediate. Institutions develop habits, internal cultures, and incentive structures that resist correction. There will be internal opposition, particularly from staff and producers who benefited from the ideological culture that defined CBS News in recent years.
There will be critics in Hollywood who see any shift toward balance as a threat to their influence. And there will be outside voices who will insist that any move away from their preferred political posture is regression.
But genuine reform never begins with instant consensus. It begins with leadership willing to be clear about the mission.
Paramount has the opportunity to reclaim what once made it extraordinary. Not as a symbol. Not as a message distribution vehicle. But as a studio that understands that good storytelling and credible reporting are not partisan aims. They are universal aims. Entertainment succeeds when it connects with audiences rather than instructing them. Journalism succeeds when it pursues truth rather than victory.
In an era when audiences have more viewing choices than at any time in history, trust is an economic asset. Viewers are sophisticated. They recognize when they are being lectured rather than engaged. They know when editorial goals are political rather than informational. And they are willing to reward any institution that treats them with respect.
There is now reason to believe Paramount understands this. The leadership is changing. The tone is changing. The incentives are being reassessed.
It is not the final outcome. But it is a real beginning. As the great Winston Churchill once said; “Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning”.
For the first time in a long time, the door to cultural realignment in legacy media is open. And Paramount is standing at the threshold and has the capability to become a market leader once again. If Paramount acts, the industry will follow.
Bill Flaig and Tom Carter are the Co-Founders of The American Conservatives Values ETF, Ticker Symbol ACVF traded on the New York Stock Exchange. Ticker Symbol ACVF
Learn more at www.InvestConservative.com
Censorship Industrial Complex
The FCC Should Let Jimmy Kimmel Be
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